On his return to Antwerp, whither his reputation had preceded him,
Vandyck was speedily employed by various religious societies, and his
picture of St. Augustine for the church of the Augustines in that city,
established his reputation among the first painters of his time. He
painted other historical pictures, for the principal public edifices at
Antwerp, Brussels, Mechlin, and Ghent; but acquired greater fame by his
portraits, particularly his well known series of the eminent artists of
his time, which were engraved by Vorstermans, Pontius, Bolswert, and
others. His brilliant reputation at length roused the jealousy of his
cotemporaries, many of whom were indefatigable in their intrigues to
calumniate his works. In addition to these annoyances, the conduct of
the canons of the Collegiate church of Courtray, for whom he painted an
admirable picture of the Elevation of the Cross, proved too much for his
endurance. After he had exerted all his powers to produce a masterpiece
of art, the canons, upon viewing the picture, pronounced it a
contemptible performance, and the artist a miserable dauber; and Vandyck
could hardly obtain payment for his work. When the picture had received
high commendation from good judges, they became sensible of their error,
and requested him to execute two more works; but the indignant artist
refused the commission. Disgusted with such treatment, Vandyck readily
accepted an invitation to visit the Hague, from Frederick, Prince of
Orange, whose portrait he painted, and those of his family, the
principal personages of his court, and the foreign ambassadors.