DOI Kapitel:
The Life of Anthony Van Dyck
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.62914#0035
LIFE OF VAN DYCK.
xxix
causes : the utter hopelessness of competing successfully
with Rubens, and a decided predilection for portraiture.
In the various historical subjects treated by his pencil,
he has evinced most genius in those of a solemn nature,
which excite sympathy and commiseration ; such are
his Pietas and Crucifixions. In the latter, the counte-
nance of the suffering Saviour is always indescribably
affecting; and in both subjects the agonizing grief of
the Virgin is depicted with a power of expression which
strikingly exemplifies the pathetic appeal, “ Were ever
sorrows like unto my sorrows : ” still there is a dignified
calmness in her demeanour, differing from that of the
Magdalen, whose more violent grief arises from grateful
attachment; the latter is always weeping and embracing
the hands and feet of her lord. The Apostles and holy
women are characterised by sentiments of sorrow and
devout attachment; and the piety of religious persons
is also given with suitable effect and propriety. In the
various pictures representing the Holy Family, the Vir-
gin is never devoid of appropriate dignity; and occa-
sionally a look of inspiration beams in her countenance.
The same happy choice of intellectual expression does
not, however, accompany him in his other figures, as may
be observed in his Infant Saviour and St. John, which
seldom appear to be more than comely children of an
ordinary stamp : the subordinate persons in his groups
are, frequently, still more defective. In his compositions
he has too often borrowed from Rubens, to be entitled
to much credit for invention : witness his pictures of
“Samson and Delilah;” “St. Ambrose and Theodo-
sius;” and “ St. Martin dividing his Cloak.” In many
xxix
causes : the utter hopelessness of competing successfully
with Rubens, and a decided predilection for portraiture.
In the various historical subjects treated by his pencil,
he has evinced most genius in those of a solemn nature,
which excite sympathy and commiseration ; such are
his Pietas and Crucifixions. In the latter, the counte-
nance of the suffering Saviour is always indescribably
affecting; and in both subjects the agonizing grief of
the Virgin is depicted with a power of expression which
strikingly exemplifies the pathetic appeal, “ Were ever
sorrows like unto my sorrows : ” still there is a dignified
calmness in her demeanour, differing from that of the
Magdalen, whose more violent grief arises from grateful
attachment; the latter is always weeping and embracing
the hands and feet of her lord. The Apostles and holy
women are characterised by sentiments of sorrow and
devout attachment; and the piety of religious persons
is also given with suitable effect and propriety. In the
various pictures representing the Holy Family, the Vir-
gin is never devoid of appropriate dignity; and occa-
sionally a look of inspiration beams in her countenance.
The same happy choice of intellectual expression does
not, however, accompany him in his other figures, as may
be observed in his Infant Saviour and St. John, which
seldom appear to be more than comely children of an
ordinary stamp : the subordinate persons in his groups
are, frequently, still more defective. In his compositions
he has too often borrowed from Rubens, to be entitled
to much credit for invention : witness his pictures of
“Samson and Delilah;” “St. Ambrose and Theodo-
sius;” and “ St. Martin dividing his Cloak.” In many