Review of: Kv Domina KeuLn

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Kv Domina KeuLn

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Tchuev A. Wallace John Wallberg Heinz Waller Fats Wallez Jean-Pierre Wallfisch Elizabeth Wallfisch Raphael Wallin Ulf Walsworth Peter C.

West Zachary Westbrook-Geha Mary Westenra Hayley Westerberg Stig Westminster Chorus Weston Diana Wewel Günter Whalen Sammy Wheatley A.

A Jugar. View all. Maltese Bagpipe. Recommended music videos for initiation to classical music Show all. En los trigales.

Magic Flute — Overture. Mozart Wolfang Amadeus Muti Riccardo. Il Trovatore - Stride la Vampa. Ich liebe es damit rumzusauen.

Das ist beim KV für mich etwas anders. Ich mag das Spiel damit, aber das stundenlange Rumsauen und Einschmieren damit, ist nicht so sehr meins.

Damit bin ich allerdings nicht alleine, denn dies empfinden viele so. Optimal für meine Lust ist eine Gleichzeitigkeit von KV-Abgabe und Orgasmus.

Mich stört oder ekelt es nicht in dem angerichteten Schlamassel dann noch zu liegen oder zu verweilen.

Manchmal braucht es genau das. Aber ich finde es auch wunderbar, unter die Dusche zu springen und dann als neuer Mensch total entspannt wieder ins Leben zu treten.

Wie kam ich denn eigentlich selber dazu? Mein erster KV-Gast hat mich auf den Geschmack gebracht - im wahrsten Sinne des Wortes. Er hatte nur einen einzigen Wunsch - ich sollte ihm einen schönen Haufen auf das Gesicht machen und dabei ging ihm einer ab.

Stephen Hogan Efnysien…. Richard Elfyn Nysien…. Expect intuitive reversions, reworks, and remixes. Expose yourself to the power of genetic memory through the music of Timothy Leary and Hand Habits a.

Meg Duffy. Produced by Jack Howson. WEDNESDAY 20 MARCH WED Through the Night mddx Handel's Aci, Galatea e Polifemo A dramatic cantata from the early s; Il Giardino Armonico, conducted by Giovanni Antonini.

Piazzolla moved to Paris in to study with one of the most renowned teachers of the age, Nadia Boulanger. Lento-Tranquillo Danza. In today's recital pianist Leon McCawley performs Schumann's Abegg Variations, a set of theme and variations with a musical motif based on the name "Abegg" - a fictitious friend of the composer.

Then the London Haydn Quartet perform Mozart's String Quartet in D K. Presented by Kate Molleson Schoenberg: Verklarte Nacht Brahms: Symphony No.

Introit: O Lorde, the maker of al thing Joubert Responses: Clucas Psalms 47, 48 Goss, Turle First Lesson: Job 1 vv. Romanian cellist Andrei Ionita - hailed as 'probably the leading cellist of his generation'- is heard in a suite by Bach from his long-awaited debut release.

Also today, Scottish mezzo soprano, Catriona Morison sings Schumann's melancholic Poems of Mary Stuart in a performance she gave at last year's Edinburgh International Festival.

Bach Suite no. We also hear from the Calidore String Quartet who take part in the Tetbury Chamber Music Festival which runs from the 22nd to the 24th March.

And Syrian-Palestinian pianist Aeham Ahmad became known after he dragged his piano in to the rubble of the bombed out streets of his neighbourhood of Yarmouk near Damascus; he joins us in the studio ahead of the publishing of his memoir: The Pianist of Yarmouk.

WED In Tune Mixtape mcy0 In Tune's specially curated playlist: an eclectic mix of music, featuring favourites, lesser-known gems, and a few surprises.

Vaughan Williams: Fantasia on a Theme by Thomas Tallis 8. It is heard in its complete form three times and serves as the source for a wonderful miasma of variants and developments in this rich orchestral composition written for a large string orchestra divided into three parts.

