Margaret were the parents of Hubert and his brethren, and insist that the family was originally settled in Ghent; but this last supposition rests only upon the desire of the Gantois to claim for their city the fame of having been John Van Eyck's birth-place. It is far more probable that Ghent became the ordinary residence of Hubert Van Eyck's parents on or before the year 1391, when the Pays de Liège became extremely disturbed. If it be admitted that Joes Van Eyck was the father of Hubert, which is by no means unlikely, we trace the art of painting one generation further back in the Netherlands, and may suppose, without being accused of exaggeration, that painting being the profession of the parents, was transmitted to the children, who brought it gradually to perfection. The most conscientious search does not enable us to ascertain what were the occupations of Hubert Van Eyck during the long series of years which preceded his admission to the Guild of Painters at Ghent. We only know from Van Mander that he perfected the art-education of his brother John Van Eyck, and that he painted more than one picture in the old method of tempera.' He cannot but have taken a part in the education of his sister Margaret, and his youngest brother Lambert; and possibly he had a share in the original efforts made to bring oil medium into practical use in the Netherlands. This subject we treat more at length in the life of John Van Eyck; and it is only necessary here to note, that the discoveries attributed to the latter took place, according to Vasari and Van Mander, in 1410, 1 Van Mander, ut sup., pp. 199, 200, at a time when Hubert was in the vigour of manhood, and John was comparatively young.1 Hubert at Ghent had apparently no princely patron to protect him. Of his early pictures, whether produced during his stay in Maaseyck and the Pays de Liège, or during his residence in Flanders, we have no trace. The rebellions and consequent destruction of the towns of Limburg doubtless had the most fatal effect on works of art. Hubert's native city, Maaseyck, was in the rudest and most warlike portion of the Duchy, which produced so many rude and warlike men. The old historians call it the "ruudt Kempen land," or "Kempenia tetrarchia Brabantiæ et Limburgæ."3 The character of Hubert was probably influenced by association in the feuds of the warlike communes, fostered by men whose hands were always ready to grasp the sword in search of vengeance or redress. Considerable difference exists in the incidents of the lives of the two brothers. Whilst John Van Eyck led the life of courts and followed princes, Hubert's name is not remembered or recorded in the lists of "varlets" or of courtiers. His style of painting bears the stamp of a free and independent mind. It may not be ideal, but it has the nobleness and the vigour of a proud unbending nature. Hubert was the painter of the "commune," John the painter of the court. Hubert shows in his works far more virile talents than his brother, and was a master in the use of the medium, ' Van Mander, ut sup., p. 202. 2 Vaernewyk, ut sup., c. 47, p. 119. 3 F. Laet. Belgica Descriptio. in 24o. Amsterdam, 1630, p. 337, "La Campine du Pays de Liège." Les Delices des Pays Bas, 8vo. Brussels, 1711, tit. "Hollandia.”—Brit. Mus. which his brother is said to have discovered. Nor can it be concealed that amongst the numerous artists whose pictures show the study of the school, many preferred the rich and powerful talent of Hubert to the softer models of his brother. Petrus Cristus was one of the first to carry to Cologne the fruits of Hubert's teaching. Hugo Van der Goes followed the same school, whilst Justus of Ghent took to Italy the fruits of his early labours under the same master. The brothers Van der Meire exhibit some signs of the same inspiration, mingled with others derived apparently from the old school of Melchior Broederlain. The only man whose name is connected with Hubert's stay at Ghent, is Jodocus Vyts, "seigneur de Pamèle," a person related by marriage to the celebrated family of the Burluuts, whose name is familiar in the history of civic