See also:

• SIR

SIR See also:

• ANTHONY, SAINT
• ANTHONY, SUSAN BROWNELL (1820-1906)

ANTHONY See also:

• VAN

VAN DYCK (1599–164r)  , Flemish painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp on the 22nd of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1599 . Though the name of See also:

• VAN

Van Dyck is frequently met with in the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of Antwerp painters, See also:

• ANTHONY, SAINT
• ANTHONY, SUSAN BROWNELL (1820-1906)

Anthony's See also:

• PEDIGREE

pedigree cannot be traced beyond his grandparents, who were See also:

• SILK

silk mercers of some See also:

• STANDING

standing . He was the seventh of twelve See also:

• CHILDREN, LAW RELATING TO

children of Frans Van Dyck, an Antwerp tradesman in See also:

• GOOD, JOHN MASON (1764-1827)

good circumstances . His See also:

• MOTHER

mother, Maria Cupers, who died when he was scarcely eight years of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, seems to have attained a certain degree of excellence in See also:

• ART

art See also:

• NEEDLEWORK

needlework . Of the boy's See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• EDUCATION

education nothing is known . He was little over ten when he was apprenticed to Hendrick Van Balen, the painter of many delicate little pictures as well as an occasional collaborator of See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens and See also:

• BREUGHEL (or BRUEGIHEL), PIETER

Breughel, and the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of See also:

• SNYDERS, FRANZ (1579-1657)

Snyders . From a document in the See also:

• STATE
• STATE, GREAT OFFICERS OF

state See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office at See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, See also:

• RELATING

relating to a lawsuit between a picture dealer and an Antwerp churchman, which arose out of - the See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale, in 166o, of a See also:

• SERIES (a Latin word from serere, to join)

series of Apostles' heads ascribed to Van Dyck, it appears that, as far back as 1615, Van Dyck had worked independently, with pupils of his own, and that his pictures were greatly valued by artists and amateurs . See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor Woermann has identified several of the Apostles' heads here spoken of with some paintings in the See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery at See also:

• DRESDEN

Dresden . Another is in the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of See also:

• EARL

Earl See also:

• SPENCER
• SPENCER, HERBERT (1820-1903)
• SPENCER, JOHN CHARLES SPENCER, 3RD EARL (1782-1845)
• SPENCER, JOHNPOYNTZ SPENCER
• SPENCER, WILLIAM ROBERT (1769-1834)

Spencer at Althorp . Before he was nineteen (See also:

• FEBRUARY

February 1618) Van Dyck became a full member of the Antwerp gild of painters; and some See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of his ability at the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time may be gained from the excellent portraits of an old See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady and See also:

• GENTLEMAN (from Lat. gentilis, " belonging to a race or gens," and " man "; Fr. gentilhomme, Span. gentil hombre, Ital. gentil huomo, in its original and strict signification, a term denoting a man of good family, the Lat. generosus (its invariable transl

gentleman, formerly ascribed to Rubens, in the Dresden gallery . Dated 1618, they were originally entered as See also:

• WORKS

works of Van Dyck, and, as Professor Woermann observes, are undoubtedly the same as those spoken of by Mols in his MS. annotations on See also:

• WALPOLE, HORATIO
• WALPOLE, SIR SPENCER (1839-1907)

Walpole's Anecdotes, now in the library at Brussels . But the same admiration cannot be accorded to the earliest religious See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition known to have been painted by him—" See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ falling under the See also:

• CROSS

Cross," in St See also:

• PAUL
• PAUL (PAULUS)

Paul's at Antwerp, This picture, of some ten See also:

• LIFE

life-See also:

• SIZE

size figures, still preserved in the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place for which it was originally destined, distinctly proves that from the outset of his career Van Dyck's See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of conception was vastly inferior to his refined See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste as a portrait painter .

At first sight it seems also that with him, as with most other Flemish painters of the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, every conception, whether sacred or profane, needed to be See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast in the See also:

• MOULD

mould of Rubens . It would be too much, however, to assert that Van Dyck at this time stood under the guidance of that master; their association, indeed, does not seem to have begun until 1619, and Bellori (1672), who got his See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information from See also:

• SIR

Sir Kenelm See also:

• DIGBY, KENELM HENRY (1800-188o)
• DIGBY, SIR EVERARD (1578-1606)
• DIGBY, SIR KENELM (1603-1665)

Digby, Van Dyck's bosom friend, tells us that he was first employed in making drawings (probably also chiaroscuros) for the use of the See also:

• GREAT

great master's engravers, and that among works of the See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind one of the first was the " See also:

• BATTLE

Battle of the See also:

• AMAZONS

Amazons " (1619) . In 1620, we know, Van Dyck was working with Rubens, for on zoth March, in making arrangements with the Antwerp See also:

• JESUITS

Jesuits for the decoration of their See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church, the master is allowed to avail himself of his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil's assistance, and obtains for him the promise of a picture . This See also:

• PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof of Van Dyck's See also:

• PERSONAL

personal reputation is fully confirmed (17th See also:

• JULY

July) by a correspondent of the earl of See also:

• ARUNDEL
• ARUNDEL, EARLDOM OF
• ARUNDEL, EARLS OF
• ARUNDEL, THOMAS (1353-1414)

Arundel, who speaks of Van Dyck as a See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of one-and-twenty whose works are scarcely less esteemed than those of his master, and adds that, his relations being See also:

• PEOPLE

people of considerable See also:

• WEALTH

wealth, he could hardly be expected to leave his See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home . Van Dyck was, however, thus persuaded, for on 28th See also:

• NOVEMBER (Lat. novem, nine)

November Sir Toby See also:

• MATHEW, THEOBALD (1790-1856)

Mathew mentions the artist's departure to Sir See also:

• DUDLEY
• DUDLEY, BARONS AND EARLS OF
• DUDLEY, EDMUND (c. 1462—1510)
• DUDLEY, SIR ROBERT (1573—1649)
• DUDLEY, THOMAS (1576-1653)

Dudley See also:

• CARLETON, WILLIAM (1794-1869)

Carleton, adding that he is in See also:

• RECEIPT (M.E. receite, derived through Fr. from Lat. recepta, participle of recipere, to receive)

receipt of an See also:

• ANNUAL

annual See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension of £See also:

• LOO (formerly called " Lanterloo," Fr. lanturlu, the refrain of a popular 17th-century song)

loo from the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king . There is See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of Van Dyck's presence in See also:

• LONDON

London till the end of February 1621 . He is first mentioned in the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order-books of the See also:

• EXCHEQUER

Exchequer on the 17th of that See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month as receiving a See also:

• REWARD

reward of £loo " for See also:

• SPECIAL

special service by him performed for His See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

Majesty," and on the 28th, " See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio van Dyck, gent., His Majesties servant, is allowed to travaile 8 months, he havinge obtayneid his Maii s leave in that behalf, as was signified by the E. of Arundel" What Van Dyck did in London is not known . Among his numerous paintings still preserved in See also:

• ENGLISH

English houses one only is admitted as belonging to the period of this first visit, a full-length portrait of See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James I. in the royal collection . That he was at the time a portrait painter of the rarest merit may easily be seen from the portrait of " Van der Geest " in the See also:

• NATIONAL

National Gallery (London), and from his own likenesses of himself when still quite young and beardless, in the National Gallery, in the Pinakothek at See also:

• MUNICH (Ger. Munchen)

Munich and in the See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace Collection . In this last admirable specimen the young painter has represented himself in the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . Early paintings by Van Dyck are certainly not scarce in See also:

• BRITISH

British galleries; at See also:

• DULWICH

Dulwich there is his admirable See also:

• SAMSON (1135-1211)
• SAMSON (cf. Heb. shemesh, " sun ")
• SAMSON, JOSEPH ISIDORE (1793-1871)

Samson and See also:

• DELILAH

Delilah, ascribed to the school of Rubens . Though the leave of See also:

• ABSENCE (Lat. absentia)

absence was probably obtained by Van Dyck for the purpose of studying the masters in See also:

• ITALY
• ITALY (Italia)

Italy, the eight months had almost elapsed before he started from Antwerp, whither he had gone from London .

