,illustration3 ,,portrait ,,of ,,van    
,,dyck                  ,prado ,gallery1
 ,madrid                                
,masterpieces of ,art                   
,,van ,,dyck                     ,a     
,,collection ,,of ,,fifteen ,,pictures  
,,and ,a ,,portrait ,,of ,,the ,,painter
                          ,,with        
,,introduction ,,and                    
,,interpretation                        
,,by                                    
,,estelle ,m4 ,,hurll                   
,,boston ,,and ,,new ,,york             
,,houghton ,,mifflin ,,company          
,the ,riverside ,press ,cambridge       
#aijb                 ,,copyright1      
#aijb1 ,,by ,,houghton1 ,,mifflin  ,,co4
         99       99       99       99  
99     ,,preface   ,the fame of ,van    
,dyck's portraits has so far            
over-shadowed that of his other works   
that his sacred pictures are for the    
most part unfamiliar to the general     
public4 ,the illustrations for this     
little book are equally divided between 

portraits and subject-pieces1 and it is 
hoped that the selection may give the   
reader some adequate notion of the scope
 of the painter's art4  ,,estelle ,m4   
,,hurll4  ,,new ,,bedford1 ,,mass41     
,march1 #aijb4         99       99      
99       99       99     ,,contents     
,,and ,,list ,,of ,,pictures   ,portrait
 of ,van ,dyck 7,,detail7               
7,frontispiece7  ,picture from ,carbon  
,print by ,braun1 ,clement  ,co4        
,,introduction      ,i4  ,,on ,,van     
,,dyck',s ,,character ,,as ,,an ,,artist
     ,,ii4  ,,on ,,books ,,of           
,,reference    ,,iii4  ,,historical     
,,directory ,,of ,,the ,,pictures ,,of  
,,this ,,collection     ,,iv4  ,,outline
 ,,table ,,of ,,the ,,principal ,,events
 ,,in ,,van ,,dyck',s ,,life      ,v4   
,,list ,,of ,,contemporary ,,painters   
,,vi4  ,,notable ,,english ,,persons    
,,of ,,the ,,reign ,,of ,,charles ,i4   
,i4 ,,portrait ,,of ,,anna ,,wake       
,picture from ,carbon ,print by ,braun1 
,clement  ,co4  ,,ii4 ,,the ,,rest ,,in 

,,egypt  ,picture from ,carbon ,print by
 ,braun1 ,clement  ,co4  ,,iii4 ,,the   
,,so-,,called ,,portrait ,,of           
,,richardot ,,and ,,his ,,son  ,picture 
from ,carbon ,print by ,braun1 ,clement 
,co4  ,,iv4 ,,the ,,vision ,,of ,,st4   
,,anthony  ,picture from ,photograph by 
,fratelli ,alinari  ,v4 ,,madame        
,,andreas ,,colyns ,,de ,,nole ,,and    
,,her ,,daughter  ,picture from         
,photograph by ,franz ,hanfstaengl      
,,vi4 ,,daedalus ,,and ,,icarus         
,picture from ,carbon ,print by ,braun1 
,clement  ,co4  ,,vii4 ,,portrait ,,of  
,,charles ,i4  ,by ,sir ,peter ,lely    
after ,van ,dyck4 ,picture from ,carbon 
,print by ,braun1 ,clement  ,co4        
,,viii4 ,,the ,,madonna ,,of ,,st4      
,,rosalia  ,picture from ,carbon ,print 
by ,braun1 ,clement  ,co4  ,,ix4        
,,charles1 ,,prince ,,of ,,wales        
7,,detail7  ,picture from ,photograph by
 ,d4 ,anderson  ,x4 ,,st4 ,,martin      
,,dividing ,,his ,,cloak ,,with ,a      
,,beggar  ,picture from ,carbon ,print  

by ,braun1 ,clement  ,co4  ,,xi4 ,,the  
,,crucifixion  ,picture from ,carbon    
,print by ,braun1 ,clement  ,co4  ,,xii4
 ,,james ,,stuart1 ,,duke ,,of ,,lennox 
,,and ,,richmond  ,picture from         
,photograph of the original ,painting   
,,xiii4 ,,christ ,,and ,,the ,,paralytic
  ,picture from ,carbon ,print by       
,braun1 ,clement  ,co4  ,,xiv4 ,,philip1
 ,,lord ,,wharton  ,picture from ,carbon
 ,print by ,braun1 ,clement  ,co4  ,,xv4
 ,,the ,,lamentation ,,over ,,christ    
,picture from ,carbon ,print by ,braun1 
,clement  ,co4  ,,xvi4 ,,portrait ,,of  
,,van ,,dyck  ,,pronouncing ,,vocabulary
 ,,of ,,proper ,,names ,,and ,,foreign  
,,words         99       99       99    
99       99     ,,introduction   ,i4    
,,on ,,van ,,dyck',s ,,character ,,as   
,,an ,,artist4  ,the student of ,van    
,dyck's art naturally classifies the    
painter's works into four groups1       
corresponding chronologically to the    
four successive periods of his life4    
,there was first the short period of his

 youth in ,antwerp1 when ,rubens was the
 dominating influence upon his work4    
,the portrait of ,van der ,geest1 in the
 ,national ,gallery1 belongs to this    
time4  ,then followed the four years'   
residence in ,italy1 when he fell under 
the spell of ,titian4 ,this was the     
period of the series of splendid        
portraits of noble ,italian families    
which are to this day the pride of      
,genoa4 ,here too belong those lovely   
,madonna pictures which brought back for
 a time the golden age of ,venetian art4
  ,upon his return to ,antwerp1 the six 
succeeding years gave him the           
opportunity to work out his own         
individuality4 ,some noble altar-pieces 
were produced in these years4 ,pleasant 
reminiscences of ,titian still appear in
 such work1 as in the often-used motif  
of baby angels2 but in the subjects of  
the ,crucifixion and the ,pieta1 he     
stands quite apart4 ,these works are    
distinctly his own1 and show genuine    
dramatic power4  ,during this ,flemish  

period ,van ,dyck was appointed court   
painter by the ,archduchess ,isabella   
,clara ,eugenia1 ,spanish ,regent of the
 ,netherlands4 ,in this capacity he     
painted a notable series of portraits1  
including some of his most interesting  
works1 which represent many of the most 
distinguished personages of the time4   
,the last nine years of ,van ,dyck's    
life were passed in ,england1 where the 
family of ,charles ,i4 and the brilliant
 group of persons forming his court were
 the subjects of his final series of    
portraits4 ,there were no altar-pieces  
in this period4 ,at the beginning of his
 ,english work ,van ,dyck produced      
certain portraits unsurpassed during his
 whole life4 ,the well-known ,charles   
,i41 with an equerry1 in the ,louvre1 is
 perhaps the best of these4 ,his works  
after this were uneven in quality4 ,his 
vitality was drained by social          
dissipations1 and he lost the ambition  
to grow4 ,some features of the portraits
 became stereotyped1 especially the     

hands4 ,yet from time to time he rose to
 a high level4  ,a painter so easily    
moulded by his environment cannot justly
 take rank among the world's foremost   
masters4 ,a great creative mind ,van    
,dyck certainly had not1 but1 gifted    
assimilator that he was1 he developed   
many delightful qualities of his art4   
,the combined results of his borrowing  
and his own innate gifts make him a     
notable and indeed a beloved figure in  
art history4  ,the leading note of his  
style is distinction4 ,his men are all  
noblemen1 his women all great ladies1   
and his children all princes and        
princesses4 ,the same qualities of      
dignity and impressiveness are carried  
into his best altar-pieces4 ,sentiment  
they have also in no insignificant      
degree4  ,it is perhaps naming only     
another phase of distinction to say that
 his figures are usually characterized  
by repose4 ,the sense of motion which so
 many of ,reynolds's portraits convey is
 almost never expressed in ,van ,dyck's 

work1 nor would it be consistent with   
his other qualities4  ,the magic gift of
 charm none have understood better when 
the subject offered the proper          
inspiration4 ,we see this well          
illustrated in many portraits of young  
noblemen1 such as the ,duke of ,lennox  
and ,richmond and ,lord ,wharton4  ,van 
,dyck's clever technique has preserved  
for us the many rich fabrics of his     
period1 and his pictures would be a     
delight were these details their sole   
attraction4 ,heavy velvet1 with the     
light playing deliciously in the        
creases1 lustrous satins1 broken by     
folds into many tints1 delicate laces1  
elaborate embroideries1 gleaming        
jewels--these are the never-failing     
accessories of his compositions4 ,yet   
while he loved rich draperies1 he was   
also a careful student of the nude4     
,examples of his work range from the    
supple and youthful torso of ,icarus to 
the huge muscular body of the beggar    
receiving ,st4 ,martin's cloak4 ,the    

modelling of the ,saviour's body in the 
,crucifixion and the ,pieta shows both  
scientific knowledge and artistic       
handling4  ,generally speaking1 ,van    
,dyck was little of a psychologist4 ,his
 patrons belonged to that social class  
in which reserve is a test of breeding  
and thoughts and emotions are sedulously
 concealed4 ,to penetrate the mask of   
the face and interpret the character of 
his sitter was an office he seldom took 
upon himself to perform4 ,yet he was    
capable of profound character study1    
especially in the portrayal of men4     
,even in so early a work as the         
so-called portrait of ,richardot and his
 son1 he revealed decided talent in this
 direction1 while the portrait of       
,cardinal ,bentivoglio1 of the ,italian 
period1 and the portrait of ,wentworth1 
in the ,english period1 are masterly    
studies of the men they represent4  ,a  
common feature of his portraits is the  
averted glance of the sitter's eyes4    
,this fact is in itself a barrier to our

 intimate knowledge of the subject1 and 
also in a measure injures the sense of  
vitality expressed in the work4 ,it must
 be confessed that ,van ,dyck1 disciple 
though he was of ,rubens and ,titian1   
fell below these masters in the art of  
imparting life to a figure4  ,in certain
 mechanical elements of his art ,van    
,dyck was conspicuously deficient4 ,he  
seemed to have no ingenuity in devising 
poses for his subjects4 ,sitting or     
standing1 the attitude is usually more  
or less artificial and constrained4 ,the
 atmosphere of the studio is painfully  
evident4 ,never by any accident did he  
seem to catch the sitter off guard1 so  
to speak1 except in a few children's    
portraits4 ,here he expressed a vivacity
 and charm which seemed impossible to   
him with adult subjects4  ,in           
composition he is at his best in        
altar-pieces4 ,in portrait groups1 as in
 the pictures of the children of        
,charles ,i41 he apparently made no     
effort to bring the separate figures    

into an harmonious unity4 ,a single     
figure1 or half length1 he placed on his
 canvas with unerring sense of right    
proportion4 ,perhaps the best summary of
 ,van ,dyck's art has been made by the  
,english critic1 ,claude ,phillips1 in  
these words3 ,his was not indeed one of 
the greatest creative individualities   
that have dominated the world of art1   
but a talent as exquisite in            
distinction1 as true to itself in every 
successive phase1 a technical           
accomplishment as surprising of its kind
 in solidity1 brilliancy1 and charm1 as 
any that could be pointed to even in the
 seventeenth century4   ,,ii4 ,,on      
,,books ,,of ,,reference4  ,it has been 
reserved for our own day to produce two 
superb works by ,english writers on ,van
 ,dyck4 ,the first to appear was that by
 ,ernest ,law1 a storehouse of          
information1 on the paintings by ,van   
,dyck in the ,royal ,collections4 ,the  
second is the definitive biography by   
,lionel ,cust3 ,anthony ,van ,dyck2 ,an 

,historical ,study of his ,life and     
,works4 ,the author is the director of  
the ,english ,national ,portrait        
,gallery1 and has had exceptional       
opportunities for the examination of    
,van ,dyck's paintings4 ,his work has   
been done with great thoroughness and   
care4 ,the volume is richly illustrated 
with photogravures1 and contains        
complete lists of the painter's works   
arranged by periods4  ,for brief        
sketches of ,van ,dyck's life the       
student is referred to general          
histories1 of which ,kugler's ,hand-book
 of the ,german1 ,flemish1 and ,dutch   
,school 7revised by ,crowe71 is of first
 importance4 ,luebke's ,history of      
,painting1 and ,woltman and ,woerman's  
,history of ,painting1 contain material 
on ,van ,dyck4 ,a volume devoted to ,van
 ,dyck is in the series of ,german      
monographs edited by ,h4 ,knackfuss1 and
 may be had in an ,english translation4 
,a critical appreciation of ,van ,dyck  
is given by ,fromentin in his valuable  

little book on ,the ,old ,masters of    
,holland and ,belgium4 ,critical        
articles by ,claude ,phillips have      
appeared in ,the ,nineteenth ,century1  
,november1 #ahii1 and ,the ,art ,journal
 for ,march1 #aijj4   ,,iii4            
,,historical ,,directory ,,of ,,the     
,,pictures ,,of ,,this ,,collection4    
,frontispiece4 ,portrait of ,van ,dyck4 
,detail of a portrait of ,van ,dyck and 
,john ,digby1 ,earl of ,bristol4        
,painted about #afdj4 ,formerly in the  
,isabel ,farnese ,collection in the     
palace of ,san ,ildefonso2 now in the   
,prado ,gallery1 ,madrid4 ,cust1 p4     
#bhe4  #a4 ,portrait of ,anna ,wake1    
inscribed3 ,a,etat suae #bb1 ,an #afbh4 
,signed3 ,anton ,van ,dyck fecit4 ,in   
the ,royal ,gallery at the ,hague4      
,size3 #c ft4 #h-a_/b in4 by #c ft4     
#b-a_/b in4 ,cust1 pp4 #eh and #bfa4    
#b4 ,the ,rest in ,egypt4 ,painted in   
the ,italian period for ,frederick      
,henry1 ,prince of ,orange4 ,one of     
several pictures of the same subject1   

and generally considered the original1  
though the authenticity is doubted by   
,signor ,venturi4 ,in the ,pitti1       
,florence4  #c4 ,the so-called ,portrait
 of ,richardot and his ,son4 ,the       
identity of the subject not established4
 ,sometimes attributed to ,rubens1 but  
accepted as ,van ,dyck's work by ,cust4 
,in the ,louvre1 ,paris4 ,size3 #c ft4  
#g in4 by #b ft4 #e-a_/b in4 ,cust1 pp4 
#gf and #acd4  #d4 ,the ,vision of ,st4 
,anthony4 ,painted in the ,italian      
period4 ,obtained by exchange in #ahac  
from the ,musee ,national at ,paris4 ,in
 the ,brera ,gallery1 ,milan4 ,size3 #f 
ft4 #a in4 by #e ft4 #a_/d in4 ,cust1   
pp4 #df and #bci4  #e4 ,madame ,andreas 
,colyns de ,nole and her ,daughter4     
,painted in ,antwerp in period from     
#afbf to #afcb4 ,purchased in #afih by  
the ,elector ,max ,emanuel of ,bavaria4 
,munich ,gallery4 ,size3 #c ft4 #aa-a_/b
 in4 by #b ft4 #aa-b_/e in4 ,cust1 pp4  
#gi and #bed4  #f4 ,daedalus and        
,icarus4 ,painted about #afba 7874      

