initial commit of ebook 25268HEADmain

273 files changed, 7825 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/25268-8.txt b/25268-8.txt
new file mode 100644
index 0000000..809f84b
--- /dev/null
+++ b/25268-8.txt
@@ -0,0 +1,2427 @@
+The Project Gutenberg EBook of Child-life in Art, by Estelle M. Hurll
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Child-life in Art
+
+Author: Estelle M. Hurll
+
+Release Date: April 30, 2008 [EBook #25268]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CHILD-LIFE IN ART ***
+
+
+
+
+Produced by Juliet Sutherland, Anne Storer and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+[Illustration: THE SISTINE MADONNA.--RAPHAEL.]
+
+
+
+
+  CHILD-LIFE IN ART
+  BY
+  ESTELLE M. HURLL, M.A.
+
+
+  Illustrated
+
+
+    Children are God's apostles, day by day
+    Sent forth to preach of love and hope and peace.
+                                          LOWELL.
+
+
+  BOSTON
+  JOSEPH KNIGHT COMPANY
+  1895
+
+
+
+
+  _Copyright, 1894,_
+  BY JOSEPH KNIGHT COMPANY.
+
+
+  University Press:
+  JOHN WILSON AND SON, CAMBRIDGE, U.S.A.
+
+
+
+
+PREFACE.
+
+
+The subject of this little book is its best claim upon public favor.
+Child-life in every form appeals with singular force to the sympathies
+of all. In palace and in cottage, in the city and in the country,
+childhood reigns supreme by the divine right of love. No monarch rules
+more mightily than the infant sovereign in the Kingdom of Home, and none
+more beneficently. His advent brings a bit of heaven into our midst, and
+we become more gentle and tender for the sacred influence. Every phase
+of the growing young life is beautiful and interesting to us. Every new
+mood awakens in us a sense of awe before unfolding possibilities for
+good or evil.
+
+The poetry of childhood is full of attractiveness to the artist,
+and many and varied are the forms in which he interprets it. The
+Christ-child has been his highest ideal. All that human imagination
+could conceive of innocence and purity and divine loveliness has been
+shown forth in the delineation of the Babe of Bethlehem. The influence
+of such art has made itself felt upon all child pictures. It matters not
+whether the subject be a prince or a street-waif; the true artist sees
+in him something which is lovable and winning, and transfers it to his
+canvas for our lasting pleasure.
+
+Art has produced so many representations of children that it would be a
+hopeless task to attempt a complete enumeration of them, and the book
+makes no pretensions to exhaustiveness. The aim has been merely to
+suggest a convenient outline of classification, and to describe a few
+characteristic examples in each group. The nature of the undertaking
+has, of course, necessitated consulting the works of many standard
+authorities, to whom I gratefully acknowledge my indebtedness. The names
+of the most prominent are included in the bibliographical list. While
+faithfully studying their opinions, I have always reserved the right of
+forming an independent estimate of any painting considered, especially
+when, as in many cases, I have myself seen the original. I am under
+great obligations to my friend Professor Anne Eugenia Morgan of
+Wellesley for first showing me, through her philosophical
+art-interpretations, the true meaning and value of the works of
+the masters. From these interpretations I have drawn many of the
+suggestions which are embodied in the descriptions of the following
+pages.
+
+While addressing lovers of children primarily, I have also hoped to
+interest students in the history of art. I have therefore added a few
+notes containing further details in regard to some of the subjects.
+
+                                                        E. M. H.
+
+NEW BEDFORD, MASS., June 1, 1894.
+
+
+
+
+  CONTENTS.
+
+
+  CHAPTER                                                  PAGE
+    I. CHILDHOOD IN IDEAL TYPES                               3
+   II. CHILDREN BORN TO THE PURPLE                           29
+  III. THE CHILDREN OF FIELD AND VILLAGE                     57
+   IV. THE CHILD-LIFE OF THE STREETS                         87
+    V. CHILD-ANGELS                                         115
+   VI. THE CHRIST-CHILD                                     141
+
+
+
+
+  LIST OF ILLUSTRATIONS.
+
+
+                                                                   PAGE
+
+  SISTINE MADONNA                           Raphael       _Frontispiece_
+
+  THE STRAWBERRY GIRL                       Reynolds                  7
+
+  PENELOPE BOOTHBY                          Reynolds                 15
+
+  ANGEL HEADS                               Reynolds                 19
+      _From the original painting in the National Gallery, London._
+
+  NATURE                                    Lawrence                 23
+
+  PORTRAIT OF PRINCE JAMES, DUKE OF YORK    Van Dyck                 33
+      _From a painting in San Luca, Rome, after the Turin portrait
+      by Van Dyck._
+
+  PORTRAIT OF PRINCESS MARY STUART AND
+    PRINCE WILLIAM II. OF ORANGE            Van Dyck                 39
+      _From the original painting in Amsterdam._
+
+  PORTRAIT OF THE INFANTA MARIA THERESA     Velasquez                45
+      _From the original painting in the Prado, Madrid._
+
+  PORTRAIT OF THE INFANTA MARGUERITE        Velasquez                49
+      _From the original painting in the Louvre, Paris._
+
+  RUSTIC CHILDREN                           Gainsborough             59
+
+  LA CRUCHE CASSÉE (The Broken Pitcher)     Greuze                   71
+      _From the original painting in the Louvre, Paris._
+
+  CHILD'S HEAD                              Bouguereau               77
+
+  THE LITTLE RABBIT SELLER                  Meyer von Bremen         81
+
+  BEGGAR BOYS                               Murillo                  89
+      _From the original painting in the Pinacothek, Munich._
+
+  STREET ARABS                              Dorothy Tennant Stanley  98
+
+  THE MEETING                               Marie Bashkirtseff      103
+      _From the original painting in the Luxembourg, Paris._
+
+  CASTLES IN SPAIN                          J. G. Brown             107
+
+  GROUP OF ANGELS. From the Assumption      Titian                  119
+      _From the original painting in the Academy, Venice._
+
+  PIPING ANGEL. Detail of Frari Madonna     Bellini                 127
+      _From the original painting in Venice._
+
+  ANGEL. From Madonna and Child             Luigi Vivarini          131
+      _From the original painting in the Church of Redentore, Venice._
+
+  ANGEL. From the Vision of Saint Bernard   Filippino Lippi         135
+      _From the original painting in the Badia, Florence._
+
+  MADONNA OF THE CASA TEMPI                 Raphael                 147
+
+  INFANT JESUS AND SAINT JOHN               Boucher                 155
+      _From the original painting in the Uffizi, Florence._
+
+  THE CHRIST-CHILD                          Deger                   159
+
+  HEAD OF BOY CHRIST                        Hofmann                 163
+      _Detail of Christ Disputing with the Doctors._
+
+
+       *       *       *       *       *
+
+
+
+
+I.
+
+CHILDHOOD IN IDEAL TYPES.
+
+
+
+
+    O child! O new-born denizen
+    Of life's great city! on thy head
+    The glory of the morn is shed,
+    Like a celestial benison!
+    Here at the portal thou dost stand,
+    And with thy little hand
+    Thou openest the mysterious gate
+    Into the future's undiscovered land.
+                            LONGFELLOW.
+
+
+
+
+CHILD-LIFE IN ART.
+
+CHAPTER I.
+
+CHILDHOOD IN IDEAL TYPES.
+
+
+If we could gather into one great gallery all the paintings of
+child-life which the world has ever produced, there would be scattered
+here and there some few works of a distinctly unique character, before
+which we should rest so completely satisfied that we should quite forget
+to look at any others. These choice gems are the work of those rare men
+of genius who, looking beyond all trivial circumstances and individual
+peculiarities, discovered the essential secrets of child-life, and
+embodied them in ideal types. They are pictures of _childhood_, rather
+than of _children_, representing those phases of thought and emotion
+which are peculiar to the child as such, and which all children possess
+in common. In their presence every mother spontaneously exclaims, "How
+like my own little one!" because the artist has interpreted the real
+child nature. Such pictures may justly take rank among the highest
+productions of creative art, having proven their claim to greatness by
+their unquestioned appeal to universal admiration.
+
+In work of this kind one name alone is prominent, a name which England
+is proud to claim as hers, but to which all the world pays honor,--the
+name of Sir Joshua Reynolds, Prince of Child-painters. A simple-hearted
+man, of sweet, kindly disposition, the great portrait-painter, bachelor
+though he was, possessed in rare measure the mysterious gift of winning
+the confidence of children. The great octagonal studio in Leicester
+Square must have often resounded to the laughter of childish voices, as
+he entertained his little patrons with the pet dogs and birds he used in
+their portraits, and coaxed them into good nature with a thousand merry
+tricks. Although the greater number of these little people belonged to
+the most wealthy and aristocratic families in England, their pictures
+do not in any way indicate their rank. Still less do they show any
+distinguishing marks of the artificial age in which they lived. Dressed
+in the simplest of costumes, of the sort which is never out of fashion
+and always in the best taste, and posed in the natural attitudes of
+unconscious grace, they are representatives of childhood, pure and
+simple, rather than of any particular social class or historical period.
+
+A list of Sir Joshua's child pictures may suitably begin with one
+which, in his own opinion, is among the best and most original of all
+his works. This is the Strawberry Girl, exhibited in 1773, and repeated
+many times by the painter,--"not so much for the sake of profit," as
+Northcote explains, "as for improvement." The model was the artist's
+pretty niece, Miss Theophila ("Offy") Palmer, who was named for his
+mother, and whom he loved as an own daughter.
+
+The little girl stands with head slightly drooping, in the sweet, shy
+way so natural to a timid child. The big eyes are lifted to ours half
+confidingly, half timidly, while a smile hovers bewitchingly over the
+mouth. A long, pointed basket hangs on one arm, and the plump hands are
+folded together in front like a little woman's. The child wears a
+curious round cap on her head, under which, presumably, her hair is
+gathered up in womanly fashion, for there are no stray locks to be
+seen except the two soft curves on the forehead. Altogether, the figure
+presents just that odd commingling of dignity with childish timidity
+which we so often notice in our own little maids, and which makes them
+at once so lovable and so womanly.
+
+[Illustration: THE STRAWBERRY GIRL.--REYNOLDS.]
+
+Some fifteen years after Sir Joshua's niece posed as the Strawberry
+Girl, her own little daughter, another "Offy," served the artist uncle
+as the model for Simplicity. The great-niece was as lovely a child as
+her mother had been, and critics agree in placing Simplicity among the
+best works of the painter. The setting is a landscape, in the foreground
+of which the child is seated, with her lap full of flowers. The sweet
+face is turned aside in a somewhat pensive poise, and the exquisite
+purity of its expression is exactly represented by the title. Of a
+similar character is the Age of Innocence, which portrays a little girl
+looking out into the world with wide eyes and parted lips, a complete
+embodiment of the innocence of childhood on the threshold of life. The
+face, which is presented in profile, is finely cut, and charmingly
+framed in short, clustering curls.
+
+In looking for ideal types among the child-pictures of Sir Joshua
+Reynolds, we need by no means be confined to those which bear fancy
+titles. His portraits are as truly interpretative as his imaginative
+subjects, and each typifies a distinct element of child-life. The little
+Miss Bowles sitting on the ground hugging her dog, and Master Bunbury
+looking out of the canvas with breathless eagerness, arouse a universal
+interest, which is entirely independent of their individuality. Miss
+Frances Harris, the serene, and Miss Penelope Boothby, the demure, will
+be loved as child ideals long after their names are forgotten.
+
+A _protégé_ of Reynolds from the first, Lawrence became his successor
+as Painter-in-Ordinary to the King, and in process of time rose to the
+proud honor of the presidency of the Royal Academy. Holding thus the two
+positions which Reynolds had graced so many years, it may be said that
+the master's mantle fell upon him more truly than upon any other
+follower.
+
+In technique his painting is criticised by connoisseurs as deficient in
+that harmonious blending of the flesh tints with the background which so
+delights us in other artists. Then, too, his insight into character was
+far less penetrating than that of his predecessor. Nevertheless, his
+best work has much of the beauty and animation which we so admire in the
+paintings of Reynolds.
+
+One of his notable pictures is the portrait of Master Lambton, son
+of Lord Durham, sometimes called, in imitation of the Blue Boy of
+Gainsborough, the Red Boy. The painting was exhibited at the Paris Salon
+of 1824, where it is said to have completely turned the heads of French
+critics, so fascinating was the aristocratic melancholy of the beautiful
+boy it represented.
+
+For a companion piece to this picture, one might choose the portrait of
+Mr. Peel's daughter, which is considered an exceptionally fine work.
+
+Lawrence's groups of mothers with their children are especially worthy
+of study. The most famous of these are Lady Dover, with her son, Lord
+Clifden, in her arms, and the Countess Gower, with her little daughter
+Elizabeth on her lap.
+
+The latter has been carried by the engraver's art into nearly every
+country of the world, and often appears under the title, "Maternal
+Love." Both mother and child are looking with intense interest in the
+direction toward which the little girl points an eager finger. The
+child's face is full of vivacious beauty, the sparkling eyes and parted
+lips perfectly representing the alert, imaginative type of child nature.
+
+The finest of Sir Thomas Lawrence's child pictures is undoubtedly the
+portrait of the Calmady children, better known by the title of "Nature."
+This is indeed a picture disclosing the essential truth of the child
+nature; the two little ones are frolicking together in a perfect abandon
+of innocent merriment.
+
+The pretty story of the sittings in which this portrait was obtained, is
+a key to its success. The children romped with the artist as with a boon
+companion, and the younger relieved the monotony of the hour by relating
+to him the nursery tales of Dame Wiggins, and the Field Mice and
+Raspberry Cream. Thus the painter won the confidence of his little
+friends, and delineated them in all the fresh charm of their youthful
+vivacity. Nature deserves a place beside Simplicity as a true picture of
+the heart of childhood.
+
+But after all has been said concerning the child pictures in any way
+similar to those of Sir Joshua Reynolds, it must still be admitted that
+his work is entirely unique in what may be termed the _universality_ of
+its idealism. Other pictures of child-life there are,--many of them of
+equal and even of superior merit as works of art,--which are marked by a
+fine quality of idealism; but this idealism is limited in its range to
+the delineation of individuals, or of particular classes. These pictures
+naturally fall into groups based upon the social classes which they
+represent, and by this method of classification, they will be considered
+in the subsequent chapters.
+
+[Illustration: PENELOPE BOOTHBY.--REYNOLDS.]
+
+Miss Penelope's face is one of the most familiar of Sir Joshua's art
+children, and the first favorite with many for the arch loveliness of
+her expression. Although her mouth is set in a prim little pucker, we
+cannot repress the suspicion that behind it lurks a good deal of
+childish fun. The big mob cap and the voluminous mitts add not a little
+to the quaint charm of the picture, and make it easily recognized by
+many who are otherwise unfamiliar with Reynolds's works.
+
+As it was a fashion of eighteenth century art to draw subjects largely
+from classic mythology, we find among Sir Joshua's child pictures an
+Infant Bacchus, an Infant Jupiter, and an Infant Hercules. This last was
+painted to fill a commission from the Empress Catherine of Russia, and
+is a powerful representation of the young hero, seated on wolf-skins,
+strangling serpents.
+
+Mercury as a Postman and Cupid as a Link-Boy are companion pieces,
+painted from the same model,--a mischievous young street boy, whose
+simulated gravity is irresistibly droll. The artist's keen sense of
+humor is seen again in that most captivating little rogue, Puck. The
+saucy elf is perched on a mushroom, resting after a frolic, and
+apparently plotting new escapades.
+
+A complete enumeration and description of Reynolds's child pictures
+would fill a bulky volume, so eagerly, through a period of over thirty
+years, were the great portrait painter's services demanded by all the
+distinguished families of the day. Of special interest and beauty are
+some of the portraits of mothers with their children. The lovely Lady
+Waldegrave, clasping her babe to her breast, is one of these, while
+another is the celebrated beauty, the Duchess of Devonshire, playing
+with her infant daughter. A charming group is Lady Cockburn and her
+Boys, which has been engraved under the title of the Roman matron
+Cornelia and her Children. It is said of this splendid production, that
+when it was brought into the Royal Academy exhibition to be hung, it was
+greeted by the assembly of painters with a great demonstration of
+applause. It is no wonder, then, that this should be one of the few
+paintings to which the master attached his signature.
+
+[Illustration: ANGEL HEADS.--REYNOLDS.]
+
+Our list of Reynolds's pictures would be defective without some mention
+of the famous Angel Heads, which is peculiarly a representative work. It
+consists of a cluster of little cherubs, representing, in five different
+expressions, the delicate features of a single face, whose original was
+Miss Frances Isabella Gordon. Painted in 1786, near the close of his
+great career, it seems to gather up into a harmonious whole those
+several aspects of childhood which Sir Joshua's long and wide experience
+had revealed to him as the typical movements of the child mind.
+
+The five totally dissimilar expressions embody those varying attitudes
+of mind which the child may successively assume in any critical
+experience of its young life. The clear-cut profile of the lower face at
+the left suggests the face of the child in the Age of Innocence who
+first confronts the problem of life. The one just above has the
+thoughtful poise of the little girl Simplicity, pondering over an
+important question, while the remaining heads stand for those
+imaginative and emotional moods which complete the cycle of human
+experience.
+
+The original of this beautiful picture[1] is in the National Gallery at
+London, and fortunate indeed are they who have the privilege of standing
+before it to delight their eyes with the blonde loveliness of the
+sweet faces, framed in aureoles of golden ringlets.
+
+[Illustration: NATURE.--LAWRENCE.]
+
+It would be difficult to estimate the incalculable influence which the
+life and work of Sir Joshua Reynolds have exerted on the progress of art
+in the past century. The influence of his paintings was supplemented by
+the series of discourses which it was his duty as President of the
+Royal Academy to deliver annually on subjects of art criticism. His
+unparalleled success brought forth many followers and imitators; but
+among their works few can be selected as worthy presentations of
+childhood in ideal types.
+
+Gainsborough and Romney were considered to some extent the rivals of
+Reynolds, but Gainsborough's child pictures were drawn from rustic life,
+and Romney's are not worthy of comparison with the master's. We must
+turn, then, for the best results of Reynolds's influence to the work of
+Sir Thomas Lawrence, who entered upon his career just as the great
+portrait-painter was obliged to lay aside his brush from failing sight.
+
+
+
+
+II.
+
+CHILDREN BORN TO THE PURPLE.
+
+
+
+
+    For thrones and peoples are as waifs that swing
+      And float or fall, in endless ebb and flow;
+      But who love best have best the grace to know
+    That Love, by right divine, is deathless King.
+                                       TENNYSON.
+
+
+
+
+CHAPTER II.
+
+CHILDREN BORN TO THE PURPLE.
+
+
+The children of a royal family lead a strange and somewhat lonely life.
+Impressed, almost from infancy, with a sense of their superiority, and
+recognizing no equals among their companions and playmates, they live
+apart in princely isolation, preparing for the future honors which
+await them. But even the grave responsibilities of their rank cannot
+altogether extinguish the inherent joyousness of youth, and children
+will be children to the end of time. The stately ceremonies of the court
+have to yield in turn to innocent amusements, and childhood reasserts
+its natural right to simple and spontaneous happiness.
+
+The combination of royal dignity with pure childishness is a unique
+subject for art, and one which few have had the genius to portray. Two
+great painters are famous in history for their remarkable success in
+this line of work,--Van Dyck, of Belgium, and Velasquez, of Spain.
+
+In many respects the lives of these two painters ran in parallel lines.
+They were born in the same year, 1599; and beginning their art studies
+when still very young, with great opportunities for the development of
+their talent, both had won an enviable reputation by the time they had
+reached early manhood. Both held appointments as the court painters
+of kings who were unusually liberal and appreciative in their
+patronage,--Van Dyck under Charles I. of England, and Velasquez under
+Philip IV. of Spain. Both artists drew great inspiration from the
+Italian masters, whose works they studied in Venice and Rome,
+particularly the great Titian. Here, however, the comparison may end;
+for the nature of the subjects which each chose, the influence of their
+nationality upon their style, and, above all, their own personal
+individuality as artists, have rendered their work strikingly
+dissimilar.
+
+Van Dyck was in every sense a man of the world and a courtier; widely
+travelled, broadly cultured, fond of music, brilliant in conversation,
+handsome of face, and graceful in bearing, by turns an elegant host and
+a distinguished guest. Thus all his thoughts, interests, and pleasures
+were thoroughly identified with the court life, and he was peculiarly
+fitted for the artistic interpretation of royalty.
+
+The family of Charles I. of England afforded a most attractive field for
+the exercise of the court painter's talent, and many and varied are the
+groups in which they were represented.[2] Some of the most interesting
+of these are in the collection at Windsor. In one, the king and queen
+are seen, with their two sons, Prince Charles and Prince James; while
+another portrays the same boys, with their mother, Henrietta Maria. The
+latter painting is an exceedingly beautiful work, repaying long study.
+The boys have that indefinable air of nobility which Van Dyck knew so
+well how to impart to his subjects, and which none can imitate or
+explain. Even Prince James, who is an infant in arms, holds his little
+head erect, like the prince that he is. The artist has shown us,
+however, that royal dignity is by no means incompatible with the true
+child nature, and the two young princes are always depicted as genuine
+children, with frank, winning faces.
+
+[Illustration: HEAD OF JAMES, DUKE OF YORK.--VAN DYCK.]
+
+The most popular of Van Dyck's portraits of the Stuart children is the
+famous group at Turin, in which the two young princes, Charles and
+James, stand one on each side of their sister Mary. All three bear
+themselves with an air of conscious superiority, a gentle and serene
+dignity born of their faith in the divine right of kings. Prince Charles
+is dressed in scarlet satin, richly embroidered with silver lace, with a
+broad lace collar falling over his shoulders. His large round eyes look
+out towards the spectator with the dreamy expression of one who builds
+splendid air-castles. The Princess Mary is in white satin, and is a
+dainty little figure, a second edition of her queen mamma, with ringlets
+carefully ranged on each side of her pretty forehead, and her exquisite
+hands holding lightly the lustrous folds of her dress.
+
+The little Prince James is so short that he stands on a platform at the
+side, to bring his figure into harmonious relation to the group. His
+dress is blue satin, of stiff, full skirt, which, with the close white
+cap on his head, makes him a quaint little figure. A chubby, innocent
+looking baby, he is nevertheless a personage who fully realizes the
+important place he occupies in the family group, and is determined to
+fill it with becoming gravity.
+
+Next in popularity to the Turin picture is a group of five children, the
+original of which is at Windsor, and a replica at Berlin. The painting
+is dated 1637, fixing the age of Prince Charles as seven. Having now
+outgrown the frocks of the earlier pictures, he stands in a graceful
+boyish attitude, wearing satin knickerbockers and waistcoat, and still
+retaining the beautiful lace collar on his aristocratic shoulders. His
+eyes have the same dreamy look as in other portraits. On his right are
+his sisters Mary and Elizabeth, the former demurely complacent as
+before, the latter timid and dainty. On the left the little Princess
+Anne frolics with Prince James in simple childish fashion. As a
+composition, the picture is somewhat stiff and artificial, but the
+single figures are all rendered with characteristic beauty.
+
+It is sad to place beside Van Dyck's glowing canvases, the dark pictures
+in which historians have painted the after-life of these charming
+children. The dreamy-eyed Prince Charles grows at length into the
+corrupt and unprincipled King Charles II., whose tyrannies are limited
+only by his indolence. The sweet, round-faced baby, Prince James,
+becomes King James II., whose reign is even more inglorious than that of
+the brother whom he succeeds. The Princess Mary has in the mean time
+married Prince William II. of Orange, and now, in England's hour of
+need, it is her son, William III. of Orange, who is summoned to the aid
+of his mother's native land. With his cousin wife Mary, the daughter of
+the unworthy king, he assumes the head of affairs, and wisely conducts
+the interests of the people throughout a prosperous reign.
+
+The fact that the Princess Mary's marriage with William II. of Orange
+was productive of so great a benefit to England gives special interest
+to Van Dyck's painting of the betrothed lovers, which may now be seen at
+Amsterdam. The princess stands on the left side of the picture, bearing
+herself with characteristic dignity. Prince William, beside her, holds
+her left hand lightly in his right, and turns his face to meet our gaze
+with steadfast, serious eyes. He is a fine, manly figure, in every way
+the true Prince Charming for his pretty lady-love. Both children have a
+thoughtful, intelligent look, far beyond their years, as if conscious
+that England's destiny turns upon their union.
+
+[Illustration: PRINCESS MARY AND PRINCE OF ORANGE.--VAN DYCK.]
+
+From Van Dyck's exquisitely idealized portraits of royal children we
+turn to the work of Velasquez, to find a faithful reproduction of the
+totally different type of child-life represented at the court of Spain.
+Appointed court painter at the age of twenty-four, and retaining this
+connection until his death, in 1660, the Spanish artist has left to
+posterity a vivid panorama of the royal life at Madrid during a period
+of nearly forty years. His delineations are so realistic, his technique
+is so masterly, his posing of figures so entirely natural, that his
+pictures seem to place the living reality before us. Often representing
+the characters he painted as occupied in their customary daily pursuits,
+his works are a truthful reflection of the life of his times, and are as
+full of historical interest as of artistic merit.
+
+The court to which the young painter was introduced in 1623 might almost
+be called A Court of Boys, the king, Philip IV., being but eighteen
+years of age, and his two brothers, the Cardinal Infant Don Fernando,
+and the Prince Carlos, seventeen and thirteen respectively. The youthful
+king was, of course, his first royal patron, and was painted in a
+magnificent equestrian portrait, which at once established the artist's
+fame.
+
+With the birth of the king's first child, the Prince Balthasar Carlos,
+in 1629, the court painter's duties began in earnest; and from that time
+on he was most assiduous in portraying the royal family.
+
+Prince Balthasar was represented in almost every imaginable position,
+first as a tiny child in frocks, and later as a young boy in court
+dress,[3] military costume, or hunting-garb.
+
+In his most attractive portraits he is a gallant young horseman, seated
+with an easy grace, as if born to the saddle. Two of these are scenes
+in the riding-school, and are admirable compositions. The most
+remarkable, however, is that in the Madrid Museum, in which the little
+prince rides alone on a bright bay. The beautiful pony bounds out of the
+picture with great spirit and grace, guided by his happy, round-faced
+rider, whose right hand lifts a bâton, and whose left holds the bridle.
+The brilliant colors of his riding-costume make the picture exceedingly
+effective in rich, warm tints,--the green velvet jacket and the
+red-and-gold scarf,--while the young cavalier's fluttering streamers and
+the horse's sweeping mane and tail give a swift breezy motion to the
+whole scene.
+
+Next in age to Prince Balthasar came the Princess Maria Theresa, who
+afterwards became the queen of Louis XIV. of France. Velasquez painted
+various portraits of this little princess to be sent to the European
+courts where negotiations for her marriage were under consideration;
+but, unhappily, the fate of most of these is shrouded in mystery. One
+interesting painting, however, may be seen in the Royal Gallery at
+Madrid.[4] The child has a sweet, demure face, which seems very narrow
+and delicate-looking in its broad frame of elaborately arranged hair.
+Her bearing is dignified, in spite of her uncomfortable dress. In one
+hand she carries an immense handkerchief, and in the other a rose, both
+resting lightly on the outer edge of the huge hemisphere, of which her
+slender figure forms, as it were, the central axis. Her sad and lonely
+after-life as a neglected queen, in the gay and dissolute French court,
+makes the picture singularly pathetic. There is a look of sweet patience
+in the face, which seems to anticipate the coming years.
+
+[Illustration: PRINCESS MARIA THERESA.--VELASQUEZ.]
+
+By King Philip's second marriage he brought to the Spanish court as
+his wife the Princess Mariana of Austria, who was then only fourteen
+years of age. The young queen was of course frequently portrayed by the
+court painter, but she did not make a very attractive subject for his
+skill, with her rather dull eyes and her full lips, and cheeks
+plentifully bedaubed with rouge.
+
+As there was a difference of but three years in the ages of the
+child-wife and the Princess Maria Theresa, the two were constant
+companions; and when the Princess Margaret was christened, the elder
+sister stood as godmother with great dignity. A pretty story is related
+that on the way to the chapel for the christening, Maria Theresa let
+slip from her finger a costly ring, which a poor woman picked up to
+return to her. "Keep it," said the little princess, with true royal
+tact; "God has sent it to you."
+
+The Princess Margaret became the darling of the court, and her blonde
+beauty is immortalized in many portraits by Velasquez. The most famous
+of these is the picture called "Las Meninas," or The Maids of Honor, in
+which the young princess is the central figure of a group of devoted
+attendants. The composition is a veritable masterpiece, representing
+with perfect naturalness a daily scene in the palace. The princess rules
+with a sweet, complacent smile, and one can well imagine what an object
+of admiration her fair hair and blue eyes must have been among the
+swarthy, dark-eyed Spaniards.
+
+[Illustration: PRINCESS MARGARET.--VELASQUEZ.]
+
+Another celebrated painting of the same child is in the Louvre at Paris,
+where it is a centre of attraction for art lovers and copyists, on
+account of the exquisite delicacy of its technique. It is a half-length
+portrait, showing a winning face, with wide, earnest eyes, and a
+demure little mouth. The fair hair is parted at one side, where it is
+caught back with a ribbon bow,--a style which the princess is said to
+have retained even after her marriage with the Emperor Leopold.
+
+From an artist's point of view, the beauty of the Velasquez child
+portraits is greatly injured by the grotesque fashions of the times. A
+long stiff corset and an immense oval hoop entirely precluded any
+possibility of grace in the attitude of the little princesses, while a
+ridiculously artificial style of dressing the hair completed the
+absurdity of a costume which was the laughing-stock of Europe.
+
+Van Dyck was in this respect far more fortunate in his surroundings, and
+the full, lustrous folds of satin in which the English royal children
+were arrayed, gave him ample scope for an exquisite disposition of light
+and shade.
+
+Independently of purely artistic principles, we should be sorry to
+lose from the pictures of either artist that element of interest and
+fascination which the costumes of an earlier epoch always arouse. The
+Princess Maria Theresa would be less interesting without her big hoop,
+and the Princess Mary less dignified without her voluminous satin;
+Charles would scarcely be the prince that he is, if lacking his broad
+lace collar, and Prince Balthasar would lose much of his charm, deprived
+of his red and green bravery. There is, in fact, no detail in any of
+these pictures which does not throw light upon the phase of life which
+they portray.
+
+Other great masters besides Van Dyck and Velasquez have been called to
+the portraiture of royalty,--Titian,[5] Holbein,[6] Rubens,--but for
+various reasons they painted but few pictures of royal children, and
+these are by no means notable when compared with their other works.
+
+Van Dyck and Velasquez, therefore, stand out the more prominently for
+this unique class of court portraits, and so long as their works endure,
+they will take first rank as a revelation of the peculiar grace and
+charm of the life of children born to the purple.
+
+
+
+
+III.
+
+THE CHILDREN OF FIELD AND VILLAGE.
+
+
+
+
+    O for boyhood's painless play,
+    Sleep that wakes in laughing day,
+    Health that mocks the doctor's rules,
+    Knowledge never learned of schools,
+    Of the wild bee's morning chase,
+    Of the wild-flower's time and place,
+    Flight of fowl, and habitude
+    Of the tenants of the wood;--
+
+    For, eschewing books and tasks,
+    Nature answers all he asks;
+    Hand in hand with her he walks,
+    Face to face with her he talks,
+    Part and parcel of her joy,--
+    Blessings on the barefoot boy!
+                      WHITTIER.
+
+
+
+
+CHAPTER III.
+
+THE CHILDREN OF FIELD AND VILLAGE.
+
+
+The most fortunate children in the world are those whose first lessons
+in life have been learned on the lap of Mother Nature. Taught by her to
+know and love all the beautiful things of the glad green earth; versed
+in the mystic language of woodland birds and beasts; trained to the
+skilful use of eye and muscle,--they possess the secret of a happiness
+which knows no equal. Theirs is a life of perfect liberty, untrammelled
+by the false conventions of society, uninjured by over-indulgence,
+untainted by contact with vice. Growing up under these conditions into a
+healthy and vigorous beauty, the children of field and village have
+long been a source of delight and inspiration to both poet and painter.
+
+In _genre_ painting, Holland gave the initiative to the art world in the
+works of Jan Steen, the Teniers, and others. The influence of the Dutch
+school at length made itself felt in England; and after the renaissance
+of British art, in the middle of the eighteenth century, many painters
+arose to interpret the conditions of rustic life peculiar to England.
+
+First on this list stands the name of Thomas Gainsborough.[7] From early
+boyhood he loved nature with all the intensity of a true artist's soul,
+and many picturesque scenes in the vicinity of his native Sudbury were
+indelibly impressed upon his youthful mind. Later in life, when at the
+height of his success as a great London painter, his favorite summer
+resort was Richmond, where, wandering about the country from day to day,
+he met many an interesting village child whose face was transferred
+to his canvas. Fortunate little models, these; for the artist always
+rewarded them for their sittings with lavish generosity.
+
+[Illustration: RUSTIC CHILDREN.--GAINSBOROUGH.]
+
+One particular boy, Jack Hill by name, so charmed Gainsborough that he
+actually adopted the lad, and immortalized his handsome features in two
+paintings.[8] Jack Hill did not live up to his privileges, and,
+preferring his old free life to the restrictions of a more elegant
+household, he ran away. He was, however, never forgotten; and after
+Gainsborough died, his good widow provided amply for the youth's
+welfare.
+
+Perhaps the most extensively known of all Gainsborough's delineations of
+country child-life is the Rustic Children of the National Gallery. The
+central figure is a young girl, standing, with a child in her arms; a
+boy sits on the bank beside her with a bundle of fagots. The group is
+artistically conceived, with one of Gainsborough's characteristic
+landscapes as a background, showing a cottage home. The children are
+graceful and natural, with that indefinable poetic charm peculiar to the
+painter's work.
+
+A picture attracting a great deal of admiration in the lifetime of
+Gainsborough, was the Boy at the Stile. While this treasure was still in
+the hands of the artist, he was visited one day by Colonel Hamilton,
+then considered the finest violinist of his times. Gainsborough, a
+devoted lover of music, begged him to play, and when the first air was
+finished, rapturously exclaimed, "Now, my dear Colonel, if you will but
+go on, I will give you that picture of the Boy at the Stile, which you
+so wished to purchase of me."
+
+In half an hour the prize was won, and both parties were well satisfied
+with the agreement.
+
+In studying Gainsborough's rustic children as a class, it is noticeable
+that he emphasizes the pathetic side of their life; instead of a
+thrifty, tidy appearance, in which England's village children are by no
+means lacking, he gives his subjects a careless, neglected air. The
+Rustic Children of the National Gallery are unnecessarily ragged; their
+hair is wild and dishevelled, and their general appearance untidy. Many
+of the children of the most celebrated pictures are attractive from a
+delicate, refined beauty, rather than from the robust and healthy
+vitality we naturally associate with country life. This makes their
+surroundings incongruous, and we feel sorry that they are not in their
+true sphere. The child who stands, half-clad, before the hearth-fire, in
+the painting called the "Little Cottager," has the delicate features of
+a true aristocrat. No cottage boy this, with shapely hands and large,
+melancholy eyes. His wistfulness is so touching that we would fain
+snatch him from his surroundings, and set him down amidst the soft
+luxuries which belong to him by right.
+
+The Shepherd Boy in a Storm has the face and expression of a poet, as he
+lifts his beautiful eyes to the overhanging clouds, with nothing of fear
+or shrinking, but with apparent admiration for the grandeur of Nature.
+
+Gainsborough painted many scenes of child-life in which animals are
+introduced, as in the picture of a girl holding a child on a donkey, and
+in one representing two shepherd boys looking on at fighting dogs. He
+did not hesitate before a subject which would have appalled most
+artists, and which, in other hands, would have been vulgar and
+common,--A Girl Feeding Pigs. This he painted with such skill that
+Reynolds instantly recognized its greatness, and eagerly purchased it
+for a sum far in advance of the price modestly named by the painter. The
+amusing anecdote is related concerning this work that a countryman, who
+studied it attentively some time, gave it as his opinion that "they be
+deadly like pigs; but nobody ever saw pigs feeding together but what one
+on 'em had a foot in the trough."
+
+Gainsborough[9] is pronounced by Ruskin the purest colorist of the
+English school, taking rank beside Rubens, and adding a lustre to the
+fame of British art which time can do nothing to dim. His style is so
+peculiarly individual in its characteristics that it cannot properly
+be compared with that of any other artist; but his predilection for
+subjects drawn from rural child-life finds a parallel in the work of his
+French contemporary, Jean Baptiste Greuze.[10]
+
+The pictures by which Greuze made his early reputation, and which
+perhaps he never excelled in later times, were the Father Explaining the
+Bible to his Children,[11] and the Village Bride.[12] Both represent
+family scenes among village people, and contain, as their most charming
+features, some delightfully natural children. One could scarcely find
+anything more deliciously childlike than the mischievous little ones who
+gather about the table to listen to the Father Explaining the Bible, and
+whose love of fun even this solemn occasion cannot repress. Equally
+attractive are the young people gathering affectionately and tearfully
+about their pretty elder sister, the Village Bride, who comes with her
+lover to receive the parental blessing.
+
+The appearance of these two compositions made their artist famous,
+and won for him the ardent admiration and powerful friendship of the
+encyclopædist Diderot. Continuing his work along this new[13] line of
+subjects, Greuze went on to paint many other scenes in the child-life
+of the country. Two notable companion pictures of this kind are the
+Departure of the Cradle, and the Return from the Nurse, founded upon
+a phase of French village life quite unknown in many other countries,
+namely, the custom among busy working-people of sending their infants
+out to board with nurses. Unnatural as was the custom, it by no means
+indicated a lack of family affection, as is seen in these charming
+compositions. In both cases, the child, at first an infant, and later
+a little boy a year or two old, is the centre of the group, fondled and
+admired by all.
+
+The pre-eminence of Greuze was due not only to the entire novelty of his
+chosen range of subjects, but to the exquisite beauty of his technique.
+He excelled in painting those fresh carnations, "mixed with lilies and
+roses," as the French used to say, and diversified with blue-gray
+shadows and warm reflected light. Such characteristics are easily
+carried to extremes, and were often exaggerated by Greuze himself; but
+when held in true control they are a delight to the eye of the true
+color-lover.
+
+An example of his coloring, in its most lovely aspects, is the Trumpet.
+The scene is a cottage interior, in which a young mother, with a babe in
+her arms, sits beside a cradle containing another little one, and turns
+to quiet her roguish boy, who stands somewhat sulkily by her chair,
+reluctant to forego the pleasure of blowing on his trumpet. "Silence! do
+not awaken him!" is what the mother seems to say; and these words form
+the title under which the picture first appeared.
+
+Greuze could not altogether escape the blight of that artificiality
+which was everywhere characteristic of his times, and nowhere more
+conspicuous than in France. "Soyez piquant, si vous ne pouvez pas être
+vrai," was his advice to a fellow artist, Ducreux; and his own work too
+often shows evidence of the sacrifice of truth to piquancy. His single
+figures and heads are not, as a class, so true to nature as his
+compositions, although they are much better known to the public.
+Scattered far and wide through all the great art galleries of the world,
+they have been greatly admired for their delicate coloring, and for
+those qualities of prettiness which are always attractive.
+
+Nearly all these purport to be representations of children, but they are
+certainly not like the children of our own households, nor, indeed, like
+those of the same artist's domestic pictures. They reverse the proverb,
+by being young heads on old shoulders, the face and features of
+childhood on the mature and well-developed figure of womanhood. The
+expression, too, is a curious combination of childlike simplicity with
+the sentimental melancholy of young maidenhood; and one cannot escape
+the impression that the models are not genuine peasant children, but
+pretty and somewhat worldly young women, masquerading in pastoral
+costumes for a fancy ball.
+
+From the long list of examples of this class, both figures and heads, a
+few well-known subjects will suggest the type: The Milkmaid, the Little
+Pouter, Simplicity, the Girl with an Orange, and the Broken Pitcher.
+
+[Illustration: THE BROKEN PITCHER.--GREUZE.]
+
+The last is probably more familiar than any other work of Greuze. It
+attained an immense popularity in the lifetime of the artist, attracting
+many people to his studio. Among the visitors was Mademoiselle
+Philipon, afterwards known to fame as Madame Roland, and her delightful
+description[14] gives a complete idea of the picture:--
+
+"It is a little girl, naïve, fresh, charming, who has just broken her
+pitcher; she holds it on her arm, near the fountain where the accident
+occurred. Her eyes are downcast, her lips half parted; she tries to
+account for her mishap, and does not know if she is in fault. Nothing
+could be more piquant and charming. The only criticism one could suggest
+is that Monseiur Greuze has not made the little maid sorry enough, so
+that in the future she will not be tempted to return to the fountain!"
+
+The heroine of the broken pitcher is dressed in white, has blue eyes and
+auburn hair, cherry lips, and pink-and-white complexion.
+
+For twenty-five years Greuze was the fashion in Paris. With all his
+faults, he was immeasurably superior to his French contemporaries, and
+his work was a decided step towards a new era. With the great political
+and social changes inaugurated in France early in the nineteenth
+century, an entirely new style of art, literary and graphic, was made
+possible, and a new school of painters arose to portray French peasant
+life.
+
+No modern artist has chosen a field which exactly corresponds to that of
+Greuze, the tendency being rather to neglect the child element to which
+he devoted so much energy. One painter may be mentioned, however, who
+has contributed a few valuable additions to this department of
+art,--William Adolphe Bouguereau.
+
+The remarkable number of works which Bouguereau has produced since his
+first great success in 1854 have made him distinguished for a large
+variety of subjects; but the pictures by which he has touched the hearts
+of the people are those in which he portrays the peasants of his own
+sunny land,--sweet, shy, dark-eyed girls, with masses of black hair
+pushed back loosely from their foreheads.
+
+One is a Little Shepherdess, who stands with careless grace poising a
+crook across her shoulders, while her eyes meet ours with a frank yet
+modest gaze. Again the same girl rests from her labors, sitting on a
+stone, lost in revery. Another sweet child is the girl seated by a well,
+with a broken pitcher lying on the ground beside her. Her hands are
+clasped on her knee, as she bends slightly forward in a pensive
+attitude, her large eyes full of childish pathos. Cajolery also belongs
+to this set, and is so named from the caresses with which a little girl
+begs some favor of an older sister, whose merry eyes show that she
+fully understands the secrets of child diplomacy.
+
+Younger than any of these children is the bewitching little gypsy, whose
+tangled curls frame a round, dimpled face, with rosebud mouth, and big
+black eyes looking bashfully askance. There is a peculiar charm in the
+child's shyness, as if, like some wild creature of the woods, she would
+turn and flee before a nearer approach.
+
+Bouguereau's work, academic in style, and always refined and elegant in
+manner, has qualities of artistic excellence which place him in the
+foremost rank; and we are glad to believe that for many generations to
+come his lovely little peasant girls will be widely known and loved.
+
+[Illustration: CHILD HEAD.--BOUGUEREAU.]
+
+From the dark-eyed children of sunny France to the fair-haired sons
+and daughters of the Saxon race is a long step, which introduces us
+to child-life of a totally different type. Childhood in the rural
+districts of Germany and Switzerland has been very completely portrayed
+by Johann Georg Meyer, better known as Meyer von Bremen,--the name he
+has taken in honor of his native city.
+
+With an intense sympathy for all the pleasures of childhood, Meyer
+unites a wonderfully delicate sense of the artistic and picturesque. His
+fertility of invention seems well-nigh inexhaustible. He has given us
+cottage scenes and out-of-door life with impartial liberality, and has
+shown equal skill of treatment, whether he handles groups or single
+figures.