Although it is not specifically religious music, it seems to speak to the spirit. WED Free Thinking mcy6 Empathy Authors Max Porter, Samantha Harvey and Alisdair Benjamin discuss empathy and the role it plays in writing and reading.

How does it work? Is it the same in fiction and non-fiction? And how is it faring in a world where data sometimes seems to have replaced feeling.

Chris Harding talks to all three about their latest books, Lanny, Let Me Not be Mad and the Western Wind in his search for answers.

Let Me Not Be Mad by the neuropsychologist AK Benjamin is out now. Max Porter's second novel is called Lanny. His first, Grief is the Thing with Feathers, has now been turned into a stage production featuring Cillian Murphy which runs at the Barbican from 25 Mar—13 Apr Samantha Harvey's latest novel The Western Wind - set in a C15th Somerset village - is now out in paperback.

Her previous books include The Wilderness - which depicts an architect suffering from Alzheimers who is attempting to order his memories. Producer: Zahid Warley WED Mabinogi mcyb Part Three Adapted by Lucy Catherine From the Red Book of Hergest, these are the tales of the Mabinogi.

Third episode of a new fantasy adventure series, based on the iconic work of medieval Welsh mythology. Pryderi and Brigid uncover the otherworldly power of the magic cauldron.

But will it be enough to placate the Irish? Stephen Hogan Arawn…. John Cording Nysien…. Tonight he has thirty minutes of the programme to create and curate a bespoke audio reality, through his Late Junction Mixtape.

Thematically the mix explores notions of the ocean, and the tracks come together to create something simultaneously sublime and frightening. THURSDAY 21 MARCH THU Through the Night mcyl Beethoven and Schubert from Berlin Berlin Radio Symphony Orchestra play Beethoven's 8th Symphony and Schubert's 9th, 'Great'.

Luik author Sugismaastikud Autumn landscapes Eesti Raadio Segakoor , Toomas Kapten conductor am Fredrik Pacius Overture from the Hunt of King Charles Finnish Radio Symphony Orchestra, Jukka-Pekka Saraste conductor am Louis Moreau Gottschalk Ricordati Op 26 No 1 Michael Lewin piano am Carl Friedrich Abel Trio in F major for 2 flutes and continuo Karl Kaiser flute , Michael Schneider flute , Rainer Zipperling cello , Harald Hoeren harpsichord am Tomaso Albinoni Concerto a 5 for 2 oboes and strings Op 9 No 9 in C major European Union Baroque Orchestra, Roy Goodman conductor am Peter Ilyich Tchaikovsky Dumka, Op 59 'Russian rustic scene' Duncan Gifford piano am Johannes Ockeghem c.

A heart attack and the loss of funding for his band encouraged Piazzolla to seek new pastures. Together with his partner, the tango singer Amelita Baltar, he set up shop in the Eternal City.

A new deal with an agent, and some interesting projects beckoned, yet Piazzolla would later describe these years as being full of bad memories. Beginning with music by Brahms, and his Klavierstücke Op.

Then a new commission from the festival from Northern Irish composer Deirdre Gribbin and her piece written for the Amatis Trio - "After the Eagle.

THU Afternoon Concert mc6l Verdi's Aida with Liudmyla Monastyrska Verdi's mighty Egyptian opera, Aida is a tale of jealousy, love, betrayal and patriotic fervour.

This highly-strung brew of visceral passions is one of Verdi's greatest and most popular works. Starring Violeta Urmana, Liudmyla Monastyrska and Gregory Kunde this performance from the Teatro Real Madrid is conducted by Nicola Luisotti.

The afternoon ends with Mendelssohn's Ruy Blas from the Ulster Orchestra under Andrew Gourlay. Presented by Kate Molleson Verdi: Aida Aida Liudmyla Monastyrska Soprano Radames Gregory Kunde Tenor Amneris Violeta Urmana Mezzo-soprano Ramfis At that date the burgher families of a city like Antwerp seldom looked for their helpmates in life beyond the walls of their city, and the sons and daughters of artists intermarried freely with those of the mercers, wine merchants, notaries, and the like.

