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+The Project Gutenberg eBook, The Children's Book of Celebrated Pictures,
+by Lorinda Munson Bryant
+
+
+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: The Children's Book of Celebrated Pictures
+
+
+Author: Lorinda Munson Bryant
+
+
+
+Release Date: September 26, 2008  [eBook #26703]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK THE CHILDREN'S BOOK OF CELEBRATED
+PICTURES***
+
+
+E-text prepared by Sankar Viswanathan, Colin Bell, Joseph Cooper, and the
+Project Gutenberg Online Distributed Proofreading Team
+(https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 26703-h.htm or 26703-h.zip:
+      (https://www.gutenberg.org/dirs/2/6/7/0/26703/26703-h/26703-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/6/7/0/26703/26703-h.zip)
+
+
+
+
+
+THE CHILDREN'S BOOK OF CELEBRATED PICTURES
+
+by
+
+LORINDA MUNSON BRYANT
+
+Author of "Famous Pictures of Real Boys and Girls," "Famous
+Pictures of Real Animals," etc.
+
+
+
+
+
+
+
+[Illustration]
+
+
+
+
+Published by The Century Co.
+New York
+
+Copyright, 1922, by
+The Century Co.
+
+
+
+
+
+TO MY DAUGHTER
+
+BERTHA COOKINGHAM BRYANT
+
+
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+FIGURE                                                          PAGE
+
+1.   The Holy Family. Pintoricchio. Academy, Siena               3
+
+2.   The Valley Farm. Constable. National Gallery, London        5
+
+3.   Madonna and St. Jerome. Correggio. Parma Gallery, Italy     7
+
+4.   The Wood-Gatherers. Corot. Corcoran Art Gallery,
+         Washington, D.C.                                        9
+
+5.   The Aurora. Guido Reni. Rospigliosi Palace, Rome           11
+
+6.   Singing Boys. Franz Hals. Cassel Gallery, Germany          13
+
+7.   St. Barbara. Palma Vecchio. Santa Maria Formosa, Venice    15
+
+8.   Charles I and His Horse. Van Dyck. Louvre, Paris           17
+
+9.   The Gale. Homer. Worcester Art Museum, Massachusetts       19
+
+10.  Madonna del Gran' Duca. Raphael. Pitti Palace, Florence    21
+
+11.  Joan of Arc. Bastien-Lepage. Metropolitan Museum of Art,
+         New York City                                          23
+
+12.  The Fates. Michael Angelo. Pitti Palace, Florence          25
+
+13.  Madonna of the Chair. Raphael. Pitti Palace, Florence      27
+
+14.  Wolf and Fox Hunt. Rubens. Metropolitan Museum of Art,
+         New York City                                          29
+
+15.  The Night Watch. Rembrandt. Ryks Museum, Amsterdam         31
+
+16.  The Assumption. Titian. Academy, Venice                    33
+
+17.  The Melon-Eaters. Murillo. Pinakothek, Munich              35
+
+18.  The Muses. Romano. Pitti Palace, Florence                  37
+
+19.  "Come Abide with Us." Fra Angelico. San Marco, Florence    39
+
+20.  The Supper at Emmaus. Rembrandt. Louvre, Paris             41
+
+21.  Children of Charles I. Van Dyck. Dresden Gallery           43
+
+22.  The Buttery. De Hooch. Ryks Museum, Amsterdam              45
+
+23.  Coronation of the Virgin. Botticelli. Uffizi Palace,
+         Florence                                               47
+
+24.  The Wolf-Charmer. La Farge. City Art Museum, St. Louis     49
+
+25.  The Old Woman Cutting Her Nails. Rembrandt. Metropolitan
+         Museum of Art, New York City                           51
+
+26.  The Spinner. Maes. Ryks Museum, Amsterdam                  53
+
+27.  St. George and the Dragon. Carpaccio. Church of San
+         Giorgio degli Schiavoni, Venice                        55
+
+28.  The Grand Canal. Turner. Metropolitan Museum of Art, New
+         York City                                              57
+
+29.  Song of the Lark. Breton. Art Institute, Chicago           59
+
+30.  The Holy Night. Correggio. Dresden Gallery                 61
+
+31.  The Gleaners. Millet. Louvre, Paris                        63
+
+32.  St. Cecilia. Raphael. Bologna, Italy                       65
+
+33.  Helena Fourment and Her Son and Daughter. Rubens. Louvre,
+         Paris                                                  67
+
+34.  The Harp of the Winds. Martin. Metropolitan Museum of Art  69
+
+35.  The Tribute Money. Titian. Dresden Gallery                 71
+
+36.  The Maids of Honor. Velasquez. Madrid Gallery, Spain       73
+
+37.  The Nymphs. Corot. Louvre, Paris                           75
+
+38.  St. Francis Preaching to the Birds. Giotto. Upper Church,
+         Assisi, Italy                                          77
+
+39.  The Governess. Chardin. Liechtenstein Gallery, Vienna      79
+
+40.  The Last Supper. Leonardo da Vinci. Santa Maria delle
+         Grazie, Milan                                          81
+
+41.  Sir Galahad. Watts. Eton College, England                  83
+
+42.  The Duchess of Devonshire and Her Child. Reynolds. Royal
+         Gallery, Windsor                                       85
+
+43.  St. Agnes and Her Lamb. Andrea del Sarto. Pisa Cathedral,
+         Italy                                                  87
+
+44.  Whistler's Mother. Whistler. Luxembourg, Paris             89
+
+45.  St. Christopher. Titian. Doges Palace, Venice              91
+
+46.  The Blue Boy. Gainsborough. Private Gallery, Henry
+         Huntington, Los Angeles, California                    93
+
+47.  The Sleeping Girl. Van der Meer. Metropolitan Museum of
+         Art, New York City                                     95
+
+48.  St. Anthony and the Christ-Child. Murillo. Museum of
+         Seville, Spain                                         97
+
+49.  King Lear. Abbey. Metropolitan Museum of Art, New York
+         City                                                   99
+
+50.  Sunset in the Woods. Inness. Corcoran Art Gallery,
+         Washington, D. C.                                     101
+
+
+
+
+
+_Dear Children:_
+
+
+The stories I am telling about the pictures and their painters in this
+book are gathered from many countries. Some of them belong to very
+early times when history was told to grown up people by story-tellers
+at banquets and in the homes, on the street corners and public halls.
+Some of the stories are legends and traditions that grew up with the
+beginnings of the Christian era. All of them are taken from authentic
+sources and many of them illustrate some natural law.
+
+The artists who painted these pictures knew history and the early
+myths, the fairy-tales, the legends and the traditions, the Bible and
+the Apocrypha. We love these pictures because they are beautiful and
+true, but really to understand them we must know what the artists had
+in mind when they painted them.
+
+If you learn to know these pictures and love them, I will make you
+another book soon about statues and their stories.
+
+With love and best wishes, from your friend,
+
+LORINDA MUNSON BRYANT
+
+
+
+
+THE HOLY FAMILY
+
+BERNARDINO PINTORICCHIO (1454-1513)
+
+
+In looking at pictures of the old masters you will often see one
+called the "Holy Family." I want you to know who belonged to the Holy
+Family. The grown people are Joseph and Mary, the father and mother of
+Jesus; they had no last names at that time. The children are Jesus and
+his cousin, John the Baptist, six months older than Jesus. Sometimes
+the little John's mother, Elizabeth, is in the picture and sometimes
+his father, Zacharias, is there also.
+
+In this picture painted by Pintoricchio, Jesus is about four years old
+and John four and a half. The Bible story gives very little about the
+growing up of these children. Of Jesus it says, "And the child grew,
+and waxed strong in spirit, filled with wisdom; and the grace of God
+was upon him." And of John it says, "And the child grew, and waxed
+strong in spirit, and he was in the deserts till the day of showing
+unto Israel."
+
+One story from a very old book, "The Infancy," tells about Jesus
+playing with the other boys. It says:
+
+"And when Jesus was seven years of age, he was on a certain day with
+other boys, his companions about the same age. Who when they were at
+play, made clay into several shapes, namely, asses, oxen, birds, and
+other figures, each boasting of his work, endeavoring to exceed the
+rest.
+
+"Then the Lord Jesus said to the boys, I will command these figures
+which I have made to walk. And immediately they moved, and when he
+commanded them to return they returned. He also made figures of birds
+and sparrows, which, when he commanded to fly, did fly, and when he
+commanded to stand still, did stand still; and if he gave them meat
+and drink, they did eat and drink."
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 1. THE HOLY FAMILY. PINTORICCHIO. ACADEMY, SIENA]
+
+
+
+
+THE VALLEY FARM
+
+JOHN CONSTABLE (1776-1837)
+
+
+An old man, eighty-four years of age, lived in this house on "The
+Valley Farm," in England. He was born here and he used to say that he
+had never been away from this house but four days in all his life. He
+asked Constable to come and paint a picture of his home. And what a
+beautiful picture it is! The old house, snuggled down so close to the
+little stream, could paddle its feet--if it had any--in the cool
+water. And see how tenderly the tall trees keep guard over it. How we
+wish that we could be there too! If only we could be in the punt--I am
+sure it is a punt-boat even if one end of it is pointed--and be rowed
+up and down in the delightful shade. Those two in the boat have no
+doubt been for the cows and are driving them home to be milked.
+
+John Constable liked to choose his subjects for his pictures from the
+familiar scenes near his home. He used to say to his friends:
+
+"I have always succeeded best with my native scenes. They have always
+charmed me, and I hope they always will."
+
+[Illustration: FIG. 2. THE VALLEY FARM. CONSTABLE. NATIONAL GALLERY,
+LONDON]
+
+
+
+
+THE MADONNA AND CHILD WITH
+ST. JEROME
+
+ANTONIO ALLEGRI DA CORREGGIO (1494?-1534)
+
+
+Correggio loved to paint darling babies, lovely angels, beautiful
+women and splendid men. In this picture of "the Madonna and St.
+Jerome," I want you specially to see St. Jerome and his lion. St.
+Jerome, a very noted man who lived four centuries after Christ, was
+the first person to translate the New Testament into Latin. It was
+called "The Vulgate," because of its common use in the Latin Church.
+
+When St. Jerome was thirty years old he went away from the city of
+Rome and became a hermit and lived in desert places in the East. One
+day, so the story goes, as he sat at the gate of the monastery a lion
+came up limping as though he had been hurt. The other hermits ran away
+but St. Jerome went to meet the lion. The lion lifted up his paw and
+St. Jerome found a thorn in his foot. He took out the thorn and bound
+up the poor paw, so the lion stayed with St. Jerome and kept guard
+over an ass that brought the wood from the forest.
+
+One day when the lion was asleep a caravan of merchants came along and
+stole the ass. The poor ashamed lion hung his head before the saint,
+and Jerome thought he had killed and eaten the ass. To punish him St.
+Jerome had him do the work of the ass and bring the wood from the
+forest. One day some time afterward the lion saw the ass coming down
+the road leading a caravan of camels. The Arabs often have an ass lead
+the camels. The lion knew that it was the stolen ass, so he led the
+caravan into the convent grounds. The merchant found that he was
+caught. St. Jerome was very glad to find that his lion was honest and
+true. Whenever you see a picture of a saint with a lion you must
+remember that it is St. Jerome, the great Latin scholar.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 3. MADONNA AND ST. JEROME. CORREGGIO. PARMA GALLERY, ITALY]
+
+
+
+
+THE WOOD GATHERERS
+
+JEAN BAPTISTE CAMILLE COROT (1796-1875)
+
+
+The picture of "The Wood Gatherers" is very precious to us. It is the
+last picture Corot signed after he was confined to the bed, a few days
+before he died.
+
+A curious story is told of Corot's painting this picture. He had an
+old study of another artist's of a landscape with St. Jerome at
+prayer: you remember I told you the story of St. Jerome and his lion.
+Corot took the study and made a number of sketches of it. Somehow his
+landscape would not fit St. Jerome, so he painted a man on horseback
+and a dog going off into the woods. Then in the place of St. Jerome
+praying he put a woman gathering bits of wood and another woman with a
+bundle of fagots under her arm. Now the picture must have another name
+and he called it "The Wood Gatherers." When you go to Washington, you
+must not fail to see this picture in the Corcoran Art Gallery.
+
+[Illustration: FIG. 4. THE WOOD-GATHERERS. COROT. Courtesy of the
+Corcoran Art Gallery, Washington, D. C.]
+
+
+
+
+AURORA
+
+GUIDO RENI (1575-1642)
+
+
+Hyperion had three wonderful children, Apollo, the god of the sun,
+Selene, the goddess of the moon, and Aurora, the goddess of the dawn.
+When Aurora appears her sister, Selene (the moon), fades and night
+rolls back like a curtain. Now let us look at this masterpiece by
+Guido Reni carefully that we may know how wonderful is the coming of
+day.
+
+Aurora, in a filmy white robe, is dropping flowers in the path of
+Apollo (the sun) as he drives his dun-colored horses above the
+sleeping Earth. The Horæ (the hours), a gliding, dancing group of
+lovely beings, accompany the brilliant god. Each hour is clothed in
+garments of a special tint of the great light of day, red, orange,
+yellow, green, blue, purple, and violet. The golden-hued Apollo sits
+supreme in his chariot of the sun.
+
+The fresco--fresco means painted on fresh plaster--is on the ceiling
+of the Rospigliosi Palace, Rome. The painting is as brilliant in color
+to-day as it was when painted three hundred and fifty years ago.
+
+Aurora, like most of the gods and goddesses, fell in love with a
+mortal. She asked Zeus to make her husband immortal but she forgot to
+ask that he should never grow old. And, fickle woman that she was!
+when he became gray and infirm, she deserted him and, to put a stop to
+his groans, she turned him into a grasshopper.
+
+Her son, Memnon, was made king of the Ethiopians, and in the war of
+Troy he was overcome by Achilles. When Aurora, who was watching him
+from the sky, saw him fall she sent his brothers, the Winds, to take
+his body to the banks of a river in Asia Minor. In the evening the
+mother and the Hours and the Pleiades came to weep over her dead son.
+Poor Aurora! even to-day her tears are seen in the dewdrops on the
+grass at early dawn.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 5. THE AURORA. GUIDO RENI. ROSPIGLIOSI PALACE, ROME]
+
+
+
+
+THE SINGING BOYS
+
+FRANS HALS (1584?-1666)
+
+
+These jolly singers are Dutch boys. They are singing on the street or
+in some back yard just as singers do to-day, though they lived nearly
+three hundred years ago.
+
+Hals was such a rapid painter that he could make a picture while you
+wait. The story is told that one time young Van Dyck, the Flemish
+painter who painted "Baby Stuart," went to see Hals in Amsterdam when
+Hals was an old man. Van Dyck did not tell the old artist that he was
+Van Dyck but simply asked him to paint his portrait, knowing what a
+rapid painter Hals was. In an hour the picture was done. Van Dyck
+remarked, as he looked at the portrait:
+
+"That seems easy; I believe I could do it."
+
+Hals thought he would have some fun, so he told the young stranger
+that he would sit for him just one hour.
+
+Van Dyck set his easel where Hals could not see him work and began to
+paint. At the end of an hour he said:
+
+"Your picture is finished, sir."
+
+Hals, ready to laugh at the daub, looked at the portrait and the laugh
+went out of his face. He then looked at Van Dyck, and cried out:
+
+"You must be either Van Dyck or a wizard!"
+
+You see, Hals had heard of Van Dyck and his rapid work, and knew that
+only a master painter could make the splendid portrait in an hour.
+
+[Illustration: Permission of Franz Hanfstaengl, New York City
+
+FIG. 6. SINGING BOYS. FRANS HALS. CASSEL GALLERY, GERMANY]
+
+
+
+
+ST. BARBARA
+
+JACOPO PALMA IL VECCHIO (1480?-1528)
+
+
+St. Barbara, born A. D. 303, was a very beautiful girl. Her father, an
+eastern nobleman, loved her so much and was so afraid something might
+happen to her that he built a very wonderful tower for her home and
+shut her up in it. And in that tower she studied the stars. Night
+after night she looked at the heavenly bodies until she knew more
+about the sun and the moon and the stars than any of the learned men.
+But as she studied the shining bodies she decided that worshiping
+idols, made of wood and stone, as her father did, was wrong. Finally
+she learned about the Savior, and to show her faith in Christianity
+she had some workmen who were making repairs on her tower put in three
+windows. When her father came as usual to visit her, he asked in
+surprise what the three windows were for. She replied:
+
+"Know, my father, that through three windows doth the soul receive
+light, the Father, the Son, and the Holy Ghost: and the three are
+one."
+
+Her father was very angry when he found she had learned about the
+Savior and had become a Christian. He condemned her to death and at
+last took her out on a hill and killed her, but he, too, was struck
+dead. St. Barbara is always represented with a tower that has three
+windows in it.
+
+Palma Vecchio painted this picture for some Venetian soldiers nearly
+four hundred years ago. When the Germans bombarded Venice (1918) the
+Venetians took the picture from the church to a place of safety.
+Scarcely a week had passed before a bomb broke through the roof of the
+church tearing everything before it at the exact spot where the
+picture had hung. But "St. Barbara," one of the great pictures of the
+world, was safe.
+
+[Illustration: FIG. 7. ST. BARBARA. PALMA VECCHIO. SANTA MARIA
+FORMOSA, VENICE]
+
+
+
+
+CHARLES I AND HIS HORSE
+
+SIR ANTHONY VAN DYCK (1599-1641)
+
+
+The horse in this picture of Charles I is probably the one Rubens gave
+to Van Dyck. It is said that Rubens gave it as a present after Van
+Dyck had painted a portrait of Helena Fourment, the master's second
+wife, and presented it to him. Van Dyck was twenty-two years younger
+than Rubens. You will remember that he was the master painter's
+favorite pupil. Having Rubens as a teacher did not make the pupil a
+great painter. Van Dyck was never more than a prince; just an heir to
+the throne. Rubens was a king and sat on the throne.
+
+The story is told that once Rubens was away from his private studio
+when the students bribed the servant to open the door for them. They
+stole into the master's studio to see "The Descent from the Cross,"
+which he was then painting. By some mishap the culprits rubbed against
+the wet paint and spoiled that part of the picture. Of course they
+were terrified at the damage done. They finally decided that Van Dyck
+was the one to repair the spot. The work was so well done that they
+hoped Rubens would not see the repairs. But the first thing that
+caught the eye of the master was that particular spot. He at once sent
+for the students and asked who had worked on his picture. Van Dyck
+stepped out from the others and frankly confessed that he was the
+culprit. Rubens was so pleased with his frankness and also at the
+skill of the work that he forgave them all.
+
+King Charles I invited Van Dyck to come to England, and then he
+knighted him and gave him a pension for life. The hundreds of pictures
+of the royal family and court people of England left by Van Dyck show
+us how rapidly he could paint, for the artist died when he was only
+forty-two years old.
+
+[Illustration: FIG. 8. CHARLES I AND HIS HORSE. VAN DYCK. LOUVRE,
+PARIS]
+
+
+
+
+THE GALE
+
+WINSLOW HOMER (1836-1910)
+
+
+Winslow Homer lived in Maine, where he heard the roar of mighty waters
+beating the rocks all day and all night. Some days the ocean grew so
+angry because the winds whirled its waters about in such a cruel
+manner that it would fling itself upon the sands and rocks as though
+to tear everything to pieces. The waves would raise up like furious
+horses champing their bits and foaming at the mouth. Somehow these
+angry waves could never go beyond a certain point, and the mother
+carrying her baby along the coast knows just the point at which the
+waves must stop. Let us clap our hands and shout with joy that old
+ocean cannot hurt that mother and her baby. Fill your lungs full of
+that glorious breeze whipping their hair and clothes. Open your eyes
+wide like the baby and let the salt air polish them until they sparkle
+like diamonds as the baby's do.
+
+Winslow Homer loved old ocean, and so do we! Let us love his pictures
+of old ocean for he has taught us that that mighty power is under a
+greater Power.
+
+[Illustration: FIG. 9. THE GALE. HOMER. Courtesy of Worcester Art
+Museum, Massachusetts]
+
+
+
+
+MADONNA DEL GRAN' DUCA
+
+RAPHAEL SANZIO (1483-1520)
+
+
+I want you to learn everything you can about Raphael. He was so kind
+and gentle and beautiful that everybody loved him. People said that
+when he walked on the streets of Rome scores of young men went with
+him until one would think him a prince. The pope gave him a large
+order to decorate the Vatican, the pope's home. Every artist was
+willing to help him because he was always ready to do anything he
+could to help his brother artists.
+
+Raphael only lived to be thirty-seven. When he died all Italy mourned
+his death, and his funeral was one of the largest of any artist of his
+time.
+
+When Raphael was only twenty-one he painted the "Madonna del Gran'
+Duca." He had gone to Florence for the first time. We do not know
+where the picture was for a hundred years after it was painted; then
+the painter Carlo Dolci owned it. Again another hundred years went by,
+and we find it in possession of a poor widow. She sold it to a
+picture-dealer for about twenty dollars. It then went into the hands
+of the grand duke of Tuscany, Ferdinand III, for the big sum of eight
+hundred dollars. No amount of money could buy the picture to-day.
+
+Ferdinand loved the picture so much that he always took it with him on
+all his travels and the grand duchess, his wife, felt that her baby
+boys were purer if she had the picture near her. It got its name
+"Madonna of the Grand Duke" from the title of the family.
+
+[Illustration: FIG. 10. MADONNA DEL GRAN DUCA. RAPHAEL. PITTI PALACE,
+FLORENCE]
+
+
+
+
+JOAN OF ARC
+
+JULES BASTIEN-LEPAGE (1848-1884)
+
+
+No young girl in history has had such a wonderful story as Joan of
+Arc. She began to hear voices and see visions when she was a little
+child. She was born in the tiny village of Domremy, France. Just like
+the other little peasant girls around her she helped her mother about
+the house and at the spinning. Also she went into the fields with her
+brothers.
+
+One day when she was in the garden the Archangel St. Michael came to
+her in a glory of light. He said she was a good little girl and that
+she must go to church and that some day she was to do a great act; she
+was to crown the dauphin as king of France at Rheims. Joan was afraid
+and cried at what the angel told her, but St. Michael said, "God will
+help you."
+
+These messages kept coming to her until, when she was sixteen, the
+voices insisted, "You must help the king, and save France."
+
+France was in a terrible state at this time, 1428. The English held
+most of France. The French king, Charles VI, became insane and died.
+The son, Dauphin Charles, was weak and lazy and discouraged; he had no
+money, no army, no energy, and like most cowards, ran from his duty
+and wasted his time in wickedness.
+
+Joan was still urged by voices to save France. At last a peasant uncle
+went with her to a man in power to ask for troops. The man was angry,
+and said sharply:
+
+"The girl is crazy! Box her ears and take her back to her father." But
+Joan did not give up. She insisted that some one must take her to
+Dauphin Charles, that God willed it. She said:
+
+"I will go if I have to wear my legs down to my knees." She went, and
+she saved France by crowning the dauphin as Charles VII at Rheims. But
+the French and the English people condemned Joan of Arc as a witch and
+burned her at the stake. Too late they cried:
+
+"We are lost! We have burned a saint!"
+
+[Illustration: FIG. 11. JOAN OF ARC. BASTIEN-LEPAGE. Courtesy of the
+Metropolitan Museum of Art, New York City]
+
+
+
+
+THE FATES
+
+MICHAEL ANGELO BUONARROTI (1474-1564)
+
+
+When a new baby comes to a home, legend says, three beautiful young
+girls come to take care of the baby all through its life, but no one
+ever sees these young girls. Each one has a strange work to do. One,
+called Clotho, carries a spindle on which is wound flax. The second,
+named Lachesis, twists a thread from the spindle, called the thread of
+life. And Atropos, the third, has a pair of shears ready to cut the
+thread of life.
+
+A funny story is told about Michael Angelo when he designed this
+picture of "The Fates." An old woman annoyed the artist very much by
+coming every day to see him. She insisted that he should appoint her
+son a special place in the fighting line in the seige of Florence
+(1529). Michael Angelo took revenge on the old woman by using her as a
+model for all of the women in his "Fates." And that is why Michael
+Angelo's fates are old women instead of young girls, as legend says
+they are.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 12. THE FATES. MICHAEL ANGELO. PITTI PALACE, FLORENCE]
+
+
+
+
+THE MADONNA OF THE CHAIR
+
+RAPHAEL SANZIO (1483-1520)
+
+
+We like to believe that Raphael, in one of his daily walks in the
+country, really did see this mother and her two little boys sitting in
+a doorway. Of course he must paint them, and having no paper with him
+he rolled up a barrel and made a sketch on the head of it. The story
+says that this barrel was once a part of a great oak-tree that stood
+by the hut of an old man, a hermit up in the mountains. And the mother
+of the two boys, when a little girl, used to go to see the old man. He
+loved these two--the little girl and the big oak-tree--and called them
+his daughters.
+
+He used to say that some day they would both be famous. That was more
+than four hundred years ago, and to-day this picture of "The Madonna
+of the Chair" is one of the most famous Madonna pictures. It is found
+in almost every home in America and is a treasure that belongs to all
+of us though it hangs in a gallery at Florence, Italy.
+
+We know, too, that Raphael did not let any of his helpers work on "The
+Madonna of the Chair"--in Italian, "Madonna della Sedia." He painted
+every brush stroke himself, which makes it still more dear to us.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 13. MADONNA OF THE CHAIR. RAPHAEL. PITTI PALACE, FLORENCE]
+
+
+
+
+THE WOLF AND FOX HUNT
+
+PETER PAUL RUBENS (1577-1640)
+
+
+The stables of Peter Paul Rubens were known the country over. No
+prince in the land had more magnificent horses, and no cavalier could
+ride with more grace and ease than Rubens.
+
+When Van Dyck, the artist who painted "Baby Stuart," was ready to
+leave the studio of Rubens to travel in Italy, the master gave him a
+beautiful horse from his own stables. Van Dyck probably used this
+horse as a model in his picture of "Charles I and his Horse."
+
+Now look at Rubens on the splendid dappled white horse in "The Fox and
+Wolf Hunt." His first wife, Isabel Brant, is on his right hand. She
+carries her falcon balanced on her wrist, his wings spread out in
+excitement. We feel that Rubens and his horse together are directing
+every movement in the hunt. That horse has all the alertness of the
+trained dogs and is just as eager in overcoming brute force as men
+are. In fact we are so fascinated with his beauty and intelligence
+that the cruel sport is almost forgotten in our interest in him and
+his master.
+
+Rubens painted a number of hunting scenes, and always he manages the
+hunt with the skill of a master. The confusion of the rough-and-tumble
+fight between the wild beasts and the horses, dogs, and men in Rubens'
+pictures seems to untangle itself under his glorious color and skilful
+arrangement. This is a picture you must see. When you go to New York
+City never fail to visit the Metropolitan Museum of Art.
+
+[Illustration: FIG. 14. WOLF AND FOX HUNT. RUBENS. Courtesy of the
+Metropolitan Museum of Art, New York City]
+
+
+
+
+THE NIGHT WATCH
+
+REMBRANDT VAN RIJN (1607?-1669)
+
+
+One time, more than two hundred and fifty years ago, two little
+children living in Amsterdam were playing at the edge of the city just
+at evening. Soon they overheard some Spanish soldiers near-by talking
+together. They began to understand that the men were making some kind
+of plans and, listening very sharply, they found that the Spaniards
+intended to attack the city of Amsterdam that night. The Spaniards
+were fighting the Netherlands at that time. You can imagine how
+frightened the children were. They knew that they must tell some one
+about it at once. Very quietly they crept away from where the men
+were, then ran for their lives to the town hall. The Civic Guard were
+having a banquet there. Rembrandt has painted the scene just as the
+little girl, in the center of the group, has finished her story. The
+men are making ready to meet the attack. Some have on their armor,
+some are polishing their guns, some have their drums, and all are full
+of excitement.
+
+When the painting was to be put in the new Ryks Museum, in Amsterdam,
+it was found that the wall was too narrow for the picture. What do you
+think the authorities did? The stupid men cut a piece off from each
+side of the picture to fit it in its new place. Was ever anything so
+silly? Even those pieces cut off would bring more money to-day than
+the museum itself cost.
+
+The men who had money at the time Rembrandt painted the picture were
+angry because the artist would not make portraits as they wanted them.
+They ignored Rembrandt, and he became very poor and died unknown.
+To-day those rich men are forgotten and Rembrandt is known the world
+over.
+
+[Illustration: FIG. 15. THE NIGHT WATCH. REMBRANDT. RYKS MUSEUM,
+AMSTERDAM]
+
+
+
+
+THE ASSUMPTION
+
+TITIAN, OR TIZIANO VECELLI (1477-1576)
+
+
+Titian lived to be ninety-nine-years old and still painted pictures.
+He was working on a painting when an awful plague broke out in Venice,
+and he took it and died. Titian painted such wonderful pictures that
+kings came to see them and rich noblemen paid big sums of money to own
+them. Sometimes King Charles V would ride with Titian and would have
+his courtiers pay tribute to Titian and wait on him. This made those
+haughty men very jealous and very angry, but Charles V would say, "I
+have many nobles, but I have only one Titian."
+
+Titian's picture of the "Virgin going to Heaven" the whole world calls
+one of the greatest pictures ever painted. Some day I hope you will go
+to Venice, that Queen City of the Sea, and fasten your gondola at the
+Museum door while you go in to see this picture. You will be so
+dazzled with its bright color that you will hardly see the little
+cherubs circling around the blessed mother. But I want you to look at
+them; they are darlings: then look at the men all reaching up and the
+Father in the sky looking down. The story of the picture is about
+Mary, the mother of Jesus, going to heaven.
+
+[Illustration: FIG. 16. THE ASSUMPTION. TITIAN. ACADEMY, VENICE]
+
+
+
+
+THE MELON EATERS
+
+BARTOLOME ESTEBAN MURILLO (1618-1682)
+
+
+When the Spanish artist Murillo was a young painter he was very poor
+and hardly knew where to get enough to eat. He would go to the
+market-place and set up his easel and rapidly paint the scenes around
+him. The people who came to the market to buy and sell saw these
+pictures and bought them for a mere pittance.
+
+Often beggar boys, who were everywhere in the market snatching fruits
+and other eatables from the stalls, would pose for him as they hid in
+some corner to eat their stolen dainties. These beggar-boy pictures
+that Murillo sold for a song to keep his soul and body together began
+to attract attention until finally they were looked upon as the
+greatest pictures Murillo ever painted. People outside of Spain,
+Murillo's native country, bought them until to-day scarcely a
+beggar-boy picture of his is found in Spain.
+
+This picture of "The Melon Eaters" is known far and wide as a great
+masterpiece, and yet the boys were little rag-a-muffins, the pests of
+the market people. Murillo knew the joys and sorrows of those boys
+because he too at that time was very poor and hungry and no one was
+giving him a helping hand. Do you suppose that when he was famous as a
+painter he ever saw those boys? I think so, for he was greatly beloved
+by his townspeople of Seville. They probably came to his studio many
+times. Murillo painted many religious pictures for the churches of
+Seville.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 17. THE MELON EATERS. MURILLO. PINAKOTHEK, MUNICH]
+
+
+
+
+THE MUSES
+
+GIULIO ROMANO (1492-1546)
+
+
+I am sure you have heard of the Muses. Romano, a pupil of Raphael's,
+has left us this beautiful picture of them dancing with Apollo, their
+cousin. The Muses were the daughters of Zeus (Jove or Jupiter), and
+Memory. These lovely girls also come to every home to help care for
+the new baby.
+
+The Greek names of the Muses are rather hard to pronounce, but you
+will want to call them by name. Then, too, each girl's name in Greek
+letters is just below where she dances. Now begin at the left of the
+circle. The first one, Calliope, stands for narrative poetry; No. 2,
+Clio, is history; No. 3, Erato, is love-poetry; No. 4, Melpomene, is
+tragedy; No. 5, Terpsichore, is dance and song. Now comes Apollo with
+his quiver full of arrows. He is the god of the hunt and twin brother
+to Diana, the goddess of hunt; also he is god of music and poetry. No.
+6 is Polyhymnia, muse of hymn-music; No. 7, Euterpe, is song poetry;
+No. 8, Thalia, is comedy, and No. 9, Urania, muse of astronomy.
+
+Athene gave the Muses the winged horse, Pegasus. But alack and alas!
+one of the poets became very poor and sold Pegasus to a farmer. He was
+fastened to the plow, but he could not plow through the hard earth.
+His spirit was broken and his body was weak. The angry farmer tried to
+make him work, but how could he when he had no courage? But just then
+a beautiful youth came and asked the farmer to let him try the horse.
+Of course the man was glad to have any one help get the plowing done.
+The young man petted the horse and slyly unfastened the harness as he
+patted him. He mounted upon his back and Pegasus rose in the air, and
+away they both went, Pegasus and Mercury. The farmer looked on with
+amazement. How could a good-for-nothing horse that could not plow do
+such a wonderful thing as fly?
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 18. THE MUSES. ROMANO. PITTI PALACE, FLORENCE]
+
+
+
+
+"COME, ABIDE WITH US"
+
+FRA GIOVANNI ANGELICO (1387-1455)
+
+
+Nearly two thousand years ago two men were walking together along a
+dusty road in Palestine. They talked earnestly as they walked along of
+a great event that had happened. A man called Jesus, the Christ, had
+been crucified and buried, but after three days he was not found in
+the tomb. As the men talked, a traveler joined them and asked:
+
+"What is it ye talk about and are sad?"
+
+And the men asked if he were a stranger in Jerusalem and did not know
+the things that had come to pass.
+
+The stranger said, "What things?"
+
+Then the men told him of Jesus of Nazareth, which was a prophet mighty
+in deed and word before God and all the people. And they said that
+they had all hoped He was the mighty one who was to save the world but
+that He had been killed.
+
+Then the stranger, who was Jesus himself, but the men did not know
+Him, began to tell them the story of all things about himself. Still
+they did not know Him, and as they came to the village of Emmaus and
+the stranger made as though He would have gone further, the men said,
+"Come, abide with us."
+
+This picture, showing the men inviting the stranger, was painted by
+Fra Angelico for the Dominican monastery in Florence, Italy. You will
+find it over the entrance of San Marco, where it welcomes every
+stranger who comes.
+
+Fra Angelico was so kind and gentle and helpful that his companions
+called him "Angel Brother"; in Italian, "Fra Angelico."
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 19. "COME, ABIDE WITH US." FRA ANGELICO. SAN MARCO, FLORENCE]
+
+
+
+
+THE SUPPER AT EMMAUS
+
+REMBRANDT VAN RIJN (1607?-1669)
+
+
+Rembrandt has taken the story of the two men and the stranger on their
+way to Emmaus after they have gone into the house. You see the
+disciples still did not know that the stranger was Jesus, the Christ.
+But when He sat at meat with them, He took bread and blessed it and
+brake and gave to them. Then they knew that it was the Savior who was
+talking with them and sitting at the table with them. Rembrandt shows
+the wondering men as they begin to recognize who their guest is, and
+he makes us feel the warmth and gladness that fill their hearts when
+they know that it is the risen Lord. The boy, too, lingers at the
+Savior's side as though to hear the meaning of the scene. But as they
+look, Jesus disappears out of their sight. When He is gone they say to
+each other:
+
+"Did not our heart burn within us, while he talked with us by the way,
+and while He opened to us the Scriptures?"
+
+Rembrandt painted this picture after many sorrows had come to him. His
+beloved Saskia, the mother of the "golden lad," Titus, was dead;
+friends had deserted him and his patrons were gone. But the love of
+people still filled the heart of the great painter.
+
+[Illustration: FIG. 20. THE SUPPER AT EMMAUS. REMBRANDT. LOUVRE,
+PARIS]
+
+
+
+
+THREE CHILDREN OF CHARLES I OF
+ENGLAND
+
+SIR ANTHONY VAN DYCK (1599-1641)
+
+
+The little boy standing between his brother and sister in this picture
+is Baby Stuart, the same child that is in the picture of "Baby Stuart"
+that you know so well. When Baby Stuart grew up he was crowned James
+II, king of England (1685). His brother was Charles II, king of
+England, and his sister was the mother of William III, king of
+England. James II, Baby Stuart, had a daughter, Mary, who became Mary,
+queen of England. When these cousins, William and Mary, grew up they
+were married and crowned king and queen of England in 1689.
+
+A funny story is told of the crowning ceremony. William was very short
+and Mary was quite tall. It would not do to have Mary taller than her
+husband, so a stool was brought for William to stand on. Now they are
+the same height as they are crowned King William III and Queen Mary II
+of England. When William and Mary ruled England the country was happy
+and prosperous because love reigned in the royal household.
+
+I have seen the stool that William stood on when he was crowned
+William III of England. It is in Westminster Abbey, London. That is
+another interesting bit of historic setting that you will see when you
+go to visit England.
