rk,
Van Dyck's ideal of Christ is less ascetic than Titian's and somewhat
more benign. In both pictures the pure countenance of the Saviour is
sharply contrasted with the coarse face beside him.

[Footnote 21: See Chapter VIII. of the volume on _Titian_ in the
Riverside Art Series.]

We are interested to read on in St. John's narrative the sequel of the
story illustrated in our picture. It happened to be the Sabbath day,
and, as the restored paralytic passed through the city, the Jews said
unto him: "It is not lawful for thee to carry thy bed."

"He answered them, He that made me whole, the same said unto me, Take
up thy bed, and walk. Then asked they him, What man is that which said
unto thee, Take up thy bed, and walk? And he that was healed wist not
who it was: for Jesus had conveyed himself away, a multitude being in
that place.

"Afterward Jesus findeth him in the temple and said unto him, Behold,
thou art made whole: sin no more, lest a worse thing come unto thee.
The man departed, and told the Jews that it was Jesus, which had made
him whole."

XIV

PHILIP, LORD WHARTON

Philip, Lord Wharton, was an English nobleman of nearly the same age
as the Duke of Lennox, and the two were painted by Van Dyck at about
the same time. In both young men are apparent the same signs of gentle
birth and breeding, a dignity of bearing, and a repose of manner
characteristic of their class. That they were quite different in
essential character, however, we shall presently see.

Lord Wharton was the fourth baron of his family and the second of the
name Philip. He succeeded to his title as he was entering his teens,
and at the age of nineteen he had become one of the most attractive
figures at the court of Charles I. In this year he married Elizabeth,
the daughter of Sir Rowland Wandesford. It was in honor of this
occasion that the portrait of our illustration was painted.

Of a lover so handsome and graceful, the promised bride may well have
been proud. His dress is rich and picturesque: the jacket is of violet
velvet, the mantle of yellow satin, and the costume is set off by
delicate laces at the throat and wrists. These were days when the men
vied with women in fondness for finery.

Lord Wharton was at this time on terms of friendly intimacy with the
king and queen. It was a flattering mark of royal favor when the king
presented the young courtier with two full-length portraits of himself
and of Queen Henrietta