stration: ANTHONY VAN DYCK]

The most common name in Holland is Van Dyck. Its simple inference is that
the man lives on the dyke, or near it. In the good old days when
villagers never wandered far from home, the appellation was sufficient,
and even now, at this late day, it is not especially inconsistent.

In Holland you are quite safe in addressing any man you meet as Van Dyck.

The ancient Brotherhood of Saint Luke, of Antwerp, was always an
exclusive affair, but during the years between Fifteen Hundred
Ninety-seven and Sixteen Hundred Twenty-three there were twenty-seven
artists by the name of Van Dyck upon its membership register. Out of
these two dozen and three names, but one interests us.

Anthony Van Dyck was the son of a rich merchant. He was born in the year
Fifteen Hundred Ninety-nine--just twenty-two years after the birth of
Rubens. Before Anthony was ten years old the name and fame of Rubens
illumined all Antwerp, and made it a place of pilgrimage for the faithful
lovers of art of Northern Europe.

The success of Rubens fired the ambition of young Van Dyck. His parents
fostered his desires, and after he had served an apprenticeship with the
artist Van Balen, a place was secured for him in the Rubens studio. For a
full year the ambitious Rubens took small notice of the Van Dyck lad, and
possibly would not have selected him then as a favorite pupil but for an
accident.

Rubens reduced his work to a system. While in his studio he was the
incarnation of fire and energy. But at four o'clock each day he dismissed
his pupils, locked the doors, and mounting his horse, rode off into the
country, five miles and back.

One afternoon, when the master had gone for his usual ride, several of
the pupils returned to the studio, wishing to examine a certain picture,
and by hook or by crook gained admittance. On an easel was a partly
finished canvas, the paint fresh from the hands of the master. The boys
examined the work and then began to scuffle--boys of sixteen or seventeen
always scuffle when left to themselves. They scuffled so successfully
that the easel was upset, and young Van Dyck fell backwards upon the wet
canvas, so that the design was transferred to his trousers.

The picture was ruined.

The young men looked upon their work aghast. It meant disgrace for them
all.

In despair Van Dyck righted the easel, seized a brush, and began to
replace the picture ere it could fade from his memory. His partners