DUVERNAY
220
DYCK
Mimoires (Paris, 1865); Sunte-Bedve, Port-Royal (Paris.
1871), corrected by Fczet, Les Jansenisies el leur dernier histo-
rien Sainle-Beuve (Paris, 1876): Jungmann, De Jansenismo
in Dissert, selectee in hist. ecct. (Bruges, 1SS6), VI, 217; Dal-
GAlRNS, Jntroduetion to Devotion to the Sacred Heart (London,
1853); Kroll, Causes of the Jan.'ienist Heresy in Am. Cath.
Quart. Rev., 1SS5: Mathieu, Janscnius et Saint-Cyran in
Pages d^kistoire: Renaissance et Rijorme (Paris, 1905): May-
NARD, Vie de Saint Vincent de Paul; F.ullon, Vie de M. Olier.
For a lengthy bibliography see Brunetiere, Hist, de la litt.
franfaise (Paris, 1899).
J. F. feOLlIER.
Duvemay, Ludger, a French-Canadian journal- ist and patriot, b. at Vercheres. Quebec, 22 Jan., 1799; d. 28 Nov., 1852. A printer by trade, he founded and edited successively at Three Rivers, Quebec, " La Gazette des Trois-Rivieres" (1817), " Le Constitutionnel ' ' (1823), and "L'Argus" (1820). In 1827, with A. N. Morin, he founded in Montreal " La Minerve", one of the prominent pa- pers of French Canada. He was iniprisoned( 1832) for protesting with Dr. Daniel Tracey, editor of the "Vindicator",against the arbitrariness of the Legislative Council. A medal was presented him in acknowledgment of his devotedness to the public good. Duvernay's chief title to fame is the f oundat ion of the Society of St. John the Baptist (1834). The choice of the Precursor for the patron saint of the French-Cana- dians accorded with a time-honoured tradition mentioned in the Jesuit "Relations (1646) as contemporary with the beginning of New France and inluTited from the mother countrj'. The maple leaf, now accep- ted by Canadians of every origin, was chosen as the national emblem and the motto adopted
by Duvernay was: "Notre langue, nos institutions et nos lois". Elected for Lachenaie in 1837, he was forced to leave the country for participating in the Canadian Rebellion, and he took up his residence at Burlington, Vermont, where he founded " Le Patriote the world and form a magnificent and unrivalled Canadien" (1849). The union of the two Canadas series. In 1624 he visited Palermo, painting the por- having been voted by the British Parliament and the trait of Emmanuel of Savoy, \'iceroy of Sicily, and principle of representative government adopted, peace some church pictures, but returned to Genoa and in was restored and political exiles were allowed to re- 1626 left for Antwerp, probably on account of some turn. Duvernay began again the publication of "La complications with regard to the division of his Minerve", in which he extolled the introduction of father's estate. He visited Aachen and is believed to rosponsiblegovernment. and criticized the .\ct of Union have gone on to Paris, while tradition states that he destined, by its authors, to absorb Lower Canada. made a second visit to England. However, nothing
Irfi .UinfT-ue^Montreal, 3 Dec, 1852); Le Jour.de Qiirbcc (Dec definite is known of his movements until 1630 when
1852); Chouinard, Fete Nat. des Canad. fran. (Quebec, ISSl). j^^ .^^..^g ^^ -j-^^ Hague, and shortly afterwards back in
Lionel Lindsay. Ijjs native town. Another tradition, which speaks of
the rivain,- between Rubens and Van Dyck, has to be
Dyck, Antoon (Anthonis) Van, usually known as discredited. Mr. Lionel Cust and others have shown Siu Anthony Van Dyck, Flemish portrait-painter, that the two painters were not only on terms of
vice of Jan Brueghel, as a pupil in the studio of Hen-
drick Van Balen, who had been a pupil of Rubens.
The .voung artist's development as a painter was
rapid, for it is recorded that at the age of fourteen he
painted a portrait of an old man, and a lawsuit in
1660 revealed the fact that he had also produced when
quite a youth a series of heads exceedingly well
painted. .\ proof of his skill is the fact that in 1618,
before he was twentj', he was admitted to the freedom
of the guild of St. Luke in Antwerp, an unusual dis-
tinction for a youthful pamter. The tradition that
Van Dyck was apprenticed to Rubens or was ever his
pupil must be dismissed. Investigations have proved
that he was reganled as a master in his art when
he was introduced to
the studio of Rubens.
Here Van Dyck made
one of the group of
young men who assisted
the master in his decor-
ative works, which it
woidd have been quite
impossible for him to
com|)lete by himself.
In 1620, at the request of the Countess of Arun- del, \'an Dyck appears to have come to Eng- land and to have re- ceived commissions from James I for which he was paid in Februarj', 1621. After executing these orders he returned to .\ntwerp and then de- termined to visit Ital}% leaving in October, 1621, and remaining abroad for five j-ears. He spent some time at Genoa, moved on to Rome, and then visited Florence; from here he went to Bologna, and later by way of Mantua to Ven- ice. After this he was at Milan and finally in 1623 in Rome. The rec- ords of this journey remain in the famous "Chatsworth Sketch Book ". His life in Rome was unsatisfactorj'. for he made many enemies, and soon left the Eternal City and settled in Genoa, where he was exceedingly popular. His portraits of the great nobility of Genoa rank among the finest in
AxTOON' Van Dyck
By himself, Uffizi Gallery, Florence
b. at Antwerp, 22 March, 1599; d. in London, 9 De-
cember, 1641. This great painter was the seventh
child of a family of twelve, being the .son of Frans Van
Dyck, merchant in silk, linen, and kindred materials,
and of Maria, daughter of Dirk Cuypers and Catherina
Conincx. While still a boy he was placed, on the ad-
equality with regard to their art, but that a generous
and conlial friendship existed between them.
In 1632 \'an Dyck went again to England and was graciously received by Charles I. He appears to have passed into the king's service immediately, as a war- rant was issued on 21 May, 1632, for the payment of
