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These are superior to the other pictures by VANDYCK in this collection. N deg. 216. The history of this piece is interesting. The eldest daughter of CHAMPAGNE was a nun in the convent of Port-Royal at Paris. Being reduced to extremity by a fever of fourteen months' duration, and given over by her physicians, she falls to prayers with another nun, and recovers her health. N deg. 227. Catherine.
If we may take the evidence of Vandyck, Watteau, Francois Boucher, and Greuze, in whose pictures they are so frequently introduced, all the toy Spaniels of bygone days had much longer noses and smaller, flatter heads than those of the present time, and they had much longer ears, these in many instances dragging on the ground. The Marlborough Blenheim has retained several of the ancestral points.
Behind him, lit by a shielded electric light, was a Vandyck, "A Portrait of a Gentleman Unknown," and Francis, as he hesitated for a moment upon the threshold, was struck by a sudden quaint likeness between the face of the man in the picture, with his sunken cheeks, his supercilious smile, his narrowed but powerful eyes, to the face of Sir Timothy himself.
The great Italian painting had ended with the gorgeous magnificence of the Venetian school, with Giorgione and Titian and Tintoretto, and its mastery passed for a few years to Flanders, to Rubens and Vandyck; but in the painting of Spain and of the Low Countries in the later seventeenth century we find ourselves in another world.
Until this epoch, John Ruskin had found much that interested him in the Dutch and Flemish painters of the seventeenth century. He had classed them all together as the school of which Rubens, Vandyck and Rembrandt were the chief masters, and those as names to rank with Raphael and Michelangelo and Velasquez.
During a long visit at Holm Lacy in Herefordshire, he amused his leisure by copying from Vandyck, in crayons, a head of Wentworth, Earl of Strafford, which was still preserved there many years afterwards, and is said to have possessed considerable merit. For an account of Pope's skill in painting fans, see vol. I. page 201 of this work.
'The figure and person of Lady Stanley are inimitable, writes Sydney. 'Vandyck would have estimated her at millions. Though old, her manners, her mind, and her conversation are all of the best school.... Sir John Stanley is a man comme il y en a peu.
Vandyck, Kneller, and Watteau frequently introduced the graceful figures of these dogs as accessories in their portraits of the Court beauties of their times, and many such portraits may be noticed in the galleries of Windsor Castle and Hampton Court. Mary, Queen of Scots is supposed to have been fond of the breed, as more surely were Charles I. and Queen Anne.
O'Connell then executed several fine portraits two of Rachel, one of M. O'Connell, others of Charles Edward and Théophile Gautier, which were likened to works of Vandyck, and a portrait in crayon of herself which was a chef-d'oeuvre.
No. 3 on the right is Palazzo Parodi, another of Alessi's works, built in 1567 for Franco Lercaro; No. 4 is Palazzo Carega; No. 5, Palazzo Spinola, again by Alessi; while Palazzo Giorgio Doria, No. 6, was also built by him. Here, beside frescoes by the Genoese Luca Cambiaso, you may find a Vandyck, a portrait of a lady and a Sussanah by Veronese.
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