VAN EYCK.t THIS large book is a monument of learning,
and in the future every one who desires to study van Eyck in detail must consult it. At the beginning the author gives us every existing con- temporary document. The first of the series deals with pay- ments made to John van Eyck by the Count of Holland at the Hague in 1422. The last entry, in 1480, after the painter's death, describes a vestment given by him to the Convent of St. Agnes at Maaseyck. Between these dates are numerous accounts of payments made by the Duke of Burgundy to his "•peintre et varlet de chambre." After these documents comes a bibliography, which not only includes a list of recent books, but goes back to early manuscripts and printed books which mention van Eyck. Mr. Weale's biography does not occupy much space, for in truth there are hardly any facts to base a Life upon. John van Eyck was for many years in the service of Duke Philip III. of Burgundy, and on two occasions was sent on secret journeys ; but beyond such meagre pieces of information and records of payments there are no facts available. The largest part of the book is the portion devoted, to a description of the pictures, which are illustrated IT a great number of fine reproductions. Like so many pictures, the celebrated altar-piece of the Adoration of the
• Rachel Gurney of the Grove. By Sir Alfred Pease, Bart. 8 Portraits in Colour. Published by Subscription. London: Headley Brothers. [188.6d. net.] t Hubert and John van Eyck. By W. H. James Weale. London John Lane. (56 56.]
Lamb at Ghent has had strange vicissitudes. When the Calvinists got the upper hand in 1566, and were in possession of Ghent, they proposed to give the picture to Queen Elizabeth. who had lent them money ; but this was opposed by a collateral descendant of the original donors. The central portion of the work was plundered by the French, but restored in 1816. A few months later, strange as it seems, the Cathedral authorities sold the abutters of the altar-piece, which contain eight panels, painted on both sides with some of the finest work of the whole. These passed into the hands of, and still belong to, the Prussian Government, except two panels of Adam and Eve, which were ceded to the Belgian Govern- ment in 1861. The pity of this dispersal suggests the possi- bility of an artistic clearing-house where Governments might agree to exchanges for the sake of uniting the fragments of scattered masterpieces. Besides the discussion of the authentic works of the van Eycks, Mr. Weale has made his volume complete by a chapter on those which are doubtful.
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