He See also:

• LEFT

left Antwerp on the 3rd of See also:

• OCTOBER

October 1621, and arrived at See also:

• GENOA (anc. Genua, Ital. Genova, Fr. GPnes)

Genoa on the 21st of November of the same See also:

• YEAR

year . Though Van Dyck unquestionably first became acquainted with the masterpieces of the great Venetian colourists in Rubens's atelier, there can be little doubt that most of the pictures which were formerly ascribed to his earliest period really date from the years of his See also:

• ITALIAN

Italian See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey . In fact, studies for some of them can be found in the See also:

• CHATSWORTH

Chatsworth See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch-See also:

• BOOK

book . Among these early works are the " Martyrdom of St See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter " (Brussels), the " Crowning with Thorns " (See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin), the " Betrayal of Christ " (See also:

• MADRID

Madrid and See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• METHUEN, BARONY OF

Methuen), " St See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin dividing his Cloak " (See also:

• WINDSOR
• WINDSOR (properly NEw WINDSOR)

Windsor See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

Castle),—a magnificent See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production, generally ascribed to Rubens, but easily identified through Van Dyck's admirable sketch at See also:

• DORCHESTER
• DORCHESTER, DUDLEY CARLETON, VISCOUNT (1573-1632)
• DORCHESTER, GUY CARLETON

Dorchester See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House . It is unnecessary to dwell on a number of tales connected with Van Dyck's early life, all of which have on closer examination proved to be apocryphal; but one See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story has been too frequently told to be altogether ignored . At the very outset of his Italian journey the inflammable youth was captivatedby the beauty of a See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country girl, and for the love of her painted the See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-piece still to be seen in the church at Saventhem, near Brussels, in which he himself is supposed to be represented on a See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse, given by Rubens to his pupil . It is now known, however, that the picture was commissioned by a gentleman living at Saventhem (to the charms of whose daughter Van Dyck in reality seems not to have been altogether insensible), and a closer study makes it almost certain that it was executed after, not before, his Italian journey . On a reduced See also:

• SCALE
• SCALE (1) A

scale, and with the omission of two or three figures, the " St Martin " at Saventhem is a See also:

• REPRODUCTION

reproduction of the picture at Windsor Castle . With the exception of a See also:

• SHORT, FRANCIS JOB (1857– )

short visit to Antwerp at the time of his See also:

• FATHER

father's See also:

• DEATH

death in 1622, Van Dyck spent the next five years in Italy . No master from beyond the See also:

• ALPS

Alps ever took up a higher position than Van Dyck among the most celebrated representatives of Italian art . Study, as a See also:

• MATTER

matter of course, had been one of his See also:

• PRINCIPAL

principal See also:

• OBJECTS

objects . No doubt can be entertained as to the great See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence exerted by the works of See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian, Paul Veronese and the other great masters of the Venetian school in the development of his See also:

• GENIUS (from Lat. genere, gignere)

genius; still the individuality of the painter remains a striking feature of what may be termed his Italian works, especially portraits .

Their See also:

• PECULIAR

peculiar character seems to originate even more in the stateliness of the personages he was fortunate enough to have as sitters than in any See also:

• DESIRE

desire to follow individual predilection or prevailing See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion . As in later years Van Dyck gives us a striking picture of the higher classes in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, so at this See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage he makes us acquainted with Italian beauty and See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style; and at no other period is his See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent more advantageously shown than in some of the glorious portraits he painted at See also:

• ROME
• ROME (Roma)

Rome, at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, and, above all, at Genoa . At Rome, whither he journeyed after a prolonged stay in See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, he resided with See also:

• CARDINAL (Lat. cardinalis)

Cardinal Guido See also:

• BENTIVOGLIO, GIOVANNI (1443-1508)
• BENTIVOGLIO, GUIDO (1579-1644)

Bentivoglio, who had been papal See also:

• NUNCIO

nuncio in See also:

• FLANDERS (Flem. Vlaanderen)

Flanders from 1607 to .1617 . For this See also:

• PATRON

patron were painted several works of very great importance, the most renowned being the See also:

• PRELATE (Lat. praelatus, set above, from praefero, prefer)

prelate's own portrait, now in the Pitti See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace at Florence . Another See also:

• WORK

work was a " Crucifixion," representing Christ dying on the cross with uplifted eyes . Most probably the picture spoken of by Bellori ought to be identified with the admirable See also:

• CANVAS

canvas now in the gallery at See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples, catalogued as " Scuola di Van Dyck," unsurpassed by any of those at Antwerp, Paris, See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, Rome or elsewhere . Besides these he painted religious subjects and portraits, several of which are reckoned among his finest examples, such as the portrait of Duquesnoy, better known as Fiammingo, the famous sculptor, formerly belonging to the king of the Belgians, and those of Sir See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• SHIRLEY (or SHERLEY), JAMES (1596-1666)
• SHIRLEY (or SHERLEY), SIR ANTHONY (1565-c. 1635)
• SHIRLEY, WILLIAM (1694-1771)

Shirley and his wife, in See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

Persian attire, now at Petworth . Bellori tells us of Van Dyck's prepossessing See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance, of his elegance and distinction, altogether so different from the habits of his compatriots in Rome, who formed a jovial " gang," as they termed their association . Van Dyck seems to have kept out of their way, and incurred in consequence such annoyance as made his stay in Rome much shorter than it would otherwise have been . In the See also:

• COMPANY

company of Lady Arundel he travelled to See also:

• TURIN

Turin, but he was eager to reach Genoa, where Rubens had worked with great success some twenty years before, and where his Antwerp See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends, See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke and Cornelis de Wael, for many years See also:

• RESIDENT

resident in Italy, now were . Van Dyck remained their See also:

• GUEST (a word common to Teutonic languages; cf. Ger. Gast, and Swed. gust; cognate with Lat. hostis, originally a stranger, hence enemy; cf. " host " )
• GUEST, EDWIN (1800–188o)

guest for several months, and their portraits, now in the Pinacoteca Capitolina at Rome (engraved by W . See also:

• HOLLAR, WENZEL

Hollar from the monochrome at See also:

• CASSEL
• CASSEL, or KASSEL

Cassel), may be supposed to have been one of his first Genoese productions .

