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See also:EYCK, See also:VAN , the name of a See also:family of Flemish painters in whose See also:works the rise and mature development of See also:art in western See also:Flanders are represented. Though bred in the valley of the See also:Meuse, they finally established their professional See also:domicile in See also:Ghent and in See also:Bruges; and there, by skill and inventive See also:genius, they changed the traditional habits of the earlier See also:schools, remodelled the See also:primitive forms of Flemish See also:design, and introduced a See also:complete revolution into the technical methods of See also:execution See also:familiar to their countrymen.
1. See also:HUBERT (Huybrecht) VAN EYCK (? 1366—1426) was the See also:oldest and most remarkable of this See also:race of artists. The date of his See also:birth and the records of his progress are lost amidst the ruins of the earlier See also:civilization of the valley of the Meuse. He was See also:born about 1366, at Maeseyck, under the shelter or See also:protection of a See also:Benedictine See also:convent, in which art and letters had been cultivated from the beginning of the 8th See also:century. But after a See also:long See also:series of wars—when the See also:country became insecure, and the schools which had flourished in the towns decayed—he wandered to Flanders, and there for the first See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time gained a name. As See also:court painter to the hereditary See also:prince of See also:Burgundy, and as client to one of the richest of the Ghent See also:patricians, Hubert is celebrated. Here, in See also:middle See also:age, between 1410 and 1420, he signalized himself as the inventor of a new method of See also:painting. Here he lived in the pay of See also:- PHILIP
- PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
- PHILIP, JOHN (1775-1851)
- PHILIP, KING (c. 1639-1676)
- PHILIP, LANOGRAVE OF HESSE (1504-1567)
Philip of Charolais till 1421. Here he painted pictures for the See also:corporation, whose See also:chief magistrates honoured him with a See also:state visit in 1424. His See also:principal masterpiece, the " See also:Worship of the See also:Lamb," commissioned by Jodocus Vijdts, See also:lord of Pamele, is the noblest creation of the Flemish school, a piece of which we possess all the parts dispersed from St Bavon in Ghent to the galleries of See also:Brussels and See also:Berlin,—one upon which Hubert laboured till he died, leaving it to be completed by his See also:brother. Almost unique as an See also:illustration of contemporary feeling for See also:Christian art, this See also:great See also:composition can only be matched by the " Fount of Salvation," in the museum of See also:Madrid. It represents, on numerous panels, See also:Christ on the See also:judgment seat, with the Virgin and St See also:John the Baptist at His sides, See also:hearing the songs of the angels, and contemplated by See also:Adam and See also:Eve, and, beneath him, the Lamb shedding His See also:blood in the presence of angels, apostles, prophets, martyrs, knights and hermits. On the See also:outer sides of the panels are the Virgin and the See also:angel annunciate, the sibyls and prophets who foretold the coming of the Lord, and the donors in See also:prayer at the feet of the Baptist and Evangelist. After this great See also:work was finished it was placed, in 1432, on an See also:altar in St Bavon of Ghent, with an inscription on the framework describing Hubert as " maior quo nemo repertus," and setting forth, in See also:colours as imperishable as the picture itself, that Hubert began and John afterwards brought it to perfection. John van Eyck certainly wished to guard against an See also:error which See also:ill-informed posterity showed itself but too prone to See also:foster, the error that he alone had composed and carried out an altarpiece executed jointly by Hubert and himself. His contemporaries may be credited with full know-ledge of the truth in this respect, and the facts were equally well known to the See also:duke of Burgundy or the chiefs of the corporation of Bruges, wj10 visited the painter's See also:house in state in 1432, and the members of the chamber of See also:rhetoric at Ghent, who reproduced the Agnus Dei as a tableau vivant in 1456. Yet a later See also:generation of Flemings _forgot the claims of Hubert,and gave the honours that were his due to his brother John exclusively.
The See also:solemn grandeur of See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church art in the 15th century never found, out of See also:Italy, a nobler exponent than Hubert van Eyck. His See also:representation of Christ as the See also:judge, between the Virgin and St John, affords a See also:fine display of realistic truth, combined with pure See also:drawing and gorgeous See also:colour, and a happy See also:union of earnestness and simplicity with the deepest religious feeling. In contrast with earlier productions of the Flemish school, it shows a singular See also:depth of See also:tone and great richness of detail. Finished with surprising skill, it is executed with the new oil See also:medium, of which Hubert shared the invention with his brother, but of which no See also:rival artists at the time possessed the See also:secret,—a medium which consists of subtle mixtures of oil and See also:varnish applied to the moistening of See also:pigments after a See also:fashion, only kept secret for a time from gildsmen of neighbouring cities, but unrevealed to the Italians till near the See also:close of the 15th century. When Hubert died on the 18th of See also:September 1426 he was buried in the See also:chapel on the altar of which his masterpiece was placed. According to a tradition as old as the r6th century, his See also:arm was preserved as a relic in a See also:casket above the portal of St Bavon of Ghent. During a See also:life of much apparent activity and surprising successes he taught the elements of his art to his brother John, who survived him.
