Some here will recall a famous work of early Flemish art, in which the brothers Van Eyck have attempted to represent the luxuriant imagery of this Apocalyptic vision. All the lines in the picture converge towards a common centre. All the groups are arranged with reference to this one point. Martyrs, virgins, priests, prophets, hermits, pilgrims, holy warriors, righteous judges, kneeling or standing, on foot or on horseback, at rest or in motion—all are gathered or gathering about one prominent figure. On it each eye is gazing, and towards it each footstep moves. These various groups of redeemed and glorified saints stud the outer parts of the picture. More central than these is an inner circle of winged angels, some bearing the instruments of the Passion, some swinging censers, but all with faces upturned towards this one point, all kneeling in adoration of this one figure. Highest of all and directly above it is One of stately mien and majestic visage, seated on a throne, His head crowned with a tiara, His hand raised in the attitude of benediction. It is the Eternal Father Himself, Whom with the unconscious irreverence of his age, which striving to communicate the incommunicable ended only in limiting the illimitable, the artist has represented in a human form. At His feet is a richly jewelled crown ready, it would seem, to descend and encircle the brow of the figure beneath. Immediately below, still hovering over this central figure, is a dove with outstretched wings, the symbol of the Spirit, darting forth rays of light and encircled in clouds of glory. Lowest of all, beneath the feet of the saintly groups and right under the central figure itself, was once a representation of the souls in agony. This part of the picture is now effaced; but we may well imagine that the motive was suggested by the words of the text; that the centre of attraction to the redeemed was a centre of repulsion to the lost; that with cowering limbs and averted eyes they shunned the glory of the Adorable One; that in their mien, in their every gesture and look, they seemed to say to the mountains, ‘Cover us,’ and to the hills, ‘Fall on us.’