[head of james, duke of york.—van dyck.]

The most popular of Van Dyck’s portraits of the Stuart children is the famous group at Turin, in which the two young princes, Charles and James, stand one on each side of their sister Mary. All three bear themselves with an air of conscious superiority, a gentle and serene dignity born of their faith in the divine right of kings. Prince Charles is dressed in scarlet satin, richly embroidered with silver lace, with a broad lace collar falling over his shoulders. His large round eyes look out towards the spectator with the dreamy expression of one who builds splendid air-castles. The Princess Mary is in white satin, and is a dainty little figure, a second edition of her queen mamma, with ringlets carefully ranged on each side of her pretty forehead, and her exquisite hands holding lightly the lustrous folds of her dress.

The little Prince James is so short that he stands on a platform at the side, to bring his figure into harmonious relation to the group. His dress is blue satin, of stiff, full skirt, which, with the close white cap on his head, makes him a quaint little figure. A chubby, innocent looking baby, he is nevertheless a personage who fully realizes the important place he occupies in the family group, and is determined to fill it with becoming gravity.

Next in popularity to the Turin picture is a group of five children, the original of which is at Windsor, and a replica at Berlin. The painting is dated 1637, fixing the age of Prince Charles as seven. Having now outgrown the frocks of the earlier pictures, he stands in a graceful boyish attitude, wearing satin knickerbockers and waistcoat, and still retaining the beautiful lace collar on his aristocratic shoulders. His eyes have the same dreamy look as in other portraits. On his right are his sisters Mary and Elizabeth, the former demurely complacent as before, the latter timid and dainty. On the left the little Princess Anne frolics with Prince James in simple childish fashion. As a composition, the picture is somewhat stiff and artificial, but the single figures are all rendered with characteristic beauty.

It is sad to place beside Van Dyck’s glowing canvases, the dark pictures in which historians have painted the after-life of these charming children. The dreamy-eyed Prince Charles grows at length into the corrupt and unprincipled King Charles II., whose tyrannies are limited only by his indolence. The sweet, round-faced baby, Prince James, becomes King James II., whose reign is even more inglorious than that of the brother whom he succeeds. The Princess Mary has in the mean time married Prince William II. of Orange, and now, in England’s hour of need, it is her son, William III. of Orange, who is summoned to the aid of his mother’s native land. With his cousin wife Mary, the daughter of the unworthy king, he assumes the head of affairs, and wisely conducts the interests of the people throughout a prosperous reign.

The fact that the Princess Mary’s marriage with William II. of Orange was productive of so great a benefit to England gives special interest to Van Dyck’s painting of the betrothed lovers, which may now be seen at Amsterdam. The princess stands on the left side of the picture, bearing herself with characteristic dignity. Prince William, beside her, holds her left hand lightly in his right, and turns his face to meet our gaze with steadfast, serious eyes. He is a fine, manly figure, in every way the true Prince Charming for his pretty lady-love. Both children have a thoughtful, intelligent look, far beyond their years, as if conscious that England’s destiny turns upon their union.

[princess mary and prince of orange.—van dyck.]