There were probably few families who did not rank one or more artists, if not in their own circle, at all events within that of their relatives, so that a hereditary disposition to art was easily acquired and widely disseminated.

Among the busy merchants at Antwerp in the middle of the sixteenth century was one Antoon Van Dyck, who travelled, in the commercial sense, in silk and other articles of haberdashery.

His widow, Cornelia Pruystincx, carried on his business there until her death in A portrait of her is preserved in the Estense gallery at Modena.

Frans Van Dyck had entered into partnership with his brother-in-law, De Smit, in , his mother holding the chief share in the business with a venture of 6, gulden, while each of the partners contributed 4, gulden apiece.

Their business was extensive, as merchants of silk, linen, woollen, and kindred materials, and was chiefly transacted in Amsterdam, Paris, Cologne and London.

They seem to have been prosperous and successful, and to have amassed a fair amount of wealth. Frans Van Dyck married, in , Maria, daughter of Jan Comperis and Anna Vlruli, his wife, but she died in , after giving birth to a son, Jan, who did not survive.

A few months later Frans Van Dyck took a second wife, Maria, daughter of Dirk Cuypers or Cupers and Catherina Conincx, his wife.

This marriage proved happy and fruitful. Children came fast, first a son, Frans, and five daughters. Very little is known about the childhood of Antoon Van Dyck.

There is nothing known of his family antecedents to suggest a hereditary tendency to art, but tradition has handed down that his mother was particularly skilled in the art of embroidery.

As she died when Antoon was but eight years of 4 BIRTH AND PARENTAGE age, this cannot have had any great effect upon his future career.

The ledgers of the Guild of St. He seems to have had a close connection with the religious orders, for of his other children his youngest son became a priest, one daughter, Anna, a nun, and three, Susanna, Cornelia, and Isabella, became bdguines.

The family lived a well-to-do, cultivated life. They were fond of music and owned a clavichord, made by the famous Ruckers, which became the property of the eldest son, Frans Van Dyck, the younger.

The father never remarried, but in he exposed himself to the attacks of one Jacomina de Kueck, who not only published violent libels on him, but threatened to take his life, so much that Frans Van Dyck had to seek the protection of the law, with the result that the irate lady found herself in gaol.

If, however, the immediate family of Antoon Van Dyck cannot be shown with any certainty to have had any actual professional relations with the fine arts, it is certain that the friends with whom they chiefly associated were artists.

These families were closely related by marriage ties. Taking that of De Jode first, the earliest engraver of that name, Gerard de Jode, was the father of that Pieter de Jode, the elder, whose engravings rank among the finest of the Antwerp School.

Snellincx married as his second wife Paulina Cuypers, who may have been related to the mother of Van Dyck. In his landscapes Brueghel often collaborated with another painter, Hendrik van Balen.

Hendrik van Balen was a typical painter of the Flemish School, when it showed signs of decaying into the graces and insipidity of an Italianised pseudo- classicism.

He had been with Rubens a pupil of Adam van Noort, and remained in close friendship with his great con- temporary throughout life.

It is perhaps a mere commonplace of art-history to say that the best art-teachers are usually but' second- or third-rate practitioners themselves.

Van Balen was a consummate master of the technical side of his art, and, if he failed to produce any painting of importance or celebrity himself, he has attained immortality as the master, first of Frans Snyders, and then of Antoon Van Dyck.

In Hendrik van Balen was Dean Opperdeken of the Guild of St. The style and manner of Rubens had already begun to dominate the painting-schools of Antwerp.

Only Rubens was possible in Antwerp, and the young student learnt to imitate and copy him in every respect. Even such painters as Cornelis Schut, Theodore Rombouts, Gaspar de Grayer, who sought to pose as rivals to Rubens at Antwerp, found themselves compelled 6 EARLY PAINTINGS to challenge the painter upon his own field, one on which they were easily vanquished for all time.

