to impute, Domenichino must be acquitted. He appears to have been a simple, modest, painstaking, and virtuous person. "He was misled by his dramatic bias, and also by the prevalent religious temper of his age. That he belonged to a school which was essentially vulgar in its choice of type, to a city never distinguished for delicacy of taste, and to a generation which was rapidly losing the sense of artistic reserve, suffices to explain the crude brutality of the conceptions which he formed of tragic episodes" (Symonds, _Renaissance_, vii. 220). Lanzi says with truth that Domenichino's style of painting is "almost theatrical." He tears the passion of his figures to tatters--"exaggerated action destroying," as Ruskin says, "all appearance of intense feeling." An interesting tale is told of the way in which the artist worked himself up. He was engaged on a scene of martyrdom, and "in painting one of the executioners he actually threw himself into a passion, using threatening words and actions. Annibale Carracci, surprising him at that moment, embraced him, exclaiming with joy, 'To-day, my Domenichino, thou art teaching me.'" Tobias, directed by the angel, is drawing out of the water the fish that attacked him. _See_ the Book of Tobit, ch. vi. 4, 5, and the note on No. 781. 49. THE PORTRAIT OF RUBENS. _Van Dyck_ (Flemish: 1599-1641). Sir Anthony Van Dyck, the prince of court portrait-painters and the most famous of Rubens's pupils, is one of the many great artists whose gifts showed themselves almost from birth. He was born at Antwerp, the seventh child of a tradesman in good circumstances. His mother was a woman of taste, who attained considerable skill in art-needlework, and from her he doubtless derived many of the qualities for which his works are conspicuous. At the age of ten the boy had already begun to paint. His admission at the age of thirteen to the crowded studio of Rubens is a proof of his precocious talent. Documents recently discovered show that Van Dyck when seventeen had already pupils of his own, and that his independent work was sought after by artists and amateurs. At nineteen he was admitted to the painters' Guild of St. Luke. For five years (1620-25) he was for the most part travelling and painting in Italy, with introductions from Rubens. Many of his best works are still to be seen in Genoa and Turin. He also visited Venice, where the spell of Titian's genius enchanted him. Several sketches in the British Museum testify to his devout study of the great Venetian. On his return to Antwerp at the end of 1625, Van Dyck soon became the great court-painter of his time. Queens visited him in his studio, and the nobility