It would be impossible here to characterize the works of the various masters who followed in the wake of the brothers Van Eyck. Of the two brothers, hailing from Maeseyck, we know that Hubert settled in Ghent (_c._ 1410) and Jan in Bruges in 1425. Roger de la Pasture, usually known as Van der Weyden, the foremost representative of the Walloon branch of the school, came from Tournai to Brussels in 1435. There were other Walloons, such as Robert Campin and Jacques Daret of Tournai, but the Flemish element, represented beside the brothers Van Eyck by the Brabancon Pieter Christus, Justus van Ghent, Hughes Van der Goes (of Ghent) and Thierry Bouts of Harlem, not to mention Memling (of Mayence), was manifestly prevalent. The renown enjoyed by these artists extended far beyond the limits of Belgium and France, and the influence exerted by their works in Italy can easily be traced. Strangely enough, while during the next century the Belgian painters were subjected so strongly to Italian influence, they were hailed, at this period, as pioneers by the Italians themselves. At home, the consideration which the great painters enjoyed is shown by the interest displayed in their work not only by the prince but also by his courtiers, among them Chancellor Rolin, and by rich foreigners, such as the Portinari and the Arnolfini established in Flanders. Philip the Good visited Jan Van Eyck frequently, was godfather to his daughter, and employed him on several occasions for secret missions. His position at the court of Burgundy was equal to that occupied later by Rubens at the court of Albert and Isabella. CHAPTER XII HAPSBURG AND BURGUNDY