It is more than probable that Van Dyck found certain points in his master's method crude compared with that of the Venetians, and although, as we shall see later, he endeavoured after his return to Flanders to retrace his steps in a measure, the influences he brought away with him from Italy remained during his whole life.
He went from Venice to Genoa, and there his style created such an impression that he found many of the nobility eager to have their portraits painted by him. Formerly, his Italian manner, as it is called, was to be best studied in that city, but as years have rolled on many of the finest examples have become scattered over Europe and America. The two fine portraits recently added to the National Gallery date from this period, and although, owing to their condition, they do not set forth his talents at their best, will give a good idea of the changes his method had undergone since he left Antwerp. Two of the noblest portraits of the Genoese period were formerly in the collection of Sir Robert Peel, but, after being sold at auction in London some few years ago, finally found a permanent home in the Berlin Gallery.
From Genoa he went to Rome, and, his reputation having preceded him, he was soon loaded with commissions for both historical subjects and portraits. It is said, however, that his residence here was rendered unpleasant by a number of artists persecuting him by reason of his not wishing to fall in with their methods of life. Be this as it may, he returned to Genoa, and after some time departed for Palermo; but the plague breaking out, some time after his arrival, he determined to return to Flanders. Van Dyck had reason to congratulate himself, not only upon the amount of benefit which he had received from his sojourn in Italy, but also on account of the flattering manner in which he had been received everywhere. His complete success in these two respects was calculated to infuse confidence in him for the future. He was now fully equipped in every way, and his good luck in the matter of patronage, so lavishly bestowed upon him in Italy, was destined to pursue him in his future career, until finally the immense amount of work he undertook in consequence had an adverse influence upon his later productions.
III
THE SECOND FLEMISH MANNER
The reputation of Van Dyck, great as it was prior to leaving Antwerp, had materially grown during his absence in Italy. From time to time reports reached his fellow-townsmen of the brilliant success he was achieving there, the high personages with whom he was mingling, and the flattering praise accorded to his productions. We may be sure that returning travellers would relate the astonishing progress he was making, and consequently his friends would await with eager anticipation the proofs of all they had heard. There could be no doubt that Rubens would be amongst those who would be most interested in his progress, and he would be curious to see the influence the Italians had exercised upon his technique.
His talents were soon put to the essay in the form of a commission for a large picture representing St. Augustine in ecstasy, surrounded by angels and saints, for the Church of the Augustines in Antwerp. As a result of this first effort, both his patrons and the public were delighted, and commissions for works of a similar character flowed in upon him from every side.