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No other painter in Germany in the early fifteenth century combined symbolism and an incredibly naturalistic representation of the history of salvation like Stefan Lochner. He was certainly influenced by the Flemish painter Jan van Eyck, and had seen and studied Van Eyck’s great work, the Ghent altar-piece, which was completed in 1432. The clasp on the cloak of the angel of the Annunciation, which shows an image of God the Father, is a good example of Lochner’s skill in this regard. In the Middle Ages, it was often the case in depictions of the Annunciation that an image of God the Father was hidden somewhere in the picture, albeit in a place where it was very effective.