diff options
Diffstat (limited to '43001-8.txt')
| -rw-r--r-- | 43001-8.txt | 1598 |
1 files changed, 0 insertions, 1598 deletions
diff --git a/43001-8.txt b/43001-8.txt deleted file mode 100644 index ab67e1c..0000000 --- a/43001-8.txt +++ /dev/null @@ -1,1598 +0,0 @@ -The Project Gutenberg EBook of Van Dyck, by Percy M. Turner - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Van Dyck - -Author: Percy M. Turner - -Release Date: June 20, 2013 [EBook #43001] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK VAN DYCK *** - - - - -Produced by Al Haines - - - - - - - - -[Illustration: Cover] - - - - - MASTERPIECES - IN COLOUR - EDITED BY - T. LEMAN HARE - - - - VAN DYCK - - - - -====================================================================== - -PLATE I.--CHARLES I. Frontispiece - -(In the Louvre) - -Certainly the finest portrait of Charles I. in existence. It shows Van -Dyck in his most attractive aspect as a painter of the aristocracy. -Executed before the marked decline in his technical powers, which -marred, from an artistic standpoint, the later pictures of his English -period, it yet possesses the dignity and distinction he knew so well -how to infuse in portraying the nobility of our country. It is one of -the best examples of the artist's powers as a colourist, and as such -will bear comparison with the productions of the mighty Venetians. - -[Illustration: Plate I.] - -====================================================================== - - - - Van Dyck - - - BY PERCY M. TURNER - - ILLUSTRATED WITH EIGHT - REPRODUCTIONS IN COLOUR - - -[Illustration: Title page graphic] - - - LONDON: T. C. & E. C. JACK - NEW YORK: FREDERICK A. STOKES CO. - - - - - CONTENTS - - I. The Early Days - II. The Journey to Italy - III. The Second Flemish Manner - IV. Van Dyck in England - V. Van Dyck's Position in Art - - - - -LIST OF ILLUSTRATIONS - - -Plate - -I. Charles I. . . . . . . . . . . . . Frontispiece - In the Louvre - -II. Charles Louis of Bavaria and his brother - Robert, afterwards Duke of Cumberland - In the Louvre - -III. Prince d'Arenberg - In Lord Spencer's Collection, Althorp - -IV. Portrait of Van Dyck (or The Artist) - In Lord Spencer's Collection, Althorp - -V. Philippe le Roy, Seigneur de Ravel - In the Wallace Collection - -VI. Portrait of one of Charles I.'s children - In the Academy of Fine Arts, Rome - -VII. Portrait of the Artist's Wife - In the Pinakothek, Munich - -VIII. The Marchese Cattaneo - In the National Gallery - - - - -[Illustration: Van Dyck] - - - - -I - -THE EARLY DAYS - -No painter has remained more consistently in favour with both artists -and the public than Van Dyck. His art marks the highest achievement of -Flanders of the seventeenth century. In making this statement the -claims of Rubens have not been overlooked, although the latter has -been, and probably will always be, considered the head of the Flemish -school. - -It is perhaps not too much to say that Van Dyck possessed in a greater -measure than Rubens those qualities which go to make a great artist. -We can never overlook the seniority of the latter, and to him will -always belong the credit of having evolved the style which -revolutionised the art of a nation, and there is no doubt that the -pupil owed to him much of the knowledge he so well utilised in -after-life. - -====================================================================== - -PLATE II.--CHARLES LOUIS OF BAVARIA AND HIS BROTHER ROBERT, AFTERWARDS -DUKE OF CUMBERLAND - -(In the Louvre) - -As an example of direct portraiture this picture would be hard to beat. -It shows Van Dyck in one of his happiest moods dealing with a subject -which peculiarly appealed to him. - -[Illustration: Plate II.] - -====================================================================== - -In comparing those two great men it would be well, at first, to rid -ourselves of the confusion which often arises through the application -of the terms "artist" and "painter." In relation to painting they are -only too often considered synonymous, but a little consideration will -show us that a man whose technical abilities are of a high order need -not necessarily be a great artist. In fact, one of the most truthful -charges urged against the best contemporary art is that it demonstrates -an astonishing poverty of invention, a lack of message, if you will, -coupled with an extraordinarily highly developed technique. To screen -as much as possible the dilemma in which he finds himself, many a -modern painter has recourse to creating those outbursts of meaningless -eccentricity that are so familiar upon the walls of our exhibitions. -It is true that some few of the men who are living to-day are equipped -almost, if not quite, as well technically as the great majority of the -old masters. In a word, they could meet them on nearly equal terms as -painters, but they lack invention and conception in which to bring -their powers into legitimate play, and consequently they cannot rank -with them as artists. - -It was in the possession of these very qualities that Van Dyck -surpassed Rubens. I do not suggest that the latter was devoid of power -of conception, for, if I did, would not the great "Coup-de-lance" at -Antwerp, or the "Fall of the Damned" at Munich (the drawing for the -latter in the National Gallery gives an even better idea than the -finished picture) be there to refute me? Van Dyck, however, though -being quite the match of Rubens in technique, even in his early -days--though still working under him--surpassed him in his middle -period. Anybody who has closely studied the noble religious pictures -at Courtrai and Malines--the latter, unfortunately, irreparably injured -by damp and neglect--can but be impressed with his stupendous power in -this direction. Granted that he does not appeal in the same measure to -our emotions from the spiritual side as do the early painters of Italy -and Flanders, he yet brings the brutal aspect of the scene before us in -an intensely human manner. - -In most subject pictures Van Dyck painted before his visit to Italy it -is apparent that Rubens had been his sole guide, and he was impelled -only with a desire to emulate his master. But, after his return, the -influence of the mighty painters he had studied south of the Alps had -wrought a wondrous change in his method, and although he found himself -back again amidst his old surroundings he never quite forsook the path -he had been treading in the interval. Rubens, who had also spent some -years in Italy, did not submit to the influence of the southern masters -in the same measure, but remained a Fleming to the end. There is -little alteration to be observed, either in his historical and sacred -pictures or in his portraits, after he had studied the Italians. From -this we may assume either that Rubens was less susceptible to -extraneous influences, or that he considered his method quite the equal -to any that he had seen. Van Dyck, on the other hand, absorbed, -particularly from the Venetians, certain qualities which he employed -ceaselessly throughout the remainder of his life. It was not, however, -solely this cause which raised Van Dyck as an artist above his master. -Rather was it to be attributed to the superiority of temperament. -Thus, whilst we can still consider Rubens the head of the Flemish -school of the seventeenth century, we should accord to Van Dyck the -foremost rank as an artist. - -Anthony Van Dyck was born at Antwerp on March 22nd, 1599. It was said -formerly that his father, Frans Van Dyck, was a painter on glass, but -later research has disclosed the fact that he carried on business as a -merchant. His mother practised the art of embroidery with no mean -skill, and her works appear to have been held in considerable esteem. -The young painter had, however, the misfortune of losing her when he -arrived at the age of eight. We know but little of his early years, -but he must have shown considerable aptitude for drawing, for we