The new international encyclopaedia . sting record of his studies, many ofwhich are after Titian. At Rome (1023) he wasespecially patronized by Cardinal Benfivoglio,whose fine portrait hangs in the Pitti a visit to Palermo, at the invitation of theGovernor, Ennnanuele Filiberto of Savoy, he por-trayed his host (Turin), besides painting thecelebrated Madonna del Rosario. ( See JIadonna.)Afterwards he p;iinted portraits of other mem-bers of the House of Savoy at Turin, now inthe Pinakothek. The date of his return to Ant-werp is uncertain. He was not present at hisfatliers deathbed. Dcc
The new international encyclopaedia . sting record of his studies, many ofwhich are after Titian. At Rome (1023) he wasespecially patronized by Cardinal Benfivoglio,whose fine portrait hangs in the Pitti a visit to Palermo, at the invitation of theGovernor, Ennnanuele Filiberto of Savoy, he por-trayed his host (Turin), besides painting thecelebrated Madonna del Rosario. ( See JIadonna.)Afterwards he p;iinted portraits of other mem-bers of the House of Savoy at Turin, now inthe Pinakothek. The date of his return to Ant-werp is uncertain. He was not present at hisfatliers deathbed. Dccend)er 1, 1622. as is oftenstated, but may have returned in .lannary, 1626,though there is no proof of his presence at .Ant-werp before March. 1828. In the meantime heprobably visited Aix-la Cliapelle and Paris. The second Antwerp period is that of VanDyeks best work. In friendly rivalry withRubens, he established an influential school whosework he siiperintended. Sometimes ho paintedafter Rubenss sketclies, achieving works difficult. QUEEN HENRIETTA SIR ANTHONY VAN DYCK OF ENGLAND, FROM THE PAJNTING IN THE DRESDEN GALLERY VAN DYCK. VAN DYCK. to distinguish from his masters, as in SaintMartin Dividing His Cloalc (National Galk^ry,London, and iSaventhoni, Uclgiuni), and theRaising of the Urazen Ser])ont (Madrid andHiclimond). This is tlie jnriod of liis chief re-ligious worlsS. At his fatlicrs dying wish, liepresented to the Dominican Sisters at Antwerpa picture of Christ on the Cross (AntwerpMuseum). This was one of his favorite subjects;others were the Pietil and licwailiiig the DeadBody of Clirist, of which there are s])kndid ex-anii)hs at Antwerp, Vienna, and Municli. Of hisMadonnas welldvuown examples are at Municli,Paris, Berlin, and Palermo. His mythologicalsubjects are less freipient: among tlie best knownare Danae (Munich) and Diana and En-dymion (Prado). His portraits were no less excellent in colorthan those done at Oenoa; they show increaseddignity and nobility of cl
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