Smith, John: A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters: in which is included a short biographical notice of the artists, with a copious description of their principal pictures : a statement of the prices at which such pictures have been sold at public sales on the continent and in England; a reference the the galleries and private collections in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools (Part 3) (London: Smith and Son, 1831)

LIFE OF VAN DYCK.

xxiii

Thieves;” another of the same subject; and the “ In-
fant Saviour crowning St. Rosaliewith others noticed
in this work. He was also much engaged with por-
traiture, being honoured by the most distinguished per-
sons of the country as sitters. It was at this period
that he painted that interesting series of portraits of
artists and other celebrated characters, so well known
by the engravings : yet, notwithstanding the prodigious
number of pictures which came from his easel, he is
said to have complained to his master and friend,
Rubens, that, with all his industry, his pencil did not
procure him sufficient for his support. There were
living at that time several painters of eminent abilities,
whose united productions must have been so consi-
derable, that their value might have fallen below a fair
remunerating price; and if, in addition to this, the
overwhelming inssuence of Rubens be taken into consi-
deration, it is possible that Van Dyck might have expe-
rienced the insufficiency of his income, especially if the
prodigality of which he is accused be correct.
During the residence of Rubens at the English court,
he displayed his talents in painting to such advantage,
that he may be said to have created a high feeling in
favour of the arts, and also of the superiority of the
Flemish school. Charles I., having tried in vain to
detain him at his court, turned his attention to Van
Dyck, with whose merits he was not unacquainted;
and Sir Kenelm Digby, who had sat to him for his
portrait, was commissioned to invite him over to Eng-
land. Nothing could have been more acceptable than
such a communication, rendered still more agreeable by
the recent return of Rubens, after an absence of two