The after excerpt is from Gardner’s Art Through the Ages (pp. 576-578). It provides that you standard textbook account of this artwork:
The intersection of this secular and spiritual in Flemish painting additionally surfaces in Jan van Eyck’s dual portrait Giovanni Arnolfini and their Bride. Van Eyck illustrates the Lucca financier (that has founded himself in Bruges as a representative regarding the Medici family members) and their betrothed in A flemish bedchamber that is simultaneously mundane and faced with the religious. Like in the Merode Altarpiece, virtually every item portrayed conveys the big event’s sanctity, especially, the holiness of matrimony. Arnolfini and his bride, Giovanna Cenami, in conjunction, make the wedding vows. The cast-aside clogs indicate this occasion is taking put on holy ground. The dog that is little fidelity ( the typical canine title Fido originated through the Latin fido, “to trust”). The curtains of the marriage bed have been opened behind the pair. The bedpost’s finial (crowning decoration) is really a small statue of saint Margaret, patron saint of childbirth. Through the finial hangs a whisk broom, symbolic of domestic care. The oranges from the upper body below the screen may relate to fertility, additionally the all-seeing attention of Jesus is apparently known twice. It really is symbolized when by the solitary candle burning in the remaining back owner for the ornate chandelier and once again by the mirror, where watchers look at whole space reflected.