When Anthony van Dyck painted Portrait of George Gage with Two Attendants in 1622, he was newly arrived in Italy, eager to prove himself among the greats of the Baroque. The sitter, George Gage, was no ordinary Englishman abroad: he was a Catholic priest and agent, dispatched by King James I to Rome on a delicate diplomatic mission—to secure a papal dispensation for the proposed marriage between Prince Charles and the Spanish Infanta. The painting thus captures not just a likeness, but a moment of high political intrigue, as Gage navigated the labyrinthine world of papal courts and secret negotiations. Van Dyck chooses to show Gage at the center, flanked by two attendants—one likely a servant, the other perhaps a fellow English Catholic.

Gage’s hand rests on a letter, a subtle nod to his role as a negotiator, while the chain around his neck may allude to his status or the trust placed in him by his royal patrons. The direct gaze and calm posture suggest a man accustomed to responsibility and secrecy. The rich, dark palette and dramatic lighting recall the influence of Caravaggio, whose Roman works Van Dyck would have studied closely; yet, unlike Caravaggio’s often turbulent scenes, Van Dyck’s composition is one of quiet authority and diplomatic poise. The painting’s early history is not fully documented, but it was likely commissioned by Gage himself or his English patrons as a testament to his mission.

It stands as one of Van Dyck’s first major works from his Italian period, marking a turning point as he absorbed the lessons of the Italian masters and began to develop his own style. Over the centuries, the painting has passed through various collections and is now housed in the National Gallery, London. Its survival offers a rare glimpse into the world of English Catholics in exile, and into the early career of an artist who would soon become the most sought-after portraitist in Europe.