+
+Sir Anthony Van Dyck, the Flemish artist, painted many pictures of the
+royal families of England, especially the family of Charles I. He put
+little dogs into his pictures so often that the people began to call
+these little fellows "King Charles spaniels." To-day, two hundred
+years after, they are still called King Charles spaniels.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 21. CHILDREN OF CHARLES I. VAN DYCK. DRESDEN GALLERY]
+
+
+
+
+THE BUTTERY
+
+PIETER DE HOOCH (1632?-1681)
+
+
+Pieter de Hooch is a Dutch artist you are going to love. Usually you
+can tell his pictures by the checked or plaid floors. The floors in
+the homes in Holland are mostly made of squares of black and white
+marble. Did you ever see a cuter little girl than this one in the
+picture? She has come for her pitcher of milk. Her mother went to the
+"buttery" for it: a buttery is a place for keeping casks and barrels
+and bottles. We can see one end of the cask or barrel under the window
+in the buttery. Now look into the next room and see the chair on a
+little platform. That platform is quite common in the Dutch home and
+is probably the place where mother or grandmother sits to read or sew
+by the window. What a beautiful day it must be out of doors to make
+the rooms so cheerful and bright! Hooch loved the sunshine and used it
+to brighten every home he painted. The sunshine on the checked floors
+makes his pictures sing with joy and happiness.
+
+We can find very little about the life of the "Dutch little masters,"
+yet the pictures they have left us are among our greatest treasures:
+just little home scenes that you and I know about.
+
+It is said that de Hooch often put in his people after he had finished
+painting his picture. In one picture he has added a girl near a
+fireplace to make the picture more balanced. We know that she was
+added after the picture was made, for we can see the plaid floor
+through her dress where the paint was too thin to cover the original
+floor. Such little things tell us something of the method of work of
+the Dutch painters.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 22. THE BUTTERY. DE HOOCH. RYKS MUSEUM, AMSTERDAM]
+
+
+
+
+THE CORONATION OF THE VIRGIN
+
+SANDRO BOTTICELLI (1446-1510)
+
+
+The children who are holding the book and ink-bottle in this picture,
+"The Coronation of the Virgin," lived four hundred years ago. Their
+names are Giovanni and Giulio de' Medici. Botticelli, the artist, knew
+them well for he was born and brought up in Florence and used to spend
+a great deal of time at the Medici Palace.
+
+The boys were cousins. Giulio, the younger, was left an orphan when a
+wee child and his uncle, Lorenzo the Magnificent, adopted him and had
+him brought up with his own son Giovanni. The boys were nearly the
+same age and grew up to be great and good men. Both of them were popes
+of Rome. The older boy, Giovanni, was Pope Leo X and Giulio Pope
+Clement VII.
+
+Now look at the picture again. The Madonna is reading to her little
+son, Jesus, "The Magnificat," that beautiful song from Luke, Chap. I,
+v. 46-56, sung so often in our churches. Let us repeat the song
+together:
+
+    My soul doth magnify the Lord,
+        And my spirit hath rejoiced in God my Savior.
+    For He hath regarded the low estate of his handmaiden:
+        For, behold, from henceforth, all generations shall call me
+            blessed.
+    For He that is mighty hath done to me great things; and holy is
+            His name.
+        And His mercy is on them that fear Him from generation to
+            generation
+    He hath shewed strength with his arm;
+        He hath scattered the proud in the imagination of their hearts.
+    He hath put down the mighty from their seats,
+        And exalted them of low degree.
+    He hath filled the hungry with good things;
+        And the rich he hath sent empty away.
+    He hath holpen his servant Israel, in remembrance of his mercy;
+        As He spake to our fathers, to Abraham, and to his seed for ever.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 23. CORONATION OF THE VIRGIN. BOTTICELLI. UFFIZI PALACE.
+FLORENCE]
+
+
+
+
+THE WOLF CHARMER
+
+JOHN LA FARGE (1835-1910)
+
+
+You see these wolves were once the old women gossips of the town, the
+story says; and when these women were unkind in what they said about
+people the Fates--I have told you another story about the Fates--the
+Fates to punish them turned them into wolves. The Wolf Charmer, who
+really is the old gypsy who killed the black cat of the village witch,
+goes out into the night. The owl calls the wolves to attack the gypsy.
+But the gypsy knew the old women before they were turned into wolves
+so he calls them by name: "Kate, Anne, and Bee!" And soon they follow
+him down the narrow path between the rocks and listen to his music on
+the bagpipes. "A funny story!" you say. You know there are people who
+have a strange power over wild animals.
+
+John La Farge said about this picture, "I made it to be one of a
+series of some hundred subjects, more or less fantastic and
+imaginary." He never finished the pictures nor carried out his plan of
+making these books for children. I am giving you "The Wolf Charmer"
+because he painted the picture for you. Mr. La Farge named this
+picture as the one he liked best of his paintings.
+
+[Illustration: Courtesy of John La Farge
+
+FIG. 24. THE WOLF CHARMER. LA FARGE. Courtesy of the City Art Museum,
+St. Louis]
+
+
+
+
+THE OLD WOMAN CUTTING HER NAILS
+
+REMBRANDT VAN RIJN (1607?-1669)
+
+
+No artist in all history had a sadder life than Rembrandt. It was sad
+because the people of Amsterdam were stupid and too blind to know that
+a great man was living among them. Rembrandt could paint wonderful
+portraits, and the rich people wanted their portraits painted. At
+first all went well. The rich flocked to his studio and Rembrandt made
+marvelous likenesses. Then the guilds of the great commercial houses
+wanted pictures for their halls. They came to Rembrandt for these
+pictures, but thinking that their money had bought the great artist
+body and soul, they began to tell him how he should make the pictures
+that each one might have equal prominence in it. Naturally Rembrandt
+would not be bought off with money. His art was bigger than gold. The
+picture that was really the turning point in his life was "The Night
+Watch." I wish you would look at the picture again. You see the men
+away back in the picture were jealous that they were not put in the
+front row. All they cared for was to have a fine portrait of
+themselves and Rembrandt was only interested in making a great
+picture.
+
+Rembrandt went on painting but no one bought his pictures. Many
+sorrows came to him. It was when the world had forsaken him that he
+painted "The Old Woman Cutting her Nails." Now you can understand why
+Rembrandt could paint an old woman with human sympathy. We could love
+that old woman because the unkindness of the world made her more
+tender and true to suffering humanity. She is the old grandmother we
+would go to if we were in trouble.
+
+[Illustration: FIG. 25. THE OLD WOMAN CUTTING HER NAILS. REMBRANDT.
+Courtesy of the Metropolitan Museum of Art, New York City]
+
+
+
+
+THE SPINNER
+
+NICOLAES MAES (1632-1693)
+
+
+This old woman is spinning flax. Have you ever seen a flax wheel? When
+you go to Holland try to visit Dordrecht, and if possible, go into a
+real Dutch home. There you may see some one, the grandmother maybe,
+spinning flax; then you will know that this picture is an actual
+scene.
+
+Nicolaes Maes, who painted the picture, was born in Dordrecht or Dort.
+This city is said to be the oldest city in the Netherlands; it was
+founded in the tenth century. An old woman spinning was a familiar
+scene to Maes. Now look at this spinner closely. She will not mind,
+for she is too intent on picking up a thread, possibly a broken or a
+knotted one. Maes saw a picture in the old woman's dull red dress and
+bright red sleeves. He liked the brown wheel and the yellow floor and
+the beautiful bit of blue cloth thrown over the wheel-base. Then he
+saw how beautifully the white kerchief and apron and wall caught the
+light. He saw the helpfulness of the rugged old hand, worn and scarred
+as it was, yet patient and firm in repairing a mistake.
+
+Maes's "The Spinner" and Rembrandt's "The Old Woman Cutting her Nails"
+make the tasks of every-day life very human. We in America owe much to
+these old Dutch women and to the artists who have made them live for
+us.
+
+This picture of "The Spinner" is only sixteen and one fourth inches
+high and thirteen inches wide, yet that old woman at her
+spinning-wheel is as much a real person in the room where she hangs on
+the wall as she was when Maes painted her, nearly three hundred years
+ago. I want you to love these little Dutch pictures; they are so
+honest and true and tell us about real people and real things, and
+they make us feel that beauty is everywhere. Now look at your
+grandmother as she mends your stockings and see how beautiful she is
+with the light on her dear old face and hair.
+
+[Illustration: FIG. 26. THE SPINNER. MAES. RYKS MUSEUM, AMSTERDAM]
+
+
+
+
+ST. GEORGE AND THE DRAGON
+
+VITTORE CARFACCIO (1440?-1522)
+
+
+St. George, a noble youth of Cappadocia, was one of the oldest and
+most noted of the saints. The story always told of him is his killing
+the dragon. Once upon a time St. George was going through Palestine on
+horseback when he came to the City of Beirut. There he found a
+beautiful young girl in royal dress weeping outside the walls of the
+city. When he asked her why she was crying, she told him that a
+terrible dragon lived in the marshes near the city. And to keep him
+from destroying every one in the city, each day two young girls must
+be fed to him. These young girls were chosen by lot, and this day she,
+Cleodolinda, the king's daughter, must be eaten by the dragon.
+
+St. George told her not to be afraid for he would destroy the dragon.
+But she cried:
+
+"O noble youth, tarry not here, lest thou perish with me! but fly, I
+beseech thee!" St. George answered:
+
+"God forbid that I should fly! I will lift my hand against the loathly
+thing, and will deliver thee through the power of Jesus Christ!"
+
+Then St. George, rushed at the dragon and thrust his spear into his
+mouth and conquered him. He then took the young girl's mantle and
+bound the beast, and she led him into the city to her father. That day
+twenty thousand people of the city were baptized.
+
+As time went on the name of St. George became very great. From the
+time that Richard I--the Lion-Hearted--placed his army under the
+protection of St. George the saint became the patron saint of England.
+In 1330 the order of the Garter, the highest order of knighthood in
+Great Britain, was founded and on its emblem is a picture of St.
+George and the dragon.
+
+Carpaccio, a Venetian artist, painted this picture of "St. George and
+the Dragon." He painted many other stories of saints.
+
+[Illustration: FIG. 27. ST. GEORGE AND THE DRAGON. CARPACCIO. CHURCH
+OF SAN GIORGIO DEGLI SCHIAVONI, VENICE]
+
+
+
+
+THE GRAND CANAL, VENICE
+
+JOSEPH MALLARD WILLIAM TURNER (1775-1851)
+
+
+Venice is a very curious city. It is really built on stilts on top of
+the water. Its streets are canals. Instead of having street-cars and
+horses and taxicabs everybody goes in long boats called gondolas. The
+main street in the city is the Grand Canal, and in this canal come all
+sorts of people with all sorts of water-crafts.
+
+The children play in the side streets just as you do except that they
+swim in the water instead of running on the ground. Even the babies
+are in the water fastened to the door-steps by a rope around their
+little bodies. How they do coo and gurgle as they paddle their little
+hands and feet like young frogs!
+
+Turner shows in this picture the Grand Canal filled with ships from
+other countries with gaily colored flags fluttering in the breeze. Do
+you see the tower at the left in the picture? That is the Campanile,
+the bell-tower. This wonderful tower fell down flat in 1902. I talked
+with a man who has a store just opposite the tower, a few weeks after
+it fell. He said to me: "I thought it would fall on my store and
+destroy everything. It began to tip; then all at once it fell flat
+just where it stood." The Venetians soon built it up again.
+
+When Napoleon, the great French emperor, took Venice, he rode up the
+inclined plane of this tower on his horse and stood on the very top
+overlooking the sea.
+
+[Illustration: FIG. 28. THE GRAND CANAL. TURNER. Courtesy of the
+Metropolitan Museum of Art, New York City]
+
+
+
+
+THE SONG OF THE LARK
+
+JULES ADOLPHE BRETON (1827-1906)
+
+    Up with me! up with me into the clouds!
+      For thy song, Lark, is strong;
+    Up with me, up with me into the clouds!
+                Singing, singing,
+    With clouds and sky above thee ringing,
+      Lift me, guide me till I find
+    That spot which seems so to thy mind!
+
+WORDSWORTH
+
+
+Can you not almost hear this girl singing? The sun is just coming up.
+The lark is rising in the sky, singing! The girl has come out to work
+in the fields; a peasant girl. Barefooted, barehanded, she stands
+straight like a soldier of work with her head lifted to drink in the
+morning air as she sings.
+
+One morning early I was driving through the country roads in the south
+of England when larks began to rise from the fields where the workmen
+were, just like this lark from the French field, and how they did
+sing! I stopped and listened, watching them go up higher and higher,
+their song growing fainter and fainter, and then they disappeared.
+Where did they go? Let us ask this French peasant girl. Do you think
+that she can tell us? If she cannot, who can?
+
+[Illustration: FIG. 29. SONG OF THE LARK. BRETON. Courtesy of the Art
+Institute, Chicago]
+
+
+
+
+THE HOLY NIGHT
+
+ANTONIO ALLEGRA DA CORREGGIO (1494?-1534)
+
+
+It is a wonderful story, the story of the Holy Night. The mother and
+father had traveled a long way; and when they came to Bethlehem every
+place was taken so they found a bed in a cave. In the night a baby boy
+came to the mother, and she "wrapped Him in swaddling clothes, and
+laid Him in a manger, because there was no room for them in an inn.
+And there was in the same country shepherds abiding in the fields,
+keeping watch over their flocks by night. And, lo, the angel of the
+Lord came upon them, and the glory of the Lord shone around about
+them; and they were sore afraid.
+
+"And the angel said unto them, Fear not; for behold, I bring you good
+tidings of great joy, which shall be to all people. For unto you is
+born this day in the city of David, a Savior, which is Christ, the
+Lord. And this shall be a sign unto you; ye shall find the babe
+wrapped in swaddling clothes, lying in a manger. And suddenly there
+was with the angel a multitude of the heavenly host praising God,
+saying, Glory to God in the Highest, and on earth peace, good will
+unto men.
+
+"And it came to pass as the angels were gone away from them into
+heaven, the shepherds said one to another, Let us go even to Bethlehem
+and see this thing which has come to pass, which the Lord has made
+known to us. And they came with great haste, and found Mary and
+Joseph; and the babe lying in a manger. At first a bright cloud
+overshadowed the cave but on a sudden the cloud became a great light
+in the cave, so that their eyes could not bear it. But the light
+gradually decreased until the Infant appeared, and sucked the breast
+of his mother, Mary."
+
+The picture shows us the shepherds in the cave worshiping the young
+child, Jesus, the Christ.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 30. THE HOLY NIGHT. CORREGGIO. DRESDEN GALLERY]
+
+
+
+
+THE GLEANERS
+
+JEAN FRANÇOIS MILLET (1814-1875)
+
+
+Millet was a French peasant boy--very poor. He says his grandmother
+would come into his room early in the morning and call:
+
+"Awake, my little François; if you only knew how long a time the birds
+have been singing the glory of the good God!"
+
+He would insist when he was helping in the fields that there was
+beautiful color over the plowed ground, and when the other fellows
+laughed at him, he would say:
+
+"Wait, some day I will paint a picture and show you the color."
+
+After he was an artist he was going by a field one day when a peasant
+cutting grain called to him:
+
+"I would like to see you take a sickle."
+
+"I'll take your sickle," Millet answered quickly, "and reap faster
+than you and all your family."
+
+Of course the man laughed, for how could an artist cut grain. He soon
+stopped laughing, for Millet cut much faster and farther than he
+could.
+
+Millet would often go into the forest just back of his house to rest
+after painting all day. Then he would say:
+
+"I do not know what those beggars of trees say to each other, but they
+say something which we do not understand, because we do not understand
+their language."
+
+Millet's work is often called "the poems of the earth."
+
+Once when I was in Barbizon I found the gate open into Millet's
+door-yard. Of course I walked in, but the owner insisted that I walk
+out again. I shall never forget the peep I had of the little garden
+and the doorway and the long rambling house. That Millet lived there
+with his large family and there painted the pictures we love makes the
+place a joy to us.
+
+[Illustration: FIG. 31. THE GLEANERS. MILLET. LOUVRE, PARIS]
+
+
+
+
+ST. CECILIA
+
+RAPHAEL SANZIO (1483-1520)
+
+
+Did you know that St. Cecilia invented the organ, that wonderful
+musical instrument in our churches? Cecilia was born in Rome sixteen
+hundred years ago. She was a beautiful young girl who loved music and
+composed many hymns. The organ she dedicated to God's service.
+
+When Cecilia was married, her husband, a rich nobleman, was converted
+and baptized. He knelt by the side of Cecilia, and an angel crowned
+them with crowns made from roses which bloomed in paradise. The first
+thing Valerian asked was that his brother, who was a heathen, might be
+converted too. They sent for the brother, and when he came and found
+the room filled with the sweet fragrance of roses, though it was not
+the rose season, then he too became a Christian.
+
+The people of Rome were very unkind to Cecilia and Valerian and his
+brother because they preached the story of Jesus, the Christ. At last
+they killed them. St. Cecilia is the guardian saint of music and is
+always shown in art with the organ, as you see in this picture by
+Raphael. The man standing at the left of the picture with his hand up
+to his face is St. Paul. This is the most famous picture of St. Paul.
+Raphael shows the group listening to the heavenly choir while the
+earthly instruments of music have fallen at Cecilia's feet broken and
+out of tune.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 32. ST. CECILIA. RAPHAEL. BOLOGNA, ITALY]
+
+
+
+
+HELENA FOURMENT RUBENS AND HER
+SON AND DAUGHTER
+
+PETER PAUL RUBENS (1577-1640)
+
+
+This picture of "Helena Fourment Rubens and Her Son and Daughter" was
+really painted to honor the boy. It has always been the custom in
+Europe to pay special attention to the boys in the home and keep the
+girls very much in the background. It is very easy to see how pert the
+little Albert Rubens is, and how subdued and meek is his sister. The
+boy has the "Lord of Creation" air that would not be good for him in
+America. We love the picture, for Rubens, the father, shows us plainly
+the old idea that the boy rules the home. Naturally the father would
+know the traits of his own children but not always would he allow us
+to know them too.
+
+Rubens was so wonderful as an artist, as a man to settle quarrels, and
+as a beautiful gentleman that all Europe did him honor. He was sent to
+see the ruling powers in England, in Spain, in Italy, and in France.
+Each ruler entertained him as a royal guest, and Rubens painted
+masterpieces for each in return. His paintings were the wonder of the
+age. It is said that his fellow-artists looked with jealous eyes at
+his flesh tints, and that all painters since have been in despair
+trying to equal him. He left hundreds of pictures and hundreds of
+sketches. The sketches alone are bringing many hundreds of times their
+weight in gold.
+
+[Illustration: FIG. 33. HELENA FOURMENT AND HER SON AND DAUGHTER.
+RUBENS. LOUVRE, PARIS]
+
+
+
+
+THE HARP OF THE WINDS
+
+HOMER MARTIN (1836-1897)
+
+
+About a dozen years ago Europe began to wonder if America had any art
+worth considering. She invited us to send samples of our paintings
+that her critics might judge of our work. Among the pictures selected
+was Homer Martin's "The Harp of the Winds." At once Europe saw that an
+American artist had painted a masterpiece.
+
+This scene is on the River Seine, a short distance from Paris. Was
+anything ever more simple? Slender willow-trees almost leafless, bare
+rocks with a few scrubby bushes, a tiny village sheltered in a curve
+of the river--what is there to suggest a picture? And yet something
+grips us. We seem to be at the beginnings of creation. Nature is
+confiding in us. We are hearing the winds play on the harp to the
+listening river. See how lovingly the water mirrors those harp strings
+all sparkly with gold and green! I wonder if these willows make a harp
+or a lyre with their tall stalks reaching to the sky? Do you remember
+how, when Mercury found a tortoise, he took the shell and made holes
+on both sides and strung nine strings across it--one for each
+Muse--and gave it to Apollo? I think this Harp of the Winds has nine
+strings in memory of Mercury's lyre.
+
+[Illustration: FIG. 34. THE HARP OF THE WINDS. MARTIN. Courtesy of the
+Metropolitan Museum of Art, New York City]
+
+
+
+
+THE TRIBUTE MONEY
+
+TITIAN, OR TIZIANO VECELLI (1477-1576)
+
+
+Every child must know "The Tribute Money," painted by Titian, for no
+artist understood the scene better than he did. Remember that the bad
+men in Palestine were determined to find something that Jesus, the
+Christ, had done against the Roman Government so they could trap him.
+At last they sent one in authority to question him.
+
+But Jesus said, "Bring me a penny, that I may see it." And they
+brought him a penny.
+
+And Jesus said, "Whose is this image and superscription?"
+
+And the man was forced to say, "Cæsar's."
+
+Then Jesus made that famous reply that people use so often to-day:
+"Render to Cæsar the things that are Cæsar's, and to God the things
+that are God's."
+
+Titian shows the moment when the tax-gatherer must say that the penny
+belonged to Cæsar, the Roman emperor. It had Cæsar's portrait on it
+and Cæsar's demands written on it. Look carefully at the two faces and
+the two hands, and tell me what you think of the two men as Titian
+shows them to us.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 35. THE TRIBUTE MONEY. TITIAN. DRESDEN GALLERY]
+
+
+
+
+THE MAIDS OF HONOR
+
+DIEGO RODRIGUEZ DE SILVA Y VELASQUEZ (1599-1660)
+
+
+If it had not been for Velasquez we should know very little about the
+little princes and princesses of Spain in the time of Philip IV, about
+the middle of the sixteenth century. He made many portraits of these
+children, especially of the little Princess Margarita.
+
+One day when Velasquez was painting a portrait of Philip IV, the
+king's little daughter Margarita came into the room attended by her
+maids of honor and a splendid dog. The king was so delighted with the
+little group that he told Velasquez to make a picture of them just as
+they stood there before him. Now look at the picture and you will see
+in the looking-glass at the back of the room the reflection of the
+king and the queen. At the easel stands Velasquez, the artist, with
+his palette and brushes. The wee fair-haired princess is the center of
+the group. The strange-looking little women, her maids of honor, are
+dwarfs. And see what a magnificent fellow the dog is, lying so
+contentedly on the floor right in front of us.
+
+When the picture was finished, and the people went to see it, many of
+them asked, "Where is the picture?" The little Margarita and her maids
+are so alive and those people standing around seem so real that no one
+thought they could be painted on canvas.
+
+Velasquez made such wonderfully real likenesses that some one told
+this story of one: One day the King came to Velasquez's studio and
+seeing, as he supposed, one of his admirals whom he had sent to take a
+command a few days before, he spoke angrily:
+
+"What! still here? Did I not command you to depart? Why have you not
+obeyed?" Of course the admiral did not answer, and then the king found
+that he had been angry at a portrait.
+
+[Illustration: FIG. 36. THE MAIDS OF HONOR. VELASQUEZ. MADRID GALLERY,
+SPAIN]
+
+
+
+
+THE NYMPHS
+
+JEAN BAPTISTE CAMILLE COROT (1796-1875)
+
+
+Everybody loved Père Corot--Papa Corot, as he was called. His happy
+manner and lovely smile won for him the name of the "happy one." I
+want you to know what Papa Corot says, in a letter to a friend, about
+himself and his painting. He writes:
+
+"Look you, it is charming, the day of a landscapist. He gets up at
+three in the morning, before sunrise, goes and sits under a tree, and
+watches and waits. Not much can be seen at first. Nature is behind a
+veil. Everything smells sweet.
+
+"Ping! a ray of yellow light shoots up. The veil is torn, and meadow
+and valley and hill are peeping through the rent.
+
+"Bing, bing! the sun's first ray--another ray--and the flowers awake
+and drink a drop of quivering dew. The leaves feel cold and move to
+and fro. Under the leaves unseen birds are singing softly. The flowers
+are saying their morning prayers.
+
+"Bam! the sun has risen. Bam! a peasant crosses the field with a cart
+and oxen. Ding! ding! says the bell of the ram that leads the flock of
+sheep.
+
+"Bam! bam! all bursts--all glitters--all is full of light, blond and
+caressing as yet. The flowers raise their heads. It is adorable. I
+paint! I paint!
+
+"Boom! boom! boom! The sun aflame burns the earth. Everything becomes
+heavy. Let us go home. We see too much now. Let us go home."
+
+You see now why Corot could paint such a lovely picture as "The
+Nymphs." He saw these gauzy creatures in the early morning light and
+painted them before the sun scattered them to the four winds.
+
+[Illustration: FIG. 37. THE NYMPHS. COROT. LOUVRE, PARIS]
+
+
+
+
+ST. FRANCIS PREACHING TO THE BIRDS
+
+GIOTTO DI BONDONE (1266?-1337)
+
+
+One time more than six hundred years ago St. Francis preached the
+dearest sermon to "My Sisters the Birds" that you ever heard. He said
+to them as they lifted their little heads to listen to his words:
+
+"Ye are beholden unto God your Creator, and always and in every place
+it is your duty to praise him! Ye are bounden to him for the element
+of the air which he has deputed to you forever-more. You sow not,
+neither do you reap. God feeds you and gives you the streams and
+fountains for your thirst. He gives you the mountains and the valleys
+for your refuge, tall trees wherein to make your nests, and inasmuch
+as you neither spin nor reap God clothes you and your children, hence
+ye should love your Creator greatly, and therefore beware, my sisters,
+of the sins of ingratitude, and ever strive to praise God."
+
+St. Francis then made the sign of the Cross and sent the birds north,
+south, east, and west to carry the story of the Cross to all mankind.
+
+When Giotto, who painted this picture of "St. Francis Preaching to the
+Birds," was a little boy, he took care of his father's sheep in the
+fields. One day a noted painter, Cimabue, found Giotto drawing a sheep
+on a flat rock with colored stones. The picture of the sheep was so
+lifelike that the great man asked the boy, Giotto, to go with him and
+become an artist. He went, and one day years afterward the pope sent
+to Giotto for a sample of his work. Giotto sent him a big round O. It
+pleased the pope to find a man so original, and he gave Giotto many
+orders for pictures. To-day the saying is "Round as Giotto's O."
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 38. ST. FRANCIS PREACHING TO THE BIRDS. GIOTTO. UPPER CHURCH,
+ASSISI, ITALY]
+
+
+
+
+THE GOVERNESS
+
+JEAN BAPTISTE SIMEON CHARDIN (1699-1779)
+
+
+When Chardin began to paint pictures he went into the French homes and
+painted pictures of brass pots and kettles, of fruits and vegetables.
+Then he took common scenes of life and gave us a number of pictures
+showing just what was going on in the homes and back yards.
+
+The French people were not used to having an artist see beauty in the
+every-day things they were doing; artists had been painting the rich
+for the rich. Everybody began to love the pictures Chardin painted.
+This is a very simple story in "The Governess." The child--is it a boy
+or a girl?--is now ready to go to school. He--I believe he is a
+boy--is hearing some advice, and I do not think he is pleased, for he
+has a little frown on his face. His dress is peculiar. The French
+children two hundred years ago did not dress as you do to-day. He is
+the same kind of a child that you are, I am sure, and you and he would
+soon be great friends.
+
+Chardin's color was so wonderful that one of his artist friends cried
+out: "O Chardin! it is not white, red, or black that you grind to
+powder on your palette; it is the air and the light that you take on
+the point of your brush and fix on canvas."
+
+Chardin's pictures are as beautiful and bright to-day as they were
+when he painted them.
+
+[Illustration: FIG. 39. THE GOVERNESS. CHARDIN. LIECHTENSTEIN GALLERY,
+VIENNA]
+
+
+
+
+THE LAST SUPPER
+
+LEONARDO DA VINCI (1452-1519)
+
+
+I want you to know the disciples of Jesus just as Leonardo da Vinci
+painted them four hundred years ago. Leonardo spent months among the
+men of Milan, Italy, looking into their faces and talking with them.
+When he began to paint "The Last Supper" he had gathered men together
+so like these twelve disciples that we feel we can know them as Jesus
+knew them. For three years those men of old walked with Jesus and
+talked with him as they went up and down Palestine; and at last, on
+that wonderful night, they met with Him in the upper chamber to eat
+with Him the Last Supper. Those disciples did not know that it was the
+last meal they would eat with Jesus before he was hung on the cross.
+
+We shall begin in the center of the table and name the disciples as
+Leonardo has them in the picture. First is the Savior. At his left is
+James with his arms spread out in distress; back of him is Thomas with
+his finger uplifted; then Philip rising with his hand on his heart;
+next Matthew, his arms pointing to the Savior while he turns toward
+the two near the end; next to him is Thaddeus; and then Simon. On the
+other side of Jesus sits John, the beloved disciple. His hands are
+folded and his eyes are cast down. Next to John is Judas, the
+betrayer; he holds the bag clutched in his right hand and near him is
+the overturned salt cellar. Leaning back of Judas is Peter with one
+hand on John's shoulder; next to Peter is Andrew; then James, the
+less, laying one hand on Peter's arm. At the end of the table is
+Bartholomew, who has risen resting his hands on the table. These men
+are all asking, "Is it I?" For Jesus had said, "He it is to whom I
+give a sop."
+
+[Illustration: FIG. 40. THE LAST SUPPER. LEONARDO DA VINCI. SANTA
+MARIA DELLE GRAZIE, MILAN]
+
+
+
+
+SIR GALAHAD
+
+GEORGE FREDERICK WATTS (1818-1904)
+
+
+Of all the stories of King Arthur and his Knights of the Round Table
+none is so strange as that of Sir Galahad. Its beginning is in the
+upper chamber at the Last Supper with Jesus and his disciples. Legend
+says that the cup used by our Savior at the Last Supper was the Holy
+Grail. Joseph of Arimathea, who bought the cup from Pontius Pilate,
+used it to catch the blood that flowed from the pierced side of our
+Lord. The cup, or Holy Grail, was kept in the Convent of the Holy
+Grail by the descendants of Joseph of Arimathea.
+
+The cup had marvelous powers in the hands of a perfect knight.
+Centuries passed and no perfect knight came to claim the Holy Grail.
+Then King Arthur founded the Knights of the Round Table. One seat at
+the round table was always vacant waiting for the sinless youth. Many
+tried to sit in the "seat perilous," as it was called, but the seat
+let each one down to disappear forever.
+
+At last an old man--Joseph of Arimathea himself--brought a boy and
+seated him in the vacant chair. The knights were frightened but the
+boy sat unharmed and above the seat appeared the words:
+
+THIS IS THE SEAT OF GALAHAD
+
+King Arthur knighted him and sent him forth to find the Holy Grail.
+Years went by and awful trials and temptations came to Sir Galahad. He
+did not yield to the bad things that came, but kept looking for the
+Holy Grail. At last he held the cross before his face to keep off his
+tormentors when before his eyes he saw the cup, and the power of the
+Holy Grail came to him.
+
+This picture of Sir Galahad in Eton College, England, hangs in the
+chapel opposite the entrance door where each boy passes in on his way
+to morning and evening prayers.
+
+[Illustration: FIG. 41. SIR GALAHAD. WATTS. ETON COLLEGE, ENGLAND]
+
+
+
+
+THE DUCHESS OF DEVONSHIRE AND
+HER CHILD
+
+SIR JOSHUA REYNOLDS (1723-1792)
+
+
+Sir Joshua Reynolds ought to be called "the painter of little girls."
+No artist ever painted a larger number of little girls. And no artist
+ever knew better than he how to get the confidence of children, boys
+or girls.
+
+One time a little boy in London was to carry a flag in a procession.
+What do you think he did? He went to Sir Joshua Reynolds, the artist
+whom no one dared to interrupt, and asked him if he would paint a flag
+for him. This pleased the great man. When the boy proudly displayed
+his flag, every one asked:
+
+"Where did you get such a wonderful flag?"
+
+You can guess how proud the boy was to say, "Sir Joshua Reynolds
+painted it for me!"
+
+This picture of "The Duchess of Devonshire and her Child" is one of
+the greatest pictures Sir Joshua ever painted. The original painting
+is now in the magnificent country seat of the Duke of Devonshire at
+Chatsworth, England. Sir Joshua had a way of making his pictures
+sparkle and glisten that was unknown to other artists. One of our own
+artists, Gilbert Stuart, when in London, was copying a very valuable
+portrait by Sir Joshua. He thought he saw one of the eyes move. He was
+horrified to find that it really was moving down on the cheek. He
+grabbed the picture and ran into a cold room and then worked the eye
+back in place. The secret was out! Sir Joshua Reynolds had used wax to
+make his pictures glitter and, alas, the glitter would not last.
+
+[Illustration: FIG. 42. THE DUCHESS OF DEVONSHIRE AND HER CHILD.
+REYNOLDS. ROYAL GALLERY, WINDSOR]
+
+
+
+
+ST. AGNES AND HER LAMB
+
+ANDREA DEL SARTO (1486-1531)
+
+
+One of the most beautiful pictures of "St. Agnes and her lamb" was
+painted by Andrea del Sarto,--"Andrea the faultless," as he was
+called. It is in the cathedral at Pisa.
+
+St. Agnes was a Roman girl who lived three hundred years after the
+birth of Jesus. Her father and mother were heathens, but their little
+daughter became a Christian when a mere child. She did not tell her
+parents that she loved Jesus, but when she refused to worship idols
+they knew that she had become a disciple of the Master Christ. This
+made them so angry that they handed her over to the Roman rulers to be
+punished. These wicked men tried in every way to persuade Agnes to bow
+down to their gods made of wood and stone. When she would not bow down
+to them they tried to force her to worship the idols.
+
+They gave her over to the soldiers and ordered them to take her
+clothes away, but immediately her hair grew and covered her, and
+angels came and gave her a shining white garment. She even refused to
+marry the son of the Roman magistrate. The son thought that he could
+compel her to consent to the marriage after she was persecuted, but he
+was struck blind when he tried to see her.
+
+When St. Agnes saw what great sorrow came to the home of the young
+nobleman because he was blind, she prayed for him and his eyesight
+came again. His father was so thankful that he pleaded for her life,
+but the people said,
+
+"She is a sorceress: she must die." Then they tried to burn her, but
+the flames burned her tormentors and did her no harm. At last she was
+killed with a sword. She is always represented with a lamb.
+
+Michael Angelo wrote to Raphael about Andrea del Sarto: "There is a
+little fellow in Florence who, if he were employed as you are upon
+great works, would make it hot for you."
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 43. ST. AGNES AND HER LAMB. ANDREA DEL SARTO. PISA CATHEDRAL,
+ITALY]
+
+
+
+
+WHISTLER'S MOTHER
+
+JAMES ABBOTT MCNEILL WHISTLER (1834-1903)
+
+
+The story about Whistler and his mother is rather a sad one. He went
+to Europe when he was a young painter and told his mother as he
+started that he would come home to her when he had made a success. But
+he never made a success in money. He painted this picture of his
+mother and for twenty years tried to sell it. He offered it to his own
+country--the United States--for five hundred dollars. We were so
+stupid that we did not know that the picture was a masterpiece and
+that no amount of money could buy it later on. But the people of Paris
+began to feel that Whistler, the American artist, was a great master,
+and the city bought the picture, "Whistler's Mother." Of course we can
+never own the picture now, although it is an American mother, unless
+the French people should give it to us. But we do not deserve it, do
+we?
+
+After a number of years Whistler's mother went to Europe to make a
+home for her wonderful son. She died in Chelsea, and to-day the mother
+and son are side by side in the little churchyard of Chiswick, near
+London.
+
+[Illustration: FIG. 44. WHISTLER'S MOTHER. WHISTLER. LUXEMBOURG,
+PARIS]
+
+
+
+
+ST. CHRISTOPHER
+
+TITIAN, OR TIZIANO VECELLI (1477-1576)
+
+
+Christopher, or Offero, was born in Palestine in the third century. He
+was a giant in size but ignorant and poor. He felt that he could not
+work for any one who was afraid of any one else. He wandered over the
+country and at last he came to a powerful king and offered to work for
+him. The king thought it very fine to have a giant for a servant. One
+day Offero stood by the king's side while a minstrel sang a song about
+Satan. Every time the name of Satan was spoken the king crossed
+himself. Offero was puzzled, for he never had heard of Satan, nor of
+Jesus. When he found that the king was afraid of Satan, Offero went to
+find the man the king was afraid of.
+
+Offero found Satan and became his servant. But as they went through
+the land Offero saw that Satan always went away around the little
+shrines. Offero asked Satan why he did that. Satan said he did not
+like to come near the cross where was the crucified One. Then Offero
+knew that he was afraid of Jesus.
+
+He went out to find Jesus. At last an old hermit told Offero to go to
+a river where people were often drowned and to carry every one across
+on his back, and that maybe he would find Jesus. Offero built himself
+a hut and spent years carrying people over the stream and no one was
+drowned. One stormy night Offero thought he heard a child's voice
+calling him. He went out two or three times. At last the child
+appeared and asked Offero to carry him over. Offero started. The storm
+grew worse and the water rose high and the child grew very, very
+heavy. When Offero set the child down, he said, "I feel as though I
+had carried the whole world!" The child answered:
+
+"Offero, you have carried the maker of the world. I am Jesus, whom you have
+sought. You shall be called Christ-Offero--the Christ-bearer--from now
+on."
+
+[Illustration: FIG. 45. ST. CHRISTOPHER. TITIAN. DOGES' PALACE,
+VENICE]
+
+
+
+
+THE BLUE BOY
+
+THOMAS GAINSBOROUGH (1727-1788)
+
+
+Gainsborough began to draw and paint when he was a child. He often
+entertained his companions by drawing pictures for them while they
+read the lessons to him.
+
+One morning Thomas got up with the sun and went out into the garden to
+sketch. There was in the garden a wonderful pear-tree full of ripe
+pears, and the pears had been disappearing very mysteriously. While
+Thomas was making his drawings he saw a man's face appear suddenly
+above the stone wall. He quickly made a sketch of the face, and
+frightened the man before he could get away with the fruit. At the
+breakfast-table the young artist told his father what he had done and
+showed him the sketch. His father knew the man and sent for him. When
+the man was accused of stealing the pears he denied it, but when he
+was shown the picture Thomas had made of him he confessed that he had
+taken the pears.