find -him already the pupil of Hendrik van Balen in 1609. The latter painter -had received instruction in his art from Adam van Oort, the master of -Rubens, but he utilised the instruction he had received in a very -different way from that of his fellow-pupil. He studied in Italy for -some time, and upon his return to Antwerp became one of the most -popular painters in the city. Several works still remaining there -testify that his sojourn in the South had not entirely effaced his -Flemish training. He excelled particularly in cabinet pictures, with -subjects inspired by the classics, in which the landscapes were -sometimes painted by Jan Brueghel. These are wrought with wonderful -finish, and were much admired by his contemporaries for the purity of -their colouring. At the same time, whilst being a good craftsman and -filling an honourable position in the history of the school, it cannot -be claimed that he possessed genius in an extraordinary degree. - -It is probable, however, that a more suitable master for the young Van -Dyck could not have been found. In the studio of so staid and sober a -painter he would not be brought into contact with any of those -pyrotechnics which have wrought such havoc with the art of young -artists when encountered at the onset of their careers. On the other -hand, Van Balen is likely to have insisted upon great care being -exercised in drawing and in the finishing of minutest detail. Such -rigid training is excellent, for whilst it does not hinder further -developments upon other lines in the least degree, it insures that all -future progress shall be built upon a solid foundation. - -At this time, however, Rubens, having returned from his wanderings in -Italy and Spain, had settled in Antwerp. His new position as Court -painter to the Archduke Albert and the Archduchess Isabella brought him -into great prominence and insured him constant occupation. Even at -this early period his art was approaching maturity, and if he had not -yet developed the dazzling brilliancy and facility of his later time, -he was still far ahead of any painter modern Flanders had produced. We -have only to contemplate the works of his contemporaries, and those who -immediately preceded him, to imagine what a profound sensation this -young man created in Antwerp. It seldom fell to the lot of an artist -who was but just over thirty to have been in the service of such an -illustrious personage as the Duke of Mantua. The latter, moreover, so -highly esteemed his talent that he wished him to return to his service -even after he had returned to Antwerp. Further, the Duke had such -confidence in Rubens' diplomatic ability that he sent him upon -important business to Philip III. in Madrid. The experience he had -gained both in Italy and in Spain, where he had seen and copied many of -the greatest works of the Italian Renaissance, served to develop a -genius which in itself was of the first order, and the fruits were -immediately visible upon his arrival in Antwerp. We can well picture -to ourselves the effect of the masculine vigour, nay, more, the bravado -of his brush-work upon the staid and homely Flemish artists. Their -minuteness of finish, delicacy, cool transparencies and silveriness of -colouring seem indeed _petit_ when pitted against the irrepressible -dash and golden palette of Rubens. In spite of this he appears not to -have created any enemies. On the contrary, his fellow-artists seem to -have recognised his superiority, and many were influenced by his -method. To estimate to the full the revolution he wrought we must -compare the masters whom we found installed in favour in Flanders with -the school he so soon created. The older painters being affected in so -visible a degree, we can quite imagine how easily one so young and -impressionable as Van Dyck would submit to the new influence. Here was -a master whose art, glowing with the full-blooded vigour of Italy, yet -retained the healthy freshness of his native country. Restrained and -held in leash as he would be in the studio of Van Balen, we can -sympathise with his yearning to migrate to that of Rubens. He speedily -joined that ever-swelling body of artists who gathered themselves round -the great master. For some years he worked side by side with Snyders -and Seghers. The progress he made during this time was considerable; -indeed, it is frequently difficult to decide whether certain pictures -produced in these years are the work of the master or the pupil, so -thoroughly had he acquired Rubens' technique. - -====================================================================== - -PLATE III.--PRINCE D'ARENBERG - -(In Lord Spencer's Collection, Althorp) - -A portrait characteristic of one of the most popular phases of Van -Dyck's art. It exhibits in a remarkable measure his sense of -appropriateness as far as the setting of a portrait is concerned. The -background has been chosen largely with a view to accentuating the -salient points of the picture, and whilst being, in consequence, -strictly subservient to the portrait is yet treated in a bold and -vigorous manner. - -[Illustration: Plate III.] - -====================================================================== - -In connection with this a story, the details of which have frequently -been challenged, is told. It is said that Rubens, leaving his studio -one day to take a walk, had left a picture in the process of painting -upon his easel. The students were anxious to inspect it and observe -the method he was employing. Finally, they induced his servant to -admit them. Being a numerous crowd, some amount of struggling took -place to get near the canvas. The result was that one of them, it is -said Van Diepenbeck, fell against the canvas and injured the picture. -Dismay spread throughout the room. When they had recovered their -presence of mind, some one proposed that the damage should be repaired -before Rubens returned. By common consent Van Dyck was chosen, and he -set to work with a will. Upon Rubens entering his studio next morning, -surrounded by his pupils, he selected the repaired part and said that -that was by no means the worst piece he had painted the day before. -Upon a closer examination the damage revealed itself, but so cleverly -had Van Dyck performed his task that Rubens decided to leave it as it -was. - -From such tales as this has arisen the tradition that Rubens became so -jealous of his pupil that he endeavoured to persuade him to abandon -historical painting and devote the whole of his time to portraiture. -Such statements are not only in opposition to all that we know of -Rubens' character, but there is the further evidence that when he -finally parted from Van Dyck they were on the very best of terms. -Indeed, Rubens went so far as to make him a present of one of his -finest horses for the purpose of his journey in Italy, whilst Van Dyck -left with his master a portrait of Rubens' wife as a souvenir. - -He further retained the services of Van Dyck as his assistant, which he -would not have done had any jealousy existed between them. It was -probably the pressure of commissions, which flowed in upon him in -innumerable quantities, that induced him to take this step. It was -quite impossible for the master himself to accomplish all the work he -undertook. Outside Italy he was the first master to employ his school -as a sort of manufactory on a large scale. So well did he train his -assistants that he had only to make the sketch himself, and to -superintend its painting, for a large work to be turned out in an -incredibly short time. As Van Dyck was his most capable assistant, he -would certainly employ him upon the important parts, and as it has -already been pointed out that it is difficult to differentiate between -the works of the two men at this time, it would be still more difficult -to decide definitely what hand Van Dyck had in the large number of -religious and historical pictures that were being sent