In Germany and the Low Countries we find similar traces of the feeling of regeneration actuating the minds of artists at a much earlier period. The first name which presents itself to us beyond the Rhine is that mentioned in the Chronicle of Limburg, of the date of 1380. “There was then at Cologne,” says the chronicler, “a painter named Wilhelm. According to the masters, he was the best in all the countries of Germany; he has painted men of every description as if they were alive.” We have nothing left of the works of this artist except some panels without signature, which, in consideration of the date they bear, are attributed to him; an examination shows that, considering the epoch at which he lived, Wilhelm might justly be looked upon as a creative genius. He was succeeded by his most talented pupil, _Maître_ Stephan. A triptych of his work may be seen at the Cathedral of Cologne, representing “The Adoration of the Magi,” “St. Gereon,” “St. Ursula,” and “The Annunciation.” This work, which exhibits charming finish as well as harmonious simplicity, is sufficient evidence that its author was possessed of much natural ability as well as a certain extent of knowledge; and if we make it our study to seek out the relics of the artistic movement of the period, we can in no way feel surprise at seeing that the influence of this early master made itself felt in a very extended radius. But at this epoch, that is, at the commencement of the fifteenth century, in a city of Flanders, a new luminary made its appearance, which was destined to eclipse the brilliancy of the somewhat weak German innovation. Two brothers, Hubert and John van Eyck, together with their sister Margaret, established themselves in the “triumphant city of Bruges,” as it is called by an historian; and very soon all the Flemish and Rhenish regions resounded with the name of Van Eyck, their works being the only representations which were admired and followed; and even in those early days it was a title of glory to form a part of their brilliant school.