,exhibited at ,antwerp in #ahii4 ,one of
 several paintings of the same subject4 
,in the collection of the ,earl of      
,spencer1 ,althorp4 ,cust1 pp4 #fa and  
#bda4  #g4 ,portrait of ,charles ,i4    
,supposed to be a copy by ,sir ,peter   
,lely from the original1 which was      
painted about #afcf1 and destroyed in   
the fire at ,whitehall in #afig4 ,not   
impossibly1 however1 the original       
painting itself1 given by the king to   
the ,prince ,palatine4 ,in the ,dresden 
,gallery4 ,size3 #d ft4 by #c ft4 #b in4
 ,cust1 pp4 #aje and #bfd4  #h4 ,the    
,madonna of ,st4 ,rosalia4 ,painted in  
#afbi for the ,confraternity of         
,celibates in the ,hall of the ,jesuits1
 ,antwerp4 ,on the suppression of the   
order in #aggf it was purchased by the  
,empress ,maria ,theresa4 ,now in the   
,imperial ,gallery1 ,vienna4 ,size3 #i  
ft4 #a in4 by #f ft4 #aa in4 ,cust1 p4  
#bej4  #i4 ,charles1 ,prince of ,wales4 
,detail of a group of the three children
 of ,charles ,i41 painted in #afce4     

,probably painted for the queen1 and    
presented by her to her sister          
,christina of ,savoy4 ,in the ,royal    
,gallery1 ,turin4 ,cust1 pp4 #aaj and   
#bff4  #aj4 ,st4 ,martin dividing his   
,cloak with a ,beggar4 ,painted in the  
,italian period4 ,presented to the      
,church of ,saventhem by ,ferdinand de  
,boisschot1 ,seigneur de ,saventhem4    
,taken by the ,french to ,paris in #ahjf
 and returned in #ahae4 ,a copy of this 
picture is in the ,imperial ,gallery1   
,vienna1 but the original is in the     
church of ,saventhem4 ,cust1 pp4 #cb and
 #bdj4  #aa4 ,the ,crucifixion4 ,painted
 in #afbh for the church of ,st4        
,augustine at ,antwerp4 ,taken by the   
,french to ,paris in #agid and restored 
in #ahae4 ,now in the ,antwerp ,museum4 
,size3 #c ft4 #e in4 by #b ft4 #d in4   
,cust1 pp4 #fa and #bdh4  #ab4 ,james   
,stuart1 ,duke of ,lennox and ,richmond4
 ,painted about #afcc4 ,formerly        
belonged to ,lord ,methuen at ,corsham4 
,now in the ,marquand collection at the 

,metropolitan ,art ,museum1 ,new ,york4 
,size3 #d ft4 #c_/d in4 by #f ft4       
#aa-e_/h in4 ,cust1 pp4 #aag-bgh4  #ac4 
,christ and the ,paralytic4 ,painted at 
,genoa4 ,in ,buckingham ,palace4 ,size3 
#c ft4 #aj-a_/b in4 by #d ft4 #i in4    
,cust1 pp4 #df and #bcg4  #ad4 ,philip1 
,lord ,wharton4 ,inscribed in the lower 
left corner with the painter's name2 in 
the lower right corner1 ,philip1 ,lord  
,wharton1 #afcb1 about ye age of #ai4   
,purchased from the ,duke of ,wharton's 
collection in #agbe by ,sir ,robert     
,walpole1 and thence it passed in #aggi 
to the collection of ,catherine ,,ii4 of
 ,russia4 ,in the ,hermitage ,gallery1  
,st4 ,petersburg4 ,size3 #d ft4 #e in4  
by #b ft4 #d in4 ,cust1 pp4 #aba and    
#bhf4  #ae4 ,the ,lamentation over      
,christ4 ,painted about #afbi for the   
church of the ,beguinage at ,antwerp4   
,now in the ,antwerp ,museum4 ,size3 #i 
ft4 #aa in4 by #g ft4 #d in4 ,cust1 pp4 
#ff and #bdh4   ,,iv4 ,,outline ,,table 
,,of ,,the ,,principal ,,events ,,in    

,,van ,,dyck',s ,,life4  ,compiled from 
,lionel ,cust's ,anthony ,van ,dyck1 to 
which the references to pages apply4    
#aeii4 ,antoon ,van ,dyck born ,march   
#bb1 in the house der ,berendaus1       
,antwerp 7p4 #d74  #afja4 ,removal of   
,van ,dyck family to house number #df in
 street ,de ,stat ,gent 7p4 #d74  #afjg4
 ,death of ,van ,dyck's mother 7p4 #d74 
#afji4 ,van ,dyck among the apprentices 
of the painter ,hendrick van ,balen 7p4 
#f74  #afac4 ,portrait of an old man 7p4
 #g74  #afah4 ,admitted to the freedom  
of the ,guild of ,st4 ,luke1 ,antwerp1  
,february 7p4 #h74 ,entered ,rubens'    
studio 7p4 #ae74  #afbj4 ,an order from 
the ,jesuits for thirty-nine pictures   
designed by ,rubens and completed by    
,van ,dyck 7p4 #ad74  ,visit to ,england
 and service for ,king ,james ,i4 7p4   
#bc71 and return to ,antwerp 7p4 #bd74  
#afba4 ,departure for ,italy1 ,oct4 #c  
7p4 #be71 arriving at ,genoa1 ,nov4 #ba4
  #afbb4 ,departure from ,genoa1        
,february1 to ,rome2 thence to ,florence

 7p4 #bf72 thence to ,bologna 7p4 #bg72 
thence to ,venice 7p4 #bg72 ,mantua 7p4 
#bg74 ,death of ,van ,dyck's father1    
,dec4 #a 7p4 #ee74  #afbc4 ,return to   
,rome 7p4 #bg72 thence to ,genoa 7p4    
#bh74  #afbc-afbe4 ,in ,genoa4  #afbd4  
,journey to ,palermo for portraits and  
other pictures 7p4 #di74  #afbe4        
,crucifixion1 with ,st4 ,francis1 ,st4  
,bernard1 and the donor1 painted for    
church of ,s4 ,michele de ,pagana1 near 
,genoa 7p4 #dh74  #afbf4 ,probable date 
of return to ,antwerp 7p4 #ee74  #afbf  
or #afbg4 ,probable visit to ,england   
7pp4 #ef1 #eg1 and #he74  #afbg4 ,death 
of ,van ,dyck's sister ,cornelia 7p4    
#eh74  #afbh1 ,march #c4 ,date of ,van  
,dyck's will 7p4 #eh74  #afbh4 ,st4     
,augustine in ,ecstasy completed for    
church of ,st4 ,augustine1 ,antwerp 7p4 
#fa74  #afbi4 ,purchase of ,rinaldo and 
,armida by ,charles ,i4 7p4 #he74       
#afcj4 ,crucifixion for church of ,st4  
,michel1 ,ghent 7p4 #fc74 ,portrait of  
,anna ,maria de ,camudio1 wife of       

,ferdinand de ,boisschot 7p4 #ge74      
#afca4 ,elevation of ,cross for church  
of ,notre ,dame at ,courtray 7p4 #fd74  
,appointment as court painter to        
,isabella ,clara ,eugenia1 regent of the
 ,netherlands 7p4 #gc74  #afcj1 #afca4  
,portraits of ,philippe le ,roy1        
,seigneur de ,ravels and his wife 7p4   
#gh74  #afca4 ,portrait of ,marie de    
,medici 7p4 #ha74  #afca8 ,visit to     
,holland and acquaintance with ,franz   
,hals 7pp4 #ha-hc74  #afcb4 ,arrival in 
,england 7p4 #hg71 and knighthood       
conferred1 ,july #e 7p4 #hh74  #afcd4   
,double portrait of ,charles ,i4 and    
,henrietta ,maria 7p4 #ajb74 ,visit to  
,antwerp and purchase of property there 
7p4 #ij74 ,visit to ,court of ,brussels 
and portraits of regent1 ,prince of     
,savoy1 and ,prince ,gaston1 duc        
d',orleans1 and others 7p4 #ia74  #afce4
 ,return to ,antwerp1 thence to ,england
 7p4 #if74 ,famous portrait of ,charles 
,i4 with horse and equerry 7now in      
,louvre71 sent to ,france as gift to    

queen mother 7p4 #aje74 ,group of three 
children of ,charles ,i41 now in ,turin 
7p4 #aji74  #afcf4 ,portrait of ,charles
 ,i41 full length1 at ,windsor ,castle  
7p4 #aje74  #afcg4 ,group of five       
children of ,charles ,i4 7p4 #aaa74     
#afci or #afdj4 ,marriage with ,mary    
,ruthven 7p4 #adb74  #afdj4 ,in ,antwerp
 in ,october1 magnificently entertained 
by ,academy of ,painting 7p4 #adc74     
#afda4 ,in ,paris1 in ,january1 seeking 
commission for decorations of ,louvre   
7p4 #add74 ,in ,london1 in ,may1 and    
portrait of ,princess ,mary and ,prince 
,william 7p4 #add74 ,in ,antwerp1 in    
,october1 planning for residence there  
7p4 #ade74 ,in ,paris1 in ,november1 on 
business4 ,return to ,london4 ,birth of 
daughter1 ,dec4 #a4 ,death1 ,dec4 #i 7p4
 #ade74   ,v4 ,,list ,,of ,,contemporary
 ,,painters4  ,flemish3--  ,franz       
,snyders1 #aegi-afeg4 ,peter ,paul      
,rubens1 #aegg-afdj4 ,gaspard de        
,craeyer1 #aehb-affi4 ,jacob ,jordaens1 
#aeid-afgh4 ,justus ,sustermans1        

#aeig-afha4 ,david ,teniers1 #afaj-afij4
  ,spanish3--  ,pacheco1 #aega-afed4    
,herrera1 #aegf-afef4 ,zurbaran1        
#aeih-affb4 ,velasquez1 #aeii-affj4     
,cano1 #afja-afgf4 ,murillo1 #afah-afhb4
  ,french3--  ,simon ,vouet1 #aehb-afda4
 ,poussin1 #aeid-afee4  ,eustache ,le   
,sueur1 #afag-afee4 ,charles ,le ,brun1 
#afai-afij4  ,italian3--  ,guido ,reni1 
#aege-afdb4 ,francesco ,albani1         
#aegh-affj4 ,domenichino1 #aeha-afda4   
,guercino1 #aeia-afff4 ,sassoferrato1   
#afje-afhe4 ,carlo ,dolci1 #afaf-afhf4  
,dutch3--  ,franz ,hals1 #aehd-afff4    
,gerard ,honthorst1 #aeij-afef4 ,jan van
 ,goypen1 #aeif-afef4 ,albert ,cuyp1    
#afje-afia4 ,rembrandt1 #afjf-affi4 ,jan
 ,lievens1 #afjg-;after #afgb4 ,gerard  
,terburg1 #afjh-afha4 ,salomon ,koning1 
#afji-affh4 ,adrian van ,ostade1        
#afaj-afhe4   ,,vi4 ,,notable ,,english 
,,persons ,,of ,,the ,,reign ,,of       
,,charles ,i4  ,,writers3--  ,ben       
,jonson1 #aegc or #aegd-afcg4 ,robert   
,herrick1 #aeia-afgd4 ,george ,herbert1 

#aeic-afcb4 ,edmund ,waller1 #afje or   
#afjf-afhg4 ,sir ,william ,killigrew1   
#afje-afic4 ,sir ,john ,suckling1 #afjh 
or #afji-afda or #afdb4 ,john ,milton1  
#afjh-afgd4 ,thomas ,killigrew1         
#afaa-afhb4 ,john ,evelyn1 #afbj-agjf   
7author of ,memoirs74  ,architect3--    
,inigo ,jones1 #aegb-afec4              
,royalists3--  ,archbishop ,laud1       
#aegc-afdd_/e4 ,thomas ,howard1 ,earl of
 ,arundel1 #aehf-afdf4 ,george          
,villiers1 first ,duke of ,buckingham1  
#aeib-afbh4 ,thomas ,wentworth1 ,earl of
 ,strafford1 #aeic-afda4                
,parliamentarians3--  ,john ,pym1       
#aehd-afdc4 ,sir ,john ,eliot1          
#aeib-afcb4 ,john ,hampden1 #aeid-afdc4 
,oliver ,cromwell1 #aeii-afeh4 ,lord    
,thomas ,fairfax1 #afaa or #afab-afga4  
,i  ,,portrait ,,of ,,anna ,,wake   ,the
 city of ,antwerp was at one time famous
 for its commercial and industrial      
interests1 and it was besides an        
important centre of art4 ,here in the   
seventeenth century lived the two       

foremost ,flemish painters1 ,peter ,paul
 ,rubens1 and ,anthony ,van ,dyck4 ,the 
,flemish industries had chiefly to do   
with the making of beautiful things4    
,among them were tapestries in rich     
designs and many colors1 used for wall  
hangings4 ,the ,flemish weavers were    
also skilled in making fabrics of silk  
and velvet4 ,most famous of all were    
their laces1 patiently wrought by hand1 
on pillows1 and unrivalled throughout   
the world for delicacy of workmanship4  
,glass and porcelain were also among    
their industrial products4 ,in ,antwerp1
 too1 was the printing establishment of 
,plantin1 from which issued many learned
 works in ,french and ,latin4  ,among   
refined people like these1 who not only 
loved beautiful things but could afford 
to buy them1 the art of painting was    
highly esteemed4 ,there was every       
encouragement for a young artist to     
pursue this calling4 ,rubens was already
 a great painter when ,van ,dyck began  
his art studies1 and the older man gave 

the younger much helpful advice4 ,at his
 friend's suggestion ,van ,dyck         
travelled several years in ,italy1 where
 he was inspired by the works of the    
,italian masters of the preceding       
century4 ,returning at length to his    
native city1 he set up a studio of his  
own1 and soon became a favorite portrait
 painter among the rich and fashionable 
classes4 ,not a few of his sitters were 
foreign sojourners in the ,netherlands1 
especially the ,english4 ,the lady of   
our illustration is quite plainly of    
this nationality1 though she is dressed 
according to the ,flemish modes4  ,it   
appears that an ,english merchant named 
,wake was established in ,antwerp at    
this time1 and it is supposed that this 
may be his daughter4 ,there are also    
reasons for connecting the portrait with
 one of a certain ,english baronet named
 ,sheffield1 who was likewise in        
,belgium in this period4 ,miss ,anna    
,wake1 we may conclude1 had married into
 the ,sheffield family when this        