out under -Rubens' name at this time. - -During this period, however, Van Dyck had acquired a reputation of his -own. He had been elected a master of the Antwerp Corporation of -painters in 1618, that is, whilst still in his twentieth year. - - - - -II - -THE JOURNEY TO ITALY - -It was the habit of most Northern artists at that time to make a -journey in Italy. The renown of the works created during the preceding -two centuries by the Italian Renaissance had spread all over Europe, -and no young artist considered his education complete without having -spent a few years in studying them. Moreover, they found that patrons -patronised them better if they had been through this Italian training. -These ideas were rather dictated by the prevailing fashion than by any -solid good to be derived by the artist who underwent it. We have -innumerable examples of Dutchmen and Flemings whose natural genius -became perverted upon Italian soil. Nicholas Berchem and Karl Dujardin -were striking examples of the sad results which frequently accrued from -thus transplanting themselves into a country with which their -temperament had nothing in common. It is probable that had Karl -Dujardin remained in Holland, the world would have been enriched by a -landscape painter of the first order, for he had gifts far above even -the average painter of his time. But immediately on reaching Italy he -succumbed to the influences surrounding him, and endeavoured to get rid -as far as possible of his early training, and to see things and render -them in the Italian way. The result was, that whilst he never threw -off the Dutch character of his scenes and figures, he enveloped them -with a conventional atmosphere as monotonous as it is untrue. - -We have already seen the results the Italian journey had upon Rubens. -There was no inducement for Van Dyck, comparing, as he would be able -to, his master's pictures painted before his journey to Italy and those -which he executed afterwards, to undertake the same trouble. It is -rather to be thought that he was decided to see the artistic Mecca for -himself, by the glowing accounts of its treasures that he heard from -time to time from Rubens' own lips. For the latter, small as had been -the influence of the great Italian masters upon his work, was -nevertheless of a disposition peculiarly adapted for keenly -appreciating merit whenever it was brought under his notice. We can -quite imagine that during those early days in Antwerp his pupils whilst -at work would hear innumerable accounts of the beauties of this or that -picture, and the more enthusiastic of them would consequently only be -the more eager to judge of its beauties for themselves. During the -execution of the large canvasses that were turned out in such -quantities from the studio, Rubens doubtlessly prefaced alterations he -made by referring to many a master's method, and recounted how the -masterpieces upon which his comments were framed had been brought to -completion. - -During the latter portion of the time Van Dyck stopped with Rubens he -was only acting as his assistant, and consequently would be free to -leave when he liked. He would probably be quite aware that his -technique was the equal of his master's, and would realise that he had -received all the tuition he possibly could in his present situation. -Ambitious as he was, there is no doubt that he yearned for an -opportunity to learn for himself the message the great masters had to -impart to him. Whilst we can quite imagine that Rubens would be sorry -to part with so capable an assistant, there was not any evidence that -he did not do everything in his power to assist him to carry out his -project. - -In 1623--when he was but twenty-four years of age--Van Dyck left -Antwerp on his journey southward. He appears not to have got any -further than a village near Brussels, where he succumbed to the -attractions of a certain young lady named Annah van Ophem. At her -instigation he painted two pictures for the parish church there. In -one, representing St. Martin sharing his cloak with a beggar, he took -himself as a model for the saint. The parish authorities being, it is -said, of a mercenary turn of mind, had it valued, and, hearing that it -was worth 4000 florins, sold it to a M. Hoët. The people of the -village, however, hearing of the sale, determined to prevent the -removal of the picture at all costs, and when the purchaser arrived he -found not only the peasants, but their wives and children, armed, and -was obliged to escape ignominiously through the priest's garden and -return to Brussels without his prize. Whilst still residing at the -village, Van Dyck painted the portrait of Annah van Ophem, surrounded -with the dogs belonging to the Infanta Isabella, of which either she or -her father had charge, and a picture of the Holy Family, in which she -figured as the principal personage. - -====================================================================== - -PLATE IV.--PORTRAIT OF VAN DYCK (OR THE ARTIST) - -(In Lord Spencer's Collection, Althorp) - -One of the most striking portraits of the artist. Painted at a fairly -late date in his career, it shows the painter prosperous and rich and -by no means ill pleased with his lot in the world. Full of life and -gaiety, his joyous face gives us a good idea of the gratification he -found in life almost to the end. Indeed, a deal of the fascination of -his art arises from his approaching his subjects in this happy frame of -mind. - -[Illustration: Plate IV.] - -====================================================================== - -Rubens, hearing of the prolonged sojourn of his pupil at Saveltheim, -arrived one day upon the scene, and finally induced Van Dyck to tear -himself from his mistress and continue his journey to Italy. - -The great object of his visit was to study the Venetian masters, and -accordingly he repaired forthwith to the City of the Lagoons. We can -picture him standing for the first time before those wonderful -portraits of Titian and Tintoretto, Palma-Vecchio and Moroni, about -which he had heard so much in his student days in Antwerp. That he was -not disappointed is evidenced by the fact that almost immediately a -change is observable in his method. He cast aside as speedily as -possible the silveriness and coolness which had characterised his -palette when working in Antwerp, and endeavoured to assimilate in as -great a degree as possible the golden luminosity and subtle handling of -the mighty Venetians. It is probable that Titian held the first place -in his estimation, for it is rather upon his method that all his -subsequent developments in technique are based. But perhaps full -justice has not been done to the influence Moroni had in moulding his -youthful genius. One has only to compare, for example, the full-length -portrait of an Italian nobleman, No. 1316 in the National Gallery, with -that marvellous representation of Philip le Roy in the Wallace -Collection, reproduced in this volume, to see the connection between -the two painters. There is the same air of distinction in each -portrait, and in silveriness of colouring and elegance of pose there is -much in common. These are not isolated examples in the life-work of -the two masters, but are rather representative of a whole series of -portraits in which their genius runs on nearly parallel lines. - -We cannot wonder that Van Dyck was not much impressed by such of the -Umbrian painters as he came in contact with. There was still left in -these men the remains of that mysticism which was born of the intimate -contact with religion in relation to life that had originally brought -it into being. The religious art of the Netherlands--I am speaking now -of that which arose after the middle of the sixteenth century--was -built upon a purely human and materialistic basis. If a scriptural -scene was represented it was brought before us as a subject from -everyday life; a martyrdom with all its