HUBERT VAN EYCK who according to the common acceptation was born in the year 1366 at Maaseyck, a small town not far from Maestricht, must have been settled before the year 1412 in Bruges, when we hear of him as a member of the Brotherhood of the Virgin with Rays.

There can be little doubt that Hubert van Eyck was acquainted with the work of this John of Bruges, and that it had a considerable influence on him. But while on the one hand he carried the realistic tendencies of such works to an extraordinary pitch of excellence, it is evident that in many essential respects he was actuated by a more ideal feeling and imparted to the realism of his contemporaries, by means of his far richer powers of representation, greater distinctness, truth to nature, and variety of expression. Throughout his works is seen an elevated and highly energetic conception of the stern import of his labours in the service of the Church.

The prevailing arrangement of his subjects is symmetrical, holding fast to the earliest rules of ecclesiastical art. His heads appear to aim at an ideal beauty and dignity only combined with actual truth to nature.

His draperies exhibit the purest taste and softness of folds, the realistic principle being apparent in that greater attention to detail which a delicate indication of the material of the drapery necessitates.

Nude figures are studied from nature with the utmost fidelity; undraped portions of figures are also given with much truth, especially the hands. But what is the princ.i.p.al distinguishing characteristic of his art is the hitherto unprecedented power, depth, transparency and harmony of his colouring. Whatever want of exact truth there may be in the story as related by Vasari's story of the discovery of oil painting, there is no doubt that Hubert Van Eyck succeeded in preparing so transparent a varnish that he could apply it without disadvantage to all colours.

The chief work by Hubert Van Eyck is the large altar-piece painted for the cathedral of S. Bavon at Ghent;--parts of this have been removed and are now in the Berlin Gallery, and supplemented with excellent copies of the rest, the whole of the wonderful composition may there be well studied; a large photograph of the whole altar piece may also be seen in the library at the Victoria and Albert Museum, which shows how the work was originally designed. It was painted for Jodocus Vyts, Burgomaster of Ghent, and his wife Elizabeth, for their mortuary chapel in the cathedral.

The subject of the three central panels of the upper portion is the Deity seated between _the Virgin and S. John the Baptist_. Underneath these, of the same width, is the famous _Adoration of the Lamb_. These together formed the back of the altar-piece, and were covered by wings which opened out on hinges on either side.

The three large figures of the upper part are designed with all the dignity and statuesque repose belonging to an earlier style, and they are painted on a ground of gold and tapestry, as was constantly the practice in earlier times: but united with the traditional type we already find a successful representation of life and nature in all their truth. They stand as it were on the frontier of two different styles, and from the excellence of both form a wonderful and most impressive whole. The Heavenly Father sits directly fronting the spectator, in all the solemnity of ancient dignity, His right hand raised to give the benediction to the Lamb and to all the mult.i.tude of figures below; in His left hand is a crystal sceptre; on His head the triple crown, the emblem of the Trinity. The features are such as are ascribed to Christ by the traditions of the Church, but n.o.ble and well proportioned; the expression is forcible, though pa.s.sionless.

The tunic and the mantle of this figure are of a deep red, the latter being fastened over the breast by a clasp, and falling down in ample folds over the feet. Behind, as high as the head, is a hanging of green tapestry which is ornamented with a golden pelican--a symbol of the Redeemer. Behind the head the ground is gold, and on it in a semicircle are three inscriptions describing the Trinity as almighty, all-good, and all-bountiful. The figures of S. John and of the Virgin display equal majesty; both are reading holy books, as they turn towards the centre figure. The countenance of S. John expresses ascetic seriousness, but in that of the Virgin we find a serene grace and a purity of form which approach very nearly to the happier effects of Italian art.

The arrangement of the lower central picture, the worship of the Lamb, is strictly symmetrical, as the mystic nature of the allegorical subject might seem to

[Ill.u.s.tration: PLATE XXI.--JAN VAN EYCK

JAN ARNOLFINI AND HIS WIFE

_National Gallery, London_]

have demanded; but there is such beauty in the landscape, in the pure atmosphere, in the bright green of the gra.s.s, in the ma.s.ses of trees and flowers--even in single figures which stand out from the four princ.i.p.al groups--that we no longer perceive either hardness or severity in this symmetry.