+
+His subjects are drawn largely from life in the Hessian, Bavarian, and
+Swiss Alps, where he has carefully studied the manners and customs of
+the people. The cottage interiors have all the characteristic quaintness
+and charm of these peasant homes. High wooden chairs, of the
+"fiddle-back" pattern, are the conspicuous pieces of furniture; rich
+old cabinets stand against the walls, and oddly shaped earthern jars are
+ranged on shelves. The light comes through little diamond-paned windows,
+and gleams on floors of hard wood, unadorned with carpet or rug. In
+these surroundings, groups of flaxen-haired children sport in all the
+sweet innocence of healthy, happy childhood. Sometimes they gather
+eagerly about the table to play with their Pet Canary; at another time
+they cluster about their mother's knee to peep admiringly at the
+wonderful new baby in her arms, and to hear the mysterious announcement
+that The Storks Brought It. Again, the centre of their attention is the
+tiny brother gleefully taking his first uncertain steps towards the
+outstretched arms of his young mother.
+
+[Illustration: THE LITTLE RABBIT-SELLER.--MEYER VON BREMEN.]
+
+The out-of-door scenes have the picturesque mountain scenery of the Alps
+for their background, and sometimes a pretty cottage is included in
+the scene. A characteristic example is the Little Rabbit-Seller. A group
+of children gather round a little girl, who carries, suspended from her
+shoulders, a large basket of rabbits. Two of the number peep with
+intense interest into the basket, delighted with the opportunity to feed
+the pretty creatures. The others are talking with the young merchant,--a
+school-boy with book satchel held behind him, and an older girl holding
+a curly-haired child on her back. The pure, gentle face of the young
+girl is one not to be easily forgotten, and which reappears on other
+canvases of the artist. The affectionate care of this older sister for
+the child she carries is one of many instances in which the same trait
+is shown in Meyer's pictures, and is eminently characteristic of the
+Germans.
+
+The earnest piety in which the children of these simple-hearted people
+are reared is beautifully expressed in the companion pictures, Morning
+Prayer and Evening Prayer, as well as in one called Simple Devotion,
+where a little girl offers a bouquet to the Virgin of a wayside shrine.
+
+In whatever mood the children are portrayed, they are always entirely
+unconscious of observers, never posing for the artist, but caught
+unawares on his canvas, in the midst of their pursuits. In this way they
+always make pictures with "stories" in them, of just the kind to delight
+the heart of a child.
+
+Such art carries a beautiful and enduring lesson, whether the scenes it
+represents are German or French, English or American. In these visions
+of the simple and joyous life of the country, we are brought, as it
+were, face to face with Nature, to enjoy her sweetest and most
+beneficent influence.
+
+
+
+
+IV.
+
+THE CHILD-LIFE OF THE STREETS.
+
+
+
+
+    When I was a beggarly boy,
+      And lived in a cellar damp,
+    I had not a friend nor a toy,
+      But I had Aladdin's lamp;
+    When I could not sleep for cold,
+      I had fire enough in my brain,
+    And builded, with roofs of gold,
+      My beautiful castles in Spain!
+                           LOWELL.
+
+
+
+
+CHAPTER IV.
+
+THE CHILD-LIFE OF THE STREETS.
+
+
+Ragged, dirty, and unkempt; untrained in all the pretty graces of
+refinement; deprived of all the fostering care of the home, how can the
+children of the street afford the artist any subjects for his canvas?
+Because, in spite of deprivation and poverty, they possess the
+imperishable treasure of a happy heart; and happiness is the true secret
+of the beauty of childhood. The child's buoyant vitality is proof
+against any disadvantages in his external surroundings; for his horizon
+is limited to the present. Yesterday's hunger is quickly forgotten in
+to-day's plenty; the fatigue of the morning's toil vanishes in the
+evening's frolic; even the wounds of a cruel blow are readily healed by
+a friendly word. Unconscious of any disparity between himself and
+others, he is equally contented with his lot, whether his clothing be
+velvet or rags, whether his play-ground be a royal park or the streets
+of a great city.
+
+The artistic possibilities of street material lay long undiscovered
+through the first centuries of the Art Renaissance, when the subjects
+were chiefly religious and mythological. It is then to Murillo and his
+matchless pictures of the beggar boys of Seville that we may attribute
+the real origin of this department of _genre_ painting. Murillo had
+himself known something of poverty and homelessness. Left an orphan at
+the age of eleven, he was thrown entirely upon his own resources at
+nineteen, his equipment for life being a few years' apprenticeship in
+the studio of his uncle, Juan del Castillo. In the years of hard work
+that followed, he laid the foundations of a career destined to be one of
+the most notable in the history of art.
+
+[Illustration: BEGGAR BOYS.--MURILLO.]
+
+There was held one day every week, in a large public square of Seville,
+an open-air market called the _Feria_, at which meat and fish, fruit and
+vegetables, old clothes and old iron, were heaped upon stalls or piled
+upon the pavement for the examination of customers. Last but not least
+of all the commodities here displayed were paintings, offered for sale
+by the artists themselves, who were supplied with brushes and colors to
+adapt the details to the purchasers' taste. It may be imagined that
+these pictures of the _Feria_ were not works of high art, nor was there
+much stimulus to artistic talent in their production. Nevertheless, it
+was in this business that the young Murillo began his career; and it
+was in this way, doubtless, that he came to observe closely, and to
+store up in his artist's memory the picturesque effects among the
+children who swarmed in the sunny square. Perfect types of glowing
+health were these nut-brown sons and daughters of Andalusia, enjoying
+life with the indolence and simple merriment characteristic of a
+southern race. It was Murillo's delight to portray them in their
+happiest moods. Sometimes they are playing games on the pavement, as in
+the Dice Players; again, they are feasting upon the luscious native
+fruits, as in the celebrated pictures of the Munich Gallery. With what
+delicious enjoyment do the little vagabonds poise above their open
+mouths a cluster of purple grapes or a slice of rich melon! Their ragged
+garments scarcely suffice to cover them; their arms and legs are bare;
+their abundant dark curls have known no combing, and they are
+undeniably dirty. And yet they are perfectly charming. The rich tints of
+their sunburned skin; the dark liquid eyes of the Spanish race; the
+beautiful curves of their plump necks and shoulders; the free grace of
+their attitudes,--all combine to make them picturesque and attractive.
+
+The dirt is rendered with an unsparing realism which, in a few
+instances, is carried beyond the limits of good taste. Such is the case
+with El Piojoso of the Louvre, which represents a little beggar removing
+vermin from his body, and which Mr. Ruskin has severely denounced.
+Another picture in Munich, and one at St. Petersburg, belong to the same
+class; but these may be considered exceptions to the rule. The general
+statement holds true, that the real _motif_ of Murillo's beggar-boy
+pictures is the simple, natural enjoyment which may render attractive,
+and even beautiful, the most unlovely surroundings.
+
+The artist shows a fine insight into human nature in his appreciation of
+the companionship between the street boy and the small dog. The famous
+Beggar-boy of the Hermitage Gallery at St. Petersburg is a capital
+example. The boy, standing by a wall, with a basket of fruit in his
+hand, turns to smile at his dog, with a perfect expression of good
+comradeship. In several other paintings, where the boys are eating, a
+little dog stands by, watching the tempting morsels enviously, with the
+hope of getting a share in due time.
+
+England is especially rich in examples of Murillo's street scenes.
+Besides the well-known picture in the National Gallery, there are three
+fine works at Dulwich College,[15] and many others scattered through the
+galleries of private collectors. This fact may be the reason that
+Murillo was first popularly known in England for this class of
+subjects, rather than for his religious art.
+
+One of Murillo's most ardent admirers among modern English artists is
+Mrs. Henry M. Stanley, first known in the art world as Dorothy Tennant.
+She gayly avers that the most interesting object to her, when as a small
+girl she was taken for her daily walk, was "some dear little child in
+tatters." The small young lady's interest in street children was
+something more than philanthropic; it was intensely artistic. As soon as
+she could wield a pencil, she began to make ragamuffin pictures, and to
+dream of a career as the "champion painter of the poor." Gifted with a
+keen sense of humor, she was quick to see the happy side of a life whose
+exterior is apparently one of misery; and it was this side which she
+determined to portray. Murillo's happy beggar boys were her ideal;
+Hogarth's work also commanded her admiration. Following in the
+footsteps of these great predecessors, she sought for her models "the
+merry, reckless, happy-go-lucky urchin; the tomboy girl; and the plump,
+untidy mother, dancing and tossing her ragged baby."
+
+Such subjects would naturally be more difficult to find in London than
+in Seville; and one could not walk about the streets of the bleak
+northern metropolis without seeing many little waifs whose pitiable
+condition contrasts sadly with the jocund poverty of Murillo's
+Andalusian beggars. Thus it is that, in spite of the most cheerful
+intentions, Mrs. Stanley has often produced pictures full of pathos. The
+wan little violinist, sitting on the edge of his poor bed, and clasping
+his sister in his arms, is a sad little figure. Another picture, that
+brings tears of sympathy to our eyes, is the hungry-looking boy, also
+a violinist, gazing wistfully into the window of a pastry-cook's, where
+a placard proclaims that hot dinners are five-pence. Equally pathetic is
+a scene inside the same shop, where a little waif is held, fainting, in
+the arms of the proprietor, while other children gather round to see.
+
+[Illustration: LONDON STREET ARABS.--DOROTHY STANLEY.]
+
+It is a relief to turn from these to the subjects which are the artist's
+most characteristic field, and to enjoy with her the romps and pranks of
+the street Arabs. A clever picture of this class is the big boy using a
+smaller one as a wheelbarrow, the small boy's arms supporting the
+machine, and his legs furnishing the handles. Of kindred nature is a
+sort of double pick-a-back, or pyramid, in which three ragged urchins
+are enjoying themselves hugely in the attempt to carry out so remarkable
+a feat. In the line of gymnastics, also, is the really admirable
+painting exhibited at the New Gallery in 1890, which portrays three
+delicious youngsters turning somersaults over a rail, while a little
+girl at each end looks on admiringly. The original of the little chap
+hanging head downward may have been the "Boy Taylor," of dragon fame, of
+whom the artist writes in her "Street Arabs." Having once figured in a
+circus as a green demon, or dragon, his experience made him very quick
+at catching attitudes; and, proud of his powers of endurance, he begged
+Mrs. Stanley to paint him standing on his head, assuring her that he
+preferred that position to any other!
+
+Larger pictures of merry street life are a company of young people
+dancing to the music of a hand-organ, a group of children playing
+blind-man's buff, and so many others that the description would become
+tiresome. Many of these were made to illustrate children's stories in
+"Little Folks" and the "Quiver," while others adorn the collections of
+fortunate possessors. All of them illustrate admirably the artist's firm
+conviction that "no ragamuffin is ever common or vulgar."
+
+The sympathetic interest and enthusiasm which Mrs. Stanley has shown for
+the London street Arab finds an interesting parallel in the work of
+Marie Bashkirtseff. Though Russian by birth, Mademoiselle Bashkirtseff
+passed the greater part of her short life in France, and, belonging to a
+wealthy and distinguished family, was educated amidst all the luxuries
+and gayeties of fashionable Parisian life. But the girl's indomitable
+spirit was not to be hindered by the bonds of social restraint, and she
+devoted herself to art with an almost passionate intensity. Struggling
+constantly against the inroads of a fatal disease, and cut down on the
+very threshold of life, she produced but few works to show to the world
+what heights she was capable of attaining. Of these, the two which rank
+first, and which are best known to her admirers, are studies of the
+Paris _gamin_.
+
+Jean and Jacques was exhibited at the Salon of 1883, and not only won
+the high praise of many eminent artists, but also received "honorable
+mention" from the committee. The picture is described in the artist's
+journal as "two little boys, who are walking along the pavement, holding
+each other by the hand; the elder, a boy of seven, holds a leaf between
+his teeth, and looks straight before him into space; the other, a couple
+of years younger, has one hand thrust into the pocket of his little
+trousers, and is regarding the passers-by."
+
+Scarcely had this picture been completed, when another street scene
+suddenly flashed upon the imagination of the ambitious young painter,
+and she straightway set to work upon it. The result was The Meeting,
+exhibited at the Salon of 1884. It represents a group of six boys,
+standing at a street corner, engaged in plotting some mischief. From
+the oldest, a school-boy of twelve, to the little fellow in a pinafore,
+they are intent, eager, alert; absorbed in the scheme which they are
+discussing. They have sometimes been criticised for being ugly; but as
+the artist wittily says, "One does not see such miracles of beauty among
+the little boys who run about the streets," and the models were chosen
+for the _expressiveness_ of their faces.
+
+The painting met with instantaneous approval, not only from eminent
+artists, but from the public, whose judgment on such subjects is even
+more conclusive. All the leading periodicals obtained permission to
+engrave it, and it became the talk of the hour. The signature, "M.
+Bashkirtseff," left the sex of the artist an open question, and there
+were those who could not believe that it was the work of a woman, and
+a young one at that.
+
+[Illustration: THE MEETING.--MARIE BASHKIRTSEFF.]
+
+Mademoiselle Bashkirtseff found great amusement in visiting the
+exhibition, watching the people look at her picture, and laughing in
+her sleeve to imagine their amazement should they know that the
+elegantly dressed young lady sitting near it was the artist.
+
+The sequel is full of pathos. In spite of all the praises heaped upon
+it, The Meeting did not receive a medal. To the ambitious young girl the
+disappointment was most humiliating, and with characteristic sincerity
+she did not try to conceal her indignation and chagrin. Justice came at
+last, but all too late. When the bright young hopes were stilled in the
+quiet of death, the picture was honored with a place in the Luxembourg,
+where it hangs to-day, an admirable representation of that most
+interesting genus, the Paris _gamin_.
+
+The American street boy is a distinct type: his ambition is to rise in
+the world. Wealth, fame, and power may be his, if he will but labor to
+attain them, and to this end he throws himself ardently into the
+building of a career. For a certain portion of the day he is a man of
+affairs. Dashing through the net-work of wheels, in the thickest traffic
+of crowded thoroughfares, jumping on and off moving cars and carriages,
+pushing his way with untiring zeal, he shows a reckless daring and a
+dauntless energy which are unmatched among any other people. His duties
+done, he is a gentleman of leisure. He may amuse himself now as he
+pleases, and his recreations show the same versatility displayed in his
+business enterprises. Possessed of a lively imagination and a keen sense
+of humor, he is never at a loss for a source of fun. He is as generous
+as he is mischievous, always willing to share his good things with his
+companions. Altogether, he is an interesting and attractive figure, and
+it is no wonder that he has long since made his appearance on the
+canvas.
+
+[Illustration: CASTLES IN SPAIN.--JOHN G. BROWN.]
+
+Probably the most conspicuous painter of American street subjects is
+John George Brown, of New York. A resident of this city for more than
+forty years, Mr. Brown has made it his life-work to study the character
+and customs of the poorer classes of children. Newsboys and boot-blacks
+are his special friends, and among them he finds many fine examples of
+the best characteristics of human nature.
+
+The Wounded Playfellow shows how easily the street boy's sympathies are
+touched by the suffering of an animal. A little urchin carefully holds a
+dog in his arms, while another deftly binds a bandage about the poor
+creature's broken leg. A third boy and a small girl are the interested
+spectators. The intense and eager interest with which the entire group
+regard the operation is admirably portrayed.
+
+The natural bent of Young America towards politics and oratory is seen
+in the Stump Speech, an oil painting which was exhibited at the
+Columbian Exposition.
+
+Mr. Brown uses water colors, as well as oils, for a medium of
+expression, being the president of the Water Color Society, which he
+helped to found. An example of this kind of work is his picture called
+"Free from Care." A bright-faced boot-black stands leaning against a
+wall, with one thumb thrust in his trousers pocket, and a general air of
+having thrown aside business responsibility for a good time.
+
+Equally "free from care," and happy in this privilege, is the boy,
+seated on a box, blowing soap-bubbles. His simple delight in this
+innocent pastime, and the almost dreamy look with which he watches the
+fairy bubble, show a hitherto unsuspected vein of poetry in the
+street-boy nature.
+
+The boot-black appears ordinarily in the most prosaic light, as a
+practical individual, whose chief concern is the struggle for daily
+bread. But this is only half the truth. Under his rough exterior he
+hides a heart keenly responsive to beauty. His youthful imagination is,
+in Lowell's happy phrase, a veritable Aladdin's lamp, with which he
+transforms the meagreness of his surroundings into the splendid luxuries
+of a castle in Spain.
+
+
+
+
+V.
+
+CHILD-ANGELS.
+
+
+
+
+    He shall give his angels charge over thee,
+    To keep thee in all thy ways.
+    They shall bear thee up in their hands,
+    Lest thou dash thy foot against a stone.
+                                 PSALM XCI.
+
+
+
+
+CHAPTER V.
+
+CHILD-ANGELS.
+
+
+To represent the perfect innocence and purity of an angel, a being whose
+native atmosphere is the very presence of God, a creature not subject to
+the limitations of physical laws, ever speeding on divine errands from
+heaven to earth and back again to heaven, nothing could be more natural
+than that art should use the face and form of innocent human childhood.
+
+Child-angels were first seen in art during the Italian Renaissance, and
+formed a conspicuous feature in the religious paintings of the period.
+One of the most interesting and beautiful forms in which they appear is
+as a great host, or "glory," filling the background of a composition.
+
+From the announcement of the Saviour's birth to the Galilean shepherds,
+to the vision of Saint John on the Isle of Patmos, we find various
+allusions in the New Testament to the presence of angel companies in the
+affairs of human life. It was therefore entirely legitimate and
+appropriate to introduce a visible embodiment of the heavenly hosts into
+the many sacred scenes portrayed in art, whether these were
+representations of the actual incidents of Bible history, or the
+imaginative embodiments of religious ideals.
+
+The Sistine Madonna suggests itself at once as a most beautiful
+illustration. The entire canvas is studded with tiny child faces,
+delicately outlined,--a veritable cloud of witnesses, dissolving into
+the golden glory with which they are surrounded. What a contrast is the
+exquisite spirituality of this conception to Perugino's angel glories,
+where baby faces, each with six many-hued wings are ranged at regular
+intervals throughout the composition!
+
+A less notable example of Raphael's unique treatment of the angel host
+is in his Vision of Ezekiel, a small painting of earlier date than the
+Sistine Madonna. Here the idea is manifestly drawn from the prophet's
+description of his vision of the four living creatures in a great amber
+wheel, which was "full of eyes."
+
+Turning from Raphael's clouds of dimly suggested cherub faces to those
+representations of the angel throngs in which the child forms are more
+distinctly delineated, we find that the great masters have made use of
+the myriad figures to express a corresponding variety in mood and
+character. Thus, when the emotions of the principal personage in a
+composition are too complex to be adequately expressed on a single
+countenance, the angel faces surrounding may each, in turn, convey some
+one of the many aspects of thought or feeling which go to make up the
+entire conception.
+
+The Crucifixion[16] is a striking instance of the mingling, of
+contrasted emotions,--bodily suffering and spiritual victory, worldly
+defeat and heavenly triumph,--all of which cannot be depicted on the
+face of the Christ, but which a throng of attendant cherubs may fully
+interpret. The same principle is illustrated in the many scenes of which
+the Madonna is the central figure, as the Immaculate Conception, the
+Assumption, and the Coronation.
+
+[Illustration: FRAGMENT FROM THE ASSUMPTION.--TITIAN.]
+
+Of such paintings, Titian's Assumption is the most splendid example.
+The ascending, Virgin is surrounded by a wreath of child-angels, of
+surpassing grace and beauty. It is of these that Mrs. Jameson has
+written, in her incomparable way, that they are "mind and music and
+love, kneaded, as it were, into form and color." From a compositional
+point of view they serve an important purpose in directing the attention
+of the spectator to the principal figure of the picture. All the
+gracefully intertwined limbs of the angelic host--outstretched arms and
+floating figures,--form the radii of a great semicircle centering in the
+beautiful Madonna.
+
+If Titian's child-angels stand for the highest attainment in the
+idealization of child beauty, those of Rubens, on the other hand, are
+the most human and lovable ever conceived in art. Their lovely baby
+forms cluster in countless numbers about the glorified Virgin, joyously
+bearing palm and wreath in token of her triumph.
+
+The name of Murillo also occupies the first rank in the delineation of
+companies of child-angels. Called in turn the Titian and the Rubens of
+Spain, he is like his Venetian and Flemish prototypes in his intense
+sympathy for childhood. His angels have not that transcendent
+superiority to mortals which distinguishes Titian's, nor are they the
+dimpled bits of pink-and-white babyhood characteristic of Rubens. They
+belong somewhere between the two extremes, and are remarkable for their
+innocence and purity of expression. As the Immaculate Conception was
+Murillo's favorite subject, it is here that we see his child-angels at
+their best. He has also introduced them into the Holy Family of Seville,
+as well as into that most wonderful painting of the Christ-child
+Appearing to Saint Anthony of Padua.
+
+A beautiful method of introducing child-angels into religious pictures,
+differing widely from the treatment of angel hosts, is to represent
+one[17] or two, sometimes three, in attendance upon the Madonna and
+Babe, or the Christ. This is especially appropriate where the subject is
+treated devotionally, and the central figure is elevated on a throne or
+pedestal, with the angels at the foot.
+
+Among the Florentine artists, the two friends Raphael and Bartolommeo,
+as well as their contemporary, Andrea del Sarto, furnish many examples
+of these angel attendants. With Andrea del Sarto, as was characteristic,
+they are bewitching winged boys; while with Bartolommeo and Raphael they
+partake of a more delicate spirituality, which marks them as truly
+celestial.
+
+The Madonna of the Harpies, which is considered the masterpiece of
+Andrea del Sarto, contains two charming cherubs, which may be taken as
+excellent types of the artist's rendering of these subjects. The Two
+Angels, from his great painting of the Four Saints, are somewhat above
+his average plane. These lovely and graceful figures originally stood in
+the centre of a large composition, but were at a later date removed from
+the canvas to make a separate picture. Their real significance is to
+show forth the beauty of a saintly life. Each carries a scroll, and one
+points upward.
+
+In the work of Bartolommeo the finest cherubs are those of his Throne
+Madonna, the Madonna Enthroned, and the Risen Christ. All three show the
+same masterly hand, and express a similar conception of the office
+filled by the angels. In every case one is looking up with a rapt
+expression of joy, while the other is more contemplative, drooping the
+head as if in reflection. The contrast suggests the distinction of
+early theology between the seraphim and cherubim, the former being,
+according to etymological significance, the spirits who love and adore,
+and the latter, those who know and worship. This distinction was
+scrupulously adhered to in early art by representing the seraphim as
+red, and the cherubim as blue. Although later artists no longer observed
+any discrimination between two classes of celestial beings, it may be
+that the difference between Bartolommeo's two angels is due to the
+influence of this idea. Be this as it may, the fact remains that the
+opposition between them in face and attitude is exactly appropriate to
+symbolize one as love and the other as reflection.
+
+This is very marked in Raphael's work, as may be seen in his Madonna del
+Baldacchino, a painting whose style of composition is strikingly like
+that of Bartolommeo. Of the two singing angels at the foot of the
+Madonna's throne, one studies eagerly the meaning of his music, while
+the other sings with the happy unconsciousness of a bird. Comparing with
+this Raphael's grandest achievement, the Sistine Madonna, we find the
+same _motif_ carried to its highest realization. The two beautiful
+cherubs who lean upon the parapet at the bottom of the picture are
+perfect impersonations of the serene content and the thoughtful
+deliberation with which varying types of Christian believers have
+received the great fact of the Incarnation.
+
+The Venetian painters delighted to put musical instruments into the
+hands of their child-angels, representing them as choristers, hymning
+the praises of the infant Saviour. Of these, many notable examples were
+produced in the _botteghe_ of the two rival artist families, the Bellini
+and the Vivarini. Jacopo Bellini and his two sons, Gentile and
+Giovanni, were the real founders of the Venetian school, and the work of
+Giovanni became an ideal standard, which his contemporaries essayed to
+follow. Luigi Vivarini was so successful as his imitator that his
+paintings are often incorrectly assigned to the greater artist.
+
+[Illustration: PIPING ANGEL.--BELLINI.]
+
+The Frari Madonna, however, is an undoubted Bellini, and here the
+Venetian conception of the child-angel is seen in its loveliest aspects.
+Two eager little choristers stand on the lower steps of the Madonna's
+throne, "exquisite courtiers of the Infant King," as Mrs. Oliphant
+gracefully calls them. One, myrtle-crowned, is blowing on a pipe, while
+the other bends gravely over a large lute.
+
+The Madonna of the Church of the Redentore[18] shows another pair of
+angel musicians, sitting on a low wall in the foreground, one at the
+head and the other at the feet of the sleeping Babe. Both are playing
+on lutes, and the serious, absorbed air with which they fulfil their
+task is delightful to see. With lifted face and faraway eyes, they seem
+to be listening to a heavenly chorus, of which their own melody is an
+echo.
+
+Any mention of the Venetian type of angels would be incomplete without
+adding the names of Palma Vecchio and Carpaccio to the list of those who
+most delicately interpreted the subject. Examples of their work are
+scattered over Northern Italy, but none perhaps are more representative
+than Carpaccio's Presentation, in the Academy at Venice, and Palma's
+altar-piece at Zerman.
+
+[Illustration: ANGEL FROM PAINTING IN CHURCH OF REDENTORE.--VIVARINI.]
+
+The child-angel as a playmate and companion of the Christ-child is a
+conception which has not infrequently been represented in art with great
+appropriateness. Both Van Dyck and Lucas Cranach have given us the
+Repose in Egypt, enlivened by the presence of a company of frolicsome
+cherubs sporting about the Divine Babe. Rubens painted a lovely group of
+the Infant Jesus and Saint John, seated on the ground, playing with
+their celestial little visitors. A Holy Family, by Ippolito Andreasi,
+represents angel children gathering and bringing grapes to the Saviour.
+
+With a small circle of Florentine artists, led by Botticelli, and
+including Filippo Lippi and Filippino Lippi, a unique class of
+child-angels is in great favor. These are children of a larger growth
+and maturer appearance than the infantine cherubs of contemporary
+artists, and might properly be called angel-youths. In the best examples
+their expression is an admirable mingling of strength and purity. As
+attendants to the Christ-child, they serve in various capacities with
+loving and reverent grace.
+
+In Botticelli's famous "round Madonna" of the Uffizi, one holds the ink
+vessel into which the Virgin dips her pen as she writes the Magnificat,
+two others hold a starry crown over her head, and two more complete the
+group, as companions of the Saviour. In the Holy Family, by the same
+artist, only two angels are introduced, one of whom leans over a
+balustrade, with a beautiful lily-stalk in his hand, in token of the
+Virgin's purity.
+
+Filippo Lippi's charming rendering of angel-youths is best seen in the
+picture which represents the Christ-child borne by two attendant cherubs
+in exemplification of the psalmist's words, "They shall bear thee up in
+their hands, lest thou dash thy foot against a stone." The Madonna
+stands before the Divine Babe, with hands clasped in adoration, a lovely
+impersonation of the Madre Pia.
+
+[Illustration: ANGEL FROM VISION OF MADONNA APPEARING TO SAINT
+BERNARD.--FILIPPINO LIPPI.]
+
+The Madre Pia is also the subject of one of Filippino Lippi's most
+exquisite angel pictures. The Infant Saviour lies on the ground, in a
+garden, while his mother kneels to adore him. Angel-youths surround him,
+kneeling, and one stands showering rose-petals down upon him.
+
+The masterpiece of Filippino Lippi is the Vision of Saint Bernard, in
+the Badia at Florence, and here again angel-youths are introduced with
+charming effect. Two are in the rear, with hands clasped in adoration;
+two are beside the Virgin, bearing the weight of her mantle, and raising
+their earnest young faces with sweet reverence. One of these faces is
+presented in profile, and has a delicately cut, pure outline, of rare
+gentleness and beauty.
+
+The artist's ideal is wonderfully helpful to the imagination, and the
+thought is full of comfort, that it is loving and tender presences like
+these which are "in charge over us, to keep us in all our ways."
+
+
+
+
+VI.
+
+THE CHRIST-CHILD.
+
+
+
+
+     And the Child grew, and waxed strong in spirit, filled with wisdom:
+     and the grace of God was upon him.
+
+                                      LUKE ii. 40.
+
+
+
+
+CHAPTER VI.
+
+THE CHRIST-CHILD.
+
+
+Among the innumerable pictures in which the world's great religious
+painters have represented the scenes of the earthly life of our Lord, it
+is amazing to note the large proportion of subjects relating to his
+infancy and childhood. What else can this mean than that the hearts of
+worshippers ever yearn towards that which they can understand and love,
+and that thus, of all the varied aspects of Christ's character, it
+appeals to us most forcibly that He was once a babe in the Bethlehem
+manger.
+
+To find the earliest delineations of the Christ-child we must go to
+the Catacombs of Rome, and on the walls of their strange subterranean
+chapels retrace the fading features of the Divine Babe as painted there
+centuries ago to cheer the hearts of Christians. Two of these primitive
+frescos are in the Greek chapel of the Catacomb of S. Praxedes,[19]
+where they are a constant object of interest to the art pilgrim.
+Considered æsthetically, they have of course no intrinsic beauty; but
+to the thoughtful mind they stand for the beginnings of a great art
+movement which culminated in the canvases of Raphael and Titian.
+
+From the frescos of the Catacombs the next step in the progress of
+Christian art was to the mosaics ornamenting the basilicas; and here the
+Christ-child again appears as a conspicuous figure. Some of the most
+interesting of these mosaics[20] represent the Babe receiving the
+gifts of the Magi,--as at Santa Maria Maggiore in Rome and at Saint
+Apollinare in Ravenna. In others, as at Capua, the Child shares with the
+enthroned Virgin the adoration of a surrounding group of saints. Still
+another of peculiar interest is at Santa Maria in Trastevere (Rome),
+where the Infant is suckled at his mother's breast.
+
+When we enter that strange period of history known as the Dark Ages,
+we find the art products few and uninteresting; but even then the
+Christ-child is not forgotten, and again and again he appears sculptured
+in marble over the portals of cathedrals, or painted in stiff Byzantine
+style over their altars.
+
+Thus it was that in the new birth of art in Italy, when Niccolò Pisano
+in sculpture, and Cimabue in painting, awakened the sleeping world to a
+love of beauty, the Madonna, with her heaven-born Babe, was the first
+subject to arouse enthusiasm; and it was for a picture of this sort
+that all Florence went mad with joy, as it was borne along The Street
+of Rejoicing.
+
+In early representations, both in mosaics and paintings, the Child is
+dressed in a tunic, white, red, or blue, often very richly ornamented
+with gold embroidery. This method obtained as late as the fourteenth
+century, when Fra Angelico still painted the Babe in the elaborate royal
+garments of a king. But art at last returned to nature, and from the
+fifteenth century the Holy Child was painted partially and sometimes
+wholly undraped, with beautiful rounded limbs and soft pink baby flesh.
+
+It was then that Italy was transformed into a paradise of art, and all
+the important cities were full of great painters whose hearts were aglow
+with the sacred fire of genius. In the host of beautiful works which
+were produced in the next three centuries, every type of treatment was
+exemplified, varying from the most simple naturalism to the loftiest
+idealism. The naïve realism of Filippino Lippi's chubby baby, placidly
+sucking his thumb as he looks out of the picture, is matched in the
+frolicsome boys of Andrea del Sarto's many paintings, smiling
+mischievously from the Madonna's arms. At the other extreme is the
+strangely precocious looking child of Botticelli, raising his eyes
+heavenward, with a mystic smile on his serious face.
+
+And when it would seem that every conceivable type of infancy, and
+every imaginable situation had already been realized on the canvas,
+Raphael[21] arose to create an entirely new ideal. His life was so
+short, his work so surpassingly brilliant, that it was as if a splendid
+meteor suddenly flashed across the starry firmament of the Cinque-Cento.
+Perugino, his master; Pinturicchio, his employer; Fra Bartolommeo, his
+friend; Andrea del Sarto, "the faultless painter," all paled before his
+rapidly increasing glory. When he laid down his brush at the age of
+thirty-seven, he had finished a career which is one of the miracles of
+history. His work is a complete epitome of religious art, including all
+the great themes, and enveloping each with an atmosphere of pure
+spirituality, indescribably elevating to mind and soul.
+
+His conception of the Christ-child ranges from the sleeping Babe from
+whose innocent face the Madonna of the Diadem softly lifts a veil, to
+the grave boy whom the Chair Madonna clasps in her arms. Every shade of
+playfulness, of affection, of dignity, and of contemplation, is mirrored
+in the long series of pictures in which he embodied his ever-changing
+ideal of the Divine Infant.
+
+[Illustration: MADONNA DI CASA TEMPI.--RAPHAEL.]
+
+The magnificent versatility of his genius is admirably illustrated by
+the contrast between two of his finest works,--the Madonna of the
+Casa Tempi and the Madonna di San Sisto, standing the one for the human
+aspect and the other for the divine, in the incarnation of the Son of
+God. The first shows an ideal mother fondly pressing her darling's cheek
+against her own; the second is a vision of ideal womanhood hastening
+down the centuries to present the Word to the waiting world.
+
+The Christ-child of the Tempi painting is a dimpled baby shyly nestling
+against his mother's breast; the Sistine Child is a royal messenger
+lightly enthroned upon the Madonna's arm. In one conception, Mother and
+Son are absorbed entirely in each other; in the other, they think only
+of their mission to humanity, their wide eyes searching the future with
+far-seeing gaze, and their thoughts intent upon the coming of the
+heavenly kingdom.
+
+We can appreciate the Tempi Madonna at the first glance; the meaning of
+the Sistine Madonna we can never fully reach, though to contemplate it
+day by day is to feel our thoughts become purer and our aspirations
+nobler.
+
+A feature of the child-life of Jesus upon which Raphael loved to dwell
+is his companionship with his cousin John, a boy of nearly the same age,
+whose destiny was indissolubly linked with the Christ. Following the
+Gospel description of the Baptist when he came forth from the desert
+"clothed with camel's hair and with a girdle of skin about his loins,"
+the artist has represented the child John as a dark, faun-like boy, with
+a little skin garment girt about him,--a picturesque figure to contrast
+with the fair beauty of the Christ-child.
+
+The two boys are most charming, when, as in the Madonna of the Pearl,
+the little John seeks with childish eagerness to please his cousin.
+Here he is running gleefully to Jesus, with his skin garment full of
+newly gathered fruit. The Christ-child, seated on his grandmother's
+knee, beside his mother, stretches out his hands for the gift, his face
+shining with simple, child-like pleasure. At another time Saint John
+brings a goldfinch to the Virgin's knee, and the two children lean
+lovingly against her, Jesus turning his earnest eyes towards the bird,
+which he thoughtfully strokes. A very pretty incident is embodied in the
+Aldobrandini Madonna, where the Christ-child reaches from his mother's
+arms to smilingly bestow a flower upon Saint John.
+
+Other pictures introduce, more or less definitely, an element of
+devotion on the part of the infant Baptist, as in the Madonna of the
+Meadow, where he kneels to receive the cross from the hands of the
+Christ-child. The devotional relation is still more marked in the Belle
+Jardinière of the Louvre. In the Holy Family of Casa Canigiani, Jesus is
+giving Saint John a banner with the words _Ecce Agnus Dei_.
+
+The two boys, as the central figures of the Holy Family, have engaged
+the brush of nearly every great religious painter, some producing
+familiar and domestic scenes, others emphasizing the symbolic and
+religious significance of the theme. Andrea del Sarto treated the
+subject many times, and usually portrayed the children in a natural and
+playful intimacy. Pinturicchio painted them running across a flowery
+meadow to get water from a fountain. Guilio Romano has given us the
+decidedly domestic scene of Jesus in the bath, with Saint John merrily
+pouring water upon him. Sometimes, as in a lovely work by Angiolo
+Bronzino, Saint John is affectionately kissing the sleeping Babe.
+
+It was a beautiful thought on the part of some few artists,--notably
+Palma Vecchio, Luini, and Murillo,--to introduce a lamb as a playmate
+for the children, the suggestion having its origin in the Baptist's
+description of Jesus as the "Lamb of God."
+
+In Botticelli's Holy Family, Saint John stands by with clasped hands,
+adoring the Infant. Perugino places him kneeling at a little distance in
+the rear,--a perfect embodiment of childish devotion. In a painting by
+Titian, also, he kneels apart, leaning on his cross, and in one by
+Guido, he humbly kisses the Christ-child's foot.
+
+In a lovely picture by Murillo, called the "Children of the Shell," he
+kneels to drink from a cup which the little Jesus holds to his lips.
+Here the contrast between the two is exquisitely rendered, both from
+the artistic and the religious point of view, the Christ-child bearing
+the unmistakable stamp of superiority, in spite of his childish figure,
+while the infant John is a charming impersonation of reverent and loving
+humility.
+
+The religious spirit of the old masters has not been successfully
+imitated by any modern artist who has attempted to delineate the Infant
+Jesus and Saint John, nor is this to be expected. There are many
+pleasing works of art, however, which, though differing widely from
+early Italian standards, have an attractiveness of their own.
+
+Such, for instance, is Boucher's painting, thoroughly characteristic of
+the artist, and, when considered in itself, a very pretty thing. The two
+plump babies are bewitching little figures, irresistibly lovable in
+their dimpled beauty. Sweet cherub faces peep from the surrounding
+clouds, regarding the holy children with wondering awe.
+
+[Illustration: INFANT CHRIST AND SAINT JOHN.--BOUCHER.]
+
+The figure of the Christ-child alone does not belong to the early
+Renaissance, but by the seventeenth century, the subject had found favor
+with Guido and Franceschini in Italy, and with Murillo and Zurbaran in
+Spain. With all these artists it was a favorite custom to depict the
+child Jesus asleep on the cross. Murillo's Infant Saviour, plaiting a
+crown of thorns, also belongs to this class. These forms of symbolic
+illustration have their modern counterpart in the work of several German
+artists. As the Gospel narrative furnishes no actual incidents of the
+early childhood of Jesus, he is shown in some attitude which will
+suggest his divine calling. Painted by Ittenbach, he raises his right
+hand to point the heavenward way, while with his left he indicates his
+name inscribed in the letters I. H. S. on the breast of his tunic. In
+Sinkel's picture he holds a tablet of the Commandments, with his finger
+on the fourth, a sweet expression of Sabbath peace on his face.
+
+Professor Deger's picture expresses a unique and lovely conception of
+the Christ-child in the fields, communing with his Father, and preparing
+for his ministry. He is a dreamy-looking boy, of delicate features, and
+broad, high brow, with fair curls blowing away from his face. Though
+alone, he lifts his hand in blessing, as if, in his prophetic
+imagination, the meadows were already peopled with the throngs to whom
+he is to teach the sweet lessons of the lilies and the sparrow.
+
+[Illustration: THE CHRIST-CHILD.--DEGER.]
+
+The childhood of Jesus came to an end at the age of twelve, when he
+awoke to the realization that he must be "about his Father's business."
+It was a great moment in the quiet life of the Nazarene lad. Mary and
+Joseph having to make their annual journey to Jerusalem to celebrate the
+Passover, had brought him with them, and allowed him to wander from
+them. Supposing him to be among the company with which they were
+travelling, they were well on their homeward way, when they discovered
+that he was missing. Returning to the city, and seeking him hither and
+thither, they at length found him in the temple, "sitting in the midst
+of the doctors, both hearing them, and asking them questions. And all
+that heard him were astonished at his understanding and answers."
+
+It was the latter part of this account which the early masters seized as
+the _motif_ of the Dispute in the Temple, and interpreted as meaning
+that the boy Christ assumed the position of teacher and preacher to the
+doctors. In the paintings of Duccio and Giotto, he is sitting on a
+platform, with the mien and gesture of a learned doctor; while other
+artists place him on a sort of throne or pulpit. It was left to modern
+art to conceive the true significance of the event, and to put before us
+the eager boy, listening and asking questions.
+
+Professor Heinrich Hofmann's beautiful picture shows a profound insight
+into the wonderful childhood of Jesus, as well as a fine sense of
+artistic composition. The boy stands in the midst of the group, lifting
+his eager, inquiring face to the learned doctors surrounding him. His
+expression conveys all the earnestness of his questionings, and at the
+same time shows the depth of that power of understanding which so amazed
+the listeners. Looking from his bright young face to the staid
+countenances of the professed expounders of the law, a new light flashes
+upon that mysterious utterance which fell in after times from the
+same inspired lips: "I thank thee, O Father, Lord of heaven and earth,
+that thou hast hid these things from the wise and prudent, and hast
+revealed them unto babes."
+
+[Illustration: HEAD OF BOY CHRIST.--HOFMANN.]
+
+
+       *       *       *       *       *
+
+
+
+
+NOTES.
+
+
+
+
+NOTES.
+
+CHAPTER I.--PAGE 3.
+
+[1] Of this picture, Claude Phillips justly observes that it
+has been "not a little cheapened and obscured by frequent copies, in
+which the delicate essence of the original has been allowed to
+evaporate; but a glance at the picture itself renews the magic spell
+of the master."
+
+The plate for our illustration, being made from a photograph taken
+directly from the original painting, reproduces the spirit of the
+picture with remarkable fidelity.
+
+
+CHAPTER II.--PAGE 29.
+
+[2] The children of the English court were not alone in the
+good fortune of being immortalized by the brush of Van Dyck. The great
+artist also painted a little Prince of Savoy, with his sister,--a
+picture which is now in the Royal Gallery at Turin.
+
+[3] A portrait of Prince Balthasar in court dress, by
+Velasquez, is in the Belvedere at Vienna.
+
+[4] Dr. Carl Justi has various strong arguments to prove that
+the Prado portrait of Maria Theresa is incorrectly so called, and, in
+reality, represents the Infanta Marguerite. The picture is, however,
+widely accepted as a genuine Maria Theresa, and is catalogued as such by
+Curtis. I have, therefore, thought best to follow the opinion of the
+majority on this point.
+
+[5] Titian painted a charming portrait of the Princess Strozzi,
+which is now in Berlin.
+
+[6] Holbein painted the little Prince Edward, afterwards Edward
+VI., in two extant portraits,--one, a miniature, in the possession of
+the Duke of Devonshire, another at Windsor.
+
+
+CHAPTER III.--PAGE 57.
+
+[7] The dates of Gainsborough's life are 1727-1788.
+
+[8] The two pictures for which Jack Hill served as model are
+Jack Hill in a Cottage, and Jack Hill, with his Cat, in a Wood.
+
+[9] Gainsborough was followed by several English artists
+celebrated for their pictures of the child-life of the country. Of
+these, the most notable were Sir David Wilkie and William Collins.
+Wilkie's Blind-Man's Buff, and Collins's Happy as a King are
+representative examples of their work.
+
+[10] Jean Baptiste Greuze was born in 1725, and died in 1805.
+
+[11] The Father Explaining the Bible to his Children is now in
+the Dresden Gallery. Mrs. Stranahan, in her History of French Painting,
+calls attention to the fact that the poet Robert Burns celebrates the
+same scene in his Cotter's Saturday Night.
+
+[12] The Village Bride, called in French, "L'Accordée du
+Village," is in the Louvre, Paris.
+
+[13] Although Greuze is usually spoken of as introducing a new
+line of subjects into French art, it is fair to say that Chardin
+(1699-1799) had already given the initiative. The Little Girl at
+Breakfast, exhibited at the Salon of 1737, and Le Bénédicité, from the
+Salon of 1740, are highly praised by Mrs. Stranahan for their
+sympathetic treatment of domestic scenes in humble life.
+
+[14] This description, which I have rendered somewhat freely
+into English, is an extract from a letter addressed by Mademoiselle
+Philipon to the Demoiselles Cannet.
+
+
+CHAPTER IV.--PAGE 87.
+
+[15] The three paintings by Murillo in the Dulwich Gallery, to
+which reference is made, are:--
+
+The Flower Girl, Two Boys and a Dog, and Three Boys,--one eating a tart.
+The gallery also contains a religious painting by Murillo.
+
+
+CHAPTER V.--PAGE 115.
+
+[16] The representation of the Crucifixion, with attendant
+angels, is very frequent in Renaissance art. For examples among the
+earlier painters, Duccio and Giotto may be mentioned, while in a later
+period Luini and Gaudenzio adopted the same _motif_, with characteristic
+results.
