THE LIFE OF Sir ANTHONY VANDYCK.
ANthony Vandyck was born in the city of Antwe […]p, in the year 1599; his father was a merchant of linen cloth; his mother employed herself in embroidery, which requiring some small knowledge in design, she taught her son in the best manner she could the first rudiments of drawing, in which he made so quick progress, that he soon became capable of giving instructions to his former tutor: his mother conceived so great hopes of his future advancement in the arts, that she persuaded his father to place him with Rubens, who was the most celebrated painter of that time. Vandyck soon became a favourite of his master’s, not only for his good behaviour and ingenious disposition, but from the real advantage he was likely to find in having a scholar that would so soon be capable of assisting. him. The first thing Rubens set him about was to make a drawing after his picture of the battle of the Amazons, in which he succeeded so well, that, from that very drawing, the print which is so much admired was engraved: after this Rubens thought it time to instruct him in the art of colouring, that he might likewise be of assistance to him in painting. He first employed him in copying his works, in which he acquitted himself so well, that his master after giving a few touches, sold them as his own performance. He soon after made so great progress that he executed great works in colours from his master’s designs, and afterwards from his own invention, particularly the history of Achilles, which was intended for a suit of tapestry. It is reported that Rubens got no less then ten pounds a day by the labours of his ingenious disciple. Rubens began now to be not a little alarmed at the extraordinary talents he discovered in his disciple; and with good reason, fearing he might rival his renown, advised him (after bestowing great commendations on some portraits Vandyck had just finished) to apply himself entirely to the study of portrait-painting; and at the same time continually recommending to Vandyck those who applyed for their portraits to himself, he in a great measure stifled that true spirit and genius of painting which ought to have been exerted in the invention and composition of history. Thus Titian (but a little more barbarously) banished Tintoret from his house; a practice often used by the great masters, but as unsuccessful as malicious. For strength of genius, like a spark of fire, will at last blaze up, and perhaps with greater force from its meeting with opposition. The first picture Vandyck painted after he had withdrawn from the school of his master, was for the church of Dominick: the subject was that of our Saviour bearing the cross on his knees, accompanied by the two Marys, with soldiers conducting him to Mount Calvary: this work is much in the style of his master.
He now began to think it time to visit Italy, and accordingly set out for Venice, where he applied himself wholly to the study of the Venetian art of colouring, particularly the works of Titian and Paul Veronese, the same fountains that had before so liberally supplied his master. He copied many historical pictures for his improvement, and painted portraits for his subsistence; but the former producing no money, and the latter not sufficient for his expences, he thought fit to remove to Geneva, where he found the greatest encouragement for his talent of portrait-painting. Notwithstanding which, being determined to visit Rome, he undertook that journey, and at his arrival there is entertained in the court of cardinal Bentivoglio, a great favourer of the Flemish nation, having himself lived there a considerable time, and writ the history of that country. In return for the civility he received, he drew his patron’s picture, whole length, which is now in the Palazzo Piti at Florence, and esteemed one of the best of Vandyck’s works: he drew also, for the same cardinal, Christ dying on the cross.
Sir Robert Shirly arriving at Rome about this time, with the character of ambassador from Abba, king of Persia, to Gregory XV. Vandyck drew his picture and his wife’s, both in the Persian habit, which bizar kind of dress gave a new lustre to the usual graces of his painting.
There was many of Vandyck’s countrymen at that time studying at Rome; and it was a custom amongst them, that a new-comer should always invite his countrymen and brother students to a supper, where in the midst of their mirth they used to give him a nick-name, by which he was ever after to be known. This kind of revel Vandyck refused, which they took so ill at his hands, that since he would not submit to receive any other name, they were resolved to give him that of Ambitious, and they took all occasions to condemn in him his pride and his art together.
In reality, Vandyck had a certain stateliness and gravity in his air, which might easily be mistaken for pride: his manner of behaviour, the richness of his habits, with the number of his servants, seemed all too high for his employment. This fault (if it is one) is very pardonable, having been used to such magnificence, in the school of his master Rubens, whilst he was there, conversing mostly with noblemen, and people of the higher fashion; and being himself of a temper somewhat elevated, he was naturally led to model himself on their behaviour.
The true reason of Vandyck’s journey to Rome, appears to be, not so much to study, as to shew his excellence in his art; but meeting with too much hatred and ill-will from his countrymen, and not so much encouragement from others as he expected, he left Rome, and returned to Genoa, which he used to call his home, and there his reputation and profit were very considerable. He drew most of the noblemen and senators of the place, particularly the family of the Raggi.
[To be concluded in our next.]
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