The landscape of this composition and that part of it containing the patriarchs and prophets are generally supposed to have been completed by JAN VAN EYCK (_c._ 1385-1441), whose name till within a comparatively recent period had almost obscured that of Hubert. For although there is little doubt that the elder brother was the first to develop the new method of painting, yet the fame of it did not extend beyond Belgium and across the Alps until after the death of Hubert, when the celebrity it so speedily acquired throughout Europe was transferred to Jan Van Eyck.

Within fifteen years after his death, 1455, Jan was commemorated in Italy as the greatest painter of the century, while the name of Hubert was not even mentioned. It was Jan van Eyck to whom Antonello da Messina is said by Vasari to have resorted in Bruges in order to learn the new style of painting; he alone also is mentioned in Vasari's first edition of 1550, Hubert not until the second edition in 1568, and then only incidentally.

Fortunately there are in existence various authentic pictures by Jan Van Eyck in which his original powers are more easily recognised than in the part he took in the execution of the great altar-piece at Ghent, in which he doubtless accommodated himself with proper fraternal piety both to the composition and to the style of his elder brother--who was also his master. In these we can see that he possessed neither the enthusiasm for the rich imagery and symbolism of the ecclesiastical art of the Middle Ages, nor that feeling for beauty in human forms or in drapery which belonged to his elder brother. His feeling, on the other hand, led him to the closest and truest conception of individual nature. Where he had to paint portraits only--a task which was most congenial to the tendency of his mind--he attained a life-like truth of form and colouring in every part, extending even to the minutest details, such as no other artist of his time could rival, and which art in general has seldom produced. In his actual brush work he shows greater facility than was ever attained by Hubert, by which he was enabled to render the material of every substance with marvellous fidelity.

What little we know of the personal history of Jan Van Eyck is of exceptional interest, inasmuch as we find him employed on diplomatic errands to foreign countries, like his great successor Rubens; and as it happens he landed in England, though not intentionally, in the course of one of these voyages, being driven into Sh.o.r.eham and Falmouth by adverse weather. It was in 1425 that he was taken into the service of Philip III., Duke of Burgundy, as painter and "varlet de chambre," shortly after which he went to Lille. In the following year he was sent on a pilgrimage as the Duke's proxy, and again on two secret missions. In 1428 he went with the Duke's Emba.s.sy to the King of Portugal which was to sue for the hand of Isabella, the Portuguese princess. It was on this occasion that he was driven on to our sh.o.r.es. Arriving at Lisbon he painted two portraits of Isabella, one of which was sent home by sea and the other overland. After a happy and successful career he died in 1441 at Bruges, where he had married and settled down on his return from Portugal.

The most beautiful example of Jan Van Eyck's work in England is the portrait of Jean Arnolfini and Jeanne de Chenany his wife, now in the National Gallery (No. 186). This is dated with the charming inscription, "Johannes de Eyck fuit hic 1434"--that is to say, instead of simply signing the picture, he writes, "Jan Van Eyck was here, 1434." No other picture shows so high a development of the master's extraordinary power and charm. Besides every other quality peculiar to him, we observe here a perfection of tone and of chiaroscuro which no other specimen of this whole period affords. It is recorded that Princess Mary, sister of Charles V. and Governess of the Netherlands, purchased this picture from a barber to whom it belonged at the price of a post worth a hundred gulden a year. Among its subsequent possessors were Don Diego de Guevara, majordomo of Joan, Queen of Castile, by whom it was presented to Margaret of Austria. In 1530 it was acquired by Mary of Hungary, and later it returned to Spain. In 1789 it was in the palace at Madrid, and soon after it was taken by one of the French Generals, in whose quarters Major-General Hay found it after the battle of Waterloo.

Two other portraits in the National Gallery bear the signature of Jan Van Eyck. No. 222, An elderly man, head and shoulders, on the frame of which is the painter's motto, "als ich can," and his signature, "Johannes de Eyck me fecit anno 1433, 21 Octobris." The other, No. 290, is a younger man, half length, standing inside an open window, on the sill of which is inscribed "[Greek: Timotheos]," and "Leal Souvenir,"

and below the date and signature, "Actum anno domini 1432, 10 die Octobris a Iohanne de Eyck."

Among the Netherlandish scholars and followers of the Van Eycks of whom any record has been preserved some appear to have been gifted with considerable powers, though none attained the excellence of their great precursors. Although a number of works representing this school still exist in the various countries of Europe, yet compared with the actual abundance of them at one time they const.i.tute but a scanty remnant.

