CHAPTER II.
CHILDREN BORN TO THE PURPLE.
The children of a royal family lead a strange and somewhat lonely life. Impressed, almost from infancy, with a sense of their superiority, and recognizing no equals among their companions and playmates, they live apart in princely isolation, preparing for the future honors which await them. But even the grave responsibilities of their rank cannot altogether extinguish the inherent joyousness of youth, and children will be children to the end of time. The stately ceremonies of the court have to yield in turn to innocent amusements, and childhood reasserts its natural right to simple and spontaneous happiness.
The combination of royal dignity with pure childishness is a unique subject for art, and one which few have had the genius to portray. Two great painters are famous in history for their remarkable success in this line of work,—Van Dyck, of Belgium, and Velasquez, of Spain.
In many respects the lives of these two painters ran in parallel lines. They were born in the same year, 1599; and beginning their art studies when still very young, with great opportunities for the development of their talent, both had won an enviable reputation by the time they had reached early manhood. Both held appointments as the court painters of kings who were unusually liberal and appreciative in their patronage,—Van Dyck under Charles I. of England, and Velasquez under Philip IV. of Spain. Both artists drew great inspiration from the Italian masters, whose works they studied in Venice and Rome, particularly the great Titian. Here, however, the comparison may end; for the nature of the subjects which each chose, the influence of their nationality upon their style, and, above all, their own personal individuality as artists, have rendered their work strikingly dissimilar.
Van Dyck was in every sense a man of the world and a courtier; widely travelled, broadly cultured, fond of music, brilliant in conversation, handsome of face, and graceful in bearing, by turns an elegant host and a distinguished guest. Thus all his thoughts, interests, and pleasures were thoroughly identified with the court life, and he was peculiarly fitted for the artistic interpretation of royalty.
The family of Charles I. of England afforded a most attractive field for the exercise of the court painter’s talent, and many and varied are the groups in which they were represented.[2] Some of the most interesting of these are in the collection at Windsor. In one, the king and queen are seen, with their two sons, Prince Charles and Prince James; while another portrays the same boys, with their mother, Henrietta Maria. The latter painting is an exceedingly beautiful work, repaying long study. The boys have that indefinable air of nobility which Van Dyck knew so well how to impart to his subjects, and which none can imitate or explain. Even Prince James, who is an infant in arms, holds his little head erect, like the prince that he is. The artist has shown us, however, that royal dignity is by no means incompatible with the true child nature, and the two young princes are always depicted as genuine children, with frank, winning faces.
