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| author | nfenwick <nfenwick@pglaf.org> | 2025-03-07 14:22:11 -0800 |
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| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-07 14:22:11 -0800 |
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| tree | a403716fb86399d267cc2d163497620a8781588e /43792-h | |
| parent | 6816d6d45d8dca2ab5e80b5c7a8fadad959771d5 (diff) | |
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diff --git a/43792-h/43792-h.htm b/43792-h/43792-h.htm index d88d0ae..33b58fb 100644 --- a/43792-h/43792-h.htm +++ b/43792-h/43792-h.htm @@ -3,7 +3,7 @@ <head> <meta http-equiv="Content-Type" content= - "text/html; charset=iso-8859-1" /> + "text/html; charset=UTF-8" /> <title> The Project Gutenberg eBook of The History of Modern Painting Volume 1 by Richard Muther. @@ -157,48 +157,7 @@ </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The History of Modern Painting, Volume 1 -(of 4), by Richard Muther - -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 History of Modern Painting, Volume 1 (of 4) - Revised edition continued by the author to the end of the XIX century - -Author: Richard Muther - -Release Date: September 22, 2013 [EBook #43792] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK HISTORY OF MODERN PAINTING, VOL I *** - - - - -Produced by Marius Masi, Albert László and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43792 ***</div> <p class="center col f200 ptb2">THE HISTORY OF<br /> MODERN PAINTING</p> @@ -258,9 +217,9 @@ century.—Sturm-und-Drang period in literature.—Rousseau.—Goeth and etchings.—France: Antoine Watteau frees himself from “baroque” influences, and directs the tendency of French art towards the Low Countries.—Pastel: Maurice Latour, Rosalba Carriera, Liotard.—Society painters: -Lancrat, Pater.—The decorative painters: François Lemoine, François +Lancrat, Pater.—The decorative painters: François Lemoine, François Boucher, Fragonard.—“Society” turns virtuous.—Jean Greuze.—Middle-class -society and its depicter, Jean Baptiste Siméon Chardin.—Germany: +society and its depicter, Jean Baptiste Siméon Chardin.—Germany: Lessing frees the drama from the classical yoke of Boileau, and, following the English, produces in “Minna” the first domestic tragedy.—Daniel Chodowiecki as the portrayer of the German middle class.—Tischbein goes back to @@ -271,11 +230,11 @@ French style.—Disappearance of “nature choisie” in painting.&m Robert.—Joseph Vernet.—Salomon Gessner.—Ludwig Hess.—Philip Hackert.—Johann Alexander Thiele.—Antonio Canale.—Bernardo Canaletto.—Francesco Guardi.—Don Petro Rodriguez de Miranda.—Don Mariano Ramon -Sanchez.—The animal painters: François Casanova, Jean Louis de Marne, Jean +Sanchez.—The animal painters: François Casanova, Jean Louis de Marne, Jean Baptiste Oudry, Johann Elias Riedinger.—An event in the history of art: in place of the prevailing Cinquecento and the “sublime style of painting” degraded at the close of the seventeenth century, a simple and sincere art -succeeds throughout the whole of Europe.—Return to what Dürer and the +succeeds throughout the whole of Europe.—Return to what Dürer and the Little Masters of the sixteenth century and the Dutch of the seventeenth century originated</p></td> <td class="tcrb"><a href="#page41">41</a></td></tr> @@ -286,7 +245,7 @@ century originated</p></td> <td class="tcrb"><a href="#page41">41</a></td></tr> <tr><td class="tcl"><p>The influence of the antique at the end of the eighteenth century shows no advance, but an unnatural retrograde movement, and notes in Germany the beginning of the same decadence which had happened in Italy with the -Bolognese, in France with Poussin, and in Holland with Gérard de Lairesse.—The +Bolognese, in France with Poussin, and in Holland with Gérard de Lairesse.—The teachings of Winckelmann, Anton Rafael Mengs, Angelica Kauffmann.—The younger generation carries out the classical programme in the value it sets upon technical traditions.—Asmus Jacob Carstens.—Buonaventura Genelli</p></td> <td class="tcrb"><a href="#page80">80</a></td></tr> @@ -297,12 +256,12 @@ sets upon technical traditions.—Asmus Jacob Carstens.—Buonaventura G <tr><td class="tcl"><p>In France also the classical tendency in art was no new thing, but a revival of the antique which was restored to life by the foundation of the French -Academy in Rome in 1663.—Influence of archæological studies.—Elizabeth -Vigée-Lebrun.—The Revolution heightens the enthusiasm for the antique, +Academy in Rome in 1663.—Influence of archæological studies.—Elizabeth +Vigée-Lebrun.—The Revolution heightens the enthusiasm for the antique, and once more gives Classicism an appearance of brilliant animation.—Jacques Louis David.—His portraits and his pictures in relation to contemporary -history.—David as an archæologist.—Jean Baptiste Regnault.—François -André Vincent.—Guérin</p></td> <td class="tcrb"><a href="#page98">98</a></td></tr> +history.—David as an archæologist.—Jean Baptiste Regnault.—François +André Vincent.—Guérin</p></td> <td class="tcrb"><a href="#page98">98</a></td></tr> <tr><td class="tcc pt2 f120" colspan="2">BOOK II</td></tr> @@ -314,7 +273,7 @@ André Vincent.—Guérin</p></td> <td class="tcrb"><a href="#page98">98</a></ <tr><td class="tcl"><p>Influence of literature.—Wackenroder.—Tieck.—The Schlegels.—Instead of the antique, the Italian Quattrocento appears as the model for the schools.—Frederick -Overbeck.—Philip Veit.—Joseph Führich.—Edward Steinle—Julius +Overbeck.—Philip Veit.—Joseph Führich.—Edward Steinle—Julius Schnorr von Carolsfeld.—Their pictures and their drawings</p></td> <td class="tcrb"><a href="#page117">117</a></td></tr> <tr><td class="tcc pt1" colspan="2">CHAPTER VI</td></tr> @@ -325,11 +284,11 @@ Schnorr von Carolsfeld.—Their pictures and their drawings</p></td> <td cla <tr><td class="tcc pt1" colspan="2">CHAPTER VII</td></tr> -<tr><td class="tcc" colspan="2">THE DÜSSELDORFERS</td></tr> +<tr><td class="tcc" colspan="2">THE DÃœSSELDORFERS</td></tr> <tr><td class="tcl"><p>On the Rhine, a school of painting instead of a school of drawing.—Wilhelm Schadow, Carl Friedrich Lessing, Theodor Hildebrandt, Carl Sohn, Heinrich -Mücke, Christian Koehler, H. Plüddemann, Eduard Bendemann, Theodor +Mücke, Christian Koehler, H. Plüddemann, Eduard Bendemann, Theodor Mintrop, Friedrich Ittenbach, Ernest Deger.—Why their pictures, despite technical merits, have become antiquated</p></td> <td class="tcrb"><a href="#page157">157</a></td></tr> @@ -345,7 +304,7 @@ pictures and drawings</p></td> <td class="tcrb"><a href="#page167">167</a></td>< <tr><td class="tcc" colspan="2">THE FORERUNNERS OF ROMANTICISM IN FRANCE</td></tr> <tr><td class="tcl"><p>Last years of the David school wearisome and without character, except in portrait -painting.—François Gérard, the “King of Painters and Painter of Kings”; +painting.—François Gérard, the “King of Painters and Painter of Kings”; his portraits of the Empire and Restoration periods.—Commencement of the revolt: Pierre Paul Prudhon; his pictures and the story of his life; Constance Mayer.—Revival of colouring.—Antoine Jean Gros and his pictures of contemporary @@ -355,8 +314,8 @@ life; discrepancy between his teaching and his practice</p></td> <td class="tcrb <tr><td class="tcc" colspan="2">THE GENERATION OF 1830</td></tr> -<tr><td class="tcl"><p>The revolt of the Romanticists against Classicism in literature and art.—Théodore -Géricault and his early works.—“The Raft of the Medusa.”—Eugène Delacroix: +<tr><td class="tcl"><p>The revolt of the Romanticists against Classicism in literature and art.—Théodore +Géricault and his early works.—“The Raft of the Medusa.”—Eugène Delacroix: protest against the conventional, and renewed importance of colour.—Delacroix’s pictures; influence of the East upon him.—His life and struggles.—The Classical reaction.—J. A. D. Ingres and the opposition to Romanticism.—His @@ -367,16 +326,16 @@ classical pictures.—Excellence of his portraits and drawings</p></td> <td <tr><td class="tcc" colspan="2">JUSTE-MILIEU</td></tr> <tr><td class="tcl"><p>Moderation the watchword of Louis Philippe’s reign, in politics, literature, and -art.—Jean Gigoux, a follower of Delacroix and an inexorable realist.—Eugène +art.—Jean Gigoux, a follower of Delacroix and an inexorable realist.—Eugène Isabey.—Middle position occupied by Ary Scheffer between the Classical and the Romantic schools; decline of his popularity.—Hippolyte Flandrin, as a religious painter a French counterpart to the Nazarenes.