A document, which we quote below in support of this view, speaks of Coste as using une "buche à ardoir," in allusion, perhaps, to some mode of heating and drying the imperfectly siccative oil-colours. But this mode of painting and adornment was not practised solely on the sculpture of a tomb, a church, or an apartment; it was frequently applied to the wooden carving of the altar-pieces which formed a part of the treasures of kings and princes. These wooden altar-pieces lost their value, or sunk in public estimation, as the art progressed; but they formed the staple of the old inventories. That of the Duke of Orleans, in 1396, for instance, comprised "ungs grants tableau cloans et ouvrans, à un Mont Calvaire dedens en un costé et en l'autre une ymage de Nostre Dame tout pourtrait; une fleur de lis de bois dorée dehors, cloant et ouvrant la ou il a dedans en hault un crucifiement et

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couronnement qui est au pignon avec grant quantité d'anges et l'Annunciation, qui est à l'autre costé. Et en VII arches qui y sont, VII ymages, c'est assavoir en chacun archet un ymage, et les visages qui sont commenciez parfaire, tant de taille comme de couleurs et des draps diaprez nuer et parfaire; et une pièce de merrien qui est audessouz des archez armoier de bonne armoieries au de chose qui le vaille. Et toutes ces choses dessus dévisées seront fetes de fines couleurs à l'huile et les champs de fin or enlevé et les vestements de Nostre Dame de fin azur et bien laialment toutes ces choses vernissiées et assouviers entièrement sans aucun deffaute. Et fera le dit Jehan Coste toutes les œuvres dessus dictes, et trouvera toutes les choses nécessaires à ce excepté buche à ardoir et lit pour hosteler ly et sens gens en la manière que l'en ly a trouvé ou temps passé. Et pour ce faire doit avoir six cens moutons, desquiez el aura les deux cens à présent sur le terme des Pasques et deux cens à la Sainct Michel prochainement venant, et les autres deux cens au terme de Pasques après ensuivant. Accordé et commendé par M. S. le Duc de Normandie, au Vail de Rueil le XXVe jour de Mars MCCCLV.-De Laborde, Archives Municipales d'Orleans. Vol. iii. pp. 460-62.

...

Nostre Dame et Sainte Anne;" and "deux tableaux de boys a pignon et à arest, argentez dehors. à une annunciacion dedens et un dieu en croe."1 These were the old princely monuments of art, as also were illuminated missals and painted windows.

Gradually the process of oil-painting was made to serve other purposes in the colouring of standards and pennons, on which were represented the device and arms of those for whom they were prepared, the figures frequently exhibiting skill in movement and design. In the records of Lille and Brussels frequent entries are discovered which relate to this particular branch of art; and there are proofs that it was carried on not only in the Netherlands, but throughout France and Italy. The oldest archives of the town of Asti contain details of the mode in practice amongst the painters of that country. The materials used were gum, glue, and wax; a portion of which, if mixed together, would produce a thick and glutinous

2

1 De Laborde, ut sup., pp. 126, 127, vol. iii. Arch. Nat., 1396. 2 We find the following in the accounts of the Stewards of the Duke of Orleans, at Asti:-"Johanni Imperatio, civi Astensi, pictori, pro XII banderiis quarum sex depicte fuerunt ad arma dominis ducis Turonie, et alie sex ad dicta arma et domine ducisse transmittendis et portandis ad loca bacuarum sancti Albanie et Trinitatis, jurisdictionis domini episcopi subjecta, per gentes principis Achaye ab ipso oblata &c. XII solídos, VI denarios Astenses. Dicto Johanni Imperatio pro facture et pictura dictarum XII banderarium XIX 1. VII s. ast.-De Lab. ut sup., vol. iii., p. 29. Extr. from the Archives Nat., 16 Mai, 1387.

Again: "A Chatelani Bonneret de Milan, peintre pour la vente et délivrance de XXXIII bannières, aux armes de M. le Duc par lui baillées et délivrées au dit Cautelon du commandement et ordonnance de Mds. de Coucy. LXXIII 1. XIII. s.—1b. p. 75, Arch. Nat. 6. Fevrier, 1393. The

medium.1 The Belgisch Museum, a Flemish publication, contains engravings of some of these ancient banners, showing the style in which they were completed.2

That some more skilful artist than the rest should have arisen, amongst the number who practised painting in the French and Belgian cities, was natural. They formed themselves by competition and emulation. Whilst in Paris they gained sufficient influence to form a guild, of which the rules and privileges were sanctioned by Charles

The records of Lille contain the following:-" Comptes Jaquemon depuis le derrain jour d'Oct. MCCCIIIII à Oct. MCCCIIIIII.

“A maistre Jehan Mannin paintre, pour la faction des dites banierettes et puignons."

Comptes Jehan Viete p. et au nom de la ville de Lille du jour de Toussaint de l'an de grace MCCCIIIIII jusques le derrain jour du mois d'Oct nuit et Toussaint l'an de grace MCCCIIIIIII. "Aoust,-A maistre Jehan Mannin (ou Mauvin) paintre, pour avoir painturé de couleurs à ole ix cappes de plom servans à le porte Saint Sauveur, et les pumiaulz et benierrettes, la aussi servans, payet pour certain marquié (marché) de ce fait à lui LIII 1. IIII s.”—De Lab. ut sup., vol. i. Introd. p. lxvi.

