SIR ANTHONY, a celebrated painter, was born at Antwerp in the year 1599. After giving early proofs of his 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." By this advice, and with the assistance of his master, he 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 Veronefe, and the Venetian school.

After a few years 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 matter 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 pistoles, 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 Termond.

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 lived equal to his fortune. He married a daughter of the lord Ruthven, earl of Gowry; and though she had but little fortune, maintained her in a style suitable to her birth. He generally kept a magnificent equipage, and a numerous retinue. He died in 1641, at the age of 42, leaving property, it is said, to the amount of 40,000l. sterling.