+
+Artists, like all of us, want to lay down rules for every one to
+follow who is doing their same kind of work. Sir Joshua Reynolds said,
+"The masses of light in a picture ought to be always of a warm, mellow
+colour--yellow, red, or yellowish white; and the blue, the grey, or
+green colours should be kept almost entirely out of the masses."
+Gainsborough did not agree with him. To show Sir Joshua that he was
+wrong Gainsborough painted pictures in blue and green. The famous
+"Blue Boy" alone proved that he was right. The boy has on a blue satin
+suit and he stands out-of-doors in green grass with green foliage and
+blue sky around him. When Sir Joshua saw Gainsborough's blue-green
+pictures he said frankly, "I cannot think how he produces his
+effects."
+
+These two men were never good friends yet when Gainsborough was near
+death Sir Joshua Reynolds came to his bedside, and when Gainsborough
+died Reynolds was one of the pall-bearers.
+
+[Illustration: FIG. 46. THE BLUE BOY. GAINSBOROUGH. Private Gallery,
+Henry Huntington, Los Angeles, California]
+
+
+
+
+THE SLEEPING GIRL
+
+JAN VAN DER MEER OF DELFT (1632-1675)
+
+
+I want you to know and love the Dutch pictures. The painters were
+called "little masters," simply because they painted small pictures
+for the homes. For the homes! The Dutch wanted pictures to hang on
+their walls; pictures they could live with. Now what do you think of
+the "Sleeping Girl"? Do you know I could live with that picture and
+feel that I always had something to make me happy? It is so homy. See
+how comfortable the girl is! Of course a good healthy girl has no
+business to be sleeping in the daytime, but we can forgive her now
+that van der Meer has caught her asleep and let us see her. Then look
+at that wonderful rug! Was ever anything so soft and velvety? If we
+knew about rugs we might tell its name and maybe its age.
+
+Van der Meer had a way of catching people without their knowing it. He
+seems to have cut a piece out of the wall where he peeped in and
+painted what he saw. We are glad the girl left the door open into
+another room so that we can see the table and pictures and part of the
+window-frame. I think these things are reflected in a looking-glass.
+
+Van der Meer painted only about forty pictures, and eight of those are
+in the United States. They are among our greatest art treasures.
+
+[Illustration: FIG. 47. THE SLEEPING GIRL. VAN DER MEER. Courtesy of
+the Metropolitan Museum of Art, New York City]
+
+
+
+
+ST. ANTONY AND THE CHRIST-CHILD
+
+BARTHOLOME ESTEBAN MURILLO (1618-1682)
+
+
+Many very curious legends are told of St. Antony of Padua, who died in
+1231. He was a close friend of St. Francis (see "St. Francis and his
+Birds," page 76). One story says that one time he was preaching about
+the Savior when the child Jesus came and sat on his open Bible. It is
+this story that Murillo painted his picture to illustrate. Again and
+again Murillo has shown us St. Antony with the Christ-child, but never
+more beautifully than here. This is one of Murillo's greatest
+religious pictures.
+
+Another story is told of St. Antony. One day he was preaching the
+funeral sermon of a rich young man when he exclaimed:
+
+"His heart is buried in his treasure-chest; go seek it there and you
+will find it."
+
+Sure enough when the friends of the rich young man opened the
+treasure-chest there was the heart, and no heart was found in the
+young man's dead body.
+
+[Illustration: FIG. 48. ST. ANTHONY AND THE CHRIST-CHILD. MURILLO.
+MUSEUM OF SEVILLE, SPAIN.]
+
+
+
+
+KING LEAR
+
+EDWIN AUSTIN ABBEY (1852-1911)
+
+
+The story of "King Lear" is one of the most pitiful of Shakespeare's
+play. It is about the thanklessness of children to a father. Old _King
+Lear_ had three daughters--_Goneril_, _Regan_, and _Cordelia_. He
+loved these daughters dearly and he believed that they loved him. As
+he grew old in life he thought he would divide his kingdom and
+property among them equally; then there would be no trouble about his
+wealth after he was dead. Of course he expected to make his home with
+them in turn as long as he lived. Naturally he went to _Goneril_, the
+eldest daughter, first. Very soon he found that he was not wanted. She
+had the money--her father's money--but why should she be troubled with
+her old father? He then went to _Regan_, his second child, but she too
+refused to make a home for him. The third daughter, _Cordelia_, loved
+her father dearly and wanted him to live with her that she might care
+for him in his old age. By a strange mishap the old father thought
+that _Cordelia_, his beloved child, was false to him. He wandered off
+on the heath in a fearful storm and at last found shelter in a hut
+where he thinks even his faithful dogs are against him. He cries out
+pitifully:
+
+    The little dogs and all,
+    Tray, Blanche and Sweetheart, see they bark at me.
+
+Abbey has painted the scene when the old king is leaving heart-broken,
+for he thinks _Cordelia_, the child he loves best, is deserting him.
+_Cordelia_, knowing how false her sisters are, is saying:
+
+    I know you what you are;
+    And, like a sister, am most loath to call
+    Your faults as they are named. Love well our father.
+
+Abbey's story of "The Holy Grail" in the Boston Library is one of
+America's great series of paintings for wall decoration.
+
+[Illustration: FIG. 49. KING LEAR. ABBEY. Courtesy of the Metropolitan
+Museum of Art, New York City.]
+
+
+
+
+SUNSET IN THE WOODS
+
+GEORGE INNESS (1825-1894)
+
+
+Whenever you can, I want you to find out what the painter says about
+his own pictures. We feel very glad that George Inness told us about
+"Sunset in the Woods." He said in 1891: "The material for my picture
+was taken from a sketch made near Hastings, on the Hudson, New York,
+twenty years ago. This picture was commenced seven years ago, but
+until last winter I had not obtained any idea equal to the impression
+received on the spot. The idea is to express an effect of light in the
+woods at sunset."
+
+What a wonderful glow he has on those trees beyond the big rock away
+back in the picture. And see the light on the trunk of the big tree
+near us. I believe the light is gradually disappearing as we look.
+Somehow we feel the birds are twittering as they go to bed and the
+flowers are nodding their heads, they are so sleepy. Soon it will be
+dark and the owl will screech and the night insects will buzz. Come,
+we must go home or we cannot see our way!
+
+[Illustration: FIG. 50. SUNSET IN THE WOODS. INNESS. Courtesy of the
+Corcoran Art Gallery, Washington, D. C.]
+
+
+
+
+INDEX
+
+
+Abbey, Edwin Austin, 98, 99
+
+Angelico, Fra Giovanni, 38, 39
+
+Angelo, Michael, 23, 24, 86
+
+Arthur, King, 82, 83
+
+
+Bastien-Lepage, Jules, 22, 23
+
+Botticelli, Sandro, 46, 47
+
+Breton, Jules Adolphe, 58, 59
+
+
+Cæsar (Tiberius), 70
+
+Carpaccio, Vittore, 54, 55
+
+Chardin, Jean Baptiste Simeon, 78, 79
+
+Charles I, 16, 28, 42
+
+Charles II, 41, 43
+
+Charles V, 32
+
+Charles VI, VII, 22
+
+Corot, Jean Baptiste Camille, 8, 9, 74, 75
+
+Correggio, Antonio, 6, 7, 60, 61
+
+Constable, John, 4, 5
+
+
+Disciples, The, 80, 81
+
+Dolci, Carlo, 20
+
+
+Farge, John La, 48, 49
+
+Ferdinand III, 20
+
+Fourment, Helena, 66, 67
+
+
+Gainsborough, Thomas, 92, 93
+
+Galahad, Sir, 82, 83
+
+Giotto di Bondone, 76, 77
+
+Gods and Goddesses,
+
+  Apollo, 10, 11, 36, 37, 68
+
+  Aurora, 9, 10
+
+  Atropos, (a fate), 24, 25
+
+  Calliope, (a muse), 36, 37
+
+  Clio (a muse), 36, 37
+
+  Clothes, (a fate), 24, 25
+
+  Diana, 36
+
+  Erato (a muse), 36, 37
+
+  Euterpe, (a muse), 36, 37
+
+  Fates, The, 24, 25, 48
+
+  Horæ, 10, 11
+
+  Hyperion, 10, 11
+
+  Lachesis (a fate), 24, 25
+
+  Melpomene (a muse), 36, 37
+
+  Memnon, 10
+
+  Memory, 36
+
+  Mercury, 36, 68
+
+  Muses, The, 36, 37, 68
+
+  Pegasus, 36
+
+  Polyhymnia (a muse), 36, 37
+
+  Selene, 10
+
+  Thalia (a muse), 36, 37
+
+  Urania (a muse), 36, 37
+
+  Zeus, 10, 36
+
+
+Hals, Frans, 12, 13
+
+Homer, Winslow, 18, 19
+
+Hooch, Pieter de, 44, 45
+
+
+Inness, George, 100, 101
+
+
+James II, 42
+
+Jesus, 2, 32, 38, 39, 40, 41, 46, 60, 64, 80, 81, 90, 91
+
+Joan of Arc, 22, 23
+
+Joseph of Arimathea, 82
+
+
+Lear, King, 98, 99
+
+
+Maes, Nicolaes, 52, 53
+
+Magnificent, The, 46
+
+Martin, Homer, 68, 69
+
+Medici, Giovanni de' (Pope Leo X), 46
+
+Medici, Giulio de (Pope Clement VII), 46
+
+Medici, Lorenzo de', 46
+
+Millet, Jean François, 62, 63
+
+Murillo, Bartolome Esteban, 34, 35, 96, 97
+
+
+Napoleon, 56
+
+
+Offero, 90, 91
+
+
+Philip IV, 72
+
+Pintoricchio, Bernardino, 2, 3
+
+
+Raphael Sanzio, 20, 21, 26, 27, 64, 65, 86
+
+Rembrandt, van Rijn. 30, 31, 40, 41, 50, 51, 86
+
+Reni, Guido, 10, 11
+
+Reynolds, Sir Joshua, 84, 85, 92
+
+Romano, Giulio, 36, 37
+
+Rubens, Peter Paul, 16, 28, 29, 66, 67
+
+
+Stuart, Gilbert, 84
+
+Sarto, Andrea del, 86
+
+Saints,
+
+  Agnes, 86, 87
+
+  Anthony, 96, 97
+
+  Barbara, 14, 15
+
+  Cecilia, 64, 65
+
+  Christopher, 90, 91
+
+  Elizabeth, 2
+
+  Francis, 76, 77, 96
+
+  George, 54, 55
+
+  Jerome, 6, 7, 8
+
+  John the Baptist, 2
+
+  Joseph, 2, 60
+
+  Mary, (Madonna, virgin), 2, 6, 20, 26, 32, 46, 60
+
+  Michael, 22
+
+  Paul, 64, 65
+
+
+Titian Vecelli, 32, 33, 70, 71, 90, 91
+
+Turner, Joseph Mallard William, 56, 57
+
+
+Van der Meer, Jan, 94, 95
+
+Van Dyck, Anthony, 12, 16, 17, 28, 42, 43
+
+Vecchio, Palma, il Jacopo, 14, 15
+
+Velasquez, Diego Rodriguez de Silva y, 72, 73
+
+Venice, 56, 57
+
+Vinci, Leonardo da, 80, 81
+
+
+Watts, George Frederick, 82, 83
+
+Whistler, James Abbott McNeill, 88, 89
+
+William III, 42
+
+Wordsworth, 58
+
+
+Zacharias, 2
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK THE CHILDREN'S BOOK OF CELEBRATED
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+<h1>The Project Gutenberg eBook, The Children's Book of Celebrated Pictures,
+by Lorinda Munson Bryant</h1>
+<pre>
+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 <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: The Children's Book of Celebrated Pictures</p>
+<p>Author: Lorinda Munson Bryant</p>
+<p>Release Date: September 26, 2008  [eBook #26703]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK THE CHILDREN'S BOOK OF CELEBRATED PICTURES***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Sankar Viswanathan, Colin Bell, Joseph Cooper,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<div class="tr"><p class="center">Transcriber's Note.</p><p>
+The images in this eBook of the paintings are from the original book.
+However many of these paintings have undergone extensive restoration.
+The restored paintings are presented as modern color images with links.</p></div>
+<p>&nbsp;</p>
+<hr class="full" />
+
+
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h1>THE CHILDREN'S BOOK</h1>
+
+<h3>OF</h3>
+
+<h1>CELEBRATED PICTURES</h1>
+
+<p>&nbsp;</p>
+
+<h3>BY</h3>
+
+<h2>LORINDA MUNSON BRYANT</h2>
+
+<h4>Author of "<span class="smcap">Famous Pictures of Real Boys and Girls</span>," "<span class="smcap">Famous
+<br />Pictures of Real Animals</span>," etc.</h4>
+<p>&nbsp;</p>
+<div class="figcenter" style="width: 600px;">
+<img src="images/image_001.jpg" width="600" height="468" alt="" title="" />
+</div>
+<p class="center f1"><a href="images/title_image.jpg">Please click here for a modern color image</a></p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h3>PUBLISHED BY THE CENTURY CO.</h3>
+
+<h3>New York</h3>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h4>Copyright, 1922, by</h4>
+
+<h4><span class="smcap">The Century Co.</span>
+</h4>
+
+
+
+<hr style="width: 65%;" />
+
+<h3><span class="smcap">To My Daughter</span></h3>
+
+<h2>BERTHA COOKINGHAM BRYANT</h2>
+
+
+
+
+<hr style="width: 65%;" />
+<h2>LIST OF ILLUSTRATIONS</h2>
+
+
+
+<table summary="List of Illustrations">
+<tr><td class="tocch f1">FIGURE</td>
+  <td></td>
+  <td></td><td class="tocpg f1">PAGE</td></tr>
+<tr><td class="tocch">1.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_1">The Holy Family. Pintoricchio. Academy, Siena</a></td>
+<td class="tocpg"><a href="#Page_3">3</a></td></tr>
+<tr><td class="tocch">2.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_2">The Valley Farm. Constable. National Gallery, London</a></td>
+<td class="tocpg"><a href="#Page_5">5</a></td></tr>
+<tr><td class="tocch">3.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_3">Madonna and St. Jerome. Correggio. Parma Gallery, Italy</a></td>
+<td class="tocpg"><a href="#Page_7">7</a></td></tr>
+<tr><td class="tocch">4.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_4">The Wood-Gatherers. Corot. Corcoran Art Gallery, Washington, D.C.</a></td>
+<td class="tocpg"><a href="#Page_9">9</a></td></tr>
+<tr><td class="tocch">5.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_5">The Aurora. Guido Reni. Rospigliosi Palace, Rome</a></td>
+<td class="tocpg"><a href="#Page_11">11</a></td></tr>
+<tr><td class="tocch">6.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_6">Singing Boys. Franz Hals. Cassel Gallery, Germany</a></td>
+<td class="tocpg"><a href="#Page_13">13</a></td></tr>
+<tr><td class="tocch">7.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_7">St. Barbara. Palma Vecchio. Santa Maria Formosa, Venice</a></td>
+<td class="tocpg"><a href="#Page_15">15</a></td></tr>
+<tr><td class="tocch">8.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_8">Charles I and His Horse. Van Dyck. Louvre, Paris</a></td>
+<td class="tocpg"><a href="#Page_17">17</a></td></tr>
+<tr><td class="tocch">9.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_9">The Gale. Homer. Worcester Art Museum, Massachusetts</a></td>
+<td class="tocpg"><a href="#Page_19">19</a></td></tr>
+<tr><td class="tocch">10.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_10">Madonna del Gran' Duca. Raphael. Pitti Palace, Florence</a></td>
+<td class="tocpg"><a href="#Page_21">21</a></td></tr>
+<tr><td class="tocch">11.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_11">Joan of Arc. Bastien-Lepage. Metropolitan Museum of Art, New York City</a></td>
+<td class="tocpg"><a href="#Page_23">23</a></td></tr>
+<tr><td class="tocch">12.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_12">The Fates. Michael Angelo. Pitti Palace, Florence</a></td>
+<td class="tocpg"><a href="#Page_25">25</a></td></tr>
+<tr><td class="tocch">13.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_13">Madonna of the Chair. Raphael. Pitti Palace, Florence</a></td>
+<td class="tocpg"><a href="#Page_27">27</a></td></tr>
+<tr><td class="tocch">14.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_14">Wolf and Fox Hunt. Rubens. Metropolitan Museum of Art, New York City</a></td>
+<td class="tocpg"><a href="#Page_29">29</a></td></tr>
+<tr><td class="tocch">15.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_15">The Night Watch. Rembrandt. Ryks Museum, Amsterdam</a></td>
+<td class="tocpg"><a href="#Page_31">31</a></td></tr>
+<tr><td class="tocch">16.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_16">The Assumption. Titian. Academy, Venice</a></td>
+<td class="tocpg"><a href="#Page_33">33</a></td></tr>
+<tr><td class="tocch">17.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_17">The Melon-Eaters. Murillo. Pinakothek, Munich</a></td>
+<td class="tocpg"><a href="#Page_35">35</a></td></tr>
+<tr><td class="tocch">18.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_18">The Muses. Romano. Pitti Palace, Florence</a></td>
+<td class="tocpg"><a href="#Page_37">37</a></td></tr>
+<tr><td class="tocch">19.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_19">"Come Abide with Us." Fra Angelico. San Marco, Florence</a></td>
+<td class="tocpg"><a href="#Page_39">39</a></td></tr>
+<tr><td class="tocch">20.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_20">The Supper at Emmaus. Rembrandt. Louvre, Paris</a></td>
+<td class="tocpg"><a href="#Page_41">41</a></td></tr>
+<tr><td class="tocch">21.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_21">Children of Charles I. Van Dyck. Dresden Gallery</a></td>
+<td class="tocpg"><a href="#Page_43">43</a></td></tr>
+<tr><td class="tocch">22.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_22">The Buttery. De Hooch. Ryks Museum, Amsterdam</a></td>
+<td class="tocpg"><a href="#Page_45">45</a></td></tr>
+<tr><td class="tocch">23.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_23">Coronation of the Virgin. Botticelli. Uffizi Palace, Florence</a></td>
+<td class="tocpg"><a href="#Page_47">47</a></td></tr>
+<tr><td class="tocch">24.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_24">The Wolf-Charmer. La Farge. City Art Museum, St. Louis</a></td>
+<td class="tocpg"><a href="#Page_49">49</a></td></tr>
+<tr><td class="tocch">25.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_25">The Old Woman Cutting Her Nails. Rembrandt. Metropolitan Museum of Art, New York City</a></td>
+<td class="tocpg"><a href="#Page_51">51</a></td></tr>
+<tr><td class="tocch">26.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_26">The Spinner. Maes. Ryks Museum, Amsterdam</a></td>
+<td class="tocpg"><a href="#Page_53">53</a></td></tr>
+<tr><td class="tocch">27.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_27">St. George and the Dragon. Carpaccio. Church of San Giorgio degli Schiavoni, Venice</a></td>
+<td class="tocpg"><a href="#Page_55">55</a></td></tr>
+<tr><td class="tocch">28.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_28">The Grand Canal. Turner. Metropolitan Museum of Art, New York City</a></td>
+<td class="tocpg"><a href="#Page_57">57</a></td></tr>
+<tr><td class="tocch">29.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_29">Song of the Lark. Breton. Art Institute, Chicago</a></td>
+<td class="tocpg"><a href="#Page_59">59</a></td></tr>
+<tr><td class="tocch">30.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_30">The Holy Night. Correggio. Dresden Gallery</a></td>
+<td class="tocpg"><a href="#Page_61">61</a></td></tr>
+<tr><td class="tocch">31.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_31">The Gleaners. Millet. Louvre, Paris</a></td>
+<td class="tocpg"><a href="#Page_63">63</a></td></tr>
+<tr><td class="tocch">32.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_32">St. Cecilia. Raphael. Bologna, Italy</a></td>
+<td class="tocpg"><a href="#Page_65">65</a></td></tr>
+<tr><td class="tocch">33.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_33">Helena Fourment and Her Son and Daughter. Rubens. Louvre, Paris</a></td>
+<td class="tocpg"><a href="#Page_67">67</a></td></tr>
+<tr><td class="tocch">34.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_34">The Harp of the Winds. Martin. Metropolitan Museum of Art</a></td>
+<td class="tocpg"><a href="#Page_69">69</a></td></tr>
+<tr><td class="tocch">35.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_35">The Tribute Money. Titian. Dresden Gallery</a></td>
+<td class="tocpg"><a href="#Page_71">71</a></td></tr>
+<tr><td class="tocch">36.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_36">The Maids of Honor. Velasquez. Madrid Gallery, Spain</a></td>
+<td class="tocpg"><a href="#Page_73">73</a></td></tr>
+<tr><td class="tocch">37.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_37">The Nymphs. Corot. Louvre, Paris</a></td>
+<td class="tocpg"><a href="#Page_75">75</a></td></tr>
+<tr><td class="tocch">38.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_38">St. Francis Preaching to the Birds. Giotto. Upper Church, Assisi, Italy</a></td>
+<td class="tocpg"><a href="#Page_77">77</a></td></tr>
+<tr><td class="tocch">39.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_39">The Governess. Chardin. Liechtenstein Gallery, Vienna</a></td>
+<td class="tocpg"><a href="#Page_79">79</a></td></tr>
+<tr><td class="tocch">40.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_40">The Last Supper. Leonardo da Vinci. Santa Maria delle Grazie, Milan</a></td>
+<td class="tocpg"><a href="#Page_81">81</a></td></tr>
+<tr><td class="tocch">41.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_41">Sir Galahad. Watts. Eton College, England</a></td>
+<td class="tocpg"><a href="#Page_83">83</a></td></tr>
+<tr><td class="tocch">42.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_42">The Duchess of Devonshire and Her Child. Reynolds. Royal Gallery, Windsor</a></td>
+<td class="tocpg"><a href="#Page_85">85</a></td></tr>
+<tr><td class="tocch">43.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_43">St. Agnes and Her Lamb. Andrea del Sarto. Pisa Cathedral, Italy</a></td>
+<td class="tocpg"><a href="#Page_87">87</a></td></tr>
+<tr><td class="tocch">44.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_44">Whistler's Mother. Whistler. Luxembourg, Paris</a></td>
+<td class="tocpg"><a href="#Page_89">89</a></td></tr>
+<tr><td class="tocch">45.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_45">St. Christopher. Titian. Doges Palace, Venice</a></td>
+<td class="tocpg"><a href="#Page_91">91</a></td></tr>
+<tr><td class="tocch">46.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_46">The Blue Boy. Gainsborough. Private Gallery, Henry Huntington, Los Angeles, California</a></td>
+<td class="tocpg"><a href="#Page_93">93</a></td></tr>
+<tr><td class="tocch">47.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_47">The Sleeping Girl. Van der Meer. Metropolitan Museum of Art, New York City</a></td>
+<td class="tocpg"><a href="#Page_95">95</a></td></tr>
+<tr><td class="tocch">48.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_48">St. Anthony and the Christ-Child. Murillo. Museum of Seville, Spain</a></td>
+<td class="tocpg"><a href="#Page_97">97</a></td></tr>
+<tr><td class="tocch">49.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_49">King Lear. Abbey. Metropolitan Museum of Art, New York City</a></td>
+<td class="tocpg"><a href="#Page_99">99</a></td></tr>
+<tr><td class="tocch">50.</td>
+  <td>&nbsp;</td>
+  <td><a href="#pict_50">Sunset in the Woods. Inness. Corcoran Art Gallery, Washington, D. C.</a></td>
+<td class="tocpg"><a href="#Page_101">101</a></td></tr>
+</table>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p>
+<p><i>Dear Children:</i></p>
+<p>The stories I am telling about the pictures and their painters in this
+book are gathered from many countries. Some of them belong to very
+early times when history was told to grown up people by story-tellers
+at banquets and in the homes, on the street corners and public halls.
+Some of the stories are legends and traditions that grew up with the
+beginnings of the Christian era. All of them are taken from authentic
+sources and many of them illustrate some natural law.</p>
+
+<p>The artists who painted these pictures knew history and the early
+myths, the fairy-tales, the legends and the traditions, the Bible and
+the Apocrypha. We love these pictures because they are beautiful and
+true, but really to understand them we must know what the artists had
+in mind when they painted them.</p>
+
+<p>If you learn to know these pictures and love them, I will make you
+another book soon about statues and their stories.</p>
+
+<p class="f2">With love and best wishes, from your friend,</p>
+
+<p class="f3"><span class="smcap">Lorinda Munson Bryant</span></p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span></p>
+<h2>THE HOLY FAMILY</h2>
+
+<h3><span class="smcap">Bernardino Pintoricchio</span> (1454-1513)</h3>
+
+<div class="figleft"><img src="images/image_i.jpg" alt="I" width="22" height="50" /></div>
+<p>n looking at pictures of the old masters you will often see one
+called the "Holy Family." I want you to know who belonged to the Holy
+Family. The grown people are Joseph and Mary, the father and mother of
+Jesus; they had no last names at that time. The children are Jesus and
+his cousin, John the Baptist, six months older than Jesus. Sometimes
+the little John's mother, Elizabeth, is in the picture and sometimes
+his father, Zacharias, is there also.</p>
+
+<p>In this picture painted by Pintoricchio, Jesus is about four years old
+and John four and a half. The Bible story gives very little about the
+growing up of these children. Of Jesus it says, "And the child grew,
+and waxed strong in spirit, filled with wisdom; and the grace of God
+was upon him." And of John it says, "And the child grew, and waxed
+strong in spirit, and he was in the deserts till the day of showing
+unto Israel."</p>
+
+<p>One story from a very old book, "The Infancy," tells about Jesus
+playing with the other boys. It says:</p>
+
+<p>"And when Jesus was seven years of age, he was on a certain day with
+other boys, his companions about the same age. Who when they were at
+play, made clay into several shapes, namely, asses, oxen, birds, and
+other figures, each boasting of his work, endeavoring to exceed the
+rest.</p>
+
+<p>"Then the Lord Jesus said to the boys, I will command these figures
+which I have made to walk. And immediately they moved, and when he
+commanded them to return they returned. He also made figures of birds
+and sparrows, which, when he commanded to fly, did fly, and when he
+commanded to stand still, did stand still; and if he gave them meat
+and drink, they did eat and drink."<span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/image_003.jpg" width="600" height="597" alt="Fig. 1. The Holy Family. Pintoricchio. Academy, Siena" title="" /><a name="pict_1" id="pict_1"></a>
+<span class="caption">Courtesy of Pratt Institute<br /><br />
+Fig. 1. The Holy Family. Pintoricchio. Academy, Siena</span>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span></p>
+<h2>THE VALLEY FARM</h2>
+
+<h3><span class="smcap">John Constable</span> (1776-1837)</h3>
+
+<div class="figleft"><img src="images/image_a.jpg" alt="A" width="51" height="50" /></div>
+<p>n old man, eighty-four years of age, lived in this house on "The
+Valley Farm," in England. He was born here and he used to say that he
+had never been away from this house but four days in all his life. He
+asked Constable to come and paint a picture of his home. And what a
+beautiful picture it is! The old house, snuggled down so close to the
+little stream, could paddle its feet&mdash;if it had any&mdash;in the cool
+water. And see how tenderly the tall trees keep guard over it. How we
+wish that we could be there too! If only we could be in the punt&mdash;I am
+sure it is a punt-boat even if one end of it is pointed&mdash;and be rowed
+up and down in the delightful shade. Those two in the boat have no
+doubt been for the cows and are driving them home to be milked.</p>
+
+<p>John Constable liked to choose his subjects for his pictures from the
+familiar scenes near his home. He used to say to his friends:</p>
+
+<p>"I have always succeeded best with my native scenes. They have always
+charmed me, and I hope they always will."<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_2" id="pict_2"></a>
+<img src="images/image_005.jpg" width="500" height="606" alt="Fig. 2. The Valley Farm. Constable. National Gallery,
+London" title="" />
+<span class="caption">Fig. 2. The Valley Farm. Constable. National Gallery,
+London</span>
+</div>
+<p class="center f1"><a href="images/image_005_1.jpg">Please click here for a modern color image</a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span></p>
+<h2>
+THE MADONNA AND CHILD WITH<br />
+ST. JEROME<br />
+</h2>
+
+<h3><span class="smcap">Antonio Allegri Da Correggio</span> (1494?-1534)</h3>
+
+<div class="figleft"><img src="images/image_c.jpg" alt="C" width="46" height="50" /></div>
+<p>orreggio loved to paint darling babies, lovely angels, beautiful
+women and splendid men. In this picture of "the Madonna and St.
+Jerome," I want you specially to see St. Jerome and his lion. St.
+Jerome, a very noted man who lived four centuries after Christ, was
+the first person to translate the New Testament into Latin. It was
+called "The Vulgate," because of its common use in the Latin Church.</p>
+
+<p>When St. Jerome was thirty years old he went away from the city of
+Rome and became a hermit and lived in desert places in the East. One
+day, so the story goes, as he sat at the gate of the monastery a lion
+came up limping as though he had been hurt. The other hermits ran away
+but St. Jerome went to meet the lion. The lion lifted up his paw and
+St. Jerome found a thorn in his foot. He took out the thorn and bound
+up the poor paw, so the lion stayed with St. Jerome and kept guard
+over an ass that brought the wood from the forest.</p>
+
+<p>One day when the lion was asleep a caravan of merchants came along and
+stole the ass. The poor ashamed lion hung his head before the saint,
+and Jerome thought he had killed and eaten the ass. To punish him St.
+Jerome had him do the work of the ass and bring the wood from the
+forest. One day some time afterward the lion saw the ass coming down
+the road leading a caravan of camels. The Arabs often have an ass lead
+the camels. The lion knew that it was the stolen ass, so he led the
+caravan into the convent grounds. The merchant found that he was
+caught. St. Jerome was very glad to find that his lion was honest and
+true. Whenever you see a picture of a saint with a lion you must
+remember that it is St. Jerome, the great Latin scholar.<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_3" id="pict_3"></a>
+  <a href="images/image_007_1.jpg"><img src="images/image_007.jpg" width="500" height="717" alt="Fig. 3. Madonna and St. Jerome. Correggio. Parma Gallery, Italy" title="" /></a>
+<span class="caption">Courtesy of Pratt Institute<br />
+<br />
+Fig. 3. Madonna and St. Jerome. Correggio. Parma Gallery, Italy</span>
+</div>
+<p class="center f1">Please click on the image for a larger image.</p>
+<p class="center f1"><a href="images/image_007_2.jpg">Please click here for a modern color image</a></p>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span></p>
+<h2>THE WOOD GATHERERS</h2>
+
+<h3><span class="smcap">Jean Baptiste Camille Corot</span> (1796-1875)</h3>
+
+<div class="figleft"><img src="images/image_t.jpg" alt="T" width="44" height="50" /></div>
+<p>he picture of "The Wood Gatherers" is very precious to us. It is the
+last picture Corot signed after he was confined to the bed, a few days
+before he died.</p>
+
+<p>A curious story is told of Corot's painting this picture. He had an
+old study of another artist's of a landscape with St. Jerome at
+prayer: you remember I told you the story of St. Jerome and his lion.
+Corot took the study and made a number of sketches of it. Somehow his
+landscape would not fit St. Jerome, so he painted a man on horseback
+and a dog going off into the woods. Then in the place of St. Jerome
+praying he put a woman gathering bits of wood and another woman with a
+bundle of fagots under her arm. Now the picture must have another name
+and he called it "The Wood Gatherers." When you go to Washington, you
+must not fail to see this picture in the Corcoran Art Gallery.<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_4" id="pict_4"></a>
+<img src="images/image_009.jpg" width="600" height="394" alt="Fig. 4. The Wood-Gatherers. Corot. Courtesy of the
+Corcoran Art Gallery, Washington, D. C." title="" />
+<span class="caption">Fig. 4. The Wood-Gatherers. Corot. Courtesy of the
+Corcoran Art Gallery, Washington, D. C.</span>
+</div>
+
+<p class="center f1"><a href="images/image_009_1.jpg">Please click here for a modern color image</a></p>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span></p>
+<h2>AURORA</h2>
+
+<h3><span class="smcap">Guido Reni</span> (1575-1642)</h3>
+
+<div class="figleft"><img src="images/image_h.jpg" alt="H" width="54" height="50" /></div>
+<p>yperion had three wonderful children, Apollo, the god of the sun,
+Selene, the goddess of the moon, and Aurora, the goddess of the dawn.
+When Aurora appears her sister, Selene (the moon), fades and night
+rolls back like a curtain. Now let us look at this masterpiece by
+Guido Reni carefully that we may know how wonderful is the coming of
+day.</p>
+
+<p>Aurora, in a filmy white robe, is dropping flowers in the path of
+Apollo (the sun) as he drives his dun-colored horses above the
+sleeping Earth. The Hor&aelig; (the hours), a gliding, dancing group of
+lovely beings, accompany the brilliant god. Each hour is clothed in
+garments of a special tint of the great light of day, red, orange,
+yellow, green, blue, purple, and violet. The golden-hued Apollo sits
+supreme in his chariot of the sun.</p>
+
+<p>The fresco&mdash;fresco means painted on fresh plaster&mdash;is on the ceiling
+of the Rospigliosi Palace, Rome. The painting is as brilliant in color
+to-day as it was when painted three hundred and fifty years ago.</p>
+
+<p>Aurora, like most of the gods and goddesses, fell in love with a
+mortal. She asked Zeus to make her husband immortal but she forgot to
+ask that he should never grow old. And, fickle woman that she was!
+when he became gray and infirm, she deserted him and, to put a stop to
+his groans, she turned him into a grasshopper.</p>
+
+<p>Her son, Memnon, was made king of the Ethiopians, and in the war of
+Troy he was overcome by Achilles. When Aurora, who was watching him
+from the sky, saw him fall she sent his brothers, the Winds, to take
+his body to the banks of a river in Asia Minor. In the evening the
+mother and the Hours and the Pleiades came to weep over her dead son.
+Poor Aurora! even to-day her tears are seen in the dewdrops on the
+grass at early dawn.<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_5" id="pict_5"></a>
+  <a href="images/image_011_1.jpg"><img src="images/image_011.jpg" width="600" height="234" alt="Fig. 5. The Aurora. Guido Reni. Rospigliosi Palace, Rome" title="" /></a>
+<span class="caption">Courtesy of Pratt Institute<br />
+<br />
+Fig. 5. The Aurora. Guido Reni. Rospigliosi Palace, Rome</span>
+</div>
+<p class="center f1">Please click on the image for a larger image.</p>
+
+<p class="center f1"><a href="images/image_011_2.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span></p>
+<h2>THE SINGING BOYS</h2>
+
+<h3><span class="smcap">Frans Hals</span> (1584?-1666)</h3>
+
+<div class="figleft"><img src="images/image_t.jpg" alt="T" width="44" height="50" /></div>
+<p>hese jolly singers are Dutch boys. They are singing on the street or
+in some back yard just as singers do to-day, though they lived nearly
+three hundred years ago.</p>
+
+<p>Hals was such a rapid painter that he could make a picture while you
+wait. The story is told that one time young Van Dyck, the Flemish
+painter who painted "Baby Stuart," went to see Hals in Amsterdam when
+Hals was an old man. Van Dyck did not tell the old artist that he was
+Van Dyck but simply asked him to paint his portrait, knowing what a
+rapid painter Hals was. In an hour the picture was done. Van Dyck
+remarked, as he looked at the portrait:</p>
+
+<p>"That seems easy; I believe I could do it."</p>
+
+<p>Hals thought he would have some fun, so he told the young stranger
+that he would sit for him just one hour.</p>
+
+<p>Van Dyck set his easel where Hals could not see him work and began to
+paint. At the end of an hour he said:</p>
+
+<p>"Your picture is finished, sir."</p>
+
+<p>Hals, ready to laugh at the daub, looked at the portrait and the laugh
+went out of his face. He then looked at Van Dyck, and cried out:</p>
+
+<p>"You must be either Van Dyck or a wizard!"</p>
+
+<p>You see, Hals had heard of Van Dyck and his rapid work, and knew that
+only a master painter could make the splendid portrait in an hour.<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_6" id="pict_6"></a>
+<img src="images/image_013.jpg" width="500" height="653" alt="Fig. 6. Singing Boys. Frans Hals. Cassel Gallery, Germany" title="" />
+<span class="caption">Permission of Franz Hanfstaengl, New York City<br /><br />
+Fig. 6. Singing Boys. Frans Hals. Cassel Gallery, Germany</span>
+</div>
+
+<p class="center f1"><a href="images/image_013_1.jpg">Please click here for a modern color image</a></p>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span></p>
+<h2>ST. BARBARA</h2>
+
+<h3><span class="smcap">Jacopo Palma Il Vecchio</span> (1480?-1528)</h3>
+
+<div class="figleft"><img src="images/image_s.jpg" alt="S" width="35" height="50" /></div>
+<p>t. Barbara, born <span class="smcap">a. d.</span> 303, was a very beautiful girl. Her father, an
+eastern nobleman, loved her so much and was so afraid something might
+happen to her that he built a very wonderful tower for her home and
+shut her up in it. And in that tower she studied the stars. Night
+after night she looked at the heavenly bodies until she knew more
+about the sun and the moon and the stars than any of the learned men.