Though not actually a pupil of Jan Van Eyck, ROGER VAN DER WEYDEN acquired after him the greatest celebrity. As early as 1436 he filled the honourable post of official painter to the city of Brussels. The chief work executed by him in this capacity was an altar-piece for the Chamber of Justice in Hotel de Ville. According to the custom of the time, it set forth in the most realistic fashion examples of stern observance of the law for the admonition of those placed in authority.

The princ.i.p.al picture showed how Herkenbald, a judge in the eleventh century, executed his own nephew (convicted of a grave crime, but who would otherwise have escaped the penalty of the law) with his own hands; and how the sacramental wafer which, on the plea of murder, was denied to him by the priest, reached the lips of the upright judge by means of a miracle. The wings contained an example of the justice of the Emperor Trajan. These pictures are unfortunately no longer in existence, having probably been burned when Brussels was besieged in 1695.

In the Museum of the Hospital at Beaune is one of the most important of his works still in existence, _The Last Judgment_, though in this it is generally supposed he was a.s.sisted by Dirk Bouts and Hans Memling. It contains several portraits, notably those of the Pope, Eugenius IV., who stands behind the Apostles in the right wing, and next to him Philip the Good. The crowned female in the opposite wing is probably Philip's

[Ill.u.s.tration: PLATE XXII.--JAN VAN EYCK

PORTRAIT OF THE PAINTER'S WIFE

_Town Gallery, Bruges_]

second wife, Isabella of Portugal, whose portrait Jan Van Eyck went to Lisbon to paint before her marriage. On the outer sides are excellently painted portraits of the founder of the Hospital, Nicolas Rolin, and his wife. This work has been cla.s.sed with the Van Eycks' _Adoration of the Lamb_, and the _Adoration of the Shepherds_ by Hugo Van der Goes, as crystallizing the finest expression of early northern painting.

In 1450 he visited Italy, where he painted the beautiful little altar-piece which is now in the Stadel Inst.i.tute at Frankfort, for Piero and Giovanni de'Medici.

Another very fine example of his work is the triptych, now in the Berlin Museum, executed for Pierre Bladelin. In the centre is the Nativity, with a portrait of Bladelin kneeling, and angels. On the one side is the annunciation of the Redeemer to the ruler of the West--the Emperor Augustus--by the agency of the Tiburtine Sibyl; on the other to those of the East--the Three Kings--who are keeping watch on a mountain, where the child appears to them in a star.

One of the largest as well as of the finest of the master's works is a triptych in the Munich Gallery--the _Adoration of the Kings_, with the _Annunciation_ and the _Presentation in the Temple_ in the wings. The figure of the Virgin in the _Presentation_ is particularly pleasing for its simple and unaffected realism. _S. Luke painting the Virgin_, also in the Munich Gallery, is ascribed to Roger.

No painter of this school, the Van Eycks even not excepted, exercised so great and widely extended an influence as Roger Van der Weyden. Not only were Hans Memling--the greatest master of the next generation in Belgium--and his own son, also named Roger, his pupils, but innumerable works other than pictures were produced, such as miniatures, block-books, and engravings, in which his form of art is recognisable.

It was under his auspices that the realistic tendency of the Van Eycks pervaded all Germany; for it was only after the death of Jan Van Eyck, in 1441, that the widespread fame of Roger Van der Weyden induced Germans to visit his studio at Brussels. Martin Schongauer, one of the greatest German masters of the sixteenth century, is known to have been his pupil, and it is certain that there must have been many others.

It is in HANS MEMLING (_c._ 1435-1494), whom Vasari states to have been the pupil of Roger, that the early Netherlandish School attains the highest delicacy of artistic development. His poetical and profoundly human qualities had a special attraction for the "Pre-Raphaelite Brotherhood" inaugurated by Rossetti and Holman Hunt in the middle of the nineteenth century. This unusual tenderness of feeling is probably also the origin of the legend that Memling was taken into the Hospital of S. John at Bruges--where he painted most of his masterpieces--as a sick soldier after the battle of Nancy. In feeling for beauty and grace he was more gifted than any painter except Hubert Van Eyck, and this quality, conspicuous amid the somewhat ugly realism of most of his contemporaries, has ensured him perhaps a little more popularity than is rightly his share. Compared with the works of his master, Roger Van der Weyden, his figures are certainly of better proportions and less meagreness of form; his hands and feet truer to nature; the heads of his women are sweeter, and those of his men less severe. His outlines are softer, and in the modelling of his flesh parts more delicacy of half tones is observable. His colours are still more luminous and transparent. On the other hand he is inferior to Van der Weyden in the carrying out of detail, such as the materials of his draperies or the rendering of the full brilliancy of gold.