+
+[17] For examples of single child-angels, see Raphael's Madonna
+di Foligno, in the Vatican at Rome, and Bartolommeo's Madonna and
+Saints, in San Martino, Lucca.
+
+[18] The Madonna of the Church of the Redentore is popularly
+attributed to Bellini, but is more probably the work of Luigi Vivarini.
+For arguments, see Crowe and Cavalcaselle, History of Painting in North
+Italy, vol. i., pages 64 and 186.
+
+
+CHAPTER VI.--PAGE 141.
+
+[19] My authority on these frescos is Charles I. Hemans, who
+states (page 70 of Ancient Christianity and Sacred Art) that "conjecture
+has assumed antiquity as high as the first century" for some paintings
+in the catacombs of S. Praxedes, but does not mention whether these are
+of the number.
+
+Van Dyke, in his Christ-child in Art (page 120), describes an
+interesting third century fresco in the catacomb of SS. Marcellinus and
+Peter, representing the Adoration of the Magi.
+
+[20] The mosaics at Santa Maria Maggiore are assigned to the
+fifth century; those at S. Apollinare Nuova, Ravenna, to the sixth
+century. See Hemans, Ancient Christianity and Sacred Art.
+
+For further descriptions of the mosaics at Capua and at Santa Maria in
+Trastevere, Rome, see Mrs. Jameson's Legends of the Madonna. For an
+engraving of the Virgin and Child in the Ravenna mosaic, see Van Dyke's
+Christ-child in Art.
+
+[21] The present location of all the works of Raphael mentioned
+in this chapter may be seen in the following list:--
+
+    Madonna of the Diadem, Louvre, Paris.
+    Chair Madonna (Madonna della Sedia), Pitti, Florence.
+    Madonna of the Casa Tempi, Munich.
+    Sistine Madonna, Dresden.
+    The Pearl, Madrid.
+    Madonna of the Goldfinch (del Cardellino), Pitti, Florence.
+    Aldobrandini Madonna, National Gallery, London.
+    Madonna of the Meadow, Vienna.
+    La Belle Jardinière, Louvre, Paris.
+    Madonna of the Casa Canigiani, Munich.
+
+
+
+
+BIBLIOGRAPHY.
+
+
+ ALLAN CUNNINGHAM: Great English Painters.
+
+ RICHARD REDGRAVE: A Century of Painters of the English School.
+
+ NORTHCOTE: Life of Sir Joshua Reynolds.
+
+ CLAUDE PHILLIPS: Sir Joshua Reynolds.
+
+ HENRY PERCY HORNE: Catalogue of the Engraved Pictures of Gainsborough.
+
+ WILLIAM HOOKHAM CARPENTER: Memoirs of Sir Anthony Van Dyck.
+
+ STIRLING-MAXWELL: Annals of the Artists of Spain.
+
+ CARL JUSTI: Velasquez and his Times (translated by Keane).
+
+ STRANAHAN: History of French Painting.
+
+ CH. NORMAND: Greuze. (In Series: Artistes Célèbres.)
+
+ CROWE and CAVALCASELLE: History of Painting in
+     Italy: History of Painting in North Italy.
+
+ T. COLE (Engraver) and W. J. STILLMAN: Old Italian Masters.
+
+ EUGENE MÜNTZ: Raphael: His Life, Works, and Times.
+
+ MRS. ANNA JAMESON: Sacred and Legendary Art;
+     Legends of the Madonna; History of Our Lord.
+
+ CHARLES I. HEMANS: Ancient Christianity and Sacred Art;
+     Mediæval Christianity and Sacred Art.
+
+ HENRY VAN DYKE: The Christ-Child in Art.
+
+ MARIE BASHKIRTSEFF: Journal.
+
+ DOROTHY TENNANT STANLEY: Street Arabs.
+
+ KARL KÁROLY: The Paintings of Florence.
+
+ CHARLES L. EASTLAKE: Notes on the Pictures in the Louvre.
+
+
+
+
+
+End of the Project Gutenberg EBook of Child-life in Art, by Estelle M. Hurll
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CHILD-LIFE IN ART ***
+
+***** This file should be named 25268-8.txt or 25268-8.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/5/2/6/25268/
+
+Produced by Juliet Sutherland, Anne Storer and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/25268-8.zip b/25268-8.zip
new file mode 100644
index 0000000..e73e954
--- /dev/null
+++ b/25268-8.zip
diff --git a/25268-h.zip b/25268-h.zip
new file mode 100644
index 0000000..7e6fae9
--- /dev/null
+++ b/25268-h.zip
diff --git a/25268-h/25268-h.htm b/25268-h/25268-h.htm
new file mode 100644
index 0000000..db49526
--- /dev/null
+++ b/25268-h/25268-h.htm
@@ -0,0 +1,2955 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Child-life In Art, by Estelle M. Hurll, M.A.
+    </title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+
+    .txt { font-size: 120%; line-height: 1.5em; }
+
+    h1 { text-align: center; font-size: 350%;
+         clear: both;
+         }
+
+    h2,h3 { text-align: center; /* all headings centered */
+         clear: both;
+         }
+
+    hr { width: 33%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+
+    body{margin-left: 10%;
+         margin-right: 10%;
+        }
+
+    .box { width: 700px;
+           margin: 0 auto;
+           text-align: center;
+           padding: 1em;
+           border-style: none; }
+
+    .box1 { width: 300px;
+           margin: 0 auto;
+           text-align: center;
+           padding: 1em;
+           border-style: none; }
+
+    a   {text-decoration: none;}
+
+    .pagenum  { visibility: hidden;
+                position: absolute;
+                left: 92%;
+                font-size: smaller;
+                text-align: right;
+              } /* page numbers */
+
+    .blockquot{margin-left: 5%; margin-right: 10%;}
+
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+
+    .caption  {font-weight: bold; font-variant: small-caps;}
+
+    .figcenter   {margin: auto; text-align: center;}
+
+    .footnotes        {border: dashed 1px;}
+    .footnote         {margin-left: 10%; margin-right: 10%; font-size: 0.9em;}
+    .footnote .label  {position: absolute; right: 84%; text-align: right;}
+    .fnanchor         {font-size: .8em; text-decoration: none;}
+
+    // -->
+    /* XML end  ]]>*/
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Child-life in Art, by Estelle M. Hurll
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Child-life in Art
+
+Author: Estelle M. Hurll
+
+Release Date: April 30, 2008 [EBook #25268]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CHILD-LIFE IN ART ***
+
+
+
+
+Produced by Juliet Sutherland, Anne Storer and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+</pre>
+
+
+<div class="figcenter" style="width: 383px;">
+<img src="images/imgcover.jpg" width="383" height="600" alt="cover" title="" />
+</div>
+
+<hr style="width: 65%;" />
+
+<p><a name="img1" id="img1"></a></p>
+<div class="figcenter" style="width: 393px;">
+<img src="images/img1_th.jpg" width="393" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img1.jpg">the sistine madonna.&mdash;raphael.</a></span>
+</div>
+
+<hr style="width: 65%;" />
+
+
+<h1>CHILD-LIFE IN ART</h1>
+
+<p>&nbsp;</p>
+
+<h3>BY</h3>
+
+<h2>ESTELLE M. HURLL, M.A.</h2>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 123px;">
+<img src="images/illus.jpg" width="123" height="21" alt="Illustrated" title="" />
+</div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<div class="box1">
+
+<p>Children are God&#8217;s apostles, day by day<br />
+Sent forth to preach of love and hope and peace.<br />
+<span style="margin-left: 13em;" class="smcap">Lowell.</span></p>
+
+</div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p class="center">BOSTON<br />
+JOSEPH KNIGHT COMPANY<br />
+1895</p>
+
+<hr style="width: 65%;" />
+
+<p class="center"><em>Copyright, 1894,</em><br />
+<span class="smcap">By Joseph Knight Company.</span></p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 145px;">
+<img src="images/press.jpg" width="145" height="20" alt="university press" title="" />
+</div>
+<p style="margin-top: -.2em;" class="center"><span class="smcap">John Wilson and Son, Cambridge, U.S.A.</span></p>
+
+<hr style="width: 65%;" />
+
+
+<div class="box">
+
+<h2>PREFACE.</h2>
+
+<hr style="width: 10%;" />
+
+<p class="txt">The subject of this little book is its best claim upon public favor.
+Child-life in every form appeals with singular force to the sympathies
+of all. In palace and in cottage, in the city and in the country,
+childhood reigns supreme by the divine right of love. No monarch rules
+more mightily than the infant sovereign in the Kingdom of Home, and none
+more beneficently. His advent brings a bit of heaven into our midst, and
+we become more gentle and tender for the sacred influence. Every phase
+of the growing young life is beautiful and interesting to us. Every new
+mood awakens in us a sense of awe before unfolding possibilities for
+good or evil.</p>
+
+<p class="txt">The poetry of childhood is full of attractiveness to the artist,
+and many and varied are the forms in which he interprets it. The
+Christ-child has been his highest ideal. All that human imagination
+could conceive of innocence and purity and divine loveliness has been
+shown forth in the delineation of the Babe of Bethlehem. The influence
+of such art has made itself felt upon all child pictures. It matters not
+whether the subject be a prince or a street-waif; the true artist sees
+in him something which is lovable and winning, and transfers it to his
+canvas for our lasting pleasure.</p>
+
+<p class="txt">Art has produced so many representations of children that it would be a
+hopeless task to attempt a complete enumeration of them, and the book
+makes no pretensions to exhaustiveness. The aim has been merely to
+suggest a convenient outline of classification, and to describe a few
+characteristic examples in each group. The nature of the undertaking
+has, of course, necessitated consulting the works of many standard
+authorities, to whom I gratefully acknowledge my indebtedness. The names
+of the most prominent are included in the
+<a href="#Page_175">bibliographical list</a>. While
+faithfully studying their opinions, I have always reserved the right of
+forming an independent estimate of any painting considered, especially
+when, as in many cases, I have myself seen the original. I am under
+great obligations to my friend Professor Anne Eugenia Morgan of
+Wellesley for first showing me, through her philosophical
+art-interpretations, the true meaning and value of the works of
+the masters. From these interpretations I have drawn many of the
+suggestions which are embodied in the descriptions of the following
+pages.</p>
+
+<p class="txt">While addressing lovers of children primarily, I have also hoped to
+interest students in the history of art. I have therefore added a few
+notes containing further details in regard to some of the subjects.</p>
+
+<p class="txt"><span style="margin-left: 22em;">E. M. H.</span></p>
+
+<p><span class="smcap">New Bedford, Mass.</span>, June 1, 1894.</p>
+
+</div>
+
+<hr style="width: 65%;" />
+
+
+
+
+<h2>CONTENTS.</h2>
+
+<div class='center'>
+<table border="0" cellpadding="5" cellspacing="0" summary="">
+<tr>  <td align='left'><span class="smcap">Chapter</span></td>  <td align='left'></td>  <td align='right'><span class="smcap">Page</span></td>  </tr>
+<tr>  <td align='right'>I.</td>  <td align='left'><span class="smcap"><a href="#Page_1">Childhood in Ideal Types</a></span></td>  <td align='right'>3</td>  </tr>
+<tr>  <td align='right'>II.</td>  <td align='left'><span class="smcap"><a href="#Page_27">Children Born to the Purple</a></span></td>  <td align='right'>29</td>  </tr>
+<tr>  <td align='right'>III.</td>  <td align='left'><span class="smcap"><a href="#Page_55">The Children of Field and Village</a></span></td>  <td align='right'>57</td>  </tr>
+<tr>  <td align='right'>IV.</td>  <td align='left'><span class="smcap"><a href="#Page_85">The Child-Life of the Streets</a></span></td>  <td align='right'>87</td>  </tr>
+<tr>  <td align='right'>V.</td>  <td align='left'><span class="smcap"><a href="#Page_113">Child-Angels</a></span></td>  <td align='right'>115</td>  </tr>
+<tr>  <td align='right'>VI.</td>  <td align='left'><span class="smcap"><a href="#Page_139">The Christ-Child</a></span></td>  <td align='right'>141</td>  </tr>
+</table></div>
+
+
+<hr style="width: 65%;" />
+
+
+
+
+<h2>LIST OF ILLUSTRATIONS.</h2>
+
+<div class='center'>
+
+<table border="0" cellpadding="5" cellspacing="0" summary="">
+
+<tr>  <td align='left'></td>  <td align='left'></td>  <td align='right'><span class="smcap">Page</span></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img1">Sistine Madonna</a></span></td>  <td align='left'>Raphael</td>  <td align='right'><em>Frontispiece</em></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img2">The Strawberry Girl</a></span></td>  <td align='left'>Reynolds</td>  <td align='right'>7</td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img3">Penelope Boothby</a></span></td>  <td align='left'>Reynolds</td>  <td align='right'>15</td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img3a">Angel Heads</a></span></td>  <td align='left'>Reynolds</td>  <td align='right'>19</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in the National Gallery, London.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img4">Nature</a></span></td>  <td align='left'>Lawrence</td>  <td align='right'>23</td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img5">Portrait of Prince James, Duke of York</a></span></td>  <td align='left'>Van Dyck</td>  <td align='right'>33</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From a painting in San Luca, Rome, after the Turin portrait by Van Dyck.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img6">Portrait of Princess Mary Stuart and Prince William II. of Orange</a></span></td>  <td align='left'>Van Dyck</td>  <td align='right'>39</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in Amsterdam.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img7">Portrait of the Infanta Maria Theresa</a></span></td>  <td align='left'>Velasquez</td>  <td align='right'>45</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in the Prado, Madrid.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img8">Portrait of the Infanta Marguerite</a></span></td>  <td align='left'>Velasquez</td>  <td align='right'>49</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in the Louvre, Paris.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img9">Rustic Children</a></span></td>  <td align='left'>Gainsborough</td>  <td align='right'>59</td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img10">La Cruche Cass&eacute;e</a></span> (The Broken Pitcher)</td>  <td align='left'>Greuze</td>  <td align='right'>71</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in the Louvre, Paris.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img11">Child&#8217;s Head</a></span></td>  <td align='left'>Bouguereau</td>  <td align='right'>77</td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img12">The Little Rabbit Seller</a></span></td>  <td align='left'>Meyer von Bremen</td>  <td align='right'>81</td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img13">Beggar Boys</a></span></td>  <td align='left'>Murillo</td>  <td align='right'>89</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in the Pinacothek, Munich.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img14">Street Arabs</a></span></td>  <td align='left'>Dorothy Tennant Stanley</td>  <td align='right'>98</td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img15">The Meeting</a></span></td>  <td align='left'>Marie Bashkirtseff</td>  <td align='right'>103</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in the Luxembourg, Paris.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img16">Castles in Spain</a></span></td>  <td align='left'>J. G. Brown</td>  <td align='right'>107</td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img17">Group of Angels.</a></span> From the Assumption</td>  <td align='left'>Titian</td>  <td align='right'>119</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in the Academy, Venice.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img18">Piping Angel.</a></span> Detail of Frari Madonna</td>  <td align='left'>Bellini</td>  <td align='right'>127</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in Venice.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img19">Angel.</a></span> From Madonna and Child</td>  <td align='left'>Luigi Vivarini</td>  <td align='right'>131</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in the Church of Redentore, Venice.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img20">Angel.</a></span> From the Vision of Saint Bernard</td>  <td align='left'>Filippino Lippi</td>  <td align='right'>135</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in the Badia, Florence.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img21">Madonna of the Casa Tempi</a></span></td>  <td align='left'>Raphael</td>  <td align='right'>147</td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img22">Infant Jesus and Saint John</a></span></td>  <td align='left'>Boucher</td>  <td align='right'>155</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>From the original painting in the Uffizi, Florence.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img23">The Christ-Child</a></span></td>  <td align='left'>Deger</td>  <td align='right'>159</td>  </tr>
+<tr>  <td align='left'><span class="smcap"><a href="#img24">Head of Boy Christ</a></span></td>  <td align='left'>Hofmann</td>  <td align='right'>163</td>  </tr>
+<tr>  <td align='left'><span style="margin-left: 2em;"><em>Detail of Christ Disputing with the Doctors.</em></span></td>  <td align='left'></td>  <td align='right'></td>  </tr>
+
+</table></div>
+
+<hr style="width: 65%;" />
+
+
+
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h2>I.</h2>
+
+<h2>CHILDHOOD IN IDEAL TYPES.</h2>
+
+<hr style="width: 65%;" />
+
+
+<p><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+
+<div class="box">
+<p style="margin-left: 15em;">
+    O child! O new-born denizen<br />
+    Of life&#8217;s great city! on thy head<br />
+    The glory of the morn is shed,<br />
+    Like a celestial benison!<br />
+    Here at the portal thou dost stand,<br />
+    And with thy little hand<br />
+    Thou openest the mysterious gate<br />
+    Into the future&#8217;s undiscovered land.<br />
+
+    <span style="margin-left: 10em;" class="smcap">Longfellow.</span></p>
+
+</div>
+
+<hr style="width: 65%;" />
+
+
+<p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+<h2>CHILD-LIFE IN ART.</h2>
+
+<hr style="width: 10%;" />
+
+<h2>CHAPTER I.</h2>
+
+<p class="center"><strong>CHILDHOOD IN IDEAL TYPES.</strong></p>
+
+<div class="box">
+
+<p class="txt">If we could gather into one great gallery all the paintings of
+child-life which the world has ever produced, there would be scattered
+here and there some few works of a distinctly unique character, before
+which we should rest so completely satisfied that we should quite forget
+to look at any others. These choice gems are the work of those rare men
+of genius who, looking beyond all trivial circumstances and individual
+peculiarities, discovered the essential secrets of child-life, and
+embodied them in ideal
+<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span>
+types. They are pictures of <em>childhood</em>, rather
+than of <em>children</em>, representing those phases of thought and emotion
+which are peculiar to the child as such, and which all children possess
+in common. In their presence every mother spontaneously exclaims, &ldquo;How
+like my own little one!&rdquo; because the artist has interpreted the real
+child nature. Such pictures may justly take rank among the highest
+productions of creative art, having proven their claim to greatness by
+their unquestioned appeal to universal admiration.</p>
+
+<p class="txt">In work of this kind one name alone is prominent, a name which England
+is proud to claim as hers, but to which all the world pays honor,&mdash;the
+name of Sir Joshua Reynolds, Prince of Child-painters. A simple-hearted
+man, of sweet, kindly disposition, the great portrait-painter, bachelor
+though he was, possessed in rare measure the mysterious gift of winning
+the <span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span>
+confidence of children. The great octagonal studio in Leicester
+Square must have often resounded to the laughter of childish voices, as
+he entertained his little patrons with the pet dogs and birds he used in
+their portraits, and coaxed them into good nature with a thousand merry
+tricks. Although the greater number of these little people belonged to
+the most wealthy and aristocratic families in England, their pictures
+do not in any way indicate their rank. Still less do they show any
+distinguishing marks of the artificial age in which they lived. Dressed
+in the simplest of costumes, of the sort which is never out of fashion
+and always in the best taste, and posed in the natural attitudes of
+unconscious grace, they are representatives of childhood, pure and
+simple, rather than of any particular social class or historical period.</p>
+
+<p class="txt">A list of Sir Joshua&#8217;s child pictures may
+<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> suitably begin with one
+which, in his own opinion, is among the best and most original of all
+his works. This is the Strawberry Girl, exhibited in 1773, and repeated
+many times by the painter,&mdash;&ldquo;not so much for the sake of profit,&rdquo; as
+Northcote explains, &ldquo;as for improvement.&rdquo; The model was the artist&#8217;s
+pretty niece, Miss Theophila (&ldquo;Offy&rdquo;) Palmer, who was named for his
+mother, and whom he loved as an own daughter.</p>
+
+<p class="txt">The little girl stands with head slightly drooping, in the sweet, shy
+way so natural to a timid child. The big eyes are lifted to ours half
+confidingly, half timidly, while a smile hovers bewitchingly over the
+mouth. A long, pointed basket hangs on one arm, and the plump hands are
+folded together in front like a little woman&#8217;s. The child wears a
+curious round cap on her head, under which, presumably, her hair is
+gathered up in womanly
+<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span>
+fashion, for there are no stray locks to be
+seen except the two soft curves on the forehead. Altogether, the figure
+presents just that odd commingling of dignity with childish timidity
+which we so often notice in our own little maids, and which makes them
+at once so lovable and so womanly.</p>
+
+<p><a name="img2" id="img2"></a></p>
+<div class="figcenter" style="width: 378px;">
+<img src="images/img2_th.jpg" width="378" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img2.jpg">the strawberry girl.&mdash;reynolds.</a></span>
+</div>
+
+<p class="txt">Some fifteen years after Sir Joshua&#8217;s niece posed as the Strawberry
+Girl, her own little daughter, another &ldquo;Offy,&rdquo; served the artist uncle
+as the model for Simplicity. The great-niece was as lovely a child as
+her mother had been, and critics agree in placing Simplicity among the
+best works of the painter. The setting is a landscape, in the foreground
+of which the child is seated, with her lap full of flowers. The sweet
+face is turned aside in a somewhat pensive poise, and the exquisite
+purity of its expression is exactly represented by the title. Of a
+similar character is the Age of Innocence, which portrays a little girl
+<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span>
+looking out into the world with wide eyes and parted lips, a complete
+embodiment of the innocence of childhood on the threshold of life. The
+face, which is presented in profile, is finely cut, and charmingly
+framed in short, clustering curls.</p>
+
+<p class="txt">In looking for ideal types among the child-pictures of Sir Joshua
+Reynolds, we need by no means be confined to those which bear fancy
+titles. His portraits are as truly interpretative as his imaginative
+subjects, and each typifies a distinct element of child-life. The little
+Miss Bowles sitting on the ground hugging her dog, and Master Bunbury
+looking out of the canvas with breathless eagerness, arouse a universal
+interest, which is entirely independent of their individuality. Miss
+Frances Harris, the serene, and Miss Penelope Boothby, the demure, will
+be loved as child ideals long after their names are forgotten.</p>
+
+<p class="txt"><span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+A <em>prot&eacute;g&eacute;</em> of Reynolds from the first, Lawrence became his successor
+as Painter-in-Ordinary to the King, and in process of time rose to the
+proud honor of the presidency of the Royal Academy. Holding thus the two
+positions which Reynolds had graced so many years, it may be said that
+the master&#8217;s mantle fell upon him more truly than upon any other
+follower.</p>
+
+<p class="txt">In technique his painting is criticised by connoisseurs as deficient in
+that harmonious blending of the flesh tints with the background which so
+delights us in other artists. Then, too, his insight into character was
+far less penetrating than that of his predecessor. Nevertheless, his
+best work has much of the beauty and animation which we so admire in the
+paintings of Reynolds.</p>
+
+<p class="txt">One of his notable pictures is the portrait of Master Lambton, son
+of Lord
+<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span>
+Durham, sometimes called, in imitation of the Blue Boy of
+Gainsborough, the Red Boy. The painting was exhibited at the Paris Salon
+of 1824, where it is said to have completely turned the heads of French
+critics, so fascinating was the aristocratic melancholy of the beautiful
+boy it represented.</p>
+
+<p class="txt">For a companion piece to this picture, one might choose the portrait of
+Mr. Peel&#8217;s daughter, which is considered an exceptionally fine work.</p>
+
+<p class="txt">Lawrence&#8217;s groups of mothers with their children are especially worthy
+of study. The most famous of these are Lady Dover, with her son, Lord
+Clifden, in her arms, and the Countess Gower, with her little daughter
+Elizabeth on her lap.</p>
+
+<p class="txt">The latter has been carried by the engraver&#8217;s art into nearly every
+country of the world, and often appears under the title, &ldquo;Maternal
+Love.&rdquo; Both mother and
+<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span>
+child are looking with intense interest in the
+direction toward which the little girl points an eager finger. The
+child&#8217;s face is full of vivacious beauty, the sparkling eyes and parted
+lips perfectly representing the alert, imaginative type of child nature.</p>
+
+<p class="txt">The finest of Sir Thomas Lawrence&#8217;s child pictures is undoubtedly the
+portrait of the Calmady children, better known by the title of &ldquo;Nature.&rdquo;
+This is indeed a picture disclosing the essential truth of the child
+nature; the two little ones are frolicking together in a perfect abandon
+of innocent merriment.</p>
+
+<p class="txt">The pretty story of the sittings in which this portrait was obtained, is
+a key to its success. The children romped with the artist as with a boon
+companion, and the younger relieved the monotony of the hour by relating
+to him the nursery tales of Dame Wiggins, and the Field Mice and
+Raspberry Cream. Thus the painter
+<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span>
+won the confidence of his little
+friends, and delineated them in all the fresh charm of their youthful
+vivacity. Nature deserves a place beside Simplicity as a true picture of
+the heart of childhood.</p>
+
+<p class="txt">But after all has been said concerning the child pictures in any way
+similar to those of Sir Joshua Reynolds, it must still be admitted that
+his work is entirely unique in what may be termed the <em>universality</em> of
+its idealism. Other pictures of child-life there are,&mdash;many of them of
+equal and even of superior merit as works of art,&mdash;which are marked by a
+fine quality of idealism; but this idealism is limited in its range to
+the delineation of individuals, or of particular classes. These pictures
+naturally fall into groups based upon the social classes which they
+represent, and by this method of classification, they will be considered
+in the subsequent chapters.</p>
+
+<p><a name="img3" id="img3"></a></p>
+<p><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+<div class="figcenter" style="width: 371px;">
+<img src="images/img3_th.jpg" width="371" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img3.jpg">penelope boothby.&mdash;reynolds.</a></span>
+</div>
+
+<p class="txt"><span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+Miss Penelope&#8217;s face is one of the most familiar of Sir Joshua&#8217;s art
+children, and the first favorite with many for the arch loveliness of
+her expression. Although her mouth is set in a prim little pucker, we
+cannot repress the suspicion that behind it lurks a good deal of
+childish fun. The big mob cap and the voluminous mitts add not a little
+to the quaint charm of the picture, and make it easily recognized by
+many who are otherwise unfamiliar with Reynolds&#8217;s works.</p>
+
+<p class="txt">As it was a fashion of eighteenth century art to draw subjects largely
+from classic mythology, we find among Sir Joshua&#8217;s child pictures an
+Infant Bacchus, an Infant Jupiter, and an Infant Hercules. This last was
+painted to fill a commission from the Empress Catherine of Russia, and
+is a powerful representation of the young hero, seated on wolf-skins,
+strangling serpents.</p>
+
+<p class="txt"><span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span>
+Mercury as a Postman and Cupid as a Link-Boy are companion pieces,
+painted from the same model,&mdash;a mischievous young street boy, whose
+simulated gravity is irresistibly droll. The artist&#8217;s keen sense of
+humor is seen again in that most captivating little rogue, Puck. The
+saucy elf is perched on a mushroom, resting after a frolic, and
+apparently plotting new escapades.</p>
+
+<p class="txt">A complete enumeration and description of Reynolds&#8217;s child pictures
+would fill a bulky volume, so eagerly, through a period of over thirty
+years, were the great portrait painter&#8217;s services demanded by all the
+distinguished families of the day. Of special interest and beauty are
+some of the portraits of mothers with their children. The lovely Lady
+Waldegrave, clasping her babe to her breast, is one of these, while
+another is the celebrated beauty, the Duchess of Devonshire, playing
+with her infant
+<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span>
+daughter. A charming group is Lady Cockburn and her
+Boys, which has been engraved under the title of the Roman matron
+Cornelia and her Children. It is said of this splendid production, that
+when it was brought into the Royal Academy exhibition to be hung, it was
+greeted by the assembly of painters with a great demonstration of
+applause. It is no wonder, then, that this should be one of the few
+paintings to which the master attached his signature.</p>
+
+<p><a name="img3a" id="img3a"></a></p>
+<div class="figcenter" style="width: 415px;">
+<img src="images/img3a_th.jpg" width="415" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img3a.jpg">angel heads.&mdash;reynolds.</a></span>
+</div>
+
+<p class="txt">Our list of Reynolds&#8217;s pictures would be defective without some mention
+of the famous Angel Heads, which is peculiarly a representative work. It
+consists of a cluster of little cherubs, representing, in five different
+expressions, the delicate features of a single face, whose original was
+Miss Frances Isabella Gordon. Painted in 1786, near the close of his
+great career, it seems to gather up into a harmonious
+<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> whole those
+several aspects of childhood which Sir Joshua&#8217;s long and wide experience
+had revealed to him as the typical movements of the child mind.</p>
+
+<p class="txt">The five totally dissimilar expressions embody those varying attitudes
+of mind which the child may successively assume in any critical
+experience of its young life. The clear-cut profile of the lower face at
+the left suggests the face of the child in the Age of Innocence who
+first confronts the problem of life. The one just above has the
+thoughtful poise of the little girl Simplicity, pondering over an
+important question, while the remaining heads stand for those
+imaginative and emotional moods which complete the cycle of human
+experience.</p>
+
+<p><a name="img4" id="img4"></a></p>
+<p><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>
+<div class="figcenter" style="width: 481px;">
+<img src="images/img4_th.jpg" width="481" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img4.jpg">nature.&mdash;lawrence.</a></span>
+</div>
+
+<p class="txt">The original of this beautiful
+picture<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> is in the National Gallery at
+London, and fortunate indeed are they who have the privilege of standing
+before it to delight
+<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span>
+their eyes with the blonde loveliness of the
+sweet faces, framed in aureoles of golden ringlets.</p>
+
+<p class="txt">It would be difficult to estimate the incalculable influence which the
+life and work of Sir Joshua Reynolds have exerted on the progress of art
+in the past century. The influence of his paintings was supplemented by
+the series of discourses which it was his duty as President of the
+Royal Academy to deliver annually on subjects of art criticism. His
+unparalleled success brought forth many followers and imitators; but
+among their works few can be selected as worthy presentations of
+childhood in ideal types.</p>
+
+<p class="txt">Gainsborough and Romney were considered to some extent the rivals of
+Reynolds, but Gainsborough&#8217;s child pictures were drawn from rustic life,
+and Romney&#8217;s are not worthy of comparison with the master&#8217;s. We must
+turn, then, for the best
+<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span>
+results of Reynolds&#8217;s influence to the work of
+Sir Thomas Lawrence, who entered upon his career just as the great
+portrait-painter was obliged to lay aside his brush from failing sight.</p>
+
+</div>
+
+<hr style="width: 65%;" />
+
+
+
+
+<p><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+<h2>II.</h2>
+
+<h2>CHILDREN BORN TO THE PURPLE.</h2>
+
+<hr style="width: 65%;" />
+
+
+
+<p><span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+
+<div class="box">
+<p style="margin-left: 12em;">
+    For thrones and peoples are as waifs that swing<br />
+      <span style="margin-left: 1em;">And float or fall, in endless ebb and flow;</span><br />
+      <span style="margin-left: 1em;">But who love best have best the grace to know</span><br />
+    That Love, by right divine, is deathless King.<br />
+
+<span style="margin-left: 12em;" class="smcap">Tennyson.</span></p>
+
+</div>
+
+
+<hr style="width: 65%;" />
+
+
+
+<p><span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+<h2>CHAPTER II.</h2>
+
+<p class="center"><strong>CHILDREN BORN TO THE PURPLE.</strong></p>
+
+<div class="box">
+
+<p class="txt">The children of a royal family lead a strange and somewhat lonely life.
+Impressed, almost from infancy, with a sense of their superiority, and
+recognizing no equals among their companions and playmates, they live
+apart in princely isolation, preparing for the future honors which
+await them. But even the grave responsibilities of their rank cannot
+altogether extinguish the inherent joyousness of youth, and children
+will be children to the end of time. The stately ceremonies of the court
+have to yield in turn to innocent amusements, and childhood reasserts
+its natural right to simple and spontaneous happiness.</p>
+
+<p class="txt"><span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span>
+The combination of royal dignity with pure childishness is a unique
+subject for art, and one which few have had the genius to portray. Two
+great painters are famous in history for their remarkable success in
+this line of work,&mdash;Van Dyck, of Belgium, and Velasquez, of Spain.</p>
+
+<p class="txt">In many respects the lives of these two painters ran in parallel lines.
+They were born in the same year, 1599; and beginning their art studies
+when still very young, with great opportunities for the development of
+their talent, both had won an enviable reputation by the time they had
+reached early manhood. Both held appointments as the court painters
+of kings who were unusually liberal and appreciative in their
+patronage,&mdash;Van Dyck under Charles I. of England, and Velasquez under
+Philip IV. of Spain. Both artists drew great inspiration from the
+Italian masters, whose works they studied in
+<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span>
+Venice and Rome,
+particularly the great Titian. Here, however, the comparison may end;
+for the nature of the subjects which each chose, the influence of their
+nationality upon their style, and, above all, their own personal
+individuality as artists, have rendered their work strikingly
+dissimilar.</p>
+
+<p class="txt">Van Dyck was in every sense a man of the world and a courtier; widely
+travelled, broadly cultured, fond of music, brilliant in conversation,
+handsome of face, and graceful in bearing, by turns an elegant host and
+a distinguished guest. Thus all his thoughts, interests, and pleasures
+were thoroughly identified with the court life, and he was peculiarly
+fitted for the artistic interpretation of royalty.</p>
+
+<p class="txt">The family of Charles I. of England afforded a most attractive field for
+the exercise of the court painter&#8217;s talent, and many and varied are the
+groups in which
+<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+they were represented.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>
+Some of the most interesting
+of these are in the collection at Windsor. In one, the king and queen
+are seen, with their two sons, Prince Charles and Prince James; while
+another portrays the same boys, with their mother, Henrietta Maria. The
+latter painting is an exceedingly beautiful work, repaying long study.
+The boys have that indefinable air of nobility which Van Dyck knew so
+well how to impart to his subjects, and which none can imitate or
+explain. Even Prince James, who is an infant in arms, holds his little
+head erect, like the prince that he is. The artist has shown us,
+however, that royal dignity is by no means incompatible with the true
+child nature, and the two young princes are always depicted as genuine
+children, with frank, winning faces.</p>
+
+<p><a name="img5" id="img5"></a></p>
+<p><span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span></p>
+<div class="figcenter" style="width: 377px;">
+<img src="images/img5_th.jpg" width="377" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img5.jpg">head of james, duke of york.&mdash;van dyck.</a></span>
+</div>
+
+<p class="txt">The most popular of Van Dyck&#8217;s portraits of the Stuart children is the
+famous
+<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span>
+group at Turin, in which the two young princes, Charles and
+James, stand one on each side of their sister Mary. All three bear
+themselves with an air of conscious superiority, a gentle and serene
+dignity born of their faith in the divine right of kings. Prince Charles
+is dressed in scarlet satin, richly embroidered with silver lace, with a
+broad lace collar falling over his shoulders. His large round eyes look
+out towards the spectator with the dreamy expression of one who builds
+splendid air-castles. The Princess Mary is in white satin, and is a
+dainty little figure, a second edition of her queen mamma, with ringlets
+carefully ranged on each side of her pretty forehead, and her exquisite
+hands holding lightly the lustrous folds of her dress.</p>
+
+<p class="txt">The little Prince James is so short that he stands on a platform at the
+side, to bring his figure into harmonious relation to the group. His
+dress is blue satin, of stiff,
+<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+full skirt, which, with the close white
+cap on his head, makes him a quaint little figure. A chubby, innocent
+looking baby, he is nevertheless a personage who fully realizes the
+important place he occupies in the family group, and is determined to
+fill it with becoming gravity.</p>
+
+<p class="txt">Next in popularity to the Turin picture is a group of five children, the
+original of which is at Windsor, and a replica at Berlin. The painting
+is dated 1637, fixing the age of Prince Charles as seven. Having now
+outgrown the frocks of the earlier pictures, he stands in a graceful
+boyish attitude, wearing satin knickerbockers and waistcoat, and still
+retaining the beautiful lace collar on his aristocratic shoulders. His
+eyes have the same dreamy look as in other portraits. On his right are
+his sisters Mary and Elizabeth, the former demurely complacent as
+before, the latter timid and dainty. On the left
+<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+the little Princess
+Anne frolics with Prince James in simple childish fashion. As a
+composition, the picture is somewhat stiff and artificial, but the
+single figures are all rendered with characteristic beauty.</p>
+
+<p class="txt">It is sad to place beside Van Dyck&#8217;s glowing canvases, the dark pictures
+in which historians have painted the after-life of these charming
+children. The dreamy-eyed Prince Charles grows at length into the
+corrupt and unprincipled King Charles II., whose tyrannies are limited
+only by his indolence. The sweet, round-faced baby, Prince James,
+becomes King James II., whose reign is even more inglorious than that of
+the brother whom he succeeds. The Princess Mary has in the mean time
+married Prince William II. of Orange, and now, in England&#8217;s hour of
+need, it is her son, William III. of Orange, who is summoned to the aid
+of his mother&#8217;s native land.
+<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+With his cousin wife Mary, the daughter of
+the unworthy king, he assumes the head of affairs, and wisely conducts
+the interests of the people throughout a prosperous reign.</p>
+
+<p class="txt">The fact that the Princess Mary&#8217;s marriage with William II. of Orange
+was productive of so great a benefit to England gives special interest
+to Van Dyck&#8217;s painting of the betrothed lovers, which may now be seen at
+Amsterdam. The princess stands on the left side of the picture, bearing
+herself with characteristic dignity. Prince William, beside her, holds
+her left hand lightly in his right, and turns his face to meet our gaze
+with steadfast, serious eyes. He is a fine, manly figure, in every way
+the true Prince Charming for his pretty lady-love. Both children have a
+thoughtful, intelligent look, far beyond their years, as if conscious
+that England&#8217;s destiny turns upon their union.</p>
+
+<p><a name="img6" id="img6"></a></p>
+<p><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
+<div class="figcenter" style="width: 400px;">
+<img src="images/img6_th.jpg" width="400" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img6.jpg">princess mary and prince of orange.&mdash;van dyck.</a></span>
+</div>
+
+<p class="txt"><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span>
+From Van Dyck&#8217;s exquisitely idealized portraits of royal children we
+turn to the work of Velasquez, to find a faithful reproduction of the
+totally different type of child-life represented at the court of Spain.
+Appointed court painter at the age of twenty-four, and retaining this
+connection until his death, in 1660, the Spanish artist has left to
+posterity a vivid panorama of the royal life at Madrid during a period
+of nearly forty years. His delineations are so realistic, his technique
+is so masterly, his posing of figures so entirely natural, that his
+pictures seem to place the living reality before us. Often representing
+the characters he painted as occupied in their customary daily pursuits,
+his works are a truthful reflection of the life of his times, and are as
+full of historical interest as of artistic merit.</p>
+
+<p class="txt">The court to which the young painter was introduced in 1623 might almost be
+<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span>
+called A Court of Boys, the king, Philip IV., being but eighteen
+years of age, and his two brothers, the Cardinal Infant Don Fernando,
+and the Prince Carlos, seventeen and thirteen respectively. The youthful
+king was, of course, his first royal patron, and was painted in a
+magnificent equestrian portrait, which at once established the artist&#8217;s
+fame.</p>
+
+<p class="txt">With the birth of the king&#8217;s first child, the Prince Balthasar Carlos,
+in 1629, the court painter&#8217;s duties began in earnest; and from that time
+on he was most assiduous in portraying the royal family.</p>
+
+<p class="txt">Prince Balthasar was represented in almost every imaginable position,
+first as a tiny child in frocks, and later as a young boy in court
+dress,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a>
+military costume, or hunting-garb.</p>
+
+<p class="txt">In his most attractive portraits he is a gallant young horseman, seated
+with an easy grace, as if born to the saddle. Two
+<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> of these are scenes
+in the riding-school, and are admirable compositions. The most
+remarkable, however, is that in the Madrid Museum, in which the little
+prince rides alone on a bright bay. The beautiful pony bounds out of the
+picture with great spirit and grace, guided by his happy, round-faced
+rider, whose right hand lifts a b&acirc;ton, and whose left holds the bridle.
+The brilliant colors of his riding-costume make the picture exceedingly
+effective in rich, warm tints,&mdash;the green velvet jacket and the
+red-and-gold scarf,&mdash;while the young cavalier&#8217;s fluttering streamers and
+the horse&#8217;s sweeping mane and tail give a swift breezy motion to the
+whole scene.</p>
+
+<p class="txt">Next in age to Prince Balthasar came the Princess Maria Theresa, who
+afterwards became the queen of Louis XIV. of France. Velasquez painted
+various portraits of this little princess to be sent
+<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> to the European
+courts where negotiations for her marriage were under consideration;
+but, unhappily, the fate of most of these is shrouded in mystery. One
+interesting painting, however, may be seen in the Royal Gallery at
+Madrid.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a>
+The child has a sweet, demure face, which seems very narrow
+and delicate-looking in its broad frame of elaborately arranged hair.
