Van Dyck Part 5

Charles I of England was the second king of the Stuart dynasty, whose despotic tendencies made the seventeenth century a memorable period in history. He ascended the throne at the age of twenty-five, and began at once to a.s.sert his belief in the divine right of kings. Indignant at the restraints which Parliament set upon his power, he dissolved this body and ruled alone.

For more than ten years he governed England in his own way, and during this time his court was conducted with great magnificence. The palace at Whitehall was the scene of many brilliant entertainments and lavish hospitalities.

Charles was an ardent lover of music, literature, and painting, and in his gallery was a collection of pictures remarkable for his time. He was particularly proud of the ceiling decorations of his Banqueting Hall, furnished by Rubens. He interested himself also in the manufacture of tapestries, and secured for England Raphael's cartoons for the Vatican tapestries, hoping thereby to raise the artistic standard of the home production.[7]

[Footnote 7: See Chapter III. of volume on _Raphael_ in the Riverside Art Series.]

It was a crowning proof of his good taste that early in his reign he appointed Van Dyck the court painter. The Flemish painter was thereupon made Sir Anthony Van Dyck, and remained in the royal service until his death in 1641. It was the king's intention to have the walls of the Banqueting Hall decorated by Van Dyck, but this plan was never carried out. As it was, however, the court painter is said to have made, during his nine years' residence in England, no less than thirty-six portraits of the king, and twenty-five of the queen, Henrietta Maria, besides many pictures of their children, singly or in groups. His studio was a favorite resort of the royal pair, who used to come in their barge, by the way of the Thames, to his house at Blackfriars. The painter would receive them with the manners of a prince. Musicians played for their entertainment, and the conversation turned on questions of art.

In this constant intercourse, Van Dyck came to know well the face of his royal patron. It was not really a handsome face, as we see when we a.n.a.lyze the features in our ill.u.s.tration. The forehead is high but not broad, the nose large and not cla.s.sically modelled, and the thick lips and weak curves of the mouth are not hidden by the upturned mustache.

The shape of the face is long and narrow beyond good proportion, but this defect is relieved by the chestnut hair, which falls in long waving locks over the shoulders, and makes a broad frame for the face.

[Ill.u.s.tration: PORTRAIT OF CHARLES I.

_Dresden Gallery_]

All these details, however, escape our attention when we look at the portrait for the first time. We are chiefly impressed by the kingly presence of the man. There is an indefinable suggestion of n.o.bility in his bearing, an expression of grave dignity in his countenance. The eyes are almost melancholy, the glance is averted and remote. The consciousness of his royal birthright gives an air of aloofness to the figure.

The king stands beside a table, resting one hand on the broad rim of the hat which lies there, and holding his gloves in the other. He wears the mantle of the Order of the Garter, ornamented on the left side with the six-pointed silver star, in the centre of which is the red cross of St. George. From a broad blue ribbon about the neck is suspended a gold medallion. This is the "George," the image of the warrior saint, represented on horse-back in his encounter with the dragon.

The attempt of Charles to govern England without a Parliament proved a sad failure. He set his own authority above all laws, and persistently disregarded the rights of the people. At last he became involved in so many difficulties that he was obliged to rea.s.semble the two houses.

Then followed the long struggle between the king and the Parliament, which resulted in the Civil War. The supporters of the Crown represented chiefly the upper cla.s.ses, and were called Cavaliers. The Parliamentarians were for the most part Puritans, and were men of fervent piety.

There were six years of fighting, beginning with the battle of Edgehill, and culminating in the Parliamentary victory at Naseby.

Charles was tried and condemned as a "tyrant, traitor, murderer, and public enemy." On the 30th of January, 1649, he was executed in front of Whitehall Palace, walking to the scaffold with the same kingly dignity which he had shown throughout his life. "I go," said he, "from a corruptible to an incorruptible crown, where no disturbance can take place." His body was laid among others of England's royal dead at Windsor.

The picture reproduced in our ill.u.s.tration is not thought to be the original work of Van Dyck's hand, for that precious painting was destroyed by a fire in the Palace of Whitehall. It was a fortunate circ.u.mstance that while it was still in existence, Sir Peter Lely, court painter to Charles II., made a fine copy of it, which is now in the Dresden Gallery. A competent critic (Lionel Cust) tells us that the Dresden picture is so excellent that "it is difficult to believe it to be other than an original by Van Dyck."

AUTHORITIES.--Green: _A Short History of the English People; D'Israeli: Commentaries on the Life and Reign of Charles I._

VIII

THE MADONNA OF ST. ROSALIA

On the summit of Monte Pellegrino, in the island of Sicily, stands a colossal statue of St. Rosalia. Like the old Greek statue of Victory on the island of Samothrace,[8] or to use a modern instance, like the statue of Liberty on Bedloe's Island in New York harbor, St. Rosalia serves as a beacon to mariners. The Sicilians hold the saint in great reverence, and celebrate her memory in two annual festivals. From the eleventh to the fifteenth of July are horse-races, regattas, illuminations, and all sorts of gayeties in her honor. In September there is a solemn procession to her chapel.

[Footnote 8: See Chapter XV. in the volume on _Greek Sculpture_ in the Riverside Art Series.]

