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 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 orange groves of Cintra, there of the bluffs and crags of his native valley. In all these backgrounds, though we miss the scientific rules of perspective with which the van Eycks were not familiar, we find such delicate perceptions of gradations in tone, such atmosphere, yet such minuteness and perfection of finish, that our admiration never flags. Nor is the colour less brilliant or the touch less 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 Catherine Burluuts. The same vigorous style and coloured key of harmony characterizes the small “Virgin and Child” of 1432 at Ince, and the “Madonna,” probably of the same date, at the Louvre, executed for Rollin, chancellor of Burgundy. Contemporary with these, the male portraits in the National Gallery, and the “Man with the Pinks,” in the Berlin Museum (1432–1434), show no relaxation of 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 animal nature is revealed in a study of a terrier dog. A “Madonna with Saints,” at Dresden, equally soft and minute, charms us by the mastery with which an architectural background is put in. The bold and energetic striving of earlier days, the strong bright tone, are not equalled by the soft blending and 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 Canon van der Paelen is represented kneeling before the Virgin under the protection of St George (1434). From first to last van Eyck retains his ability in portraiture. Fine specimens are the two male likenesses in the gallery of Vienna (1436), and a 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 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 personal 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 conjunction with that of van der Weyden, determined the current and practice of painting throughout the whole of Europe north of the Alps for nearly a century.

EYE, a market-town and municipal borough in the Eye parliamentary division of Suffolk; England; 94 m. N.E. from London by the Great Eastern railway, the terminus of a branch from the Ipswich-Norwich line. Pop. (1901) 2004. The church of St Peter and St Paul is mainly of Perpendicular flint work, with Early English portions and a fine Perpendicular rood screen. It was formerly attached to a Benedictine priory. Slight fragments of a Norman castle crown a mound of probably earlier construction. There are a town hall, corn exchange, and grammar school founded in 1566. Brewing is the chief industry. The town is governed by a mayor, 4 aldermen and 12 councillors. Area, 4410 acres.

Eye (Heya, Aye) was once surrounded by a stream, from which it is said to have derived its name. Leland says it was situated in a marsh and had formerly been accessible by river vessels from Cromer, though the river was then only navigable to Burston, 12 m. from Eye. From the discovery of numerous bones and Roman urns and coins it has been thought that the place was once the cemetery of a Roman camp. William I. gave the lordship of Eye to Robert Malet, a Norman, who built a castle and a Benedictine monastery which was at first subordinate to the abbey of Bernay in Normandy. Eye is a borough by prescription. In 1205 King John granted to the townsmen a charter freeing them from various tolls and customs and from the jurisdiction of the shire and hundred courts. Later charters were granted by Elizabeth in 1558 and 1574, by James I. in 1604, and by William III. in 1697. In 1574 the borough was newly incorporated under two bailiffs, ten chief and twenty-four inferior burgesses, and an annual fair on Whit-Monday and a market on Saturday were granted. Two members were returned to each parliament from 1571 till 1832, when the Reform Act reduced the membership to one. By the Redistribution Act of 1885 the representation was merged in the Eye division of the county. The making of pillow-lace was formerly carried on extensively, but practically ceased with the introduction of machinery.

 EYE (O. Eng. eáge, Ger. Auge); derived from an Indo-European root also seen in Lat. oc-ulus, the organ of (q.v.).

—The eye consists of the eyeball, which is the true organ of sight, as well as of certain muscles which move it, and of the lachrymal apparatus which keeps the front of it in a moist condition. The eyeball is contained in the front of the orbit and is a sphere of about an inch (24 mm.) in diameter. From the front of this a segment of a lesser sphere projects slightly and forms the cornea (fig. 1, co). There are three coats to the eyeball, an external (protective), a middle (vascular), and an internal (sensory). There are also three refracting media, the aqueous humour, the lens and the vitreous humour or body.

The protective coat consists of the sclerotic in the posterior five-sixths and the cornea in the anterior sixth. The sclerotic (fig. 1, Sc) is a firm fibrous coat, forming the “white of the eye,” which posteriorly is pierced by the optic nerve and blends with the sheath of that nerve, while anteriorly it is continued into the cornea at the corneo-scleral junction. At this point a small canal, known as the canal of Schlemm, runs round the margin of the cornea in the substance of the sclerotic (see fig. 1). Between the sclerotic and the subjacent choroid coat is a lymph space traversed by some loose pigmented connective tissue,—the