+Her bearing is dignified, in spite of her uncomfortable dress. In one
+hand she carries an immense handkerchief, and in the other a rose, both
+resting lightly on the outer edge of the huge hemisphere, of which her
+slender figure forms, as it were, the central axis. Her sad and lonely
+after-life as a neglected queen, in the gay and dissolute French court,
+makes the picture singularly pathetic. There is a look of sweet patience
+in the face, which seems to anticipate the coming years.</p>
+
+<p><a name="img7" id="img7"></a></p>
+<p><span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span></p>
+<div class="figcenter" style="width: 326px;">
+<img src="images/img7_th.jpg" width="326" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img7.jpg">princess maria theresa.&mdash;velasquez.</a></span>
+</div>
+
+<p class="txt">By King Philip&#8217;s second marriage he
+<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span>
+brought to the Spanish court as
+his wife the Princess Mariana of Austria, who was then only fourteen
+years of age. The young queen was of course frequently portrayed by the
+court painter, but she did not make a very attractive subject for his
+skill, with her rather dull eyes and her full lips, and cheeks
+plentifully bedaubed with rouge.</p>
+
+<p class="txt">As there was a difference of but three years in the ages of the
+child-wife and the Princess Maria Theresa, the two were constant
+companions; and when the Princess Margaret was christened, the elder
+sister stood as godmother with great dignity. A pretty story is related
+that on the way to the chapel for the christening, Maria Theresa let
+slip from her finger a costly ring, which a poor woman picked up to
+return to her. &ldquo;Keep it,&rdquo; said the little princess, with true royal
+tact; &ldquo;God has sent it to you.&rdquo;</p>
+
+<p class="txt"><span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span>
+The Princess Margaret became the darling of the court, and her blonde
+beauty is immortalized in many portraits by Velasquez. The most famous
+of these is the picture called &ldquo;Las Meninas,&rdquo; or The Maids of Honor, in
+which the young princess is the central figure of a group of devoted
+attendants. The composition is a veritable masterpiece, representing
+with perfect naturalness a daily scene in the palace. The princess rules
+with a sweet, complacent smile, and one can well imagine what an object
+of admiration her fair hair and blue eyes must have been among the
+swarthy, dark-eyed Spaniards.</p>
+
+<p><a name="img8" id="img8"></a></p>
+<div class="figcenter" style="width: 405px;">
+<img src="images/img8_th.jpg" width="405" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img8.jpg">princess margaret.&mdash;velasquez.</a></span>
+</div>
+
+<p class="txt">Another celebrated painting of the same child is in the Louvre at Paris,
+where it is a centre of attraction for art lovers and copyists, on
+account of the exquisite delicacy of its technique. It is a half-length
+portrait, showing a winning face, with wide, earnest eyes, and
+<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span> a
+demure little mouth. The fair hair is parted at one side, where it is
+caught back with a ribbon bow,&mdash;a style which the princess is said to
+have retained even after her marriage with the Emperor Leopold.</p>
+
+<p class="txt">From an artist&#8217;s point of view, the beauty of the Velasquez child
+portraits is greatly injured by the grotesque fashions of the times. A
+long stiff corset and an immense oval hoop entirely precluded any
+possibility of grace in the attitude of the little princesses, while a
+ridiculously artificial style of dressing the hair completed the
+absurdity of a costume which was the laughing-stock of Europe.</p>
+
+<p class="txt">Van Dyck was in this respect far more fortunate in his surroundings, and
+the full, lustrous folds of satin in which the English royal children
+were arrayed, gave him ample scope for an exquisite disposition of light
+and shade.</p>
+
+<p class="txt">Independently of purely artistic
+<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span>
+principles, we should be sorry to
+lose from the pictures of either artist that element of interest and
+fascination which the costumes of an earlier epoch always arouse. The
+Princess Maria Theresa would be less interesting without her big hoop,
+and the Princess Mary less dignified without her voluminous satin;
+Charles would scarcely be the prince that he is, if lacking his broad
+lace collar, and Prince Balthasar would lose much of his charm, deprived
+of his red and green bravery. There is, in fact, no detail in any of
+these pictures which does not throw light upon the phase of life which
+they portray.</p>
+
+<p class="txt">Other great masters besides Van Dyck and Velasquez have been called to
+the portraiture of royalty,&mdash;Titian,<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a>
+Holbein,<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> Rubens,&mdash;but for
+various reasons they painted but few pictures of royal children, and
+these are by no means notable when compared with their other works.</p>
+
+<p class="txt"><span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span>
+Van Dyck and Velasquez, therefore, stand out the more prominently for
+this unique class of court portraits, and so long as their works endure,
+they will take first rank as a revelation of the peculiar grace and
+charm of the life of children born to the purple.</p>
+
+</div>
+
+<hr style="width: 65%;" />
+
+
+
+
+<p><span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
+<h2>III.</h2>
+
+<h2>THE CHILDREN OF FIELD AND VILLAGE.</h2>
+
+<hr style="width: 65%;" />
+
+
+
+<p><span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span></p>
+
+<div class="box">
+<p style="margin-left: 15em;">
+    O for boyhood&#8217;s painless play,<br />
+    Sleep that wakes in laughing day,<br />
+    Health that mocks the doctor&#8217;s rules,<br />
+    Knowledge never learned of schools,<br />
+    Of the wild bee&#8217;s morning chase,<br />
+    Of the wild-flower&#8217;s time and place,<br />
+    Flight of fowl, and habitude<br />
+    Of the tenants of the wood;&mdash;<br /><br />
+
+    For, eschewing books and tasks,<br />
+    Nature answers all he asks;<br />
+    Hand in hand with her he walks,<br />
+    Face to face with her he talks,<br />
+    Part and parcel of her joy,&mdash;<br />
+    Blessings on the barefoot boy!<br />
+
+    <span style="margin-left: 10em;" class="smcap">Whittier.</span></p>
+
+</div>
+
+<hr style="width: 65%;" />
+
+
+
+<p><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+<h2>CHAPTER III.</h2>
+
+<p class="center"><strong>THE CHILDREN OF FIELD AND VILLAGE.</strong></p>
+
+<div class="box">
+
+<p class="txt">The most fortunate children in the world are those whose first lessons
+in life have been learned on the lap of Mother Nature. Taught by her to
+know and love all the beautiful things of the glad green earth; versed
+in the mystic language of woodland birds and beasts; trained to the
+skilful use of eye and muscle,&mdash;they possess the secret of a happiness
+which knows no equal. Theirs is a life of perfect liberty, untrammelled
+by the false conventions of society, uninjured by over-indulgence,
+untainted by contact with vice. Growing up under these conditions into a
+healthy and vigorous beauty, the children of field and village have long
+<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span>
+been a source of delight and inspiration to both poet and painter.</p>
+
+<p class="txt">In <em>genre</em> painting, Holland gave the initiative to the art world in the
+works of Jan Steen, the Teniers, and others. The influence of the Dutch
+school at length made itself felt in England; and after the renaissance
+of British art, in the middle of the eighteenth century, many painters
+arose to interpret the conditions of rustic life peculiar to England.</p>
+
+<p class="txt">First on this list stands the name of Thomas
+Gainsborough.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a>
+From early boyhood he loved nature with all the intensity of a true artist&#8217;s soul,
+and many picturesque scenes in the vicinity of his native Sudbury were
+indelibly impressed upon his youthful mind. Later in life, when at the
+height of his success as a great London painter, his favorite summer
+resort was Richmond, where, wandering about the country from day to day,
+he met many an
+<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span>
+interesting village child whose face was transferred
+to his canvas. Fortunate little models, these; for the artist always
+rewarded them for their sittings with lavish generosity.</p>
+
+<p><a name="img9" id="img9"></a></p>
+<div class="figcenter" style="width: 393px;">
+<img src="images/img9_th.jpg" width="393" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img9.jpg">rustic children.&mdash;gainsborough.</a></span>
+</div>
+
+<p class="txt">One particular boy, Jack Hill by name, so charmed Gainsborough that he
+actually adopted the lad, and immortalized his handsome features in two
+paintings.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a>
+Jack Hill did not live up to his privileges, and,
+preferring his old free life to the restrictions of a more elegant
+household, he ran away. He was, however, never forgotten; and after
+Gainsborough died, his good widow provided amply for the youth&#8217;s
+welfare.</p>
+
+<p class="txt">Perhaps the most extensively known of all Gainsborough&#8217;s delineations of
+country child-life is the Rustic Children of the National Gallery. The
+central figure is a young girl, standing, with a child in her arms; a
+boy sits on the bank beside
+<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span>
+her with a bundle of fagots. The group is
+artistically conceived, with one of Gainsborough&#8217;s characteristic
+landscapes as a background, showing a cottage home. The children are
+graceful and natural, with that indefinable poetic charm peculiar to the
+painter&#8217;s work.</p>
+
+<p class="txt">A picture attracting a great deal of admiration in the lifetime of
+Gainsborough, was the Boy at the Stile. While this treasure was still in
+the hands of the artist, he was visited one day by Colonel Hamilton,
+then considered the finest violinist of his times. Gainsborough, a
+devoted lover of music, begged him to play, and when the first air was
+finished, rapturously exclaimed, &ldquo;Now, my dear Colonel, if you will but
+go on, I will give you that picture of the Boy at the Stile, which you
+so wished to purchase of me.&rdquo;</p>
+
+<p class="txt">In half an hour the prize was won, and both parties were well satisfied
+with the agreement.</p>
+
+<p class="txt"><span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span>
+In studying Gainsborough&#8217;s rustic children as a class, it is noticeable
+that he emphasizes the pathetic side of their life; instead of a
+thrifty, tidy appearance, in which England&#8217;s village children are by no
+means lacking, he gives his subjects a careless, neglected air. The
+Rustic Children of the National Gallery are unnecessarily ragged; their
+hair is wild and dishevelled, and their general appearance untidy. Many
+of the children of the most celebrated pictures are attractive from a
+delicate, refined beauty, rather than from the robust and healthy
+vitality we naturally associate with country life. This makes their
+surroundings incongruous, and we feel sorry that they are not in their
+true sphere. The child who stands, half-clad, before the hearth-fire, in
+the painting called the &ldquo;Little Cottager,&rdquo; has the delicate features of
+a true aristocrat. No cottage boy this, with shapely hands and large,
+<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span>
+melancholy eyes. His wistfulness is so touching that we would fain
+snatch him from his surroundings, and set him down amidst the soft
+luxuries which belong to him by right.</p>
+
+<p class="txt">The Shepherd Boy in a Storm has the face and expression of a poet, as he
+lifts his beautiful eyes to the overhanging clouds, with nothing of fear
+or shrinking, but with apparent admiration for the grandeur of Nature.</p>
+
+<p class="txt">Gainsborough painted many scenes of child-life in which animals are
+introduced, as in the picture of a girl holding a child on a donkey, and
+in one representing two shepherd boys looking on at fighting dogs. He
+did not hesitate before a subject which would have appalled most
+artists, and which, in other hands, would have been vulgar and
+common,&mdash;A Girl Feeding Pigs. This he painted with such skill that
+Reynolds instantly recognized its
+<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span>
+greatness, and eagerly purchased it
+for a sum far in advance of the price modestly named by the painter. The
+amusing anecdote is related concerning this work that a countryman, who
+studied it attentively some time, gave it as his opinion that &ldquo;they be
+deadly like pigs; but nobody ever saw pigs feeding together but what one
+on &#8217;em had a foot in the trough.&rdquo;</p>
+
+<p class="txt">Gainsborough<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a>
+is pronounced by Ruskin the purest colorist of the
+English school, taking rank beside Rubens, and adding a lustre to the
+fame of British art which time can do nothing to dim. His style is so
+peculiarly individual in its characteristics that it cannot properly
+be compared with that of any other artist; but his predilection for
+subjects drawn from rural child-life finds a parallel in the work of his
+French contemporary, Jean Baptiste
+Greuze.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></p>
+
+<p class="txt">The pictures by which Greuze made his
+<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+early reputation, and which
+perhaps he never excelled in later times, were the Father Explaining the
+Bible to his Children,<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a>
+and the Village Bride.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a>
+Both represent
+family scenes among village people, and contain, as their most charming
+features, some delightfully natural children. One could scarcely find
+anything more deliciously childlike than the mischievous little ones who
+gather about the table to listen to the Father Explaining the Bible, and
+whose love of fun even this solemn occasion cannot repress. Equally
+attractive are the young people gathering affectionately and tearfully
+about their pretty elder sister, the Village Bride, who comes with her
+lover to receive the parental blessing.</p>
+
+<p class="txt">The appearance of these two compositions made their artist famous,
+and won for him the ardent admiration and powerful friendship of the
+encyclop&aelig;dist Diderot.
+<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span>
+Continuing his work along this new<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> line of
+subjects, Greuze went on to paint many other scenes in the child-life
+of the country. Two notable companion pictures of this kind are the
+Departure of the Cradle, and the Return from the Nurse, founded upon
+a phase of French village life quite unknown in many other countries,
+namely, the custom among busy working-people of sending their infants
+out to board with nurses. Unnatural as was the custom, it by no means
+indicated a lack of family affection, as is seen in these charming
+compositions. In both cases, the child, at first an infant, and later
+a little boy a year or two old, is the centre of the group, fondled and
+admired by all.</p>
+
+<p class="txt">The pre-eminence of Greuze was due not only to the entire novelty of his
+chosen range of subjects, but to the exquisite beauty of his technique.
+He excelled in painting those fresh carnations,
+<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span>
+&ldquo;mixed with lilies and
+roses,&rdquo; as the French used to say, and diversified with blue-gray
+shadows and warm reflected light. Such characteristics are easily
+carried to extremes, and were often exaggerated by Greuze himself; but
+when held in true control they are a delight to the eye of the true
+color-lover.</p>
+
+<p class="txt">An example of his coloring, in its most lovely aspects, is the Trumpet.
+The scene is a cottage interior, in which a young mother, with a babe in
+her arms, sits beside a cradle containing another little one, and turns
+to quiet her roguish boy, who stands somewhat sulkily by her chair,
+reluctant to forego the pleasure of blowing on his trumpet. &ldquo;Silence! do
+not awaken him!&rdquo; is what the mother seems to say; and these words form
+the title under which the picture first appeared.</p>
+
+<p class="txt">Greuze could not altogether escape the
+<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span>
+blight of that artificiality
+which was everywhere characteristic of his times, and nowhere more
+conspicuous than in France. &ldquo;Soyez piquant, si vous ne pouvez pas &ecirc;tre
+vrai,&rdquo; was his advice to a fellow artist, Ducreux; and his own work too
+often shows evidence of the sacrifice of truth to piquancy. His single
+figures and heads are not, as a class, so true to nature as his
+compositions, although they are much better known to the public.
+Scattered far and wide through all the great art galleries of the world,
+they have been greatly admired for their delicate coloring, and for
+those qualities of prettiness which are always attractive.</p>
+
+<p class="txt">Nearly all these purport to be representations of children, but they are
+certainly not like the children of our own households, nor, indeed, like
+those of the same artist&#8217;s domestic pictures. They reverse the proverb,
+by being young heads
+<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span>
+on old shoulders, the face and features of
+childhood on the mature and well-developed figure of womanhood. The
+expression, too, is a curious combination of childlike simplicity with
+the sentimental melancholy of young maidenhood; and one cannot escape
+the impression that the models are not genuine peasant children, but
+pretty and somewhat worldly young women, masquerading in pastoral
+costumes for a fancy ball.</p>
+
+<p class="txt">From the long list of examples of this class, both figures and heads, a
+few well-known subjects will suggest the type: The Milkmaid, the Little
+Pouter, Simplicity, the Girl with an Orange, and the Broken Pitcher.</p>
+
+<p><a name="img10" id="img10"></a></p>
+<div class="figcenter" style="width: 401px;">
+<img src="images/img10_th.jpg" width="401" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img10.jpg">the broken pitcher.&mdash;greuze.</a></span>
+</div>
+
+<p class="txt">The last is probably more familiar than any other work of Greuze. It
+attained an immense popularity in the lifetime of the artist, attracting
+many people to his studio. Among the visitors was Mademoiselle
+<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span>
+Philipon, afterwards known to fame as Madame Roland, and her delightful
+description<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a>
+gives a complete idea of the picture:&mdash;</p>
+
+<p class="txt">&ldquo;It is a little girl, na&iuml;ve, fresh, charming, who has just broken her
+pitcher; she holds it on her arm, near the fountain where the accident
+occurred. Her eyes are downcast, her lips half parted; she tries to
+account for her mishap, and does not know if she is in fault. Nothing
+could be more piquant and charming. The only criticism one could suggest
+is that Monseiur Greuze has not made the little maid sorry enough, so
+that in the future she will not be tempted to return to the fountain!&rdquo;</p>
+
+<p class="txt">The heroine of the broken pitcher is dressed in white, has blue eyes and
+auburn hair, cherry lips, and pink-and-white complexion.</p>
+
+<p class="txt">For twenty-five years Greuze was the
+<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span>
+fashion in Paris. With all his
+faults, he was immeasurably superior to his French contemporaries, and
+his work was a decided step towards a new era. With the great political
+and social changes inaugurated in France early in the nineteenth
+century, an entirely new style of art, literary and graphic, was made
+possible, and a new school of painters arose to portray French peasant
+life.</p>
+
+<p class="txt">No modern artist has chosen a field which exactly corresponds to that of
+Greuze, the tendency being rather to neglect the child element to which
+he devoted so much energy. One painter may be mentioned, however, who
+has contributed a few valuable additions to this department of
+art,&mdash;William Adolphe Bouguereau.</p>
+
+<p class="txt">The remarkable number of works which Bouguereau has produced since his
+first great success in 1854 have made him
+<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span>
+distinguished for a large
+variety of subjects; but the pictures by which he has touched the hearts
+of the people are those in which he portrays the peasants of his own
+sunny land,&mdash;sweet, shy, dark-eyed girls, with masses of black hair
+pushed back loosely from their foreheads.</p>
+
+<p class="txt">One is a Little Shepherdess, who stands with careless grace poising a
+crook across her shoulders, while her eyes meet ours with a frank yet
+modest gaze. Again the same girl rests from her labors, sitting on a
+stone, lost in revery. Another sweet child is the girl seated by a well,
+with a broken pitcher lying on the ground beside her. Her hands are
+clasped on her knee, as she bends slightly forward in a pensive
+attitude, her large eyes full of childish pathos. Cajolery also belongs
+to this set, and is so named from the caresses with which a little girl
+begs some favor of an older sister, whose merry eyes show that
+<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> she
+fully understands the secrets of child diplomacy.</p>
+
+<p class="txt">Younger than any of these children is the bewitching little gypsy, whose
+tangled curls frame a round, dimpled face, with rosebud mouth, and big
+black eyes looking bashfully askance. There is a peculiar charm in the
+child&#8217;s shyness, as if, like some wild creature of the woods, she would
+turn and flee before a nearer approach.</p>
+
+<p class="txt">Bouguereau&#8217;s work, academic in style, and always refined and elegant in
+manner, has qualities of artistic excellence which place him in the
+foremost rank; and we are glad to believe that for many generations to
+come his lovely little peasant girls will be widely known and loved.</p>
+
+<p><a name="img11" id="img11"></a></p>
+<div class="figcenter" style="width: 413px;">
+<img src="images/img11_th.jpg" width="413" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img11.jpg">child head.&mdash;bouguereau.</a></span>
+</div>
+
+<p class="txt">From the dark-eyed children of sunny France to the fair-haired sons
+and daughters of the Saxon race is a long step, which introduces us
+to child-life of a totally different type. Childhood in the
+<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span> rural
+districts of Germany and Switzerland has been very completely portrayed
+by Johann Georg Meyer, better known as Meyer von Bremen,&mdash;the name he
+has taken in honor of his native city.</p>
+
+<p class="txt">With an intense sympathy for all the pleasures of childhood, Meyer
+unites a wonderfully delicate sense of the artistic and picturesque. His
+fertility of invention seems well-nigh inexhaustible. He has given us
+cottage scenes and out-of-door life with impartial liberality, and has
+shown equal skill of treatment, whether he handles groups or single
+figures.</p>
+
+<p class="txt">His subjects are drawn largely from life in the Hessian, Bavarian, and
+Swiss Alps, where he has carefully studied the manners and customs of
+the people. The cottage interiors have all the characteristic quaintness
+and charm of these peasant homes. High wooden chairs, of the
+&ldquo;fiddle-back&rdquo; pattern, are the conspicuous pieces of
+<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span>
+furniture; rich
+old cabinets stand against the walls, and oddly shaped earthern jars are
+ranged on shelves. The light comes through little diamond-paned windows,
+and gleams on floors of hard wood, unadorned with carpet or rug. In
+these surroundings, groups of flaxen-haired children sport in all the
+sweet innocence of healthy, happy childhood. Sometimes they gather
+eagerly about the table to play with their Pet Canary; at another time
+they cluster about their mother&#8217;s knee to peep admiringly at the
+wonderful new baby in her arms, and to hear the mysterious announcement
+that The Storks Brought It. Again, the centre of their attention is the
+tiny brother gleefully taking his first uncertain steps towards the
+outstretched arms of his young mother.</p>
+
+<p><a name="img12" id="img12"></a></p>
+<div class="figcenter" style="width: 385px;">
+<img src="images/img12_th.jpg" width="385" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img12.jpg">the little rabbit-seller.&mdash;meyer von bremen.</a></span>
+</div>
+
+<p class="txt">The out-of-door scenes have the picturesque mountain scenery of the Alps
+for their background, and sometimes a pretty
+<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span>
+cottage is included in
+the scene. A characteristic example is the Little Rabbit-Seller. A group
+of children gather round a little girl, who carries, suspended from her
+shoulders, a large basket of rabbits. Two of the number peep with
+intense interest into the basket, delighted with the opportunity to feed
+the pretty creatures. The others are talking with the young merchant,&mdash;a
+school-boy with book satchel held behind him, and an older girl holding
+a curly-haired child on her back. The pure, gentle face of the young
+girl is one not to be easily forgotten, and which reappears on other
+canvases of the artist. The affectionate care of this older sister for
+the child she carries is one of many instances in which the same trait
+is shown in Meyer&#8217;s pictures, and is eminently characteristic of the
+Germans.</p>
+
+<p class="txt">The earnest piety in which the children of these simple-hearted people
+are reared
+<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span>
+is beautifully expressed in the companion pictures, Morning
+Prayer and Evening Prayer, as well as in one called Simple Devotion,
+where a little girl offers a bouquet to the Virgin of a wayside shrine.</p>
+
+<p class="txt">In whatever mood the children are portrayed, they are always entirely
+unconscious of observers, never posing for the artist, but caught
+unawares on his canvas, in the midst of their pursuits. In this way they
+always make pictures with &ldquo;stories&rdquo; in them, of just the kind to delight
+the heart of a child.</p>
+
+<p class="txt">Such art carries a beautiful and enduring lesson, whether the scenes it
+represents are German or French, English or American. In these visions
+of the simple and joyous life of the country, we are brought, as it
+were, face to face with Nature, to enjoy her sweetest and most
+beneficent influence.</p>
+
+</div>
+
+<hr style="width: 65%;" />
+
+
+
+<p><span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span></p>
+<h2>IV.</h2>
+
+<h2>THE CHILD-LIFE OF THE STREETS.</h2>
+
+<hr style="width: 65%;" />
+
+
+
+<p><span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span></p>
+
+<div class="box">
+<p style="margin-left: 16em;">
+    When I was a beggarly boy,<br />
+      <span style="margin-left: 1em;">And lived in a cellar damp,</span><br />
+    I had not a friend nor a toy,<br />
+      <span style="margin-left: 1em;">But I had Aladdin&#8217;s lamp;</span><br />
+    When I could not sleep for cold,<br />
+      <span style="margin-left: 1em;">I had fire enough in my brain,</span><br />
+    And builded, with roofs of gold,<br />
+      <span style="margin-left: 1em;">My beautiful castles in Spain!</span><br />
+
+    <span style="margin-left: 10em;" class="smcap">Lowell.</span></p>
+
+</div>
+
+<hr style="width: 65%;" />
+
+
+
+<p><span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span></p>
+<h2>CHAPTER IV.</h2>
+
+<p class="center"><strong>THE CHILD-LIFE OF THE STREETS.</strong></p>
+
+<div class="box">
+
+<p class="txt">Ragged, dirty, and unkempt; untrained in all the pretty graces of
+refinement; deprived of all the fostering care of the home, how can the
+children of the street afford the artist any subjects for his canvas?
+Because, in spite of deprivation and poverty, they possess the
+imperishable treasure of a happy heart; and happiness is the true secret
+of the beauty of childhood. The child&#8217;s buoyant vitality is proof
+against any disadvantages in his external surroundings; for his horizon
+is limited to the present. Yesterday&#8217;s hunger is quickly forgotten in
+to-day&#8217;s plenty; the fatigue of the
+<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span>
+morning&#8217;s toil vanishes in the
+evening&#8217;s frolic; even the wounds of a cruel blow are readily healed by
+a friendly word. Unconscious of any disparity between himself and
+others, he is equally contented with his lot, whether his clothing be
+velvet or rags, whether his play-ground be a royal park or the streets
+of a great city.</p>
+
+<p class="txt">The artistic possibilities of street material lay long undiscovered
+through the first centuries of the Art Renaissance, when the subjects
+were chiefly religious and mythological. It is then to Murillo and his
+matchless pictures of the beggar boys of Seville that we may attribute
+the real origin of this department of <em>genre</em> painting. Murillo had
+himself known something of poverty and homelessness. Left an orphan at
+the age of eleven, he was thrown entirely upon his own resources at
+nineteen, his equipment for life being a few years&#8217; apprenticeship in
+the studio
+<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span>
+of his uncle, Juan del Castillo. In the years of hard work
+that followed, he laid the foundations of a career destined to be one of
+the most notable in the history of art.</p>
+
+<p><a name="img13" id="img13"></a></p>
+<div class="figcenter" style="width: 367px;">
+<img src="images/img13_th.jpg" width="367" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img13.jpg">beggar boys.&mdash;murillo.</a></span>
+</div>
+
+<p class="txt">There was held one day every week, in a large public square of Seville,
+an open-air market called the <em>Feria</em>, at which meat and fish, fruit and
+vegetables, old clothes and old iron, were heaped upon stalls or piled
+upon the pavement for the examination of customers. Last but not least
+of all the commodities here displayed were paintings, offered for sale
+by the artists themselves, who were supplied with brushes and colors to
+adapt the details to the purchasers&#8217; taste. It may be imagined that
+these pictures of the <em>Feria</em> were not works of high art, nor was there
+much stimulus to artistic talent in their production. Nevertheless, it
+was in this business that the young Murillo began
+<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span>
+his career; and it
+was in this way, doubtless, that he came to observe closely, and to
+store up in his artist&#8217;s memory the picturesque effects among the
+children who swarmed in the sunny square. Perfect types of glowing
+health were these nut-brown sons and daughters of Andalusia, enjoying
+life with the indolence and simple merriment characteristic of a
+southern race. It was Murillo&#8217;s delight to portray them in their
+happiest moods. Sometimes they are playing games on the pavement, as in
+the Dice Players; again, they are feasting upon the luscious native
+fruits, as in the celebrated pictures of the Munich Gallery. With what
+delicious enjoyment do the little vagabonds poise above their open
+mouths a cluster of purple grapes or a slice of rich melon! Their ragged
+garments scarcely suffice to cover them; their arms and legs are bare;
+their abundant dark curls have known no
+<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span>
+combing, and they are
+undeniably dirty. And yet they are perfectly charming. The rich tints of
+their sunburned skin; the dark liquid eyes of the Spanish race; the
+beautiful curves of their plump necks and shoulders; the free grace of
+their attitudes,&mdash;all combine to make them picturesque and attractive.</p>
+
+<p class="txt">The dirt is rendered with an unsparing realism which, in a few
+instances, is carried beyond the limits of good taste. Such is the case
+with El Piojoso of the Louvre, which represents a little beggar removing
+vermin from his body, and which Mr. Ruskin has severely denounced.
+Another picture in Munich, and one at St. Petersburg, belong to the same
+class; but these may be considered exceptions to the rule. The general
+statement holds true, that the real <em>motif</em> of Murillo&#8217;s beggar-boy
+pictures is the simple, natural enjoyment which may render attractive,
+and even beautiful, the most unlovely surroundings.</p>
+
+<p class="txt"><span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span>
+The artist shows a fine insight into human nature in his appreciation of
+the companionship between the street boy and the small dog. The famous
+Beggar-boy of the Hermitage Gallery at St. Petersburg is a capital
+example. The boy, standing by a wall, with a basket of fruit in his
+hand, turns to smile at his dog, with a perfect expression of good
+comradeship. In several other paintings, where the boys are eating, a
+little dog stands by, watching the tempting morsels enviously, with the
+hope of getting a share in due time.</p>
+
+<p class="txt">England is especially rich in examples of Murillo&#8217;s street scenes.
+Besides the well-known picture in the National Gallery, there are three
+fine works at Dulwich College,<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a>
+and many others scattered through the
+galleries of private collectors. This fact may be the reason that
+Murillo was first popularly known in England for this
+<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span> class of
+subjects, rather than for his religious art.</p>
+
+<p class="txt">One of Murillo&#8217;s most ardent admirers among modern English artists is
+Mrs. Henry M. Stanley, first known in the art world as Dorothy Tennant.
+She gayly avers that the most interesting object to her, when as a small
+girl she was taken for her daily walk, was &ldquo;some dear little child in
+tatters.&rdquo; The small young lady&#8217;s interest in street children was
+something more than philanthropic; it was intensely artistic. As soon as
+she could wield a pencil, she began to make ragamuffin pictures, and to
+dream of a career as the &ldquo;champion painter of the poor.&rdquo; Gifted with a
+keen sense of humor, she was quick to see the happy side of a life whose
+exterior is apparently one of misery; and it was this side which she
+determined to portray. Murillo&#8217;s happy beggar boys were her ideal;
+Hogarth&#8217;s work also
+<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span>
+commanded her admiration. Following in the
+footsteps of these great predecessors, she sought for her models &ldquo;the
+merry, reckless, happy-go-lucky urchin; the tomboy girl; and the plump,
+untidy mother, dancing and tossing her ragged baby.&rdquo;</p>
+
+<p class="txt">Such subjects would naturally be more difficult to find in London than
+in Seville; and one could not walk about the streets of the bleak
+northern metropolis without seeing many little waifs whose pitiable
+condition contrasts sadly with the jocund poverty of Murillo&#8217;s
+Andalusian beggars. Thus it is that, in spite of the most cheerful
+intentions, Mrs. Stanley has often produced pictures full of pathos. The
+wan little violinist, sitting on the edge of his poor bed, and clasping
+his sister in his arms, is a sad little figure. Another picture, that
+brings tears of sympathy to our eyes, is the hungry-looking boy, also
+a violinist, gazing wistfully into the
+<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span>
+window of a pastry-cook&#8217;s, where
+a placard proclaims that hot dinners are five-pence. Equally pathetic is
+a scene inside the same shop, where a little waif is held, fainting, in
+the arms of the proprietor, while other children gather round to see.</p>
+
+<p><a name="img14" id="img14"></a></p>
+<div class="figcenter" style="width: 498px;">
+<img src="images/img14_th.jpg" width="498" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img14.jpg">london street arabs.&mdash;dorothy stanley.</a></span>
+</div>
+
+<p class="txt">It is a relief to turn from these to the subjects which are the artist&#8217;s
+most characteristic field, and to enjoy with her the romps and pranks of
+the street Arabs. A clever picture of this class is the big boy using a
+smaller one as a wheelbarrow, the small boy&#8217;s arms supporting the
+machine, and his legs furnishing the handles. Of kindred nature is a
+sort of double pick-a-back, or pyramid, in which three ragged urchins
+are enjoying themselves hugely in the attempt to carry out so remarkable
+a feat. In the line of gymnastics, also, is the really admirable
+painting exhibited at the New Gallery in 1890, which portrays three
+delicious youngsters turning somersaults
+<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span>
+over a rail, while a little
+girl at each end looks on admiringly. The original of the little chap
+hanging head downward may have been the &ldquo;Boy Taylor,&rdquo; of dragon fame, of
+whom the artist writes in her
+<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span>
+&ldquo;Street Arabs.&rdquo; Having once figured in a
+circus as a green demon, or dragon, his experience made him very quick
+at catching attitudes; and, proud of his powers of endurance, he begged
+Mrs. Stanley to paint him standing on his head, assuring her that he
+preferred that position to any other!</p>
+
+<p class="txt">Larger pictures of merry street life are a company of young people
+dancing to the music of a hand-organ, a group of children playing
+blind-man&#8217;s buff, and so many others that the description would become
+tiresome. Many of these were made to illustrate children&#8217;s stories in
+&ldquo;Little Folks&rdquo; and the &ldquo;Quiver,&rdquo; while others adorn the collections of
+fortunate possessors. All of them illustrate admirably the artist&#8217;s firm
+conviction that &ldquo;no ragamuffin is ever common or vulgar.&rdquo;</p>
+
+<p class="txt">The sympathetic interest and enthusiasm which Mrs. Stanley has
+shown for the
+<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span>
+London street Arab finds an interesting parallel in the work of
+Marie Bashkirtseff. Though Russian by birth, Mademoiselle Bashkirtseff
+passed the greater part of her short life in France, and, belonging to a
+wealthy and distinguished family, was educated amidst all the luxuries
+and gayeties of fashionable Parisian life. But the girl&#8217;s indomitable
+spirit was not to be hindered by the bonds of social restraint, and she
+devoted herself to art with an almost passionate intensity. Struggling
+constantly against the inroads of a fatal disease, and cut down on the
+very threshold of life, she produced but few works to show to the world
+what heights she was capable of attaining. Of these, the two which rank
+first, and which are best known to her admirers, are studies of the
+Paris <em>gamin</em>.</p>
+
+<p class="txt">Jean and Jacques was exhibited at the Salon of 1883, and not only won
+the high praise of many eminent artists, but also
+<span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span>
+received &ldquo;honorable
+mention&rdquo; from the committee. The picture is described in the artist&#8217;s
+journal as &ldquo;two little boys, who are walking along the pavement, holding
+each other by the hand; the elder, a boy of seven, holds a leaf between
+his teeth, and looks straight before him into space; the other, a couple
+of years younger, has one hand thrust into the pocket of his little
+trousers, and is regarding the passers-by.&rdquo;</p>
+
+<p class="txt">Scarcely had this picture been completed, when another street scene
+suddenly flashed upon the imagination of the ambitious young painter,
+and she straightway set to work upon it. The result was The Meeting,
+exhibited at the Salon of 1884. It represents a group of six boys,
+standing at a street corner, engaged in plotting some mischief. From
+the oldest, a school-boy of twelve, to the little fellow in a pinafore,
+they are intent, eager, alert;
+<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span>
+absorbed in the scheme which they are
+discussing. They have sometimes been criticised for being ugly; but as
+the artist wittily says, &ldquo;One does not see such miracles of beauty among
+the little boys who run about the streets,&rdquo; and the models were chosen
+for the <em>expressiveness</em> of their faces.</p>
+
+<p class="txt">The painting met with instantaneous approval, not only from eminent
+artists, but from the public, whose judgment on such subjects is even
+more conclusive. All the leading periodicals obtained permission to
+engrave it, and it became the talk of the hour. The signature, &ldquo;M.
+Bashkirtseff,&rdquo; left the sex of the artist an open question, and there
+were those who could not believe that it was the work of a woman, and
+a young one at that.</p>
+
+<p><a name="img15" id="img15"></a></p>
+<div class="figcenter" style="width: 367px;">
+<img src="images/img15_th.jpg" width="367" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img15.jpg">the meeting.&mdash;marie bashkirtseff.</a></span>
+</div>
+
+<p class="txt">Mademoiselle Bashkirtseff found great amusement in visiting the
+exhibition, watching the people look at her picture,
+<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span>
+and laughing in
+her sleeve to imagine their amazement should they know that the
+elegantly dressed young lady sitting near it was the artist.</p>
+
+<p class="txt">The sequel is full of pathos. In spite of all the praises heaped upon
+it, The Meeting did not receive a medal. To the ambitious young girl the
+disappointment was most humiliating, and with characteristic sincerity
+she did not try to conceal her indignation and chagrin. Justice came at
+last, but all too late. When the bright young hopes were stilled in the
+quiet of death, the picture was honored with a place in the Luxembourg,
+where it hangs to-day, an admirable representation of that most
+interesting genus, the Paris <em>gamin</em>.</p>
+
+<p class="txt">The American street boy is a distinct type: his ambition is to rise in
+the world. Wealth, fame, and power may be his, if he will but labor to
+attain them, and to this
+<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span>
+end he throws himself ardently into the
+building of a career. For a certain portion of the day he is a man of
+affairs. Dashing through the net-work of wheels, in the thickest traffic
+of crowded thoroughfares, jumping on and off moving cars and carriages,
+pushing his way with untiring zeal, he shows a reckless daring and a
+dauntless energy which are unmatched among any other people. His duties
+done, he is a gentleman of leisure. He may amuse himself now as he
+pleases, and his recreations show the same versatility displayed in his
+business enterprises. Possessed of a lively imagination and a keen sense
+of humor, he is never at a loss for a source of fun. He is as generous
+as he is mischievous, always willing to share his good things with his
+companions. Altogether, he is an interesting and attractive figure, and
+it is no wonder that he has long since made his appearance on the
+canvas.</p>
+
+<p><span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span></p>
+
+<p><a name="img16" id="img16"></a></p>
+<div class="figcenter" style="width: 321px;">
+<img src="images/img16_th.jpg" width="321" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img16.jpg">castles in spain.&mdash;john g. brown.</a></span>
+</div>
+
+<p class="txt"><span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span>
+Probably the most conspicuous painter of American street subjects is
+John George Brown, of New York. A resident of this city for more than
+forty years, Mr. Brown has made it his life-work to study the character
+and customs of the poorer classes of children. Newsboys and boot-blacks
+are his special friends, and among them he finds many fine examples of
+the best characteristics of human nature.</p>
+
+<p class="txt">The Wounded Playfellow shows how easily the street boy&#8217;s sympathies are
+touched by the suffering of an animal. A little urchin carefully holds a
+dog in his arms, while another deftly binds a bandage about the poor
+creature&#8217;s broken leg. A third boy and a small girl are the interested
+spectators. The intense and eager interest with which the entire group
+regard the operation is admirably portrayed.</p>
+
+<p class="txt">The natural bent of Young America towards politics
+and oratory is seen in the
+<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span>
+Stump Speech, an oil painting which was exhibited at the
+Columbian Exposition.</p>
+
+<p class="txt">Mr. Brown uses water colors, as well as oils, for a medium of
+expression, being the president of the Water Color Society, which he
+helped to found. An example of this kind of work is his picture called
+&ldquo;Free from Care.&rdquo; A bright-faced boot-black stands leaning against a
+wall, with one thumb thrust in his trousers pocket, and a general air of
+having thrown aside business responsibility for a good time.</p>
+
+<p class="txt">Equally &ldquo;free from care,&rdquo; and happy in this privilege, is the boy,
+seated on a box, blowing soap-bubbles. His simple delight in this
+innocent pastime, and the almost dreamy look with which he watches the
+fairy bubble, show a hitherto unsuspected vein of poetry in the
+street-boy nature.</p>
+
+<p class="txt">The boot-black appears ordinarily in the most prosaic light, as a
+practical individual, whose chief concern is the struggle for
+<span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> daily
+bread. But this is only half the truth. Under his rough exterior he
+hides a heart keenly responsive to beauty. His youthful imagination is,
+in Lowell&#8217;s happy phrase, a veritable Aladdin&#8217;s lamp, with which he
+transforms the meagreness of his surroundings into the splendid luxuries
+of a castle in Spain.</p>
+
+</div>
+
+<hr style="width: 65%;" />
+
+
+
+
+<p><span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span></p>
+<h2>V.</h2>
+
+<h2>CHILD-ANGELS.</h2>
+
+<hr style="width: 65%;" />
+
+
+
+
+<p><span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span></p>
+
+<div class="box">
+<p style="margin-left: 15em;">
+    He shall give his angels charge over thee,<br />
+    To keep thee in all thy ways.<br />
+    They shall bear thee up in their hands,<br />
+    Lest thou dash thy foot against a stone.<br />
+
+    <span style="margin-left: 10em;" class="smcap">Psalm xci.</span></p>
+
+</div>
+
+<hr style="width: 65%;" />
+
+
+
+
+<p><span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
+<h2>CHAPTER V.</h2>
+
+<p class="center"><strong>CHILD-ANGELS.</strong></p>
+
+<div class="box">
+
+<p class="txt">To represent the perfect innocence and purity of an angel, a being whose
+native atmosphere is the very presence of God, a creature not subject to
+the limitations of physical laws, ever speeding on divine errands from
+heaven to earth and back again to heaven, nothing could be more natural
+than that art should use the face and form of innocent human childhood.</p>
+
+<p class="txt">Child-angels were first seen in art during the Italian Renaissance, and
+formed a conspicuous feature in the religious paintings of the period.
+One of the most interesting and beautiful forms in
+<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> which they appear is
+as a great host, or &ldquo;glory,&rdquo; filling the background of a composition.</p>
+
+<p class="txt">From the announcement of the Saviour&#8217;s birth to the Galilean shepherds,
+to the vision of Saint John on the Isle of Patmos, we find various
+allusions in the New Testament to the presence of angel companies in the
+affairs of human life. It was therefore entirely legitimate and
+appropriate to introduce a visible embodiment of the heavenly hosts into
+the many sacred scenes portrayed in art, whether these were
+representations of the actual incidents of Bible history, or the
+imaginative embodiments of religious ideals.</p>
+
+<p class="txt">The Sistine Madonna suggests itself at once as a most beautiful
+illustration. The entire canvas is studded with tiny child faces,
+delicately outlined,&mdash;a veritable cloud of witnesses, dissolving into
+the golden glory with which they are
+<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span>
+surrounded. What a contrast is the
+exquisite spirituality of this conception to Perugino&#8217;s angel glories,
+where baby faces, each with six many-hued wings are ranged at regular
+intervals throughout the composition!</p>
+
+<p class="txt">A less notable example of Raphael&#8217;s unique treatment of the angel host
+is in his Vision of Ezekiel, a small painting of earlier date than the
+Sistine Madonna. Here the idea is manifestly drawn from the prophet&#8217;s
+description of his vision of the four living creatures in a great amber
+wheel, which was &ldquo;full of eyes.&rdquo;</p>
+
+<p class="txt">Turning from Raphael&#8217;s clouds of dimly suggested cherub faces to those
+representations of the angel throngs in which the child forms are more
+distinctly delineated, we find that the great masters have made use of
+the myriad figures to express a corresponding variety in mood and
+character. Thus, when the emotions of the
+<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span>
+principal personage in a
+composition are too complex to be adequately expressed on a single
+countenance, the angel faces surrounding may each, in turn, convey some
+one of the many aspects of thought or feeling which go to make up the
+entire conception.</p>
+
+<p class="txt">The Crucifixion<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a>
+is a striking instance of the mingling, of
+contrasted emotions,&mdash;bodily suffering and spiritual victory, worldly
+defeat and heavenly triumph,&mdash;all of which cannot be depicted on the
+face of the Christ, but which a throng of attendant cherubs may fully
+interpret. The same principle is illustrated in the many scenes of which
+the Madonna is the central figure, as the Immaculate Conception, the
+Assumption, and the Coronation.</p>
+
+<p><a name="img17" id="img17"></a></p>
+<div class="figcenter" style="width: 365px;">
+<img src="images/img17_th.jpg" width="365" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img17.jpg">fragment from the assumption.&mdash;titian.</a></span>
+</div>
+
+<p class="txt">Of such paintings, Titian&#8217;s Assumption is the most splendid example.
+The ascending, Virgin is surrounded by a wreath
+<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span>
+of child-angels, of
+surpassing grace and beauty. It is of these that Mrs. Jameson has
+written, in her incomparable way, that they are &ldquo;mind and music and
+love, kneaded, as it were, into form and color.&rdquo; From a compositional
+point of view they serve an important purpose in directing the attention
+of the spectator to the principal figure of the picture. All the
+gracefully intertwined limbs of the angelic host&mdash;outstretched arms and
+floating figures,&mdash;form the radii of a great semicircle centering in the
+beautiful Madonna.</p>
+
+<p class="txt">If Titian&#8217;s child-angels stand for the highest attainment in the
+idealization of child beauty, those of Rubens, on the other hand, are
+the most human and lovable ever conceived in art. Their lovely baby
+forms cluster in countless numbers about the glorified Virgin, joyously
+bearing palm and wreath in token of her triumph.</p>
+
+<p class="txt"><span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span>
+The name of Murillo also occupies the first rank in the delineation of
+companies of child-angels. Called in turn the Titian and the Rubens of
+Spain, he is like his Venetian and Flemish prototypes in his intense
+sympathy for childhood. His angels have not that transcendent
+superiority to mortals which distinguishes Titian&#8217;s, nor are they the
+dimpled bits of pink-and-white babyhood characteristic of Rubens. They
+belong somewhere between the two extremes, and are remarkable for their
+innocence and purity of expression. As the Immaculate Conception was
+Murillo&#8217;s favorite subject, it is here that we see his child-angels at
+their best. He has also introduced them into the Holy Family of Seville,
+as well as into that most wonderful painting of the Christ-child
+Appearing to Saint Anthony of Padua.</p>
+
+<p class="txt">A beautiful method of introducing
+<span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span>
+child-angels into religious pictures,
+differing widely from the treatment of angel hosts, is to represent
+one<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a>
+or two, sometimes three, in attendance upon the Madonna and
+Babe, or the Christ. This is especially appropriate where the subject is
+treated devotionally, and the central figure is elevated on a throne or
+pedestal, with the angels at the foot.</p>
+
+<p class="txt">Among the Florentine artists, the two friends Raphael and Bartolommeo,
+as well as their contemporary, Andrea del Sarto, furnish many examples
+of these angel attendants. With Andrea del Sarto, as was characteristic,
+they are bewitching winged boys; while with Bartolommeo and Raphael they
+partake of a more delicate spirituality, which marks them as truly
+celestial.</p>
+
+<p class="txt">The Madonna of the Harpies, which is considered the masterpiece of
+Andrea del Sarto, contains two charming cherubs,
+<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span>
+which may be taken as
+excellent types of the artist&#8217;s rendering of these subjects. The Two
+Angels, from his great painting of the Four Saints, are somewhat above
+his average plane. These lovely and graceful figures originally stood in
+the centre of a large composition, but were at a later date removed from
+the canvas to make a separate picture. Their real significance is to
+show forth the beauty of a saintly life. Each carries a scroll, and one
+points upward.</p>
+
+<p class="txt">In the work of Bartolommeo the finest cherubs are those of his Throne
+Madonna, the Madonna Enthroned, and the Risen Christ. All three show the
+same masterly hand, and express a similar conception of the office
+filled by the angels. In every case one is looking up with a rapt
+expression of joy, while the other is more contemplative, drooping the
+head as if in reflection. The contrast suggests the
+<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span>
+distinction of
+early theology between the seraphim and cherubim, the former being,
+according to etymological significance, the spirits who love and adore,
+and the latter, those who know and worship. This distinction was
+scrupulously adhered to in early art by representing the seraphim as
+red, and the cherubim as blue. Although later artists no longer observed
+any discrimination between two classes of celestial beings, it may be
+that the difference between Bartolommeo&#8217;s two angels is due to the
+influence of this idea. Be this as it may, the fact remains that the
+opposition between them in face and attitude is exactly appropriate to
+symbolize one as love and the other as reflection.</p>
+
+<p class="txt">This is very marked in Raphael&#8217;s work, as may be seen in his Madonna del
+Baldacchino, a painting whose style of composition is strikingly like
+that of Bartolommeo.
