Van Dyck

VAN DYCK

THE GREAT METERS IN PAINTING
AND SCULPTURE.

The following Volumes have been issued^ price 51. net each,

BOTTICELLI, By A, STRBETER.
, BRUNELLESCHI. By LEADER SCOTT.

- CORREGGIO. By SELWYN BRINTON, M.A.
CRIVELLI. By G. MCNEIL RUSHPORTH, M.A.

*DELLA ROBBIA. By the MARCHESA BURLAMACCHL

ANDREA DEL SARTO. By H. GUINNESS.

DONATELLO. By HOPE REA.

GERARD DOU. By W. MARTIN, Ph.D.

GAUDENZIO FERRARI, By ETHEL HALSEY,
" FRANCIA. By GEORGE C. WILLIAMSON, Litt.D.

- GIORGIONE. By HERBERT COOK, M.A.
GIOTTO. By F. MASON PERKINS.

FRANS HALS. By GERALD S. DAVIES, M.A.
LUINI. By GEORGE C. WILLIAMSON, Litt.D.
MANTEGNA. By MAUD CRUTTWELL.
MEMLINC. By W. H. JAMES WEALE.

MICHAEL ANGELO. By LORD RONALD SUTHERLAND GOWER, F.S.A.
* PERUGINO* By GEORGE C. WILLIAMSON, Litt.D.
PIERO DELLA FRANCESCA. By W. G. WATERS, M.A.
PINTORICCHIO. By EVELYN MARCH PHILLIPPS.
RAPHAEL. By H. STRACHEY.
REMBRANDT. By MALCOLM BELL,
RUBENS. By HOPE REA.
SIGNORELLI. By MAUD CRUTTWELL.
SODOMA. By the CONTESSA LORENZO PRIULI-BON.
TINTORETTO. By J. B. STOUGHTON HOLBORN, M.A.
VAN DYCK. By LIONEL GUST, M.V.O., F.S.A.
VELASQUEZ. By R. A. M. STEVENSON.

- LEONARDO DA VINCI. By EDWARD McCuRnv, M.A.
WATTEAU. By EDGCUMBE STALBY, B.A.

WILKIE. By LORD RONALD SUTHERLAND GOWER, F.S, A.
Others to follow.

LONDON; GEORGE BELL AND SONS,

Van

S)*u-ke>

'V A

BY

LIONEL CUST, M.V.O.

SURVEYOR OF THE KING'S PICTURES AND WORKS OF ART, DIRECTOR AND
SECRETARY OF THE NATIONAL PORTRAIT GALLERY, ETC. , ETC.

LONDON

GEORGE liELL AM* S-.;\s
1906

CHISWICK PRESS : CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

PREFATORY NOTE

AT the publishers' request this condensed version of the
exhaustive treatise on the life and works of " Anthony
Van Dyck," by Mr. Lionel Cust, published in 1900, has
been prepared by the author for the series of " Great
Masters in Painting and Sculpture,"

The work has been mainly one of excision, but the
opportunity has been utilized to add some new facts
which have recently come to light, and thus to bring the
essay up to the level of present day knowledge.

November, 1906.

TABLE OF CONTENTS

PAGE

PREFATORY NOTE v

LIST OP ILLUSTRATIONS ix

CHAPTER I.

Rubens and the Flemish School of Painting Birth and
Parentage of Anthony Van Dyck Van Dyck in the studio
of Van Balen Early paintings by Van Dyck ....

CHAPTER II.

Van Dyck in the studio of Rubens Difficulty of dis-
tinguishing their Works Early Portraits by Van Dyck . 12

CHAPTER III,

Portraits of Van Dyck by Himself TheEarl and Countess
of Arundel - Van Dyck leaves Rubens First Visit to
England Return to Antwerp and Departure for Italy
Arrival at Genoa Visit to Rome, Florence, and Venice . 22

CHAPTER IV.

The Chatsworth Sketch-BookInfluence of Titian-
Early Paintings in Italy St. Martin Van Dyck at
Venice, Rome, and Genoa Cardinal Bentivoglio ... 32

CHAPTER V.

Portraits by Van Dyck al Genoa Brignole-Sala, Spinola,
Imperiale Doubtful Portraits Other Paintings by Van
Dyck at Genoa Visit to Palermo Sofonisba Anguissola 41

CHAPTER VI.

Other Portraits by Van Dyck at Genoa Langlois, the
De Waels Return to Antwerp Death of his Sister Cor-
nelia Van Dyck makes his Will 53

CHAPTER VII.

Van Dyck's Sacred Paintings Memorial to his Father
vii

viii TABLE OF CONTENTS

PAGE

Paintings at Ghent, Termonde, Mechlin, and Courtray
The Nood Gods Samson and Dalila Secular Paint-
ings 6%

CHAPTER VIII.

Portraits painted by Van Dyck at Antwerp The Regent
Isabella, De Moncada, and others Marie Luigia de
Tassis Marie de j Medici 69

CHAPTER IX,

Van Dyck invited to England Rinaldo and Armida
Reasons for leaving Antwerp Sir Balthasar Gerbier
Arrival in England Henrietta Maria and Theodorus
Van Dyck Return to Antwerp Paintings for the Court
at Brussels The Cardinal Infant Return to Antwerp
and England , 7&

CHAPTER X.

The Portraits of Charles I, Henrietta Maria, and the
Royal Family ; Other Paintings by Van Dyck for Charles I 88

CHAPTER XL

Van Dyck at the English Court Mytens and Cornells
Jansen the Great Families of Villiers, Stuart, Herbert,
Wharton, Gary, Wriothesley the Cavaliers and their
Portraits Laud and StrafFord 101

CHAPTER XII.

Van Dyck's Friends at Court Arundel, Endymion Porter,
Inigo Jones, and others His Life at Blackfriars Ladies
of the Court His Method of Painting Latest Portraits
of Himself Van Dyck's Marriage Death of Rubens
Van Dyck revisits Antwerp Van Dyck at Paris Return
to England and Death of Van Dyck no

CHAPTER XI II.

Engraving in the Netherlands The Iconographie of Van
Dyck Van Dyck as an Etcher 121

CATALOGUE OF THE PRINCIPAL PAINTINGS BY SIR AN-
THONY VAN DYCK IN PUBLIC GALLERIES 131

INDEX 148

LIST OF ILLUSTRATIONS

TO FACE
PAGE

Anthony Van Dyck . Collection of the Duke of Graf ton, K*G.

Frontispiece

The Good Samaritan Collection of Prince Sanguszko, Galicia 14

M. Vinck . . Collection of M. Francois Schottaert, Louvain 18

Lady and Child . . . . Collection of the Earl Brownlow 20

St. Martin dividing his Cloak .... Saventhem Church 34

Cardinal Bentivoglio Palazzo Pitti } Florence 36

Anton Giulio, Marchese di Brignole-Sala

Palazzo RossO) Genoa 42

Andrea Spinola . . . Collection of Capt. Heywood-Lonsdale 44

Daedalus and Icarus . Collection of the Earl Spencer ^ K.G. 46
The Virgin and Child with St. Anthony of Padua

Brera Gallery ', Milan 48

The Crucifixion ..... Fine Arts Museum^ Antwerp 50

The Lamentation over Christ . Fine Arts Museum^ Antwerp 52

Frangois Langlois dit Ciartres Collection of Mr. W. Garnett 54

Frans Van Der Borcht .... Ryksmuseum^ Amsterdam 56

Cesare Alessandro Scaglia . . . Collection of CapL Holford 60

Venetia, Lady Digby Windsor Castle 82

Queen Henrietta Maria with Geoffrey Hudson, the dwarf

Collection of the Earl Fitswilliam 88

Charles I National Gallery 90

The Three Children of Charles I .... Turin Gallery 96

The Five Children of Charles I ..... Windsor Castle 96

ix b

x LIST OF ILLUSTRATIONS

TO FACE
PAGE

Mary Villiers, Duchess of Richmond and Lenox with Mrs.
Gibson the dwarf

Collection of the Earl of Denbigh and Desmond 100
Lord John and Lord Bernard Stuart

Collection of the Earl of Darnley 102

Philip, Lord Wharton . Hermitage Gallery -, St. Petersburg 104
George Digby, second Earl of Bristol, and William, first Duke

of Bedford . . . Collection of the Earl Spencer, K*G. 106
William Villiers, Viscoutit Gran di son

Collection of M.Jacob Her zog 106

Archbishop Laud . . . Collection of the Earl Fitzwilliam 108
Thomas Went worth, Earl of Stratford, and his Secretary, Sir

Philip Mainwaring. . Collection of the Earl Fitzivilliam no
Thomas Howard, Earl of Arundel, and his grandson

Collection of the Duke of Norfolk, K.G. 112
Thomas Killigrew and Thomas Carew . . Windsor Castle 112
James Stanley, seventh Earl of Derby, and Charlotte de la
Tremouille his wife, with their daughter

Collection of the Earl of Clarendon \ 1 4
The Virgin and Child, with the Abb Scaglia

Collection of Miss Alice de Rothschild 1 1 6
Dorothy Sidney, Countess of Sunderland

Collection of the Duke of Devonshire, K.G. nS
The Virgin and Child, with St. Catherine

Collection of the Duke of Westminster 120

ANTHONY VAN DYCK

CHAPTER I

Rubens and the Flemish School of Painting Birth and Parentage
of Anthony Van Dyck Van Dyck in the studio of Van Balen
Early paintings by Van Dyck

ON August 27, 1576, the great sun of Titian's genius
set for ever at Venice. The rays of this glorious
sunset, the close of a life that had known no winter,
nothing but the beauty of spring, the fulness and plenty
of summer and autumn, irradiated the whole world of
art with gorgeous hues and strange wonderful forms of
cloud and sky, as when a traveller should stand upon
the Zattere at Venice, and gazing across the burning
lagoon, should watch the sun going down behind the
tomb of Petrarch in the Euganean Hills. For years to
come that sunset lasted through Italian Art The dawn,
however, of a new day was to break elsewhere. On June
28, 1577, there was born north of the Alps a painter
destined to fill for the ensuing generation the throne of
authority that the mighty painter of Cadore had left
vacant. That painter was Peter Paul Rubens.

The Flemish school of painting had already passed
through a period of glory and renown. Under the
brothers Van Eyck, under Memlinc, Hugo Van der
Goes, Gerard David and others, the Flemish artists had

B

2 VAN DYCK

reached a high-water mark of painting, similar to that
attained by the Tuscan artists in the south. But the
secret of their art lay in its mediaevalism. Their art be-
longs to the period of the great northern cathedrals, to
the days of choirs and cloisters, of jewelled windows and
illuminated missals. It deals with an age of chivalry and
reverence, of pilgrimages and tourneys, of heraldry and
romance. The service of the Church is strangely blended
with the mystic lore of wizards and philosophers, and the
story of Christ, though supreme and triumphant, has
still to leave a considerable share in the popular imagi-
nation to the Sagas of the north. But when the bonds
of the Middle Age were loosed, and the novel air of the
Italian Renascence, fragrant with the aftermath of
classical antiquity, was once breathed by the artists of
the north, a new era began, one in which Rome became
the seat not only of the Church, but also of the Fine
Arts, and the fount from which alone, as it was thought,
true inspiration could be imbibed. The last rays of
Titian's sunset had faded from the sky, and from out of
the growing night of Italian art shone forth again the
twin beacon-lights of painting, the two immortals, the
Dioscuri of art, Raphael and Michelangelo, Attracted
by the brightness of those lights, the birds of passage
came from every country and every clime, and dashed
and battered their plumes in their futile attempts *to
attain to, even to see and comprehend, the serene per-
fection of Raphael or the terrible grandeur of Michel-
angelo.

The northern artists suffered perhaps more than any
others. Endowed by traditions of race and family with
facile skill, great industry and unflagging spirits, they

EARLY YEARS 3

poured forth acres of fatuous and insipid pseudo-classi-
cal imitations, of Raphael's paintings, both sacred and
profane, or else let their undoubted talent run riot in
exaggerated transcripts of Michelangelo, such as make
comic the works of Goltzius, Sprangher, or Marten van
Heemskerk. On this downward path the descent of
Flemish art was arrested by the supreme genius of
one man, Rubens, who, while remaining a thorough
Fleming to the backbone, turned his face away from
the artificial lights of Rome towards the true sunlight of
Venice. Surely one ray from Titian's sunset must have
fallen on the cradle of the infant Rubens in the north.
By the immense power of his genius and the monumental
solidarity of his art-work, Rubens not only brought to
a close the era of mediaevalism and Renascence, but he
also personally inaugurated a new era of Modern Paint-
ing, an era which was to open with the splendid genius
of Velazquez, of Van Dyck and Jordaens, of Rembrandt
and Frans Hals, an era to which no term has as yet
been put even at the dawn of the twentieth century.

Antwerp, the city which Rubens made his home
through life, was peculiarly well adapted, like Venice, to
be a home of the arts. As one of the great commercial
centres of the world, its waterways were among the high-
roads of civilization. Although the city of Antwerp
never enjoyed a position of autonomy and independence,
such as marked the prosperity of Venice and Genoa, it
enjoyed, under the rule of the Hapsburgs, a distinct posi-
tion of its own. The Flemish character is a strong one,
and remained undiluted by that of its Spanish or
Austrian governors. The sturdy independence of its
burghers, their great wealth, and the world -wide nature

4 VAN DYCK

of their commerce, made Antwerp the most precious
jewel in the crown of the Holy Roman Empire. Had it
not been for the terrible strife of religions, and the mis-
guided if honest attempts by the agents of the Church
of Rome to stifle or stamp out the irrepressible growth
of the reformed religion, Antwerp and the other cities of
the Netherlands might have enjoyed unbroken prosper-
ity. The Hapsburg race was one well fitted to rule the
world. In secular matters they showed wisdom and
often liberality, while from the days of Maximilian to
the present day, they have displayed real interest in the
promotion of the arts, and the general progress of science
and learning. Only in the cause of religion did they
show themselves unbending, tyrannical and even cruel.
In the hands of the Church they were as wax, and the
banner of Christ, when raised by them, became a
symbol of persecution and oppression, if not of actual
slaughter and even crime. The proud and lofty nature
of the Austrian and Spanish princes and grandees was
lavish and magnificent in its patronage. The arts were
by no means the least to profit from this/and the genius
of Rubens thus found a vent and a support, as a short
time later did the kindred spirits of Velazquez and Van
Dyck.

At Antwerp painting was regarded as one of the most
honourable trades. Its Guild, that of St. Luke, was
among the foremost in the city. Given natural gifts of
industry and talent, it was as likely for a youth to turn
his mind towards painting as a trade, as towards any
other more recognized branches of a commercial careen
At that date the burgher families of a city like Antwerp
seldom looked for their helpmates in life beyond the

EARLY YEARS 5

walls of their city, and the sons and daughters of artists
intermarried freely with those of the mercers, wine mer-
chants, notaries, and the like. There were probably few
families who did not rank one or more artists, if not In
their own circle, at all events within that of their relatives,
so that a hereditary disposition to art was easily ac-
quired and widely disseminated.

Among the busy merchants at Antwerp in the middle
of the sixteenth century was one Antoon Van Dyck,
who travelled, in the commercial sense, in silk and other
articles of haberdashery. In 1576, at the time of the
terrible massacre known as " The Spanish Fury " he oc-
cupied a house, called " den Hercules," in the Maanstraat
on the south side of the Grootmarkt, which fortunately
for him was too small to billet soldiers in, and so prob-
ably escaped looting and destruction. By 1579 he was
able to purchase a better house just off the Grootmarkt,
opposite to the Hoogstraat, known as " den Berendans."
Here he died on March 3, 1580. His widow, Cornelia
Pruystincx, carried on his business there until her death
in 1591. A portrait of her is preserved in the Estense gal-
lery at Modena, She was succeeded in " den Berendans"
and the mercer's business by her elder son, Frans Van
Dyck, her other children being a son, Ferdinand, and a
daughter, Catharina, married to Sebastian De Smit.

Frans Van Dyck had entered into partnership with
his brother-in-law, De Smit, in 1588, his mother hold-
ing the chief share in the business with a venture of
6,000 gulden, while each of the partners contributed
4,800 gulden apiece. Their business was extensive, as
merchants of silk, linen, woollen, and kindred materials,
and was chiefly transacted in Amsterdam, Paris, Cologne

6 VAN DYCK

and London. They seem to have been prosperous and
successful, and to have amassed a fair amount of wealth.

Frans Van Dyck married, in 1587, Maria, daughter of
Jan Comperis and Anna Viruli, his wife, but she died in
1589, after giving birth to a son, Jan, who did not
survive. A few months later Frans Van Dyck took a
second wife, Maria, daughter of Dirk Cuypers (or Cupers)
and Catherina Conincx, his wife. This marriage proved
happy and fruitful Children came fast, first a son, Frans,
and five daughters. The seventh child was a boy, born
in the house " der Berendans," March 22, 1599, and bap-
tized the next day in the great cathedral, being named
Antoon (Anthonis) after his grandfather. On Christmas
Day following the birth of Antoon Van Dyck, his parents
removed to 42 Korte Nieuw Straat and settled in a
house known as " het Kastel van RysseL" On March 3,
1 60 1, they changed this house for No. 46 in the same
street, known as"De Stat Gent." Five more children
followed Antoon, four daughters and a son, Theodorus,
but the birth of the twelfth child in 1607 cost their
mother's life*

Very little is known about the childhood of Antoon
Van Dyck. There is nothing known of his family
antecedents to suggest a hereditary tendency to art, but
tradition has handed down that his mother was particu-
larly skilled in the art of embroidery. As she died when
Antoon was but eight years of age, this cannot have had
any great effect upon his future career. The ledgers of
the Guild of St. Luke, however, contain some entries of
the name of Cuypers, which may refer to relatives of
Van Dyck's mother. In 1575 one " Heynrick Cuypers >f
is entered as " huysscilder," and as " meestersone." In

EARLY YEARS 7

1608 one " Servaes Cuypers " is presented as " leerjonger "
by " Robbert Berck, huysscllder," and the same Servaes
Cuypers was in 1609 admitted as "meester" and de-
scribed as "bourduerwerker," Possibly he may have been
a brother of Maria Cuypers, who was also skilled in
" bourduerwerk."

Frans Van Dyck was not only a busy merchant, but
he, like others of his calling, had a share in the adminis-
tration of the cathedral, holding the post of director of
the Chapel of the Holy Sacrament in the Cathedral*
He seems to have had a close connection with the
religious orders, for of his other children his youngest
son became a priest, one daughter, Anna, a nun, and
three, Susanna, Cornelia, and Isabella, became beguines.
The family lived a well-to-do, cultivated life. They
were fond of music and owned a clavichord, made
by the famous Ruckers, which became the property of
the eldest son, Frans Van Dyck, the younger. The
father never remarried, but in 1610 he exposed himself
to the attacks of one Jacomina de Kueck, who not only
published violent libels on him, but threatened to take
his life, so much that Frans Van Dyck had to seek the
protection of the law, with the result that the irate lady
found herself in gaol.

If, however, the immediate family of Antoon Van
Dyck cannot be shown with any certainty to have had
any actual professional relations with the fine arts, it is
certain that the friends with whom they chiefly associated
were artists. It was with the families of Brueghel, Snel-
lincx, De Jode, and De Wael, that Van Dyck's earliest
years are connected. These families were closely related
by marriage ties. Taking that of de Jode first, the

8 VAN DYCK

earliest engraver of that name, Gerard de Jode, was the
father of that Pieter de Jode, the elder, whose engrav-
ings rank among the finest of the Antwerp School.
Gerard's sister Helena was the first wife of Jan Snel-
Kncx, the painter. Snellincx married as his second wife
Paulina Cuypers, who may have been related to the
mother of Van Dyck. One of Gerard de Jode's daughters,
Gertrude, was the wife of Jan (or Hans) de Wael, the
painter, and mother of the brothers Lucas and Cornells de
Wael ; and another daughter, Elizabeth, was the wife of
Jan Brueghel, the famous painter. This Brueghel, " Flu-
weelen" or "Velvet" Brueghel, as he was called, was
highly esteemed at the court of the regents, Albert and
Isabella of Austria. In his landscapes Brueghel often
collaborated with another painter, Hendrik van Balen.
Hendrik van Balen was a typical painter of the Flemish
School, when it showed signs of decaying into the
graces and insipidity of an Italianised pseudo-classicism.
He had been with Rubens a pupil of Adam van Noort,
and remained in close friendship with his great contem-
porary throughout life* It is perhaps a mere common-
place of art-history to say that the best art-teachers are
usually but second- or third-rate practitioners themselves*
Van Balen was a consummate master of the technical side
of his art, and, if he failed to produce any painting of
importance or celebrity himself, he has attained immor-
tality as the master, first of Frans Snyders, and then of
Antoon Van Dyck.

One may assume without much difficulty that the
young boy, Van Dyck, after receiving the usual educa*
tion of a wealthy burgher's son, displayed quickly his
disposition to painting, and that it was at the advice of

EARLY YEARS 9

Jan Brueghel that he was placed as a pupil in the studio
of Hendrik van Balen, where he was joined shortly after-
wards by his bosom friend, Jan Brueghel, the younger.
In 1609 Hendrik van Balen was Dean (Opperdeken) of
the Guild of St. Luke at Antwerp, and among the ap-
prentices (leerjongers), inscribed in the Guild that year,
was " Antonius Van Dyck," entered by Van Balen him-
self. It is noteworthy that on the same day another boy
was inscribed as " leerjonger," " Jooys Soeterman," after-
wards to be well known as Justus Suttermans, court-
painter to the Grand Duke of Tuscany at Florence, and
a friendly rival to Van Dyck in Italy.

The style and manner of Rubens had already begun to
dominate the painting-schools of Antwerp, The sugared
puerilities and the bombastic monstrosities of the decadent
Flemish painters, even the Northern realism of the
Brueghels, the true parents of the later Dutch School,
were swept away or submerged by the colossal wave of
Rubens's genius. Only Rubens was possible in Antwerp,
and the young student learnt to imitate and copy him
in every respect Even such painters as Cornelis Schut,
Theodore Rombouts, Gaspar de Grayer, who sought to
pose as rivals to Rubens at Antwerp, found themselves
compelled to challenge the painter upon his own field,
one on which they were easily vanquished for all time.
It is easy to suppose that the boy Van Dyck was present
in the cathedral in 1610 at the age of eleven, when the
great painting of The Elevation of the Cross by Rubens
was first unveiled, and again two years later, when the
even more celebrated painting of The Descent from the
Cross was revealed to the sight of an enthusiastic multi-
tude. The effect upon Van Dyck's impressionable tern-

io VAN DYCK

perament must have been immense, and is evinced in
many ways during his subsequent career.

In Van Balen's studio the influence of Rubens was
naturally paramount, and it is easy to understand how
the young Van Dyck began from his tender years to
try and tread in the footsteps of his great compatriot.
It is uncertain, however, how long the boy remained in
Van Balen's studio. His progress must have been rapid,
and his development as a painter precocious, for it is re-
corded that in 1613, at the age of fourteen, he painted a
portrait of an old man that in 1804 was in the collec-
tion of one M. Joseph Antoine Borgnis at Paris.

In 1615 the young Van Dyck was living and working
independently of his father at a house called " den Dom
van Keulen," in the Lange Minderbroeder Straat (now
the Mutsaert Straat) at Antwerp. This appears from
lawsuits in 1617 and 1618 concerning the division of his
grandmother's property. It is remarkable that Van
Dyck, although under age, was specially permitted to
plead himself, as being a person of independent means
and position.

In 1660 one of the Canons of the Cathedral at Ant-
werp purchased a set of thirteen paintings by Van Dyck,
representing Jesus Christ and the Twelve Apostles, the
authencity of which paintings was called into question.
This led to a lawsuit, during the course of which some
interesting evidence was given by the painter Jan
Brueghel, the younger, Brueghel stated that he had
been the most intimate friend of Van Dyck in his youth-
ful days, and that they had lived together in the same
house, " den Dom van Keulen." There the young Van
Dyck had painted this series of heads, for one of which

EARLIEST WORK n

old Pieter de Jode, the engraver, had sat Moreover, the
series had been copied there by a youth, one Harmen
Servaes, apparently a pupil of Van Dyck, although the
latter was but sixteen or seventeen years old. Pos-
sibly Harmen was a son of the Servaes Cuypers men-
tioned before, and a relative of Van Dyck, so that the
young men were really living together as a kind of
family party. These paintings excited so much interest
that they were exhibited in the gallery at Antwerp
belonging to Willern Verhagen, a noted connoisseur and
art-dealer, where they were visited by many of the lead-
ing burghers and artists, including the great Rubens
himself. Fragments of this series of Christ and the
Apostles are to be found in the Gallery at Dresden, in
the Royal Palace at Schleissheim, and in the private
collections of Earl Spencer at Althorp and M. Adolphe
Thiem at San Remo. The whole set was engraved by
Cornelis van Caukerken,

These paintings brought the young painter quickly
into notice, but it is difficult to assign any works with
certainty to this period of his career. Portraits he no
doubt painted, as one of the easiest footsteps to fortune
for a young artist He tried his hand perhaps at history.
Under any circumstances, Van Dyck was in February,
1618, admitted to the freedom of the Guild of St Luke
at Antwerp, an unusual distinction for so young a man.
He was also admitted through his father to the freedom
of the city of Antwerp. Very soon after, Van Dyck
began his connection with Rubens.

CHAPTER II

Van Dyck in the Studio of Rubens Difficulty of distinguishing
their Works Early Portraits by Van Dyck

IT would seem quite clear that Van Dyck was never
in any way a pupil or apprentice of Rubens. There
is no evidence to show that, among the host of young
artists working in the schools of Van Balen and others,
the boy Van Dyck had been singled out for notice by
the great painter, their ideal monarch, until the exhibition
of the series of Apostles in Verhagen's gallery. Van
Dyck's early admission to the Guild of St. Luke shows
that he was looked upon as a finished painter. Rubens
himself did not keep a painting-school for youths. What
he required was a number of skilled assistants to aid in
the work of the vast picture-manufactory over which he
presided. In the great house, which Rubens built for
himself at Antwerp, he divided his work, as it would
appear, between a special studio of his own, to which no
one was admitted, and one or more large studios, in which
his assistants were engaged on drawing out or laying the
colour of those vast decorative compositions, sacred and
profane, with which the name of Rubens is usually
associated.

It was the practice of Rubens at the zenith of his
career to make a sketch of his composition in lightly
coloured monochrome. This was handed to his assistants,

12

THE STUDIO OF RUBENS 13

who then drew it out on the canvas according to the
required scale, and laid in the colours to a greater or less
extent, as the master directed. The paintings were in
most cases actually finished or corrected by the master's
own hand. Rubens, in his letters to Sir Dudley Carleton
and others, is careful to distinguish between the paintings
which were wholly the work of his own hands, or chiefly
that of his assistants and finished by him, or really car-
ried out by his assistants alone.

Van Dyck was already noted for the precision of his
draughtsmanship and his mastery of the technical side
of his art, although certain mannerisms were even now
to be detected. To Rubens such an assistant would be
invaluable, while to a young painter, the introduction to
Ruben's studio insured a speedy recognition by the
public. It was there that the art-patronage of the Nether-
lands found its chief centre.

According to the art-historian Bellori, Van Dyck was
first employed by Rubens to make reduced copies of his
paintings for the engraver to copy. The Battle, of The
Amazons being specified as one copied by Van Dyck in
this way for the engraver, Lucas Vorsterman. This was
work requiring great though somewhat mechanical
skill and precision. Bellori also states that Rubens
employed Van Dyck not only in copying, but also in
drawing out great cartoons from his sketches. Among
these latter works was a series of large cartoons, designed
r for tapestry, representing " The History of the Consul
Deems Mus. These cartoons were not only drawn out
but also painted by Van Dyck, and now hang in the
Liechtenstein Gallery at Vienna.

It can hardly be doubted that it was in the house of

i 4 VAN DYCK

Rubens that Van Dyck first came under the influence
and felt the inspiration of Titian and the Venetian
painters. This influence is shown in the very earliest
historical paintings by Van Dyck, some of which he is
credited with having completed before he entered the
studio of Rubens. The earliest of these is supposed to
be a painting representing The March to Calvary ', which
forms one of a long series illustrating the Passion of
Christ, commissioned in 1617 for the Dominican Church
of St. Paul at Antwerp, where the pictures still hang.

Another painting of the same date is the remarkable
representation of The Good Samaritan^ belonging to
Prince Sanguszko at Podhorce in Galicia. A preliminary
sketch for The Good Samaritan belongs to M. Bonnat of
Paris. In the- painting the composition is completed by
the head of a spirited white horse, and this motive forms
a link 'with a picture of St. Sebastian bound to a Tree in
the Munich Gallery, where a white horse is introduced
with a similar effect.

It is difficult to establish with any certainty the
relations between Rubens and Van Dyck. The life of
the elder painter shows that his character was large and
noble, and, as in his paintings his ideas were always
on a large scale, so in his life he was incapable of any-
thing mean or petty. Conscious of his own unassailable
pre-eminence, he could afford without loss of dignity
to take a kindly and paternal interest in those artists,
painters, engravers or sculptors, who came beneath his
sway. Between Rubens and Van Dyck affectionate rela-
tions seem to have been maintained from the outset, and,
if any jealousies or sensations of rivalry were ever felt, it
is more likely that they would have originated with the

THE STUDIO OF RUBENS 15

rather femifiine and self-appreciative mind of Van Dyck
than with the broad and generous character of Rubens.

It can hardly have been without the consent and ap-
proval of Rubens that Van Dyck was able not only to
become a skilful imitator' of his master's style, but also to
paint a number of repetitions, more or less exact, of
Rubens's paintings, which form one of the most difficult
problems for modern art critics to decide. In some cases,
where exactly similar compositions exist, it is not diffi-
cult to discern between the works of the two masters,
since the versions by Van Dyck, which, if considered as
originals, might have excited well-placed admiration, fall
short of the originals by Rubens in vigour of conception or
execution even if they add a touch of expression and in-
tensity, something of an ideal which the elder master
often fails to give.

