A very remarkable altar-piece, by Jean Van Eyck, represents the worship of the Magi.  In the centre, Mary and her Child are seated within a ruined temple; the eldest of the three Kings kneeling, does homage by kissing the hand of the Child:  it is the portrait of Philip the Good, Duke of Burgundy.  The second, prostrate behind him with a golden beaker in his hand, is supposed to be one of the great officers of his household.  The third King exhibits the characteristic portrait of Charles the Bold; there is no expression of humility or devotion either in his countenance or attitude; he stands upright, with a lofty disdainful air, as if he were yet unresolved whether he would kneel or not.  On the right of the Virgin, a little in the foreground, stands Joseph in a plain red dress, holding his hat in his hand, and looking with as air of simple astonishment at his magnificent guests.  All the accessories in this picture, the gold and silver vessels, the dresses of the three Kings sparking with jewels and pearls, the velvets, silks, and costly furs, are painted with the most exquisite finish and delicacy, and exhibit to us the riches of the court of Burgundy, in which Van Eyck then resided. (Munich Gal, 45.)

In Raphael’s composition, the worshippers wear the classical, not the oriental costume; but an elephant with a monkey on his back is seen in the distance, which at once reminds us of the far East. (Rome, Vatican.)

Ghirlandajo frequently painted the Adoration of the Magi, and shows in his management of the accessories much taste and symmetry.  In one of his compositions, the shed forms a canopy in the centre; two of the Kings kneel in front.  The country of the Ethiopian King is not expressed by making him of a black complexion, but by giving him a Negro page, who is in the act of removing his master’s crown.  (Florence, Pitti Pal.)

A very complete example of artificial and elaborate composition may be found in the drawing by Baldassare Peruzzi in our National Gallery.  It contains at least fifty figures; in the centre, a magnificent architectural design; and wonderful studies of perspective to the right and left, in the long lines of receding groups.  On the whole, it is a most skilful piece of work; but to my taste much like a theatrical decoration,—­pompous without being animated.

A beautiful composition by Francia I must not pass over.[1] Here, to the left of the picture, the Virgin is seated on the steps of a ruined temple, against which grows a fig-tree, which, though it be December, is in full leaf.  Joseph kneels at her side, and behind her are two Arcadian shepherds, with the ox and the ass.  The Virgin, who has a charming air of modesty and sweetness, presents her Child to the adoration of the Wise Men:  the first of these kneels with joined hands; the second, also kneeling, is about to present a golden vase; the Negro King, standing, has taken off his cap, and holds a censer in his hand; and the divine infant raises his hand