and landscapes have to be painted, certain weaknesses appear. In spite of the charming intimacy of his perspectives, there is a certain incoherence, a defective grouping. The more the subject demands free composition and the creation of a new form, the more his powers fall short.
It cannot be denied that in the illuminated breviaries the calendar pages surpass in beauty those representing sacred subjects. To picture a month, it suffices to observe and reproduce accurately. On the other hand, to compose an important scene, full of movement, with many personages, needed the sense of rhythm and of unity which Giotto possessed and which Michelangelo recaptured. Now, multiplicity was a characteristic of fifteenth-century art. It rarely succeeds in finding harmony and unity. The central part of the altar-piece of the Lamb does indeed show this harmony, in the severe rhythm in which the different processions of adorers are advancing towards the Lamb; but this effect has been obtained, so to say, by a purely arithmetical co-ordination. Van Eyck evaded the difficulties of the composition by grouping his personages in a very simple figure; the harmony is static, not dynamic.
The great distance separating Van Eyck from Rogier van der Weyden lies in the fact that the latter is aware of a problem of rhythmical composition. He limits himself in the use of detail, in order to find unity; it is true, without always succeeding.
There was a venerable and severe tradition regulating the representation of the most important sacred subjects. The artist had not to invent the composition of his picture; for some of these subjects rhythmical composition came, so to speak, of itself. It was impossible to paint a Descent from the Cross, a pietà, an Adoration of the Shepherds, without the composition assuming a certain rhythmical structure. It suffices to remember the Descent from the Cross by Rogier van der Weyden in the Escurial, his pietà at Madrid, or those of the Avignon school at the Louvre and at Brussels, those by Petrus Cristus, by Geertgen of Sint Jan, the “Belles heures d’Ailly.” The very nature of the subject implied a simple and severe composition.
As soon as the scene to be represented required more move-
