Philip, Lord Wharton, was an English n.o.bleman of nearly the same age as the Duke of Lennox, and the two were painted by Van Dyck at about the same time. In both young men are apparent the same signs of gentle birth and breeding, a dignity of bearing, and a repose of manner characteristic of their cla.s.s. That they were quite different in essential character, however, we shall presently see.

Lord Wharton was the fourth baron of his family and the second of the name Philip. He succeeded to his t.i.tle as he was entering his teens, and at the age of nineteen he had become one of the most attractive figures at the court of Charles I. In this year he married Elizabeth, the daughter of Sir Rowland Wandesford. It was in honor of this occasion that the portrait of our ill.u.s.tration was painted.

Of a lover so handsome and graceful, the promised bride may well have been proud. His dress is rich and picturesque: the jacket is of violet velvet, the mantle of yellow satin, and the costume is set off by delicate laces at the throat and wrists. These were days when the men vied with women in fondness for finery.

Lord Wharton was at this time on terms of friendly intimacy with the king and queen. It was a flattering mark of royal favor when the king presented the young courtier with two full-length portraits of himself and of Queen Henrietta, painted by Van Dyck. Perhaps the artistic tastes they had in common formed the bond of friendship between them.

Lord Wharton, it appears, admired Van Dyck's portrait work almost as much as King Charles. On his second marriage, five years later, he employed the artist to paint a number of family portraits. He prized these so highly that he built a gallery specially for them in his new house at Winchendon.

The time soon came when more strenuous questions occupied him. The contest between the king and the Parliament brought every Englishman to a parting of the ways. Lord Wharton was a Puritan, and took a decided stand on the side of Parliament. His personal relations with the king were outweighed by his sense of patriotic duty.

At the breaking out of the war he entered the Parliamentary army, serving successively as colonel of a regiment of foot, and as a captain of a troop of horse. He took part in the battle of Edgehill, and was brought into considerable prominence at this time. In a famous speech made soon afterwards, he charged the king's nephew, Prince Rupert, with gross "inhumanity and barbarousness" during the course of the battle. Evidently where his mind was made up, Lord Wharton was a strong partisan.

[Ill.u.s.tration: PHILIP, LORD WHARTON _Hermitage Gallery, St. Petersburg_]

Of this we should suspect nothing from our portrait. It is hard to imagine that this beardless young courtier, so suave and amiable in appearance, will ten years later be fighting sternly against his king.

Here his thoughts seem to be wholly romantic: his eyes have the dreamy expression of an expectant lover. His is surely a knightly soul unstained by worldliness. The face is of that perfect oval admired by artists as the highest standard of beauty. Taste and refinement are the most striking qualities one reads in it; the mouth is the most individual feature, small and modelled in delicate curves. Yet with all its sweetness, those firmly closed lips suggest tenacity of opinion and strength of will.

As the event proved, Lord Wharton was a man of uncompromising political opinions. He was at one time committed to the Tower on a charge of contempt of the House. In his long and active life he saw England pa.s.s through many changes. He was an old man when the last of the Stuart kings (James II.) fled from England, leaving a vacant throne. Macaulay tells us of the Whig n.o.bleman's speech in the meeting of the Lords which resulted in the invitation to William and Mary of Orange to take the government. He knew how to be fair as well as severe, and a still later speech is recorded when he opposed the Abjuration Bill.[22] He died at the age of eighty-five in 1698.

[Footnote 22: This bill provided that no person should sit in either house of Parliament or hold any office without making declaration that he would stand by William and Mary against James and his adherents.]

There are other portraits by Van Dyck more vigorous than this, but none perhaps more charming. As we have seen in the portrait of the Duke of Lennox, the painter was nowhere more successful than in portraying the young courtier. We recognize the pose, with one arm akimbo, as a favorite device of Van Dyck. While in some cases it seems artificial, here it appears to be an att.i.tude which the young man a.s.sumed of his own accord.

On his left arm he carries a tall shepherd's staff; it may be that he has sometime played a pastoral part in some masque. His costume, however, does not accord with such a part, and it is more likely that the staff is held merely to give some use to the left hand. We note in another ill.u.s.tration that the man called Richardot holds a book, with his hand in a similar position.

The texture painting of Lord Wharton's costume is skilfully rendered, and a rich satin hanging behind him throws a part of the figure into relief. On the other side is a glimpse of landscape lighting the composition pleasantly with a distant view.

Authorities.--Macaulay: _History of England_; Doyle's _Official Baronage of England_.

XV

THE LAMENTATION OVER CHRIST

A great company of people had followed Jesus to his crucifixion, including not only his enemies, but his friends. The beloved disciple John was accompanied by Mary. "And many women were beholding afar off, which followed Jesus from Galilee, ministering unto him; among which was Mary Magdalene, and Mary the mother of James and Joses, and the mother of Zebedee's children.

"When the even was come there came a rich man of Arimathea named Joseph, who also himself was Jesus' disciple. He went to Pilate and begged the body of Jesus. Then Pilate commanded the body to be delivered. And when Joseph had taken the body, he wrapped it in a clean linen cloth, and laid it in his own new tomb which he had hewn out in the rock: and he rolled a great stone to the door of the sepulchre and departed."[23]

[Footnote 23: St. Matthew, chapter XXVII., verses 55-60.]