In the case of St. Ambrose and the Emperor Theodosius>
in the National Gallery, it is easy to see that this is a
little more than a reduced copy of the large picture of
the same subject by Rubens in the Imperial Gallery at
Vienna, though the alterations in the design are rather
to the credit of the younger painter.

It is more difficult to speak with certainty of a few
paintings which have for many years been attributed to
Rubens, but in which the hand of Van Dyck appears to
be all-pervading. The most important, perhaps, of these
is the great canvas representing The Raising of The
Brazen Serpent, in the Prado Gallery at Madrid, which
bears a large signature of Rubens, its very size being a
cause for suspicion, but appears to be entirely the work,
if not entirely the composition, of Van Dyck.

It is certain that Van Dyck ranked highest among the

16 VAN DYCK

assistants of Rubens. There is a well-attested tale, told
by Edelinck, the engraver, to Mariette, the great collector,
xvhich narrates that one day, when Rubens was out for
his morning ride on the banks of the Scheldt, his assistants
persuaded his housekeeper to let them have the key of
his private studio, where there was an unfinished picture,
according to Mariette that of The Virgin with St.
Sebastian and other Saints, for the high altar of the
Augustinian church at Antwerp. One of the young
men, it is said Diepenbeck, was unfortunate enough
to injure the painting, to the dismay of all, for it was
a piece of flesh-painting, which no one of them could
replace. Their only hope lay in Van Dyck, who repaired
the injury. Rubens, however, discovered the alteration
at once, but was generous enough to acknowledge the
excellence of Van Dyck's work, and to allow it to remain
as it was upon the picture.

Again, in March, 1620, the Father Superior of the
Jesuits in Antwerp. Frangois d'Aiguillon, entered into
a contract with Rubens to supply a series of thirty-nine
paintings for the new church of the Jesuits of Antwerp,
in the designs for which Rubens had a large share* Tfye
Father Superior stipulated that all the sketches should
be made in small by Rubens himself, but that they should
be completed by Van Dyck, whom he named especially,
and the other assistants, according as the subject or place
demanded. Further, the Father Superior promised to
Van Dyck that he should paint one of the pictures for
the smaller altars in the church with his own hand.

To estimate the share due to Van Dyck, in any of the
completed paintings by Rubens, is a task in which only
a patient and careful student could hope to succeed.

THE STUDIO OF RUBENS 17

Even M. Max Rooses of Antwerp, who has made a life-
study of the life and work of Rubens, speaks with an un-
certain note upon the subject. 1

It is possible that the numerous studies of heads, so
fine in character and expression, which are to be found
in many collections, and seem in most cases to be the
work of Van Dyck, were studies made by Van Dyck in
the studio of Rubens, and utilized by his master in his
great pictures. Among such studies may be reckoned
the various sketches of a Negro's Head, the best and
most striking of which is the splendid set on one canvas
in the Royal Gallery at Brussels, where it ranks among
the finest of the works attributed to Rubens. Some
other important sketches of a negro are in the collection
of the Earl of Derby.

Bellori narrates how Rubens perceived that Van Dyck
was acquiring much skill in imitating his style, and was
showing tendencies of a desire to become a rival, so that
in order to divert him from this object he encouraged
Van Dyck to paint portraits, and extolled his assistant
so highly as a portrait-painter that many visitors to
Rubens's studio were moved to have their portraits taken
by Van Dyck. This has been construed into a proof
of jealousy upon the part of Rubens, who is credited with
dissatisfaction at the growing reputation of Van Dyck.
There is no reason for such a suspicion. Rubens may
have felt it inconvenient to have so advanced an assist-
ant, who might wish to be a rival, but he can hardly
have feared any serious competition. On the other hand,
an artist of Rubens's age and experience could not have

1 See on this subject " Rembrandt und Seine Zeitgenossen," by
W. Bode (Leipzig, 1906).

C

Z 8 VAN DYCK

failed to see that the genius of Van Dyck was to be found
in the domain of portraiture, and was therefore justified
in trying to steer the young painter into the proper course.

Although the special genius of Van Dyck for portrait-
ure was displayed quite at the outset of his career, it
was not likely that in this branch of art Van Dyck would
at once strike out a path for himself, different from and
independent of his contemporaries. Rubens had already
established a fine tradition in portraiture, although his
portraits, like those of Titian and Tintoretto, excel in the
first place as paintings, and are only in a less degree de-
pendent on their fidelity in transmitting a likeness or in-
terpreting a character. Considering the close relations
between Rubens and Van Dyck it is not surprising to find
that many portraits which have been credited to Rubens,
are in reality the work of his young and brilliant assistant.
It is probable that Van Dyck was also influenced by the
portraits painted by Cornells de Vos, which are remark-
able for many of the qualities shown in the earlier
portraits by Van Dyck, though they have nothing of the
grace and elegance which are usually associated with
the name of Van Dyck. Many of the early portraits by
Van Dyck can with difficulty be distinguished from those
by De Vos, as, for instance, in the case of two portraits
in the Museum at Antwerp which bear the name of De
Vos but may be by Van Dyck. De Vos also seems to
have been the originator of the family portrait, which
theme Van Dyck subsequently developed with such
conspicuous success.

The early portraits by Van Dyck are marked by a
great simplicity of costume, especially in those of men,
who wear for the most part plain black clothes, and a

Collection oj]

[M. Franfois Sckollaert, Lomxiitt

M, VJNCK

EARLY PORTRAITS 19

ruff folded in flat pleats. The heads are modelled in a
marvellous way, showing that at the age ot nineteen or
twenty Van Dyck had mastered completely the most
important side of the portrait-painter's art It is on the
head, and the character expressed therein, that the por-
trait depends entirely for its effect. This is particularly
well shown in the famous portrait of Cornells van der
Geest, a noted amateur and patron of the arts at Antwerp,
which is one of the most highly prized treasures of the
National Gallery. In this the art of the portrait-painter
seems to reach its highest point, and yet it is the work
of a painter at the latest in his twenty-first year. With
this portrait may be linked that of Jan Brueghel, the
elder, in the Munich Gallery, remarkable for the fine
modelling of the hand ; and the double portrait of the
painter Hans de Wael and his wife, also in the Munich
Gallery.

In the portraits of ladies Van Dyck shows a closer
affinity, perhaps due to the costume, to the portraits by
Cornells de Vos. The younger ladies are clad In rich
dark brocade or figured silk dresses, open so as to show
very rich bodices embroidered on a gold ground. They
usually wear a circular ruff, pleated in stiff vertical folds,
and rich lace cuffs at the wrists. Their hair is drawn
back tightly from the forehead, and bound by a jewelled
or richly ornamented cap or fillet at the back of their
head. They wear rich bracelets, or gold chains round
their waists, and have every appearance of health, riches,
and prosperity. Two portraits of young Flemish ladies
in the Liechtenstein Gallery at Vienna are good examples
of this style of portrait More sedate is the charming lady
who sits in a large chair, in the portrait belonging to the

20 VAN DYCK

Earl of Denbigh at Newnham Paddox (erroneously called
Lady Kynelmeeky), The composition is sometimes
varied by the introduction of a child, this pleasing group
being well shown in the Lady and Child in the Hermitage
at St. Petersburg, sometimes known as Suzanne Fourment
and her daughter Catherine (often attributed to Rubens),
and the fascinating Lady and Child with the laughing
baby in mauve silk, which belongs to Earl Brownlow at
Ashridge. But in some of these portraits there is an
Italian note, which must be alluded to hereafter.

Foremost among Van Dyck's friends was Frans Snyders,
the animal-painter, whose delicate wistful face Van Dyck
took a special pleasure in painting. Van Dyck painted
him and his wife, Margaretha de Vos, together in one
picture, now in the Cassel Gallery; also companion por-
traits of Snyders and his wife, which were formerly in
the Orl6ans Collection, and are now separated, the
portrait of Snyders finding a home in the collection of
tho Earl of Carlisle at Castle Howard, and that of his
wife at Warwick Castle, A noble head of Snyders alone
is in the Liechtenstein Gallery at Vienna, A beautiful
family group of three heads in the Hermitage Gallery at
St. Petersburg, called Snyders and his Family, perhaps
represents Van Dyck's friend, Jan Wildens, of whom he
painted a fine head, now in the Gallery at Cassel A
group in the collection of Lord Barnard at Raby Castle,
called Snyders and his Wife, probably represents one or
other of the painters De Vos and his wife, and may be
the work of Cornells de Vos.

Among the various commissions which Rubens was
wont to receive from the Regents, the Archduke Albert
and Isabella Clara Eugenia, were equestrian portraits

Collection of}

[the Earl

LADY AND CHILD

EARLY PORTRAITS 21

in the manner of an apotheosis of Isabella's father
and grandfather, Philip II of Spain and the Emperor
Charles V. A portrait of this description representing
Philip II is among the pictures by Rubens at Windsor
Castle. Another of these, that of Charles V on a white
horse with the eagle of fame above him was clearly inspired
by Titian and painted by Van Dyck : it is now in the
Uffizi Gallery at Florence.

CHAPTER III

Portraits of Van Dyck by Himself The Earl and Countess of
Arundel Van Dyck leaves Rubens First Visit to England-
Return to Antwerp and Departure for Italy Arrival at Genoa
Visit to Rome, Florence, and Venice

VAN DYCK had now grown his wings, and was
ready to fly. Precocity had given place to adolescent
maturity. At the age of twenty-one the painter is ready
to take his place among the great artists of the world.
It is easy to form a picture of the youthful Van Dyck's
appearance at this age, since throughout life he was his
own model or sitter on several occasions. In the gallery
of the Academy at Vienna there is a portrait of a youth,
evidently by Van Dyck, in which his own features can
be discerned. A fresh and delicate face, well-formed
features, the nose and chin well-shaped, the mouth some-
what sensuous, though obstinate in character, light
chestnut-coloured hair falling in waving clusters over his
forehead and about his ears, a suggestion of a feminine
rather than a virile type such are the general character-
istics of the face, which alter but little during life. He
was short of stature, and of slender figure. His hand was
long and sensitive, with straight fingers almost parallel
to each other, a hand which it is easy to recognize in many
of his portraits. The lack of virility is further shown by the
slow growth of the hair onhis face, for even at twenty-one

22

VISIT TO ENGLAND 23

his cheeks appear as smooth as those of a boy of sixteen.
His own portrait can be recognized, according to M.
Hymans, in a series of sketches, representing a youth
playing on a flute in the Prado Gallery at Madrid, The
portrait is more clearly defined in similar paintings of a
year or two later, belonging to the Duke of Grafton and
the Duke of Devonshire, in the Hermitage at St.
Petersburg, and in other collections, a smaller version of
which is in the National Gallery, and in the portrait of
himself in the Munich Gallery, where he appears already
as the possessor of a golden chain of honour. The portraits
throughout life bear out the painter's character, such as
can be learnt from his life and works. Van Dyck betrays
a nervous and obstinate disposition. He is ambitious,
quick to learn, appropriate, and assimilate the ideas of
others ; never quite content with or confident in his own
supreme genius for portrait-painting, ever ready to receive
some new emotion in painting; indolent and luxurious
in his life, but at the same time strongly individual, proud,
and sensitive; quick to feel a slight or take offence, and
careless of giving offence to others. With such feminine
traits in his character, Van Dyck presents a strong
contrast to his master, Rubens, and his other Flemish
friends and contemporaries,

It was not likely that so uneasy a spirit would remain
long in a position of inferiority or subordination. A
suitable exit from Rubens's studio was provided for Van
Dyck by an English lady, Alethea Talbot, wife of that
Thomas, Earl of Arundel, who is renowned throughout
the history of art as one of the greatest amateurs and
art-patrons. Arundel was well known in the Netherlands,
and had already had dealings with Rubens. He may

24 VAN DYCK

himself have noticed the young Van Dyck, but there is
nothing to prove this. In June, 1620, the Countess of
Arundel left England intending to take her two sons to
Italy for their education. She arrived in Antwerp and
made some stay there, in order that a double portrait of
her husband and herself might be painted by the great
Rubens. It is clear that Arundel did not accompany her, .
for on July 17 one of her suite writes to the earl from
Antwerp (in Italian) and speaking of the Countess, sitting
to Rubens, adds: "Van Dyck is always with Signor
Rubens, and his works are beginning to-be scarcely less
esteemed than those of his master. He is a young man
of one and twenty, with a father and mother in this city
who are very rich, so that it is difficult for him to quit
these parts, all the more because he sees the fortune
which Rubens is enjoying."

The next piece of information comes from Sir Dudley
Carleton, the friend and correspondent of Rubens, who
seems to have commissioned Tobie Matthew, a well-
known political agent, to obtain some painting by Van
Dyck. Matthew writes to Carleton from Antwerp on
November 25, 1620, saying:

" Your Lordship will have heard how Van Dike his
famous Allievo is gone into England, and that the Kinge
hath given him a Pension of 100 per annum. I doubt he
will have carried the desseigne of this piece into England ;
and if he have, I durst lay my payre of hands to a payre
of gloves, that he will make a much better Piece than
this is for halfe the money that he asks. Perhaps I am
deceaved; but I thought it fitt to tell your Lordship
playnly all that I knowe, or feare in this ; though I doubt
not but your Lordship will dexterously governe the

VISIT TO ENGLAND 25

knowledge of it, for else this fellow will flye upon me.
Yet please your selfe, for I am at a poynt."

It is evident from Matthew's letter that " this fellow,"
even at the age of twenty-one, was by no means an easy
person to deal with.

The visit to England was, however, but a short one,
and it is uncertain how Van Dyck was employed. James I,
was not a connoisseur of painting, like his sons Henry
and Charles, but he liked having his portrait painted, and
distributed the likeness of the royal Solomon broadcast
When Van Dyck came to England James had lately lost
his royal consort. It is certain that at some time or
another Van Dyck painted for the King of England full-
lengths of James I, Queen Anne, and Henry, Prince of
Wales, all of them copies from whole-length portraits by
Paul Van Somer. The original portraits, with the copies
by Van Dyck, still remain in the royal collection. It
may have been for these services that Van Dyck received
payment from tlj King by an order dated February 16,
1620-1, to pay

"To Anthony Vandike the sofne of one hundred
pounds by way of reward for speciall service by
him performed for his Ma tie without accompt
imprest or other charge to be sett upon him for
the same or for anie part thereof. "

Twelve days later, on February 28, a pass was issued,

" for Anthonie Van Dyck, gent, his Ma ties servaunt to
travaile for 8 months he havinge obtayned his
Ma ties leave in that behalf as was sygnified by the
E. of Arundell"

26 VAN DYCK

Nothing more is known of Van Dyck ? s first visit to
England. He probably painted the portrait of his patron,
the Earl of Arundel, perhaps the noble seated portrait
now in the collection of the Duke of Sutherland at
Stafford House. Van Dyck may have been disappointed
at the employment given him by the King. He seems
to have insisted upon having his pension of ^100 paid
down to him at once, and in its entirety. Probably in his
desire to emulate the fame and fortune of Rubens, he
informed Arundel of* his wish to follow in his master's
footsteps and complete his education as a painter in Italy*
Arundel may have on the strength of this obtained the
King's leave for Van Dyck to be absent for eight months,
and furthermore an advance of the painter's whole pension
for the year. It would seem under any circumstances
that the King expected him to return.

Van Dyck returned to his native city of Antwerp as
the servant of a king, and it is improbable that he resumed
his place in the studio of Rubens. A proof of his intimacy
with Rubens and his household is shown by the remark-
able portrait which Van Dyck painted of Rubens's first
\vife, Isabella Brant, which is now in the Hermitage
Gallery at St. Petersburg. This portrait contains also a
view of the great arch and portico which formed the
approach to the house of Rubens through the garden.
Scandal has not hesitated to suggest, on the slightest
possible grounds, that the charming young painter
seemed to Rubens to be too much of an attraction to the
lively Isabella, and that for that reason Rubens did his
best to hasten the projected journey of Van Dyck to
Italy.

The eight months' leave accorded to Van Dyck by

VISIT TO GENOA 27

James I had actually expired before the painter really
set forth upon his travels. Rubens was himself about to
start, if he had not already done so, for that journey to
Paris which resulted in the famous series of paintings
done for Queen Marie de' Medici in the Palais de
Luxembourg. The two painters parted on affectionate
terms. Van Dyck painted a portrait of himself and
Rubens together, which he presented to his master, in
addition to the portrait of Isabella Brant and other
paintings from his hand. Rubens in return is said to
have given to Van Dyck the best horse in his stables,
and Rubens was no mean judge of horses.

On October 3, 1621, Van Dyck left Antwerp in
company with Cavaliere Giovanni Battista Nani, a
Venetian by birth and a friend of Rubens. They spent
a few days at Brussels, and thence proceeded to Genoa,
where they arrived on November 21 following. Genoa
ranked with Venice and Antwerp among the great mari-
time centres of commercial activity. Among the Flemish
artists who had settled in Genoa were two brothers, Lucas
and Cornelis de Wael, sons of the painter, Hans de Wael,
and Gertruyt de Jode, the friends with whom Van Dyck
had been so intimate in his youth. His early comrade,
Jan Brueghel, the younger, either accompanied Van Dyck
to Genoa, or was already residing there when he arrived.
Rubens had spent some time at Genoa about twenty
years before, and the memory of his presence there would
insure a hearty welcome to one so strongly recommended
by Rubens as Van Dyck.

Among his compatriots, therefore, Van Dyck would
feel himself to be no stranger in Italy. His mind was
already full of the wondrous creations of Titian and

28 VAN DYCK

Paolo Veronese, which he had seen in the house of Rubens.
His impressionable nature lent itself readily to the
influence of Italy and Italian art. The patricians and
merchant princes of Genoa provided in their palaces
plenty of material for the youthful artist to study and
admire.

Although it was the ambition of Van Dyck to excel as
a painter of history, and the journey to Italy was under-
taken with this object, it may be imagined with reason
that it was by portrait painting that he obtained the ways
and means for prosecuting his travels and his studies.
During his first short stay at Genoa he probably painted
some of those portraits of his fellow-countrymen, which
combine the true and unmistakable manner of the Flemish
school with something of the noble dignity and rich
colouring of the Italians. It is possible that some of the
portraits alluded to in a previous chapter may have been
done in Genoa, such as the portrait of a lady, belonging
to the Earl of Denbigh, and the lady and child, belonging
to Earl Brownlow, for the latter picture was purchased
in Genoa by Sir Abraham Hume. They may be com-
pared with the two large and important portraits, said to
be those of one Bartolommeo Giustiniani and his wife,
with whom Van Dyck is said to have lodged on his first
arrival at Genoa. These two portraits were brought from
Genoa with others in 1828 by Mr. Andrew Wilson, and
passed into the collection of Sir Robert Peel, and event-
ually into the Berlin Gallery.

Before entering into any further inquiry as to the
paintings excuted by Van Dyck at Genoa and elsewhere
in Italy, it will be of assistance to try to trace his actual
wanderings. There has been, and is still, some consider-

VISIT TO ROME 29

able difference of opinion as to the exact sequence of Van
Dyck's travels. They would seem to have been traced,
with some degree of certainty, by Cavaliere Mario
Menotti, although his conclusions are not entirely in
consonance with those handed down by Bellori and
writers of an earlier date.

According to Cavaliere Menotti, Van Dyck would
appear to have left Genoa in February, 1622, and gone
by sea to Civitd Vecchia on his way to Rome. The
Eternal City, Urbs as it was known to fame, was still the
goal for artists of every description. Van Dyck, however,
like his master, resisted the temptation to waste his time
in academical studies from Raphael and Michelangelo.
Rome, therefore afforded him but little attraction, and
he soon left for Florence. At Florence he found an old
friend of his boyhood, Justus Suttermans, who had been
entered as a boy-pupil in the Guild of St. Luke at
Antwerp on the same day as Van Dyck. Suttermans
was now court painter to Ferdinand de 5 Medici, Grand
Duke of Tuscany, for whom he painted a series of
portraits of remarkable exellence, such as Van Dyck
might have painted himself had his character been less
impressionable, and less open to absorb the lessons de-
rived from the studies of the great Venetian masters. Van
Dyck painted a portrait of Suttermans, and afterwards
etched it himself for the " Iconographie." At Florence,
too, Van Dyck probably met a man, who had a strong
and peculiar influence on him later on in life, namely,
that strange Englishman, Sir Kenelm Digby, then on
travels which lasted for some years. From Florence Van
Dyck went to Bologna, where he was introduced to the
great schools of the eclectic painters, and found in the

3 o VAN DYCK

studied graces and elaborate artifices of Guido Reni and
the Carracci much that was fascinating and stimulating
to a would-be rival of 'Rubens* From Bologna he went
to Venice, which may be imagined to be the goal that
he most desired to reach. Here he found his former
patroness, Alethea, Countess of Arundel, residing for the
education of her two sons. Van Dyck was now in the
home of Titian, Tintoretto, and Paolo Veronese, and
the painter, who could pass through the Sistine Chapel
or the Stanze of the Vatican unmoved, now spent several
months in zealous and unremitting study of the paintings
which had loomed so long and so largely on the horizon
of his mind.

When finally he quitted Venice, he visited Mantua,
and recalled to the court of the Gonzagas the splendid
memory of Rubens and his residence with them. Though
Van Dyck's stay at Mantua was short, he received from
Ferdinand Gonzaga a rich chain of gold, which is shown
in the portrait of himself now in the Royal Gallery at
Munich already noticed. In the Palazzo Sauli-Visconti
at Forli there is a portrait of Marchesa Btilgarini of
Mantua attributed to the hand of Van Dyck From
Mantua Van Dyck returned to Rome, which he reached
early in 1623, perhaps at the wish of Cardinal Guido
Bentivoglio, a member of the ruling family at Bologna,
who had returned some two or three years since from
several years' service as Papal legate in the Netherlands,
and was a great admirer of Rubens and his school,

Rome was a perfect caravanserai of artists. The artists
from the Netherlands had a social circle of their own,
and they brought with them the habits of the north, the
jovial and noisy good-fellowship of the tavern, the coarse

VISIT TO ROME 31

and careless relations with the female sex, and other
social amenities, which assorted but ill with the venerable
ruins of Imperial Rome, or the refined splendour of the
Papal surroundings.

Van Dyck, as a Fleming, was welcomed as a new boon
companion, but when they found that the elegant and
languid youth, still beardless, with his fine clothes, a
curled feather in his velvet cap, a gold chain round his
neck, two or three servants in his train, looked down
upon them as vulgar roisterers, and shunned the tavern
for the palace, and the society of his compatriot artists
for that of cardinals and princes, they turned on him,
and partly from jealousy of his undoubted skill as a
painter, partly from the undisguised contempt which
this superior young man showed for their society, they
determined to make life as unpleasant for him at Rome
as possible, and succeeded in their object. The pittor
cavalleresco, as they nicknamed him, is all very well as
an elegant young popinjay; he can cringe to a cardinal,
they said, and kiss the hand of a princess, but he can
neither draw nor paint. In spite of all proofs to the con-
trary, such as the magnificent and famous portrait of
Cardinal Bentivoglio, now in the Pitti Gallery at Florence,
life at Rome was made intolerable to Van Dyck, and
shaking off the dust of the Eternal City, he returned to
Genoa, where he was more likely to be able to live and
paint as he desired.

CHAPTER IV

The Chatsworth Sketch-Book Influence of TitianEarly Paintings
in Italy St. Martin Van Dyck at Venice, Rome, and Genoa
Cardinal Bentivogflio

IF it be difficult to trace with certainty the course of
Van Dyck's travels in Italy, it is no less hard a task
to establish with any degree of confidence both the
nature and sequence of the paintings executed by him
during his five years' stay. Fortunately a relic has been
preserved which is of the greatest importance in any
critical study of Van Dyck's work at this date. This
is a sketch-book, obviously used by the painter in Italy,
and containing very few original compositions, but chiefly
his studies and reminiscences of the great Italian masters.

This little book was once in the possession of Sir Peter
Lely, and, after passing through various hands and
undergoing unexpected vicissitudes of ownership, it now
remains in the collection of the Duke of Devonshire at
Chatsworth. A companion volume, similar in size and
full of drawings of a rather similar nature, reveals itself
on inspection to be the work of Daniel van den Dyck, a
painter and engraver of a later date and mediocre
quality. The ascription of this second sketch-book to
the great painter is an obvious supercherie^ not neces-
sarily to be traced to the said Van den Dyck himself.

The sketch-book is the most precious record of Van

32

Collection of]

[Prince 5a)igii$sk0 : Calicia

THE GOOD SAMARITAN

CHATSWORTH SKETCH-BOOK 33

Dyck's trend of thought at the time of his visit to Italy.
It contains notes taken at Milan, Genoa, Rome, Venice,
and elsewhere, and many of the paintings recorded by
him remain to this day among the most famous master-
pieces of painting. At Milan Van Dyck notes Leonardo
da Vinci's Last Supper and St. Anne and Raphael's
Repose in Egypt. At Rome he makes a few studies after
Raphael, and others after the antique painting in the
Aldobrandini palace known as The Marriage of Alexander
and Roxana. He sketches at Rome, in 1621, the curious
figures of the Persian envoy, the Englishman, Sir Robert
Shirley, with his Circassian wife. He painted two fine
portraits of these remarkable people which are now in
the collection of Lord Leconfield at Petworth. He buys
engravings by Albrecht Durer and others, or sketches
those he meets with in other collections. Giorgione,
Sebastiano del Piombo, Pordenone, Paolo Veronese,
and others claim his attention from time to time. He
sketches figures from daily life in Venice. But it is Titian
who dominates the whole sketch-book, Pensieridi Titiano
occur throughout, the only painter at all coming near him
in importance being Paolo Veronese. Titian at Genoa,
Titian at Rome, Titian at Venice, It is always Titian at
whose feet the young painter places himself in adoration.
On examining the later paintings by Van Dyck,
especially those taken from sacred history, it is easily
perceived to what an extent Van Dyck was indebted to
these notes from Titian and Paolo Veronese for certain
motives in his future work. In three cases the question
is one of peculiar interest, as it refers to certain paintings
which are usually ranked among the early and more
youthful works of Van Dyck. One of the most important

34 VAN DYCK

of these is the great painting of The Betrayal of Christ,
two separate versions of which exist in the Prado Gallery
at Madrid, where it is known as El Prendimiento, and the
other lately in the collection of Lord Methuen at Corsharn,
in addition to a brilliant preliminary sketch in the collec-
tion of Sir Francis Cook at Richmond. In the Chatsworth
sketch-book there is a drawing of the same composition,
which is stated to be after Titian. The sketch and the
version at Madrid have both some points of resemblance,
especially in its dramatic energy, to the interesting paint-
ing of The Stoning of St Stephen, which Van Dyck painted
for the Church of the Spaniards at Rome, whence it was
removed to Spain by the well-known Godoy, Prince of
the Peace, and at the dispersal of his collection passed
into that of Lord Egerton of Tatton. The Corsham
version of The Betrayal may be a later repetition, painted
after Van Dyck's return to Antwerp. The Madrid version
is usually reckoned to be the painting of the same subject
which Rubens received as a present from Van Dyck
before "he left Antwerp for Italy, and which he valued so
highly as to give it a special place of honour in his house.
A further rendering of the same subject on the lines of
the sketch-book drawing is preserved in a drawing at
Weimar, which appears to be that etched by Pieter
Soutman. The second painting to which the question
refers is that of Christ crowned with Thorns, two versions
of which exist, one in the Royal Gallery at Berlin, the
other in the Prado Gallery at Madrid. This composition,
which is full of passion and dramatic vigour, is certainly
based on a similar composition by Titian. This is
further borne out by the occurrence in the Chatsworth
sketch-book of various transcripts from the figure of the

efu Church

ST. MARTIN DIVIDING HIS CLOAK

SAVENTHEM 35

suffering Redeemer noted by Van Dyck ,as by Titian.
This painting has always been reckoned among Van
Dyck's youthful works.

The same observations may be made upon a painting
which through a certain flavour of romance has become
one of the most famous creations of Van Dyck and one
of the most puzzling and oft-debated questions in his
career. Until quite recent years a legend had been
accepted that the handsome and impressionable young
Van Dyck had on leaving Antwerp for Italy stopped at
the village of Saventhem near Brussels, where he had
become enamoured of a young maiden of great beauty
called Anna van Ophem. So strong was his passion that
he lingered there until Rubens sent messengers to extri-
cate Van Dyck from these toils,and despatch him to Italy.
Before leaving Saventhem, as the story goes, Van Dyck
painted for the church there two pictures, one of 5/.
Martin dividing his Cloak, the other a Holy Family > into
which he introduced portraits of his fair charmer and
her family. The latter picture was destroyed in 1672 by
the French troops, but the former picture is still cherished
by the village of Saventhem, where the pretty story
remains a pious tradition that no person would dare to
challenge. But modern criticism has destroyed its
credibility. Apart from the fact now ascertained that Van
Dyck left Antwerp in October, 1621 , and arrived at Genoa
some six or seven weeks later, documentary evidence
connected with the commune of Saventhem has revealed
that the paintings were commissioned at a much later
date by Ferdinand de Boisschot, Comte d'Erps and
Seigneur de Saventhem, a distinguished statesman and
diplomat. The painting of St t Martin in itself presents

36 VAN DYCK

some interesting features in connection with Van Dyck's
sojourn in Italy. As in the two previous cases there are
at least two separate versions of this painting, one at
Saventhem, the other, amplified and matured, in the
Royal Collection at Windsor Castle, where it used to
hang as the work of Rubens. A small painting which
appears to be a preliminary sketch is in the collection of
Captain Holford at Dorchester House. In all these pic-
tures the graceful figure of the youthful saint is the same
with some slight variations in the attitude.

