Mr. R. Petrucci states that in 1904, during a demolition of a house in the Rue du Gouvernement at Ghent, the old walls were discovered of a Steen believed to have been the property of Jodoc Vydt, the patron of the van Eycks, who commissioned them to execute the Ghent polyptych. In a room upon the third floor, 40 feet up, a square window was discovered exactly answering in orientation and position to the town which appears in the _Adoration of the Lamb_, and which has been recognised as a view over the Rue Courte du Jour. In the foreground is seen the Steen, on the site of which was afterwards built the little butcher's shop near the present bird-market. Above it rises the tournelle of the weavers' chapel, which was used in turn as a butcher's shop, a pleasure {54} resort, and a place of auction, and is now a garage for motor-cars. Further away, in the background, is the old fortified gate which defended the passage of the bridge of the canal of the coppersmiths. On the left of the scene is a representation of another front of the Steen, which stood on that side at the corner of the Rue Courte du Jour and the Rue de Brabant. The window reveals this scene exactly. "It seems certain," says Mr. Petrucci, "that this was the room in which Hubert and Jan, or, at any rate, Jan, van Eyck painted the famous polyptych of the Mystic Lamb." * * * * * The portrait group by Jan van Eyck known as _Jan Arnolfini and Jeanne dc Chenany, his Wife_, must be counted among the greatest treasures of the London National Gallery, as it is, perhaps, the most perfect as well as the most characteristic example of the master's art. Arnolfini, who was Jan's brother-in-law, a man of solemn and depressing countenance, with heavy, drooping lids and long, wide-nostrilled nose, is seen standing in his bed-chamber. His right hand is raised as if enjoining silence, his left extended to his wife, whose open countenance denotes docility and calm. {55} Arnolfini wears a tunic of a dark green stuff, over which is a cloak of dark red, which reaches well below the knees, and is lined and edged with fur. It is divided at the sides from the bottom to the shoulder. He wears a large and curiously shaped hat, which in a manner resembles a "beefeater's" head-gear. His wife is habited in a long and ample robe of green, rather bright in colour, and lined and trimmed with white fur. She has raised the folds of the robe in front, thus revealing an undergarment of dark blue, trimmed also with fur. Round her strikingly high waist is a narrow belt of leather, decorated with gilding and polished. On her head is a large kerchief with a worked border, which is caught up at the sides in the prevailing fashion. Round her neck she wears a double row of pearls. The drawing of the drapery, which falls straight to the floor, is bold and severe, realistic, and devoid of any attempt at affectation.