Nicholas Froment paints a second celebrated altarpiece in 1476, “The Burning Bush,” for the Cathedral of Saint Sauveur in Aix-en-Provence.

This work, like his earlier “The Raising of Saint Lazarus,” reveals an awareness of the innovations of both the Italian Renaissance and the new Flemish realism.

His concept of space, initially northern European in his detailed landscapes, seems now to become more Tuscan, employing an Italian style of perspective.