Though several of the palaces of the " proud " See also:

• CITY (through Fr. cite, from Lat. civitas)

city no longer retain their treasures, and, among the specimens of Van Dyck's genius still left, too many have been greatly injured by cleaning and retouching, Genoa can still boast of a good number of his most attractive productions, portraits of the beautiful ladies and haughty cavaliers of the See also:

• NOBLE, SIR ANDREW (1832- )

noble houses of See also:

• DORIA, ANDREA (1466-156o)

Doria, Brignole Sale, Pallavicini, See also:

• BALBI, ADRIAN (1782-1848)

Balbi, Cattaneo,' See also:

• SPINOLA, AMBROSE, MARQUIS DE LOS BALBASES (1569-1630)
• SPINOLA, CRISTOVAL ROJAS DE (d. 1695)

Spinola, Lommelini and See also:

• GRIMALDI, GIOVANNI FRANCESCO (1606-168o)
• GRIMALDI, JOSEPH (1779–1837)

Grimaldi . It would Of the Cattaneo portraits, originally eight in number, seven were privately sold out of Italy in 1906, and in the following year one, a See also:

• HALF

half-length " Portrait of a Man," was acquired for the National Gallery, London, for £13,500 . The See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official acquisition scarcely be possible to speak too highly of such works as the portrait of the lady in See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white satin and the Durazzo children at the Durazzo Palace, the Balbi children at Panshanger, the Marchesa Balbi at Dorchester House, the equally beautiful portraits of the Lommelini and of the See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

knight in See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black See also:

• ARMOUR, PHILIP DANFORTH (1832-1901)

armour, See also:

• BUFF (from Fr. bu.ffie, a buffalo)

buff jacket and boots in the Scottish National Gallery at See also:

• EDINBURGH

Edinburgh, or the Marchesa Brignole Sale (formerly at See also:

• WARWICK
• WARWICK, EARLS OF
• WARWICK, RICHARD BEAUCHAMP, EARL OF (1382—1439)
• WARWICK, RICHARD NEVILLE, EARL OF (1428—1471)
• WARWICK, SIR PHILIP (1609-1683)
• WARWICK, SIR ROBERT RICH, 2ND EARL OF (1587–1658)

Warwick Castle, and afterwards in See also:

• AMERICA

America) . Van Dyck's " Genoese manner " is a current expression, and indeed his Genoese portraits are remarkable for their richness of tonality and what might be called royal splendour, perhaps never before attained in works of the kind . This we may suppose to have had its origin, not only in his See also:

• RECENT

recent study of Titian, but also in decorative necessities—the size of the palatial galleries and the See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich hues of the Genoese velvets, on which these portraits were to find their place, obliging the painter to find a most uncommon strength of contrast . It must also be acknowledged that the beauty and distinction of Van Dyck's See also:

• MODELS

models are greatly enhanced by a splendour of See also:

• COSTUME
• COSTUME (through the Fr. costume, from Ital. costume, Late Lat. costuma, a contracted form of Lat. consuetudinem, ace. of consuetudo, custom, habit, manner, &c.)

costume entirely different from the dullness then prevalent almost everywhere else . In Italy, more-over, he found the reality of those gorgeous backgrounds —flowing draperies, beautiful gardens, ornamental pillars, See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble terraces and balustrades—which elsewhere must be regarded as See also:

• FICTIONS

fictions merely . Here, finally, he was for the first time called upon to paint some of his grandest equestrian portraits, and the often-recurring grey steed with flowing mane (an admirable study of which belongs to Lord Brownlow) was first employed for the portrait of Antonio Giulio Brignole (still at Genoa) and for another picture which we may suppose to represent the same personage at See also:

• STAFFORD
• STAFFORD, EARLS AND MARQUESSES OF

Stafford House . As with Rubens, Titian seems to have been See also:

• PARAMOUNT (Anglo-Fr. paramont, up above, par el mont, up or on top of the mountain)

paramount in Van Dyck's regard . Copies in great number we know he possessed of the master's best works, and several little sketches in the British Museum and in the Chatsworth sketch-book See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear proof of his devout study of the great Venetian . Some of Van Dyck's earlier paintings, religious and mythological—the " See also:

• TRIBUTE (Lat. tributurn, a stated payment, contribution)

Tribute See also:

• MONEY

Money " (Brignole Palace), " See also:

• HOLY

Holy See also:

• FAMILY

Family " (Turin), " Virgin and See also:

• SAINTS, BATTLE OF THE

Saints " (Louvre), " Virgin " (Grosvenor House), " Martyrdom of St See also:

• LAWRENCE
• LAWRENCE (LAURENTIUS, LORENZO), ST
• LAWRENCE, AMOS (1786—1852)
• LAWRENCE, AMOS ADAMS (1814–1886)
• LAWRENCE, GEORGE ALFRED (1827–1876)
• LAWRENCE, JOHN LAIRD MAIR LAWRENCE, 1ST BARON (1811-1879)
• LAWRENCE, SIR HENRY MONTGOMERY (1806–1857)
• LAWRENCE, SIR THOMAS (1769–1830)
• LAWRENCE, STRINGER (1697–1775)

Lawrence " (S . Maria dell' Orto, Venice), " Bacchanal " (Lord See also:

• BELPER

Belper)—engraved at Genoa as early as 1628—" St See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian " (Edinburgh)—are certainly Titianesque in the extreme .

Still the master's individuality is not obliterated, and the gallery at See also:

• PARMA

Parma has a " Virgin with the See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

Infant Asleep," which may be termed a marvel of realistic simplicity . In 1624 Van Dyck sailed from Genoa to See also:

• PALERMO (Greek, Havopuos; Latin, Panhormus, Panormus)

Palermo and there painted several persons of See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank, including the See also:

• VICEROY (from O. Fr. viceroy, mod. viceroi, i.e. Lat. vice, in place of, and roy or roi, king)

viceroy, See also:

• EMMANUEL, or IMMANUEL

Emmanuel Philibert of See also:

• SAVOY, HOUSE
• SAVOY, HOUSE OF

Savoy . While in See also:

• SICILY (Ital. Sicilia)

Sicily he became acquainted with the painter Sofonisba Anguisciola (or See also:

• ANGUSSOLA

Angussola), who was then ninety-six years of age and See also:

• BLIND, MATHILDE (1841—1896)

blind; and he was wont to say that he had received more valuable information from a blind woman than from many a seeing man . No important works of Van Dyck are now to be found in Sicily, except the " Virgin and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child " at S . Caterina in Palermo, and a " Virgin and Child with Saints " in the same city . Bellori tells us that a See also:

• PLAGUE (in Gr. Xotµos; in Lat. pestis, pestilentia)

plague See also:

• BROKE, or BROOKE, ARTHUR (d. 1563)
• BROKE, SIR PHILIP BOWES VERE, BART

broke out and compelled him to leave abruptly, taking with him an unfinished picture of St Rosalia, which was destined for a confraternity of that name, and was completed in Genoa . The composition was repeated in Antwerp for the Bachelors' Brotherhood, a picture now in Vienna . Van Dyck most probably remained in Genoa till 1626, and here in all likelihood he painted the De Jodes, father and son, the celebrated engravers, who are represented together in a masterly portrait in the Capitol at Rome, the See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion picture to the See also:

• BROTHERS, RICHARD (1757-1824)

brothers De Wael; and See also:

• NICHOLAS
• NICHOLAS (1841– )
• NICHOLAS (or NICLAES), HENRY (or HENDRIK) (c. 1501-C. 158o)
• NICHOLAS, SIR EDWARD (1593-1669)
• NICHOLAS, ST

Nicholas Laniere, musician-in-See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief to See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles I., a See also:

• PAINTING

painting spoken of in Van der See also:

• DORT, SYNOD OF

Dort's See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

catalogue as " done beyond the seas." Laniere was in Italy precisely at this time, and it was through his portrait (now at Windsor Castle), Walpole assures us, that Van Dyck attracted the See also:

• NOTICE

notice of Charles I . Traversing the Mont Cenis pass, Van Dyck stopped at See also:

• AIX

Aix of this picture, in view of the Italian See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law of 1902, created consider-able discussion in Italy and England . The companion See also:

• FEMALE

female portrait was soon after also See also:

• PURCHASED

purchased . with Peiresc, the famous See also:

• SCHOLAR, SCHOLARSHIP

scholar and friend of Rubens, and probably proceeded straight to Antwerp . His beautiful portrait of See also:

• LANGLOIS, HIPPOLYTE (1839— )

Langlois, the Paris See also:

• PRINT

print-seller, from which it was conjectured that he spent some time at Paris, was unquestionably painted in Genoa .

It is very likely that, before settling again at Antwerp, Van Dyck at this time paid a second visit to England, to paint a portrait of See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen Henrietta Maria, but left again when he found Mytens firmly established as See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court favourite . He probably returned to Antwerp in 1627, though there is no recorded proof of his presence before the 3rd of March 1628 . One of his sisters had died in a See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent the year before, and he now made a will in favour of Susan and See also:

• ISABELLA (1451-15o4)
• ISABELLA, ISABEAU

Isabella, two other sisters, also nuns . That Van Dyck was in Antwerp on the 18th of May is proved by a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter from Lord See also:

• CARLISLE
• CARLISLE, EARLS OF

Carlisle to See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham (Sainsbury, ciii.) . Great as may have been the strength of Italian See also:

• REMINISCENCE (from Lat. reminisci, to remember)

reminiscence, from the moment Van Dyck again trod Flemish See also:

• SOIL

soil the influence of Rubens became predominant, and we can scarcely doubt that a competition speedily arose between master and pupil . At this period churches and convents were numerous and richly endowed; and the number of pictures, stained See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass windows and elaborate carvings in Belgian churches before the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• CONQUEST

conquest was enormous . Hardly fifty years had elapsed since these buildings had been stripped of their See also:

• ARTISTIC

artistic treasures, and the devout were now eager once more to adorn them with productions of the greatest painters . Hence Van Dyck's See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share could be very copious without in any degree interfering with the vast undertakings assigned to Rubens . The latter was also absent for many months in 1629 and 1630, so that Van Dyck was for a time the first master in the See also:

• NETHERLANDS

Netherlands . Among the earliest works after his return to Antwerp we find the " Crucifixion," given to the Dominican nuns, in accordance with the wish expressed by the painter's dying father, and now in the , Antwerp museum . The figures are life-size, and at the See also:

• FOOT

foot of the cross, besides a weeping See also:

• ANGEL

angel, are St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine of See also:

• SIENA

Siena and St See also:

• DOMINIC, SAINT (1170-1221)

Dominic . Neither in type nor in See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general effect does it suggest the master's immediately preceding works .

As a new feature we observe a kind of elegance, not entirely See also:

• FREE

free from mannerism, which is often conspicuous with Van Dyck even when the technical excellence commands our warmest admiration . See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

Inspiration, as See also:

• WAAGEN, GUSTAV FRIEDRICH (1794-1868)
• WAAGEN, WILHELM HEINRICH (1841–1900)

Waagen observes, was far more limited with Van Dyck than with Rubens . His truly delicate nature led him to restrain his conceptions within the See also:

• BOUNDS, BEATING THE

bounds of an See also:

• ACADEMIC

academic evenness, generally more pleasing to the uninitiated than the strength 'of expression which sometimes imparts a sort of violence to the works of Rubens . To Van Dyck's second—more justly speaking third—manner belong some of his best religious works . The " Crucifixion " in the See also:

• CATHEDRAL

cathedral at Mechlin is termed by Sir See also:

• JOSHUA, BOOK OF

Joshua See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds one of the finest pictures in the See also:

• WORLD

world . Other Crucifixions are in St See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael's at See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent (sketches in Lord Brownlow's collection and the Brussels museum) and in the church at See also:

• TERMONDE (Flemish Dendermonde)

Termonde . Still finer are the two works painted for the Antwerp Jesuits and now at Vienna—" The Mystic See also:

• MARRIAGE

Marriage of the Blessed Herman See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph " and " St Rosalia Crowned by the Infant Saviour." To this period likewise belong the celebrated " See also:

• ELEVATION

Elevation of the Cross " at Courtrai and the " St See also:

• AUGUSTINE, SAINT (354-430)
• AUGUSTINE, SAINT (d. c.613)

Augustine in See also:

• ECSTASY (Gr. iarra(TLc, from i LarliU, put out of its place, alter)

Ecstasy," in the church of the Jesuits at Antwerp; the general effect of this last, it must be acknowledged with -Reynolds, is inferior to that of the beautiful See also:

• ENGRAVING

engraving by De Jode, and also to the earl of See also:

• NORTHBROOK, THOMAS GEORGE BARING, 1ST EARL OF (1826-1904)

Northbrook's magnificent sketch . At Dulwich we find the first idea of the composition, with many interesting See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences . It may be a matter of individual preference to pronounce Van Dyck's Flemish portraits See also:

• SUPERIOR

superior to those of an earlier period; but nobody can fail to admit that, technically speaking, they indicate a further step towards perfection . The darkness of the Genoese portraits has vanished; broad daylight now freely illuminates the See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model, and such works as the portraits of Francisco de Moncada (Louvre) and of the See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count de Bergh (Prado) are perhaps as See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close to material excellence as any painting could be . The full-length likenesses of See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip Le See also:

• ROY, WILLIAM (1726-1790)

Roy (1630) and his wife (1631) (Wallace Collection) and of See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary Louisa of Tassis (See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince See also:

• LIECHTENSTEIN

Liechtenstein, Vienna) are not only the finest examples of the master's talent, but deserve to rank among the most beautiful portraits ever painted . The " Snyders " at Castle See also:

• HOWARD (FAMILY)
• HOWARD, CATHERINE (d. 1542)
• HOWARD, JOHN (1726-1790)
• HOWARD, LORD WILLIAM (1563–1640)
• HOWARD, OLIVER OTIS (1830-19o9)
• HOWARD, SIR ROBERT (1626–1698)

Howard is regarded by Waagen as not inferior to the most celebrated Raphaels, Titians or Holbeins; and of almost equal excellence are the " Wife of See also:

• COLIN, ALEXANDRE (1526-1612)

Colin de Nole " in the Munich gallery, the " Lady and her Daughter " at the Louvre, and the "Lady in Black " at Cassel .