brutality, a crucifixion with -all its physical horror, and a madonna and child simply as a peasant -girl with a child, set in homely surroundings. Our artist, endowed -with the same temperament as the men who had created such works, and -who moreover was perhaps the best exponent of this school of painting, -with the possible exception of Rubens himself, could not be expected to -be touched with the subtleties of Botticelli or Filippino Lippi. -Further, it is not unlikely that he found he could learn little from -the technique of Raphael or Andrea del Sarto. But with the Venetians -it was quite otherwise. From the early days of Giovanni Bellini they -seem to have treated religious subjects in just as materialistic a -manner, if less grossly and repugnantly, than the Flemings themselves. -One has but to contemplate the life-work of Titian to see how little -religious feeling, in the Florentine or mystical sense of the term, -there was in his art. Even the two most impressive religious pictures -he ever painted, the "Entombment," in the Louvre, and the "Christ -crowned with Thorns," at Munich, would certainly not have pleased the -patrons of Ghirlandajo or Pollaiuolo. But Titian and his -contemporaries constitute the zenith attained by Italian materialistic -art, at any rate in point of technique. - -====================================================================== - -PLATE V.--PHILIPPE LE ROY, SEIGNEUR DE RAVEL - -(In the Wallace Collection) - -The masterpiece of Van Dyck's second Flemish manner. In it we see the -culmination of the influences he had brought away with him from Italy -sobered by a renewed contact with the productions of his illustrious -master. The dignity of pose, probably derived from Moroni and Titian, -united with the fact that his immense technical powers are brought into -play in an unsurpassed degree, certainly proclaim it as one of the -greatest portraits in the world. Van Dyck executed an etching of -Philippe le Roy, probably based upon this portrait which ranks very -high amongst his productions in this way. - -[Illustration: Plate V.] - -====================================================================== - -It is more than probable that Van Dyck found certain points in his -master's method crude compared with that of the Venetians, and -although, as we shall see later, he endeavoured after his return to -Flanders to retrace his steps in a measure, the influences he brought -away with him from Italy remained during his whole life. - -He went from Venice to Genoa, and there his style created such an -impression that he found many of the nobility eager to have their -portraits painted by him. Formerly, his Italian manner, as it is -called, was to be best studied in that city, but as years have rolled -on many of the finest examples have become scattered over Europe and -America. The two fine portraits recently added to the National Gallery -date from this period, and although, owing to their condition, they do -not set forth his talents at their best, will give a good idea of the -changes his method had undergone since he left Antwerp. Two of the -noblest portraits of the Genoese period were formerly in the collection -of Sir Robert Peel, but, after being sold at auction in London some few -years ago, finally found a permanent home in the Berlin Gallery. - -From Genoa he went to Rome, and, his reputation having preceded him, he -was soon loaded with commissions for both historical subjects and -portraits. It is said, however, that his residence here was rendered -unpleasant by a number of artists persecuting him by reason of his not -wishing to fall in with their methods of life. Be this as it may, he -returned to Genoa, and after some time departed for Palermo; but the -plague breaking out, some time after his arrival, he determined to -return to Flanders. Van Dyck had reason to congratulate himself, not -only upon the amount of benefit which he had received from his sojourn -in Italy, but also on account of the flattering manner in which he had -been received everywhere. His complete success in these two respects -was calculated to infuse confidence in him for the future. He was now -fully equipped in every way, and his good luck in the matter of -patronage, so lavishly bestowed upon him in Italy, was destined to -pursue him in his future career, until finally the immense amount of -work he undertook in consequence had an adverse influence upon his -later productions. - - - - -III - -THE SECOND FLEMISH MANNER - -The reputation of Van Dyck, great as it was prior to leaving Antwerp, -had materially grown during his absence in Italy. From time to time -reports reached his fellow-townsmen of the brilliant success he was -achieving there, the high personages with whom he was mingling, and the -flattering praise accorded to his productions. We may be sure that -returning travellers would relate the astonishing progress he was -making, and consequently his friends would await with eager -anticipation the proofs of all they had heard. There could be no doubt -that Rubens would be amongst those who would be most interested in his -progress, and he would be curious to see the influence the Italians had -exercised upon his technique. - -His talents were soon put to the essay in the form of a commission for -a large picture representing St. Augustine in ecstasy, surrounded by -angels and saints, for the Church of the Augustines in Antwerp. As a -result of this first effort, both his patrons and the public were -delighted, and commissions for works of a similar character flowed in -upon him from every side. - -Rubens had fairly early in his career instituted an ingenious method -for making his works widely known. He employed, under his own -direction, a number of engravers whose names have become household -words. Technically considered, they were as well equipped as any who -have ever lived. The names of Paul Pontius, Lucas Vorsterman, the two -Bolswerts, Peter de Jode are held in reverence by every admirer of -engraving. Their remarkable fidelity in transcribing the works of -Rubens render it frequently unnecessary to see the originals themselves -in order thoroughly to study them. I am perhaps not going too far when -I say that they understood the art of translating colour effects into -black and white in a manner unknown previous to their time and never -surpassed afterwards. The tone values of the paintings themselves are -preserved. There is no doubt that this excellence was due to the -guidance of Rubens. He superintended each plate in process of -preparation and rectified with his own hand any errors that might have -crept in. In this way Rubens rendered an immense service to art. -Quantities of these prints went out to foreign countries and were -prized by both artists and collectors, serving to stimulate the former -to renewed efforts and to improve the taste of the latter. At the same -time, he is to be credited with having brought the engraving art to a -pitch which has never been surpassed. - -When Rubens saw of what his pupil was now capable, he immediately -turned the attention of his engravers to his works, and until Van Dyck -practically ceased historical painting, we have as many plates worked -after his designs as from those of his master. It was soon after his -return to Antwerp that he received the commission to paint the -celebrated picture at Malines representing the Crucifixion. Of this -remarkable canvas we can but form an inadequate idea to-day. The -exceeding negligence with which it has been kept, coupled with the -continual covering up of the picture, thus depriving it of light, which -every oil-painting requires for its preservation, has contributed to -render it a wreck of its former self. The subject, to which we are so -accustomed that we are but little moved when we encounter it in the -great galleries, is here presented to us in a most terrible and -essentially human aspect. The extraordinary expression of