CO N T E N T S

k B H u h k e s Sir Anthony Van Dyc . y g St o ‘ List of su c h of the principal w ork s of Van Dyck as are in public Galleries

L I ST O F I L L U ST R A T I O N S

Portrait of T homas of Savoy Fron t zspzece T he R Coronation of St . osalie by the Child Jesus Minerva at the Forge of Vulcan T h e Virgin and Child with St . Joseph Saint Francis listening to Celestial M usi c Portrait of Prince Rupert of the Palatinate Portrait of Maria Louisa De T a s sis Christ on the Cross T h e Lamentation over Christ J esus bearing the Cross S h his n aint Sebastian , wit angels removing the arrows from wou ds T he Virgin and Child with two Donors Rinaldo and Armida P I ortrait of Charles . Portraits of Prince Charles Louis and Prince Rupert of B avaria Portrait of T h e Duk e of Richmond T h e Virgin and Child with the M agdalen Christ crowned with T horns P S his W Son ortraits of ebastian Leerse , ife and Saint Jerome T h e Drunk en Silenus H M l I enrietta aria , Queen to Char es . Portrait of the Painter P M R t W the ortrait of ary u hven , ife of Artist Portrait of an Artist T h e E mperor T heodosius refused admission 1rto the Church a n Portrait of Cornelius . der G eest I D Children of Charles . ( etail) LI ST O F I LLUSTR ATI O NS Cupid and Psyche T h e Virgin and Child Saint Sebastian I Charles . , his Queen and Children D Venetia , Lady igby Portrait of Queen H enrietta M aria T F S P i Portrait of homas rancis of avoy , rince de Car gnan M D R Portrait of ary Villiers , uchess of ichmond

B e Cu ss a nc e - Portrait of atrice de , Princesse de Cante Croix

Portrait of Lucy , Countess of Carlisle Portrait of Prince Charles 1 11 Armour Portraits of T homas Killigrew and T homas Carew a ha rl Y Portr it of C e s I . on a ellow H orse T h e Virgin and Child T h e M M St ystic arriage of . Catherine Portraits of Lord John and Lord Bernard Stuart

T E A n G i a nd son Portraits of homas, arl of ru del , and his Christ on t h e Cross T h e Penitent M agdalen B F k Portrait of J . . ranc W I P M D I I O n . Portraits of illiam . , rince of ra ge , and ary . aughter of Charles A W k Sir S ffi Portrait of nna a e , wife of he eld Repose of the H oly Family Portrait of Cardinal G uido Bentivoglio P ortrait of Charles V . Portrait of Jean M ontfort Portrait of Margaret of Lorraine Christ and the T ribute money T h e Crucifixion P A G M B eS ortrait of nton iulio , archese de rignol ala T h e Virgin and Child wi t h St . Anthony of Padua Portrait of a Young L a rl y T h e Virgin and Child with Angels T h e H oly Family

T hree Children of Charles I . P I I S ortrait of sabella of Austria, nfanta of pain Christ on the Cross S I R A N T H O NY V A N D YCK

BY H UG H ST O K E S

NT HONY VAN DYCK w as born in a house in the Groot A M 2 2 1 markt at ntwerp , on arch , 599 , and his baptism took place in the cathedral church of that city on the n followi g day . His father , Frans Van Dyck , was a

i k - wealthy s l merchant , and the family occupied a position

of some importance amongst the . rich burghers of the ‘s D ck s famous trading centre . It is aid that the Van y

migrated originally from Holland , but the story lacks ’

. corroboration , the painter s grandfather being the first of that name a D k ’ , c s of whomwe h ve actual evidence . Van y genius appears to have

been inherited from his mother . The legend that Frans van Dyck was i e M Cu ers n early life a glass painter is very doubtful , but his wif , aria y p ,

was celebrated for her skill in embroidery and the designing of flowers . The name of Cu y pers had already appeared in the books of the Guild

L . of St . uke , and a love for art was evidently hereditary in the family D ck s A Several Van y had previously practised in ntwerp as artists ,

but their kinship to Frans Van Dyck has never been established . ’ Of the boy s early days we know practically nothing . He was the

a nd v . seventh child of a family of twelve , the eldest sur iving son Of

his five surviving sisters , one married a notary , one became a nun , and u communit ‘ which two entered that c rious y , still exists in many of the larger bé ' mmz e. Flemish towns , known as a g The other brother took priestly

M . orders , and became pastor in the village of inderhout The house Unfor hold of Frans Van Dyck was thus one of considerable refinement . ‘ t una t ely the mother of such spiritually inclined children d id not rule ' r M Cu ers 1 60 ove them long , for aria y p died in 7 . Two years later the boy Anthony was enrolled on the lists of the L Guild of St . uke , and then apprenticed to Hendrik Van Balen , an artist of much technical skill who had formerly been a pupil in the studio of v i i SI R ANTH ONY VAN DYCK

Rubens . Whether the young Van Dyck had already been under any tuition is not known , and the exact duration of his pupilage with 1 6 1 1 6 1 Van Balen is doubtful . Between 5 and 7 he was living in an establishment separate from that of his father , sharing a large house A in ntwerp with his friend the younger Breughel , son of Velvet "

. Serva es Breughel He already had pupils , one of them , and a series of pictures of Christ and th e Apostles which he painted at this time attracted the attention of Rubens . The tradition that he was the R pupil of ubens is now denied . The elder painter did not particularly 1 6 1 1 care for pupils , and , in a letter dated , told a friend that he had refused over one hundred , some being relations , and that by so doing “ he had quarrelled with close friends . Van Dyck did , however , work in

R . A the studio of ubens , but as an assistant famous story relates R that one day , according to his custom , ubens left his house for a ride across country . The assistants were seldom allowed into the private

- M painting room of the aster . But , anxious to see the work upon which he was engaged , they prevailed upon a servant to unlock the door . I n a crowd they rushed across the room , and by fatal mischance , some blunderer brushed against the wet canvas , injuring a most prominent part . There was but one thing to be done . It was proposed and agreed that in all haste Van Dyck shoul d endeavour to restore the

. Wa s damage This he did to the general satisfaction , and it thought R that detection was impossible . Next morning ubens called the

. 1ven youths into his studio , and asked for an explanation This was g , ’ ’ and Rubens action speaks W ell for the great master s urbanity of temper and sense of j ustice . So pleased was he with the dexterity ’ of Van Dy ck s brush that he allowed the work to stand without altera tion . Descamps , an early biographer , states that the picture is the famous D escent . from the Cross in Antwerp Cathedral ; but another

M . authority , ariette , says that the injury occurred to the figure of St Vi r i n a dored b Sai nts Sebastian , forming part of the g y in the church of the Augustinians .

Van Dyck was rapidly becoming an artist of some fame . In L 1 6 1 . February 9 he was admitted a member of the Guild of St uke , an unusual honour for one so young . It is noteworthy that on the list of the Deans of the Guild but two names appear in capital letters A R those of Rubens and Van Dyck . nthony was now the first of ubens M many assistants . From the paintings of the aster he made drawings for reproduction by the engravers , and he also completed in oils the details of the cartoons sket ched out by R ubens for reproduction in tapestry . So well known had Van Dyck become , that the Jesuits , R when they commissioned ubens for thirty large paintings , stipulated that the greater part of the preliminary work , usually carried out by less talented assistants in the huge manufactory of pi ctures controlled

M t o . by the aster , should be delegated Van Dyck alone The youth Chri st beari n was also employed upon independent compositions . g SIR ANTHONY VAN DYCK

the Cross was placed about this time in the Dominican church of St . ‘ P L N al r aul at Antwerp . Two pictures in the ondon ational G le y , ' e of generally accept d as works of this period , a portrait the artist , t and the impressive study of Cornelius van der Geest , show to wha an extraordinarily high standard of technique Van Dyck had thus rt early brought his a . At R that moment ubens was without a serious rival , and monopolised o not only the whole of the art patronage of the Netherlands , but als a considerable portion of that bestowed by the . monarchs and noblemen An E th e E . of the rest of urope nglish agent , in a letter of advice to “ E A R s arl of rundel , writes Van Dyck lives with ubens , and his work r are beginning to be scarcely less esteemed than those of his Maste .

" - He is a young man of one and twenty , his parents are persons of con siderab l e f e property in this city , and it will be di ficult therefore to induc h him to remove , especially as he must perceive the rapid fortune whic " f and R . ubens is amassing These e forts were successful , however , n Van Dyck visited England for the first time . Little is k own about r . B E his j ourney , except that his stay was short y an xchequer Orde 1 6 1 620 dated February , , he received one hundred pounds by way i M and of reward for special service by him performed for h s aj esty , ’ P r in the books of the rivy Council there is registered , unde the date t ie' 28 1 620 Anth onie Ma February , , a passe for van Dyck gent his " il e 8 M Serva unt t rava . to for onths It is strange that Charles , who w as so enthusiastic in later , years , should have failed to recognise the P a re talent of the artist . ossibly court intrigue explains his lack of pp i i D k ’ c a t on . c s E A Van y protector , the arl of rundel , had little friend t h e i ship for re gning favourite Buckingham , who patronised Daniel ’ M t ens M y , recently created one of his aj esty s picture drawers in " ordinary . No adequate explanation can be given why Van Dyck ’ r should be termed the King s servant , and the pass granted for a rest icted now d d I . perio . Van Dyck probably painte the full length of J ames , R o al Coll ection in the y at Windsor , from materials supplied by Charles , but there is no existing record that he received any official appointment . A 1 62 The artist returned to ntwerp , and in 3, by the advice of R set ubens , out for the grand tour through Italy which every young T painter used to consider an essential part of his education . here is nothing to support the idle slander that R ubens was j ealous of his n brilliant assistant , everything rather tends to prove that the two me f for M r had a genuine a fection each other . Van Dyck gave the aste B etra a l o Chri st a magnificent y f , which was placed in a prominent position R ’ in ubens mansion , and at his death was bought for the collection of the ’

. Van . B R King of Spain Dyck also painted a portrait of Isabel rant , ubens f n a first wi e , and prese ted it to her husband . Scand l has always made free with the names of those ladies who sat for their portraits . to Van

Dyck . In this case we are invited to believe that. Rubens considered the personality of Van Dyck too attractive for“ the company of his I X SI R A NTHONY VAN DYCK

a and e A h ndsome spouse , therefore did his best to expedit young nthony His upon his tour . actions hardly justify this tale , for he gave Van

