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Updated: May 25, 2025
He had not the massive temper of Velasquez, of those men who could paint day after day, year after year, until death knocked at their ateliers. As vigorous as Rubens in his sketches, Goya had not the steady, slow nerves of that master. He was very unequal. His life was as disorderly as Hals's or Steen's, but their saving phlegm was missing.
Could anything be more natural and unassuming? Look at the Laughing Cavalier, and ask if it is not the man himself, as Hals saw and knew him, not a faked up hero? Hals caught him in his best clothes, that is all. He did not put them on to be painted in he was out on a jaunt. Look at Hals's women, how pleased they are to be painted, just as they are.
Bluff and swaggering as some of Hals's portraits of men appear to be notably The Laughing Cavalier, at Hertford House that is only because the subjects were bluff and swaggering fellows swaggering, that is to say, in the consciousness of their ability and their readiness to defend their country and their homes again, if need be, against the tyrant.
The drawing-room had the appearance of an hotel sitting-room trying to look coy. An air of factitious geniality pervaded the dining-room. An engraving of Frans Hals's "Laughing Cavalier" hung with too great a semblance of jollity over the oak sideboard. Everything was too new, too ordered, too unindividual; but Sypher loved it, especially the high-art wall-paper and restless frieze.
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