Visions and Meditations in Early Flemish Painting Craig Harbison Simiolus: Netherlands Quarterly for the History of Art, Vol. 15, No. 2. (1985), pp. 87-118. Stable URL: http://links.jstor.org/sici?sici=0037-5411%281985%2915%3A2%3C87%3AVAMIEF%3E2.0.CO%3B2-X Simiolus: Netherlands Quarterly for the History of Art is currently published by Stichting voor Nederlandse kunsthistorishes publicaties. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/svnk.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is an independent not-for-profit organization dedicated to and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact
[email protected]. http://www.jstor.org Sat May 19 12:02:39 2007 Visions and meditations in early Flemish paintingX Craig Harbison In fifteenth-century Flanders we find a religious art in gious movements at the time, of which the chief w.as which individual piety is the prime motivating force; known as the Modern Devotion, were specificall!- dedi- not scholastic disputation, transcendent ecstasy or litur- cated to mot-ing beyond the monastic perimeters which gical ritual, but a calculated, personal religious espe- had at least partly restricted earlier revitalization ef- rience, the vision or meditation is found at the center of forts.' La!- brother and sisterhoods and the use of the things.