His progress must have been rapid, and his development as a painter precocious, for it is recorded that in , at the age of fourteen, he painted a portrait of an old man that in was in the collection of one M.

Joseph Antoine Borgnis at Paris. It is remarkable that Van Dyck, although under age, was specially permitted to plead himself, as being a person of independent means and position.

This led to a lawsuit, during the course of which some interesting evidence was given by the painter, Jan Brueghel, the younger.

Moreover the series had been copied there by a youth, one Harmen Servaes, apparently a pupil of Van Dyck, although the latter was but sixteen or seventeen years old.

Possibly Harmen was a son of the Servaes Cuypers mentioned before, ancl a relative 7 ANTHONY VAN DYCK of Van Dyck, so that the young men were really living together as a kind of family party.

These paintings excited so much interest that they were exhibited in the galleiy at Antwerp belonging to Willem Verhagen, a noted connoisseur and art- dealer, where they were visited by many of the leading burghers and artists, including the great Rubens himself Fragments of this series of Christ and the Apostles are to be found in the Gallery at Dresden, in the Royal Palace at Schleissheim, and in the private collections of Earl Spencer at Althorp and M.

Adolphe Thiem at San Remo. The whole set was engraved by Cornells van Caukerken. These paintings brought the young painter quickly into notice, but it is difficult to assign any works with certainty to this period of his career.

Portraits he no doubt painted, as one of the easiest footsteps to fortune for a young artist. He tried his hand perhaps at history.

Under any circumstances. Van Dyck was in February, i6i8, admitted to the freedom of the Guild of St.

Luke at Antwerp, an unusual distinction for so young a man. He was also admitted through his father to the freedom of the city of Antwerp.

Very soon after, Van Dyck began his connection with Rubens. AN II MADAME DE WITTE In the collection of M. Luke shows that he was looked upon as a finished painter.

Rubens himself did not keep a painting-school for youths. What he required was a number of skilled assistants to aid In the work of the vast picture-manufactory over which he presided.

In the great house, which Rubens built for himself at Antwerp, he divided his work, as it would appear, between a special studio of his own, to which no one was admitted, and one or more large studios.

In which his assistants were engaged on drawing out or laying the colour of those vast decorative compositions, sacred and profane, with which the name of Rubens is usually associated.

It was the practice of Rubens at the zenith of his career to make a sketch of his composition in lightly coloured monochrome.

This was handed to his assistants, who then drew It out on the canvas according to the required scale, and laid in the colours to a greater or less extent, as the master directed.

Rubens, In his letters to Sir DudleyCarleton and others, is careful to distinguish between the paintings which were wholly the work of his own hands, or chiefly that of his assistants and finished by him, or really carried out by his assistants alone.

Obviously Rubens depended a great deal upon the skill of these young men, and that he was well served Is shown by their names, which Included men afterwards so well known as Erasmus Ouelllnus, Abraham van Diepenbeck, Jan van Hoecke, Theodor van Thulden, with the landscape-painters JanWildens and Lucas 9 c ANTHONY VAN DYCK van Uden, and also Justus van Egmont and Pedro van Mol, who carried the tradition of the Rubens School to Paris, and helped to plant upon it the Royal Academy of F ranee.

Van Dyck was already noted for the precision of his draughts- manship and his mastery of the technical side of his art, although certain mannerisms were even now to be detected.

It was there that the art-patronage of the Netherlands found its chief centre. According to the art-historian Bellori, Van Dyck was first employed by Rubens to make reduced copies of his paintings for the engraver to copy.

This was work requiring great though some- what mechanical skill and precision. Bellori also states that Rubens employed Van Dyck not only in copying, but also in drawing out great cartoons from his sketches.

Rubens had spent several years, when young, in Italy, and resided for a great part of these at the court of the art-loving Gonzagas at Mantua.

Unlike his compatriots and contemporaries, Rubens studied the works of Titian, Tintoretto, Correggio, and Leonardo da Vinci in preference to the academical models of Raphael and Michelangelo.