Rapidly rising to See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour and wealth, Van Dyck shared with Rubens the official See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of court painter, and his numerous portraits of the infanta in her monastic garb (Paris, Vienna, Turin, Parma, &c.) bear testimony to the great favour in which he stood with her . When See also:

• MARIE

Marie de Medicis, after her See also:

• FLIGHT

flight from See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, took up her See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence in Brussels (1631), she honoured Van Dyck, as well as Rubens, with repeated visits, and several times called upon him to paint her likeness, as well as those of Gaston of See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans and his wife See also:

• MARGARET
• MARGARET (1283–1290)
• MARGARET (1353-1412)
• MARGARET (1489–1541)
• MARGARET, ST (c. 1045–1093)
• MARGARET, ST (SANCTA MARGARITA)

Margaret of See also:

• LORRAINE

Lorraine, and several of the personages of their court . From Gerbier's letters we learn that Van Dyck at this time was contemplating another journey to England, and was very anxious to be commissioned by the infanta and the queen of France to take over their portraits as presents for the king and royal family . He soon travelled to the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague to paint the prince and princess of See also:

• ORANGE
• ORANGE (Citrus Aurantium)
• ORANGE, HOUSE OF

Orange and their son . Quite at the beginning of 1632 See also:

• CONSTANTINE

Constantine See also:

• HUYGENS, CHRISTIAAN (1629-1695)
• HUYGENS, SIR CONSTANTIJN (1596-1687)

Huygens, who was then living at the Hague, in-See also:

• SCRIBES

scribes in his See also:

• DIARY

diary, " Pingor a Van Dyckio." When, towards the end of March, Van Dyck sailed for England, he took all these portraits with him, as we learn from an See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the 8th of See also:

• AUGUST (originally Sextilis)

August 1632 (See also:

• CARPENTER, LANT (1780-1840)
• CARPENTER, MIRY (1807-1877)
• CARPENTER, WILLIAM BENJAMIN (1813-1885)

Carpenter's Pictorial Notices) . Dutch authors speak of a visit paid by Van Dyck to Frans See also:

• HALS, FRANS (158o?–1666)

Hals at See also:

• HAARLEM

Haarlem, and of a portrait of the latter through which the Antwerp master was at once recognized by his Dutch colleague . An engraving of a portrait of Hals after Van Dyck seems to confirm the story . In undertaking this new journey to London, Van Dyck was assured of success, for Gerbier's letters show that the king had personally desired his presence . As early as March 1629 See also:

• ENDYMION

Endymion See also:

• PORTER
• PORTER, BENJAMIN CURTIS (1843– )
• PORTER, DAVID (1780-1843)
• PORTER, DAVID DIXON (1813-1891)
• PORTER, ENDYMION (1587–1649)
• PORTER, HENRY (ft. 1596-1599)
• PORTER, HORACE (1837– )
• PORTER, JANE (1776–1850)
• PORTER, MARY (d. 1765)
• PORTER, NOAH (1811–1892)

Porter, one of the gentlemen of the king's See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed-chamber, had been commissioned to order a picture from Van Dyck, " Rinaldo and Armida." The canvas, now belonging to the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• NEWCASTLE
• NEWCASTLE, DUKES OF

Newcastle, may be looked upon as one of the master's finest creations . Exceptional favours were bestowed upon Van Dyck almost from the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day of his arrival in London . Besides the title of painter in See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary, and the See also:

• GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
• GRANT, ANNE (1755-1838)
• GRANT, CHARLES (1746-1823)
• GRANT, GEORGE MONRO (1835–1902)
• GRANT, JAMES (1822–1887)
• GRANT, JAMES AUGUSTUS (1827–1892)
• GRANT, ROBERT (1814-1892)
• GRANT, SIR ALEXANDER
• GRANT, SIR FRANCIS (1803-1878)
• GRANT, SIR JAMES HOPE (1808–1895)
• GRANT, SIR PATRICK (1804-1895)
• GRANT, U
• GRANT, ULYSSES SIMPSON (1822-1885)

grant of an annual pension of 200, he received the honour of See also:

• KNIGHTHOOD

knighthood after a residence of less than three months at court (5th July 1632) . He rapidly achieved popularity among the higher classes, and, as Walpole says, his works are so frequent in England that to most Englishmen it is difficult to avoid thinking of him as their countryman .

His refined nature is strikingly illustrated in his admirable See also:

• INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)

interpretation of English beauty and style . And, if Van Dyck be compared to Mytens and See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius See also:

• JANSSEN, JOHANNES (1829-1891)
• JANSSEN, or JANSEN (sometimes JOHNSON), CORNELIUS (1593-1664)
• JANSSEN, PIERRE JULES CESAR (1824–1907)

Janssen, the most distinguished painters employed by the English court immediately before him, few artists, whether in England or elsewhere, have more richly endowed their models with distinction of feature and elegance in bearing . To him may be applied what See also:

• OPIE, AMELIA (1769-1853)
• OPIE, JOHN (1761-1807)

Opie says of Titian, " that he combines resemblance with dignity, costume with taste, and art with simplicity." We are particularly struck with the thorough and immediate See also:

• IDENTIFICATION (Lat. idem, the same)

identification of his talent with See also:

• LOCAL

local tastes and exigencies . Charles I. and Henrietta Maria, although pictured by several other painters, are known to posterity almost exclusively through Van Dyck, not from a greater closeness of resemblance to the See also:

• ORIGINAL

original, but from a. particular power of expression and bearing which, once seen, it is impossible to forget . The artist was lodged at the expense of the See also:

• CROWN

crown, with a summer residence at Eltham Palace, and was frequently honoured with the visits of the king at his studio at Blackfriars . Portraits now followed- each other with a rapidity scarcely credible to those unacquainted with the artist's method . In fact, his mode of living and his love of See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure sufficiently explain his greatneed of money . During the first year of his presence in England he painted the king and queen a dozen times . The first of these noble portraits is the admirable full-length of Charles I., with the queen and their two eldest children, at Windsor Castle . The style he adopted in England is generally termed his third manner; we might better say his See also:

• FOURTH

fourth, as he already had a very particular style before he set out on his Italian journey . De Piles gives us some account of Van Dyck's methods at this period of his career . He began with a small sketch on grey paper with black and white chalks, or a monochrome in See also:

• OILS (adopted from the Fr. oile, mod. huile, Lat. oleum, olive oil)

oils .