—Paul -Chenavard, compared to Cornelius.—Théodore Chassériau; his short -and brilliant career.—Léon Benouville.—Léon Cogniet and his pictures.—Transition +Chenavard, compared to Cornelius.—Théodore Chassériau; his short +and brilliant career.—Léon Benouville.—Léon Cogniet and his pictures.—Transition from the Romantic school to the historical painters.—The great writers of history: renewed activity in this field: historical tragedies and romances.—Art takes a similar course: popularity and facility of historical -painting.—Eugène Devéria; Camille Roqueplan.—Nicolaus Robert Fleury; +painting.—Eugène Devéria; Camille Roqueplan.—Nicolaus Robert Fleury; Louis Boulanger.—Paul Delaroche; his popularity and its causes; his defects as a painter.—Delaroche’s pictures.—Thomas Couture</p></td> <td class="tcrb"><a href="#page255">255</a></td></tr> @@ -386,9 +345,9 @@ as a painter.—Delaroche’s pictures.—Thomas Couture</p></td> <t <tr><td class="tcl"><p>France under the Second Empire; the society of the period not represented in French art.—Continuation of the old traditions without essential change.—Alexandre -Cabanel.—William Bouguereau.—Jules Lefébure.—Henner.—Paul -Baudry: his pictures; decoration of the Grand Opera House.—Élie Delaunay: -his pictures, decorative painting, and portraits.—The “Genre féroce”; +Cabanel.—William Bouguereau.—Jules Lefébure.—Henner.—Paul +Baudry: his pictures; decoration of the Grand Opera House.—Élie Delaunay: +his pictures, decorative painting, and portraits.—The “Genre féroce”; predilection for the horrible in art.—Numerous painters of this school.—Laurens.—Rochegrosse and his pictures.—Henri Regnault</p></td> <td class="tcrb"><a href="#page278">278</a></td></tr> @@ -397,7 +356,7 @@ and his pictures.—Henri Regnault</p></td> <td class="tcrb"><a href="#page2 <tr><td class="tcc" colspan="2">THE HISTORICAL SCHOOL OF PAINTING IN BELGIUM</td></tr> <tr><td class="tcl"><p>Belgium to 1830.—David and his school.—Navez, Matthias van Bree.—Gustav -Wappers, Nicaise de Keyzer, Henri Decaisne, Gallait, Bièfve.—Ernest +Wappers, Nicaise de Keyzer, Henri Decaisne, Gallait, Bièfve.—Ernest Slingeneyer, Guffens and Swerts.—The Exhibition of Belgian pictures in Germany</p></td> <td class="tcrb"><a href="#page301">301</a></td></tr> @@ -405,7 +364,7 @@ Germany</p></td> <td class="tcrb"><a href="#page301">301</a></td></tr> <tr><td class="tcc" colspan="2">THE REVOLUTION OF THE GERMAN COLOURISTS</td></tr> -<tr><td class="tcl"><p>Anselm Feuerbach, Victor Müller.—The Berlin school: Rudolf Henneberg, Gustav +<tr><td class="tcl"><p>Anselm Feuerbach, Victor Müller.—The Berlin school: Rudolf Henneberg, Gustav Richter, Knille, Schrader, and others.—The Munich school: Piloty, Hans Makart, Gabriel Max.—The historical painters and the end of the illustrative painting of history</p></td> <td class="tcrb"><a href="#page317">317</a></td></tr> @@ -416,7 +375,7 @@ painting of history</p></td> <td class="tcrb"><a href="#page317">317</a></td></t <tr><td class="tcl"><p>The Historical Picture of Manners as opposed to Historical Painting, an advance in the direction of intimacy of feeling.—The Antique Picture of Manners: -Charles Gleyre, Louis Hamon, Gérôme, Gustave Boulanger.—The Picture of +Charles Gleyre, Louis Hamon, Gérôme, Gustave Boulanger.—The Picture of Costume from the sixteenth and seventeenth centuries.—France: Charles Comte, Alexander Hesse, Camille Roqueplan.—Belgium: Alexander Markelbach, Florent Willems.—Germany: L. v. Hagn, Gustav Spangenberg, Carl @@ -441,9 +400,9 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="tcl"><span class="sc">Gainsborough</span>: The Sisters</td> <td class="tcr"><a href="#page38">38</a></td></tr> <tr><td class="tcl"><span class="sc">Greuze</span>: The Milkmaid</td> <td class="tcr"><a href="#page58">58</a></td></tr> <tr><td class="tcl"><span class="sc">Chardin</span>: The House of Cards</td> <td class="tcr"><a href="#page64">64</a></td></tr> -<tr><td class="tcl"><span class="sc">Watteau</span>: Fête Champêtre</td> <td class="tcr"><a href="#page74">74</a></td></tr> +<tr><td class="tcl"><span class="sc">Watteau</span>: Fête Champêtre</td> <td class="tcr"><a href="#page74">74</a></td></tr> <tr><td class="tcl"><span class="sc">Angelica Kauffmann</span>: Portrait of a Lady as a Vestal</td> <td class="tcr"><a href="#page86">86</a></td></tr> -<tr><td class="tcl"><span class="sc">Elizabeth Vigée-Lebrun</span>: Portrait of the Painter with her Daughter</td> <td class="tcr"><a href="#page100">100</a></td></tr> +<tr><td class="tcl"><span class="sc">Elizabeth Vigée-Lebrun</span>: Portrait of the Painter with her Daughter</td> <td class="tcr"><a href="#page100">100</a></td></tr> <tr><td class="tcl"><span class="sc">Cornelius</span>: “Let there be Light”</td> <td class="tcr"><a href="#page144">144</a></td></tr> <tr><td class="tcl"><span class="sc">Schwind</span>: The Wedding Journey</td> <td class="tcr"><a href="#page182">182</a></td></tr> <tr><td class="tcl"><span class="sc">Regnault</span>: General Prim</td> <td class="tcr"><a href="#page300">300</a></td></tr> @@ -463,8 +422,8 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="tcl pt1" colspan="2"><span class="sc">Bendemann, Eduard</span>.</td></tr> <tr><td class="j2">The Lament of the Jews</td> <td class="tcr"><a href="#page165">165</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Bièfve, Edouard</span>.</td></tr> - <tr><td class="j2">Portrait of Bièfve</td> <td class="tcr"><a href="#page314">314</a></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Bièfve, Edouard</span>.</td></tr> + <tr><td class="j2">Portrait of Bièfve</td> <td class="tcr"><a href="#page314">314</a></td></tr> <tr><td class="j2">The League of the Nobles of the Netherlands</td> <td class="tcr"><a href="#page315">315</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Bouguereau, William Adolphe</span>.</td></tr> @@ -481,11 +440,11 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="j2">Children of the Night</td> <td class="tcr"><a href="#page92">92</a></td></tr> <tr><td class="j2">Priam and Achilles</td> <td class="tcr"><a href="#page93">93</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Chardin, Jean Siméon</span>.</td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Chardin, Jean Siméon</span>.</td></tr> <tr><td class="j2">Portrait of Himself</td> <td class="tcr"><a href="#page63">63</a></td></tr> <tr><td class="j2">Grace before Meat</td> <td class="tcr"><a href="#page65">65</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Chassériau, Théodore</span>.</td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Chassériau, Théodore</span>.</td></tr> <tr><td class="j2">Apollo and Daphne</td> <td class="tcr"><a href="#page259">259</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Chodowiecki, Daniel</span>.</td></tr> @@ -495,7 +454,7 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="j2">The Morning Compliment</td> <td class="tcr"><a href="#page70">70</a></td></tr> <tr><td class="j2">The Artist’s Nursery</td> <td class="tcr"><a href="#page71">71</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Cogniet, Léon</span>.</td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Cogniet, Léon</span>.</td></tr> <tr><td class="j2">Tintoretto Painting his Dead Daughter</td> <td class="tcr"><a href="#page261">261</a></td></tr> <tr><td class="j2">The Massacre of the Innocents</td> <td class="tcr"><a href="#page263">263</a></td></tr> @@ -514,14 +473,14 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="tcl pt1" colspan="2"><span class="sc">David, Jacques Louis</span>.</td></tr> <tr><td class="j2">Portrait of David</td> <td class="tcr"><a href="#page102">102</a></td></tr> - <tr><td class="j2">Madame Récamier</td> <td class="tcr"><a href="#page103">103</a></td></tr> + <tr><td class="j2">Madame Récamier</td> <td class="tcr"><a href="#page103">103</a></td></tr> <tr><td class="j2">The Oath of the Horatii</td> <td class="tcr"><a href="#page105">105</a></td></tr> <tr><td class="j2">The Rape of the Sabines</td> <td class="tcr"><a href="#page107">107</a></td></tr> <tr><td class="j2">Helen and Paris</td> <td class="tcr"><a href="#page109">109</a></td></tr> <tr><td class="j2">Belisarius asking Alms</td> <td class="tcr"><a href="#page111">111</a></td></tr> <tr><td class="j2">The Death of Marat</td> <td class="tcr"><a href="#page113">113</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Delacroix, Eugène</span>.</td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Delacroix, Eugène</span>.