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Van Eyck mostra que o menor dos meios é meio para a maior das mostras: sua mão multiplica a matéria, sua mente a manifesta.Muitos são os mistificadores – Van Eyck é místico: Van Eyck, mestre da memória.Certain facts provide clues as to the painting’s date and its original setting.The painting is executed in oils on a wooden panel.He adores the effects of light reflecting off metal or glass.
Behind them, a portico opens onto an enclosed garden fortified by crenelated battlements, with two figures gazing out at a distant landscape with a river.
His work expresses the theory of universal symbolism put forward by the 12th-century theologian Hugo of Saint-Victor, and taken up by the cardinal-philosopher Nicholas of Cusa in the 15th century: the palpable world is an open book written by the hand of God, in which everything is invested with symbolic significance.
The physical world is an expression of divine perfection, reflected here in the perfection of the painting.
In 1432, Nicolas Rolin bought a townhouse, the Hôtel Rolin, next to the church in Autun. Chancellor Rolin attended Matins at the church during his stays in Autun, and obtained permission from the pope to celebrate mass there at sunrise, at the beginning of his busy daily round of political duties.
The picture seems to have been painted, then, between 14, and most probably between 14, after the Chancellor had been granted permission to celebrate morning mass, from the pope.
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Flemish painting broke away from the traditional depictions of narrative scenes and themes from the lives of the Christian saints, and focused instead on the personal contemplation of Christ and the Virgin, as objects of meditation.