Mr Eastlake, justly judging it to be of the first importance, in whatever schemes might be entertained for the promotion of the Fine Arts, to secure to the artist the best materials, and the approved methods of the best times, and to give him as complete a knowledge of the history of the art he professes as might be obtained, undertook to search out and examine records with the greatest care, leaving as little to conjecture as possible. He could not dictate to the mind, but he might be able to put means into the hands of genius; the more perfect the instruments, the greater would be the freedom, and, what is of no small importance, the more durable would be the works. The first step in this direction was evidently towards a knowledge of what had been done, and had been universally admired and approved:--to discover first, if possible, what was the method and what were the technical means in the hands of Titian and Correggio, of Rubens and most of the Flemish painters. Aware of the discussions and disputes concerning the invention of Van Eyck, he found it necessary to trace the progress of art from its earliest records to the date of the supposed discoverer of painting in oil--or rather discoverers, Hubert and John Van Eyck, in 1410. The conclusion to which the documentary evidence led him was this, that:-- "The technical improvements which Van Eyck introduced were unquestionably great; but the mere materials employed by him may have differed little, if at all, from those which had been long familiar. The application of oil painting to figures, and such other objects as (with rare exceptions) had before been executed only _in tempera_, was a consequence of an improvement in the vehicle." "It is apparent, that much has been attributed to John Van Eyck, which was really the invention of Hubert; and both may have been indebted to earlier painters for the elements of their improved process." The _very_ early use of oil in painting need not here be discussed, though it was necessary to go into much detail in forming a history of the art, which was the object of Mr Eastlake. Perhaps, the earliest in our practice will be found to have been in England, and may have been the legacy of art bequeathed at the departure of the Romans. It did not commence in Italy. "The use of resinous solutions combined in various proportions with oil, as a medium or vehicle for the colours, was an early technical characteristic of the northern schools, and merits attention here, accordingly."