Van Dyck | Page 8

when the painter was busier, he often assigned this part of the work to assistants. They did not try to reproduce the hand of the portrait sitter, but painted this feature from a model. Now this man's hand is plainly his own; it is of a character with the face, strong and sensitive.
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 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. 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.

IV
THE VISION OF ST. ANTHONY
St. Anthony of Padua was a Franciscan friar of the thirteenth century, celebrated for his piety and eloquence. He was a Portuguese by birth, and early in life determined to be a Christian missionary. His first labors were in Africa, but being seized by a lingering illness, he returned to Europe and landed in Italy. Here he came under the influence of St. Francis of Assisi, who was just establishing a new religious order. The rules were to be very strict: the members could possess nothing of their own, but were to beg their food and raiment of fellow Christians. They were to mingle with the people as brothers, hence friars,[3] ministering to their bodily needs, and advising, comforting, and admonishing in higher concerns. What sort of a habit they wore we may see in our picture. There was a long dark brown tunic made with loose sleeves, and having a sort of hood attached. The garment was fastened about the waist with a knotted rope. By this strange girdle the wearer was continually reminded that the body is a beast to be subdued by a halter.
[Footnote 3: From the French fr��re.]
On account of his learning, St. Anthony became a teacher of theology. He was connected successively with the universities of Bologna, Toulouse, Paris, and Padua, and with this last city his name has ever since been associated. At length, however, he forsook all other employments and devoted himself wholly to preaching among the people.
These were troublous times in Italy, when the poor were cruelly oppressed by the rich. St. Anthony espoused the cause of those who were wronged, and denounced all forms of tyranny. His influence was a great power among the people, and many stories are told of his preaching. It is related that one day, as he was explaining to his hearers the mystery of the Incarnation, the Christ-child appeared to him as in a vision.
It is this story which the painter had in mind in our picture: St. Anthony kneels before the mother and babe in an ecstasy of devotion. An open book lies on the ground beside him, as if he had been conning its pages when the vision broke upon him. The landscape surroundings are especially appropriate, for St. Anthony was fond of out-of-door life. His sermons were often given in the open air, and it is said that he sometimes preached to the fishes. He delighted to point out to his hearers the beauties of nature, the whiteness of the swan, the mutual charity of the storks, and the purity and fragrance of the lilies.
[Illustration: THE VISION OF ST. ANTHONY Brera Gallery, Milan]
The poetic refinement of his nature is indicated in his face. He is young and handsome, with the gentle expression which used to win the hearts of his hearers. There is little here to show the more forcible elements of his character. The tonsured head is the common mark of membership in religious orders.
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