In the Chats worth sketch-book there are some care-
fully finished studies from the crowded groups of horse-
men and spectators in the great woodcut from the design
of Titian, representing Pharaoh overwhelmed in the Red
Sea. In one of these groups there occurs the figure of a
young warrior on horseback, which corresponds so nearly
to the figure of St. Martin, that it seems to be almost
certainly the original motive for Van Dyck's celebrated
picture. It is difficult to believe that the Saventhem
painting was not an early work by Van Dyck, done in
Italy, or on one of his return visits to Antwerp, and per-
haps, forwarded to Ferdinand deBoisschot to celebrate his
elevation from Seigneur to Baron de Saventhem in 1621,
and his entry into the commune. The legend of Van
Dyck's intimacy with the family .of Van Ophem seems
to be corroborated by a story that, in later years, when
employed at Saventhem, the painter did fall in love with
Isabella van Ophem, and offered to marry her, but was
refused.

Resuming the survey of Van Dyck's life in Italy, he
is found, after short visits to Genoa, Rome, Florence,
and Bologna, established at Venice, and absorbed in the

[Palasse Pitti, Florence

CARDINAL BENTIVOGLIO

GENOA 37

study of Titian and Paolo Veronese. Van Dyck, as has
already been stated, was the devoted servant and admirer
of the Countess of Arundel. The Countess of Arundel,
delayed a few months by the illness of her younger son,
quitted Venice for England, and it is not improbable
that Van Dyck followed in her train, travelling by
Mantua and Milan to Turin, where the countess certainly
was on January 4th, 1623. Tradition has recorded that
Van Dyck was strongly pressed by the Countess of
Arundel to accompany her to England, but that he re-
fused to leave Italy. Although so near to Genoa, he
seems to have returned at once to Rome. Perhaps his
speedy return was accelerated by the interest in him
shown by some of the high dignitaries of the Church, who
belonged to the leading families of the country.

His chief patron was Cardinal Guido Bentivoglio, who
had been Papal Legate in Flanders up to 1617. The
portrait of Bentivoglio, which Van Dyck painted in 1623,
now in the Pitti Palace at Florence, is the first which
raises Van Dyck from the rank of mere first-rate painters
to that in which artists stand apart, unapproachable in
their own particular line of art. Seated in his high
armchair, in his robes of scarlet and white rochet, his
head turned in an attitude of expectant attention, the
Cardinal is the very embodiment of the crafty Italian
statesmen who were nurtured in the bosom of the Roman
Church.

Cardinal Barberini (afterwards Pope Urban VIII) is
said to have sat for his portrait to Van Dyck, and various
members of the Odescalchi, Colonna, and other princely
families. Portrait-painting was, however, not in such
great demand at Rome as large paintings of sacred

3 8 VAN DYCK

subjects, or of mythology and classical history, in which
Van Dyck could only compete on equal grounds with
other artists in the Holy City. Allusion has already
been made to the Stoning of St Stephen, painted by him
for the Spanish Church at Rome, and to the portraits of
Sir Robert Shirley and his wife. Careful research would
doubtless reveal the existence of other paintings by
Van Dyck at Rome belonging to the Roman period of his
career; but several paintings which bear his name at
present at Rome, Florence, Lucca, and elsewhere in
Italy have to be regarded with great suspicion. Van
Dyck, especially after his stay at Genoa, found many
imitators. At Rome he met and painted his fellow-
countryman, the sculptor" Francois Duquesnoy, known
as Fiammingo, a portrait which now belongs to the King
of the Belgians. One note of Van Dyck's sojourn in
Rome is found in his dedication of an engraving by
Lucas Vorsterman, made in later years from a painting
of The Dead Christ on the Knees of his Mother, to George
Gage, a political agent sent by James I to Rome to negoti-
ate the marriage between Charles, Prince of Wales, and
the Infanta of Spain: "mutuae consuetudinis olim in
Urbe contracts " are the words in which Van Dyck recalls
their friendship. The intrigues, as stated before, of his
brother-artists drove Van Dyck from Rome; and he
returned to Genoa, where he was among friends, and
where he settled, as it would appear, for a residence of
some four years.

Few actual details can be ascertained of the second
sojourn of Van Dyck in Genoa. He appeared to have
lived with or near the brothers De Wael, in a house look-
ing upon the sea. Among the Flemish residents from

GENOA 39

Antwerp was a rich merchant, Lucas van Uffel, an ardent
and generous patron of the arts. Up to the end of the
last century the descendants of Van Uffel preserved a
number of letters that passed between Van Uffel and
Cornells de Wael, In which Van Dyck was frequently
mentioned. These have unfortunately disappeared. Van
Dyck has, however, immortalized Van Uffel in the ad-
mirable portrait of him which is in the collection of the
Duke of Sutherland at Stafford House, and perhaps again
in the fine portrait of a man with his hand on a stick, in the
gallery at Brunswick. Van Dyck further inscribed to
his friend Van Uffel his etching of Titian and his Mistress,
as a special tribute " in segno d'affectione et inclinatione
amorevole."

Another important record of Van Dyck's life at Genoa
has also disappeared, though both, this and the letters
of Van Uffel may possibly be recovered. Among the
artists at Genoa was Giambattista Paggi, a friend and
correspondent of Rubens, with whom Van Dyck- was
on particularly friendly terms. Letters were exchanged
between the two painters until the death of Paggi in 1627,
when the letters passed into the possession of Stefano
Magnasco, another painter, after which all trace of them
is lost.

Everything pointed to a splendid and honourable posi-
tion for Van Dyck at Genoa. He made good use of it
Retaining throughout life his aspirations to succeed as a
painter of history, to be the rival of Titian and Rubens,
he now gave fair play to his own supreme and unrivalled
genius, and produced that series of portraits of the
Genoese nobility, which not only rank among the finest
paintings in the world, but also form in themselves one

40 VAN DYCK

of the landmarks in the history of painting, certainly in
that of portraiture. To show how great was his industry,
it is recorded by the painter, Carlo Giuseppe Ratti,in his
"Istruzione di quanto pu6 vedersi di pii bello in Genova,"
published in 1780, that there then existed in the palaces
of the Genoese nobles and the churches at Genoa no fewer
than ninety-nine paintings by Van Dyck, of which
seventy-two were portraits.

CHAPTER V

Portraits by Van Dyck at Genoa Brignole-Sala, Spinola, Imperiale
Doubtful Portraits Other Paintings by Van Dyck at Genoa
Visit to Palermo Sofonisba Anguissola

A STUDENT considering the paintings of Van Dyck
at Genoa can hardly help turning his mind in the
first place to the magnificent series of portraits alluded
to. It is difficult to find language in which to describe
the effect produced by this wonderful series of paintings.
Van Dyck has shown himself in his earlier portraits to
be not only a complete master of construction and
modelling when painting a head, but also a keen and
incisive interpreter of character. On arriving in Italy
he blended his vigorous Flemish style with the $uave
dignity of the Italians. But now at Genoa he at once
entrances the world with a series of portraits which are
not only graceful and sympathetic in themselves, but
are thoroughly imbued with the character of their sub-
jects, the circumstances of their lives, and the atmo-
sphere by which they were surrounded. Not even
Rubens, Rembrandt, or Velazquez could have so com-
pletely surrendered their individuality to the interpreta-
tion of a social atmosphere so different from that in
which they had been nurtured. From the Genoese
portraits of Van Dyck date a whole class of portraits
in every country in Europe, and the effect of them is
still felt at the very close of the nineteenth century.

42 VAN DYCK

Taking the portraits as they come, the most familiar
to those who visit Genoa are those of the Brignole-
Sala family, in their palace, which is now public pro-
perty and known as the Palazzo Rosso. On a majestic
white horse, the oil-sketch of which is in the collection
of Earl Brownlow at Ashridge, there rides the young
Marchese Anton Giulio Brignole-Sala, clad in plain
black, with a simple white collar, like the Spanish golilla.
He is bareheaded, with rich dark hair, slight moustache,
with that wistful look of melancholy in the eyes which is
so characteristic of Van Dyck and his works. In his
hand the beautiful young cavalier holds his black plumed
hat, saluting the spectator with a noble dignity, such as
is the appanage of high birth and breeding alone.

Turning from him, the eye encounters the graceful
figure of his wife, Paola Adorno, pacing slowly through
the colonnade of her palace, clad in heavy blue robes,
weighty with gold embroidery, her little head almost
overwhelmed by the great gold-edged ruff, her hand
falling easily by her side, as she turns to look at the
spectator before passing on her way. Nothing could
be more simple and unaffected, more aristocratic and
more dignified. The same fair Marchesa Brignole-Sala
is Depicted in a very similar portrait, belonging to
the Duke of Abercorn at Hampden House in London.
Here the lovely Paola stands in the same attitude, but
the colonnade has been replaced by a plain background
with a curtain drawn athwart it The difference in the
background serves to enhance the value of her splendid
robes, which are now white and gold, while her left hand,
no longer idle, draws back a fold of the silk, and breaks
the surface into one of coruscating sheen. In the portrait

[Palazzo Rcsso, Genoa

ANTON GIULIO, MARCHESE DI BRIGNOLE-SALA

GENOA 43

at Genoa the lady is not only dignified but vivacious; in
that of the Duke of Abercorn her dignity is statuesque.

In the same palace, depicted with the same dignity
and splendour, stands another lady, the Marchesa
Geronima Brignole-Sala, in dark robes, with her daughter,
a girl in white and gold, standing by her side. The lady
only yields in beauty and interest to the fair Paola Adorno.
Close by stands a youth in rich brocaded dress, a mere
boy with a smooth face, the rich and tender lips of a
child, but animated with all the fire and dignity of a
mediaeval condottiere. Another lady of the same family
has been traced in the fine seated portrait of a lady with
a child at Warwick Castle. Yet another member of the
Brignole-Sala family is said to be depicted in the
elegant and graceful man who leans against a pillar in
the portrait belonging to Baron Franchetti at Venice,
and who closely resembles the vigorous gentleman with
the upturned moustaches in a fine portrait in the
Liechtenstein Gallery at Vienna, which bears the date of
1624. The type of head, however, in these two portraits
with its crisp reddish hair is hardly Italian, and certainly
not one that would be expected to occur in the family
of Brignole-Sala. They suggest a family of a more
northern descent

In the Palazzo Reale there is a portrait of the Mar-
chesa Caterina Durazzo, which in pose, costume, and
dignity approaches near to those of the Brignole-Sala
family. The proud lady rests her graceful hand on the
edge of a marble fountain, a motive to be handed down
by Van Dyck and his followers through hundreds of re-
petitions. Caterina Durazzo was the wife of Gian Battista
Adorno, the brother of Paola, and is represented again

44 VAN DYCK

in the Palazzo Durazzo, seated with her two sons* In
this place also is the delightful portrait of a little boy in
white dress, probably of the Durazzo family, known as
II Putto Bianco.

The great Genoese hero of this date was Ambrogio
Spinola, the famous commander of the Spanish forces in
the Netherlands. The Spinola family was one of the
greatest in Genoa, second only and actual rivals to that
of Doria. Van Dyck was busy with their portraits. He
painted the illustrious general at full-length in armour,
in the great portrait which passed from the Spinola
family to that of Centurione, in whose palace it now
hangs. A bust portrait of the great Spinola, admirably
painted, is in the collection of the late M. Rodolphe
Kann at Paris. By his wife, Giovanna Basadonna,
Spinola had a son, Filippo, who was united in marriage
to Geronima, daughter of Paolo Doria, procurator of the
Republic. Van Dyck painted the young couple in their
youthful beauty, but their portraits have been dispersed.
That of Geronima has passed recently from the family
of De Fornari, who inherited it, into the collection of M.
Adolphe Thiem at San Remo. That of Filippo Spinola
quitted Genoa early in the century, and may surely be
discovered in the splendid young warrior, depicted in
the portrait belonging to the Earl of Hopetoun, at Hope-
toun House, near Edinburgh.

Ambrogio and Giovanna Spinola also had a beautiful
daughter, Polissena, who found a husband in the proud
Don Diego Filippo Gusman, Marchese di Leganez, am-
bassador from Philip IV of Spain to the Republic of
Genoa. Van Dyck painted Polissena Spinola more than
once ; one of these portraits passed to Spain, and is now

Collection of]

\Captain Heyiuood-Lonsda le

ANDREA SPINOLA

THE LOMELLINI 45

in the Prado Gallery at Madrid, another, more beautiful
still, adorns the Galleria Doria in her native town. A
portrait of Polissena and her husband together has dis-
appeared, but a fine full-length portrait of the proud
grandee, Leganez, is among the fine works by Van Dyck
in the collection of Earl Cowper at Panshanger.

Another great family in Genoa was that of Lomellini,
noteworthy among other things for the marriage of one
Lomellini to the famous painter Sofonisba Anguissola.
One of the finest groups of Van Dyck's Genoese period
is that of the Lomellini Family in the National Gallery
at Edinburgh, one of the paintings brought to England
by Mr. Andrew Wilson, early in the nineteenth century.
A certain family likeness with a bushy-haired young
warrior in this group would lead one to believe that the
graceful and elegant young man painted by Van Dyck
in the Wallace Collection at Hertford House may be a
member of the Lomellini family. Van Dyck painted the
Doge Pallavicini and other members of that family,
and also members of the Raggi family. One of the
gracious ladies who sat to him for their portraits was
Antonia Demarini, wife of the Doge Francesco Lercarl.
Her portrait at whole length is in the Palazzo Reale at
Genoa, and another portrait of her has been seen by
Cavaliere Menotti in the palace of the Marchesa Paola
Imperiale Lercari at Modena. The family of Imperiale
was as important as its name would seem to denote.
The principal member of this family was Gian Vincenzo
Imperiale, diplomat, admiral, and patron of the arts.
Van Dyck painted more than one portrait of this
eminent Genoese citizen and his family. One which
remains, that of Gian Vincenzo, is now in the collection

46 VAN DYCK

of his descendant, the Marchese Cesare Imperiale at his
villa of Albero d'Oro in Tenalba near Genoa. The great
man is seated in his chair, with a view of the sea and
ships in the background. The picture is dated 1625, and
his age is stated to be forty-four.

A superb and gorgeous portrait, stated to be that of
Andrea Spinola, is now the property of Captain Hey-
wood-Lonsdale at Shavington in Shropshire. Andrea
Spinola, who was Doge of Genoa in 1629, sits in a chair
immersed in a robe of the richest scarlet.

Van Dyck, in spite of his unparalleled success as a
portrait-painter, still maintained the object before him,
that of becoming one of the great decorative historical
painters of the world. Where Rubens had succeeded,
he was determined to succeed as well. So on his first
arrival at Genoa, Van Dyck appears to have busied
himself with a number of mythological and classical
subjects, such as were suited to the gayer and more
mundane character of art-patrons in the south. Some of
these are little more than repetitions of Rubens, such as
Van Dyck made at Antwerp before leaving Italy; but
those done at Genoa have an Italian note in them. Take,
for instance, the Drunken Silenus in the Museum at
Brussels, and the early painting of the same subject by
Van Dyck in the Royal Gallery at Dresden. Both are
mere transcripts from Rubens : but whereas the Dresden
picture is Rubens and little else, in the Brussels picture
there is introduced a group of a satyr embracing a
nymph, which recalls at once some pictures of a kindred
subject in the Imperial Gallery at Vienna formerly
attributed to Giorgione, and also a similar picture it
Hampton Court In the Chatsworth sketch-book Van

Collection of]

[the Earl Spencer, K.G.

DAEDALUS AND ICARUS

DECORATIVE WORKS 47

Dyck has drawn one of these pictures, the so-called
Bravo, so that it is probable that he was acquainted with
some or all of the others. This Drunken Silenus, and
also The Crucifixion of St. Peter, also in the Royal Gal-
lery at Brussels, another Italianized Rubens, have been
well described by Eugene Fromentin as " du Jordaens
d61icat et presque po6tique, c'est-a-dire du Rubens con-
sent dans sa noblesse et raffing par une main plus
curieuse."

Bacchanalian subjects were also tried by Van Dyck;
and, though few paintings of this description can be
identified with safety, there are several drawings of such
subjects as The Education of Bacchus, The Triumph of
Cupid y which show how much engrossed Van Dyck was
with this style of composition. Van Dyck was, however,
never really at his ease in the treatment of such subjects.
Rubens, as a true Fleming, revelled in them; but through
an over-vigorous and truthful rendering made them for
the most part coarse and repulsive, at all events to thfe
modern taste. Van Dyck shrinks, almost like a woman,
from the unblushing nakedness in which Rubens de-
lighted. His treatment of the nude is sensitive, tender,
voluptuous, but never coarse. The models chosen by
him, male and female, are nearer to the fauns and
nymphs of a pagan art than to the human realities of
the north. His plastic sense is remarkable, and with a
little imagination he might be called the Donatello of
painting. In some paintings he would seem to have
taken his own figure as a model, and it is possible to
trace his graceful adolescence of face and body in such
paintings as the Paris in the Wallace Collection at
Hertford House, and the Daedalus and Icarus in the

48 VAN DYCK

collection of Earl Spencer at Althorp. The latter sub-
ject was repeated by Van Dyck more than once.

During the three or four years in which Van Dyck was
working at Genoa, he was busily occupied as well with
pictures of a sacred nature for the service of the church.
In this class of picture the influence of Titian was para-
mount, to the exclusion even for a time of that of
Rubens. The Chatsworth sketch-book is full of notes
from the Holy Families and other sacred subjects by
Titian. The type of head with which Titian invested
the Redeemer, that, for instance, of the Tribute Money
in the Royal Gallery at Dresden, impressed Van Dyck
by its grand and simple melancholy. Over and over
again Van Dyck dwells on this wonderful presentment
of Christ. He reproduces it, and even adds a melancholy
grace of his own in such paintings as The Redeemer with
the CrosS) in the Palazzo Rosso at Genoa; the Christ and
the Tribute Money ^ in the Palazzo Bianco, also at Genoa;
and the Christ healing the Paralytic^ in the Royal Col-
lection at Buckingham Palace, a later version of which is
in the Royal Gallery at Munich.

Titian, too, pervades the many beautiful renderings of
The Virgin and Child or The Holy Family which Van
Dyck painted, and which may be attributed to the
period of his residence in Italy. Correggio sometimes
asserts himself, as in the tender and delicate Virgin and
Child with St. Catherine^ in the collection of the Duke
of Westminster at Grosvenor House, which may be
compared with the beautiful early painting by Correggio
of a similar subject at Hampton Court, and with the
Madonna and Child by Correggio in the Estense Gallery
at Modena. Unlike Rubens, Van Dyck was as careful

[Brera Gallery, Milan

THE VIRGIN AND CHILI) WITH ST. ANTHONY OF PADUA

SACRED SUBJECTS 49

in his selection of a model for the Virgin Mother as
Titian or Raphael, and the model, once selected, was
further idealized by the painter. No Italian painter ever
depicted the Virgin more suave and beautiful than Van
Dyck did in such paintings as The Holy Family, The
Mystic Marriage of St. Catherine^ in the Royal Collec-
tion at Buckingham Palace; the touching Vision of St.
Anthony of Padua, in the Brera Gallery at Milan; the
Virgin and Child in the Schonborn Gallery at Vienna;
the passionate and triumphant Virgin and Child^ so
often repeated, in the collection of the Earl of Ellesmere
at Bridgewater House, in the Liechtenstein Gallery at
Vienna, and in the Palazzo Bianco at Genoa ; and in the
Virgin and Child with St. John the Baptist* St. Mary
Magdalene^ and King David> of which separate versions
exist in the Louvre and the Royal Gallery at Berlin.
An interesting point may be noted with regard to the
last painting. When in Rome, Van Dyck sketched
among other works of Titian the picture of The Educa-
tion of Cupid m the Galleria Borghese. At all times the
exquisite flesh-painting of Titian seems to have stirred
Van Dyck's heart to its depths, and on this occasion he has
written in the Chatsworth sketch-book below the figure
of the nymph in Titian's picture, whose breast is exposed,
" quel admirabil petto." This beautiful bosom has been
reproduced by Van Dyck in the figure of St. Mary Mag-
dalene, the passionate penitent of the painting in question.
A model somewhat less attractive will be found in
The Holy Family with St. Elizabeth, in the Royal Gallery
at Turin, and the often-repeated Virgin and Child to
whom St. John the Baptist offers a Scroll, in the Royal
Gallery at Munich. This same model served for his

E

5 o VAN DYCK

great painting of The Repose in Egypt, with a Dance of
Angels. The original painting of this subject, one of the
most charming of Van Dyck's composition, is probably
that in the Pitti Palace at Florence, or one of the repe-
titions in the collection of Lord Ashburton, or formerly
in the collection of M. Boyer d'Aguilles at Aix.

In his larger sacred compositions Van Dyck adheres
more to the scheme of Rubens, At an early period of
his residence in Italy he painted afresh the subject of
St. Sebastian bound to a Tree^ a painting of which versions
exist in the Royal Gallery at Munich and the National
Gallery of Edinburgh, the latter picture having been im-
ported from Genoa. Van Dyck shows himself a better
master of composition here than in his early painting of
the same subject. Now he is able to give space and atmo-
sphere. The saint, modelled from a beautiful Italian youth,
dominates the composition ; while the general decorative
effect is enhanced by an audacious droop of a scarlet
banner, borne by a rider on the right of the spectator,
which falls athwart the composition, just as a scarlet or
crimson curtain does in some of his larger portraits*

Van Dyck returns to St Sebastian again in a painting
representing St. Sebastian with Angels removing the
Arrows from his Wounds \ a pathetic subject often re-
peated by Van Dyck, but which was originally adapted
from Titian, since there is a sketch of the subject in the
Chatsworth sketch-book. Van Dyck also began in Italy
to paint those representations of Christ on the Cross
which occur in many collections throughout Europe,
and for which he was specially qualified by temperament
as well as by artistic skill.

One painting, which can hardly be attributed to any

[Fine Arts Museum, Antwerp

THE CRUCIFIXION

SOFONISBA ANGUISSOLA 51

period but that of his residence in Italy, is the great
Holy Trinity in the Esterhazy Collection in the Academy
at Buda Pest. The treatment is peculiar. Jesus Christ
and the Almighty are seated on the clouds, the former
on the right, the latter on the left of the globe, which is
surmounted by the Cross, above which floats the Holy
Spirit in the form of a dove. The whole group is borne
up by boy-angels above a rich landscape of a Gior-
gionesque character. Rubens has treated a similar sub-
ject, but not with such beauty or majesty. The feeling
is thoroughly Italian, akin to that of Moretto of Brescia.
The boy-angels are those of Titian, interpreted by Van
Dyck. This painting must rank with The Repose in Egypt
among the most important works of the Flemish School

It would seem that Van Dyck sent out from Genoa
many paintings of this character. Philip IV of Spain had
not a few in the Escorial, which may have been despatched
direct from Genoa. It is even said that Van Dyck had
already forwarded paintings from Genoa to Antwerp
before he decided to return to his native country.

This residence at Genoa was broken in 1624 by a
journey to Palermo. Philibert Emmanuel of Savoy was
then Viceroy of Sicily, grandson of Philip II of Spain,
and nephew to Isabella Clara Eugenia, the Regent of the
Netherlands. Van Dyck was sent for to Palermo to paint a
portrait of the Viceroy. This journey is corroborated in a
peculiarly interesting way by the Chatsworth sketch-book.
Apart from a slight study of a witch at the stake (una
Strega in Palermo\ the sketch-book contains a sketch from
life of the famous woman-painter, Sofonisba Anguissola.

Sofonisba was no less than ninety-six years of age in
1624, and she thus formed a link with the best days of

52 VAN DYCK

Italian painting. Herself a painter of very great merit,
she had late in life married one of the Lomellini family
at Genoa, and had removed to Palermo, where Van Dyck
met her. He sketched her portrait from the life on July
12, 1624, and notes how, even at her advanced age, when
quite blind, she took a keen interest in painting, her
memory still being good and clear. He adds that she
gave him some good advice and told him some interest-
ing details of her life, and that she only regretted that
blindness prevented her from painting, since her hand
was still strong and firm. A painting of Sofonisba,
corresponding to the drawing, has lately been discovered
in a mutilated condition at Palermo, and attributed with
some probability to Van Dyck.

Van Dyck completed some portraits and other paint-
ings at Palermo. In the church of S. Caterina there,
there is a Virgin and Child by Van Dyck, The rather
hard-featured Sicilian models, both of the mother and
child, can be traced again in a Holy Family in the collec-
tion of the late M. Rodolphe Kann at Paris, in a Holy
Family in the Palazzo Doria at Genoa, and in a picture
representing Charity in the Royal Gallery at Turin. The
patron-saint of Palermo, S. Rosalia, was painted by Van
Dyck for the church of the Ospedale dei Sacerdoti there.
Another painting of S. Rosalia, perhaps painted at Paler-
mo, was formerly in the Vicar's Chapter-rooms in the
Escorial. He was also engaged on a large painting for the
Oratorio della Compagnia del Rosario, representing The
Virgin and Child with S. Domenico, 5. Rosalia, and other
Saints, when an outbreak of the plague drove the painter
back to Genoa: there he completed the picture and des-
patched it later on to Palermo, where it still remains.

[Fine Arts Museum, Antwerp

THE LAMENTATION OVER CHRIST

CHAPTER VI

Other Portraits by Van Dyck at Genoa Langlois, the De Waels
Return to Antwerp Death of his Sister Cornelia Van Dyck
makes his Will

^ 1 ^ HE city of Genoa was one of the busiest In Europe.
JL As one of the chief ports on the Mediterranean, it
shared with Venice and Antwerp a position not unlike
that of Liverpool and Hamburg in the nineteenth
century. From north and from south traders with their
wares and merchandise crossed the quays at Genoa.
Living as he did near the shore, among the foreign
colony, Van Dyck met and made friends with many of
the foreigners who resided in or passed through Genoa.
One Lumagne, a banker from Lyons, who was established
at Genoa, was painted by Van Dyck in one of the fine
portraits which found their way to the Hermitage
Collection at St. Petersburg. The dark Venetian colour-
ing, which characterizes the remarkable portrait of a
Man with an Arch-Liite> or Theorbo ', in the Prado Gallery
at Madrid, and the portrait of Leclerc in the collection of
Earl Brownlow at Ashridge, would seem to indicate that
they were painted in Italy and perhaps during Van
Dyck's residence at Genoa. A further acquaintance with
Van Dyck's friends at Genoa would probably lead to the
identification of the fine portrait of a man known as

S3

54 VAN DYCK

A Senator of Antwerp, in the collection of the Duke of
Portland at Welbeck Abbey.

Some interesting individuals crossed the path of Van
Dyck at Genoa. One of these was the engraver and
printseller from Paris, Fran$ois Langlois of Chartres, who
may be presumed to have arrived at Genoa with the
purpose of promoting his trade as a printseller. The
portrait of Langlois is one of the most curious and
interesting among the works of Van Dyck. It represents
a jovial man of some forty years old in the dress of a
Savoyard peasant.

Among the painters employed at the moment in
Genoa was Orazio Gentileschi, an academical painter
highly esteemed in his day, but better known perhaps as
the father of the fair Artemisia, who handled the brush
as well as, if not better than, her father, Gentileschi had
been employed at Turin, and was at Genoa when Van
Dyck was there. A fine drawing of Gentileschi by Van
Dyck is in the Print Room at the British Museum; but
this, according to the inscription, was done at a later
date, for Gentileschi was called to the court of Charles I
and employed on similar errands to Lanier. Van Dyck
met him again in England, drew him as "Horatius
Gientileschi pictor celeberrimus apud Mag: Britt: R.,"
and had the portrait engraved for the " Iconographie."

Van Dyck painted his two friends, Lucas and Cornells
de Wael, in a double portrait, the two brothers being
agreeably posed in a natural and easy position, one
sitting, the other standing. The younger brother, Cornelis,
remained to the end of his life in Genoa. He was a
versatile painter, though hardly a great one, and battle-
pieces, sea-fights, peasant-scenes, sacred subjects, historical

Collection of] {W, Garndt, Esq.

FRANCOIS LANGLOIS D1T CIARTRES

ANTWERP 55

pageants, all on a small scale, came readily from his
brush. Lucas de Wael returned to Antwerp, where he
died in 1661.

Some doubt still remains as to the exact date at which
Van Dyck quitted Genoa and returned to his native
city of Antwerp, and also as to the reason which led him
to do so. It has been asserted with confidence that he
was back in Antwerp in 1625. The only evidences
apparently for this statement are very fragmentary and
untrustworthy. Vertue, the engraver, in his notebooks
says that " amongst the Drawings collected and sold by
M r Jonathan Richardson senior was one sketch by
Vandyck and a part of a letter subscribed by himself
Ant 3 Van Dyck> 16 cfotttf 1625, Anversa? This drawing
and letter cannot at present be identified. Further, on a
proof-impression of the portrait of Nicolas Rockox,
burgomaster of Antwerp for the last time in 1625,
engraved by Lucas Vorsterman after Van Dyck, is
written Anton Van Dyck pinxit 1625.' On the other
hand, the great portrait of Gian Vincenzo Imperiale at
Genoa is dated 1625. There are more conclusive proofs,
however, that Van Dyck did not return to Antwerp at
any time in 1625, and the evidence from these may be
sufficient to explain his decision to return home. 2

Frans Van Dyck, the painter's father, died at Antwerp
on December I, 1622, a little more than a year after his

1 According to M. Max Rooses the portrait of Rockox was painted
at Antwerp in 1621 or 1622.

3 Since this was written M. Max Rooses of Antwerp has produced
some interesting evidence to show that Van Dyck returned to Ant-
werp at the time of his father's death, after which he went back to
Italy; see "Van Dyck en Italic," by Max Rooses (Brussels, 1906).

56 VAN DYCK

son had left home for Italy. The family was wealthy, and
there must have been a considerable property to divide in
shares among his sons and daughters. This division may
have been postponed during the absence of the second
brother in Italy, but in 1624 some steps were taken in
Antwerp to settle the matter. Van Dyck's eldest sister
was married to Adriaen Diercx, a notary at Antwerp, who
wrote to the magistrate on September 27, 1624, to the
effect that " Anthoni Van Dyck " was of full age, but
abroad, and had said that anybody might settle his affairs
for him. Matters, however, still remained unsettled, for
on December 12, 1625, his brothers and sisters had to
certify that their brother was still abroad.

