. The table book of art; a history of art in all countries and ages . re he painted fora time, and presented his picture of the Crucifixion to the Dominicans as a memorialgift in honour of his father, but in Flanders Rubens fame overshadowed that ofevery other painter, and Van Dyck, recalling an invitation which he had receivedfrom the Countess of Arundel while still in Italy, went a second time to England, in1630, when he was about thirty years of age, and lodged again with a fellow-country-man and painter named Gildorp. But his sensitive vanity was wounded by his notat once receiving an intr
. The table book of art; a history of art in all countries and ages . re he painted fora time, and presented his picture of the Crucifixion to the Dominicans as a memorialgift in honour of his father, but in Flanders Rubens fame overshadowed that ofevery other painter, and Van Dyck, recalling an invitation which he had receivedfrom the Countess of Arundel while still in Italy, went a second time to England, in1630, when he was about thirty years of age, and lodged again with a fellow-country-man and painter named Gildorp. But his sensitive vanity was wounded by his notat once receiving an introduction to the king, or the countenance which the painterconsidered his due, and the restlessness, which was a prominent feature in his charac-ter, being re-awakened, he withdrew once more from England, and returned to theLow Countries in 1631. At last, a year later, in 1632, Van Dycks pride was pro-pitiated by receiving a formal invitation from Charles I., through Sir Kenelm Digby,to visit England, and this time the painter had no cause to complain of an unworthy. VAN DYCK. II5 reception. He was lodged by the king among his artists at Blackfriars, having nointercourse with the city, save by water. He had the king, with his wife and chil-dren, to sit to him, and was granted a pension of two hundred a year, with the dis-tinction of being named painter to his Majesty. A year later Van Dyck was knighted. Royal and noble commissions flowed uponhim, and the king, who had a hereditary love of art, visited the painter continually,and spent some of the happiest and most innocent hours of his brief and clouded lifein Van Dycks company. Thus began Van Dycks success in England, and it restedwith himself whether that success was to be real or only apparent, enduring or tem-porary. To give you an example of how often, and in how many different manners,Van Dyck painted the king and royal family, we shall quote from a list of his pic-tures— King Charles in coronation robes. King Charles in
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