portrait was painted4 ,these names1     
however1 are mere guesses1 and1 even if 
they were verified1 would tell us no    
more of the lady's story than we can    
gather from the picture4 ,her life was  
probably not of the eventful kind which 
passes into history4 ,the luxuries of   
her surroundings we may judge from her  
rich dress and jewels2 the sweetness of 
her character is written in her face4   
,she shows us perhaps more of her inner 
life than she intends4 ,her fine reserve
 would naturally shrink from any sort of
 familiarity4 ,yet as she stands quietly
 before the portrait painter1 left1 as  
it were1 to the solitude of her own     
thoughts1 her spirit seems to look out  
of the candid eyes4  ,illustration3     
,,portrait ,,of ,,anna ,,wake ,royal    
,gallery1 ,the ,hague  ,her dignity and 
self-possession make her seem older than
 the twenty-two years with which the    
inscription on the portrait credits her4
 ,but the face is that of one who has   
just passed from maidenhood to young    

womanhood4 ,life lies before her1 and   
with sweet seriousness she builds her   
air castles of the future4 ,thus far she
 has been carefully guarded from the    
evil of the world1 and her heart is as  
pure as that of the lily maid of        
,astolat4 ,for social triumphs she would
 care nothing1 though her beauty could  
not fail to draw an admiring throng     
about her4 ,vanity and coquetry are     
altogether foreign to her nature4 ,she  
is1 rather1 of a poetic and dreamy      
temperament4 ,perhaps it is the fragile 
quality of her beauty which gives an    
almost wistful expression to the face4  
,she is like a delicate flower which a  
chill wind would blast4  ,the costume   
interests us as a study of bygone       
fashions1 and is painted with exquisite 
care for detail4 ,the pointed bodice is 
as stiff as a coat of mail1 like that so
 long in vogue at the court of ,spain4  
,perhaps the ,spanish occupation of the 
,netherlands may have brought the corset
 with it4 ,certainly it is not conducive

 to an easy carriage2 only a graceful   
figure like this could wear it without  
awkwardness4 ,the slashed sleeves are   
made full1 and tied at the elbows with  
bows4 ,the wide collar and cuffs are    
edged with beautiful ,flemish lace      
points4 ,the feather fan and the strings
 of pearls about the throat and wrists  
might form a part of any modern costume4
 ,it strikes us1 however1 as a very     
singular fashion for a lady to wear a   
large seal ring on the thumb4  ,we      
notice how simply the hair is dressed1  
brushed loosely from the face and       
knotted at the back1 with a jewel       
gleaming at one side4 ,compared with the
 elaborate coiffures worn by great      
ladies in some historical periods1 this 
style is delightfully artistic4         
,altogether the entire manner of        
dressing is perfectly suited to the     
wearer4     ,,ii  ,,the ,,rest ,,in     
,,egypt   ,we often read in history of  
the rejoicing throughout a kingdom over 
the birth of a prince3 messengers are   

sent from place to place to proclaim the
 glad news1 congratulations and gifts   
follow1 every possible care is taken for
 the nurture and protection of the      
precious young life4  ,the story of the 
childhood of ,jesus reads somewhat like 
that of a prince1 in spite of his lowly 
surroundings4 ,though he was born in a  
manger1 a herald angel announced the    
glad tidings of his coming4 ,though the 
people of ,bethlehem took no note of the
 event1 a multitude of the heavenly host
 sang ,glory to ,god in the highest1 on 
earth peace1 good-will to men4 ,wise men
 from the ,east made a long journey to  
find the young child4 ,the lore of the  
stars had taught them that he was a     
king1 and they brought gifts worthy of  
royalty1 gold1 and frankincense1 and    
myrrh4  ,it was these visitors who were 
the innocent cause of the child's first 
danger4 ,in seeking him out they had    
gone to ,king ,herod at ,jerusalem1     
asking1 ,where is he that is born ,king 
of the ,jews8 ,these inquiries made the 

monarch very uneasy4 ,he had no mind to 
lose his crown4 ,to prevent the         
appearance of any possible rival he     
determined upon summary measures4 ,he   
sent forth and slew all the children    
that were in ,bethlehem1 and in all the 
coasts thereof1 from two years old and  
under4 ,by this terrible massacre he    
thought to do away with the child       
,jesus4  ,but the ,prince of ,peace was 
protected by stronger guards than ever  
surrounded the cradle of an earthly     
prince4 ,a warning message was sent to  
save the child from the impending       
danger4 ,the angel of the ,lord         
appeareth to ,joseph in a dream1 saying1
 ,arise1 and take the young child and   
his mother1 and flee into ,egypt1 and be
 thou there until ,i bring thee word3   
for ,herod will seek the young child to 
destroy him4  ,when he arose1 he took   
the young child and his mother by night1
 and departed into ,egypt4#a ,the       
journey was long and wearisome1 but the 
mother ,mary was young1 and strong in   

courage1 and ,joseph was a sturdy       
defender4 ,as for the babe1 what        
mattered it to him whether he slept in a
 manger1 or under the trees by the      
wayside8 ,he was safe in his mother's   
arms4  ,footnote #a3 ,st4 ,matthew1     
chapter ii41 verses #ac1 #ad4  ,what    
adventures befell them by the way we do 
not know1 but we like to imagine the    
incidents of the journey4 ,there is a   
tradition that angel play-fellows came  
from time to time to amuse the child    
,jesus4 ,when ,mary and ,joseph were    
forced to pause a little while for food 
and rest1 the lonely places were filled 
with these glad presences4              
,illustration3 ,,the ,,rest ,,in ,,egypt
 ,pitti ,gallery1 ,florence  ,this is   
the legend illustrated in our picture4  
,under the spreading branches of a great
 tree1 ,mary has found a comfortable    
seat on a grassy bank1 and ,joseph rests
 behind her4 ,the little child stands on
 his mother's knee1 clinging to her     
dress for support1 while her arms hold  

him firm4 ,a band of infant angels play 
on the flower-strewn grass in the open  
space in front4 ,with joined hands they 
circle about as in the figure of a dance
 or game4 ,the music for their sport is 
furnished by a heavenly choir1 hovering 
in the upper air and singing the score  
from an open book4  ,the leader of the  
dance is evidently the beautiful angel  
who pauses opposite the ,christ-child4  
,resting on the right foot he draws back
 the left1 poising on his toe1 in an    
attitude of exquisite grace4 ,with his  
left hand he waves a salute to the      
infant ,christ4 ,his right hand clasps  
that of a companion angel to form an    
arch beneath which troop the whole      
jocund company4 ,it is good sport1 and  
the players scamper gleefully along4 ,a 
single angel stops to gaze ardently     
towards the ,christ-child4  ,the mother 
looks on at the game with queenly       
dignity4 ,a smile hovers on her lips1 as
 if the eagerness of the little leader  
pleased her4 ,as for ,joseph1 his glance

 is directed towards the tree-tops4     
,perhaps his senses are not fine enough 
to discern the spirit company1 but he is
 well content with the happiness of     
mother and child4  ,from the safe       
pedestal of his mother's knee the child 
,jesus watches every motion of the      
angels with breathless interest4 ,the   
angel leader seems to beckon him to join
 them1 and he is almost ready to go4    
,yet the firm hands hold him back1 and  
he is glad to cling to his mother's     
dress4 ,a circle of light about his head
 is the halo1 or symbol of his divine   
origin4  ,the picture is an important   
record of our painter's travels in      
,italy4 ,it was here he imbibed from the
 old ,italian masters the tender and    
devotional spirit which animated their  
sacred works4 ,titian was the special   
object of his admiration1 and he painted
 a number of ,madonna pictures which    
show the influence the ,venetian painter
 had upon his art4 ,the circle of       
dancing angels recalls the cherub throng

 of ,titian's ,assumption4#b  ,footnote 
#b3 ,see ,chapter ,,xii4 in volume on   
,titian in the ,riverside ,art ,series4 
,,iii  ,,the ,,so-,,called ,,portrait   
,,of ,,richardot ,,and ,,his ,,son   ,a 
gentleman has brought his little boy to 
our painter's studio for a portrait     
sitting4 ,father and son are close      
friends and understand each other well4 
,on the way they have talked of the     
picture that is to be made1 and the boy 
has asked many questions about it4 ,it  
is rather a tedious prospect to an      
active child to have to sit still a long
 time4 ,but his father's companionship  
is his greatest delight1 and it is a    
rare treat to both to have a whole      
morning together4 ,besides1 they have a 
book with them1 a new publication from  
the ,plantin printing press1 and the    
father has promised to read something to
 him4  ,the two are richly dressed for  
the event1 the father in black with a   
fur mantle1 and the boy in white satin  
embroidered with gold4 ,the man wears   

the stiff quilled ruff of the period1   
the boy a round collar of soft lace4 ,it
 is not every day in the year that a    
little boy is allowed to wear his best  
satin doublet1 and the child feels the  
gravity of the occasion4 ,we may suppose
 that these are people of distinction1  
and that on certain great occasions the 
boy accompanies his father to court4    
,perhaps1 too1 as the eldest son of the 
house1 he is sometimes given a seat at a
 great banquet1 or is brought into the  
tapestried hall to meet an honored      
guest4 ,it is at such times that he     
would be dressed as in the picture4 ,in 
our own day a child's finery brings to  
mind dancing classes and parties1 but in
 these far away times it is associated  
only with stately ceremonies4  ,the     
painter has led his guests to a place   
near a window1 where1 looking over their
 shoulders1 one sees a bit of pleasant  
country4 ,the man draws the boy towards 
him and lays one hand on the child's    
shoulder4 ,at the painter's bidding1 the

 little fellow puts his right arm       
akimbo1 imitating the attitude in some  
of the portraits of the studio4 ,the    
pose suits perfectly the quaint dignity 
of the little figure4  ,it is a proud   
moment for the boy4 ,it makes him almost
 a man to be treated as an equal by his 
father4 ,not for worlds would he do     
anything to spoil the picture2 he feels 
the responsibility of carrying out his  
part well4 ,he regards the painter with 
solemn eyes1 watching intently every    
motion of the pencil4  ,there is a gleam
 of humor in the father's eyes as he too
 looks in the same direction4 ,he is a  
man of large affairs1 we are sure4 ,his 
high forehead shows rare mental powers1 
and he has the judicial expression of   
one whose counsel would be worth        
following4 ,yet there is that in his    
face which shows the quiet tastes of the
 scholar4 ,with his boy beside him and a
 book in his hand1 he is content to let 
the great world go its way4             
,nevertheless he is something of a      

courtier1 as his station in life        
requires1 a distinguished figure in any 
great company4 ,the face is one of      
striking nobility of character4 ,he is a
 man in whom we could place great       
confidence4  ,illustration3 ,,the       
,,so-,,called ,,portrait ,,of           
,,richardot ,,and ,,his ,,son ,the      
,louvre1 ,paris  ,two qualities of the  
portrait give it artistic value1        
life-likeness1 and character4 ,the      
figures almost seem to speak to us from 
the canvas1 and we feel a sense of      
intimacy with them1 as if we had        
actually known them in real life4       
,indeed there is very little in the     
picture to make it seem foreign to our  
own surroundings4 ,the stiff ruff is the
 most distinctly old-fashioned feature4 
,the man's closely cut pointed beard is 
such as has long been called the ,van   
,dyck beard4 ,the painter wore his own  
trimmed in the same way1 which seems at 
one time to have been equally the       
fashion in ,england and on the          

continent4  ,we remark in the picture   
the excellent characterization of the   
hands4 ,in later days when the painter  
was busier1 he often assigned this part 
of the work to assistants4 ,they did not
 try to reproduce the hand of the       
portrait sitter1 but painted this       
feature from a model4 ,now this man's   
hand is plainly his own2 it is of a     
character with the face1 strong and     
sensitive4  ,the landscape view is an   
important element in the picture4 ,if we
 compare our illustration with others   
which have no such setting1 we shall    
better understand its value4 ,an        
enclosed space sets a more or less      
definite limit to the imagination4 ,a   
glimpse of the country1 on the other    
hand1 suggests wide spaces for the fancy
 to explore4 ,it will also be noticed   
that this light spot in the upper right 
corner balances well the white costume  
of the boy in the lower left corner4    
,the portrait group of our illustration 
has long borne the title of ,jean       

,grusset ,richardot and his ,son4 ,this 
,richardot was a celebrated ,flemish    
diplomat of the sixteenth century1 and  
president of the ,privy ,council of the 
,low ,countries4 ,as he died in ,van    
,dyck's boyhood1 his portrait could not 
have been made by our painter directly  
from life4 ,nor can we believe with some
 that years after the diplomat's death  
,van ,dyck copied from some old picture 
the likeness seen here4 ,a portrait     
painted in this way would not have the  
vitality of our illustration4 ,we are   
therefore obliged to consider the       
picture nameless2 but our enjoyment of  
its good qualities is by no means less  
keen4     ,,iv  ,,the ,,vision ,,of     
,,st4 ,,anthony   ,st4 ,anthony of      
,padua was a ,franciscan friar of the   
thirteenth century1 celebrated for his  
piety and eloquence4 ,he was a          
,portuguese by birth1 and early in life 
determined to be a ,christian           
missionary4 ,his first labors were in   
,africa1 but being seized by a lingering

 illness1 he returned to ,europe and    
landed in ,italy4 ,here he came under   
the influence of ,st4 ,francis of       
,assisi1 who was just establishing a new
 religious order4 ,the rules were to be 
very strict3 the members could possess  
nothing of their own1 but were to beg   
their food and raiment of fellow        
,christians4 ,they were to mingle with  
the people as brothers1 hence friars1#c 
ministering to their bodily needs1 and  
advising1 comforting1 and admonishing in
 higher concerns4 ,what sort of a habit 
they wore we may see in our picture4    
,there was a long dark brown tunic made 
with loose sleeves1 and having a sort of
 hood attached4 ,the garment was        
fastened about the waist with a knotted 
rope4 ,by this strange girdle the wearer
 was continually reminded that the body 
is a beast to be subdued by a halter4   
,footnote #c3 ,from the ,french frere4  
,on account of his learning1 ,st4       
,anthony became a teacher of theology4  
,he was connected successively with the 

universities of ,bologna1 ,toulouse1    
,paris1 and ,padua1 and with this last  
city his name has ever since been       
associated4 ,at length1 however1 he     
forsook all other employments and       
devoted himself wholly to preaching     
among the people4  ,these were troublous
 times in ,italy1 when the poor were    
cruelly oppressed by the rich4 ,st4     
,anthony espoused the cause of those who
 were wronged1 and denounced all forms  
of tyranny4 ,his influence was a great  
power among the people1 and many stories
 are told of his preaching4 ,it is      
related that one day1 as he was         
explaining to his hearers the mystery of
 the ,incarnation1 the ,christ-child    
appeared to him as in a vision4  ,it is 
this story which the painter had in mind
 in our picture3 ,st4 ,anthony kneels   
before the mother and babe in an ecstasy
 of devotion4 ,an open book lies on the 
ground beside him1 as if he had been    
conning its pages when the vision broke 
upon him4 ,the landscape surroundings   

are especially appropriate1 for ,st4    
,anthony was fond of out-of-door life4  
,his sermons were often given in the    
open air1 and it is said that he        
sometimes preached to the fishes4 ,he   
delighted to point out to his hearers   
the beauties of nature1 the whiteness of
 the swan1 the mutual charity of the    
storks1 and the purity and fragrance of 
the lilies4  ,illustration3 ,,the       
,,vision ,,of ,,st4 ,,anthony ,brera    
,gallery1 ,milan  ,the poetic refinement
 of his nature is indicated in his face4
 ,he is young and handsome1 with the    
gentle expression which used to win the 
hearts of his hearers4 ,there is little 
here to show the more forcible elements 
of his character4 ,the tonsured head is 
the common mark of membership in        
religious orders4  ,the ,christ-child   
bends forward to caress the saint's face
 with his tiny hand4 ,he is a loving    
little fellow1 not particularly pretty1 
except in his infantine plumpness1 yet  
the face is full of innocent sweetness4 

