by the English critic, Claude Phillips, in these words: His was "not indeed one of the greatest creative individualities that have dominated the world of art, but a talent as 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 for the church of St. Augustine at Antwerp. Taken by the French to Paris in 1794 and restored in 1815. Now in the Antwerp Museum. Size: 3 ft. 5 in. by 2 ft. 4 in. Cust, pp. 61 and 248.

12. James Stuart, Duke of Lennox and Richmond. Painted about 1633. Formerly belonged to Lord Methuen at Corsham. Now in the Marquand collection at the Metropolitan Art Museum, New York. Size: 4 ft. 3/4 in. by 6 ft. 11-5/8 in. Cust, pp. 117-278.

13. Christ and the Paralytic. Painted at Genoa. In Buckingham Palace. Size: 3 ft. 10-1/2 in. by 4 ft. 9 in. Cust, pp. 46 and 237.

14. Philip, Lord Wharton. Inscribed in the lower left corner with the painter's name; in the lower right corner, "Philip, Lord Wharton, 1632, about y^e age of 19." Purchased from the Duke of Wharton's collection in 1725 by Sir Robert Walpole, and thence it passed in 1779 to the collection of Catherine II. of Russia. In the Hermitage Gallery, St. Petersburg. Size: 4 ft. 5 in. by 2 ft. 4 in. Cust, pp. 121 and 286.

15. The Lamentation over Christ. Painted about 1629 for the church of the Béguinage at Antwerp. Now in the Antwerp Museum. Size: 9 ft. 11 in. by 7 ft. 4 in. Cust, pp. 66 and 248.

IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN VAN DYCK'S LIFE.

Compiled from Lionel Cust's Anthony Van Dyck, to which the references to pages apply.

1599. Antoon Van Dyck born March 22, in the house "der Berendaus," Antwerp (p. 4).

1601. Removal of Van Dyck family to house number 46 in street De Stat Gent (p. 4).

1607. Death of Van Dyck's mother (p. 4).

1609. Van Dyck among the apprentices of the painter Hendrick van Balen (p. 6).

1613. Portrait of an old man (p. 7).

1618. Admitted to the freedom of the Guild of St. Luke, Antwerp, February (p. 8). Entered Rubens' studio (p. 15).

1620. An order from the Jesuits for thirty-nine pictures designed by Rubens and completed by Van Dyck (p. 14).
Visit to England and service for King James I. (p. 23), and return to Antwerp (p. 24).

1621. Departure for Italy, Oct. 3 (p. 25), arriving at Genoa, Nov. 21.

1622. Departure from Genoa, February, to Rome; thence to Florence (p. 26); thence to Bologna (p. 27); thence to Venice (p. 27); Mantua (p. 27). Death of Van Dyck's father, Dec. 1 (p. 55).

1623. Return to Rome (p. 27); thence to Genoa (p. 28).

1623-1625. In Genoa.

1624. Journey to Palermo for portraits and other pictures (p. 49).

1625. Crucifixion, with St. Francis, St. Bernard, and the donor, painted for church of S. Michele de Pagana, near Genoa (p. 48).

1626. Probable date of return to Antwerp (p. 55).