. 1 6 2 1 a Dyck the best horse in his stable On October 3, , in comp ny A with an Italian nobleman , nthony Van Dyck started upon a prolonged series of wanderings which were to have a pronounced effect upon the

development of his later style . is necessa r h ere It , y , to relate an anecdote which , although thoroughly

» d discredited , can never be entirely isassociated from the history of the

artist . The story runs that Within a few days of his farewell to A ntwerp , Van Dyck met a peasant girl in the little village of Saventhem , A ‘ between Brussels and Louvain . rtists are proverbially susceptible I to the charms of what is called in gentle irony the weaker sex . t is part of the artistic creed that a clever craftsman should have a soft

. t , hear Van Dyck was never an exception to this pleasing rule , and ,

according to tradition , remained in Saventhem a willing slave . If L ove is an ignis fatuus that bewitches , and leads men into pools " ’ ’

. D ck s f and ditches , then , metaphorically speaking , Van y a fections At were engaged in wild steeplechases during the whole of his life . Saventhem he dallied so long that Rubens came from Antwerp to bid f e . him continu his j ourney If we ask for proof of this a fecting history , M there is the celebrated picture of St . a rti n di vi di ng hi s cl oak with a B e a r gg , which the artist painted when he was not making love , and

'

then gave to the parish church of the village . U nfortunately for the sake of romance the tale is quite untrue . Van f a t 1 62 . , Dyck did stay Saventhem , but not in 1 He also had an a fair the of , heart , proposed to the lady , and was rej ected by her father with

a certain amount of contumely . The pictures in the church were com

. L the missioned by the ord of Saventhem lady was Isabella van Ophem ,

daughter of a magistrate. The incident , which does not appear to

a rt ver l a Ce 1 62 . have troubled either p y y deeply , may have taken p in 9

‘

There was certainly no peasant girl , and Van Dyck was not long in

E 20 1 62 1 . travelling across urope , for he arrived in Genoa on November , n man ' of Genoa contai ed a thriving colony of Flemish artists , y whom

- ne were old friends of Van Dyck . O of his most delightful portraits

m r t . c o memo a es Lu cas and Cornelius de Wael . With them he doubtless

~ . h planned . out t e itinerary which he followed during the five years he ent ~ t o ivit a V ecchia G w C , spent in Italy From enoa he , stopping in _

R t - ome for a shor period , then successively visiting Florence , Bologna , “

M R s ; Venice , antua , and again returning to ome for a longer tay he Afterwards he settled in Genoa , which made his headquarters for er h f P ov t ree years , with lying j ourneys now and again to alermo and

h r m rt ant . ot e i po towns . The whole of this time he was actively at work The sketch - book in the possession of the Duke of Devonshire at Chats h w worth , proves o assiduously he studied and dissected the master

- of ; . pieces Titian , and the Venetian school generally Gradually he discarded subject compositions of a mythological ‘ or religious type for SI R ANTHONY VAN DYCK I R portrait painting . n Genoa , and also in ome , he executed several h of the finest portraits we have from his brush . T ose devoted to

- the nobility of Genoa were never surpassed . Ninety nine portraits attributed to Van Dyck are said to exist to this day in the maj estic

- A palaces which stand on the hill sides of the Italian city . ttention M must be drawn p articularly to the equestrian figure, of the arches

" M di Brignole Sala , and also to the exquisite portrait of the young archesa . Traditional scandal relates that in this case the painter ’ s heart was the fluttered , and success of this canvas is not altogether attributable A to mere professional feeling . nother notable sitter was Spinola , who ’ z has been also immortalised in the Su rrender of B reda by Velasque . R A In ome Van Dyck was not less engaged . former papal nuncio in

the Netherlands , Cardinal Bentivoglio , patronised him , and the portrait

in the Pitti Palace has always been the subj ect of enthusiastic praise . R The oman nobles gave the artist many commissions , but life in the

eternal city was not congenial . The Flemish painters who had settled R o in ome lived up t their national character , and were notorious for

their boorish dissipation and vulgar antics . To their intense surprise

and anger the refined and aristocratic Van Dyck refused to j oin them . h a d i W e a e He no obj ect on to the sowing of wild oats . From what r told of his character he knew all that could be learnt of the various ways in which to kill idleness . But he preferred to follow his pleasures in a decent t o and orderly fashion , and , if he was be unmoral , would at all events not be unmannerly . There is the faintest suspicion that at times Van

Dyck became priggish , a distressing complaint from which even the best of men suffer ndeed it is the best of men who are always in the most

. R danger The Flemish artists in ome were doubtless tiresome fellows , i h l ving in an atmosp ere of pothouse . They were probably poor h e craftsmen , and conceited , as all bad painters are . But t y were ' r “ compat iots , and it was cruel of Van Dyck to play the lord in a manner of fla . ons which was clearly fensive Over the g : these poor daubers grew sentimental as they dreamed of loves they had left behind in the streets and courts of Antwerp ; through the thick smoke they saw visions of those Flemish plains from which they were exiles . It is good in l a nd t o a strange , meet a man fresh from home , and it is not proper " - that the son of a silk merchant should give himself airs , even though

- \ f o R . he be in the habit consorting with princes . etaliation followed “ " The visit of the painter cavalier was made so unpleasant that Van R Dyck left ome for the second time after a brief stay . All A hi this while his family in ntwerp were worrying m to return .

Shortly after starting upon his tour , his father , Frans van Dyck , died , , and it b ecame necessary that the eldest son should return to close the estate . From time to time the eldest sister was compelled t o take in action before the j udicial authorities _ order that the legal matters A should be kept Open . nthony appears to have settled in Genoa as

. if for a permanency He had no lack of work , his fame was increasing , X1 SI R ANTHONY VAN DYCK

and he made friends of many nationalities . His technique was improving

in quality . The paintings which date from these years show that the

restrained colours of his earlier palette were making way for the rich , At warm tints which he borrowed from the Venetians . Genoa he L painted the portrait of Nicholas anier , and the contemporary account Mrs al M e r. L written by a . Be e tells us how he did it . ani re himself

A . told me he satt sea ven entire dayes for it to Sr . nto and that h e seaven painted upon it of all these dayes , both morning and afternoon , n And and o ly intermitted the time they were at dinner . he said like ’ iér Mr. Lan e wise that tho satt so often and so long for his picture , that

he was not permitted so much as once to see it , till he had perfectly " E finished the fa ce to his own satisfaction . ither in Florence or in R V a n r ome , Dyck met for the fi st time Sir Kenelm Digby , an eccentric

personality , an enigma to this day , a man of great talent , considerable At wit , and much madness . Turin the artist saw the Countess of A At 1 62 rundel . last , in December 5, he started upon his return .

How long he was travelling , and which route he took , are both unknown . Aix He was probably in , possibly passed the time of day with friends P A in aris , He may have reached ntwerp in a few weeks , but there is M 1 6 8 no exact proof of his residence in that city until arch 2 . This

date may be accepted as marking the summit of his career .

For six years Van Dyck worked in his native place . He became R A A Court painter to the egents lbert and Isabella of ustria , and although

not yet thirty years of age , ranked with the greatest artists of his age . Rubens being now engaged in diplomatic missions entailing long E a j ourneys to distant parts of urope , the field became cle r for Van d Dyck . It is impossible to specify in any etail the multitude of mag

nifi cent portraits which he painted during these years . Some of the M most striking are those of the Dowager Queen of France , arie de

’ ‘ M n d Orl eans P l e R o edici , and her son Gasto , duc ; hilippe y , and his L A é wife , now in Hertford House iberti , the organist the bb Scaglia his fellow pupil Snyders the Duke and Duchess of Croy the exquisite M L T a ssis L V aria ouisa de , in the ichtenstein Collection at ienna ; and

P e . the rince de N uberg Of historical and religious subj ects , he com l et ed Venu s at the or e o Vul can Sa mson a nd D elil ah La mentati on p f g f , , a d over the b o o Chri st . y f , and many others His technique was again

changing . The wild and hurried movement which he had learnt from Rubens was giving place to a quieter and more imposing method E of composition . ven the richness of colour which he had brought u R from Venice , that manner which Sir J osh a eynolds said supposes i " the sun n the room , was being mellowed . A There is little personal history of Signor ntonio , as he was 1 6 8 . 2 called after his long residence in the south In he made his will , " describing himself as painter , bachelor , and in good health . His

sisters were left sole heirs , and after their deaths the estate was to go A to the poor of ntwerp . Small legacies were left to old servants and X11 SIR ANTHONY VAN DYCK

others . He also j oined the Confraternity of Celibates in connection 8 00 with the Society of Jesus . Two years later he invested 4 florins

0 0 florins . in a municipal loan , which produced an annual return of 3 He also received a yearly pension of 2 50 florins from the Court at

Brussels . His travels did not extend far . He went to the Hague , z and paid a surprise visit to Fran Hals at Haarlem . Without mentioning any name he asked Hals to paint his portrait , but said that he had

" S . but two hours to pare for the sitting Hals sat down to his easel , and completed the work Within the given time . Then Van

Dyck , after praising the execution , remarked that portrait painting n seemed to be a simple matter , a d that he should like to make an

I . attempt . n a moment positions were changed Hals became the

ri . I o sitter , Va Dyck the artist t was not l ng before Hals became aware At th e . that stranger was no amateur last he got up from his chair , and cried , You are Van Dyck ; no person but he can do what you "

now . have done Historians point out that the tale is improbable , but it does not seem impossible . There is a tradition that Van Dyck paid a short visit to England during one of these years , although no evidence can be cited to sup t d port the story . I is said that he lodged with his frien George do Gel dorp in Drury Lane . George Gel rp was a portrait painter who s e A had pa s d his pupilage in ntwerp , and had been admitted a member

L . of the Guild of St . uke He was mighty great with people of Quality 85 t e L in his Time , much in heir favour , he used to ntertain adies and