physical -pain infused into the heads of the two thieves, one on each side of -Christ, together with the energy of their efforts to detach themselves -from their awful position, will cause a shudder to creep over even the -most phlegmatic person. This is foiled by the superb treatment of the -head of the Saviour. In the latter is an extraordinary mixture of -pain, mental and physical, combined with a sublime look of resignation. -Sir Joshua Reynolds regarded it as one of the masterpieces of the -world, and there will be not a few who will concur in his judgment. - -Van Dyck was not, however, content simply to exercise his powers in -this way. An innumerable series of portraits date from this time, -notably the well-known series representing the most prominent -contemporary artists of Flanders. These productions are well known -from the engravings executed after them; the originals are now -distributed throughout the world. - -It is said that Van Dyck's position in the Netherlands, in spite of the -quantity of patronage bestowed upon him, was anything but pleasant. -The jealousy of his rivals was particularly irksome to a man of his -disposition. In the intrigues with which he was surrounded Rubens had -no part; on the contrary, he always sustained the cause of his -brilliant pupil with the utmost enthusiasm and fidelity, and it is -probable, in view of this fact and the renown which Van Dyck himself -had attained, that he would have worn down the opposition and caused -the calumnies with which he was beset to fall upon the heads of their -originators. But the taste for travel which he had developed in Italy -probably impelled him to seek relief outside his own country. -Accordingly we find him employed at the Hague--certainly not a great -distance from the seat of his recent troubles, but sufficiently far to -remove him from their reach. Here he painted the portrait of the -Prince of Orange and innumerable personages of his Court, in addition -to receiving ample encouragement from the foreign ambassadors. - -It was not, however, to be expected that so small a city with its -limited scope would long suffice for a man of his ambitions. His eyes -were set upon England. - -====================================================================== - -PLATE VI.--PORTRAIT OF ONE OF CHARLES I.'S CHILDREN - -(In the Academy of Fine Arts, Rome) - -Possibly the best known and one of the most deservedly popular of the -master's child portraits. It will bear comparison for charm and -delicacy of handling with any of the productions of our great English -masters. In fact, it was largely after a study of Van Dyck's wonderful -pictures of children that Gainsborough formed his last and greatest -manner. - -[Illustration: Plate VI.] - -====================================================================== - -The encouragement which Charles I. extended to the fine arts, and his -liberality in patronising them, induced him to think that a suitable -field for the exercise of his talents was open to him in our country. -Accordingly about 1632 he arrived in London. England was not, however, -quite strange to him, for about eleven years previously--that is, -before his departure to Italy--he had already been here upon a visit. -Upon this occasion, however, he does not appear to have succeeded in -attracting the attentions of the king, and consequently he did not meet -with the success he had counted upon. Remaining but a few months, he -decided to return to Antwerp, fully resolved to make it a permanent -place of abode. - -Meanwhile, however, Rubens had been sent by the Infanta Isabella on a -diplomatic visit to Charles, who received him in the most gracious -manner and created him a knight. The flattering attentions bestowed -upon Rubens during his stay, coupled with his estimation of the king's -character and taste, created a most favourable impression upon him, and -when he returned to Antwerp he probably dispelled in a measure Van -Dyck's antipathy to our country. Meanwhile Charles had seen the -latter's portrait of Nicholas Lanière, his chapel master, and was so -impressed with its qualities that he sent an invitation to Van Dyck to -return. - -An opportunity so favourable to advancement was not lightly to be -passed over, and Van Dyck decided once more to try his fortune here. - -This decision constituted a turning-point in the life and style of the -artist, and we shall see him in England passing the most prosperous -years of his life. - - - - -IV - -VAN DYCK IN ENGLAND - -There never was a time in the history of the English Court when such -opportunities for advancement were presented to an artist possessing -the genius of Van Dyck as during the reign of Charles I. He was one of -the few monarchs of England who recognised the civilising influence of -art on the nation and encouraged it in a manner quite beyond his means. -It mattered not of what period, school, or nationality a work happened -to be, so long as it possessed a high degree of merit, it appealed -strongly to the king. We have only to consider the superb collection -he brought together, only to be ruthlessly dispersed by the -Commonwealth, to gauge the refinement of his taste. Many of the -priceless possessions of foreign galleries formed part of his -collection, and if England had only been in a position to retain her -hold upon them we should no doubt to-day be in possession of the finest -assemblage of Italian art in the world. I need only enumerate the -sumptuous portrait of Alfonso of Ferrara and Laura d'Dianti and the -"Entombment," by Titian, in the Louvre; the portrait of Erasmus, by -Holbein, in the Louvre, and the marvellous portrait of a young woman, -for so many years wrongly ascribed to the same master, at the Hague; -the portrait of Albrecht Dürer by himself in the Prado, and the two -masterpieces by Geertgen van St. Jans in the Imperial Gallery at -Vienna, to demonstrate the quality of his many possessions. In England -we still have retained a few of his treasures. Conspicuous among them -are those masterpieces of Andrea Mantegna, the "Triumph of Julius -Cæsar," at Hampton Court, the Albrecht Dürer, and the Lorenzo Lotto, in -the same gallery, together with the "Mercury, Cupid and Venus," by -Correggio, in the National Gallery. - -Needless to say that a collector, who had sufficient taste to bring -together such a notable assemblage, would demand a very high degree of -talent indeed in a painter who was working for the Court. Charles had, -moreover, been brought into contact with the brilliant achievements of -Rubens, and would in consequence expect a great deal from a pupil whose -merits he had heard so extolled. - -The portrait of Nicholas Lanière appealed to him immediately. He saw -in Van Dyck a man whose performances, even at this early age, far -surpassed those of any painter then working in England. Charles, who -immensely admired the portraits of Rubens, saw in those of his pupil an -Italian quality lacking in the former, and this would additionally -attract him. - -Van Dyck's reception was most flattering. He was given a lodging at -Blackfriars amongst the other painters, and was set to work immediately -for the king. Charles was quite as much taken with the courtly -qualities and conversation of his newly-found painter as by his talent, -and greatly enjoyed his company. He was accustomed to go to -Blackfriars by water, and to chat with Van Dyck whilst having his -portrait painted. From this time date the innumerable portraits of -Charles and his Queen, Henrietta Maria, with which we are so familiar. - -The fashion thus set by the king was speedily taken up by his Court, -and the nobility of England competed with one another for the privilege -of having their portraits painted by the brilliant Fleming. - -Soon after his arrival Van Dyck received the honour of knighthood, and, -in addition to being appointed painter to his Majesty, had an annuity -of £200 per annum settled upon him. - -The quantity