+<span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span>
+Of the two singing angels at the foot of the
+Madonna&#8217;s throne, one studies eagerly the meaning of his music, while
+the other sings with the happy unconsciousness of a bird. Comparing with
+this Raphael&#8217;s grandest achievement, the Sistine Madonna, we find the
+same <em>motif</em> carried to its highest realization. The two beautiful
+cherubs who lean upon the parapet at the bottom of the picture are
+perfect impersonations of the serene content and the thoughtful
+deliberation with which varying types of Christian believers have
+received the great fact of the Incarnation.</p>
+
+<p class="txt">The Venetian painters delighted to put musical instruments into the
+hands of their child-angels, representing them as choristers, hymning
+the praises of the infant Saviour. Of these, many notable examples were
+produced in the <em>botteghe</em> of the two rival artist families, the Bellini
+and the Vivarini. Jacopo Bellini and his two
+<span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span>
+sons, Gentile and
+Giovanni, were the real founders of the Venetian school, and the work of
+Giovanni became an ideal standard, which his contemporaries essayed to
+follow. Luigi Vivarini was so successful as his imitator that his
+paintings are often incorrectly assigned to the greater artist.</p>
+
+<p><a name="img18" id="img18"></a></p>
+<div class="figcenter" style="width: 348px;">
+<img src="images/img18_th.jpg" width="348" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img18.jpg">piping angel.&mdash;bellini.</a></span>
+</div>
+
+<p class="txt">The Frari Madonna, however, is an undoubted Bellini, and here the
+Venetian conception of the child-angel is seen in its loveliest aspects.
+Two eager little choristers stand on the lower steps of the Madonna&#8217;s
+throne, &ldquo;exquisite courtiers of the Infant King,&rdquo; as Mrs. Oliphant
+gracefully calls them. One, myrtle-crowned, is blowing on a pipe, while
+the other bends gravely over a large lute.</p>
+
+<p class="txt">The Madonna of the Church of the
+Redentore<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a>
+shows another pair of
+angel musicians, sitting on a low wall in the foreground, one at the
+head and the other at the feet of the sleeping Babe. Both are
+<span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span> playing
+on lutes, and the serious, absorbed air with which they fulfil their
+task is delightful to see. With lifted face and faraway eyes, they seem
+to be listening to a heavenly chorus, of which their own melody is an
+echo.</p>
+
+<p class="txt">Any mention of the Venetian type of angels would be incomplete without
+adding the names of Palma Vecchio and Carpaccio to the list of those who
+most delicately interpreted the subject. Examples of their work are
+scattered over Northern Italy, but none perhaps are more representative
+than Carpaccio&#8217;s Presentation, in the Academy at Venice, and Palma&#8217;s
+altar-piece at Zerman.</p>
+
+<p><a name="img19" id="img19"></a></p>
+<div class="figcenter" style="width: 347px;">
+<img src="images/img19_th.jpg" width="347" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img19.jpg">angel from painting in church of redentore.<br />
+&mdash;vivarini.</a></span>
+</div>
+
+<p class="txt">The child-angel as a playmate and companion of the Christ-child is a
+conception which has not infrequently been represented in art with great
+appropriateness. Both Van Dyck and Lucas Cranach have given us the
+Repose in Egypt, enlivened
+<span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span>
+by the presence of a company of frolicsome
+cherubs sporting about the Divine Babe. Rubens painted a lovely group of
+the Infant Jesus and Saint John, seated on the ground, playing with
+their celestial little visitors. A Holy Family, by Ippolito Andreasi,
+represents angel children gathering and bringing grapes to the Saviour.</p>
+
+<p class="txt">With a small circle of Florentine artists, led by Botticelli, and
+including Filippo Lippi and Filippino Lippi, a unique class of
+child-angels is in great favor. These are children of a larger growth
+and maturer appearance than the infantine cherubs of contemporary
+artists, and might properly be called angel-youths. In the best examples
+their expression is an admirable mingling of strength and purity. As
+attendants to the Christ-child, they serve in various capacities with
+loving and reverent grace.</p>
+
+<p class="txt">In Botticelli&#8217;s famous &ldquo;round Madonna&rdquo;
+<span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span>
+of the Uffizi, one holds the ink
+vessel into which the Virgin dips her pen as she writes the Magnificat,
+two others hold a starry crown over her head, and two more complete the
+group, as companions of the Saviour. In the Holy Family, by the same
+artist, only two angels are introduced, one of whom leans over a
+balustrade, with a beautiful lily-stalk in his hand, in token of the
+Virgin&#8217;s purity.</p>
+
+<p class="txt">Filippo Lippi&#8217;s charming rendering of angel-youths is best seen in the
+picture which represents the Christ-child borne by two attendant cherubs
+in exemplification of the psalmist&#8217;s words, &ldquo;They shall bear thee up in
+their hands, lest thou dash thy foot against a stone.&rdquo; The Madonna
+stands before the Divine Babe, with hands clasped in adoration, a lovely
+impersonation of the Madre Pia.</p>
+
+<p><a name="img20" id="img20"></a></p>
+<div class="figcenter" style="width: 347px;">
+<img src="images/img20_th.jpg" width="347" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img20.jpg">angel from vision of madonna appearing to saint
+bernard.&mdash;filippino lippi.</a></span>
+</div>
+
+<p class="txt">The Madre Pia is also the subject of one of
+Filippino Lippi&#8217;s most exquisite
+<span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span>
+angel pictures. The Infant Saviour lies on the ground, in a
+garden, while his mother kneels to adore him. Angel-youths surround him,
+kneeling, and one stands showering rose-petals down upon him.</p>
+
+<p class="txt">The masterpiece of Filippino Lippi is the Vision of Saint Bernard, in
+the Badia at Florence, and here again angel-youths are introduced with
+charming effect. Two are in the rear, with hands clasped in adoration;
+two are beside the Virgin, bearing the weight of her mantle, and raising
+their earnest young faces with sweet reverence. One of these faces is
+presented in profile, and has a delicately cut, pure outline, of rare
+gentleness and beauty.</p>
+
+<p class="txt">The artist&#8217;s ideal is wonderfully helpful to the imagination, and the
+thought is full of comfort, that it is loving and tender presences like
+these which are &ldquo;in charge over us, to keep us in all our ways.&rdquo;</p>
+
+</div>
+
+<hr style="width: 65%;" />
+
+
+
+<p><span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span></p>
+<h2>VI.</h2>
+
+<h2>THE CHRIST-CHILD.</h2>
+
+<hr style="width: 65%;" />
+
+
+<div class="box1">
+
+<p><span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span></p>
+<div class="blockquot"><p>And the Child grew, and waxed strong in spirit, filled with wisdom:
+and the grace of God was upon him.<br />
+
+<span style="margin-left: 8em;" class="smcap">Luke</span> ii. 40.</p></div>
+
+</div>
+
+<hr style="width: 65%;" />
+
+
+<p><span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span></p>
+<h2>CHAPTER VI.</h2>
+
+<p class="center"><strong>THE CHRIST-CHILD.</strong></p>
+
+<div class="box">
+
+<p class="txt">Among the innumerable pictures in which the world&#8217;s great religious
+painters have represented the scenes of the earthly life of our Lord, it
+is amazing to note the large proportion of subjects relating to his
+infancy and childhood. What else can this mean than that the hearts of
+worshippers ever yearn towards that which they can understand and love,
+and that thus, of all the varied aspects of Christ&#8217;s character, it
+appeals to us most forcibly that He was once a babe in the Bethlehem
+manger.</p>
+
+<p class="txt">To find the earliest delineations of the Christ-child we must go to
+the Catacombs
+<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span>
+of Rome, and on the walls of their strange subterranean
+chapels retrace the fading features of the Divine Babe as painted there
+centuries ago to cheer the hearts of Christians. Two of these primitive
+frescos are in the Greek chapel of the Catacomb of S. Praxedes,<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a>
+where they are a constant object of interest to the art pilgrim.
+Considered &aelig;sthetically, they have of course no intrinsic beauty; but
+to the thoughtful mind they stand for the beginnings of a great art
+movement which culminated in the canvases of Raphael and Titian.</p>
+
+<p class="txt">From the frescos of the Catacombs the next step in the progress of
+Christian art was to the mosaics ornamenting the basilicas; and here the
+Christ-child again appears as a conspicuous figure. Some of the most
+interesting of these
+mosaics<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a>
+represent the Babe receiving the
+gifts of the Magi,&mdash;as at Santa Maria Maggiore in
+<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span> Rome and at Saint
+Apollinare in Ravenna. In others, as at Capua, the Child shares with the
+enthroned Virgin the adoration of a surrounding group of saints. Still
+another of peculiar interest is at Santa Maria in Trastevere (Rome),
+where the Infant is suckled at his mother&#8217;s breast.</p>
+
+<p class="txt">When we enter that strange period of history known as the Dark Ages,
+we find the art products few and uninteresting; but even then the
+Christ-child is not forgotten, and again and again he appears sculptured
+in marble over the portals of cathedrals, or painted in stiff Byzantine
+style over their altars.</p>
+
+<p class="txt">Thus it was that in the new birth of art in Italy, when Niccol&ograve; Pisano
+in sculpture, and Cimabue in painting, awakened the sleeping world to a
+love of beauty, the Madonna, with her heaven-born Babe, was the first
+subject to arouse enthusiasm; and it was for a picture of this sort that
+<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span>
+all Florence went mad with joy, as it was borne along The Street
+of Rejoicing.</p>
+
+<p class="txt">In early representations, both in mosaics and paintings, the Child is
+dressed in a tunic, white, red, or blue, often very richly ornamented
+with gold embroidery. This method obtained as late as the fourteenth
+century, when Fra Angelico still painted the Babe in the elaborate royal
+garments of a king. But art at last returned to nature, and from the
+fifteenth century the Holy Child was painted partially and sometimes
+wholly undraped, with beautiful rounded limbs and soft pink baby flesh.</p>
+
+<p class="txt">It was then that Italy was transformed into a paradise of art, and all
+the important cities were full of great painters whose hearts were aglow
+with the sacred fire of genius. In the host of beautiful works which
+were produced in the next three centuries, every type of treatment was
+<span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span>
+exemplified, varying from the most simple naturalism to the loftiest
+idealism. The na&iuml;ve realism of Filippino Lippi&#8217;s chubby baby, placidly
+sucking his thumb as he looks out of the picture, is matched in the
+frolicsome boys of Andrea del Sarto&#8217;s many paintings, smiling
+mischievously from the Madonna&#8217;s arms. At the other extreme is the
+strangely precocious looking child of Botticelli, raising his eyes
+heavenward, with a mystic smile on his serious face.</p>
+
+<p class="txt">And when it would seem that every conceivable type of infancy, and
+every imaginable situation had already been realized on the canvas,
+Raphael<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a>
+arose to create an entirely new ideal. His life was so
+short, his work so surpassingly brilliant, that it was as if a splendid
+meteor suddenly flashed across the starry firmament of the Cinque-Cento.
+Perugino, his master; Pinturicchio, his employer; Fra Bartolommeo,
+<span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span> his
+friend; Andrea del Sarto, &ldquo;the faultless painter,&rdquo; all paled before his
+rapidly increasing glory. When he laid down his brush at the age of
+thirty-seven, he had finished a career which is one of the miracles of
+history. His work is a complete epitome of religious art, including all
+the great themes, and enveloping each with an atmosphere of pure
+spirituality, indescribably elevating to mind and soul.</p>
+
+<p class="txt">His conception of the Christ-child ranges from the sleeping Babe from
+whose innocent face the Madonna of the Diadem softly lifts a veil, to
+the grave boy whom the Chair Madonna clasps in her arms. Every shade of
+playfulness, of affection, of dignity, and of contemplation, is mirrored
+in the long series of pictures in which he embodied his ever-changing
+ideal of the Divine Infant.</p>
+
+<p><a name="img21" id="img21"></a></p>
+<div class="figcenter" style="width: 361px;">
+<img src="images/img21_th.jpg" width="361" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img21.jpg">madonna di casa tempi.&mdash;raphael.</a></span>
+</div>
+
+<p class="txt">The magnificent versatility of his genius is admirably illustrated by
+the contrast
+<span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span>
+between two of his finest works,&mdash;the Madonna of the
+Casa Tempi and the Madonna di San Sisto, standing the one for the human
+aspect and the other for the divine, in the incarnation of the Son of
+God. The first shows an ideal mother fondly pressing her darling&#8217;s cheek
+against her own; the second is a vision of ideal womanhood hastening
+down the centuries to present the Word to the waiting world.</p>
+
+<p class="txt">The Christ-child of the Tempi painting is a dimpled baby shyly nestling
+against his mother&#8217;s breast; the Sistine Child is a royal messenger
+lightly enthroned upon the Madonna&#8217;s arm. In one conception, Mother and
+Son are absorbed entirely in each other; in the other, they think only
+of their mission to humanity, their wide eyes searching the future with
+far-seeing gaze, and their thoughts intent upon the coming of the
+heavenly kingdom.</p>
+
+<p class="txt"><span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span>
+We can appreciate the Tempi Madonna at the first glance; the meaning of
+the Sistine Madonna we can never fully reach, though to contemplate it
+day by day is to feel our thoughts become purer and our aspirations
+nobler.</p>
+
+<p class="txt">A feature of the child-life of Jesus upon which Raphael loved to dwell
+is his companionship with his cousin John, a boy of nearly the same age,
+whose destiny was indissolubly linked with the Christ. Following the
+Gospel description of the Baptist when he came forth from the desert
+&ldquo;clothed with camel&#8217;s hair and with a girdle of skin about his loins,&rdquo;
+the artist has represented the child John as a dark, faun-like boy, with
+a little skin garment girt about him,&mdash;a picturesque figure to contrast
+with the fair beauty of the Christ-child.</p>
+
+<p class="txt">The two boys are most charming, when, as in the Madonna of the Pearl,
+the little
+<span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span>
+John seeks with childish eagerness to please his cousin.
+Here he is running gleefully to Jesus, with his skin garment full of
+newly gathered fruit. The Christ-child, seated on his grandmother&#8217;s
+knee, beside his mother, stretches out his hands for the gift, his face
+shining with simple, child-like pleasure. At another time Saint John
+brings a goldfinch to the Virgin&#8217;s knee, and the two children lean
+lovingly against her, Jesus turning his earnest eyes towards the bird,
+which he thoughtfully strokes. A very pretty incident is embodied in the
+Aldobrandini Madonna, where the Christ-child reaches from his mother&#8217;s
+arms to smilingly bestow a flower upon Saint John.</p>
+
+<p class="txt">Other pictures introduce, more or less definitely, an element of
+devotion on the part of the infant Baptist, as in the Madonna of the
+Meadow, where he kneels to receive the cross from the
+<span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span>
+hands of the
+Christ-child. The devotional relation is still more marked in the Belle
+Jardini&egrave;re of the Louvre. In the Holy Family of Casa Canigiani, Jesus is
+giving Saint John a banner with the words <em>Ecce Agnus Dei</em>.</p>
+
+<p class="txt">The two boys, as the central figures of the Holy Family, have engaged
+the brush of nearly every great religious painter, some producing
+familiar and domestic scenes, others emphasizing the symbolic and
+religious significance of the theme. Andrea del Sarto treated the
+subject many times, and usually portrayed the children in a natural and
+playful intimacy. Pinturicchio painted them running across a flowery
+meadow to get water from a fountain. Guilio Romano has given us the
+decidedly domestic scene of Jesus in the bath, with Saint John merrily
+pouring water upon him. Sometimes, as in a lovely work by Angiolo
+Bronzino, Saint
+<span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span>
+John is affectionately kissing the sleeping Babe.</p>
+
+<p class="txt">It was a beautiful thought on the part of some few artists,&mdash;notably
+Palma Vecchio, Luini, and Murillo,&mdash;to introduce a lamb as a playmate
+for the children, the suggestion having its origin in the Baptist&#8217;s
+description of Jesus as the &ldquo;Lamb of God.&rdquo;</p>
+
+<p class="txt">In Botticelli&#8217;s Holy Family, Saint John stands by with clasped hands,
+adoring the Infant. Perugino places him kneeling at a little distance in
+the rear,&mdash;a perfect embodiment of childish devotion. In a painting by
+Titian, also, he kneels apart, leaning on his cross, and in one by
+Guido, he humbly kisses the Christ-child&#8217;s foot.</p>
+
+<p class="txt">In a lovely picture by Murillo, called the &ldquo;Children of the Shell,&rdquo; he
+kneels to drink from a cup which the little Jesus holds to his lips.
+Here the contrast between the
+<span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span>
+two is exquisitely rendered, both from
+the artistic and the religious point of view, the Christ-child bearing
+the unmistakable stamp of superiority, in spite of his childish figure,
+while the infant John is a charming impersonation of reverent and loving
+humility.</p>
+
+<p class="txt">The religious spirit of the old masters has not been successfully
+imitated by any modern artist who has attempted to delineate the Infant
+Jesus and Saint John, nor is this to be expected. There are many
+pleasing works of art, however, which, though differing widely from
+early Italian standards, have an attractiveness of their own.</p>
+
+<p class="txt">Such, for instance, is Boucher&#8217;s painting, thoroughly characteristic of
+the artist, and, when considered in itself, a very pretty thing. The two
+plump babies are bewitching little figures, irresistibly lovable in
+their dimpled beauty. Sweet cherub faces peep
+<span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span>
+from the surrounding
+clouds, regarding the holy children with wondering awe.</p>
+
+<p><a name="img22" id="img22"></a></p>
+<div class="figcenter" style="width: 433px;">
+<img src="images/img22_th.jpg" width="433" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img22.jpg">infant christ and saint john.&mdash;boucher.</a></span>
+</div>
+
+<p class="txt">The figure of the Christ-child alone does not belong to the early
+Renaissance, but by the seventeenth century, the subject had found favor
+with Guido and Franceschini in Italy, and with Murillo and Zurbaran in
+Spain. With all these artists it was a favorite custom to depict the
+child Jesus asleep on the cross. Murillo&#8217;s Infant Saviour, plaiting a
+crown of thorns, also belongs to this class. These forms of symbolic
+illustration have their modern counterpart in the work of several German
+artists. As the Gospel narrative furnishes no actual incidents of the
+early childhood of Jesus, he is shown in some attitude which will
+suggest his divine calling. Painted by Ittenbach, he raises his right
+hand to point the heavenward way, while with his left he indicates his
+name inscribed in the letters I. H. S. on the
+<span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span>
+breast of his tunic. In
+Sinkel&#8217;s picture he holds a tablet of the Commandments, with his finger
+on the fourth, a sweet expression of Sabbath peace on his face.</p>
+
+<p class="txt">Professor Deger&#8217;s picture expresses a unique and lovely conception of
+the Christ-child in the fields, communing with his Father, and preparing
+for his ministry. He is a dreamy-looking boy, of delicate features, and
+broad, high brow, with fair curls blowing away from his face. Though
+alone, he lifts his hand in blessing, as if, in his prophetic
+imagination, the meadows were already peopled with the throngs to whom
+he is to teach the sweet lessons of the lilies and the sparrow.</p>
+
+<p><a name="img23" id="img23"></a></p>
+<div class="figcenter" style="width: 363px;">
+<img src="images/img23_th.jpg" width="363" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img23.jpg">the christ-child.&mdash;deger.</a></span>
+</div>
+
+<p class="txt">The childhood of Jesus came to an end at the age of twelve, when he
+awoke to the realization that he must be &ldquo;about his Father&#8217;s business.&rdquo;
+It was a great moment in the quiet life of the Nazarene
+<span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span>
+lad. Mary and
+Joseph having to make their annual journey to Jerusalem to celebrate the
+Passover, had brought him with them, and allowed him to wander from
+them. Supposing him to be among the company with which they were
+travelling, they were well on their homeward way, when they discovered
+that he was missing. Returning to the city, and seeking him hither and
+thither, they at length found him in the temple, &ldquo;sitting in the midst
+of the doctors, both hearing them, and asking them questions. And all
+that heard him were astonished at his understanding and answers.&rdquo;</p>
+
+<p class="txt">It was the latter part of this account which the early masters seized as
+the <em>motif</em> of the Dispute in the Temple, and interpreted as meaning
+that the boy Christ assumed the position of teacher and preacher to the
+doctors. In the paintings of Duccio and Giotto, he is
+<span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span>
+sitting on a
+platform, with the mien and gesture of a learned doctor; while other
+artists place him on a sort of throne or pulpit. It was left to modern
+art to conceive the true significance of the event, and to put before us
+the eager boy, listening and asking questions.</p>
+
+<p class="txt">Professor Heinrich Hofmann&#8217;s beautiful picture shows a profound insight
+into the wonderful childhood of Jesus, as well as a fine sense of
+artistic composition. The boy stands in the midst of the group, lifting
+his eager, inquiring face to the learned doctors surrounding him. His
+expression conveys all the earnestness of his questionings, and at the
+same time shows the depth of that power of understanding which so amazed
+the listeners. Looking from his bright young face to the staid
+countenances of the professed expounders of the law, a new light flashes
+upon that mysterious utterance which fell in after
+<span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span>
+times from the
+same inspired lips: &ldquo;I thank thee, O Father, Lord of heaven and earth,
+that thou hast hid these things from the wise and prudent, and hast
+revealed them unto babes.&rdquo;</p>
+
+<p><a name="img24" id="img24"></a></p>
+<div class="figcenter" style="width: 412px;">
+<img src="images/img24_th.jpg" width="412" height="500" alt="image" title="" />
+<span class="caption"><a href="images/img24.jpg">head of boy christ.&mdash;hofmann.</a></span>
+</div>
+
+</div>
+
+<hr style="width: 95%;" />
+
+
+
+<p><span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span></p>
+<h2>NOTES.</h2>
+
+<hr style="width: 65%;" />
+
+
+
+<p><span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span></p>
+<h2>NOTES.</h2>
+
+<hr style="width: 10%;" />
+
+<p class="center"><strong>CHAPTER I.&mdash;<span class="smcap">Page 3.</span></strong></p>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Of this picture, Claude Phillips justly observes that it
+has been &ldquo;not a little cheapened and obscured by frequent copies, in
+which the delicate essence of the original has been allowed to
+evaporate; but a glance at the picture itself renews the magic spell
+of the master.&rdquo;</p>
+
+<p>The plate for our illustration, being made from a photograph taken
+directly from the original painting, reproduces the spirit of the
+picture with remarkable fidelity.</p></div>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>CHAPTER II.&mdash;<span class="smcap">Page 29.</span></strong></p>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> The children of the English court were not alone in the
+good fortune of being immortalized by the brush of Van Dyck. The great
+artist also painted a little Prince of Savoy, with his sister,&mdash;a
+picture which is now in the Royal Gallery at Turin.</p></div>
+
+<p><span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span></p>
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> A portrait of Prince Balthasar in court dress, by
+Velasquez, is in the Belvedere at Vienna.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Dr. Carl Justi has various strong arguments to prove that
+the Prado portrait of Maria Theresa is incorrectly so called, and, in
+reality, represents the Infanta Marguerite. The picture is, however,
+widely accepted as a genuine Maria Theresa, and is catalogued as such by
+Curtis. I have, therefore, thought best to follow the opinion of the
+majority on this point.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Titian painted a charming portrait of the Princess Strozzi,
+which is now in Berlin.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> Holbein painted the little Prince Edward, afterwards Edward
+VI., in two extant portraits,&mdash;one, a miniature, in the possession of
+the Duke of Devonshire, another at Windsor.</p></div>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>CHAPTER III.&mdash;<span class="smcap">Page</span> 57.</strong></p>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> The dates of Gainsborough&#8217;s life are 1727-1788.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> The two pictures for which Jack Hill served as model are
+Jack Hill in a Cottage, and Jack Hill, with his Cat, in a Wood.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Gainsborough was followed by several English artists
+celebrated for their pictures of the child-life of the country. Of
+these, the most notable were Sir David Wilkie and William Collins.
+Wilkie&#8217;s Blind-Man&#8217;s Buff, and Collins&#8217;s Happy as a King are
+representative examples of their work.</p></div>
+
+<p><span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span></p>
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Jean Baptiste Greuze was born in 1725, and died in 1805.</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> The Father Explaining the Bible to his Children is now in
+the Dresden Gallery. Mrs. Stranahan, in her History of French Painting,
+calls attention to the fact that the poet Robert Burns celebrates the
+same scene in his Cotter&#8217;s Saturday Night.</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> The Village Bride, called in French, &ldquo;L&#8217;Accord&eacute;e du
+Village,&rdquo; is in the Louvre, Paris.</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Although Greuze is usually spoken of as introducing a new
+line of subjects into French art, it is fair to say that Chardin
+(1699-1799) had already given the initiative. The Little Girl at
+Breakfast, exhibited at the Salon of 1737, and Le B&eacute;n&eacute;dicit&eacute;, from the
+Salon of 1740, are highly praised by Mrs. Stranahan for their
+sympathetic treatment of domestic scenes in humble life.</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> This description, which I have rendered somewhat freely
+into English, is an extract from a letter addressed by Mademoiselle
+Philipon to the Demoiselles Cannet.</p></div>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>CHAPTER IV.&mdash;<span class="smcap">Page</span> 87.</strong></p>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> The three paintings by Murillo in the Dulwich Gallery, to
+which reference is made, are:&mdash;</p>
+
+<p>The Flower Girl, Two Boys and a Dog, and Three Boys,&mdash;one eating a tart.
+The gallery also contains a religious painting by Murillo.</p></div>
+
+<p>&nbsp;</p>
+
+<p><span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span></p>
+<p class="center"><strong>CHAPTER V.&mdash;<span class="smcap">Page</span> 115.</strong></p>
+
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> The representation of the Crucifixion, with attendant
+angels, is very frequent in Renaissance art. For examples among the
+earlier painters, Duccio and Giotto may be mentioned, while in a later
+period Luini and Gaudenzio adopted the same <em>motif</em>, with characteristic
+results.</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> For examples of single child-angels, see Raphael&#8217;s Madonna
+di Foligno, in the Vatican at Rome, and Bartolommeo&#8217;s Madonna and
+Saints, in San Martino, Lucca.</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> The Madonna of the Church of the Redentore is popularly
+attributed to Bellini, but is more probably the work of Luigi Vivarini.
+For arguments, see Crowe and Cavalcaselle, History of Painting in North
+Italy, vol. i., pages 64 and 186.</p></div>
+
+<p>&nbsp;</p>
+
+<p class="center"><strong>CHAPTER VI.&mdash;<span class="smcap">Page</span> 141.</strong></p>
+
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> My authority on these frescos is Charles I. Hemans, who
+states (page 70 of Ancient Christianity and Sacred Art) that &ldquo;conjecture
+has assumed antiquity as high as the first century&rdquo; for some paintings
+in the catacombs of S. Praxedes, but does not mention whether these are
+of the number.</p>
+
+<p>Van Dyke, in his Christ-child in Art (page 120), describes an
+interesting third century fresco in the<span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span> catacomb of SS. Marcellinus and
+Peter, representing the Adoration of the Magi.</p></div>
+
+<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> The mosaics at Santa Maria Maggiore are assigned to the
+fifth century; those at S. Apollinare Nuova, Ravenna, to the sixth
+century. See Hemans, Ancient Christianity and Sacred Art.</p>
+
+<p>For further descriptions of the mosaics at Capua and at Santa Maria in
+Trastevere, Rome, see Mrs. Jameson&#8217;s Legends of the Madonna. For an
+engraving of the Virgin and Child in the Ravenna mosaic, see Van Dyke&#8217;s
+Christ-child in Art.</p></div>
+
+<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> The present location of all the works of Raphael mentioned
+in this chapter may be seen in the following list:&mdash;
+</p>
+
+<p style="margin-left: 5em;">
+    Madonna of the Diadem, Louvre, Paris.<br />
+    Chair Madonna (Madonna della Sedia), Pitti, Florence.<br />
+    Madonna of the Casa Tempi, Munich.<br />
+    Sistine Madonna, Dresden.<br />
+    The Pearl, Madrid.<br />
+    Madonna of the Goldfinch (del Cardellino), Pitti, Florence.<br />
+    Aldobrandini Madonna, National Gallery, London.<br />
+    Madonna of the Meadow, Vienna.<br />
+    La Belle Jardini&egrave;re, Louvre, Paris.<br />
+    Madonna of the Casa Canigiani, Munich.</p>
+</div>
+
+<hr style="width: 65%;" />
+
+
+<p><span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span></p>
+<h2>BIBLIOGRAPHY.</h2>
+
+<hr style="width: 10%;" />
+
+<div class="box">
+
+<p><span class="smcap">Allan Cunningham</span>: Great English Painters.</p>
+
+<p><span class="smcap">Richard Redgrave</span>: A Century of Painters of the
+English School.</p>
+
+<p><span class="smcap">Northcote</span>: Life of Sir Joshua Reynolds.</p>
+
+<p><span class="smcap">Claude Phillips</span>: Sir Joshua Reynolds.</p>
+
+<p><span class="smcap">Henry Percy Horne</span>: Catalogue of the Engraved
+Pictures of Gainsborough.</p>
+
+<p><span class="smcap">William Hookham Carpenter</span>: Memoirs of Sir
+Anthony Van Dyck.</p>
+
+<p><span class="smcap">Stirling-Maxwell</span>: Annals of the Artists of Spain.</p>
+
+<p><span class="smcap">Carl Justi</span>: Velasquez and his Times (translated by
+Keane).</p>
+
+<p><span class="smcap">Stranahan</span>: History of French Painting.</p>
+
+<p><span class="smcap">Ch. Normand</span>: Greuze. (In Series: Artistes C&eacute;l&egrave;bres.)</p>
+
+<p><span class="smcap">Crowe</span> and <span class="smcap">Cavalcaselle</span>: History of Painting in
+Italy: History of Painting in North Italy.</p>
+
+<p><span class="smcap">T. Cole</span> (Engraver) and W. J. <span class="smcap">Stillman</span>: Old Italian
+Masters.</p>
+
+<p><span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span></p>
+<p><span class="smcap">Eugene M&uuml;ntz</span>: Raphael: His Life, Works, and
+Times.</p>
+
+<p><span class="smcap">Mrs. Anna Jameson</span>: Sacred and Legendary Art;
+Legends of the Madonna; History of Our Lord.</p>
+
+<p><span class="smcap">Charles I. Hemans</span>: Ancient Christianity and Sacred
+Art; Medi&aelig;val Christianity and Sacred Art.</p>
+
+<p><span class="smcap">Henry Van Dyke</span>: The Christ-Child in Art.</p>
+
+<p><span class="smcap">Marie Bashkirtseff</span>: Journal.</p>
+
+<p><span class="smcap">Dorothy Tennant Stanley</span>: Street Arabs.</p>
+
+<p><span class="smcap">Karl K&aacute;roly</span>: The Paintings of Florence.</p>
+
+<p><span class="smcap">Charles L. Eastlake</span>: Notes on the Pictures in
+the Louvre.</p>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Child-life in Art, by Estelle M. Hurll
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CHILD-LIFE IN ART ***
+
+***** This file should be named 25268-h.htm or 25268-h.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/5/2/6/25268/
+
+Produced by Juliet Sutherland, Anne Storer and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/25268-h/images/illus.jpg b/25268-h/images/illus.jpg
new file mode 100644
index 0000000..00808dc
--- /dev/null
+++ b/25268-h/images/illus.jpg
diff --git a/25268-h/images/img1.jpg b/25268-h/images/img1.jpg
new file mode 100644
index 0000000..97f4751
--- /dev/null
+++ b/25268-h/images/img1.jpg
diff --git a/25268-h/images/img10.jpg b/25268-h/images/img10.jpg
new file mode 100644
index 0000000..dbf182f
--- /dev/null
+++ b/25268-h/images/img10.jpg
diff --git a/25268-h/images/img10_th.jpg b/25268-h/images/img10_th.jpg
new file mode 100644
index 0000000..02eab94
--- /dev/null
+++ b/25268-h/images/img10_th.jpg
diff --git a/25268-h/images/img11.jpg b/25268-h/images/img11.jpg
new file mode 100644
index 0000000..0d45f32
--- /dev/null
+++ b/25268-h/images/img11.jpg
diff --git a/25268-h/images/img11_th.jpg b/25268-h/images/img11_th.jpg
new file mode 100644
index 0000000..948da58
--- /dev/null
+++ b/25268-h/images/img11_th.jpg
diff --git a/25268-h/images/img12.jpg b/25268-h/images/img12.jpg
new file mode 100644
index 0000000..f62c56d
--- /dev/null
+++ b/25268-h/images/img12.jpg
diff --git a/25268-h/images/img12_th.jpg b/25268-h/images/img12_th.jpg
new file mode 100644
index 0000000..dc0ae9f
--- /dev/null
+++ b/25268-h/images/img12_th.jpg
diff --git a/25268-h/images/img13.jpg b/25268-h/images/img13.jpg
new file mode 100644
index 0000000..f493136
--- /dev/null
+++ b/25268-h/images/img13.jpg
diff --git a/25268-h/images/img13_th.jpg b/25268-h/images/img13_th.jpg
new file mode 100644
index 0000000..3005c10
--- /dev/null
+++ b/25268-h/images/img13_th.jpg
diff --git a/25268-h/images/img14.jpg b/25268-h/images/img14.jpg
new file mode 100644
index 0000000..91eb3cf
--- /dev/null
+++ b/25268-h/images/img14.jpg
diff --git a/25268-h/images/img14_th.jpg b/25268-h/images/img14_th.jpg
new file mode 100644
index 0000000..b22ab27
--- /dev/null
+++ b/25268-h/images/img14_th.jpg
diff --git a/25268-h/images/img15.jpg b/25268-h/images/img15.jpg
new file mode 100644
index 0000000..993217b
--- /dev/null
+++ b/25268-h/images/img15.jpg
diff --git a/25268-h/images/img15_th.jpg b/25268-h/images/img15_th.jpg
new file mode 100644
index 0000000..9aded3b
--- /dev/null
+++ b/25268-h/images/img15_th.jpg
diff --git a/25268-h/images/img16.jpg b/25268-h/images/img16.jpg
new file mode 100644
index 0000000..ee9607c
--- /dev/null
+++ b/25268-h/images/img16.jpg
diff --git a/25268-h/images/img16_th.jpg b/25268-h/images/img16_th.jpg
new file mode 100644
index 0000000..c66aeaf
--- /dev/null
+++ b/25268-h/images/img16_th.jpg
diff --git a/25268-h/images/img17.jpg b/25268-h/images/img17.jpg
new file mode 100644
index 0000000..3f71184
--- /dev/null
+++ b/25268-h/images/img17.jpg
diff --git a/25268-h/images/img17_th.jpg b/25268-h/images/img17_th.jpg
new file mode 100644
index 0000000..ca2f7e3
--- /dev/null
+++ b/25268-h/images/img17_th.jpg
diff --git a/25268-h/images/img18.jpg b/25268-h/images/img18.jpg
new file mode 100644
index 0000000..da45ca8
--- /dev/null
+++ b/25268-h/images/img18.jpg
diff --git a/25268-h/images/img18_th.jpg b/25268-h/images/img18_th.jpg
new file mode 100644
index 0000000..a4f0bc1
--- /dev/null
+++ b/25268-h/images/img18_th.jpg
diff --git a/25268-h/images/img19.jpg b/25268-h/images/img19.jpg
new file mode 100644
index 0000000..0ad24ec
--- /dev/null
+++ b/25268-h/images/img19.jpg
diff --git a/25268-h/images/img19_th.jpg b/25268-h/images/img19_th.jpg
new file mode 100644
index 0000000..59308e1
--- /dev/null
+++ b/25268-h/images/img19_th.jpg
diff --git a/25268-h/images/img1_th.jpg b/25268-h/images/img1_th.jpg
new file mode 100644
index 0000000..5657d4f
--- /dev/null
+++ b/25268-h/images/img1_th.jpg
diff --git a/25268-h/images/img2.jpg b/25268-h/images/img2.jpg
new file mode 100644
index 0000000..e23d0ff
--- /dev/null
+++ b/25268-h/images/img2.jpg
diff --git a/25268-h/images/img20.jpg b/25268-h/images/img20.jpg
new file mode 100644
index 0000000..c99f52f
--- /dev/null
+++ b/25268-h/images/img20.jpg
diff --git a/25268-h/images/img20_th.jpg b/25268-h/images/img20_th.jpg
new file mode 100644
index 0000000..8166ed4
--- /dev/null
+++ b/25268-h/images/img20_th.jpg
diff --git a/25268-h/images/img21.jpg b/25268-h/images/img21.jpg
new file mode 100644
index 0000000..4737675
--- /dev/null
+++ b/25268-h/images/img21.jpg
diff --git a/25268-h/images/img21_th.jpg b/25268-h/images/img21_th.jpg
new file mode 100644
index 0000000..7c21b7f
--- /dev/null
+++ b/25268-h/images/img21_th.jpg
diff --git a/25268-h/images/img22.jpg b/25268-h/images/img22.jpg
new file mode 100644
index 0000000..b8e6dbb
--- /dev/null
+++ b/25268-h/images/img22.jpg
diff --git a/25268-h/images/img22_th.jpg b/25268-h/images/img22_th.jpg
new file mode 100644
index 0000000..2bdfd91
--- /dev/null
+++ b/25268-h/images/img22_th.jpg
diff --git a/25268-h/images/img23.jpg b/25268-h/images/img23.jpg
new file mode 100644
index 0000000..7950a02
--- /dev/null
+++ b/25268-h/images/img23.jpg
diff --git a/25268-h/images/img23_th.jpg b/25268-h/images/img23_th.jpg
new file mode 100644
index 0000000..101383c
--- /dev/null
+++ b/25268-h/images/img23_th.jpg
diff --git a/25268-h/images/img24.jpg b/25268-h/images/img24.jpg
new file mode 100644
index 0000000..8ab5384
--- /dev/null
+++ b/25268-h/images/img24.jpg
diff --git a/25268-h/images/img24_th.jpg b/25268-h/images/img24_th.jpg
new file mode 100644
index 0000000..f67c7ca
--- /dev/null
+++ b/25268-h/images/img24_th.jpg
diff --git a/25268-h/images/img2_th.jpg b/25268-h/images/img2_th.jpg
new file mode 100644
index 0000000..821f6c5
--- /dev/null
+++ b/25268-h/images/img2_th.jpg
diff --git a/25268-h/images/img3.jpg b/25268-h/images/img3.jpg
new file mode 100644
index 0000000..c877695
--- /dev/null
+++ b/25268-h/images/img3.jpg
diff --git a/25268-h/images/img3_th.jpg b/25268-h/images/img3_th.jpg
new file mode 100644
index 0000000..082517c
--- /dev/null
+++ b/25268-h/images/img3_th.jpg
diff --git a/25268-h/images/img3a.jpg b/25268-h/images/img3a.jpg
new file mode 100644
index 0000000..2559232
--- /dev/null
+++ b/25268-h/images/img3a.jpg
diff --git a/25268-h/images/img3a_th.jpg b/25268-h/images/img3a_th.jpg
new file mode 100644
index 0000000..ec185bf
--- /dev/null
+++ b/25268-h/images/img3a_th.jpg
diff --git a/25268-h/images/img4.jpg b/25268-h/images/img4.jpg
new file mode 100644
index 0000000..13d1bbd
--- /dev/null
+++ b/25268-h/images/img4.jpg
diff --git a/25268-h/images/img4_th.jpg b/25268-h/images/img4_th.jpg
new file mode 100644
index 0000000..882de9f
--- /dev/null