In 1467 Memling was a master painter at Bruges, and painted the portrait of the medallist, Nicolas Spinelli, which is now in the Royal Museum at Antwerp, and a small altar-piece now at Chatsworth. His most famous works, those in the Hospital at Bruges, belong to a somewhat later date, the _Shrine of S. Ursula_ not being completed till 1489. The _Adoration of the Kings_ and the altar-piece were some ten years earlier. The famous shrine of S. Ursula is about four feet in length, and the whole of the outside is adorned with painting. On each side of the cover are three medallions, a large one in the centre and two smaller at the sides. The latter contain angels playing on musical instruments; in the centre on one side is a Coronation of the Virgin, on the other the Glorification of S. Ursula and her companions, with two figures of Bishops. On the gable-ends are the Virgin and Child with two sisters of the hospital kneeling before them, and S. Ursula with the arrow, the instrument of her martyrdom, and virgins seeking protection under her mantle. On the longer sides of the reliquary itself, in six rather larger compartments, is painted the history of S. Ursula.

Of about the same period, possibly a little earlier, is the _Marriage of S. Catherine_, which is also in S. John's Hospital at Bruges. The central figure is that of the Virgin, seated under a porch, with tapestry hanging down behind it; two angels hold a crown over her head: beside her is S. Catherine kneeling, whose head is one of the finest ever painted by Memling. Behind her is an angel playing on the organ, and further back S. John the Baptist. On the other side kneels S.

Barbara, reading: behind her another angel holds a book to the Virgin, and still further back is S. John the Evangelist, a figure of great beauty, and of a singularly mild and thoughtful character. Through the arcades of the porch we look out, on either side of the throne, on a rich landscape, in which are represented scenes from the lives of the two S. Johns. The panel on the right contains the beheading of the Baptist, on the left the Evangelist in the Isle of Patmos, where the vision of the Apocalypse appears to him--the Almighty on a throne in a glory of dazzling light, encompa.s.sed with a rainbow.

The whole forms a work strikingly poetical and most impressive in character; it is highly finished, both in drawing and composition.

IAN GOSSAERT (_c._ 1472-1535), called JAN VAN MABUSE from his native town of Maubeuge, was the son of a bookbinder who worked for the Abbey of Sainte-Aldegonde. It is possible therefore that he might have formed an early acquaintance with illuminated ma.n.u.scripts before studying the art of painting in the studio of a master. Memling, Gerard, David, and Quentin Ma.s.sys have been suggested as his instructors, but it is not known for certain that he was actually a pupil of any of them. In 1508 he went to Italy, where he appears to have been greatly influenced both by the work of the Renaissance painters and by the antique. The _Adoration of the Kings_, which was lately purchased from Castle Howard for the National Gallery for 40,000, was painted before he went to Italy.

Towards the end of the fifteenth century, in consequence of the transfer of commerce from Bruges to Antwerp, this latter city first became and long continued the centre of art, and especially of Netherlandish painting. Here it is that we find QUENTIN Ma.s.sYS, the greatest Belgian painter of this later time. He was born

[Ill.u.s.tration: PLATE XXIII.--JAN MABUSE

PORTRAIT OF JEAN CARONDELET

_Louvre, Paris_]

probably in 1466. His father is said to have been a blacksmith and clockmaker, and there is a tradition that Quentin only forsook the hammer for the brush at instigation of a tender pa.s.sion for a beautiful lady. Be that as it may, he is an important figure in the history of Belgian art. He distinguishes, broadly speaking, the close of the last period and the beginning of the next. A number of pictures representing sacred subjects exhibit, with little feeling for real beauty of form, such delicacy of features, beauty and earnestness of feeling, tenderness and clearness of colouring and skill in finish, as worthily recall the religious painting of the Middle Ages, though at the very end of them.

