Estelle M. Hurll

“ We are apt to think of the children of past centuries as altogether different beings from those of our own day. With few toys and books and pictures such as we have now, they must have been, we fancy, very sedate little creatures. A child portrait like this in our illustration dispels these false ideas. This little daughter of a seventeenth-century sculptor is as full of life and spirits as any child of to-day. ”

“ A more loyal follower no king could have, yet, notwithstanding his zeal, the Duke of Lennox and Richmond failed to exert any great influence upon history, because he lacked the necessary judgment and decision of character. His portrait certainly does not indicate any special intellectual promise in the young man. Yet the face is so refined, the [72] expression so winning, that none can help feeling the singular charm of the personality. Van Dyck understood well how to impart an air of distinction to a figure, and when, as in this case, he had a favorable subject, he was especially successful. ”

“ The child has a winning face, with large round eyes and a mouth which the flattering painter has shaped like a Cupid's bow. Though the expression is perfectly child-like, there is a certain dignity in the pose of the head, which makes the boy appear mature beyond his years. Evidently Van Dyck meant everybody to know that this was a prince. ”

“ The Christ-child bends forward to caress the saint's face with his tiny hand. He is a loving little fellow, not particularly pretty, except in his infantine plumpness, yet the face is full of innocent sweetness. A mysterious light shines above his head, the emblem of divinity. The good friar does not presume to touch the holy child, but folds his hands reverently across his breast. ”

“ The artist is secretly much amused by the small [29] young lady's behavior. He has a shrewd insight into children's thoughts, and sympathizes with their moods. He does not try to persuade her to sit for him, but he catches her pose just as she stands here. The mother, too, is wise enough to let the child alone, and the picture is made as we see it.
As we compare it with the former illustration of the man with his little boy, it is amusing to see the contrast between the two children. The boy has such a grave sense of responsibility, while the girl cares nothing for the portrait. ”

“ The two are richly dressed for the event, the father in black with a fur mantle, and the boy in white satin embroidered with gold. The man wears the stiff quilled ruff of the period, the boy a round collar of soft lace. It is not every day in the year that a little boy is allowed to wear his best satin doublet, and the child feels the gravity of the occasion. ”

“ To lovers of dogs the greyhound is no unimportant part of our picture. The painter has expressed with much insight the character of this beautiful and high-bred creature. The muzzle is pressed affectionately to the master's side, and the eyes are fixed upon the beloved face with an expression of intense devotion. ”

“ As we have seen in the portrait of the Duke of Lennox, the painter was nowhere more successful than in portraying the young courtier. We recognize the pose, with one arm akimbo, as a favorite device of Van Dyck. While in some cases it seems artificial, here it appears to be an attitude which the young man assumed of his own accord. ”

“ The upturned mustache and small pointed beard were also fashionable among the English nobility, as we infer from the portrait of Charles I.
The face has the characteristic qualities of the artistic nature, the high forehead, the dreamy eyes, and the pensive expression. The head is lifted a little, in an imaginative pose. We should know this man at once for a poet or a painter. [92]
It must be confessed that we do not find much strength of character in the face. Van Dyck indeed lacked the nobler qualities of manliness, and was decidedly worldly in his tastes. ”

“ One is a disciple, perhaps John, who accompanies the Master, the other is a spectator peering curiously over the paralytic's shoulder.
The restored paralytic carries under one arm a rug, which has been clumsily rolled into a bundle. This is the sort of "bed" used among the poor of Eastern countries. He is but half clad in a garment which slips from his shoulders, showing his emaciated form. The face is sharpened by suffering; he is altogether a strange and repulsive figure. Like the beggar who lay in St. Martin's path he represents a degraded class of humanity. ”

“ We at once recognize the mother and child of the other illustration, and note the similarity in pose. We may imagine the Madonna bending forward and holding the babe a little lower on her lap, and we should have the grouping as it is here.
In their pictures of the Madonna, the old painters tried to express their highest ideals of womanhood. The mother Mary represented to them all that is strongest and sweetest in a woman's character. So this Madonna by Van Dyck is a gracious and queenly figure modelled upon the stately Virgin of Titian. ”

“ The story of the childhood of Jesus reads somewhat like that of a prince, in spite of his lowly surroundings. Though he was born in a manger, a herald angel announced the glad tidings of his coming. Though the people of Bethlehem took no note of the event, a multitude of the heavenly host sang "Glory to God in the highest, on earth peace, good-will to men." Wise men from the East made a long journey to find the young child. The lore of the stars had taught them that he was a king, and they brought gifts worthy of royalty, gold, and frankincense, and myrrh. ”

“ 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. ”