,a mysterious light shines above his    
head1 the emblem of divinity4 ,the good 
friar does not presume to touch the holy
 child1 but folds his hands reverently  
across his breast4 ,his eyes are lifted 
with the rapt look of the visionary4    
,st4 ,anthony's biographers tell us how 
he loved to recite the old ,latin hymn  
by ,st4 ,fortunatus1 beginning1--       
,o ,gloriosa ,domina     ,excelsa super 
sydera4     ,o most glorious ,lady      
,exalted above the stars4  ,we may fancy
 that in the ecstasy of this vision     
these lines now rise to his lips4 ,the  
last stanza expresses the sum of his    
adoration3--        ,gloria tibi ,domine
       ,qui natus es de ,virgine        
,cum ,patre et sancto ,spiritu       ,in
 sempiterna saecula4     ,glory to thee1
 ,o ,lord1     ,who wast born of a      
,virgin1     ,with the ,father and ,holy
 ,spirit     ,for eternal ages4  ,it is 
easy to see from a comparison of this   
picture with the ,rest in ,egypt that it
 was painted at about the same time4 ,we

 at once recognize the mother and child 
of the other illustration1 and note the 
similarity in pose4 ,we may imagine the 
,madonna bending forward and holding the
 babe a little lower on her lap1 and we 
should have the grouping as it is here4 
,in their pictures of the ,madonna1 the 
old painters tried to express their     
highest ideals of womanhood4 ,the mother
 ,mary represented to them all that is  
strongest and sweetest in a woman's     
character4 ,so this ,madonna by ,van    
,dyck is a gracious and queenly figure  
modelled upon the stately ,virgin of    
,titian4  ,the linear composition of the
 picture is carefully planned2 the basis
 is the pyramidal form4 ,from the top of
 the ,virgin's head diverge the two     
oblique lines which enclose the diagram4
 ,the mantle fluttering behind the      
mother's shoulder balances the part of  
,st4 ,anthony's tunic which lies on the 
ground4  ,we may well believe that the  
painter took especial pleasure in       
working on this picture1 because he     

himself bore the name of the good ,st4  
,anthony4     ,v  ,,madame ,,andreas    
,,colyns ,,de ,,nole ,,and ,,her        
,,daughter   ,in the time of ,van ,dyck 
there was living in ,antwerp a family of
 ancient lineage who bore the name of   
,colyns de ,nole4 ,for three centuries  
there had been sculptors among the men  
of this name4 ,the talent had been      
handed down from father to son through  
the several generations1 and sometimes  
there were two or three of the family   
working together in the art4 ,the old   
churches of ,antwerp contained some fine
 specimens of their work4#d  ,footnote  
#d3 ,a full account of the several      
members of this family is given in the  
,biographie ,nationale1 published by the
 ,royal ,belgian ,academy of ,science1  
,literature and ,fine ,arts1 ,brussels1 
#ahii4  ,andreas ,colyns de ,nole was of
 nearly the same age as ,van ,dyck1 and 
a worthy representative of his famous   
family4 ,he was the sculptor of the     
beautiful monument of ,henry van ,balen 

in the ,church of ,st4 ,jacques1 and of 
a ,pieta in the ,church of ,notre ,dame4
 ,the sculptor and the painter became   
good friends1 and it was a natural      
consequence that the latter should paint
 the portrait of his friend and of his  
family4 ,he made two companion pictures1
 one of the sculptor1 and the other of  
his wife and the little daughter4  ,the 
lady is seated in an arm-chair1 letting 
her placid glance stray across the room4
 ,there is a little touch of weariness  
in her manner1 as if she were glad to   
sit down for a few moments' rest4 ,she  
is a busy housewife and mother1 with    
many domestic duties on her mind4 ,in   
her strong1 capable way she has long    
borne the family burdens4 ,the face is  
full of motherly sweetness2 the         
expression is patient and serene1 as of 
one well schooled in the lessons of     
life4 ,this is indeed the virtuous woman
 whose price the wise man of old set far
 above rubies4  ,she openeth her mouth  
with wisdom2 and in her tongue is the   

law of kindness4 ,she looketh well to   
the ways of her household1 and eateth   
not the bread of idleness4 ,her children
 arise up1 and call her blessed2 her    
husband also1 and he praiseth her4#e    
,footnote #e3 ,proverbs1 chapter xxx41  
verses #bf-bh4  ,the child is as like   
the mother as possible in features4 ,her
 round face is quaintly framed in a     
close lace-trimmed cap4 ,she is a shy   
little creature1 and is rather afraid of
 the strange painter4 ,so she keeps as  
far as possible in the shelter of her   
mother's big sleeve4 ,the hour drags    
wearily by4 ,the studio is a dull place1
 and the sunshine without very inviting4
 ,the child pulls impatiently at her    
mother's arm1 and1 as the painter       
speaks1 she looks timidly around1       
wondering what he will think of such a  
rude little girl4  ,illustration3       
,,madame ,,andreas ,,colyns ,,de ,,nole 
,,and ,,her ,,daughter ,munich ,gallery 
,the artist is secretly much amused by  
the small young lady's behavior4 ,he has

 a shrewd insight into children's       
thoughts1 and sympathizes with their    
moods4 ,he does not try to persuade her 
to sit for him1 but he catches her pose 
just as she stands here4 ,the mother1   
too1 is wise enough to let the child    
alone1 and the picture is made as we see
 it4  ,as we compare it with the former 
illustration of the man with his little 
boy1 it is amusing to see the contrast  
between the two children4 ,the boy has  
such a grave sense of responsibility1   
while the girl cares nothing for the    
portrait4 ,she would doubtless think the
 boy very tiresome4  ,we are apt to     
think of the children of past centuries 
as altogether different beings from     
those of our own day4 ,with few toys and
 books and pictures such as we have now1
 they must have been1 we fancy1 very    
sedate little creatures4 ,a child       
portrait like this in our illustration  
dispels these false ideas4 ,this little 
daughter of a seventeenth-century       
sculptor is as full of life and spirits 

as any child of to-day4 ,barring her    
quaint dress and foreign tongue she     
would be at home with children of her   
own age in any period or country4  ,the 
lady's dress is in a style similar to   
that which we have already studied in   
the portrait of our first illustration4 
,the stiff bodice1 with the long pointed
 front and square neck1 the broad       
lace-trimmed collar1 the large sleeves1 
and the wide cuffs turned back from the 
wrist1 are details common to the two    
pictures4 ,this costume1 however1 is    
somewhat less elegant than that of the  
,english lady and more suggestive of    
every-day wear in the home4 ,the collar 
is less elaborate1 and not stiff2 the   
neck is entirely covered with soft white
 material1 fastened at the throat with a
 small brooch4 ,a seal ring adorns each 
hand1 worn on the index finger4  ,we    
recognize the pillar in the background  
as a common setting in ,van ,dyck's     
portraits4 ,the taste of this time was  
rather artificial in such matters1 and  

inclined to stateliness4 ,there is here 
no vista beyond the pillar1 no glimpse  
into another apartment1 but the space   
is1 as it were1 completely walled in4   
,,vi  ,,daedalus ,,and ,,icarus   ,in   
the distant past which we call the age  
of fable lived the cunning craftsman    
,daedalus of ,athens4 ,one of his most  
curious inventions was a labyrinth which
 he constructed for ,minos1 the king of 
,crete4 ,having at length displeased    
this king he resolved to flee from the  
island with his son ,icarus4 ,it was    
impossible to escape by way of the sea  
without detection1 but ,daedalus was not
 discouraged4                           
,land and wave1     ,he cried1 deny me  
way6 ,but ,heaven above     ,lies open6 
,heaven shall bear me home6#f  ,so      
saying he began to fashion some wings   
with which he might fly away4 ,feathers 
of different lengths were bound together
 with thread and wax1 and shaped into   
arched pinions like those of a bird4 ,as
 he worked1 the boy ,icarus stood by    

watching his father1 and sometimes      
handling the feathers with his          
meddlesome fingers4  ,footnote #f3 ,all 
the quotations are from ,ovid's         
,metamorphoses1 ,book viii41 translated 
by ,henry ,king4  ,at last the final    
touch was given1 and ,daedalus1         
fastening the wings to his body with    
wax1 made a short trial flight4 ,the    
invention was a success2 the artist rose
 triumphant in the air4 ,then he taught 
his boy the use of the wings1 warning   
him of every possible mishap3--         
',midway keep thy course1 he said1      
,my ,icarus1 ,i warn thee6 if too low1  
,the damps will clog thy pinions2 if too
 high1     ,the heats relax them4       
,midway hold thy flight4         99     
99       99       99       99           
,by mine     ,thy course direct4' ,and  
many a precept more     ,he gave1 and   
careful as he bound the wings     ,upon 
the shoulders of the boy1 his cheeks    
,were wet with tears1 and in the task   
his hands     ,paternal trembled4  ,our 

picture illustrates this point in the   
story4 ,daedalus has just fastened the  
wings upon his son and is giving the    
final directions4 ,the old man's face is
 full of anxiety1 as he implores the lad
 not to fly too high4 ,icarus listens to
 the advice with a shade of impatience1 
pouting a little1 like a wilful child   
who chafes under restraint4 ,he points  
forward1 as if to show that he          
understands his orders4 ,already the    
slender figure is poised for flight2 he 
is eager to be off4 ,in another moment  
he will rise into the air1 dropping his 
garment as he ascends4 ,a light breeze  
flutters the soft plumes of the wings   
and blows the loose curls about the     
boy's head4 ,his youthful beauty1 almost
 feminine in type1 contrasts finely with
 the strong furrowed countenance of the 
father4  ,illustration3 ,,daedalus ,,and
 ,,icarus ,collection of the ,earl of   
,spencer1 ,althorp  ,the story goes on  
to tell how the two started off         
together1 the father leading the way4   

,and1 as the mother bird     ,when first
 her offspring from the nest essays     
,the air1 he hovered anxious1 cheering  
on     ,the boy to follow1 and with     
fatal art     ,enjoining thus or thus   
his wings to ply     ,as he example     
gave4  ,for a while all went well1 and  
they had covered a long distance1 when  
,icarus1--                              
,elate     ,with that new power1 more   
daring grew1 and left     ,his guide1   
and higher1 with ambitious flight       
,soared1 aiming at the skies6  ,this was
 the very danger against which ,daedalus
 had warned his son4                    
,upon his wings     ,the rays of noon   
struck scorching1 and dissolved     ,the
 waxen compact of their plumes3--and    
down     ,he toppled1 beating wild with 
naked arms     ,the unsustaining air1   
and with vain cry     ,shrieking for    
succour from his sire6     ,the sea that
 bears his name received him as he fell4
  ,daedalus1 having buried his son on   
the island of ,icaria1 proceeded on his 

way and came at last to ,sicily1 where  
he lived to finish some important works 
of architecture4  ,our illustration     
shows some phases of ,van ,dyck's art   
with which we are least familiar4 ,he   
rarely interested himself in            
mythological stories1 though such       
subjects were common among his          
contemporaries4 ,the painter has caught 
in this case the essential spirit of the
 myth4 ,there are few of his pictures   
also in which he expressed so well the  
sense of motion4 ,the inclination of the
 body of ,icarus1 the poise of the      
wings1 and the gesture of the right hand
 all contribute admirably to this end4  
,here1 too1 we see how carefully he     
studied the nude figure1 and how well he
 understood the principles of modelling4
 ,the foreshortening of the right arm   
and hand of ,icarus is a clever piece of
 technical workmanship4 ,the composition
 is well planned to fill the canvas4    
,,vii  ,,portrait ,,of ,,charles ,i     
7,by ,sir ,peter ,lely1 after ,van      

