Analysing the symbolic and structure of Robert Campin's Mérode Triptych the author notices that the ostensible non-cohesion of the objects and the interior in the scene of the Annunciation comprises an introduction, intended by the author, of three parallel axes, in which the lines of the perspective meet. Each is ascribed to one of the Three Divine Persons. In this case, they are present as a principle introducing order into the whole depicted world and thus legitimise the religious interpretation of the portrayed objects derived from daily life, as symbols referring to supernatural reality. In this work, due to the broached theme associated with daily narration and the symbolic of the work, the artist rendered conception, nativity, and the perspective of death and resurrection; he also expressed the intimate space of loneliness as well as dialogical, social and professional relations. In this fashion, the home shown by Robert Campin conveys the identity of man who, by setting up a home in a concrete place and at a given time, seeks the reasons for existence in a supernatural order. By gaining a point of support and an anchor, he discovers an order that exceeds the dimension of individual existence. In this way, the home, which is both an idea and the experience of settling down, becomes a source of identity that constitutes the correct perspective of the world in which we live.