The enumeration of these pictures furnishes precious details for the
price of the artist's works. It seems that from the very beginning, a
kind of tariff was adopted with common accord, according to the size of
each portrait. The price of a whole length portrait was L25; other
canvases only fetched L20; that refers probably to personages at half
length. Finally, a large family picture, representing the King, the
Queen, and their two children attained the sum of L100. At a later
period, these figures were increased and the price of a full length
portrait was raised to L40.

But how many of these works, in which, however, very great qualities
shine, pale before a canvas of the Master preserved in the Museum of
Turin! We mean the picture in which the three young children of Charles
I. are grouped--the Prince of Wales, the Princess Henrietta Maria who
became the Duchess of Orleans, and the Duke of York. All three are still
in long dresses, therefore the eldest was about five or six years old at
most; all three are standing up, and for that reason we cannot give the
youngest less than eighteen months or two years. This circumstance dates
the picture--it was painted in 1635.

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 t