In this he showed himself the precursor of a new age and a new spirit or afflahis in painting. Many were the copies of these great masters which Rubens had collected at Antwerp, and he had also obtained some fine examples of their original work.

It can hardly be doubted that it was in the house of Rubens that Van Dyck first came under the influence and felt the inspiration of Titian and the Venetian painters.

This influence is shown in the very earliest historical paintings by Van Dyck, some of which he is credited with having completed before he entered the studio of Rubens.

Paul at Antwerp, where the pictures still hang. Again, the treatment of the nude is special to Van Dyck. They serve rather as the ground upon which the nude portions of the figures are thrown out and enhanced as the principal mass of light, a thoroughly Italian motive, and one in great contrast to the suffused and broken radiations of light which fill a painting by Rubens in every corner.

The colours are deeper and more opaque than is usual with Rubens, and generally with Van Dyck present a richer and more glowing effect. In this painting, too, appears that intensity of feeling and expression, both religious and human, which is absent from the more frankly sensuous and mundane compositions of the elder painter.

The same faults appear in this picture, the crowded figures and mistakes in composition, but the same merits also appear, the fine expression in the heads, and the powerful treat- ment of the nude.

The skill shown in the modelling of the nude torso and limbs in these pictures is a tribute to the good training which Van Dyck must have received in the school of Van Balen, where the Italian tradition of Michelangelo may be presumed to have still had some force.

Bonnat of Paris. In this picture the same crudities and faults of composition occur, but the nude figure of the youthful saint is admirably posed in silhouette against the dark tree and the bronzed bodies of the executioners.

This figure, in the head of 1 1 ANTHONY VAN DYCK which may be traced the lineaments of the young painter himself, is a good instance of the sensitive refinement with which Van Dyck always treated the nude figure, affording another contrast to the unrestrained pleasure which Rubens took in depicting the naked human form, revelling in the more animal side of humanity, the texture of the skin, the pulsation of the blood, the folds of the flesh, everything, in fact, which denotes la joie de vivre.

Van Dyck was more of a goiirniet in his appreciation of beauty, his taste was selective and particular, so that in his treatment of the nude he could be sensuous without being coarse, and voluptuous without descending into vulgarity, thus escaping the reproaches with which posterity has met the works of Rubens, Jordaens, Rombouts, and other Flemish masters.

It is difficult to establish with any certainty the relations between Rubens and Van Dyck. The life of the elder painter shows that his character was large and noble, and, as in his paint- ings his ideas were always on a large scale, so in his life he was incapable of anything mean or petty.

Conscious of his own unassailable pre-eminence, he could afford without loss of dignity to take a kindly and paternal interest in those artists, painters, engravers or sculptors, who came beneath his sway.

Between Rubens and Van Dyck affectionate relations seem to have been maintained from the outset, and, if any jealousies or sensations of rivalry were ever felt, it is more likely that they would have originated with the rather feminine and self-appreciative mind of Van Dyck than with the broad and generous character of Rubens.

In some cases, where exactly similar compositions exist, it is not difficult to discern between the works of the two masters, since the versions by Van Dyck, which, if considered as originals, might have excited well-placed admiration, fall short of the originals by Rubens in vigour of conception or execution, even if they add a!

V -t; -fr-. It is more difficult to speak with certainty of a few paintings which have for many years been attributed to Rubens, but in which the hand of Van Dyck appears to be all-pervading.

It is certain that Van Dyck ranked highest among the assist- ants of Rubens. One of the young men, it is said Diepenbeck, was unfortunate enough to injure the painting, to the dismay of all, for it was a piece of flesh-painting, which no one of them could replace.

The Father Superior stipulated that all the sketches should be made in small by Rubens himself, but that they should be completed by Van Dyck, whom he named especially, and the other assistants, according as the subject or place demanded.

Further, the Father Superior promised to Van Dyck that he should paint one of the pictures for the smaller altars in the church with his own hand.

To estimate the share due to Van Dyck, in any of the com- pleted paintings by Rubens, is a task in which only a patient and careful student could hope to succeed.

