the youngest, a ne’er-do-weel, too much in love with play to work, and Cornelis, the eldest, who had made calculations of his own, and stuck to the hearth, waiting for dead men’s shoes. Almost worn out by their repeated efforts, and above all dispirited by the moral and physical infirmities of those that now remained on hand, the anxious couple would often say, “What will become of all these when we shall be no longer here to take care of them?” But when they had said this a good many times, suddenly the domestic horizon cleared, and then they used still to say it, because a habit is a habit, but they uttered it half mechanically now instead of despondently, and added brightly and cheerfully, “but thanks to St. Bavon and all the saints, there’s Gerard!!”
CHAPTER II.
Young Gerard was for many years of his life a son apart and distinct; object of no fears and no great hopes. No fears; for he was going into the Church; and the Church could always maintain her children by hook or by crook in those days: no great hopes, because his family had no interest with the great to get him a benefice, and the young man’s own habits were frivolous, and, indeed, such as our cloth merchant would not have put up with in any one but a clerk that was to be. His two main trivialities were reading and penmanship, and he was so wrapt up in them that often he could hardly be got away to his meals. The day was never long enough for him: and he carried ever a tinder-box and brimstone matches, and begged ends of candles of the neighbours, which he lighted at unreasonable hours—ay, even at eight of the clock at night in winter, when the very Burgomaster was a-bed. Endured at home, his practices were encouraged by the monks of a neighbouring convent. They had taught him penmanship, and continued to teach him, until one day they discovered, in the middle of a lesson, that he was teaching them. They pointed this out to him in a merry way: he hung his head and blushed: he had suspected as much himself, but mistrusted his judgment in that matter. “But, my son,” said an elderly monk, “how is it that you, to whom God has given an eye so true, a hand so supple yet firm, and a love of these beautiful crafts, how is it you do not colour as well as write? a scroll looks but barren unless a border of fruit, and leaves, and rich arabesques surround the good words, and charm the sense as those do the soul and understanding; to say nothing of the pictures of holy men and women departed, with which the several chapters should be adorned, and not alone the eye soothed with the brave and sweetly blended colours, but the heart lifted by effigies of the Saints in glory. Answer me, my son."
At this Gerard was confused, and muttered that he had made several trials at illuminating, but had not succeeded well; and thus the matter rested.
Soon after this a fellow enthusiast came on the scene in the unwonted form of an old lady. Margaret, sister and survivor of the brothers Van Eyck, left Flanders, and came to end her days in her native country. She bought a small house near Tergou. In course of time she heard of Gerard, and saw some of his handy-work: it pleased her so well that she sent her female servant, Richt Heynes, to ask him to come to her. This led to an acquaintance: it could hardly be otherwise, for little Tergou had never held so many as two zealots of this sort before. At first the old lady damped Gerard’s courage terribly. At each visit she pulled out of holes and corners drawings and paintings, some of them by her own hand, that seemed to him unapproachable: but if the artist overpowered him, the woman kept his heart up. She and Richt soon turned him inside out like a glove. Among other things, they drew from him what the good monks had failed to hit upon, the reason why he did not illuminate, viz., that he could not afford the gold, the blue, and the red, but only the cheap earths; and that he was afraid to ask his mother to buy the choice colours, and was sure he should ask her in vain. Then Margaret Van Eyck gave him a little brushgold, and some vermilion, and ultramarine, and a piece of good vellum to lay them on. He almost adored her. As he left the house Richt ran after him with a candle and two quarters: he quite kissed her. But better even than the gold and lapis lazuli to the illuminator was the sympathy to the isolated enthusiast. That sympathy was always ready, and, as he returned it, an affection sprung up between the old painter and the young caligrapher that was doubly characteristic of the time. For this was a century in which the fine arts and the higher mechanical arts were not separated by any distinct boundary, nor were those who practised them: and it was an age in which artists sought out and loved one another. Should this last statement stagger a painter or writer of our day, let me remind him that Christians loved one another at first starting.
Backed by an acquaintance so venerable, and strengthened by female sympathy, Gerard advanced in learning and skill. His spirits, too, rose visibly: he still looked behind him when dragged to dinner in the middle of an initial G; but once seated showed great social qualities: likewise a gay humour, that had hitherto but peeped in him, shone out, and often he set the table in a roar, and kept it there, sometimes with his own wit, sometimes with jests which were glossy new to his family, being drawn from antiquity.
As a return for all he owed his friends the monks, he made them exquisite copies from two of their choicest MSS., viz., the life of their founder, and their Comedies of Terence, the monastery finding the vellum.
The high and puissant Prince, Philip “the Good," Duke of Burgundy, Luxemburg, and Brabant, Earl of Holland and Zealsnd, Lord of Friesland, Count of Flanders, Artois, and Hainault, Lord of Salins and Macklyn—was versatile.
He could fight as well as any king going; and he could he as well as any except the King of France. He was a mighty hunter, and could read and write. His tastes were wide and ardent. He loved jewels like a woman, and gorgeous apparel. He dearly loved maids of honour, and paintings generally; in proof of which he ennobled Jan Van