Failing, then, even the probability that Hubert ever saw the palmetto growing, we must credit Jan with the painting of this plant, which, like all the other exotics, must have been carefully studied from nature, for they are represented in most minute, careful, and conscientious manner, and are absolutely true to {37} life. The palmetto occurs in the picture of _St. Francis receiving the Stigmata_ (above referred to); in the _St. Anthony with the Donor_ at Copenhagen; and in _The Three Marys at the Sepulchre_ in the collection of Sir Frederick Cook at Richmond. The portions of these paintings by Hubert van Eyck, where the palmetto occurs, may therefore be safely ascribed to the hand of Jan. Other exotic plants, which are not restricted to Spain and Portugal, occur in these pictures; but they are painted by the same hand, and betray the same loving adherence to truth, and a similar familiarity with the plants as they grow. It is therefore patent that they, too, must be ascribed to Jan, for it is impossible to suppose that the younger brother's work on these pictures was simply that of adding the by no means necessary dwarf-palm to Hubert's completed landscapes. Jan was probably responsible for the design and execution of these landscapes. These other exotics also occur in the Ghent altar-piece, in the _Calvary_ of the Berlin Museum, and in the copy, at the same museum, of a lost _Virgin and Child_, Mr. Marks produces further evidence to prove that Jan must have painted not only the foliage, but the {38} whole of the landscapes where the little palm appears, including in most cases the architecture. He draws attention to the architectural features in the _Chancellor Rolin with Saints_ in the Louvre, and the signed and dated altar-piece by Jan in the museum at Bruges: "The architecture in these pictures is not a real architecture--that is, it has not been copied from any actual examples.... Agreement is general that it is an architecture invented, not merely copied." These pictures furnish evidence of the painter having visited Italy, for marble is represented in a most lavish manner. This marble is not characteristic of Northern architecture; its use is distinctly Italian. The painting of it displays the usual care and conscientiousness common to all Jan's works. Further points cited by Mr. Marks as evidence of Jan's work in various pictures are the representations of snow-mountains in various works, and the presence of a flying flock of geese.