We know the various portraits of the children of Charles I. disseminated in the museums and palaces of Europe; we have seen and admired the picture in Dresden, those at Windsor, the sketch in the Louvre, and the canvas in Berlin, a copy of the great composition which belongs to the Queen of England.  Very well! there is not the slightest hesitation possible—­not one of these pictures is comparable to that in Turin.  Nowhere does there exist a work of Van Dyck’s so delicate, so well preserved, and so perfect in all its points.  With what care and worship this picture is surrounded no one can imagine.  The most watchful precautions and the most respectful regard are at its service.  We have been told that the directors of the Museum constantly refuse to move it for the convenience of photographers.  A little detail hardly worth mentioning, one would say!  We do not think so.  We consider that the authorities of the Museum are right a thousand times, when they possess such a chef-d’oeuvre, not to neglect any precaution, however insignificant it may appear, to assure it a longer duration.

A fine engraving of this incomparable jewel gives a very exact idea of the arrangement and dominating qualities of the picture; but how can we translate in black and white the shimmering of material, the delicacy of tone, the colouring of those robes, rose, blue, and white, of exquisite harmony and incomparable finesse.

What shall we say of the physiognomy, of the grace, and also the penetrating charm of those three child figures?  Such a work would alone suffice for the glory of a museum, above all when it has kept its freshness like the flowering of genius.

Every moment of the painter was consecrated to the various members of the royal family.  That was natural enough.  Charles I. never desisted from watching his clever protege at work, and spending his leisure in his studio,—­the habitual rendez-vous of the young gentlemen and the beauties of fashion.  The establishment of the artist permitted him to receive such guests becomingly.  Hired musicians were instructed to divert his aristocratic models during the hours of work.  Thus he was enabled to attract and hold at his home the very best society in London.  Every day at his table sat numerous guests chosen from the elite of the artists and litterateurs mingled with the greatest personages.  Carried into the whirlwind of this light world so full of entertainment, Van Dyck hastened to enjoy all the pleasures and exhaust all the delights, without considering his strength, or hoarding his health....

The King would never let him stop painting the pictures of his children.  On his side, Van Dyck brought to this task all his art, we might say all his heart.  Doubtless, he derived from Rubens and also from Van Balen that very lively intelligence for the graces of childhood.  Also, when he occupied himself in rendering those delicious faces of rosy and chubby babies, in the midst of glimmering stuffs, he found colours of incomparable freshness....