+++ b/25268-h/images/img4_th.jpg
diff --git a/25268-h/images/img5.jpg b/25268-h/images/img5.jpg
new file mode 100644
index 0000000..1913c8e
--- /dev/null
+++ b/25268-h/images/img5.jpg
diff --git a/25268-h/images/img5_th.jpg b/25268-h/images/img5_th.jpg
new file mode 100644
index 0000000..f9a43e2
--- /dev/null
+++ b/25268-h/images/img5_th.jpg
diff --git a/25268-h/images/img6.jpg b/25268-h/images/img6.jpg
new file mode 100644
index 0000000..cbe604d
--- /dev/null
+++ b/25268-h/images/img6.jpg
diff --git a/25268-h/images/img6_th.jpg b/25268-h/images/img6_th.jpg
new file mode 100644
index 0000000..b4aa61b
--- /dev/null
+++ b/25268-h/images/img6_th.jpg
diff --git a/25268-h/images/img7.jpg b/25268-h/images/img7.jpg
new file mode 100644
index 0000000..e7f74a3
--- /dev/null
+++ b/25268-h/images/img7.jpg
diff --git a/25268-h/images/img7_th.jpg b/25268-h/images/img7_th.jpg
new file mode 100644
index 0000000..e25002a
--- /dev/null
+++ b/25268-h/images/img7_th.jpg
diff --git a/25268-h/images/img8.jpg b/25268-h/images/img8.jpg
new file mode 100644
index 0000000..d448899
--- /dev/null
+++ b/25268-h/images/img8.jpg
diff --git a/25268-h/images/img8_th.jpg b/25268-h/images/img8_th.jpg
new file mode 100644
index 0000000..348b487
--- /dev/null
+++ b/25268-h/images/img8_th.jpg
diff --git a/25268-h/images/img9.jpg b/25268-h/images/img9.jpg
new file mode 100644
index 0000000..55ac2cc
--- /dev/null
+++ b/25268-h/images/img9.jpg
diff --git a/25268-h/images/img9_th.jpg b/25268-h/images/img9_th.jpg
new file mode 100644
index 0000000..00566e0
--- /dev/null
+++ b/25268-h/images/img9_th.jpg
diff --git a/25268-h/images/imgcover.jpg b/25268-h/images/imgcover.jpg
new file mode 100644
index 0000000..c401fd2
--- /dev/null
+++ b/25268-h/images/imgcover.jpg
diff --git a/25268-h/images/press.jpg b/25268-h/images/press.jpg
new file mode 100644
index 0000000..37063fc
--- /dev/null
+++ b/25268-h/images/press.jpg
diff --git a/25268-page-images/c0001.jpg b/25268-page-images/c0001.jpg
new file mode 100644
index 0000000..327e1a6
--- /dev/null
+++ b/25268-page-images/c0001.jpg
diff --git a/25268-page-images/f0001.jpg b/25268-page-images/f0001.jpg
new file mode 100644
index 0000000..a6fb94d
--- /dev/null
+++ b/25268-page-images/f0001.jpg
diff --git a/25268-page-images/f0002.png b/25268-page-images/f0002.png
new file mode 100644
index 0000000..5897a44
--- /dev/null
+++ b/25268-page-images/f0002.png
diff --git a/25268-page-images/f0003.png b/25268-page-images/f0003.png
new file mode 100644
index 0000000..3629993
--- /dev/null
+++ b/25268-page-images/f0003.png
diff --git a/25268-page-images/f0004.png b/25268-page-images/f0004.png
new file mode 100644
index 0000000..d75382c
--- /dev/null
+++ b/25268-page-images/f0004.png
diff --git a/25268-page-images/f0005.png b/25268-page-images/f0005.png
new file mode 100644
index 0000000..846a46f
--- /dev/null
+++ b/25268-page-images/f0005.png
diff --git a/25268-page-images/f0006.png b/25268-page-images/f0006.png
new file mode 100644
index 0000000..96fd1d8
--- /dev/null
+++ b/25268-page-images/f0006.png
diff --git a/25268-page-images/f0007.png b/25268-page-images/f0007.png
new file mode 100644
index 0000000..e6a9314
--- /dev/null
+++ b/25268-page-images/f0007.png
diff --git a/25268-page-images/f0008.png b/25268-page-images/f0008.png
new file mode 100644
index 0000000..64e71e3
--- /dev/null
+++ b/25268-page-images/f0008.png
diff --git a/25268-page-images/f0009.png b/25268-page-images/f0009.png
new file mode 100644
index 0000000..5878476
--- /dev/null
+++ b/25268-page-images/f0009.png
diff --git a/25268-page-images/f0010.png b/25268-page-images/f0010.png
new file mode 100644
index 0000000..7cae44d
--- /dev/null
+++ b/25268-page-images/f0010.png
diff --git a/25268-page-images/p0001.png b/25268-page-images/p0001.png
new file mode 100644
index 0000000..d530117
--- /dev/null
+++ b/25268-page-images/p0001.png
diff --git a/25268-page-images/p0002.png b/25268-page-images/p0002.png
new file mode 100644
index 0000000..8c42e6b
--- /dev/null
+++ b/25268-page-images/p0002.png
diff --git a/25268-page-images/p0003.png b/25268-page-images/p0003.png
new file mode 100644
index 0000000..e2f4601
--- /dev/null
+++ b/25268-page-images/p0003.png
diff --git a/25268-page-images/p0004.png b/25268-page-images/p0004.png
new file mode 100644
index 0000000..4e21521
--- /dev/null
+++ b/25268-page-images/p0004.png
diff --git a/25268-page-images/p0005.png b/25268-page-images/p0005.png
new file mode 100644
index 0000000..69bf1fe
--- /dev/null
+++ b/25268-page-images/p0005.png
diff --git a/25268-page-images/p0006.png b/25268-page-images/p0006.png
new file mode 100644
index 0000000..c4e8bd3
--- /dev/null
+++ b/25268-page-images/p0006.png
diff --git a/25268-page-images/p0007-image.jpg b/25268-page-images/p0007-image.jpg
new file mode 100644
index 0000000..2af4e9f
--- /dev/null
+++ b/25268-page-images/p0007-image.jpg
diff --git a/25268-page-images/p0007.png b/25268-page-images/p0007.png
new file mode 100644
index 0000000..ddd9df8
--- /dev/null
+++ b/25268-page-images/p0007.png
diff --git a/25268-page-images/p0008-blank.png b/25268-page-images/p0008-blank.png
new file mode 100644
index 0000000..ea70855
--- /dev/null
+++ b/25268-page-images/p0008-blank.png
diff --git a/25268-page-images/p0009.png b/25268-page-images/p0009.png
new file mode 100644
index 0000000..9d728fc
--- /dev/null
+++ b/25268-page-images/p0009.png
diff --git a/25268-page-images/p0010.png b/25268-page-images/p0010.png
new file mode 100644
index 0000000..e41bef4
--- /dev/null
+++ b/25268-page-images/p0010.png
diff --git a/25268-page-images/p0011.png b/25268-page-images/p0011.png
new file mode 100644
index 0000000..70aa45e
--- /dev/null
+++ b/25268-page-images/p0011.png
diff --git a/25268-page-images/p0012.png b/25268-page-images/p0012.png
new file mode 100644
index 0000000..f47f673
--- /dev/null
+++ b/25268-page-images/p0012.png
diff --git a/25268-page-images/p0013.png b/25268-page-images/p0013.png
new file mode 100644
index 0000000..590844b
--- /dev/null
+++ b/25268-page-images/p0013.png
diff --git a/25268-page-images/p0014.png b/25268-page-images/p0014.png
new file mode 100644
index 0000000..02ce70a
--- /dev/null
+++ b/25268-page-images/p0014.png
diff --git a/25268-page-images/p0015-image.jpg b/25268-page-images/p0015-image.jpg
new file mode 100644
index 0000000..7b6f56b
--- /dev/null
+++ b/25268-page-images/p0015-image.jpg
diff --git a/25268-page-images/p0015.png b/25268-page-images/p0015.png
new file mode 100644
index 0000000..772f0d9
--- /dev/null
+++ b/25268-page-images/p0015.png
diff --git a/25268-page-images/p0016-blank.png b/25268-page-images/p0016-blank.png
new file mode 100644
index 0000000..3f56704
--- /dev/null
+++ b/25268-page-images/p0016-blank.png
diff --git a/25268-page-images/p0017.png b/25268-page-images/p0017.png
new file mode 100644
index 0000000..f54b7d1
--- /dev/null
+++ b/25268-page-images/p0017.png
diff --git a/25268-page-images/p0018.png b/25268-page-images/p0018.png
new file mode 100644
index 0000000..6b56851
--- /dev/null
+++ b/25268-page-images/p0018.png
diff --git a/25268-page-images/p0019-image.jpg b/25268-page-images/p0019-image.jpg
new file mode 100644
index 0000000..ec185bf
--- /dev/null
+++ b/25268-page-images/p0019-image.jpg
diff --git a/25268-page-images/p0019.png b/25268-page-images/p0019.png
new file mode 100644
index 0000000..e5b3035
--- /dev/null
+++ b/25268-page-images/p0019.png
diff --git a/25268-page-images/p0020-blank.png b/25268-page-images/p0020-blank.png
new file mode 100644
index 0000000..01de7e1
--- /dev/null
+++ b/25268-page-images/p0020-blank.png
diff --git a/25268-page-images/p0021.png b/25268-page-images/p0021.png
new file mode 100644
index 0000000..f1b0ce4
--- /dev/null
+++ b/25268-page-images/p0021.png
diff --git a/25268-page-images/p0022.png b/25268-page-images/p0022.png
new file mode 100644
index 0000000..7c40cde
--- /dev/null
+++ b/25268-page-images/p0022.png
diff --git a/25268-page-images/p0023-image.jpg b/25268-page-images/p0023-image.jpg
new file mode 100644
index 0000000..94fd7e9
--- /dev/null
+++ b/25268-page-images/p0023-image.jpg
diff --git a/25268-page-images/p0023.png b/25268-page-images/p0023.png
new file mode 100644
index 0000000..17eda23
--- /dev/null
+++ b/25268-page-images/p0023.png
diff --git a/25268-page-images/p0024-blank.png b/25268-page-images/p0024-blank.png
new file mode 100644
index 0000000..c2ab9c1
--- /dev/null
+++ b/25268-page-images/p0024-blank.png
diff --git a/25268-page-images/p0025.png b/25268-page-images/p0025.png
new file mode 100644
index 0000000..80234c4
--- /dev/null
+++ b/25268-page-images/p0025.png
diff --git a/25268-page-images/p0026.png b/25268-page-images/p0026.png
new file mode 100644
index 0000000..4aa784c
--- /dev/null
+++ b/25268-page-images/p0026.png
diff --git a/25268-page-images/p0027.png b/25268-page-images/p0027.png
new file mode 100644
index 0000000..70d24ea
--- /dev/null
+++ b/25268-page-images/p0027.png
diff --git a/25268-page-images/p0028.png b/25268-page-images/p0028.png
new file mode 100644
index 0000000..44ebb84
--- /dev/null
+++ b/25268-page-images/p0028.png
diff --git a/25268-page-images/p0029.png b/25268-page-images/p0029.png
new file mode 100644
index 0000000..a61fe70
--- /dev/null
+++ b/25268-page-images/p0029.png
diff --git a/25268-page-images/p0030.png b/25268-page-images/p0030.png
new file mode 100644
index 0000000..338a6c7
--- /dev/null
+++ b/25268-page-images/p0030.png
diff --git a/25268-page-images/p0031.png b/25268-page-images/p0031.png
new file mode 100644
index 0000000..5248e1e
--- /dev/null
+++ b/25268-page-images/p0031.png
diff --git a/25268-page-images/p0032.png b/25268-page-images/p0032.png
new file mode 100644
index 0000000..bbc9c7e
--- /dev/null
+++ b/25268-page-images/p0032.png
diff --git a/25268-page-images/p0033-image.jpg b/25268-page-images/p0033-image.jpg
new file mode 100644
index 0000000..1e724f1
--- /dev/null
+++ b/25268-page-images/p0033-image.jpg
diff --git a/25268-page-images/p0033.png b/25268-page-images/p0033.png
new file mode 100644
index 0000000..762b144
--- /dev/null
+++ b/25268-page-images/p0033.png
diff --git a/25268-page-images/p0034-blank.png b/25268-page-images/p0034-blank.png
new file mode 100644
index 0000000..e220cd7
--- /dev/null
+++ b/25268-page-images/p0034-blank.png
diff --git a/25268-page-images/p0035.png b/25268-page-images/p0035.png
new file mode 100644
index 0000000..5789c07
--- /dev/null
+++ b/25268-page-images/p0035.png
diff --git a/25268-page-images/p0036.png b/25268-page-images/p0036.png
new file mode 100644
index 0000000..7082d26
--- /dev/null
+++ b/25268-page-images/p0036.png
diff --git a/25268-page-images/p0037.png b/25268-page-images/p0037.png
new file mode 100644
index 0000000..c0f8c3e
--- /dev/null
+++ b/25268-page-images/p0037.png
diff --git a/25268-page-images/p0038.png b/25268-page-images/p0038.png
new file mode 100644
index 0000000..84ab60e
--- /dev/null
+++ b/25268-page-images/p0038.png
diff --git a/25268-page-images/p0039-image.jpg b/25268-page-images/p0039-image.jpg
new file mode 100644
index 0000000..81a1dca
--- /dev/null
+++ b/25268-page-images/p0039-image.jpg
diff --git a/25268-page-images/p0039.png b/25268-page-images/p0039.png
new file mode 100644
index 0000000..d26a489
--- /dev/null
+++ b/25268-page-images/p0039.png
diff --git a/25268-page-images/p0040-blank.png b/25268-page-images/p0040-blank.png
new file mode 100644
index 0000000..b2bd3f6
--- /dev/null
+++ b/25268-page-images/p0040-blank.png
diff --git a/25268-page-images/p0041.png b/25268-page-images/p0041.png
new file mode 100644
index 0000000..ecbead1
--- /dev/null
+++ b/25268-page-images/p0041.png
diff --git a/25268-page-images/p0042.png b/25268-page-images/p0042.png
new file mode 100644
index 0000000..3f0024a
--- /dev/null
+++ b/25268-page-images/p0042.png
diff --git a/25268-page-images/p0043.png b/25268-page-images/p0043.png
new file mode 100644
index 0000000..1c81dbc
--- /dev/null
+++ b/25268-page-images/p0043.png
diff --git a/25268-page-images/p0044.png b/25268-page-images/p0044.png
new file mode 100644
index 0000000..ac19ed9
--- /dev/null
+++ b/25268-page-images/p0044.png
diff --git a/25268-page-images/p0045-image.jpg b/25268-page-images/p0045-image.jpg
new file mode 100644
index 0000000..509bd98
--- /dev/null
+++ b/25268-page-images/p0045-image.jpg
diff --git a/25268-page-images/p0045.png b/25268-page-images/p0045.png
new file mode 100644
index 0000000..31b675a
--- /dev/null
+++ b/25268-page-images/p0045.png
diff --git a/25268-page-images/p0046-blank.png b/25268-page-images/p0046-blank.png
new file mode 100644
index 0000000..c2ab9c1
--- /dev/null
+++ b/25268-page-images/p0046-blank.png
diff --git a/25268-page-images/p0047.png b/25268-page-images/p0047.png
new file mode 100644
index 0000000..c187016
--- /dev/null
+++ b/25268-page-images/p0047.png
diff --git a/25268-page-images/p0048.png b/25268-page-images/p0048.png
new file mode 100644
index 0000000..85fce60
--- /dev/null
+++ b/25268-page-images/p0048.png
diff --git a/25268-page-images/p0049-image.jpg b/25268-page-images/p0049-image.jpg
new file mode 100644
index 0000000..5e84a37
--- /dev/null
+++ b/25268-page-images/p0049-image.jpg
diff --git a/25268-page-images/p0049.png b/25268-page-images/p0049.png
new file mode 100644
index 0000000..429ee74
--- /dev/null
+++ b/25268-page-images/p0049.png
diff --git a/25268-page-images/p0050-blank.png b/25268-page-images/p0050-blank.png
new file mode 100644
index 0000000..49f45df
--- /dev/null
+++ b/25268-page-images/p0050-blank.png
diff --git a/25268-page-images/p0051.png b/25268-page-images/p0051.png
new file mode 100644
index 0000000..a5e86c3
--- /dev/null
+++ b/25268-page-images/p0051.png
diff --git a/25268-page-images/p0052.png b/25268-page-images/p0052.png
new file mode 100644
index 0000000..eb0e64c
--- /dev/null
+++ b/25268-page-images/p0052.png
diff --git a/25268-page-images/p0053.png b/25268-page-images/p0053.png
new file mode 100644
index 0000000..9b54fc5
--- /dev/null
+++ b/25268-page-images/p0053.png
diff --git a/25268-page-images/p0054-blank.png b/25268-page-images/p0054-blank.png
new file mode 100644
index 0000000..bed6b22
--- /dev/null
+++ b/25268-page-images/p0054-blank.png
diff --git a/25268-page-images/p0055.png b/25268-page-images/p0055.png
new file mode 100644
index 0000000..2370546
--- /dev/null
+++ b/25268-page-images/p0055.png
diff --git a/25268-page-images/p0056.png b/25268-page-images/p0056.png
new file mode 100644
index 0000000..3deaba5
--- /dev/null
+++ b/25268-page-images/p0056.png
diff --git a/25268-page-images/p0057.png b/25268-page-images/p0057.png
new file mode 100644
index 0000000..3714445
--- /dev/null
+++ b/25268-page-images/p0057.png
diff --git a/25268-page-images/p0058.png b/25268-page-images/p0058.png
new file mode 100644
index 0000000..deda61a
--- /dev/null
+++ b/25268-page-images/p0058.png
diff --git a/25268-page-images/p0059-image.jpg b/25268-page-images/p0059-image.jpg
new file mode 100644
index 0000000..db16419
--- /dev/null
+++ b/25268-page-images/p0059-image.jpg
diff --git a/25268-page-images/p0059.png b/25268-page-images/p0059.png
new file mode 100644
index 0000000..5aa279e
--- /dev/null
+++ b/25268-page-images/p0059.png
diff --git a/25268-page-images/p0060-blank.png b/25268-page-images/p0060-blank.png
new file mode 100644
index 0000000..efe4eae
--- /dev/null
+++ b/25268-page-images/p0060-blank.png
diff --git a/25268-page-images/p0061.png b/25268-page-images/p0061.png
new file mode 100644
index 0000000..b023e06
--- /dev/null
+++ b/25268-page-images/p0061.png
diff --git a/25268-page-images/p0062.png b/25268-page-images/p0062.png
new file mode 100644
index 0000000..3c8864c
--- /dev/null
+++ b/25268-page-images/p0062.png
diff --git a/25268-page-images/p0063.png b/25268-page-images/p0063.png
new file mode 100644
index 0000000..b865184
--- /dev/null
+++ b/25268-page-images/p0063.png
diff --git a/25268-page-images/p0064.png b/25268-page-images/p0064.png
new file mode 100644
index 0000000..76d1cc0
--- /dev/null
+++ b/25268-page-images/p0064.png
diff --git a/25268-page-images/p0065.png b/25268-page-images/p0065.png
new file mode 100644
index 0000000..d9acccc
--- /dev/null
+++ b/25268-page-images/p0065.png
diff --git a/25268-page-images/p0066.png b/25268-page-images/p0066.png
new file mode 100644
index 0000000..14be6f8
--- /dev/null
+++ b/25268-page-images/p0066.png
diff --git a/25268-page-images/p0067.png b/25268-page-images/p0067.png
new file mode 100644
index 0000000..db575d5
--- /dev/null
+++ b/25268-page-images/p0067.png
diff --git a/25268-page-images/p0068.png b/25268-page-images/p0068.png
new file mode 100644
index 0000000..db19147
--- /dev/null
+++ b/25268-page-images/p0068.png
diff --git a/25268-page-images/p0069.png b/25268-page-images/p0069.png
new file mode 100644
index 0000000..f490270
--- /dev/null
+++ b/25268-page-images/p0069.png
diff --git a/25268-page-images/p0070.png b/25268-page-images/p0070.png
new file mode 100644
index 0000000..d0a011e
--- /dev/null
+++ b/25268-page-images/p0070.png
diff --git a/25268-page-images/p0071-image.jpg b/25268-page-images/p0071-image.jpg
new file mode 100644
index 0000000..eecf20f
--- /dev/null
+++ b/25268-page-images/p0071-image.jpg
diff --git a/25268-page-images/p0071.png b/25268-page-images/p0071.png
new file mode 100644
index 0000000..02181a4
--- /dev/null
+++ b/25268-page-images/p0071.png
diff --git a/25268-page-images/p0072-blank.png b/25268-page-images/p0072-blank.png
new file mode 100644
index 0000000..83a8fab
--- /dev/null
+++ b/25268-page-images/p0072-blank.png
diff --git a/25268-page-images/p0073.png b/25268-page-images/p0073.png
new file mode 100644
index 0000000..49e35c9
--- /dev/null
+++ b/25268-page-images/p0073.png
diff --git a/25268-page-images/p0074.png b/25268-page-images/p0074.png
new file mode 100644
index 0000000..2f2f66c
--- /dev/null
+++ b/25268-page-images/p0074.png
diff --git a/25268-page-images/p0075.png b/25268-page-images/p0075.png
new file mode 100644
index 0000000..57eee02
--- /dev/null
+++ b/25268-page-images/p0075.png
diff --git a/25268-page-images/p0076.png b/25268-page-images/p0076.png
new file mode 100644
index 0000000..a6625f8
--- /dev/null
+++ b/25268-page-images/p0076.png
diff --git a/25268-page-images/p0077-image.jpg b/25268-page-images/p0077-image.jpg
new file mode 100644
index 0000000..54b6499
--- /dev/null
+++ b/25268-page-images/p0077-image.jpg
diff --git a/25268-page-images/p0077.png b/25268-page-images/p0077.png
new file mode 100644
index 0000000..7c04967
--- /dev/null
+++ b/25268-page-images/p0077.png
diff --git a/25268-page-images/p0078-blank.png b/25268-page-images/p0078-blank.png
new file mode 100644
index 0000000..8b0bdc6
--- /dev/null
+++ b/25268-page-images/p0078-blank.png
diff --git a/25268-page-images/p0079.png b/25268-page-images/p0079.png
new file mode 100644
index 0000000..910a344
--- /dev/null
+++ b/25268-page-images/p0079.png
diff --git a/25268-page-images/p0080.png b/25268-page-images/p0080.png
new file mode 100644
index 0000000..d70d34c
--- /dev/null
+++ b/25268-page-images/p0080.png
diff --git a/25268-page-images/p0081-image.jpg b/25268-page-images/p0081-image.jpg
new file mode 100644
index 0000000..02aed96
--- /dev/null
+++ b/25268-page-images/p0081-image.jpg
diff --git a/25268-page-images/p0081.png b/25268-page-images/p0081.png
new file mode 100644
index 0000000..1c3c309
--- /dev/null
+++ b/25268-page-images/p0081.png
diff --git a/25268-page-images/p0082-blank.png b/25268-page-images/p0082-blank.png
new file mode 100644
index 0000000..b7aa2b7
--- /dev/null
+++ b/25268-page-images/p0082-blank.png
diff --git a/25268-page-images/p0083.png b/25268-page-images/p0083.png
new file mode 100644
index 0000000..337c390
--- /dev/null
+++ b/25268-page-images/p0083.png
diff --git a/25268-page-images/p0084.png b/25268-page-images/p0084.png
new file mode 100644
index 0000000..dd11f11
--- /dev/null
+++ b/25268-page-images/p0084.png
diff --git a/25268-page-images/p0085.png b/25268-page-images/p0085.png
new file mode 100644
index 0000000..91afca4
--- /dev/null
+++ b/25268-page-images/p0085.png
diff --git a/25268-page-images/p0086.png b/25268-page-images/p0086.png
new file mode 100644
index 0000000..860abeb
--- /dev/null
+++ b/25268-page-images/p0086.png
diff --git a/25268-page-images/p0087.png b/25268-page-images/p0087.png
new file mode 100644
index 0000000..7e0da4c
--- /dev/null
+++ b/25268-page-images/p0087.png
diff --git a/25268-page-images/p0088.png b/25268-page-images/p0088.png
new file mode 100644
index 0000000..2eeaf34
--- /dev/null
+++ b/25268-page-images/p0088.png
diff --git a/25268-page-images/p0089-image.jpg b/25268-page-images/p0089-image.jpg
new file mode 100644
index 0000000..ee87c37
--- /dev/null
+++ b/25268-page-images/p0089-image.jpg
diff --git a/25268-page-images/p0089.png b/25268-page-images/p0089.png
new file mode 100644
index 0000000..cc948d9
--- /dev/null
+++ b/25268-page-images/p0089.png
diff --git a/25268-page-images/p0090-blank.png b/25268-page-images/p0090-blank.png
new file mode 100644
index 0000000..8c78978
--- /dev/null
+++ b/25268-page-images/p0090-blank.png
diff --git a/25268-page-images/p0091.png b/25268-page-images/p0091.png
new file mode 100644
index 0000000..ba7edea
--- /dev/null
+++ b/25268-page-images/p0091.png
diff --git a/25268-page-images/p0092.png b/25268-page-images/p0092.png
new file mode 100644
index 0000000..27e2710
--- /dev/null
+++ b/25268-page-images/p0092.png
diff --git a/25268-page-images/p0093.png b/25268-page-images/p0093.png
new file mode 100644
index 0000000..d03b8ad
--- /dev/null
+++ b/25268-page-images/p0093.png
diff --git a/25268-page-images/p0094.png b/25268-page-images/p0094.png
new file mode 100644
index 0000000..f7e524a
--- /dev/null
+++ b/25268-page-images/p0094.png
diff --git a/25268-page-images/p0095.png b/25268-page-images/p0095.png
new file mode 100644
index 0000000..dc1d9f9
--- /dev/null
+++ b/25268-page-images/p0095.png
diff --git a/25268-page-images/p0096.png b/25268-page-images/p0096.png
new file mode 100644
index 0000000..7e2c7bc
--- /dev/null
+++ b/25268-page-images/p0096.png
diff --git a/25268-page-images/p0097.png b/25268-page-images/p0097.png
new file mode 100644
index 0000000..67565fb
--- /dev/null
+++ b/25268-page-images/p0097.png
diff --git a/25268-page-images/p0098-image.jpg b/25268-page-images/p0098-image.jpg
new file mode 100644
index 0000000..910a36f
--- /dev/null
+++ b/25268-page-images/p0098-image.jpg
diff --git a/25268-page-images/p0098.png b/25268-page-images/p0098.png
new file mode 100644
index 0000000..22b098c
--- /dev/null
+++ b/25268-page-images/p0098.png
diff --git a/25268-page-images/p0099.png b/25268-page-images/p0099.png
new file mode 100644
index 0000000..946f49e
--- /dev/null
+++ b/25268-page-images/p0099.png
diff --git a/25268-page-images/p0100.png b/25268-page-images/p0100.png
new file mode 100644
index 0000000..987cc42
--- /dev/null
+++ b/25268-page-images/p0100.png
diff --git a/25268-page-images/p0101.png b/25268-page-images/p0101.png
new file mode 100644
index 0000000..1349dc9
--- /dev/null
+++ b/25268-page-images/p0101.png
diff --git a/25268-page-images/p0102.png b/25268-page-images/p0102.png
new file mode 100644
index 0000000..1af10d2
--- /dev/null
+++ b/25268-page-images/p0102.png
diff --git a/25268-page-images/p0103-image.jpg b/25268-page-images/p0103-image.jpg
new file mode 100644
index 0000000..f534cfb
--- /dev/null
+++ b/25268-page-images/p0103-image.jpg
diff --git a/25268-page-images/p0103.png b/25268-page-images/p0103.png
new file mode 100644
index 0000000..272d738
--- /dev/null
+++ b/25268-page-images/p0103.png
diff --git a/25268-page-images/p0104-blank.png b/25268-page-images/p0104-blank.png
new file mode 100644
index 0000000..3a9ec6f
--- /dev/null
+++ b/25268-page-images/p0104-blank.png
diff --git a/25268-page-images/p0105.png b/25268-page-images/p0105.png
new file mode 100644
index 0000000..39134ba
--- /dev/null
+++ b/25268-page-images/p0105.png
diff --git a/25268-page-images/p0106.png b/25268-page-images/p0106.png
new file mode 100644
index 0000000..1545256
--- /dev/null
+++ b/25268-page-images/p0106.png
diff --git a/25268-page-images/p0107-image.jpg b/25268-page-images/p0107-image.jpg
new file mode 100644
index 0000000..d88adb3
--- /dev/null
+++ b/25268-page-images/p0107-image.jpg
diff --git a/25268-page-images/p0107.png b/25268-page-images/p0107.png
new file mode 100644
index 0000000..c331d8a
--- /dev/null
+++ b/25268-page-images/p0107.png
diff --git a/25268-page-images/p0108-blank.png b/25268-page-images/p0108-blank.png
new file mode 100644
index 0000000..0d0aadc
--- /dev/null
+++ b/25268-page-images/p0108-blank.png
diff --git a/25268-page-images/p0109.png b/25268-page-images/p0109.png
new file mode 100644
index 0000000..eec5e07
--- /dev/null
+++ b/25268-page-images/p0109.png
diff --git a/25268-page-images/p0110.png b/25268-page-images/p0110.png
new file mode 100644
index 0000000..1153243
--- /dev/null
+++ b/25268-page-images/p0110.png
diff --git a/25268-page-images/p0111.png b/25268-page-images/p0111.png
new file mode 100644
index 0000000..e7646fc
--- /dev/null
+++ b/25268-page-images/p0111.png
diff --git a/25268-page-images/p0112-blank.png b/25268-page-images/p0112-blank.png
new file mode 100644
index 0000000..d0a8d34
--- /dev/null
+++ b/25268-page-images/p0112-blank.png
diff --git a/25268-page-images/p0113.png b/25268-page-images/p0113.png
new file mode 100644
index 0000000..527da8c
--- /dev/null
+++ b/25268-page-images/p0113.png
diff --git a/25268-page-images/p0114.png b/25268-page-images/p0114.png
new file mode 100644
index 0000000..ab83522
--- /dev/null
+++ b/25268-page-images/p0114.png
diff --git a/25268-page-images/p0115.png b/25268-page-images/p0115.png
new file mode 100644
index 0000000..fec453a
--- /dev/null
+++ b/25268-page-images/p0115.png
diff --git a/25268-page-images/p0116.png b/25268-page-images/p0116.png
new file mode 100644
index 0000000..704c5a5
--- /dev/null
+++ b/25268-page-images/p0116.png
diff --git a/25268-page-images/p0117.png b/25268-page-images/p0117.png
new file mode 100644
index 0000000..7ffda1b
--- /dev/null
+++ b/25268-page-images/p0117.png
diff --git a/25268-page-images/p0118.png b/25268-page-images/p0118.png
new file mode 100644
index 0000000..691815e
--- /dev/null
+++ b/25268-page-images/p0118.png
diff --git a/25268-page-images/p0119-image.jpg b/25268-page-images/p0119-image.jpg
new file mode 100644
index 0000000..2347dbf
--- /dev/null
+++ b/25268-page-images/p0119-image.jpg
diff --git a/25268-page-images/p0119.png b/25268-page-images/p0119.png
new file mode 100644
index 0000000..848a6fb
--- /dev/null
+++ b/25268-page-images/p0119.png
diff --git a/25268-page-images/p0120-blank.png b/25268-page-images/p0120-blank.png
new file mode 100644
index 0000000..6430b1f
--- /dev/null
+++ b/25268-page-images/p0120-blank.png
diff --git a/25268-page-images/p0121.png b/25268-page-images/p0121.png
new file mode 100644
index 0000000..0e2592f
--- /dev/null
+++ b/25268-page-images/p0121.png
diff --git a/25268-page-images/p0122.png b/25268-page-images/p0122.png
new file mode 100644
index 0000000..072595e
--- /dev/null
+++ b/25268-page-images/p0122.png
diff --git a/25268-page-images/p0123.png b/25268-page-images/p0123.png
new file mode 100644
index 0000000..20d93c8
--- /dev/null
+++ b/25268-page-images/p0123.png
diff --git a/25268-page-images/p0124.png b/25268-page-images/p0124.png
new file mode 100644
index 0000000..292b7c1
--- /dev/null
+++ b/25268-page-images/p0124.png
diff --git a/25268-page-images/p0125.png b/25268-page-images/p0125.png
new file mode 100644
index 0000000..b595be0
--- /dev/null
+++ b/25268-page-images/p0125.png
diff --git a/25268-page-images/p0126.png b/25268-page-images/p0126.png
new file mode 100644
index 0000000..285384b
--- /dev/null
+++ b/25268-page-images/p0126.png
diff --git a/25268-page-images/p0127-image.jpg b/25268-page-images/p0127-image.jpg
new file mode 100644
index 0000000..5a4cc70
--- /dev/null
+++ b/25268-page-images/p0127-image.jpg
diff --git a/25268-page-images/p0127.png b/25268-page-images/p0127.png
new file mode 100644
index 0000000..cdf368c
--- /dev/null
+++ b/25268-page-images/p0127.png
diff --git a/25268-page-images/p0128-blank.png b/25268-page-images/p0128-blank.png
new file mode 100644
index 0000000..2125ad7
--- /dev/null
+++ b/25268-page-images/p0128-blank.png
diff --git a/25268-page-images/p0129.png b/25268-page-images/p0129.png
new file mode 100644
index 0000000..ea95ccd
--- /dev/null
+++ b/25268-page-images/p0129.png
diff --git a/25268-page-images/p0130.png b/25268-page-images/p0130.png
new file mode 100644
index 0000000..f54c3c9
--- /dev/null
+++ b/25268-page-images/p0130.png
diff --git a/25268-page-images/p0131-image.jpg b/25268-page-images/p0131-image.jpg
new file mode 100644
index 0000000..c4f5832
--- /dev/null
+++ b/25268-page-images/p0131-image.jpg
diff --git a/25268-page-images/p0131.png b/25268-page-images/p0131.png
new file mode 100644
index 0000000..1018e67
--- /dev/null
+++ b/25268-page-images/p0131.png
diff --git a/25268-page-images/p0132-blank.png b/25268-page-images/p0132-blank.png
new file mode 100644
index 0000000..b6fbe0e
--- /dev/null
+++ b/25268-page-images/p0132-blank.png
diff --git a/25268-page-images/p0133.png b/25268-page-images/p0133.png
new file mode 100644
index 0000000..7f2cb9c
--- /dev/null
+++ b/25268-page-images/p0133.png
diff --git a/25268-page-images/p0134.png b/25268-page-images/p0134.png
new file mode 100644
index 0000000..1e1d404
--- /dev/null
+++ b/25268-page-images/p0134.png
diff --git a/25268-page-images/p0135-image.jpg b/25268-page-images/p0135-image.jpg
new file mode 100644
index 0000000..c6d6757
--- /dev/null
+++ b/25268-page-images/p0135-image.jpg
diff --git a/25268-page-images/p0135.png b/25268-page-images/p0135.png
new file mode 100644
index 0000000..20d9ca1
--- /dev/null
+++ b/25268-page-images/p0135.png
diff --git a/25268-page-images/p0136-blank.png b/25268-page-images/p0136-blank.png
new file mode 100644
index 0000000..bed6b22
--- /dev/null
+++ b/25268-page-images/p0136-blank.png
diff --git a/25268-page-images/p0137.png b/25268-page-images/p0137.png
new file mode 100644
index 0000000..1bc5663
--- /dev/null
+++ b/25268-page-images/p0137.png
diff --git a/25268-page-images/p0138-blank.png b/25268-page-images/p0138-blank.png
new file mode 100644
index 0000000..49f45df
--- /dev/null
+++ b/25268-page-images/p0138-blank.png
diff --git a/25268-page-images/p0139.png b/25268-page-images/p0139.png
new file mode 100644
index 0000000..b2d1126
--- /dev/null
+++ b/25268-page-images/p0139.png
diff --git a/25268-page-images/p0140.png b/25268-page-images/p0140.png
new file mode 100644
index 0000000..f61ddc2
--- /dev/null
+++ b/25268-page-images/p0140.png
diff --git a/25268-page-images/p0141.png b/25268-page-images/p0141.png
new file mode 100644
index 0000000..59565a4
--- /dev/null
+++ b/25268-page-images/p0141.png
diff --git a/25268-page-images/p0142.png b/25268-page-images/p0142.png
new file mode 100644
index 0000000..284a9b9
--- /dev/null
+++ b/25268-page-images/p0142.png
diff --git a/25268-page-images/p0143.png b/25268-page-images/p0143.png
new file mode 100644
index 0000000..b20ee88
--- /dev/null
+++ b/25268-page-images/p0143.png
diff --git a/25268-page-images/p0144.png b/25268-page-images/p0144.png
new file mode 100644
index 0000000..237989d
--- /dev/null
+++ b/25268-page-images/p0144.png
diff --git a/25268-page-images/p0145.png b/25268-page-images/p0145.png
new file mode 100644
index 0000000..0f7be45
--- /dev/null
+++ b/25268-page-images/p0145.png
diff --git a/25268-page-images/p0146.png b/25268-page-images/p0146.png
new file mode 100644
index 0000000..8761b2b
--- /dev/null
+++ b/25268-page-images/p0146.png
diff --git a/25268-page-images/p0147-image.jpg b/25268-page-images/p0147-image.jpg
new file mode 100644
index 0000000..5ce300b
--- /dev/null
+++ b/25268-page-images/p0147-image.jpg
diff --git a/25268-page-images/p0147.png b/25268-page-images/p0147.png
new file mode 100644
index 0000000..1b08b60
--- /dev/null
+++ b/25268-page-images/p0147.png
diff --git a/25268-page-images/p0148-blank.png b/25268-page-images/p0148-blank.png
new file mode 100644
index 0000000..c2ab9c1
--- /dev/null
+++ b/25268-page-images/p0148-blank.png
diff --git a/25268-page-images/p0149.png b/25268-page-images/p0149.png
new file mode 100644
index 0000000..e6adcc9
--- /dev/null
+++ b/25268-page-images/p0149.png
diff --git a/25268-page-images/p0150.png b/25268-page-images/p0150.png
new file mode 100644
index 0000000..b6bafd3
--- /dev/null
+++ b/25268-page-images/p0150.png
diff --git a/25268-page-images/p0151.png b/25268-page-images/p0151.png
new file mode 100644
index 0000000..36b5de4
--- /dev/null
+++ b/25268-page-images/p0151.png
diff --git a/25268-page-images/p0152.png b/25268-page-images/p0152.png
new file mode 100644
index 0000000..8418cff
--- /dev/null
+++ b/25268-page-images/p0152.png
diff --git a/25268-page-images/p0153.png b/25268-page-images/p0153.png
new file mode 100644
index 0000000..9e5e5cf
--- /dev/null
+++ b/25268-page-images/p0153.png
diff --git a/25268-page-images/p0154.png b/25268-page-images/p0154.png
new file mode 100644
index 0000000..e0ca074
--- /dev/null
+++ b/25268-page-images/p0154.png
diff --git a/25268-page-images/p0155-image.jpg b/25268-page-images/p0155-image.jpg
new file mode 100644
index 0000000..e94327a
--- /dev/null
+++ b/25268-page-images/p0155-image.jpg
diff --git a/25268-page-images/p0155.png b/25268-page-images/p0155.png
new file mode 100644
index 0000000..d4c72fd
--- /dev/null
+++ b/25268-page-images/p0155.png
diff --git a/25268-page-images/p0156-blank.png b/25268-page-images/p0156-blank.png
new file mode 100644
index 0000000..b0e374c
--- /dev/null
+++ b/25268-page-images/p0156-blank.png
diff --git a/25268-page-images/p0157.png b/25268-page-images/p0157.png
new file mode 100644
index 0000000..277e178
--- /dev/null
+++ b/25268-page-images/p0157.png
diff --git a/25268-page-images/p0158.png b/25268-page-images/p0158.png
new file mode 100644
index 0000000..c329120
--- /dev/null
+++ b/25268-page-images/p0158.png
diff --git a/25268-page-images/p0159-image.jpg b/25268-page-images/p0159-image.jpg
new file mode 100644
index 0000000..2905374
--- /dev/null
+++ b/25268-page-images/p0159-image.jpg
diff --git a/25268-page-images/p0159.png b/25268-page-images/p0159.png
new file mode 100644
index 0000000..6d1f654
--- /dev/null
+++ b/25268-page-images/p0159.png
diff --git a/25268-page-images/p0160-blank.png b/25268-page-images/p0160-blank.png
new file mode 100644
index 0000000..c2ab9c1
--- /dev/null
+++ b/25268-page-images/p0160-blank.png
diff --git a/25268-page-images/p0161.png b/25268-page-images/p0161.png
new file mode 100644
index 0000000..582de5e
--- /dev/null
+++ b/25268-page-images/p0161.png
diff --git a/25268-page-images/p0162.png b/25268-page-images/p0162.png
new file mode 100644
index 0000000..af8c96f
--- /dev/null
+++ b/25268-page-images/p0162.png
diff --git a/25268-page-images/p0163-image.jpg b/25268-page-images/p0163-image.jpg
new file mode 100644
index 0000000..aa9be18
--- /dev/null
+++ b/25268-page-images/p0163-image.jpg
diff --git a/25268-page-images/p0163.png b/25268-page-images/p0163.png
new file mode 100644
index 0000000..e48acf9
--- /dev/null
+++ b/25268-page-images/p0163.png
diff --git a/25268-page-images/p0164-blank.png b/25268-page-images/p0164-blank.png
new file mode 100644
index 0000000..101906b
--- /dev/null
+++ b/25268-page-images/p0164-blank.png
diff --git a/25268-page-images/p0165.png b/25268-page-images/p0165.png
new file mode 100644
index 0000000..19a0600
--- /dev/null
+++ b/25268-page-images/p0165.png
diff --git a/25268-page-images/p0166-blank.png b/25268-page-images/p0166-blank.png
new file mode 100644
index 0000000..8b0bdc6
--- /dev/null
+++ b/25268-page-images/p0166-blank.png
diff --git a/25268-page-images/p0167.png b/25268-page-images/p0167.png
new file mode 100644
index 0000000..12e9c38
--- /dev/null
+++ b/25268-page-images/p0167.png
diff --git a/25268-page-images/p0168-blank.png b/25268-page-images/p0168-blank.png
new file mode 100644
index 0000000..8b0bdc6
--- /dev/null
+++ b/25268-page-images/p0168-blank.png
diff --git a/25268-page-images/p0169.png b/25268-page-images/p0169.png
new file mode 100644
index 0000000..41fbcfb
--- /dev/null
+++ b/25268-page-images/p0169.png
diff --git a/25268-page-images/p0170.png b/25268-page-images/p0170.png
new file mode 100644
index 0000000..d12595a
--- /dev/null
+++ b/25268-page-images/p0170.png
diff --git a/25268-page-images/p0171.png b/25268-page-images/p0171.png
new file mode 100644
index 0000000..3c1a9e1
--- /dev/null
+++ b/25268-page-images/p0171.png
diff --git a/25268-page-images/p0172.png b/25268-page-images/p0172.png
new file mode 100644
index 0000000..d336a4d
--- /dev/null
+++ b/25268-page-images/p0172.png
diff --git a/25268-page-images/p0173.png b/25268-page-images/p0173.png
new file mode 100644
index 0000000..01dc3d3
--- /dev/null
+++ b/25268-page-images/p0173.png
diff --git a/25268-page-images/p0174-blank.png b/25268-page-images/p0174-blank.png
new file mode 100644
index 0000000..e220cd7
--- /dev/null
+++ b/25268-page-images/p0174-blank.png
diff --git a/25268-page-images/p0175.png b/25268-page-images/p0175.png
new file mode 100644
index 0000000..ad5dc6e
--- /dev/null
+++ b/25268-page-images/p0175.png
diff --git a/25268-page-images/p0176.png b/25268-page-images/p0176.png
new file mode 100644
index 0000000..3865f70
--- /dev/null
+++ b/25268-page-images/p0176.png
diff --git a/25268.txt b/25268.txt
new file mode 100644
index 0000000..f7ef046
--- /dev/null
+++ b/25268.txt
@@ -0,0 +1,2427 @@
+The Project Gutenberg EBook of Child-life in Art, by Estelle M. Hurll
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Child-life in Art
+
+Author: Estelle M. Hurll
+
+Release Date: April 30, 2008 [EBook #25268]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CHILD-LIFE IN ART ***
+
+
+
+
+Produced by Juliet Sutherland, Anne Storer and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+[Illustration: THE SISTINE MADONNA.--RAPHAEL.]
+
+
+
+
+  CHILD-LIFE IN ART
+  BY
+  ESTELLE M. HURLL, M.A.
+
+
+  Illustrated
+
+
+    Children are God's apostles, day by day
+    Sent forth to preach of love and hope and peace.
+                                          LOWELL.
+
+
+  BOSTON
+  JOSEPH KNIGHT COMPANY
+  1895
+
+
+
+
+  _Copyright, 1894,_
+  BY JOSEPH KNIGHT COMPANY.
+
+
+  University Press:
+  JOHN WILSON AND SON, CAMBRIDGE, U.S.A.
+
+
+
+
+PREFACE.
+
+
+The subject of this little book is its best claim upon public favor.
+Child-life in every form appeals with singular force to the sympathies
+of all. In palace and in cottage, in the city and in the country,
+childhood reigns supreme by the divine right of love. No monarch rules
+more mightily than the infant sovereign in the Kingdom of Home, and none
+more beneficently. His advent brings a bit of heaven into our midst, and
+we become more gentle and tender for the sacred influence. Every phase
+of the growing young life is beautiful and interesting to us. Every new
+mood awakens in us a sense of awe before unfolding possibilities for
+good or evil.
+
+The poetry of childhood is full of attractiveness to the artist,
+and many and varied are the forms in which he interprets it. The
+Christ-child has been his highest ideal. All that human imagination
+could conceive of innocence and purity and divine loveliness has been
+shown forth in the delineation of the Babe of Bethlehem. The influence
+of such art has made itself felt upon all child pictures. It matters not
+whether the subject be a prince or a street-waif; the true artist sees
+in him something which is lovable and winning, and transfers it to his
+canvas for our lasting pleasure.
+
+Art has produced so many representations of children that it would be a
+hopeless task to attempt a complete enumeration of them, and the book
+makes no pretensions to exhaustiveness. The aim has been merely to
+suggest a convenient outline of classification, and to describe a few
+characteristic examples in each group. The nature of the undertaking
+has, of course, necessitated consulting the works of many standard
+authorities, to whom I gratefully acknowledge my indebtedness. The names
+of the most prominent are included in the bibliographical list. While
+faithfully studying their opinions, I have always reserved the right of
+forming an independent estimate of any painting considered, especially
+when, as in many cases, I have myself seen the original. I am under
+great obligations to my friend Professor Anne Eugenia Morgan of
+Wellesley for first showing me, through her philosophical
+art-interpretations, the true meaning and value of the works of
+the masters. From these interpretations I have drawn many of the
+suggestions which are embodied in the descriptions of the following
+pages.
+
+While addressing lovers of children primarily, I have also hoped to
+interest students in the history of art. I have therefore added a few
+notes containing further details in regard to some of the subjects.
+
+                                                        E. M. H.
+
+NEW BEDFORD, MASS., June 1, 1894.
+
+
+
+
+  CONTENTS.
+
+
+  CHAPTER                                                  PAGE
+    I. CHILDHOOD IN IDEAL TYPES                               3
+   II. CHILDREN BORN TO THE PURPLE                           29
+  III. THE CHILDREN OF FIELD AND VILLAGE                     57
+   IV. THE CHILD-LIFE OF THE STREETS                         87
+    V. CHILD-ANGELS                                         115
+   VI. THE CHRIST-CHILD                                     141
+
+
+
+
+  LIST OF ILLUSTRATIONS.
