Needless to say that a collector, who had sufficient taste to bring together such a notable assemblage, would demand a very high degree of talent indeed in a painter who was working for the Court. Charles had, moreover, been brought into contact with the brilliant achievements of Rubens, and would in consequence expect a great deal from a pupil whose merits he had heard so extolled.
The portrait of Nicholas Lanière appealed to him immediately. He saw in Van Dyck a man whose performances, even at this early age, far surpassed those of any painter then working in England. Charles, who immensely admired the portraits of Rubens, saw in those of his pupil an Italian quality lacking in the former, and this would additionally attract him.
Van Dyck's reception was most flattering. He was given a lodging at Blackfriars amongst the other painters, and was set to work immediately for the king. Charles was quite as much taken with the courtly qualities and conversation of his newly-found painter as by his talent, and greatly enjoyed his company. He was accustomed to go to Blackfriars by water, and to chat with Van Dyck whilst having his portrait painted. From this time date the innumerable portraits of Charles and his Queen, Henrietta Maria, with which we are so familiar.
The fashion thus set by the king was speedily taken up by his Court, and the nobility of England competed with one another for the privilege of having their portraits painted by the brilliant Fleming.
Soon after his arrival Van Dyck received the honour of knighthood, and, in addition to being appointed painter to his Majesty, had an annuity of £200 per annum settled upon him.
The quantity of commissions which now flowed in upon him was prodigious, and he was sorely taxed to keep pace with them. He was enabled in consequence to raise his prices considerably without in the least diminishing the patronage bestowed upon him. He commenced to entertain on a lavish scale, and his table was frequented by the highest in the land. It is said that after occupying the morning in painting portraits he would invite his sitters to dinner, and then, from the study he had made of their countenances during the meal, would work upon the portraits again in the afternoon.
Although Van Dyck had been accustomed to good society and living, the overwhelming good fortune which was now his lot appears to have developed bad habits in him. He soon acquired luxurious habits, which finally undermined his health. Passionately fond of music, he liberally encouraged all the professors of that art, and gratuitously painted the portraits of its most celebrated exponents.
The demands upon his purse at this time must have been enormous, and in order to increase his output, and consequently his income, he had recourse to the means he had seen Rubens so successfully employ in Antwerp. He brought together a school of painters, who worked under his directions. The portraits dating from this period consequently not only show the marked deterioration in his technique, but also, beyond the heads and hands and a few other essential details, contained but little of his own work. His assistants were so thoroughly trained that they were enabled to paint the draperies and their accessories in a style which welded perfectly with his own brushwork.
These facts have to be carefully remembered whenever we are contemplating a work of the English period of Van Dyck, for were we to form our judgment solely upon the portraits he had painted prior to going to England we should reject many of the former as not being from his hand. There is further the added difficulty that his assistants executed pictures in his manner on their own account, and it is only by the lack of that spark of genius he was enabled to infuse in those parts of a portrait he executed with his own hand that we are enabled to differentiate between them. Many of the portraits of the king and queen which were sent as presents all over Europe were but the productions of his studio.