of commissions which now flowed in upon him was -prodigious, and he was sorely taxed to keep pace with them. He was -enabled in consequence to raise his prices considerably without in the -least diminishing the patronage bestowed upon him. He commenced to -entertain on a lavish scale, and his table was frequented by the -highest in the land. It is said that after occupying the morning in -painting portraits he would invite his sitters to dinner, and then, -from the study he had made of their countenances during the meal, would -work upon the portraits again in the afternoon. - -Although Van Dyck had been accustomed to good society and living, the -overwhelming good fortune which was now his lot appears to have -developed bad habits in him. He soon acquired luxurious habits, which -finally undermined his health. Passionately fond of music, he -liberally encouraged all the professors of that art, and gratuitously -painted the portraits of its most celebrated exponents. - -The demands upon his purse at this time must have been enormous, and in -order to increase his output, and consequently his income, he had -recourse to the means he had seen Rubens so successfully employ in -Antwerp. He brought together a school of painters, who worked under -his directions. The portraits dating from this period consequently not -only show the marked deterioration in his technique, but also, beyond -the heads and hands and a few other essential details, contained but -little of his own work. His assistants were so thoroughly trained that -they were enabled to paint the draperies and their accessories in a -style which welded perfectly with his own brushwork. - -These facts have to be carefully remembered whenever we are -contemplating a work of the English period of Van Dyck, for were we to -form our judgment solely upon the portraits he had painted prior to -going to England we should reject many of the former as not being from -his hand. There is further the added difficulty that his assistants -executed pictures in his manner on their own account, and it is only by -the lack of that spark of genius he was enabled to infuse in those -parts of a portrait he executed with his own hand that we are enabled -to differentiate between them. Many of the portraits of the king and -queen which were sent as presents all over Europe were but the -productions of his studio. - -====================================================================== - -PLATE VII.--PORTRAIT OF THE ARTIST'S WIFE - -(In the Pinakothek, Munich) - -A remarkably good example of Van Dyck's power of depicting female -character. Whenever he is faced with a sitter in whom he is interested -he suited his technique to the points he wished to emphasise. It is -the possession of this versatility which enables him to infuse so much -seductive charm into his women portraits and such trenchant vigour into -those of men. - -[Illustration: Plate VII.] - -====================================================================== - -It is only in such superb presentations of Charles as that in the -Louvre, at Windsor, and in the National Gallery that we are enabled to -judge of his capabilities at this period. He now almost entirely -deserted historical painting. There was no demand for it in England, -and his attention was exclusively devoted to portraiture. Moreover, if -we may judge from the ever-increasing facility with which he was wont -to paint, it may be fairly said that his attention during these years -was being diverted from painting to pleasure. He never lost interest -in his art, but he was impelled to adopt a more facile manner by the -pressure of his engagements and his ever-increasing expenses. - -He kept a country house at Eltham in Kent, where he spent the summer--a -form of extravagance more defensible than many in which he was -accustomed to indulge. - -Meanwhile, he had contracted a marriage with Mary Ruthven, -granddaughter of Lord Ruthven, Earl of Cowrie, by whom he had one -daughter. His wife, however, brought him no dowrie, but was considered -one of the greatest beauties of her time. Soon after his marriage he -left England with his wife for the purpose of showing her his native -country. They travelled for some time, visiting his family and -friends. Then the idea occurred to him that he would proceed to Paris, -with a view of sharing, if possible, in the contemplated decoration of -the Louvre, and thus win laurels equal to those Rubens had gained by -his works in the Luxembourg. He arrived, however, too late: Nicholas -Poussin had been brought specially from Rome for the purpose, and the -work was in hand. Disappointed in this, and still desiring to execute -some great work by which he might secure a lasting renown, he returned -to England and proposed to the king, through the medium of his old and -trusty friend Sir Kenelm Digby, to embellish the wall of the Banqueting -House at Whitehall with the history of the Order of the Garter. The -ceiling of this sumptuous chamber had already been painted by Rubens, -and Van Dyck no doubt considered that his work would blend admirably -with that of his master. The sum he asked for, £8000, although -considerable, would no doubt not have stood in the way of the execution -of the project had it occurred at an earlier date in the reign of the -unfortunate Charles. The kingdom, however, was already in a turbulent -condition. Funds were scarce, and such as existed might have to be -employed at any moment in raising an army to defend the king's cause. -Charles was now occupied in a life-and-death struggle with his people, -and had no time to devote to artistic pursuits. Van Dyck consequently -waited in vain for an answer, and it is to be supposed that meanwhile -commissions did not come to him as easily as formerly. Young as he -still was, the effects of his past luxurious life were beginning to -tell upon him, and, coupled with the disappointment occasioned by the -rejection of his proposal, contributed to bring on gout. He began to -have financial worries too, but these can hardly have been sufficiently -great to have troubled him much, for he left at his death property to -the value of £20,000. He therefore turned his attention, probably in -emulation, or by the advice, of his friend Sir Kenelm Digby, to the -pursuit of the philosopher's stone, and, needless to say, the results -of his experiments and the money he expended upon them only aggravated -the state of his health. He rapidly sickened, and died in London on -December 9th, 1641, when forty-two years of age. He was accorded a -magnificent funeral in St. Paul's Cathedral, and was buried in a tomb -beside that of John of Gaunt. - - - - -V - -VAN DYCK'S POSITION IN ART - -During the past twenty years the public has become so educated in -matters artistic that it wishes at once to definitely assign a certain -position to an artist with whose works it is familiar. We live in an -age of comparison, and as opportunities for its exercise, owing to the -cheapening of travel, are so manifestly improved of recent years, a -more just estimation exists in the mind of the public regarding an -artist's worth than formerly. Van Dyck, as I said at the beginning of -the opening chapter, has never fallen from the high position he -occupied in his own day. He has always appealed to the student and the -artist of every nationality, and if we survey portrait painting since -his day, we shall see that he has exercised more influence than any -other artist who has ever lived. It may be said that Titian, for a -couple of centuries after his death, was the idol almost exclusively -worshipped, and that during the last fifty years Velazquez and -Rembrandt have been the ideals painters have dangled before the public -and themselves. But both of these mighty masters have had their ups -and downs. The genius of Rembrandt was certainly not appreciated until -the end of the eighteenth century, and even then his stupendous powers -were not