+But as she studied the shining bodies she decided that worshiping
+idols, made of wood and stone, as her father did, was wrong. Finally
+she learned about the Savior, and to show her faith in Christianity
+she had some workmen who were making repairs on her tower put in three
+windows. When her father came as usual to visit her, he asked in
+surprise what the three windows were for. She replied:</p>
+
+<p>"Know, my father, that through three windows doth the soul receive
+light, the Father, the Son, and the Holy Ghost: and the three are
+one."</p>
+
+<p>Her father was very angry when he found she had learned about the
+Savior and had become a Christian. He condemned her to death and at
+last took her out on a hill and killed her, but he, too, was struck
+dead. St. Barbara is always represented with a tower that has three
+windows in it.</p>
+
+<p>Palma Vecchio painted this picture for some Venetian soldiers nearly
+four hundred years ago. When the Germans bombarded Venice (1918) the
+Venetians took the picture from the church to a place of safety.
+Scarcely a week had passed before a bomb broke through the roof of the
+church tearing everything before it at the exact spot where the
+picture had hung. But "St. Barbara," one of the great pictures of the
+world, was safe.<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_7" id="pict_7"></a>
+<img src="images/image_015.jpg" width="400" height="723" alt="Fig. 7. St. Barbara. Palma Vecchio. Santa Maria
+Formosa, Venice" title="" />
+<span class="caption">Fig. 7. St. Barbara. Palma Vecchio. Santa Maria
+Formosa, Venice</span>
+</div>
+
+<p class="center f1"><a href="images/image_015_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span></p>
+<h2>CHARLES I AND HIS HORSE</h2>
+
+<h3><span class="smcap">Sir Anthony Van Dyck</span> (1599-1641)</h3>
+
+<div class="figleft"><img src="images/image_t.jpg" alt="T" width="44" height="50" /></div>
+<p>he horse in this picture of Charles I is probably the one Rubens gave
+to Van Dyck. It is said that Rubens gave it as a present after Van
+Dyck had painted a portrait of Helena Fourment, the master's second
+wife, and presented it to him. Van Dyck was twenty-two years younger
+than Rubens. You will remember that he was the master painter's
+favorite pupil. Having Rubens as a teacher did not make the pupil a
+great painter. Van Dyck was never more than a prince; just an heir to
+the throne. Rubens was a king and sat on the throne.</p>
+
+<p>The story is told that once Rubens was away from his private studio
+when the students bribed the servant to open the door for them. They
+stole into the master's studio to see "The Descent from the Cross,"
+which he was then painting. By some mishap the culprits rubbed against
+the wet paint and spoiled that part of the picture. Of course they
+were terrified at the damage done. They finally decided that Van Dyck
+was the one to repair the spot. The work was so well done that they
+hoped Rubens would not see the repairs. But the first thing that
+caught the eye of the master was that particular spot. He at once sent
+for the students and asked who had worked on his picture. Van Dyck
+stepped out from the others and frankly confessed that he was the
+culprit. Rubens was so pleased with his frankness and also at the
+skill of the work that he forgave them all.</p>
+
+<p>King Charles I invited Van Dyck to come to England, and then he
+knighted him and gave him a pension for life. The hundreds of pictures
+of the royal family and court people of England left by Van Dyck show
+us how rapidly he could paint, for the artist died when he was only
+forty-two years old.<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_8" id="pict_8"></a>
+<img src="images/image_017.jpg" width="500" height="630" alt="Fig. 8. Charles I and His Horse. Van Dyck. Louvre,
+Paris" title="" />
+<span class="caption">Fig. 8. Charles I and His Horse. Van Dyck. Louvre,
+Paris</span>
+</div>
+
+<p class="center f1"><a href="images/image_017_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span></p>
+<h2>THE GALE</h2>
+
+<h3><span class="smcap">Winslow Homer</span> (1836-1910)</h3>
+
+<div class="figleft"><img src="images/image_w.jpg" alt="W" width="65" height="50" /></div>
+<p>inslow Homer lived in Maine, where he heard the roar of mighty waters
+beating the rocks all day and all night. Some days the ocean grew so
+angry because the winds whirled its waters about in such a cruel
+manner that it would fling itself upon the sands and rocks as though
+to tear everything to pieces. The waves would raise up like furious
+horses champing their bits and foaming at the mouth. Somehow these
+angry waves could never go beyond a certain point, and the mother
+carrying her baby along the coast knows just the point at which the
+waves must stop. Let us clap our hands and shout with joy that old
+ocean cannot hurt that mother and her baby. Fill your lungs full of
+that glorious breeze whipping their hair and clothes. Open your eyes
+wide like the baby and let the salt air polish them until they sparkle
+like diamonds as the baby's do.</p>
+
+<p>Winslow Homer loved old ocean, and so do we! Let us love his pictures
+of old ocean for he has taught us that that mighty power is under a
+greater Power.<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_9" id="pict_9"></a>
+<img src="images/image_019.jpg" width="600" height="365" alt="Fig. 9. The Gale. Homer. Courtesy of Worcester Art
+Museum, Massachusetts" title="" />
+<span class="caption">Fig. 9. The Gale. Homer. Courtesy of Worcester Art
+Museum, Massachusetts</span>
+</div>
+
+<p class="center f1"><a href="images/image_019_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span></p>
+<h2>MADONNA DEL GRAN' DUCA</h2>
+
+<h3><span class="smcap">Raphael Sanzio</span> (1483-1520)</h3>
+
+<div class="figleft"><img src="images/image_i.jpg" alt="I" width="22" height="50" /></div>
+<p>&nbsp;want you to learn everything you can about Raphael. He was so kind
+and gentle and beautiful that everybody loved him. People said that
+when he walked on the streets of Rome scores of young men went with
+him until one would think him a prince. The pope gave him a large
+order to decorate the Vatican, the pope's home. Every artist was
+willing to help him because he was always ready to do anything he
+could to help his brother artists.</p>
+
+<p>Raphael only lived to be thirty-seven. When he died all Italy mourned
+his death, and his funeral was one of the largest of any artist of his
+time.</p>
+
+<p>When Raphael was only twenty-one he painted the "Madonna del Gran'
+Duca." He had gone to Florence for the first time. We do not know
+where the picture was for a hundred years after it was painted; then
+the painter Carlo Dolci owned it. Again another hundred years went by,
+and we find it in possession of a poor widow. She sold it to a
+picture-dealer for about twenty dollars. It then went into the hands
+of the grand duke of Tuscany, Ferdinand III, for the big sum of eight
+hundred dollars. No amount of money could buy the picture to-day.</p>
+
+<p>Ferdinand loved the picture so much that he always took it with him on
+all his travels and the grand duchess, his wife, felt that her baby
+boys were purer if she had the picture near her. It got its name
+"Madonna of the Grand Duke" from the title of the family.<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_10" id="pict_10"></a>
+<img src="images/image_021.jpg" width="400" height="610" alt="Fig. 10. Madonna del Gran Duca. Raphael. Pitti Palace,
+Florence" title="" />
+<span class="caption">Fig. 10. Madonna del Gran Duca. Raphael. Pitti Palace,
+Florence</span>
+</div>
+
+<p class="center f1"><a href="images/image_021_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span></p>
+<h2>JOAN OF ARC</h2>
+
+<h3><span class="smcap">Jules Bastien-Lepage</span> (1848-1884)</h3>
+
+<div class="figleft"><img src="images/image_n.jpg" alt="N" width="49" height="50" /></div>
+<p>o young girl in history has had such a wonderful story as Joan of
+Arc. She began to hear voices and see visions when she was a little
+child. She was born in the tiny village of Domremy, France. Just like
+the other little peasant girls around her she helped her mother about
+the house and at the spinning. Also she went into the fields with her
+brothers.</p>
+
+<p>One day when she was in the garden the Archangel St. Michael came to
+her in a glory of light. He said she was a good little girl and that
+she must go to church and that some day she was to do a great act; she
+was to crown the dauphin as king of France at Rheims. Joan was afraid
+and cried at what the angel told her, but St. Michael said, "God will
+help you."</p>
+
+<p>These messages kept coming to her until, when she was sixteen, the
+voices insisted, "You must help the king, and save France."</p>
+
+<p>France was in a terrible state at this time, 1428. The English held
+most of France. The French king, Charles VI, became insane and died.
+The son, Dauphin Charles, was weak and lazy and discouraged; he had no
+money, no army, no energy, and like most cowards, ran from his duty
+and wasted his time in wickedness.</p>
+
+<p>Joan was still urged by voices to save France. At last a peasant uncle
+went with her to a man in power to ask for troops. The man was angry,
+and said sharply:</p>
+
+<p>"The girl is crazy! Box her ears and take her back to her father." But
+Joan did not give up. She insisted that some one must take her to
+Dauphin Charles, that God willed it. She said:</p>
+
+<p>"I will go if I have to wear my legs down to my knees." She went, and
+she saved France by crowning the dauphin as Charles VII at Rheims. But
+the French and the English people condemned Joan of Arc as a witch and
+burned her at the stake. Too late they cried:</p>
+
+<p>"We are lost! We have burned a saint!"<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_11" id="pict_11"></a>
+<img src="images/image_023.jpg" width="500" height="448" alt="Fig. 11. Joan of Arc. Bastien-Lepage. Courtesy of the
+Metropolitan Museum of Art, New York City" title="" />
+<span class="caption">Fig. 11. Joan of Arc. Bastien-Lepage. Courtesy of the
+Metropolitan Museum of Art, New York City</span>
+</div>
+
+<p class="center f1"><a href="images/image_023_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span></p>
+<h2>THE FATES</h2>
+
+<h3><span class="smcap">Michael Angelo Buonarroti</span> (1474-1564)</h3>
+
+<div class="figleft"><img src="images/image_w.jpg" alt="W" width="65" height="50" /></div>
+<p>hen a new baby comes to a home, legend says, three beautiful young
+girls come to take care of the baby all through its life, but no one
+ever sees these young girls. Each one has a strange work to do. One,
+called Clotho, carries a spindle on which is wound flax. The second,
+named Lachesis, twists a thread from the spindle, called the thread of
+life. And Atropos, the third, has a pair of shears ready to cut the
+thread of life.</p>
+
+<p>A funny story is told about Michael Angelo when he designed this
+picture of "The Fates." An old woman annoyed the artist very much by
+coming every day to see him. She insisted that he should appoint her
+son a special place in the fighting line in the seige of Florence
+(1529). Michael Angelo took revenge on the old woman by using her as a
+model for all of the women in his "Fates." And that is why Michael
+Angelo's fates are old women instead of young girls, as legend says
+they are.<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_12" id="pict_12"></a>
+<img src="images/image_025.jpg" width="400" height="520" alt="Fig. 12. The Fates. Michael Angelo. Pitti Palace, Florence" title="" />
+<span class="caption">Courtesy of Pratt Institute<br /><br />
+Fig. 12. The Fates. Michael Angelo. Pitti Palace, Florence</span>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span></p>
+<h2>THE MADONNA OF THE CHAIR</h2>
+
+<h3><span class="smcap">Raphael Sanzio</span> (1483-1520)</h3>
+
+<div class="figleft"><img src="images/image_w.jpg" alt="W" width="65" height="50" /></div>
+<p>e like to believe that Raphael, in one of his daily walks in the
+country, really did see this mother and her two little boys sitting in
+a doorway. Of course he must paint them, and having no paper with him
+he rolled up a barrel and made a sketch on the head of it. The story
+says that this barrel was once a part of a great oak-tree that stood
+by the hut of an old man, a hermit up in the mountains. And the mother
+of the two boys, when a little girl, used to go to see the old man. He
+loved these two&mdash;the little girl and the big oak-tree&mdash;and called them
+his daughters.</p>
+
+<p>He used to say that some day they would both be famous. That was more
+than four hundred years ago, and to-day this picture of "The Madonna
+of the Chair" is one of the most famous Madonna pictures. It is found
+in almost every home in America and is a treasure that belongs to all
+of us though it hangs in a gallery at Florence, Italy.</p>
+
+<p>We know, too, that Raphael did not let any of his helpers work on "The
+Madonna of the Chair"&mdash;in Italian, "Madonna della Sedia." He painted
+every brush stroke himself, which makes it still more dear to us.<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_13" id="pict_13"></a>
+  <a href="images/image_027_1.jpg"><img src="images/image_027.jpg" width="500" height="503" alt="Fig. 13. Madonna of the Chair. Raphael. Pitti Palace, Florence" title="" /></a>
+<span class="caption">Courtesy of Pratt Institute<br />
+<br />
+Fig. 13. Madonna of the Chair. Raphael. Pitti Palace, Florence</span>
+</div>
+
+<p class="center f1">Please click on the image for a larger image.</p>
+
+<p class="center f1"><a href="images/image_027_2.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span></p>
+<h2>THE WOLF AND FOX HUNT</h2>
+
+<h3><span class="smcap">Peter Paul Rubens</span> (1577-1640)</h3>
+
+<div class="figleft"><img src="images/image_t.jpg" alt="T" width="44" height="50" /></div>
+<p>he stables of Peter Paul Rubens were known the country over. No
+prince in the land had more magnificent horses, and no cavalier could
+ride with more grace and ease than Rubens.</p>
+
+<p>When Van Dyck, the artist who painted "Baby Stuart," was ready to
+leave the studio of Rubens to travel in Italy, the master gave him a
+beautiful horse from his own stables. Van Dyck probably used this
+horse as a model in his picture of "Charles I and his Horse."</p>
+
+<p>Now look at Rubens on the splendid dappled white horse in "The Fox and
+Wolf Hunt." His first wife, Isabel Brant, is on his right hand. She
+carries her falcon balanced on her wrist, his wings spread out in
+excitement. We feel that Rubens and his horse together are directing
+every movement in the hunt. That horse has all the alertness of the
+trained dogs and is just as eager in overcoming brute force as men
+are. In fact we are so fascinated with his beauty and intelligence
+that the cruel sport is almost forgotten in our interest in him and
+his master.</p>
+
+<p>Rubens painted a number of hunting scenes, and always he manages the
+hunt with the skill of a master. The confusion of the rough-and-tumble
+fight between the wild beasts and the horses, dogs, and men in Rubens'
+pictures seems to untangle itself under his glorious color and skilful
+arrangement. This is a picture you must see. When you go to New York
+City never fail to visit the Metropolitan Museum of Art.<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_14" id="pict_14"></a>
+<img src="images/image_029.jpg" width="600" height="390" alt="Fig. 14. Wolf and Fox Hunt. Rubens. Courtesy of the
+Metropolitan Museum of Art, New York City" title="" />
+<span class="caption">Fig. 14. Wolf and Fox Hunt. Rubens. Courtesy of the
+Metropolitan Museum of Art, New York City</span>
+</div>
+
+<p class="center f1"><a href="images/image_029_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span></p>
+<h2>THE NIGHT WATCH</h2>
+
+<h3><span class="smcap">Rembrandt Van Rijn</span> (1607?-1669)</h3>
+
+<div class="figleft"><img src="images/image_o.jpg" alt="O" width="51" height="50" /></div>
+<p>ne time, more than two hundred and fifty years ago, two little
+children living in Amsterdam were playing at the edge of the city just
+at evening. Soon they overheard some Spanish soldiers near-by talking
+together. They began to understand that the men were making some kind
+of plans and, listening very sharply, they found that the Spaniards
+intended to attack the city of Amsterdam that night. The Spaniards
+were fighting the Netherlands at that time. You can imagine how
+frightened the children were. They knew that they must tell some one
+about it at once. Very quietly they crept away from where the men
+were, then ran for their lives to the town hall. The Civic Guard were
+having a banquet there. Rembrandt has painted the scene just as the
+little girl, in the center of the group, has finished her story. The
+men are making ready to meet the attack. Some have on their armor,
+some are polishing their guns, some have their drums, and all are full
+of excitement.</p>
+
+<p>When the painting was to be put in the new Ryks Museum, in Amsterdam,
+it was found that the wall was too narrow for the picture. What do you
+think the authorities did? The stupid men cut a piece off from each
+side of the picture to fit it in its new place. Was ever anything so
+silly? Even those pieces cut off would bring more money to-day than
+the museum itself cost.</p>
+
+<p>The men who had money at the time Rembrandt painted the picture were
+angry because the artist would not make portraits as they wanted them.
+They ignored Rembrandt, and he became very poor and died unknown.
+To-day those rich men are forgotten and Rembrandt is known the world
+over.<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_15" id="pict_15"></a>
+  <a href="images/image_031_1.jpg"><img src="images/image_031.jpg" width="500" height="401" alt="Fig. 15. The Night Watch. Rembrandt. Ryks Museum,
+Amsterdam" title="" /></a>
+<span class="caption">Fig. 15. The Night Watch. Rembrandt. Ryks Museum,
+Amsterdam</span></div>
+
+<p class="center f1">Please click on the image for a larger image.</p>
+
+<p class="center f1"><a href="images/image_031_2.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span></p>
+<h2>THE ASSUMPTION</h2>
+
+<h3><span class="smcap">Titian, or Tiziano Vecelli</span> (1477-1576)</h3>
+
+<div class="figleft"><img src="images/image_t.jpg" alt="T" width="44" height="50" /></div>
+<p>itian lived to be ninety-nine-years old and still painted pictures.
+He was working on a painting when an awful plague broke out in Venice,
+and he took it and died. Titian painted such wonderful pictures that
+kings came to see them and rich noblemen paid big sums of money to own
+them. Sometimes King Charles V would ride with Titian and would have
+his courtiers pay tribute to Titian and wait on him. This made those
+haughty men very jealous and very angry, but Charles V would say, "I
+have many nobles, but I have only one Titian."</p>
+
+<p>Titian's picture of the "Virgin going to Heaven" the whole world calls
+one of the greatest pictures ever painted. Some day I hope you will go
+to Venice, that Queen City of the Sea, and fasten your gondola at the
+Museum door while you go in to see this picture. You will be so
+dazzled with its bright color that you will hardly see the little
+cherubs circling around the blessed mother. But I want you to look at
+them; they are darlings: then look at the men all reaching up and the
+Father in the sky looking down. The story of the picture is about
+Mary, the mother of Jesus, going to heaven.<span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_16" id="pict_16"></a>
+<img src="images/image_033.jpg" width="400" height="782" alt="Fig. 16. The Assumption. Titian. Academy, Venice" title="" />
+<span class="caption">Fig. 16. The Assumption. Titian. Academy, Venice</span>
+</div>
+
+<p class="center f1"><a href="images/image_033_1.jpg">Please click here for a modern color image</a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span></p>
+<h2>THE MELON EATERS</h2>
+
+<h3><span class="smcap">Bartolome Esteban Murillo</span> (1618-1682)</h3>
+
+<div class="figleft"><img src="images/image_w.jpg" alt="W" width="65" height="50" /></div>
+<p>hen the Spanish artist Murillo was a young painter he was very poor
+and hardly knew where to get enough to eat. He would go to the
+market-place and set up his easel and rapidly paint the scenes around
+him. The people who came to the market to buy and sell saw these
+pictures and bought them for a mere pittance.</p>
+
+<p>Often beggar boys, who were everywhere in the market snatching fruits
+and other eatables from the stalls, would pose for him as they hid in
+some corner to eat their stolen dainties. These beggar-boy pictures
+that Murillo sold for a song to keep his soul and body together began
+to attract attention until finally they were looked upon as the
+greatest pictures Murillo ever painted. People outside of Spain,
+Murillo's native country, bought them until to-day scarcely a
+beggar-boy picture of his is found in Spain.</p>
+
+<p>This picture of "The Melon Eaters" is known far and wide as a great
+masterpiece, and yet the boys were little rag-a-muffins, the pests of
+the market people. Murillo knew the joys and sorrows of those boys
+because he too at that time was very poor and hungry and no one was
+giving him a helping hand. Do you suppose that when he was famous as a
+painter he ever saw those boys? I think so, for he was greatly beloved
+by his townspeople of Seville. They probably came to his studio many
+times. Murillo painted many religious pictures for the churches of
+Seville.<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_17" id="pict_17"></a>
+<img src="images/image_035.jpg" width="400" height="554" alt="Fig. 17. The Melon Eaters. Murillo. Pinakothek, Munich" title="" />
+<span class="caption">Courtesy of Pratt Institute<br /><br />
+Fig. 17. The Melon Eaters. Murillo. Pinakothek, Munich</span>
+</div>
+
+<p class="center f1"><a href="images/image_035_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span></p>
+<h2>THE MUSES</h2>
+
+<h3><span class="smcap">Giulio Romano</span> (1492-1546)</h3>
+
+<div class="figleft"><img src="images/image_i.jpg" alt="I" width="22" height="50" /></div>
+<p>&nbsp;am sure you have heard of the Muses. Romano, a pupil of Raphael's,
+has left us this beautiful picture of them dancing with Apollo, their
+cousin. The Muses were the daughters of Zeus (Jove or Jupiter), and
+Memory. These lovely girls also come to every home to help care for
+the new baby.</p>
+
+<p>The Greek names of the Muses are rather hard to pronounce, but you
+will want to call them by name. Then, too, each girl's name in Greek
+letters is just below where she dances. Now begin at the left of the
+circle. The first one, Calliope, stands for narrative poetry; No. 2,
+Clio, is history; No. 3, Erato, is love-poetry; No. 4, Melpomene, is
+tragedy; No. 5, Terpsichore, is dance and song. Now comes Apollo with
+his quiver full of arrows. He is the god of the hunt and twin brother
+to Diana, the goddess of hunt; also he is god of music and poetry. No.
+6 is Polyhymnia, muse of hymn-music; No. 7, Euterpe, is song poetry;
+No. 8, Thalia, is comedy, and No. 9, Urania, muse of astronomy.</p>
+
+<p>Athene gave the Muses the winged horse, Pegasus. But alack and alas!
+one of the poets became very poor and sold Pegasus to a farmer. He was
+fastened to the plow, but he could not plow through the hard earth.
+His spirit was broken and his body was weak. The angry farmer tried to
+make him work, but how could he when he had no courage? But just then
+a beautiful youth came and asked the farmer to let him try the horse.
+Of course the man was glad to have any one help get the plowing done.
+The young man petted the horse and slyly unfastened the harness as he
+patted him. He mounted upon his back and Pegasus rose in the air, and
+away they both went, Pegasus and Mercury. The farmer looked on with
+amazement. How could a good-for-nothing horse that could not plow do
+such a wonderful thing as fly?<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_18" id="pict_18"></a>
+  <a href="images/image_037_1.jpg"><img src="images/image_037.jpg" width="600" height="277" alt="Fig. 18. The Muses. Romano. Pitti Palace, Florence" title="" /></a>
+<span class="caption">Courtesy of Pratt Institute<br />
+<br />
+Fig. 18. The Muses. Romano. Pitti Palace, Florence</span>
+</div>
+
+<p class="center f1">Please click on the image for a larger image.</p>
+
+<p class="center f1"><a href="images/image_037_2.jpg">Please click here for a modern color image</a></p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span></p>
+<h2>"COME, ABIDE WITH US"</h2>
+
+<h3><span class="smcap">Fra Giovanni Angelico</span> (1387-1455)</h3>
+
+<div class="figleft"><img src="images/image_n.jpg" alt="N" width="49" height="50" /></div>
+<p>early two thousand years ago two men were walking together along a
+dusty road in Palestine. They talked earnestly as they walked along of
+a great event that had happened. A man called Jesus, the Christ, had
+been crucified and buried, but after three days he was not found in
+the tomb. As the men talked, a traveler joined them and asked:</p>
+
+<p>"What is it ye talk about and are sad?"</p>
+
+<p>And the men asked if he were a stranger in Jerusalem and did not know
+the things that had come to pass.</p>
+
+<p>The stranger said, "What things?"</p>
+
+<p>Then the men told him of Jesus of Nazareth, which was a prophet mighty
+in deed and word before God and all the people. And they said that
+they had all hoped He was the mighty one who was to save the world but
+that He had been killed.</p>
+
+<p>Then the stranger, who was Jesus himself, but the men did not know
+Him, began to tell them the story of all things about himself. Still
+they did not know Him, and as they came to the village of Emmaus and
+the stranger made as though He would have gone further, the men said,
+"Come, abide with us."</p>
+
+<p>This picture, showing the men inviting the stranger, was painted by
+Fra Angelico for the Dominican monastery in Florence, Italy. You will
+find it over the entrance of San Marco, where it welcomes every
+stranger who comes.</p>
+
+<p>Fra Angelico was so kind and gentle and helpful that his companions
+called him "Angel Brother"; in Italian, "Fra Angelico."<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_19" id="pict_19"></a>
+<img src="images/image_039.jpg" width="600" height="450" alt="Fig. 19. &quot;Come, Abide with Us.&quot; Fra Angelico. San Marco, Florence" title="" />
+<span class="caption">Courtesy of Pratt Institute<br /><br />
+Fig. 19. &quot;Come, Abide with Us.&quot; Fra Angelico. San Marco, Florence</span>
+</div>
+
+<p class="center f1"><a href="images/image_039_1.jpg">Please click here for a modern color image</a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span></p>
+<h2>THE SUPPER AT EMMAUS</h2>
+
+<h3><span class="smcap">Rembrandt Van Rijn</span> (1607?-1669)</h3>
+
+<div class="figleft"><img src="images/image_r.jpg" alt="R" width="52" height="50" /></div>
+<p>embrandt has taken the story of the two men and the stranger on their
+way to Emmaus after they have gone into the house. You see the
+disciples still did not know that the stranger was Jesus, the Christ.
+But when He sat at meat with them, He took bread and blessed it and
+brake and gave to them. Then they knew that it was the Savior who was
+talking with them and sitting at the table with them. Rembrandt shows
+the wondering men as they begin to recognize who their guest is, and
+he makes us feel the warmth and gladness that fill their hearts when
+they know that it is the risen Lord. The boy, too, lingers at the
+Savior's side as though to hear the meaning of the scene. But as they
+look, Jesus disappears out of their sight. When He is gone they say to
+each other:</p>
+
+<p>"Did not our heart burn within us, while he talked with us by the way,
+and while He opened to us the Scriptures?"</p>
+
+<p>Rembrandt painted this picture after many sorrows had come to him. His
+beloved Saskia, the mother of the "golden lad," Titus, was dead;
+friends had deserted him and his patrons were gone. But the love of
+people still filled the heart of the great painter.<span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span></p>
+
+<div class="figcenter" style="width: 450px;"><a name="pict_20" id="pict_20"></a>
+  <a href="images/image_041_1.jpg"><img src="images/image_041.jpg" width="450" height="492" alt="Fig. 20. The Supper at Emmaus. Rembrandt. Louvre,
+Paris" title="" /></a>
+<span class="caption">Fig. 20. The Supper at Emmaus. Rembrandt. Louvre,
+Paris</span></div>
+
+<p class="center f1">Please click on the image for a larger image.</p>
+
+<p class="center f1"><a href="images/image_041_2.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span></p>
+
+<h2>
+THREE CHILDREN OF CHARLES I OF<br />
+ENGLAND
+</h2>
+
+<h3><span class="smcap">Sir Anthony Van Dyck</span> (1599-1641)</h3>
+
+<div class="figleft"><img src="images/image_t.jpg" alt="T" width="44" height="50" /></div>
+<p>he little boy standing between his brother and sister in this picture
+is Baby Stuart, the same child that is in the picture of "Baby Stuart"
+that you know so well. When Baby Stuart grew up he was crowned James
+II, king of England (1685). His brother was Charles II, king of
+England, and his sister was the mother of William III, king of
+England. James II, Baby Stuart, had a daughter, Mary, who became Mary,
+queen of England. When these cousins, William and Mary, grew up they
+were married and crowned king and queen of England in 1689.</p>
+
+<p>A funny story is told of the crowning ceremony. William was very short
+and Mary was quite tall. It would not do to have Mary taller than her
+husband, so a stool was brought for William to stand on. Now they are
+the same height as they are crowned King William III and Queen Mary II
+of England. When William and Mary ruled England the country was happy
+and prosperous because love reigned in the royal household.</p>
+
+<p>I have seen the stool that William stood on when he was crowned
+William III of England. It is in Westminster Abbey, London. That is
+another interesting bit of historic setting that you will see when you
+go to visit England.</p>
+
+<p>Sir Anthony Van Dyck, the Flemish artist, painted many pictures of the
+royal families of England, especially the family of Charles I. He put
+little dogs into his pictures so often that the people began to call
+these little fellows "King Charles spaniels." To-day, two hundred
+years after, they are still called King Charles spaniels.<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_21" id="pict_21"></a>
+<img src="images/image_043.jpg" width="600" height="511" alt="Fig. 21. Children of Charles I. Van Dyck. Dresden Gallery" title="" />
+<span class="caption">Courtesy of Pratt Institute<br /><br />
+Fig. 21. Children of Charles I. Van Dyck. Dresden Gallery</span>
+</div>
+
+<p class="center f1"><a href="images/image_043_1.jpg">Please click here for a modern color image</a></p>
+
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span></p>
+<h2>THE BUTTERY</h2>
+
+<h3><span class="smcap">Pieter de Hooch</span> (1632?-1681)</h3>
+
+<div class="figleft"><img src="images/image_p.jpg" alt="P" width="43" height="50" /></div>
+<p>ieter de Hooch is a Dutch artist you are going to love. Usually you
+can tell his pictures by the checked or plaid floors. The floors in
+the homes in Holland are mostly made of squares of black and white
+marble. Did you ever see a cuter little girl than this one in the
+picture? She has come for her pitcher of milk. Her mother went to the
+"buttery" for it: a buttery is a place for keeping casks and barrels
+and bottles. We can see one end of the cask or barrel under the window
+in the buttery. Now look into the next room and see the chair on a
+little platform. That platform is quite common in the Dutch home and
+is probably the place where mother or grandmother sits to read or sew
+by the window. What a beautiful day it must be out of doors to make
+the rooms so cheerful and bright! Hooch loved the sunshine and used it
+to brighten every home he painted. The sunshine on the checked floors
+makes his pictures sing with joy and happiness.</p>
+
+<p>We can find very little about the life of the "Dutch little masters,"
+yet the pictures they have left us are among our greatest treasures:
+just little home scenes that you and I know about.</p>
+
+<p>It is said that de Hooch often put in his people after he had finished
+painting his picture. In one picture he has added a girl near a
+fireplace to make the picture more balanced. We know that she was
+added after the picture was made, for we can see the plaid floor
+through her dress where the paint was too thin to cover the original
+floor. Such little things tell us something of the method of work of
+the Dutch painters.<span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_22" id="pict_22"></a>
+<img src="images/image_045.jpg" width="500" height="554" alt="Fig. 22. The Buttery. De Hooch. Ryks Museum, Amsterdam" title="" />
+<span class="caption">Courtesy of Pratt Institute<br /><br />
+Fig. 22. The Buttery. De Hooch. Ryks Museum, Amsterdam</span>
+</div>
+
+<p class="center f1"><a href="images/image_045_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span></p>
+<h2>THE CORONATION OF THE VIRGIN</h2>
+
+<h3><span class="smcap">Sandro Botticelli</span> (1446-1510)</h3>
+
+<div class="figleft"><img src="images/image_t.jpg" alt="T" width="44" height="50" /></div>
+<p>he children who are holding the book and ink-bottle in this picture,
+"The Coronation of the Virgin," lived four hundred years ago. Their
+names are Giovanni and Giulio de' Medici. Botticelli, the artist, knew
+them well for he was born and brought up in Florence and used to spend
+a great deal of time at the Medici Palace.</p>
+
+<p>The boys were cousins. Giulio, the younger, was left an orphan when a
+wee child and his uncle, Lorenzo the Magnificent, adopted him and had
+him brought up with his own son Giovanni. The boys were nearly the
+same age and grew up to be great and good men. Both of them were popes
+of Rome. The older boy, Giovanni, was Pope Leo X and Giulio Pope
+Clement VII.</p>
+
+<p>Now look at the picture again. The Madonna is reading to her little
+son, Jesus, "The Magnificat," that beautiful song from Luke, Chap. I,
+v. 46-56, sung so often in our churches. Let us repeat the song
+together:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">My soul doth magnify the Lord,<br /></span>
+<span class="i2">And my spirit hath rejoiced in God my Savior.<br /></span>
+<span class="i0">For He hath regarded the low estate of his handmaiden:<br /></span>
+<span class="i2">For, behold, from henceforth, all generations shall call me blessed.<br /></span>
+<span class="i0">For He that is mighty hath done to me great things; and holy is His name.<br /></span>
+<span class="i2">And His mercy is on them that fear Him from generation to generation<br /></span>
+<span class="i0">He hath shewed strength with his arm;<br /></span>
+<span class="i2">He hath scattered the proud in the imagination of their hearts.<br /></span>
+<span class="i0">He hath put down the mighty from their seats,<br /></span>
+<span class="i2">And exalted them of low degree.<br /></span>
+<span class="i0">He hath filled the hungry with good things;<br /></span>
+<span class="i2">And the rich he hath sent empty away.<br /></span>
+<span class="i0">He hath holpen his servant Israel, in remembrance of his mercy;<br /></span>
+<span class="i2">As He spake to our fathers, to Abraham, and to his seed for ever.<br /></span>
+<span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span></div></div>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_23" id="pict_23"></a>
+<img src="images/image_047.jpg" width="600" height="586" alt="Fig. 23. Coronation of the Virgin. Botticelli. Uffizi Palace.
+Florence" title="" />
+<span class="caption">Courtesy of Pratt Institute<br /><br />
+Fig. 23. Coronation of the Virgin. Botticelli. Uffizi Palace.
+Florence</span>
+</div>
+
+<p class="center f1"><a href="images/image_047_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span></p>
+<h2>THE WOLF CHARMER</h2>
+
+<h3><span class="smcap">John La Farge</span> (1835-1910)</h3>
+
+<div class="figleft"><img src="images/image_y.jpg" alt="Y" width="52" height="50" /></div>
+<p>ou see these wolves were once the old women gossips of the town, the
+story says; and when these women were unkind in what they said about
+people the Fates&mdash;I have told you another story about the Fates&mdash;the
+Fates to punish them turned them into wolves. The Wolf Charmer, who
+really is the old gypsy who killed the black cat of the village witch,
+goes out into the night. The owl calls the wolves to attack the gypsy.
+But the gypsy knew the old women before they were turned into wolves
+so he calls them by name: "Kate, Anne, and Bee!" And soon they follow
+him down the narrow path between the rocks and listen to his music on
+the bagpipes. "A funny story!" you say. You know there are people who
+have a strange power over wild animals.</p>
+
+<p>John La Farge said about this picture, "I made it to be one of a
+series of some hundred subjects, more or less fantastic and
+imaginary." He never finished the pictures nor carried out his plan of
+making these books for children. I am giving you "The Wolf Charmer"
+because he painted the picture for you. Mr. La Farge named this
+picture as the one he liked best of his paintings.<span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_24" id="pict_24"></a>
+<img src="images/image_049.jpg" width="400" height="522" alt="Fig. 24. The Wolf Charmer. La Farge. Courtesy of the City Art Museum,
+St. Louis" title="" />
+<span class="caption">Courtesy of John La Farge<br /><br />
+Fig. 24. The Wolf Charmer. La Farge. Courtesy of the City Art Museum,
+St. Louis</span>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span></p>
+<h2>THE OLD WOMAN CUTTING HER NAILS</h2>
+
+<h3><span class="smcap">Rembrandt Van Rijn</span> (1607?-1669)</h3>
+
+<div class="figleft"><img src="images/image_n.jpg" alt="N" width="49" height="50" /></div>
+<p>o artist in all history had a sadder life than Rembrandt. It was sad
+because the people of Amsterdam were stupid and too blind to know that
+a great man was living among them. Rembrandt could paint wonderful
+portraits, and the rich people wanted their portraits painted. At
+first all went well. The rich flocked to his studio and Rembrandt made
+marvelous likenesses. Then the guilds of the great commercial houses
+wanted pictures for their halls. They came to Rembrandt for these
+pictures, but thinking that their money had bought the great artist
+body and soul, they began to tell him how he should make the pictures
+that each one might have equal prominence in it. Naturally Rembrandt
+would not be bought off with money. His art was bigger than gold. The
+picture that was really the turning point in his life was "The Night
+Watch." I wish you would look at the picture again. You see the men
+away back in the picture were jealous that they were not put in the
+front row. All they cared for was to have a fine portrait of
+themselves and Rembrandt was only interested in making a great
+picture.</p>
+
+<p>Rembrandt went on painting but no one bought his pictures. Many
+sorrows came to him. It was when the world had forsaken him that he
+painted "The Old Woman Cutting her Nails." Now you can understand why
+Rembrandt could paint an old woman with human sympathy. We could love
+that old woman because the unkindness of the world made her more
+tender and true to suffering humanity. She is the old grandmother we
+would go to if we were in trouble.<span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_25" id="pict_25"></a>
+<img src="images/image_051.jpg" width="400" height="491" alt="Fig. 25. The Old Woman Cutting Her Nails. Rembrandt.
+Courtesy of the Metropolitan Museum of Art, New York City" title="" />
+<span class="caption">Fig. 25. The Old Woman Cutting Her Nails. Rembrandt.
+Courtesy of the Metropolitan Museum of Art, New York City</span>
+</div>
+
+<p class="center f1"><a href="images/image_051_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span></p>
+<h2>THE SPINNER</h2>
+
+<h3><span class="smcap">Nicolaes Maes</span> (1632-1693)</h3>
+
+<div class="figleft"><img src="images/image_t.jpg" alt="T" width="44" height="50" /></div>
+<p>his old woman is spinning flax. Have you ever seen a flax wheel? When
+you go to Holland try to visit Dordrecht, and if possible, go into a
+real Dutch home. There you may see some one, the grandmother maybe,
+spinning flax; then you will know that this picture is an actual
+scene.</p>
+
+<p>Nicolaes Maes, who painted the picture, was born in Dordrecht or Dort.
