Virgin in Glory surrounded by St. Peter and St. Augustine

Robert Campin, the Flemish master now identified with the Master of Flémalle, positioned the Virgin in Glory as the formal apex of an altarpiece commission at a time when Netherlandish painting was just beginning to break free of the International Gothic. The pairing of Peter and Augustine flanking Mary reflects Augustinian patronage — the canon regular order commissioned Campin repeatedly in the 1420s–30s in Tournai. Campin's contribution to early panel painting was the radical introduction of domestic and tactile detail into sacred imagery, and this work sits within that program, translating theological hierarchy into believable physical presence.

Campin layered oil-rich glazes over a gesso ground, building luminous drapery through successive transparent passages. The throne's architectural surround is rendered with the crisp foreshortening characteristic of his Flemish workshop, while Peter's silver keys and Augustine's black habit anchor the composition with strong tonal contrast.