This study was passed on to assistants in order to be copied on the required scale . When the clothes were sufficiently advanced by the pupils from those sent by the model, as well as the background and accessories, the master was enabled in a few sittings of an See also:

• HOUR

hour each to See also:

• COMPLETE

complete the work . Van Dyck excelled inpainting the hands; he is said to have kept special models for this See also:

• PART

part of his work . It need hardly be said that a See also:

• SYSTEM

system of this kind, although employed by Rubens for his larger creations, was exceedingly See also:

• ILL

ill adapted to portrait painting . In Van Dyck's later productions we too often detect marks of haste, as if the See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush were becoming a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere See also:

• IMPLEMENT (Lat. implementum, a filling up, from implere, to fill)

implement of See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade . Nearly the whole of 1634 and 1635 were spent by Van Dyck in the Netherlands, whence his See also:

• BROTHER

brother, an Antwerp See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest, had been called over by the queen to See also:

• ACT (Lat. actus, actum)

act as her See also:

• CHAPLAIN

chaplain . The archduchess died on' st See also:

• DECEMBER (Lat. decent, ten)

December 1633, and Van Dyck naturally wished to get his official title renewed by her successor, See also:

• FERDINAND
• FERDINAND (1577-1650)
• FERDINAND (COLOGNE)
• FERDINAND (Span. Fernando or Hernando; Ital. Ferdinando or Ferrante; in O. H. Ger. Herinand, i.e. " brave in the host," from O. H. G. Heri, "army," A. S. here, Mod. Ger. Heer, and the Goth. nan]jan, " to dare ")
• FERDINAND, MAXIMILIAN KARL LEOPOLD MARIA

Ferdinand of See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria, brother of Philip IV . That Van Dyck's residence in Antwerp was only to be temporary is shown by the power given to his See also:

• SISTER

sister Susan for the See also:

• ADMINISTRATION (Lat. administrare, to serve)

administration of his affairs in See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium (14th See also:

• APRIL

April 1634) . On the arrival of the new See also:

• GOVERNOR (from the Fr. gouverneur, from gouverner, O. Fr. governer, Lat. gubernare, to steer a ship, to direct, guide)

governor Van Dyck was immediately called upon to paint his likeness, a picture now in the Madrid gallery, where the same personage is also represented by Rubens and See also:

• VELAZQUEZ, DIEGO RODRIGUEZ DE SILVA Y (1599-166o)

Velazquez . Several other portraits of Ferdinand, either in his cardinal's See also:

• ROBES (Fr. robe, Late Lat. roba, raupa, meaning (1)

robes or in military See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress, by Van Dyck, occur elsewhere . One on horse-back was exhibited at the Grosvenor Gallery, London, in 1887, as the duke of See also:

• ALVA
• ALVA, or ALBA, FERNANDO ALVAREZ DE TOLEDO, DUKE OF, (1508-1583)

Alva (See also:

• LENT (0. Eng. lenclen, " spring," M. Eng. lenten, lente, lent; cf. Dut. lente, Ger. Lenz, " spring," 0. H. Ger. lenzin, lengizin, lenzo, probably from the same root as " long " and referring to " the lengthening days ")

lent by Mr S . See also:

• KYNASTON, EDWARD (c. 1640-17o6)

Kynaston Mainwaring) .

Van Dyck was greatly in demand at this time, and his prices were correspondingly high, as the Antwerp See also:

• MUNICIPALITY

municipality found when they asked for a portrait of the See also:

• LATE

late infanta to decorate one of the triumphal See also:

• ARCHES, COURT OF

arches for the reception of the new governor . The most important of Van Dyck's works, at any See also:

• RATE

rate as a portrait painter, belong to this period . The picture representing in life-size the members of the Brussels See also:

• CORPORATION (from Lat. corporare, to form into a body, corpus, corporis)

corporation, which was destroyed by See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire during the See also:

• SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

siege of 1695, is spoken of with intense admiration by several writers . Bullart, for instance, is very enthusiastic about its See also:

• FINE

fine See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and life-like qualities . Among the religious paintings of undisputed excellence belonging to the same period are the " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Shepherds " in the church at Termonde, and the " Deposition," where the See also:

• BODY

body of Christ rests upon the See also:

• LAP

lap of the Virgin, in the Antwerp museum . Among the portraits are the admirable full-length of Scaglia, the king's frequent See also:

• AGENT (from Lat. agere, to act)

agent in the Netherlands (at Dorchester House; a replica in the museum at Antwerp), the equestrian portrait of See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert of Arenberg (Arenberg Palace at Brussels), and a portrait of the same nobleman on foot, in the black See also:

• VELVET

velvet See also:

• SPANISH

Spanish dress with See also:

• GOLDEN

golden See also:

• CHAMBERLAIN (0. Fr. chamberlain, chamberlenc, Mod. Fr. chambellan, from O. H. Ger. Chamarling, Chamarlinc, whence also the Med. Lat. cambellanus, camerlingus, camerlengus; Ital. camerlingo; Span. camerlengo, compounded of 0. H. Ger. Chamara, Kamara [Lat.
• CHAMBERLAIN, JOSEPH (1836— )
• CHAMBERLAIN, JOSHUA LAWRENCE (1828– )
• CHAMBERLAIN, SIR NEVILLE BOWLES (1820-1902)

chamberlain's See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key (See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long said to be Rubens) at Althorp, the full-length of See also:

• HELENA
• HELENA, ST (c. 247-c. 327)

Helena Fourment, Rubens's second wife (at St See also:

• PETERS (or PETER), HUGH (1598–166o)
• PETERS, KARL (1856– )

Peters-See also:

• BURG

burg), the beautiful duchess of See also:

• HAVRE
• HAVRE, LE

Havre, Mary See also:

• CLARA, SAINT (1194-1253)

Clara de Croy, signed and dated 1634 (Mr See also:

• AYSCOUGH, SAMUEL (1745-1804)

Ayscough See also:

• FAWKES, FRANCIS (1720-1777)
• FAWKES, GUY (1570-1606)

Fawkes), and other members of the same family (at Munich), See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas of Savoy (at Berlin), an admirable half-length of a lady in black (in the Vienna gallery), and above all the grandiose picture in which See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John of See also:

• NASSAU

Nassau is represented at full-length, with his wife and children (at Panshanger) . Several portraits of Brussels and Antwerp magistrates must also be mentioned, the most important being John Van Merstraeten, a Brussels lawyer (at Cassel) . After being chosen honorary See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

president of the Antwerp gild of St Luke, Van Dyck returned to London before the end of 1635 . In spite of the vast number, of his later portraits, some of them deserve to he ranked among the most celebrated of his productions . The See also:

• GROUP

group of three English royal children in the gallery at Turin (1635), the portraits of Charles I. in the Louvre and in the National Gallery, London, the picture of the See also:

• PEMBROKE
• PEMBROKE (Penfro)
• PEMBROKE, EARLS OF

Pembroke family at See also:

• WILTON

Wilton House, Sir See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George and Sir See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis See also:

• VILLIERS, CHARLES PELHAM (1802-1898)

Villiers, and the earls of See also:

• BRISTOL
• BRISTOL, EARLS AND MARQUESSES OF
• BRISTOL, GEORGE DIGBY, 2ND EARL OF1 (1612-1677)
• BRISTOL, JOHN DIGBY, 1ST EARL OF 6 (1580-1653)

Bristol and See also:

• BEDFORD

Bedford, at Althorp, as well as those of Francis See also:

