These terms could hardly be refused, and the young artist set to work with such energy that in a few weeks the picture was finished. The priest admired the work greatly, particularly the beautiful figure of the Saint--the subject selected having been Saint Martin dividing his Cloak among the Beggars--and sent for a connoisseur from Brussels to decide if he should keep the picture. The verdict was favourable, and the price paid to the artist enabled him to proceed on his journey to Italy. It is not reported whether the future painter of kings and courtiers ever returned to visit his fair inamorata of the kermesse, but this pretty story, which is told in a rare little book, "Sketches of Flemish Painters," published at The Hague in 1642, was written by a contemporary, and may quite possibly have been true. At any rate, there is the painting itself to prove it. On his return to Antwerp in 1625 Van Dyck left behind him in Italy more than a hundred paintings, in itself a prodigious achievement. He now began to work in his native city with a rapidity and perfection resembling his master's and produced the altarpieces that are among the master works of Flemish churches. Here also he painted a marvellous galaxy of portraits of the great artists of his time and of the Flemish, French and Spanish nobility. His marvellous etchings also belong to this period, so that Antwerp is associated with much of his finest work in two great branches of art. In 1632 the artist went to London, which he had visited on one or two previous occasions, and became painter to the court of Charles I. Here he remained for the rest of his lifetime, painting more than three hundred and fifty pictures portraying the royal family and nobility of England. He died in 1641, or only a year after his master, leaving a record of varied achievement comprising more than one thousand, five hundred works. The museum at Antwerp possesses twelve of his paintings, of which one of the most interesting is the "Christ on the Cross" painted for the Dominican nuns in recognition of the care and tenderness with which they had nursed his father during the old man's last illness. The catalogue of the museum somewhat conceals the artist's name under the Flemish form, Antoon Van Dijck, which hardly suggests the brilliant and debonnaire Sir Anthony of Whitehall and the beauties of England under Charles the First. There are sixty-seven works by this master in Vienna, forty-one at Munich, thirty-eight at St. Petersburg, twenty-four at the Louvre, twenty-one in Madrid and nineteen in Dresden, but England possesses the largest collections of his productions, most of those he painted at London still remaining in the public and private galleries of that country.