In his draperies, especially, we observe a charm which is peculiar to Ma.s.sys. At the same time, in the subordinate figures introduced into sacred subjects, such as the executioners, etc., he seems to take pleasure in coa.r.s.e and tasteless caricatures.

In subjects taken from common life, such as money changers, loving couples, or ugly old women, he uses his brush with evident zest, and with great success. The pictures of his later period are also distinguished from those of other painters by the large size of the figures, which for the first time in his country are of three-quarters or even actual life size.

Among his most original and attractive pictures are the half-length figures of Christ and the Virgin. These must have been very popular in his own time, for he has left several repet.i.tions of them. Two heads of this cla.s.s are at Antwerp, and two others of equal beauty are in the National Gallery in one frame (No. 295).

The most celebrated of his subject pictures is that known by the name of _The Misers_, or _The Money Changers_, at Windsor Castle--of which there are numerous copies, and this is not supposed to be the original. _The Money Changer and His Wife_ at the Louvre is undoubtedly his.

LUCAS VAN LEYDEN, as he was called (his real name being Luc Jacobez), was born in 1494, and died in 1533. He was a pupil of a little known artist, Cornelis Engelbrechstein, who was a follower if not a pupil of Memling. Lucas was an artist of multifarious powers and very early development. He painted admirably--though his authenticated works are very scarce--drew, and engraved. He pursued the path of realism in the treatment of sacred subjects, but with less beauty or elevation of mind.

His heads are generally of a very ugly character. At the same time his form of expression found sympathy in the feeling of the period, and by the skill with which it was expressed, especially in his engravings, attracted a number of followers. In scenes from common life he is full of truth and delicate observation of nature, though showing now and then a somewhat coa.r.s.e sense of humour. One of his most important works is a large composition of _The Last Judgment_, which is at Leyden.

Very early in the sixteenth century--beginning in fact, as we have seen, with Jan Mabuse in 1508--the Netherlandish and German artists made it the fashion to repair to Italy, attracted by the reputation of the great masters; so that from this time onwards their work ceases to exhibit the purely northern characteristics of their predecessors. For it appears that precisely those qualities most opposed to their own native feeling for art made the deepest impression on their minds; more especially such general qualities as grandeur, beauty, simplicity of forms, drawing of the nude, unrestrained freedom, boldness, and grace of movement--in short, all that is comprised in art under the term "ideal."

But the attempt to appropriate all these qualities could lead to no successful result. Being based on no inherent want on the part of their own original feeling for art, it became only the outward imitation of something foreign to themselves, and they never therefore succeeded in mastering the complete understanding of form, or in adopting the true feeling for beauty of line or grace of movement; and in aiming at them they only degenerated into artificiality, exaggeration in drawing, and violence in att.i.tude. The pictures of this cla.s.s, even of religious subjects, have accordingly but little to attract the eye, and when they selected scenes from ancient mythology, and allegories decked out with an ostentation of learning, the result is positively disagreeable.

The most satisfactory productions of this period will be found in the department of portrait painting, which, by its nature, threw the artist upon the exercise of his own original feeling for art. As in every other respect this epoch is far more important as a link in the chain of history than from any pleasure arising from its own works, it will be sufficient to mention only the more important painters and a few of their princ.i.p.al pictures.

The first painter who deserted his native style of art was, as before mentioned, Jan Mabuse. After the large _Adoration of the Kings_ in the National Gallery the most important picture of his pre-Italian period is the _Christ in the Garden of Gethsemane_ at Berlin. Nearly all his works subsequent to 1512, by which time he had settled in Brussels, are characterised by all the faults above mentioned. Their redeeming quality is their masterly treatment. Among those of religious subjects the smallest are as a rule the best. The _Ecce h.o.m.o_ at Antwerp, so frequently copied by contemporary painters, is a specimen of masterly modelling and vigorous colour. He is less successful with his life-size _Adam and Eve_, of which there are repet.i.tions at Brussels, Hatfield, Hampton Court and Berlin. But his most unpleasing efforts are the mythological subjects such as the _Danae_ at Munich, and the _Neptune and Amphitrite_ at Berlin. On the other hand, his portraits are attractive both from being more original, and less influenced by his acquired mannerisms of style Four of these are in the National Gallery, and the _Girl weighing Gold Pieces_, in the Berlin gallery, is also worthy of mention.