,dyck7   ,charles ,i of ,england was the
 second king of the ,stuart dynasty1    
whose despotic tendencies made the      
seventeenth century a memorable period  
in history4 ,he ascended the throne at  
the age of twenty-five1 and began at    
once to assert his belief in the divine 
right of kings4 ,indignant at the       
restraints which ,parliament set upon   
his power1 he dissolved this body and   
ruled alone4  ,for more than ten years  
he governed ,england in his own way1 and
 during this time his court was         
conducted with great magnificence4 ,the 
palace at ,whitehall was the scene of   
many brilliant entertainments and lavish
 hospitalities4  ,charles was an ardent 
lover of music1 literature1 and         
painting1 and in his gallery was a      
collection of pictures remarkable for   
his time4 ,he was particularly proud of 
the ceiling decorations of his          
,banqueting ,hall1 furnished by ,rubens4
 ,he interested himself also in the     
manufacture of tapestries1 and secured  

for ,england ,raphael's cartoons for the
 ,vatican tapestries1 hoping thereby to 
raise the artistic standard of the home 
production4#g  ,footnote #g3 ,see       
,chapter ,,iii4 of volume on ,raphael in
 the ,riverside ,art ,series4  ,it was a
 crowning proof of his good taste that  
early in his reign he appointed ,van    
,dyck the court painter4 ,the ,flemish  
painter was thereupon made ,sir ,anthony
 ,van ,dyck1 and remained in the royal  
service until his death in #afda4 ,it   
was the king's intention to have the    
walls of the ,banqueting ,hall decorated
 by ,van ,dyck1 but this plan was never 
carried out4 ,as it was1 however1 the   
court painter is said to have made1     
during his nine years' residence in     
,england1 no less than thirty-six       
portraits of the king1 and twenty-five  
of the queen1 ,henrietta ,maria1 besides
 many pictures of their children1 singly
 or in groups4 ,his studio was a        
favorite resort of the royal pair1 who  
used to come in their barge1 by the way 

of the ,thames1 to his house at         
,blackfriars4 ,the painter would receive
 them with the manners of a prince4     
,musicians played for their             
entertainment1 and the conversation     
turned on questions of art4  ,in this   
constant intercourse1 ,van ,dyck came to
 know well the face of his royal patron4
 ,it was not really a handsome face1 as 
we see when we analyze the features in  
our illustration4 ,the forehead is high 
but not broad1 the nose large and not   
classically modelled1 and the thick lips
 and weak curves of the mouth are not   
hidden by the upturned mustache4 ,the   
shape of the face is long and narrow    
beyond good proportion1 but this defect 
is relieved by the chestnut hair1 which 
falls in long waving locks over the     
shoulders1 and makes a broad frame for  
the face4  ,illustration3 ,,portrait    
,,of ,,charles ,i4 ,dresden ,gallery    
,all these details1 however1 escape our 
attention when we look at the portrait  
for the first time4 ,we are chiefly     

impressed by the kingly presence of the 
man4 ,there is an indefinable suggestion
 of nobility in his bearing1 an         
expression of grave dignity in his      
countenance4 ,the eyes are almost       
melancholy1 the glance is averted and   
remote4 ,the consciousness of his royal 
birthright gives an air of aloofness to 
the figure4  ,the king stands beside a  
table1 resting one hand on the broad rim
 of the hat which lies there1 and       
holding his gloves in the other4 ,he    
wears the mantle of the ,order of the   
,garter1 ornamented on the left side    
with the six-pointed silver star1 in the
 centre of which is the red cross of    
,st4 ,george4 ,from a broad blue ribbon 
about the neck is suspended a gold      
medallion4 ,this is the ,george1 the    
image of the warrior saint1 represented 
on horse-back in his encounter with the 
dragon4  ,the attempt of ,charles to    
govern ,england without a ,parliament   
proved a sad failure4 ,he set his own   
authority above all laws1 and           

persistently disregarded the rights of  
the people4 ,at last he became involved 
in so many difficulties that he was     
obliged to reassemble the two houses4   
,then followed the long struggle between
 the king and the ,parliament1 which    
resulted in the ,civil ,war4 ,the       
supporters of the ,crown represented    
chiefly the upper classes1 and were     
called ,cavaliers4 ,the                 
,parliamentarians were for the most part
 ,puritans1 and were men of fervent     
piety4  ,there were six years of        
fighting1 beginning with the battle of  
,edgehill1 and culminating in the       
,parliamentary victory at ,naseby4      
,charles was tried and condemned as a   
tyrant1 traitor1 murderer1 and public   
enemy4 ,on the #cjth of ,january1 #afdi1
 he was executed in front of ,whitehall 
,palace1 walking to the scaffold with   
the same kingly dignity which he had    
shown throughout his life4 ,i go1 said  
he1 from a corruptible to an            
incorruptible crown1 where no           

disturbance can take place4 ,his body   
was laid among others of ,england's     
royal dead at ,windsor4  ,the picture   
reproduced in our illustration is not   
thought to be the original work of ,van 
,dyck's hand1 for that precious painting
 was destroyed by a fire in the ,palace 
of ,whitehall4 ,it was a fortunate      
circumstance that while it was still in 
existence1 ,sir ,peter ,lely1 court     
painter to ,charles ,,ii41 made a fine  
copy of it1 which is now in the ,dresden
 ,gallery4 ,a competent critic 7,lionel 
,cust7 tells us that the ,dresden       
picture is so excellent that it is      
difficult to believe it to be other than
 an original by ,van ,dyck4             
,,authorities4--,green3 ,a ,short       
,history of the ,english ,people2       
,d',israeli3 ,commentaries on the ,life 
and ,reign of ,charles ,i4     ,,viii   
,,the ,,madonna ,,of ,,st4 ,,rosalia    
,on the summit of ,monte ,pellegrino1 in
 the island of ,sicily1 stands a        
colossal statue of ,st4 ,rosalia4 ,like 

the old ,greek statue of ,victory on the
 island of ,samothrace1#h or to use a   
modern instance1 like the statue of     
,liberty on ,bedloe's ,island in ,new   
,york harbor1 ,st4 ,rosalia serves as a 
beacon to mariners4 ,the ,sicilians hold
 the saint in great reverence1 and      
celebrate her memory in two annual      
festivals4 ,from the eleventh to the    
fifteenth of ,july are horse-races1     
regattas1 illuminations1 and all sorts  
of gayeties in her honor4 ,in ,september
 there is a solemn procession to her    
chapel4  ,footnote #h3 ,see ,chapter    
,,xv4 in the volume on ,greek ,sculpture
 in the ,riverside ,art ,series4  ,st4  
,rosalia was a ,sicilian maiden of noble
 family1 the niece of ,william ,,ii41   
called the ,good4 ,being both rich and  
beautiful1 she had many suitors for her 
hand1 but she rejected them all4 ,at the
 age of fifteen she renounced the pomps 
and vanities of the world1 and devoted  
herself to a life of meditation4 ,she   
retired secretly to a cavern on ,mt4    

,heirkte1 and here she passed her       
solitary life4 ,it was not until five   
hundred years after her disappearance   
that her hiding-place was discovered4   
,there they found her lying in her      
grotto1 as if she had just fallen       
asleep1 and on her head was a wreath of 
roses with which the angels had crowned 
her4 ,the body was carried in triumph to
 ,palermo1 and she became the patron    
saint of her native city4  ,this was in 
the early part of the seventeenth       
century1#i and the story of the new     
saint's life immediately became the     
subject of art4 ,van ,dyck painted for a
 church in ,antwerp a series of pictures
 of ,st4 ,rosalia1 from which our       
illustration is taken4 ,the maiden saint
 kneels on the steps of a throne to     
receive a wreath of roses from the      
,christ-child4 ,an angel attendant      
behind her holds a basket of roses4 ,st4
 ,peter and ,st4 ,paul add dignity to   
the scene4  ,footnote #i3 ,the date of  
her disappearance is given as #aaei4    

,as we see at once1 this is not an      
actual incident from the life of ,st4   
,rosalia4 ,the aim of the picture is    
devotional4 ,it is as if we were given a
 glimpse into the court of heaven1 where
 the saints of all ages gather about the
 ,christ-child's throne4  ,st4 ,peter is
 seen at the ,madonna's left1 gazing at 
some little cherubs who hover in mid air
 with sprays of flowers4 ,we know him by
 the mammoth key he carries in his left 
hand1 a symbol of his authority in      
spiritual concerns4 ,the reference is to
 the words of ,jesus when ,peter        
declared him to be the ,christ3 ,i will 
give unto thee the keys of the kingdom  
of heaven4#aj ,he seems here a very old 
man1 and one who has suffered many      
persecutions in the master's cause4     
,footnote #aj3 ,st4 ,matthew1 chapter   
xvi41 verse #ai4  ,illustration3 ,,the  
,,madonna ,,of ,,st4 ,,rosalia ,imperial
 ,gallery1 ,vienna  ,st4 ,paul stands at
 the right of the throne1 leaning on his
 sword in an attitude of meditation4    

,the sword has been chosen as this      
apostle's emblem because of his allusion
 in the ,epistle to the ,ephesians to   
the sword of the spirit4#aa ,the books  
lying on the pavement at his feet are   
his various writings4  ,footnote #aa3   
,ephesians1 chapter vi41 verse #ag4     
,according to tradition the ,apostle    
,paul was a man of mean stature and     
insignificant appearance4 ,regardless of
 this fact1 however1 the old artists    
always tried to make him as grand and   
noble as possible1 that his outward     
appearance might correspond to the      
grandeur of his character4 ,there was a 
certain old ,italian painter named      
,masaccio1 who set the fashion1 as it   
were1 for the ideal portrait of ,st4    
,paul4#ab ,a hundred years later        
,raphael imitated this figure1 and again
 a century later1 ,van ,dyck repeated it
 in the picture before us4 ,if we       
compare our illustration with a print of
 ,raphael's picture of ,st4 ,cecilia we 
shall see the resemblance4#ac ,even the 

pose is the same in the two cases4 ,the 
grand head with the full beard reminds  
us of the ,greeks' conception of their  
god ,zeus4#ad  ,footnote #ab3 ,in the   
fresco of the ,carmine ,church1         
,florence4  ,footnote #ac3 ,see ,chapter
 ,,ix4 of the volume on ,raphael in the 
,riverside ,art ,series4  ,footnote #ad3
 ,see ,chapter ,i4 of the volume on     
,greek ,sculpture in the ,riverside ,art
 ,series4  ,st4 ,rosalia is a beautiful 
young woman1 richly dressed in a        
brocaded mantle1 and with wavy hair     
falling over her shoulders4 ,her        
attitude is very humble1 and she lifts  
her face to the ,christ-child's with    
sweet adoration4 ,the little fellow     
seems delighted with his task1 and leans
 forward eagerly1 to offer the saint the
 crown of roses4 ,is it for me8 she     
seems to ask1 as she lays one hand upon 
her breast and timidly holds out the    
other4  ,on the step beside her is a    
human skull1 across which lies a stalk  
of lilies4 ,the flowers are an ,easter  

emblem1 and symbolize the ,resurrection4
 ,the skull is the token of death4 ,thus
 are we taught the victory over death   
through the purity of the spiritual     
life4  ,the grotto of ,st4 ,rosalia has 
become a church which is the object of  
many a pious pilgrimage4 ,it is for this
 that the name of the mountain was      
changed from ,heirkte to ,monte         
,pellegrino1 which means the ,pilgrim   
,mountain4  ,we have already seen       
7,chapters ,,ii4 and ,,iv47 how much    
,van ,dyck owed to ,titian in the       
rendering of sacred subjects4 ,here the 
,madonna's high throne beside the marble
 pillars1 and the cherubs in mid air are
 striking reminiscences of ,titian's    
,pesaro ,madonna4#ae  ,footnote #ae3    
,see ,chapter ,,xiv4 in the volume on   
,titian in the ,riverside ,art ,series4 
,,ix  ,,charles1 ,,prince ,,of ,,wales  
7,detail of ,children of ,charles ,i47  
,the ,prince ,charles of our picture was
 the son of ,charles ,i4 and ,henrietta 
,maria1 and bore the title of the       

,prince of ,wales4 ,he was born on the  
morning of ,may #bi1 #afcj1 and there   
was great rejoicing in the royal        
household that he was a fine strong     
baby4 ,the king at once rode in state to
 ,st4 ,paul's ,cathedral to give thanks 
for the birth of an heir4 ,while the    
procession was on its way a bright star 
appeared in the noonday sky4 ,this was  
hailed as a good omen1 and an epigram   
was composed on the occasion3--         
,when to ,paul's ,cross the grateful    
,king drew near1     ,a shining star did
 in the heavens appear4     ,thou that  
consultest with bright mysteries        
,tell me what this bright wanderer      
signifies8     ,now there is born a     
valiant prince i' the west1     ,that   
shall eclipse the kingdoms of the east4 
,a month later the baby's baptism was   
celebrated with great solemnity in the  
chapel at ,st4 ,james4 ,the famous      
,laud1 ,bishop of ,london1 officiated1  
and the sponsors were ,louis ,,xiii4 of 
,france1 ,marie de ,medicis1 and the    

,elector ,palatine1 all represented by  
proxies4 ,there were wonderful          
christening presents1 among them a jewel
 of great value brought by the old      
,duchess of ,richmond4  ,the new-born   
prince did not grow into a pretty baby4 
,even his mother1 who would naturally   
wish to praise him1 wrote to a friend in
 ,france that he was so ugly she was    
ashamed of him4 ,but1 she added1 his    
size and fatness supply the want of     
beauty4 ,i wish you could see the       
gentleman1 for he has no ordinary mien2 
he is so serious in all that he does    
that ,i cannot help deeming him far     
wiser than myself4 ,a few years later   
the child became a pretty boy1 with a   
fine figure1 brown complexion1 and      
large1 bright black eyes4 ,his mouth1   
however1 remained very ugly4  ,the      
prince's earliest years were passed     
happily1 and no one could have foreseen 
the stormy experiences through which he 
must pass before he should inherit the  
throne of his father4 ,the king and     

queen were devoted to each other and to 
their children4 ,there was a younger    
boy1 ,prince ,james1 and three sisters1 
to complete the family circle4#af ,it is
 pleasant to imagine them at play in the
 royal nursery4  ,footnote #af3 ,that   
is1 ,princess ,mary1 ,princess          
,elizabeth1 and ,princess ,anne4 ,prince
 ,henry was only an infant when the     
family circle was broken up1 and        
,princess ,henrietta was not born until 
#afdd1 while the ,civil ,war was        
actually in progress4  ,the young       
,prince of ,wales had for his governor  
the ,earl of ,newcastle4 ,we read of a  
letter written at the age of eight and  
addressed to this nobleman4             
,illustration3 ,,charles1 ,,prince ,,of 
,,wales ,royal ,gallery1 ,turin  ,the   
contents refer wittily to the governor's
 advice about taking medicine3--  ,my   
lord1  ,i would not have you take too   
much phisike for it doth always make me 
worse2 and ,i think it will doe the like
 with you4 ,i ride every day1 and am    

ready to follow any other directions    
from you4 ,make haste back to him that  
loves you1                              
,charles ,p4  ,we see from this that the
 boy was early taught to ride1 and was  
doubtless trained in all manly sports4  
,in the ,stuart household dogs were the 
favorite pets1 and the young ,charles   
seems always to have been accompanied by
 one1 now a collie1 now a spaniel1 now a
 great boarhound4 ,the queen had a      
peculiar fancy for dwarfs1 which were in
 this period common playthings of       
royalty4 ,little ,geoffrey ,hudson1     
eighteen inches high1 was an important  
member of the court1 having been        
presented to ,henrietta ,maria in a huge
 pie4#ag  ,footnote #ag3 ,as we read in 
,scott's novel1 ,peveril of the ,peak4  
,in our picture ,prince ,charles is     
about five years old4 ,at this age1 in  
our modern fashions1 a boy is dressed   
quite differently from a girl4 ,here1   
however1 the little prince's finery and 
his round lace cap somewhat belie his   

