Van Dyck | Page 3

exquisite in distinction, as true to itself
in every successive phase, a technical accomplishment as surprising of
its kind in solidity, brilliancy, and charm, as any that could be pointed
to even in the seventeenth century."
II. ON BOOKS OF REFERENCE.
It has been reserved for our own day to produce two superb works by
English writers on Van Dyck. The first to appear was that by Ernest
Law, "a storehouse of information," on the paintings by Van Dyck in
the Royal Collections. The second is the definitive biography by Lionel
Cust: "Anthony Van Dyck; An Historical Study of his Life and
Works." The author is the director of the English National Portrait
Gallery, and has had exceptional opportunities for the examination of
Van Dyck's paintings. His work has been done with great thoroughness
and care. The volume is richly illustrated with photogravures, and
contains complete lists of the painter's works arranged by periods.
For brief sketches of Van Dyck's life the student is referred to general
histories, of which Kugler's "Hand-book of the German, Flemish, and
Dutch School" (revised by Crowe), is of first importance. Lübke's
"History of Painting," and Woltman and Woerman's "History of

Painting," contain material on Van Dyck. A volume devoted to Van
Dyck is in the series of German monographs edited by H. Knackfuss,
and may be had in an English translation.
A critical appreciation of Van Dyck is given by Fromentin in his
valuable little book on "The Old Masters of Holland and Belgium."
Critical articles by Claude Phillips have appeared in "The Nineteenth
Century," November, 1899, and "The Art Journal" for March, 1900.
III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS
COLLECTION.
Frontispiece. Portrait of Van Dyck. Detail of a portrait of Van Dyck
and John Digby, Earl of Bristol. Painted about 1640. Formerly in the
Isabel Farnese Collection in the palace of San Ildefonso; now in the
Prado Gallery, Madrid. Cust, p. 285.
1. Portrait of Anna Wake, inscribed: "Ætat suæ 22, An 1628." Signed:
"Anton Van Dyck fecit." In the Royal Gallery at the Hague. Size: 3 ft.
8-1/2 in. by 3 ft. 2-1/2 in. Cust, pp. 58 and 261.
2. The Rest in Egypt. Painted in the Italian period for Frederick Henry,
Prince of Orange. One of several pictures of the same subject, and
generally considered the original, though the authenticity is doubted by
Signor Venturi. In the Pitti, Florence.
3. The so-called Portrait of Richardot and his Son. The identity of the
subject not established. Sometimes attributed to Rubens, but accepted
as Van Dyck's work by Cust. In the Louvre, Paris. Size: 3 ft. 7 in. by 2
ft. 5-1/2 in. Cust, pp. 76 and 134.
4. The Vision of St. Anthony. Painted in the Italian period. Obtained by
exchange in 1813 from the Musée National at Paris. In the Brera
Gallery, Milan. Size: 6 ft. 1 in. by 5 ft. 1/4 in. Cust, pp. 46 and 239.
5. Madame Andreas Colyns de Nole and her Daughter. Painted in
Antwerp in period from 1626 to 1632. Purchased in 1698 by the
Elector Max Emanuel of Bavaria. Munich Gallery. Size: 3 ft. 11-1/2 in.

by 2 ft. 11-2/5 in. Cust, pp. 79 and 254.
6. Dædalus and Icarus. Painted about 1621 (?). Exhibited at Antwerp
in 1899. One of several paintings of the same subject. In the collection
of the Earl of Spencer, Althorp. Cust, pp. 61 and 241.
7. Portrait of Charles I. Supposed to be a copy by Sir Peter Lely from
the original, which was painted about 1636, and destroyed in the fire at
Whitehall in 1697. Not impossibly, however, the original painting itself,
given by the king to the Prince Palatine. In the Dresden Gallery. Size: 4
ft. by 3 ft. 2 in. Cust, pp. 105 and 264.
8. The Madonna of St. Rosalia. Painted in 1629 for the Confraternity of
Celibates in the Hall of the Jesuits, Antwerp. On the suppression of the
order in 1776 it was purchased by the Empress Maria Theresa. Now in
the Imperial Gallery, Vienna. Size: 9 ft. 1 in. by 6 ft. 11 in. Cust, p.
250.
9. Charles, Prince of Wales. Detail of a group of the three children of
Charles I., painted in 1635. Probably painted for the queen, and
presented by her to her sister Christina of Savoy. In the Royal Gallery,
Turin. Cust, pp. 110 and 266.
10. St. Martin dividing his Cloak with a Beggar. Painted in the Italian
period. Presented to the Church of Saventhem by Ferdinand de
Boisschot, Seigneur de Saventhem. Taken by the French to Paris in
1806 and returned in 1815. A copy of this picture is in the Imperial
Gallery, Vienna, but the original is in the church of Saventhem. Cust,
pp. 32 and 240.
11. The Crucifixion. Painted in 1628