Even M. Max Rooses of Antwerp, who has made a life-study of the life and work of Rubens, speaks with an uncertain note upon the subject.

A small sketch or copy in grisaille of the last-named picture, now in the National Gallery, can be safely attributed to Van Dyck, and may perhaps be one of the studies made by him to be handed to the engraver.

Edward E. A version of this picture of inferior value, belonging to the Earl of Listowel, is perhaps entirely the work of Van Dyck.

It is possible that the numerous studies of heads, so fine in character and expression, which are to be found in many collections, 14 oi the jesi-iks i t'!

C' 'vith thv,. Wilhelm Rubens and Van A FLEMISH LADY id of Van r. EARLY PORTRAITS BY VAN DYCK and seem in most cases to be the work of Van Dyck, were studies made by Van Dyck in the studio of Rubens, and utilized by his master in his great pictures.

Some other important sketches of a negro are in the collection of the Earl of Derby. This has been construed into a proof of jealousy upon the part of Rubens, who is credited with dissatisfaction at the growing reputation of Van Dyck.

There is no reason for such a suspicion. Rubens may have felt it inconvenient to have so advanced an assistant, who might wish to be a rival, but he can hardly have feared any serious competition.

Although the special genius of Van Dyck for portraiture was displayed quite at the outset of his career, it was not likely that in this branch of art Van Dyck would at once strike out a path for himself, different from and independent of his contemporaries.

Rubens had already established a fine tradition in portraiture, although his portraits, like those of Titian and Tintoretto, excel in the first place as paintings, and are only in a less degree dependent on their fidelity in transmitting a likeness or interpreting a character.

Considering the close relations between Rubens and Van Dyck, it is not surprising to find that many portraits which have been credited to Rubens, are in reality the work of his young and brilliant assistant.

Among these are the portraits of an old burgher and his wife in the Dresden Gallery, dated i6i8, the year in which Van Dyck entered the studio of Rubens ; the portrait of another burgher, in the Brussels Gallery, dated ; and the portrait of a lady hold- ing a rose, in the gallery at Cassel.

The researches of a careful IS ANTHONY VAN DYCK expert, such as M. Rooses or Dr. But it is probable that Van Dyck was also influenced by the portraits painted by Cornells de Vos, which are remarkable for many of the qualities shown in the earlier portraits by Van Dyck, though they have nothing of the grace and elegance which are usually associated with the name of Van Dyck.

It should be noted that Cornells de Vos was brother to Paul de Vos, the animal-painter, and to Mar- garetha, the wife of Frans Snyders; and also that his own wife was step-sister to Jan Wildens, the landscape-painter, a friend and fellow-pupil of Van Dyck: so that Cornells de Vos may be reckoned among the circle of friends and acquaintances among whom Van Dyck was brought up.

Many of the early portraits by Van Dyck can with difficulty be distinguished from those by De Vos, as, for instance, in the case of two portraits in the Museum at Antwerp which bear the name of De Vos but may be by Van Dyck.

De Vos also seems to have been the originator of the family portrait, which theme Van Dyck subsequently developed with such conspicuous success. The early portraits by Van Dyck are marked by a great simplicity of costume, especially in those of men, who wear for the most part plain black clothes, and a ruff folded in flat pleats.

It is on the head, and the character expressed therein, that the portrait depends entirely for its effect.

This is particularly well shown in the famous portrait of Cornelis van der Geest, a noted amateur and patron of the arts at Antwerp, which is one of the most highly prized treasures of the National Gallery.

In this the art of the portrait-painter seems to reach its highest point, and yet it is the work of a painter at the latest in his twenty-first year.

With this portrait may be linked that of Jan Brueghel, the elder, in the Munich Gallery, remarkable for the fine modelling of the hand; the double portrait of the painter Hans de Wael and his wife, also in the Munich Gallery; the portraits of an elderly lady and gentleman, belonging to Count de i6 MADAME VINCK In the collection or M.