+This city is said to be the oldest city in the Netherlands; it was
+founded in the tenth century. An old woman spinning was a familiar
+scene to Maes. Now look at this spinner closely. She will not mind,
+for she is too intent on picking up a thread, possibly a broken or a
+knotted one. Maes saw a picture in the old woman's dull red dress and
+bright red sleeves. He liked the brown wheel and the yellow floor and
+the beautiful bit of blue cloth thrown over the wheel-base. Then he
+saw how beautifully the white kerchief and apron and wall caught the
+light. He saw the helpfulness of the rugged old hand, worn and scarred
+as it was, yet patient and firm in repairing a mistake.</p>
+
+<p>Maes's "The Spinner" and Rembrandt's "The Old Woman Cutting her Nails"
+make the tasks of every-day life very human. We in America owe much to
+these old Dutch women and to the artists who have made them live for
+us.</p>
+
+<p>This picture of "The Spinner" is only sixteen and one fourth inches
+high and thirteen inches wide, yet that old woman at her
+spinning-wheel is as much a real person in the room where she hangs on
+the wall as she was when Maes painted her, nearly three hundred years
+ago. I want you to love these little Dutch pictures; they are so
+honest and true and tell us about real people and real things, and
+they make us feel that beauty is everywhere. Now look at your
+grandmother as she mends your stockings and see how beautiful she is
+with the light on her dear old face and hair.<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_26" id="pict_26"></a>
+<img src="images/image_053.jpg" width="400" height="512" alt="Fig. 26. The Spinner. Maes. Ryks Museum, Amsterdam" title="" />
+<span class="caption">Fig. 26. The Spinner. Maes. Ryks Museum, Amsterdam</span>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span></p>
+<h2>ST. GEORGE AND THE DRAGON</h2>
+
+<h3><span class="smcap">Vittore Carfaccio</span> (1440?-1522)</h3>
+
+<div class="figleft"><img src="images/image_s.jpg" alt="S" width="35" height="50" /></div>
+<p>t. George, a noble youth of Cappadocia, was one of the oldest and
+most noted of the saints. The story always told of him is his killing
+the dragon. Once upon a time St. George was going through Palestine on
+horseback when he came to the City of Beirut. There he found a
+beautiful young girl in royal dress weeping outside the walls of the
+city. When he asked her why she was crying, she told him that a
+terrible dragon lived in the marshes near the city. And to keep him
+from destroying every one in the city, each day two young girls must
+be fed to him. These young girls were chosen by lot, and this day she,
+Cleodolinda, the king's daughter, must be eaten by the dragon.</p>
+
+<p>St. George told her not to be afraid for he would destroy the dragon.
+But she cried:</p>
+
+<p>"O noble youth, tarry not here, lest thou perish with me! but fly, I
+beseech thee!" St. George answered:</p>
+
+<p>"God forbid that I should fly! I will lift my hand against the loathly
+thing, and will deliver thee through the power of Jesus Christ!"</p>
+
+<p>Then St. George, rushed at the dragon and thrust his spear into his
+mouth and conquered him. He then took the young girl's mantle and
+bound the beast, and she led him into the city to her father. That day
+twenty thousand people of the city were baptized.</p>
+
+<p>As time went on the name of St. George became very great. From the
+time that Richard I&mdash;the Lion-Hearted&mdash;placed his army under the
+protection of St. George the saint became the patron saint of England.
+In 1330 the order of the Garter, the highest order of knighthood in
+Great Britain, was founded and on its emblem is a picture of St.
+George and the dragon.</p>
+
+<p>Carpaccio, a Venetian artist, painted this picture of "St. George and
+the Dragon." He painted many other stories of saints.<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_27" id="pict_27"></a>
+  <a href="images/image_055_1.jpg"><img src="images/image_055.jpg" width="600" height="236" alt="Fig. 27. St. George and the Dragon. Carpaccio. Church
+of San Giorgio degli Schiavoni, Venice" title="" /></a>
+<span class="caption">Fig. 27. St. George and the Dragon. Carpaccio. Church
+of San Giorgio degli Schiavoni, Venice</span></div>
+<p class="center f1">Please click on the image for a larger image.</p>
+
+<p class="center f1"><a href="images/image_055_2.jpg">Please click here for a modern color image</a></p>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span></p>
+<h2>THE GRAND CANAL, VENICE</h2>
+
+<h3><span class="smcap">Joseph Mallard William Turner</span> (1775-1851)</h3>
+
+<div class="figleft"><img src="images/image_v.jpg" alt="V" width="48" height="50" /></div>
+<p>enice is a very curious city. It is really built on stilts on top of
+the water. Its streets are canals. Instead of having street-cars and
+horses and taxicabs everybody goes in long boats called gondolas. The
+main street in the city is the Grand Canal, and in this canal come all
+sorts of people with all sorts of water-crafts.</p>
+
+<p>The children play in the side streets just as you do except that they
+swim in the water instead of running on the ground. Even the babies
+are in the water fastened to the door-steps by a rope around their
+little bodies. How they do coo and gurgle as they paddle their little
+hands and feet like young frogs!</p>
+
+<p>Turner shows in this picture the Grand Canal filled with ships from
+other countries with gaily colored flags fluttering in the breeze. Do
+you see the tower at the left in the picture? That is the Campanile,
+the bell-tower. This wonderful tower fell down flat in 1902. I talked
+with a man who has a store just opposite the tower, a few weeks after
+it fell. He said to me: "I thought it would fall on my store and
+destroy everything. It began to tip; then all at once it fell flat
+just where it stood." The Venetians soon built it up again.</p>
+
+<p>When Napoleon, the great French emperor, took Venice, he rode up the
+inclined plane of this tower on his horse and stood on the very top
+overlooking the sea.<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_28" id="pict_28"></a>
+<img src="images/image_057.jpg" width="600" height="454" alt="Fig. 28. The Grand Canal. Turner. Courtesy of the
+Metropolitan Museum of Art, New York City" title="" />
+<span class="caption">Fig. 28. The Grand Canal. Turner. Courtesy of the
+Metropolitan Museum of Art, New York City</span>
+</div>
+
+<p class="center f1"><a href="images/image_057_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span></p>
+<h2>THE SONG OF THE LARK</h2>
+
+<h3><span class="smcap">Jules Adolphe Breton</span> (1827-1906)</h3>
+
+<div class="poem"><div class="stanza">
+<span class="i0">Up with me! up with me into the clouds!<br /></span>
+<span class="i2">For thy song, Lark, is strong;<br /></span>
+<span class="i0">Up with me, up with me into the clouds!<br /></span>
+<span class="i5">Singing, singing,<br /></span>
+<span class="i0">With clouds and sky above thee ringing,<br /></span>
+<span class="i2">Lift me, guide me till I find<br /></span>
+<span class="i0">That spot which seems so to thy mind!<br /></span>
+</div></div>
+
+<p class="f4"><span class="smcap">Wordsworth</span></p>
+
+<div class="figleft"><img src="images/image_c.jpg" alt="C" width="46" height="50" /></div>
+<p>an you not almost hear this girl singing? The sun is just coming up.
+The lark is rising in the sky, singing! The girl has come out to work
+in the fields; a peasant girl. Barefooted, barehanded, she stands
+straight like a soldier of work with her head lifted to drink in the
+morning air as she sings.</p>
+
+<p>One morning early I was driving through the country roads in the south
+of England when larks began to rise from the fields where the workmen
+were, just like this lark from the French field, and how they did
+sing! I stopped and listened, watching them go up higher and higher,
+their song growing fainter and fainter, and then they disappeared.
+Where did they go? Let us ask this French peasant girl. Do you think
+that she can tell us? If she cannot, who can?<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span></p>
+
+<div class="figcenter" style="width: 450px;"><a name="pict_29" id="pict_29"></a>
+<img class="img1" src="images/image_059.jpg" width="450" height="583" alt="Fig. 29. Song of the Lark. Breton. Courtesy of the Art
+Institute, Chicago" title="" />
+<span class="caption">Fig. 29. Song of the Lark. Breton. Courtesy of the Art
+Institute, Chicago</span>
+</div>
+
+<p class="center f1"><a href="images/image_059_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span></p>
+<h2>THE HOLY NIGHT</h2>
+
+<h3><span class="smcap">Antonio Allegra da Correggio</span> (1494?-1534)</h3>
+
+<div class="figleft"><img src="images/image_i.jpg" alt="I" width="22" height="50" /></div>
+<p>t is a wonderful story, the story of the Holy Night. The mother and
+father had traveled a long way; and when they came to Bethlehem every
+place was taken so they found a bed in a cave. In the night a baby boy
+came to the mother, and she "wrapped Him in swaddling clothes, and
+laid Him in a manger, because there was no room for them in an inn.
+And there was in the same country shepherds abiding in the fields,
+keeping watch over their flocks by night. And, lo, the angel of the
+Lord came upon them, and the glory of the Lord shone around about
+them; and they were sore afraid.</p>
+
+<p>"And the angel said unto them, Fear not; for behold, I bring you good
+tidings of great joy, which shall be to all people. For unto you is
+born this day in the city of David, a Savior, which is Christ, the
+Lord. And this shall be a sign unto you; ye shall find the babe
+wrapped in swaddling clothes, lying in a manger. And suddenly there
+was with the angel a multitude of the heavenly host praising God,
+saying, Glory to God in the Highest, and on earth peace, good will
+unto men.</p>
+
+<p>"And it came to pass as the angels were gone away from them into
+heaven, the shepherds said one to another, Let us go even to Bethlehem
+and see this thing which has come to pass, which the Lord has made
+known to us. And they came with great haste, and found Mary and
+Joseph; and the babe lying in a manger. At first a bright cloud
+overshadowed the cave but on a sudden the cloud became a great light
+in the cave, so that their eyes could not bear it. But the light
+gradually decreased until the Infant appeared, and sucked the breast
+of his mother, Mary."</p>
+
+<p>The picture shows us the shepherds in the cave worshiping the young
+child, Jesus, the Christ.<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span></p>
+
+<div class="figcenter" style="width: 450px;"><a name="pict_30" id="pict_30"></a>
+<img src="images/image_061.jpg" width="450" height="605" alt="Fig. 30. The Holy Night. Correggio. Dresden Gallery" title="" />
+<span class="caption">Courtesy of Pratt Institute<br /><br />
+Fig. 30. The Holy Night. Correggio. Dresden Gallery</span>
+</div>
+
+<p class="center f1"><a href="images/image_061_1.jpg">Please click here for a modern color image</a></p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span></p>
+<h2>THE GLEANERS</h2>
+
+<h3><span class="smcap">Jean Fran&ccedil;ois Millet</span> (1814-1875)</h3>
+
+<div class="figleft"><img src="images/image_m.jpg" alt="M" width="60" height="50" /></div>
+<p>illet was a French peasant boy&mdash;very poor. He says his grandmother
+would come into his room early in the morning and call:</p>
+
+<p>"Awake, my little Fran&ccedil;ois; if you only knew how long a time the birds
+have been singing the glory of the good God!"</p>
+
+<p>He would insist when he was helping in the fields that there was
+beautiful color over the plowed ground, and when the other fellows
+laughed at him, he would say:</p>
+
+<p>"Wait, some day I will paint a picture and show you the color."</p>
+
+<p>After he was an artist he was going by a field one day when a peasant
+cutting grain called to him:</p>
+
+<p>"I would like to see you take a sickle."</p>
+
+<p>"I'll take your sickle," Millet answered quickly, "and reap faster
+than you and all your family."</p>
+
+<p>Of course the man laughed, for how could an artist cut grain. He soon
+stopped laughing, for Millet cut much faster and farther than he
+could.</p>
+
+<p>Millet would often go into the forest just back of his house to rest
+after painting all day. Then he would say:</p>
+
+<p>"I do not know what those beggars of trees say to each other, but they
+say something which we do not understand, because we do not understand
+their language."</p>
+
+<p>Millet's work is often called "the poems of the earth."</p>
+
+<p>Once when I was in Barbizon I found the gate open into Millet's
+door-yard. Of course I walked in, but the owner insisted that I walk
+out again. I shall never forget the peep I had of the little garden
+and the doorway and the long rambling house. That Millet lived there
+with his large family and there painted the pictures we love makes the
+place a joy to us.<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_31" id="pict_31"></a>
+<img src="images/image_063.jpg" width="500" height="371" alt="Fig. 31. The Gleaners. Millet. Louvre, Paris" title="" />
+<span class="caption">Fig. 31. The Gleaners. Millet. Louvre, Paris</span>
+</div>
+<p class="center f1"><a href="images/image_063_1.jpg">Please click here for a modern color image</a></p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span></p>
+<h2>ST. CECILIA</h2>
+
+<h3><span class="smcap">Raphael Sanzio</span> (1483-1520)</h3>
+
+<div class="figleft"><img src="images/image_d.jpg" alt="D" width="51" height="50" /></div>
+<p>id you know that St. Cecilia invented the organ, that wonderful
+musical instrument in our churches? Cecilia was born in Rome sixteen
+hundred years ago. She was a beautiful young girl who loved music and
+composed many hymns. The organ she dedicated to God's service.</p>
+
+<p>When Cecilia was married, her husband, a rich nobleman, was converted
+and baptized. He knelt by the side of Cecilia, and an angel crowned
+them with crowns made from roses which bloomed in paradise. The first
+thing Valerian asked was that his brother, who was a heathen, might be
+converted too. They sent for the brother, and when he came and found
+the room filled with the sweet fragrance of roses, though it was not
+the rose season, then he too became a Christian.</p>
+
+<p>The people of Rome were very unkind to Cecilia and Valerian and his
+brother because they preached the story of Jesus, the Christ. At last
+they killed them. St. Cecilia is the guardian saint of music and is
+always shown in art with the organ, as you see in this picture by
+Raphael. The man standing at the left of the picture with his hand up
+to his face is St. Paul. This is the most famous picture of St. Paul.
+Raphael shows the group listening to the heavenly choir while the
+earthly instruments of music have fallen at Cecilia's feet broken and
+out of tune.<span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_32" id="pict_32"></a>
+  <a href="images/image_065_1.jpg"><img src="images/image_065.jpg" width="500" height="795" alt="Fig. 32. St. Cecilia. Raphael. Bologna, Italy" title="" /></a>
+<span class="caption">Courtesy of Pratt Institute<br />
+<br />
+Fig. 32. St. Cecilia. Raphael. Bologna, Italy</span>
+</div>
+<p class="center f1">Please click on the image for a larger image.</p>
+<p class="center f1"><a href="images/image_065_2.jpg">Please click here for a modern color image</a></p>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span></p>
+<h2>
+HELENA FOURMENT RUBENS AND HER<br />
+SON AND DAUGHTER
+</h2>
+
+<h3><span class="smcap">Peter Paul Rubens</span> (1577-1640)</h3>
+
+<div class="figleft"><img src="images/image_t.jpg" alt="T" width="44" height="50" /></div>
+<p>his picture of "Helena Fourment Rubens and Her Son and Daughter" was
+really painted to honor the boy. It has always been the custom in
+Europe to pay special attention to the boys in the home and keep the
+girls very much in the background. It is very easy to see how pert the
+little Albert Rubens is, and how subdued and meek is his sister. The
+boy has the "Lord of Creation" air that would not be good for him in
+America. We love the picture, for Rubens, the father, shows us plainly
+the old idea that the boy rules the home. Naturally the father would
+know the traits of his own children but not always would he allow us
+to know them too.</p>
+
+<p>Rubens was so wonderful as an artist, as a man to settle quarrels, and
+as a beautiful gentleman that all Europe did him honor. He was sent to
+see the ruling powers in England, in Spain, in Italy, and in France.
+Each ruler entertained him as a royal guest, and Rubens painted
+masterpieces for each in return. His paintings were the wonder of the
+age. It is said that his fellow-artists looked with jealous eyes at
+his flesh tints, and that all painters since have been in despair
+trying to equal him. He left hundreds of pictures and hundreds of
+sketches. The sketches alone are bringing many hundreds of times their
+weight in gold.<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_33" id="pict_33"></a>
+<img src="images/image_067.jpg" width="400" height="544" alt="Fig. 33. Helena Fourment and Her Son and Daughter.
+Rubens. Louvre, Paris" title="" />
+<span class="caption">Fig. 33. Helena Fourment and Her Son and Daughter.
+Rubens. Louvre, Paris</span>
+</div>
+
+<p class="center f1"><a href="images/image_067_1.jpg">Please click here for a modern color image</a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span></p>
+<h2>THE HARP OF THE WINDS</h2>
+
+<h3><span class="smcap">Homer Martin</span> (1836-1897)</h3>
+
+<div class="figleft"><img src="images/image_a.jpg" alt="A" width="51" height="50" /></div>
+<p>bout a dozen years ago Europe began to wonder if America had any art
+worth considering. She invited us to send samples of our paintings
+that her critics might judge of our work. Among the pictures selected
+was Homer Martin's "The Harp of the Winds." At once Europe saw that an
+American artist had painted a masterpiece.</p>
+
+<p>This scene is on the River Seine, a short distance from Paris. Was
+anything ever more simple? Slender willow-trees almost leafless, bare
+rocks with a few scrubby bushes, a tiny village sheltered in a curve
+of the river&mdash;what is there to suggest a picture? And yet something
+grips us. We seem to be at the beginnings of creation. Nature is
+confiding in us. We are hearing the winds play on the harp to the
+listening river. See how lovingly the water mirrors those harp strings
+all sparkly with gold and green! I wonder if these willows make a harp
+or a lyre with their tall stalks reaching to the sky? Do you remember
+how, when Mercury found a tortoise, he took the shell and made holes
+on both sides and strung nine strings across it&mdash;one for each
+Muse&mdash;and gave it to Apollo? I think this Harp of the Winds has nine
+strings in memory of Mercury's lyre.<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_34" id="pict_34"></a>
+<img class="img1" src="images/image_069.jpg" width="500" height="356" alt="Fig. 34. The Harp of the Winds. Martin. Courtesy of the
+Metropolitan Museum of Art, New York City" title="" />
+<span class="caption">Fig. 34. The Harp of the Winds. Martin. Courtesy of the
+Metropolitan Museum of Art, New York City</span>
+</div>
+
+<p class="center f1"><a href="images/image_069_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span></p>
+<h2>THE TRIBUTE MONEY</h2>
+
+<h3><span class="smcap">Titian, or Tiziano Vecelli</span> (1477-1576)</h3>
+
+<div class="figleft"><img src="images/image_e.jpg" alt="E" width="45" height="50" /></div>
+<p>very child must know "The Tribute Money," painted by Titian, for no
+artist understood the scene better than he did. Remember that the bad
+men in Palestine were determined to find something that Jesus, the
+Christ, had done against the Roman Government so they could trap him.
+At last they sent one in authority to question him.</p>
+
+<p>But Jesus said, "Bring me a penny, that I may see it." And they
+brought him a penny.</p>
+
+<p>And Jesus said, "Whose is this image and superscription?"</p>
+
+<p>And the man was forced to say, "C&aelig;sar's."</p>
+
+<p>Then Jesus made that famous reply that people use so often to-day:
+"Render to C&aelig;sar the things that are C&aelig;sar's, and to God the things
+that are God's."</p>
+
+<p>Titian shows the moment when the tax-gatherer must say that the penny
+belonged to C&aelig;sar, the Roman emperor. It had C&aelig;sar's portrait on it
+and C&aelig;sar's demands written on it. Look carefully at the two faces and
+the two hands, and tell me what you think of the two men as Titian
+shows them to us.<span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span></p>
+
+<div class="figcenter" style="width: 450px;"><a name="pict_35" id="pict_35"></a>
+<img src="images/image_071.jpg" width="450" height="592" alt="Fig. 35. The Tribute Money. Titian. Dresden Gallery" title="" />
+<span class="caption">Courtesy of Pratt Institute<br /><br />
+Fig. 35. The Tribute Money. Titian. Dresden Gallery</span>
+</div>
+
+<p class="center f1"><a href="images/image_071_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span></p>
+<h2>THE MAIDS OF HONOR</h2>
+
+<h3><span class="smcap">Diego Rodriguez de Silva y Velasquez</span> (1599-1660)</h3>
+
+<div class="figleft"><img src="images/image_i.jpg" alt="I" width="22" height="50" /></div>
+<p>f it had not been for Velasquez we should know very little about the
+little princes and princesses of Spain in the time of Philip IV, about
+the middle of the sixteenth century. He made many portraits of these
+children, especially of the little Princess Margarita.</p>
+
+<p>One day when Velasquez was painting a portrait of Philip IV, the
+king's little daughter Margarita came into the room attended by her
+maids of honor and a splendid dog. The king was so delighted with the
+little group that he told Velasquez to make a picture of them just as
+they stood there before him. Now look at the picture and you will see
+in the looking-glass at the back of the room the reflection of the
+king and the queen. At the easel stands Velasquez, the artist, with
+his palette and brushes. The wee fair-haired princess is the center of
+the group. The strange-looking little women, her maids of honor, are
+dwarfs. And see what a magnificent fellow the dog is, lying so
+contentedly on the floor right in front of us.</p>
+
+<p>When the picture was finished, and the people went to see it, many of
+them asked, "Where is the picture?" The little Margarita and her maids
+are so alive and those people standing around seem so real that no one
+thought they could be painted on canvas.</p>
+
+<p>Velasquez made such wonderfully real likenesses that some one told
+this story of one: One day the King came to Velasquez's studio and
+seeing, as he supposed, one of his admirals whom he had sent to take a
+command a few days before, he spoke angrily:</p>
+
+<p>"What! still here? Did I not command you to depart? Why have you not
+obeyed?" Of course the admiral did not answer, and then the king found
+that he had been angry at a portrait.<span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_36" id="pict_36"></a>
+<img src="images/image_073.jpg" width="400" height="457" alt="Fig. 36. The Maids of Honor. Velasquez. Madrid Gallery,
+Spain" title="" />
+<span class="caption">Fig. 36. The Maids of Honor. Velasquez. Madrid Gallery,
+Spain</span>
+</div>
+
+<p class="center f1"><a href="images/image_073_1.jpg">Please click here for a modern color image</a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span></p>
+<h2>THE NYMPHS</h2>
+
+<h3><span class="smcap">Jean Baptiste Camille Corot</span> (1796-1875)</h3>
+
+<div class="figleft"><img src="images/image_e.jpg" alt="E" width="45" height="50" /></div>
+<p>verybody loved P&egrave;re Corot&mdash;Papa Corot, as he was called. His happy
+manner and lovely smile won for him the name of the "happy one." I
+want you to know what Papa Corot says, in a letter to a friend, about
+himself and his painting. He writes:</p>
+
+<p>"Look you, it is charming, the day of a landscapist. He gets up at
+three in the morning, before sunrise, goes and sits under a tree, and
+watches and waits. Not much can be seen at first. Nature is behind a
+veil. Everything smells sweet.</p>
+
+<p>"Ping! a ray of yellow light shoots up. The veil is torn, and meadow
+and valley and hill are peeping through the rent.</p>
+
+<p>"Bing, bing! the sun's first ray&mdash;another ray&mdash;and the flowers awake
+and drink a drop of quivering dew. The leaves feel cold and move to
+and fro. Under the leaves unseen birds are singing softly. The flowers
+are saying their morning prayers.</p>
+
+<p>"Bam! the sun has risen. Bam! a peasant crosses the field with a cart
+and oxen. Ding! ding! says the bell of the ram that leads the flock of
+sheep.</p>
+
+<p>"Bam! bam! all bursts&mdash;all glitters&mdash;all is full of light, blond and
+caressing as yet. The flowers raise their heads. It is adorable. I
+paint! I paint!</p>
+
+<p>"Boom! boom! boom! The sun aflame burns the earth. Everything becomes
+heavy. Let us go home. We see too much now. Let us go home."</p>
+
+<p>You see now why Corot could paint such a lovely picture as "The
+Nymphs." He saw these gauzy creatures in the early morning light and
+painted them before the sun scattered them to the four winds.<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_37" id="pict_37"></a>
+<img src="images/image_075.jpg" width="600" height="448" alt="Fig. 37. The Nymphs. Corot. Louvre, Paris" title="" />
+<span class="caption">Fig. 37. The Nymphs. Corot. Louvre, Paris</span>
+</div>
+
+<p class="center f1"><a href="images/image_075_1.jpg">Please click here for a modern color image</a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span></p>
+<h2>ST. FRANCIS PREACHING TO THE BIRDS</h2>
+
+<h3><span class="smcap">Giotto di Bondone</span> (1266?-1337)</h3>
+
+<div class="figleft"><img src="images/image_o.jpg" alt="O" width="51" height="50" /></div>
+<p>ne time more than six hundred years ago St. Francis preached the
+dearest sermon to "My Sisters the Birds" that you ever heard. He said
+to them as they lifted their little heads to listen to his words:</p>
+
+<p>"Ye are beholden unto God your Creator, and always and in every place
+it is your duty to praise him! Ye are bounden to him for the element
+of the air which he has deputed to you forever-more. You sow not,
+neither do you reap. God feeds you and gives you the streams and
+fountains for your thirst. He gives you the mountains and the valleys
+for your refuge, tall trees wherein to make your nests, and inasmuch
+as you neither spin nor reap God clothes you and your children, hence
+ye should love your Creator greatly, and therefore beware, my sisters,
+of the sins of ingratitude, and ever strive to praise God."</p>
+
+<p>St. Francis then made the sign of the Cross and sent the birds north,
+south, east, and west to carry the story of the Cross to all mankind.</p>
+
+<p>When Giotto, who painted this picture of "St. Francis Preaching to the
+Birds," was a little boy, he took care of his father's sheep in the
+fields. One day a noted painter, Cimabue, found Giotto drawing a sheep
+on a flat rock with colored stones. The picture of the sheep was so
+lifelike that the great man asked the boy, Giotto, to go with him and
+become an artist. He went, and one day years afterward the pope sent
+to Giotto for a sample of his work. Giotto sent him a big round O. It
+pleased the pope to find a man so original, and he gave Giotto many
+orders for pictures. To-day the saying is "Round as Giotto's O."<span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span></p>
+
+<div class="figcenter" style="width: 450px;"><a name="pict_38" id="pict_38"></a>
+<img src="images/image_077.jpg" width="450" height="589" alt="Fig. 38. St. Francis Preaching to the Birds. Giotto. Upper Church,
+Assisi, Italy" title="" />
+<span class="caption">Courtesy of Pratt Institute<br /><br />
+Fig. 38. St. Francis Preaching to the Birds. Giotto. Upper Church,
+Assisi, Italy</span>
+</div>
+
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span></p>
+<h2>THE GOVERNESS</h2>
+
+<h3><span class="smcap">Jean Baptiste Simeon Chardin</span> (1699-1779)</h3>
+
+<div class="figleft"><img src="images/image_w.jpg" alt="W" width="65" height="50" /></div>
+<p>hen Chardin began to paint pictures he went into the French homes and
+painted pictures of brass pots and kettles, of fruits and vegetables.
+Then he took common scenes of life and gave us a number of pictures
+showing just what was going on in the homes and back yards.</p>
+
+<p>The French people were not used to having an artist see beauty in the
+every-day things they were doing; artists had been painting the rich
+for the rich. Everybody began to love the pictures Chardin painted.
+This is a very simple story in "The Governess." The child&mdash;is it a boy
+or a girl?&mdash;is now ready to go to school. He&mdash;I believe he is a
+boy&mdash;is hearing some advice, and I do not think he is pleased, for he
+has a little frown on his face. His dress is peculiar. The French
+children two hundred years ago did not dress as you do to-day. He is
+the same kind of a child that you are, I am sure, and you and he would
+soon be great friends.</p>
+
+<p>Chardin's color was so wonderful that one of his artist friends cried
+out: "O Chardin! it is not white, red, or black that you grind to
+powder on your palette; it is the air and the light that you take on
+the point of your brush and fix on canvas."</p>
+
+<p>Chardin's pictures are as beautiful and bright to-day as they were
+when he painted them.<span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_39" id="pict_39"></a>
+<img src="images/image_079.jpg" width="400" height="515" alt="Fig. 39. The Governess. Chardin. Liechtenstein Gallery,
+Vienna" title="" />
+<span class="caption">Fig. 39. The Governess. Chardin. Liechtenstein Gallery,
+Vienna</span>
+</div>
+
+<p class="center f1"><a href="images/image_079_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span></p>
+<h2>THE LAST SUPPER</h2>
+
+<h3><span class="smcap">Leonardo da Vinci</span> (1452-1519)</h3>
+
+<div class="figleft"><img src="images/image_i.jpg" alt="I" width="22" height="50" /></div>
+<p>&nbsp;want you to know the disciples of Jesus just as Leonardo da Vinci
+painted them four hundred years ago. Leonardo spent months among the
+men of Milan, Italy, looking into their faces and talking with them.
+When he began to paint "The Last Supper" he had gathered men together
+so like these twelve disciples that we feel we can know them as Jesus
+knew them. For three years those men of old walked with Jesus and
+talked with him as they went up and down Palestine; and at last, on
+that wonderful night, they met with Him in the upper chamber to eat
+with Him the Last Supper. Those disciples did not know that it was the
+last meal they would eat with Jesus before he was hung on the cross.</p>
+
+<p>We shall begin in the center of the table and name the disciples as
+Leonardo has them in the picture. First is the Savior. At his left is
+James with his arms spread out in distress; back of him is Thomas with
+his finger uplifted; then Philip rising with his hand on his heart;
+next Matthew, his arms pointing to the Savior while he turns toward
+the two near the end; next to him is Thaddeus; and then Simon. On the
+other side of Jesus sits John, the beloved disciple. His hands are
+folded and his eyes are cast down. Next to John is Judas, the
+betrayer; he holds the bag clutched in his right hand and near him is
+the overturned salt cellar. Leaning back of Judas is Peter with one
+hand on John's shoulder; next to Peter is Andrew; then James, the
+less, laying one hand on Peter's arm. At the end of the table is
+Bartholomew, who has risen resting his hands on the table. These men
+are all asking, "Is it I?" For Jesus had said, "He it is to whom I
+give a sop."<span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_40" id="pict_40"></a>
+<img src="images/image_081.jpg" width="600" height="290" alt="Fig. 40. The Last Supper. Leonardo da Vinci. Santa
+Maria delle Grazie, Milan" title="" />
+<span class="caption">Fig. 40. The Last Supper. Leonardo da Vinci. Santa
+Maria delle Grazie, Milan</span>
+</div>
+
+<p class="center f1"><a href="images/image_081_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span></p>
+<h2>SIR GALAHAD</h2>
+
+<h3><span class="smcap">George Frederick Watts</span> (1818-1904)</h3>
+
+<div class="figleft"><img src="images/image_o.jpg" alt="O" width="51" height="50" /></div>
+<p>f all the stories of King Arthur and his Knights of the Round Table
+none is so strange as that of Sir Galahad. Its beginning is in the
+upper chamber at the Last Supper with Jesus and his disciples. Legend
+says that the cup used by our Savior at the Last Supper was the Holy
+Grail. Joseph of Arimathea, who bought the cup from Pontius Pilate,
+used it to catch the blood that flowed from the pierced side of our
+Lord. The cup, or Holy Grail, was kept in the Convent of the Holy
+Grail by the descendants of Joseph of Arimathea.</p>
+
+<p>The cup had marvelous powers in the hands of a perfect knight.
+Centuries passed and no perfect knight came to claim the Holy Grail.
+Then King Arthur founded the Knights of the Round Table. One seat at
+the round table was always vacant waiting for the sinless youth. Many
+tried to sit in the "seat perilous," as it was called, but the seat
+let each one down to disappear forever.</p>
+
+<p>At last an old man&mdash;Joseph of Arimathea himself&mdash;brought a boy and
+seated him in the vacant chair. The knights were frightened but the
+boy sat unharmed and above the seat appeared the words:</p>
+
+<p class="center">THIS IS THE SEAT OF GALAHAD</p>
+
+<p>King Arthur knighted him and sent him forth to find the Holy Grail.
+Years went by and awful trials and temptations came to Sir Galahad. He
+did not yield to the bad things that came, but kept looking for the
+Holy Grail. At last he held the cross before his face to keep off his
+tormentors when before his eyes he saw the cup, and the power of the
+Holy Grail came to him.</p>
+
+<p>This picture of Sir Galahad in Eton College, England, hangs in the
+chapel opposite the entrance door where each boy passes in on his way
+to morning and evening prayers.<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span></p>
+
+<div class="figcenter" style="width: 450px;"><a name="pict_41" id="pict_41"></a>
+<img src="images/image_083.jpg" width="450" height="816" alt="Fig. 41. Sir Galahad. Watts. Eton College, England" title="" />
+<span class="caption">Fig. 41. Sir Galahad. Watts. Eton College, England</span>
+</div>
+
+<p class="center f1"><a href="images/image_083_1.jpg">Please click here for a modern color image</a></p>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span></p>
+
+<h2>
+THE DUCHESS OF DEVONSHIRE AND<br />
+HER CHILD
+</h2>
+
+<h3><span class="smcap">Sir Joshua Reynolds</span> (1723-1792)</h3>
+
+<div class="figleft"><img src="images/image_s.jpg" alt="S" width="35" height="50" /></div>
+
+<p>ir Joshua Reynolds ought to be called "the painter of little girls."
+No artist ever painted a larger number of little girls. And no artist
+ever knew better than he how to get the confidence of children, boys
+or girls.</p>
+
+<p>One time a little boy in London was to carry a flag in a procession.
+What do you think he did? He went to Sir Joshua Reynolds, the artist
+whom no one dared to interrupt, and asked him if he would paint a flag
+for him. This pleased the great man. When the boy proudly displayed
+his flag, every one asked:</p>
+
+<p>"Where did you get such a wonderful flag?"</p>
+
+<p>You can guess how proud the boy was to say, "Sir Joshua Reynolds
+painted it for me!"</p>
+
+<p>This picture of "The Duchess of Devonshire and her Child" is one of
+the greatest pictures Sir Joshua ever painted. The original painting
+is now in the magnificent country seat of the Duke of Devonshire at
+Chatsworth, England. Sir Joshua had a way of making his pictures
+sparkle and glisten that was unknown to other artists. One of our own
+artists, Gilbert Stuart, when in London, was copying a very valuable
+portrait by Sir Joshua. He thought he saw one of the eyes move. He was
+horrified to find that it really was moving down on the cheek. He
+grabbed the picture and ran into a cold room and then worked the eye
+back in place. The secret was out! Sir Joshua Reynolds had used wax to
+make his pictures glitter and, alas, the glitter would not last.<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_42" id="pict_42"></a>
+<img src="images/image_085.jpg" width="500" height="395" alt="Fig. 42. The Duchess of Devonshire and Her Child.
+Reynolds. Royal Gallery, Windsor" title="" />
+<span class="caption">Fig. 42. The Duchess of Devonshire and Her Child.