struggles. The Burluuts owed their fame to the courage of an ancestor at the battle of the Spurs ; John Burluut having issued from the town of Ghent, on the eve of the combat, and contributed, by diverting for a moment the tide of battle, to the victory of his friends on the morrow.' His relations prospered in their native city; and Jerome Burluut, for many successive years, filled the office of "magnus prætor."2 This wealthy family founded, in 1299, the convent of Augustine friars in the town of Ghent, and there the doughty John was buried, with this inscription Johannes jacet hic, miles fortissimus olim. 1 Voisin. Guide de Gand. 12mo. 1831. P. 17. 2 Sanderus. Flandria Illustrata. Fol. Hag. 1735, vol. ii. p. 319. 3 Voisin, pp. 211, 212. Sanderus. ut sup. Jodocus Vydts, who married Isabella, Jerome's daughter, founded, in St. Bavon, a chapel, in which the mortal remains of the founder's family were buried.' The chapel was built and adorned with sculptures and painted windows, on which were emblazoned the arms of the united families.2 An altar-piece alone was wanting, and Jodocus commissioned Hubert to paint it. There were at that time, indeed, many painters at Ghent, though none of such note as Hubert. Like Bruges, that city had its guild, in which men who worked in miniature (verlichters) were thought unworthy of companionship, and some of whom were artists far above mediocrity in the eyes of their cotemporaries. 3 Wilhelm Van Axpoele, and John Maertens, licensed painters, (vrie schilders,) were employed, in 1419, to paint, "in good oil-colours, unmixed with any corrosive substance," several important pieces for the town-hall,* -John Van Coudenberg and Marc Van Gestele, to adorn, in 1430, the church of Roselede, with four great Prophets, "a vif," with "the Death of our Lady," "our Saviour in the sun's rays," "the Last Judgment," and "the Baptism of Christ;" all which aforesaid pictures (portraytenen) the said John and Marc were bound to finish for eleven livres. Marc again, in 1445, painted for the church of St. Martin at Courtrai. Nabor Martin 1 Voisin, ut sup., p. 187. De Bast. Ueber. Hub. & Joh. V. Eyck. 8vo. Ghent, 1825. Translated from Dr. Waagen. Note. 2 Vydts bore, Or, the fesses chequered azure. Azure, Three Stags in course Or. Burluut bore, 3 Diericx Mem. s. la ville de Gand. 8vo. Ghendt. 1814-15. vol. ii. p. 73. 4 Ibid. vol. ii. p. 73. 5 Diericx. ut sup. vol. ii. pp. 111-115, executed a Last Judgment, in 1444, for a gentleman named Sneevout, and, later, a large picture for the church of Lede. Cleerbout Van Westevelde produced a great altar-piece for the church of Wachtebeke, and Saladin Van Scoenere, in 1434, engaged himself to paint in oil the altar-piece of the chapel of the minor brotherhood in Ghent, and repaint thereon "Count Louis, the citizens with their arms and followers." ! These are but faint traces, but we possess none other. Some curious customs, in connexion with these early painters, will find a place in the life of Van der Weyden. Hubert being entrusted with the execution of this great altar-piece, was, as a preliminary formality and honour, appointed to be member of the guild of our Lady, on the proposal of the choir of St. John of Ghent. The subject which he chose, as fittest to adorn his chapel, was a series of the striking scenes from revelation, painted on the panels of a folding altar-piece. On one of them, which represents the Apparition of the Angel to the Virgin, is an open window, which discloses a perspective view in Ghent. With the happy carelessness of painters, it seemed no greater incongruity to make the holy apparition figure in a Flemish chamber, than to cap the semblance of Eternity with the papal tiara, or give Godfrey of Bouillon the armour of the fifteenth century. 1 Diericx. ut sup. vol. ii. p. 255. 2 Sente Bamesse, anno. XIIII en XXII was Hubrecht V. Eycke, gulde broeder van het Onser Vrouwe Gulden, up de rade van den chore van Sint Jans te Ghend. Register of the brotherhood O. V. Ghent, communicated by M. Goetghebuer.-See Carton, Annales de Bruges, infra, p. 28. St. John is the old name of the church of St. Bavon. |