The painting of these figures is most exquisite. The draperies are soft and pleasing; the colour is deep and rich; while the faces are remarkable for their character and variety of expression. The jewels and ornaments worn by some of the Popes and Bishops are drawn with loving care, and the enrichments of the vestments betray a patience and skill that create wonder. In the distance, above the trees, are seen cities with many towers and churches, behind which are hills in the remote distance. The foreground of the beautiful, soft, spring-like grass is profusely enriched by the growth of innumerable flowers and shrubs, all of which are painted with consummate skill and truth. The whole picture makes a profound effect by its sumptuous splendour, and by the masterly disposal of light and shade. The two panels on the left are the _Just Judges_ {49} and _Christ's Warriors_. In the _Judges_ the whole lower half of the picture is taken up by figures on horses. Behind a cliff in the middle distance is seen a forest and some buildings of elaborate architecture, which may represent tribunals. The bridles and trappings of the horses are richly jewelled, and altogether the best is made of the opportunity of rendering with goldsmith-like precision all manner of gorgeous materials, costly and beautifully emblazoned banners, and armour and trappings of beautiful design. Tradition has it that two of the _Judges_ are portraits of the painters, the one in a black garment with a red rosary, who is turning towards the spectator, being the younger brother Jan. To strengthen the theory that this figure was painted by Jan after Hubert's death, Mr. Weale suggests that the black habit and red rosary denote mourning, probably for his brother Hubert. As regards the other panel, Mr. Six has advanced an interesting theory with respect to the soldier who wears a blue head-dress. He calls attention to a _pentimento_ in substituting for a crown on this figure the blue head-dress. Mr. Six claims to have identified this figure as Jean Sans Peur, who probably saw the painting, {50} and objected to being represented with a crown while Godfrey de Bouillon wore only a fur cap, and therefore persuaded the painter to alter it to the blue cap or bonnet which was the badge of the Burgundians against the Armagnacs. From this the supposed alteration must have taken place a little after 1410, whereas, according to early art historians, the altar-piece was only begun between 1415 and 1420. [Illustration: THE JUST JUDGES, AND CHRIST'S WARRIORS. BY HUBERT AND JAN VAN EYCK.]