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According to van Mander, the method of painting in Flanders previous to the time of the van Eycks, was with gums, or a preparation called egg-water, to which a kind of varnish was afterwards applied in finishing, which required a certain degree of heat to dry.
His sad soul now took no interest in lovers. He had just been up the river to arrange for the sale of his plantation to one of his neighbours. He had decided to leave the island of Barbadoes and to return to England. The house suited Captain Ichabod exactly, when Mrs. Mander told him about it, and Lucilla agreed with him because she was always accustomed to trust her mother in such things.
The father of the painter left that town for political reasons in 1579, and it was at Antwerp that Franz was born sometime between that date and 1585. His parents took him back to Haarlem as an infant, and that is the town with which his name and fame are most closely associated. Little is known of his early life except that he began his studies with Karel Van Mander and Cornelis Cornelissen.
I am compelled to state that her dress is not a suitable one in which to appear before a stranger." "Excuse me," said Dickory; "and I beg, madam, that you will convey to her my thanks for making me such an excellent hat." A little later Mander joined Dickory. "I am sorry, sir," said he, "that I am not able to present you to my daughter Lucilla.
"She ha'n't got th' mander o' them sort o' truck." "What then, Mis' Green?" the neighbour inquired, stern with the consciousness of her own large family of "truck." The supposed superiority of Dora of the ringolets hurt her maternal pride and raised a storm of righteous anger in her breast.
"Not so," cried Dickory, with a bow; "I've already bought you a gown, and I hope it is pink." As they all hurried away, the tale of the hoped-for clothes was told; and although Mrs. Mander wondered how gowns were to be made while a merchantman waited, she said nothing of her doubts, and they all ran gleefully.
and thirdly, that in default of incontestable documentary proofs the modest "so far as I have been able to discover" of Holbein's first biographer, Van Mander, is a capital anchor to windward, and is at any rate preferable to driving forth upon the howling waters of Classification, like Constance upon the Sea of Greece, "Alle sterelesse, God wot."
Looking at this marvellous drawing and picturing to one's self those cheeks informed with pulsing blood, those lips with breath, those eyes with blue gleams, it is easy to understand that Van Mander was using no hyperbole when he said that the painting on the wall of the Privy Chamber made the stoutest knees to tremble.
Still wearing his cocked hat for he had nothing else with which to shield his head from the sun and with his uniform coat on, for he had not yet an opportunity of ripping from it the letter he carried, and this he would not part from Dickory roamed about the little settlement. Mander was an industrious and thrifty man. His garden, his buildings, and his surroundings showed that.
For wherever the younger painter was born, whether at Augsburg or Ulm or elsewhere, and whatever I believe to be his rightful claim to such paintings as the St. Elizabeth and St. Barbara of the St. Sebastian altar-piece at Munich, Fame, like Van Mander, has rightly written him down Holbein Basiliensis. It is true that his father's brushes were his alphabet.
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