+Reynolds. Royal Gallery, Windsor</span>
+</div>
+
+<p class="center f1"><a href="images/image_085_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span></p>
+<h2>ST. AGNES AND HER LAMB</h2>
+
+<h3><span class="smcap">Andrea del Sarto</span> (1486-1531)</h3>
+
+<div class="figleft"><img src="images/image_o.jpg" alt="O" width="51" height="50" /></div>
+<p>ne of the most beautiful pictures of "St. Agnes and her lamb" was
+painted by Andrea del Sarto,&mdash;"Andrea the faultless," as he was
+called. It is in the cathedral at Pisa.</p>
+
+<p>St. Agnes was a Roman girl who lived three hundred years after the
+birth of Jesus. Her father and mother were heathens, but their little
+daughter became a Christian when a mere child. She did not tell her
+parents that she loved Jesus, but when she refused to worship idols
+they knew that she had become a disciple of the Master Christ. This
+made them so angry that they handed her over to the Roman rulers to be
+punished. These wicked men tried in every way to persuade Agnes to bow
+down to their gods made of wood and stone. When she would not bow down
+to them they tried to force her to worship the idols.</p>
+
+<p>They gave her over to the soldiers and ordered them to take her
+clothes away, but immediately her hair grew and covered her, and
+angels came and gave her a shining white garment. She even refused to
+marry the son of the Roman magistrate. The son thought that he could
+compel her to consent to the marriage after she was persecuted, but he
+was struck blind when he tried to see her.</p>
+
+<p>When St. Agnes saw what great sorrow came to the home of the young
+nobleman because he was blind, she prayed for him and his eyesight
+came again. His father was so thankful that he pleaded for her life,
+but the people said,</p>
+
+<p>"She is a sorceress: she must die." Then they tried to burn her, but
+the flames burned her tormentors and did her no harm. At last she was
+killed with a sword. She is always represented with a lamb.</p>
+
+<p>Michael Angelo wrote to Raphael about Andrea del Sarto: "There is a
+little fellow in Florence who, if he were employed as you are upon
+great works, would make it hot for you."<span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_43" id="pict_43"></a>
+<img src="images/image_087.jpg" width="500" height="656" alt="Fig. 43. St. Agnes and Her Lamb. Andrea del Sarto. Pisa Cathedral,
+Italy" title="" />
+<span class="caption">Courtesy of Pratt Institute<br /><br />
+Fig. 43. St. Agnes and Her Lamb. Andrea del Sarto. Pisa Cathedral,
+Italy</span>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span></p>
+<h2>WHISTLER'S MOTHER</h2>
+
+<h3><span class="smcap">James Abbott McNeill Whistler</span> (1834-1903)</h3>
+
+<div class="figleft"><img src="images/image_t.jpg" alt="T" width="44" height="50" /></div>
+<p>he story about Whistler and his mother is rather a sad one. He went
+to Europe when he was a young painter and told his mother as he
+started that he would come home to her when he had made a success. But
+he never made a success in money. He painted this picture of his
+mother and for twenty years tried to sell it. He offered it to his own
+country&mdash;the United States&mdash;for five hundred dollars. We were so
+stupid that we did not know that the picture was a masterpiece and
+that no amount of money could buy it later on. But the people of Paris
+began to feel that Whistler, the American artist, was a great master,
+and the city bought the picture, "Whistler's Mother." Of course we can
+never own the picture now, although it is an American mother, unless
+the French people should give it to us. But we do not deserve it, do
+we?</p>
+
+<p>After a number of years Whistler's mother went to Europe to make a
+home for her wonderful son. She died in Chelsea, and to-day the mother
+and son are side by side in the little churchyard of Chiswick, near
+London.<span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_44" id="pict_44"></a>
+<img src="images/image_089.jpg" width="500" height="434" alt="Fig. 44. Whistler&#39;s Mother. Whistler. Luxembourg,
+Paris" title="" />
+<span class="caption">Fig. 44. Whistler&#39;s Mother. Whistler. Luxembourg,
+Paris</span>
+</div>
+
+<p class="center f1"><a href="images/image_089_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span></p>
+<h2>ST. CHRISTOPHER</h2>
+
+<h3><span class="smcap">Titian, or Tiziano Vecelli</span> (1477-1576)</h3>
+
+<div class="figleft"><img src="images/image_c.jpg" alt="C" width="46" height="50" /></div>
+<p>hristopher, or Offero, was born in Palestine in the third century. He
+was a giant in size but ignorant and poor. He felt that he could not
+work for any one who was afraid of any one else. He wandered over the
+country and at last he came to a powerful king and offered to work for
+him. The king thought it very fine to have a giant for a servant. One
+day Offero stood by the king's side while a minstrel sang a song about
+Satan. Every time the name of Satan was spoken the king crossed
+himself. Offero was puzzled, for he never had heard of Satan, nor of
+Jesus. When he found that the king was afraid of Satan, Offero went to
+find the man the king was afraid of.</p>
+
+<p>Offero found Satan and became his servant. But as they went through
+the land Offero saw that Satan always went away around the little
+shrines. Offero asked Satan why he did that. Satan said he did not
+like to come near the cross where was the crucified One. Then Offero
+knew that he was afraid of Jesus.</p>
+
+<p>He went out to find Jesus. At last an old hermit told Offero to go to
+a river where people were often drowned and to carry every one across
+on his back, and that maybe he would find Jesus. Offero built himself
+a hut and spent years carrying people over the stream and no one was
+drowned. One stormy night Offero thought he heard a child's voice
+calling him. He went out two or three times. At last the child
+appeared and asked Offero to carry him over. Offero started. The storm
+grew worse and the water rose high and the child grew very, very
+heavy. When Offero set the child down, he said, "I feel as though I
+had carried the whole world!" The child answered:</p>
+
+<p>"Offero, you have carried the maker of the world. I am Jesus, whom you have
+sought. You shall be called Christ-Offero&mdash;the Christ-bearer&mdash;from now
+on."<span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="pict_45" id="pict_45"></a>
+<img src="images/image_091.jpg" width="400" height="702" alt="Fig. 45. St. Christopher. Titian. Doges&#39; Palace,
+Venice" title="" />
+<span class="caption">Fig. 45. St. Christopher. Titian. Doges&#39; Palace,
+Venice</span>
+</div>
+
+<p class="center f1"><a href="images/image_091_1.jpg">Please click here for a modern color image</a></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span></p>
+<h2>THE BLUE BOY</h2>
+
+<h3><span class="smcap">Thomas Gainsborough</span> (1727-1788)</h3>
+
+<div class="figleft"><img src="images/image_g.jpg" alt="G" width="48" height="50" /></div>
+<p>ainsborough began to draw and paint when he was a child. He often
+entertained his companions by drawing pictures for them while they
+read the lessons to him.</p>
+
+<p>One morning Thomas got up with the sun and went out into the garden to
+sketch. There was in the garden a wonderful pear-tree full of ripe
+pears, and the pears had been disappearing very mysteriously. While
+Thomas was making his drawings he saw a man's face appear suddenly
+above the stone wall. He quickly made a sketch of the face, and
+frightened the man before he could get away with the fruit. At the
+breakfast-table the young artist told his father what he had done and
+showed him the sketch. His father knew the man and sent for him. When
+the man was accused of stealing the pears he denied it, but when he
+was shown the picture Thomas had made of him he confessed that he had
+taken the pears.</p>
+
+<p>Artists, like all of us, want to lay down rules for every one to
+follow who is doing their same kind of work. Sir Joshua Reynolds said,
+"The masses of light in a picture ought to be always of a warm, mellow
+colour&mdash;yellow, red, or yellowish white; and the blue, the grey, or
+green colours should be kept almost entirely out of the masses."
+Gainsborough did not agree with him. To show Sir Joshua that he was
+wrong Gainsborough painted pictures in blue and green. The famous
+"Blue Boy" alone proved that he was right. The boy has on a blue satin
+suit and he stands out-of-doors in green grass with green foliage and
+blue sky around him. When Sir Joshua saw Gainsborough's blue-green
+pictures he said frankly, "I cannot think how he produces his
+effects."</p>
+
+<p>These two men were never good friends yet when Gainsborough was near
+death Sir Joshua Reynolds came to his bedside, and when Gainsborough
+died Reynolds was one of the pall-bearers.<span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span></p>
+
+<div class="figcenter" style="width: 450px;"><a name="pict_46" id="pict_46"></a>
+<img src="images/image_093.jpg" width="450" height="661" alt="Fig. 46. The Blue Boy. Gainsborough. Private Gallery,
+Henry Huntington, Los Angeles, California" title="" />
+<span class="caption">Fig. 46. The Blue Boy. Gainsborough. Private Gallery,
+Henry Huntington, Los Angeles, California</span>
+</div>
+
+<p class="center f1"><a href="images/image_093_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span></p>
+<h2>THE SLEEPING GIRL</h2>
+
+<h3><span class="smcap">Jan van der Meer of Delft</span> (1632-1675)</h3>
+
+<div class="figleft"><img src="images/image_i.jpg" alt="I" width="22" height="50" /></div>
+<p>&nbsp;want you to know and love the Dutch pictures. The painters were
+called "little masters," simply because they painted small pictures
+for the homes. For the homes! The Dutch wanted pictures to hang on
+their walls; pictures they could live with. Now what do you think of
+the "Sleeping Girl"? Do you know I could live with that picture and
+feel that I always had something to make me happy? It is so homy. See
+how comfortable the girl is! Of course a good healthy girl has no
+business to be sleeping in the daytime, but we can forgive her now
+that van der Meer has caught her asleep and let us see her. Then look
+at that wonderful rug! Was ever anything so soft and velvety? If we
+knew about rugs we might tell its name and maybe its age.</p>
+
+<p>Van der Meer had a way of catching people without their knowing it. He
+seems to have cut a piece out of the wall where he peeped in and
+painted what he saw. We are glad the girl left the door open into
+another room so that we can see the table and pictures and part of the
+window-frame. I think these things are reflected in a looking-glass.</p>
+
+<p>Van der Meer painted only about forty pictures, and eight of those are
+in the United States. They are among our greatest art treasures.<span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span></p>
+
+<div class="figcenter" style="width: 450px;"><a name="pict_47" id="pict_47"></a>
+<img src="images/image_095.jpg" width="450" height="518" alt="Fig. 47. The Sleeping Girl. Van der Meer. Courtesy of
+the Metropolitan Museum of Art, New York City" title="" />
+<span class="caption">Fig. 47. The Sleeping Girl. Van der Meer. Courtesy of
+the Metropolitan Museum of Art, New York City</span>
+</div>
+
+<p class="center f1"><a href="images/image_095_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span></p>
+<h2>ST. ANTONY AND THE CHRIST-CHILD</h2>
+
+<h3><span class="smcap">Bartholome Esteban Murillo</span> (1618-1682)</h3>
+
+<div class="figleft"><img src="images/image_m.jpg" alt="M" width="60" height="50" /></div>
+<p>any very curious legends are told of St. Antony of Padua, who died in
+1231. He was a close friend of St. Francis (see "St. Francis and his
+Birds," page 76). One story says that one time he was preaching about
+the Savior when the child Jesus came and sat on his open Bible. It is
+this story that Murillo painted his picture to illustrate. Again and
+again Murillo has shown us St. Antony with the Christ-child, but never
+more beautifully than here. This is one of Murillo's greatest
+religious pictures.</p>
+
+<p>Another story is told of St. Antony. One day he was preaching the
+funeral sermon of a rich young man when he exclaimed:</p>
+
+<p>"His heart is buried in his treasure-chest; go seek it there and you
+will find it."</p>
+
+<p>Sure enough when the friends of the rich young man opened the
+treasure-chest there was the heart, and no heart was found in the
+young man's dead body.<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span></p>
+
+<div class="figcenter" style="width: 450px;"><a name="pict_48" id="pict_48"></a>
+<img src="images/image_097.jpg" width="450" height="695" alt="Fig. 48. St. Anthony and the Christ-Child. Murillo.
+Museum of Seville, Spain." title="" />
+<span class="caption">Fig. 48. St. Anthony and the Christ-Child. Murillo.
+Museum of Seville, Spain.</span>
+</div>
+
+<p class="center f1"><a href="images/image_097_1.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span></p>
+<h2>KING LEAR</h2>
+
+<h3><span class="smcap">Edwin Austin Abbey</span> (1852-1911)</h3>
+
+<div class="figleft"><img src="images/image_t.jpg" alt="T" width="44" height="50" /></div>
+<p>he story of "King Lear" is one of the most pitiful of Shakespeare's
+play. It is about the thanklessness of children to a father. Old <i>King
+Lear</i> had three daughters&mdash;<i>Goneril</i>, <i>Regan</i>, and <i>Cordelia</i>. He
+loved these daughters dearly and he believed that they loved him. As
+he grew old in life he thought he would divide his kingdom and
+property among them equally; then there would be no trouble about his
+wealth after he was dead. Of course he expected to make his home with
+them in turn as long as he lived. Naturally he went to <i>Goneril</i>, the
+eldest daughter, first. Very soon he found that he was not wanted. She
+had the money&mdash;her father's money&mdash;but why should she be troubled with
+her old father? He then went to <i>Regan</i>, his second child, but she too
+refused to make a home for him. The third daughter, <i>Cordelia</i>, loved
+her father dearly and wanted him to live with her that she might care
+for him in his old age. By a strange mishap the old father thought
+that <i>Cordelia</i>, his beloved child, was false to him. He wandered off
+on the heath in a fearful storm and at last found shelter in a hut
+where he thinks even his faithful dogs are against him. He cries out
+pitifully:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">The little dogs and all,<br /></span>
+<span class="i0">Tray, Blanche and Sweetheart, see they bark at me.<br /></span>
+</div></div>
+
+<p>Abbey has painted the scene when the old king is leaving heart-broken,
+for he thinks <i>Cordelia</i>, the child he loves best, is deserting him.
+<i>Cordelia</i>, knowing how false her sisters are, is saying:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">I know you what you are;<br /></span>
+<span class="i0">And, like a sister, am most loath to call<br /></span>
+<span class="i0">Your faults as they are named. Love well our father.<br /></span>
+</div></div>
+
+<p>Abbey's story of "The Holy Grail" in the Boston Library is one of
+America's great series of paintings for wall decoration.<span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="pict_49" id="pict_49"></a>
+  <a href="images/image_099_1.jpg"><img src="images/image_099.jpg" width="600" height="253" alt="Fig. 49. King Lear. Abbey. Courtesy of the Metropolitan
+Museum of Art, New York City." title="" /></a>
+<span class="caption">Fig. 49. King Lear. Abbey. Courtesy of the Metropolitan
+Museum of Art, New York City.</span></div>
+<p class="center f1">Please click on the image for a larger image.</p>
+<p class="center f1"><a href="images/image_099_2.jpg">Please click here for a modern color image</a></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span></p>
+<h2>SUNSET IN THE WOODS</h2>
+
+<h3><span class="smcap">George Inness</span> (1825-1894)</h3>
+
+<div class="figleft"><img src="images/image_w.jpg" alt="W" width="65" height="50" /></div>
+<p>henever you can, I want you to find out what the painter says about
+his own pictures. We feel very glad that George Inness told us about
+"Sunset in the Woods." He said in 1891: "The material for my picture
+was taken from a sketch made near Hastings, on the Hudson, New York,
+twenty years ago. This picture was commenced seven years ago, but
+until last winter I had not obtained any idea equal to the impression
+received on the spot. The idea is to express an effect of light in the
+woods at sunset."</p>
+
+<p>What a wonderful glow he has on those trees beyond the big rock away
+back in the picture. And see the light on the trunk of the big tree
+near us. I believe the light is gradually disappearing as we look.
+Somehow we feel the birds are twittering as they go to bed and the
+flowers are nodding their heads, they are so sleepy. Soon it will be
+dark and the owl will screech and the night insects will buzz. Come,
+we must go home or we cannot see our way!<span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="pict_50" id="pict_50"></a>
+<img src="images/image_101.jpg" width="500" height="329" alt="Fig. 50. Sunset in the Woods. Inness. Courtesy of the
+Corcoran Art Gallery, Washington, D. C." title="" />
+<span class="caption">Fig. 50. Sunset in the Woods. Inness. Courtesy of the
+Corcoran Art Gallery, Washington, D. C.</span>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span></p>
+<h2>INDEX</h2>
+<div class="index">
+<ul class="IX">
+<li>Abbey, Edwin Austin, <a href="#Page_98">98</a>, <a href="#Page_99">99</a></li>
+
+<li>Angelico, Fra Giovanni, <a href="#Page_38">38</a>, <a href="#Page_39">39</a></li>
+
+<li>Angelo, Michael, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_86">86</a></li>
+
+<li>Arthur, King, <a href="#Page_82">82</a>, <a href="#Page_83">83</a></li>
+</ul>
+
+<ul class="IX">
+<li>Bastien-Lepage, Jules, <a href="#Page_22">22</a>, <a href="#Page_23">23</a></li>
+
+<li>Botticelli, Sandro, <a href="#Page_46">46</a>, <a href="#Page_47">47</a></li>
+
+<li>Breton, Jules Adolphe, <a href="#Page_58">58</a>, <a href="#Page_59">59</a></li>
+</ul>
+
+<ul class="IX">
+<li>C&aelig;sar (Tiberius), <a href="#Page_70">70</a></li>
+
+<li>Carpaccio, Vittore, <a href="#Page_54">54</a>, <a href="#Page_55">55</a></li>
+
+<li>Chardin, Jean Baptiste Simeon, <a href="#Page_78">78</a>, <a href="#Page_79">79</a></li>
+
+<li>Charles I, <a href="#Page_16">16</a>, <a href="#Page_28">28</a>, <a href="#Page_42">42</a></li>
+
+<li>Charles II, <a href="#Page_41">41</a>, <a href="#Page_43">43</a></li>
+
+<li>Charles V, <a href="#Page_32">32</a></li>
+
+<li>Charles VI, VII, <a href="#Page_22">22</a></li>
+
+<li>Corot, Jean Baptiste Camille, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a></li>
+
+<li>Correggio, Antonio, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>, <a href="#Page_60">60</a>, <a href="#Page_61">61</a></li>
+
+<li>Constable, John, <a href="#Page_4">4</a>, <a href="#Page_5">5</a></li>
+</ul>
+
+
+<ul class="IX">
+<li>Disciples, The, <a href="#Page_80">80</a>, <a href="#Page_81">81</a></li>
+
+<li>Dolci, Carlo, <a href="#Page_20">20</a></li>
+</ul>
+
+
+<ul class="IX">
+<li>Farge, John La, <a href="#Page_48">48</a>, <a href="#Page_49">49</a></li>
+
+<li>Ferdinand III, <a href="#Page_20">20</a></li>
+
+<li>Fourment, Helena, <a href="#Page_66">66</a>, <a href="#Page_67">67</a></li>
+</ul>
+
+
+
+<ul class="IX">
+<li>Gainsborough, Thomas, <a href="#Page_92">92</a>, <a href="#Page_93">93</a></li>
+
+<li>Galahad, Sir, <a href="#Page_82">82</a>, <a href="#Page_83">83</a></li>
+
+<li>Giotto di Bondone, <a href="#Page_76">76</a>, <a href="#Page_77">77</a></li>
+
+<li>Gods and Goddesses,
+<ul class="IX">
+<li>  Apollo, <a href="#Page_10">10</a>, <a href="#Page_11">11</a>, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>, <a href="#Page_68">68</a></li>
+
+<li>  Aurora, <a href="#Page_9">9</a>, <a href="#Page_10">10</a></li>
+
+<li>  Atropos, (a fate), <a href="#Page_24">24</a>, <a href="#Page_25">25</a></li>
+
+<li>  Calliope, (a muse), <a href="#Page_36">36</a>, <a href="#Page_37">37</a></li>
+
+<li>  Clio (a muse), <a href="#Page_36">36</a>, <a href="#Page_37">37</a></li>
+
+<li>  Clothes, (a fate), <a href="#Page_24">24</a>, <a href="#Page_25">25</a></li>
+
+<li>  Diana, <a href="#Page_36">36</a></li>
+
+<li>  Erato (a muse), <a href="#Page_36">36</a>, <a href="#Page_37">37</a></li>
+
+<li>  Euterpe, (a muse), <a href="#Page_36">36</a>, <a href="#Page_37">37</a></li>
+
+<li>  Fates, The, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_48">48</a></li>
+
+<li>  Hor&aelig;, <a href="#Page_10">10</a>, <a href="#Page_11">11</a></li>
+
+<li>  Hyperion, <a href="#Page_10">10</a>, <a href="#Page_11">11</a></li>
+
+<li>  Lachesis (a fate), <a href="#Page_24">24</a>, <a href="#Page_25">25</a></li>
+
+<li>  Melpomene (a muse), <a href="#Page_36">36</a>, <a href="#Page_37">37</a></li>
+
+<li>  Memnon, <a href="#Page_10">10</a></li>
+
+<li>  Memory, <a href="#Page_36">36</a></li>
+
+<li>  Mercury, <a href="#Page_36">36</a>, <a href="#Page_68">68</a></li>
+
+<li>  Muses, The, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>, <a href="#Page_68">68</a></li>
+
+<li>  Pegasus, <a href="#Page_36">36</a></li>
+
+<li>  Polyhymnia (a muse), <a href="#Page_36">36</a>, <a href="#Page_37">37</a></li>
+
+<li>  Selene, <a href="#Page_10">10</a></li>
+
+<li>  Thalia (a muse), <a href="#Page_36">36</a>, <a href="#Page_37">37</a></li>
+
+<li>  Urania (a muse), <a href="#Page_36">36</a>, <a href="#Page_37">37</a></li>
+
+<li>  Zeus, <a href="#Page_10">10</a>, <a href="#Page_36">36</a></li>
+</ul></li></ul>
+
+<ul class="IX">
+<li>Hals, Frans, <a href="#Page_12">12</a>, <a href="#Page_13">13</a></li>
+
+<li>Homer, Winslow, <a href="#Page_18">18</a>, <a href="#Page_19">19</a></li>
+
+<li>Hooch, Pieter de, <a href="#Page_44">44</a>, <a href="#Page_45">45</a></li>
+</ul>
+
+<ul class="IX">
+<li>Inness, George, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>
+<span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span></li></ul>
+
+<ul class="IX">
+<li>James II, <a href="#Page_42">42</a></li>
+
+<li>Jesus, <a href="#Page_2">2</a>, <a href="#Page_32">32</a>, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>, <a href="#Page_46">46</a>, <a href="#Page_60">60</a>, <a href="#Page_64">64</a>, <a href="#Page_80">80</a>, <a href="#Page_81">81</a>, <a href="#Page_90">90</a>, <a href="#Page_91">91</a></li>
+
+<li>Joan of Arc, <a href="#Page_22">22</a>, <a href="#Page_23">23</a></li>
+
+<li>Joseph of Arimathea, <a href="#Page_82">82</a></li>
+</ul>
+
+<ul class="IX">
+<li>Lear, King, <a href="#Page_98">98</a>, <a href="#Page_99">99</a></li>
+</ul>
+
+<ul class="IX">
+<li>Maes, Nicolaes, <a href="#Page_52">52</a>, <a href="#Page_53">53</a></li>
+
+<li>Magnificent, The, <a href="#Page_46">46</a></li>
+
+<li>Martin, Homer, <a href="#Page_68">68</a>, <a href="#Page_69">69</a></li>
+
+<li>Medici, Giovanni de' (Pope Leo X), <a href="#Page_46">46</a></li>
+
+<li>Medici, Giulio de (Pope Clement VII), <a href="#Page_46">46</a></li>
+
+<li>Medici, Lorenzo de', <a href="#Page_46">46</a></li>
+
+<li>Millet, Jean Fran&ccedil;ois, <a href="#Page_62">62</a>, <a href="#Page_63">63</a></li>
+
+<li>Murillo, Bartolome Esteban, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>, <a href="#Page_96">96</a>, <a href="#Page_97">97</a></li>
+</ul>
+
+<ul class="IX">
+<li>Napoleon, <a href="#Page_56">56</a></li>
+</ul>
+
+<ul class="IX">
+<li>Offero, <a href="#Page_90">90</a>, <a href="#Page_91">91</a></li>
+</ul>
+
+<ul class="IX">
+<li>Philip IV, <a href="#Page_72">72</a></li>
+
+<li>Pintoricchio, Bernardino, <a href="#Page_2">2</a>, <a href="#Page_3">3</a></li>
+</ul>
+
+<ul class="IX">
+<li>Raphael Sanzio, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a>, <a href="#Page_86">86</a></li>
+
+<li>Rembrandt, van Rijn. <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>, <a href="#Page_50">50</a>, <a href="#Page_51">51</a>, <a href="#Page_86">86</a></li>
+
+<li>Reni, Guido, <a href="#Page_10">10</a>, <a href="#Page_11">11</a></li>
+
+<li>Reynolds, Sir Joshua, <a href="#Page_84">84</a>, <a href="#Page_85">85</a>, <a href="#Page_92">92</a></li>
+
+<li>Romano, Giulio, <a href="#Page_36">36</a>, <a href="#Page_37">37</a></li>
+
+<li>Rubens, Peter Paul, <a href="#Page_16">16</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_66">66</a>, <a href="#Page_67">67</a></li>
+</ul>
+
+
+<ul class="IX">
+<li>Stuart, Gilbert, <a href="#Page_84">84</a></li>
+
+<li>Sarto, Andrea del, <a href="#Page_86">86</a></li>
+
+<li>Saints,
+<ul class="IX">
+<li>  Agnes, <a href="#Page_86">86</a>, <a href="#Page_87">87</a></li>
+
+<li>  Anthony, <a href="#Page_96">96</a>, <a href="#Page_97">97</a></li>
+
+<li>  Barbara, <a href="#Page_14">14</a>, <a href="#Page_15">15</a></li>
+
+<li>  Cecilia, <a href="#Page_64">64</a>, <a href="#Page_65">65</a></li>
+
+<li>  Christopher, <a href="#Page_90">90</a>, <a href="#Page_91">91</a></li>
+
+<li>  Elizabeth, <a href="#Page_2">2</a></li>
+
+<li>  Francis, <a href="#Page_76">76</a>, <a href="#Page_77">77</a>, <a href="#Page_96">96</a></li>
+
+<li>  George, <a href="#Page_54">54</a>, <a href="#Page_55">55</a></li>
+
+<li>  Jerome, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>, <a href="#Page_8">8</a></li>
+
+<li>  John the Baptist, <a href="#Page_2">2</a></li>
+
+<li>  Joseph, <a href="#Page_2">2</a>, <a href="#Page_60">60</a></li>
+
+<li>  Mary, (Madonna, virgin), <a href="#Page_2">2</a>, <a href="#Page_6">6</a>, <a href="#Page_20">20</a>, <a href="#Page_26">26</a>, <a href="#Page_32">32</a>, <a href="#Page_46">46</a>, <a href="#Page_60">60</a></li>
+
+<li>  Michael, <a href="#Page_22">22</a></li>
+
+<li>  Paul, <a href="#Page_64">64</a>, <a href="#Page_65">65</a></li></ul></li>
+</ul>
+
+<ul class="IX">
+<li>Titian Vecelli, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>, <a href="#Page_90">90</a>, <a href="#Page_91">91</a></li>
+
+<li>Turner, Joseph Mallard William, <a href="#Page_56">56</a>, <a href="#Page_57">57</a></li>
+</ul>
+
+<ul class="IX">
+<li>Van der Meer, Jan, <a href="#Page_94">94</a>, <a href="#Page_95">95</a></li>
+
+<li>Van Dyck, Anthony, <a href="#Page_12">12</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_28">28</a>, <a href="#Page_42">42</a>, <a href="#Page_43">43</a></li>
+
+<li>Vecchio, Palma, il Jacopo, <a href="#Page_14">14</a>, <a href="#Page_15">15</a></li>
+
+<li>Velasquez, Diego Rodriguez de Silva y, <a href="#Page_72">72</a>, <a href="#Page_73">73</a></li>
+
+<li>Venice, <a href="#Page_56">56</a>, <a href="#Page_57">57</a></li>
+
+<li>Vinci, Leonardo da, <a href="#Page_80">80</a>, <a href="#Page_81">81</a></li>
+</ul>
+
+
+<ul class="IX">
+<li>Watts, George Frederick, <a href="#Page_82">82</a>, <a href="#Page_83">83</a></li>
+
+<li>Whistler, James Abbott McNeill, <a href="#Page_88">88</a>, <a href="#Page_89">89</a></li>
+
+<li>William III, <a href="#Page_42">42</a></li>
+
+<li>Wordsworth, <a href="#Page_58">58</a></li>
+</ul>
+
+
+<ul class="IX">
+<li>Zacharias, <a href="#Page_2">2</a></li>
+</ul>
+
+</div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
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+The Project Gutenberg eBook, The Children's Book of Celebrated Pictures,
+by Lorinda Munson Bryant
+
+
+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: The Children's Book of Celebrated Pictures
+
+
+Author: Lorinda Munson Bryant
+
+
+
+Release Date: September 26, 2008  [eBook #26703]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK THE CHILDREN'S BOOK OF CELEBRATED
+PICTURES***
+
+
+E-text prepared by Sankar Viswanathan, Colin Bell, Joseph Cooper, and the
+Project Gutenberg Online Distributed Proofreading Team
+(https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 26703-h.htm or 26703-h.zip:
+      (https://www.gutenberg.org/dirs/2/6/7/0/26703/26703-h/26703-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/6/7/0/26703/26703-h.zip)
+
+
+
+
+
+THE CHILDREN'S BOOK OF CELEBRATED PICTURES
+
+by
+
+LORINDA MUNSON BRYANT
+
+Author of "Famous Pictures of Real Boys and Girls," "Famous
+Pictures of Real Animals," etc.
+
+
+
+
+
+
+
+[Illustration]
+
+
+
+
+Published by The Century Co.
+New York
+
+Copyright, 1922, by
+The Century Co.
+
+
+
+
+
+TO MY DAUGHTER
+
+BERTHA COOKINGHAM BRYANT
+
+
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+FIGURE                                                          PAGE
+
+1.   The Holy Family. Pintoricchio. Academy, Siena               3
+
+2.   The Valley Farm. Constable. National Gallery, London        5
+
+3.   Madonna and St. Jerome. Correggio. Parma Gallery, Italy     7
+
+4.   The Wood-Gatherers. Corot. Corcoran Art Gallery,
+         Washington, D.C.                                        9
+
+5.   The Aurora. Guido Reni. Rospigliosi Palace, Rome           11
+
+6.   Singing Boys. Franz Hals. Cassel Gallery, Germany          13
+
+7.   St. Barbara. Palma Vecchio. Santa Maria Formosa, Venice    15
+
+8.   Charles I and His Horse. Van Dyck. Louvre, Paris           17
+
+9.   The Gale. Homer. Worcester Art Museum, Massachusetts       19
+
+10.  Madonna del Gran' Duca. Raphael. Pitti Palace, Florence    21
+
+11.  Joan of Arc. Bastien-Lepage. Metropolitan Museum of Art,
+         New York City                                          23
+
+12.  The Fates. Michael Angelo. Pitti Palace, Florence          25
+
+13.  Madonna of the Chair. Raphael. Pitti Palace, Florence      27
+
+14.  Wolf and Fox Hunt. Rubens. Metropolitan Museum of Art,
+         New York City                                          29
+
+15.  The Night Watch. Rembrandt. Ryks Museum, Amsterdam         31
+
+16.  The Assumption. Titian. Academy, Venice                    33
+
+17.  The Melon-Eaters. Murillo. Pinakothek, Munich              35
+
+18.  The Muses. Romano. Pitti Palace, Florence                  37
+
+19.  "Come Abide with Us." Fra Angelico. San Marco, Florence    39
+
+20.  The Supper at Emmaus. Rembrandt. Louvre, Paris             41
+
+21.  Children of Charles I. Van Dyck. Dresden Gallery           43
+
+22.  The Buttery. De Hooch. Ryks Museum, Amsterdam              45
+
+23.  Coronation of the Virgin. Botticelli. Uffizi Palace,
+         Florence                                               47
+
+24.  The Wolf-Charmer. La Farge. City Art Museum, St. Louis     49
+
+25.  The Old Woman Cutting Her Nails. Rembrandt. Metropolitan
+         Museum of Art, New York City                           51
+
+26.  The Spinner. Maes. Ryks Museum, Amsterdam                  53
+
+27.  St. George and the Dragon. Carpaccio. Church of San
+         Giorgio degli Schiavoni, Venice                        55
+
+28.  The Grand Canal. Turner. Metropolitan Museum of Art, New
+         York City                                              57
+
+29.  Song of the Lark. Breton. Art Institute, Chicago           59
+
+30.  The Holy Night. Correggio. Dresden Gallery                 61
+
+31.  The Gleaners. Millet. Louvre, Paris                        63
+
+32.  St. Cecilia. Raphael. Bologna, Italy                       65
+
+33.  Helena Fourment and Her Son and Daughter. Rubens. Louvre,
+         Paris                                                  67
+
+34.  The Harp of the Winds. Martin. Metropolitan Museum of Art  69
+
+35.  The Tribute Money. Titian. Dresden Gallery                 71
+
+36.  The Maids of Honor. Velasquez. Madrid Gallery, Spain       73
+
+37.  The Nymphs. Corot. Louvre, Paris                           75
+
+38.  St. Francis Preaching to the Birds. Giotto. Upper Church,
+         Assisi, Italy                                          77
+
+39.  The Governess. Chardin. Liechtenstein Gallery, Vienna      79
+
+40.  The Last Supper. Leonardo da Vinci. Santa Maria delle
+         Grazie, Milan                                          81
+
+41.  Sir Galahad. Watts. Eton College, England                  83
+
+42.  The Duchess of Devonshire and Her Child. Reynolds. Royal
+         Gallery, Windsor                                       85
+
+43.  St. Agnes and Her Lamb. Andrea del Sarto. Pisa Cathedral,
+         Italy                                                  87
+
+44.  Whistler's Mother. Whistler. Luxembourg, Paris             89
+
+45.  St. Christopher. Titian. Doges Palace, Venice              91
+
+46.  The Blue Boy. Gainsborough. Private Gallery, Henry
+         Huntington, Los Angeles, California                    93
+
+47.  The Sleeping Girl. Van der Meer. Metropolitan Museum of
+         Art, New York City                                     95
+
+48.  St. Anthony and the Christ-Child. Murillo. Museum of
+         Seville, Spain                                         97
+
+49.  King Lear. Abbey. Metropolitan Museum of Art, New York
+         City                                                   99
+
+50.  Sunset in the Woods. Inness. Corcoran Art Gallery,
+         Washington, D. C.                                     101
+
+
+
+
+
+_Dear Children:_
+
+
+The stories I am telling about the pictures and their painters in this
+book are gathered from many countries. Some of them belong to very
+early times when history was told to grown up people by story-tellers
+at banquets and in the homes, on the street corners and public halls.
+Some of the stories are legends and traditions that grew up with the
+beginnings of the Christian era. All of them are taken from authentic
+sources and many of them illustrate some natural law.
+
+The artists who painted these pictures knew history and the early
+myths, the fairy-tales, the legends and the traditions, the Bible and
+the Apocrypha. We love these pictures because they are beautiful and
+true, but really to understand them we must know what the artists had
+in mind when they painted them.
+
+If you learn to know these pictures and love them, I will make you
+another book soon about statues and their stories.
+
+With love and best wishes, from your friend,
+
+LORINDA MUNSON BRYANT
+
+
+
+
+THE HOLY FAMILY
+
+BERNARDINO PINTORICCHIO (1454-1513)
+
+
+In looking at pictures of the old masters you will often see one
+called the "Holy Family." I want you to know who belonged to the Holy
+Family. The grown people are Joseph and Mary, the father and mother of
+Jesus; they had no last names at that time. The children are Jesus and
+his cousin, John the Baptist, six months older than Jesus. Sometimes
+the little John's mother, Elizabeth, is in the picture and sometimes
+his father, Zacharias, is there also.
+
+In this picture painted by Pintoricchio, Jesus is about four years old
+and John four and a half. The Bible story gives very little about the
+growing up of these children. Of Jesus it says, "And the child grew,
+and waxed strong in spirit, filled with wisdom; and the grace of God
+was upon him." And of John it says, "And the child grew, and waxed
+strong in spirit, and he was in the deserts till the day of showing
+unto Israel."
+
+One story from a very old book, "The Infancy," tells about Jesus
+playing with the other boys. It says:
+
+"And when Jesus was seven years of age, he was on a certain day with
+other boys, his companions about the same age. Who when they were at
+play, made clay into several shapes, namely, asses, oxen, birds, and
+other figures, each boasting of his work, endeavoring to exceed the
+rest.
+
+"Then the Lord Jesus said to the boys, I will command these figures
+which I have made to walk. And immediately they moved, and when he
+commanded them to return they returned. He also made figures of birds
+and sparrows, which, when he commanded to fly, did fly, and when he
+commanded to stand still, did stand still; and if he gave them meat
+and drink, they did eat and drink."
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 1. THE HOLY FAMILY. PINTORICCHIO. ACADEMY, SIENA]
+
+
+
+
+THE VALLEY FARM
+
+JOHN CONSTABLE (1776-1837)
+
+
+An old man, eighty-four years of age, lived in this house on "The
+Valley Farm," in England. He was born here and he used to say that he
+had never been away from this house but four days in all his life. He
+asked Constable to come and paint a picture of his home. And what a
+beautiful picture it is! The old house, snuggled down so close to the
+little stream, could paddle its feet--if it had any--in the cool
+water. And see how tenderly the tall trees keep guard over it. How we
+wish that we could be there too! If only we could be in the punt--I am
+sure it is a punt-boat even if one end of it is pointed--and be rowed
+up and down in the delightful shade. Those two in the boat have no
+doubt been for the cows and are driving them home to be milked.
+
+John Constable liked to choose his subjects for his pictures from the
+familiar scenes near his home. He used to say to his friends:
+
+"I have always succeeded best with my native scenes. They have always
+charmed me, and I hope they always will."
+
+[Illustration: FIG. 2. THE VALLEY FARM. CONSTABLE. NATIONAL GALLERY,
+LONDON]
+
+
+
+
+THE MADONNA AND CHILD WITH
+ST. JEROME
+
+ANTONIO ALLEGRI DA CORREGGIO (1494?-1534)
+
+
+Correggio loved to paint darling babies, lovely angels, beautiful
+women and splendid men. In this picture of "the Madonna and St.
+Jerome," I want you specially to see St. Jerome and his lion. St.
+Jerome, a very noted man who lived four centuries after Christ, was
+the first person to translate the New Testament into Latin. It was
+called "The Vulgate," because of its common use in the Latin Church.
+
+When St. Jerome was thirty years old he went away from the city of
+Rome and became a hermit and lived in desert places in the East. One
+day, so the story goes, as he sat at the gate of the monastery a lion
+came up limping as though he had been hurt. The other hermits ran away
+but St. Jerome went to meet the lion. The lion lifted up his paw and
+St. Jerome found a thorn in his foot. He took out the thorn and bound
+up the poor paw, so the lion stayed with St. Jerome and kept guard
+over an ass that brought the wood from the forest.
+
+One day when the lion was asleep a caravan of merchants came along and
+stole the ass. The poor ashamed lion hung his head before the saint,
+and Jerome thought he had killed and eaten the ass. To punish him St.
+Jerome had him do the work of the ass and bring the wood from the
+forest. One day some time afterward the lion saw the ass coming down
+the road leading a caravan of camels. The Arabs often have an ass lead
+the camels. The lion knew that it was the stolen ass, so he led the
+caravan into the convent grounds. The merchant found that he was
+caught. St. Jerome was very glad to find that his lion was honest and
+true. Whenever you see a picture of a saint with a lion you must
+remember that it is St. Jerome, the great Latin scholar.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 3. MADONNA AND ST. JEROME. CORREGGIO. PARMA GALLERY, ITALY]
+
+
+
+
+THE WOOD GATHERERS
+
+JEAN BAPTISTE CAMILLE COROT (1796-1875)
+
+
+The picture of "The Wood Gatherers" is very precious to us. It is the
+last picture Corot signed after he was confined to the bed, a few days
+before he died.