recognised as they have been in our own day. - -The worship of Velazquez is quite a modern institution, and it is not -at all unlikely, in the opinion of well-informed critics, that if his -influence, which has now reached a decadent stage, is not curtailed it -will create as much havoc amongst modern portrait painters as the -example of Constable has had upon certain phases of landscape painting. - -It can never be laid to the charge of Van Dyck that any period of his -art has exercised a permanently baneful influence. True, immediately -after the Restoration, a school arose, headed by Sir Peter Lely and Sir -Godfrey Kneller, who claimed to have followed the traditions of Van -Dyck. It requires, however, but little comparison between even his -later and slighter works and those of Lely, who was incomparably the -greatest of the portrait painters working in England in the interval -between Van Dyck and Hogarth, to see how far below Van Dyck's standard -portrait painting had fallen, and how little of his method there was -left in it. - -Van Dyck has exercised more influence in England than abroad. Many of -our greatest eighteenth-century portrait painters have largely formed -themselves upon his example. Gainsborough was the most conspicuous -instance of this. From his earliest days he worshipped the great -Fleming, and that the spell never left him may be gauged from his dying -words: "We are all going to Heaven, and Van Dyck is of the company." -Even prior to his departure for Bath, his portraits possessed many of -the qualities of Van Dyck, but after arriving in the western city, then -the centre of a rich and fashionable world, he had manifold -opportunities of studying his favourite master. His brushwork became -at once more refined, his colouring more transparent, and his method in -every way more facile. Before leaving Bath he had produced portraits -which are worthy to be placed alongside those of Van Dyck, and after a -few years' residence in London had created those marvels of the brush -which contend for supremacy with the finest works of the Fleming. For -example, what portrait of the latter master could be cited to surpass -the portrait of Mrs. Graham in the Gallery at Edinburgh, the superb -group at Dulwich, or the "Blue Boy," in the possession of the Duke of -Westminster? - -Reynolds appears to have worked more in emulation of Titian than Van -Dyck. He painted in a solider and apparently slower manner, and if the -slickness--if I may be allowed an Americanism--of the Flemish master -appealed to him, it yet had no visible effect upon his own technique. - -The minor masters of our school demonstrate materially how much they -owed to Van Dyck. Allan Ramsay and Cotes bear adequate witness of this. - -Full justice, however, has not been done to the good wrought for -English art by his immediate followers and pupils. It is only of late -years that the portraits of old Stone are beginning to be sorted out -from those of the later period of Van Dyck. Stone was occupied in -copying or making replicas of the portraits of Van Dyck, and so well -did he succeed in his task that, even to this day, numerous works by -him are to be found in the country houses of England passing under the -name of the great master. - -====================================================================== - -PLATE VIII.--THE MARCHESE CATTANEO - -(In the National Gallery) - -In spite of its somewhat bad condition this portrait is an excellent -specimen of Van Dyck's Genoese period. It was achieved about the same -time as the two magnificent pictures in the Scottish National Gallery, -the Lomellini family and the portrait of an unknown Italian nobleman. -Its recent entry into the National Gallery filled a gap in our -representation of the great Fleming. - -[Illustration: Plate VIII.] - -====================================================================== - -Then we have William Dobson, whose works are worthy of yet more study -than has hitherto been accorded them. He did not long survive Van -Dyck, dying in 1646 at the early age of thirty-six. He was probably -the most gifted of all his pupils, and had he lived at any other period -would probably have been held in great estimation. There is an -excellent example of his brush in the National Gallery, the portrait of -Endymion Porter, groom of the bedchamber of Charles I. In many of the -other examples strewn about the country he shows yet a greater approach -to Van Dyck. Still, the Trafalgar Square picture is a worthy example -of his powers at his best. His masculine handling and sense of colour -place him, from a purely artistic point of view, far above such men as -Lely and Kneller, who followed him. - -Another painter who wrought excellent work under the Commonwealth was -Robert Walker. He was much patronised by Oliver Cromwell and his -party. He appears to have been one of the few portrait painters who -flourished at this time. He acquired in a remarkable manner the liquid -and transparent style affected by Van Dyck during his last years in -England, and coupling with this remarkable powers of fidelity, his -portraits possess great attractions for the artist as well as the -student of history. - -As I have already said, the influence of Van Dyck upon the painters who -flourished throughout the three succeeding reigns was a decadent one. -Sir Peter Lely, who came to England, at the age of twenty-three, with -the Prince of Orange, the son-in-law of Charles I., was the best of all -these men. He was born in Westphalia, of Dutch parentage, and was -educated in the school of Pieter Fransz de Grebber at Haarlem. But his -entire method was built upon Van Dyck. He seems not to have had a bad -time under the Commonwealth, for he was employed to paint Cromwell's -portrait. It is said that he had instructions upon this occasion to -paint him, "warts, pimples, and all." It was not, however, till -Charles II. had ascended the throne that he reached the zenith of his -fame. Then came the long series of ladies of the Court with which we -are so familiar. They are all set in the same artificial setting, a -landscape half conventional, half natural in feeling, a languid and -somewhat haughty air about the heads, together with draperies destined -to accentuate the artificial appearance of the whole portrait. One can -see at a glance that it was from Van Dyck he had learned the placing -and handling of the heads, hands, and backgrounds, but what a -monotonous procession it is. In order to appreciate the -superficialities of Lely a number of his portraits must be seen -together. We then see how monotonous he was, how few of those -qualities he possessed which go to make up a great artist. That he had -a considerable amount of technique at his command can be seen in such -portraits as the "Duchess of Cleveland" in the National Portrait -Gallery, but in others again he fell so far below this level of -excellence, that one is sometimes tempted to reject many perfectly -glorious pictures as not being from his hand. - -The art of Lely had attained great popularity amongst the aristocracy -whose lives called into being the decadent art of this period. All who -sought the public favour tried to catch his manner, and hence arose -quite a number of imitators. Occasionally Lely was surpassed by some -of his scholars. For example, John Greenhill absorbed more of the real -qualities of Van Dyck than his master. The remarkable portrait in the -Gallery of Dulwich College shows unmistakable signs of genius of a high -order, and had he not fallen into irregular habits and died at the age -of thirty-two he might have achieved great things. - -Sir Godfrey Kneller, who followed Lely, was infinitely inferior to him -as an artist. He claimed, too, to continue the Van Dyck tradition, but -by this time the art of portrait painting had sunk into such a -deplorable condition, owing to the depravity of public taste and to the -slavish imitation of the brilliant Fleming, that