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When the ladies first heard that we had come to claim the redemption of the half-promise given at Madam Schuyler's, their surprise was not less than mine had been, half an hour before, while their uneasiness was probably greater. "Surely, Jack and Moses cannot exhibit all their noble qualities without snow!" exclaimed Anneke, laughing, "Ten Eycks though they be!"
She also received instruction from Hansch. Her pictures are remarkable for their poetic feeling; especially is this true of "A Quiet Sea," "The Gollinger Waterfall," and "A Country Party." <b>EYCK, MARGARETHA VAN.</b> In Bruges, in the early decades of the fifteenth century, the Van Eycks were inventing new methods in the preparation of colors.
It is a woven representation of the triptych, so favourite in the time of the Van Eycks, and is almost as rich with gold as those ancient altar decorations. The tapestry is variously called The Kingdom of Heaven, and The Adoration of the Eternal Father and is the most beautiful and important of its kind in America.
In Bruges, when the Van Eycks were inventing new methods in the preparation of colors, and painting their wonderful pictures, beside them, and scarcely inferior to them, was their sister, Margaretha, who sacrificed much of her artistic fame by painting portions of her brothers' pictures, unless the fact that they thought her worthy of thus assisting them establishes her reputation beyond question.
It was when the stirrings of artistic life were commencing under the Van Eycks in the North and under Giotto and the Tuscans in the South that the weaving of tapestries reached a high standard of production and from that time until the Nineteenth Century has been an important artistic craft.
The forehead is formless and boneless, the nose is entirely wanting in that play of line and surface which an old man's nose affords; no one ever yet drew or painted a nose absolutely as nature has made it, but he who compares carefully drawn noses, as that in Rembrandt's younger portrait of himself, in his old woman, in the three Van Eycks, in the Andrea Solario, in the Loredano Loredani by Bellini, all in our gallery, with the nose of Raffaelle's S. Nicholas will not be long in finding out how slovenly Raffaelle's treatment in reality is.
A similar head in the Uffizi is a copy, Sir Walter Armstrong to the contrary notwithstanding. The Flemish schools are to be seen in the basement, not altogether a favourable place, though in the afternoon there is an agreeable light. Like Rubens, Jan van Eyck visited Spain and left the impress of his style. But the Van Eycks at the Prado are now all queried, though several are noteworthy.
The real love with which these wonderful pictures are caressed by the careful, thoughtful artist makes them most precious. Every little flower is delicately and artistically done, and everything is invested with a sort of sacred reverence by this earnest Pre-Raphaelite. One or two Van Eycks have the same splendor and depth of feeling.
Bruges is better for Memling, Brussels for Van der Weyden, Ghent for the Van Eycks, yet Antwerp can boast a goodly number of them all. She exceeds Brussels in her Rubenses for the larger altar pieces are here, just as at Amsterdam the Rembrandts, while not numerous, take precedence because of The Syndics and The Night Watch. The tumultuous, overwhelming Peter Paul is in his glory at Antwerp.
According to van Mander, the method of painting in Flanders previous to the time of the van Eycks, was with gums, or a preparation called egg-water, to which a kind of varnish was afterwards applied in finishing, which required a certain degree of heat to dry.
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