THE
LIFE
OF
ANTHONY VAN DYCK.
IjVery one, who is accustomed to visit galleries and
collections of works of art, must have observed the fre-
quent interrogatory—who painted this or that picture ?
and also that the pleasure received in viewing the object
is in proportion to the interest which the inquirer feels
in endeavouring to obtain a knowledge of the history
of its author. Landscapes and conversational pieces
attract the attention of the majority of persons, because
these subjects are most familiar to common observers,
and within the scope of their knowledge ; the man of
erudition feels a greater delight in the delineation of
historical facts and the portraits of distinguished per-
sons—the former may perhaps exhibit the occurrence
of an important event, and the latter be a representation
of an individual connected with it: such subjects natu-
rally excite an association of ideas productive of enter-
tainment and instruction. In fact, the portraits of those
who have distinguished themselves in their times as
public characters, may be considered true subjects of
historical painting. A monarch, a general, a statesman,
vol. in. b
LIFE
OF
ANTHONY VAN DYCK.
IjVery one, who is accustomed to visit galleries and
collections of works of art, must have observed the fre-
quent interrogatory—who painted this or that picture ?
and also that the pleasure received in viewing the object
is in proportion to the interest which the inquirer feels
in endeavouring to obtain a knowledge of the history
of its author. Landscapes and conversational pieces
attract the attention of the majority of persons, because
these subjects are most familiar to common observers,
and within the scope of their knowledge ; the man of
erudition feels a greater delight in the delineation of
historical facts and the portraits of distinguished per-
sons—the former may perhaps exhibit the occurrence
of an important event, and the latter be a representation
of an individual connected with it: such subjects natu-
rally excite an association of ideas productive of enter-
tainment and instruction. In fact, the portraits of those
who have distinguished themselves in their times as
public characters, may be considered true subjects of
historical painting. A monarch, a general, a statesman,
vol. in. b