s fine;
in truth, he sometimes excelled Rubens himself in the "golden glow" which
is much admired in his works. Many sacred pictures by Jordaens are seen in
the churches of Flanders. A fine historical work of his represents scenes
from the life of Prince Frederick Henry of Orange, and is in the House of
the Wood, near the Hague; but the larger part of his pictures represent
the manners and customs of the common people, and are seen in public
galleries.

The greatest artist among the pupils of Rubens, as well as one of the
greatest of Flanders, was ANTHONY VANDYCK (1599-1641). He was born in
Antwerp, and was the son of a silk merchant, this having been the
occupation of the Vandycks for several generations. The mother of the
painter was extremely skilled in various kinds of embroidery, and had such
artistic tastes as enabled her to make many original designs, which she
worked out with her needle in delicate and elaborate tapestry work.

Some people believe that to this taste and talent of his mother's Vandyck
owed the instinct for drawing which he early showed; at all events, she
did all she could to develop his taste, and when he was still a boy she
persuaded her husband to place him under the teaching of Henry van Balen.

He was still quite young when he entered the studio of Rubens, and was
soon so much trusted by the master as to be allowed to make drawings from
his works for the use of the engravers. This sort of drawing must be done
with great care and exactness, and Vandyck must have had much skill to be
fitted for it. His fellow-pupils also had great faith in him, as is shown
by the story that one day, when Rubens had gone out, the young student
bribed his old servant to show them the painting with which the master was
then occupied. While jostling each other it happened that one of them hit
the fresh picture, and injured it. They were much alarmed, and begged
Vandyck to repair it. After some hesitation he did so, and was so
successful that at first Rubens did not detect the fact that another had
worked on the picture. When he did discover it, and learned the truth
about it he forgave the offence heartily.

When Vandyck was nineteen years old he was admitted to the Society of
Artists in Antwerp, an unusual honor to one of his age. In 1620 Vandyck
went to England, having been invited there through the Earl of Arundel.
Little is known of this visit, and two years later he was invited to the
Hague, where he spent