t. Fortunatus, beginning,--

O Gloriosa Domina
Excelsa super sydera.
[O most glorious Lady
Exalted above the stars.]

We may fancy that in the ecstasy of this vision these lines now rise
to his lips. The last stanza expresses the sum of his adoration:--

Gloria tibi Domine
Qui natus es de Virgine
Cum Patre et sancto Spiritu
In sempiterna saecula.
[Glory to thee, O Lord,
Who wast born of a Virgin,
With the Father and Holy Spirit
For eternal ages.]

It is easy to see from a comparison of this picture with the Rest in
Egypt that it was painted at about the same time. We at once
recognize the mother and child of the other illustration, and note the
similarity in pose. We may imagine the Madonna bending forward and
holding the babe a little lower on her lap, and we should have the
grouping as it is here.

In their pictures of the Madonna, the old painters tried to express
their highest ideals of womanhood. The mother Mary represented to them
all that is strongest and sweetest in a woman's character. So this
Madonna by Van Dyck is a gracious and queenly figure modelled upon the
stately Virgin of Titian.

The linear composition of the picture is carefully planned; the basis
is the pyramidal form. From the top of the Virgin's head diverge the
two oblique lines which enclose the diagram. The mantle fluttering
behind the mother's shoulder balances the part of St. Anthony's tunic
which lies on the ground.

We may well believe that the painter took especial pleasure in working
on this picture, because he himself bore the name of the good St.
Anthony.

V

MADAME ANDREAS COLYNS DE NOLE AND HER DAUGHTER

In the time of Van Dyck there was living in Antwerp a family of
ancient lineage who bore the name of Colyns de Nole. For three
centuries there had been sculptors among the men of this name. The
talent had been handed down from father to son through the several
generations, and sometimes there were two or three of the family
working together in the art. The old churches of Antwerp contained
some fine specimens of their work.[4]

[Footnote 4: A full account of the several members of this family is
given in the _Biographie Nationale_, published by the Royal Belgian
Academy of Science, Literature and Fine Arts, Brussels, 1899.]

Andreas Colyns de Nole was of nearly the same age as Van Dyck, and a
worthy representative of his famous family. He was the scu