</td></tr> <tr><td class="j2">Portrait of Delacroix</td> <td class="tcr"><a href="#page226">226</a></td></tr> <tr><td class="j2">Dante’s Bark</td> <td class="tcr"><a href="#page227">227</a></td></tr> <tr><td class="j2">Hamlet and the Grave-diggers</td> <td class="tcr"><a href="#page230">230</a></td></tr> @@ -538,7 +497,7 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="j2">The Princes in the Tower</td> <td class="tcr"><a href="#page267">267</a></td></tr> <tr><td class="j2">Strafford on his Way to Execution</td> <td class="tcr"><a href="#page269">269</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Delaunay, Élie</span>.</td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Delaunay, Élie</span>.</td></tr> <tr><td class="j2">Diana</td> <td class="tcr"><a href="#page293">293</a></td></tr> <tr><td class="j2">Boys Singing</td> <td class="tcr"><a href="#page294">294</a></td></tr> <tr><td class="j2">Madame Toulmouche</td> <td class="tcr"><a href="#page295">295</a></td></tr> @@ -553,8 +512,8 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="j2">Medea</td> <td class="tcr"><a href="#page327">327</a></td></tr> <tr><td class="j2">Dante Walking with High—born Ladies of Ravenna</td> <td class="tcr"><a href="#page329">329</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Führich, Joseph.</span></td></tr> - <tr><td class="j2">Portrait of Führich</td> <td class="tcr"><a href="#page126">126</a></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Führich, Joseph.</span></td></tr> + <tr><td class="j2">Portrait of Führich</td> <td class="tcr"><a href="#page126">126</a></td></tr> <tr><td class="j2">From the “Legend of St. Gwendolin”</td> <td class="tcr"><a href="#page127">127</a></td></tr> <tr><td class="j2">Ruth and Boaz</td> <td class="tcr"><a href="#page128">128</a></td></tr> <tr><td class="j2">The Departure of the Prodigal Son</td> <td class="tcr"><a href="#page129">129</a></td></tr> @@ -578,21 +537,21 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="j2">Odysseus and the Sirens</td> <td class="tcr"><a href="#page96">96</a></td></tr> <tr><td class="j2">Portrait of Genelli</td> <td class="tcr"><a href="#page97">97</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Gérard, François.</span></td></tr> - <tr><td class="j2">Portrait of Gérard</td> <td class="tcr"><a href="#page190">190</a></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Gérard, François.</span></td></tr> + <tr><td class="j2">Portrait of Gérard</td> <td class="tcr"><a href="#page190">190</a></td></tr> <tr><td class="j2">Mlle. Brongniart</td> <td class="tcr"><a href="#page191">191</a></td></tr> <tr><td class="j2">Madame Visconti</td> <td class="tcr"><a href="#page192">192</a></td></tr> <tr><td class="j2">Cupid and Psyche</td> <td class="tcr"><a href="#page193">193</a></td></tr> - <tr><td class="j2">Madame Récamier</td> <td class="tcr"><a href="#page194">194</a></td></tr> + <tr><td class="j2">Madame Récamier</td> <td class="tcr"><a href="#page194">194</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Géricault, Théodore.</span></td></tr> - <tr><td class="j2">Portrait of Géricault</td> <td class="tcr"><a href="#page221">221</a></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Géricault, Théodore.</span></td></tr> + <tr><td class="j2">Portrait of Géricault</td> <td class="tcr"><a href="#page221">221</a></td></tr> <tr><td class="j2">The Wounded Cuirassier</td> <td class="tcr"><a href="#page222">222</a></td></tr> <tr><td class="j2">Chasseur</td> <td class="tcr"><a href="#page223">223</a></td></tr> <tr><td class="j2">The Raft of the Medusa.</td> <td class="tcr"><a href="#page224">224</a></td></tr> <tr><td class="j2">The Start</td> <td class="tcr"><a href="#page225">225</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Gérôme, Léon.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Gérôme, Léon.</span></td></tr> <tr><td class="j2">The Cock-fight</td> <td class="tcr"><a href="#page367">367</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Gessner, Salomon.</span></td></tr> @@ -648,7 +607,7 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="j2">The Rake’s Progress (Plate II.)</td> <td class="tcr"><a href="#page14">14</a></td></tr> <tr><td class="j2">The Rake’s Progress (Plate VII.)</td> <td class="tcr"><a href="#page15">15</a></td></tr> <tr><td class="j2">The Rake’s Progress (Plate VIII.)</td> <td class="tcr"><a href="#page16">16</a></td></tr> - <tr><td class="j2">Marriage à la Mode (Plate V.)</td> <td class="tcr"><a href="#page17">17</a></td></tr> + <tr><td class="j2">Marriage à la Mode (Plate V.)</td> <td class="tcr"><a href="#page17">17</a></td></tr> <tr><td class="j2">The Enraged Musician</td> <td class="tcr"><a href="#page18">18</a></td></tr> <tr><td class="j2">Gin Lane</td> <td class="tcr"><a href="#page19">19</a></td></tr> @@ -680,7 +639,7 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="tcl pt1" colspan="2"><span class="sc">Laurens, Jean Paul.</span></td></tr> <tr><td class="j2">The Interdict</td> <td class="tcr"><a href="#page298">298</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Lefébure, Jules.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Lefébure, Jules.</span></td></tr> <tr><td class="j2">Truth</td> <td class="tcr"><a href="#page283">283</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Lessing, Carl Friedrich.</span></td></tr> @@ -694,7 +653,7 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="j2">Mother and Child</td> <td class="tcr"><a href="#page372">372</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Luminais, Evariste.</span></td></tr> - <tr><td class="j2">Les Énervés de Jumièges</td> <td class="tcr"><a href="#page297">297</a></td></tr> + <tr><td class="j2">Les Énervés de Jumièges</td> <td class="tcr"><a href="#page297">297</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Makart, Hans.</span></td></tr> <tr><td class="j2">Portrait of Makart</td> <td class="tcr"><a href="#page341">341</a></td></tr> @@ -714,7 +673,7 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="tcl pt1" colspan="2"><span class="sc">Mayer, Constance.</span></td></tr> <tr><td class="j2">Portrait of Mayer</td> <td class="tcr"><a href="#page201">201</a></td></tr> <tr><td class="j2">The Dream of Happiness</td> <td class="tcr"><a href="#page202">202</a></td></tr> - <tr><td class="j2">The Tomb of Prudhon and Constance Mayer at Père-Lachaise</td> <td class="tcr"><a href="#page203">203</a></td></tr> + <tr><td class="j2">The Tomb of Prudhon and Constance Mayer at Père-Lachaise</td> <td class="tcr"><a href="#page203">203</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Meissonier, Ernest.</span></td></tr> <tr><td class="j2">The Man at the Window</td> <td class="tcr"><a href="#page373">373</a></td></tr> @@ -768,7 +727,7 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="j2">La Nuit</td> <td class="tcr"><a href="#page207">207</a></td></tr> <tr><td class="j2">L’enjouir</td> <td class="tcr"><a href="#page208">208</a></td></tr> <tr><td class="j2">Marguerite</td> <td class="tcr"><a href="#page209">209</a></td></tr> - <tr><td class="j2">Les Petits Dévideurs</td> <td class="tcr"><a href="#page210">210</a></td></tr> + <tr><td class="j2">Les Petits Dévideurs</td> <td class="tcr"><a href="#page210">210</a></td></tr> <tr><td class="j2">The Vintage</td> <td class="tcr"><a href="#page211">211</a></td></tr> <tr><td class="j2">The Virgin</td> <td class="tcr"><a href="#page212">212</a></td></tr> <tr><td class="j2">Christ Crucified</td> <td class="tcr"><a href="#page213">213</a></td></tr> @@ -824,7 +783,7 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="j2">From the Story of the Seven Ravens</td> <td class="tcr"><a href="#page179">179</a></td></tr> <tr><td class="j2">A Hermit leading Horses to a Pool</td> <td class="tcr"><a href="#page181">181</a></td></tr> <tr><td class="j2">Nymphs and Stag</td> <td class="tcr"><a href="#page184">184</a></td></tr> - <tr><td class="j2">Rübezahl</td> <td class="tcr"><a href="#page185">185</a></td></tr> + <tr><td class="j2">Rübezahl</td> <td class="tcr"><a href="#page185">185</a></td></tr> <tr><td class="j2">The Fairies’ Song</td> <td class="tcr"><a href="#page187">187</a></td></tr> <tr><td class="tcl pt1" colspan="2"><span class="sc">Slingneyer, Ernest.</span></td></tr> @@ -844,7 +803,7 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="j2">Book Illustration</td> <td class="tcr"><a href="#page134">134</a></td></tr> <tr><td class="j2">The Violin Player</td> <td class="tcr"><a href="#page135">135</a></td></tr> -<tr><td class="tcl pt1" colspan="2"><span class="sc">Sylvestre, Joseph Noël.