that the scholars invaded the sanctity of the private studio, and, in the exuberance of animal spirits, indulged in what in modern parlance is called 'bear-fighting.' An unfinished Holy Family stood on an easel, the colours not yet dry, and, in the course of the rough play, one of his companions pushed Van Diepenbeke so heavily against the precious canvas that the arm of the Magdalen and the head of the Virgin were nearly effaced, and all the colours smudged. The general consternation may easily be conceived. A council was held, and a general decision arrived at that the most skilful among the students should endeavour to repair the mischief. Unanimous choice fell on Vandyck, who began to work in right earnest, for there was not a moment to lose. There were but a few hours of daylight left him, but he accomplished his task before nightfall. Early next morning the dreaded moment arrived. Rubens entered his studio in order to examine the work of the preceding evening, when he pronounced the memorable words which seemed to bestow a diploma on his young disciple: 'Why, this looks better than it did yesterday!' Then, approaching nearer, he detected the traces of a strange hand. Investigation and explanation followed, and Vandyck came in for great praise from the lips of his beloved master. Rubens was most desirous that his talented pupil should proceed to Italy to study the works of the great masters, but in the meantime the young man had received an invitation to England. The first visit he paid to our country was short and unsatisfactory, and there are so many discrepancies in the accounts of the work he did at that period and his reasons for leaving England somewhat abruptly, that we refrain from entering further on the subject. From England Vandyck proceeded to the Hague, where he painted portraits of every class and denomination of person, commencing with the Court and family of the Stadtholder, Henry Frederick. Nobles, warriors, statesmen, burghers, all vied for