“ Our picture illustrates this point in the story. Dædalus has just fastened the wings upon his son and is giving the final directions. The old man's face is full of anxiety, as he implores the lad not to fly too high. Icarus listens to the advice with a shade of impatience, pouting a little, like a wilful child who chafes under restraint. He points forward, as if to show that he understands his orders. Already the slender figure is poised for flight; he is eager to be off. In another moment he will rise into the air, dropping his garment as he ascends. ”

“ As we look at the picture, each one must decide for himself what moment in the great drama is illustrated. From the expression of suffering on the [66] countenance we judge that the end is approaching. From the lifted face and open mouth we see that the sufferer communes with his Father.
The Crucifixion is the saddest subject a painter could choose, yet notwithstanding this, it has been one of the most important subjects in Christian art. Van Dyck painted it many times, and expressed, as we see here, a deep sense of the tragic nature of the scene. ”

“ This Richardot was a celebrated Flemish diplomat of the sixteenth century, and president of the Privy Council of the Low Countries. As he died in Van Dyck's boyhood, his portrait could not have been made by our painter directly from life. Nor can we believe with some that years after the diplomat's death Van Dyck copied from some old picture the likeness seen here. A portrait painted in this way would not have the vitality of our illustration. We are therefore obliged to consider the picture nameless; but our enjoyment of its good qualities is by no means less keen. ”

“ A painter so easily moulded by his environment cannot justly take rank among the world's foremost masters. A great creative mind Van Dyck certainly had not, but, gifted assimilator that he was, he developed many delightful qualities of his art. ”

“ Philip, Lord Wharton, was an English nobleman of nearly the same age as the Duke of Lennox, and the two were painted by Van Dyck at about the same time. In both young men are apparent the same signs of gentle birth and breeding, a dignity of bearing, and a repose of manner characteristic of their class. ”

“ The landscape view is an important element in the picture. If we compare our illustration with others which have no such setting, we shall better understand its value. An enclosed space sets a more or less definite limit to the imagination. A glimpse of the country, on the other hand, suggests wide spaces for the fancy to explore. It will also be noticed that this light spot in the upper right corner [18] balances well the white costume of the boy in the lower left corner.
The portrait group of our illustration has long borne the title of Jean Grusset Richardot and his Son. ”

“ The Louvre, Paris Please click on the image for a larger image.
Please click here for a modern color image
Two qualities of the portrait give it artistic value, life-likeness, and character. The figures almost seem to speak to us from the canvas, and we feel a sense of intimacy with them, as if we had actually known them in real life. Indeed there is very little in the picture to make it seem foreign to our own surroundings. The stiff ruff is the most distinctly old-fashioned feature. The man's closely cut pointed beard is such as has long been called the "Van Dyck beard." ”

“ It must be confessed that Van Dyck, disciple though he was [x] of Rubens and Titian, fell below these masters in the art of imparting life to a figure.
In certain mechanical elements of his art Van Dyck was conspicuously deficient. He seemed to have no ingenuity in devising poses for his subjects. Sitting or standing, the attitude is usually more or less artificial and constrained. The atmosphere of the studio is painfully evident. Never by any accident did he seem to catch the sitter off guard, so to speak, except in a few children's portraits. ”

“ In our picture Prince Charles is about five years old. At this age, in our modern fashions, a boy is dressed quite differently from a girl. Here, however, the little prince's finery and his round lace cap somewhat belie his manliness. Yet his short hair cut in a straight fringe across the forehead is his boy's prerogative. The wide lace collar was worn by men as well as boys, as we may see in the portraits [54] of the king and of the Duke of Lennox. We speak of it to-day as a "Van Dyck collar." ”

“ These were days when the men vied with women in fondness for finery. [80]
Lord Wharton was at this time on terms of friendly intimacy with the king and queen. It was a flattering mark of royal favor when the king presented the young courtier with two full-length portraits of himself and of Queen Henrietta, painted by Van Dyck. Perhaps the artistic tastes they had in common formed the bond of friendship between them. Lord Wharton, it appears, admired Van Dyck's portrait work almost as much as King Charles. ”

“ She is a busy housewife and mother, with many domestic duties on her mind. In her strong, capable way she has long borne the family burdens. The face is full of motherly sweetness; the expression is patient and serene, as of one well schooled in the lessons of life. ”

“ We notice how simply the hair is dressed, brushed loosely from the face and knotted at the back, with a jewel gleaming at one side. Compared with the elaborate coiffures worn by great ladies in some historical periods, this style is delightfully artistic. Altogether the entire manner of dressing is perfectly suited to the wearer. ”

“ The prince's earliest years were passed happily, and no one could have foreseen the stormy experiences through which he must pass before he should inherit the throne of his father. The king and queen were devoted to each other and to their children. There was a younger boy, Prince James, and three sisters, to complete the family circle. [16] It is pleasant to imagine them at play in the royal nursery.
[16] That is, Princess Mary, Princess Elizabeth, and Princess Anne. ”