unities for the development of
their talent, both had won an enviable reputation by the time they had
reached early manhood. Both held appointments as the court painters
of kings who were unusually liberal and appreciative in their
patronage,--Van Dyck under Charles I. of England, and Velasquez under
Philip IV. of Spain. Both artists drew great inspiration from the
Italian masters, whose works they studied in Venice and Rome,
particularly the great Titian. Here, however, the comparison may end;
for the nature of the subjects which each chose, the influence of their
nationality upon their style, and, above all, their own personal
individuality as artists, have rendered their work strikingly
dissimilar.

Van Dyck was in every sense a man of the world and a courtier; widely
travelled, broadly cultured, fond of music, brilliant in conversation,
handsome of face, and graceful in bearing, by turns an elegant host and
a distinguished guest. Thus all his thoughts, interests, and pleasures
were thoroughly identified with the court life, and he was peculiarly
fitted for the artistic interpretation of royalty.

The family of Charles I. of England afforded a most attractive field for
the exercise of the court painter's talent, and many and varied are the
groups in which they were represented.[2] Some of the most interesting
of these are in the collection at Windsor. In one, the king and queen
are seen, with their two sons, Prince Charles and Prince James; while
another portrays the same boys, with their mother, Henrietta Maria. The
latter painting is an exceedingly beautiful work, repaying long study.
The boys have that indefinable air of nobility which Van Dyck knew so
well how to impart to his subjects, and which none can imitate or
explain. Even Prince James, who is an infant in arms, holds his little
head erect, like the prince that he is. The artist has shown us,
however, that royal dignity is by no means incompatible with the true
child nature, and the two young princes are always depicted as genuine
children, with frank, winning faces.

[Illustration: HEAD OF JAMES, DUKE OF YORK.--VAN DYCK.]

The most popular of Van Dyck's portraits of the Stuart children is the
famous group at Turin, in which the two young princes, Charles and
James, stand one on each side of their sister Mary. All three bear
themselves with an air of conscious superiority, a gentle and serene
dignity born of their faith in the divine right of kings. Pr