d him.

France was about to become an Italy more Italian than Italy itself.
Francis the First, like Lewis the Twelfth before him, was attracted by
the finesse of Leonardo's work; _La Gioconda_ was already in his
cabinet, and he offered Leonardo the little Chateau de Clou, with its
vineyards and meadows, in the soft valley of the Masse, and not too far
from the great outer sea. M. Arsene Houssaye has succeeded in giving a
pensive local colour to this part of his subject, with which, as a
Frenchman, he could best deal. "A Monsieur Lyonard, peinteur du Roy pour
Amboyse,"--so the letter of Francis the First is headed. It opens a
prospect, one of the most attractive in the history of art, where, under
a strange mixture of lights, Italian art dies away as a French exotic.

_Studies in the History of the Renaissance_ (London, 1873).

FOOTNOTES:

[9] The spelling commonly used is "Mona Lisa." The editor has thought
best, however, to keep the form of spelling used by Walter Pater.

[10] Yet for Vasari there was some further magic of crimson in the lips
and cheeks, lost for us.

THE ADORATION OF THE LAMB

(_VAN EYCK_)

KUGLER

Hubert van Eyck was born, according to the common acceptation, in 1366.
John van Eyck was his junior by some unknown number of years.
Chroniclers of the Sixteenth Century vaguely suggest that the two
brothers settled at Ghent in 1410. There is every reason to believe that
all these dates are incorrect; that Hubert was born after 1366, and that
the date of his migration to Ghent must be placed later in the century.
It is credible that both the brothers were court painters to Philip of
Charolois, heir apparent to the throne of Burgundy, who lived with his
wife Michelle de France at Ghent between 1418 and 1421. In the service
of the prince, painters were free from the constraint of their guild,
but on the withdrawal of the court the privilege would cease; and this
explains how the names of the Van Eycks were not recorded in the
register of the corporation of St. Luke till 1421, when, on the death of
the Countess Michelle, and as a tribute to her memory, they were
registered as masters without a fee. John van Eyck soon found employment
in the court atmosphere, which seemed congenial to him, whilst Hubert
remained at Ghent, received commissions from the municipality (1424),
and became acquainted with Jodocus Vydts, for whom he composed the
vast altar-piece known as the _Adoration of the La