his 300 are portraits of women. Walpole speaks of their beautiful hands. But Van Dyck had special models for the hands, for those of both the men and the women. The elegance and refinement of his work is, however, undoubted, and, though he lacks the power of a Rembrandt and the tremendous verve of a Rubens, much of his work (within the limitations imposed by elegance) is executed in the “large” manner.

It is said that his ability to accomplish so much was due to the fact that he never allowed a sitter to weary him, obviating this by dismissing them at the end of an hour. At the time appointed for the sitting the artist appeared in his studio. At the end of the hour he rose, made his obeisance, and appointed the hour for the next sitting. A servant cleaned the brushes and reloaded the palette, while the artist received and entertained the next sitter. He had many love affairs in England, and especially one with Margaret Lemon, who threatened, when his love began to cool, to cut off his hand. The world is the richer by a beautiful portrait for this love affair, and fortunately, instead of cutting off his hand or even attempting to, Margaret went to Holland with friends. Van Dyck’s gay life, however, seriously alarmed the king, who, being genuinely attached to him and also admiring his art, feared for his health. Accordingly, his Majesty chose for him a wife, a beautiful young woman, Maria Ruthven, daughter of Lord Ruthven. Van Dyck painted her several times, and one of his best known portraits is that of her with her violoncello, which is in the old Pinakothek (pin´-a-ko-thek), Munich. His married life seems to have been happy, though brief. He died within two years of his nuptials, leaving us the portraits of Maria as souvenirs of his happiness.

MARIA RUTHVEN, BY VAN DYCK

ROSSETTI’S “BLESSED DAMOZEL”

ROSSETTI, BY HIMSELF

Painted in 1855.

Dante Gabriel Rossetti, who was poet as well as painter, buried the manuscript of his poems, although they had been announced for publication, in the coffin of his wife, who died in February, 1862. Not until October, 1869, was the manuscript resurrected and the publication of his poems made possible. It is doubtful if poet or painter has ever paid a greater tribute than Rossetti thus paid to Elizabeth Siddal.

ROSA TRIPLEX, BY ROSSETTI

Rossetti was introduced to Elizabeth by a brother artist, who had discovered her in a milliner’s shop in London. She consented to pose for Rossetti. His brother, in some charming reminiscences of her, writes that to fall in love with Elizabeth Siddal was a very easy performance, and that Dante Gabriel did it at an early date. The name Elizabeth, however, was never on Dante’s lips; but rather Lizzie or Liz, and fully as often Guggums, Guggum, or Gug. Mrs. Hueffer, the younger daughter of Ford Madox-Brown, says that when she was a small child she saw Rossetti at his easel in her father’s house uttering momentarily, in the absence of the beloved one, “Guggum, Guggum!” After awhile “Guggum” became a settled institution in Rossetti’s studio, and other people, his brother included, understood they were not wanted there. Dante was constantly drawing from Guggum, and she designing under his tuition. He was unconventional, and she, if not so originally, became so in the course of her companionship with him. In her appearance, as in her character, she was a remarkable young woman.

THE