PLATE II.—OLD HILLE BOBBE
(Royal Museum, Berlin)
Painted in 1650. This ancient, wrinkled dame was what they call in seaport towns "a sailor's mother," rather a dubious compliment to mariners! She was a "merry toper," like many of Hals' companions, and went from tavern to tavern to get a drink. Her real name was Alle, or Alice Boll—easily transposed. The owl is probably a painter's skit of the screeching, scolding old hussy! The portrait is quite remarkable for poverty of colour. Franz was out of funds and out of paints, but he has made the old bloodless flesh look like life. He often painted her: he loved her odd look, if he liked not well her scorn!
One whole year the couple spent in the city of lace, and a little son was born to them, whom they registered in the name of Dirk. The greater opportunities offered to labour and capital in the city on the Scheldt, however, were so evident, that they once more packed up their goods and chattels and resumed their pilgrimage.
Antwerp was already renowned as an Art city—its painters and engravers were of wide world fame; and Pieter Claes Hals, in full possession of certain artistic proclivities of his family, considered that he might more profitably make use of them there. Besides this, another branch of the family was established in Antwerp, and members thereof were in good positions.
The journey from Mechlin, short as it was, partook of the pathetic character of that of Joseph and Mary to Bethlehem, inasmuch as they were no sooner housed in temporary lodgings than Mevrouw Lysbeth brought into the world another little son. Vincenzius Laurenszoon Van der Vinne—a devoted pupil in after years of this very baby boy—says he was born late in 1580. There is no official record of the day of birth, but he was registered in the good old family name of Franz.
"Franz of Antwerp" was a designation which stuck to the great painter right on to the end of his long career. Nothing whatever is known of his youth, his education, or his pursuits. For twenty years neither he, nor his parents, are named by biographers or historians.
In 1600 Mijnheer and Mevrouw Hals found themselves once more at Haarlem, with what thankfulness it would not be difficult to narrate. Their two sons accompanied them, but two baby girls—Cornelia and Geertruid—were left buried in Flemish soil. Both lads—they were grown men—at once entered painters' studios—Dirk that of Abraam Bloemaert, and Franz that of Karel Van Mander.
This statement brings us up smartly, for there has been nothing to indicate that the brothers had served apprenticeships in Art. We must then proceed by presumption and surmise in the story of their training, for we may be quite sure that these eminent artists would not accept raw, untaught youths as pupils.
Dirk and Franz had, of course, been reared in Antwerp, where the most conspicuous teachers of painting were Otho Van Veen (1518-1629), a painter of churches and portraits; Adam Van Noort (1557-1641), history, large portraits, and genre; and Tobie Verghaegts (1566-1631), landscape and architecture.