Why Jan Van Eyck, the preeminent artist of the Early Netherlandish School, would have painted two nearly identical versions of St. Francis of Assisi Receiving the Stigmata, one now in the Philadelphia Museum of Art and one four times larger in the Galleria Sabauda in Turin, is examined in this volume.Both paintings have been recently conserved, and new scientific evidence published here, such as that revealed by examination with infrared reflectography and dendrochronological analyses, provides a broader platform from which to study these two precious objects. The authors include scholars internationally known for their research in Early Netherlandish painting