manliness4 ,yet his short hair cut in a 
straight fringe across the forehead is  
his boy's prerogative4 ,the wide lace   
collar was worn by men as well as boys1 
as we may see in the portraits of the   
king and of the ,duke of ,lennox4 ,we   
speak of it to-day as a ,van ,dyck      
collar4  ,the child has a winning face1 
with large round eyes and a mouth which 
the flattering painter has shaped like a
 ,cupid's bow4 ,though the expression is
 perfectly child-like1 there is a       
certain dignity in the pose of the head1
 which makes the boy appear mature      
beyond his years4 ,evidently ,van ,dyck 
meant everybody to know that this was a 
prince4  ,prince ,charles's happy       
boyhood came to an end at the breaking  
out of the ,civil ,war4 ,though he was  
then only twelve years of age1 he and   
his brother1 ,prince ,james1 followed   
their father to the battlefield1        
suffering cold and hunger and even the  
dangers of the enemy's bullets4 ,at the 
age of sixteen1 the ,prince of ,wales   

joined his mother in ,paris4 ,upon the  
execution of his father he at once      
assumed the title of ,king ,charles     
,,ii41 and in the following year was    
crowned at ,scone in ,scotland at the   
age of twenty-one4 ,putting himself at  
the head of the ,scottish army1 he      
advanced into ,england1 and was         
completely defeated by ,cromwell4 ,after
 nine years of exile he was recalled to 
,england and restored to the throne4    
,thus did the innocent baby prince of   
our picture become the ,merry ,monarch  
of the ,restoration1 whose court was a  
disgrace in ,english history4  ,our     
illustration is a detail of a larger    
picture containing a group of three     
children1 ,prince ,charles1 with        
,princess ,mary and ,prince ,james1     
,duke of ,york4                         
,,authority4--,strickland3 ,queens of   
,england4     ,x  ,,st4 ,,martin        
,,dividing ,,his ,,cloak ,,with ,a      
,,beggar   ,st4 ,martin was born during 
the reign of the ,emperor ,constantine  

the ,great1 and was the son of a ,roman 
soldier4 ,he himself entered the army at
 an early age1 and was sent into ,gaul  
with a regiment of cavalry4 ,among his  
comrades he was loved for his mildness  
of temper and his generosity4  ,it      
happened that he was stationed in the   
city of ,amiens1 during a winter of     
unusual severity4 ,there was great      
suffering among the poor1 and many      
perished with cold and hunger4 ,st4     
,martin was riding one day through the  
city gate1 when he passed a naked beggar
 shivering on the pavement4 ,immediately
 he drew rein1 and spoke pityingly to   
the poor creature4 ,the young soldier   
was wearing over his coat of mail a long
 mantle4 ,slipping this garment from his
 shoulders he divided it with his sword1
 giving half to the beggar4 ,that same  
night1 as he slept1 he had a vision of  
,jesus clad in the portion of his       
mantle4 ,and ,jesus1 turning to the     
angels who accompanied him1 said1 ,my   
servant ,martin hath done this4  ,after 

a time ,st4 ,martin left the army1 to   
devote himself wholly to a religious    
life4 ,he became the ,bishop of ,tours1 
and was noted for his deeds of mercy and
 charity4 ,it was always his delight to 
clothe the poor4 ,once while he was     
standing at the altar of the cathedral1 
he turned and threw his priestly garment
 over a beggar1 with the same impulsive 
generosity which had led him to divide  
his military cloak4 ,he was zealous also
 in uprooting all forms of heathenism1  
and cast down many temples of idols4    
,he lived to a good old age1 and died   
among the scenes of his labors4 ,the    
legend relates that as he lay in his    
last illness he prayed his brethren to  
move him where he might see more of     
heaven than of earth4 ,his face shone as
 it had been glorified1 and the voices  
of angels were heard singing4#ah ,in    
,tours from that day to this his memory 
is piously cherished4 ,every child in   
the street loves to tell the story of   
the gallant soldier who shared his cloak

 with the beggar4  ,footnote #ah3 ,the  
life of ,st4 ,martin is related with    
much circumstance in the ,golden        
,legend4 ,see ,caxton's translation in  
the ,temple ,classics ,edition1 vol4    
vi41 p4 #adb4 ,mrs4 ,jameson gives a    
brief account of the same in ,sacred and
 ,legendary ,art1 p4 #gje4  ,this is the
 story in our picture4 ,st4 ,martin     
rides forward on a splendid white       
charger1 accompanied by other horsemen4 
,at the corner of the gateway two       
beggars await them4 ,the older one      
hobbles forward on his knees1 supported 
by crutches4 ,though he is a miserable  
object1 he is fairly protected from the 
cold by a long garment4 ,his companion  
is perfectly naked1 a huge muscular     
fellow seated on some straw4 ,he is just
 turning about to make way for the      
cavalcade1 when the knight draws rein4  
,illustration3 ,,st4 ,,martin ,,dividing
 ,,his ,,cloak ,,with ,a ,,beggar       
,church of ,saventhem  ,the horse arches
 his neck proudly and stamps impatient  

at the delay4 ,the rider on ,st4        
,martin's right looks across with       
surprise4 ,but the young knight serenely
 proceeds in his generous act4 ,already 
his cloak has slipped from his figure   
and hangs only from his left shoulder4  
,grasping it with his left hand half way
 down its length1 he raises his sword to
 sunder it at this place4  ,the lower   
end has fallen across the beggar's right
 arm4 ,at its warm touch1 the man1      
overwhelmed with gratitude1 abashed     
perhaps by the goodness of his          
benefactor1 hides his face with his     
upraised left arm4 ,it is as if the     
knightly purity of the compassionate    
face above him has revealed the man to  
himself in his loathsome degradation4   
,the young soldier is clad in a tunic of
 mail which sets off to perfect         
advantage the lithe figure4 ,over his   
short curls is worn a jaunty cap with a 
long feather2 he is a veritable fairy   
prince4 ,the boyish face accords well   
with the legend1 which relates that he  

was only a youth when the incident      
occurred4 ,it is said that no one ever  
saw ,st4 ,martin angry1 or sad1 or gay2 
he was always sweet1 and serious1 and   
serene4 ,this1 too1 is precisely as we  
see him in the picture4 ,the good deed  
done1 we may fancy the young cavalier   
riding on his way1 as if nothing had    
happened4  ,the beautiful horse of the  
picture is one which appears in many of 
,van ,dyck's works4 ,there is a         
tradition that the original was         
,rubens's gift to the painter when he   
set out for ,italy4 ,van ,dyck has built
 his picture on a diagonal plan1 such as
 the older painter ,rubens often used4  
,the main line of the composition runs  
from the head of the man in the upper   
left corner1 to the beggar in the lower 
right corner4 ,the lifted sword and the 
falling mantle form the connecting lines
 across the canvas4  ,the feast of ,st4 
,martin is celebrated on the eleventh of
 ,november1 in that short season of warm
 weather which brightens the autumn4 ,it

 is for this that the ,french call the  
week ,st4 ,martin's little summer4      
,every year1 at this time1 pious        
pilgrims visit the quiet cells1 in the  
limestone cliff by the riverside1 where 
the good bishop used to retire for      
prayer4     ,,xi  ,,the ,,crucifixion   
,the life of our ,lord1 which began in  
the ,bethlehem manger1 culminated on the
 cross of ,mount ,calvary4 ,in our      
picture we see the ,man of ,sorrows in  
his last moments of suffering4 ,how it  
came about that he was crucified is     
fully related by the four               
evangelists4#ai  ,footnote #ai3 ,st4    
,matthew1 chapters xxvi4 and xxvii42    
,st4 ,mark1 chapters xiv4 and xv42 ,st4 
,luke1 chapters xxii4 and xxiii42 ,st4  
,john1 chapters xviii4 and xix4  ,for   
three years he had gone about among the 
people1 healing the sick1 comforting the
 sorrowing1 and preaching the good      
tidings of the kingdom4 ,his blameless  
life was a constant reproach to         
hypocrites and evil doers4 ,the priests 

were jealous of his popularity and hated
 him for his rebukes4 ,as the feast of  
the ,passover drew near1 they sought how
 they might kill him4  ,judaea was at   
that time a province of the great ,roman
 empire1 and the civil authority was    
vested in the governor1 ,pontius        
,pilate1 and a body of ,roman soldiery4 
,the ,romans1 however1 did not interfere
 much with the affairs of the ,jews1 and
 there was little trouble in carrying   
out a plot4 ,a formal charge against    
,jesus was made by false witnesses1 and 
he was arrested as a common criminal4   
,after being examined by the high       
priest1 he was led to the governor for  
trial4 ,and they began to accuse him1   
saying1 ,we found this fellow perverting
 the nation and forbidding to give      
tribute to ,caesar1 saying that he      
himself is ,christ1 a king4  ,pilate now
 took him within his palace for a       
private interview1 and could find no    
fault with him4 ,nor did ,king ,herod1  
to whom the case was referred1 differ   

from the governor as to the prisoner's  
innocence4 ,pilate therefore appealed to
 the people in behalf of ,jesus1 but a  
multitude of angry voices shouted1      
,crucify him6 ,crucify him6 ,and so1    
,pilate1 willing to content the people  
444 delivered ,jesus 444 to be          
crucified4 ,he was crucified1 as we     
know1 between two thieves1 and over his 
cross was the superscription written by 
,pilate1 in three languages1 ,this is   
,jesus1 the ,king of the ,jews4  ,seven 
times1 while he hung upon the cross1 did
 the suffering ,saviour speak aloud4    
,father1 forgive them1 was his first    
exclamation1 for they know not what they
 do4 ,his next words were to the thief  
on one side1 who begged to be remembered
 when ,jesus should come into ,his own3 
,this day shalt thou be with me in      
,paradise1 was the reply4 ,then his     
thoughts turned lovingly to his mother1 
who stood with ,john by the cross4      
,woman1 behold thy son1 he said to her1 
indicating ,john4 ,then turning to      

,john1 he added1 ,behold thy mother4 ,a 
moment of agony followed1 when he cried1
 ,my ,god1 my ,god1 why hast thou       
forsaken me8 ,after this1 he said1 ,i   
thirst1 and a soldier held to his lips a
 sponge wet with vinegar4 ,as the end   
drew near came the words1 ,it is        
finished1 and at last1 ,father1 into thy
 hands ,i commend my spirit4            
,illustration3 ,,the ,,crucifixion      
,antwerp ,museum  ,in ,van ,dyck's      
picture we see nothing of the           
surroundings of the ,crucifixion--the   
,roman soldiers1 the curious crowd1 the 
sorrowing friends1 or the crucified     
thieves4 ,only the solitary figure of   
,jesus1 nailed to the cross1 is lifted  
against the strange dark sky4 ,for three
 hours1 as we read1 there was darkness  
over all the land1 followed immediately1
 after the death of ,jesus1 by a great  
earthquake4 ,this is the moment when the
 storm-clouds are gathering over the    
face of the sun1 causing its light to   
gleam luridly through the thick         

covering4 ,the cross is rudely built of 
two beams in the form which is called a 
,latin cross4 ,a fluttering scroll at   
the top of the upright beam carries the 
accusation ,the ,king of the ,jews4     
,the garments of ,jesus had been        
stripped from his body and divided among
 four soldiers4 ,he now hangs naked upon
 the cross save a small strip of cloth  
knotted about his loins1 the loose ends 
hanging at one side4 ,the body is       
somewhat slender and delicately         
modelled1 but firm and supple as of one 
in the fulness of manhood4 ,the hair    
falls in dishevelled locks about the    
face1 and a mysterious light shines     
above the head4  ,as we look at the     
picture1 each one must decide for       
himself what moment in the great drama  
is illustrated4 ,from the expression of 
suffering on the countenance we judge   
that the end is approaching4 ,from the  
lifted face and open mouth we see that  
the sufferer communes with his ,father4 
,the ,crucifixion is the saddest subject

 a painter could choose1 yet            
notwithstanding this1 it has been one of
 the most important subjects in         
,christian art4 ,van ,dyck painted it   
many times1 and expressed1 as we see    
here1 a deep sense of the tragic nature 
of the scene4 ,yet he always avoided    
those harrowing details which make some 
of the pictures of the older masters too
 painful to contemplate4 ,for this      
reason his crucified ,christ has been   
chosen as the model for the ,crucifixion
 scene in the ,passion ,play at         
,ober-,ammergau4  ,we may see how wide  
was the range of our artist's gifts1    
which extended from such joyous pictures
 as the ,rest in ,egypt to a theme so   
solemn as the ,crucifixion4     ,,xii   
,,james ,,stuart1 ,,duke ,,of ,,lennox  
,,and ,,afterwards ,,of ,,richmond      
,james ,stuart1 ,duke of ,lennox1 was   
one of the most prominent personages at 
the ,english court4 ,his uncle was a    
cousin and trusted friend of ,king      
,james ,i41 and the relations between   

the nephew and ,charles ,i4 were even   
closer4 ,immediately upon taking a      
degree at ,cambridge1 the young nobleman
 entered the royal service as ,gentleman
 of the ,king's ,bedchamber4 ,he was    
just thirteen years of age1 and a born  
courtier4 ,his courtesie was his nature1
 not his craft1 quaintly says one       
historian4 ,while still in his minority1
 he visited ,france1 ,italy1 and ,spain4
 ,when ,van ,dyck came to ,england1 he  
became at once one of the painter's most
 frequent sitters4  ,our illustration is
 one of the first of the series of      
portraits of the ,duke of ,lennox1 and  
shows him at the age of twenty4 ,the    
young man stands with his hand on the   
head of a favorite greyhound1 and turns 
his pleasant face to ours with a smile4 
,he wears the habit of the ,order of the
 ,garter4 ,this most noble and          
illustrious ,order was instituted by    
,king ,edward ,,iii4 under the patronage
 of ,st4 ,george4 ,it consisted of the  
sovereign and twenty-five companions    

banded together1 like the knights of    
,arthur's ,round ,table1 for the        
advancement of ideal manliness4 ,the    
ceremony of investiture was very solemn1
 each part of the costume being placed  
in turn on the elect knight1 when he    
knelt to take the vows4 ,we note in the 
picture the same details which we saw in
 the portrait of ,charles ,i41 the      
mantle with the great silver star1 and  
the gold medal1 or ,george1 on the blue 
ribbon4 ,one part of the costume not to 
be seen in the other picture is the     
garter1 worn on the left leg between the
 knee and the calf1 as the old          
directions read4  ,the garter was1      
indeed1 originally the most important   
emblem of the entire garb4 ,it          
symbolized to the wearers that as by    
their ,order1 they were join'd in a firm
 ,league of ,amity and ,concord1 so by  
their ,garter1 as by a fast ,tye of     
,affection1 they were obliged to love   
one another4 ,the garter was blue1      
fastened with a gold buckle1 and on it  