During all this time two at least of the original company of women had lingered near while the body of Jesus was taken from the cross and made ready for burial. They were the mother Mary and Mary Magdalene.

Even after Joseph's task was done and he had gone his way, they remained "sitting over against the sepulchre."

It is not unnatural to suppose that they may have had some share in the preparation of the body. Nicodemus, as we learn elsewhere, had brought a mixture of myrrh and aloes, which it was the custom of the Jews to use in burial.[24] Both men must have been glad of the presence and help of the faithful women.

[Footnote 24: St. John, chapter XIX., verse 39.]

Poets and painters have dwelt much on these sad moments, supplying from the imagination the details omitted in the narrative. The women must at times have been unable to restrain their tears; natural grief must have its way. Then might the men have left them awhile alone with their dead, as they busied themselves with their task.

It is some such idea as this which inspired the painting of our ill.u.s.tration. The mother Mary supports the head of her son upon her bosom; Mary Magdalene stoops to kiss the lifeless hand; St. John approaches at one side with a mantle.

The body of Christ, wrapped in a cloth, has been laid upon a rock in a cavern. The agony of his cruel death is past, and the face is calm as of one who sleeps. The figure is, as we have seen it on the cross, robust and well knit. Only the nail prints in hands and feet show the manner of his dying. On the ground beside him is a basin with a sponge, surrounded by tokens of the crucifixion, the crown of thorns, the nails, and the superscription.

[Ill.u.s.tration: THE LAMENTATION OVER CHRIST _Antwerp Museum_]

We see in the Madonna the same stately and beautiful woman who carried her babe on the journey to Egypt. Her veil is now drawn well over her head, entirely concealing her hair. She has borne the cares of life with courage, and the years have touched her face but lightly. Even in the hour of anguish she lifts her eyes to heaven with resignation, yet one hand is extended with a gesture which seems to implore mercy.

Mary Magdalene is a much younger woman. She has peculiar reason for her devotion to Jesus, for he saved her from a strange fate.[25] Her impulsive and loving nature is now overwhelmed with grief. Her rich costume is in disorder, and her hair falls in loose locks over her shoulders. Her lovely face is very sad. Half kneeling, she presses her lips to the wound in the left hand. Her att.i.tude and manner are full of humility, as if she felt herself unworthy to approach too near.

[Footnote 25: St. Luke, chapter VIII., verse 2.]

St. John regards the group with gentle sympathy. He is spoken of as "the disciple whom Jesus loved," so intimate was the relation between them. To his care Jesus intrusted the Mother Mary, and he now remains near as one of the few most deeply bereaved. He is very young, with a sensitive face and delicately cut features.

The subject of the picture is one which Van Dyck treated in several compositions. The Flemish t.i.tle is "Nood G.o.des," the suffering of G.o.d.

The Italians call it the Pieta, which means, compa.s.sion. One of the most celebrated works of art devoted to the theme is the marble group in Rome by Michelangelo.[26] Van Dyck must have seen this work on his visit to the Eternal City, and was no doubt inspired in some measure by its grandeur. We notice that in his picture the Mother extends her left hand in a gesture similar to that of the marble figure.

[Footnote 26: See Chapter VI. in the volume on _Michelangelo_ in the Riverside Art Series.]

XVI

PORTRAIT OF VAN DYCK

The painter Van Dyck was the son of a rich merchant of Antwerp, and lacked no opportunities for the training of his artistic gifts. He was fortunate also in meeting ready appreciation wherever he went. In Italy, in Flanders, and finally in England, his paintings were highly valued. His life was pa.s.sed amid luxurious surroundings, in the society of n.o.blemen and princes. His was a brilliant and successful career.

Our portrait frontispiece was painted during his residence in England, when he was about forty years of age. He is described as short in stature, with a slender figure. His hands were long, with the straight sensitive fingers of the artist. He had a fresh delicate face, with well-cut features, and light chestnut-colored hair, which he wore long, like the English Cavaliers. The upturned mustache and small pointed beard were also fashionable among the English n.o.bility, as we infer from the portrait of Charles I.

The face has the characteristic qualities of the artistic nature, the high forehead, the dreamy eyes, and the pensive expression. The head is lifted a little, in an imaginative pose. We should know this man at once for a poet or a painter.

It must be confessed that we do not find much strength of character in the face. Van Dyck indeed lacked the n.o.bler qualities of manliness, and was decidedly worldly in his tastes. He lived in princely magnificence in his house at Blackfriars, spending money lavishly. A biographer tells how "he always went magnificently Drest, had a numerous and gallant Equipage, and kept so n.o.ble a Table in his Apartment that few Princes were more visited or better serv'd."

To maintain this expensive establishment the painter was obliged to devote his mornings to hard work in his studio. The nights were spent in banquets and revelry. Naturally his health gave way under the strain of this double life. While he still cherished ambitious projects for greater works of art, he sickened and died in London at the age of forty-two.

Two years before this he had married an English lady, Mary Ruthven, and they had one child, a daughter.

Our frontispiece is a detail of a double portrait representing, in half-length figures, the painter and a patron, John Digby, Earl of Bristol.