it," said the master. "It all began when I allowed him to paint her
picture."

Busy men of forty, with ambitions, are not troubled by Anthony Hope's
interrogation. They glibly answer, "No, no, love is not all--it's only a
small part of life--simply incidental!"

But Van Dyck continued to sigh, and all of his spare time was taken up in
painting pictures of the matronly Isabella. He managed to work even in
spite of loss of appetite; and sitters sometimes called at the studio and
asked for "Master Van Dyck," whereas before there was only one master in
the whole domain.

Rubens grew aweary.

He was too generous to think of crushing Van Dyck, and too wise to
attempt it. To cast him out and recognize him openly as a rival would be
to acknowledge his power. A man with less sense would have kicked the
lovesick swain into the street. Rubens was a true diplomat. He decided to
get rid of Van Dyck and do it in a way that would cause no scandal, and
at the same time be for the good of the young man.

He took Van Dyck into his private office and counseled with him calmly,
explaining to him how hopeless must be his love for Isabella. He further
succeeded in convincing the youth that a few years in Italy would add the
capsheaf to his talent. Without Italy he could not hope to win all; with
Italy all doors would open at his touch.

Then he led him to his stable and presented him with his best
saddle-horse, and urged immediate departure for a wider field and