BORN 1599, DIED 1641.
After Vandyck.
THE eldest son of a merchant in Antwerp (himself a painter in glass), by one Maria Cuypero. Little Anthony’s mother was a skilful artist in embroidery, and encouraged her boy’s taste for drawing, in the rudiments of which he received instruction from his father. When only ten years of age he became the pupil of Hendrik van Balen, a much-esteemed painter, who had studied in Italy; but young Vandyck had set his heart on entering the studio of his famous fellow-citizen, Peter Paul Rubens, and that desire was fulfilled. His remarkable talent and untiring industry made him a favourite both of master and scholars, when an incident happened which brought him into prominent notice. It chanced one afternoon, when Rubens was absent, that the scholars invaded the sanctity of the private studio, and, in the exuberance of animal spirits, indulged in what in modern parlance is called ‘bear-fighting.’ An unfinished Holy Family stood on an easel, the colours not yet dry, and, in the course of the rough play, one of his companions pushed Van Diepenbeke so heavily against the precious canvas that the arm of the Magdalen and the head of the Virgin were nearly effaced, and all the colours smudged. The general consternation may easily be conceived. A council was held, and a general decision arrived at that the most skilful among the students should endeavour to repair the mischief. Unanimous choice fell on Vandyck, who began to work in right earnest, for there was not a moment to lose. There were but a few hours of daylight left him, but he accomplished his task before nightfall. Early next morning the dreaded moment arrived. Rubens entered his studio in order to examine the work of the preceding evening, when he pronounced the memorable words which seemed to bestow a diploma on his young disciple: ‘Why, this looks better than it did yesterday!’ Then, approaching nearer, he detected the traces of a strange hand. Investigation and explanation followed, and Vandyck came in for great praise from the lips of his beloved master. Rubens was most desirous that his talented pupil should proceed to Italy to study the works of the great masters, but in the meantime the young man had received an invitation to England. The first visit he paid to our country was short and unsatisfactory, and there are so many discrepancies in the accounts of the work he did at that period and his reasons for leaving England somewhat abruptly, that we refrain from entering further on the subject. From England Vandyck proceeded to the Hague, where he painted portraits of every class and denomination of person, commencing with the Court and family of the Stadtholder, Henry Frederick. Nobles, warriors, statesmen, burghers, all vied for the honour of sitting to him. The news of his father’s illness recalled him to Antwerp. He arrived just in time to receive that father’s blessing, and listen to his last injunctions, which included an order to paint an altar for the Chapel of the Dominican Sisters, who had nursed him tenderly in his illness. After many delays from various causes Vandyck arrived in Venice, where he studied Titian and Veronese, and afterwards proceeded to Genoa, where he became the favourite of the proudest nobles of that proud city, and adorned almost every palace therein with splendid portraits. At Rome he remained some years; the first order he received being that of the world-renowned portrait of Cardinal Bentivoglio, which attracted a crowd of sitters to his studio, including all the nobility of the city and most of the foreign visitors. He then made his way to Florence and most of the northern cities of Italy, with a flying visit to Sicily, whence he was driven by the outbreak of the plague. He returned to Antwerp, where he at first shared the proverbial fate of the prophet in his own country, and met with much ill-will and small patronage, until his old friend Rubens came to his rescue by buying every completed picture in his late scholar’s studio, and recommending and befriending him on every occasion. Shortly afterwards Rubens departed from Antwerp on a diplomatic mission, and he left Vandyck undisputed master of the field. His hands were now full; he received endless commissions both in portraits and sacred subjects. He afterwards went to Paris, and paid two visits to England; the second time he was received at Court with every mark of distinction. Charles the First treated the noble Fleming as a personal friend, taking the greatest delight in his society. He became the centre of attraction, and the cynosure of all eyes. Pre-eminently handsome, brilliant in conversation, a good linguist, an enlightened traveller—even without the crowning quality of his splendid talent, the painter became a shining light in the refined and aristocratic circles of the English capital. The King bestowed the honour of knighthood on him, and presented him with a valuable miniature of himself set in diamonds. Both their Majesties sat constantly for their portraits, and it is needless to observe that every country house in England is enriched by treasures from the brush of Vandyck. The King and the Duke of Buckingham were busy in arranging a suitable match for their friend and favourite. The lady selected was Mary Ruthven, a member of the Queen’s household, and grand-daughter of the unfortunate Earl Gowrie, much esteemed for her goodness and beauty, who visited Antwerp with her husband shortly after their marriage, where they were received with every mark of respect and distinction. After this they went to Paris, where Vandyck met with disappointment, and fell into bad health, and on his return to England he found that country in a state of confusion and political strife, his royal and private friends involved in trouble and perplexity, the King and Queen both absent from London, and the Parliament in arms against the Crown. Sir Anthony’s health declined, both physically and morally. He gave himself up to the pursuit of alchemy, and would stand for hours over a hot fire in the vain hope of obtaining the philosopher’s stone; He grew haggard and wrinkled while still in the prime of life. The King, returning to London, and hearing of his friend’s illness, sent his own physician, but all human aid was unavailing. A severe attack of gout, combined with other maladies, proved fatal, and on the 9th of December 1641, the man who by many has been considered the chief of the world’s portrait painters breathed his last. Followed by a large retinue of friends, he was buried in St. Paul’s Cathedral, leaving a most exemplary will, in which wife, child, sister, servants, were all remembered, as also the poor in two parishes. He left an only daughter, Justiniana, who married Sir John Stepney of Prendergast, Pembroke, and afterwards Martin de Carbonnell. She received a pension from King Charles the Second.
Lady Vandyck married a Welsh baronet, Sir Robert Pryce, as his second wife.
No. 25. PORTRAIT OF A CHILD.
By Paul Veronese.