"Many years before he painted it, he had gone down to Portsmouth one day to see Nelson's fleet come in after the glorious victory of Trafalgar. The _T?m?raire_ was pointed out to him--a battle ship that had very proudly borne the English flag, for during the battle it had run in between two French frigates and captured them both.

"And now between thirty and forty years later, he lingered one afternoon on the banks of the Thames. As he looked over the water he saw the grand old hulk being towed down the river by a noisy little tug to be broken up at Deptford. 'There's a fine subject!' he exclaimed as he looked at the heroic ship that had known many glorious years; and in his thought he compared it to 'a battle-scarred warrior borne to the grave.'

"Then he painted the picture. The glow of the setting sun irradiates the scene and bids farewell to the old ship. Twilight is coming on, and the new moon has just risen in its pearly light. It is a pathetic picture," and well ill.u.s.trates how truly a "master of sunsets and waves" the artist was.

Among his other paintings are several of Venice; "The Slave Ship" and many other sea pieces.

XL

SIR ANTHONY VAN DYCK

_Flemish School_ 1599-1641 _Pupil of Rubens_

Anthony Van d.y.k.e's father was neither a gentleman nor an ill-born person. He was "betwixt-and-between," being a silk merchant, who met so many fine folk that he seemed to be "fine folk" himself; and by the time Anthony had grown up, he actually believed himself to be one of them. If manners stand for fineness Sir Anthony must have been superfine, because he was almost overburdened with "manners."

He became a wonderful, be-laced, perfumed, shiny gentleman who never stooped to paint anything less than royalty and its a.s.sociates, nor in anything less than velvets and laces. Like Rembrandt and Gainsborough, he set a fashion--or rather the style in which he painted came to be known after his name. We are all familiar with the kind of ornamentation on clothes called Van Dyck--pointed lace, or tr.i.m.m.i.n.gs--and pointed beards.

As a very young lad he was almost too dainty to be liked by healthy boys; and the worst of it was he did not care whether healthy, robust chaps liked him or not; certainly he did not care for them. He liked to sit in his father's shop and be smiled upon by the great ladies who came to buy, and in turn to smile shyly at them; this tendency became stronger as he grew to be a man.

Anthony's mother made the most exquisite embroideries, and this may mean that some part of his art was inherited. She handled lovely colours, and tried to fashion beautiful flower shapes for customers. She was a fragile, tender sort of woman, while the father was doubtless a dapper, over-nice little fellow.

Anthony was born in Antwerp, and the facts concerning his education, as in the case of most artists, are lost to our knowledge. He probably had a little of some sort outside of painting, but it certainly was not enough to hurt him, nor to make a fine healthy man of him. He was very beautiful, in a lady-like, faint-coloured way, not in the least resembling the handsome, gorgeous, elegant, robust Rubens, a true cavalier, of a dashing sort.

He was apprenticed to a painter when he was ten years old, and later on became the pupil of Rubens. He painted a whole series of Apostles'

heads, about which a lawsuit took place. The papers relating to this were found about twenty years ago, though the lawsuit occurred as far back as 1615. Several of the Apostles' heads that brought about the suit are to-day to be seen in the gallery at Dresden.

Everything in those days--especially in Germany and Holland--was represented by a "guild." In reading about the Mastersingers of Nuremberg we are told that on the day when the trial of singers was to take place, dozens of "guilds" a.s.sembled in the meadow--guilds of bakers, of shoemakers--of which Hans Sachs was the head--guilds of goldsmiths, etc. Van Dyck was a member of the painters' guild when he was no more than nineteen. His work at that time showed so much strength that there is a picture of his, an old gentleman and lady, in the Dresden gallery, which for a long time was supposed to have been painted by his master, Rubens.

An intimate friend of Van Dyck, Kenelm Digby, says that Van Dyck's first relations with Rubens came about by Van Dyck being employed to make engravings for the reproduction of Rubens's great works. After that he studied painting with him.

One of his friends of that time wrote that at twenty Van Dyck was nearly as great as Rubens, though this is hardly substantiated by the verdict of time, and that being a man with very rich family connections, he could hardly be expected to leave home. On every hand we have signs of the artist's affected feeling about himself and other people.

However, an annual pension from the King of England seems to have made travelling possible to this fine gentleman of lace ruffles, pale face, and lady-like ways.

