ndraped
portions of figures are also given with much truth, especially the
hands. But what is the principal distinguishing characteristic of his
art is the hitherto unprecedented power, depth, transparency and harmony
of his colouring. Whatever want of exact truth there may be in the story
as related by Vasari's story of the discovery of oil painting, there is
no doubt that Hubert Van Eyck succeeded in preparing so transparent a
varnish that he could apply it without disadvantage to all colours.

The chief work by Hubert Van Eyck is the large altar-piece painted for
the cathedral of S. Bavon at Ghent;--parts of this have been removed and
are now in the Berlin Gallery, and supplemented with excellent copies of
the rest, the whole of the wonderful composition may there be well
studied; a large photograph of the whole altar piece may also be seen in
the library at the Victoria and Albert Museum, which shows how the work
was originally designed. It was painted for Jodocus Vyts, Burgomaster of
Ghent, and his wife Elizabeth, for their mortuary chapel in the
cathedral.

The subject of the three central panels of the upper portion is the
Deity seated between _the Virgin and S. John the Baptist_. Underneath
these, of the same width, is the famous _Adoration of the Lamb_. These
together formed the back of the altar-piece, and were covered by wings
which opened out on hinges on either side.

The three large figures of the upper part are designed with all the
dignity and statuesque repose belonging to an earlier style, and they
are painted on a ground of gold and tapestry, as was constantly the
practice in earlier times: but united with the traditional type we
already find a successful representation of life and nature in all their
truth. They stand as it were on the frontier of two different styles,
and from the excellence of both form a wonderful and most impressive
whole. The Heavenly Father sits directly fronting the spectator, in all
the solemnity of ancient dignity, His right hand raised to give the
benediction to the Lamb and to all the multitude of figures below; in
His left hand is a crystal sceptre; on His head the triple crown, the
emblem of the Trinity. The features are such as are ascribed to Christ
by the traditions of the Church, but noble and well proportioned; the
expression is forcible, though passionless.

The tunic and the mantle of this figure are of a deep red, the latter
being fastened over the breast by