• RUSSELL (FAMILY)
• RUSSELL, ISRAEL COOK (1852- )
• RUSSELL, JOHN (1745-1806)
• RUSSELL, JOHN (d. 1494)
• RUSSELL, JOHN RUSSELL, 1ST EARL (1792-1878)
• RUSSELL, JOHN SCOTT (1808–1882)
• RUSSELL, LORD WILLIAM (1639–1683)
• RUSSELL, SIR WILLIAM HOWARD
• RUSSELL, THOMAS (1762-1788)
• RUSSELL, WILLIAM CLARK (1844– )

Russell, fourth earl of Bedford, and See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne Carr, his See also:

• CONSORT (Lat. consors, a companion)

consort, at See also:

• WOBURN

Woburn See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey (1636), all belong to the years immediately following the master's return from the Netherlands . He now married Lady Mary See also:

• RUTHVEN

Ruthven, daughter of Sir See also:

• PATRICK, SIMON (1626–1707)
• PATRICK, ST

Patrick Ruthven and granddaughter of the earl of See also:

• GOWRIE
• GOWRIE, JOHN RUTHVEN, 3RD EARL OF (c. 1577-1600)

Gowrie . There are several portraits of her by her See also:

• HUSBAND

husband, the most important being in the Munich gallery, in which she is represented in white satin, playing on the See also:

• VIOLONCELLO (Fr. violoncelle, Ger. Violoncell, Ital. violoncello)

violoncello .

She is also said to figure as the Virgin in a picture belonging to Lord See also:

• LYTTELTON
• LYTTELTON, GEORGE LYTTELTON, 1ST BARON (17o9-1773)

Lyttelton . There is a See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital engraving of her by Bolswert . In another picture, said to be Mary Ruthven, an exceedingly handsome lady is represented as " Herminia Putting on Clarinda's Armour." There can be no doubt as to the model having been Margaret See also:

• LEMON
• LEMON, MARK (1809-1870)

Lemon, a celebrated beauty, whose portrait was engraved by W . Hollar and J . See also:

• MORIN, JEAN (latinized JOANNES MORINUS) (1591-1659)

Morin and painted by Van Dyck at See also:

• HAMPTON
• HAMPTON, WADE (1818-1902)

Hampton Court . " She was," says Mr Ernest Law, in his excellent catalogue of this gallery, " the most beautiful and celebrated, though far from being the only See also:

• MISTRESS

mistress of Van Dyck . The great artist, in fact, loved beauty in every See also:

• FORM (Lat. forma)

form, and found the See also:

• SEDUCTION (from Lat. seducere, to lead astray)

seduction of female charms altogether irresistible . She lived with him at his house at Blackfriars." The precise date of Van Dyck's marriage has not been ascertained . It was probably towards the end of 1639 . The See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

union is said to have been promoted by the artist's friends in order to See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save him from the consequence of his pernicious way of living . Margaret Lemon resented the event most cruelly, and tried to maim Van Dyck's right See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . Van Dyck found few occasions in England to paint anything but portraits .

There exists at Belvoir Castle a sketch by him representing a procession of the knights of the Garter, a really grandiose composition, engraved by See also:

• COOPER
• COOPER (or COUPER), THOMAS (c. 1517-1594)
• COOPER, ABRAHAM (1787—1868)
• COOPER, ALEXANDER (d. i66o)
• COOPER, CHARLES HENRY (18o8-1866)
• COOPER, JAMES FENIMORE (1789-1851)
• COOPER, PETER (1791-1883)
• COOPER, SAMUEL (1609-1672)
• COOPER, SIR ASTLEY PASTON (1768-1841)
• COOPER, THOMAS (1759–1840)
• COOPER, THOMAS (1805–1892)
• COOPER, THOMAS SIDNEY (1803–1902)

Cooper . We know from Bellori that Van Dyck had suggested, through his friend Sir Kenelm Digby, for the banqueting-See also:

• ROOM

room at See also:

• WHITEHALL

Whitehall, a series of decorations illustrating the See also:

• HISTORY

history of the order of the Garter, and that the king had been much pleased with the idea . The See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan, however, failed through the excessively high See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price asked by the painter, and perhaps also because the king had thought of having the work done in See also:

• TAPESTRY

tapestry . Van Dyck's pension was five years in arrear, and, instead of £560, he received finally, besides his pension, only boo . When the See also:

• NEWS

news of Rubens's death reached London (See also:

• JUNE

June 1640) Van Dyck contemplated a return to his native country, and a letter from Ferdinand of Austria to Philip IV. speaks of his intended journey to Antwerp on St Luke's Day (18th October) . Rubens had left unfinished a series of paintings commanded by the king of See also:

• SPAIN
• SPAIN (Espana)

Spain, and from See also:

• CORRESPONDENCE
• CORRESPONDENCE (from med. scholastic Lat. correspondentia, corrcspondere, compounded of Lat. cum, with, and respond ere, to answer; cf. Fr. correspondance)

correspondence published by Professor Justi we learn that Van Dyck had been thought of to give them the See also:

• FINISHING

finishing See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch . But he absolutely refused to finish them . It was then agreed that he should paint an See also:

• INDEPENDENT

independent canvas destined to complete the series . Van Dyck was delighted with this order, and Ferdinand tells his brother that he returned to London in great haste " to make preparations for his See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of residence; possibly," adds the letter, " he may still change his mind, for he is See also:

• STARK, JAMES (1794-1859)
• STARK, JOHN (1728-1822)

stark mad." Whether Van Dyck found it possible to work during his short stay in the Netherlands is a matter of doubt . Most authors suppose that Van Dyck's principal See also:

• OBJECT

object in travelling to the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent was to be entrusted with the decoration of one of the galleries of the Louvre . There may be some truth in this, for See also:

• MARIETTE, AUGUSTE FERDINAND FRANCOIS (1821-1881)

Mariette speaks of a letter he saw, written by See also:

• CLAUDE, JEAN (1619-1687)

Claude Vignon, the French painter, in See also:

• JANUARY

January 1641, asking Langlois for an introduction to Van Dyck, who was then in Paris . Unfortunately the great painter was thwarted in his aspirations .

His See also:

• HEALTH

health was beginning to fail . After his return to London he was frequently obliged to interrupt his work; and a letter written (13th August) from See also:

• RICHMOND
• RICHMOND, EARLS AND DUKES OF
• RICHMOND, LEGH (1772-1827)
• RICHMOND, SIR WILLIAM BLAKE (1842– )

Richmond by Lady Anne Roxburgh to See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

Baron W. van See also:

• BREDERODE, HENRY, COUNT

Brederode at the Hague states that the portraits of the Princess Mary had been greatly delayed through Van Dyck's illness,' and that theprince's (See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William II. of Orange) would be ready in eight days . " As Van Dyck intends leaving England in the course of ten or twelve days at latest," she adds, " he will take the paintings himself to the princess of Orange." These portraits, now in the museum at See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, are the last Van Dyck painted in England . Of works dated 1639 the portrait of Lady Pembroke, in the gallery of See also:

• DARMSTADT

Darmstadt, is a fine example; and to the same year belongs a full-length portrait of See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur See also:

• GOODWIN, JOHN (c. 1594–1665)
• GOODWIN, NATHANIEL CARL (1857– )
• GOODWIN, THOMAS (1600-168o)
• GOODWIN, WILLIAM WATSON (1831– )

Goodwin at Chats-See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth . The twin portrait of Thomas See also:

• CAREW, GEORGE (d. about 1613)
• CAREW, RICHARD (1555–1620)
• CAREW, THOMAS (1595–1645?)