+
+A curious story is told of Corot's painting this picture. He had an
+old study of another artist's of a landscape with St. Jerome at
+prayer: you remember I told you the story of St. Jerome and his lion.
+Corot took the study and made a number of sketches of it. Somehow his
+landscape would not fit St. Jerome, so he painted a man on horseback
+and a dog going off into the woods. Then in the place of St. Jerome
+praying he put a woman gathering bits of wood and another woman with a
+bundle of fagots under her arm. Now the picture must have another name
+and he called it "The Wood Gatherers." When you go to Washington, you
+must not fail to see this picture in the Corcoran Art Gallery.
+
+[Illustration: FIG. 4. THE WOOD-GATHERERS. COROT. Courtesy of the
+Corcoran Art Gallery, Washington, D. C.]
+
+
+
+
+AURORA
+
+GUIDO RENI (1575-1642)
+
+
+Hyperion had three wonderful children, Apollo, the god of the sun,
+Selene, the goddess of the moon, and Aurora, the goddess of the dawn.
+When Aurora appears her sister, Selene (the moon), fades and night
+rolls back like a curtain. Now let us look at this masterpiece by
+Guido Reni carefully that we may know how wonderful is the coming of
+day.
+
+Aurora, in a filmy white robe, is dropping flowers in the path of
+Apollo (the sun) as he drives his dun-colored horses above the
+sleeping Earth. The Horae (the hours), a gliding, dancing group of
+lovely beings, accompany the brilliant god. Each hour is clothed in
+garments of a special tint of the great light of day, red, orange,
+yellow, green, blue, purple, and violet. The golden-hued Apollo sits
+supreme in his chariot of the sun.
+
+The fresco--fresco means painted on fresh plaster--is on the ceiling
+of the Rospigliosi Palace, Rome. The painting is as brilliant in color
+to-day as it was when painted three hundred and fifty years ago.
+
+Aurora, like most of the gods and goddesses, fell in love with a
+mortal. She asked Zeus to make her husband immortal but she forgot to
+ask that he should never grow old. And, fickle woman that she was!
+when he became gray and infirm, she deserted him and, to put a stop to
+his groans, she turned him into a grasshopper.
+
+Her son, Memnon, was made king of the Ethiopians, and in the war of
+Troy he was overcome by Achilles. When Aurora, who was watching him
+from the sky, saw him fall she sent his brothers, the Winds, to take
+his body to the banks of a river in Asia Minor. In the evening the
+mother and the Hours and the Pleiades came to weep over her dead son.
+Poor Aurora! even to-day her tears are seen in the dewdrops on the
+grass at early dawn.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 5. THE AURORA. GUIDO RENI. ROSPIGLIOSI PALACE, ROME]
+
+
+
+
+THE SINGING BOYS
+
+FRANS HALS (1584?-1666)
+
+
+These jolly singers are Dutch boys. They are singing on the street or
+in some back yard just as singers do to-day, though they lived nearly
+three hundred years ago.
+
+Hals was such a rapid painter that he could make a picture while you
+wait. The story is told that one time young Van Dyck, the Flemish
+painter who painted "Baby Stuart," went to see Hals in Amsterdam when
+Hals was an old man. Van Dyck did not tell the old artist that he was
+Van Dyck but simply asked him to paint his portrait, knowing what a
+rapid painter Hals was. In an hour the picture was done. Van Dyck
+remarked, as he looked at the portrait:
+
+"That seems easy; I believe I could do it."
+
+Hals thought he would have some fun, so he told the young stranger
+that he would sit for him just one hour.
+
+Van Dyck set his easel where Hals could not see him work and began to
+paint. At the end of an hour he said:
+
+"Your picture is finished, sir."
+
+Hals, ready to laugh at the daub, looked at the portrait and the laugh
+went out of his face. He then looked at Van Dyck, and cried out:
+
+"You must be either Van Dyck or a wizard!"
+
+You see, Hals had heard of Van Dyck and his rapid work, and knew that
+only a master painter could make the splendid portrait in an hour.
+
+[Illustration: Permission of Franz Hanfstaengl, New York City
+
+FIG. 6. SINGING BOYS. FRANS HALS. CASSEL GALLERY, GERMANY]
+
+
+
+
+ST. BARBARA
+
+JACOPO PALMA IL VECCHIO (1480?-1528)
+
+
+St. Barbara, born A. D. 303, was a very beautiful girl. Her father, an
+eastern nobleman, loved her so much and was so afraid something might
+happen to her that he built a very wonderful tower for her home and
+shut her up in it. And in that tower she studied the stars. Night
+after night she looked at the heavenly bodies until she knew more
+about the sun and the moon and the stars than any of the learned men.
+But as she studied the shining bodies she decided that worshiping
+idols, made of wood and stone, as her father did, was wrong. Finally
+she learned about the Savior, and to show her faith in Christianity
+she had some workmen who were making repairs on her tower put in three
+windows. When her father came as usual to visit her, he asked in
+surprise what the three windows were for. She replied:
+
+"Know, my father, that through three windows doth the soul receive
+light, the Father, the Son, and the Holy Ghost: and the three are
+one."
+
+Her father was very angry when he found she had learned about the
+Savior and had become a Christian. He condemned her to death and at
+last took her out on a hill and killed her, but he, too, was struck
+dead. St. Barbara is always represented with a tower that has three
+windows in it.
+
+Palma Vecchio painted this picture for some Venetian soldiers nearly
+four hundred years ago. When the Germans bombarded Venice (1918) the
+Venetians took the picture from the church to a place of safety.
+Scarcely a week had passed before a bomb broke through the roof of the
+church tearing everything before it at the exact spot where the
+picture had hung. But "St. Barbara," one of the great pictures of the
+world, was safe.
+
+[Illustration: FIG. 7. ST. BARBARA. PALMA VECCHIO. SANTA MARIA
+FORMOSA, VENICE]
+
+
+
+
+CHARLES I AND HIS HORSE
+
+SIR ANTHONY VAN DYCK (1599-1641)
+
+
+The horse in this picture of Charles I is probably the one Rubens gave
+to Van Dyck. It is said that Rubens gave it as a present after Van
+Dyck had painted a portrait of Helena Fourment, the master's second
+wife, and presented it to him. Van Dyck was twenty-two years younger
+than Rubens. You will remember that he was the master painter's
+favorite pupil. Having Rubens as a teacher did not make the pupil a
+great painter. Van Dyck was never more than a prince; just an heir to
+the throne. Rubens was a king and sat on the throne.
+
+The story is told that once Rubens was away from his private studio
+when the students bribed the servant to open the door for them. They
+stole into the master's studio to see "The Descent from the Cross,"
+which he was then painting. By some mishap the culprits rubbed against
+the wet paint and spoiled that part of the picture. Of course they
+were terrified at the damage done. They finally decided that Van Dyck
+was the one to repair the spot. The work was so well done that they
+hoped Rubens would not see the repairs. But the first thing that
+caught the eye of the master was that particular spot. He at once sent
+for the students and asked who had worked on his picture. Van Dyck
+stepped out from the others and frankly confessed that he was the
+culprit. Rubens was so pleased with his frankness and also at the
+skill of the work that he forgave them all.
+
+King Charles I invited Van Dyck to come to England, and then he
+knighted him and gave him a pension for life. The hundreds of pictures
+of the royal family and court people of England left by Van Dyck show
+us how rapidly he could paint, for the artist died when he was only
+forty-two years old.
+
+[Illustration: FIG. 8. CHARLES I AND HIS HORSE. VAN DYCK. LOUVRE,
+PARIS]
+
+
+
+
+THE GALE
+
+WINSLOW HOMER (1836-1910)
+
+
+Winslow Homer lived in Maine, where he heard the roar of mighty waters
+beating the rocks all day and all night. Some days the ocean grew so
+angry because the winds whirled its waters about in such a cruel
+manner that it would fling itself upon the sands and rocks as though
+to tear everything to pieces. The waves would raise up like furious
+horses champing their bits and foaming at the mouth. Somehow these
+angry waves could never go beyond a certain point, and the mother
+carrying her baby along the coast knows just the point at which the
+waves must stop. Let us clap our hands and shout with joy that old
+ocean cannot hurt that mother and her baby. Fill your lungs full of
+that glorious breeze whipping their hair and clothes. Open your eyes
+wide like the baby and let the salt air polish them until they sparkle
+like diamonds as the baby's do.
+
+Winslow Homer loved old ocean, and so do we! Let us love his pictures
+of old ocean for he has taught us that that mighty power is under a
+greater Power.
+
+[Illustration: FIG. 9. THE GALE. HOMER. Courtesy of Worcester Art
+Museum, Massachusetts]
+
+
+
+
+MADONNA DEL GRAN' DUCA
+
+RAPHAEL SANZIO (1483-1520)
+
+
+I want you to learn everything you can about Raphael. He was so kind
+and gentle and beautiful that everybody loved him. People said that
+when he walked on the streets of Rome scores of young men went with
+him until one would think him a prince. The pope gave him a large
+order to decorate the Vatican, the pope's home. Every artist was
+willing to help him because he was always ready to do anything he
+could to help his brother artists.
+
+Raphael only lived to be thirty-seven. When he died all Italy mourned
+his death, and his funeral was one of the largest of any artist of his
+time.
+
+When Raphael was only twenty-one he painted the "Madonna del Gran'
+Duca." He had gone to Florence for the first time. We do not know
+where the picture was for a hundred years after it was painted; then
+the painter Carlo Dolci owned it. Again another hundred years went by,
+and we find it in possession of a poor widow. She sold it to a
+picture-dealer for about twenty dollars. It then went into the hands
+of the grand duke of Tuscany, Ferdinand III, for the big sum of eight
+hundred dollars. No amount of money could buy the picture to-day.
+
+Ferdinand loved the picture so much that he always took it with him on
+all his travels and the grand duchess, his wife, felt that her baby
+boys were purer if she had the picture near her. It got its name
+"Madonna of the Grand Duke" from the title of the family.
+
+[Illustration: FIG. 10. MADONNA DEL GRAN DUCA. RAPHAEL. PITTI PALACE,
+FLORENCE]
+
+
+
+
+JOAN OF ARC
+
+JULES BASTIEN-LEPAGE (1848-1884)
+
+
+No young girl in history has had such a wonderful story as Joan of
+Arc. She began to hear voices and see visions when she was a little
+child. She was born in the tiny village of Domremy, France. Just like
+the other little peasant girls around her she helped her mother about
+the house and at the spinning. Also she went into the fields with her
+brothers.
+
+One day when she was in the garden the Archangel St. Michael came to
+her in a glory of light. He said she was a good little girl and that
+she must go to church and that some day she was to do a great act; she
+was to crown the dauphin as king of France at Rheims. Joan was afraid
+and cried at what the angel told her, but St. Michael said, "God will
+help you."
+
+These messages kept coming to her until, when she was sixteen, the
+voices insisted, "You must help the king, and save France."
+
+France was in a terrible state at this time, 1428. The English held
+most of France. The French king, Charles VI, became insane and died.
+The son, Dauphin Charles, was weak and lazy and discouraged; he had no
+money, no army, no energy, and like most cowards, ran from his duty
+and wasted his time in wickedness.
+
+Joan was still urged by voices to save France. At last a peasant uncle
+went with her to a man in power to ask for troops. The man was angry,
+and said sharply:
+
+"The girl is crazy! Box her ears and take her back to her father." But
+Joan did not give up. She insisted that some one must take her to
+Dauphin Charles, that God willed it. She said:
+
+"I will go if I have to wear my legs down to my knees." She went, and
+she saved France by crowning the dauphin as Charles VII at Rheims. But
+the French and the English people condemned Joan of Arc as a witch and
+burned her at the stake. Too late they cried:
+
+"We are lost! We have burned a saint!"
+
+[Illustration: FIG. 11. JOAN OF ARC. BASTIEN-LEPAGE. Courtesy of the
+Metropolitan Museum of Art, New York City]
+
+
+
+
+THE FATES
+
+MICHAEL ANGELO BUONARROTI (1474-1564)
+
+
+When a new baby comes to a home, legend says, three beautiful young
+girls come to take care of the baby all through its life, but no one
+ever sees these young girls. Each one has a strange work to do. One,
+called Clotho, carries a spindle on which is wound flax. The second,
+named Lachesis, twists a thread from the spindle, called the thread of
+life. And Atropos, the third, has a pair of shears ready to cut the
+thread of life.
+
+A funny story is told about Michael Angelo when he designed this
+picture of "The Fates." An old woman annoyed the artist very much by
+coming every day to see him. She insisted that he should appoint her
+son a special place in the fighting line in the seige of Florence
+(1529). Michael Angelo took revenge on the old woman by using her as a
+model for all of the women in his "Fates." And that is why Michael
+Angelo's fates are old women instead of young girls, as legend says
+they are.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 12. THE FATES. MICHAEL ANGELO. PITTI PALACE, FLORENCE]
+
+
+
+
+THE MADONNA OF THE CHAIR
+
+RAPHAEL SANZIO (1483-1520)
+
+
+We like to believe that Raphael, in one of his daily walks in the
+country, really did see this mother and her two little boys sitting in
+a doorway. Of course he must paint them, and having no paper with him
+he rolled up a barrel and made a sketch on the head of it. The story
+says that this barrel was once a part of a great oak-tree that stood
+by the hut of an old man, a hermit up in the mountains. And the mother
+of the two boys, when a little girl, used to go to see the old man. He
+loved these two--the little girl and the big oak-tree--and called them
+his daughters.
+
+He used to say that some day they would both be famous. That was more
+than four hundred years ago, and to-day this picture of "The Madonna
+of the Chair" is one of the most famous Madonna pictures. It is found
+in almost every home in America and is a treasure that belongs to all
+of us though it hangs in a gallery at Florence, Italy.
+
+We know, too, that Raphael did not let any of his helpers work on "The
+Madonna of the Chair"--in Italian, "Madonna della Sedia." He painted
+every brush stroke himself, which makes it still more dear to us.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 13. MADONNA OF THE CHAIR. RAPHAEL. PITTI PALACE, FLORENCE]
+
+
+
+
+THE WOLF AND FOX HUNT
+
+PETER PAUL RUBENS (1577-1640)
+
+
+The stables of Peter Paul Rubens were known the country over. No
+prince in the land had more magnificent horses, and no cavalier could
+ride with more grace and ease than Rubens.
+
+When Van Dyck, the artist who painted "Baby Stuart," was ready to
+leave the studio of Rubens to travel in Italy, the master gave him a
+beautiful horse from his own stables. Van Dyck probably used this
+horse as a model in his picture of "Charles I and his Horse."
+
+Now look at Rubens on the splendid dappled white horse in "The Fox and
+Wolf Hunt." His first wife, Isabel Brant, is on his right hand. She
+carries her falcon balanced on her wrist, his wings spread out in
+excitement. We feel that Rubens and his horse together are directing
+every movement in the hunt. That horse has all the alertness of the
+trained dogs and is just as eager in overcoming brute force as men
+are. In fact we are so fascinated with his beauty and intelligence
+that the cruel sport is almost forgotten in our interest in him and
+his master.
+
+Rubens painted a number of hunting scenes, and always he manages the
+hunt with the skill of a master. The confusion of the rough-and-tumble
+fight between the wild beasts and the horses, dogs, and men in Rubens'
+pictures seems to untangle itself under his glorious color and skilful
+arrangement. This is a picture you must see. When you go to New York
+City never fail to visit the Metropolitan Museum of Art.
+
+[Illustration: FIG. 14. WOLF AND FOX HUNT. RUBENS. Courtesy of the
+Metropolitan Museum of Art, New York City]
+
+
+
+
+THE NIGHT WATCH
+
+REMBRANDT VAN RIJN (1607?-1669)
+
+
+One time, more than two hundred and fifty years ago, two little
+children living in Amsterdam were playing at the edge of the city just
+at evening. Soon they overheard some Spanish soldiers near-by talking
+together. They began to understand that the men were making some kind
+of plans and, listening very sharply, they found that the Spaniards
+intended to attack the city of Amsterdam that night. The Spaniards
+were fighting the Netherlands at that time. You can imagine how
+frightened the children were. They knew that they must tell some one
+about it at once. Very quietly they crept away from where the men
+were, then ran for their lives to the town hall. The Civic Guard were
+having a banquet there. Rembrandt has painted the scene just as the
+little girl, in the center of the group, has finished her story. The
+men are making ready to meet the attack. Some have on their armor,
+some are polishing their guns, some have their drums, and all are full
+of excitement.
+
+When the painting was to be put in the new Ryks Museum, in Amsterdam,
+it was found that the wall was too narrow for the picture. What do you
+think the authorities did? The stupid men cut a piece off from each
+side of the picture to fit it in its new place. Was ever anything so
+silly? Even those pieces cut off would bring more money to-day than
+the museum itself cost.
+
+The men who had money at the time Rembrandt painted the picture were
+angry because the artist would not make portraits as they wanted them.
+They ignored Rembrandt, and he became very poor and died unknown.
+To-day those rich men are forgotten and Rembrandt is known the world
+over.
+
+[Illustration: FIG. 15. THE NIGHT WATCH. REMBRANDT. RYKS MUSEUM,
+AMSTERDAM]
+
+
+
+
+THE ASSUMPTION
+
+TITIAN, OR TIZIANO VECELLI (1477-1576)
+
+
+Titian lived to be ninety-nine-years old and still painted pictures.
+He was working on a painting when an awful plague broke out in Venice,
+and he took it and died. Titian painted such wonderful pictures that
+kings came to see them and rich noblemen paid big sums of money to own
+them. Sometimes King Charles V would ride with Titian and would have
+his courtiers pay tribute to Titian and wait on him. This made those
+haughty men very jealous and very angry, but Charles V would say, "I
+have many nobles, but I have only one Titian."
+
+Titian's picture of the "Virgin going to Heaven" the whole world calls
+one of the greatest pictures ever painted. Some day I hope you will go
+to Venice, that Queen City of the Sea, and fasten your gondola at the
+Museum door while you go in to see this picture. You will be so
+dazzled with its bright color that you will hardly see the little
+cherubs circling around the blessed mother. But I want you to look at
+them; they are darlings: then look at the men all reaching up and the
+Father in the sky looking down. The story of the picture is about
+Mary, the mother of Jesus, going to heaven.
+
+[Illustration: FIG. 16. THE ASSUMPTION. TITIAN. ACADEMY, VENICE]
+
+
+
+
+THE MELON EATERS
+
+BARTOLOME ESTEBAN MURILLO (1618-1682)
+
+
+When the Spanish artist Murillo was a young painter he was very poor
+and hardly knew where to get enough to eat. He would go to the
+market-place and set up his easel and rapidly paint the scenes around
+him. The people who came to the market to buy and sell saw these
+pictures and bought them for a mere pittance.
+
+Often beggar boys, who were everywhere in the market snatching fruits
+and other eatables from the stalls, would pose for him as they hid in
+some corner to eat their stolen dainties. These beggar-boy pictures
+that Murillo sold for a song to keep his soul and body together began
+to attract attention until finally they were looked upon as the
+greatest pictures Murillo ever painted. People outside of Spain,
+Murillo's native country, bought them until to-day scarcely a
+beggar-boy picture of his is found in Spain.
+
+This picture of "The Melon Eaters" is known far and wide as a great
+masterpiece, and yet the boys were little rag-a-muffins, the pests of
+the market people. Murillo knew the joys and sorrows of those boys
+because he too at that time was very poor and hungry and no one was
+giving him a helping hand. Do you suppose that when he was famous as a
+painter he ever saw those boys? I think so, for he was greatly beloved
+by his townspeople of Seville. They probably came to his studio many
+times. Murillo painted many religious pictures for the churches of
+Seville.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 17. THE MELON EATERS. MURILLO. PINAKOTHEK, MUNICH]
+
+
+
+
+THE MUSES
+
+GIULIO ROMANO (1492-1546)
+
+
+I am sure you have heard of the Muses. Romano, a pupil of Raphael's,
+has left us this beautiful picture of them dancing with Apollo, their
+cousin. The Muses were the daughters of Zeus (Jove or Jupiter), and
+Memory. These lovely girls also come to every home to help care for
+the new baby.
+
+The Greek names of the Muses are rather hard to pronounce, but you
+will want to call them by name. Then, too, each girl's name in Greek
+letters is just below where she dances. Now begin at the left of the
+circle. The first one, Calliope, stands for narrative poetry; No. 2,
+Clio, is history; No. 3, Erato, is love-poetry; No. 4, Melpomene, is
+tragedy; No. 5, Terpsichore, is dance and song. Now comes Apollo with
+his quiver full of arrows. He is the god of the hunt and twin brother
+to Diana, the goddess of hunt; also he is god of music and poetry. No.
+6 is Polyhymnia, muse of hymn-music; No. 7, Euterpe, is song poetry;
+No. 8, Thalia, is comedy, and No. 9, Urania, muse of astronomy.
+
+Athene gave the Muses the winged horse, Pegasus. But alack and alas!
+one of the poets became very poor and sold Pegasus to a farmer. He was
+fastened to the plow, but he could not plow through the hard earth.
+His spirit was broken and his body was weak. The angry farmer tried to
+make him work, but how could he when he had no courage? But just then
+a beautiful youth came and asked the farmer to let him try the horse.
+Of course the man was glad to have any one help get the plowing done.
+The young man petted the horse and slyly unfastened the harness as he
+patted him. He mounted upon his back and Pegasus rose in the air, and
+away they both went, Pegasus and Mercury. The farmer looked on with
+amazement. How could a good-for-nothing horse that could not plow do
+such a wonderful thing as fly?
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 18. THE MUSES. ROMANO. PITTI PALACE, FLORENCE]
+
+
+
+
+"COME, ABIDE WITH US"
+
+FRA GIOVANNI ANGELICO (1387-1455)
+
+
+Nearly two thousand years ago two men were walking together along a
+dusty road in Palestine. They talked earnestly as they walked along of
+a great event that had happened. A man called Jesus, the Christ, had
+been crucified and buried, but after three days he was not found in
+the tomb. As the men talked, a traveler joined them and asked:
+
+"What is it ye talk about and are sad?"
+
+And the men asked if he were a stranger in Jerusalem and did not know
+the things that had come to pass.
+
+The stranger said, "What things?"
+
+Then the men told him of Jesus of Nazareth, which was a prophet mighty
+in deed and word before God and all the people. And they said that
+they had all hoped He was the mighty one who was to save the world but
+that He had been killed.
+
+Then the stranger, who was Jesus himself, but the men did not know
+Him, began to tell them the story of all things about himself. Still
+they did not know Him, and as they came to the village of Emmaus and
+the stranger made as though He would have gone further, the men said,
+"Come, abide with us."
+
+This picture, showing the men inviting the stranger, was painted by
+Fra Angelico for the Dominican monastery in Florence, Italy. You will
+find it over the entrance of San Marco, where it welcomes every
+stranger who comes.
+
+Fra Angelico was so kind and gentle and helpful that his companions
+called him "Angel Brother"; in Italian, "Fra Angelico."
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 19. "COME, ABIDE WITH US." FRA ANGELICO. SAN MARCO, FLORENCE]
+
+
+
+
+THE SUPPER AT EMMAUS
+
+REMBRANDT VAN RIJN (1607?-1669)
+
+
+Rembrandt has taken the story of the two men and the stranger on their
+way to Emmaus after they have gone into the house. You see the
+disciples still did not know that the stranger was Jesus, the Christ.
+But when He sat at meat with them, He took bread and blessed it and
+brake and gave to them. Then they knew that it was the Savior who was
+talking with them and sitting at the table with them. Rembrandt shows
+the wondering men as they begin to recognize who their guest is, and
+he makes us feel the warmth and gladness that fill their hearts when
+they know that it is the risen Lord. The boy, too, lingers at the
+Savior's side as though to hear the meaning of the scene. But as they
+look, Jesus disappears out of their sight. When He is gone they say to
+each other:
+
+"Did not our heart burn within us, while he talked with us by the way,
+and while He opened to us the Scriptures?"
+
+Rembrandt painted this picture after many sorrows had come to him. His
+beloved Saskia, the mother of the "golden lad," Titus, was dead;
+friends had deserted him and his patrons were gone. But the love of
+people still filled the heart of the great painter.
+
+[Illustration: FIG. 20. THE SUPPER AT EMMAUS. REMBRANDT. LOUVRE,
+PARIS]
+
+
+
+
+THREE CHILDREN OF CHARLES I OF
+ENGLAND
+
+SIR ANTHONY VAN DYCK (1599-1641)
+
+
+The little boy standing between his brother and sister in this picture
+is Baby Stuart, the same child that is in the picture of "Baby Stuart"
+that you know so well. When Baby Stuart grew up he was crowned James
+II, king of England (1685). His brother was Charles II, king of
+England, and his sister was the mother of William III, king of
+England. James II, Baby Stuart, had a daughter, Mary, who became Mary,
+queen of England. When these cousins, William and Mary, grew up they
+were married and crowned king and queen of England in 1689.
+
+A funny story is told of the crowning ceremony. William was very short
+and Mary was quite tall. It would not do to have Mary taller than her
+husband, so a stool was brought for William to stand on. Now they are
+the same height as they are crowned King William III and Queen Mary II
+of England. When William and Mary ruled England the country was happy
+and prosperous because love reigned in the royal household.
+
+I have seen the stool that William stood on when he was crowned
+William III of England. It is in Westminster Abbey, London. That is
+another interesting bit of historic setting that you will see when you
+go to visit England.
+
+Sir Anthony Van Dyck, the Flemish artist, painted many pictures of the
+royal families of England, especially the family of Charles I. He put
+little dogs into his pictures so often that the people began to call
+these little fellows "King Charles spaniels." To-day, two hundred
+years after, they are still called King Charles spaniels.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 21. CHILDREN OF CHARLES I. VAN DYCK. DRESDEN GALLERY]
+
+
+
+
+THE BUTTERY
+
+PIETER DE HOOCH (1632?-1681)
+
+
+Pieter de Hooch is a Dutch artist you are going to love. Usually you
+can tell his pictures by the checked or plaid floors. The floors in
+the homes in Holland are mostly made of squares of black and white
+marble. Did you ever see a cuter little girl than this one in the
+picture? She has come for her pitcher of milk. Her mother went to the
+"buttery" for it: a buttery is a place for keeping casks and barrels
+and bottles. We can see one end of the cask or barrel under the window
+in the buttery. Now look into the next room and see the chair on a
+little platform. That platform is quite common in the Dutch home and
+is probably the place where mother or grandmother sits to read or sew
+by the window. What a beautiful day it must be out of doors to make
+the rooms so cheerful and bright! Hooch loved the sunshine and used it
+to brighten every home he painted. The sunshine on the checked floors
+makes his pictures sing with joy and happiness.
+
+We can find very little about the life of the "Dutch little masters,"
+yet the pictures they have left us are among our greatest treasures:
+just little home scenes that you and I know about.
+
+It is said that de Hooch often put in his people after he had finished
+painting his picture. In one picture he has added a girl near a
+fireplace to make the picture more balanced. We know that she was
+added after the picture was made, for we can see the plaid floor
+through her dress where the paint was too thin to cover the original
+floor. Such little things tell us something of the method of work of
+the Dutch painters.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 22. THE BUTTERY. DE HOOCH. RYKS MUSEUM, AMSTERDAM]
+
+
+
+
+THE CORONATION OF THE VIRGIN
+
+SANDRO BOTTICELLI (1446-1510)
+
+
+The children who are holding the book and ink-bottle in this picture,
+"The Coronation of the Virgin," lived four hundred years ago. Their
+names are Giovanni and Giulio de' Medici. Botticelli, the artist, knew
+them well for he was born and brought up in Florence and used to spend
+a great deal of time at the Medici Palace.
+
+The boys were cousins. Giulio, the younger, was left an orphan when a
+wee child and his uncle, Lorenzo the Magnificent, adopted him and had
+him brought up with his own son Giovanni. The boys were nearly the
+same age and grew up to be great and good men. Both of them were popes
+of Rome. The older boy, Giovanni, was Pope Leo X and Giulio Pope
+Clement VII.
+
+Now look at the picture again. The Madonna is reading to her little
+son, Jesus, "The Magnificat," that beautiful song from Luke, Chap. I,
+v. 46-56, sung so often in our churches. Let us repeat the song
+together:
+
+    My soul doth magnify the Lord,
+        And my spirit hath rejoiced in God my Savior.
+    For He hath regarded the low estate of his handmaiden:
+        For, behold, from henceforth, all generations shall call me
+            blessed.
+    For He that is mighty hath done to me great things; and holy is
+            His name.
+        And His mercy is on them that fear Him from generation to
+            generation
+    He hath shewed strength with his arm;
+        He hath scattered the proud in the imagination of their hearts.
+    He hath put down the mighty from their seats,
+        And exalted them of low degree.
+    He hath filled the hungry with good things;
+        And the rich he hath sent empty away.
+    He hath holpen his servant Israel, in remembrance of his mercy;
+        As He spake to our fathers, to Abraham, and to his seed for ever.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 23. CORONATION OF THE VIRGIN. BOTTICELLI. UFFIZI PALACE.
+FLORENCE]
+
+
+
+
+THE WOLF CHARMER
+
+JOHN LA FARGE (1835-1910)
+
+
+You see these wolves were once the old women gossips of the town, the
+story says; and when these women were unkind in what they said about
+people the Fates--I have told you another story about the Fates--the
+Fates to punish them turned them into wolves. The Wolf Charmer, who
+really is the old gypsy who killed the black cat of the village witch,
+goes out into the night. The owl calls the wolves to attack the gypsy.
+But the gypsy knew the old women before they were turned into wolves
+so he calls them by name: "Kate, Anne, and Bee!" And soon they follow
+him down the narrow path between the rocks and listen to his music on
+the bagpipes. "A funny story!" you say. You know there are people who
+have a strange power over wild animals.
+
+John La Farge said about this picture, "I made it to be one of a
+series of some hundred subjects, more or less fantastic and
+imaginary." He never finished the pictures nor carried out his plan of
+making these books for children. I am giving you "The Wolf Charmer"
+because he painted the picture for you. Mr. La Farge named this
+picture as the one he liked best of his paintings.
+
+[Illustration: Courtesy of John La Farge
+
+FIG. 24. THE WOLF CHARMER. LA FARGE. Courtesy of the City Art Museum,
+St. Louis]
+
+
+
+
+THE OLD WOMAN CUTTING HER NAILS
+
+REMBRANDT VAN RIJN (1607?-1669)
+
+
+No artist in all history had a sadder life than Rembrandt. It was sad
+because the people of Amsterdam were stupid and too blind to know that
+a great man was living among them. Rembrandt could paint wonderful
+portraits, and the rich people wanted their portraits painted. At
+first all went well. The rich flocked to his studio and Rembrandt made
+marvelous likenesses. Then the guilds of the great commercial houses
+wanted pictures for their halls. They came to Rembrandt for these
+pictures, but thinking that their money had bought the great artist
+body and soul, they began to tell him how he should make the pictures
+that each one might have equal prominence in it. Naturally Rembrandt
+would not be bought off with money. His art was bigger than gold. The
+picture that was really the turning point in his life was "The Night
+Watch." I wish you would look at the picture again. You see the men
+away back in the picture were jealous that they were not put in the
+front row. All they cared for was to have a fine portrait of
+themselves and Rembrandt was only interested in making a great
+picture.
+
+Rembrandt went on painting but no one bought his pictures. Many
+sorrows came to him. It was when the world had forsaken him that he
+painted "The Old Woman Cutting her Nails." Now you can understand why
+Rembrandt could paint an old woman with human sympathy. We could love
+that old woman because the unkindness of the world made her more
+tender and true to suffering humanity. She is the old grandmother we
+would go to if we were in trouble.
+
+[Illustration: FIG. 25. THE OLD WOMAN CUTTING HER NAILS. REMBRANDT.
+Courtesy of the Metropolitan Museum of Art, New York City]
+
+
+
+
+THE SPINNER
+
+NICOLAES MAES (1632-1693)
+
+
+This old woman is spinning flax. Have you ever seen a flax wheel? When
+you go to Holland try to visit Dordrecht, and if possible, go into a
+real Dutch home. There you may see some one, the grandmother maybe,
+spinning flax; then you will know that this picture is an actual
+scene.
+
+Nicolaes Maes, who painted the picture, was born in Dordrecht or Dort.
+This city is said to be the oldest city in the Netherlands; it was
+founded in the tenth century. An old woman spinning was a familiar
+scene to Maes. Now look at this spinner closely. She will not mind,
+for she is too intent on picking up a thread, possibly a broken or a
+knotted one. Maes saw a picture in the old woman's dull red dress and
+bright red sleeves. He liked the brown wheel and the yellow floor and
+the beautiful bit of blue cloth thrown over the wheel-base. Then he
+saw how beautifully the white kerchief and apron and wall caught the
+light. He saw the helpfulness of the rugged old hand, worn and scarred
+as it was, yet patient and firm in repairing a mistake.
+
+Maes's "The Spinner" and Rembrandt's "The Old Woman Cutting her Nails"
+make the tasks of every-day life very human. We in America owe much to
+these old Dutch women and to the artists who have made them live for
+us.
+
+This picture of "The Spinner" is only sixteen and one fourth inches
+high and thirteen inches wide, yet that old woman at her
+spinning-wheel is as much a real person in the room where she hangs on
+the wall as she was when Maes painted her, nearly three hundred years
+ago. I want you to love these little Dutch pictures; they are so
+honest and true and tell us about real people and real things, and
+they make us feel that beauty is everywhere. Now look at your
+grandmother as she mends your stockings and see how beautiful she is
+with the light on her dear old face and hair.
+
+[Illustration: FIG. 26. THE SPINNER. MAES. RYKS MUSEUM, AMSTERDAM]
+
+
+
+
+ST. GEORGE AND THE DRAGON
+
+VITTORE CARFACCIO (1440?-1522)
+
+
+St. George, a noble youth of Cappadocia, was one of the oldest and
+most noted of the saints. The story always told of him is his killing
+the dragon. Once upon a time St. George was going through Palestine on
+horseback when he came to the City of Beirut. There he found a
+beautiful young girl in royal dress weeping outside the walls of the
+city. When he asked her why she was crying, she told him that a
+terrible dragon lived in the marshes near the city. And to keep him
+from destroying every one in the city, each day two young girls must
+be fed to him. These young girls were chosen by lot, and this day she,
+Cleodolinda, the king's daughter, must be eaten by the dragon.
+
+St. George told her not to be afraid for he would destroy the dragon.
+But she cried:
+
+"O noble youth, tarry not here, lest thou perish with me! but fly, I
+beseech thee!" St. George answered:
+
+"God forbid that I should fly! I will lift my hand against the loathly
+thing, and will deliver thee through the power of Jesus Christ!"
+
+Then St. George, rushed at the dragon and thrust his spear into his
+mouth and conquered him. He then took the young girl's mantle and
+bound the beast, and she led him into the city to her father. That day
+twenty thousand people of the city were baptized.
+
+As time went on the name of St. George became very great. From the
+time that Richard I--the Lion-Hearted--placed his army under the
+protection of St. George the saint became the patron saint of England.
+In 1330 the order of the Garter, the highest order of knighthood in
+Great Britain, was founded and on its emblem is a picture of St.
+George and the dragon.
+
+Carpaccio, a Venetian artist, painted this picture of "St. George and
+the Dragon." He painted many other stories of saints.
+
+[Illustration: FIG. 27. ST. GEORGE AND THE DRAGON. CARPACCIO. CHURCH
+OF SAN GIORGIO DEGLI SCHIAVONI, VENICE]
+
+
+
+
+THE GRAND CANAL, VENICE
+
+JOSEPH MALLARD WILLIAM TURNER (1775-1851)
+
+
+Venice is a very curious city. It is really built on stilts on top of
+the water. Its streets are canals. Instead of having street-cars and
+horses and taxicabs everybody goes in long boats called gondolas. The
+main street in the city is the Grand Canal, and in this canal come all
+sorts of people with all sorts of water-crafts.
+
+The children play in the side streets just as you do except that they
+swim in the water instead of running on the ground. Even the babies
+are in the water fastened to the door-steps by a rope around their
+little bodies. How they do coo and gurgle as they paddle their little
+hands and feet like young frogs!
+
+Turner shows in this picture the Grand Canal filled with ships from
+other countries with gaily colored flags fluttering in the breeze. Do
+you see the tower at the left in the picture? That is the Campanile,
+the bell-tower. This wonderful tower fell down flat in 1902. I talked
+with a man who has a store just opposite the tower, a few weeks after
+it fell. He said to me: "I thought it would fall on my store and
+destroy everything. It began to tip; then all at once it fell flat
+just where it stood." The Venetians soon built it up again.
+
+When Napoleon, the great French emperor, took Venice, he rode up the
+inclined plane of this tower on his horse and stood on the very top
+overlooking the sea.
+
+[Illustration: FIG. 28. THE GRAND CANAL. TURNER. Courtesy of the
+Metropolitan Museum of Art, New York City]
+
+
+
+
+THE SONG OF THE LARK
+
+JULES ADOLPHE BRETON (1827-1906)
+
+    Up with me! up with me into the clouds!
+      For thy song, Lark, is strong;
+    Up with me, up with me into the clouds!
+                Singing, singing,
+    With clouds and sky above thee ringing,
+      Lift me, guide me till I find
+    That spot which seems so to thy mind!
+
+WORDSWORTH
+
+
+Can you not almost hear this girl singing? The sun is just coming up.