2. JOHN (See also:Jan) vAN EYCK (? 1385-1440). The date of his birth is not more accurately known than that of his See also:elder brother, but he was born much later than Hubert, who took See also:charge of him and made him his " See also:disciple." Under this tuition John learnt to draw and paint, and mastered the properties of colours from See also:Pliny. Later on, Hubert admitted him into See also:partnership, and both were made court painters to Philip of Charolais. After the breaking up of the prince's See also:household in 1421, John became his own See also:master, See also:left the workshop of Hubert, and took an engagement as painter to John of See also:Bavaria, at that time See also:resident at the See also:Hague as See also:count of See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
Holland. From the Hague he returned in 1424 to take service with Philip, now duke of Burgundy, at a See also:salary of 100 livres per annum, and from that time till his See also:death John van Eyck remained the faithful servant of his prince, who never treated him otherwise than graciously. He was frequently employed in See also:missions of See also:trust; and following the fortunes of a chief who was always in the See also:saddle, he appears for a time to have been in ceaseless See also:motion, receiving extra pay for secret services at See also:Leiden, drawing his salary at Bruges, yet settled in a fixed See also:abode at See also:Lille. In 1428 he joined the See also:embassy sent by Philip the See also:Good to See also:Lisbon to beg the See also:hand of See also:Isabella of See also:Portugal.
His portrait of the See also:- BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)
bride fixed the duke's choice. After his return he settled finally at Bruges, where he married, and his wife See also:bore him a daughter, known in after years as a See also:nun in the convent of Maeseyck. At the christening of this See also:child the duke was See also:sponsor, and this was but one, of many distinctions by which Philip the Good rewarded his painter's merits. Numerous altarpieces and portraits now give See also:- PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)
proof of van Eyck's extensive practice. As finished works of art and See also:models of conscientious labour they are all worthy of the name they See also:bear, though not of equal excellence, none being better than those which were completed about 1432. Of an earlier See also:period, a " See also:Consecration of See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas a See also:Becket " has been preserved, and may now be seen at See also:Chatsworth, bearing the date of 1421; no doubt this picture would give a See also:fair representation of van Eyck's talents at the moment when he started as an See also:independent master, but that time and accidents of omission and See also:commission have altered its state to such an extent that no conclusive See also:opinion can be formed respecting it. The panels of the " Worship of the Lamb " were completed nine years later. They show that John van Eyck was quite able to work in the spirit of his brother. He had not only the lines of Hubert's compositions to See also:guide him, he had also those parts to look at and to study which Hubert had finished. He continued the work with almost as much vigour as his master. His own experience had been increased by travel, and he had seen the finest varieties of landscape in Portugal and the See also:Spanish provinces. This enabled him to See also:transfer to his pictures the charming scenery of lands
more sunny than those of Flanders, and this he did with accuracy and not without poetic feeling. We may ascribe much of the success which attended his efforts to complete the altarpiece of Ghent to the cleverness with which he :reproduced the varied aspect of changing scenery, reminiscent here of the See also:orange groves of See also:Cintra, there of the bluffs and crags of his native valley. In all these backgrounds, though we See also:miss the scientific rules of See also:perspective with which the van Eycks were not familiar, we find such delicate perceptions of gradations in tone, such See also:atmosphere, yet such minuteness and perfection of finish, that our admiration never flags. Nor is the colour less brilliant or the See also:touch less See also:firm than in Hubert's panels. John only differs from his brother in being less masculine and less sternly religious. He excels in two splendid likenesses of Jodocus Vijdts and his wife See also:Catherine Burluuts. The same vigorous See also:style and coloured See also:key of See also:harmony characterizes the small " Virgin and Child " of 1432 at See also:Ince, and the " Madonna," probably of the same date, at the Louvre, executed for See also:Rollin, See also:chancellor of Burgundy. Contemporary with these, the male portraits in the See also:National See also:Gallery, and the " See also:Man with the Pinks," in the BerlinMuseum (1432-1434), show no relaxation of See also:power; but later creations display no further progress, unless we accept as progress a more searching delicacy of finish, counterbalanced by an excessive softness of rounding in flesh contours. An unfaltering minuteness of hand and great tenderness of treatment may be found, combined with angularity of drapery and some awkwardness of attitude in the full length portrait couple (John Arnolfini and his wife) at the National Gallery (1434), in which a rare insight into the detail of See also:animal nature is revealed in a study of a terrier See also:dog. A " Madonna with See also:Saints," at See also:Dresden, equally soft and See also:minute, charms us by the mastery with which an architectural background is put in. The bold and energetic striving of earlier days, the strong See also:bright tone, are not equalled by the soft blending and See also:tender tints of the later ones. Sometimes a crude ruddiness in flesh strikes us as a growing defect, an instance of which is the picture in the museum of Bruges, in which See also:Canon van der Paelen is represented kneeling before the Virgin under the protection of St See also:George (1434). From first to last van Eyck retains his ability in See also:portraiture. Fine specimens are the two male likenesses in the gallery of See also:Vienna (1436), and a See also:female, the master's wife, in the gallery of Bruges (1439). His death in 1440/41 at Bruges is authentically recorded. He was buried in St Donat. Like many great artists he formed but few pupils. Hubert's disciple, Jodocus of Ghent, hardly does See also:honour to his master's teaching, and only acquires importance after he has thrown off some of the peculiarities of Flemish teaching. Petrus Cristus, who was taught by John, remains immeasurably behind him in everything that relates to art. But if the See also:personal See also:influence of the van Eycks was small, that of their works was immense, and it is not too much to say that their example, taken in See also:conjunction with that of van der See also:Weyden, determined the current and practice of painting throughout the whole of See also:Europe See also:north of the See also:Alps for nearly a century.
See also See also:Waagen, Hubert and Johann van Eyck (1822) ; Voll' Werke See also:des Jan van Eyck (1900) ; L. Kammerer on the two families in Knackfuss's K'anstler-Monographien (1898). (J. A.
End of Article: EYCK, VAN
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