there are few of his -pictures that appeal in the least to the artistic sense. It was not -until the great period of English painting, beginning with Hogarth, of -which I have already spoken, that the downward career of painting in -this country was finally checked. - -So far our attention has been devoted to discovering the visible effect -of Van Dyck's art upon his contemporaries and followers. The fact that -on the whole his influence was decadent in this direction must not -allow us to detract from his own qualities. We must rather search for -the reasons which caused his art to retain such a hold upon generations -of English painters. It must not be forgotten that Van Dyck's -profession in England was essentially that of a portrait painter, and -he was employed by the aristocracy exclusively. He, indeed, may be -called the aristocratic painter _par excellence_, and in this respect -does not yield to either Titian or Velazquez. It was, however, when he -strayed from his normal course that he revealed his deficiencies; the -few extant portraits of the lower classes demonstrate amply how -unsuited he was to portraying any below the upper ranks of life. To -every plebeian sitter he imparted an air of gentility and distinction -quite out of keeping. Until the advent of Wilson and Gainsborough, -portraiture was the sole art, at any rate, as far as painting is -concerned, that flourished in England. Its patrons were all of the -upper classes, and the Van Dyck manner, which by this time had become a -tradition, was recognised by both artists and sitters as the best -suited to their purpose. It was only in the eighteenth century that -the general financial and educational uplifting of the middle classes -called into being that naturalist school which finally drove all others -from the field. - -It is probable, however, that the painters who worked so slavishly in -Van Dyck's English manner had never become acquainted with his finest -achievements in portraiture. With few exceptions these were executed -before he settled permanently in England. - -It is practically certain that Gainsborough, for example, had never -seen such portraits as the Philippe le Roy and his wife, now among the -greatest treasures of Hertford House, which date from the years between -1628-32. It was then that Van Dyck had reached his maximum -development, and it is by the portraits he made in the ten years round -about this date that he will probably be judged by posterity. The -facile ease and silvery liquidity of his latter manner may have an -irresistible charm for those who have not studied the master very -deeply, but for the artist and the student the works he had achieved, -before success had crowned his efforts in the same measure that it did -shortly after his arrival here, will ever remain the standard by which -to judge him. - -At this time he displayed great assiduity to learn anything he could -either from his predecessors or from his contemporaries. In this -connection it may not be out of place to relate a story, the truth of -which has frequently been challenged. - -Having come across some portraits by Franz Hals, and being very anxious -to see the master at work, he made a journey to Haarlem. Upon -inquiring at the Dutchman's studio, he found that Hals was at his usual -tavern. He accordingly sent word to him that a stranger was waiting to -have his portrait painted, and that he had but two hours to give him -before leaving the town. Hals arrived immediately, and, in view of the -shortness of time at his disposal, set to work with a will. Van Dyck, -who, needless to say, had not been recognised, remarked, as Hals was -putting on the finishing touches, that painting seemed a very easy -process, and asked to be allowed to try his hand. Accordingly they -changed places, and Hals soon perceived that the stranger was no novice -in the handling of the brush. As the work proceeded his curiosity -became more and more whetted, and finally, unable to restrain his -curiosity any longer, he went over to see how the work was progressing. -One can imagine his surprise when he saw a masterly portrait in process -of completion, and, recognising the handling, immediately cried out: -"Why, you are none other than Van Dyck, for he alone could have -achieved what you have done." - -As an historical painter he takes a very high rank amongst -seventeenth-century masters; he was far ahead in vigour of treatment -and in strength of brushwork of any of his contemporaries in Italy. -The school of Bologna, whilst possessing a refinement he never -attained, is effeminate in comparison with him. Their very eclecticism -prevented them giving free rein to their fancy, and consequently the -great majority of their works possess a restraint of feeling, coupled -with a perfection of execution, which neither Rubens nor Van Dyck -surpassed. - -Van Dyck certainly stands out as the greatest scholar of Rubens in -every way. His fellow-pupils whom he left behind in Flanders could not -compare with him. The works of the cleverest of them, Caspar de -Grayer, appear formal, indeed, when compared with any of the stupendous -religious compositions still preserved in the great churches of his -native country. Their chief merit is, as I have before said, in the -exceedingly human presentment of the subject. The sense of physical -pain and of human brutality has never been better treated, and, if at -times he carries this quality to a painful degree, no charge could be -levelled against him on the score of feebleness or of lack of -thoroughness in making his meaning quite clear. - -As compared with similar works by Rubens they possess an interest for -us which the latter cannot always command, by reason of their being -conceived and finished by the master himself, whereas those of Rubens, -more often than not, were only worked upon by the master after pupils -had carried out the greater part of the work. - -Van Dyck's religious and historical pictures belong to the period of -his career when his execution was at its zenith, and consequently they -possess an extraordinary degree of interest to the artist. - -It is, however, to his early years that one must turn to form a just -estimation of his abilities, and in his finest works he takes his place -beside Titian and Velazquez, Rembrandt and Holbein, amongst the -greatest masters of portrait painting who have ever lived. - - - - - The plates are printed by BEMROSE & SONS, LTD., London & Derby - The text at the BALLANTYNE PRESS, Edinburgh - - - - - IN THE SAME SERIES - - - ARTIST. AUTHOR. - - VELAZQUEZ. S. L. BENSUSAN. - REYNOLDS. S. L. BENSUSAN. - TURNER. C. LEWIS HIND. - ROMNEY. C. LEWIS HIND. - GREUZE. ALYS EYRE MACKLIN. - BOTTICELLI. HENRY B. BINNS. - ROSSETTI. LUCIEN PISSARRO. - BELLINI. GEORGE HAY. - FRA ANGELICO. JAMES MASON. - REMBRANDT. JOSEF ISRAELS. - LEIGHTON. A. LYS BALDRY. - RAPHAEL. PAUL G. KONODY. - HOLMAN HUNT. MARY E. COLERIDGE. - TITIAN. S. L. BENSUSAN. - MILLAIS. A. LYS BALDRY. - CARLO DOLCI. GEORGE HAY. - GAINSBOROUGH. MAX ROTHSCHILD. - TINTORETTO. S. L. BENSUSAN. - LUINI. JAMES MASON. - FRANZ HALS. EDGCUMBE STALEY. - VAN DYCK. PERCY M. TURNER. - - - _In Preparation_ - - WHISTLER. T. MARTIN WOOD. - LEONARDO DA VINCI. M. W. BROCKWELL. - RUBENS. S. L. BENSUSAN. - BURNE-JONES. A. LYS BALDRY. - J. F. MILLET. PERCY M. TURNER. - CHARDIN. PAUL G. KONODY. - FRAGONARD. C. HALDANE MACFALL. - HOLBEIN. S. L. BENSUSAN. - BOUCHER. C. HALDANE MACFALL. - VIGÉE LE BRUN. C. HALDANE MACFALL. - WATTEAU. C. LEWIS HIND. - MURILLO. S. L. BENSUSAN. - - AND OTHERS. - - - - - - - - - -End of the Project Gutenberg EBook of Van Dyck, by Percy M. Turner - -*** END OF THIS PROJECT GUTENBERG EBOOK VAN DYCK *** - -***** This file should be named 43001-8.txt or 43001-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/0/0/43001/ - -Produced by Al Haines - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.gutenberg.org/license. - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |