Among the followers of Van Eyck who first made their way to the Mediterranean shores was JOSSE or JUSTUS OF GHENT, who, under the signature of Justus de Alemania, appears to have executed an Annunciation in fresco, at the convent of Sta. Maria di Castello at Genoa in 1451.[*201] Admiration for Van Eyck's bath scene may probably have obtained for him an invitation to Urbino, where, however, he does not seem to have shared the ducal patronage, but was employed by the fraternity of Corpus Christi to paint for them an altar-piece, which, after nine years of labour, was completed in 1474, and is still preserved in the church of Sta. Agata.[*202] It was executed in oil, about ten feet square without the now missing predella, and seems to have cost 500 florins, besides materials. Its subject was appropriately the Institution of the Eucharist, in contradistinction from the Last Supper, and it is treated after the manner of the Romish mass,--Christ distributes the sacramental wafer to his Apostles kneeling round a table, over whom hover two white-draped angels of the Van Eyck type. Four personages stand apart, spectators of the sacred mystery, and these, by the legitimate rules of sacred art, might be portraits. Among them may be easily recognised the Duke; and a turbaned figure is said by Baldi to be the ambassador from Usum-cassan, King of Persia, while visiting the court in 1470-1, on a mission to unite the Italian princes in a league against the Turk,--a fact garbled by Michiels, whose commendations of the picture are greater than its distance above the eye allows me to confirm or challenge, as, without scaffolding or a very strong glass, all detailed criticism must be in a great measure conjectural. Neither have I discovered that influence upon art at Urbino which he and Passavant impute to this Fleming, whose only other known work in Umbria was a now lost church standard. [Footnote *201: But Justus de Alemania, who painted at Genoa, and Justus of Ghent, are different persons.] [Footnote *202: Now in the Pinacoteca.] * * * * * Art has in many instances been able largely to compensate the liberality of its early patrons. Besides preserving to after times the person of those "Whose barks have left no traces on the tide,"