It is true that we may find the same insistence on landscape, costume and the portraits of donors in the works of the Italian artists of the Early Renaissance, who painted at the same time as Van Eyck, and that the spirit of the period may, to a certain extent, account for it. But it would be difficult to discover in the pictures of Masaccio, Fra Filippo Lippi, Ghirlandajo, Botticelli and the other masters of the Italian fifteenth century, with the sole exception of Fra Angelico, the same depth of religious inspiration which pervades the works of the Van Eycks and of their disciples. If the Gospel story still provides most of the subjects of the Italian school, it is treated in a lighter vein, and pagan inspiration, prompted by the study of classics, is more and more conspicuous. Earthly loveliness is of greater importance than Christian teaching. The virgins of Van Eyck, the Pieta of Van der Weyden and the saints of Memling occupy the intermediate position between the purely mediaeval attitude of Giotto and of the sculptors of the French cathedrals and the worldly atmosphere of the Early Italian Renaissance. They preserve, to a great extent, the religious atmosphere of the former, and devote the same attention to technical skill and realistic representation as the second. The combination of these two elements is the chief source of originality of the Burgundian school of painters, and it is truly characteristic of the period, which, though strongly attached to the world and its pleasures, founded its greatest productions on the stern lessons of deep devotion and of a society in which the Beggards and the Brothers of the Common Life strove incessantly to bring religion closer to the heart of the people. The Adoration of the Lamb is not only the most complete expression of the spirit of Belgium in the fifteenth century, it is also the first great work produced by Belgian painters. Art critics have been at great pains to explain the sudden appearance in history of such a highly skilled and complete production. But a closer study of Belgian civilization in the fourteenth century would show that it is merely the outcome of previous efforts and the blossoming of a great individual genius in an Art which had already found, in other departments, very remarkable means of expression. [_SCULPTURE_]