+
+
+                                                                   PAGE
+
+  SISTINE MADONNA                           Raphael       _Frontispiece_
+
+  THE STRAWBERRY GIRL                       Reynolds                  7
+
+  PENELOPE BOOTHBY                          Reynolds                 15
+
+  ANGEL HEADS                               Reynolds                 19
+      _From the original painting in the National Gallery, London._
+
+  NATURE                                    Lawrence                 23
+
+  PORTRAIT OF PRINCE JAMES, DUKE OF YORK    Van Dyck                 33
+      _From a painting in San Luca, Rome, after the Turin portrait
+      by Van Dyck._
+
+  PORTRAIT OF PRINCESS MARY STUART AND
+    PRINCE WILLIAM II. OF ORANGE            Van Dyck                 39
+      _From the original painting in Amsterdam._
+
+  PORTRAIT OF THE INFANTA MARIA THERESA     Velasquez                45
+      _From the original painting in the Prado, Madrid._
+
+  PORTRAIT OF THE INFANTA MARGUERITE        Velasquez                49
+      _From the original painting in the Louvre, Paris._
+
+  RUSTIC CHILDREN                           Gainsborough             59
+
+  LA CRUCHE CASSEE (The Broken Pitcher)     Greuze                   71
+      _From the original painting in the Louvre, Paris._
+
+  CHILD'S HEAD                              Bouguereau               77
+
+  THE LITTLE RABBIT SELLER                  Meyer von Bremen         81
+
+  BEGGAR BOYS                               Murillo                  89
+      _From the original painting in the Pinacothek, Munich._
+
+  STREET ARABS                              Dorothy Tennant Stanley  98
+
+  THE MEETING                               Marie Bashkirtseff      103
+      _From the original painting in the Luxembourg, Paris._
+
+  CASTLES IN SPAIN                          J. G. Brown             107
+
+  GROUP OF ANGELS. From the Assumption      Titian                  119
+      _From the original painting in the Academy, Venice._
+
+  PIPING ANGEL. Detail of Frari Madonna     Bellini                 127
+      _From the original painting in Venice._
+
+  ANGEL. From Madonna and Child             Luigi Vivarini          131
+      _From the original painting in the Church of Redentore, Venice._
+
+  ANGEL. From the Vision of Saint Bernard   Filippino Lippi         135
+      _From the original painting in the Badia, Florence._
+
+  MADONNA OF THE CASA TEMPI                 Raphael                 147
+
+  INFANT JESUS AND SAINT JOHN               Boucher                 155
+      _From the original painting in the Uffizi, Florence._
+
+  THE CHRIST-CHILD                          Deger                   159
+
+  HEAD OF BOY CHRIST                        Hofmann                 163
+      _Detail of Christ Disputing with the Doctors._
+
+
+       *       *       *       *       *
+
+
+
+
+I.
+
+CHILDHOOD IN IDEAL TYPES.
+
+
+
+
+    O child! O new-born denizen
+    Of life's great city! on thy head
+    The glory of the morn is shed,
+    Like a celestial benison!
+    Here at the portal thou dost stand,
+    And with thy little hand
+    Thou openest the mysterious gate
+    Into the future's undiscovered land.
+                            LONGFELLOW.
+
+
+
+
+CHILD-LIFE IN ART.
+
+CHAPTER I.
+
+CHILDHOOD IN IDEAL TYPES.
+
+
+If we could gather into one great gallery all the paintings of
+child-life which the world has ever produced, there would be scattered
+here and there some few works of a distinctly unique character, before
+which we should rest so completely satisfied that we should quite forget
+to look at any others. These choice gems are the work of those rare men
+of genius who, looking beyond all trivial circumstances and individual
+peculiarities, discovered the essential secrets of child-life, and
+embodied them in ideal types. They are pictures of _childhood_, rather
+than of _children_, representing those phases of thought and emotion
+which are peculiar to the child as such, and which all children possess
+in common. In their presence every mother spontaneously exclaims, "How
+like my own little one!" because the artist has interpreted the real
+child nature. Such pictures may justly take rank among the highest
+productions of creative art, having proven their claim to greatness by
+their unquestioned appeal to universal admiration.
+
+In work of this kind one name alone is prominent, a name which England
+is proud to claim as hers, but to which all the world pays honor,--the
+name of Sir Joshua Reynolds, Prince of Child-painters. A simple-hearted
+man, of sweet, kindly disposition, the great portrait-painter, bachelor
+though he was, possessed in rare measure the mysterious gift of winning
+the confidence of children. The great octagonal studio in Leicester
+Square must have often resounded to the laughter of childish voices, as
+he entertained his little patrons with the pet dogs and birds he used in
+their portraits, and coaxed them into good nature with a thousand merry
+tricks. Although the greater number of these little people belonged to
+the most wealthy and aristocratic families in England, their pictures
+do not in any way indicate their rank. Still less do they show any
+distinguishing marks of the artificial age in which they lived. Dressed
+in the simplest of costumes, of the sort which is never out of fashion
+and always in the best taste, and posed in the natural attitudes of
+unconscious grace, they are representatives of childhood, pure and
+simple, rather than of any particular social class or historical period.
+
+A list of Sir Joshua's child pictures may suitably begin with one
+which, in his own opinion, is among the best and most original of all
+his works. This is the Strawberry Girl, exhibited in 1773, and repeated
+many times by the painter,--"not so much for the sake of profit," as
+Northcote explains, "as for improvement." The model was the artist's
+pretty niece, Miss Theophila ("Offy") Palmer, who was named for his
+mother, and whom he loved as an own daughter.
+
+The little girl stands with head slightly drooping, in the sweet, shy
+way so natural to a timid child. The big eyes are lifted to ours half
+confidingly, half timidly, while a smile hovers bewitchingly over the
+mouth. A long, pointed basket hangs on one arm, and the plump hands are
+folded together in front like a little woman's. The child wears a
+curious round cap on her head, under which, presumably, her hair is
+gathered up in womanly fashion, for there are no stray locks to be
+seen except the two soft curves on the forehead. Altogether, the figure
+presents just that odd commingling of dignity with childish timidity
+which we so often notice in our own little maids, and which makes them
+at once so lovable and so womanly.
+
+[Illustration: THE STRAWBERRY GIRL.--REYNOLDS.]
+
+Some fifteen years after Sir Joshua's niece posed as the Strawberry
+Girl, her own little daughter, another "Offy," served the artist uncle
+as the model for Simplicity. The great-niece was as lovely a child as
+her mother had been, and critics agree in placing Simplicity among the
+best works of the painter. The setting is a landscape, in the foreground
+of which the child is seated, with her lap full of flowers. The sweet
+face is turned aside in a somewhat pensive poise, and the exquisite
+purity of its expression is exactly represented by the title. Of a
+similar character is the Age of Innocence, which portrays a little girl
+looking out into the world with wide eyes and parted lips, a complete
+embodiment of the innocence of childhood on the threshold of life. The
+face, which is presented in profile, is finely cut, and charmingly
+framed in short, clustering curls.
+
+In looking for ideal types among the child-pictures of Sir Joshua
+Reynolds, we need by no means be confined to those which bear fancy
+titles. His portraits are as truly interpretative as his imaginative
+subjects, and each typifies a distinct element of child-life. The little
+Miss Bowles sitting on the ground hugging her dog, and Master Bunbury
+looking out of the canvas with breathless eagerness, arouse a universal
+interest, which is entirely independent of their individuality. Miss
+Frances Harris, the serene, and Miss Penelope Boothby, the demure, will
+be loved as child ideals long after their names are forgotten.
+
+A _protege_ of Reynolds from the first, Lawrence became his successor
+as Painter-in-Ordinary to the King, and in process of time rose to the
+proud honor of the presidency of the Royal Academy. Holding thus the two
+positions which Reynolds had graced so many years, it may be said that
+the master's mantle fell upon him more truly than upon any other
+follower.
+
+In technique his painting is criticised by connoisseurs as deficient in
+that harmonious blending of the flesh tints with the background which so
+delights us in other artists. Then, too, his insight into character was
+far less penetrating than that of his predecessor. Nevertheless, his
+best work has much of the beauty and animation which we so admire in the
+paintings of Reynolds.
+
+One of his notable pictures is the portrait of Master Lambton, son
+of Lord Durham, sometimes called, in imitation of the Blue Boy of
+Gainsborough, the Red Boy. The painting was exhibited at the Paris Salon
+of 1824, where it is said to have completely turned the heads of French
+critics, so fascinating was the aristocratic melancholy of the beautiful
+boy it represented.
+
+For a companion piece to this picture, one might choose the portrait of
+Mr. Peel's daughter, which is considered an exceptionally fine work.
+
+Lawrence's groups of mothers with their children are especially worthy
+of study. The most famous of these are Lady Dover, with her son, Lord
+Clifden, in her arms, and the Countess Gower, with her little daughter
+Elizabeth on her lap.
+
+The latter has been carried by the engraver's art into nearly every
+country of the world, and often appears under the title, "Maternal
+Love." Both mother and child are looking with intense interest in the
+direction toward which the little girl points an eager finger. The
+child's face is full of vivacious beauty, the sparkling eyes and parted
+lips perfectly representing the alert, imaginative type of child nature.
+
+The finest of Sir Thomas Lawrence's child pictures is undoubtedly the
+portrait of the Calmady children, better known by the title of "Nature."
+This is indeed a picture disclosing the essential truth of the child
+nature; the two little ones are frolicking together in a perfect abandon
+of innocent merriment.
+
+The pretty story of the sittings in which this portrait was obtained, is
+a key to its success. The children romped with the artist as with a boon
+companion, and the younger relieved the monotony of the hour by relating
+to him the nursery tales of Dame Wiggins, and the Field Mice and
+Raspberry Cream. Thus the painter won the confidence of his little
+friends, and delineated them in all the fresh charm of their youthful
+vivacity. Nature deserves a place beside Simplicity as a true picture of
+the heart of childhood.
+
+But after all has been said concerning the child pictures in any way
+similar to those of Sir Joshua Reynolds, it must still be admitted that
+his work is entirely unique in what may be termed the _universality_ of
+its idealism. Other pictures of child-life there are,--many of them of
+equal and even of superior merit as works of art,--which are marked by a
+fine quality of idealism; but this idealism is limited in its range to
+the delineation of individuals, or of particular classes. These pictures
+naturally fall into groups based upon the social classes which they
+represent, and by this method of classification, they will be considered
+in the subsequent chapters.
+
+[Illustration: PENELOPE BOOTHBY.--REYNOLDS.]
+
+Miss Penelope's face is one of the most familiar of Sir Joshua's art
+children, and the first favorite with many for the arch loveliness of
+her expression. Although her mouth is set in a prim little pucker, we
+cannot repress the suspicion that behind it lurks a good deal of
+childish fun. The big mob cap and the voluminous mitts add not a little
+to the quaint charm of the picture, and make it easily recognized by
+many who are otherwise unfamiliar with Reynolds's works.
+
+As it was a fashion of eighteenth century art to draw subjects largely
+from classic mythology, we find among Sir Joshua's child pictures an
+Infant Bacchus, an Infant Jupiter, and an Infant Hercules. This last was
+painted to fill a commission from the Empress Catherine of Russia, and
+is a powerful representation of the young hero, seated on wolf-skins,
+strangling serpents.
+
+Mercury as a Postman and Cupid as a Link-Boy are companion pieces,
+painted from the same model,--a mischievous young street boy, whose
+simulated gravity is irresistibly droll. The artist's keen sense of
+humor is seen again in that most captivating little rogue, Puck. The
+saucy elf is perched on a mushroom, resting after a frolic, and
+apparently plotting new escapades.
+
+A complete enumeration and description of Reynolds's child pictures
+would fill a bulky volume, so eagerly, through a period of over thirty
+years, were the great portrait painter's services demanded by all the
+distinguished families of the day. Of special interest and beauty are
+some of the portraits of mothers with their children. The lovely Lady
+Waldegrave, clasping her babe to her breast, is one of these, while
+another is the celebrated beauty, the Duchess of Devonshire, playing
+with her infant daughter. A charming group is Lady Cockburn and her
+Boys, which has been engraved under the title of the Roman matron
+Cornelia and her Children. It is said of this splendid production, that
+when it was brought into the Royal Academy exhibition to be hung, it was
+greeted by the assembly of painters with a great demonstration of
+applause. It is no wonder, then, that this should be one of the few
+paintings to which the master attached his signature.
+
+[Illustration: ANGEL HEADS.--REYNOLDS.]
+
+Our list of Reynolds's pictures would be defective without some mention
+of the famous Angel Heads, which is peculiarly a representative work. It
+consists of a cluster of little cherubs, representing, in five different
+expressions, the delicate features of a single face, whose original was
+Miss Frances Isabella Gordon. Painted in 1786, near the close of his
+great career, it seems to gather up into a harmonious whole those
+several aspects of childhood which Sir Joshua's long and wide experience
+had revealed to him as the typical movements of the child mind.
+
+The five totally dissimilar expressions embody those varying attitudes
+of mind which the child may successively assume in any critical
+experience of its young life. The clear-cut profile of the lower face at
+the left suggests the face of the child in the Age of Innocence who
+first confronts the problem of life. The one just above has the
+thoughtful poise of the little girl Simplicity, pondering over an
+important question, while the remaining heads stand for those
+imaginative and emotional moods which complete the cycle of human
+experience.
+
+The original of this beautiful picture[1] is in the National Gallery at
+London, and fortunate indeed are they who have the privilege of standing
+before it to delight their eyes with the blonde loveliness of the
+sweet faces, framed in aureoles of golden ringlets.
+
+[Illustration: NATURE.--LAWRENCE.]
+
+It would be difficult to estimate the incalculable influence which the
+life and work of Sir Joshua Reynolds have exerted on the progress of art
+in the past century. The influence of his paintings was supplemented by
+the series of discourses which it was his duty as President of the
+Royal Academy to deliver annually on subjects of art criticism. His
+unparalleled success brought forth many followers and imitators; but
+among their works few can be selected as worthy presentations of
+childhood in ideal types.
+
+Gainsborough and Romney were considered to some extent the rivals of
+Reynolds, but Gainsborough's child pictures were drawn from rustic life,
+and Romney's are not worthy of comparison with the master's. We must
+turn, then, for the best results of Reynolds's influence to the work of
+Sir Thomas Lawrence, who entered upon his career just as the great
+portrait-painter was obliged to lay aside his brush from failing sight.
+
+
+
+
+II.
+
+CHILDREN BORN TO THE PURPLE.
+
+
+
+
+    For thrones and peoples are as waifs that swing
+      And float or fall, in endless ebb and flow;
+      But who love best have best the grace to know
+    That Love, by right divine, is deathless King.
+                                       TENNYSON.
+
+
+
+
+CHAPTER II.
+
+CHILDREN BORN TO THE PURPLE.
+
+
+The children of a royal family lead a strange and somewhat lonely life.
+Impressed, almost from infancy, with a sense of their superiority, and
+recognizing no equals among their companions and playmates, they live
+apart in princely isolation, preparing for the future honors which
+await them. But even the grave responsibilities of their rank cannot
+altogether extinguish the inherent joyousness of youth, and children
+will be children to the end of time. The stately ceremonies of the court
+have to yield in turn to innocent amusements, and childhood reasserts
+its natural right to simple and spontaneous happiness.
+
+The combination of royal dignity with pure childishness is a unique
+subject for art, and one which few have had the genius to portray. Two
+great painters are famous in history for their remarkable success in
+this line of work,--Van Dyck, of Belgium, and Velasquez, of Spain.
+
+In many respects the lives of these two painters ran in parallel lines.
+They were born in the same year, 1599; and beginning their art studies
+when still very young, with great opportunities for the development of
+their talent, both had won an enviable reputation by the time they had
+reached early manhood. Both held appointments as the court painters
+of kings who were unusually liberal and appreciative in their
+patronage,--Van Dyck under Charles I. of England, and Velasquez under
+Philip IV. of Spain. Both artists drew great inspiration from the
+Italian masters, whose works they studied in Venice and Rome,
+particularly the great Titian. Here, however, the comparison may end;
+for the nature of the subjects which each chose, the influence of their
+nationality upon their style, and, above all, their own personal
+individuality as artists, have rendered their work strikingly
+dissimilar.
+
+Van Dyck was in every sense a man of the world and a courtier; widely
+travelled, broadly cultured, fond of music, brilliant in conversation,
+handsome of face, and graceful in bearing, by turns an elegant host and
+a distinguished guest. Thus all his thoughts, interests, and pleasures
+were thoroughly identified with the court life, and he was peculiarly
+fitted for the artistic interpretation of royalty.
+
+The family of Charles I. of England afforded a most attractive field for
+the exercise of the court painter's talent, and many and varied are the
+groups in which they were represented.[2] Some of the most interesting
+of these are in the collection at Windsor. In one, the king and queen
+are seen, with their two sons, Prince Charles and Prince James; while
+another portrays the same boys, with their mother, Henrietta Maria. The
+latter painting is an exceedingly beautiful work, repaying long study.
+The boys have that indefinable air of nobility which Van Dyck knew so
+well how to impart to his subjects, and which none can imitate or
+explain. Even Prince James, who is an infant in arms, holds his little
+head erect, like the prince that he is. The artist has shown us,
+however, that royal dignity is by no means incompatible with the true
+child nature, and the two young princes are always depicted as genuine
+children, with frank, winning faces.
+
+[Illustration: HEAD OF JAMES, DUKE OF YORK.--VAN DYCK.]
+
+The most popular of Van Dyck's portraits of the Stuart children is the
+famous group at Turin, in which the two young princes, Charles and
+James, stand one on each side of their sister Mary. All three bear
+themselves with an air of conscious superiority, a gentle and serene
+dignity born of their faith in the divine right of kings. Prince Charles
+is dressed in scarlet satin, richly embroidered with silver lace, with a
+broad lace collar falling over his shoulders. His large round eyes look
+out towards the spectator with the dreamy expression of one who builds
+splendid air-castles. The Princess Mary is in white satin, and is a
+dainty little figure, a second edition of her queen mamma, with ringlets
+carefully ranged on each side of her pretty forehead, and her exquisite
+hands holding lightly the lustrous folds of her dress.
+
+The little Prince James is so short that he stands on a platform at the
+side, to bring his figure into harmonious relation to the group. His
+dress is blue satin, of stiff, full skirt, which, with the close white
+cap on his head, makes him a quaint little figure. A chubby, innocent
+looking baby, he is nevertheless a personage who fully realizes the
+important place he occupies in the family group, and is determined to
+fill it with becoming gravity.
+
+Next in popularity to the Turin picture is a group of five children, the
+original of which is at Windsor, and a replica at Berlin. The painting
+is dated 1637, fixing the age of Prince Charles as seven. Having now
+outgrown the frocks of the earlier pictures, he stands in a graceful
+boyish attitude, wearing satin knickerbockers and waistcoat, and still
+retaining the beautiful lace collar on his aristocratic shoulders. His
+eyes have the same dreamy look as in other portraits. On his right are
+his sisters Mary and Elizabeth, the former demurely complacent as
+before, the latter timid and dainty. On the left the little Princess
+Anne frolics with Prince James in simple childish fashion. As a
+composition, the picture is somewhat stiff and artificial, but the
+single figures are all rendered with characteristic beauty.
+
+It is sad to place beside Van Dyck's glowing canvases, the dark pictures
+in which historians have painted the after-life of these charming
+children. The dreamy-eyed Prince Charles grows at length into the
+corrupt and unprincipled King Charles II., whose tyrannies are limited
+only by his indolence. The sweet, round-faced baby, Prince James,
+becomes King James II., whose reign is even more inglorious than that of
+the brother whom he succeeds. The Princess Mary has in the mean time
+married Prince William II. of Orange, and now, in England's hour of
+need, it is her son, William III. of Orange, who is summoned to the aid
+of his mother's native land. With his cousin wife Mary, the daughter of
+the unworthy king, he assumes the head of affairs, and wisely conducts
+the interests of the people throughout a prosperous reign.
+
+The fact that the Princess Mary's marriage with William II. of Orange
+was productive of so great a benefit to England gives special interest
+to Van Dyck's painting of the betrothed lovers, which may now be seen at
+Amsterdam. The princess stands on the left side of the picture, bearing
+herself with characteristic dignity. Prince William, beside her, holds
+her left hand lightly in his right, and turns his face to meet our gaze
+with steadfast, serious eyes. He is a fine, manly figure, in every way
+the true Prince Charming for his pretty lady-love. Both children have a
+thoughtful, intelligent look, far beyond their years, as if conscious
+that England's destiny turns upon their union.
+
+[Illustration: PRINCESS MARY AND PRINCE OF ORANGE.--VAN DYCK.]
+
+From Van Dyck's exquisitely idealized portraits of royal children we
+turn to the work of Velasquez, to find a faithful reproduction of the
+totally different type of child-life represented at the court of Spain.
+Appointed court painter at the age of twenty-four, and retaining this
+connection until his death, in 1660, the Spanish artist has left to
+posterity a vivid panorama of the royal life at Madrid during a period
+of nearly forty years. His delineations are so realistic, his technique
+is so masterly, his posing of figures so entirely natural, that his
+pictures seem to place the living reality before us. Often representing
+the characters he painted as occupied in their customary daily pursuits,
+his works are a truthful reflection of the life of his times, and are as
+full of historical interest as of artistic merit.
+
+The court to which the young painter was introduced in 1623 might almost
+be called A Court of Boys, the king, Philip IV., being but eighteen
+years of age, and his two brothers, the Cardinal Infant Don Fernando,
+and the Prince Carlos, seventeen and thirteen respectively. The youthful
+king was, of course, his first royal patron, and was painted in a
+magnificent equestrian portrait, which at once established the artist's
+fame.
+
+With the birth of the king's first child, the Prince Balthasar Carlos,
+in 1629, the court painter's duties began in earnest; and from that time
+on he was most assiduous in portraying the royal family.
+
+Prince Balthasar was represented in almost every imaginable position,
+first as a tiny child in frocks, and later as a young boy in court
+dress,[3] military costume, or hunting-garb.
+
+In his most attractive portraits he is a gallant young horseman, seated
+with an easy grace, as if born to the saddle. Two of these are scenes
+in the riding-school, and are admirable compositions. The most
+remarkable, however, is that in the Madrid Museum, in which the little
+prince rides alone on a bright bay. The beautiful pony bounds out of the
+picture with great spirit and grace, guided by his happy, round-faced
+rider, whose right hand lifts a baton, and whose left holds the bridle.
+The brilliant colors of his riding-costume make the picture exceedingly
+effective in rich, warm tints,--the green velvet jacket and the
+red-and-gold scarf,--while the young cavalier's fluttering streamers and
+the horse's sweeping mane and tail give a swift breezy motion to the
+whole scene.
+
+Next in age to Prince Balthasar came the Princess Maria Theresa, who
+afterwards became the queen of Louis XIV. of France. Velasquez painted
+various portraits of this little princess to be sent to the European
+courts where negotiations for her marriage were under consideration;
+but, unhappily, the fate of most of these is shrouded in mystery. One
+interesting painting, however, may be seen in the Royal Gallery at
+Madrid.[4] The child has a sweet, demure face, which seems very narrow
+and delicate-looking in its broad frame of elaborately arranged hair.
+Her bearing is dignified, in spite of her uncomfortable dress. In one
+hand she carries an immense handkerchief, and in the other a rose, both
+resting lightly on the outer edge of the huge hemisphere, of which her
+slender figure forms, as it were, the central axis. Her sad and lonely
+after-life as a neglected queen, in the gay and dissolute French court,
+makes the picture singularly pathetic. There is a look of sweet patience
+in the face, which seems to anticipate the coming years.
+
+[Illustration: PRINCESS MARIA THERESA.--VELASQUEZ.]
+
+By King Philip's second marriage he brought to the Spanish court as
+his wife the Princess Mariana of Austria, who was then only fourteen
+years of age. The young queen was of course frequently portrayed by the
+court painter, but she did not make a very attractive subject for his
+skill, with her rather dull eyes and her full lips, and cheeks
+plentifully bedaubed with rouge.
+
+As there was a difference of but three years in the ages of the
+child-wife and the Princess Maria Theresa, the two were constant
+companions; and when the Princess Margaret was christened, the elder
+sister stood as godmother with great dignity. A pretty story is related
+that on the way to the chapel for the christening, Maria Theresa let
+slip from her finger a costly ring, which a poor woman picked up to
+return to her. "Keep it," said the little princess, with true royal
+tact; "God has sent it to you."
+
+The Princess Margaret became the darling of the court, and her blonde
+beauty is immortalized in many portraits by Velasquez. The most famous
+of these is the picture called "Las Meninas," or The Maids of Honor, in
+which the young princess is the central figure of a group of devoted
+attendants. The composition is a veritable masterpiece, representing
+with perfect naturalness a daily scene in the palace. The princess rules
+with a sweet, complacent smile, and one can well imagine what an object
+of admiration her fair hair and blue eyes must have been among the
+swarthy, dark-eyed Spaniards.
+
+[Illustration: PRINCESS MARGARET.--VELASQUEZ.]
+
+Another celebrated painting of the same child is in the Louvre at Paris,
+where it is a centre of attraction for art lovers and copyists, on
+account of the exquisite delicacy of its technique. It is a half-length
+portrait, showing a winning face, with wide, earnest eyes, and a
+demure little mouth. The fair hair is parted at one side, where it is
+caught back with a ribbon bow,--a style which the princess is said to
+have retained even after her marriage with the Emperor Leopold.
+
+From an artist's point of view, the beauty of the Velasquez child
+portraits is greatly injured by the grotesque fashions of the times. A
+long stiff corset and an immense oval hoop entirely precluded any
+possibility of grace in the attitude of the little princesses, while a
+ridiculously artificial style of dressing the hair completed the
+absurdity of a costume which was the laughing-stock of Europe.
+
+Van Dyck was in this respect far more fortunate in his surroundings, and
+the full, lustrous folds of satin in which the English royal children
+were arrayed, gave him ample scope for an exquisite disposition of light
+and shade.
+
+Independently of purely artistic principles, we should be sorry to
+lose from the pictures of either artist that element of interest and
+fascination which the costumes of an earlier epoch always arouse. The
+Princess Maria Theresa would be less interesting without her big hoop,
+and the Princess Mary less dignified without her voluminous satin;
+Charles would scarcely be the prince that he is, if lacking his broad
+lace collar, and Prince Balthasar would lose much of his charm, deprived
+of his red and green bravery. There is, in fact, no detail in any of
+these pictures which does not throw light upon the phase of life which
+they portray.
+
+Other great masters besides Van Dyck and Velasquez have been called to
+the portraiture of royalty,--Titian,[5] Holbein,[6] Rubens,--but for
+various reasons they painted but few pictures of royal children, and
+these are by no means notable when compared with their other works.
+
+Van Dyck and Velasquez, therefore, stand out the more prominently for
+this unique class of court portraits, and so long as their works endure,
+they will take first rank as a revelation of the peculiar grace and
+charm of the life of children born to the purple.
+
+
+
+
+III.
+
+THE CHILDREN OF FIELD AND VILLAGE.
+
+
+
+
+    O for boyhood's painless play,
+    Sleep that wakes in laughing day,
+    Health that mocks the doctor's rules,
+    Knowledge never learned of schools,
+    Of the wild bee's morning chase,
+    Of the wild-flower's time and place,
+    Flight of fowl, and habitude
+    Of the tenants of the wood;--
+
+    For, eschewing books and tasks,
+    Nature answers all he asks;
+    Hand in hand with her he walks,
+    Face to face with her he talks,
+    Part and parcel of her joy,--
+    Blessings on the barefoot boy!
+                      WHITTIER.
+
+
+
+
+CHAPTER III.
+
+THE CHILDREN OF FIELD AND VILLAGE.
+
+
+The most fortunate children in the world are those whose first lessons
+in life have been learned on the lap of Mother Nature. Taught by her to
+know and love all the beautiful things of the glad green earth; versed
+in the mystic language of woodland birds and beasts; trained to the
+skilful use of eye and muscle,--they possess the secret of a happiness
+which knows no equal. Theirs is a life of perfect liberty, untrammelled
+by the false conventions of society, uninjured by over-indulgence,
+untainted by contact with vice. Growing up under these conditions into a
+healthy and vigorous beauty, the children of field and village have
+long been a source of delight and inspiration to both poet and painter.
+
+In _genre_ painting, Holland gave the initiative to the art world in the
+works of Jan Steen, the Teniers, and others. The influence of the Dutch
+school at length made itself felt in England; and after the renaissance
+of British art, in the middle of the eighteenth century, many painters
+arose to interpret the conditions of rustic life peculiar to England.
+
+First on this list stands the name of Thomas Gainsborough.[7] From early
+boyhood he loved nature with all the intensity of a true artist's soul,
+and many picturesque scenes in the vicinity of his native Sudbury were
+indelibly impressed upon his youthful mind. Later in life, when at the
+height of his success as a great London painter, his favorite summer
+resort was Richmond, where, wandering about the country from day to day,
+he met many an interesting village child whose face was transferred
+to his canvas. Fortunate little models, these; for the artist always
+rewarded them for their sittings with lavish generosity.
+
+[Illustration: RUSTIC CHILDREN.--GAINSBOROUGH.]
+
+One particular boy, Jack Hill by name, so charmed Gainsborough that he
+actually adopted the lad, and immortalized his handsome features in two
+paintings.[8] Jack Hill did not live up to his privileges, and,
+preferring his old free life to the restrictions of a more elegant
+household, he ran away. He was, however, never forgotten; and after
+Gainsborough died, his good widow provided amply for the youth's
+welfare.
+
+Perhaps the most extensively known of all Gainsborough's delineations of
+country child-life is the Rustic Children of the National Gallery. The
+central figure is a young girl, standing, with a child in her arms; a
+boy sits on the bank beside her with a bundle of fagots. The group is
+artistically conceived, with one of Gainsborough's characteristic
+landscapes as a background, showing a cottage home. The children are
+graceful and natural, with that indefinable poetic charm peculiar to the
+painter's work.
+
+A picture attracting a great deal of admiration in the lifetime of
+Gainsborough, was the Boy at the Stile. While this treasure was still in
+the hands of the artist, he was visited one day by Colonel Hamilton,
+then considered the finest violinist of his times. Gainsborough, a
+devoted lover of music, begged him to play, and when the first air was
+finished, rapturously exclaimed, "Now, my dear Colonel, if you will but
+go on, I will give you that picture of the Boy at the Stile, which you
+so wished to purchase of me."
+
+In half an hour the prize was won, and both parties were well satisfied
+with the agreement.
+
+In studying Gainsborough's rustic children as a class, it is noticeable
+that he emphasizes the pathetic side of their life; instead of a
+thrifty, tidy appearance, in which England's village children are by no
+means lacking, he gives his subjects a careless, neglected air. The
+Rustic Children of the National Gallery are unnecessarily ragged; their
+hair is wild and dishevelled, and their general appearance untidy. Many
+of the children of the most celebrated pictures are attractive from a
+delicate, refined beauty, rather than from the robust and healthy
+vitality we naturally associate with country life. This makes their
+surroundings incongruous, and we feel sorry that they are not in their
+true sphere. The child who stands, half-clad, before the hearth-fire, in
+the painting called the "Little Cottager," has the delicate features of
+a true aristocrat. No cottage boy this, with shapely hands and large,
+melancholy eyes. His wistfulness is so touching that we would fain
+snatch him from his surroundings, and set him down amidst the soft
+luxuries which belong to him by right.
+
+The Shepherd Boy in a Storm has the face and expression of a poet, as he
+lifts his beautiful eyes to the overhanging clouds, with nothing of fear
+or shrinking, but with apparent admiration for the grandeur of Nature.
+
+Gainsborough painted many scenes of child-life in which animals are
+introduced, as in the picture of a girl holding a child on a donkey, and
+in one representing two shepherd boys looking on at fighting dogs. He
+did not hesitate before a subject which would have appalled most
+artists, and which, in other hands, would have been vulgar and
+common,--A Girl Feeding Pigs. This he painted with such skill that
+Reynolds instantly recognized its greatness, and eagerly purchased it
+for a sum far in advance of the price modestly named by the painter. The
+amusing anecdote is related concerning this work that a countryman, who
+studied it attentively some time, gave it as his opinion that "they be
+deadly like pigs; but nobody ever saw pigs feeding together but what one
+on 'em had a foot in the trough."
+
+Gainsborough[9] is pronounced by Ruskin the purest colorist of the
+English school, taking rank beside Rubens, and adding a lustre to the
+fame of British art which time can do nothing to dim. His style is so
+peculiarly individual in its characteristics that it cannot properly
+be compared with that of any other artist; but his predilection for
+subjects drawn from rural child-life finds a parallel in the work of his
+French contemporary, Jean Baptiste Greuze.[10]
+
+The pictures by which Greuze made his early reputation, and which
+perhaps he never excelled in later times, were the Father Explaining the
+Bible to his Children,[11] and the Village Bride.[12] Both represent
+family scenes among village people, and contain, as their most charming
+features, some delightfully natural children. One could scarcely find
+anything more deliciously childlike than the mischievous little ones who
+gather about the table to listen to the Father Explaining the Bible, and
+whose love of fun even this solemn occasion cannot repress. Equally
+attractive are the young people gathering affectionately and tearfully
+about their pretty elder sister, the Village Bride, who comes with her
+lover to receive the parental blessing.
+
+The appearance of these two compositions made their artist famous,
+and won for him the ardent admiration and powerful friendship of the
+encyclopaedist Diderot. Continuing his work along this new[13] line of
+subjects, Greuze went on to paint many other scenes in the child-life
+of the country. Two notable companion pictures of this kind are the
+Departure of the Cradle, and the Return from the Nurse, founded upon
+a phase of French village life quite unknown in many other countries,
+namely, the custom among busy working-people of sending their infants
+out to board with nurses. Unnatural as was the custom, it by no means
+indicated a lack of family affection, as is seen in these charming
+compositions. In both cases, the child, at first an infant, and later
+a little boy a year or two old, is the centre of the group, fondled and
+admired by all.
+
+The pre-eminence of Greuze was due not only to the entire novelty of his
+chosen range of subjects, but to the exquisite beauty of his technique.
+He excelled in painting those fresh carnations, "mixed with lilies and
+roses," as the French used to say, and diversified with blue-gray
+shadows and warm reflected light. Such characteristics are easily
+carried to extremes, and were often exaggerated by Greuze himself; but
+when held in true control they are a delight to the eye of the true
+color-lover.
+
+An example of his coloring, in its most lovely aspects, is the Trumpet.
+The scene is a cottage interior, in which a young mother, with a babe in
+her arms, sits beside a cradle containing another little one, and turns
+to quiet her roguish boy, who stands somewhat sulkily by her chair,
+reluctant to forego the pleasure of blowing on his trumpet. "Silence! do
+not awaken him!" is what the mother seems to say; and these words form
+the title under which the picture first appeared.
+
+Greuze could not altogether escape the blight of that artificiality
+which was everywhere characteristic of his times, and nowhere more
+conspicuous than in France. "Soyez piquant, si vous ne pouvez pas etre
+vrai," was his advice to a fellow artist, Ducreux; and his own work too
+often shows evidence of the sacrifice of truth to piquancy. His single
+figures and heads are not, as a class, so true to nature as his
+compositions, although they are much better known to the public.
+Scattered far and wide through all the great art galleries of the world,
+they have been greatly admired for their delicate coloring, and for
+those qualities of prettiness which are always attractive.
+
+Nearly all these purport to be representations of children, but they are
+certainly not like the children of our own households, nor, indeed, like
+those of the same artist's domestic pictures. They reverse the proverb,
+by being young heads on old shoulders, the face and features of
+childhood on the mature and well-developed figure of womanhood. The
+expression, too, is a curious combination of childlike simplicity with
+the sentimental melancholy of young maidenhood; and one cannot escape
+the impression that the models are not genuine peasant children, but
+pretty and somewhat worldly young women, masquerading in pastoral
+costumes for a fancy ball.
+
+From the long list of examples of this class, both figures and heads, a
+few well-known subjects will suggest the type: The Milkmaid, the Little
+Pouter, Simplicity, the Girl with an Orange, and the Broken Pitcher.
+
+[Illustration: THE BROKEN PITCHER.--GREUZE.]
+
+The last is probably more familiar than any other work of Greuze. It
+attained an immense popularity in the lifetime of the artist, attracting
+many people to his studio. Among the visitors was Mademoiselle
+Philipon, afterwards known to fame as Madame Roland, and her delightful
+description[14] gives a complete idea of the picture:--
+
+"It is a little girl, naive, fresh, charming, who has just broken her
+pitcher; she holds it on her arm, near the fountain where the accident
+occurred. Her eyes are downcast, her lips half parted; she tries to
+account for her mishap, and does not know if she is in fault. Nothing
+could be more piquant and charming. The only criticism one could suggest
+is that Monseiur Greuze has not made the little maid sorry enough, so
+that in the future she will not be tempted to return to the fountain!"
+
+The heroine of the broken pitcher is dressed in white, has blue eyes and
+auburn hair, cherry lips, and pink-and-white complexion.
+
+For twenty-five years Greuze was the fashion in Paris. With all his
+faults, he was immeasurably superior to his French contemporaries, and
+his work was a decided step towards a new era. With the great political
+and social changes inaugurated in France early in the nineteenth
+century, an entirely new style of art, literary and graphic, was made
+possible, and a new school of painters arose to portray French peasant
+life.
+
+No modern artist has chosen a field which exactly corresponds to that of
+Greuze, the tendency being rather to neglect the child element to which
+he devoted so much energy. One painter may be mentioned, however, who
+has contributed a few valuable additions to this department of
+art,--William Adolphe Bouguereau.
+
+The remarkable number of works which Bouguereau has produced since his
+first great success in 1854 have made him distinguished for a large
+variety of subjects; but the pictures by which he has touched the hearts
+of the people are those in which he portrays the peasants of his own
+sunny land,--sweet, shy, dark-eyed girls, with masses of black hair
+pushed back loosely from their foreheads.
+
+One is a Little Shepherdess, who stands with careless grace poising a
+crook across her shoulders, while her eyes meet ours with a frank yet
+modest gaze. Again the same girl rests from her labors, sitting on a
+stone, lost in revery. Another sweet child is the girl seated by a well,
+with a broken pitcher lying on the ground beside her. Her hands are
+clasped on her knee, as she bends slightly forward in a pensive
+attitude, her large eyes full of childish pathos. Cajolery also belongs
+to this set, and is so named from the caresses with which a little girl
+begs some favor of an older sister, whose merry eyes show that she
+fully understands the secrets of child diplomacy.
+
+Younger than any of these children is the bewitching little gypsy, whose
+tangled curls frame a round, dimpled face, with rosebud mouth, and big
+black eyes looking bashfully askance. There is a peculiar charm in the
+child's shyness, as if, like some wild creature of the woods, she would
+turn and flee before a nearer approach.
+
+Bouguereau's work, academic in style, and always refined and elegant in
+manner, has qualities of artistic excellence which place him in the
+foremost rank; and we are glad to believe that for many generations to
+come his lovely little peasant girls will be widely known and loved.
+
+[Illustration: CHILD HEAD.--BOUGUEREAU.]
+
+From the dark-eyed children of sunny France to the fair-haired sons
+and daughters of the Saxon race is a long step, which introduces us
+to child-life of a totally different type. Childhood in the rural
+districts of Germany and Switzerland has been very completely portrayed
+by Johann Georg Meyer, better known as Meyer von Bremen,--the name he
+has taken in honor of his native city.
+
+With an intense sympathy for all the pleasures of childhood, Meyer
+unites a wonderfully delicate sense of the artistic and picturesque. His
+fertility of invention seems well-nigh inexhaustible. He has given us
+cottage scenes and out-of-door life with impartial liberality, and has
+shown equal skill of treatment, whether he handles groups or single
+figures.
+
+His subjects are drawn largely from life in the Hessian, Bavarian, and
+Swiss Alps, where he has carefully studied the manners and customs of
+the people. The cottage interiors have all the characteristic quaintness
+and charm of these peasant homes. High wooden chairs, of the
+"fiddle-back" pattern, are the conspicuous pieces of furniture; rich
+old cabinets stand against the walls, and oddly shaped earthern jars are
+ranged on shelves. The light comes through little diamond-paned windows,
+and gleams on floors of hard wood, unadorned with carpet or rug. In
+these surroundings, groups of flaxen-haired children sport in all the
+sweet innocence of healthy, happy childhood. Sometimes they gather
+eagerly about the table to play with their Pet Canary; at another time
+they cluster about their mother's knee to peep admiringly at the
+wonderful new baby in her arms, and to hear the mysterious announcement
+that The Storks Brought It. Again, the centre of their attention is the
+tiny brother gleefully taking his first uncertain steps towards the
+outstretched arms of his young mother.
+
+[Illustration: THE LITTLE RABBIT-SELLER.--MEYER VON BREMEN.]
+
+The out-of-door scenes have the picturesque mountain scenery of the Alps
+for their background, and sometimes a pretty cottage is included in
+the scene. A characteristic example is the Little Rabbit-Seller. A group
+of children gather round a little girl, who carries, suspended from her
+shoulders, a large basket of rabbits. Two of the number peep with
+intense interest into the basket, delighted with the opportunity to feed
+the pretty creatures. The others are talking with the young merchant,--a
+school-boy with book satchel held behind him, and an older girl holding
+a curly-haired child on her back. The pure, gentle face of the young
+girl is one not to be easily forgotten, and which reappears on other
+canvases of the artist. The affectionate care of this older sister for
+the child she carries is one of many instances in which the same trait
+is shown in Meyer's pictures, and is eminently characteristic of the
+Germans.
+
+The earnest piety in which the children of these simple-hearted people
+are reared is beautifully expressed in the companion pictures, Morning
+Prayer and Evening Prayer, as well as in one called Simple Devotion,
+where a little girl offers a bouquet to the Virgin of a wayside shrine.
+
+In whatever mood the children are portrayed, they are always entirely
+unconscious of observers, never posing for the artist, but caught
+unawares on his canvas, in the midst of their pursuits. In this way they
+always make pictures with "stories" in them, of just the kind to delight
+the heart of a child.
+
+Such art carries a beautiful and enduring lesson, whether the scenes it
+represents are German or French, English or American. In these visions
+of the simple and joyous life of the country, we are brought, as it
+were, face to face with Nature, to enjoy her sweetest and most
+beneficent influence.
+
+
+
+
+IV.
+
+THE CHILD-LIFE OF THE STREETS.
+
+
+
+
+    When I was a beggarly boy,
+      And lived in a cellar damp,
+    I had not a friend nor a toy,
+      But I had Aladdin's lamp;
+    When I could not sleep for cold,
+      I had fire enough in my brain,
+    And builded, with roofs of gold,
+      My beautiful castles in Spain!
+                           LOWELL.
+
+
+
+
+CHAPTER IV.
+
+THE CHILD-LIFE OF THE STREETS.
+
+
+Ragged, dirty, and unkempt; untrained in all the pretty graces of
+refinement; deprived of all the fostering care of the home, how can the
+children of the street afford the artist any subjects for his canvas?
+Because, in spite of deprivation and poverty, they possess the
+imperishable treasure of a happy heart; and happiness is the true secret
+of the beauty of childhood. The child's buoyant vitality is proof
+against any disadvantages in his external surroundings; for his horizon
+is limited to the present. Yesterday's hunger is quickly forgotten in
+to-day's plenty; the fatigue of the morning's toil vanishes in the
+evening's frolic; even the wounds of a cruel blow are readily healed by
+a friendly word. Unconscious of any disparity between himself and
+others, he is equally contented with his lot, whether his clothing be
+velvet or rags, whether his play-ground be a royal park or the streets
+of a great city.
+
+The artistic possibilities of street material lay long undiscovered
+through the first centuries of the Art Renaissance, when the subjects
+were chiefly religious and mythological. It is then to Murillo and his
+matchless pictures of the beggar boys of Seville that we may attribute
+the real origin of this department of _genre_ painting. Murillo had
+himself known something of poverty and homelessness. Left an orphan at
+the age of eleven, he was thrown entirely upon his own resources at
+nineteen, his equipment for life being a few years' apprenticeship in
+the studio of his uncle, Juan del Castillo. In the years of hard work
+that followed, he laid the foundations of a career destined to be one of
+the most notable in the history of art.
+
+[Illustration: BEGGAR BOYS.--MURILLO.]
