e had retired to enjoy the company of the ladies AEthelgifu
(perhaps his foster-mother) and her daughter AElfgifu, whom the king
intended to marry. The nobles resented the king's withdrawal, and he was
induced by Dunstan and Cynesige, bishop of Lichfield, to return to the
feast. Edwy naturally resented this interference, and in 957 Dunstan was
driven into exile. By the year 956 AElfgifu had become the king's wife,
but in 958 Archbishop Odo of Canterbury secured their separation on the
ground of their being too closely akin. Edwy, to judge from the
disproportionately large numbers of charters issued during his reign,
seems to have been weakly lavish in the granting of privileges, and soon
the chief men of Mercia and Northumbria were disgusted by his partiality
for Wessex. The result was that in the year 957 his brother, the
AEtheling Edgar, was chosen as king by the Mercians and Northumbrians.
It is probable that no actual conflict took place, and in 959, on Edwy's
death, Edgar acceded peaceably to the combined kingdoms of Wessex,
Mercia and Northumbria.

AUTHORITIES.--_Saxon Chronicle_ (ed. Earle and Plummer, Oxford), _sub
ann._; _Memorials of St Dunstan_ (ed. Stubbs, Rolls Series); William
of Malmesbury, _Gesta regum_ (ed. Stubbs, Rolls Series); Birch,
_Cartularium Saxonicum_, vol. ii. Nos. 932-1046; Florence of
Worcester.

EECKHOUT, GERBRAND VAN DEN (1621-1674), Dutch painter, born at Amsterdam
on the 19th of August 1621, entered early into the studio of Rembrandt.
Though a companion pupil to F. Bol and Govaert Flinck, he was inferior
to both in skill and in the extent of his practice; yet at an early
period he assumed Rembrandt's manner with such success that his pictures
were confounded with those of his master; and, even in modern days, the
"Resurrection of the Daughter of Jairus," in the Berlin museum, and the
"Presentation in the Temple," in the Dresden gallery, have been held to
represent worthily the style of Rembrandt. As evidence of the fidelity
of Eeckhout's imitation we may cite his "Presentation in the Temple," at
Berlin, which is executed after Rembrandt's print of 1630, and his
"Tobit with the Angel," at Brunswick, which is composed on the same
background as Rembrandt's "Philosopher in Thought." Eeckhout not merely
copies the subjects; he also takes the shapes, the figures, the Jewish
dress and the pictorial effects of his master. It is difficult to form
an exact judgment of Eeckhout's q