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)

XXX

LIFE OF VAN DYCK.

other of his productions may also be detected groups
taken from his master’s works: still it must be ad-
mitted that the correctness of his drawing, and a
certain air of elegance in the figure, compensate for
the plagiarisms.
As a colourist, he deservedly ranks with the first
masters: he could imitate to deception the brilliancy of
Rubens, as is instanced in many of his early works ; or
assume the rich and mellow tones of Titian, as is ex-
emplified by the numerous pictures painted by him when
in Italy. If some of his works are censured for the
predominant brown tints, it should be recollected that
they were not so originally, but have become dark from
the protrusion of the ground colour, or from being slight
and hasty productions. No painter was ever more
skilful or dexterous in his art; his rapid execution
was governed by a mastery of touch, accompanied
by a lightness and spirit peculiar to himself, and
which are frequently the distinguishing characteristics
between his works and those of Rubens. In comparison
with that illustrious artist, as an historical painter, he
was immeasurably inferior; not so in portraiture: in
this he rises superior, and may almost claim an equality
with Titian. If he has less dignity in expression than
the great Venetian, he has infinitely more elegance and
grace, as well as natural animation, superadded to chaste
and correct drawing, the agreeable art of giving action
to his figures, and a more pleasing air to the heads.
These excellences he had acquired by studying the
peculiar beauties of the best Italian masters, on which
he formed a style entirely his own, and admirably