Jan van Eyck: The Madonna with Canon van der Paele (1436); Groeninge Museum, Bruges.

There is no painter with more prestige than Jan van Eyck (c. 1390–1441). He was the first painter who realized that colors were a result of lightfall. He was responsible for groundbreaking technical innovations in oil painting. As a result of these advances, he became the first painter who managed to create the illusion of complete realism. He was also an erudite scholar, skilled in Greek and Latin, and a diplomat.
For all these reasons his works are not only artistically, but also intellectually fascinating. Take The Madonna with Canon van der Paele (1436); conceived as a tribute to and epitaph for church canon Joris van der Paele. The canon is shown, kneeling, dressed in a white surplice, being introduced by his name saint, St. George, to the Virgin Mary and Christ. The figure on the left is St. Donatus, the patron saint of the church where the painting was to be displayed.
The painting is full of allegory. Mary and the infant are seated on an altar, indicating Christ's sacrifice. So does the canon's surplice. Prefigurations to the sacrifice and triumph of Christ can be seen on the pilasters in the background. The figures of Adam and Eve are carved in two pillars behind the altar, on top of which stand two sculptures depicting Cain and Abel, and Samson and the Lion. The twelve apostles are embroidered in gold brocade on the blue cope worn by St. Donatus. St. George is shown as a heavenly warrior, wearing body armor, a sword, a banner, a helmet and a shield (in which a figure is reflected who occupies the viewer's position, just as in Van Eyck's famous Arnolfini portrait).
The word 'Adonai' (Hebrew for 'Lord!') is written on the saint's breastplate. As he is looking at the infant Christ and is just moving his lips, it is likely he is addressing Christ with this word. And Jesus' answer is actually depicted! The infant is holding a parrot. This bird was considered the symbol of Mary, and of Logos – the word of God. It was believed that parrots said 'Ave!,' the Roman greeting; in this case directed at St. George.
(Text: Edgar Foley)