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painting, looking at it over her shoulder as if fearing that someone in it might move the moment she turned her back, she went over to one of the book-crammed shelves. Bloody Pieter Van Huys, she muttered, setting riddles that were keeping her from her bed five hundred years later. She picked up Amparo Ibanez’s
Historia del Arte,
the volume on Flemish painting, and sat down on the sofa with the book on her lap. Van Huys, Pieter. Bruges 1415-Ghent 1481.
    … While Van Huys does not wholly reject the embroidery, jewellery and marble of the court painter, the family atmosphere of his paintings and his eye for the telling detail mark him as an essentially bourgeois artist. Although influenced by Jan Van Eyck, and above all by his own teacher Robert Campin (Van Huys makes clever use of both these artists’ techniques), his is a serene analysis of reality, his way of looking at the world a very calm Flemish one. But he was always interested in symbolism, and his paintings are packed with parallel readings (the sealed glass bottle or the door in the wall as signs of Mary’s virginity in his
Virgin of the Chapel,
the interplay of shadows in the interior depicted in
The Family of Lucas Bremer,
for example). Van Huys’s mastery lies in his incisive delineation of both people and objects and in his approach to the most testing problems in painting at the time, such as the plastic organisation of surface, the seamless contrast between domestic half-light and bright daylight, the way shadows change according to the nature of the material on which they fall.
    Surviving works:
Portrait of the Goldsmith Guillermo Walhuus
(1448), Metropolitan Museum, New York.
The Family of Lucas Bremer
(1452), Uffizi Gallery, Florence.
The Virgin of the Chapel (c.
1455) Prado Museum, Madrid.
The Money Changer of Louvain
(1457), private collection, New York.
Portrait of the Merchant Matteo Conzini and His Wife
(1458), private collection, Zurich.
The Antwerp Altar-piece (c.
1461), Pinacoteca, Vienna.
The Knight and the Devil
(1462), Rijksmuseum, Amsterdam.
The Game of Chess
(1471), private collection, Madrid.
The Ghent Descent from the Cross (c.
1478), St Bavon Cathedral, Ghent.
    By four in the morning, her mouth rough from too much coffee and too many cigarettes, Julia had finished her reading. The story of the painter, the painting and its subjects were at last becoming almost tangible. They were no longer just images on an oak panel, but living beings who had once occupied a particular time and space in the interval between life and death. Pieter Van Huys, painter, Ferdinand Altenhoffen and his wife, Beatrice of Burgundy. And Roger de Arras. For Julia had come up with proof that the knight in the painting, the chess player studying the position of the chess pieces with the silent intensity of one whose life depends upon it, was indeed Roger de Arras, born in 1431, died in 1469, in Ostenburg. She was absolutely convinced of that, just as she was sure that the painting, made two years after his death, was the mysterious link that bound him to the two other people and to the painter. A detailed description of that death lay on her lap, on a page photocopied from Guichard de Hainaut’s
Chronical:
    And so it was, at the Epiphany of the Holy Kings in the year of our Lord fourteen hundred and sixty-nine, that when Master Ruggier was taking his customary walk along the fosse known as that of the East Gate, a crossbowman posted there did shoot him straight through the heart with an arrow. Master Ruggier remained in that place crying out for his confession to be heard, but by the time help came, his soul had already slipped free through the gaping mouth of his wound. The death of Master Ruggier, a model of chivalry and a consummate gentleman, was sorely felt by the French faction in Ostenburg, the faction he was said to favour. That tragic fact led to many voices being raised in accusation against those who favoured the house of Burgundy. Others attributed the