and was the first conductor of the Cincinnati Symphony Orchestra. He composed the opera ^lusd(l. first produced in 1883: a symphonic pro- logue, Williain Ratcliffe : Festival March for or- chestra; Festival Hymti: Iiiaiiyiiratioii March; an orchestral episode, Pagina d'umorc. and sev- eral series of songs. His four-part mixed and male choruses a CappcUa rank among his most successful compositions.
VAN BER WEYDEN, der wi'den. See Wey-
DEN. V.N DEK.
VAN DE VELDE, van da vel'dc. A family
of Dutch artists. See Velde, van de.
VAN'DEWATER, George Roe (1854—).
An American Protestant Episcopal clergyman,
born at Flushing. L. 1., and educated at Cornell
and at the General Theological Seminary, New
York City, where he graduated in 1879. He be-
came rector of Saint Luke's Church, in Brooklyn,
organized the congregation of Saint Bartholomew,
and was appointed general secretary of the pa-
rochial mission society. In 1888 he assumed
charge of Saint Andrew's, New York City. Dr.
Vandewater was chaplain of the Seventy-First
New York pLCgiment. and served with that body
during the Spanish-American War, and in 18U2
was appointed chaplain of Columbia University.
He published: Manual of Church Music (1886) ;
Bi/miibooks for Missions (1887) ; and Manual of
church I'raticr (1888).
VAN DIEMEN'S LAND. See T.sj[.^ni.v.
VAN DOBN, Earl (1820-03). An American
soldier prominent on the Confederate side in the
Civil War. He was born near Port Gibson. Miss. ;
graduated at West Point in 1842, was appointed
second lieutenant in the Seventli Infantry, and
served in gari'ison duty for several years. He took
part in the military occupation of Texas by United
States troops, and in the Mexican War, winning
the brevet of a captain for valor at Cerro Gordo
and of major for his conduct at Contrcras and
Churubusco. After the war he was engaged in
suppressing the outbreak of the Seminole Indians
in 1849-.50, and .subsequently in the operations
against the Comanches in the Indian Territory.
He became a captain in 1855 and a major in 1860.
But after the secession of his native State he re-
signed his commission, and was appointed briga-
dier-general of the Mississippi troops. Later he
succeeded Jefferson Davis as major-general of the
Mississippi forces, and in March, 1861. received
an appointment as colonel in the Confederate
Army. He was promoted to the rank of briga-
dier-general in June, 1861, and in September to
the rank of major-general, and in January, 1862,
was a))pointcd commander-in-chief of the Trans-
Mississippi Department. He was defeated at
Pea Kidge in March, 1862. and was su])erseded in
command liy General Holmes and given connnand
of a division in the Army of the Mississippi.
Again ])romoted. he v;is in command of liis ov^l
and Sterling Price's trorips in the unsuccessful
attack on Rosecrans at Corinth. October 3 and 4,
1862. After the defeat of his army at this point
charges were brought against him for neglect of
duty, but he was completely exonerated by a
court of inquiry. Superseded by Peniberton. he
commanded a division under the latter, and while
in command of the Confederate cavalry during
the first advance movements of the Federals on
Vicksburg, W(m an engagement at Holly Springs,
Miss., and conducted other operations with great
success and brilliancy. He continued in the field
until May, 1863, when he was shot and killed as
a result of a private quarrel.
VAN DYCK, dik (VANDYKE), Sir An-
Tiio.XY (Antuo.ms) (1599-1641). The most im-
portant portrait painter, next to Rubens, of the
Flemish school ; also a figure-painter and an
etcher. He was born at Antwerp, JIarch 22,
1599, the son of Francis van Dyek, a wealthy silk-
mercer, and of Marie Cuypers, who was known
for her skill in embroidery. He was placed, at
ten, with the painter Hendrik van Balen ; at fif-
teen he was independently established at Antwerp
with Jan Brueghel the younger. His heads of
"Christ" and of the "Twelve Apostles" attracted
the attention of Rubens, who made the young
artist his assistant and friend. He lived in the
great master's house, and fell completely under
his influence, often painting the same subjects in
a manner which makes it extremely difficult to dis-
tinguish them, as, for example, in several works
at Berlin and a "Saint Jerome" at Dresden. The
pretty stories of his youth, like that of his love
affair with the maiclen in charge of the Arch-
duchess's dogs, are mostly mythical. In Novem-
ber, 1020. on invitation of the Earl of Arundel,
he went to England, and was granted a pension
by James I., but in February, 1621, he returned
to Antwerp. From there he set out for Italy,
arriving at Genoa in November. By this time
he had formed an independent style, based upon
Rubens's, less robust in character and bright
in color, but more refined.
At Genoa he was warmly welcomed by the resident Flemish painters, like the brothers De Wael, whom he commemorated in the portrait of the Capitoline Jhiseum (Rome) and in that of Jacobus de Wael and his wife at ^Munich. Here the best part of his life work begins. He was especially influenced by the great Venetian mas- ters, producing works which in their splendor of color rivaled Titian. Wonderfully characteristic is the series of portraits of the Genoese nobility, in their rich, costly robes and glittering jewels, which are still mostly to be seen in local palaces. Though Genoa remained his headquarters, he made short visits to other cities. Florence, Bologna, and Venice. His Italian sketchbook, now in possession of the Duke of Devonshire, gives interesting record of his studies, many of which are after Titian. At Rome (1023) he was especially patronized by Cardinal Benfivoglio, whose fine portrait hangs in the Pitti Palace. On a visit to Palermo, at the invitation of the Governor, Ennnanuele Filiberto of Savoy, he por- trayed his host (Turin), besides painting the celebrated Madonna del Rosario. ( See JIadonna.) Afterwards he p;iinted portraits of other mem- bers of the House of Savoy at Turin, now in the Pinakothek. The date of his return to Ant- werp is uncertain. He was not present at his father's deathbed. Dccend)er 1, 1622. as is often stated, but may have returned in .lannary, 1626, though there is no proof of his presence at .Ant- werp before March. 1828. In the meantime he probably visited Aix-la Cliapelle and Paris.
The second Antwerp period is that of Van Dyek's best work. In friendly rivalry with Rubens, he established an influential school whose work he siiperintended. Sometimes ho painted after Rubens's sketclies, achieving works difficult