There is an entry about him on the royal account book of "Special service ... performed for His Majesty." Also "Antonio Van Dyck, gent., _His Majesty's servant_, is allowed to travaile 8 months, he havinge obtayneid his Majesty's leave in that behalf, as was signified to the E. of Arundel." Certainly by that time Van Dyck had become a truly great portrait painter; not the greatest, because every picture showed the same characteristics in its subject--elegance, fine clothes, languid manners, without force of great truth or any excellent moral quality to distinguish one from another. Nevertheless, the kind of painting that he did, he did better than anyone else had ever done, or probably ever will do.

While in England he painted all the royalties and many aristocrats, and wherever he went he was always painting pictures of himself.

He travelled about a good deal, always painting people of the same cla.s.s--kings and queens and fine folk, and painting them pretty nearly all alike.

When he went to Italy he was everywhere received as a great painter, but while artists agreed that his work was excellent he was not much liked by them, and many tales are told about that journey which are interesting, if not entirely true. Van Dyck was the sort of man about whom tales would be made up. One, however, sounds true. It is said that he fell in love--which of course he was always doing--with a beautiful country girl, and that for love of her he painted an altar piece into which he put himself, seated on the great gray horse which Rubens had given him. That picture is in St. Martin's Church at Saventhem, near Brussels, but although one is inclined to believe this story because it was quite the sort of thing which might be expected of Van Dyck, even this is not true, because the painting was done long after the artist had made his Italian journey, and it was commissioned by a gentleman living at Saventhem, whose daughter Van Dyck undoubtedly liked pretty well; but he made the picture for money, not for love.

While he was in Italy he lived with a cardinal, and painted languid pictures of sacred subjects, which were far from being his best work. The best that he did was in portraiture. Distinguished though he was, he did not have a very good time in Italy, because he would not join the artists who worked there, nor a.s.sociate with them in the least, and naturally this made him disliked.

We see a good many portraits painted by Van Dyck, of persons mounted upon or standing beside the gray horse, and these were painted about the time of that Italian journey. He used the Rubens horse in many paintings.

Of all the people with whom he painted, he most valued the knowledge he got from a blind woman painter of Sicily, called Sofonisba Anguisciola, and he often said that he had learned more from a blind woman than from all the open-eyed men he ever knew. This woman artist was over ninety years old at the time he learned from her.

While he was in Italy the plague broke out, and Van Dyck fled for his life, leaving an unfinished picture behind him, one ordered by the English king, the subject being Rinaldo and Armida, which had gained for the artist his knighthood pension.

It is said that during his first year in England he painted the king and queen twelve times. He had an extraordinary record for industry, and painted very quickly, as he had need to do, because it took a great deal of money to buy the sort of things Van Dyck liked--fine laces and velvets, perfumes and satins. His plan was to sketch his subject first on gray paper with black and white chalk, and after that he gave the sketch to an a.s.sistant who increased it to the size he wished to paint. The next step was to set his painter to work upon the clothing of his figures. This was painted in roughly, together with background and any architectural effect Van Dyck wanted. After this the artist himself sat down and in three or four sittings, of not more than an hour each, he was able to finish a picture worth to-day thousands of dollars.

He painted hands specially well, and kept certain models for them alone.

Van Dyck had eleven brothers and sisters, whom he always kept in mind. Some of his sisters had become nuns while some of his brothers were priests, and Van Dyck's influence got a monkish brother called to the Dutch court to act as chaplain to the queen.

By this time every royal personage in the world, nearly, had sent for Van Dyck to paint his portrait, for he could make one look handsomer than could any other painter in existence. If the king was very ugly, Van Dyck painted such beautiful clothes upon him that n.o.body noticed the plainness of the features.

When Van Dyck was about thirty-six years old he married a great lady, the Lady Mary Ruthven, granddaughter of the Earl of Gowrie, but before that he had had a lady-love, Margaret Lemon, whom he painted as the Virgin and in several other pictures. When he married Lady Mary, Margaret Lemon was so furiously jealous that she tried to injure Van Dyck's right hand so that he could paint no more.

About this time Rubens died in Flanders, leaving behind him an unfinished series of pictures which had been commissioned by the king of Spain. Van Dyck was asked to finish these, but declined until he was asked to make an independent picture, to complete the series, and this he was delighted to do. Ferdinand of Austria wrote to the king of Spain that Van Dyck had returned in great haste to London to arrange for his change of home, in order to do the work. "Possibly he may still change his mind," he added, "for he is stark mad." This shows how Van Dyck's erratic ways appeared to some people.