</span></td></tr> +<tr><td class="tcl pt1" colspan="2"><span class="sc">Sylvestre, Joseph Noël.</span></td></tr> <tr><td class="j2">Locusta Testing in Nero’s Presence the Poison prepared for Britannicus</td> <td class="tcr"><a href="#page296">296</a></td></tr> @@ -861,7 +820,7 @@ first half of the nineteenth century and the intimate art of the second half</p> <tr><td class="tcl pt1" colspan="2"><span class="sc">Watteau, Antoine.</span></td></tr> <tr><td class="j2">Portrait of Watteau</td> <td class="tcr"><a href="#page56">56</a></td></tr> - <tr><td class="j2">La Partie Carrée</td> <td class="tcr"><a href="#page57">57</a></td></tr> + <tr><td class="j2">La Partie Carrée</td> <td class="tcr"><a href="#page57">57</a></td></tr> <tr><td class="j2">The Music Party</td> <td class="tcr"><a href="#page73">73</a></td></tr> <tr><td class="j2">The Return from the Chase</td> <td class="tcr"><a href="#page74">74</a></td></tr> </table> @@ -932,7 +891,7 @@ the same time the German manner is most directly opposed to the Romance. They disdain to ingratiate themselves into men’s minds by outward grace of form, but win the heart by their deep religious feeling and intimate sensibility. They are German to the core, racial even to the stiffness of -the German character, but full of feeling and truth to life. Dürer in +the German character, but full of feeling and truth to life. Dürer in his woodcuts and copper engravings is “<i>inwendig voller figur</i>”; in them he offers the “concentrated, homely treasure of his heart.” Holbein is great by the incomparably real art of his portraits. The century of that @@ -1076,7 +1035,7 @@ on a foundation of the established canonical works of old, is not their own but borrowed. In others, on the contrary, who, apart from the dominating tendency, had the courage rather to be insignificant, and yet remain themselves, observing with their own eyes nature which surrounded them, or -naïvely abandoning themselves to the disposition of their artistic fantasy, +naïvely abandoning themselves to the disposition of their artistic fantasy, in them will be seen the essential vehicles of the modern spirit. And then it will be apparent that the art of the nineteenth century as well as that of every earlier period had its peculiar garment, even if for official occasions @@ -1148,7 +1107,7 @@ was hardly suitable.</p> <p>To the cold Classicism represented by Pope, there succeeded in English literature—far earlier than was the case elsewhere—the delineation of what was immediately contemporary. At the same time that Mdlle. de -Scudéry—when it was a question of describing the court of the +Scudéry—when it was a question of describing the court of the Great King, the society of Louis <span class="sc">XIV</span>—felt herself bound to translate her theme into the antique and write a <i>Cyrus</i>, the English novel had taken its motives from actual life. Defoe’s <i>Robinson Crusoe</i> is the first book in @@ -1188,7 +1147,7 @@ come over to England with the “glorious revolution,” with William of and Queen Anne; whilst in Holland itself the French invasion of 1672 had caused a reaction to the courtly idea, against which the English took up an attitude of conscious and rigid protest. This opposition is clearly expressed -by the English æsthetic writers.</p> +by the English æsthetic writers.</p> <p>The most important name to be mentioned is that of Shaftesbury. <span class="pagenum"><a name="page11" id="page11"></a>11</span> @@ -1199,7 +1158,7 @@ means of his pensions, a race of flattering Court painters. Our civil liberty affords us a sufficient foundation, and our liberty leads us to <i>absolute verity</i> in art.</p> -<p>Thus did Shaftesbury enunciate his leading æsthetic doctrine; it was +<p>Thus did Shaftesbury enunciate his leading æsthetic doctrine; it was his constant message, and it was constantly repeated with great emphasis: “All beauty is truth.” “The search after truth leads you to nature.” “Truth is the mightiest thing in the world, since it exercises sovereign rights @@ -1243,7 +1202,7 @@ with the help of education, for that to be overcome? And so Shaftesbury’s <span class="pagenum"><a name="page12" id="page12"></a>12</span> view of art comprised a third, and very dangerous, element; namely, that to fulfil the most serious mission of that culture which had ensued from the -free and natural conditions in England—even in the realm of æsthetics—the +free and natural conditions in England—even in the realm of æsthetics—the painter, like the poet, must appear as the moral teacher of his age. @@ -1312,13 +1271,13 @@ berouged—moved Hogarth; in the company of wine-bibbers, in gambling hells, in rooms of poets, in cellars of highwaymen, in the death-chambers of fallen maidens. “The Harlot’s Progress,” which he produced in a series of pictures, brought him his first success. He then published further series of similar -careers over crooked courses—“The Rake’s Progress,” “Marriage à la Mode.” +careers over crooked courses—“The Rake’s Progress,” “Marriage à la Mode.” He painted the rabble of London, their society and their morals; those who went in cotton and rags and those in satin and silk. In his writings he censures the old painters plainly because in their historical style they had quite passed over the middle classes. And he went with great knowledge to these new subjects. In the National Gallery, which possesses the originals of “Marriage -à la Mode,” one is astounded at the technical qualities of Hogarth’s painting. +à la Mode,” one is astounded at the technical qualities of Hogarth’s painting. Whoever has been misled by the engraved reproductions, and looks for bad, distorted drawing, may here learn to know him as a painter in the fullest sense of the @@ -1367,13 +1326,13 @@ set off. The inartistic part of him was that he followed the -æsthetic theories +æsthetic theories of the age, and looked upon art as merely a means to ends alien to itself. With him painting was an instrument to disseminate the inventions of his poetic-satiric humour; it was a form of speech to him. He is not unjustly called on that account a -comedian of the pencil, the Molière of painting. We look at other pictures, +comedian of the pencil, the Molière of painting. We look at other pictures, but his we read. The commentaries on them are in some respects the rendering back of the pictures into their proper element. Lessing called the drama his pulpit; with Hogarth his art was a pulpit. He wanted, like @@ -1421,7 +1380,7 @@ tears, seeks him out again in the madhouse.</p> <p>The third and most famous series was completed many years after the “Rake”—in 1745. Hogarth has admittedly taken particular pains with -the six oil paintings of “Marriage à la Mode,” which have been placed in the +the six oil paintings of “Marriage à la Mode,” which have been placed in the National Gallery; and these painted novels reveal in strength and beauty of execution the high-water mark @@ -1483,7 +1442,7 @@ characterised his art, in these words—</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:612px; height:428px" src="images/img035.jpg" alt="" /></td></tr> <tr><td class="tcl f90 pb2">HOGARTH.</td> -<td class="tcr f90 pb2">MARRIAGE À LA MODE, PLATE V.</td></tr></table> +<td class="tcr f90 pb2">MARRIAGE À LA MODE, PLATE V.</td></tr></table> <p class="noind">Hogarth painted stirring and humorous scenes, full of effective morality, with which he sought to cheer, terrify, and improve humanity. His five-act @@ -1649,7 +1608,7 @@ preliminary all that fell into his hands in the way of woodcuts and copper engravings. One of the earliest drawings which remain from his childhood represents the interior of a library. At the age of nineteen he came to London to a well-known master, Hudson, the favourite painter -with the gentry of the day, who required £120 with a pupil. He was already +with the gentry of the day, who required £120 with a pupil. He was already convinced that only in London could he find the means to attain fame, and even as early as 1744 he took a fine establishment and kept open house in order to attract attention. He was soon in a position to complete his artistic @@ -1730,7 +1689,7 @@ persons sat for Reynolds, and after that about one hundred and fifty people were painted by him annually; and this brought him in a -yearly income of about £16,000.</p> +yearly income of about £16,000.</p> <table class="flt" style="float: left; width: 380px;" summary="Illustration"> <tr><td class="figleft1"><img style="width:340px; height:489px" src="images/img042.jpg" alt="" /></td></tr> @@ -1828,7 +1787,7 @@ of Johnson or Burke.