Paul Danscttc. Brussels HfiNi Milling i. Arnold de Pret Roosede Cales- berg at Antwerp, and the fine companion portraits of Nicolas Rockox, nine times burgomaster of Antwerp, and his wife, in the collection of Prince Serge Stroganoff at St.

In the portraits of ladies Van Dyck shows a closer affinity, perhaps due to the costume, to the portraits by Cornelis de Vos.

The younger ladies are clad in rich dark brocade or figured silk dresses, open so as to show very rich bodices embroidered on a gold ground.

They usually wear a circular ruff, pleated in stiff vertical folds, and rich lace cuffs at the wrists. Their hair is drawn back tightly from the forehead, and bound by a jewelled or richly ornamented cap or fillet at the back of their head.

They wear rich bracelets, or gold chains round their waists, and have every appear- ance of health, riches, and prosperity.

Two portraits of young Flemish ladies in the Liechtenstein Gallery at Vienna are good examples of this style of portrait.

More sedate is the charming lady who sits in a large chair, in the portrait belonging to the Earl of Denbigh at Newnham Paddox erroneously called Lady Kynel- meeky ; while on a more grandiose scale Mme.

Vinck sits at full length with the air of an arch-duchess, this painting being in the possession of M. Paul Dansette of Brussels, a companion to the fine full-length of M.

Vinck, in the collection of M. Schollaert at Louvain. But in some of these portraits there is an Italian note, which must be alluded to hereafter.

A noble head of Snyders alone is in the Liechtenstein Gallery at Vienna. A beautiful family group of three heads in the Hermitage Gallery at St.

A portrait of this description representing Philip II. Another of these, that of Charles V. Precocity had given place to adolescent maturity. In the gallery of the Academy at Vienna there is a portrait of a youth, evidently by Van Dyck, in which his own features can be dis- cerned.

A fresh and delicate face, well-formed features, the nose and chin well-shaped, the mouth somewhat sensuous, though obstinate in character, light chestnut-coloured hair falling in waving clusters over his forehead and about his ears, a suggestion of a feminine rather than a virile type — such are the general characteristics of the face, which altered but little during life.

He was short of stature, and of slender figure. His hand was long and sensitive, with straight fingers almost parallel to each other, a hand which it is easy to recognize in many of his portraits.

The lack of virility is further shown by the slow growth of the hair on his face, for even at twenty-one his cheeks appear as smooth as those of a boy of sixteen.

His own portrait can be recognized, according to M. Hymans, in a series of sketches, representing a youth playing on a flute, in the Prado Gallery at Madrid.

The portrait is more clearly defined in similar paintings of a year or two later, belonging to the Duke of Grafton and the Duke of Devonshire, in the Hermitage at St.

Petersburg, and in other collections, a smaller version of which is in the National Gallery, and in the portrait of himself in the Munich Gallery, where he appears already as the possessor of a golden chain of honour.

Van Dyck betrays a nervous and obstinate disposition. He is ambitious, quick to learn, appro- 19 ANTHONY VAN DYCK priate, and assimilate the ideas of others; never quite content with or confident in his own supreme genius for portrait-painting, ever ready to receive some new emotion in painting ; Indolent and luxurious in his life, but at the same time strongly Individual, proud, and sen- sitive ; quick to feel a slight or take offence, and careless of giving offence to others.

With such feminine traits in his character. Van Dyck presents a strong contrast to his master, Rubens, and his other Flemish friends and contemporaries.

It was not likely that so uneasy a spirit would remain long In a position of inferiority or subordination. Arundel was well known in the Netherlands, and had already had dealings with Rubens.

He may himself have noticed the young Van Dyck, but there Is nothing to prove this. In June, , the Countess of Arundel left England intending to take her two sons to Italy for their education.

She arrived in Antwerp and made some stay there. In order that a double portrait of her husband and herself might be painted by the great Rubens.

He has already sketched her likeness with Robin the dwarf, the fool, and the dog. The sketch, however, still requires some trifling additions, which he will make to-morrow, and on the following day her Ladyship starts, with the Intention of sleeping at Brussels.