Gentlemen with wine hams other curious eatables , carried on int rea u es Gel dor g between them . W ith such attractions the p house u hold m st have presented many points of interest to the romantic mind . L L Van Dyck had other good friends in ondon . Nicholas anier was ’ th e M s M one , aster of the King usic ; another was Sir Kenelm Digby , with What a contemporary writer chronicles as a flowing courtesy and i c vility and such a volubility of language as surprised and delighted . P Sir Kenelm. was also described as the very liny of his age for lying , " and half sage , half charlatan . Clearly a man to meet in this world

of dullards . Persistent efforts were being made to induce Van Dyck to settle E . E P I . in ngland ndymion orter , agent for Charles , in the Nether

a Ri nal do a nd Armi da « l nds , bought , now in the possession of the Duke

o Cl umb er R of Newcastle at , and forwarded it to the oyal Collection . Van Dyck painted portraits of this brave gentleman and of the Duke o f Buckingham . Sir Balthasar Gerbier also endeavoured to prevail c upon Van Dyck to try the ourt of Charles . Sir Balthasar , one of the ’ ki e ng s agents , combined diplomacy with picture d aling , two pursuits which seem equally fatal to the cultivation of the higher moral qualiti es s A and a trict regard for the truth . virulent little squabble arose between Gerbier and Van Dyck over the authenticity of a canvas which h a d n ' been se t to the king . Finally Van Dyck came to London in April SI R ANTHONY VAN DYCK

' 1 6 2 a t the E 3 , and lodged royal expense with dward Norgate , a clerk

of the Signet , and heraldic illuminator , a connoisseur of much skill . Inigo Jones was consulted by the King as to a suitable residence for A their visitor . house was assigned in Blackfriars , and summer ~ E apartments were allotted in the royal palace at ltham . Vertue gives

a delightful account of the first work that Van Dyck did for the King . ’ Charles order d Vandyke to be sent for over to come and draw the ’ ’ P n shew d M t ens Queen s icture , which the Ki g to y , who was then

P . ainter to the King He told the King it was very well , and he was t certainly a great master hat had done it , upon which he beg leave of the King to let him retire into his country since now he had got a better ’ painter to serve him . The King said , can t I employ two ingenious

men , but he insisted upon going , adding that he had been abroad many i t years and w sht to retire hat he might finish his days in his own country , " U c and so retired to trecht the pla e of his nativity . Van Dyck was P P n M created the rincipal ainter in Ordi ary to their aj esties , and on ’ 1 6 2 P July 5, 3 , received the honour of knighthood at St . J ames s alace , '

a A - together with the gift of gold chain . special landing stage was

erected at Blackfriars , in order that the King and Queen might more M f ’ easily visit the studio , and Henrietta aria o fered to make the painter s brother one of her‘ royal chaplains if he would leave his pastoral charge

‘ " M in Flanders . This well meaning invitation the priest of inderhout

did not accept . Van Dyck now found himself an important member of an extremely ic h as o . t e n brilliant Court Jus ever been done t the many admirable .

. r n d v f _ _ _ qualities which Charles possesse For the i st and only time i , E or a ona rch h s other m m nglish hist y the country boasted j _ _ ' ’ ' w a s a t h eart n tc , a . shor omings , a true and discerni g p tron of the fine , arts

Th e fashion being set his courtiers did not follow far behind . Never since has such a wave of enthusiasm for the arts passed throughout the land . The King had agents in every country of the Continent , and through them he gathered together at Whitehall a magnificent collection of masterpieces , one of the saddest consequences of his downfall being the dispersion of these wonderful pictures . The

‘ cavaliers , whose merits and defects are to this day the sport of faction , have much to be said in their favour . They had a fine sense of the Humanities ; many of them were no mere dilettanti in the practice of painting , music , and literature ; travel was an essential part of their education , and , as after events showed , they ‘ could fight with the bravery of vikings . Such were the men Van m s Dyck has immortalised . It is no ere sentimentalism which lead one to declare that at his best the Cavalier forms one of the finest examples U of the type of polished gentleman the world has ever seen . nhappily the English nation requires that its heroes should also be saints , and while we remember that the cavaliers were notorious in~ their neglect the of many of the laws governing social conduct , we forget that y XI V SI R ANTHONY VAN DYCK possessed characteristics which make for righteousness . They were

E R . the children of the nglish enaissance It was a short awakening , but glorious whilst it lasted . With the death of the King the move ment was drastically ended , and the narrow spirit of the early Puritans practically killed any love for the fine arts which existed i n

England . It is difficult to describe the wonderful portraits of the English nobility by Van Dyck which are scattered to day throughout every E M ' great gallery in urope . ost celebrated are paintings such as those R . L W of ord harton in the Hermitage , and the Duke of ichmond in L L . W the museum of the ouvre ord harton , a youth of ethereal beauty ,

in ' A almost feminine grace , poses like a young ntinous , with more affinity t o the fauns of mythological legend than to English flesh and

R . ffi bone . The Duke of ichmond is hardly less epicene It is di cult to a f explain the pparent e feminacy of these men , for their deeds during the Great Rebellion were superhuman . It cannot be said that Van

Dyck surrounded them with an atmosphere of false sentimentalism .

His soul delighted to walk in the paths of romance , but his brush was P exceedingly realistic , a fact some of his sitters complained of . ossibly these fine flowers of the noble youth of Great Britain were more distin

‘ guish ed than their successors . Certainly they have never since e been painted l n such a manner . W do not find this grace in the portraits R n of ey olds and his contemporaries , and , coming to a later date , we

- certainly do not find it in the portraits of to day .

. . W i Ch arl e he e . h ver Van painted" K ng s paint d a masterpiece, n __ e e " Dyck Some cr1t 1cs go 0 far as to call the canvas in the Louvre without excep tion the first portrait in the world . It cannot be said that Van Dyck idealised the monarch who was to be knownas the R oyal Martyr The t e rn u of i t hr e heads painted for Be ini were , by the nat re the r obj ec , R minutely real istic . The oman sculptor was commissioned to execute

a bust of the King , and this painting was sent to Italy as a guide . Yet these pathetic faces have as much sentiment as the larger and more

important figures . The artist painted his sitters in much the same E manner as a poet rhapsodies over a landscape . verything the ordinary

eye sees is included , but with an additional beauty which can hardly

b e given a name . The power of its express1on 1s only in the hands

of the greatest genius . The adherents of this unfortunate Stuart owe

much gratitude to Van Dyck , who has done more for the Jacobite cause s than ponderous hi torians of the stamp of Clarendon . And as o ne z i no ga es upon these historical portra ts , matter if the onlooker be the inclined towards one party or other , the doubt will surely arise an whether such a monarch deserved so fearful ending . an In his pictures of the Queen V Dyck was invariably successful ,

and the witty , smiling features of the daughter . of Henry IV . carry no f o presentiment o the trials to come . T prove that Van Dyck did not flatter even his most important sitters one h as only to quote contemporary XV SIR ANTHONY VAN DYCK

. P descriptions of the princess oets are privileged , but Waller did not exaggerate when h e Spoke of such ra diant eyes S l l o v e v l . uch motion , and such sharp rep ies

A more prosaic observer in a private letter writes that she hath eyes S that parkle like stars , and for her physiognomy , she may be said to be " a mirror of perfection . One present at her landing in England in

1 6 - - 35 describes her as a nimble , and quiet black eyed , brown haired , " and in a word , a brave lady . The last phrase exactly sums up this

unfortunate daughter of France , who has always been cruelly maligned

by the people of her adopted country . She deserves a kindlier place E in the memories of the nglish people . V n a Dyck and the royal family were on terms of the closest intimacy .

His groups of the royal children are charming , although , as a biographer

has already pointed out , he always made his children look older than M they actually were . uch of the friendship with the King and Queen ’ D ck s may be ascribed to Van y charm of manner . The age was one

in which sociability was cultivated . If we are to believe the French no (and better instruction can be obtained upon such a subj ect), the R art of conversation has never been known in England . ather let it

be said that the art has been lost , for the cavaliers were brilliant con v rs tiona ist s e a l . It may be suggested that the long sermons which came in with the Puritans have so exhausted our race that an Englishman his has grown to prefer silence even to the sound of own voice .

There could never have been much peace in the Van Dyck mansion .

h . He kept open ouse He was indefatigable , says Walpole , and keeping a great table often detained the persons who sat to him for

an opportunity of studying their countenances , and of retouching " their pictures again in the afternoon . There were numerous calls h o t . a W upon his purse Ch rles , knew wha it was to have an empty n treasury , asked Va Dyck whether he too was poor . Yes , sire , O replied the painter . When one keeps an pen table for his friends ,

and an open purse for his mistresses , he soon reaches the bottom of " ’ i D ck s h s money chest . Van y charges for his paintings of the royal L family were severely taxed (probably by the economical aud), and

his pension soon dropped into arrear . ’ D ck s E Van y nglish period extends over six and a half years , and he completed an enormous number of works . There is hardly a country house of any age and importance in England which does not contain M L R at least one canvas attributed to the aster . ike ubens his studio f degenerated into a manufactory , and it is often di ficult to separate the A 1 6 craft of Van Dyck from that of his assistants . bout 35 his pictures ff an begin to show signs of a falling o in power . The artist had m y social distractions he fell an easy prey to the numerous harpies who infested his the court , money was short , and his health was bad . Scandal dogs SI R ANTHONY VAN DYCK At name in all contemporary writings . one time he is said to have L fallen in love with ady Stanhope , but quarrelled with her over the

A - price of a portrait . The name of nne Carlisle , a well known portrait painter and an assistant in his studio , is mentioned in connection with E L a mourette. what the French so deftly call an ven ady Venetia , the wife of Sir Kenelm . Digby , does not escape . How much truth An there is in these stories cannot be s aid . undoubted influence was M L that of argaret emon , whose portrait , by her lover , is to be seen in

“ the R P . oyal Collection at Hampton Court alace , This lady did not conduct im ro the household at Blackfriars in the most reputable way , and her p r n and e p iety became otorious . Charles his Queen decided to get th ir M P favourite painter married , and selected ary , daughter of atrick

- E R . uthven , grand daughter of the arl of Gowrie This noble lady was of blood royal , but the Gowrie conspiracy had destroyed the fortunes of the family . Van Dyck had trouble at Blackfriars when he attempted L f . M to rearrange his a fairs argaret emon , a woman of much passion as we can see from the portrait at Hampton Court , bitterly resented the ’ match , and made a savage attempt to inj ure the painter s right hand . Legend says that she soon after went abroad under the protection of

n . another friend , and died within a few months in a most tragic man er ’ D ck s 1 6 0 s ni Van y marriage took place in 4 , but his day were run ng

o u t . . His health steadily declined , and the outlook was grave The shadow

of the great war had already commenced to cover the land with gloom . ( ir T S , he painter studied alchemy , in company with Kenelm Digby but no success crowned their experiments in the transmutation of metals . A B R s scheme to decorate the anqueting Hall , the ceiling of which uben u had painted , fell/thro gh owing to the exhausted condition of the royal

. R A finances In June ubens died in ntwerp , and Van Dyck revisited n P his native city in the following September . Next year he was i aris L trying to secure the commission for the decoration of the ouvre . A t P V ou e . gain failure resulted , for the work was given to and oussin

In November Van Dyck returned , travelling in state , with a coach and four , and five servants . I infinitely regret the misfortune of my ill "

. health , he writes about this time His disease was probably a rapid.