It may be conjectured that the family put some
pressure upon the painter to return to Antwerp and
settle the family affairs, which must have caused them
considerable inconvenience while unsettled, Van Dyck,
on the other hand, was unwilling to leave his comfortable
home and lucrative practice at Genoa for the uncertain
prospect of employment at Antwerp under the shadow
of Rubens. There is no actual record of him during 1626,
so that it was during this year that he probably started
on his homeward journey. Passing by Turin, he seems
to have traversed the Mont Cenis pass, for at the little
town of St. Jean de Maurienne, on the northern side of
the pass in Savoy, he seems to have been taken ill and
hospitably entertained by a family of the name of Borelly.
In return for their kindness he painted a portrait of
their little daughter. Thence he passed by Aix, where
he spent some little time in the society of the great
scholar Nicolas Peiresc, one of the leading citizens there*
Peiresc was a great friend of Rubens, and was naturally

museum, Amsterdam

FRANS VAN DER BORCHT

SECOND VISIT TO ENGLAND 57

interested in his friend's brilliant young pupil. Van Dyck
drew his portrait and had it engraved for the " Icono-
graphie." In some letters which have been preserved
from Peiresc to a young painter of Antwerp, Adriaen de
Vries, Peiresc speaks highly of Van Dyck and his
general accomplishments.

After this all trace is lost of Van Dyck for some time.
It has been said that he visited Paris, but this statement
is based upon the portrait of Francois Langlois, which,
as has been said before, was assuredly painted in Italy.
He probably went straight to Antwerp to settle his
affairs, and the tradition of the neglect and want of
employment which welcomed him on his return to his
native city may, if true, be attributed to this time.

There seems to be good reason for crediting the
tradition that Van Dyck at this time paid a second visit
to England, though no conclusive evidence can be pro-
duced to prove such an event. Among the foreign
artists resident in London was an Antwerp painter,
George (or Joris) Geldorp, a friend and contemporary of
Van Dyck. Tradition narrates that Van Dyck came to
England and stayed with Geldorp at his house in Drury
Lane, but returned to Antwerp, as he met with no
encouragement, the court favour being monopolized by
Daniel Mytens. This visit to England seems to be
further accounted for and corroborated by the following
extract from the notebooks of Vertue, the engraven

M r Remy has many times said that the Duke of Bucking-
ham that was Embassador to France in King Charles the first
Time being recalled from France came by the way of Flanders,
where he meet with Vandyke the Painter & had his Picture
drawn by him, which he brought over & showd the King which

5 8 VAN DYCK

the King liked very well and order'd Vandyke to be sent for
over to come and draw the Queen's Picture, which the King
shew'd to Mytens who was then Painter to the King. He told
the King it was very well and he was certainly a great master
that -had done it, upon which he beg leave of the King to let
him retire into his country since now he had got a better
painter to serve him. The King said, can't I imploy two
ingenious men, but he insisted upon going adding that he had
been abroad many years and wisht to retire that he might finish
his days in his own Country & so retired to Utrecht the place
of his nativity. Vandyke acquainted the King that he came
over express to his Majesty but desir'd leave he might go back
& settle his affairs & then he whould come over again and
reside hear and so hee did.

The " M r Remy " referred to was Van Dyck's pupil,
Remigius van Leemput, and the story was told to
Vertue by one Peeters, a painter, who had it from Van
Leemput himself. Vertue further adds that he saw the
portrait of Buckingham by Van Dyck " in the hands of
M r Bruce."

The next trace of Van Dyck's career is a fine portrait
of a man, apparently that of Sir Balthasar Gerbier, in the
Royal Picture Gallery at The Hague, which bears the
date 1627. This portrait, both in pose and conception,
and especially in the painting of the richly embroidered
glove, resembles a fine portrait now in the collection of
Mr. George Salting in London, which, after bearing
various names, is now called for some reason Prince
dtAngri. This title may perhaps be identical with that
of Prince Tingry, one of the titles borne by the eldest
son of the Due de Luxembourg.

In the gallery of The Hague there also hangs a brilliant
portrait of a lady, dated 1628, and known from engrav-

HIS SISTERS 59

ings as that of one Anna Wake probably the wife of
Lionel Wake, a merchant at Antwerp.

Van Dyck's sister Cornelia died in September, 1627,
and was buried in the churchyard of the B/guines at
Antwerp on the iSth of that month. It may be supposed
that her brother was present at her death-bed. On March
3, 1628, Van Dyck made a will before a notary at Ant-
werp. He describes himself as " painter, bachelor, and
in good health." He directs that his body should be
buried in the churchyard of the B^guines near his sister.
He makes his other two sisters, the bguines> Susanna
and Isabella, his sole heirs, and after their death his
property was to be divided, three-fourths going to the
poor of Antwerp, and one-fourth to the convent of St.
Michael. He makes a few legacies to charities, and pro-
vides for the support and welfare of Tanneken van Nijen,
an old servant of himself and his dead father. At the
same time his sisters Susanna and Isabella made wills,
leaving their fortunes to the painter.

It is pleasing to think of the affection shown by Van
Dyck to his sisters, and returned by them. His provi-
sion for their old servant is also a touching incident in
his career. No mention is made of his brothers or of
his sister Catharina, wife of the notary, Diercx. Frans
Van Dyck, the eldest brother, and Catharina, make no
show in the lives of Antoon or the other sisters. The
youngest brother, Theodorus, as a priest, could hold no
property, and the sister, Anna, as a Facontine nun, could
not do so either, so that their omission can be accounted
for.

Van Dyck was of a religious temperament His feb-
rile energy, impressionable nature, inexhaustible passion

60 VAN DYCK

for work, together with a sort of feminine mixture of
obstinacy and indecision in his character, lead one to
think that, had he not been a painter, he might have
been a priest He was clearly under the influence of the
Jesuits from his youth. Now at the death-bed of his
sister, and with his thoughts turned towards his own
decease, he, in 1628, took the step of affiliating himself
to the Company or Confraternity of Celibates, which had
been formed under the rule of the Society of Jesus at
Antwerp.

The moment was now more favourable for Van Dyck
to establish himself in his native town* Rubens lost his
wife, Isabella Brant, in 1626, and felt her death keenly.
To distract himself he took to travelling, and became in-
volved, through BalthasarGerbier,inthe political intrigues
in which the Duke of Buckingham was trying to entangle
Europe. The new diplomatic duties of Rubens took him
away from Antwerp. As agent of the Regent Isabella
he was sent in August, 1628, to Paris, and thence to
Madrid. In the following year he was sent as agent for
Philip IV of Spain back to the Netherlands, and thence
to London, where he arrived in June, 1629 ; and it was not
until July or August, 1630, that the great painter returned
to his home at Antwerp.

It is a significant fact that the rise of Van Dyck to
the first rank among the painters at Antwerp synchron-
izes with the departure of Rubens on this mission. There
is, however, no cause for any suspicion that the friendly
relations between Rubens and Van Dyck were at any
time impaired. Two suns cannot shine in the same sky,
On May 18, 1628, the brilliant James Hay, Earl of
Carlisle, who had risen with Buckingham, through his

Collection of] {Captain Holford

CESARE ALESSANDRO SCAGLIA

SIGNOR ANTONIO 61

good looks, in the favour of James I, visited Van Dyck
in his house at Antwerp, and met Rubens there.

Van Dyck had now surmounted the most difficult
ascent in his career. He had attained in painting a posi-
tion of rivalry, if not actually of equality, to his great
master, and his future success was assured. "Signor
Antonio," as he called himself after his return from Italy,
was a person of considerable importance in his own
opinion, and he fully intended to occupy no inferior place
in the estimation of others, be they princes, burghers, or
his brother artists.

CHAPTER VII

Van Dyck's Sacred Paintings Memorial to his Father Paintings
at Ghent, Termonde, Mechlin, and Courtray The Nood Gods
Samson and Dalila Secular Paintings

THE first important commission which Van Dyck
received after his return to Antwerp was from
the church of St. Augustine in that city, for which he
executed a great painting of St. Augustine in Ecstasy at
a Vision of the Holy Trinity. This work, for which the
painter received 600 gulden, was completed in June,
1628. It cannot fail to impress and attract attention.
The figures themselves suggest the influence of Guido
Reni and the Bolognese School. But the whole picture
belongs to Van Dyck.

While engaged on this picture, Van Dyck painted, as
a gift on his part to the church, one of his numerous small
pictures of Christ on the Cross. This is one of the most
beautiful of Van Dyck's renderings of this subject, and
is now in the Museum at Antwerp. In 1629 Van Dyck
fulfilled a pious duty. His father, Frans Van Dyck, had,
during his last illness, been attended by the Dominican
nuns at Antwerp. On his death-bed, seven years before,
he promised them in return for their care a painting by
his son. Van Dyck painted for the church of the Domini-
can nuns a large composition, Christ on the Cross between
St. Dominic and St. Catherine of Siena^ a boy-angel being

62

SACRED PAINTINGS 63

seated on a stone at the foot of the cross holding a down-
turned torch as an emblem of death. The object of the
painting is distinctly stated in large letters on the stone:

NE PATRIS SVI MANIBVS TERRA GRAVIS ESSEX HOC
SAXVM CRVCI ADVOLVEBAT ET HVIC LOCO DONABAT
ANTONIVS VAN DYCK.

The picture is now in the Museum at Antwerp. In this
same year Van Dyck painted for his Confraternity of
Celibates in the house of Jesuits an important composi-
tion representing >S. Rosalia crowned with a Wreath 6y
the Infant Christ. In 1630 Van Dyck painted a com-
panion picture representing The Mystic Marriage of the
Blessed Herman Joseph, and recalling in sentiment his
exquisite earlier work, The Virgin and Child with St.
Anthony of Padua. These two fine paintings, for which
Van Dyck received 300 gulden and 150 gulden respect-
ively, hung in the hall of the Jesuits until the suppres-
sion of the Order in 1776, when they were purchased for
3,500 florins and 8 3 ooo florins apiece by the Empress
Maria Theresa, and removed to Vienna, where they now
form part of the wonderful collection of works by Van
Dyck in the Imperial Gallery.

During the three or four years from 1628 to 1632 Van
Dyck painted some other important pictures represent-
ing The Crucifixion. In 1630 he painted for the Confra-
ternity of the Holy Cross in the church of St. Michel at
Ghent a large Crucifixion, known from the action of a
man in the foreground as Le Christ d FEponge. The
figure of the Virgin recalls the ecstatic Madonnas of his
Italian period. St. John in wonderment and grief places
his hand on the Virgin's shoulder to support her in her
agony. This action of St. John, when the picture was

64 VAN DYCK

engraved by Bolswert, was considered so irreverent that
the engraver was forced to alter the composition on his
plate, by a change in the position objected to.

Van Dyck's paintings of the Passion and Agony of
the Saviour are rather direct, poignant appeals to the
feelings of the spectator, than great decorative composi-
tions, such as those of Tintoretto or Rubens. This is
shown again in the Crucifixion with St. Francis^ painted
by Van Dyck for the church of Notre Dame at Ter-
monde. In this the group of St. John, the Virgin and the
Magdalene, the anachronistic figure of St Francis, and
the departing centurion, all pose to enhance the supreme
tragedy of the Crucifixion ; while the stormy sky, and
the eclipsed son (one of Van Dyck's special motives),
unite to denote the dramatic terror of the moment.

In all the figures of the Crucified Christ, which Van
Dyck painted with such frequency and such facility, the
body of the Saviour is that of a robust and well-grown
man in the full development of life and beauty. There
is nothing ascetic, nothing emaciated, and the painter
shrinks from the signs of blood and wounds, with which
others have sought to stimulate the emotions of the
spectator.

The commissions which now poured in upon Van Dyck
proved a test of his creative powers. These were never
strong at any time of his life, and his shortcomings in
this respect were a fatal drawback to the success which
he had always hoped to attain as a history-painter.

In early life he had, through his environment, looked
to Rubens not only for inspiration, but for the actual
details of his compositions. In Italy it was Titian, for
there is hardly any painting of the Holy Family or the

SACREDIPAINTINGS 65

Madonna in which the main motive of the composition
is not taken from the great Venetian. He now harked
back to Rubens. But the final note of the painting is,
in all cases, Van Dyck's own, as, for instance, the great
picture of The Crucifixion painted by Van Dyck at this
time for the church of the Rdcollets at Mechlin, and now
in the collegiate church of St. Rombaut in that town.
Here the composition corresponds almost note for note
with the mighty picture of the same subject by Rubens
in the Museum at Antwerp.

A similar direct plagiarism from Rubens is to be found
in the Elevation of the Cross, painted by Van Dyck in
1631 for the church of Notre Dame at Courtray, Here
again the composition is taken, as it were, note for note
from the famous Elevation of the Cross by Rubens in
the cathedral at Antwerp, even down to the dog in-
troduced by Rubens in the lower corner of the picture
to balance his composition. So far as the actual painting
is concerned, Rubens carries the day without difficulty.

Among other representations of the Crucifixion by
Van Dyck is the painting now in the Museum at Lille,
representing Christ on the Cross with the Virgin and St.
Mary Magdalene. An interesting painting of Christ on
the Cross with the Virgin^ St. John> and St. Mary Mag-
dalene is in the possession of Prior Park College at Bath.
It is difficult to distinguish with any certainty among
the numerous small pictures of Christ on the Cross attri-
buted to Van Dyck in Italy, Germany, Belgium, and
elsewhere, those which are undoubtedly the work of Van
Dyck, such as that painted for the church of St. Augus-
tine, and now in the Museum at Antwerp, those in the
Royal Gallery at Munich, in the Palazzo Reale at Genoa,

F

66 VAN DYCK

in the Borghese Gallery at Rome, irom others which may
be merely imitations by his more skilful followers.
Special notice may be taken, perhaps for its simple reli-
gious pathos, of Christ on the Cross with St. Francis in
the Ryksmuseum at Amsterdam,

One incident in the Passion of our Saviour has been
appropriated to a peculiar extent by Van Dyck. This
is the Lamentation over the Dead Body of Christ, a sub-
ject known in Italy as the Pietk> and in Flanders by the
expressive title of Nood Gods. Here Van Dyck shows
some creative power, and an independence in composi-
tion not only of Rubens, but even of Titian. About 1629
Van Dyck painted for the high altar of the church in the
Btguinage at Antwerp, the home of his sisters, a Nood
Gods, which is now in the Museum at Antwerp,

The same subject is treated in a different way by Van
Dyck in a large painting, of which two versions exist,
one in the Royal Gallery at Berlin, the other in the Prado
Gallery at Madrid, while another version is in the church
of St. Egidius at Nuremberg. Van Dyck dedicated the
engraving from this painting by Paulus Pontius to his
sister Anna, the nun in the convent of the Facontines at
Antwerp.

Even more dramatic in its treatment is the Nood Gods
of the similar paintings in the Royal Gallery at Munich
and in the Louvre.

The Crucifixion and the Nood Gods were probably the
subjects for which demand was principally made upon
Van Dyck's studio at Antwerp. Creation and composi-
tion not being Van Dyck's strong points, it is evident
that he had recourse to constant repetitions, with slight
variations, of the same paintings, as in the instances just

SACRED PAINTINGS 67

mentioned. It would appear also that he repeated and
revised some of the compositions of his earlier years. It
is to this period, therefore, that one may attribute the
the version of 5/. Martin dividing his Cloak at Windsor
Castle.

In the same way Van Dyck revised his earlier paint-
ing of The Crowning with Thorns^ and produced the
superior and more matured painting in the Prado Gal-
lery at Madrid. Again, it is probable that he now revised
his great painting of The Betrayal of Christ, and, by
omitting the group of St. Peter and Malchus in the
famous Prendimiento of Madrid, produced the more
sedate but less dramatic version in the collection of Lord
Methuen at Corsham. His various pictures of St. Sebas-
tian were probably repeated often in his studio, the com-
position representing Angels extracting Arrows from the
Body of St. Sebastian being of frequent occurrence in
private collections. His painting, too, of Charity^ a wo-
man with a number of children about her, the original
picture of which, painted in Italy, is in the Turin Gal-
lery, was now revised and repeated in the various pictures
to be found in private collections in England, such as
those of Lord Methuen and the Earl of Lonsdale, and
also in the Dulwich Gallery.

For paintings of The Holy Family there seems to have
been less demand at Antwerp than in Italy. When the
Italian influence was still paramount with him, he painted
the exquisite Repose in Egypt^ in the Royal Gallery at
Munich, with its rich Titianesque background of trees.
It will be seen hereafter that he repeated more than once
The Repose in Egypt \ with a Dance of Angels. One of
the most important and characteristic paintings of this

68 VAN DYCK

class is The Virgin and Child with two Donors, now in
the Louvre, which obviously belongs to the period of the
great sacred compositions mentioned above, and forms
a link with that side of Van Dyck's art which is more
familiar and more remarkable in every way, his portraits.
In some compositions Van Dyck reveals the sense of
poetry which pervades his work, even his portraits, and
which is lacking in the work of Rubens. A painting
representing Time clipping the Wings of Love> which was
formerly in the collection of the Duke of Marlborough
at Blenheim Palace, was purchased by the great portrait-
painter, Sir John Millais, P.R.A., on account of the poetry
which Millais. found in the composition. Poetry, too,
is worthily interpreted in the scene from Ariosto, in
which Van Dyck depicted Rinaldo in the Enchanted
Garden of Armida* Van Dyck painted more than one
picture of this subject. The most pleasing is that which
was commissioned by Endymion Porter for the King of
England, to which allusion will be made later.

CHAPTER VIII

Portraits painted by Van Dyck at Antwerp The Regent Isabella,
De Moncada, and others Marie Luigla de Tassis Marie de'
Medici

r I " HE paintings of sacred history, mythology, romance,
1 and other historical subjects enumerated in the last
chapter, would suffice for the career of any ordinary
painter, especially as the list does not pretend to be ex-
haustive. Van Dyck was no ordinary painter. His com-
mand of the technical side of his art was complete, and
the facility and rapidity of his production have seldom,
if ever, been equalled, taking into consideration the ex-
tremely high quality and finish of his work at this period.
While striving with by no means unqualified success to
outrival Rubens as a historical and decorative painter,
Van Dyck was at the same time engaged upon that side
of his art in which he without question reigned supreme,
that of portrait-painting. A review of the portraits
painted by Van Dyck during the five or six years which
elapsed between his return from Italy and his removal
to England makes it almost impossible to believe that
the same man should have had time to paint these and
the important large pictures previously described, A
keen eye, an acute and subtle intelligence, a precise and
lucid mind, a sure and accurate hand all of these con-
tributed to Van Dyck's success. There is no bungling

69

7 o VAN DYCK

or hesitation, no timidity or bombast, no excess or de-
ficiency in Van Dyck's portrait-work. It is the art of a
consummate workman, a complete master of his craft,
without any inclination to stretch it beyond its limits,
and at the same time a man of commanding individuality.
This is the more remarkable, because in all his previous
work Van Dyck had shown a feverish energy and sus-
ceptibility to emotions and influence from without, which
he now seetns to have outgrown.

One notable feature of Van Dyck's portraits at this
date is their austerity. Black and white prevail in them,
in the skirts and mantles of the women, as in the cloaks
and jerkins of the men. It is this negation of colour, as
the be-all and end-all of portraiture, which enhances Van
Dyck's portraits as types of character, and entitles him
to be called the Velazquez of the north. The general
sombreness of dress, both among courtiers and burghers,
may be perhaps due to the influence of the Spanish court
at Brussels and Antwerp, as at Madrid. The Regent of
the Netherlands, Isabella Clara Eugenia, was now a
widow, her consort, the Archduke Albert of Austria,
having died shortly before Van Dyck's return from Italy*
After her husband's death she entered the Order of the
Poor Clares and adopted their dress. The austerity of
their Regent probably extended itself to her court and
its surroundings. Isabella, a true Hapsburg, was quick
to perceive the value of Van Dyck's art. She appointed
him her court-painter, and gave him an annuity of 250
gulden. In this capacity Van Dyck painted a number of
portraits of the Regent in her religious garb, destined no
doubt to be sent by Isabella as presents to her royal re-
lations or allies. The portrait of the Regent is in all

SPINOLA 71

cases the same, though varying in size. That in the
Royal Gallery at Turin is at full length, standing in a
black, gray, and white robe. The simplicity is startling,
Over the white kerchief on her bosom, and under the
black hood, the hard and shrewd but kindly features of
Philip IFs daughter look out on the spectator, and help
to illustrate the paradox, that the best ruler of a country
is often a woman. Repetitions exist, mostly of great ex-
cellence, in the Louvre, at Parma, at Vienna, at Devon-
shire House, and elsewhere. One of the best is that be-
longing to the Earl of Hopetoun at Hopetoun House
near Edinburgh.

The same austerity pervades, in a slightly relaxed
form, the portraits of the leading Spanish courtiers and
functionaries. Chief among these was Francisco de Mon-
cada, Marqu&s d'Aytona, in 1633 commander-in-chief of
the Spanish forces in the Netherlands, and at this time
highest in the Regent's Council. Van Dyck painted
Moncada on horseback in one of the finest portraits of
any time, now in the Louvre.

Van Dyck had painted Spinola, as has been stated
before. In 1629 Spinola had been succeeded as com-
mander-in-chief of the Spanish forces in the Netherlands
by Hendrik, Comte de Bergh, a near relative of the
house of Orange. Van Dyck painted the Comte de
Bergh in one of his most vigorous portraits, now in the
Prado Gallery at Madrid.

Carlo Colonna and Ottavio Piccolomini, Italian noble-
men and commanders, like Spinola, in the Spanish army,
were painted by Van Dyck, as were Francisco Lelio
Blancatcio, Sigismondo Sfandrato, Marqu&s de Montasie,
Andrea Cantelmo, and other Spanish generals. Other

72 VAN DYCK

Spanish grandees sat to Van Dyck, such as Antonio di
Zuniga e Davila, Marques de Mirabella, of whom there
are portraits in the Royal Gallery at Munich and at
Warwick Castle, Don Alvarez Bazan, Marques de Santa
Cruz, and Don Emmanuel Frockas Pereira y Pimentel,
Conde di Feria, who may be identified with a fine full-
length portrait in the collection of Earl Cowper at Pans-
hanger. Jean de Montfort, the court chamberlain, is
seen in a strongly painted portrait by Van Dyck in the
Imperial Gallery at Vienna. In 1628 Van Dyck painted
a full-length portrait of Wolfgang Wilhelm, Duke of
Jtilich and Cleve, who had just been raised to the inde-
pendent sovereignty of Neuburg in the Palatinate. The
Prince of Pfalz-Neuburg is attired in sober black, and by
his side stands a noble dog; a sketch for this portrait is
in the British Museum,

The noble families of Brabant and Flanders, such as
those of Arenberg, De Ligne, Croy, and Tassis, were not
slow to avail themselves of the chances offered them by
Van Dyck, who had shown himself beyond all his con-
temporaries without rival in the interpretation of high
birth and breeding in both sexes. From the family of
Croy came the stately Genevieve d'Urfe, Marquise de
Havr^ the portrait of whom, seated in a chair, was one
of those most frequently repeated by Van Dyck or
copied by his pupils. This lady was the second wife of
Charles Alexandre de Croy, Marquis de Havn, who had
left her a widow in 1624. The Marquis de Havre was
the father, by his first wife, Yolande de Ligne, of an
only daughter, Marie Claire de Croy, married to her
cousin, Charles Philippe Alexandre de Croy, Due de
Havr6, which lady was painted, with her child, by Van

RUBENS AND VAN DYCK 73

Dyck in a charming full-length portrait in the collection
of Mr. Fawkes at Farnley Hall near Leeds,

In 1630 Van Dyck painted a charming portrait of
another great lady, Anne Marie, daughter of Pedro
Vasquez de Qamudio, of a Biscayan family, and wife of
Ferdinand de Boisschot, Comte d'Erps and Baron of
Saventhem, the same who gave Van Dyck the com-
mission for the painting of St. Martin dividing his Cloak
at Saventhem. The portrait of her husband, Ferdinand
de Boisschot, who was at one time ambassador to the
courts of France and England, has been traced in that
of a knight with the order of St. Jago in the collection
of M. Ch. L6on Cardon at Brussels.

With the portrait of Anne Marie de amudio it is easy
to connect the gracious and fascinating portrait of Maria
Luigia de Tassis, which has for long entranced all visitors
to the Liechtenstein Gallery at Vienna. This portrait has
deservedly been reckoned among the principal triumphs
of Van Dyck r and indeed is generally allowed to rank
among the masterpieces of the painter's art. In the same
gallery hangs the portrait of Antonio de Tassis, a canon
at Antwerp, in ecclesiastical dress, who was probably
one of the same great family.

Rubens and Van Dyck were now on terms of equality
as painters, and there is nothing to indicate anything
but the most cordial and generous friendship between
the two artists. Van Dyck painted Rubens several times.
In 1630 Rubens not only returned to Antwerp from his
diplomatic mission, and commenced a new period of re-
markable activity as a painter, but he also renewed the
joy and comfort of his home by his marriage with Helena
Fourment, that fair buxom lady who pervades the sub-

74 VAN DYCK

sequent paintings of Rubens as his principal model.
Among the pictures purchased by the Empress Catherine
of Russia from the Walpole Collection at Houghton Hall,
and now in the Hermitage Gallery at St. Petersburg,
was an upright painting representing Helena Fourment,
The portrait was always considered in Sir Robert
Walpole's collection to be the work of Van Dyck,
and to have been painted by him to fill a particular
position in the house of Rubens at Antwerp, a state-
ment which its very peculiar size would seem to bear out
very well.

The perfection of elegance and refinement, akin to
that in the paintings of his Genoese period, is shown in
the portraits, unfortunately as yet unidentified, of A Man
with a Child and A Lady with a Child in the Louvre,
It would be difficult to excel the gracious dignity of
these portraits. The same charm, though by no means
the same sense of aristocratic breeding, pervades the
companion full-length portraits, at present unidentified,
of the so-called Burgomaster of Antwerp and his wife in
the Royal Gallery at Munich. In the same gallery is a
fine full-length portrait of a dark man of Spanish type,
also unidentified at present To these may be added the
imposing full-length portrait of Frans van der Borcht,
apparently a naval commander from the ships in the
background, in the Ryksmuseum at Amsterdam. But
even these may be thought to yield the place of honour
to the majestic full-length portraits of Philippe le Roy,
Seigneur de Ravels, painted in 1630, and his young wife,
painted in 1631, which were purchased by the Marquess
of Hertford, and are now among the principal treasures
of the wonderfu collection in Hertford House, Man-

THE ARTIST'S HOUSE 75

Chester Square, bequeathed to the British nation by the
widow of Sir Richard Wallace.

To describe the numerous portraits by Van Dyck of
his friends and contemporaries at Antwerp would be to
turn a history into a catalogue. There is little or no
deviation from the general high scale of merit in their
execution.

Among his special friends seems to have been Eber-
hard Jabach, a rich banker of Cologne, who was during
these years managing a branch establishment at Ant-
werp, and was in later years to be so distinguished a
benefactor to the French nation. Van Dyck painted
Jabach three times at different periods of his life; one of
these portraits is in the Hermitage Gallery at St Peters-
burg, another is in the Gallery at Cologne.

Van Dyck's house at Antwerp was remarkable for its
simplicity as compared with the magnificent Mtel which
Rubens had built for himself, He had in it, however, a
choice collection of paintings by Titian and other artists,
which are referred to by a picture-restorer, Jean Baptiste
Bruno of Antwerp, who in an action at law in December,
1630, put in a certificate signed by Rubens, Seghers, and
Van Dyck. In August, 1631, the Queen-Mother of
France, Marie de' Medici, took refuge in the Nether-
lands, and resided at Antwerp, as the guest of the Regent
Isabella, from September 4 to October 16. The queen,
who was accompanied by her son, Gaston, Due d'Orl^ans,
not only visited her old friend Rubens, who had made
her glorious and immortal at the Palais de Luxembourg
in Paris, but she also visited Van Dyck. Van Dyck
painted the queen's portrait more than once.

On February 12, 1631, Van Dyck sent a power of

76 VAN DYCK

attorney to the painter Lenaert van Winde at the Hague,
as to the payment for certain paintings delivered. This
would seem to show that Van Dyck had already made
a journey to Holland, where he was summoned by the
Stadtholder, Prince Frederick Henry of Orange, and his
art-loving wife, Amalia van Solms. He painted the por-
traits of these two personages several times, and no
doubt, as in the case of the Regent Isabella, their por-
traits by Van Dyck were most welcome as presents from
the Prince and Princess of Orange to their friends.

During his visit to Holland, Van Dyck paid the famous
visit to Frans Hals at Haarlem which has been handed
down to posterity by the historian of art, Arnold Hou-
braken. Houbraken tells how there came into the studio
of the jovial Frans Hals a handsome young man in silk
and velvet clothes, with plumed hat, gloves, and all the
appearance of an elegant dandy and dilettante, which
afforded a great contrast to the careless and almost
slovenly habits of Hals. The young man bade Hals
make a portrait of him as quickly as possible, for he had
only a short time to spare there. Within half an hour
Hals had sketched in one of those marvellous sleight-of-
hand portraits for which he was so famous. Van Dyck,
on seeing this, said in a languid tone of voice that he
would like to try in return to make a portrait of Hals in
as short a time. Hals settled himself, rather amused at
the situation, in a big leather chair, and watched the
young man begin. As he progressed Hals saw that the
painter's hand was not that of a tyro, and that he was
evidently no mere amateur. At last, jumping from his
chair, he rushed to the easel and, seeing the portrait,
cried out, " You are Van Dyck, for no one else could do

HENDRIK DU BOIS 77

a thing like that" Upon which the two painters em-
braced warmly.

On this journey too, or perhaps upon his way to Eng-
land, Van Dyck may have found himself the guest at
Rotterdam of an old friend, Hendrik du Bois, a painter
of Antwerp, and pupil of Hans de Wael, who had settled
at Rotterdam with his wife Helena, daughter of Eland
Gysbrechts Tromper of that city.