</p> <p><span class="pagenum"><a name="page24" id="page24"></a>24</span></p> -<p>They are æsthetic treatises and essays in the history of art, of an enduring +<p>They are æsthetic treatises and essays in the history of art, of an enduring value. Originating from a vast insight, and expressed in a precise style, they treat of the laws of classic art, the variation in styles, the causes of the finest bloom in art. Certainly @@ -1863,8 +1822,8 @@ the great, caressed by sovereign powers and celebrated by distinguished poets, ... the loss of no man of his time can be felt with more sincere, general, and unmixed sorrow.” He was buried with great pomp in St. Paul’s Cathedral. The pictures left unfinished at his death -fetched at auction £37,000; the whole fortune which he left is estimated -at £80,000.</p> +fetched at auction £37,000; the whole fortune which he left is estimated +at £80,000.</p> <p>The biography of <i>Thomas Gainsborough</i> reads quite differently.</p> @@ -1903,7 +1862,7 @@ birthplace, he trained himself. At the age of ten he was a painter.</p> <p>A sojourn of four years in London seems to have added little to his ability. Elegant in his manners, lively in his conversation, a born gentleman, he might have become completely the man of fashion. But he was far too diffident, -with his naïve simplicity, to force himself amongst the stars of the +with his naïve simplicity, to force himself amongst the stars of the world of art in London, far too distinguished and retiring to join in the race after the favour of the public, and so at the age of eighteen he returned to his native place with the unencouraging prospect of playing the part of a @@ -2087,7 +2046,7 @@ boards, as it were, she had, when still a child, joined her parents on their Thespian pilgrimages, and had had many engagements in the provinces, at Birmingham, Manchester, and Bath, before she was recruited by the playwright Sheridan for the Drury Lane company in London. She made her -<i>début</i> there on 10th October 1782, and was hailed forthwith as the greatest +<i>début</i> there on 10th October 1782, and was hailed forthwith as the greatest actress of her time. Lady Macbeth was her great part; in that she was painted both by Romney and Lawrence. Reynolds painted her as the Tragic Muse. A diadem encircles her hair, she sits upon a throne, the throne rests @@ -2172,7 +2131,7 @@ the praise of having set the English school, which had hitherto possessed no perfected tradition of painting, technically on firm feet. He was the founder of a scientific technique of painting derived from the ancients,—the Lenbach of the eighteenth century. Upon the mixture of colours, the gradations -of light and shade, technically and æsthetically, no artist has pondered more +of light and shade, technically and æsthetically, no artist has pondered more <span class="pagenum"><a name="page31" id="page31"></a>31</span> than he, who knew the great Netherlanders, Rubens, Van Dyck, and Rembrandt, as well as, or better than, his particular favourites, the Italians. @@ -2262,7 +2221,7 @@ charm to which those of the President of the Academy never attained. Gainsboroug too, at his death murmured the name of an old master. “We are all going to Heaven, and Van Dyck is of the company.” But what distinguishes him from Reynolds, and gives him a character of greater originality, is just his -naïve independence of the ancients, which resulted partly from the different +naïve independence of the ancients, which resulted partly from the different nature of his education in art. Reynolds had lived for two years in Rome and explored all the principal cities of Italy, had visited Flanders and Holland, learnt to wonder at Rembrandt, and developed an enthusiasm for <i>chiaroscuro</i>. @@ -2522,7 +2481,7 @@ walls of his studio. After his death his widow held a sale, at which fifty-six landscapes were sold. Gainsborough must be accounted -one of the moderns, so naïve and +one of the moderns, so naïve and intimate is the impression which his pictures produce. He, who passed his whole youth in the idyllic loveliness @@ -2622,7 +2581,7 @@ full of <i>Sturm und Drang</i>. Men did homage to every kind of extravagance, and went into ecstasies over virtue. The sarcasm of scoffers went hand in hand with the deepest sentimental feeling for nature; superstition flourished by the side of enlightenment and learning; in the <i>salons</i> of the aristocracy courtly -abbés file past with the greatest thinkers, glowing with a holy zeal for the +abbés file past with the greatest thinkers, glowing with a holy zeal for the rights of man. And, in the midst of all this contradiction, there exists that simple, virtuous middle class which is preparing to make the ascent which will lead it to power.</p> @@ -2632,7 +2591,7 @@ lead it to power.</p> <tr><td class="tcc f90">PORTRAIT OF GOYA.   BY HIMSELF.</td></tr> <tr><td class="tcc f90 pb2"><i>From: “Los Capriccios.”</i></td></tr></table> -<p>One may imagine oneself in a salon of the <i>ancien régime</i>, in which wit +<p>One may imagine oneself in a salon of the <i>ancien régime</i>, in which wit is lord, and laughter and merriment reign. Into that salon enters abruptly a rough plebeian, with none of the fine tact of that company, yet a great, aristocratic spirit, a man who despised such a society and would make the @@ -2696,7 +2655,7 @@ arising in Germany, in comparison with which those of Rome and Sparta would be convents of nuns.” In a loud voice <i>Ficsco</i> proclaims itself on the very title-page to be a “republican” tragedy. <i>Intrigue and Love</i> even aims full at the rottenness and corruption of the actual time. It can be traced—and -Brandes has done it in his <i>Haupströmungen</i>—how in the literature of the age, +Brandes has done it in his <i>Haupströmungen</i>—how in the literature of the age, the life of sensibility and idealism prevailing in the previous century gradually dwindles, and in its stead quite modern progressive views—religious, political, and social—surge up in an ever-increasing wave. The authors were the @@ -2717,7 +2676,7 @@ and tumult, the one artist of the age of the race of Prometheus, to which belonged the young Goethe and the young Schiller, -should be born in the most mediæval +should be born in the most mediæval country in Europe, on Spanish soil. Against an art that was more catholic than @@ -2756,7 +2715,7 @@ piety, becomes in Goya revolutionary, free, modern.</p> <td class="tcr f90 pb2">THE MAJA CLOTHED.</td></tr></table> <p>Goya is, in his whole nature, a modern man, a restless, feverish soul; -nervous as a <i>décadent</i>; temperament to his finger-tips. His style in portraiture, +nervous as a <i>décadent</i>; temperament to his finger-tips. His style in portraiture, his art of composition, his whole method,—all speak to our artists to-day in a language easily understood, and on many of them the influence of Goya is unmistakable. He is one of the most fascinating figures of the beginning of @@ -2863,7 +2822,7 @@ drollest Director of an Academy that man can imagine! Goya, the peasant youth, with his bull neck and matador-like strength, lived at the Spanish <span class="pagenum"><a name="page47" id="page47"></a>47</span> Court in the midst of the enervated scions of a dissolute aristocracy, who, with -their sickly and anæmic features, indolent and impotent, skulked through life, +their sickly and anæmic features, indolent and impotent, skulked through life, young men prematurely old. Naturally he was the idol of the women, hated by the courtiers on account of his caustic wit, a terror to all husbands because of his perpetual intrigues, and at the same time feared as the best @@ -2890,7 +2849,7 @@ therefore, in the Museo del Prado, is simply tedious, a bad academical study. His frescoes in San Antonio de la Florida, at Madrid, exhibit a pretty, decorative motive—considerable movement, grace, and spirit. But amongst them are angels who sit there most irreverently, and, with a -laugh of challenge, throw out their legs <i>à la</i> Tiepolo. The chief picture +laugh of challenge, throw out their legs <i>à la</i> Tiepolo. The chief picture represents St. Antony of Padua raising a man from the dead. But all that interested him in it were the lookers-on. On a balustrade @@ -2994,7 +2953,7 @@ pictures. It is an attentive observer, who depicts with sensitive devotion the harmonious lines of the irradiating, young, human body so worthy of celebration. The transparent stuff that covers the body of “La Maja clothed” reveals all that it hides; in the other picture the unveiled nudity sings the -high pæan of the flesh. The drawing is sure, the modelling of a marvellous +high pæan of the flesh. The drawing is sure, the modelling of a marvellous tenderness. The heaving bosom, the slender limbs, the tantalising eyes—every @@ -3024,7 +2983,7 @@ to-day. Very characteristic also of the changed aspect <span class="pagenum"><a name="page50" id="page50"></a>50</span> of the age are his designs for the famous tapestry in Santa Barbara, with -which he made his début at Madrid. They are very crude in decoration. +which he made his début at Madrid. They are very crude in decoration. Two or three neat young girls, with big, black, moist eyes, here and there pleasing details—a couple of men carrying a wounded @@ -3037,7 +2996,7 @@ bold a step as to make use of character scenes in decorative painting at a time when everywhere else, without exception, -<i>fêtes champêtres</i> predominated.