Carew and Thomas See also:

• KILLIGREW, SIR HENRY (d. 1603)
• KILLIGREW, THOMAS (1612-1683)

Killigrew, in the royal collection, dated 1638, is certainly most delicate, but very weak in See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone and slight in handling . Van Dyck sailed in See also:

• SEPTEMBER (Lat. septem, seven)

September, and probably spent some time with his Antwerp friends . Early in November he reached Paris, and succeeded in obtaining some important work, when, on 16th November, he was compelled to resign his commissions on account of the state of his health . Scarcely three See also:

• WEEKS, EDWIN LORD (1849-1903)

weeks later (qth December 1641) he died at his residence at Blackfriars . Van Dyck was buried in old St Paul's, where a Latin inscription was placed on his See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb by Charles I . An See also:

• ELEGY

elegy in See also:

• COWLEY, ABRAHAM (1618-1667)
• COWLEY, HANNAH (1743-1809)
• COWLEY, HENRY RICHARD CHARLES WELLESLEY

Cowley's Miscellanies speaks, not only of the painter's talent, but of his amiable disposition . We may perhaps point to the coincidence that a Mrs Cowley is in Van Dyck's will (of 1st December) named See also:

• GUARDIAN

guardian of his child, Justiniana See also:

• ANNA
• ANNA (Hindustani ana)
• ANNA, BALDASARRE

Anna, born only eight days before her father's death . The painter had in the Netherlands an illegitimate daughter, Maria Theresia, who was entrusted to his sister, and to whom he bequeathed £4000 .

The name of her mother is not known . Not long after her husband's death Lady Van Dyck became the second wife of Sir See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard Pryse of Gogerddan in See also:

• CARDIGAN (Aberteifi)
• CARDIGAN, JAMES THOMAS BRUDENELL, 7TH EARL OR (1797-1868)

Cardigan-See also:

• SHIRE

shire . She was dead in 1645 . Justiniana Van Dyck, who was married when scarcely twelve years old to Sir John See also:

• STEPNEY
• STEPNEY, GEORGE (1663-1707)

Stepney of Prendergast, was also something of an artist: she painted a " Crucifixion," with four angels receiving Christ's See also:

• BLOOD

blood in chalices .. A similar subject had been painted by Van Dyck, as Bellori tells us, for the duke of See also:

• NORTHUMBERLAND
• NORTHUMBERLAND, EARLS AND DUKES OF
• NORTHUMBERLAND, JOHN DUDLEY, VISCOUNT LISLE, EARL OF WARWICK
• NORTHUMBERLAND, JOHN NEVILLE, EARL OF (c. 1430-1471)

Northumberland . After the Restoration a pension of £zoo for life was granted to Justiniana Van Dyck, who died before 1690 . Properly speaking, Van Dyck cannot be said to have formed a school . He was followed to London by some of his earlier collaborators, and there soon met a considerable number of others . Jana van Reyn, See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David Beek, See also:

• ADRIAN
• ADRIAN, SAINT

Adrian Hanneman, Mathew See also:

• MERIAN, MATTHEW (1593–1650)

Merian, John Bockhorst (See also:

• LANG, ANDREW (1844— )
• LANG, KARL HEINRICH, RITTER VON (1764-1835)

Lang See also:

• JAN

Jan), Remy van Leemput and Peter Thys were foremost among foreigners, See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

Stone and William See also:

• DOBSON, HENRY AUSTIN (184o- )
• DOBSON, WILLIAM (16ro-1646)

Dobson among Englishmen . To their assistance the master owed much; but they are also responsible for the vast number of constantly recurring copies which go by his name . It often requires a very discriminating See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye to distinguish some of these copies from the original paintings . Nevertheless, after Van Dyck's death many of his coadjutors produced works of undeniable merit .

No school more strikingly reflects the influence of Van Dyck than the British school . Stone and Dobson were, properly speaking, the most fortunate of his continuators; and there is little doubt that such masters as Reynolds, See also:

• GAINSBOROUGH
• GAINSBOROUGH, THOMAS (1727-1788)

Gainsborough, Lawrence and See also:

• RAEBURN, SIR HENRY (1756-1823)

Raeburn owe a large measure of their superiority to their study of his works . Though Van Dyck's reputation greatly suffered through the numerous copies he allowed his pupils to take from his works, the See also:

• CASE
• CASE, JOHN (d. 1600)

case is otherwise with engraving: Vorsterman, Pontius, Peter de Jode, P . Balliu and S . Bolswert were seldom more fortunate than when under his guidance . De Jode's " St Augustine," Bolswert's Ecce Homo " and " Crucifixion," Vorsterman's "Deposition," and especially Pontius's " Herman Joseph " rank among the masterpieces of the art of engraving . Van Dyck was himself an incomparable etcher, and with the See also:

• NEEDLE (O. Eng. ncedl; the word appears in various forms in Teutonic languages, Ger. Nadel, Dutch naal, the root being ne-, to sew, cf. Ger. nahen, and probably Lat. nere, to spin, Gr. vi)ats, spinning)

needle arrived at a degree of excellence scarcely inferior to that exhibited in his paintings . Such prints as the portraits of Vorsterman, John de Wael, Snyders, Josse de Momper, See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam van Noort, and above all his own effigy, bear See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness to his prodigious knowledge of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design . Print collectors pay extravagant prices for a first proof taken from the plates engraved by Van Dyck himself . Van Dyck also employed some of the best engravers of his time for the production of a gallery of illustrious heads, men and See also:

• WOMEN

women, of different countries . Whether all were taken from life is questionable . Gustavus See also:

• ADOLPHUS, JOHN LEYCESTER (1795-1862)

Adolphus and See also:

• WALLENSTEIN (properly WALDSTEIN), ALBRECHT WENZEL EUSEBIUS VON

Wallenstein he can hardly have met .

Du Breucq, the architect, he never knew . But all ' the sketches and drawings were done by himself, and are often met with in public and private galleries . The engravings are sometimes very beautiful and in their first states very rare . Published successively by Martin van der Enden, See also:

• GILES (GIL, GILLES), ST

Giles Hendrickx and John Meyssens, the collection originally consisted of sixteen warriors and statesmen, twelve scholars and fifty-two artists . Hendrickx raised the number to ninety-nine, and used as a See also:

• FRONTISPIECE (through the French, from Med. Lat. frontispicium, a front view, frons, frontis, forehead or front, and specere, to look at; the English spelling is a mistaken adaptation to " piece ")

frontispiece the portrait of Van Dyck, with the following inscription: Icones Vincipum, virorum doctorum, &c . &c., numero cenlum ab Antonio an Dyck pictore ad vivum expressae eiusq. sumtibus aeri incisae, 1645 . Seventeen See also:

• EDITIONS

editions were published, the last in 1759, with 124 plates . Many of the plates are the See also:

• PROPERTY

property of the French See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

Government, and belong to the Chalcographie Nationale in Paris .