On the first day of December a daughter was born , u stiniana on the fourth he made his will , and on December 9 the little J

z . th e . was bapti ed in the\ cathedral The same day Van Dyck died at

- » early age of forty two years . W ithout avail t he King had offered £300 f ' to his physicians could they e fect a cure . Two days after the body ’

. P was interred in the choir of Old St aul s , close to the tomb of J ohn of

Gaunt . The cathedral was completely destroyed by the Great Fire of ’ 1 666 D ck s - , and all traces of Van y last resting place have been lost . ’ There has always been a difficulty in defining Van Dy ck s place a t - mongs the immortals . His position as the greatest portrait painter Mr L in the world can only be assailed by Titian . . ionel Cust would R place him side by side with aphael . In any case the discussion is not x vii b SIR ANTHONY VAN DYCK c ’ of much importan e . One must admit that Van Dyke s male portraits f are often e feminate, and what they gain in grace lose in the strength ’ f - . D one expects rom such a portrait painter Still , many of Van y ck s fi t portraits are magni cen ly virile , leading one to believe that when the artist produced an effeminate portrait the individuality of the sitter

was more to blame than the sentimentality of the painter . Be this ’ D ck s as it may , Van y art is a succession of wonderful and un

rivalled triumphs , and when we study the canvases of such professing followers as R eynolds and Gainsborough it is easy to see that they never reached his own consummate skill . A The life of nthony Van Dyck was short , but his activity crowded into it more work than many an older man ever attempted . His level was a high one , and it cannot be said that he dropped far below it during E . any por tion of his career nthusiasm is often mere exaggeration ,

( but « it can never be disputed that the portraits painted by this great genius form some of the loveliest art treasures the world possesses .

xviii SI R ANTHONY VAN DYCK

L I ST O F T H E P R I NCI PA L W O R K S O F S I R A NT H O NY VA N DY CK I N P U BL I C GAL L E R I E S

A U S T R I A

V IEN NA

B ELVEDER E GALLERY .

HEAD OF THE MAGDALEN .

R CH ILD . CO R ONATION OF ST . OSALIE BY THE JESUS BETWEEN ST

AND . PETER ST . PAUL R R MINE VA AT THE FO GE OF VULCAN .

SAMSON AND DELILAH . R D THE VI GIN AN CHILD WITH ST . JOSEPH . R R R R VI GIN AND CHILD ENCI CLED BY A GA LAND OF FLOWE S . h S T e fl o wers painted by egh ers .

R T R . CH IS BOUND , WITH AN EXECUTIONE

R I T E R CH IST ON H C OSS . R K R R THE DEAD CH IST ON TH E NEES OF THE VI GIN , W ITH MA Y A AND MAGD LEN , ST . JOHN, AN ANGEL . R T A ST. F ANCIS LISTENING o CELESTI L MUSIC . R A R R MI ACULOUS PPEA ANCE OF THE VI GIN . R THE BLESSED HE MAN JOSEPH . R R So LM s R R PO T AIT OF THE COUNTESS AMELIA , P INCESS OF O ANGE P R R O T AIT OF AN OLD WOMAN .

STUDY OF THE HEAD OF A WOMAN . R R T HE R RH D KANAKIS PO T AIT OF P INCE O O . R R N R R PO T AIT OF COU T HEN I VAN DEN BE G . R R R R R PO T AIT OF GASPA DE C AYE . R R R R N PO T AIT OF P INCE CHA LES LOUIS OF THE PALATI ATE . R R G PO T AIT OF A YOUN MAN . R R R R R PO T AIT OF P INCE UPE T OF THE PALATINATE . R R R R PO T AIT OF THE A CHDUCHESS ISABELLA CLA A EUGENIA . R R R R M N ADE PO T AIT OF THE MA QUIS F ANCIS DE O C . XI X SIR ANTHONY VAN DYCK

R R R R PO T AIT OF THE COUNCILLO JOHANN VON MONTFO T . R R R SCRIBAN I R PO T AIT OF CHA LES , A P IEST. R R A A R D R PO T IT OF THE P INTE SNY E S . R R A PO T IT OF A MAN . R R PO T AIT OF A WOMAN . R R R K R O R PO T AIT OF HEND I LIBE TI , THE GANIST .

A A C DEMY .

I N R R SOULS PU GATO Y . R R F T H E R T AS A BOY PO T AIT O A TIS .

S O B R CH N UN N PALACE .

THE HOLY FAMILY .

LIECHTEN STEIN COLLECTION .

VI R GIN AND CHILD .

R R . . CH IST ON THE C OSS, WITH ST ANTHONY T HE R R HER DEAD CH IST, WITH THE VI GIN AND WOMEN .

ECCE HOMO . R ST . JE OME . N HEAD OF A APOSTLE .

TWO APOSTLES . SIx R R R K R R EPRE TAPEST Y CA TOONS, F OM S ETCHES BY UBENS ,

SENTING SCENES IN TH E LIFE OF THE CONSUL DECIUS .

R R PUT EANUS R . PO T AIT OF , THE HISTO IAN R R R PO T AIT OF FRANS SNYDE S . R R PO T AIT OF AN OLD MAN .

R R A I R . PO T AIT OF A YOUNG L DY, W TH A SPANISH UFF

R R R R R . PO T AIT OF A MAN , SOMETIMES CALLED IN E O WALLENSTEIN PO RTRAIT OF A PR IEST OF THE DE T ASSI S FAMILY OF ANTWER P “ R R K R PO T AIT OF A LADY IN BLAC , LADY ICH . R PO TRAIT OF AN OLD MAN . R R R PO T AIT OF A CAVALIE . R R R T ASSIS PO T AIT OF MA IA LOUISA DE . A PO R TRAIT OF THE AR CHDUCHESS ISABELLA CLARA EUGENI . PO RTRAIT OF A YOUNG LADY IN A R UFF WITH PEAR LS IN H ER R HAI .

R R R R K R . PO T AIT OF A MAN , WITH AN A CHITECTU AL BAC G OUND

PORTRAIT OF A MAN . _

SI R ANTHONY VAN DYCK

R G . C H U R CH OF S T . GEO E

‘

JAN SNE LLINC.

B R UGES

R H S GALLE Y OF THE OSPITAL OF T . JOH N R THE VI GIN AND CHILD .

C R H S S . R HU C OF T AVIOU .

ST. ANTHONY OF PADUA WO R K ING A MI RACLE .

B R USSEL S R GALLE Y . ST O F . ANTHONY PADUA HOLDING T H E CH ILD JESUS .

ST . R R T H E R F ANCIS BEFO E C UCIFIX . f This is doubt ul .

MARTYR DOM O F ST . PETER

T HE D R UN KEN SILENUS .

OR R O F R R O F . P T AIT GIOVANNI VINCENZO IMPE IALE , SENATO GENOA

R R O F R D E LLAFAI LLE R O F R . PO T AIT ALEXANDE , MAGIST ATE ANTWE P R R O F A R PO T AIT PAINTE . A K O F T H E O F A J EW S ETCH HEAD . R R O F T HE V I L EM N PO T AITS FAMILY VAN ST E . w This ork is doubtful .

COU R TR A I

C R N D HU CH OF OTR E AME .

R R THE AISING OF THE C OSS .

G HEN T

C R S . H U CH OF T . M ICH AEL

R ON T HE R T W O T H E R AND ST . . CH IST C OSS , TH IEVES , VI GIN JOHN Sketch es of this picture are to be found in th e B erlin Museum a n h f E l w d t e colle ction o ar Brownlo .

M ECHLI N

C R S R M BA T U . HU CH OF T . O

R T H E R T E T W CH IST ON C OSS BETWEEN H O TH IEVES . xxii SIR ANTHONY VAN DYCK

C HU R CH OF TH E RECOLLETS .

R R R . ST. BONAVENTU A ECEIVING TH E SAC AMENT

S AVENTHEM (nea r B rus sels)

C HU R CH .

R K R . ST. MA TIN GIVING HALF HIS CLOA TO A BEGGA

S CH ELLE

R C R PA ISH HU CH .

ST. SEBASTIAN AND T w o ANGELS .

T ER MONDE

UR CH CH OF N OTR E D AME .

R F T E R ADO ATION O H SHEPH E DS .

R ON T H E R T H E R ST . R CH IST C OSS , WITH VI GIN, JOHN , MA Y AND A K MAGDALEN, MON .

IN THE COLLECTION OF TH E K ING OF TH E B ELGI A N S ( LAEK EN

R S R . F ANCOIS DU QUESNOY, THE CULPTO

D E N M A R K

COPEN HAGEN

CH R I ST IA NBOR G .

N W . THE VI RGI AND CH ILD ITH ST . JOSEPH

F R A N C

A M IEN S

M U SEUM .

R R PO T AIT OF A MAN . N PO RTRAIT OF AN O LD M A . R R NG PO T AIT OF A m fl MAN . SU T E D A CUPID PW ON CLOUDS . xxiii SI R ANTHONY VAN DYCK

A N GE R S E R GALL Y .

CUPID ON CLOUDS .

AVIGNON

M USEUM .

PO RTRAIT OF A MAN .

B ESANCON

M U SEUM .

R R PO T AIT OF A DUTCH NOBLEMAN .

B EZIERS

M U SEUM .

R F A AN PORT AIT O M . d This has b een retouche .

BO R DEAUX

GALLE R Y .

R R INALDO AND A MIDA . W AR DISCO R D KINDLING .

THE HOLY FAMILY . P THE ENITENT MAGDALEN . R R THE DESCENT F OM THE C OSS . f This is doubt ul . R R PO T AIT OF A MAN . R R R R R IM M E REN PO T AIT OF OBE T AND CHA LES LOUIS DE S .