was inscribed the motto1 ,honi soit qui 
mal y pense ,evil to him who evil       
thinks4 ,a miniature representation of  
the garter encircles the cross in the   
centre of the star1 and also forms a    
border of the ,george medallion4  ,from 
the broad lace collar to the high-heeled
 shoes with their huge rosettes1 the    
young man of the picture represents the 
height of the prevailing fashion4 ,his  
hair is carefully curled in the manner  
of the ,cavaliers4 ,he is in fact the   
impersonation of the court life of the  
period4 ,it is pleasant to fancy the    
graceful youth moving through the       
stately figures of the court dances4    
,illustration3 ,,james ,,stuart1 ,,duke 
,,of ,,lennox ,,and ,,richmond          
,metropolitan ,art ,museum1 ,new ,york  
,it was five years after this portrait  
was painted that the ,duke of ,lennox   
married ,mary1 the daughter of the first
 ,duke of ,buckingham4 ,then followed   
the troubles in ,scotland caused by the 
king's persistent attempt to force the  

liturgy of the ,church of ,england upon 
the people4 ,lennox now showed himself a
 stanch adherent of the ,crown1 and     
upheld the royal cause in the face of   
the bitter opposition of the ,scotch4   
,his enemies thought him very haughty   
and severe in his manner1 but his       
probity and sincerity seem not to have  
been questioned4  ,in #afda1 he was     
created ,duke of ,richmond1 and in the  
same year was appointed to the high     
office of ,lord ,steward of the         
,household4 ,throughout the civil war he
 served his royal master with untiring  
faithfulness1 devoting a large part of  
his fortune to the cause of the ,crown4 
,when ,charles was held a prisoner in   
,hampton ,court1 it was this friend who 
cheered the period of his confinement4  
,when at last1 after the execution of   
the king1 the royal remains were buried 
at ,windsor1 the ,duke of ,richmond was 
one of the four noblemen who sorrowfully
 bore the pall to the grave4 ,he died in
 the prime of manhood1 in #afee4  ,a    

more loyal follower no king could have1 
yet1 notwithstanding his zeal1 the ,duke
 of ,lennox and ,richmond failed to     
exert any great influence upon history1 
because he lacked the necessary judgment
 and decision of character4 ,his        
portrait certainly does not indicate any
 special intellectual promise in the    
young man4 ,yet the face is so refined1 
the expression so winning1 that none can
 help feeling the singular charm of the 
personality4 ,van ,dyck understood well 
how to impart an air of distinction to a
 figure1 and when1 as in this case1 he  
had a favorable subject1 he was         
especially successful4  ,to lovers of   
dogs the greyhound is no unimportant    
part of our picture4 ,the painter has   
expressed with much insight the         
character of this beautiful and         
high-bred creature4 ,the muzzle is      
pressed affectionately to the master's  
side1 and the eyes are fixed upon the   
beloved face with an expression of      
intense devotion4 ,there is a tradition 

that this animal once saved the duke's  
life by rousing him from sleep at the   
approach of an assassin4  ,in the making
 up of the composition1 the dog's figure
 describes a diagonal line on the left1 
which balances a similar diagonal on the
 other side made by the duke's placing  
his arm akimbo4 ,thus the general       
diagram of a pyramid is suggested as the
 basis of the grouping4                 
,,authorities4--,robert ,vaughn3 ,the   
,history of ,england under the ,house of
 ,stuarts2 ,l4 von ,ranke3 ,the ,history
 of ,england in the ,seventeenth        
,century2 ,warwick's ,memoirs2 ,doyle's 
,official ,baronage of ,england4        
,,xiii  ,,christ ,,and ,,the ,,paralytic
   ,it was a part of our ,lord's        
ministry among men to restore to health 
the body as well as the soul4 ,he was   
often moved with compassion by the      
disease and suffering which he saw as he
 went about ,galilee or passed through  
the streets of ,jerusalem4 ,st4 ,john1  
the evangelist 7chapter v471 relates an 

incident which took place at a pool     
called ,bethesda near a sheep market in 
,jerusalem4  ,there were here five      
porches in which lay a great multitude  
of impotent folk1 of blind1 halt1       
withered1 waiting for the moving of the 
water4 ,it seems that at certain        
intervals the waters of the pool were   
troubled1 as if moved by some unseen    
agency4 ,it was believed that the first 
person stepping in thereafter would be  
healed of any disease he might have4    
,and a certain man was there1 which had 
an infirmity thirty and eight years4    
,when ,jesus saw him lie1 and knew that 
he had been now a long time in that     
case1 he saith unto him1 ,wilt thou be  
made whole8 ,the impotent man answered  
him1 ,sir1 ,i have no man1 when the     
water is troubled1 to put me into the   
pool3 but while ,i am coming1 another   
steppeth down before me4 ,jesus saith   
unto him1 ,rise1 take up thy bed1 and   
walk4 ,and immediately the man was made 
whole1 and took up his bed1 and         

walked4#bj  ,footnote #bj3 ,there was   
another case of ,christ's healing a     
paralytic1 but as on that occasion the  
sick man's bed was let down through the 
roof into a house1 the incident does not
 fit the picture so well as that of     
,bethesda4  ,this is the incident       
illustrated by our picture4 ,jesus has  
already brought the paralytic to his    
feet1 and now sends him on his way4 ,two
 other men complete the group1 but take 
no part in the conversation4 ,one is a  
disciple1 perhaps ,john1 who accompanies
 the ,master1 the other is a spectator  
peering curiously over the paralytic's  
shoulder4  ,the restored paralytic      
carries under one arm a rug1 which has  
been clumsily rolled into a bundle4     
,this is the sort of bed used among the 
poor of ,eastern countries4 ,he is but  
half clad in a garment which slips from 
his shoulders1 showing his emaciated    
form4 ,the face is sharpened by         
suffering2 he is altogether a strange   
and repulsive figure4 ,like the beggar  

who lay in ,st4 ,martin's path he       
represents a degraded class of humanity4
  ,he leans now towards his unknown     
friend in a pitiable effort to express  
his gratitude4 ,the eyes have a look of 
dumb devotion like those of a faithful  
dog4 ,he lays one hand humbly upon his  
breast4 ,jesus turns to the poor        
creature with an expression of infinite 
compassion4 ,he reads the man's heart   
with his searching glance4 ,thanks he   
does not need2 his first care is to send
 the man forth to begin life anew4      
,illustration3 ,,christ ,,and ,,the     
,,paralytic ,buckingham ,palace  ,the   
head of the ,saviour is painted after   
the ideal portrait which has been handed
 down from generation to generation     
since the early days of ,christianity4  
,the oval face with classical features1 
the full beard1 the long hair parted in 
the middle1 such are the familiar       
features which we have all come to      
associate with the person of ,jesus4    
,yet notwithstanding this general       

similarity in the many pictures of      
,christ1 every great artist has brought 
out something different in the face4    
,it was ,titian's peculiar glory to show
 the intellectual side of our ,lord's   
character as no other ,italian had done4
 ,van ,dyck1 with characteristic        
admiration for the great ,venetian1     
followed his example4 ,if we compare our
 illustration with ,titian's ,christ of 
the ,tribute ,money#ba we shall see how 
closely the former imitates the latter4 
,yet1 as no man of imagination can copy 
exactly another's work1 ,van ,dyck's    
ideal of ,christ is less ascetic than   
,titian's and somewhat more benign4 ,in 
both pictures the pure countenance of   
the ,saviour is sharply contrasted with 
the coarse face beside him4  ,footnote  
#ba3 ,see ,chapter ,,viii4 of the volume
 on ,titian in the ,riverside ,art      
,series4  ,we are interested to read on 
in ,st4 ,john's narrative the sequel of 
the story illustrated in our picture4   
,it happened to be the ,sabbath day1    

and1 as the restored paralytic passed   
through the city1 the ,jews said unto   
him3 ,it is not lawful for thee to carry
 thy bed4  ,he answered them1 ,he that  
made me whole1 the same said unto me1   
,take up thy bed1 and walk4 ,then asked 
they him1 ,what man is that which said  
unto thee1 ,take up thy bed1 and walk8  
,and he that was healed wist not who it 
was3 for ,jesus had conveyed himself    
away1 a multitude being in that place4  
,afterward ,jesus findeth him in the    
temple and said unto him1 ,behold1 thou 
art made whole3 sin no more1 lest a     
worse thing come unto thee4 ,the man    
departed1 and told the ,jews that it was
 ,jesus1 which had made him whole4      
,,xiv  ,,philip1 ,,lord ,,wharton       
,philip1 ,lord ,wharton1 was an ,english
 nobleman of nearly the same age as the 
,duke of ,lennox1 and the two were      
painted by ,van ,dyck at about the same 
time4 ,in both young men are apparent   
the same signs of gentle birth and      
breeding1 a dignity of bearing1 and a   

repose of manner characteristic of their
 class4 ,that they were quite different 
in essential character1 however1 we     
shall presently see4  ,lord ,wharton was
 the fourth baron of his family and the 
second of the name ,philip4 ,he         
succeeded to his title as he was        
entering his teens1 and at the age of   
nineteen he had become one of the most  
attractive figures at the court of      
,charles ,i4 ,in this year he married   
,elizabeth1 the daughter of ,sir        
,rowland ,wandesford4 ,it was in honor  
of this occasion that the portrait of   
our illustration was painted4  ,of a    
lover so handsome and graceful1 the     
promised bride may well have been proud4
 ,his dress is rich and picturesque3 the
 jacket is of violet velvet1 the mantle 
of yellow satin1 and the costume is set 
off by delicate laces at the throat and 
wrists4 ,these were days when the men   
vied with women in fondness for finery4 
,lord ,wharton was at this time on terms
 of friendly intimacy with the king and 

queen4 ,it was a flattering mark of     
royal favor when the king presented the 
young courtier with two full-length     
portraits of himself and of ,queen      
,henrietta1 painted by ,van ,dyck4      
,perhaps the artistic tastes they had in
 common formed the bond of friendship   
between them4 ,lord ,wharton1 it        
appears1 admired ,van ,dyck's portrait  
work almost as much as ,king ,charles4  
,on his second marriage1 five years     
later1 he employed the artist to paint a
 number of family portraits4 ,he prized 
these so highly that he built a gallery 
specially for them in his new house at  
,winchendon4  ,the time soon came when  
more strenuous questions occupied him4  
,the contest between the king and the   
,parliament brought every ,englishman to
 a parting of the ways4 ,lord ,wharton  
was a ,puritan1 and took a decided stand
 on the side of ,parliament4 ,his       
personal relations with the king were   
outweighed by his sense of patriotic    
duty4  ,at the breaking out of the war  

he entered the ,parliamentary army1     
serving successively as colonel of a    
regiment of foot1 and as a captain of a 
troop of horse4 ,he took part in the    
battle of ,edgehill1 and was brought    
into considerable prominence at this    
time4 ,in a famous speech made soon     
afterwards1 he charged the king's       
nephew1 ,prince ,rupert1 with gross     
inhumanity and barbarousness during the 
course of the battle4 ,evidently where  
his mind was made up1 ,lord ,wharton was
 a strong partisan4  ,illustration3     
,,philip1 ,,lord ,,wharton ,hermitage   
,gallery1 ,st4 ,petersburg  ,of this we 
should suspect nothing from our         
portrait4 ,it is hard to imagine that   
this beardless young courtier1 so suave 
and amiable in appearance1 will ten     
years later be fighting sternly against 
his king4 ,here his thoughts seem to be 
wholly romantic3 his eyes have the      
dreamy expression of an expectant lover4
 ,his is surely a knightly soul         
unstained by worldliness4 ,the face is  

of that perfect oval admired by artists 
as the highest standard of beauty4      
,taste and refinement are the most      
striking qualities one reads in it2 the 
mouth is the most individual feature1   
small and modelled in delicate curves4  
,yet with all its sweetness1 those      
firmly closed lips suggest tenacity of  
opinion and strength of will4  ,as the  
event proved1 ,lord ,wharton was a man  
of uncompromising political opinions4   
,he was at one time committed to the    
,tower on a charge of contempt of the   
,house4 ,in his long and active life he 
saw ,england pass through many changes4 
,he was an old man when the last of the 
,stuart kings 7,james ,,ii47 fled from  
,england1 leaving a vacant throne4      
,macaulay tells us of the ,whig         
nobleman's speech in the meeting of the 
,lords which resulted in the invitation 
to ,william and ,mary of ,orange to take
 the government4 ,he knew how to be fair
 as well as severe1 and a still later   
speech is recorded when he opposed the  

,abjuration ,bill4#bb ,he died at the   
age of eighty-five in #afih4  ,footnote 
#bb3 ,this bill provided that no person 
should sit in either house of           
,parliament or hold any office without  
making declaration that he would stand  
by ,william and ,mary against ,james and
 his adherents4  ,there are other       
portraits by ,van ,dyck more vigorous   
than this1 but none perhaps more        
charming4 ,as we have seen in the       
portrait of the ,duke of ,lennox1 the   
painter was nowhere more successful than
 in portraying the young courtier4 ,we  
recognize the pose1 with one arm akimbo1
 as a favorite device of ,van ,dyck4    
,while in some cases it seems           
artificial1 here it appears to be an    
attitude which the young man assumed of 
his own accord4  ,on his left arm he    
carries a tall shepherd's staff2 it may 
be that he has sometime played a        
pastoral part in some masque4 ,his      
costume1 however1 does not accord with  
such a part1 and it is more likely that 

the staff is held merely to give some   
use to the left hand4 ,we note in       
another illustration that the man called
 ,richardot holds a book1 with his hand 
in a similar position4  ,the texture    
painting of ,lord ,wharton's costume is 
skilfully rendered1 and a rich satin    
hanging behind him throws a part of the 
figure into relief4 ,on the other side  
is a glimpse of landscape lighting the  
composition pleasantly with a distant   
view4  ,authorities4--,macaulay3        
,history of ,england2 ,doyle's ,official
 ,baronage of ,england4     ,,xv  ,,the 
,,lamentation ,,over ,,christ   ,a great
 company of people had followed ,jesus  
to his crucifixion1 including not only  
his enemies1 but his friends4 ,the      
beloved disciple ,john was accompanied  
by ,mary4 ,and many women were beholding
 afar off1 which followed ,jesus from   
,galilee1 ministering unto him2 among   
which was ,mary ,magdalene1 and ,mary   
the mother of ,james and ,joses1 and the
 mother of ,zebedee's children4  ,when  

