(Sir Anthony), a celebrated painter, was born at Antwerp in the year 1599. It is said that Vandyck's mother was passionately fond of embroidery, that she excelled in it, and embroidered several historical subjects with such surprising skill, that they have been esteemed masterpieces by proficients in that art. Being desirous to have her son instructed in the first rudiments of grammar, she began by sending him to school to learn reading and writing. As he had ink, paper, and pens, at command, he amused himself more with drawing figures and other flight sketches, than with making letters. One day his master having threatened to whip one of his school-fellows, Vandyck positively assured him, that he need not fear his master's threats, as he would take care to prevent his receiving the threatened correction.—"How so?" replied his school-fellow. "I'll paint (replied Vandyck) a lace on your posterior;" which he did with such skill, that when the master drew up the curtain, he laughed so immoderately that he forgave the culprit. After giving several early proofs of his excellent genius, he became the disciple of the illustrious Rubens. In the church of the Augustines at Antwerp, at the high altar, is a celebrated picture of Rubens, representing, in one part, the Virgin Mary sitting with the child Jesus in her lap, and in another part several saints, male and female, standing. The breast of one of these, St. Sebastian, is said to have been painted by Vandyck when he was only a disciple of Rubens. This great master being engaged one day abroad, his disciples went into his painting-room, where, after having been some time employed in admiring his works, they began to play or romp in such a manner, that the breast of St. Sebastian, which was not yet dry, was brushed away by a hat thrown at random. This accident put an end to their play: they were very anxious to restore it, fearing that if Rubens discovered it they should all be discarded. At length it was agreed that Anthony should undertake to mend the saint's breast. In short, taking his master's pallet and brushes, he succeeded so well, that his companions imagined Rubens would overlook it. They were mistaken; for Rubens at his return knew immediately that some one had touched upon his performance: calling his disciples, he asked them why any one had dared to meddle with his painting? They were some time doubtful whether they should confess or deny the fact. Threats at length prevailed: they owned that Vandyck had thrown his hat upon it. Upon this, chiding Vandyck, instead of chiding him, he told him, that "it was proper and even necessary for him to travel into Italy, the only school that produced excellent painters; and that, if he would take his advice, he would arrive at the highest perfection." Vandyck replied, that "he was very delirious of it; but that his purse was not equal to such a journey, and that he feared he should be obliged to sell his hat on the road." Rubens assured him that that should be his concern; and accordingly, a few days after, he made him a present of a purse full of pittoles, and added to that gift a dapple grey horse, of great beauty, to carry him thither. In return for this, Vandyck painted his master a chimney-piece; and afterwards set out for Italy, about the year 1621, being then about 21 or 22 years of age. Having stayed a short time at Rome, he removed to Venice, where he attained the beautiful colouring of Titian, Paul Veronese, and the Venetian school, which appeared from the many excellent pictures he drew at Genoa.

After having spent a few years abroad, he returned to Flanders, with so noble, so easy, and natural a manner of painting, that Titian himself was hardly his superior; and no other master could equal him in portraits. Soon after his return, he accidentally met with D. Teniers, who accosted him with great politeness, and asked him whether he had much business since he came from Rome? "What business, think you, can I have had time to do (replied Vandyck)? I am only just arrived here. Would you believe, that I offered to draw that fat brewer's picture who just passed by us for two pittoles, and that the looby laughed in my face, saying it was too dear? I assure you, that if the cards do not turn up better, I shall make no long stay at Brussels." Soon after this, he painted those two famous pictures, the Nativity and a dying Christ; the first in the parish-church, the second in that of the Capuchins, at Termonde.

When he was in Holland he was very desirous to see Francis Hals the painter, who had great reputation then for portraits. On entering his room, he asked to have his picture drawn. Hals, who knew Vandyck only by name, undertook it, and went to work. The latter seeing his head finished, rose up, saying, that it was a striking likeness. Afterwards he proposed to Hals, that if he would fit in return, he would also draw his picture; to which Hals having agreed, merely from curiosity, exclaimed, on seeing his picture too soon finished, "Thou art the devil, or else Vandyck." This picture of Hals has been engraved by Colter at the Hague.

Vandyck, finding he could not make a fortune in his own country, took a resolution of going over into England. Accordingly he borrowed some guineas of Teniers, and set out, furnished with letters of recommendation. His superior genius soon brought him into great reputation; and above all, he excelled in portraits, which he drew with an inconceivable facility, and for which he charged a very high price, according to the instructions which had been given him on that head. It is affirmed, that for some of them he received 400 guineas apiece. He soon found himself loaded with honours and riches; and as he had a noble and generous heart, he made a figure suitable to his fortune. He married one of the fairest ladies of the English court, a daughter of the lord Ruthven, Ruthven, earl of Gowry; and, though she had but little fortune, maintained her with a grandeur answerable to her birth. He himself was generally richly dressed; his coaches and equipage were magnificent, and his retinue was numerous; his table was elegant, and plentifully furnished; and he often entertained his guests after dinner with a concert performed by the best English musicians of London. In short, his house was so frequented by persons of the greatest quality of both sexes, that his apartments rather resembled the court of a prince than the lodgings of a panter. Notwithstanding this expense, he amassed great wealth; when a chemist had the art to infuse himself into his esteem, and inspired him with a desire of converting copper into gold; but the secret had no other effect, than making him convert his gold into smoke. Rubens being informed of it, wrote to his disciple: he acknowledged his error, and corrected it. At length Vandyck being at an early age subject to the gout, it undermined him by degrees, and carried him to the grave in the year 1641, at the age of 42. He was buried in St Paul's; and left to his heirs a considerable estate, which some have made to amount to 40,000l. sterling.