CHAPTER IX

Van Dyck invited to England RInaldo and Arrnida Reasons for
leaving Antwerp Sir Balthasar Gerbier Arrival in Eng-
land Henrietta Maria and Theodoras Van Dyck Return to
Antwerp Paintings for the Court at Brussels The Cardinal
Infant Return to Antwerp and England

THE time was now approaching for an important
event in the career of Van Dyck his removal to
the court of Charles I in England. Times had changed
greatly in England since Van Dyck's first visit in 1620.
Charles I had succeeded his father on the throne in
1625, and had taken to wife, as his queen, Henrietta
Maria, one of the daughters of Henri IV and Marie de j
Medici. Buckingham had fallen beneath the assassin's
knife at Portsmouth, and the whole of Europe was the
quieter for his removal. Charles himself gained in power
and popularity when his brilliant and unscrupulous
favourite was no longer there to tyrannize over him. The
clouds were gathering on the horizon, but as yet no
rumble had been heard of the storm to be raised by the
struggle for supremacy between the king and his Parlia-
ment. Charles himself was a connoisseur of painting of
no mean merit. This, moreover, was personal to himself,
and not merely a pose adopted by a monarch with a
taste for patronage and luxurious magnificence. The
Earl of Arundel alone excelled the king in expert know-
ledge of the fine arts,

78

CHARLES I 79

Charles I was not likely to be unacquainted with the
growing reputation of Van Dyck. If Van Dyck came to
England in 1626 or 1627, as mentioned in a previous
chapter, he could hardly have escaped the notice of the
king, although his reputation had yet to be made. There
is no indication, however, that Charles took any interest
in the work of Van Dyck before March 23, 1629-30,
when an order, preserved in the Pell Records, was issued
to pay to Endymion Porter, " one of the Grooms of his
Majestie's Bedchamber the some of 7% for one picture
of the storie of Reynaldo & Armida bought by him of
Monsieur Vandick of Antwerpe and deliverd to his
Maj tie without accompt as per letter of privy seal 20
March, 1629.

The story of " Rinaldo and Armida" was a favourite
subject with Van Dyck. Endymion Porter, one of the
most active agents of the king, and later to be one of Van
Dyck's best friends in England, being in Antwerp, ordered
a painting of Rinaldo and Armida from Van Dyck.
A letter from Van Dyck to Porter, written in Spanish,
the language of the Regent's court, is preserved among
Endymion Porter's papers in the Record Office. Writing
from Antwerp on December 5, 1629, Van Dyck informs
Porter that the picture had been delivered into the hands
of his agent, Mr. Pery, who had paid him 72 sterling as
agreed.

It is still uncertain what was the actual motive which
caused Charles I to invite Van Dyck to his court The
Earl of Arundel, restored to favour since the death of
Buckingham, and his Countess had renewed their attempts
to bring the painter to England. Nicholas Lanier, the
king's confidential agent for the purchase of pictures, had

8o VAN DYCK

shown to the king his own portrait, which Van Dyck
had painted in Genoa* Another story, told by the print-
dealer Edward Cooper to Vertue, and noted by the
latter, was that " Sir Anthony Vandyke Painter was re-
commended to King Charles I st by M r Le Blon Envoy
from the Queen of Sweden whose picture was painted
by Vandyke & a print is engraved from it by Mattham,
the print is not scarce." This was Michel Le Blon, an
engraver and political agent, whose portrait by Van
Dyck is now at Amsterdam.

In spite of his great reputation and the commissions
which poured in upon him, the position of Van Dyck at
Antwerp was not satisfactory to a painter who held
himself in such esteem. Rubens was not only back at
work in Antwerp, but he was engaged in his atelier on
a series of great paintings, which showed that his genius
was greater than before, even if the actual work was left
more and more to be carried out by his assistants. Do
what he might, Van Dyck could never hope to rank higher
than Rubens. He was therefore ready to take a place, if
properly secured for him, at any court, whether that of
the Prince of Orange or that of the King of England.
It may have been the prospect of obtaining such a post
in London which prevented him from entering altogether
the service of the Prince of Orange.

The Queen-Mother of France, Marie de' Medici,
may possibly have recommended Van Dyck to her
daughter, Queen Henrietta Maria, in England. At all
events in March, 1631-2, Van Dyck was at Brussels and
preparing to start for England, taking with him as
specimens of his work portraits of Marie de' Medici and
the Infanta Isabella. The credit for this decision was

SIR B. GERBIER 81

claimed by Sir Balthasar Gerbier, one of those curious
artist-diplomats who were brought into existence by
the secret intrigues in which the policy of Buckingham
had entangled Europe. Gerbier had been the tool of
Buckingham, and after his patron's murder was open to
the highest bidder, and ready to dabble in miniature-
painting, picture-dealing, speculation, politics, or what-
ever came to hand. He was now in the employ of the
Lord Treasurer, Richard Weston, afterwards Earl of
Portland, for whom he purchased at Brussels, in
December, 1631, a painting of The Virgin and Child
with St. Catherine, by Van Dyck. Gerbier, who met the
painter at Brussels, says that Van Dyck thanked him
for having sent the picture to Weston and confided to
him his wish to go to England. He managed, however,
to fall out with the painter, who repudiated the picture
purchased by Gerbier as his work, and refused to go to
England. During this time Van Dyck was correspond-
ing with Geldorp, his friend in London, and informed
him that the picture sent to Weston was only a copy.
Van Dyck further ordered Gerbier to cancel his agree-
ment with the Queen-Mother of France. Gerbier then
obtained a certificate from a scrivener at Brussels attest-
ing the genuineness of the picture sent to the Lord
Treasurer. He then wrote to the King on March 13,
1632, from Brussels, saying that Van Dyck was there
and was determined to go over to England, though,
thanks to that tale-teller Geldorp, Van Dyck was on
very bad terms with Gerbier himself.

Van Dyck carried out his resolution and arrived in
England very shortly afterwards; for on May 21, 1632,
a Privy Seal Warrant was issued at Westminster to

G

82 "VAN DYCK

Edward Norgate, a heraldic artist and writer in the
service of the Earl of Arundel, and afterwards Clerk
of the Signet to the Crown, for fifteen shillings by the
day " for the dyett and lodging of Signior Anthonio Van
Dike and his servants ; the same to begin from the first
day of Aprill last past to continue during the said
Vandikes residence there." It has been said that Van
Dyck passed through Holland on his way to England ;
but, if so, his stay could only have lasted a few days. He
may have crossed from Rotterdam, and have been there
the guest of his friends Hendrik and Helena du Bois,

The king took a personal interest in the arrival of Van
Dyck and in finding him a lodging. In addition to the
instructions to Norgate, the king instructed his Secretary
of State, Sir Francis Windebank, to " speak with Inigo
Jones concerning a house for Vandyck." This may
perhaps refer to the plans for the royal palace at White-
hall, on which the great architect was at that time
engaged. A residence was provided for Van Dyck in
the Blackfriars, conveniently near the river and without
the liberties of the City of London, so that he would not
come under the jurisdiction of the Painter-Stainers
Company. A summer residence was provided for him
in the royal palace at Eltham in Kent, a few miles out
of London. Van Dyck had now reached the summit of
his career. He'was the accredited court-painter of a king
who was the greatest connoisseur of art in Europe. The
road was now open for a life of honour, splendour, and
luxury. All possible rivals faded from his path. Van
Dyck was at once employed by Charles and Henrietta
Maria, and on July 5, 1632, he received the honour of
knighthood at St. James's Palace, being described as

Hanfstaiig I photo}

Windsor Castle

VENETIA, LADY DIGBY

SIR K. DIGBY 83

" Sir Anthony Vandike, principalle Paynter in ordinary
to their Majesties." On April 20, 1633, a warrant was
issued by the Lord Chamberlain "for a Chain and a
Medal of One Hundred and Ten Pounds value to be
presented unto Sir Anthony Vandyck." The king gave
the painter a pension of 200 per annum to be paid
quarterly, and in a warrant for the payment of this annuity
in 1633 directions are given to pay it, "any restraint
formerly made by our late dear Father, or by us, for
payment or allowance of Pensions or Annuities or any
Declaration, Signification, Matter or Thing to the con-
trary in any wise notwithstanding." These words clearly
denote that Van Dyck's breach of his agreement with
James I in 1620 had not been overlooked at the English
court, and they also suggest a reason for Van Dyck's want
of success at the time of his supposed visit to England
in 1626 or 1627,

One of the first men of mark at the court of Charles I
with whom Van Dyck was to be on terms of personal
friendship, was the famous Sir Kenelm Digby. This
strange genius, half paladin and half charlatan, had re-
turned from some years' service in Italy and Spain, and
had settled down with his beautiful wife, Venetia Stanley.
Van Dyck painted Digby several times, including a group
of Digby with his wife and children, one version of which
is in the collection of the Duke of Portland at Welbeck
Abbey. Scandal, however, had not spared the character
of the fair Venetia, and, it would seem, not without some
reasonable cause. Digby, at all events, resented any im-
putation upon his wife's honour, and, to vindicate it,
instructed Van Dyck to paint a portrait of his wife as
Prudence^ which is now at Windsor Castle. Venetia Digby

84 VAN DYCK

died on May I, 1633. Her broken-hearted husband is
said to have called in Van Dyck to paint her portrait as
she lay upon her death-bed.

Commissions for the king and queen kept the painter
in active employment, and he was constantly in attend-
ance on them if they were not paying a visit to his
studio themselves. So great was the impression made by
the handsome and courtly painter upon the queen, that
she expressed a wish, no doubt at Van Dyck's sugges-
tion, to have his brother Theodorus, the priest, as one of
her chaplains.

In the following March the two brothers were as-
sociated together at Antwerp, the painter having returned
home to settle some matters concerning his estate. On
March 28 Van Dyck purchased a property in the
Seigneurie of Steen, that very Seigneurie which was
purchased by Rubens in May, 1635. On April 14 follow-
ing Van Dyck gave a power of attorney to his sister
Susanna, to administer all his property at Antwerp dur-
ing his absence abroad. It is evident that Van Dyck
contemplated an eventual return to his native city, since
he took out no letters of denization in England; and in
a return of aliens in London made in this very year,
1634, there occurs an entry: "Dutch. Sir Anthony
Vandike. Limner. 2 years. 6 servants." Van Dyck, how-
ever, was not destined to return at once to his house in
Blackfriars, and to his duties as court-painter to Charles
and Henrietta Maria. His fame brought him an invita-
tion to the court at Brussels, an invitation which he
evidently thought it would be injudicious to decline.

There was excitement in the court of the Hapsburgs at
Brussels. Isabella Clara Eugenia, the wise old Regent

THOMAS DE SAVOIE-CARIGNAN 85

and Van Dyck's patroness, closed her useful life on
December i, 1633. As she left no heirs, it devolved once
more upon the King of Spain, Philip IV, to appoint a
new Regent for the Netherlands. He selected his own
brother, Ferdinand, known as the Cardinal Infant, who,
as a prince of the royal house of Spain, had, following a
custom of the Holy Roman Empire, been elevated to the
rank of Cardinal. The entry of the new Regent was
eagerly expected at Brussels, and there was a goodly
assembly of nobles and princes ready to receive him on
his arrival.

After the death of Isabella, and pending the arrival of
Ferdinand, the governorship of the Netherlands devolved
upon the splendid Thomas de Savoie-Carignan, fifth son
of Charles Emmanuel of Savoy, and nephew to the late
Regent He had just succeeded Moncada as commander-
in-chief of the Spanish forces in the Netherlands. Van
Dyck painted the handsome warrior in one of his greatest
pictures, the equestrian portrait now in the Royal Gallery
at Turin, in which the prince sits fully clad in armour, on
a white horse, which rears in an action that suggests
similar portraits by Velazquez at Madrid. Van Dyck
also painted the same prince at half length in armour,
and full face, in a fine portrait now in the Royal Gallery
at Berlin, an inferior version of which is at Windsor
Castle. It is noteworthy that by painting this prince
Van Dyck achieved the feat of portraying four successive
commanders-in-chief in the Netherlands Spinola, the
Comte de Berg, Moncada, and Thomas de Savoie-
Carignan.

At Brussels there was residing a branch of the royal
house of France, consisting of Charles, Due de Lorraine,

86 VAN DYCK

and his sisters Henrietta and Marguerite. Marguerite de
Lorraine had married in 1632 Gaston, Due d'Orl^ans,
younger son of Henri IV and Marie de' Medici, and
brother to Henrietta Maria, Queen of England. Gaston,
who was now twenty-six, had already been painted by
Van Dyck at Antwerp at the time of his mother's visit
in 1631. Van Dyck now again painted the young prince
with his dark passionate face and black hair in a fine
full-length portrait, now in the collection of the Earl of
Radnor at Longford Castle. Marguerite he also depicted
at full length in the portrait now in the Uffizi Gallery at
Florence, a small study for which is at Hampton Court.
Henriette de Lorraine, the elder sister, was the widow of
Louis de Guise, Prince de Phalsbourg. Less attractive
than her sister, she subsequently married three more
husbands, and appears, attended by a negro page, in a
full-length portrait formerly at Hamilton Palace and now
in the collection of Lord Iveagh in London.

It is uncertain whether Van Dyck painted the Due de
Lorraine, but he certainly immortalized a lady who was
to be associated with the Duke soon after in a romantic
union. Beatrice de Cusance, daughter of Claude Frangois
de Beauvoir, was one of the most fascinating ladies at
the court of Brussels. In 1635 she was married to Eugene
Leopold d'Oiselet, Comte and Prince de'Cante Croix,
who left her a widow in 1637. Meanwhile she had cap-
tivated the heart of the Due de Lorraine, who repudiated
his first wife in order to marry the fair widow. The affair
was the subject of much gossip and scandal at the
European courts, but the Church refused to recognize
the marriage. Beatrice found this out to her cost when,
a few years later, another charmer crossed the path of

PAINTER TO CHARLES I 87

the susceptible Due de Lorraine, and she found herself
deserted. Few portraits among Van Dyck's masterpieces
are so alluring as that of Beatrice de Cusance, as she trips
up the steps of the palace, with a little spaniel barking at
her feet, casting as she goes a look from her eyes enough
to fascinate any beholder, whether royal duke or other-
wise. This portrait is at Windsor Castle, a repetition
being at Warwick Castle.

The most remarkable of his works at Brussels was
the great painting executed by him for the Munici-
pality of Brussels in the Town Hall of that city. This
composition contained the life-size portraits of no less
than twenty-three magistrates of the city seated in
council. Unfortunately, during the year 1695 this great
painting perished in a conflagration caused by the bom-
bardment of Brussels by the French under Marechal de
Villeroy.

Van Dyck was back at Antwerp early in 1635, f r he
completed there a large painting of The Adoration of the
Shepherds (Nuit de Noel or Hersnacht\ for the Church of
Notre Dame at Termonde, for which he was paid 500
florins exclusive of payments for canvas. There is some
uncertainty about this painting, for, according to a letter
from Van Dyck dated November 21, 1631, the picture
seems to have been commissioned by Cornelis Gheerolfs,
chevin of Termonde, at that date. Perhaps Van Dyck
in 1635 was carrying out a commission which he had
been unable to fulfil before his removal to England.

Early in 1635 Van Dyck returned to England to
resume his duties as painter to the court of Charles I
and Henrietta Maria.

CHAPTER X

The Portraits of Charles I, Henrietta Maria, and the Royal
Family j Other Paintings by Van Dyck for Charles I

IN the history of England, even it may be said in the
history of Europe, the romantic figures of Charles I
and his queen, Henrietta Maria of France, appear in the
lineaments traced by Van Dyck. A peculiar sympathy
seems to have linked together the king and the painter,
and it is difficult to separate them in the mind. One
does not seem to know Charles in his early portraits as
Duke of York and Prince of Wales, or even in the very
excellent portraits of the king which Mytens painted.
In the portraits by Mytens Charles appears, no doubt,
as he was seen, his short stature and other minor defects
being in no way disguised. His air is careless and de-
bonnair> and it is possible to trace in it something of the
clumsiness and the Scottish bonhomie of his father,
James I. But with the arrival of Van Dyck the king
appears, as it were, transformed. Through the succession
of Van Dyck's portraits the noble melancholy of the
king seems to increase in intensity.

To Queen Henrietta Maria Van Dyck rendered no
less service. The daughter of Henri IV and Marie de'
Medici was a little brunette, whose personal attractions
were limited to a pair of fine eyes and a pretty mignonne
figure. In character she inherited both the courage of

Collection of] {the Earl Fitziviltia

QUEEN HENRIETTA WITH GEOFFREY HUDSON
THE DWARF

THE KING AND QUEEN 89

her father and the indomitable tenacity of her mother.
For the presentment of Henrietta Maria in history Van
Dyck is again responsible. In the dry and uncom-
promising portraits of Miereveldt and his school she
would have been but one in a long series of uninterest-
ing royalties. Had she instead of her sister been Queen
of Spain, she would have been one of the charming
dolls, in unspeakable dresses, on which Velazquez ex-
pended his inimitable skill as a portrait-painter. Van
Dyck transformed Henrietta Maria into a heroine of
romance, and if, as a courtier who desired to flatter, and
as a painter who could not but embellish everything
which he touched, he added some charms which perhaps
were not so apparent in real life, he succeeded in hand-
ing down Henrietta Maria as a figure for the admiration
and delight of posterity.

The king and queen were constant visitors to Van
Dyck's studio at Blackfriars. They would order the
royal barge on the Thames at Westminster, the usual
way of progression from Westminister to London at
that date, and land at the painter's house. In 1635 a
payment occurs in the Works accounts of the Crown
(preserved in the Audit Office Records at the Record
Office) which is of great interest as showing that Van
Dyck's house at Blackfriars was near enough to the
river to have a special landing-stage made for the royal
party.

Allowed the said Accomptante for Money by him yssued
and paid for Workes and Repairacons donne and
performed within the tyme of this Accompte at the
Blackfryers in making a new Cawsey Way and a new
paire of Staires for the King's Majesty to land to goe

90 VAN DYCK

to S r Anthoney Vandike's house there to see his
Paintings in the monethes of June and July 1635
.... xx//.

Various entries occur in the accounts of the royal
household for payments to Van Dyck, although it is
much to be regretted that the treasury clerks of those
days were not more explicit in their details of the paint-
ings charged for by the painter.

One of the earliest likenesses of the king and queen
is the charming double portrait, remarkable for its
oblong shape, in which Charles is in the act of receiving
a branch of myrtle from Henrietta Maria. The king is
here attired in a gay suit of red, embroidered with silver
and slashed with white silk. The queen is in white, with
pink ribbons and bows. This picture, which was painted
in 1634, was at Denmark House in 1639, and is now in
the collection of the Duke of Grafton, an indifferent
copy being at Buckingham Palace.

The more famous portraits of Charles I seem to have
been painted after Van Dyck's return from Brussels in
1635. Exception may perhaps be made for the famous
portrait of Charles I on a White Horse with ^M. St.
Antoine^ the original of which is now at Windsor Castle;
while a replica from the painter's own studio, if not from
his own hand, is at Hampton Court. The king sits fully
clad in armour on a white horse, resting his b&ton of
command on the saddle-cloth. He rides slowly under a
lofty arch, and on the right, and the horse's left, walks
the equerry or riding-master, Monsieur de St. Antoine.
The original painting hung in St. James's Palace, where
Monsieur de la Serre, the secretary and chronicler to

Hanfstiwgl photo]

[National Gallery

CHARLES I

THE KING AND QUEEN 91

Marie de' Medici, saw it at the time that the Queen-
Mother was residing there on a visit to her daughter.
The picture was sold in 1650 by the Parliament to Sir
Balthasar Gerbier for 200, and afterwards came into
the possession or care of Remigius van Leemput, It
seems, however, never to have been removed from St
James's Palace, as it was found there upon the Restora-
tion in 1660, and recovered by the Crown.

It is interesting to compare this portrait of Charles I
with the other great equestrian portrait of the king, now
in the National Gallery, which was painted two or three
years later. The horse and rider are on this occasion
seen in profile to the left, the king being in full armour
as before, and with the same action of the hand and
bdton. The horse, however, instead of being the beautiful
white charger which was Van Dyck's favourite through-
out his life, is one of the large and heavy Flemish breed,
of a light creamy-brown in colour, with the small head
which marks the breed and makes the animal somewhat
ungainly. A smaller version of this portrait is in the
royal collection at Buckingham Palace, and appears in
the catalogue of Charles Fs collection. It was catalogued
by Vander Doort in 1639 as in the privy gallery, and as
" the model whereby the great picture was made." The
" great picture " does not appear to have remained in the
king's possession, but was probably presented by him
either to his sister, the Queen of Bohemia, or to his
nephew, the Elector Palatine, perhaps in return for a
present of the horse on which he is represented as riding.
It was acquired by the great Duke of Marlborough on
one of his campaigns, according to one account purchased
by him after much negotiation at Munich, according to

92 VAN DYCK

another taken as the spoils of war from the Castle of
Tervueren near Brussels.

It would seem, perhaps, an exaggeration to say that
these two equestrian portraits of Charles I, so highly
extolled, could yet have been surpassed by Van Dyck.
This is the case, however, for few critics of painting
would hesitate to assign to the great portrait of Charles
I by Van Dyck in the Salon Carr of the Louvre a
place among the greatest portraits, if not actually among
the greatest paintings, of any time or country. In this
famous picture the king is standing, having apparently
dismounted from his horse which paws the ground to
the right, and is held by an equerry; another servant
stands behind holding the king's cloak. It is easy to
identify this picture, which was painted in 163 5, with "Le
Roi alia ciasse," mentioned in the king's memorandum,
for which the painter asked ^200 and the king only paid
100. The picture does not seem to have remained in
the royal collection. It went to France, perhaps as a
present to the Queen-Mother, and after passing through
the collections of the Marquis de Lassay and Crozat,
Comte de Thiers, was purchased by Louis XV for his
favourite, Madame du Barry.

In 1636 Van Dyck painted Charles I at full length in
the robes of the Order of the Garter. This portrait is
now in St. George's Hall, at Windsor Castle, and is, per-
haps, the most admirable, as a mere portrait, among Van
Dyck's presentments of the king. It was sold by the
Parliament in 1649 for 60, but recovered at the Restora-
tion in 1660. Charles appears again in a rich black
dress with the great Star of the Garter on his sleeve, a
costume known as the "habit of St. George," in a fine

THE KING AND QUEEN 93

half-length portrait by Van Dyck. The original portrait
in this dress is said to have been destroyed in the fire at
Whitehall in 1697, but to have been copied by Sir Peter
Lely. The copy by Lely has been identified with the
portrait now in the Royal Gallery at Dresden, but the
Dresden painting is so excellent, and is, moreover, a
pendant to one of the most admirable portraits of Queen
Henrietta Maria, that it is difficult to believe it to be
other than an original by Van Dyck. The portrait can
further be identified in the Memorandum of Charles I
as "Le Roi vestu de noir au Prin ce Palatin avecq sa
rnollure," and again as " Le Roi vestu de noir au Mons r
Morre avecq sa mollure," whence it is clear that it was
repeated by Van Dyck more than once for the king.
The " Mons r Morre," is evidently William Murray, after-
wards Earl of Dysart, and in the collection of the Earl
of Dysart at Ham House, there is a portrait of Charles
I corresponding to this type. Another is said to have
been presented by the king to the Knight-Marshal, Sir
Edmund Verney, and is now at Claydon House. An
interesting portrait of the king in a plain black dress
without any insignia is in the Town Museum at Belluno,
in North Italy, to which it was bequeathed by a wealthy
citizen who had purchased the picture in Venice.

" Among the best known portraits of Charles I in armour,
are the half length with his arm upon a helmet, of which
the best version is that in the collection of the Duke of
Norfolk at Arundel Castle, and another in the collection
of the Earl of Pembroke at Wilton House, and a similar
portrait with his hand upon a crystal globe of which
several versions exist.

Special interest attaches to the triple portrait, show-

94 VAN DYCK

ing the head of Charles I in three positions, painted
about 1637 by Van Dyck, and sent by the king to the
famous sculptor, Bernini, at Rome, in order that a bust
might be made from it. There is a well-attested tradi-
tion how that Bernini, on receiving the picture, remarked,
"Ecco, il volto funesto." Bernini made a marble bust
from the painting, which was finished and despatched
for Rome before October, 1638. The story goes, that
when the bust by Bernini was carried to the king's house
at Chelsea, or, according to another account, the Earl of
Arundel's house at Greenwich, the king with his courtiers
went to inspect it; and that, as they were viewing it, a
hawk flew over their heads, with a partridge in its claws,
which it had wounded to death. Some of the partridge's
blood fell on the neck of the statue, " where it always
remained without being wiped off" This bust, unfortun-
ately, perished at the fire at Whitehall in 1697, but the
picture remained in the possession of Bernini and his
descendants until 1803, when it was brought to England,
and after passing through the well-known collections of
Mr. Champernowne, Mr. Walsh Porter, and Mr. Wells of
Redleaf, was purchased from the latter for the royal col-
lection by George IV.

Van Dyck is said to have painted no less than thirty-
six portraits of Charles I, and twenty-five of Queen
Henrietta Maria. As it is difficult to vary the portraits
of a lady, no matter what her rank may be, it is not sur-
prising to find that those of Henrietta Maria, painted by
Van Dyck, can be classified into certain types, variations
being produced by different colours in the dress, and
slight alterations in the gesture of the hands.

The charming likeness of the queen in a white silk *

THE KING AND QUEEN 95

dress with crimson bows and ribbons, shown in the double
portrait, painted in 1634, in which she offers the king a
branch of myrtle, was repeated alone by Van Dyck
several times. One of these, which was in the king's own
collection, and hung in his bed-chamber at Whitehall,
is still at Windsor Castle.

The portrait of the queen, painted by Van Dyck for
the king in 1633, and given by the king to Lord Went-
worth, afterwards the famous Earl of Strafford, can be
identified with the famous full-length portrait belonging
to Earl Fitzwilliam at Wentworth Woodhouse. In this
painting the queen stands at full length in blue silk, with
a large black hat on her head, her right hand stroking a
monkey, which stands on the shoulder of the dwarf,
Geoffrey Hudson, who is standing by her side. A repeti-
tion of thia portrait is in the collection of the Earl of
Northbrook.

A full-length portrait of the queen in white satin, with
her hand on a table, is in the collection of the Earl of
Clarendon at The Grove, near Watford. The full-length
portrait of the queen, given by the king to Lord Whar-
ton, is but a repetition of this portrait, the satin dress
being crimson instead of white.

One charming presentment of the queen is that in
which she holds a bunch of roses lightly in her hands,
which rest just linked across her dress. One of the finest
of these is the portrait in a blue silk dress, at half length,
in the collection of the Earl of Radnor at Longford
Castle. In the admirable portrait of the queen in the
Royal Gallery at Dresden, the flowers are held in the
right hand only, the left falling lightly on the white silk
skirt ; this is one of the most satisfactory likenesses of

96 VAN DYCK

the queen which Van Dyck painted. Sometimes the
queen is seated, as in the portrait of her in the Royal
Gallery at Munich, and the roses lie loosely on her lap.

When the bust of Charles I by Bernini was received, it
was so much admired, and excited such enthusiasm, that
the queen determined to have a similar bust of herself,
and wrote a letter to the sculptor stating her intention.
Van Dyck was instructed to paint her portrait in three
positions, like that of the king, but on different canvases.
These portraits are entered on the Memorandum as u La
Reyne pour Monsr Barnino," the two portraits thus de-
scribed being still at Windsor Castle, one full face, the
other a profile to the left. Probably the troubles which
ensued prevented the despatch of the portraits to Rome
as the queen intended, A third portrait, a profile to
the right, completing the set, is in the collection of the
Earl of Denbigh at Newnham Paddox, and is probably
identical with " La Reyne envoy< a Mons Fielding " in
the aforesaid Memorandum.

One of the first tasks set to Van Dyck by the king
and queen after his return from the Netherlands in 1635,
was to paint their three children in a group. Charles,
Prince of Wales, born on May 29, 1630, was not yet five
years old; Mary (afterwards Princess of Orange), born
on November 4, 1631, was a little over three, and James,
Duke of York, born on October 14, 1633, was still an
infant Van Dyck was always at his best in depicting
the innocent grace of children. This picture is now in
the Royal Gallery at Turin, and it was painted for the
queen and presented by her to her sister, Christina of
Savoy.

Later in the same year Van Dyck painted the same

THE ROYAL FAMILY 97

three children in a different group. In this the composi-
tion is more elaborate and the pose less unaffected, and
the children appear more self-conscious, and aware of
the situation. The picture is signed and dated by Van
Dyck in 1635. It has always been in the royal collec-
tion, and after being sold by the Parliament, was re-
covered at the Restoration, and is now at Windsor
Castle.

Two years later the painter was similarly employed.
The royal family had, however, now been increased by
the birth of the Princess Elizabeth on December 28,
1635, and the Princess Anne on March 17, 1636-7. This
is the least successful of the three groups, as the colours,
though brilliant and admirably arranged, do not blend
together in the same soft silvery radiance as in the ex-
quisite painting at Turin. This picture can be identified
in the Memorandum for the king, quoted before as " Le
Prince Carles avecq le ducq de Jarc Princesse Maria Pr se
Elizabeth P r Anna," for which the painter asked ^"200
and the king paid 100. It was the property of the king,
and hung in the Breakfast Chamber at Whitehall It
was sold by the Parliament for ^"120, and at the Restora-
tion was found in the possession of Mr. Trion, a mer-
chant. It reappears in the catalogue of James IPs col-
lection, but the version now at Windsor Castle, which
has every appearance of being the original, is, perhaps,
that given by James II to his bastard daughter, who was
the wife of the Earl of Portmore, from whose collection
it was that the picture at Windsor is said to have been
purchased by George III.