The accounts of Anthoine, Duke of Brabant's Stewards, for the year 1411-12, contain this entry, amongst others, relative to painting :—" Item. Christoffle Besaen, myns voirscreven heer, scildere, om twee bannyeren, II wimple, VI bannyeren ... met finen goude ende met olyen op zeden laben."-Comptes de l'hotel d'Ant. d. Brabant. De Lab. ut. sup., vol. ii., p. 292.

1 Anthonio Bellono, civi Astensi, speciario pro IIIIC VIII peciis auri fini batuti; pro gomma, pro colla, tela nigra, candelis, cere, laurio, pertico, auro pigmento necessario pro factione trium bannerarium ad arma dominis ducis XXV 1. I. s.

Johanni Alumniaco, mecerio, civi Ast. pro XL rasis seu brassis cendati, pertiti et jalni, et pro serico seu seyta et certis aliis necessariis pro dictis banneriis XXXVIII 1. X s.

Christoforo de Almania, magistro brodure factione dictarum trium bannerarium XVII 1. IIII s. Pro eadem per bulletam mandamenti gubernatoris datam III die Aprilis IIII**I 1. XV s.-—Arch. Nat. Fev. 1388-89. De Lab. vol. iii. pp. 37, 38.

2 Belgisch Museum. 8vo. Ghent. Vol. iii. pp. 37-9.

1

the Fifth, they formed in Bruges the corporation of St. Luke, of which the first foundation is not distinctly known. It is supposed, however, to owe its origin to Louis de Maele, Count of Flanders, who, during many years of peace preceding the great outbreak in which he was expelled, consecrated his leisure moments to the patronage of art.

Jean de Hasselt had a place of "Paintre de MS." at the court of Louis. His name suggests that he was born at Hasselt, not far distant from the birthplace of Hubert and John van Eyck.

The paintings of Jean de Hasselt are not preserved, but records of them still remain. The following entry in the Comptes de Flandres indicates his services and their value" Item, à maistre Jehan de Hasselt, pointeur pour plusieurs estoffes qu'il avait mis hors, du command. MS. pour faire une image de Notre Dame à la maison MS. à le Walle, ainsi que par lettres MS. et cédule des maistres d'hotel appartient, LXVI. 1. XI. s. VIII. den." This entry of the year 1378 shows that Jehan was officially employed in his profession by Louis de Maele. After the death of this prince, in 1384, Jehan continued to hold the office, and painted for Philip the Hardy in 1386, "un taveliau d'autel," for the church of

"3

1 Charles the Fifth, of France, granted to the Academy of St. Luke, of Paris, in 1390, immunity from "taille" and subsidy, and from all necessity of "garde de ports" and "guet." Charles VI. confirmed these privileges, in 1391.-Lenoir. Musée des Mon. Fran. Paris. 4to. 1800. Vol. iii. pp. 9, 11.

2 Jean de Hasselt had a yearly pension of twenty 1. de gros.— Michiels. Peintres Brugeois. 8vo. Brux. 1846, p. 13.

3 Comptes de Flandres-Compte de Henry Lippin, Mars 1378 jusqu. Mars 1380, apud. Laborde, ut sup., vol. i. Introd. p. 50.

the "Cordeliers" at Ghent. The price was forty livres.1 From that date forward the name of Jehan de Hasselt ceases to appear in the records of the period, and is succeeded by that of Melchior Broederlain, or Broedlain, "paintre de MS. de Bourgogne, et varlet de chambre."

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on

The Dukes of Burgundy, on their accession to the title of Counts of Flanders and Artois, brought with them to Bruges the luxurious habits of the Parisian court. Whilst the citizens of Belgium exhibited their wealth in cloths of rich texture, the dukes embroidered their mantles with gold to vie with and surpass the citizens. Truly says De Laborde, quoting Martial of Auvergne, s'harnachaît d'orfaverie." Not only were the mantles of the dukes and nobles covered with frosted work of gold and silver, but sideboards groaned with plate, and the ducal treasuries were filled with countless figures carved in precious metal, and sparkling with the diamond and ruby. These noble treasures of the chiselled art were more valuable for the beauty of their form than for the metal in which they were wrought; they served to bribe a lukewarm prince, conciliate enemies, or, when broken up and melted, to pay knights and archers. The obvious use to which these ornaments might be put suggested the necessity of a continual supply. Goldsmiths, therefore,

1 Premier compte de Jaque Sereyhem, receveur général, depuis le dimanche XVI jour de Mars, l'an MCCCIIII et cinq jusqu'au X jour de Mars, l'an IIII** et VI inclus.

A Jehan de Hasselt, paintre, par lettres MS. données le XXV d'Aoust IIII et VI pour I taveliau d'autel qu'il avait fait au commandement M.S. en l'église des Cordeliers à Gand LX franchs. Payé à lui en rabat de la dite somme XL fr.-De Lab. ut sup., Recette de Fland. vol. i. p. 6.