The picture does not illustrate the description of the Adoration of
the Lamb in the fifth chapter of Revelations so faithfully as the
picture of the 'Three Maries' illustrated St. Matthew. The Lamb has
not seven horns and seven eyes, and the four beasts and twenty-four
elders are not falling down before it and adoring. The Lamb is an
ordinary sheep, and the picture is a symbolic expression of the
Catholic faith, founded upon a biblical text, but not what could be
described as 'a Bible illustration.' People in the Middle Ages liked
to embody their faith in a visible form, and we are told that
theologians frequently drew up schemes of doctrine which painters did
their best to translate into pictures, and sculptors into sculpture.
Such works of art were for instruction rather than beauty, though some
also served well the purpose of decoration.

Josse Vyt, who ordered the picture, and whose portrait, with that of
his wife, is painted on the shutters, no doubt explained exactly what
he wanted, and Hubert sought to please him.[1] But although the design
of the central panel was old-fashioned and symbolic, Hubert was able
to do what he liked with the landscape, and with the individual figures.
They are real men and women with varieties of expression such as had
not been painted before, and the landscape is even more beautiful than
the one at the back of the 'Three Maries.' Snow mountains rise in the
distance, and beautiful cypresses and palms of all kinds clothe the
green slopes behind the Lamb. There are flowers in the grass and jewels
for pebbles in the brook. Behind, you can see the Cathedrals of Utrecht
and Cologne, St. John's of Maestricht, and more churches and houses
besides, and the walls of a town, and wide stretches of green country.

[Footnote 1: There are reasons for thinking that the picture may have
been ordered by some prince who died before it was finished, and that