e right, the
Virgin standing with her book, under a similar canopy: both graceful
figures. On opening the doors, the central compartment exhibits the
Virgin and her Child enthroned in a burning bush; the bush which
burned with fire, and was not consumed, being a favourite type of the
immaculate purity of the Virgin. Lower down, in front, Moses appears
surrounded by his flocks, and at the command of an angel is about to
take off his sandals. The angel is most richly dressed, and on the
clasp of his mantle is painted in miniature Adam and Eve tempted
by the serpent. Underneath this compartment, is the inscription,
"_Rubum quem viderat Moyses, incombustum, conservatam agnovimus tuam
laudabilem Virginitatem, Sancta Dei Genitrix[1]_." On the door to
the right of the Virgin kneels King Rene himself before an altar, on
which lies an open book and his kingly crown. He is dressed in a robe
trimmed with ermine, and wears a black velvet cap. Behind him, Mary
Magdalene (the patroness of Provence), St. Antony, and St. Maurice.
On the other door, Jeanne de Laval, the second wife of Rene, kneels
before an open book; she is young and beautiful, and richly attired;
and behind her stand St. John (her patron saint), St. Catherine
(very noble and elegant), and St. Nicholas. I saw this curious and
interesting picture in 1846. It is very well preserved, and painted
with great finish and delicacy in the manner of the early Flemish
school.

[Footnote 1: For the relation of Moses to the Virgin (as attribute) v.
the Introduction.]

4. In a beautiful little picture by Van Eyck (Louvre, No. 162. Ecole
Allemande), the Virgin is seated on a throne, holding in her arms the
infant Christ, who has a globe in his left hand, and extends the right
in the act of benediction. The Virgin is attired as a queen, in a
magnificent robe falling in ample folds around her, and trimmed with
jewels; an angel, hovering with outspread wings, holds a crown over
her head. On the left of the picture, a votary, in the dress of a
Flemish burgomaster, kneels before a Prie-Dieu, on which is an open
book, and with clasped hands adores the Mother and her Child. The
locality represents a gallery or portico paved with marble, and
sustained by pillars in a fantastic Moorish style. The whole picture
is quite exquisite for the delicacy of colour and execution. In the
catalogue of the Louvre, this picture, is entitled "St. Joseph adoring
the Infant Christ,"--an obvious mistake, if