helping to heighten the intimacy of the scene; while the cherry-tree in full bloom, seen through the open window against a sky of clear blue, serves to fix the season of the year in which the picture was painted. The portraits are of John Arnolfini and Joan Cenani: the former, in later years, was knighted and appointed a chamberlain at his court by Duke Philip, and from the circumstance of his burial in the chapel of the Lucchese merchants at the Austin Friars' we may presume both his nationality and calling; the latter, considered in respect of certain features, especially the eyes, eyebrows, and nose, suggests a sufficient likeness to warrant the surmise that she was a younger sister of Van Eyck's wife. The panel, which is in an almost perfect state of preservation, is a fine example of the painter's vigour of delineation and perfect blending of colour, both as regards the interior and the figures, the transparency of shadow in the flesh-tints showing the utmost delicacy of touch. The picture bears date 1434. [Illustration: PLATE VIII.--THE VIRGIN AND CHILD, AND CHANCELLOR ROLIN (By -- van Eyck) Whether the work of Hubert or of John is still in dispute: hence an interesting example for the critical student of their respective arts. Nicholas Rolin was born in 1376, was created Chancellor of Burgundy and Brabant on December 3, 1422, and died January 18, 1462. The landscape in the background is distinctly reminiscent of the scenery about Maastricht, the alma mater of the Van Eycks. The general effect of the picture is marred by an unpleasant coating of yellow varnish. Date uncertain. In the Louvre, Paris. See page 78.]