' R R R D E PO T AIT OF MA IE MEDICIS .

CAEN

M USEU M .

R THE COMMUNION OF ST. BONAVENTU A . n T h u ld n Said to be a c opy a fter Van Dy ck b y V a e . R R JESUS C OWNED WITH THO NS .

C HA NTILLY M SEE C E U ON D .

R R F R PO T AIT O F GASTON O O LEANS . xxiv SIR ANTHONY VAN DYCK

R R O F R DE R PO T AIT COUNT HEN I BE GHE . R R O F D E R PO T AIT WILLIAM NEUBOU G.

C HER BOU RG

M USEUM .

R MELEAGE AND ATALANTA .

A d e Ca o e of ccessories painted by Benedette stigli n , a pupil Van

Dyck.

M U SE UM .

R R R R . MA TY DOM OF ST . MA Y OF CO DONE R R O F M AN PO T AIT A YOUNG . a re f Both these works probably by pupils o Van Dy ck .

DOUA I

GALLER Y . R R E ST AND ST . BY ST . . . PLACIDIA MAU ECEIVED B NEDICT T H E R R BY DEAD CH IST MOU NED ANGELS . u f This is do bt ul .

H AVR E

M U SEUM . B COM AT o AMAZONS . R Copy by Van Dyck after ub ens . R R PO T AIT OF A MAN . R R THE DESCENT F OM THE C OSS . S ST . SEBA TIAN .

LA F ER E M USEUM

T HE R O F T HE R MI ACLE LEPE . T HE R EPENTANT MAGDALEN .

L ILLE

GALLERY .

R F T HE R CO ONATION O VI GIN .

R ON T HE RO T HE R AND AR . CH IST C SS , WITH VI GIN M Y MAGDALEN

ST O F R K A R . . ANTHONY PADUA WO ING MI ACLE A PORTRAIT OF LADY . XXV SI R ANTHONY VAN DYCK

’ R C E R MA IE DE MEDI IS , QUE N OF F ANCE . R R THE VI GIN AND DON O .

R A H GENE L OSPITAL .

R R ADO ATION OF THE SHEPHE DS .

C R S . H U CH OF T M A RY M AGDA LEN .

R R CH IST ON THE C OSS .

LYON S

M USEUM .

ST . R AND ST PETE . PAUL .

E R R M US E BE NA D .

R AND THE VI GIN ANGELS . F R HEAD O THE VI GIN . w e b a S The flo rs painted y D niel egh ers . R R O F A PO T AIT MAN . R R O F A R F R PO T AIT P INCE O O ANGE . T HE G IN FLI HT EGYPT .

M AN S

M USEUM .

' ST . SEBASTIAN .

M ONTPELLIER M US EE FA B R E

FRAN KEN R P O R R R C . T AIT OF F ANS , THE YOUNGE I N L THE VI RG fi O D i NG T HE CHILD JESUS, R THE VI GIN AND CHILD . R A HAND HOLDING A SWO D . f w as t The remainder o this portrait des royed by fire .

N A NTES

M U SEUM .

R R PO T AIT OF A MAN .

ST . SEBASTIAN . R T THE EPOSE IN EGYP . SIR ANTHONY VAN DYCK

N A R BON N E

M U SEUM . R PO TRAIT OF A NOBLEMAN .

PORTRAIT OF THE MARQUIS HONO R E DE SAVOIE . r Thes e a e probably b y pupils . N IMES

M U SEUM . R R R R R PO T AIT OF P INCE UPE T. R R A R PO T IT OF A MAGIST ATE . R R R R PO T AIT OF A MA SHAL OF F ANCE .

THE ENTOMBMENT . S t h o n ke c copper .

PA R IS

LOIJV R E . N R . R THE VI GIN AND TH E CHILD JESUS , WITH ST MA Y MAGDALE , K ING DAVID , AND ST . JOHN THE BAPTIST.

. It h as e Ther e is a repetition of this subj e ct at Berlin . be n suggested that th e artist painted his fath er and m other as King d f v e as S t . a n Da id and the Virgin , his mistr ss Catherine , himsel h as John t e Baptist . R R THE VI GIN WITH THE DONO S . a e This canv s was enlarged at s ome former tim . HRl T C S MOU RNED OVER BY T HE VI RGIN AND ANGELS . Sketc h of the pa inting fo r th e Church O f the Récollets at A ntwerp .

. R D ST SEBASTIAN SUCCOU E BY ANGELS . K F ZENEAS VENUS AS ING VULCAN OR ARMS TO GIVE TO . These five pictures were form erly in the colle ction of L ouis XIV . R R INALDO AND A MIDA . e M N n Form rly in the usée apoleo . R R O F C R F PO T AIT HA LES O ENGLAND . O XV w h o o th e c o o Lo . Formerly in llecti n f uis , b ught it at the o f M a d u a Sh e at Lo v e e instigati n o dame B rry . kept it u eci nn s, as sh e w as a i th e du a e n said it a f mily p ortra t , Barry f mily b i g related to the H ouse of Stua rt " Van Dyck w as p aid £ 1 0 0 for c a v this n as . T H R R E CHILD EN OF CHA LES I . f Re St o r th e c e in th e Ro o e o o . udy pi tur yal C ll cti n, Winds r e t o a t e a nd l a re o n ef p ti i ns Dr sden Turin . The chi dren , the l t, xxvii ANTHONY VAN DYCK

a P e o f af e a d a D Ch rles, rinc Wales ( t rw r s Ch rles James, uke o f af a o n M e York ( terw rds James and the right, ary (aft r of P of O a wards wife the rince r nge).

R R R K R 1 6 1 PO T AITS OF CHA LES LOUIS, DU E OF BAVA IA ( 7 AND R R R R O R R R R R R OF HIS B OTHE OBE T ( UPE T), AFTE WA DS C EATED DU KE OF CUMBERLAND ( 1 6 1 9

of I . e o f Formerly in the collection Charles , aft rwards in that L o XIV uis . R R R R PO T AIT OF ISABELLA OF AUST IA , INFANTA OF SPAIN , SOVE EIGN OF THE LOW COUNTR IES ( 1 566 h XI R P a t e o e o f L V . Formerly in c ll ction ouis epetitions at arm , i n E Turin , Vienna, and ngland . R R R O F R D E M ONCADE R O F EQUEST IAN PO T AIT F ANCIS , MA QUIS R O F T HE R IN T HE N R AYTONA, COMMANDE SPANISH FO CES ETHE LANDS ( 1 586

PO RTRAIT O F FRANCIS DE M ONCADE . S f r tudy o the equestrian portrait . R R O F A M AN AND A PO T AITS CHILD .

' It ha s e e a th e e R or be n suggest d th t man repr sents ubens, a o f brother that painter .

R R O F HER R PO T AIT A LADY WITH DAUGHTE .

S e a fe of R a O th e ometim s c lled the wi ubens, lso the wife f f r brother o that painte .

R R PO T AIT OF A MAN .

R o e a . epetiti n in the Belv dere Gallery, Vienn

R F R PO TRAIT OF THE DU KE O ICHMOND . F f L XIV rom th e c ollection o ouis .

R R PO T AIT OF A MAN . R R PO T AIT OF A MAN .

HEAD OF AN OLD MAN (sketch).

BUST OF ST . JOSEPH .

R R F e c . THE MA TY DOM O ST. SEBASTIAN (sk t h) R R PO T AIT O F A WOMAN (grisa ille). R R F R PO T AIT O THE PAINTE . o e o o f L XIV F rm rly in the c llecti n o ouis .

R R OF R RI CHARDOT R OF PO T AITS JEAN G ASSET , P ESIDENT THE PR IVATE COUNCIL OF THE LOW COUNTR IES ( 1 540 AND

HIS SON . A e to R o a e V an f o ttribut d ubens, but p ssibly p int d by Dyck r m

a drawing . xxv1ii

SI R ANTHONY VAN DYCK

BER L I N M M USEU .

u THE DESCENT OF TH E HOLY SPI R IT (bistre st dy). R AN R K THE VI GIN D CHILD, MA Y MAGDALEN , ING DAVID, AND JOHN

THE BAPTIST . n Sometimes called the Prodigal So .

ST . JOHN AND AN ANGEL . R K R R THE DEAD CH IST ON THE NEES OF THE VI GIN , TOGETHE

R . WITH MA Y MAGDALEN , ST. JOHN , AND AN ANGEL R THE DEAD CH IST (study in mono chrome). ST . JOHN THE EVANGELIST AND ST . JOHN THE BAPTIST . R ST . LAW ENCE . R ST . PETE . R R R CH IST C OWNED WITH THO NS .

A K R . CUPIDS DANCING, WITH LANDSCAPE BAC G OUND Y R NYMPHS AND SAT S . R R R A R PO T AIT OF THE INFANTA ISABELLA CLA A EUGENI , DAUGHTE

OF PHILIP II . OF SPAIN . R R ER R PO T AIT OF ONE OF THE DAUGHT S OF CHA LES I . OF ENGLAND . R R R R 1 PO T AITS OF THE FIVE CHILD EN OF CHA LES . OF ENGLAND . R R R LERCARI PO T AIT OF A LADY, POSSIBLY A MEMBE OF THE

FAMILY . R R R C R PO T AIT OF THE P IN E DE CA IGNAN . R R PO T AIT OF A MAN .

B R UN SW ICK R GALLE Y .

R THE VI GIN AND CHILD .

HEAD OF ST . JOHN .

VENUS AND ADONIS . R R PO T AIT OF A MAN .

C A R LS R U HE R GALLE Y .

R R R PO T AIT OF THE PAINTE .

CA SS E L R D G AN D UCAL GALLE R Y .

R AND R HE O LEANDE . XXX SI R ANTHONY VAN DYCK

R A GR OUP OF CAVALIE S . R R T R R PO T AI S OF F ANS SNYDE S AND HIS WIFE . R R R PO T AIT OF JAN WILDENS , A PAINTE .

PORTRAIT OF A LADY . R R S I M EE RST RAET EN R PO T AIT OF THE YND C OF B USSELS . R R M E ERST RA ET EN PO T AIT OF THE WIFE O F THE SYNDIC . R R M R N K PO T AIT OF A YOUNG WO AN D ESSED I BLAC . R R R T R R PO T AITS OF THE FAMILY OF TH E BU GOMAS E VAN LEE S . PO RTRAIT OF A SHER IFF OF ANTWER P R R R PORTRAITS OF THE B OTH E S LUCAS AND CO NELIS DE WAEL . R R PO RTRAIT OF A YOUNG MAN D ESSED IN B OWN . K R PORTRAIT OF A GI RL C ARRYING A BAS ET OF FLOWE S .

