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When an artist sets about the painting of a religious theme he is faced with an almost insurmount-' able problem, for he must transform manifestations of the Deity into visible symbols. Christian" painters have solved this problem in a multitude of ways but perhaps none more interestingly than the Flemish painters of the 1 5th Century who developed what might be called a realist-symbolic manner.
I'he Virginia Museum of Fine Art’s "Annunciation," painted by an unknown artist between 1470 and 14J<0 and purchased through the Wiliams Fund, is an excellent exampfe of the Flemish conflict between, and the synthesis of, realism and symbolism.
J'he realism is everywhere apparent. The room itself is a faithful representation of a 15th Century Flemish interior. F.ven today it is p(K.sible to find floors of the same piittcrn surviving, in old buildings in the area or windows of the type before which the Vir
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