He had a sister, Justiniana, who was also something of an artist and she married a n.o.bleman when she was about twelve years old.

When Van Dyck died he was buried in St. Paul's, London, and Charles I. placed an inscription on his tomb.

In the "Young People's Story of Art," is the following anecdote: "A visit was once paid by a courtly looking stranger pa.s.sing through Haarlem, to Franz Hals, the distinguished Dutch painter.

"Hals was not at home but he was sent for to the tavern and hastily returned. The stranger told him that he had heard of his reputation--had just two hours to spare--and wished to have his portrait painted. Hals, seizing canvas and brushes fell vigorously to work; and before the given time had elapsed, he said, 'Have the goodness to rise, sir, and examine your portrait!' The stranger looked at it, expressed his satisfaction, and then said, 'Painting seems such a very easy thing, suppose we change places and see what I can do!'

"Hals a.s.sented, and took his position as the sitter. The unknown began, and as Hals watched him, he saw that he wielded the brush so quickly, he must be a painter. His work, too, was rapidly finished, and as Hals looked at it he exclaimed, 'You must be Van Dyck! No one else could paint such a portrait!'

"No two portraits could have been more unlike. The story adds that the famous Dutch and Flemish masters heartily embraced each other."

The stories of Van Dyck's youth are interesting, and probably true. It is said that he drew so well when he was a pupil of Rubens that the great master often allowed him to retouch his own works. Once in Rubens's studio, some of the students got the key and went in to see what the master was doing, when he was absent. Rubens had left a painting fresh upon the easel, and in looking about them one of the boys rubbed against it. This frightened them all. What should they do?

Rubens would find his picture ruined and know that they had broken in.

After consultation they decided there was no one with them who could repair the damage as well as Van Dyck, who set about it, and soon he had painted in the smudged part so perfectly that when Rubens saw it, he did not for some time know that anything had happened to his picture. Later he suspected something, and when he learned of the prank and its outcome, he was so delighted with Van Dyck's work that he praised him instead of blaming him for it.

Van Dyck had a very precise method of working. When sitters came to him he would paint for just one hour. Then he would politely dismiss them, and his servant would wash his brushes, and clear the way for the next sitter. He dined with his sitters often that he might surprise in them the expression which he wanted to paint. Also, he had their clothing sent to his studio, that it might be exactly imitated by himself or by those a.s.sistants who painted in the foundation for his finished work.

While attached to King Charles I.'s court, Van Dyck was given a fine house at Blackfriars, on the Thames, and he had a private landing place made for boats, so that the royal family might visit him at their convenience. Charles I. used often to go to Van Dyck's studio to escape his many troubles, and thus the artist's home became as fashionable a gathering place, as Gainsborough's studio was in Bath. He painted Queen Henrietta not less than twenty-five times. He often furnished concerts for his sitters, for he himself was pa.s.sionately fond of music, and moreover he believed that music often brought to the faces of his sitters, an expression that he loved to paint.

He painted so many pictures of a certain kind of little dog, in the pictures of King Charles I. that ever since that breed has been known as the King Charles spaniel.

After a while Van Dyck got heavily into debt. King Charles himself was in great trouble, and he had no money with which to pay his painter's pension. The artist had lived so extravagantly that he did not know at last which way to turn, so in desperation he thought to try alchemy and maybe to learn the secret of making gold. He wasted much time at this, as cleverer men have done, but at last he became too ill for that or for his own proper work, and badly off though Charles was himself, he offered his court physician a large sum if he could cure his court painter. But Van Dyck had enjoyed life too well, and nothing could be done for him.

He was the seventh child of his parents--which some have thought had something to do with his genius and success; he lived gaily all the years of his life, going restlessly from place to place, and having many acquaintances but probably few friends, outside of his old master, Rubens, who loved him for his genius.

PLATE--CHILDREN OF CHARLES THE FIRST

Van Dyck painted the family of the unfortunate king of England four times. There are five children in the Windsor Castle picture, and this one, which hangs in the Turin Gallery, was probably painted before the birth of the fourth child in 1636. It is celebrated for its colouring as well as for its great artistic merit. The children are surely childlike enough, despite their stately attire, and they little dream of the sad fate awaiting the whole of the Stuart family to which they belong.

Other Van Dycks are: "The Blessed Herman Joseph," "Lords Digby and Russell," "Lord Wharton," "Countess Folkestone," and "William Prince of Orange."