PORTRAIT OF A PR IEST IN HIS R OBES . K PO RTRAIT OF A LADY DR ESSED IN BLAC . K PORTRAIT OF A MAN DR ESSED IN BLAC . R PO RTRAIT OF AN OLD LADY WITH A OSE .

R R R . PO T AITS OF SEBASTIAN LEE SE, HIS WIFE AND SON

PO RTRAIT OF FRANCIS DE M ONCAD E .

COLOGN E R GALLE Y .

R N R R . CH IST Q THE C OSS , WITH MA Y MAGDALEN R R R R PO T AIT OF EBE HA D JABACH .

D A R M STADT R G ALLE Y .

R R R R R PO T AIT OF F ANCES STUA T, COUNTESS OF PO TLAND .

D R ESDEN R GALLE Y .

R RU THE CH ILD JESUS , STANDING NEA A GLOBE , C SHING THE R R SE PENT UNDE FOOT . R THE VI GIN AND CHILD .

ST . PAUL . R ST . JE OME . R THE CH IST AND APOSTLES . R DANAE ECEIV ING THE GOLDEN SHOWER . R K THE D UN EN SILENUS WITH BACCHANTES . xxxi SIR ANTHONY VAN DYCK

R R R I K PO T AIT OF CHA LES . , ING OF ENGLAND . R R H R R PO T AIT OF EN IETTA MA IA , QUEEN OF ENGLAND . R R R R R PO T AITS OF THE TH EE CHILD EN OF CHA LES I . R R O F R W O UW E R AND H E R PO T AITS MA IE , CHILD . S i m R n s omet es attributed to ube . R R F AN LD M AN AND H I S PANEL PO T AITS O O WIFE . R R O F A M AN PO T AIT YOUNG . R R PO T AIT O F A LADY. S r R ometimes att ibuted to ubens . R R F A MAN A PO T AIT O WITH GLOVE . R R O F T H E R R R PO T AIT CHEVALIE ENGELBE G TAIE , BA ON

WEMMEL . R F M N T H E R RY KAERT R O A A C . PO T AIT , POSSIBLY PAINTE

R R O F RR I N H I S I I St R . PO T AIT THOMAS PA , PAINTED S YEA R R F A R R F R AND H I PO T AITS O BU GHE O ANTWE P S WIFE . R R O F A M AN IN R R PO T AIT A MOU . R R O F A M AN R IN K PO T AIT D ESSED BLAC . R R O F A MAN IN R R PO T AIT A MOU . RT R O F A M AN N K PO AIT I BLAC .

F RA NK FOR T I N STITUTE .

R R O F R K D E PO T AIT HEND I BOIS .

GOTH A D R UCAL GALLE Y .

R R R R . PO T AIT OF ISABELLA B ANT, WIFE OF UBENS R PORTRAIT OF THE PAINTE . R R R R R PO T AITS OF CHA LOTTE , WIFE OF ALEXANDE , SEIGNEU

’ D ANOY H ER , AND SON JOHN .

M UN ICH K K P IN A OTHE .

R SUSANNAH AND THE ELDE S . R ST . SEBASTIAN BOUND TO A TR EE BY SOLDIE S . R R MA TY DOM OF ST . SEBASTIAN .

R ON T H E R T H E R R . CH IST C OSS, EXECUTIONE S DEPA TING xxxii SI R ANTHONY VAN DYCK

R . THE VI GIN AND THE CHILD JESUS, WITH ST JOHN HOLDING A R SC OLL .

"

R . . THE CHILD JESUS ASLEEP, THE VI GIN , AND ST JOSEPH A R S OR R THE DE D CH I T, SUPP TED BY THE VI GIN AND A WOMAN , W O ITH ST . J HN

R KN R R . CH IST ON THE EES OF THE VI GIN , WITH MOU NING ANGELS AN T H E M AN K F T H E ‘ CH R IST D SIC O PALSY . f This work is doubt ul . R AND J UPITE ANTIOPE . F T R E R R T H E O S . O . BATTLE MA TIN GLISE , A QUES

u . n a ttrI b u ted to The fig res o ly Van D y ck . R R R PO T AIT OF THE PAINTE . R R R R K PO T AIT OF MA Y UTHVEN , WIFE OF VAN DYC . RT R R R PO AIT OF B UEGHEL THE ELDE . R RA PO T IT OF HANS WAEL AND H IS WIFE . R R A R PO T IT OF GEO GE PETEL . R R PO T AIT OF PHILIP SPINOLA . R R R R PO T AIT OF HEN IETTA MA IA, QUEEN OF ENGLAND . R T R O F R C LY NS PO AITS AND EAS O DE NOLE HIS WIFE AND CHILD . '* R R TH E K R H IS W I FE PO T AIT OF DU E DE C OY AN D . R R R K R R S ‘ PO T AIT OF HEND I LIBE TI , TH E O GANI T . R R R R PO T AIT OF CA EL VAN MALLE Y. R R T R R PO T AI OF F ANCESCO DE MI ABELLA .

OR R R P FALz R K E . P T AIT OF TH E P INCE DE NEUBE G, DU CLEVE R R R NA ER PO T AIT OF PETE S Y S . R R PO T AIT OF A MAN AND HIS WI FE .

PO RTRAIT OF A MAN . R TR PO AIT OF A YOUNG LADY .

POTSDAM

A LACE .

F Z ‘ K R O R . E NEAS FR M V ULCAN VENUS S EE ING A MS O .

ISAAC BLESSING JACOB . T H E JESUS FEEDING MULTITUDE . r is d u b f This wo k o t ul .

ECCE HOMO . R R MATE DOLO OSA .

' e e fi v a r M iffr e e c e G u e . Th s works atal ogu d by . y xxxiii SIR ANTHONY VAN DYCK

S T R A SS B U R G S M U EUM .

R R R K PO T AIT OF AN OLD LADY D ESSED IN BLAC .

STUDY OF THE HEAD OF A YOUNG MAN .

W EIMA R S M U EUM .

R R R R PO T AIT OF GASPA DE C AYE R .

G R EAT B R I T A I N A ND I R EL A N D

TH E R C OYAL OLLECTION .

a o f r a re at or a e o e The m j ority these pictu es Winds C stl , but s m a t a Pa a e are Buckingh m l c . R R O F VAN K PO T AIT DYC .

M . M ax R o R u b M Guiffre oses suggests that this is by ens , but . y a nd SI nor M a o M n a as the r o f Va n g ri e otti ccept it wo k Dyck . R I CHA LES . , HIS QUEEN AND CHILD REN . SIR K ENELM DIGBY .

VENETIA , LADY DIGBY . R R QUEEN HEN IETTA MA IA . R B R COUNT HEN Y DE E G . R R R I THOMAS F ANCIS OF SAVOY, P INCE DE CA GNAN . R R R R 1 TH E TH EE ELDE CH ILD EN OF CHA LES .

P e C a e a a rd h a I I . P e M ar f rinc h rl s , fterw s C rles ; rinc ss y, a ter wa rds wife O f William sta dtholder of th e United Netherland

P e a a f wa e I I . and rinc J mes, ter rds Jam s T K K ND H IS R R HE DU E OF B UC INGHAM A B OTHE .

R R O F R . MA Y VILLIE S, DUCHESS ICHMOND R R F A M AN NE LLINCX PO T AIT O CALLED S . R I ON A R AN RR CHA LES . WHITE HO SE, WITH EQUE Y .

R DE R DE T - R BEAT ICE CUSANCE, P INCESSE CAN E C OIX . R E I THE FIVE CHILD EN O F CHA R L S . P e C a Pr e a m a nd th e P c e M rinc h rles, inc J es, rin sses ary, E z a nd A li abeth nne . H O F R I N R EAD CHA LES . I TH EE POSITIONS . P n o e a th e R a r o d e ai ted in rd r th t om n sculptor, Be nini, sh ul mak u a b st. xxxiv SIR ANTHONY VAN DYCK

E R R fu QUEEN H N IETTA MA IA ( ll length).

R R b fu f c e . QUEEN HEN IETTA MA IA ( ust , ll a ) R R QUEEN HEN IETTA MA IA (profile). R COUNTESS OF CA LISLE . R R ' R R P INCE CHA LES IN A MOU .

THOMAS KILLIGREW AND THOMAS CAR EW .

JAMES I .

R R . CHA LES I . IN OBES OF STATE I R R R TH E FAMILY OF S R BALTHAZA GE BIE .

R K R . ST . MA TIN DIVIDING HIS CLOA WITH A BEGGA R 1 R CHA LES . ON A YELLOW HO SE

THE VI RGIN AND CHILD . R THE MYSTIC MA RR IAGE O F ST. CATHE INE .

CH RIST HEALING THE LAME MAN .

K B UC I NGHAM PALACE .

JESUS CARESSING A LAMB . R THE VI GIN .

THE VI R GIN AND CHILD . R E THE VI RGIN AND CHILD AND ST . CATHE IN . F R R R R S STUDY O A G OUP OF HO SES WITH FIGU E . R R PO RTRAITS OF GEO RGE AND F ANCIS VILLIE S .

B A TH

P R IO R PA R K COLLEGE .

T HE R T H E R ST . AND ST . R C UCIFIXION, WITH VI GIN, JOHN , MA Y

MAGDALEN .

LON DON N R ATIONAL GALLE Y .

R R R PO T AIT O F AN A TIST . At o ne m S o to e e e R e t e ti e upp sed r pr s nt ub ns, but his seems v ry b f c e w a s fo rmerl in th e o e o O f Sir dou t ul . This pi tur y p ss ssi n

' m it w a z ed R o s o s . Joshua eyn ld , by wh much pri THE EMPE RO R THEODOSIUS R EFUSED ADMISSION INTO THE CHURCH R BY ST . AMB OSE .

A red u ced ~ c 0 w o a lteratI O ns O th e c t re b R e py , ith s me , f pi u y ub ns in h t e I mperial Gallery at Vienna . R R O F R DER PO T AIT CO NELIUS VAN GEEST . S e to re resent Cas ar Gerva r s ometimes suppos d p p e t . XXXV SIR ANTHONY VAN DYCK

A F H R STUDY O O SES .