At this same date Van Dyck painted the Prince of
Wales alone, standing in armour, his left hand resting

H

98 VAN DYCK

on a helmet with enormous plumes, and his right hand
holding a pistol, perhaps in mimicry of a similar por-
trait of his father. The picture can be identified in the
aforesaid Memorandum as " Le Prince Carlos en Armes
pour Somerset," 40, and it hung in the queen's closet at
Somerset House. It was sold like ,the others by the
Parliament in 1649. A version is now at Windsor Castle,
another is in the collection of the Duke of Portland at
Welbeck Abbey, and a third is in the Prado Gallery at
Madrid. It is uncertain which is the original picture, but
that at Madrid belonged to Philip IV, and, if not actually
purchased from Charles Ps collection, as were other
paintings in the same gallery, was probably sent by the
queen as a present to her sister Elizabeth, the Queen of
Spain, being, perhaps, one of the pictures which Sir
Arthur Hopton " had into Spaine."

The paintings executed by Van Dyck for the king and
queen were by no means exclusively portraits. Charles
I had already purchased Van Dyck's Rinaldb and Ar-
mzda^&nd must have commissioned, among other paint-
ings of the same nature, the charming composition of
Cupid and the Sleeping Nympk or Cupid and Psyche,
which was in the royal collection at Wimbledon House.
This painting is remarkable for the same rich colours of
pink and blue, the same Titianesque landscape and sky
which are found in the Rinaldo and Annida> and in the
portrait of Venetia^ Lady Digby. It figures in the sale-
catalogue of Charles I's collection in 1649, and is still at
Hampton Court Bellori, who, as has been stated before,
was informed by Sir Kenelm Digby, states that Van
Dyck painted for Charles I The Dance of the Muses with
Apollo on Parnassus, Apollo flaying Marsya$> Bacchanals ,

THE KING AND QUEEN 99

Venus and Adonis, and Nicholas Lanier as David playing
the Harp before Saul. None of these paintings can be
traced. Bellori also states that he painted for the queen
a Holy Family with dancing angels, "Per la Regina
fece la Madonna col Bambino e San Giuseppe rivolti ad
un ballo di Angeli in terra, mentre altri di loro suonano
in aria con vedute di paese vaghissima." This statement
is corroborated by an entry in Charles Fs catalogue as
among the pictures in store at Whitehall, " Done by Van-
dike. Item. Another our Lady with Christ, where many
angels are a-dancing; removed by the King himself out
of the little room by the long Gallery " ; and by the fact
that in the queen's apartments at Somerset House, in
1649, there was a picture of Mary^ Christ \ and 'many
angels dancing, which was sold by the Parliament for a
small sum. This would appear to be identical with the
painting which was purchased by Sir Robert Walpole;
at least Vertue considered it to be so, early in the eigh-
teenth century, when he transcribed the catalogue of
Charles Fs collection from the manuscript in the Ash-
molean collection at Oxford. Walpole's picture was pur-
chased, with other paintings, from the Houghton Hall
collection by the Empress Catherine II of Russia, and
is now one of the chief ornaments of the Hermitage
Gallery at St. Petersburg. Bellori's statement, therefore,
is only partially correct, for in this version, if indeed it
be that painted for Henrietta Maria, the group of angels
making music above has been omitted by Van Dyck,
and the space filled, rather awkwardly, by a brace of
partridges flying through the air, whence the name of La
Madonne au% Perdrix has been attached to the picture.
The whole composition shows the painter at his full

ioo VAN DYCK

individual development, and not merely feeling his way
in the steps of Titian and Rubens, as in the earlier ver-
sions of the same picture. According, however, to another
account, the painting now at St Petersburg is identical
with that painted for the Prince of Orange, and was pur-
chased by Sir Robert Walpole at the sale of the collec-
tion at the royal Chateau of the Loo in 1712.

Collection ?/]

{the Earl of Denbigh and Desmond

MARY VILLIERS, DUCHESS OF RICHMOND AND LENOX,
WITH MRS. GIBSON THE DWARF

CHAPTER XI

Van Dyck at the English Court Mytens and Cornells Jansen
the Great Families of Villiers, Stuart, Herbert, Wharton,
Cary, Wriothesley the Cavaliers and their Portraits Laud
and StrafFord

VAN DYCK found a world easy to conquer in
London. At Antwerp he had been not only over-
shadowed by the genius and colossal reputation of
Rubens, but also compelled to compete on level ground
with a number of other painters, some of whom were
but little inferior to himself in actual skill, and even in
the domain of portraiture produced works which are not
unworthy of being placed by the side of portraits by Van
Dyck. In London there was a curious dearth of painters
who attained any distinction.

Van Dyck's patrons were almost entirely confined to
the court and those immediately connected with it One
of the earliest portrait-groups was that of the widowed
Catherine Manners, Duchess of Buckingham, with her
three children. The Duchess is seated in mourning for
her murdered husband, whose miniature portrait she holds
in her hands. Round her are her daughter Mary, and her
two boys, George and Francis, The two boys, George,
the well-known second Duke of Buckingham, and Fran-
cis, the beautiful Francis Villiers, who laid down his life
for his king in 1648, were painted by Van Dyck for
Charles I, standing side by side in a charming picture,

JOI

102 VAN DYCK

now at Windsor Castle. Their sister, Mary Villiers, was
painted by Van Dyck several times. Married first in
1634 to Charles, Lord Herbert, third son of the Earl of
Pembroke, and quickly left a widow, she found a second
husband in the king's cousin, James Stuart, Duke of
Lenox. As Duchess of Lenox, Mary Villiers was painted
by Van Dyck, seated in white silk, in the character of
St. Agnes, separate versions of which are at Combe
Abbey and at Windsor Castle.

Her husband, James, Duke of Lenox, was one of the
most intimate and trusted friends of Charles I. His
uncle, Lodowick Stuart, Duke of Richmond and Lenox,
was a near cousin to James I, and that king's most trusty
friend and counsellor, and had been rewarded by the
grant of Lord Cobham's forfeited estates in Kent. The
widowed Duchess of Richmond and Lenox survived
until 1639, and a fine full-length portrait of her, formerly
at Cobham Hall, and now in the collection of the
Marquess of Bath at Lbngleat, is attributed to the hand
of Van Dyck. It is more probable, however, that this
portrait is one of the fine late portraits by Mytens, done
under the influence of Van Dyck. A portrait, however,
of the Duchess of Richmond was at Whitehall in 1639,
and may have been an imitation of Mytens by Van Dyck.
The Duke of Lenox was one of Van Dyck's most frequent
sitters. Van Dyck painted the Duke of Lenox as Paris,
in his shirt and holding an apple. Again at full length
in black dress in the ' habit of St. George,' and in the
same habit, with his hand on the head of a favourite
greyhound, which is said to have saved him from assas-
sination by waking him from sleep.

Two of the younger brothers of the Duke of Lenox,

Collection oj~\ [the Ear I of Darn ley

LORD JOHN AND LORD BERNARD STUART

CHIEF PATRONS 103

Lord John Stuart and Lord Bernard Stuart, afterwards
Earl of Lichfield, both of whom were killed during
the Civil Wars, appear together in one of Van Dyck's
noblest paintings, lately in the collection of the Earl of
Darnley at Cobham Hall, where it was in 1672 at the
time of the decease of the last Duke of Richmond and
Lenox. A beautiful double portrait of two youths in the
collection of the Earl Cowper at Panshanger is known
also under the title of Lord John and Lord Bernard
Stuart. The picture was purchased in .1682 by the Earl
of Kent from Sir Peter Lely's assistant, Jan Baptist
Caspars.

The Duke of Lenox's sister, Frances, Countess of
Portland, was painted by Van Dyck in a companion
portrait of her husband, Jerome Weston, second Earl of
Portland; these two portraits were engraved by W.
Hollar at Antwerp, whither they probably had been
taken during the Civil Wars. A portrait of the Countess
of Portland is now in the Grand-Ducal Gallery at Darm-
stadt. A full-length portrait of Richard Weston, first
Earl of Portland, the king's most confidential adviser
after the death of Buckingham, the Lord Treasurer
whose correspondence with Sir Balthasar Gerbier has
been alluded to before, is in the collection of W. Ralph
Bankes, Esq., at Kingston Lacy.

Another of Van Dyck's chief patrons was Philip Her-
bert, fourth Earl of Pembroke and first Earl of Mont-
gomery, Lord Chamberlain of the Household. Portraits
of his brother, William Herbert, third Earl of Pembroke,
Shakespeare's friend and patron, whom he succeeded in
1630, have been attributed to the hand of Van Dyck.
This passionate and eccentric earl was painted several

io 4 VAN DYCK

times by Van Dyck, and, according to Aubrey, "had
the most of his paintings of any one in the world."
Various portraits of Pembroke and his family are in the
collection of the present Earl of Pembroke at Wilton.
The principal painting there is the immense composition
representing the fourth Earl of Pembroke with his second
wife, Anne Clifford, and his family, including his son
Philip, Lord Herbert, afterwards fifth Earl of Pembroke,
his son's wife, Penelope Naunton, and also his daughter,
Anne Sophia, with her husband, Robert Dormer, Earl of
Carnarvon.

Another important family group with whom Van
Dyck's name is inseparably connected is that of the
Whartons and Carys. Philip, fourth Lord Wharton, was
one of the most attractive figures at the court of Charles I,
The elder son of Sir Thomas Wharton of Aske in York-
shire, and of Philadelphia Gary, daughter of Robert,
Earl of Monmouth, he was noted for his beauty and
graceful figure. He was nineteen years of age in 1632,
when Van Dyck came to England, and in that year was
married to his first wife, Elizabeth, daughter of Sir Row-
land Wandesford. It was probably to celebrate this oc-
casion that Van Dyck painted the famous portrait of
him as a shepherd, which is one of the chief attractions
in the 'Hermitage Gallery at St. Petersburg. Lord
Wharton employed Van Dyck to paint a series of por-
traits of his family, mostly at full length, for which he
built a special gallery in his new house at Winchendon,
near Aylesbury.

The whole-length portraits in this series by Van Dyck
were those of Philip, Lord Wharton, Sir Thomas Wharton,
his brother, Arthur Goodwin, father of the said Lady

{Hermitage Gallery, St. Petersburg

PHILIP, LORD WHARTON

THE RUSSELL GROUP 105

Wharton, Elizabeth and Philadelphia Wharton (?), Vis-
count Chaworth, Charles I, Henrietta Maria, the Countess
of Chesterfield, the Countess of Worcester, Anne Caven-
dish, Lady Rich, Margaret Smith, wife of Thomas Gary,
uncle to Philip, Lord Wharton, and Prince Rupert The
half-length portraits were those of Philip, Lord ^Vharton
(already described), Philadelphia Gary, his mother, Jane
Wenman, wife of Arthur Goodwin and mother of his
second wife, Jane Goodwin his second wife, Sir Rowland
Wandesford, father of his first wife, and Archbishop
Laud. From this set there were purchased from Hough-
ton by the Empress Catherine for the Hermitage at
St. Petersburg the full-length portraits of Sir Thomas
Wharton, Elizabeth and Philadelphia Wharton, Charles I,
and Henrietta Maria; and the half lengths of Philip,
Lord Wharton, Sir Rowland Wandesford, Jane Wenman,
and Archbishop Laud.

Another family group was that of the Russells, who
were * connected with the aforesaid Margaret Smith
through the marriage of Francis Russell, fourth Earl of
Bedford, with her cousin, Catherine Brydges. A fine full-
length portrait of this Earl of Bedford, in black satin,
painted by Van Dyck in 1636, is in the collection of the
Duke of Bedford at Woburn Abbey. Their eldest son,
William, fifth Earl of Bedford, who afterwards joined
the parliamentary army, and commanded the cavalry at
Edgehill, was painted by Van Dyck, together with the
young George Digby, second Earl of Bristol, who married
Bedford's sister, Margaret Russell, in the superb double
portrait now in the collection of Earl Spencer at Al thorp.

The Earl of Bedford here depicted became the first
Duke of Bedford, and lived till 1700, being, as it is said,

106 VAN DYCK

at his death the last survivor of those who sat for their
portraits to Van Dyck. His wife was Anne Carr, the
beautiful and virtuous daughter of the notorious Robert
Carr, Earl of Somerset, James Fs favourite, and his in-
famous wife, the Countess of Essex. A full-length por-
trait of this charming lady, in white silk, is at Woburn
Abbey, but the most attractive portrait of her is the
half length, in blue silk, at Petworth, in which she is
drawing on a glove.

The Cecils, children of James Fs crookback secretary,
Robert, Earl of Salisbury, are represented in Van Dyck's
list of sitters by William Cecil, second Earl of Salisbury,
with his son Charles, Viscount Cranborne and his wife,
the three portraits being in the collection of the Marquis
of Salisbury at Hatfield. Diana Cecil, Countess of Ox-
ford, is well known to travellers from the brilliant por-
trait of her by Van Dyck in the Prado Gallery at Madrid.
Her sister Elizabeth, wife of William Cavendish, third
Earl of Devonshire, appears, as also does her husband,
at full length in the collection of the Duke of Devon-
shire at Chatsworth, while another portrait of her is
among the beautiful set of paintings by Van Dyck at
Petworth. At Knole, in the collection of Lord Sackville,
there is an amazingly truculent portrait of Edward Sack-
ville, fourth Earl of Dorset, the former lover of Venetia,
Lady Digby, and the hero of a famous duel with Lord
Bruce, fought on the frontier of Flanders and Holland,
in which the latter lost his life, and Dorset was severely
wounded. In the same collection there is a portrait of
his son's wife, Frances Cranfield, Countess of Dorset, at
full length in white silk.

Thomas Wriothesley, Earl of Southampton, son of

Collection of} {the Earl Spencer, K.G.

GEORGE DIGBY, SECOND EARL OF BRISTOL, AND WILLIAM,
FIRST DUKE OF BEDFORD

Collection f yj \_M. Jac

WILLIAM VTLLTKRS, VISCOUNT (JRANDISON

VISCOUNT GRANDISON 107

Shakespeare's friend and patron, was also painted by
Van Dyck, but the painter's most remarkable achieve-
ment in this family was the presentment of Rachel de
Ruvigny, Countess of Southampton, as Fortune seated on
the Clouds^ painted in 1636.

The heroes of the Civil War stand before the spectator
in the gallery of Van Dyck's portraits. The young Stuart
and Villiers brothers have already been noticed. William
Cavendish, Earl of Newcastle, victor at Allerton Moor,
and one of the generals defeated at Marston Moor, stands
at full length in the "habit of St. George" in the fine
portraits at Welbeck Abbey and at Althorp.

The two brilliant brothers, Robert Rich, Earl of War-
wick, and Henry Rich, Earl of Holland, sons of Penelope
Rich, the Stella of Sir Philip Sydney, were painted by
Van Dyck in full length portraits, both known from
several versions or replicas, noteworthy being that of the
Earl of Holland in the collection of the Duke of Buccleuch
at Montagu House, Whitehall, and those of the Earl of
Warwick at Warwick Castle, painted in 1632, and in the
collection of the Earl of Leicester at Holkham,

William Villiers, Viscount Grandison, cousin of the
Duke of Buckingham, is among the most attractive
figures in this series, with his long auburn hair, scarlet
and gold dress, and plumed hat. Portraits of him at full
length are in the collections of the Earl of Clarendon at
The Grove, and the Duke of Grafton. As fitting com-
panions to Grandison may be noted the full-length por-
traits of George Hay, second Earl of Kinnoull, Captain
of the Yeomen of the Guard, in the collection of the Earl
of Clarendon at The Grove, and George Gordon, second
Marquess of Huntly, who also met his death on the

io8 VAN DYCK

scaffold in 1649, in the collection of the Duke of Buc-
cleuch at Montagu House.

In the same year, 1649, the scaffold claimed two other
victims in the persons of Arthur, Lord Capel, whose portrait
by Van Dyck is in the collection of the Earl of Clarendon
at The Grove, and James, Duke of Hamilton, one of the
most prominent actors in the drama of the Civil Wars.

Thomas Wentworth, Earl of Cleveland, appears in a
full-length portrait by Van Dyck in the collection of the
Earl of Verulam at Gorhambury; and again in a large
family group, with his wife, Anne Crofts, and his daughter
Anne, afterwards Lady Lovelace, in the collection of the
Earl of Strafford at Wrotham Park.

The fine portraits of Sir Edmund Verney, Knight
Marshal, in the collection of Sir Edmund Hope Verney,
Bart, at Claydon House, Buckinghamshire, of Ralph,
Lord Hopton, at Petworth, and of the first Earl of Peter-
borough and his Countess, both at full length, in the
collection of Mrs. Elrington Bisset, the lady being accom-
panied by a panther, may be mentioned as additions to
the list of Cavaliers painted by Van Dyck.

William Laud, Archbishop of Canterbury, the honest,
if misguided, adviser of Charles I in ecclesiastical affairs,
is familiar to all from the pathetic likeness of him painted
by Van Dyck. The careworn prelate seems conscious of
the fate that awaited him on the scaffold in 1640. One
version of this well-known portrait of Archbishop Laud
hangs in Lambeth Palace. Other versions of this portrait,
claiming to be originals, are in the Hermitage Gallery at
St. Petersburg (from Houghton) and in the collection of
Earl Fitzwilliam at Wentworth Woodhouse.

Archbishop Laud had been preceded on the scaffold

Collection of}

[the Earl Fitswilliam

ARCHBISHOP LAUD

STRAFFORD 109

a few years earlier by a greater man, the mighty Thomas
Wentworth, Earl of Strafford. No man played a greater
part in this historical tragedy, and no one owes a greater
debt to Van Dyck. The various portraits of Strafford by
Van Dyck would in themselves be sufficient to establish
the painter's reputation. In them he seems to have put
forward his most strenuous efforts to delineate the features
and character of this most important figure in the history
of England. In the collection of Earl FitzwilHam at
Wentworth Woodhouse there is a series of portraits by
Van Dyck representing the Earl of Strafford, which have
descended through his heirs to the present owner. The
same gloomy, swarthy face is seen throughout. Strafford
appears in one instance at full length in armour with his
hand on the head of a large dog, and again in armour
with the general's b&ton> another version of this being in
the collection of the Duke of Portland at Welbeck Abbey.
Similar portraits, mostly at half or three-quarters length,
occur in many other collections. The most striking per-
haps of all the portraits of Strafford is that in which he
is seated in a plain black silk robe, pausing in the act of
dictation to his secretary, Sir Philip Mainwaring, who sits
writing at a table by Strafford's left elbow.

CHAPTER XII

Van Dyck's Friends at Court Arundel, Endymion Porter, Inigo
Jones, and others His Life at Blackfriars Ladies of the Court
His Method of Painting- Latest Portraits of Himself Van
Dyck's Marriage Death of Rubens Van Dyck revisits Ant-
werp Van Dyck at Paris Return to England and Death of
Van Dyck

IT is curious to find that among the numberless por-
traits attributed to the hand of Van Dyck in the
private collections of England, there are but few which
can be accepted as genuine outside the groups of portraits
detailed in the preceding chapter. It should be remem-
bered that Van Dyck died at the outset of the Civil
Wars, and that therefore he could not well have painted
any person whose chief claim to distinction rested on
their service to the king in his army* The more important
among the portraits by Van Dyck which remain to be
described are those of persons with whom he was wont
to associate on terms of personal friendship. A few
portraits of other prominent public characters may be
attributed safely to him, such as that of Sir Edward
Littleton, Chief Justice of the Common Pleas, who suc-
ceeded Lord Finch in 1640 as Lord Keeper of the Privy
Seal, of which two or three versions exist, no one being
satisfactory enough to be the original ; that of Sir Thomas
Hanmer, cup-bearer to the king, mentioned with great

no

S K"

LORD AND LADY ARUNDEL in

admiration by John Evelyn in his diary as then in the
possession of Lord Newport, and now in the collection
of Sir Henry Bunbury, Bart, at Barton in Suffolk; and
that of Thomas Chaloner, the regicide, which passed
from Houghton Hall to the Hermitage Gallery, St.
Petersburg.

Van Dyck's early patrons, the Earl and Countess of
Arundel, remained so until the last In 1639 Arundel
was appointed to command the king's forces in Scotland.
Van Dyck painted the Earl Marshal in armour with the
commander's bdton in his hand. Arundel appears thus in
a full-length portrait in the collection of the Earl of
Clarendon at The Grove, but his likeness in this costume
is most familiar from the majestic painting in which he
appears at three-quarters length in armour with his hand
on the shoulder of his grandson, a painting known from
many versions, the best and, as it would seem, the un-
doubted original, being that in the collection of the Duke
of Norfolk at Arundel Castle. In this fine painting Van
Dyck shows that he had lost none of his former skill.
Arundel was particularly interested in a scheme con-
nected with the island of Madagascar. He had himself
painted by Van Dyck, seated in his study with the
countess ; between them is a globe, on which Madagascar
is marked, and to which Arundel points with his marshal's
b&ton\ this painting is also at Arundel Castle. The Earl
and Countess of Arundel also employed Van Dyck to
paint a large picture representing themselves and their
children, on the same scale as The Pembroke Family ; but
this was never completed, although the composition is
familiar from a small copy of Van Dyck's design com-
pleted by Philip Fruytiers in 1643, a,nd engraved by

H2 VAN DYCK

Vertue. Van Dyck also painted admirable portraits of
the two sons of the Earl and Countess of Arundel, Henry,
Lord Maltravers, who married Elizabeth, sister of James
Stuart, Duke of Lenox, and succeeded his father as Earl
of Arundel, at half length in armour, in the collection of
the Duke of Norfolk at Arundel Castle; and William,
Viscount Stafford, the second son, painted in black
satin, in the collection of the Marquess of Bute.

Another early friend of Van Dyck was Endymion
Porter, the same who had ordered from Van Dyck at
Antwerp the painting of Rinaldo and A rmida^ purchased
by Charles I in 1630. Porter remained one of Van Dyck's
best friends, and the painter has commemorated him in
some important portraits. He appears at three-quarters
length in a rich red and white dress with an orange cloak
over the left arm in a portrait in the collection of the
Earl of Mexborough. Porter's wife, Olivia, daughter of
Lord Boteler, and sister of the Countess of Newport, was
painted by Van Dyck in a charming half-length portrait,
now in the collection of Lord Leconfield at Petworth.

Inigo Jones, the famous architect, had been consulted
by Charles I as to a residence for Van Dyck at the time
of the painter's first entry into the royal service. Probably
the king suggested to the architect that provision should
be made for the court-painter in the plans for the royal
palace at Whitehall The portrait of Inigo Jones, painted
by Van Dyck, a head only, but remarkable for its power
and character, is known from innumerable repetitions.

Another conspicuous figure at court was the gay and
witty Thomas Killigrew, dramatist, poet, page of honour
to Charles I and the jester whose merry speeches so
often diverted the royal circle after the Restoration of

Collection of] [ike Dnkc of Norfolk, K.G.

THOMAS HOWARD, EARL OF ARUNDEL, AND HIS GRANDSON

H
P

w

CO

O
W

THE KING 113

Charles II. His dissipated face with long fair hair is seen
in the portrait, in which Van Dyck painted him to the
knees in crimson silk, with his hand on the head of a
huge boar-hound.

Sir William Killigrew, also a dramatist and poet, elder
brother of Thomas, was painted by Van Dyck in the same
year, 1638, his portrait being in the collection of the Duke
of Newcastle at Clumber.

Another dramatist and poet of the period, Sir John
Suckling, was painted by Van Dyck, standing against a
rock, holding a copy of the folio edition of Shakespeare.

John Ashburnham, the king's personal attendant, was
painted by Van Dyck, the portrait being at Ashburnham
Place in Sussex. The portrait of a Mr. Rogers with a
Dog> in the collection of the Duke of Devonshire, prob-
ably represents another of Van Dyck's friends in the
royal household.

Hard work in the morning and rich banquets with fair
ladies and gay courtiers in the evening formed the daily
routine of the fashionable painter. When the affairs of
his royal, patrons began to be embarrassed, and money
ceased to flow as freely from the royal coffers, Van Dyck
found that the debts owed him by the king, as well as
his pension, were often in arrear. It is evident that the
king did not always approve of the charges made by the
painter, since he with his own hand amended the prices
asked by Van Dyck on the Memorandum so often referred
to. It is said that one day the king, while sitting to Van
Dyck, discussed with the Earl of Arundel, who was
present, the financial difficulties of the crown, and turn-
ing to the painter asked him if he knew what it was to be
in want of money. " Yes, sir," replied the painter, " if one

I

ii 4 VAN

keeps open table for one's friends, and an open purse for
one's mistresses, one soon comes to the bottom of one's
coffer." Women were the fatal attraction of Van Dyck's
life, and on them he wasted his health and his money.
One fair siren, by name Margaret Lemon, ruled him and
his house, and was painted by him more than once* She
appears in a portrait at Hampton Court, which is evi-
dently based on the well-known Magdalen by Titian, and
again in a saucy portrait, known from an engraving by
A. Lommelin, the original of which cannot be traced.
Van Dyck painted her also as Judith holding a Sword.

Throughout life Van Dyck shows considerable avidity
for money, but it was not from avarice, so much as to
enable him to maintain the costly and luxurious habits
in which he indulged.

It is clear that the renowned painter, Sir Anthony Van
Dyck, could not live a life of luxury and -splendour,
and at the same time devote himself with unabated zeal
to the practice of his art. He i>egan more and more to
leave portions of the work to his assistants, and to
adopt the position held by Rubens in the latter's great
working atelier at Antwerp. This he would seem to have
done himself at Antwerp before he came to settle in
England.

It is not surprising, therefore, to find that in his later
English portraits Van Dyck shows a great unevenness
of execution. The design may be fine and noble, but the
colour is cold and hard, the texture loose, flimsy, and
woolly, and the hands, with other accessories, common-
place and monotonous. It is in the hands especially that
a great change is seen. Formerly they were a part of
the portrait with which Van Dyck took great trouble.

Collaiunt of\

[I he Earl of Clarendon

JAMES STANLEY, SEVENTH EARL OF DER1JY, AND CHARLOTTE
DE LA TREMOUILLE, HIS WIFE, WITH THEIR DAUGHTER

PORTRAITS OF THE ARTIST 115

The later portraits of Van Dyck show the face of a
delicate voluptuary. The features have sharpened, the
cheeks grown thin under the stress of work in the day-
time and pleasure in the evening. The long chestnut
hair is brushed back in elegant disorder over a forehead
well modelled and intellectual in its form ; the upturned
moustache and the small tuft of hair on the chin shadow
the mouth with its lover-like lips and the small round
chin, which are in themselves a key to the weaknesses of
Van Dyck's character. The eye, however, is bright and
alert, only it bears a look of melancholy which makes one
think of the words used by St. Paul, " Let us eat and
drink, for to-morrow we die." Portraits of Van Dyck like
this are in the Gallery of Painters 7 Portraits in the Uffizi
at Florence, in the Louvre, and in the double portrait
already mentioned, said to represent Van Dyck and
Endymion Porter, in the Prado Gallery at Madrid. In
this last painting the delicate figure, face and hand of the
painter is admirably contrasted with the robust, full-
blooded face and figure of his English companion.

The last portrait which Van Dyck painted of himself
is probably that in which he is pointing to a sunflower
(tournesol). Clad in a suit of rich crimson silk, the painter
is seen to the waist, turned to the right and looking at
the spectator; with his left hand he draws out and
displays the gold chain of honour which the king had
bestowed upon him, and with his right he points to a
sunflower. What is the allegory of this painting? Van
Dyck would seem to suggest that as the sunflower turns
its face to the sun as the latter crosses the heavens, so
does the painter's art depend upon the warmth of the
patronage which may be extended to it, while mere

n6 VAN DYCK

payment in gold does not affect it so much 'as the
continuing rays of royal favour. This portrait is known
from many versions, most of them repetitions by his
pupils*

What with hard work, what with wine and women,
the painter's health began to give cause for great anxiety.
He became restless and irritable, and both his art and
his health showed signs of exhaustion. The troubles
which now beset the royal family made payments from
the exchequer both scanty and irregular.

Charles I, however, seems to have been really attached
to Van Dyck, and, seeing how the disorder of his life was
injuring his health, the king determined to find him a
wife. There was at court a young lady of good family,
Mary Ruthven by name. She was the daughter of
Patrick Ruthven, fifth son of John Ruthven, Earl of
Gowrie. Her mother, Elizabeth Woodford, had been the
widow of Thomas, Lord Gerard, of Abbot's Bromley, and
had died in 1627. Her father was a prisoner in the Tower
of London, and the young lady was without a protector.
One of her father's sisters had been the first wife of the
great Lodowick Stuart, Duke of Richmond and Lenox,
and another was the mother of the famous Marquess of
Montrose. The king arranged a marriage in 1639 or
1640 between Mary Ruthven and Van Dyck, whereby
the painter became connected with some of the leading-
families in England and Scotland. The story goes that
Margaret Lemon, the mistress-in-chief of Van Dyck, was
so incensed with the painter on his determination to
marry, that she' tried to wound and mutilate his right
hand, the hand on which he depeilded for his livelihood,
Mary Ruthven herself has left very little mark in the

2

H

h- I

Q
J

3

U

z

M

o

W

DEATH OF RUBENS 117

history of Van Dyck, who is said to have had " no great
Portion with his Wife, except her Beauty and Quality."
The poet Cowley, however, alludes to their connubial
happiness. A portrait of a sweet-faced lady in white,
holding a violoncello, ift the Royal Gallery at Munich, is
said to represent her, and also a portrait of a lady in the
character of Herminia or Minei"ua, wearing a breastplate
and holding a helmet, in the collection of J. C. Harford,
Esq., at Blaise Castle. It is possible that the lady re-
presented here, who does not resemble the lady in the
portrait at Munich, may be the aforesaid Margaret
Lemon.

