inspired after a larger picture at Cologne, painted, we believe, by the celebrated Wilhelm, of more than life-size, and with a nature and nobleness of expression, a tenderness of feeling, which even John Van Eyck was not successful in imparting. Sentiment and grace are peculiarly a feature of Wilhelm and his school; and when we trace the influence which his teaching exercised, and his pupils afterwards received by mingling with the Flemings, the qualities and faults which mark his manner may be more particularly dwelt on. The picture of Cologne represents the Virgin standing in a niche, and holding to her breast the infant Christ, whom she affectionately presses, leaning her head forward towards it with beautiful benignity.' Not only has John Van Eyck taken his inspiration from this composition, but he sought, without success, to give the draperies that easy, simple flow, which characterises Wilhelm. The same may be said of another panel, now in the Stædel Gallery, in Francfort, representing a Virgin and Child. Here, however, the figure is seated beneath a dais, instead of standing; but the sentiment and manner are of the same period as that of Antwerp.

A pretty picture, authenticated by a signature, is the tryptic of the Dresden Gallery, where the Virgin and Child are supported on one side by the Archangel Michael, and on the other by Saint Catherine; whilst the obverse represents the Annunciation, in the same

1 In the Seminary at Cologne.

2 This picture is from the collection of the late King of Holland. It is called the Virgin of Lucca, having been of old in the gallery of the Duke of Lucca. Not catalogued. Wood, height 234 by 174.

sentiment, though not in the exact form of the Agnus Dei of St. Bavon.1

Another panel which may be mentioned here is the Annunciation of the Virgin, now in the possession of the Emperor of Russia. The Virgin is represented kneeling before a desk in the interior of a temple adorned with columns, the capitals of which are elegantly carved. The Holy Ghost descends towards her, and the words "Ecce Ancilla" are inscribed on a scroll. On the left, the Angel Gabriel kneels, and holds in his left hand a sceptre, pointing with his right to the Holy Ghost, and uttering the words, "Ave gratiâ plenâ." 2

Another smaller panel, representing the Virgin enthroned and leaning her head over the infant Christ, was lately in the hands of Mr. Nieuwenhuys. In the upper portion of the picture are the words

Below

"Domus Dei est et porta cœli."

"Ipsa est quam preparavit
Domus filio divi mei." 3

The noblest of John Van Eyck's great works, commanding our attention, by its importance as a composition, and the splendour of its design and execution, is the altarpiece of the Santa Trinita Museum of Madrid. Antonio Ponz saw this picture in 1786, in the chapel of San

1 No. 445, Dresden Gal. Cat. 2' by 2', Austrian measure. The Virgin is standing, whilst in the Agnus Dei she kneels.

2 Painted, according to tradition, for Philip the Good, and destined to adorn a monument of Dijon. In 1819 it was transferred from Dijon to Paris, and sold to the King of Holland. It was afterwards purchased for the Emperor of Russia, for 5,375 florins (about 5377. 10s.) Wood, 33 in. by 12.

3 Wood 20 by 11. Bought by M. Nieuwenhuys for 800 flor. (807.)

Jeronymo at Palencia, and described it as follows in his "Viage :"1 "Divers chapels of the church of Palencia contain upon the altars a species of oratory, before which it is the custom to celebrate the mass. In that of St. Jeronymo I saw a painting of singularly fine preservation and infinite completeness, which struck me as superior to any that can be seen in the ancient German style or manner of Durero, as my knowledge of the works of this celebrated master enabled me to know. It is extremely difficult to understand the composition or what it represents on a superficial examination; but it seems to mean the accomplishment of the prophecy, the destruction of the synagogue and the foundation of the law of Grace. On one side is a priest of the old creed with a broken standard, and divers doctors or rabbins, with sad countenances. On the other are the doctors of the Greek and Latin Church. Above, the Holy Trinity is visible; and, on each side, the Virgin, St. John the Baptist, and other figures. A small stream contains the wafers of the host, which flow into a fountain, and other allegorical subjects are represented which need not be mentioned. This is a rare and excellent painting, of which I have seen some copies in Castile; very far, however, from rivalling in completeness this remarkable piece."

2

This splendid altar-piece, which seems to have been carried, after Ponz's time, from Palencia to Segovia, where

1 Antonio Ponz, Viage de España. Madrid. 10°. 1785-87. p. 145. vol. xi.

2 Ponz appears to have mistaken St. John the Evangelist for St. John the Baptist. The figure represented is in the act of writing in the book upon his knees. An ink-horn hangs at his girdle. These do not indicate the Baptist, but rather the Evangelist.

a bad copy of it still exists, is exactly similar in spirit and composition to the Agnus Dei of St. Bavon, and finished in the style and manner which characterised that period of the life of John Van Eyck; and though it has been damaged by repeated moving and repairs, is a fine outpouring of his genius. The subject is, in fact, the triumph of the Greek and Latin Church over that of the Jews; the field of victory being a mediæval court, of which the centre is a spire, in the pointed style of St. Laurent of Nuremberg,-the purest form, perhaps, in which that architecture has been exhibited,—the filmy tracery of whose numerous spindles darts into the air with wondrous elegance, in all the glory of profuse and chosen ornament. This graceful spire, of open tracery, forms a dais, in which is the throne from whence the Saviour contemplates the victory; whilst the Virgin Mary and St. John the Evangelist, in the attitude and vestments consecrated to them, sit upon each side. The Lamb is at the Saviour's feet, and the symbols of the four Evangelists are on the throne, from the foot of which seem to flow the crystal streams of the fountains of grace. The shallow current runs clear and limpid, and crowded with the wafers of the host down three successive steps or planes into which the picture is divided, then falls in tiny jets from a Gothic fountain on the foreground. Two light pointed spires also of open work, in whose airy spaces are depicted angels, flank the throne, and give symmetry to the scene which they enclose. The sacred choristers sing their glorious psalms beneath the Saviour, sitting in a flowery meadow, yielding strawberries in plenty. The fountain separates the Greek and Latin Church from that