R S R O F . THE MI ACULOU D AUGHT , FISHES , a h P inted from t e large picture b y Rubens at M echlin . R R T HE R PO T AIT OF A TIST . P w a w ainted hen he was bout t enty.

T HE CR UCIFIXION . R R A INALDO AND A MID , WITH CUPIDS . F R A R AN R R R O F R I . K O EQUEST IAN PO T AIT CHA LES , ING G E T B ITAIN AND R N I ELA D .

w a s n O C I . w a s This originally in the collectio f harles , and sold a f d for 1 0 I M ter his eath £ 5 . t was bought in unich by the of M b w a s for Great Duke arl orough , and purchased the Na 1 A e o o n 18 I n tional Gallery in 885. r petiti n a small scale R Co ll ec tio n a nd a I n os essI on of E the oy al h nother the p s the arl O f Clarendon .

N R R R ATIONAL PO T AIT GALLE Y .

R K PO RTRAIT OF S I ENELM DIGBY . W L C AL ACE OLLECTION .

R R PO T AIT OF A FLEMISH LADY . This picture ha s been sometimes called T he Wife of Cornelis V o s t t de . The personage represen ed would appear o be I Vaerb ek e f O f Pa V O S of e sabella , the wi e ul de , brother Corn lis . ’ It is in the pa inter s second Flemish manner . R R PO T AIT OF AN ITALIAN NOBLEMAN .

I th e SO - C e a n all d Genoese m nner. R R R Y PO T AIT OF THE WIFE OF PHILIPPE LE O . in d in 1 6 1 n h P a te i t e . 3 , second Flemish manner R R R T R PO T AIT OF THE A IST AS THE SHEPHERD PA IS . I I a a d e O n n the tali n m nner, under the ir ct influence f Titia .

’

R R ROY R R . PO T AIT OF PHILIPPE LE , SEIGNEU DE AVELS o ne O S a nd This is f the few pictures igned by the artist, is dated

1 6 0 . I th e e n d to 3 t is in s co d Flemish manner, and, accor ing f a of th e o ne of , the o ficial c talogue collection , forms the master ’ ’ e Of O V a n D k c s . piec s that phase , f y practice R AND “ THE VI GIN CHILD .

T h e Offi a l c a ta l o u e i states a o f ci g that this, is _ copy the original in R o P the oyal C llection , another copy being at enshurst, Kent.

HAM C R A PTON OU T P LACE .

M RS R R . MA GA ET LEMON . K FOR R R S ETCH A PO T AIT .

SIR ANTHONY VAN DYCK

I R E L AN D

D U B LIN R N AT IONAL GALLE Y.

ST . AND B Y T W O SEBASTIAN WOUNDED , ATTENDED ANGELS . R R O F R R K DE M ARSELAER PO T AIT F EDE IC .

H O L LA N D

A MSTER D AM M RY K SM USEU . R R W K R CH IST ON THE C OSS , ITH A MON EMB ACING HIS FEET.

THE PENITENT MAGDALEN .

R R R D ER B ORCHT . R R PO T AIT OF F ANS VAN , BU GOMASTE . R R R K PO T AIT OF JAN BAPTIST F ANC . OR R P T AIT OF MICHIEL LE BLOW .

R R . . R R AND R R PO T AITS OF WILLIAM II P INCE OF O ANGE , MA Y, DAUGHTE R OF CHA LES I .

S F R M U EUM ODO .

R R R PO T AIT OF JOHANNES B EUGHEL . R R R R PO T AIT OF PIETE B EUGHEL .

PORTRAIT OF JAN VAN GOYDEN . R R R SAFT LE V EN PO T AIT OF VAN CO NELIS . R R C EB ER EN PO T AIT OF VAN WENSEL O G . R R S NELLI N X PO T AIT OF JOHANNE S C .

T IIE H AGUE S M U EUM .

R R SI R PO T AIT OF SHEFFIELD .

R R K SI R . PO T AIT OF ANNA WA E, WIFE OF SHEFFIELD F AND HIS R PORTRAITS O CONSTANTIN HUIJ GENS FIVE CHILD EN . R R O F UINT I N PO T AIT Q J SIMONS .

ROTTER DAM E M US UM . F T HE R EXALTATION O VI GIN .

R R OF R I . OF R R PO T AITS CHA LES ENGLAND, QUEEN HEN IETTA MA IA AND THEIR T W O CHILDREN SIR ANTHONY VAN DYCK H U N GA RY

B UDAPEST

A OF T H E FI A R CADEMY N E TS .

T H E HOLY FAMILY . A M RY MAGDALEN . AND VENUS ADONIS .

’ PORT RAIT O F A M AN AND H I S WIFE .

I T A LY

BELLUNO

C IVIC MU SEUM . R R R 1 PO T AIT OF CHA LES .

B R ESCIA R N M A TI EN GO PALACE . R J o HNf THE VI GIN AND CH ILD, WITH ST. f This is doubt ul .

FLO R ENCE

P ITTI PALACE .

R HEAD OF THE VI GIN .

R . VI GIN AND CHILD , WITH A FEMALE SAINT

R ' A R EPOSE OF THE HOLY FAMILY, WITH CI CLE OF ANGELS . R R PO RTRAIT OF CHA RLES WITH QUEEN HE N IETTA MA IA . R R R PO T AIT OF CA DINAL BENTIVOGLIO .

FF U IZI PALACE .

R R R THE VI GIN AND CHILD WITH THE ETE NAL FATHE , AND ANGELS . F R THE CHOICE O HE CULES . A R ttributed also to ubens . R R R v R K R R PO T AIT OF CHA LES . ON HO SEBAC , IN A MOU . R R R PO T AIT OF JEAN MONTFO T . R R R R RR PO T AIT OF MA GUE ITE OF LO AINE , WIFE OF GASTON OF R S O LEAN . R R R R R R AR PO T AITS OF LO D JOHN AND LO D BE NA D STU T. R R R SUST ERM ANS PO T AIT OF TH E MOTHE OF . xxxix SIR ANTHONY VAN DYCK

R R O F AN O LD - PO T AIT LADY . R R O F T H E R PO T AIT A TIST .

PA NCI AT I CH I A E PAL C .

R R PO T AITS OF A MAN AND HIS WIFE .

GENOA

B B - S R A AL I ENA EGA P LACE .

' R R O F R R K PO T AIT F ANCESCO BALBI , ON HO SEBAC . R R R R TH EE PO T AITS OF MEMBE S OF THE BALBI FAMILY .

A PO RTRAIT .

R CH IL , J ESUS THE VI GIN WITH THE D .

THE HOLY FAMILY .

A B IANCO PAL CE .

R R - E CH IST AND THE T IBUTE MON Y . R R CH IST WITH THE C OSS . R TH E VI GIN AND CHILD .

CATTANEO PALACE .

SEVEN PO RTRAITS .

- R R O F O F R R LERCARI . PO T AIT ANTONIO, WIFE F ANCESCO IMPE IALE

R R O F A M AN AND - A PO T AITS YOUNG YOUNG WOMAN .

R CENTU ION E PALACE .

R R PO T AIT OF SPIN OLA .

D R A O I PALACE .

F A PO RTRAIT O LADY. T H E HOLY FAMILY .

R A M B R OGIO D O IA PALACE .

PORTRAIT OF POLISSENA SPINOLA LEGANES .

REALE PA LACE .

R THE C UCIFIXION . D uRAz z PO RTRAIT OF A MAR C HESA o .

PO RTRAIT OF AN OLD LADY . R LER CAR I PO RTRAIT OF ANTONIA DEMA INI .

ROSSO PALACE .

- THE TR IBUTE MONEY . SIR ANTHONY VAN DYC K

K HO RSEBAC .

R - A R R R R O . PO T AIT OF PAOLO ADO NO , MA CHESA DI B IGN LE SAL

R R R IM R R - T H ER PO T AIT OF GE ON A, MA CHESA DI B IGNOLE SALA , WI H DAUGHTER; R R PO T AIT OF A YOUNG MAN . R R R R PO T AIT OF A P INCE OF O ANGE . R R R PO T AIT OF A FATHE AND SON . R R R CH IST BEA ING THE C OSS .

R R . K . PO T AIT OF PHILIP II , ING OF SPAIN R OSTAU PALACE .

R PORT AIT OF AN OLD MAN . R OYAL PALACE .

R CH R IST ON THE C OSS .

’ ’ - A B R O R V I LL A DELL L E O D O .

R R R R . PO RTRAIT OF A P OCU ATO OF . TH E EPUBLIC OF GENOA

M A R CELLO D U R AZZO PALACE .

THE R ETU RN OF THE YOUNG TOBIAS .

PO RTRAIT OF A BOY . F M AN PO RTRAIT O A . R R R F R R AND H ER T W PO T AIT G OUP O CATE INA DU AZZO O SONS . R R R O F R R AND A D G PO T AIT G OUP TH EE CHILD EN O .

E I . O F R R AN H I Y JAM S G EAT B ITAIN D S FAMIL . f This is doubt ul .

FER S D IN AN DO PI NOLA PALACE .

R AND TH E VI GIN THE CHILD JESUS . R R CH IST ON THE C OSS .

CHILD WITH A DOG . C GAETANO AMB IA SO PALACE .

“ R HER AU R MA CHESA SPINOLA AND D GHTE .

GENTILI PALACE .

' U NT R RR D THE CHILD BACCH S ON A PA HE , SU OUNDED BY CHI L REN .

M R E R - A CH SE M A AN A C H IAVA R I .

R R O R F. PO T AIT THE A TIST . SI R ANTHONY VAN DYCK

A A PALLAVICI N I P L CE .

FO R T H E F VENUS WEEPING DEATH O ADONIS . M AT T HE O F R VOLU NIA FEET CO IOLANUS .

M I LAN R R R B E A GALLE Y .

R R OF R F R PO T AIT AMELIA , P INCESS O O ANGE . T H E R AN F D I ST . O . VI GIN CHILD , W TH ANTHONY PADUA R R O F A PO T AIT YOUNG LADY . R R OF R K OF K PO T AIT VILLIE S, DU E BUC INGHAM .

A R M U SEO TI STICO . R R R AR R R 1 PO T AIT OF HEN IETTA M IA, CONSO T OF CHA LES . OF

ENGLAND .

