the honour of sitting to him. The news of his father's illness recalled him to Antwerp. He arrived just in time to receive that father's blessing, and listen to his last injunctions, which included an order to paint an altar for the Chapel of the Dominican Sisters, who had nursed him tenderly in his illness. After many delays from various causes Vandyck arrived in Venice, where he studied Titian and Veronese, and afterwards proceeded to Genoa, where he became the favourite of the proudest nobles of that proud city, and adorned almost every palace therein with splendid portraits. At Rome he remained some years; the first order he received being that of the world-renowned portrait of Cardinal Bentivoglio, which attracted a crowd of sitters to his studio, including all the nobility of the city and most of the foreign visitors. He then made his way to Florence and most of the northern cities of Italy, with a flying visit to Sicily, whence he was driven by the outbreak of the plague. He returned to Antwerp, where he at first shared the proverbial fate of the prophet in his own country, and met with much ill-will and small patronage, until his old friend Rubens came to his rescue by buying every completed picture in his late scholar's studio, and recommending and befriending him on every occasion. Shortly afterwards Rubens departed from Antwerp on a diplomatic mission, and he left Vandyck undisputed master of the field. His hands were now full; he received endless commissions both in portraits and sacred subjects. He afterwards went to Paris, and paid two visits to England; the second time he was received at Court with every mark of distinction. Charles the First treated the noble Fleming as a personal friend, taking the greatest delight in his society. He became the centre of attraction, and the cynosure of all eyes. Pre-*eminently handsome, brilliant in conversation, a good linguist, an enlightened traveller—even without the crowning quality of his splendid talent, the painter became a shining light in the