St. Rosalia was a Sicilian maiden of n.o.ble family, the niece of William II., called the Good. Being both rich and beautiful, she had many suitors for her hand, but she rejected them all. At the age of fifteen she renounced the pomps and vanities of the world, and devoted herself to a life of meditation. She retired secretly to a cavern on Mt. Heirkte, and here she pa.s.sed her solitary life. It was not until five hundred years after her disappearance that her hiding-place was discovered. There they found her lying in her grotto, as if she had just fallen asleep, and on her head was a wreath of roses with which the angels had crowned her. The body was carried in triumph to Palermo, and she became the patron saint of her native city.

This was in the early part of the seventeenth century,[9] and the story of the new saint's life immediately became the subject of art.

Van Dyck painted for a church in Antwerp a series of pictures of St.

Rosalia, from which our ill.u.s.tration is taken. The maiden saint kneels on the steps of a throne to receive a wreath of roses from the Christ-child. An angel attendant behind her holds a basket of roses.

St. Peter and St. Paul add dignity to the scene.

[Footnote 9: The date of her disappearance is given as 1159.]

As we see at once, this is not an actual incident from the life of St.

Rosalia. The aim of the picture is devotional. It is as if we were given a glimpse into the court of heaven, where the saints of all ages gather about the Christ-child's throne.

St. Peter is seen at the Madonna's left, gazing at some little cherubs who hover in mid air with sprays of flowers. We know him by the mammoth key he carries in his left hand, a symbol of his authority in spiritual concerns. The reference is to the words of Jesus when Peter declared him to be the Christ: "I will give unto thee the keys of the kingdom of heaven."[10] He seems here a very old man, and one who has suffered many persecutions in the master's cause.

[Footnote 10: St. Matthew, chapter xvi., verse 19.]

[Ill.u.s.tration: THE MADONNA OF ST. ROSALIA _Imperial Gallery, Vienna_]

St. Paul stands at the right of the throne, leaning on his sword in an att.i.tude of meditation. The sword has been chosen as this apostle's emblem because of his allusion in the Epistle to the Ephesians to the "sword of the spirit."[11] The books lying on the pavement at his feet are his various writings.

[Footnote 11: Ephesians, chapter vi., verse 17.]

According to tradition the Apostle Paul was a man of mean stature and insignificant appearance. Regardless of this fact, however, the old artists always tried to make him as grand and n.o.ble as possible, that his outward appearance might correspond to the grandeur of his character. There was a certain old Italian painter named Masaccio, who set the fas.h.i.+on, as it were, for the ideal portrait of St. Paul.[12] A hundred years later Raphael imitated this figure, and again a century later, Van Dyck repeated it in the picture before us. If we compare our ill.u.s.tration with a print of Raphael's picture of St. Cecilia we shall see the resemblance.[13] Even the pose is the same in the two cases. The grand head with the full beard reminds us of the Greeks'

conception of their G.o.d Zeus.[14]

[Footnote 12: In the fresco of the Carmine Church, Florence.]

[Footnote 13: See Chapter IX. of the volume on _Raphael_ in the Riverside Art Series.]

[Footnote 14: See Chapter I. of the volume on _Greek Sculpture_ in the Riverside Art Series.]

St. Rosalia is a beautiful young woman, richly dressed in a brocaded mantle, and with wavy hair falling over her shoulders. Her att.i.tude is very humble, and she lifts her face to the Christ-child's with sweet adoration. The little fellow seems delighted with his task, and leans forward eagerly, to offer the saint the crown of roses. Is it for me?

she seems to ask, as she lays one hand upon her breast and timidly holds out the other.

On the step beside her is a human skull, across which lies a stalk of lilies. The flowers are an Easter emblem, and symbolize the Resurrection. The skull is the token of death. Thus are we taught the victory over death through the purity of the spiritual life.

The grotto of St. Rosalia has become a church which is the object of many a pious pilgrimage. It is for this that the name of the mountain was changed from Heirkte to Monte Pellegrino, which means the Pilgrim Mountain.

We have already seen (Chapters II. and IV.) how much Van Dyck owed to t.i.tian in the rendering of sacred subjects. Here the Madonna's high throne beside the marble pillars, and the cherubs in mid air are striking reminiscences of t.i.tian's Pesaro Madonna.[15]

[Footnote 15: See Chapter XIV. in the volume on _t.i.tian_ in the Riverside Art Series.]

IX

CHARLES, PRINCE OF WALES

(_Detail of Children of Charles I._)

The Prince Charles of our picture was the son of Charles I. and Henrietta Maria, and bore the t.i.tle of the Prince of Wales. He was born on the morning of May 29, 1630, and there was great rejoicing in the royal household that he was a fine strong baby. The king at once rode in state to St. Paul's Cathedral to give thanks for the birth of an heir. While the procession was on its way a bright star appeared in the noonday sky. This was hailed as a good omen, and an epigram was composed on the occasion:--

"When to Paul's Cross the grateful King drew near, A s.h.i.+ning star did in the heavens appear.

Thou that consultest with bright mysteries Tell me what this bright wanderer signifies?"