criticisms and revilings, that he was obliged to leave Rome about 1625, and return to Genoa, where he met with a flattering reception, and plentiful encouragement.  Invited to Palermo, he visited that city, and painted the portraits of Prince Philibert of Savoy, the Viceroy of Sicily, and several distinguished persons, among whom was the celebrated paintress Sofonisba Anguisciola, then in her 92d year; but the plague breaking out, he returned to Genoa, and thence to his own country.

VANDYCK’S RETURN TO ANTWERP.

On his return to Antwerp, whither his reputation had preceded him, Vandyck was speedily employed by various religious societies, and his picture of St. Augustine for the church of the Augustines in that city, established his reputation among the first painters of his time.  He painted other historical pictures, for the principal public edifices at Antwerp, Brussels, Mechlin, and Ghent; but acquired greater fame by his portraits, particularly his well known series of the eminent artists of his time, which were engraved by Vorstermans, Pontius, Bolswert, and others.  His brilliant reputation at length roused the jealousy of his cotemporaries, many of whom were indefatigable in their intrigues to calumniate his works.  In addition to these annoyances, the conduct of the canons of the Collegiate church of Courtray, for whom he painted an admirable picture of the Elevation of the Cross, proved too much for his endurance.  After he had exerted all his powers to produce a masterpiece of art, the canons, upon viewing the picture, pronounced it a contemptible performance, and the artist a miserable dauber; and Vandyck could hardly obtain payment for his work.  When the picture had received high commendation from good judges, they became sensible of their error, and requested him to execute two more works; but the indignant artist refused the commission.  Disgusted with such treatment, Vandyck readily accepted an invitation to visit the Hague, from Frederick, Prince of Orange, whose portrait he painted, and those of his family, the principal personages of his court, and the foreign ambassadors.

VANDYCK’S VISIT TO ENGLAND.

Hearing of the great encouragement extended to the arts by Charles I., he determined to visit England in 1629.  While there, he lodged with his friend and countryman, George Geldorp the painter, and expected to be presented to the king; but his hopes not being realized, he visited Paris; and meeting no better success there, be returned to his own country, with the intention of remaining there during the rest of his life.  Charles, however, having seen a portrait by Vandyck, of the musician, Fic.  Laniere, director of the music of the king’s chapel, requested Sir Kenelm Digby to invite him to return to England.  Accordingly, in 1631, he arrived a second time at London, and was received by the king in a flattering manner.  He was lodged at Blackfriars, among the King’s artists, where his majesty frequently went to sit for his portrait, as well as to enjoy the society of the painter.  The honor of knighthood was conferred upon him in 1632, and the following year he was appointed painter to the king, with an annuity of L200.