Van Dyck | Page 8

book in his hand, he is content to let the great world go its
way. Nevertheless he is something of a courtier, as his station in life
requires, a distinguished figure in any great company. The face is one
of striking nobility of character. He is a man in whom we could place
great confidence.
[Illustration: THE SO-CALLED PORTRAIT OF RICHARDOT AND
HIS SON The Louvre, Paris]
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." The painter wore
his own trimmed in the same way, which seems at one time to have
been equally the fashion in England and on the continent.
We remark in the picture the excellent characterization of the hands. In
later days 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 frère.]
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