On May 30, 1.640, Rubens died at Antwerp within a
month of completing his sixty-third year. Even at that
age his death was premature, for his genius was un-
dimmed, his mind as clear and prolific, his hand as
active and industrious, as they had ever been. It is
one of the greatest tributes to Van Dyck's reputation
that he alone seems to have been thought of as the
person who could take over and carry on Rubens's vast
picture-manufactory at Antwerp. Overtures were there-
fore made to him to return to his native country. Philip
IV was anxious about the completion of the paintings
which he had ordered from Rubens. His brother Ferdi-
nand, the Regent, wrote that, as Van Dyck was expected
at Antwerp about St. Luke's Day, he thought it better
to wait until he could speak with Van Dyck himself as
to finishing the paintings. But unexpected difficulties
arose owing to the change in the painter's health and
temperament Nothing now was good or exalted enough
for Van Dyck. If he came back to Antwerp to take
charge of the school of Rubens, he was not going merely

ii 8 VAN DYCK

to complete and carry out the designs of Rubens. Van
Dyck was ready to commence them again himself, only
they must be the entire work of Van Dyck, and have
nothing of Rubens about them. Ferdinand writes to
Philip that Van Dyck has his moods, so that he could
assure the king of nothing. So strange was the painter's
manner that he is described in a letter as archi-fou*
Van Dyck, however, eventually did decide to go over to
Antwerp. Affairs in England were at an acute strain,
and the royal service was no longer one of security and
profit. The king left London on his campaign to the
north, and removed his court to York. Soon after this
date the painter was in Antwerp, where on October 18,
1640, he was entertained with great pomp and magni-
ficence by his brother-artists and other members of the
Academy of Painting there, on the occasion of the
Festival of their patron-saint, St. Luke.

Van Dyck found himself in Antwerp the acknowledged
head of the Flemish School of Painting. As Van Dyck
refused to finish the work of Rubens, Ferdinand no
longer delayed this work, but intrusted it to Gaspar de
Grayer. Van Dyck's feelings, however, were soothed by
a fresh commission from the King of Spain. This appears
to have made him decide to leave England, and make
his permanent home at Antwerp, so that he prepared to
return at once to London to make arrangements for his
removal. A rumour, however, reached him that the King
of France contemplated decorating the galleries of the
royal palace of the Louvre with a series of historical
paintings. Van Dyck saw in this a possible realization
of his long-cherished wish to execute a series of such
paintings, which might put into the shade the works of

Collection of} [the Duke of Dewmhire, K.G.

DOROTHY SIDNEY, COUNTESS OF SUNDERLAND

BACK IN LONDON 119

Rubens in the Palais de Luxembourg at Paris. In
January, 1641, he was at Paris trying to obtain the
commission for this work. The French painters, how-
ever, combined against Van Dyck, as they did not
appreciate his work, and probably resented his haughty
manner. They succeeded in obtaining the commission
for their own representatives, Nicolas Poussin and
Simon Vouet, though the latter did not live to take any
part in the work. Van Dyck was thoroughly exasperated
and disheartened by his failure.

In May, 1641, he was back in London, recalled no
doubt by the king, who required his services on the
occasion of the marriage of his eldest daughter, the
Princess Mary, to the youthful William, Prince of
Orange, son of Van Dyck's former patrons, Frederick
Henry and Amalia of Orange. The marriage was
solemnized May 12. Van Dyck painted the bride and
bridegroom together at full length, the young couple
being little more than children at the time. This charm-
ing painting is now in the Ryksmuseum at Amsterdam,
and may be regarded as the last expression of Van
Dyck's genius. This commission and other portraits of
the young couple kept Van Dyck still in England,
though the state of his health caused much delay in
their completion.

Van Dyck apparently carried out his intention of
leaving England, though he did not yet break up his
establishment at Blackfriars, probably because his wife
was soon about to bear a child. In October, 1641, he
was again at Antwerp, making arrangements for his
future residence ; but early in November he was again
in Paris. His health now gave considerable cause

no VAN DYCK

for real anxiety, and he hastened his return to England.
In a letter to M. de Chavigny, who had offered a com-
mission to the painter from Cardinal Mazarin, Van
Dyck writes that his health is too bad to permit of him
accepting the commission, though he hoped, if it improved,
to be at his command. So with his carriage and four
horses and his five servants, " Signor Antonio " crossed
the sea for the last time.

On Van Dyck's return to London it was evident that
he was in a dangerous state of health. The king, greatly
concerned, sent his own physician, probably Sir Theodore
Mayerne, to attend him, offering a reward of 300 if the
physician could restore the painter to health and life.
But the hand of death was on Van Dyck, and the
physician's efforts were fruitless. On December I Lady
Van Dyck gave birth to a daughter, who was named
Justiniana. On December 4, Van Dyck make his will.
On December 9 the painter breathed his last, aged forty-
two years, eight months, and seventeen days. His infant
daughter was baptized on the very day that her father
died. Two days later the remains of the famous painter
were interred, as he himself directed in his will, in the
great Cathedral of St. Paul, the spot chosen, as noted by
Nicasius Rousseel, the king's jeweller, Van Dyck's friend
and neighbour at Blackfriars, who attended the funeral,
being near the tomb of John of Gaunt in the choir of the
Cathedral A monument was subsequently erected to
his memory by the king's order. Both grave and monu-
ment, with the mortal remains of Sir Anthony Van
Dyck, perished with the cathedral in the Great Fire which
devastated London in 1666.

Collection of]

[the Duke of Westminster

THE VIRGIN AND CHILD WITH ST. CATHERINE

CHAPTER XIII

Engraving in the Netherlands The Iconographie of Van Dyck
Van Dyck as an Etcher

NO account of the life and works of Anthony Van
Dyck would be complete without some notice of
the famous series of engraved portraits which is known
as the Iconographie or the Centum Icones of Van Dyck.
This series not only forms in itself a most important
collection of the painter's actual work, but also ranks
among the most remarkable and interesting productions
of the engraver's art.

Rubens, whose mind could range over the whole field
of art and survey the future with as much ease as it
studied the past, was not slow to perceive the great value
of the services which the engraver might perform for him.
Rubens, however, was not content with merely outlining
works of a moderate size and importance for translation
into engraving by artists over whom he had no control.
He devoted a considerable amount of time and attention
to the foundation and direction of a special school of
engravers, mainly devoted to the translation and repro-
duction of his own paintings. As Rubens had rescued
the art of the Flemish painters from its downward path,
so did he elevate that of the engraver back to a high
level, although in the secondary group of translators.
Under his inspiring influence a number of young en-

121

122 VAN DYCK

gravers grew up whose works often attain to the highest
point of excellence in the merely technical side of their
art. Such were the brothers Schetselen (Scheltius) and
Boetius van Bolswert, Lucas Vorsterman, Paul du Pont
(Pontius), the De Jodes, and others, who rank among the
finest exponents of the engraver's art. Rubens kept entire
control over their work under his direction, and the reduc-
tions from his vast compositions were either made by
himself, or under his immediate direction by the best
draughtsmen among his assistants, such as Anthony Van
Dyck and Erasmus Quellinus. So important did the
commercial value of these engravings become, that in
1619 Rubens applied to the Regents of the Netherlands
for a special privilege to protect his property in them,
but without success.

Anthony Van Dyck was from his early youth associ-
ated with the principal engravers in the school of Rubens,
such as the De Jodes, as well as with the Brueghels,
whose fame owed so much to the reproductive skill of
the engraver. He would naturally not fail to see the
advantage that Rubens and the Brueghels gained from
the multiplication of their works, both from the view of
their artistic reputation and from the actual commercial
profit accrued. Allusion has already been made to the
tradition, handed down from Sir Kenelm Digby, that
Van Dyck was first employed by Rubens on work for
his engravers. When Van Dyck returned from Italy and
established himself at Antwerp as an independent painter,
and one whose renown extended beyond his own country,
he began at once, in imitation of Rubens, to utilize the
school of engravers at Antwerp, and to superintend the
reproduction of his own works, the process adopted being

ENGRAVING 123

the same. The Bolswerts, Paulus Pontius, and the De
Jodes were all employed by him, or by the printsellers
who were concerned in this particular business, and it is
possible to discover from the engravings made by these
artists from the works of Van Dyck some of the principal
paintings completed by the painter at Antwerp. Lucas
Vorsterman was away in England, and did not return
until about 1630. It is evident that Van Dyck exercised,
like Rubens, a personal supervision of the engravings for
his works; for, when in England, he expressed his dis-
satisfaction, as Vertue records, with the engravings made
by Wenzel Hollar, the Earl of Arundel's favourite en-
graver, saying that Hollar was quite unable to enter into
the true spirit of his drawing.

On some of the engravings from paintings by Van
Dyck the name appears, as publisher, of Martin van den
Enden. It is difficult to conjecture whether the idea of
publishing a series of engravings from Van Dyck's por-
traits originated with the painter or with the said Martin
van den Enden. It was probably with the latter, for the
idea was by.no means a new one, and the venture was
most probably of a merely commercial character. Similar
collections of engraved portraits had been published from
time to time during the last fifty years or so, such as the
collection of artists' portraits edited by Lampsonius, and
published by the engraver Hieronymus Cock at Antwerp
in 1572. The chief novelty about the publication of Van]
Dyck's portraits lay in the whole series being taken from '
the works of a single painter.

The scheme of publication suggests the mind of a man
of business rather than that of an artist The plan of the
original edition was to issue three series of portraits, the

i2 4 VAN DYCK

first containing those of princes and distinguished military
commanders, the second celebrated statesmen and savants,
the third artists and amateurs. The last series was by far
the largest, amounting to fifty-two out of eighty, the first
contributing sixteen, the second only twelve. There is no
evidence to show that these three series were ever issued
by Martin van den Enden as one complete publication,
or that this was ever contemplated. Certain differences
in the lettering of the plates, the watermarks of the early
impressions, and similar small technical details seem to
denote that the three series were issued separately and
at intervals of time from each other. Lucas Vorsterman,
who engraved several portraits for the series, and finished
one plate which Van Dyck had begun himself, did not
return to Antwerp from England before 1631, and as his
engravings of Gaston of Orleans and Spinola appear in
the first series, it is unlikely that this was issued before
Van Dyck's removal to England. The portrait of the
Abb Scaglia, issued in the second series, bears the date
of his death on May 22, 1641, though this may have been
added later on the plate.

The method of procedure would seem to have been as
follows. Van Dyck himself made in his own inimitable
way a sketch in black chalk of the portrait selected to be
engraved. This was taken either from one of his own
completed works or from a drawing made by him as a
memorandum of an earlier occasion. It does not seem
likely, except perhaps in the case of some of the artists,
that the drawings for this particular purpose of publica-
tion were actually taken from life. The drawings for the
portraits of the celebrated Generals Gustavus Adolphus
of Sweden, Tilly, and Wallenstein appear to have been

DRAWING 125

taken from portraits by other hands, and in one case,
that of the celebrated Justus Lipsius, Van Dyck does not
seem to have shrunk from actually copying a portrait
painted by Rubens. These chalk drawings, of which
many exist, mostly in reverse to the print, are executed
with Van Dyck's most masterly vigour of expression.
They appear to have then been handed over to one of the
competent artists, trained for this purpose in the school
of Rubens, who made from them in oils a finished portrait
in grisaille or monochrome, as a guide to the engraver,
to whom the drawings were next intrusted for the actual
process of engraving. Many of these small grisaille por-
traits exist, most carefully finished and capital renderings
of Van Dyck's style, but it is not possible on any grounds
to ascribe any of them, as has often been done, to the
hand of the painter himself. It might be supposed that
the finished drawing in grisaille would be submitted by
the artist for the painter's approbation before it was
handed to the engraver, but as the whole series seems to
have been carried to completion during Van Dyck's
residence in England, such a procedure would have been
cumbrous and unnecessary,

In three of the plates mentioned in this first list, Van
Dyck appears to have actually handled the ' etching
needle himself. In Italy Van Dyck would have had
many opportunities for studying the works of the Italian
etchers, and he certainly was acquainted, probably at
Florence, with Jacques Callot, the famous French etcher,
since his portrait is among the artists depicted in the
Iconographie. It would not appear that Van Dyck in-
' tended' from the first to take a part in the actual engrav-
ing of the portraits in the Iconographie^ but rather that

i 2 6 VAN DYCK

he was led to It, either by a wish to put more style into
the engravings themselves, or else to try his hand at one
of the most fascinating of arts, that of the painter-etcher.
It must have been in Antwerp that he commenced to
practise the art, for an etching by Van Dyck, represent-
ing Ecce Homo, is dated 1630 on an impression in the
Albertine collection at Vienna, and another, representing
Titian and Ms Mistress, appears to belong to the same
date* Both these compositions are after Titian and date
back to his Italian journey. The latter is dedicated to
his friend Lucas van Uffel, who probably possessed the
original picture, and its source is clearly shown by a
sketch of the same subject in the Chatsworth sketch-
book, against which Van Dyck has written Mors TitianL
It is not certain whether these two plates were actually
intended by Van Dyck for publication, as they were
afterwards heavily worked over by Lucas Vorsterman,
and their original character quite removed. The same
doubt would apply to the original etchings, which were
subsequently inserted in the Iconographie.

After the death of Van Dyck in 1641, the original
eighty plates of the Iconographie, as described, passed at
some time or another from the hands of Martin van den
Enden to those of another publisher at Antwerp, by
name Gillis Hendricx. In addition to these Hendricx
acquired fifteen plates etched by Van Dyck himself
which were now completed with the burin and entirely
re- worked; five portraits, which were so far completed by
Van Dyck as to need only the addition of a background,
engraved with the burin, to complete them for publica-
tion ; and five portraits, which for some reason or other
were printed just as they were left by Van Dyck himself.

ETCHING 127

These fifteen plates were now used by Hendricx in a
new edition of the " Iconographie," which, by the addi-
tion of six more portraits, brought the number of plates
up to one hundred. This edition was published in 1645,
and became known as the " Centum Icones."

The portrait of Van Dyck, etched by himself, was
worked up into a title-page for this edition by the en-
graver J. Neeffs, the head being placed upon a pedestal
which bears the title of the work, as follows: ICONES
PRINCIPUM, VIRORUM DOCTORUM, PICTORUM CHAL-

COGRAPHORUM STATUARIORUM, NECNON AMATORUM

PICTORL-E ARTIS NUMERO CENTUM AB ANTONIO VAN

DYCK PlCTORE AD VIVUM EXPRESS.^ EIUSQUE SUMP-
TIBUS JERl INCISE.

These etchings, however, when printed as they left
the hands of Van Dyck, are among the most highly-
prized treasures of the engraver's art In them Van
Dyck shows not only the ease and elegance of his own
particular style in portraiture, but also such a complete
mastership of the technical process, considering the
short time which he seems to have devoted to it, that he
is enabled through the marvellous skill and restrained
dexterity of his hand to convey, by a few strokes in black
and white, the modelling of a head, the expression of the
features, and the interpretation of a person's character.
These etchings stand alone in the history of engraving."
Compared with them the portraits engraved by Albrecht
Diirer seem laboured and obscure; those by Rembrandt
to suggest exercises in chiaroscuro, or mere practice-
studies with the needle; those by Whistler to display
skill at the sacrifice of actual human interest. The head
of Van Dyck, as etched by himself, and that of Snyders

128 VAN DYCK

are among the most exquisite pieces of engraving that
the art has ever produced. A tribute to the excellence
of Van Dyck's work is the rapid disappearance of the
peculiar qualities displayed in the original etchings
directly they came under the hand of another engraver.
Even the skilled hands of Pontius and Vorsterman could
not help destroying the individual charm of Van Dyck's
work. The etching of Van Dyck's own head is hardly to
be recognized in the heavy bust upon the pedestal on
the title-page to the second edition. Van Dyck does
not, however, appear to have continued to practise the
art of etching. One other portrait, that of Philippe le
Roy, Seigneur de Ravels, was commenced by him, but
never included in the " Iconographie." An etching of
-The Holy Family may be by his hand, and also the
original etching for a portrait of Petrus Stevens; but
all others attributed to him are probably mere transcripts
by others from his works, except one etching of a Bust
of Seneca, which is now ascribed with more probability
to the hand of Rubens.

^j As a draughtsman Van Dyck presents an unexpectedly
Varied side to his art. Portraits he sketched in black
chalk with a free bold hand. A study of the genuine
drawings by Van Dyck leads quickly to the rejection of
a number of portrait-drawings, ascribed to him in public
and private collections, which are nothing more than
copies from his engraved portraits, or even imitations.
It may be supposed that Van Dyck's portraits would be
the models most likely to be set before the youthful
student in the painting schools at Antwerp and in Eng-
land during the seventeenth century, and that many of
these drawings are due to this cause.

SKETCHING 129

But as a history-painter Van Dyck has left many
drawings of subjects designed for painting, but never
carried out by him. These are executed with a pen or
sharp brush, and washed with bistre or Indian ink; they
belong to his early days, the Flemish influence being
paramount Sacred history and mythology all provide
subjects. Some are obviously youthful efforts, and belong
to his early days at Antwerp. Others were evidently
done at Genoa during the early part of his visit to Italy.

The Print Room of the British Museum contains a
number of those studies of figures and draperies, drawn
in chalk on bluish gray paper, which are specially alluded
to by Jabach in the account given by him of Van Dyck's
method of painting. The same collection contains some
interesting examples of Van Dyck's sketches of land-
scape. This is a branch of art with which the mind hardly
connects Van Dyck, but a careful study of his paintings
will show that the landscape accessories are usually care-
fully painted and often of some interest in themselves.
From his youth Van Dyck must have been accustomed
to regard landscape as one of the chief branches of his
art, through his early friendship with the Brueghels.
Rubens, too, was a devoted student of landscape, and
trained up to this branch of art such capable painters as
Lucas van Uden and Jan Wildens. Van Dyck's mind
was not so expansive in this direction as the other artists
in the school of Rubens. His studies of landscapes, such
as those in the British Museum, are careful and intimate,
but do not suggest that he surveyed nature as a whole,
or ever thought of producing a painting in which mere
landscape predominated. As a draughtsman of animals
Van Dyck excelled. Like Rubens, he was fond of horses

K

130 VAN DYCK

and a good judge of them. The horses in his equestrian
portraits are all carefully studied, the white horse with
flowing mane, which he so often introduced, being speci-
ally remarkable. It has been -noted that the horse on
which Charles I rides in the great painting at the
National Gallery belongs to a special breed, and this is
further shown by the original sketch for the horse in the
British Museum. Dogs also were a special delight to him,
whether they be the great boar-hounds in the portraits
of the Prince of Pfalz-Neuburg, in the Five Children of
Charles /, or the portrait of Thomas Killigrew, the grey-
hound in the portrait of the Duke of Lenox, or the little
toy spaniels of the court ladies.

Tifeny of the studies from nature, whether horses, dogs,
trees, flowers, or plants, which occur as accessories to
his portraits, are often executed with such care, and
sometimes brilliance, that they seem as if they must be
the work of Van Dyck's own hand. It is evident that he
was largely esteemed as a draughtsman, for in the great
collections of drawings by the Old Masters, from that of
Sir Peter Lely to the present day, such sketches by Van
Dyck always take a prominent part Moreover, there
are few artists whose drawings have been so frequently
copied and imitated as have been those of Van Dyck,
great care being required in many instances and con-
siderable expert knowledge to distinguish those which
are really the work of the painter's own hand.

CATALOGUE

OF THE PRINCIPAL PAINTINGS BYSIR

ANTHONY VAN DYCK IN PUBLIC

GALLERIES

AMERICA.
CHICAGO. ART INSTITUTE.

Du Bois, HELENA TROMPER, WIFE OF HENDRICK.

A USTRIA-HUNGAR Y.
BUDA-PEST GALLERY.

A MAN AND HIS WIFE. Double portrait.
THE HOLY TRINITY.
ST. MARY MAGDALENE.

INNSBRUCK GALLERY.
A LADY IN A RUFF.

VIENNA. LIECHTENSTEIN GALLERY.

THE ENTOMBMENT OF CHRIST. After Rubens.

DECIUS Mirs, SCENES FROM THE LIFE OF THE CONSUL. After
Rubens. Six cartoons for tapestry, 1618. I. The Dream
revealed. II. The Sacrifice. III. The Oath. IV. The
Lictors sent Home. V. The Battle and Death of Decius.
VI. The Funeral Procession.

132 VAN DYCK

PUTEANUS, ERYCIUS. To the waist, in a black dress, with a

medal of the Archduke Albert of Austria.
SNYDERS, FRANS. Bust, in black cloak, about 1620,
AN OLD MAN. Seated, in a black dress, bald head and gray

beard, holding in his left hand a medal of Albert, Arch-
duke of Austria.
A YOUNG LADY. To the knees, in Flemish dress, holding a

gold chain, about 1619.
A YOUNG LADY. To the knees, in Flemish dress, holding a

gold chain and a sprig of green leaves. . Painted about

1619.
A MAN. Standing by a chair, in black dress. Inscribed,

"^32, 1624."
CHRIST ON THE CROSS WITH ST. ANTHONY OF PADUA. Sketch

in oils.

BLOIS, JOANNA DE. Full length, in black silk.
GRAYER, CASPAR DE. To the waist, in black dress.
FERDINAND, CARDINAL ARCHDUKE OF AUSTRIA. To the

knees, standing, in armour, with hat on.
NASSAU-SIEGEN, JOHN, COUNT OF Full-length in armour,

with the order of the Golden Fleece.
TASSIS, MARIA LUIGIA DI. To the knees, in black dress, with

a feather fan.

TASSIS, ANTOINE DE. To the knees, in religious dress.
A MAN, To the knees, standing, in black dress, short black

hair.

VIENNA ACADEMY OF FINE ARTS.
VAN DYCK, ANTHONY, as a boy.

VIENNA. IMPERIAL GALLERY.
SAMSON AND DELILAH.
CHRIST ON THE CROSS.

CATALOGUE OF WORKS 133

THE LAMENTATION OVER CHRIST. The dead Christ on the
knees of his Mother, with St. Mary Magdalene, St, John,
and a weeping angel.

THE HOLY FAMILY.

THE BLESSED HERMAN JOSEPH, THE MYSTIC MARRIAGE OF,

1630.

ST. MARY MAGDALENE. On paper, pasted on wood.
ST. ROSALIA. The Virgin seated on a throne, with the Infant

Christ on her knees, who holds a wreath of flowers towards

St. Rosalia, 1629.
VENUS AT THE FORGE OF VULCAN DEMANDING ARMS FOR

BERG, HENDRIK, COMTE VAN DEN (?). Half length, in armour.

CHARLES Louis, ELECTOR PALATINE. Full-length standing

figure.
MONCADA, FRANCISCO D'AYTONA, MARQUES DE. Half length,

in black dress, holding medallion. Signed " A. Van Dyck."

MONTFORT, JOHANN VON. To the knees, in black dress, with

gold chain and chamberlain's key.
(?) RHODOKANAKIS, PRINCE. Half length, in red and white

dress, with black cloak.
RUPERT, PRINCE OF BAVARIA. Full-length standing figure,

with a dog.

SCRIBANI, CAROLUS. To the knees, in religious dress.
A YOUNG MAN. To the knees, fair hair, black dress, gloves

in right hand.

A MAN. Bust, short hair, black dress (cut down).
A MAN. Bust (cut down).
A MAN. To the knees, in black dress.
A MAN. Half length.
A YOUNG LADY. Full-length standing figure, in pale red

dress.

i 3 4 VAN DYCK

AN OLD LADY. To the knees, seated, in a black dress with

white cap.
A LADY. To the knees, standing, in black silk dress. Signed,

"A van Dyck A 1634."
CHARLES I. To the knees, in black dress, with the ribbon

and star of the Garter.

BELGIUM.
ANTWERP. MUSEUM OF FINE ARTS.

CHRIST ON THE CROSS WITH ST. DOMINIC AND ST. CATHER-
INE OF SIENA. Painted in 1629.

CHRIST ON THE CROSS. 1628.

THE LAMENTATION OVER CHRIST. 1634.

MALDERUS, JAN, BISHOP OF ANTWERP.

PEPYN, MARTIN, Inscribed " Me pictorem Pictor pinxit D.
Ant Van Dyck Eques Illustris A. D. 1632 Aet Me.
LVIII."

A PRIEST.

BRUSSELS. ROYAL GALLERY.

NEGRO HEADS, STUDIES OF.
ST. PETER, MARTYRDOM OF.

SlLENUS.

IMPERIALS, GIOVANNI VINCENZO. Senator of Genoa. Painted

in 1626.

ST. ANTHONY OF PADUA HOLDING THE INFANT JESUS.
ST. FRANCIS IN ECSTASY BEFORE A CRUCIFIX.
DELLA FAILLE, ALEXANDRE.
VAN VILSTEREN, THE FAMILY OF. Father, mother, five

children.

CATALOGUE OF WORKS 135

BRITISH ISLES.
DUBLIN GALLERY.

ST. SEBASTIAN.

MARSELAER, FREDERIK DE. Half length, in slashed dress.

DULWICH GALLERY.
STUDY OF A HORSE.
SAMSON AND DELILAH. Samson resting his head on the lap

of Delilah, with other figures.
PEMBROKE, ANNE CLIFFORD, COUNTESS OF. Half length, in

red silk dress.

EDINBURGH. NATIONAL GALLERY.

GENTILI, . Full-length standing figure in armour.

LOMELLINI FAMILY. Full-length figures.

LONDON.NATIONAL GALLERY.

THE MIRACULOUS DRAUGHT OF FISHES. Reduced from the
painting by Rubens.

ST. AMBROSE REFUSING THE EMPEROR THEODOSIUS AD-
MISSION TO THE CHURCH. After Rubens, about 1620.

GEEST, CORNELIS VAN DER. Panel, about 1619.

A MAN. Half length, standing by a table addressing a friend,
with a negro attendant behind.

HORSES. Study of two horses on panel.

CHARLES I. About 1636.

LONDON.NATIONAL PORTRAIT GALLERY.

DIGBY, SIR KENELM. To the knees, in armour.
HOPTON, RALPH, LORD. Seated figure, to the knees.

LONDON. WALLACE COLLECTION.

PARIS.

A YOUNG MAN. Standingfigure,inblackdress,withbushyhair,

136 VAN DYCK

LE ROY, PHILIPPE, Seigneur de Ravels, Signed, " A. Van-
dyck aetatis suae 34. A. 1630." Full-length standing figure,
in black, with a dog.

LE ROY, WIFE OF PHILIPPE, Seigneur de Ravels. Signed,

"A. Vandyck ^Etatis suae 16 A 1631."

Vos, ISABELLA WAERBEKE, WIFE OF PAULUS DE.

OXFORD, BODLEIAN LIBRARY.

DIGBY, SIR KENELM. Three-quarter length, in black dress,
with a beard.

FRANCE.
CHANTILLY.

GASXOK, Due D*ORLANS. Full-length standing figure, 1631.

LILLE GALLERY.

A LADY. About 1 6 1 8.

CHRIST ON THE CROSS WITH THE VIRGIN AND ST. MARY

MAGDALENE.

CORONATION OF THE VIRGIN.
ST. ANTHONY OF PADUA.
MARIE DE' M^DICIS, QUEEN OF HENRI IV OF FRANCE.

MONTPELLIER. MUSEE FABRE.
FRANCKEN, FRANS, the younger. Bust, in black dress.

PARIS. LOUVRE.

(?) RICHARDOT, JEAN GRUSSET, AND HIS SON. Three-quarter

length, hand on the shoulder of the boy.
THE VIRGIN AND CHILD WITH THE PENITENT SINNERS. The
. Virgin with the Child on her knees, and St. Mary

Magdalene, King David, and the Prodigal Son,

CATALOGUE OF WORKS 137

ST. SEBASTIAN SUCCOURED BY Two ANGELS.
A MAN. Full length, fair hair, left hand on a sword.
THE LAMENTATION OVER CHRIST. The dead body of Christ
on the knees of the Virgin, adored by two weeping angels.
VIRGIN AND CHILD WITH TWO DONORS.
RlNALDO IN THE GARDEN OF ARMIDA,
VENUS AT THE FORGE OF VULCAN DEMANDING ARMS FOR

ISABELLA CLARA EUGENIA, INFANTA OF SPAIN. Three-

quarter length, in robes of the order of St. Clare.
MONCADA, FRANCISCO D'AYTONA, MARQUES DE. Bust, in

armour: study for the equestrian portrait.
MONCADA, FRANCISCO D'AYTONA, MARQUES DE. In armour,

on a white horse.
A GENTLEMAN AND CHILD, AND OF A LADY AND CHILD.

Full-length companion portraits.
A MAN. Half length, long brown curling hair, black dress, and

slashed sleeves.

CHARLES I. Signed, "CAROLUS I. REX. A. Van Dyck."
CHARLES Louis, ELECTOR PALATINE (born 1617, died 1680,

created K.G.), and RUPERT, PRINCE OF BAVARIA (born

1619, died 1682). Half length, in armour, in one portrait.
LENOX, JAMES STUART, DUKE OF, Painted as Paris, in

white shirt, holding an apple (or pear).
VAN DYCK, ANTHONY. Portrait of himself in his later years.

Bust, in black dress.

VALENCIENNES.
ST. JAMES, MARTYRDOM OF.

138 VAN DYCK

GERMANY.
AUGSBURG GALLERY.

JESUS CHRIST WITH THE FOUR PENITENT SINNERS.
VIRGIN AND CHILD WITH ST. ANTHONY OF PADUA. Grisaille

sketch.
ERTVELT, ANDRIES VAN. Marine painter, 1632.

BERLIN GALLERY.

CHRIST CROWNED WITH THORNS. First version.
THE LAMENTATION OVER CHRIST.
THE DESCENT OF THE HOLY SPIRIT.
ST. JOHN THE EVANGELIST AND ST. JOHN THE BAPTIST.
ST. PETER.

NtMPHS BATHING SURPRISED BY SATYRS.
SAVOIE-CARIGNAN, THOMAS, PRINCE DE. To the knees, in
armour. Signed, " Ant. van. Dyck Eques FeV

BRUNSWICK GALLERY,

A MAN. To the knees, in black dress, standing with left
hand on a staff.

CASSEL GALLERY.

SNYDERS, FRANS, AND MARGARETHA DE Vos, HIS WIFE.

Double portrait, life-size, to the waist, about 1620.
WILD ENS, JAN. About 1618-20.
A LADY. Middle-aged, holding a rose. On panel, about

1618-20.

A MAN. Full-length standing figure, in reddish-brown dress,
LEERSE, SEBASTIAN, WITH HIS WIFE AND SON. Merchant

and almoner at Antwerp.
MEERSTRAETEN, JUSTUS VAN. Half length, in black dress,

1634.