M ODER N A A P NI COCC A PALACE .

R R D AR LER RI PO T AIT OF ANTONIA EM INI CA .

N A PLES R GALLE Y .

CUPID ASLEEP .

C U A OMO P LACE .

THE CR UCIFIXION .

R A EALE P LACE .

R R A PO T AIT . P ALER MO

A R . C HU R CH OF S . C TE I NA

T HE R AND VI GIN CHILD .

C H U R CH OF TH E O SPEDALE DEI SACERD OT L

R SAINT OSALIA .

A R R CONFR TER N ITY OF TH E OSA Y .

R R THE VI GIN IN GLO Y .

PA R MA R GALLE Y .

R THE VI GIN AND CHILD .

R OF . PO RTRAIT OF ISABELLA CLA A EUGENIA, INFANTA SPAIN xlii SIR ANTHONY VAN DYCK ROME

QU I R INAL PALACE .

T HE R ESU RRECTION . H R ADO RATION O F T E SHEPHE DS .

R BO GHESE PALACE .

R N T HE R CH IST O C OSS . T H E ENTOMBMENT .

R P GALLE Y OF TH E CA ITOLE .

PO RTRAITS O F LUCAS AND CORNELIS DE WAEL . PORTRAITS OF PIETER D E JODE AND HI S

R I CO SI N PALACE .

R D THE VI GIN AND CHIL . I CH R IST BEFO RE P LATE .

R I K . ST . MA TIN D VIDING HIS CLOA

GI U ST I N I AN I PALACE .

JESUS WASHING THE FEET OF HIS DISCIPLES . A . K CADEMY OF S T LU E .

V R OR . THE I GIN AND CHI LD, WITH AD ING ANGELS C M ONTE AVALLO PALACE .

R R CH IST ON THE C OSS . V A ILLA LBAN I .

CH R IST ON THE CROSS .

(Doubtful . )

C N OLO N A PALACE .

R R R R . CA LO COLONNA, EQUEST IAN PO T AIT

R T U IN . R R OYAL GA LLE Y .

R THE VI GIN AND CHILD . R THE LAST SUPPE . ’ R ST . F ANCI S HOLDING A DEATH S HEAD .

. R G RR R ST SEBASTIAN , WITH AN ANGEL D AWIN AN A OW F OM HIS

BODY . SI R ANTHONY VAN DYCK

F I Y R THE HOLY AM L (THE VI GIN AND CHILD , ST . JOHN THE BAPTIST,

. AND ST JOSEPH , ST . ELIZABETH). R R a l THE LAMENTATION OVE CH IST . (Gris il e . )

R R R A R - R EQUEST IAN PO T AIT OF THOM S , P INCE DE SAVOIE CA IGNAN . R R R THE TH EE CHILD EN OF CHA LES I . OF ENGLAND . R R INALDO AND A MIDA . f This is doubt ul . R CHA ITY .

This is doubtful . R R ’ P AUST RIA I NFANT A . PO T AIT OF ISABELLA OF , OF S AIN R R R PO T AIT OF A P INCESS . R R M EM Y SIX PO T AITS OF BE RSO F THE HOUSE OF SAVO .

BACCHANTES . THE ASSUMPTION OF THE VI RGIN

V EN ICE A CADEMY . T HE R C UCIFIXION . V ICE NZA S C MU EO IVICO .

T HE A K AN D ST . R . HOLY CHILD ASLEEP, WITH NIGHT OSA

R U S S I A

R B R S T . PETE S U G H R ER E M ITAGE GA LL Y.

THE HOLY FAMILY . La aux e Vierge p rdrix . T H E R LAST SUPPE . Pa th f inted in e manner o Rubens . T H E R C UCIFIXION . R R THE DESCENT F OM THE C OSS .

S for - f th Bé at A w now ketch the altar piece O e guinage nt erp , in f w A S o . the museum that to n nother like ketch , but in colours ,

" f f h e Of M a An dré P . e o t e in the coll ction dame , aris C opi s ictu re a t A w P a d a nd th e o f Lo p nt erp , in the r o , collection rd a Cobh m .

SIR ANTHONY VAN DYCK

R N TWO LADIES SEATED IN A GA DE . Sometimes described as Queen H enrietta Maria a nd h er sister

in - e O f m a r A e a r of Sir law the Qu en Bohe i , but eally nn , d ughte a ew and La A e Thom s Killigr , dy nne Dalk ith . A R T W O LADIES IN GA DEN . o f L n a nd R d and S e Catherine, Duchess en ox ichmon , her ist r, E z a H a w of A P r E o f N t m li beth ow rd , ife lgernon e cy, arl or hu d berlan .

R R Y A E R R R . PO T AIT OF A LAD IS B LLA B ANT, FI ST WIFE OF UBENS) R O F N FOUR M E NT H ER PO RT AITS SUSA NA AND CHILD . h o a to R T is is s metimes ttributed ubens .

S PA I N

MAD R ID R P ADO .

R S . ST . F ANCIS OF ASSI I R THE BRAZEN SE PENT . This h as b een a ttributed to Rub en s.

T R IN . S . JE OME PENITENCE h This as been att ributed to R ubens . R THE BETRAYAL OF CH IST.

MARY MAGDALEN .

CH R IST CR OWNED WITH THO RNS .

R R R . ST . F ANCIS OF ASSISI BEFO E A C UCIFIX A D R DIANA N ENDYMION WITH A SATY .

R R R R R . PO T AIT OF MA Y UTHVEN , WIFE OF THE PAINTE R R SI R K R PO T AITS OF ANTHONY VAN DYC , AND JOHN DIGBY, EA L OF B RI ST OI R R R W PO T AIT OF T HE PAINTE HEN A BOY. R R PO T AIT OF A LADY . R R I PO T A T OF A MUSICIAN .

R R So LM s- B RAUNFE IS R R . PO T AIT OF AMELIA VON , P INCESS OF O ANGE

R R R 1 R K . PO T AIT OF CHA LES . OF ENGLAND , ON HO SEBAC

R R R . PO T AIT OF DIANA , COUNTESS OF OXFO D R R R PO T AIT OF CHA LES II . OF ENGLAND WHEN A BOY R PO RTRAIT OF COUNT HEND RI K VAN DEN BU G .

R R R R R K R . PO T AIT OF THE CA DINAL FE DINAND , A CHDU E OF AUST IA

R R O F R R K R R O F R G . PO T AIT F EDE IC HEN Y, P INCE O AN E xl vi SI R ANTHONY VAN DYCK

R R O F R RY CKAERT R . PO T AIT MA TIN , PAINTE R R F E M N A E PO T AIT O FRANCIS D O C D .

R R OF R K R R . PO T AIT HEND I LIBE TI , O GANIST

SW E D E N

S TOCK HOLM R GALLE Y .

T H E F TIME CLIPPING WINGS O LOVE . FOR T HE OF A VENUS WEEPING DEATH DONIS . R THE GENIUS OF A TS AND SCIENCES . f This is doubt ul .

ST . R JE OME . T HE R DEAD CH IST .

U N I T E D S T A T E S

C H I CAGO A R T I N STITUTE . R R N PO T AIT OF HELE A DU BOIS .

NEW Y O R K

R O A R T U M ET OP LITAN M SEUM .

R R K PO T AIT OF JAMES, DU E OF LENNOX .

' H a Photo . n/sta eng l B V G V EL EDERE ALLERY , IENNA

oto a zz ta n l Ph . H f s e g FRA S N N NCI LISTE I G TO B V G V EL EDERE ALLERY , IENNA LEST I A L MUSIC

’ ‘ Photo . H a n PR N / sza eng t I CE R UPERT B V G V EL EDERE ALLERY, IENNA F O T H E PALATI NAT E

Photo H a n s t . f a eng l C T T G V LIE H ENS EIN ALLERY, IENNA

Photo D el oeu l .

R R O T P LAMENTATION OVE CH IST R YAL MUSEUM , AN WER

oto Ph . D el oeu l C C OF ST P P . T HUR H AUL , AN W ER

oto Ph . D el oeuz CHURCH OF SCHELLE

A RMI DA

Phol o . B rea m Cl , ement 6“ C o. OUVRE L , PA R IS

R C R S I AIT H A LE . O V P L U RE , ARIS

‘ N r z Photo. eu e d e n f reres

O V E P L U R , ARIS

Photo H a n s ta en l . j g

’ R G B I ST C R OW NED W ITH THO R NS OYAL ALLERY , ERLIN

oto B ru chma m z Ph .

‘ O G H E D RUN KEN SIL ENU S R YAL ALLERY , DRESDEN

m Photo. B ru ch ann

T T A R T O R S I . G E MA IA , QUEEN CHA LE ROYAL ALLERY , DRESD N

P P h oto H a zz R R OF . f rta eng l O T AIT T H E PA I NTE R P I NA CO I H E K , M U N I CH

t H a n sfa en l Pho o. f g T G R AIT OF AN A RTI ST NA IONAL ALLERY , LONDON

R R S US R S T G EMPE O THEODO I EFU ED NA IONAL ALLERY , LONDON I SSI ON INTO T H E CH U RCH

T O G RA IT OF CO R NELIU S VA N D ER GEEST NA I NAL ALLERY , LONDON

UPI I) A ND PSYC HE HAM PTON COURT

t A n nm z Pho o . B T O G B G SE ASTIAN NA I NAL ALLERY , EDIN UR H

h t H a n sta z n l P o o. f g BY W C T NETIA , LADY DIG INDSOR AS LE

toH a n sta efz t Pho . / g ' AS R OF C T E F ANCIS SAVOY , WINDSOR AS L E D E CA R I GNAN

r f h oto. H a uf sta en gl

B R D E C T E EAT ICE CUSANCE , WINDSOR AS L

' ‘ PR INCESSE D E CAN I E - C ROIX

’ ‘ t . Hmz R Pho o f sta eng t INCE CHA R LES I N A R M OU R WINDSOR

t . H a IARLES I O Pho o h fi ta eng t . N A YELLOW HORSE B C K G U IN HAM PALACE

t y a n ta en l Pho o. fi g MYSTIC MA RR IAGE OF SA INT CATHER INE B UC K INGHAM PALACE

h t B rau n Cl ement 6? Co. P o o. , ‘ H S R OF R T H E K OF N O K OMA , EA L A UNDEL , DU E ORF L , UNDE C ST IND H IS GR ANDSON AR L A LE