</p> +<i>fêtes champêtres</i> predominated.</p> <p>In his oil paintings he went much further in this direction. @@ -3136,7 +3095,7 @@ ingeniously left blank—that sufficed to give life and character to his figures.</p> -<p>The “Misères de la Guerre” +<p>The “Misères de la Guerre” are intrinsically more serious. All the scenes of terror that occurred in Spain as a sequel to @@ -3196,7 +3155,7 @@ century, had had its birthplace in the Italy of Leo <span class="sc">X</span>. T the Italian Renaissance had suffused France ever since the appearance of Rosso and Primaticcio. Rome had been the cradle of Simon Vouet and Nicolas Poussin. France endeavoured, in rich decoration and masterly -swing of lines, to overtop the Italians, whose formulæ were studied partly in +swing of lines, to overtop the Italians, whose formulæ were studied partly in Rome and partly in the Palace of Fontainebleau, that Rome <i>in petto</i>. Those religious pictures @@ -3263,7 +3222,7 @@ to show the upper classes their own image reflected in the mirror of art.</p> channel—of the Netherlands—was by birth and training a Fleming. His birthplace, Valenciennes, although French territory since the Peace of Nymeguen, resembled in its whole character a Flemish town. In the church -here he first saw any of Rubens’ pictures. Here, through Gérin, he +here he first saw any of Rubens’ pictures. Here, through Gérin, he became instructed in Flemish traditions. Rubens and Teniers are the two masters from whom his own art sprang. During the years when the war of the Spanish Succession had changed the French frontier provinces into a @@ -3276,7 +3235,7 @@ at a table in front of a farmyard, while on the other side half-drunken men and women are going home. Louis <span class="sc">XIV</span> had made before the pictures of Teniers his well-known <i>mot</i>: “<i>Otez moi ces magots</i>.” Now, through Watteau, the <i>magot</i> makes its entrance into French art. Thus in his chief picture in -this manner, “La Vraie Gaieté,” the figures are unmistakably after Teniers. +this manner, “La Vraie Gaieté,” the figures are unmistakably after Teniers. The men are short and sturdy, entirely Flemish. Only the costumes have changed with the mode. But the women are not in the least Flemish. The clean caps and tidy kerchiefs, the freshly ironed aprons, and neat little feet @@ -3296,7 +3255,7 @@ of Love,” of the Dresden and Madrid Galleries, to invite to the embarkatio for the Island of Cythera. Watteau acquired something from everyone he studied, and yet resembles none. After having hitherto sought his personages on the highways and in camps, he was now to become the painter -of <i>fêtes galantes</i>, the painter of “Society.” For in his shepherds and shepherdesses +of <i>fêtes galantes</i>, the painter of “Society.” For in his shepherds and shepherdesses there lives the elegance of France. The gods of the Renaissance, in whom no one any longer believed, glided into the costumes of Harlequin and Pierrette. In lieu of the great and the pathetic there came the small, @@ -3311,9 +3270,9 @@ mannerism into which the French art of the seventeenth century, based on the Italian Renaissance, had dwindled. As it is said in an old poem—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Parée à la Françoise, un jour Dame Nature</p> +<p>“Parée à la Françoise, un jour Dame Nature</p> <p class="i05">Eut le desir coquet de voir sa portraiture.</p> -<p class="i05">Que fit la bonne mère? Elle enfanta Watteau.”</p> +<p class="i05">Que fit la bonne mère? Elle enfanta Watteau.”</p> </div> </td></tr></table> <p>Watteau became for French art what, a hundred years before, Rubens @@ -3384,7 +3343,7 @@ pleasing movements, and refined elegance.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:686px; height:502px" src="images/img079.jpg" alt="" /></td></tr> <tr><td class="tcl f90 pb2">WATTEAU.</td> -<td class="tcr f90 pb2">LA PARTIE CARRÉE.</td></tr></table> +<td class="tcr f90 pb2">LA PARTIE CARRÉE.</td></tr></table> <table class="flt" style="float: right; width: 240px;" summary="Illustration"> <tr><td class="figright1"><img style="width:192px; height:231px" src="images/img080.jpg" alt="" /></td></tr> @@ -3392,9 +3351,9 @@ pleasing movements, and refined elegance.</p> <p>Even the decorative painters abandoned more and more the much-worn paths of the Italians. -<i>François Lemoine</i> gave them, by Rubens’ aid, the +<i>François Lemoine</i> gave them, by Rubens’ aid, the transition to a manner peculiarly French, elegant, -sensuous, charming. His pupil, <i>François Boucher</i>, +sensuous, charming. His pupil, <i>François Boucher</i>, followed him. Like the sons of the seventeenth century, he made exhaustive use of mythological subjects and was often a superficial artist, and in his later @@ -3442,7 +3401,7 @@ understood, with a refined and unique understanding, how to turn life into a feast. Silk trains rustle over the parquet, silk shoes trip, eyes gleam, diamonds flash, white bosoms heave. Tall cavaliers advance to their sprightly partners, gossip and smiles fly around, Knights of Malta and -abbés hang over the chairs and pay their court. Yes, this autumn of the old +abbés hang over the chairs and pay their court. Yes, this autumn of the old French culture was of a marvellous beauty for the fortunate, and those fortunate ones knew, as no other generation has ever done, how to enjoy life with serenity, in a fairy glamour of rooms gleaming with Venetian chandeliers, where @@ -3468,7 +3427,7 @@ spirit of the age, and art too must become virtuous, and work for the amelioration of the world. Thus Diderot upheld the sentimental and -emotional subject against the <i>fêtes +emotional subject against the <i>fêtes galantes</i> of the <i>rococo</i> painter. Boucher derived his inspiration from the slough of prostitution; only a moral upheaval @@ -3496,12 +3455,12 @@ his cheese or his oranges in a church porch, lies nearer to the original perfection of mankind than the most subtle erudition of the -most ingenious of the encyclopædists. +most ingenious of the encyclopædists. Amongst nature’s noblemen one must seek for the secret of virtue, which has been lost by the aristocracy in the stream of civilisation. -Thus beneath the ægis of Rousseau’s +Thus beneath the ægis of Rousseau’s philosophy the Third Estate makes its entry into French salons. From the man of the people society @@ -3527,11 +3486,11 @@ that noble society had imagined him.</p> penitence had ensued. It was considered that the aim of art must be to instruct and elevate, not merely to amuse; it should set an example to raise and inspire the good, to serve as a warning for the bad. “<i>Rendre la vertu aimable, le vice -odieux, le ridicule saillant, voilà le projet de tout honnête homme qui prend la plume, +odieux, le ridicule saillant, voilà le projet de tout honnête homme qui prend la plume, le pinceau ou le ciseau.</i>” In these words Diderot formulated his programme. It was his wish that the corrupt man, when he went to an exhibition, should feel pricks of conscience at the pictures and read in them his own condemnation. -“<i>Si ses pas le conduisent au Salon, qu’il craigne d’arrêter ses regards sur la +“<i>Si ses pas le conduisent au Salon, qu’il craigne d’arrêter ses regards sur la toile.