1626 or 1627. Probable visit to England (pp. 56, 57, and 85).

1627. Death of Van Dyck's sister Cornelia (p. 58).

1628, March 3. Date of Van Dyck's will (p. 58).

1628. St. Augustine in Ecstasy completed for church of St. Augustine, Antwerp (p. 61).

1629. Purchase of Rinaldo and Armida by Charles I. (p. 85).

1630. Crucifixion for church of St. Michel, Ghent (p. 63). Portrait of Anna Maria de Camudio, wife of Ferdinand de Boisschot (p. 75).

1631. Elevation of Cross for church of Notre Dame at Courtray (p. 64). Appointment as court painter to Isabella Clara Eugenia, regent of the Netherlands (p. 73).

1630, 1631. Portraits of Philippe le Roy, Seigneur de Ravels and his wife (p. 78).

1631. Portrait of Marie de Medici (p. 81).

1631? Visit to Holland and acquaintance with Franz Hals (pp. 81-83).

1632. Arrival in England (p. 87), and knighthood conferred, July 5 (p. 88).

1634. Double portrait of Charles I. and Henrietta Maria (p. 102). Visit to Antwerp and purchase of property there (p. 90). Visit to Court of Brussels and portraits of regent, Prince of Savoy, and Prince Gaston, duc d'Orléans, and others (p. 91).

1635. Return to Antwerp, thence to England (p. 96). Famous portrait of Charles I. with horse and equerry (now in Louvre), sent to France as gift to queen mother (p. 105). Group of three children of Charles I., now in Turin (p. 109).

1636. Portrait of Charles I., full length, at Windsor Castle (p. 105).

1637. Group of five children of Charles I. (p. 111).

1639 or 1640. Marriage with Mary Ruthven (p. 142).

1640. In Antwerp in October, magnificently entertained by Academy of Painting (p. 143).

1641. In Paris, in January, seeking commission for decorations of Louvre (p. 144). In London, in May, and portrait of Princess Mary and Prince William (p. 144). In Antwerp, in October, planning for residence there (p. 145). In Paris, in November, on business. Return to London. Birth of daughter, Dec. 1. Death, Dec. 9 (p. 145).

V. LIST OF CONTEMPORARY PAINTERS.

Flemish:—

• Franz Snyders, 1579-1657.
• Peter Paul Rubens, 1577-1640.
• Gaspard de Craeyer, 1582-1669.
• Jacob Jordaens, 1594-1678.
• Justus Sustermans, 1597-1681.
• David Teniers, 1610-1690.

Spanish:—

• Pacheco, 1571-1654.
• Herrera, 1576-1656.
• Zurbaran, 1598-1662.
• Velasquez, 1599-1660.
• Cano, 1601-1676.
• Murillo, 1618-1682.

French:—

• Simon Vouet, 1582-1641.
• Poussin, 1594-1655.
• Eustache Le Sueur, 1617-1655.
• Charles Le Brun, 1619-1690.

Italian:—

• Guido Reni, 1575-1642.
• Francesco Albani, 1578-1660.
• Domenichino, 1581-1641.
• Guercino, 1591-1666.
• Sassoferrato, 1605-1685.
• Carlo Dolci, 1616-1686.

Dutch:—

• Franz Hals, 1584-1666.
• Gerard Honthorst, 1590-1656.
• Jan van Goypen, 1596-1656.
• Albert Cuyp, 1605-1691.
• Rembrandt, 1606-1669.
• Jan Lievens, 1607-after 1672.
• Gerard Terburg, 1608-1681.
• Salomon Koning, 1609-1668.
• Adrian van Ostade, 1610-1685.

VI. NOTABLE ENGLISH PERSONS OF THE REIGN OF CHARLES I.

Writers:—

• Ben Jonson, 1573 or 1574-1637.
• Robert Herrick, 1591-1674.
• George Herbert, 1593-1632.
• Edmund Waller, 1605 or 1606-1687.
• Sir William Killigrew, 1605-1693.
• Sir John Suckling, 1608 or 1609-1641 or 1642.
• John Milton, 1608-1674.
• Thomas Killigrew, 1611-1682.
• John Evelyn, 1620-1706 (author of "Memoirs").

Architect:—

• Inigo Jones, 1572-1653.

Royalists:—

• Archbishop Laud, 1573-1644/5.
• Thomas Howard, Earl of Arundel, 1586-1646.
• George Villiers, first Duke of Buckingham, 1592-1628.
• Thomas Wentworth, Earl of Strafford, 1593-1641.

Parliamentarians:—

• John Pym, 1584-1643.
• Sir John Eliot, 1592-1632.
• John Hampden, 1594-1643.
• Oliver Cromwell, 1599-1658.
• Lord Thomas Fairfax, 1611 or 1612-1671.

I

PORTRAIT OF ANNA WAKE

The city of Antwerp was at one time famous for its commercial and industrial interests, and it was besides an important centre of art. Here in the seventeenth century lived the two foremost Flemish painters, Peter Paul Rubens, and Anthony Van Dyck. The Flemish industries had chiefly to do with the making of beautiful things. Among them were tapestries in rich designs and many colors, used for wall hangings. The Flemish weavers were also skilled in making fabrics of silk and velvet. Most famous of all were their laces, patiently wrought by hand, on pillows, and unrivalled throughout the world for delicacy of workmanship. Glass and porcelain were also among their industrial products. In Antwerp, too, was the printing establishment of Plantin, from which issued many learned works in French and Latin.

Among refined people like these, who not only loved beautiful things but could afford to buy them, the art of painting was highly esteemed. There was every encouragement for a young artist to pursue this calling. Rubens was already a great painter when Van Dyck began his art studies, and the older man gave the younger much helpful advice. At his friend's suggestion Van Dyck travelled several years in Italy, where he was inspired by the works of the Italian masters of the preceding century. Returning at length to his native city, he set up a studio of his own, and soon became a favorite portrait painter among the rich and fashionable classes. Not a few of his sitters were foreign sojourners in the Netherlands, especially the English. The lady of our illustration is quite plainly of this nationality, though she is dressed according to the Flemish modes.

It appears that an English merchant named Wake was established in Antwerp at this time, and it is supposed that this may be his daughter. There are also reasons for connecting the portrait with one of a certain English baronet named Sheffield, who was likewise in Belgium in this period. Miss Anna Wake, we may conclude, had married into the Sheffield family when this portrait was painted. These names, however, are mere guesses, and, even if they were verified, would tell us no more of the lady's story than we can gather from the picture. Her life was probably not of the eventful kind which passes into history. The luxuries of her surroundings we may judge from her rich dress and jewels; the sweetness of her character is written in her face.

She shows us perhaps more of her inner life than she intends. Her fine reserve would naturally shrink from any sort of familiarity. Yet as she stands quietly before the portrait painter, left, as it were, to the solitude of her own thoughts, her spirit seems to look out of the candid eyes.

PORTRAIT OF ANNA WAKE
Royal