It so happened that, when Rubens began 20 m IJ. Arl of A. A-' , A'f'iv. Jr] THE COUNTESS OE ARUNDEL his work, he was unable to lay his hand on a piece of canvas sufficiently large for his purpose.

Having drawn the heads, there- fore, as they should be, he sketched the postures and draperies of the figures on paper, and finished a separate drawing of the dog : but he has ordered a canvas of the proper size to be prepared, and will himself copy what he has done, and send the copy with the original sketches to your Lordship.

Van Dyck is always with Signor Rubens, and his works are beginning to be scarcely less esteemed than those of his master.

He is a young man of one and twenty, with a father and mother in this city who are very rich, so that it is difficult for him to quit these parts, all the more because he sees the fortune which Rubens is enjoying.

The portrait of the Earl and Countess of Arundel, with their dwarf, fool, and dog, is now in the Royal Gallery at Munich. May it not be supposed that, after the preliminary sketches by Rubens referred to in this letter, Rubens handed over the group to Van Dyck to complete?

There is much in the painting to remind one of Van Dyck. Also Rubens, in sending the picture to Arundel in England, may have been responsible for the next important event in the life of Van Dyck, his first visit to England, in which it is clear that Arundel was concerned.

The next piece of information comes from Sir Dudley Carleton, the friend and correspondent of Rubens, who seems to have commissioned Tobie Matthew, a well-known political agent, to obtain some painting by Van Dyck.

I doubt he will have carried the desseigne of this piece into England ; and if he have, I durst lay my payre of hands to a payre of gloves, that he will make a much better Piece than this is for halfe the money that he asks.

Perhaps I am deceaved ; but I thought it fitt to tell your Lordship playnly all that I knowe, or feare in this ; though I doubt not but your 2 1 ANTHONY VAN DYCK Lordship will dexterously governe the knowledge of it, for else this fellow will flye upon me.

Yet please your selfe, for I am at a poynt. Painting in England was not an indigenous art. Holbein had for a few years figured at the court of Henry VI 1 1, and rendered it immortal.

England did not afford afield for artists of the first rank ; and costume, armour, and other accessories tended to occupy the chief interest of the portrait to the exclusion of the likeness.

This is specially to be noticed in the portraits of Queen Elizabeth, who may have enjoined the practice upon those who were allowed to paint her likeness.

The queen is known to have had her views upon portrait-painting, as well as on politics or religion. Hence arose a school, headed by Marcus Gheeraerts, the younger, who are chiefly remarkable for their skill in rendering the rich costumes of their sitters.

With the accession of James I. Both these painters carried on the traditions then required in England, but their works are an improvement on their predecessors.

Both Van Somer and Mytens produced portraits of great dignity and excellence, even jf they display but little imagination. Whereas Mytens had a predilection for soft grays and low tones.

Van Somer, on the other hand, vyas in- clined to deep reds and browns. Van Somer also excelled in the portions of landscape which he introduced into his backgrounds.

Politics were rather strained at the court of James I. The new favourite, George Villiers, Duke of Buckingham, was by nature inclined to resent and try to undermine the influence of older counsellors, such as the Earl of Arundel, whose austere dignity and anchorite habits were in strong contrast to the flashy brilliance of Buckingham.

With the king, however, it was the brilliance which prevailed. Buckingham, moreover, tried deliberately to rival A. It would seem that Van Somer was the painter affected by Arundel, while Mytens was attached to the household of Buckingham.

In Van Somer was sick to death, and it may have been this which moved Arundel to negotiate for the removal to England of the brilliant young Van Dyck, as a rival to Mytens and as a counterblow to Buckingham.

Van Dyck probably required some security before he left his prosperous quarters at Antwerp. Hence the king was induced by Arundel to give the young painter a pension, as a member of the royal household.

The visit to England was, however, but a short one, and it is uncertain how Van Dyck was employed. James I.

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