(In the Academy of Fine Arts, Rome)
Possibly the best known and one of the most deservedly popular of the
master's child portraits. It will bear comparison for charm and
delicacy of handling with any of the productions of our great English
masters. In fact, it was largely after a study of Van Dyck's wonderful
pictures of children that Gainsborough formed his last and greatest
manner.
[Illustration: Plate VI.]
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The encouragement which Charles I. extended to the fine arts, and his
liberality in patronising them, induced him to think that a suitable
field for the exercise of his talents was open to him in our country.
Accordingly about 1632 he arrived in London. England was not, however,
quite strange to him, for about eleven years previously--that is,
before his departure to Italy--he had already been here upon a visit.
Upon this occasion, however, he does not appear to have succeeded in
attracting the attentions of the king, and consequently he did not meet
with the success he had counted upon. Remaining but a few months, he
decided to return to Antwerp, fully resolved to make it a permanent
place of abode.
Meanwhile, however, Rubens had been sent by the Infanta Isabella on a
diplomatic visit to Charles, who received him in the most gracious
manner and created him a knight. The flattering attentions bestowed
upon Rubens during his stay, coupled with his estimation of the king's
character and taste, created a most favourable impression upon him, and
when he returned to Antwerp he probably dispelled in a measure Van
Dyck's antipathy to our country. Meanwhile Charles had seen the
latter's portrait of Nicholas Lanière, his chapel master, and was so
impressed with its qualities that he sent an invitation to Van Dyck to
return.
An opportunity so favourable to advancement was not lightly to be
passed over, and Van Dyck decided once more to try his fortune here.
This decision constituted a turning-point in the life and style of the
artist, and we shall see him in England passing the most prosperous
years of his life.