Mirror as one which would allow a praying man to use them for his personal piety: the mirror surrounded by scenes of the Passion to reflect on it and on oneself, a rosary as a device in this process, the veiled and cushioned bench to use as a prie-dieu, and the abandoned shoes that point in the direction in which the praying man kneeled. The metaphorical meaning of depicted mirrors is complex and many-layered, e.g. as an attribute of Mary, the “speculum sine macula”, or as attributes of scholarly and theological wisdom and knowledge as they appear in book illuminations of
Master of Liesborn and the partition wall are adorned with figures of Prophets and Christ, and a representation of the world. The window looks out on a landscape. The Blessed Virgin, clad in a blue mantle over a robe of gold brocade, is seen in the front room turning from her prie-dieu towards the angel, who, richly robed and bearing in his left hand a sceptre, delivers his greeting. Of the Nativity group, there still remain five beautiful angels, who kneel on the ground around the effulgent form of the Child: there also remain two busts of male figures which were probably part