CATALOGUE OF WORKS 139

MEERSTRAETEN, ISABELLA VAN ASSCHE, WIFE OF JUSTUS

VAN. Half length, in black dress.
MONCADA, FRANCISCO D'AYTONA, MARQUES BE. Full-length

standing figure, in plain black dress.
A MAN AND HIS WIFE. Double portrait, life-size figure, to

the knees.
A LADY. Full-length standing figure, in black dress, with fair

curling hair.

COLOGNE GALLERY.

FOUR STUDIES OF NEGRO HEADS.
JABACH, EBERHARD. Seated figure.

DARMSTADT GALLERY.

PORTLAND, FRANCES STUART, WIFE OF JEROME WESTON,
SECOND EARL OF. To the knees, in black dress, holding
a fan. Inscribed " Aetat 28, Anno 1639."

DRESDEN GALLERY.

CHRIST AND THE TWELVE APOSTLES.

ST. JEROME. After Rubens.

SILENUS. Signed A.V.D.

(?) WOUWER, MARIK CLARISSE, WIFE OF JAN VAN DER, AND

HER CHILD. To the knees. Panel
AN OLD MAN AND HIS WIFE. Companion portraits. Panel,

inscribed " Aetatis Suse 60 Anno 1618."
A YOUNG MAN. On Panel.
A MAN DRAWING ON HIS GLOVE. To the knees, painted on

panel.

A FLEMISH LADY. Panel.
(?) RODOCANAKIS, PRINCE. Seated, to the knees, in fur-lined

pelisse and cap.
JESUS CHRIST, AS AN INFANT, TREADING ON THE SNAKE.

i 4 o VAN DYCK

ST. PAUL.

DANAE RECEIVING THE GOLDEN SHOWER.

TAIE, ENGELBERT, BARON VON WEMMEL. Bust, in black

dress, with gold chain.
A BURGHER OF ANTWERP AND HIS WIFE. Companion

portraits. Standing figures, to the knees.
A MAN. To the knees, in black dress.
A MAN. Bust, with fair hair and black dress.
A MAN. To the knees, in black cloak.
A MAN IN ARMOUR.
HENRIETTA MARIA. To the knees, in white silk dress,

holding roses in her right hand.
PARR, THOMAS. "The old, very old man."

FRANKFORT. STADEL-INSTITUT.

A NEGRO.

Du Bois, HENDRIK.

A YOUNG MAN.

GOTHA GALLERY.

RUBENS, ISABELLA BRANT, FIRST WIFE OF.

BUTKENS, CHARLOTTE SMET VAN CRUYNINGHEN, WIFE OF
ALEXANDER, Seigneur d'Anoy, WITH HER SON, JEAN AMI
BUTKENS. Full-length standing figure, in black dress, with
slashed sleeves. Signed, " Ant van Dyck fecit."

MUNICH GALLERY.

SUSANNA AND THE ELDERS. About 1620.
THE LAMENTATION OVER CHRIST. About 1619.
ST. SEBASTIAN BOUND TO A TREE. About 1618.
JUPITER AND ANTIOPE. About 1620.
(?) BATTLE AT MARTIN D'EGLISE.
BRUEGHEL, JAN T the elder. About 1620.

CATALOGUE OF WORKS 141

VAN DYCK, ANTHONY. Portrait, with the gold chain given to

him by the Duke of Mantua, about 1621.
WAEL, JAN (HANS) DE, AND GEERTRUIJT DE JODE, HIS

WIFE. Double portrait, half-length standing figures, about

1619.
VIRGIN AND CHILD WITH ST. JOHN THE BAPTIST, who holds

a scroll (on panel).
PETEL, GEORG. Signed, "Dyck f."
ST. SEBASTIAN, MARTYRDOM OF,
SPINOLA, FILIPPO, MARQUES DE LOS BALBASSES.
REPOSE IN EGYPT. About 1629.
CHRIST ON THE CROSS, with effect of night.

COLYNS DE NOLE, ANDREAS, AND HIS WlFE, WITH THEIR

CHILD. Companion half-length seated figures (on panel).
(?) CROY, CHARLES ALEXANDRE, Due DE, AND GENEVI&VE

D'URF, HIS WIFE.
LIBERTI, HENDRIK.
MALLERY, CAREL VAN.

MlRABELLA, (?) FRANCISCO, MARQUES DE.

PFALZ-NEUBURG, WOLFGANG WILHELM, PRINCE OF, Count
Palatine of the Rhine, Duke of Juliers and Cleve. Full-
length standing figure, with a large dog, and order of
the Golden Fleece, about 1629.

SNAYERS, PIETER.

A MAN AND HIS WIFE. Companion full-length portraits.

A YOUNG MAN. To the waist, in a slashed black and white,
doublet,

A MAN. Full-length standing figure, in black dress,

A YOUNG LADY. Full-length standing figure, in white silk,
with a negro page and spaniel

VAN DYCK, MARY RUTHVEN, WIFE OF SIR ANTHONY. Seated
figure, with a viol-da-gamba, 1640.

H2 VAN DYCK

WEIMAR GALLERY.

GRAYER, CASPAR BE. Grisaille study.

HOLLAND.
AMSTERDAM. RYKSMUSEUM.

CHRIST ON THE CROSS WITH ST. FRANCIS.

ST. MARY MAGDALENE IN PENITENCE.

BORCHT, FRANS VAN DER. Full-length standing figure; a
view of the Scheldt in the background.

FRANCK, JAN BAPTIST. Inscribed, " Johannis Bapta* Franck,
setatis suse xxxii."

LE BLON, MICHIEL.

WILLIAM II, FRINGE OF ORANGE, AND MARY, DAUGHTER
OF CHARLES I. Full-length standing figures in one por-
trait May, 1641.

THE HAGUE. ROYAL GALLERY.

GERBIER, SIR BALTHASAR. Half length, in black dress, with

a gold embroidered glove. Inscribed, "Aet Suae. 37.

1627 "; Ant van DijcL fecit"
SIMONS, QUINTIJN.
WAKE, ANNA, LADY. Three-quarter length, in black dress

and high lace collar. Inscribed, "Aetat : suae 22. an. 1628 ";

and signed, "Anton Van Dyck, fecit."

ITALY.
BELLUNO GALLERY.

CHARLES I. To the knees, in black dress.
FLORENCE. PITTI GALLERY.

THE REPOSE IN EGYPT WITH A DANCE OF ANGELS.

THE VIRGIN MARY. Head only, eyes uplifted.

CATALOGUE OF WORKS 143

CHARLES I AND HENRIETTA MARIA. Double portrait, busts,

in oval frames.
CARDINAL BENTIVOGLIO.

FLORENCE. UFFIZI GALLERY.

CHARLES V, EMPEROR OF GERMANY, On a white horse in

armour.
AN OLD LADY.
VIRGIN AND CHILD WITH GOD THE FATHER AND MANY

ANGELS.

HERCULES, THE CHOICE OF.

MARGUERITE DE LORRAINE. Full-length standing figure.
VAN DYCK, ANTHONY. Portrait of himself in later years.
LORD JOHN AND LORD BERNARD STUART.

GENOA PALAZZO ROSSO.

BRIGNOLE-SALA, ANTON GIULIO, MARCHESE DL
BRIGNOLE-SALA, GERONIMA, MARCHESA DI.
BRIGNOLE-SALA, PAOLA ADORNO, MARCHESA DI.
GIUSTINIANI, ALESSANDRO.
A YOUNG MAN.

GENOA, PALAZZO BIANCO.
JESUS CHRIST AND THE TRIBUTE MONEY,
ECCE HOMO.
THE VIRGIN AND CHILD.

MILAN. BRERA GALLERY.
VIRGIN AND CHILD WITH ST. ANTHONY OF PADUA.
A YOUNG LADY. Full-length standing figure, in a black
dress.

MILAN. CASTELLO.
A LADY. Full length.

144 VAN DYCK

PARMA GALLERY.

ISABELLA CLARA EUGENIA, INFANTA OF SPAIN. Bust, in
robes of the order of St. Clare.

ROME. BORGHESE GALLERY,

CHRIST ON THE CROSS.

THE ENTOMBMENT OF CHRIST.

ROME. CAPITOL GALLERY.

WAEL, LUCAS AND CORNELIS DE. Brothers, and painters at

Genoa, about 1624.
JODE, PIETER DE, senior, and PIETER DE JODE, junior.

Double portrait.

ROME, GALLERIA DI SAN LUCA..
THE VIRGIN AND CHILD WITH TWO ANGELS.

ROME. PALAZZO CORSINI.

ECCE HOMO.

ST. MARTIN DIVIDING HIS CLOAK,

TURIN. ROYAL GALLERY.

THE HOLY FAMILY WITH ST. ELIZABETH. The Virgin hold-
ing the Child on her knees, who leans forward to St. John
the Baptist; St. Joseph and St. Elizabeth behind.

ST. SEBASTIAN SUCCOURED BY AN ANGEL, Sketch in grisaille.

CHARITY.

ST. FRANCIS OF ASSISI.

THE LAMENTATION OVER CHRIST.

ISABELLA CLARA EUGENIA, INFANTA OF SPAIN. Full-length
standing figure, in robes of the order of St. Clare.

SAVOIE-CARIGNAN, THOMAS, PRINCE DE. Full length, in
armour, on a white horse, rearing to the left, 1634,

CATALOGUE OF WORKS 145

THE THREE CHILDREN OF CHARLES I with a collie dog,
1635-

VENICE, ACADEMY.
THE CRUCIFIXION.

RUSSIA.
ST. PETERSBURG. HERMITAGE GALLERY.

CHRIST SHOWING His WOUNDS TO ST. THOMAS. After

Rubens.

BRUEGHEL, JAN, the elder.
FOURMENT, SUSANNA, AND HER CHILD. Full-length seated

figure, in rich dress.

RUBENS, ISABELLA BRANT, FIRST WIFE OF. Full length.
VAN DYCK, ANTHONY, in early life.
WOUWER, JAN VAN DEN. Half length.
A MAN WITH HIS WIFE AND CHILD. Two half-length figures,

the lady seated, with her little daughter standing by her

knee.
A MAN AND HIS WIFE. Companion portraits, half length,

about 1618-19.

LUMAGNE, MARC ANTOINE. Banker.
REPOSE IN EGYPT WITH A DANCE OF ANGELS.
JABACH, EBERHARD. Half-length standing figure.
MARCQUIS, LAZARE. Half-length seated figure, in black

dress.
RUBENS, HELENA FOURMENT, second Wife of Peter PauL

About 1631 or 1634. Full-length standing figure, in black

dress, with a feather fan.
STEVENS, ADRIAEN, AND BOSCHAERT (?), HIS WIFE.

Companion portraits, half-length seated figures, described
L

146 VAN DYCK

and signed: " Aet s 68. A. 1629, Ant van. dyck fe." and
" Aet s 63, An 1629, Ant van dyck Fecit"

TRIEST, ANTOINE. Half-length seated figure, in red robes.

AN OLD MAN. Bust.

CHARLES I. Full-length standing figure, in armour, about
1638.

HENRIETTA MARIA. Full-length standing figure, in crimson
satin, about 1638.

AUBIGNY, CATHERINE HOWARD, LADY D', and (?) PORTLAND,
FRANCES STUART, COUNTESS OF. Double portrait, half-
length standing figures, in a garden.

CHALONER, THOMAS.

GOODWIN, JANE WENMAN, WIFE OF ARTHUR. Half length,
holding a tulip.

KJRKE, ANNE, WIFE OF GEORGE, AND DALKEITH, ANNE,
LADY. Double portrait. Seated figures, in a garden.

LAUD, WILLIAM.

WANDESFORD, SIR ROWLAND, of Pickhay, near York. Half-
length seated figure, in fur-lined coat,

WHARTON, PHILIP, FOURTH BARON. To the knees, in the
dress of a shepherd.

WHARTON, SIR THOMAS. Full-length standing figure, in
armour.

SPAIN.

MADRID. PRADO GALLERY.
THE BRAZEN SERPENT. Sometimes attributed to Rubens.
ST. JEROME IN PENITENCE.
VAN DYCK, ANTHONY. Young man playing a flute.
A LADY. Seated figure at half length, in black dress and

gold brocade.
THE BETRAYAL OF CHRIST* About 1621.

CATALOGUE OF WORKS 147

ST. ROSALIA CROWNED BY AN ANGEL,

DIANA AND ENDYMION SURPRISED BY A SATYR.

LEGANES, POLISSENA SPINOLA, WIFE OF THE MARQUES BE.

Whole-length seated figure.

PORTRAIT OF A MUSICIAN. To the knees, holding an arch-
lute or theorbo.

CHRIST CROWNED WITH THORNS. About 1629 (?).
ST. FRANCIS OF ASSISI IN ECSTASY. Half length, with a

crucifix, listening to an angel, who plays a lute.
ST. FRANCIS OF ASSISI. His hands resting on a skull
AMALIA VAN SOLMS-BRAUNFELS, WIFE OF FREDERICK HENRY,

PRINCE OF ORANGE. Standing figure, to the knees, in black

dress.
BERG, HENDRIK, COMTE VAN DEN. Standing figure, to the

knees, in armour.
FERDINAND, CARDINAL ARCHDUKE OF AUSTRIA. Half length,

in scarlet dress.
FREDERICK HENRY, PRINCE OF ORANGE. Standing figure,

to the knees, in armour.
RYCKAERT, MARTEN.
CHARLES I. In armour, on a white horse.
OXFORD, DIANA, COUNTESS OF. Half length, in black dress,

with flowers.
VAN DYCK, SIR ANTHONY, AND JOHN DIGBY, FIRST EARL OF

BRISTOL, Double portrait, half-length figures, about 1640.
VAN DYCK, MARY RUTHVEN, WIFE OF SIR ANTHONY. Half

figure, standing in blue dress.

INDEX

The Titles of Picttires are printed in Italics.

Adoration of the Shepherds > 7^,87.
Albert, Archduke of Austria, 8, 20,

70.

Anguissola, Sofonisba, 45, 51.
Anne, Queen, portrait of, 25.
Arundel, Earl of, 24, 26, in.

Balen, Hendrik van, master of Van

Dyck, 8.

Bellori, quoted, 13, 29, 98, 99.
Belluno, portrait of Charles I at, 93.
Bentivpglio, Cardinal Guido, 31, 37.
Bernini, bust of Charles I by, 94,

96.

Betrayal of Chrut y The, 34.
Boisschot, Ferdinand de, 35, 36, 73.
Bolswert, Boetius van, 123.
Bolswert, Scheltius van, 122, 124.
Brant, Isabella, wife of Rubens,

26, 60.

Brueghel, Jan, the elder, 8, 9, 19.
Brueghel, Jan, the younger, 9, 10, 27.
Brussels, painting of the magistrates

of (destroyed by fire), 87.
Brydges, Catherine, 105.
Buckingham, Duke of, 57, 60.

Catherine, the Empress, pictures
purchased by, 74, 99, 105, in.

Caukerken, Cornells van, engrav-
ings of *' Christ and the Twelve
Apostles," by, u.

"Centum Icpnes," the, 127.

Charity (Turin), 52; other versions,
67-

Charles I, collection of, 91, 98, 99.

Charles I, portraits of, by Van
Dyck (Windsor), 90, 92; (Na-
tional Gallery), 91 ; (Louvre),
92; various portraits of, 88-96;
portraits of, by Mytens, 88 ; other
paintings executed by Van Dyck
for, 98-100.

Charles I and Henrietta Maria

(Duke of Graftpn), 90; (Windsor),

95 ; other versions, 96.
Charles /, The Three Children of

(Turin), 96; (Windsor), 97 ; other

versions, 98.
Charles /, The Five Children of,

97, 112, 131.
Charles, Prince of Wales, portraits

of, 96, 97,
Chatsworth sketch-book, The, 32-

34, 36, 46, 47. 48, 49* 50* 5*> 1^7.
Christ a l>Epon$&, Le, 63.
Christ and the Twelve Apostles,

10.

Christ and the Tribtite Money, 48.
Christ healing the Paralytic, 48.
Christ crowned 'with Thorns, 34, 64.
Christ on the Cross, paintings of,

50 ; (Antwerp Museum), 62. See

also Crucifixion.
Christ on the Cross between St.

Dominic and St. Catherine of

Siena (Antwerp), 62.
Christ on the Cross with the Virgin

and St. Mary Magdalene (Lille),

65.
Christ on the Cross with the Virgin,

St. John, and St. Mary Magda-
lene (Bath), 65.
Christ on the Cross with St* Francis

(Amsterdam), 66.
Christ on the Jtnees of His Mother

(Antwerp), 94,
Cooper, Edward, 80.
Crayer, Gaspar de, 9.
Crucifixion, 7&?(AntwerpMuseum),

62,63; (Ghent), 63; (Mechlin),

65; (Lille), 65; (Bath), 65;

(Amsterdam), 66; other pictures

of, 66.
Crucifixion, with St. Francis (Ter-

monde), 64.

148

INDEX

149

Crucifixion of St. Petir, The, 47.
Cuypers, Maria, mother of Van
Dyck, 6, 7.

D&dalus and Icarus, 47.
Diepenbeck, Abraham van, 16.
Diercx, Adriaen, 56, 58, 59.
Digby, Sir Kenelm, 29, 83, 98.
Digby, Venetia, Lady, 83, 84, 106.
Doort, Van der, 91.
Drunken Silenus, The, 46,
Du Bois, Hendrik and Helena, 77,

82.

Duquesnoy, Frangois, 38.
Durazzo, Marchesa Caterina, 43,
Dyck, Daniel van den, 32.
Dysart, William Murray, Earl of,

93*

Ecce Homo, etching by Van Dyck,

126.

Education of Bacchus, The, 47.
Enden,^Martin van den, 123, 124.
Evelyn, John, m.

Ferdinand, Regent of the Nether-
lands, 85, 1 1 8.
Fourment, Helena, wife of Rubens,

73-

Fromentin, Eugene, 47.
Fruytiers, Philip, m.

Gage, George, 38.

Geldprp, George (or Joris), 57, 81.

Gentileschi, Artemisia, 54.

Gentileschi, Orazio, 54.

Gerbier, Sir Balthasar, 60, 81, 91.

Gheerolfs, Cornells, 87.

Good Samaritan, The, 14.

Grandison, William Villiers, Vis-
count, 107,

Gustavus Adolphus, portrait of, in
the "Iconographie," 124,

Hals, Frans, 3; visit of Van Dyck

to, 76.

Hamilton, James, Duke of, 108.
Havr<, Genevieve d'Urfe 1 , Marquise

de, 72-
Hendricx, Gillis, 127,

Henrietta Maria, Queen, and Van

Dyck, 8p, 84; portraits of, 88-96.

Henry, Prince of Wales, portrait of,

25-

Hollar, Wenzel, engravings of Van
Dyck's paintings by, 104, 123.

Holy Family, The (Saventhem, de-
stroyed), 35; (Buckingham Pal-
ace), 49; (M. Rodolphe Kann),
52 ; (Genoa), 52 ; other paintings
of, 67. Set Virgin and Child.

Holy Family, The t etching attributed
to Van Dyck, 128.

Holy Family with Sf. Elizabeth
(Turin), 49.

Holy Trinity, The, 51.

Houbraken, Arnold, 76.

"Iconographie," the, 121-128.

Imperiale, Gian Vincenzo, 45, 46, 55.

Isabella Clara Eugenia, Regent of
the Netherlands, 8, 20; appoints
Van Dyck court-painter, 70; por-
traits of, 70; death of, 85.

Jabach, Eberhard, 75.

James I, portrait of, 25; and Van

Dyck, 25, 88.
Jode, Pieter de, 8, n; engravings

by, 122, 124.

Jode family, other members, 8, 27.
Jones, Inigo, 82, 112,
Jordaens, Jacob, 3.
Judith holding a Sword, 114.

Killigrew, Thomas, 112, 131.
Killigrew, Sir William, 113.
Kueck, Jacomina de, 7.

Langlois, Fra^ois, 54, 57.

Lanier, Nicholas, 79> 86.

Laud, Archbishop, portrait of (St.

Petersburg), 105, 108; (Earl, Fitz-

william), 108; (Lambeth Palace),

108.

Leemput, Remigius van, 58, 91.
Lemon, Margaret, 114, 117.
Lenox, James, Duke of, 102.
Le Roy, Philippe, Seigneur de

Ravels, 74, 128.

VAN DYCK

Lipsius, Justus, 126.

Lorraine, Charles, Due de, 85, 86.

Madonne au Perdrix^ La, 99.
Magnascp, Stefano, 39.
Mamwaring, Sir Philip, 109.
March to Calvary, The> 14.
Marriage of Alexander and Roxana s

The, 33.

Matthew, Tobie, 24.
Medicis, Marie de', Queen-Mother

of France, portraits of, 75, 80.
Menotti, Cav. Mario, quoted, 29,

45-

Michelangelo, 23.

Miereveldt, 89.

Moncada, Francisco de, 73.

Mystic Marriage of the Blessed Her-
man Joseph^ 63.

Mytens, Daniel, court-painter to
Charles 1, 57 ; portraits of Charles I
by, 88.

Nani, Gav. Giovanni Battista, 27.
Negroes Head, Studies of a, 17.
Newcastle, William Cavendish, Earl

of, 107.
Nood Gods (Antwerp Museum), 66 ;

other versions, 66, 67.
Noort, Adam van, 8.
Nuit de Noll (Termonde), 87.

Ophem, Anna van, 35, 36,
Orange, Frederick Henry, Prince

of, 76.
Orange, Amalia van Solms, Princess

of, 76.

Orange, William, Prince of, 119.
Orleans, Gaston, Due d 3 , 75, 86,

9?, 124.
Orleans, Marguerite de Lorraine,

Duchesse d>, 86.

Paggi, Giambattista, 39.
Paris (Hertford House), 47.
Peiresc, Nicolas, 56, 57.
Pfalz-Neuburg, Prince of, 72, 131.
Phalsbourg, Henriette de Lorraine,

Princesse de, 86.
Pharaoh overwhelmed in the Red

Sea, 36.

Philip II of Spain, 21.

Philip IV of Spain, 51.

Philibert Emmanuel of Savoy, 51.

Pontius Paul, 66, 122, 123.

Porter, Endymion, 68, 79, 112.

Porter, Olivia, 112.

Portland, Richard Weston, first
Earl of, 81, 103,

Portland, Jerome Weston, second
Earl of, 103.

Portland, Frances Stuart, Countess
of, 103.

Portmore, Countess of, 97.

Portraits of a Burgomaster of Ant-
werp and his Wtfe (Munich), 74.

Portrait of a Senator of Antwerp
(Duke of Portland), 54.

Portrait of a Lady (Earl of Den-
bigh), 28.

Portrait of a Lady and ChUd (Her-
mitage), 20; (EarlBrownlow), 20 ;
(Louvre), 74.

Portrait of a Lady with a Violon-
cello (1 Mary Ruthven), (Munich),
117.

Portrait of a Man with a Child
(Louvre), 74.

Portrait of a Man with an Arch-
Lute , or Theorbo (Prado), 53.

PrendimientO) El (Prado), 34, 67.

Pruystincx, Cornelia, 5.

Quellinus, Erasmus, 122,

Ratti, Carlo Giuseppe, quoted, 40.
Redeemer with the Cross, The

(Genoa), 48.
Repose in Egypt ', The, with a Dance

of Angels, various versions of, 50,

51* 67.
Richmond and Lenox, Lodowick

Stuart, Duke of, 102.
Rinaldo and Armida^ bought by

Charles I, 68, 79, 98.
Rockox, Nicolas, and his wife, 55.
Roger s> Mr., with a Dog^ 113.
Rombouts, Theodore, 9,
Rousseel, Nicasius, 121.
Rubens, Peter Paul, birth of, I ; his

" Elevation of the Cross," 9, 65 ;

INDEX

his "Descent from the Cross," 9 ;
his "Battle of the Amazons," 13;
cartoons for his "History of the
Consul Decius Mus," by Van
Dyck, 13; relations with Van
Dyck, 14, 24, 60 ; replicas of his
paintings by Van Dyck, 13, 15 ;
his " Raising of the Brazen Ser-
pent," 15; visit to Paris, 27;
his "Crucifixion "at Antwerp, 65 ;
marriage with Helena Fourment,
73; death of, 117.
Ruthven, Mary, 116, 117.

St. Ambrose and the Emperor Theo-

dosius, 15.
St. Anthony of Padua, The Vision

of, 49.

St. Augustine in Ecstasy , 62.
St. Catherine, The Mystic Marriage

of, 49-
St, Jean de Maurienne, picture by

Van Dyck at, 56.
St. Martin dividing his Cloak

(Saventhem), 35; other versions,

67.
S. Rosalia (Palermo), 52 ; crowned

with a Wreath by the Infant

Christ (Vienna), 63.
St. Sebastian bound to a Tree (Mu-
nich), 14, 50; (Edinburgh), 50;

various pictures of, 67,
St. Sebastian with Angels removing

the Arrows from his Wounds, 50,

67,

St. Stephe^ The Stoning of > 34.
Saventhem, picture by Van Dyck at,

JC Hn

Scaglia, Cesare Alessandro, 124.

Schut, Cornelis, 9.

Servaes, Harmen, n.

Snellincxjan, 8.

Snyders, Frans, 8, 20, 129.

Somer, Paul Van, portraits by, 25,

Soutman, Pieter, 34.

Stevens, Petrus, 128.

Strafford, Thomas Wentworth, Earl

of, 95> I0 9-

Stuart, Lord John and Lord Ber-
nard, 103.

Suttermans, Justus, 9, 29.

Tassis, Antonio de, 73.

Tassis, Maria Luigia de, 73-

Tilly, Jean, Comte de Tserclaes,
124.

Time clipping the Wings of Love,
68*

Titian and his Mistress, etching by
yan Dyck, 39, 126.

Titian, influence of, on Van Dyck,
14, 28, 33, 34, 36, 48, 64, 114;
his "Tribute Money/* 48; draw-
ings by Van Dyck after, 49.

Triumph of Cupid, The> 47.

Uden, Lucas van, 129.
Uffel, Lucas van, 39, 126.

Van Dyck, Anthony, birth of, 6;
earliest paintings, 10; in Ru-
bens's studio, 12 ; copies and car-
toons of Rubens's work by, 13?
relations with Rubens, 14, 24,
60; early portraits, 18-21 ; early
portraits of himself, 22, 27; his
character, 23; first visit to Eng-
land, 24-26 ; pensioned by James
I, 25; at Genoa, 27, 38-40;
at Florence and Bologna, 29 ; at
Mantua, 30; at Venice, 30, 37;
at Rome, 31, 38; the Chatsworth
sketch-book, 32-36 ; portraits at
Genoa, 41-46 ; mythological and
classical paintings, 46, 47 ; sacred
paintings, 48; visit to Palermo,
5 1 ; friends at Genoa, 53-54 ; re-
turn to Antwerp, 55 ; death of
his father, 55; supposed second
visit to England, 57; affiliated to
the Confraternity of Celibates, 60 ;
memorial to his father, 62 ; por-
traits painted at Antwerp, 70-73 ;
appointed court-painter to Isa-
liella, 70; portraits of noble fami-
lies, 71-73 ; visit to Frans Hals,
76 ; invited to England, 79;
knighted, 82; visit to Brussels,
84 ; portraits painted at Brussels,
85, 86; return to England, 87;

152

VAN DYCK

portraits of Charles I and Hen-
rietta Maria by, 88-96 ; record of
payments made to, by Charles I,
89, 90, 92 ; portraits of the child-
ren of Charles I by, 96-98 ; other
paintings for Charles I by, 98-
100 ; portraits of English noble
families by, 101-112; his method
of painting, 114; later portraits of
himself, 115; marriage with Mary
Ruthven, 116; return to Ant-
werp, 118 ; at Paris, 119 ; return
to London, 119 ; birth of a
daughter, 120 ; his death, 120 ;
burial in St. Paul's, 120 ; his
monument destroyed in the Great
Fire, 120 ; the " Iconographie,"
121-128; etchings by, 127; as a
draughtsman, 129; studies in the
British Museum by, 129 ; his
landscape studies, 129; his draw-
ings of animals, 130.

Van Dyck, other members of the
family, 5, 7, S&> 59, 66, 84.

Verney, Sir Edmund, 95, 108.

Vertue, George, his diary quoted,
55, 57, 80, 124.

Villiers, Mary, Duchess of Lenox,
102.

Virgin and Child with St. John the
Baptist^ St, Mary Magdalene^ and
KingDai>id( Louvre) 49 ; (Berlin) ,
49-

Virgin and Child (Schonborn Gal-
lery), 49 ; (Earl of Ellesrnere),
49; (Liechtenstein Gallery), 49;
(Palazzo Bianco, Genoa), 49 ;
(Palermo), 52.

Virgin and Child with St. Anthony
of Padua, (Milan), 63.

Virgin and Child ivith TwoDonors\
(Louvre), 68.

Virgin and Child, to whom St. John
the Baptist offers a scroll (Mu-
nich), 49.

Virgin and Child with St. Cathe*
rine (Duke of Westminster), 48,
81.

Virgin and Child with S, Domenico,
S. Rosalia , and other Saints (Pa-
lermo, 52.

Vorsterman, Lucas, 13, 38, 55, 122,
124.

Vos, Cornells de, portraits by, 18,
19,20.

Vries, Adriaen, de, 57.

Wael, Cornelis and Lucas de", 8, 27,

38, 54.

Wael, Hans or Jan de, 8, 19, 27.
Wallenstein, engraved portrait of,

124.

Wharton, Philip, Lord, 104, 105.
Wildens, Jan, portrait of, by van

Dyck, 20; Rubens, pupil of, 129.
Winde, Lenaert van, 76.

CHISWICK PRESS ; PRINTED BY CHARLES WHITTINGHAM AND CO,
TOOKS COURT, CHANCERY LANE, LONDON.

Oltlg
Utbrary

Presented to the Library by

Helen l*Speer.

I

i

c|

128222