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Jan. 22, Bought about 70 gallons of rum. Got fine oysters there. Feb. 12. Went on board the New England man and bought some pots, axes and mackerel. Feb. 22. Drew the seine and got 125 fine rock and some shad. July 14. Drew the seine today and got some fine rock. Feb. 9, 1760. Went with my wife and Mr. Criswell to draw the seine. We met in Eyck's Creek a school of rock brought up 260.

Moving quickly in front, so as to get a view of the face, I recognised the distorted features of Petrus, or Pete, Guert Ten Eyck's negro.

Of course, all this was unknown to us at the time, and we accepted Guert Ten Eyck's proffers of civility in the spirit in which they were offered. He inquired at what tavern we intended to stop, and promised an early call. Then, shaking us all round by the hand again with great cordiality, he took his leave.

It was nearly dusk; so Margaret ventured, and about seven in the evening she astonished and gladdened her new but ardent friend, by arriving at her house with unwonted roses on her cheeks, and Gerard's pardon in her bosom. Some are old in heart at forty, some are young at eighty. Margaret Van Eyck's heart was an evergreen. She loved her young namesake with youthful ardour.

Denys was for going to her that instant, so Catherine, in a turn of the hand, made herself one shade neater, and took him with her. She was received graciously by the old lady sitting in a richly furnished room; and opened her business. The tapestry dropped out of Margaret Van Eyck's hands. "Gone? Gone from Sevenbergen and not told me; the thankless girl."

In another letter Mr. Richmond says, 'Perfect craftsmanship, such as was Van Eyck's, Holbein's, Bellini's, Michael Angelo's, becomes more valuable as time goes on. It is interesting to hear that Mr. Richmond admires Holbein's craftsmanship, but it will be still more interesting if he will explain how and why the head of the old Bohemian in the picture entitled "L'Absinthe" is inferior to Holbein.

The sheep are wandering over a grass hillside of the vividest green, shot with spring flowers, and every sheep is painted with the detail of the central sheep in Hubert van Eyck's 'Adoration of the Lamb. The colouring is almost as bright and jewel-like as that of the fifteenth-century painters, for one of the theories of the Pre-Raphaelite Brotherhood was that grass should be painted as green as the single blade not the colour of the whole field seen immersed in light and atmosphere, which can make green grass seem gray or even blue.

The Virgin's bedchamber, where we are shown it, as, for instance, in Crivelli's picture in the National Gallery, is quite as well appointed in the way of beautiful bedding, carving, and so forth, as the chamber of the lady of John Arnolfini of Lucca in Van Eyck's portrait.

While very little was remembered about the facts of Hubert van Eyck's life, his name was always associated with the discovery of a new method of painting, and on that account held in great honour.

They were loth to show their ignorance and their emotion to a stranger. "The Dame Van Eyck?" said Kate timidly. "And so I will, Kate. She has a good heart. She loves Gerard, too. She will be glad to hear of him. I was short with her when she came here; but I will make my submission, and then she will tell me what my poor child says to me." She was soon at Margaret Van Eyck's house.