Jean, however, did not remain at Ghent, but took service for a time under John of Bavaria, whose capital was at The Hague. In 1425 he became painter and varlet de chambre of Philip the Good, a position he retained until his death. For a time he seems to have travelled about with his ducal master, but he eventually settled at Bruges, where most of his best work was done. Hubert, meanwhile, remained at Ghent, painting for the rich burghers of that prosperous city. Here he presently received an order from Jodocus Vydts for an altar-piece for a chapel he had founded in the Cathedral of St. Bavon in his native city of Ghent. Hubert began work immediately, planned the great work and lived to partially complete it when overtaken by death in 1426. Hubert was recognised as a great painter in his day, the magistrates of Ghent on one occasion going in state to his studio to inspect a picture he was painting--which was no doubt the altar-piece for St. Bavon. He was, however, wholly forgotten by early historians of art in Flanders, and it is only recently that he has been given his proper place as one of the first of the great masters of the Flemish school. The subject chosen by Hubert for the proposed altar-piece was the Adoration of the Lamb, and the artist, while true to the conventions of the age in which he lived, achieved a work that is still full of interest and charm. Like Shakespeare's plays this, the first great masterpiece of the Flemish school, belongs not to an age but to all time. In its entirety the work consists of twenty panels and comprises more than three hundred separate figures. How far it had been completed at Hubert's death there is no way to tell, although it is customary to attribute to him the architectural frame, the central panel showing the lamb, and the large upper panels. Other critics believe that Jean practically painted the whole picture when he was commissioned by the donor to complete it. The books on Flemish art devote many pages to an analytical description of this picture,[1] which was finally completed by Jean in 1432. The Duke Philip, his patron, and the magistrates of Bruges visited his studio in state to inspect the finished picture, which was afterwards publicly exhibited at Ghent. When it is considered that this is the very first painting in oil that has come down to us it is in every respect a most marvellous performance. The three large central panels in the upper portion are especially noble and impressive, that of "God the Father," in the centre, being finely expressive of majesty and repose. In the panel to the left of the Virgin Mary is a group of youthful angels singing, who are so skilfully painted that "one can readily tell from looking at them which is singing the dominant, which the counter-tenor, and which the tenor and the bass," according to an early critic. We were told by a Belgian curé with whom we talked about this wonderful picture shortly before our visit to Ghent that the work