+The lark is rising in the sky, singing! The girl has come out to work
+in the fields; a peasant girl. Barefooted, barehanded, she stands
+straight like a soldier of work with her head lifted to drink in the
+morning air as she sings.
+
+One morning early I was driving through the country roads in the south
+of England when larks began to rise from the fields where the workmen
+were, just like this lark from the French field, and how they did
+sing! I stopped and listened, watching them go up higher and higher,
+their song growing fainter and fainter, and then they disappeared.
+Where did they go? Let us ask this French peasant girl. Do you think
+that she can tell us? If she cannot, who can?
+
+[Illustration: FIG. 29. SONG OF THE LARK. BRETON. Courtesy of the Art
+Institute, Chicago]
+
+
+
+
+THE HOLY NIGHT
+
+ANTONIO ALLEGRA DA CORREGGIO (1494?-1534)
+
+
+It is a wonderful story, the story of the Holy Night. The mother and
+father had traveled a long way; and when they came to Bethlehem every
+place was taken so they found a bed in a cave. In the night a baby boy
+came to the mother, and she "wrapped Him in swaddling clothes, and
+laid Him in a manger, because there was no room for them in an inn.
+And there was in the same country shepherds abiding in the fields,
+keeping watch over their flocks by night. And, lo, the angel of the
+Lord came upon them, and the glory of the Lord shone around about
+them; and they were sore afraid.
+
+"And the angel said unto them, Fear not; for behold, I bring you good
+tidings of great joy, which shall be to all people. For unto you is
+born this day in the city of David, a Savior, which is Christ, the
+Lord. And this shall be a sign unto you; ye shall find the babe
+wrapped in swaddling clothes, lying in a manger. And suddenly there
+was with the angel a multitude of the heavenly host praising God,
+saying, Glory to God in the Highest, and on earth peace, good will
+unto men.
+
+"And it came to pass as the angels were gone away from them into
+heaven, the shepherds said one to another, Let us go even to Bethlehem
+and see this thing which has come to pass, which the Lord has made
+known to us. And they came with great haste, and found Mary and
+Joseph; and the babe lying in a manger. At first a bright cloud
+overshadowed the cave but on a sudden the cloud became a great light
+in the cave, so that their eyes could not bear it. But the light
+gradually decreased until the Infant appeared, and sucked the breast
+of his mother, Mary."
+
+The picture shows us the shepherds in the cave worshiping the young
+child, Jesus, the Christ.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 30. THE HOLY NIGHT. CORREGGIO. DRESDEN GALLERY]
+
+
+
+
+THE GLEANERS
+
+JEAN FRANCOIS MILLET (1814-1875)
+
+
+Millet was a French peasant boy--very poor. He says his grandmother
+would come into his room early in the morning and call:
+
+"Awake, my little Francois; if you only knew how long a time the birds
+have been singing the glory of the good God!"
+
+He would insist when he was helping in the fields that there was
+beautiful color over the plowed ground, and when the other fellows
+laughed at him, he would say:
+
+"Wait, some day I will paint a picture and show you the color."
+
+After he was an artist he was going by a field one day when a peasant
+cutting grain called to him:
+
+"I would like to see you take a sickle."
+
+"I'll take your sickle," Millet answered quickly, "and reap faster
+than you and all your family."
+
+Of course the man laughed, for how could an artist cut grain. He soon
+stopped laughing, for Millet cut much faster and farther than he
+could.
+
+Millet would often go into the forest just back of his house to rest
+after painting all day. Then he would say:
+
+"I do not know what those beggars of trees say to each other, but they
+say something which we do not understand, because we do not understand
+their language."
+
+Millet's work is often called "the poems of the earth."
+
+Once when I was in Barbizon I found the gate open into Millet's
+door-yard. Of course I walked in, but the owner insisted that I walk
+out again. I shall never forget the peep I had of the little garden
+and the doorway and the long rambling house. That Millet lived there
+with his large family and there painted the pictures we love makes the
+place a joy to us.
+
+[Illustration: FIG. 31. THE GLEANERS. MILLET. LOUVRE, PARIS]
+
+
+
+
+ST. CECILIA
+
+RAPHAEL SANZIO (1483-1520)
+
+
+Did you know that St. Cecilia invented the organ, that wonderful
+musical instrument in our churches? Cecilia was born in Rome sixteen
+hundred years ago. She was a beautiful young girl who loved music and
+composed many hymns. The organ she dedicated to God's service.
+
+When Cecilia was married, her husband, a rich nobleman, was converted
+and baptized. He knelt by the side of Cecilia, and an angel crowned
+them with crowns made from roses which bloomed in paradise. The first
+thing Valerian asked was that his brother, who was a heathen, might be
+converted too. They sent for the brother, and when he came and found
+the room filled with the sweet fragrance of roses, though it was not
+the rose season, then he too became a Christian.
+
+The people of Rome were very unkind to Cecilia and Valerian and his
+brother because they preached the story of Jesus, the Christ. At last
+they killed them. St. Cecilia is the guardian saint of music and is
+always shown in art with the organ, as you see in this picture by
+Raphael. The man standing at the left of the picture with his hand up
+to his face is St. Paul. This is the most famous picture of St. Paul.
+Raphael shows the group listening to the heavenly choir while the
+earthly instruments of music have fallen at Cecilia's feet broken and
+out of tune.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 32. ST. CECILIA. RAPHAEL. BOLOGNA, ITALY]
+
+
+
+
+HELENA FOURMENT RUBENS AND HER
+SON AND DAUGHTER
+
+PETER PAUL RUBENS (1577-1640)
+
+
+This picture of "Helena Fourment Rubens and Her Son and Daughter" was
+really painted to honor the boy. It has always been the custom in
+Europe to pay special attention to the boys in the home and keep the
+girls very much in the background. It is very easy to see how pert the
+little Albert Rubens is, and how subdued and meek is his sister. The
+boy has the "Lord of Creation" air that would not be good for him in
+America. We love the picture, for Rubens, the father, shows us plainly
+the old idea that the boy rules the home. Naturally the father would
+know the traits of his own children but not always would he allow us
+to know them too.
+
+Rubens was so wonderful as an artist, as a man to settle quarrels, and
+as a beautiful gentleman that all Europe did him honor. He was sent to
+see the ruling powers in England, in Spain, in Italy, and in France.
+Each ruler entertained him as a royal guest, and Rubens painted
+masterpieces for each in return. His paintings were the wonder of the
+age. It is said that his fellow-artists looked with jealous eyes at
+his flesh tints, and that all painters since have been in despair
+trying to equal him. He left hundreds of pictures and hundreds of
+sketches. The sketches alone are bringing many hundreds of times their
+weight in gold.
+
+[Illustration: FIG. 33. HELENA FOURMENT AND HER SON AND DAUGHTER.
+RUBENS. LOUVRE, PARIS]
+
+
+
+
+THE HARP OF THE WINDS
+
+HOMER MARTIN (1836-1897)
+
+
+About a dozen years ago Europe began to wonder if America had any art
+worth considering. She invited us to send samples of our paintings
+that her critics might judge of our work. Among the pictures selected
+was Homer Martin's "The Harp of the Winds." At once Europe saw that an
+American artist had painted a masterpiece.
+
+This scene is on the River Seine, a short distance from Paris. Was
+anything ever more simple? Slender willow-trees almost leafless, bare
+rocks with a few scrubby bushes, a tiny village sheltered in a curve
+of the river--what is there to suggest a picture? And yet something
+grips us. We seem to be at the beginnings of creation. Nature is
+confiding in us. We are hearing the winds play on the harp to the
+listening river. See how lovingly the water mirrors those harp strings
+all sparkly with gold and green! I wonder if these willows make a harp
+or a lyre with their tall stalks reaching to the sky? Do you remember
+how, when Mercury found a tortoise, he took the shell and made holes
+on both sides and strung nine strings across it--one for each
+Muse--and gave it to Apollo? I think this Harp of the Winds has nine
+strings in memory of Mercury's lyre.
+
+[Illustration: FIG. 34. THE HARP OF THE WINDS. MARTIN. Courtesy of the
+Metropolitan Museum of Art, New York City]
+
+
+
+
+THE TRIBUTE MONEY
+
+TITIAN, OR TIZIANO VECELLI (1477-1576)
+
+
+Every child must know "The Tribute Money," painted by Titian, for no
+artist understood the scene better than he did. Remember that the bad
+men in Palestine were determined to find something that Jesus, the
+Christ, had done against the Roman Government so they could trap him.
+At last they sent one in authority to question him.
+
+But Jesus said, "Bring me a penny, that I may see it." And they
+brought him a penny.
+
+And Jesus said, "Whose is this image and superscription?"
+
+And the man was forced to say, "Caesar's."
+
+Then Jesus made that famous reply that people use so often to-day:
+"Render to Caesar the things that are Caesar's, and to God the things
+that are God's."
+
+Titian shows the moment when the tax-gatherer must say that the penny
+belonged to Caesar, the Roman emperor. It had Caesar's portrait on it
+and Caesar's demands written on it. Look carefully at the two faces and
+the two hands, and tell me what you think of the two men as Titian
+shows them to us.
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 35. THE TRIBUTE MONEY. TITIAN. DRESDEN GALLERY]
+
+
+
+
+THE MAIDS OF HONOR
+
+DIEGO RODRIGUEZ DE SILVA Y VELASQUEZ (1599-1660)
+
+
+If it had not been for Velasquez we should know very little about the
+little princes and princesses of Spain in the time of Philip IV, about
+the middle of the sixteenth century. He made many portraits of these
+children, especially of the little Princess Margarita.
+
+One day when Velasquez was painting a portrait of Philip IV, the
+king's little daughter Margarita came into the room attended by her
+maids of honor and a splendid dog. The king was so delighted with the
+little group that he told Velasquez to make a picture of them just as
+they stood there before him. Now look at the picture and you will see
+in the looking-glass at the back of the room the reflection of the
+king and the queen. At the easel stands Velasquez, the artist, with
+his palette and brushes. The wee fair-haired princess is the center of
+the group. The strange-looking little women, her maids of honor, are
+dwarfs. And see what a magnificent fellow the dog is, lying so
+contentedly on the floor right in front of us.
+
+When the picture was finished, and the people went to see it, many of
+them asked, "Where is the picture?" The little Margarita and her maids
+are so alive and those people standing around seem so real that no one
+thought they could be painted on canvas.
+
+Velasquez made such wonderfully real likenesses that some one told
+this story of one: One day the King came to Velasquez's studio and
+seeing, as he supposed, one of his admirals whom he had sent to take a
+command a few days before, he spoke angrily:
+
+"What! still here? Did I not command you to depart? Why have you not
+obeyed?" Of course the admiral did not answer, and then the king found
+that he had been angry at a portrait.
+
+[Illustration: FIG. 36. THE MAIDS OF HONOR. VELASQUEZ. MADRID GALLERY,
+SPAIN]
+
+
+
+
+THE NYMPHS
+
+JEAN BAPTISTE CAMILLE COROT (1796-1875)
+
+
+Everybody loved Pere Corot--Papa Corot, as he was called. His happy
+manner and lovely smile won for him the name of the "happy one." I
+want you to know what Papa Corot says, in a letter to a friend, about
+himself and his painting. He writes:
+
+"Look you, it is charming, the day of a landscapist. He gets up at
+three in the morning, before sunrise, goes and sits under a tree, and
+watches and waits. Not much can be seen at first. Nature is behind a
+veil. Everything smells sweet.
+
+"Ping! a ray of yellow light shoots up. The veil is torn, and meadow
+and valley and hill are peeping through the rent.
+
+"Bing, bing! the sun's first ray--another ray--and the flowers awake
+and drink a drop of quivering dew. The leaves feel cold and move to
+and fro. Under the leaves unseen birds are singing softly. The flowers
+are saying their morning prayers.
+
+"Bam! the sun has risen. Bam! a peasant crosses the field with a cart
+and oxen. Ding! ding! says the bell of the ram that leads the flock of
+sheep.
+
+"Bam! bam! all bursts--all glitters--all is full of light, blond and
+caressing as yet. The flowers raise their heads. It is adorable. I
+paint! I paint!
+
+"Boom! boom! boom! The sun aflame burns the earth. Everything becomes
+heavy. Let us go home. We see too much now. Let us go home."
+
+You see now why Corot could paint such a lovely picture as "The
+Nymphs." He saw these gauzy creatures in the early morning light and
+painted them before the sun scattered them to the four winds.
+
+[Illustration: FIG. 37. THE NYMPHS. COROT. LOUVRE, PARIS]
+
+
+
+
+ST. FRANCIS PREACHING TO THE BIRDS
+
+GIOTTO DI BONDONE (1266?-1337)
+
+
+One time more than six hundred years ago St. Francis preached the
+dearest sermon to "My Sisters the Birds" that you ever heard. He said
+to them as they lifted their little heads to listen to his words:
+
+"Ye are beholden unto God your Creator, and always and in every place
+it is your duty to praise him! Ye are bounden to him for the element
+of the air which he has deputed to you forever-more. You sow not,
+neither do you reap. God feeds you and gives you the streams and
+fountains for your thirst. He gives you the mountains and the valleys
+for your refuge, tall trees wherein to make your nests, and inasmuch
+as you neither spin nor reap God clothes you and your children, hence
+ye should love your Creator greatly, and therefore beware, my sisters,
+of the sins of ingratitude, and ever strive to praise God."
+
+St. Francis then made the sign of the Cross and sent the birds north,
+south, east, and west to carry the story of the Cross to all mankind.
+
+When Giotto, who painted this picture of "St. Francis Preaching to the
+Birds," was a little boy, he took care of his father's sheep in the
+fields. One day a noted painter, Cimabue, found Giotto drawing a sheep
+on a flat rock with colored stones. The picture of the sheep was so
+lifelike that the great man asked the boy, Giotto, to go with him and
+become an artist. He went, and one day years afterward the pope sent
+to Giotto for a sample of his work. Giotto sent him a big round O. It
+pleased the pope to find a man so original, and he gave Giotto many
+orders for pictures. To-day the saying is "Round as Giotto's O."
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 38. ST. FRANCIS PREACHING TO THE BIRDS. GIOTTO. UPPER CHURCH,
+ASSISI, ITALY]
+
+
+
+
+THE GOVERNESS
+
+JEAN BAPTISTE SIMEON CHARDIN (1699-1779)
+
+
+When Chardin began to paint pictures he went into the French homes and
+painted pictures of brass pots and kettles, of fruits and vegetables.
+Then he took common scenes of life and gave us a number of pictures
+showing just what was going on in the homes and back yards.
+
+The French people were not used to having an artist see beauty in the
+every-day things they were doing; artists had been painting the rich
+for the rich. Everybody began to love the pictures Chardin painted.
+This is a very simple story in "The Governess." The child--is it a boy
+or a girl?--is now ready to go to school. He--I believe he is a
+boy--is hearing some advice, and I do not think he is pleased, for he
+has a little frown on his face. His dress is peculiar. The French
+children two hundred years ago did not dress as you do to-day. He is
+the same kind of a child that you are, I am sure, and you and he would
+soon be great friends.
+
+Chardin's color was so wonderful that one of his artist friends cried
+out: "O Chardin! it is not white, red, or black that you grind to
+powder on your palette; it is the air and the light that you take on
+the point of your brush and fix on canvas."
+
+Chardin's pictures are as beautiful and bright to-day as they were
+when he painted them.
+
+[Illustration: FIG. 39. THE GOVERNESS. CHARDIN. LIECHTENSTEIN GALLERY,
+VIENNA]
+
+
+
+
+THE LAST SUPPER
+
+LEONARDO DA VINCI (1452-1519)
+
+
+I want you to know the disciples of Jesus just as Leonardo da Vinci
+painted them four hundred years ago. Leonardo spent months among the
+men of Milan, Italy, looking into their faces and talking with them.
+When he began to paint "The Last Supper" he had gathered men together
+so like these twelve disciples that we feel we can know them as Jesus
+knew them. For three years those men of old walked with Jesus and
+talked with him as they went up and down Palestine; and at last, on
+that wonderful night, they met with Him in the upper chamber to eat
+with Him the Last Supper. Those disciples did not know that it was the
+last meal they would eat with Jesus before he was hung on the cross.
+
+We shall begin in the center of the table and name the disciples as
+Leonardo has them in the picture. First is the Savior. At his left is
+James with his arms spread out in distress; back of him is Thomas with
+his finger uplifted; then Philip rising with his hand on his heart;
+next Matthew, his arms pointing to the Savior while he turns toward
+the two near the end; next to him is Thaddeus; and then Simon. On the
+other side of Jesus sits John, the beloved disciple. His hands are
+folded and his eyes are cast down. Next to John is Judas, the
+betrayer; he holds the bag clutched in his right hand and near him is
+the overturned salt cellar. Leaning back of Judas is Peter with one
+hand on John's shoulder; next to Peter is Andrew; then James, the
+less, laying one hand on Peter's arm. At the end of the table is
+Bartholomew, who has risen resting his hands on the table. These men
+are all asking, "Is it I?" For Jesus had said, "He it is to whom I
+give a sop."
+
+[Illustration: FIG. 40. THE LAST SUPPER. LEONARDO DA VINCI. SANTA
+MARIA DELLE GRAZIE, MILAN]
+
+
+
+
+SIR GALAHAD
+
+GEORGE FREDERICK WATTS (1818-1904)
+
+
+Of all the stories of King Arthur and his Knights of the Round Table
+none is so strange as that of Sir Galahad. Its beginning is in the
+upper chamber at the Last Supper with Jesus and his disciples. Legend
+says that the cup used by our Savior at the Last Supper was the Holy
+Grail. Joseph of Arimathea, who bought the cup from Pontius Pilate,
+used it to catch the blood that flowed from the pierced side of our
+Lord. The cup, or Holy Grail, was kept in the Convent of the Holy
+Grail by the descendants of Joseph of Arimathea.
+
+The cup had marvelous powers in the hands of a perfect knight.
+Centuries passed and no perfect knight came to claim the Holy Grail.
+Then King Arthur founded the Knights of the Round Table. One seat at
+the round table was always vacant waiting for the sinless youth. Many
+tried to sit in the "seat perilous," as it was called, but the seat
+let each one down to disappear forever.
+
+At last an old man--Joseph of Arimathea himself--brought a boy and
+seated him in the vacant chair. The knights were frightened but the
+boy sat unharmed and above the seat appeared the words:
+
+THIS IS THE SEAT OF GALAHAD
+
+King Arthur knighted him and sent him forth to find the Holy Grail.
+Years went by and awful trials and temptations came to Sir Galahad. He
+did not yield to the bad things that came, but kept looking for the
+Holy Grail. At last he held the cross before his face to keep off his
+tormentors when before his eyes he saw the cup, and the power of the
+Holy Grail came to him.
+
+This picture of Sir Galahad in Eton College, England, hangs in the
+chapel opposite the entrance door where each boy passes in on his way
+to morning and evening prayers.
+
+[Illustration: FIG. 41. SIR GALAHAD. WATTS. ETON COLLEGE, ENGLAND]
+
+
+
+
+THE DUCHESS OF DEVONSHIRE AND
+HER CHILD
+
+SIR JOSHUA REYNOLDS (1723-1792)
+
+
+Sir Joshua Reynolds ought to be called "the painter of little girls."
+No artist ever painted a larger number of little girls. And no artist
+ever knew better than he how to get the confidence of children, boys
+or girls.
+
+One time a little boy in London was to carry a flag in a procession.
+What do you think he did? He went to Sir Joshua Reynolds, the artist
+whom no one dared to interrupt, and asked him if he would paint a flag
+for him. This pleased the great man. When the boy proudly displayed
+his flag, every one asked:
+
+"Where did you get such a wonderful flag?"
+
+You can guess how proud the boy was to say, "Sir Joshua Reynolds
+painted it for me!"
+
+This picture of "The Duchess of Devonshire and her Child" is one of
+the greatest pictures Sir Joshua ever painted. The original painting
+is now in the magnificent country seat of the Duke of Devonshire at
+Chatsworth, England. Sir Joshua had a way of making his pictures
+sparkle and glisten that was unknown to other artists. One of our own
+artists, Gilbert Stuart, when in London, was copying a very valuable
+portrait by Sir Joshua. He thought he saw one of the eyes move. He was
+horrified to find that it really was moving down on the cheek. He
+grabbed the picture and ran into a cold room and then worked the eye
+back in place. The secret was out! Sir Joshua Reynolds had used wax to
+make his pictures glitter and, alas, the glitter would not last.
+
+[Illustration: FIG. 42. THE DUCHESS OF DEVONSHIRE AND HER CHILD.
+REYNOLDS. ROYAL GALLERY, WINDSOR]
+
+
+
+
+ST. AGNES AND HER LAMB
+
+ANDREA DEL SARTO (1486-1531)
+
+
+One of the most beautiful pictures of "St. Agnes and her lamb" was
+painted by Andrea del Sarto,--"Andrea the faultless," as he was
+called. It is in the cathedral at Pisa.
+
+St. Agnes was a Roman girl who lived three hundred years after the
+birth of Jesus. Her father and mother were heathens, but their little
+daughter became a Christian when a mere child. She did not tell her
+parents that she loved Jesus, but when she refused to worship idols
+they knew that she had become a disciple of the Master Christ. This
+made them so angry that they handed her over to the Roman rulers to be
+punished. These wicked men tried in every way to persuade Agnes to bow
+down to their gods made of wood and stone. When she would not bow down
+to them they tried to force her to worship the idols.
+
+They gave her over to the soldiers and ordered them to take her
+clothes away, but immediately her hair grew and covered her, and
+angels came and gave her a shining white garment. She even refused to
+marry the son of the Roman magistrate. The son thought that he could
+compel her to consent to the marriage after she was persecuted, but he
+was struck blind when he tried to see her.
+
+When St. Agnes saw what great sorrow came to the home of the young
+nobleman because he was blind, she prayed for him and his eyesight
+came again. His father was so thankful that he pleaded for her life,
+but the people said,
+
+"She is a sorceress: she must die." Then they tried to burn her, but
+the flames burned her tormentors and did her no harm. At last she was
+killed with a sword. She is always represented with a lamb.
+
+Michael Angelo wrote to Raphael about Andrea del Sarto: "There is a
+little fellow in Florence who, if he were employed as you are upon
+great works, would make it hot for you."
+
+[Illustration: Courtesy of Pratt Institute
+
+FIG. 43. ST. AGNES AND HER LAMB. ANDREA DEL SARTO. PISA CATHEDRAL,
+ITALY]
+
+
+
+
+WHISTLER'S MOTHER
+
+JAMES ABBOTT MCNEILL WHISTLER (1834-1903)
+
+
+The story about Whistler and his mother is rather a sad one. He went
+to Europe when he was a young painter and told his mother as he
+started that he would come home to her when he had made a success. But
+he never made a success in money. He painted this picture of his
+mother and for twenty years tried to sell it. He offered it to his own
+country--the United States--for five hundred dollars. We were so
+stupid that we did not know that the picture was a masterpiece and
+that no amount of money could buy it later on. But the people of Paris
+began to feel that Whistler, the American artist, was a great master,
+and the city bought the picture, "Whistler's Mother." Of course we can
+never own the picture now, although it is an American mother, unless
+the French people should give it to us. But we do not deserve it, do
+we?
+
+After a number of years Whistler's mother went to Europe to make a
+home for her wonderful son. She died in Chelsea, and to-day the mother
+and son are side by side in the little churchyard of Chiswick, near
+London.
+
+[Illustration: FIG. 44. WHISTLER'S MOTHER. WHISTLER. LUXEMBOURG,
+PARIS]
+
+
+
+
+ST. CHRISTOPHER
+
+TITIAN, OR TIZIANO VECELLI (1477-1576)
+
+
+Christopher, or Offero, was born in Palestine in the third century. He
+was a giant in size but ignorant and poor. He felt that he could not
+work for any one who was afraid of any one else. He wandered over the
+country and at last he came to a powerful king and offered to work for
+him. The king thought it very fine to have a giant for a servant. One
+day Offero stood by the king's side while a minstrel sang a song about
+Satan. Every time the name of Satan was spoken the king crossed
+himself. Offero was puzzled, for he never had heard of Satan, nor of
+Jesus. When he found that the king was afraid of Satan, Offero went to
+find the man the king was afraid of.
+
+Offero found Satan and became his servant. But as they went through
+the land Offero saw that Satan always went away around the little
+shrines. Offero asked Satan why he did that. Satan said he did not
+like to come near the cross where was the crucified One. Then Offero
+knew that he was afraid of Jesus.
+
+He went out to find Jesus. At last an old hermit told Offero to go to
+a river where people were often drowned and to carry every one across
+on his back, and that maybe he would find Jesus. Offero built himself
+a hut and spent years carrying people over the stream and no one was
+drowned. One stormy night Offero thought he heard a child's voice
+calling him. He went out two or three times. At last the child
+appeared and asked Offero to carry him over. Offero started. The storm
+grew worse and the water rose high and the child grew very, very
+heavy. When Offero set the child down, he said, "I feel as though I
+had carried the whole world!" The child answered:
+
+"Offero, you have carried the maker of the world. I am Jesus, whom you have
+sought. You shall be called Christ-Offero--the Christ-bearer--from now
+on."
+
+[Illustration: FIG. 45. ST. CHRISTOPHER. TITIAN. DOGES' PALACE,
+VENICE]
+
+
+
+
+THE BLUE BOY
+
+THOMAS GAINSBOROUGH (1727-1788)
+
+
+Gainsborough began to draw and paint when he was a child. He often
+entertained his companions by drawing pictures for them while they
+read the lessons to him.
+
+One morning Thomas got up with the sun and went out into the garden to
+sketch. There was in the garden a wonderful pear-tree full of ripe
+pears, and the pears had been disappearing very mysteriously. While
+Thomas was making his drawings he saw a man's face appear suddenly
+above the stone wall. He quickly made a sketch of the face, and
+frightened the man before he could get away with the fruit. At the
+breakfast-table the young artist told his father what he had done and
+showed him the sketch. His father knew the man and sent for him. When
+the man was accused of stealing the pears he denied it, but when he
+was shown the picture Thomas had made of him he confessed that he had
+taken the pears.
+
+Artists, like all of us, want to lay down rules for every one to
+follow who is doing their same kind of work. Sir Joshua Reynolds said,
+"The masses of light in a picture ought to be always of a warm, mellow
+colour--yellow, red, or yellowish white; and the blue, the grey, or
+green colours should be kept almost entirely out of the masses."
+Gainsborough did not agree with him. To show Sir Joshua that he was
+wrong Gainsborough painted pictures in blue and green. The famous
+"Blue Boy" alone proved that he was right. The boy has on a blue satin
+suit and he stands out-of-doors in green grass with green foliage and
+blue sky around him. When Sir Joshua saw Gainsborough's blue-green
+pictures he said frankly, "I cannot think how he produces his
+effects."
+
+These two men were never good friends yet when Gainsborough was near
+death Sir Joshua Reynolds came to his bedside, and when Gainsborough
+died Reynolds was one of the pall-bearers.
+
+[Illustration: FIG. 46. THE BLUE BOY. GAINSBOROUGH. Private Gallery,
+Henry Huntington, Los Angeles, California]
+
+
+
+
+THE SLEEPING GIRL
+
+JAN VAN DER MEER OF DELFT (1632-1675)
+
+
+I want you to know and love the Dutch pictures. The painters were
+called "little masters," simply because they painted small pictures
+for the homes. For the homes! The Dutch wanted pictures to hang on
+their walls; pictures they could live with. Now what do you think of
+the "Sleeping Girl"? Do you know I could live with that picture and
+feel that I always had something to make me happy? It is so homy. See
+how comfortable the girl is! Of course a good healthy girl has no
+business to be sleeping in the daytime, but we can forgive her now
+that van der Meer has caught her asleep and let us see her. Then look
+at that wonderful rug! Was ever anything so soft and velvety? If we
+knew about rugs we might tell its name and maybe its age.
+
+Van der Meer had a way of catching people without their knowing it. He
+seems to have cut a piece out of the wall where he peeped in and
+painted what he saw. We are glad the girl left the door open into
+another room so that we can see the table and pictures and part of the
+window-frame. I think these things are reflected in a looking-glass.
+
+Van der Meer painted only about forty pictures, and eight of those are
+in the United States. They are among our greatest art treasures.
+
+[Illustration: FIG. 47. THE SLEEPING GIRL. VAN DER MEER. Courtesy of
+the Metropolitan Museum of Art, New York City]
+
+
+
+
+ST. ANTONY AND THE CHRIST-CHILD
+
+BARTHOLOME ESTEBAN MURILLO (1618-1682)
+
+
+Many very curious legends are told of St. Antony of Padua, who died in
+1231. He was a close friend of St. Francis (see "St. Francis and his
+Birds," page 76). One story says that one time he was preaching about
+the Savior when the child Jesus came and sat on his open Bible. It is
+this story that Murillo painted his picture to illustrate. Again and
+again Murillo has shown us St. Antony with the Christ-child, but never
+more beautifully than here. This is one of Murillo's greatest
+religious pictures.
+
+Another story is told of St. Antony. One day he was preaching the
+funeral sermon of a rich young man when he exclaimed:
+
+"His heart is buried in his treasure-chest; go seek it there and you
+will find it."
+
+Sure enough when the friends of the rich young man opened the
+treasure-chest there was the heart, and no heart was found in the
+young man's dead body.
+
+[Illustration: FIG. 48. ST. ANTHONY AND THE CHRIST-CHILD. MURILLO.
+MUSEUM OF SEVILLE, SPAIN.]
+
+
+
+
+KING LEAR
+
+EDWIN AUSTIN ABBEY (1852-1911)
+
+
+The story of "King Lear" is one of the most pitiful of Shakespeare's
+play. It is about the thanklessness of children to a father. Old _King
+Lear_ had three daughters--_Goneril_, _Regan_, and _Cordelia_. He
+loved these daughters dearly and he believed that they loved him. As
+he grew old in life he thought he would divide his kingdom and
+property among them equally; then there would be no trouble about his
+wealth after he was dead. Of course he expected to make his home with
+them in turn as long as he lived. Naturally he went to _Goneril_, the
+eldest daughter, first. Very soon he found that he was not wanted. She
+had the money--her father's money--but why should she be troubled with
+her old father? He then went to _Regan_, his second child, but she too
+refused to make a home for him. The third daughter, _Cordelia_, loved
+her father dearly and wanted him to live with her that she might care
+for him in his old age. By a strange mishap the old father thought
+that _Cordelia_, his beloved child, was false to him. He wandered off
+on the heath in a fearful storm and at last found shelter in a hut
+where he thinks even his faithful dogs are against him. He cries out
+pitifully:
+
+    The little dogs and all,
+    Tray, Blanche and Sweetheart, see they bark at me.
+
+Abbey has painted the scene when the old king is leaving heart-broken,
+for he thinks _Cordelia_, the child he loves best, is deserting him.
+_Cordelia_, knowing how false her sisters are, is saying:
+
+    I know you what you are;
+    And, like a sister, am most loath to call
+    Your faults as they are named. Love well our father.
+
+Abbey's story of "The Holy Grail" in the Boston Library is one of
+America's great series of paintings for wall decoration.
+
+[Illustration: FIG. 49. KING LEAR. ABBEY. Courtesy of the Metropolitan
+Museum of Art, New York City.]
+
+
+
+
+SUNSET IN THE WOODS
+
+GEORGE INNESS (1825-1894)
+
+
+Whenever you can, I want you to find out what the painter says about
+his own pictures. We feel very glad that George Inness told us about
+"Sunset in the Woods." He said in 1891: "The material for my picture
+was taken from a sketch made near Hastings, on the Hudson, New York,
+twenty years ago. This picture was commenced seven years ago, but
+until last winter I had not obtained any idea equal to the impression
+received on the spot. The idea is to express an effect of light in the
+woods at sunset."
+
+What a wonderful glow he has on those trees beyond the big rock away
+back in the picture. And see the light on the trunk of the big tree
+near us. I believe the light is gradually disappearing as we look.
+Somehow we feel the birds are twittering as they go to bed and the
+flowers are nodding their heads, they are so sleepy. Soon it will be
+dark and the owl will screech and the night insects will buzz. Come,
+we must go home or we cannot see our way!
+
+[Illustration: FIG. 50. SUNSET IN THE WOODS. INNESS. Courtesy of the
+Corcoran Art Gallery, Washington, D. C.]
+
+
+
+
+INDEX
+
+
+Abbey, Edwin Austin, 98, 99
+
+Angelico, Fra Giovanni, 38, 39
+
+Angelo, Michael, 23, 24, 86
+
+Arthur, King, 82, 83
+
+
+Bastien-Lepage, Jules, 22, 23
+
+Botticelli, Sandro, 46, 47
+
+Breton, Jules Adolphe, 58, 59
+
+
+Caesar (Tiberius), 70
+
+Carpaccio, Vittore, 54, 55
+
+Chardin, Jean Baptiste Simeon, 78, 79
+
+Charles I, 16, 28, 42
+
+Charles II, 41, 43
+
+Charles V, 32
+
+Charles VI, VII, 22
+
+Corot, Jean Baptiste Camille, 8, 9, 74, 75
+
+Correggio, Antonio, 6, 7, 60, 61
+
+Constable, John, 4, 5
+
+
+Disciples, The, 80, 81
+
+Dolci, Carlo, 20
+
+
+Farge, John La, 48, 49
+
+Ferdinand III, 20
+
+Fourment, Helena, 66, 67
+
+
+Gainsborough, Thomas, 92, 93
+
+Galahad, Sir, 82, 83
+
+Giotto di Bondone, 76, 77
+
+Gods and Goddesses,
+
+  Apollo, 10, 11, 36, 37, 68
+
+  Aurora, 9, 10
+
+  Atropos, (a fate), 24, 25
+
+  Calliope, (a muse), 36, 37
+
+  Clio (a muse), 36, 37
+
+  Clothes, (a fate), 24, 25
+
+  Diana, 36
+
+  Erato (a muse), 36, 37
+
+  Euterpe, (a muse), 36, 37
+
+  Fates, The, 24, 25, 48
+
+  Horae, 10, 11
+
+  Hyperion, 10, 11
+
+  Lachesis (a fate), 24, 25
+
+  Melpomene (a muse), 36, 37
+
+  Memnon, 10
+
+  Memory, 36
+
+  Mercury, 36, 68
+
+  Muses, The, 36, 37, 68
+
+  Pegasus, 36
+
+  Polyhymnia (a muse), 36, 37
+
+  Selene, 10
+
+  Thalia (a muse), 36, 37
+
+  Urania (a muse), 36, 37
+
+  Zeus, 10, 36
+
+
+Hals, Frans, 12, 13
+
+Homer, Winslow, 18, 19
+
+Hooch, Pieter de, 44, 45
+
+
+Inness, George, 100, 101
+
+
+James II, 42
+
+Jesus, 2, 32, 38, 39, 40, 41, 46, 60, 64, 80, 81, 90, 91
+
+Joan of Arc, 22, 23
+
+Joseph of Arimathea, 82
+
+
+Lear, King, 98, 99
+
+
+Maes, Nicolaes, 52, 53
+
+Magnificent, The, 46
+
+Martin, Homer, 68, 69
+
+Medici, Giovanni de' (Pope Leo X), 46
+
+Medici, Giulio de (Pope Clement VII), 46
+
+Medici, Lorenzo de', 46
+
+Millet, Jean Francois, 62, 63
+
+Murillo, Bartolome Esteban, 34, 35, 96, 97
+
+
+Napoleon, 56
+
+
+Offero, 90, 91
+
+
+Philip IV, 72
+
+Pintoricchio, Bernardino, 2, 3
+
+
+Raphael Sanzio, 20, 21, 26, 27, 64, 65, 86
+
+Rembrandt, van Rijn. 30, 31, 40, 41, 50, 51, 86
+
+Reni, Guido, 10, 11
+
+Reynolds, Sir Joshua, 84, 85, 92
+
+Romano, Giulio, 36, 37
+
+Rubens, Peter Paul, 16, 28, 29, 66, 67
+
+
+Stuart, Gilbert, 84
+
+Sarto, Andrea del, 86
+
+Saints,
+
+  Agnes, 86, 87
+
+  Anthony, 96, 97
+
+  Barbara, 14, 15
+
+  Cecilia, 64, 65
+
+  Christopher, 90, 91
+
+  Elizabeth, 2
+
+  Francis, 76, 77, 96
+
+  George, 54, 55
+
+  Jerome, 6, 7, 8
+
+  John the Baptist, 2
+
+  Joseph, 2, 60
+
+  Mary, (Madonna, virgin), 2, 6, 20, 26, 32, 46, 60
+
+  Michael, 22
+
+  Paul, 64, 65
+
+
+Titian Vecelli, 32, 33, 70, 71, 90, 91
+
+Turner, Joseph Mallard William, 56, 57
+
+
+Van der Meer, Jan, 94, 95
+
+Van Dyck, Anthony, 12, 16, 17, 28, 42, 43
+
+Vecchio, Palma, il Jacopo, 14, 15
+
+Velasquez, Diego Rodriguez de Silva y, 72, 73
+
+Venice, 56, 57
+
+Vinci, Leonardo da, 80, 81
+
+
+Watts, George Frederick, 82, 83
+
+Whistler, James Abbott McNeill, 88, 89
+
+William III, 42
+
+Wordsworth, 58
+
+
+Zacharias, 2
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK THE CHILDREN'S BOOK OF CELEBRATED
+PICTURES***
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