Ghent Altarpiece

The Ghent Altarpiece or Adoration of the Mystic Lamb (Dutch: Het Lam Gods or The Lamb of God) is a very large and complex Early Flemish polyptych panel painting considered one of Belgium's masterpieces and one of the world's treasures. It was begun by Hubert van Eyck, who died in 1426 while work was underway, and was completed by his younger brother Jan van Eyck in 1432. It was commissioned by the merchant, politician and financier Joost Vijdt for his and his wife's private chapel, in today's Saint Bavo Cathedral, Ghent, where it was officially installed on 6 May 1432. It was later moved for security reasons to the principal cathedral chapel, where it remains. The altarpiece represented a "new conception of art", in which the idealization of the medieval tradition gave way to an exacting observation of nature.

The altarpiece consists of a total of 24 framed panels, which make up two views, open and closed, which are changed by moving the hinged outer wings. The upper register (row) of the opened view shows Christ the King (but see below) between the Virgin Mary and John the Baptist. The insides of the wings represent young women singing and making music, and on the outside Adam and Eve. The lower register of the central panel shows the adoration of the Lamb of God, with several groups in attendance and streaming in to worship, overseen by the dove representing the Holy Spirit. On weekdays the wings were closed, showing the Annunciation of Mary and donor portraits of Joost Vijdt and his wife Lysbette Borluut.

There used to be an inscription on the frame stating that Hubert van Eyck maior quo nemo repertus (greater than anyone) started the altarpiece, but that Jan van Eyck - calling himself arte secundus (second best in the art) - finished it in 1432. The original, very ornate carved outer frame and surround, presumably harmonizing with the painted tracery, was destroyed during the Reformation; there has been speculation that it may have included clockwork mechanisms for moving the shutters and even playing music.

Over the centuries the panels from the altarpiece have been moved, damaged by fire, some sold, some taken during wars, and in 1934, when all the panels were again in St. Bavos, the lower left panel, The Just Judges, was stolen. The panel has not been recovered and in 1945, after the altarpiece was returned from Germany where it spent much of World War II hidden in a salt mine which greatly damaged the paint and varnishes, Jef Vanderveken produced a copy of the stolen panel, as part of an overall restoration effort.