Painting in Bruges at the Close of the Middle Ages: Studies in Society and Visual Culture. Jean C. Wilson
graph of 1971. However, Dr. McNamee makes important modifications of her views throughout, these made possible by his exhaustive knowledge of the Mass, especially in conjunction with the interpretation of the presentation of the Mystic Lamb (103). It would have been helpful had he known (106) that many scholars believe the Oberlin/Prado Fountain of Living Water to precede the Ghent Altar. Similarly, Eve's "apple" is an Etrog (116), from the Succoth service, and not an apple. Important points are made concerning the Byzantine Rite (108) and the ways in which a contemporary viewer would have understood God's presence in and for the Altar, with no need to include his overt presence in pictorial form within the Altar. Since the eleventh chapter examines Memling's Najera Altar (Antwerp) attention might have been paid to the possible function of these panels as organ wings, as is often believed to be the case. Such musical "use" might bear upon McNamee's view of their symbolism within the Good Friday Liturgy. This chapter too was based upon the author's previous publication {Journal of the Warburg and Courtauld Institutes, XXXVII, 1974, 353-56). Good Jesuit diat he is, McNamee has a sense for the pithy phrase, my favorite (199) is a reference to the Mass "as part of the economy of salvation." Poorly proofread, the book has a fine bibliography and includes a helpful Appendix A "Litugical vestments and accoutrements," with drawings of all pertinent material. COLIN EISLER The Institute of Fine Arts, New York University