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Today. I'm John Batchew with Andrew Graham Dixon, whose new book Vermeer about the Dutch

master from the 17th century, 1632 to 1675, died as a young man, suddenly.

He leaves behind 34 agreed upon paintings.

Two-thirds of them were painted for one patron family with interpretations of Bible scenes.

Now we come to one that also has an interpretation of a medical scene.

The lace maker painted 1670-71.

It looks like a young woman, whom we've seen before,

working very carefully on a piece of lace, but there's more to it.

This is a wowser, Andrew.

One should always be humble, and, you know, my understanding of this picture will not be

everyone's, but one of the things that they were particularly fascinated by these women

was love, love as a force, as a power.

And the idea that the love experienced for Christ at its most profound was expressed in that relationship between Mary the mother of Christ

and Christ the unborn child.

I mean, how can you have a more intimate relationship than that?

And that was really important to them as a symbol of the way in which women were specially chosen to nurture Christ

and to suffer for Christ and almost to be crucified in the act of giving birth. And here, in my opinion,

all of that is resumed in an image that shows just a young Dutch woman who is pregnant.

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