</i>” Educational effects, “moral stories told in pictures,” that is the keynote of Diderot’s demands upon the painter, and of the accomplishment of Greuze in answer to this claim. He is the French Hogarth, whether he paints @@ -3607,7 +3566,7 @@ as any other the can-can of life, becomes, in its second half, sad of soul, enthusiastic over the reward of justice, the punishment of transgressors, -over honour and the naïveté of innocence. +over honour and the naïveté of innocence. Time after time do his contemporaries praise precisely that sense of virtue in the art of Greuze. @@ -3661,7 +3620,7 @@ will always be associated with these girl types, just as that of Leonardo is with the dreamy, smiling sphinx-like head of Mona Lisa. In them he has given an unsurpassable expression to the ideal of innocence at the end of the eighteenth century, and provided in them a new thrill of beauty for his contemporaries. -And a <i>blasé</i> society which had indulged in every licence bathed +And a <i>blasé</i> society which had indulged in every licence bathed itself with passionate delight in the unknown mystery of this surging flood. Yes, after the stimulating champagne of <i>rococo</i>, people had even come to delight in simple black bread. And so, out of <i>bourgeoisie</i> itself, a school of @@ -3726,8 +3685,8 @@ so harmoniously with the time-worn, sombre brown of the wainscoting, and the white table-cloth was flooded with the silvery green which poured in from a little skylight. In this peaceful and harmoniously toned chamber were laid those small domestic scenes, which he so loved to paint, and which -were called by the French, in contrast to the <i>Fétes Galantes</i>, “<i>Amusements -de la Vie Privée</i>.” The clock ticks, the lamp burns, water is boiling on the +were called by the French, in contrast to the <i>Fétes Galantes</i>, “<i>Amusements +de la Vie Privée</i>.” The clock ticks, the lamp burns, water is boiling on the homely tiled stove. There is an effect in every one of his pictures, as though he had lived them himself, as if they were reminiscences of something dear to him and familiar. In contrast to Greuze he shunned all @@ -3735,7 +3694,7 @@ critical moments, and depicted only the quiet life of custom, everyday life as it befell in a constant, regular routine. There are no hasty movements with him, no catastrophes nor complications; he has a preference for “still life” in the world of men, just as in nature. He is <i>par excellence</i> -the painter of <i>Intimität</i> (intimate life); which is not the same as <i>a genre</i> +the painter of <i>Intimität</i> (intimate life); which is not the same as <i>a genre</i> painter. Painters who in the manner of <i>genre</i> have depicted domestic scenes in rooms are to be found in every school; but how few have known how to depict the poetry of the family life with such truth, with such @@ -3832,7 +3791,7 @@ root of family life and bestowed upon it the subtlest gifts of observation and generous comprehension, while none the less his domesticity never became commonplace.</p> -<p>His contemporary, <i>Étienne Jeurat</i>, painted scenes at country fairs, and +<p>His contemporary, <i>Étienne Jeurat</i>, painted scenes at country fairs, and <i>Jean Baptiste le Prince</i> pictures of guardrooms and similar subjects. In Holland <i>Cornelis Troost</i> went on parallel lines with him. He depicted the life of his age and of his nation—comic scenes, banquets, weddings, @@ -3875,7 +3834,7 @@ copies of Versailles.</p> cries the young Goethe, in his essay on German style and art, “I could not sufficiently protest; they have caught the eyes of the women with theatrical poses, false complexions, and gaudy costumes; the wood engravings of manly -old Albrecht Dürer, at whom tyros scoff, are more welcome to me.... Only +old Albrecht Dürer, at whom tyros scoff, are more welcome to me.... Only where intimacy and simplicity exist is all artistic vigour to be found, and woe to the artist who leaves his hut to squander himself in academic halls of state.”</p> @@ -3916,9 +3875,9 @@ too reasonable and prosaic, a genuine Nicolai, he has in other plates an enchanting freshness, and—which should not be forgotten—is more of an artist than Hogarth, since he is neither moralist nor satirist. His object, without any moral after-thought, was the true and kindly observation of life -as displayed in the world around him. He took the wholly naïve delight of +as displayed in the world around him. He took the wholly naïve delight of the genuine artist in turning everything he saw into a picture. These -chronicles of his have some, it may be but a particle, of the spirit of Dürer. +chronicles of his have some, it may be but a particle, of the spirit of Dürer. Simultaneously, the young <i>Tischbein</i> delved into the past of the nation, the age of Conradin and the Hohenstaufen, with the intention of finding there the simplicity which the academic pictures had come to lack; and, later on, @@ -3973,7 +3932,7 @@ of everyday life.</p> <p>In Berlin, ever since 1709, <i>Antoine Pesne</i> had been for half a century the centre of artistic life, and in his works the revolution may be traced. Something familiar and intimate takes the place of that stately pomp. The princes, -hitherto, had liked to be represented in mediæval armour or antique equipment; +hitherto, had liked to be represented in mediæval armour or antique equipment; Pesne painted them in the costume of the time. And in his portraits of his friends and his family circle he has been still more unconstrained. There is the charming picture of 1718, in the New Palace at Potsdam, which shows @@ -3991,8 +3950,8 @@ the Swiss, took the lead with his simple, domestic, honest, real portraits. <span class="pagenum"><a name="page71" id="page71"></a>71</span> It was a happy disposition of fate that Graff’s activity just corresponded with the great period of the awakening of intellectual life in Germany, that Lessing -and Schiller, Bodmer and Gessner, Wieland and Herder, Bürger and Gellert, -Christian Gottfried Körner and Lippert, Moses Mendelssohn and Sulzer, and a +and Schiller, Bodmer and Gessner, Wieland and Herder, Bürger and Gellert, +Christian Gottfried Körner and Lippert, Moses Mendelssohn and Sulzer, and a long succession of other poets and scholars of the eighteenth and the beginning of the nineteenth century, found in him a portrait painter whose quick and agile hand left us their features in the truest and most authentic manner. @@ -4003,7 +3962,7 @@ heads, how adroit and infallible the technique!</p> a most independent, picturesque, and sensitive artist, who, if only for his pictures of children, deserves a place of honour in the history of art in the eighteenth century. In the portrait of his two boys, in the Dresden Gallery, -the naïveté of child-life is observed with such tenderness and rendered with +the naïveté of child-life is observed with such tenderness and rendered with such vigour as only Reynolds understood. The boys are sitting close together on the ground. One, in a brown frock, is holding a book on his knees, which the other, in a red frock, with a whip in his hand, is looking at. The thoughtful @@ -4034,7 +3993,7 @@ birth to Thomson’s <i>Seasons</i> and Gainsborough’s landscapes, aft expression in France and Germany, and dissipated the prevailing taste in gardens. The seventeenth century—with the exception of the Dutch—had set nature in order with the garden shears. As Lebrun in his historical -compositions endeavoured to outdo the Italians, so Lenôtre’s garden style +compositions endeavoured to outdo the Italians, so Lenôtre’s garden style exemplified the perfection and exaggeration of the gardens of the Italian Renaissance, which themselves again were laid out on the plan of the old Roman gardens from existing descriptions. A garden reminded one more @@ -4067,14 +4026,14 @@ be <i>nature choisie</i>, a selection of objects that “are capable of producing agreeable impressions”; his aim “<i>le -beau vrai qui est représenté -comme s’il existait réellement +beau vrai qui est représenté +comme s’il existait réellement et avec toutes les perfections qu’il peut recevoir</i>.” The <span class="pagenum"><a name="page73" id="page73"></a>73</span> eighteenth century went back from this “noble,” improved nature, step by step to the divine beauty of unimproved nature; just as those -masters untouched by the Romans, Dürer and Altdorfer, Titian and +masters untouched by the Romans, Dürer and Altdorfer, Titian and Rubens, Brouwer and Velasquez, had painted her. The great Watteau, too, was here for the most part in advance of his age, in that, instead of the stiffly designed stage scenery of Poussin, he gave Elysian landscapes,—abodes @@ -4132,14 +4091,14 @@ mother, nature.