had hitherto obstructed
the application of oil-paint to pictures properly so called. For, in
order to accelerate the slow drying of the oil colours, it had been
necessary to add a varnish to them, which consisted of oil boiled with a
resin. Owing to the dark colour of this varnish, in which amber, or more
frequently sandarac, was used, this plan, from its darkening effect on
most colours, had hitherto proved unsuccessful. The Van Eycks, however,
succeeded in preparing so colourless a varnish that they could apply it
without disadvantage, to all colours. In painting a picture they
proceeded on the following system. The outline was drawn on a _gesso_
ground, so strongly sized that no oil could penetrate the surface. The
under painting was then executed in a generally warm brownish glazing
colour, and so thinly that the light ground was clearly seen through it.
They then laid on the local colours, thinner in the lights, and, from
the quantity of vehicle used, more thickly in the shadows; in the latter
availing themselves often of the under painting as a foil. In all other
parts they so nicely preserved the balance between the solid and the
glazing colours as to attain that union of body and transparency which
is their great excellence. Finally, in the use of the brush they
obtained that perfect freedom which the new vehicle permitted; either
leaving the touch of the brush distinct, or fusing the touches tenderly
together, as the object before them required. Of all the works which are
now attributed to Hubert, but one is genuine and historically
authenticated. This noble work is certified by an inscription. It is a
large altar picture, consisting of two rows of separate panels, once in
the Cathedral of St. Bavon at Ghent. It was painted, as before remarked,
for Jodocus Vydts, Seigneur of Pamele, and Burgomaster of Ghent, and his
wife Elizabeth, of the then distinguished family of Burlunt, for their
mortuary chapel in that cathedral.[11] When the wings were opened, which
occurred only on festivals, the subject of the upper centre picture was
seen, consisting of three panels, on which were the Triune God--the King
of heaven and earth--and at his side the Holy Virgin and the Baptist; on
the inside of the wings were angels, who with songs and sacred music
celebrate the praises of the Most High: at the two extremities, each
inside the half-shutters which covered the figure of God the Father,
were Adam and Eve, the representatives