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 attitude and manner are full of humility, as if she felt herself unworthy to approach too near.
[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 title is "Nood Godes," the suffering of God. The Italians call it the Pietà, which means, compassion. 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.
[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 passed amid luxurious surroundings, in the society of noblemen and princes. His was a brilliant and successful career.