+
+There was held one day every week, in a large public square of Seville,
+an open-air market called the _Feria_, at which meat and fish, fruit and
+vegetables, old clothes and old iron, were heaped upon stalls or piled
+upon the pavement for the examination of customers. Last but not least
+of all the commodities here displayed were paintings, offered for sale
+by the artists themselves, who were supplied with brushes and colors to
+adapt the details to the purchasers' taste. It may be imagined that
+these pictures of the _Feria_ were not works of high art, nor was there
+much stimulus to artistic talent in their production. Nevertheless, it
+was in this business that the young Murillo began his career; and it
+was in this way, doubtless, that he came to observe closely, and to
+store up in his artist's memory the picturesque effects among the
+children who swarmed in the sunny square. Perfect types of glowing
+health were these nut-brown sons and daughters of Andalusia, enjoying
+life with the indolence and simple merriment characteristic of a
+southern race. It was Murillo's delight to portray them in their
+happiest moods. Sometimes they are playing games on the pavement, as in
+the Dice Players; again, they are feasting upon the luscious native
+fruits, as in the celebrated pictures of the Munich Gallery. With what
+delicious enjoyment do the little vagabonds poise above their open
+mouths a cluster of purple grapes or a slice of rich melon! Their ragged
+garments scarcely suffice to cover them; their arms and legs are bare;
+their abundant dark curls have known no combing, and they are
+undeniably dirty. And yet they are perfectly charming. The rich tints of
+their sunburned skin; the dark liquid eyes of the Spanish race; the
+beautiful curves of their plump necks and shoulders; the free grace of
+their attitudes,--all combine to make them picturesque and attractive.
+
+The dirt is rendered with an unsparing realism which, in a few
+instances, is carried beyond the limits of good taste. Such is the case
+with El Piojoso of the Louvre, which represents a little beggar removing
+vermin from his body, and which Mr. Ruskin has severely denounced.
+Another picture in Munich, and one at St. Petersburg, belong to the same
+class; but these may be considered exceptions to the rule. The general
+statement holds true, that the real _motif_ of Murillo's beggar-boy
+pictures is the simple, natural enjoyment which may render attractive,
+and even beautiful, the most unlovely surroundings.
+
+The artist shows a fine insight into human nature in his appreciation of
+the companionship between the street boy and the small dog. The famous
+Beggar-boy of the Hermitage Gallery at St. Petersburg is a capital
+example. The boy, standing by a wall, with a basket of fruit in his
+hand, turns to smile at his dog, with a perfect expression of good
+comradeship. In several other paintings, where the boys are eating, a
+little dog stands by, watching the tempting morsels enviously, with the
+hope of getting a share in due time.
+
+England is especially rich in examples of Murillo's street scenes.
+Besides the well-known picture in the National Gallery, there are three
+fine works at Dulwich College,[15] and many others scattered through the
+galleries of private collectors. This fact may be the reason that
+Murillo was first popularly known in England for this class of
+subjects, rather than for his religious art.
+
+One of Murillo's most ardent admirers among modern English artists is
+Mrs. Henry M. Stanley, first known in the art world as Dorothy Tennant.
+She gayly avers that the most interesting object to her, when as a small
+girl she was taken for her daily walk, was "some dear little child in
+tatters." The small young lady's interest in street children was
+something more than philanthropic; it was intensely artistic. As soon as
+she could wield a pencil, she began to make ragamuffin pictures, and to
+dream of a career as the "champion painter of the poor." Gifted with a
+keen sense of humor, she was quick to see the happy side of a life whose
+exterior is apparently one of misery; and it was this side which she
+determined to portray. Murillo's happy beggar boys were her ideal;
+Hogarth's work also commanded her admiration. Following in the
+footsteps of these great predecessors, she sought for her models "the
+merry, reckless, happy-go-lucky urchin; the tomboy girl; and the plump,
+untidy mother, dancing and tossing her ragged baby."
+
+Such subjects would naturally be more difficult to find in London than
+in Seville; and one could not walk about the streets of the bleak
+northern metropolis without seeing many little waifs whose pitiable
+condition contrasts sadly with the jocund poverty of Murillo's
+Andalusian beggars. Thus it is that, in spite of the most cheerful
+intentions, Mrs. Stanley has often produced pictures full of pathos. The
+wan little violinist, sitting on the edge of his poor bed, and clasping
+his sister in his arms, is a sad little figure. Another picture, that
+brings tears of sympathy to our eyes, is the hungry-looking boy, also
+a violinist, gazing wistfully into the window of a pastry-cook's, where
+a placard proclaims that hot dinners are five-pence. Equally pathetic is
+a scene inside the same shop, where a little waif is held, fainting, in
+the arms of the proprietor, while other children gather round to see.
+
+[Illustration: LONDON STREET ARABS.--DOROTHY STANLEY.]
+
+It is a relief to turn from these to the subjects which are the artist's
+most characteristic field, and to enjoy with her the romps and pranks of
+the street Arabs. A clever picture of this class is the big boy using a
+smaller one as a wheelbarrow, the small boy's arms supporting the
+machine, and his legs furnishing the handles. Of kindred nature is a
+sort of double pick-a-back, or pyramid, in which three ragged urchins
+are enjoying themselves hugely in the attempt to carry out so remarkable
+a feat. In the line of gymnastics, also, is the really admirable
+painting exhibited at the New Gallery in 1890, which portrays three
+delicious youngsters turning somersaults over a rail, while a little
+girl at each end looks on admiringly. The original of the little chap
+hanging head downward may have been the "Boy Taylor," of dragon fame, of
+whom the artist writes in her "Street Arabs." Having once figured in a
+circus as a green demon, or dragon, his experience made him very quick
+at catching attitudes; and, proud of his powers of endurance, he begged
+Mrs. Stanley to paint him standing on his head, assuring her that he
+preferred that position to any other!
+
+Larger pictures of merry street life are a company of young people
+dancing to the music of a hand-organ, a group of children playing
+blind-man's buff, and so many others that the description would become
+tiresome. Many of these were made to illustrate children's stories in
+"Little Folks" and the "Quiver," while others adorn the collections of
+fortunate possessors. All of them illustrate admirably the artist's firm
+conviction that "no ragamuffin is ever common or vulgar."
+
+The sympathetic interest and enthusiasm which Mrs. Stanley has shown for
+the London street Arab finds an interesting parallel in the work of
+Marie Bashkirtseff. Though Russian by birth, Mademoiselle Bashkirtseff
+passed the greater part of her short life in France, and, belonging to a
+wealthy and distinguished family, was educated amidst all the luxuries
+and gayeties of fashionable Parisian life. But the girl's indomitable
+spirit was not to be hindered by the bonds of social restraint, and she
+devoted herself to art with an almost passionate intensity. Struggling
+constantly against the inroads of a fatal disease, and cut down on the
+very threshold of life, she produced but few works to show to the world
+what heights she was capable of attaining. Of these, the two which rank
+first, and which are best known to her admirers, are studies of the
+Paris _gamin_.
+
+Jean and Jacques was exhibited at the Salon of 1883, and not only won
+the high praise of many eminent artists, but also received "honorable
+mention" from the committee. The picture is described in the artist's
+journal as "two little boys, who are walking along the pavement, holding
+each other by the hand; the elder, a boy of seven, holds a leaf between
+his teeth, and looks straight before him into space; the other, a couple
+of years younger, has one hand thrust into the pocket of his little
+trousers, and is regarding the passers-by."
+
+Scarcely had this picture been completed, when another street scene
+suddenly flashed upon the imagination of the ambitious young painter,
+and she straightway set to work upon it. The result was The Meeting,
+exhibited at the Salon of 1884. It represents a group of six boys,
+standing at a street corner, engaged in plotting some mischief. From
+the oldest, a school-boy of twelve, to the little fellow in a pinafore,
+they are intent, eager, alert; absorbed in the scheme which they are
+discussing. They have sometimes been criticised for being ugly; but as
+the artist wittily says, "One does not see such miracles of beauty among
+the little boys who run about the streets," and the models were chosen
+for the _expressiveness_ of their faces.
+
+The painting met with instantaneous approval, not only from eminent
+artists, but from the public, whose judgment on such subjects is even
+more conclusive. All the leading periodicals obtained permission to
+engrave it, and it became the talk of the hour. The signature, "M.
+Bashkirtseff," left the sex of the artist an open question, and there
+were those who could not believe that it was the work of a woman, and
+a young one at that.
+
+[Illustration: THE MEETING.--MARIE BASHKIRTSEFF.]
+
+Mademoiselle Bashkirtseff found great amusement in visiting the
+exhibition, watching the people look at her picture, and laughing in
+her sleeve to imagine their amazement should they know that the
+elegantly dressed young lady sitting near it was the artist.
+
+The sequel is full of pathos. In spite of all the praises heaped upon
+it, The Meeting did not receive a medal. To the ambitious young girl the
+disappointment was most humiliating, and with characteristic sincerity
+she did not try to conceal her indignation and chagrin. Justice came at
+last, but all too late. When the bright young hopes were stilled in the
+quiet of death, the picture was honored with a place in the Luxembourg,
+where it hangs to-day, an admirable representation of that most
+interesting genus, the Paris _gamin_.
+
+The American street boy is a distinct type: his ambition is to rise in
+the world. Wealth, fame, and power may be his, if he will but labor to
+attain them, and to this end he throws himself ardently into the
+building of a career. For a certain portion of the day he is a man of
+affairs. Dashing through the net-work of wheels, in the thickest traffic
+of crowded thoroughfares, jumping on and off moving cars and carriages,
+pushing his way with untiring zeal, he shows a reckless daring and a
+dauntless energy which are unmatched among any other people. His duties
+done, he is a gentleman of leisure. He may amuse himself now as he
+pleases, and his recreations show the same versatility displayed in his
+business enterprises. Possessed of a lively imagination and a keen sense
+of humor, he is never at a loss for a source of fun. He is as generous
+as he is mischievous, always willing to share his good things with his
+companions. Altogether, he is an interesting and attractive figure, and
+it is no wonder that he has long since made his appearance on the
+canvas.
+
+[Illustration: CASTLES IN SPAIN.--JOHN G. BROWN.]
+
+Probably the most conspicuous painter of American street subjects is
+John George Brown, of New York. A resident of this city for more than
+forty years, Mr. Brown has made it his life-work to study the character
+and customs of the poorer classes of children. Newsboys and boot-blacks
+are his special friends, and among them he finds many fine examples of
+the best characteristics of human nature.
+
+The Wounded Playfellow shows how easily the street boy's sympathies are
+touched by the suffering of an animal. A little urchin carefully holds a
+dog in his arms, while another deftly binds a bandage about the poor
+creature's broken leg. A third boy and a small girl are the interested
+spectators. The intense and eager interest with which the entire group
+regard the operation is admirably portrayed.
+
+The natural bent of Young America towards politics and oratory is seen
+in the Stump Speech, an oil painting which was exhibited at the
+Columbian Exposition.
+
+Mr. Brown uses water colors, as well as oils, for a medium of
+expression, being the president of the Water Color Society, which he
+helped to found. An example of this kind of work is his picture called
+"Free from Care." A bright-faced boot-black stands leaning against a
+wall, with one thumb thrust in his trousers pocket, and a general air of
+having thrown aside business responsibility for a good time.
+
+Equally "free from care," and happy in this privilege, is the boy,
+seated on a box, blowing soap-bubbles. His simple delight in this
+innocent pastime, and the almost dreamy look with which he watches the
+fairy bubble, show a hitherto unsuspected vein of poetry in the
+street-boy nature.
+
+The boot-black appears ordinarily in the most prosaic light, as a
+practical individual, whose chief concern is the struggle for daily
+bread. But this is only half the truth. Under his rough exterior he
+hides a heart keenly responsive to beauty. His youthful imagination is,
+in Lowell's happy phrase, a veritable Aladdin's lamp, with which he
+transforms the meagreness of his surroundings into the splendid luxuries
+of a castle in Spain.
+
+
+
+
+V.
+
+CHILD-ANGELS.
+
+
+
+
+    He shall give his angels charge over thee,
+    To keep thee in all thy ways.
+    They shall bear thee up in their hands,
+    Lest thou dash thy foot against a stone.
+                                 PSALM XCI.
+
+
+
+
+CHAPTER V.
+
+CHILD-ANGELS.
+
+
+To represent the perfect innocence and purity of an angel, a being whose
+native atmosphere is the very presence of God, a creature not subject to
+the limitations of physical laws, ever speeding on divine errands from
+heaven to earth and back again to heaven, nothing could be more natural
+than that art should use the face and form of innocent human childhood.
+
+Child-angels were first seen in art during the Italian Renaissance, and
+formed a conspicuous feature in the religious paintings of the period.
+One of the most interesting and beautiful forms in which they appear is
+as a great host, or "glory," filling the background of a composition.
+
+From the announcement of the Saviour's birth to the Galilean shepherds,
+to the vision of Saint John on the Isle of Patmos, we find various
+allusions in the New Testament to the presence of angel companies in the
+affairs of human life. It was therefore entirely legitimate and
+appropriate to introduce a visible embodiment of the heavenly hosts into
+the many sacred scenes portrayed in art, whether these were
+representations of the actual incidents of Bible history, or the
+imaginative embodiments of religious ideals.
+
+The Sistine Madonna suggests itself at once as a most beautiful
+illustration. The entire canvas is studded with tiny child faces,
+delicately outlined,--a veritable cloud of witnesses, dissolving into
+the golden glory with which they are surrounded. What a contrast is the
+exquisite spirituality of this conception to Perugino's angel glories,
+where baby faces, each with six many-hued wings are ranged at regular
+intervals throughout the composition!
+
+A less notable example of Raphael's unique treatment of the angel host
+is in his Vision of Ezekiel, a small painting of earlier date than the
+Sistine Madonna. Here the idea is manifestly drawn from the prophet's
+description of his vision of the four living creatures in a great amber
+wheel, which was "full of eyes."
+
+Turning from Raphael's clouds of dimly suggested cherub faces to those
+representations of the angel throngs in which the child forms are more
+distinctly delineated, we find that the great masters have made use of
+the myriad figures to express a corresponding variety in mood and
+character. Thus, when the emotions of the principal personage in a
+composition are too complex to be adequately expressed on a single
+countenance, the angel faces surrounding may each, in turn, convey some
+one of the many aspects of thought or feeling which go to make up the
+entire conception.
+
+The Crucifixion[16] is a striking instance of the mingling, of
+contrasted emotions,--bodily suffering and spiritual victory, worldly
+defeat and heavenly triumph,--all of which cannot be depicted on the
+face of the Christ, but which a throng of attendant cherubs may fully
+interpret. The same principle is illustrated in the many scenes of which
+the Madonna is the central figure, as the Immaculate Conception, the
+Assumption, and the Coronation.
+
+[Illustration: FRAGMENT FROM THE ASSUMPTION.--TITIAN.]
+
+Of such paintings, Titian's Assumption is the most splendid example.
+The ascending, Virgin is surrounded by a wreath of child-angels, of
+surpassing grace and beauty. It is of these that Mrs. Jameson has
+written, in her incomparable way, that they are "mind and music and
+love, kneaded, as it were, into form and color." From a compositional
+point of view they serve an important purpose in directing the attention
+of the spectator to the principal figure of the picture. All the
+gracefully intertwined limbs of the angelic host--outstretched arms and
+floating figures,--form the radii of a great semicircle centering in the
+beautiful Madonna.
+
+If Titian's child-angels stand for the highest attainment in the
+idealization of child beauty, those of Rubens, on the other hand, are
+the most human and lovable ever conceived in art. Their lovely baby
+forms cluster in countless numbers about the glorified Virgin, joyously
+bearing palm and wreath in token of her triumph.
+
+The name of Murillo also occupies the first rank in the delineation of
+companies of child-angels. Called in turn the Titian and the Rubens of
+Spain, he is like his Venetian and Flemish prototypes in his intense
+sympathy for childhood. His angels have not that transcendent
+superiority to mortals which distinguishes Titian's, nor are they the
+dimpled bits of pink-and-white babyhood characteristic of Rubens. They
+belong somewhere between the two extremes, and are remarkable for their
+innocence and purity of expression. As the Immaculate Conception was
+Murillo's favorite subject, it is here that we see his child-angels at
+their best. He has also introduced them into the Holy Family of Seville,
+as well as into that most wonderful painting of the Christ-child
+Appearing to Saint Anthony of Padua.
+
+A beautiful method of introducing child-angels into religious pictures,
+differing widely from the treatment of angel hosts, is to represent
+one[17] or two, sometimes three, in attendance upon the Madonna and
+Babe, or the Christ. This is especially appropriate where the subject is
+treated devotionally, and the central figure is elevated on a throne or
+pedestal, with the angels at the foot.
+
+Among the Florentine artists, the two friends Raphael and Bartolommeo,
+as well as their contemporary, Andrea del Sarto, furnish many examples
+of these angel attendants. With Andrea del Sarto, as was characteristic,
+they are bewitching winged boys; while with Bartolommeo and Raphael they
+partake of a more delicate spirituality, which marks them as truly
+celestial.
+
+The Madonna of the Harpies, which is considered the masterpiece of
+Andrea del Sarto, contains two charming cherubs, which may be taken as
+excellent types of the artist's rendering of these subjects. The Two
+Angels, from his great painting of the Four Saints, are somewhat above
+his average plane. These lovely and graceful figures originally stood in
+the centre of a large composition, but were at a later date removed from
+the canvas to make a separate picture. Their real significance is to
+show forth the beauty of a saintly life. Each carries a scroll, and one
+points upward.
+
+In the work of Bartolommeo the finest cherubs are those of his Throne
+Madonna, the Madonna Enthroned, and the Risen Christ. All three show the
+same masterly hand, and express a similar conception of the office
+filled by the angels. In every case one is looking up with a rapt
+expression of joy, while the other is more contemplative, drooping the
+head as if in reflection. The contrast suggests the distinction of
+early theology between the seraphim and cherubim, the former being,
+according to etymological significance, the spirits who love and adore,
+and the latter, those who know and worship. This distinction was
+scrupulously adhered to in early art by representing the seraphim as
+red, and the cherubim as blue. Although later artists no longer observed
+any discrimination between two classes of celestial beings, it may be
+that the difference between Bartolommeo's two angels is due to the
+influence of this idea. Be this as it may, the fact remains that the
+opposition between them in face and attitude is exactly appropriate to
+symbolize one as love and the other as reflection.
+
+This is very marked in Raphael's work, as may be seen in his Madonna del
+Baldacchino, a painting whose style of composition is strikingly like
+that of Bartolommeo. Of the two singing angels at the foot of the
+Madonna's throne, one studies eagerly the meaning of his music, while
+the other sings with the happy unconsciousness of a bird. Comparing with
+this Raphael's grandest achievement, the Sistine Madonna, we find the
+same _motif_ carried to its highest realization. The two beautiful
+cherubs who lean upon the parapet at the bottom of the picture are
+perfect impersonations of the serene content and the thoughtful
+deliberation with which varying types of Christian believers have
+received the great fact of the Incarnation.
+
+The Venetian painters delighted to put musical instruments into the
+hands of their child-angels, representing them as choristers, hymning
+the praises of the infant Saviour. Of these, many notable examples were
+produced in the _botteghe_ of the two rival artist families, the Bellini
+and the Vivarini. Jacopo Bellini and his two sons, Gentile and
+Giovanni, were the real founders of the Venetian school, and the work of
+Giovanni became an ideal standard, which his contemporaries essayed to
+follow. Luigi Vivarini was so successful as his imitator that his
+paintings are often incorrectly assigned to the greater artist.
+
+[Illustration: PIPING ANGEL.--BELLINI.]
+
+The Frari Madonna, however, is an undoubted Bellini, and here the
+Venetian conception of the child-angel is seen in its loveliest aspects.
+Two eager little choristers stand on the lower steps of the Madonna's
+throne, "exquisite courtiers of the Infant King," as Mrs. Oliphant
+gracefully calls them. One, myrtle-crowned, is blowing on a pipe, while
+the other bends gravely over a large lute.
+
+The Madonna of the Church of the Redentore[18] shows another pair of
+angel musicians, sitting on a low wall in the foreground, one at the
+head and the other at the feet of the sleeping Babe. Both are playing
+on lutes, and the serious, absorbed air with which they fulfil their
+task is delightful to see. With lifted face and faraway eyes, they seem
+to be listening to a heavenly chorus, of which their own melody is an
+echo.
+
+Any mention of the Venetian type of angels would be incomplete without
+adding the names of Palma Vecchio and Carpaccio to the list of those who
+most delicately interpreted the subject. Examples of their work are
+scattered over Northern Italy, but none perhaps are more representative
+than Carpaccio's Presentation, in the Academy at Venice, and Palma's
+altar-piece at Zerman.
+
+[Illustration: ANGEL FROM PAINTING IN CHURCH OF REDENTORE.--VIVARINI.]
+
+The child-angel as a playmate and companion of the Christ-child is a
+conception which has not infrequently been represented in art with great
+appropriateness. Both Van Dyck and Lucas Cranach have given us the
+Repose in Egypt, enlivened by the presence of a company of frolicsome
+cherubs sporting about the Divine Babe. Rubens painted a lovely group of
+the Infant Jesus and Saint John, seated on the ground, playing with
+their celestial little visitors. A Holy Family, by Ippolito Andreasi,
+represents angel children gathering and bringing grapes to the Saviour.
+
+With a small circle of Florentine artists, led by Botticelli, and
+including Filippo Lippi and Filippino Lippi, a unique class of
+child-angels is in great favor. These are children of a larger growth
+and maturer appearance than the infantine cherubs of contemporary
+artists, and might properly be called angel-youths. In the best examples
+their expression is an admirable mingling of strength and purity. As
+attendants to the Christ-child, they serve in various capacities with
+loving and reverent grace.
+
+In Botticelli's famous "round Madonna" of the Uffizi, one holds the ink
+vessel into which the Virgin dips her pen as she writes the Magnificat,
+two others hold a starry crown over her head, and two more complete the
+group, as companions of the Saviour. In the Holy Family, by the same
+artist, only two angels are introduced, one of whom leans over a
+balustrade, with a beautiful lily-stalk in his hand, in token of the
+Virgin's purity.
+
+Filippo Lippi's charming rendering of angel-youths is best seen in the
+picture which represents the Christ-child borne by two attendant cherubs
+in exemplification of the psalmist's words, "They shall bear thee up in
+their hands, lest thou dash thy foot against a stone." The Madonna
+stands before the Divine Babe, with hands clasped in adoration, a lovely
+impersonation of the Madre Pia.
+
+[Illustration: ANGEL FROM VISION OF MADONNA APPEARING TO SAINT
+BERNARD.--FILIPPINO LIPPI.]
+
+The Madre Pia is also the subject of one of Filippino Lippi's most
+exquisite angel pictures. The Infant Saviour lies on the ground, in a
+garden, while his mother kneels to adore him. Angel-youths surround him,
+kneeling, and one stands showering rose-petals down upon him.
+
+The masterpiece of Filippino Lippi is the Vision of Saint Bernard, in
+the Badia at Florence, and here again angel-youths are introduced with
+charming effect. Two are in the rear, with hands clasped in adoration;
+two are beside the Virgin, bearing the weight of her mantle, and raising
+their earnest young faces with sweet reverence. One of these faces is
+presented in profile, and has a delicately cut, pure outline, of rare
+gentleness and beauty.
+
+The artist's ideal is wonderfully helpful to the imagination, and the
+thought is full of comfort, that it is loving and tender presences like
+these which are "in charge over us, to keep us in all our ways."
+
+
+
+
+VI.
+
+THE CHRIST-CHILD.
+
+
+
+
+     And the Child grew, and waxed strong in spirit, filled with wisdom:
+     and the grace of God was upon him.
+
+                                      LUKE ii. 40.
+
+
+
+
+CHAPTER VI.
+
+THE CHRIST-CHILD.
+
+
+Among the innumerable pictures in which the world's great religious
+painters have represented the scenes of the earthly life of our Lord, it
+is amazing to note the large proportion of subjects relating to his
+infancy and childhood. What else can this mean than that the hearts of
+worshippers ever yearn towards that which they can understand and love,
+and that thus, of all the varied aspects of Christ's character, it
+appeals to us most forcibly that He was once a babe in the Bethlehem
+manger.
+
+To find the earliest delineations of the Christ-child we must go to
+the Catacombs of Rome, and on the walls of their strange subterranean
+chapels retrace the fading features of the Divine Babe as painted there
+centuries ago to cheer the hearts of Christians. Two of these primitive
+frescos are in the Greek chapel of the Catacomb of S. Praxedes,[19]
+where they are a constant object of interest to the art pilgrim.
+Considered aesthetically, they have of course no intrinsic beauty; but
+to the thoughtful mind they stand for the beginnings of a great art
+movement which culminated in the canvases of Raphael and Titian.
+
+From the frescos of the Catacombs the next step in the progress of
+Christian art was to the mosaics ornamenting the basilicas; and here the
+Christ-child again appears as a conspicuous figure. Some of the most
+interesting of these mosaics[20] represent the Babe receiving the
+gifts of the Magi,--as at Santa Maria Maggiore in Rome and at Saint
+Apollinare in Ravenna. In others, as at Capua, the Child shares with the
+enthroned Virgin the adoration of a surrounding group of saints. Still
+another of peculiar interest is at Santa Maria in Trastevere (Rome),
+where the Infant is suckled at his mother's breast.
+
+When we enter that strange period of history known as the Dark Ages,
+we find the art products few and uninteresting; but even then the
+Christ-child is not forgotten, and again and again he appears sculptured
+in marble over the portals of cathedrals, or painted in stiff Byzantine
+style over their altars.
+
+Thus it was that in the new birth of art in Italy, when Niccolo Pisano
+in sculpture, and Cimabue in painting, awakened the sleeping world to a
+love of beauty, the Madonna, with her heaven-born Babe, was the first
+subject to arouse enthusiasm; and it was for a picture of this sort
+that all Florence went mad with joy, as it was borne along The Street
+of Rejoicing.
+
+In early representations, both in mosaics and paintings, the Child is
+dressed in a tunic, white, red, or blue, often very richly ornamented
+with gold embroidery. This method obtained as late as the fourteenth
+century, when Fra Angelico still painted the Babe in the elaborate royal
+garments of a king. But art at last returned to nature, and from the
+fifteenth century the Holy Child was painted partially and sometimes
+wholly undraped, with beautiful rounded limbs and soft pink baby flesh.
+
+It was then that Italy was transformed into a paradise of art, and all
+the important cities were full of great painters whose hearts were aglow
+with the sacred fire of genius. In the host of beautiful works which
+were produced in the next three centuries, every type of treatment was
+exemplified, varying from the most simple naturalism to the loftiest
+idealism. The naive realism of Filippino Lippi's chubby baby, placidly
+sucking his thumb as he looks out of the picture, is matched in the
+frolicsome boys of Andrea del Sarto's many paintings, smiling
+mischievously from the Madonna's arms. At the other extreme is the
+strangely precocious looking child of Botticelli, raising his eyes
+heavenward, with a mystic smile on his serious face.
+
+And when it would seem that every conceivable type of infancy, and
+every imaginable situation had already been realized on the canvas,
+Raphael[21] arose to create an entirely new ideal. His life was so
+short, his work so surpassingly brilliant, that it was as if a splendid
+meteor suddenly flashed across the starry firmament of the Cinque-Cento.
+Perugino, his master; Pinturicchio, his employer; Fra Bartolommeo, his
+friend; Andrea del Sarto, "the faultless painter," all paled before his
+rapidly increasing glory. When he laid down his brush at the age of
+thirty-seven, he had finished a career which is one of the miracles of
+history. His work is a complete epitome of religious art, including all
+the great themes, and enveloping each with an atmosphere of pure
+spirituality, indescribably elevating to mind and soul.
+
+His conception of the Christ-child ranges from the sleeping Babe from
+whose innocent face the Madonna of the Diadem softly lifts a veil, to
+the grave boy whom the Chair Madonna clasps in her arms. Every shade of
+playfulness, of affection, of dignity, and of contemplation, is mirrored
+in the long series of pictures in which he embodied his ever-changing
+ideal of the Divine Infant.
+
+[Illustration: MADONNA DI CASA TEMPI.--RAPHAEL.]
+
+The magnificent versatility of his genius is admirably illustrated by
+the contrast between two of his finest works,--the Madonna of the
+Casa Tempi and the Madonna di San Sisto, standing the one for the human
+aspect and the other for the divine, in the incarnation of the Son of
+God. The first shows an ideal mother fondly pressing her darling's cheek
+against her own; the second is a vision of ideal womanhood hastening
+down the centuries to present the Word to the waiting world.
+
+The Christ-child of the Tempi painting is a dimpled baby shyly nestling
+against his mother's breast; the Sistine Child is a royal messenger
+lightly enthroned upon the Madonna's arm. In one conception, Mother and
+Son are absorbed entirely in each other; in the other, they think only
+of their mission to humanity, their wide eyes searching the future with
+far-seeing gaze, and their thoughts intent upon the coming of the
+heavenly kingdom.
+
+We can appreciate the Tempi Madonna at the first glance; the meaning of
+the Sistine Madonna we can never fully reach, though to contemplate it
+day by day is to feel our thoughts become purer and our aspirations
+nobler.
+
+A feature of the child-life of Jesus upon which Raphael loved to dwell
+is his companionship with his cousin John, a boy of nearly the same age,
+whose destiny was indissolubly linked with the Christ. Following the
+Gospel description of the Baptist when he came forth from the desert
+"clothed with camel's hair and with a girdle of skin about his loins,"
+the artist has represented the child John as a dark, faun-like boy, with
+a little skin garment girt about him,--a picturesque figure to contrast
+with the fair beauty of the Christ-child.
+
+The two boys are most charming, when, as in the Madonna of the Pearl,
+the little John seeks with childish eagerness to please his cousin.
+Here he is running gleefully to Jesus, with his skin garment full of
+newly gathered fruit. The Christ-child, seated on his grandmother's
+knee, beside his mother, stretches out his hands for the gift, his face
+shining with simple, child-like pleasure. At another time Saint John
+brings a goldfinch to the Virgin's knee, and the two children lean
+lovingly against her, Jesus turning his earnest eyes towards the bird,
+which he thoughtfully strokes. A very pretty incident is embodied in the
+Aldobrandini Madonna, where the Christ-child reaches from his mother's
+arms to smilingly bestow a flower upon Saint John.
+
+Other pictures introduce, more or less definitely, an element of
+devotion on the part of the infant Baptist, as in the Madonna of the
+Meadow, where he kneels to receive the cross from the hands of the
+Christ-child. The devotional relation is still more marked in the Belle
+Jardiniere of the Louvre. In the Holy Family of Casa Canigiani, Jesus is
+giving Saint John a banner with the words _Ecce Agnus Dei_.
+
+The two boys, as the central figures of the Holy Family, have engaged
+the brush of nearly every great religious painter, some producing
+familiar and domestic scenes, others emphasizing the symbolic and
+religious significance of the theme. Andrea del Sarto treated the
+subject many times, and usually portrayed the children in a natural and
+playful intimacy. Pinturicchio painted them running across a flowery
+meadow to get water from a fountain. Guilio Romano has given us the
+decidedly domestic scene of Jesus in the bath, with Saint John merrily
+pouring water upon him. Sometimes, as in a lovely work by Angiolo
+Bronzino, Saint John is affectionately kissing the sleeping Babe.
+
+It was a beautiful thought on the part of some few artists,--notably
+Palma Vecchio, Luini, and Murillo,--to introduce a lamb as a playmate
+for the children, the suggestion having its origin in the Baptist's
+description of Jesus as the "Lamb of God."
+
+In Botticelli's Holy Family, Saint John stands by with clasped hands,
+adoring the Infant. Perugino places him kneeling at a little distance in
+the rear,--a perfect embodiment of childish devotion. In a painting by
+Titian, also, he kneels apart, leaning on his cross, and in one by
+Guido, he humbly kisses the Christ-child's foot.
+
+In a lovely picture by Murillo, called the "Children of the Shell," he
+kneels to drink from a cup which the little Jesus holds to his lips.
+Here the contrast between the two is exquisitely rendered, both from
+the artistic and the religious point of view, the Christ-child bearing
+the unmistakable stamp of superiority, in spite of his childish figure,
+while the infant John is a charming impersonation of reverent and loving
+humility.
+
+The religious spirit of the old masters has not been successfully
+imitated by any modern artist who has attempted to delineate the Infant
+Jesus and Saint John, nor is this to be expected. There are many
+pleasing works of art, however, which, though differing widely from
+early Italian standards, have an attractiveness of their own.
+
+Such, for instance, is Boucher's painting, thoroughly characteristic of
+the artist, and, when considered in itself, a very pretty thing. The two
+plump babies are bewitching little figures, irresistibly lovable in
+their dimpled beauty. Sweet cherub faces peep from the surrounding
+clouds, regarding the holy children with wondering awe.
+
+[Illustration: INFANT CHRIST AND SAINT JOHN.--BOUCHER.]
+
+The figure of the Christ-child alone does not belong to the early
+Renaissance, but by the seventeenth century, the subject had found favor
+with Guido and Franceschini in Italy, and with Murillo and Zurbaran in
+Spain. With all these artists it was a favorite custom to depict the
+child Jesus asleep on the cross. Murillo's Infant Saviour, plaiting a
+crown of thorns, also belongs to this class. These forms of symbolic
+illustration have their modern counterpart in the work of several German
+artists. As the Gospel narrative furnishes no actual incidents of the
+early childhood of Jesus, he is shown in some attitude which will
+suggest his divine calling. Painted by Ittenbach, he raises his right
+hand to point the heavenward way, while with his left he indicates his
+name inscribed in the letters I. H. S. on the breast of his tunic. In
+Sinkel's picture he holds a tablet of the Commandments, with his finger
+on the fourth, a sweet expression of Sabbath peace on his face.
+
+Professor Deger's picture expresses a unique and lovely conception of
+the Christ-child in the fields, communing with his Father, and preparing
+for his ministry. He is a dreamy-looking boy, of delicate features, and
+broad, high brow, with fair curls blowing away from his face. Though
+alone, he lifts his hand in blessing, as if, in his prophetic
+imagination, the meadows were already peopled with the throngs to whom
+he is to teach the sweet lessons of the lilies and the sparrow.
+
+[Illustration: THE CHRIST-CHILD.--DEGER.]
+
+The childhood of Jesus came to an end at the age of twelve, when he
+awoke to the realization that he must be "about his Father's business."
+It was a great moment in the quiet life of the Nazarene lad. Mary and
+Joseph having to make their annual journey to Jerusalem to celebrate the
+Passover, had brought him with them, and allowed him to wander from
+them. Supposing him to be among the company with which they were
+travelling, they were well on their homeward way, when they discovered
+that he was missing. Returning to the city, and seeking him hither and
+thither, they at length found him in the temple, "sitting in the midst
+of the doctors, both hearing them, and asking them questions. And all
+that heard him were astonished at his understanding and answers."
+
+It was the latter part of this account which the early masters seized as
+the _motif_ of the Dispute in the Temple, and interpreted as meaning
+that the boy Christ assumed the position of teacher and preacher to the
+doctors. In the paintings of Duccio and Giotto, he is sitting on a
+platform, with the mien and gesture of a learned doctor; while other
+artists place him on a sort of throne or pulpit. It was left to modern
+art to conceive the true significance of the event, and to put before us
+the eager boy, listening and asking questions.
+
+Professor Heinrich Hofmann's beautiful picture shows a profound insight
+into the wonderful childhood of Jesus, as well as a fine sense of
+artistic composition. The boy stands in the midst of the group, lifting
+his eager, inquiring face to the learned doctors surrounding him. His
+expression conveys all the earnestness of his questionings, and at the
+same time shows the depth of that power of understanding which so amazed
+the listeners. Looking from his bright young face to the staid
+countenances of the professed expounders of the law, a new light flashes
+upon that mysterious utterance which fell in after times from the
+same inspired lips: "I thank thee, O Father, Lord of heaven and earth,
+that thou hast hid these things from the wise and prudent, and hast
+revealed them unto babes."
+
+[Illustration: HEAD OF BOY CHRIST.--HOFMANN.]
+
+
+       *       *       *       *       *
+
+
+
+
+NOTES.
+
+
+
+
+NOTES.
+
+CHAPTER I.--PAGE 3.
+
+[1] Of this picture, Claude Phillips justly observes that it
+has been "not a little cheapened and obscured by frequent copies, in
+which the delicate essence of the original has been allowed to
+evaporate; but a glance at the picture itself renews the magic spell
+of the master."
+
+The plate for our illustration, being made from a photograph taken
+directly from the original painting, reproduces the spirit of the
+picture with remarkable fidelity.
+
+
+CHAPTER II.--PAGE 29.
+
+[2] The children of the English court were not alone in the
+good fortune of being immortalized by the brush of Van Dyck. The great
+artist also painted a little Prince of Savoy, with his sister,--a
+picture which is now in the Royal Gallery at Turin.
+
+[3] A portrait of Prince Balthasar in court dress, by
+Velasquez, is in the Belvedere at Vienna.
+
+[4] Dr. Carl Justi has various strong arguments to prove that
+the Prado portrait of Maria Theresa is incorrectly so called, and, in
+reality, represents the Infanta Marguerite. The picture is, however,
+widely accepted as a genuine Maria Theresa, and is catalogued as such by
+Curtis. I have, therefore, thought best to follow the opinion of the
+majority on this point.
+
+[5] Titian painted a charming portrait of the Princess Strozzi,
+which is now in Berlin.
+
+[6] Holbein painted the little Prince Edward, afterwards Edward
+VI., in two extant portraits,--one, a miniature, in the possession of
+the Duke of Devonshire, another at Windsor.
+
+
+CHAPTER III.--PAGE 57.
+
+[7] The dates of Gainsborough's life are 1727-1788.
+
+[8] The two pictures for which Jack Hill served as model are
+Jack Hill in a Cottage, and Jack Hill, with his Cat, in a Wood.
+
+[9] Gainsborough was followed by several English artists
+celebrated for their pictures of the child-life of the country. Of
+these, the most notable were Sir David Wilkie and William Collins.
+Wilkie's Blind-Man's Buff, and Collins's Happy as a King are
+representative examples of their work.
+
+[10] Jean Baptiste Greuze was born in 1725, and died in 1805.
+
+[11] The Father Explaining the Bible to his Children is now in
+the Dresden Gallery. Mrs. Stranahan, in her History of French Painting,
+calls attention to the fact that the poet Robert Burns celebrates the
+same scene in his Cotter's Saturday Night.
+
+[12] The Village Bride, called in French, "L'Accordee du
+Village," is in the Louvre, Paris.
+
+[13] Although Greuze is usually spoken of as introducing a new
+line of subjects into French art, it is fair to say that Chardin
+(1699-1799) had already given the initiative. The Little Girl at
+Breakfast, exhibited at the Salon of 1737, and Le Benedicite, from the
+Salon of 1740, are highly praised by Mrs. Stranahan for their
+sympathetic treatment of domestic scenes in humble life.
+
+[14] This description, which I have rendered somewhat freely
+into English, is an extract from a letter addressed by Mademoiselle
+Philipon to the Demoiselles Cannet.
+
+
+CHAPTER IV.--PAGE 87.
+
+[15] The three paintings by Murillo in the Dulwich Gallery, to
+which reference is made, are:--
+
+The Flower Girl, Two Boys and a Dog, and Three Boys,--one eating a tart.
+The gallery also contains a religious painting by Murillo.
+
+
+CHAPTER V.--PAGE 115.
+
+[16] The representation of the Crucifixion, with attendant
+angels, is very frequent in Renaissance art. For examples among the
+earlier painters, Duccio and Giotto may be mentioned, while in a later
+period Luini and Gaudenzio adopted the same _motif_, with characteristic
+results.
+
+[17] For examples of single child-angels, see Raphael's Madonna
+di Foligno, in the Vatican at Rome, and Bartolommeo's Madonna and
+Saints, in San Martino, Lucca.
+
+[18] The Madonna of the Church of the Redentore is popularly
+attributed to Bellini, but is more probably the work of Luigi Vivarini.
+For arguments, see Crowe and Cavalcaselle, History of Painting in North
+Italy, vol. i., pages 64 and 186.
+
+
+CHAPTER VI.--PAGE 141.
+
+[19] My authority on these frescos is Charles I. Hemans, who
+states (page 70 of Ancient Christianity and Sacred Art) that "conjecture
+has assumed antiquity as high as the first century" for some paintings
+in the catacombs of S. Praxedes, but does not mention whether these are
+of the number.
+
+Van Dyke, in his Christ-child in Art (page 120), describes an
+interesting third century fresco in the catacomb of SS. Marcellinus and
+Peter, representing the Adoration of the Magi.
+
+[20] The mosaics at Santa Maria Maggiore are assigned to the
+fifth century; those at S. Apollinare Nuova, Ravenna, to the sixth
+century. See Hemans, Ancient Christianity and Sacred Art.
+
+For further descriptions of the mosaics at Capua and at Santa Maria in
+Trastevere, Rome, see Mrs. Jameson's Legends of the Madonna. For an
+engraving of the Virgin and Child in the Ravenna mosaic, see Van Dyke's
+Christ-child in Art.
+
+[21] The present location of all the works of Raphael mentioned
+in this chapter may be seen in the following list:--
+
+    Madonna of the Diadem, Louvre, Paris.
+    Chair Madonna (Madonna della Sedia), Pitti, Florence.
+    Madonna of the Casa Tempi, Munich.
+    Sistine Madonna, Dresden.
+    The Pearl, Madrid.
+    Madonna of the Goldfinch (del Cardellino), Pitti, Florence.
+    Aldobrandini Madonna, National Gallery, London.
+    Madonna of the Meadow, Vienna.
+    La Belle Jardiniere, Louvre, Paris.
+    Madonna of the Casa Canigiani, Munich.
+
+
+
+
+BIBLIOGRAPHY.
+
+
+ ALLAN CUNNINGHAM: Great English Painters.
+
+ RICHARD REDGRAVE: A Century of Painters of the English School.
+
+ NORTHCOTE: Life of Sir Joshua Reynolds.
+
+ CLAUDE PHILLIPS: Sir Joshua Reynolds.
+
+ HENRY PERCY HORNE: Catalogue of the Engraved Pictures of Gainsborough.
+
+ WILLIAM HOOKHAM CARPENTER: Memoirs of Sir Anthony Van Dyck.
+
+ STIRLING-MAXWELL: Annals of the Artists of Spain.
+
+ CARL JUSTI: Velasquez and his Times (translated by Keane).
+
+ STRANAHAN: History of French Painting.
+
+ CH. NORMAND: Greuze. (In Series: Artistes Celebres.)
+
+ CROWE and CAVALCASELLE: History of Painting in
+     Italy: History of Painting in North Italy.
+
+ T. COLE (Engraver) and W. J. STILLMAN: Old Italian Masters.
+
+ EUGENE MUENTZ: Raphael: His Life, Works, and Times.
+
+ MRS. ANNA JAMESON: Sacred and Legendary Art;
+     Legends of the Madonna; History of Our Lord.
+
+ CHARLES I. HEMANS: Ancient Christianity and Sacred Art;
+     Mediaeval Christianity and Sacred Art.
+
+ HENRY VAN DYKE: The Christ-Child in Art.
+
+ MARIE BASHKIRTSEFF: Journal.
+
+ DOROTHY TENNANT STANLEY: Street Arabs.
+
+ KARL KAROLY: The Paintings of Florence.
+
+ CHARLES L. EASTLAKE: Notes on the Pictures in the Louvre.
+
+
+
+
+
+End of the Project Gutenberg EBook of Child-life in Art, by Estelle M. Hurll
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CHILD-LIFE IN ART ***
+
+***** This file should be named 25268.txt or 25268.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/5/2/6/25268/
+
+Produced by Juliet Sutherland, Anne Storer and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/25268.zip b/25268.zip
new file mode 100644
index 0000000..cd6487e
--- /dev/null
+++ b/25268.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..c8e991e
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #25268 (https://www.gutenberg.org/ebooks/25268)