the even was come there came a rich man 
of ,arimathea named ,joseph1 who also   
himself was ,jesus' disciple4 ,he went  
to ,pilate and begged the body of       
,jesus4 ,then ,pilate commanded the body
 to be delivered4 ,and when ,joseph had 
taken the body1 he wrapped it in a clean
 linen cloth1 and laid it in his own new
 tomb which he had hewn out in the rock3
 and he rolled a great stone to the door
 of the sepulchre and departed4#bc      
,footnote #bc3 ,st4 ,matthew1 chapter   
,,xxvii41 verses #ee-fj4  ,during all   
this time two at least of the original  
company of women had lingered near while
 the body of ,jesus was taken from the  
cross and made ready for burial4 ,they  
were the mother ,mary and ,mary         
,magdalene4 ,even after ,joseph's task  
was done and he had gone his way1 they  
remained sitting over against the       
sepulchre4  ,it is not unnatural to     
suppose that they may have had some     
share in the preparation of the body4   
,nicodemus1 as we learn elsewhere1 had  

brought a mixture of myrrh and aloes1   
which it was the custom of the ,jews to 
use in burial4#bd ,both men must have   
been glad of the presence and help of   
the faithful women4  ,footnote #bd3 ,st4
 ,john1 chapter ,,xix41 verse #ci4      
,poets and painters have dwelt much on  
these sad moments1 supplying from the   
imagination the details omitted in the  
narrative4 ,the women must at times have
 been unable to restrain their tears2   
natural grief must have its way4 ,then  
might the men have left them awhile     
alone with their dead1 as they busied   
themselves with their task4  ,it is some
 such idea as this which inspired the   
painting of our illustration4 ,the      
mother ,mary supports the head of her   
son upon her bosom2 ,mary ,magdalene    
stoops to kiss the lifeless hand2 ,st4  
,john approaches at one side with a     
mantle4  ,the body of ,christ1 wrapped  
in a cloth1 has been laid upon a rock in
 a cavern4 ,the agony of his cruel death
 is past1 and the face is calm as of one

 who sleeps4 ,the figure is1 as we have 
seen it on the cross1 robust and well   
knit4 ,only the nail prints in hands and
 feet show the manner of his dying4 ,on 
the ground beside him is a basin with a 
sponge1 surrounded by tokens of the     
crucifixion1 the crown of thorns1 the   
nails1 and the superscription4          
,illustration3 ,,the ,,lamentation      
,,over ,,christ ,antwerp ,museum  ,we   
see in the ,madonna the same stately and
 beautiful woman who carried her babe on
 the journey to ,egypt4 ,her veil is now
 drawn well over her head1 entirely     
concealing her hair4 ,she has borne the 
cares of life with courage1 and the     
years have touched her face but lightly4
 ,even in the hour of anguish she lifts 
her eyes to heaven with resignation1 yet
 one hand is extended with a gesture    
which seems to implore mercy4  ,mary    
,magdalene is a much younger woman4 ,she
 has peculiar reason for her devotion to
 ,jesus1 for he saved her from a strange
 fate4#be ,her impulsive and loving     

nature is now overwhelmed with grief4   
,her rich costume is in disorder1 and   
her hair falls in loose locks over her  
shoulders4 ,her lovely face is very sad4
 ,half kneeling1 she presses her lips to
 the wound in the left hand4 ,her       
attitude and manner are full of         
humility1 as if she felt herself        
unworthy to approach too near4          
,footnote #be3 ,st4 ,luke1 chapter      
,,viii41 verse #b4  ,st4 ,john regards  
the group with gentle sympathy4 ,he is  
spoken of as the disciple whom ,jesus   
loved1 so intimate was the relation     
between them4 ,to his care ,jesus       
intrusted the ,mother ,mary1 and he now 
remains near as one of the few most     
deeply bereaved4 ,he is very young1 with
 a sensitive face and delicately cut    
features4  ,the subject of the picture  
is one which ,van ,dyck treated in      
several compositions4 ,the ,flemish     
title is ,nood ,godes1 the suffering of 
,god4 ,the ,italians call it the ,pieta1
 which means1 compassion4 ,one of the   

most celebrated works of art devoted to 
the theme is the marble group in ,rome  
by ,michelangelo4#bf ,van ,dyck must    
have seen this work on his visit to the 
,eternal ,city1 and was no doubt        
inspired in some measure by its         
grandeur4 ,we notice that in his picture
 the ,mother extends her left hand in a 
gesture similar to that of the marble   
figure4  ,footnote #bf3 ,see ,chapter   
,,vi4 in the volume on ,michelangelo in 
the ,riverside ,art ,series4     ,,xvi  
,,portrait ,,of ,,van ,,dyck   ,the     
painter ,van ,dyck was the son of a rich
 merchant of ,antwerp1 and lacked no    
opportunities for the training of his   
artistic gifts4 ,he was fortunate also  
in meeting ready appreciation wherever  
he went4 ,in ,italy1 in ,flanders1 and  
finally in ,england1 his paintings were 
highly valued4 ,his life was passed amid
 luxurious surroundings1 in the society 
of noblemen and princes4 ,his was a     
brilliant and successful career4  ,our  
portrait frontispiece was painted during

 his residence in ,england1 when he was 
about forty years of age4 ,he is        
described as short in stature1 with a   
slender figure4 ,his hands were long1   
with the straight sensitive fingers of  
the artist4 ,he had a fresh delicate    
face1 with well-cut features1 and light 
chestnut-colored hair1 which he wore    
long1 like the ,english ,cavaliers4 ,the
 upturned mustache and small pointed    
beard were also fashionable among the   
,english nobility1 as we infer from the 
portrait of ,charles ,i4  ,the face has 
the characteristic qualities of the     
artistic nature1 the high forehead1 the 
dreamy eyes1 and the pensive expression4
 ,the head is lifted a little1 in an    
imaginative pose4 ,we should know this  
man at once for a poet or a painter4    
,it must be confessed that we do not    
find much strength of character in the  
face4 ,van ,dyck indeed lacked the      
nobler qualities of manliness1 and was  
decidedly worldly in his tastes4 ,he    
lived in princely magnificence in his   

house at ,blackfriars1 spending money   
lavishly4 ,a biographer tells how he    
always went magnificently ,drest1 had a 
numerous and gallant ,equipage1 and kept
 so noble a ,table in his ,apartment    
that few ,princes were more visited or  
better serv'd4  ,to maintain this       
expensive establishment the painter was 
obliged to devote his mornings to hard  
work in his studio4 ,the nights were    
spent in banquets and revelry4          
,naturally his health gave way under the
 strain of this double life4 ,while he  
still cherished ambitious projects for  
greater works of art1 he sickened and   
died in ,london at the age of forty-two4
  ,two years before this he had married 
an ,english lady1 ,mary ,ruthven1 and   
they had one child1 a daughter4  ,our   
frontispiece is a detail of a double    
portrait representing1 in half-length   
figures1 the painter and a patron1 ,john
 ,digby1 ,earl of ,bristol4         99  
99       99       99       99           
,,pronouncing ,,vocabulary ,,of ,,proper

 ,,names ,,and ,,foreign ,,words  ,the  
,diacritical ,marks given are those     
found in the latest edition of          
,webster's ,international ,dictionary4  
,,explanation ,,of ,,diacritical        
,,marks4   ,a ,dash 77 above the vowel  
denotes the long sound1 as in fate1 eve1
      time1 note1 use4 ,a ,dash and a   
,dot 747 above the vowel denote the same
 sound1 less      prolonged4 ,a ,curve  
777 above the vowel denotes the short   
sound1 as in 7add1     7end1 7ill1 7odd1
 7up4  ,a ,dot 747 above the vowel a    
denotes the obscure sound of a in p4ast1
      4abate1 ,am7eric4a4  ,a ,double   
,dot 77 above the vowel a denotes the   
broad sound of a in      faether1 aelms4
  ,a ,double ,dot 737 below the vowel a 
denotes the sound of a in ba3ll4  ,a    
,wave 77 above the vowel e denotes the  
sound of e in her4  ,a ,circumflex      
,accent 77 above the vowel o denotes the
 sound of o in born4  ,a dot 747 below  
the vowel u denotes the sound of u in   
the ,french language4  ,n indicates that

 the preceding vowel has the ,french    
nasal tone4  ,g and ,k denote the       
guttural sound of ch in the ,german     
language4  th denotes the sound of th in
 the1 this4  c sounds like s4  -c sounds
 like k4  s4 sounds like z4  g is hard  
as in get4  4g is soft as in 4gem4      
,amiens 73a-m7e-7a,n'74  ,andreas       
73an-dra'3as74  ,anne 77an74  ,anthony  
77an'to-n7i74  ,antwerp 77ant'werp74    
,arimathea 77ar-7i-m4a-the'4a74  ,assisi
 73a-se'se74  ,astolat 77as't4o-l7at74  
,athens 77ath'7enz74   ,bedloe          
7b7ed'lo74  ,belgium 7b7el'j7i-7um74    
,bentivoglio 7b7en-te-vol'yo74          
,bethesda 7b7e-th7ez'd4a74  ,bethlehem  
7,b7eth'leh7em74  ,biographie ,nationale
 7b4e-4o-grae-fe' nae-s4e-4o-nael'74    
,blackfriars 7bl7ak'fri-erz74  ,bologna 
7bo-lon'y4a74  ,bristol 7br7is'to7l74   
,brussels 7br7us'7elz74  ,buckingham    
7b7uk'7ing-4am74   ,caesar 7se'z4ar74   
,calvary 7k7al'v4a-r7i74  ,carmine      
7kaer'me-na74  ,cavaliers               
7k7av-4a-lerz'74  ,caxton 7k7aks't7un74 

,cecilia 7se-s7il-7i-a74  ,colyns de    
,nole 7k4o-l7an de ,nol74  ,constantine 
7k7on'st4an-tin74  ,cromwell            
7,cr7om'w7ell74  ,crowe 7kro74  ,cupid  
7,cu'p7id74  ,cust1 ,lionel 7k7ust      
li'o-n7el74   ,daedalus 7d7ed'4a-l7us or
 de'd4a-l7us74  ,digby 7d7ig'b7i74      
,d',israeli 7d7iz-ra'l7i74  ,doyle      
7doil74  ,dresden 7dr7ez'de7n74         
,edgehill 77ej'h7il74  ,egypt 7e'j7ipt74
  ,elizabeth 74e-l7iz'4a-b7eth74        
,ephesians 7e-fe'zh4anz74  ,eugenia     
7u-je'n7i-4a74   ,flanders 7flvan'derz74
  ,florence 7,flor'7ence74  ,fortunatus 
7,fortuna't7us74  ,franciscan           
7fr7an-s7is'k4an74  frere 7fr7ar74      
,fromentin 7fr4o-m7o,n-t7a,n'74         
,galilee 7g7al'7i-le74  ,genoa          
7j7en'o-4a74   ,hampton 7h7amp'to7n74   
,heirkte 7hirk'te74  ,henrietta ,maria  
7,h7enr7i7et't4a ,m4ari'4a74  ,herod    
7,h7er'o7d74  ,honi soit qui mal y pense
 77on-e' swae ke mael e pae,ns74        
,hudson1 ,geoffrey 7h7ud'so7n j7ef'fri74
   ,icaria 7i-ka'r7i-a74  ,icarus       

77ik'a-r7us74  ,italy 77it'4a-l7i74     
,jacques 7zhaek74  ,jameson             
7,ja'me7-so7n74  ,jerusalem             
7,j7eru's4al7em74  ,joses 7jo'sez74     
,judaea 7ju-de'4a74   ,knackfuss        
7knaek'foos74  ,kugler 7koo,g-ler74     
,laud 7la3d74  ,lely 7le'l7i74  ,lennox 
7,l7en'no7x74  ,louvre 7loo'vr74        
,luebke 7lu4b'ke774   ,macaulay         
7m4a-ka3'l7i74  ,madonna 7,m4ad7on'n4a74
  ,magdalene 7m7ag'd4a-l4en74  ,masaccio
 7mae-saet'cho74  ,medicis1 ,marie de   
7mae-re' de m4a-d4e-ses'74              
,metamorphoses 7,m7et4amor'phoses74     
,michelangelo 7me-k7el-aen'j4a-lo74     
,minos 7,mi'n7os74   ,naseby 7naz'b7i74 
,netherlands 7n7eth'er-l4andz74         
,newcastle 7nu'k4asl74  ,nicodemus      
7n7ik-o-de'm7us74  ,nood ,godes 7not    
go'd7es74  ,notre ,dame 7no'tr daem74   
,ober-,ammergau 7o'ber am'mer-gow74     
,ovid 77ov'7id74   ,padua 7,p7ad'u4a74  
,palatine 7p7al'4a-tin74  ,palermo      
7,p4aler'mo74  ,paradise 7,p7ar'4adise74
  ,parliamentarians                     

7paer-l7i-m7en-ta'ri-4anz74             
,pellegrino1 ,monte 7mon't4a            
p7el-l4a-gre'-no74  ,pesaro 7pa-sae'ro74
  ,peveril 7,p7ev'e7r7il74  ,phillips1  
,claude 7kla3d fil'7ips74  ,pieta       
7pe-4a-tae'74  ,plantin 7plae,n-t7a,n74 
,pontius ,pilate 7p7on'sh7i-7us         
pi'l4at74  ,portuguese 7por'tu-gez74    
,puritans 7pu'r7i-t4anz74   ,raphael    
7rae'f4a-el74  ,reynolds 7r7en'o7lz74   
,richardot1 ,jean ,grusset 7zhae,n      
gru4s-sa' re-shaer-do'74  ,richmond     
7,r7ich'mo7nd74  ,rosalia               
7ro-za'l7i-4a74  ,rubens 7roo'b7enz74   
,rupert 7roo'pe7rt74  ,ruthven          
7,ruth'v7en74   ,samothrace             
7s7am'4o-thras74  ,scone 7skoon74       
,sheffield 7sh7ef'eld74  ,sicilians     
7s7i-s7il'7i-4anz or s7i-s7il'y4anz74   
,sicily 7s7is'7i-l7i74  ,strickland     
7,str7ick'l4and74  ,stuart 7,stu'4art74 
,thames 7t7emz74  ,titian 7t7ish'4an74  
,toulouse 7too-looz'74  ,tours 7toor74  
,vaen ,bael7en4  ,van der ,geest 7vaen  
dar gast74  ,van ,dyck 7v7an dik74      

,vatican 7v7at'7i-k4an74  ,vaughn       
7va3n74  ,venetian 7v47e-ne'sh4an74  von
 ,ranke 7f4on raen'ke774   ,wake 7wak74 
,wandesford1 ,rowland 7w7onz'fo7rd      
ro'l4and74  ,warwick 7wa3r'7ik74        
,wentworth ,w7ent'wo7rth4  ,wharton     
,wha3r'to7n4  ,winchendon               
,w7in'ch7endo7n4  ,windsor 7w7in'zo7r74 
,woerman 7woor'maen74  ,woltman         
7,w7olt'maen74   ,zebedee 7z7eb'7e-de74 
,zeus 7zus74         99       99        
99       99       99