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:855px; height:696px" src="images/img101.jpg" alt="" /></td></tr> <tr><td class="tcl f90 pb2">WATTEAU.</td> -<td class="tcr f90 pb2">FÊTE CHAMPÈTRE.</td></tr></table> +<td class="tcr f90 pb2">FÊTE CHAMPÈTRE.</td></tr></table> <p>Goethe, the pupil of Rousseau, presages, in his whole conception of nature, something of the manifestation of the school of Fontainebleau. He had something of Daubigny when, as Werther, he lies on the bank of the stream <span class="pagenum"><a name="page75" id="page75"></a>75</span> and looks down thoughtfully at the worms and small insects. He makes -one think of Dupré or Corot when he says: “As nature declines upon autumn, +one think of Dupré or Corot when he says: “As nature declines upon autumn, within me and around me it grows autumn”; or, “I could not now draw so much as a stroke, and I have never been a greater painter than at the present moment”; or, “Never have I been happier, nor has my perception @@ -4165,7 +4124,7 @@ bits of nature. People took no more trouble, in Rousseau’s phrase, “to dishonour nature by seeking to beautify her,” but laid out gardens in harmony with Goethe’s remark in <i>Werther</i>: “A feeling heart, not a scientific art of gardening, suggested the plan.” Close to Versailles, near the box-tree -patterns of Lenôtre, lay the Petit Trianon, with its pond, its brook, and its +patterns of Lenôtre, lay the Petit Trianon, with its pond, its brook, and its dairy, where the unfortunate Marie Antoinette used to dream. And if painting still loitered on its preliminary return to nature, that only implied that the great artists—they only came in 1830!—were not yet born. Great @@ -4223,14 +4182,14 @@ drawing is sober, the atmosphere of his pictures clear and fresh; he cannot be tedious in his composition. In Dresden there lived Johann Alexander -Thiele, who roamed through Thüringen +Thiele, who roamed through Thüringen and Mecklenburg as a landscape painter. Even in Italy landscapes <span class="pagenum"><a name="page77" id="page77"></a>77</span> were the most independent performances which the eighteenth century had brought forth there. There worked in Rome the Netherlander, Vanvitelli, who depicted in graceful water-colours Roman and Neapolitan -street life; and Giovanni Paolo Pannini, the <i>peintre des fêtes publiques</i>, +street life; and Giovanni Paolo Pannini, the <i>peintre des fêtes publiques</i>, in whose pictures groups of richly coloured figures moved through splendid palaces. Venice was the home of the Canaletti. In <i>Antonio Canale’s</i> town pictures of Venice, Rome, and London there is at once so subtle @@ -4279,7 +4238,7 @@ Sanchez</i> his small views of towns and harbours.</p> <p>And, as in England, hand in hand with that came paintings of animals.</p> -<p>In France, <i>François Canova</i> was working, the painter of huge battle scenes +<p>In France, <i>François Canova</i> was working, the painter of huge battle scenes and small pictures of animals; <i>Jean Louis de Marne</i>, who was famous for his cattle, market scenes, village pictures, and the like; and the great <i>Jean Baptiste Oudry</i>, who painted with breadth and freedom animals alive and dead, @@ -4297,7 +4256,7 @@ century the Dutch alone had maintained their isolation. They who entered fresh into art, and had to break with no tradition, gave at that time the first expression to the new spirit, in that they resolutely recalled art from its courtly surroundings to the humbler dwellings of the middle classes. -They <i>painted</i> what Dürer and the “little masters” had only graved upon wood +They <i>painted</i> what Dürer and the “little masters” had only graved upon wood <span class="pagenum"><a name="page79" id="page79"></a>79</span> blocks and copper plates. Still, they wished to paint these things less for their own sakes than because so intimate a light was shed upon them. Through @@ -4368,11 +4327,11 @@ would anyone dare to mention Mengs and Carstens in the same breath with these giants?</p> <p>The close of the eighteenth century was a period of antiquarian revival. -The ruins of Pæstum had been brought to light, Greek vases and Roman +The ruins of Pæstum had been brought to light, Greek vases and Roman monuments had become known to the public by the works of Hamilton and Piranesi. In 1762 Stuart and Revett published their splendid work on the <i>Antiquities of Athens</i>. To a German, however, was to fall the honour of -becoming the hero of the archæological period. The <i>History of Ancient Art</i>, +becoming the hero of the archæological period. The <i>History of Ancient Art</i>, by Johann Joachim Winckelmann, appeared in 1764, and this writer devoted his literary energies to the hymning of the glories of the re-discovered treasures of antiquity. In the realm of pictorial art he may also be looked upon as the @@ -4389,7 +4348,7 @@ he must lend to nature in order to give dignity and propriety to his imitation,& writes Solomon Gessner in 1759. In 1762 Hagedorn of Dresden deplored, in his <i>Treatise on Painting</i>, that “Terburg and Metsu never showed us fair Andromache amongst her industrious women, instead of Dutch sempstresses.” In -1766 Lessing wrote his <i>Laocoön</i>, and, like Winckelmann, saw in the sculpture +1766 Lessing wrote his <i>Laocoön</i>, and, like Winckelmann, saw in the sculpture of the Greeks the ideal to be imitated. From this point forward he despised landscape and <i>genre</i> painting, and especially everything which illustrates intimate emotions and actions, and would confine the composition of pictures to @@ -4436,7 +4395,7 @@ the outward semblance of the antique. He preferred a cold ideal manner to what was natural, and held Greek art the absolutely valid model. From it should be derived a fixed canon, a table of accepted laws, to be the standard for the artist of our own days, and of every age. The <i>Prize Essays</i>, -which he published with Heinrich Meyer in the <i>Propyläen</i>, and later in the +which he published with Heinrich Meyer in the <i>Propyläen</i>, and later in the <i>Jena Literary Journal</i>, required the treatment of subjects exclusively from the Hellenic legendary cycles, “whereby the artist should become accustomed to come out from his own age and surroundings”; the composition of pictures @@ -4464,19 +4423,19 @@ be surpassed.” In a letter to Goethe, in the year 1800, Schiller wrote: “The antique was a manifestation of its age which can never return, and to force the individual production of an individual age after the pattern of one quite heterogeneous, is to kill that art which can only have a dynamic origin -and effect.” Madame de Staël, in her book on <i>Germany</i>, says: “If nowadays +and effect.” Madame de Staël, in her book on <i>Germany</i>, says: “If nowadays the fine arts should be confined to the simplicity of the ancients, we should not then be able to attain to the original strength which distinguished them, while we should lose that intimate, composite feeling for life which is especially found in us. Simplicity in art would easily turn with the moderns into coldness and affectation, whereas with the ancients it was full of life.” In 1797 -Counsellor Hirth published in Schiller’s <i>Horæ</i> his well-known treatise on +Counsellor Hirth published in Schiller’s <i>Horæ</i> his well-known treatise on <i>Beauty in Art</i>, which, in opposition to the inanimate type of beauty of Winckelmann, upheld the characteristic as the first principle in art. Most remarkable, however, is the breadth of historical outlook which was peculiar to Herder, and the stern actuality with which in his <i>Plastik</i>, and in the <i>Vierten</i> <span class="pagenum"><a name="page83" id="page83"></a>83</span> -<i>Kritischen Wäldchen</i>, he turned against “those pitiful critics, those wretched +<i>Kritischen Wäldchen</i>, he turned against “those pitiful critics, those wretched and narrow rules of art, that bitter-sweet prattle of universal beauty, through which the younger generation is being ruined, which is nauseating to the master, and which, nevertheless, the rabble of connoisseurs takes in its mouth @@ -4513,14 +4472,14 @@ the whole order of nature and history.”</p> <p>These sentences, however, stood in isolation, or else they came too late. Immediately after it had been heralded by the literary movement, after the -archæologists had verbally announced its aim, formulated its principles and +archæologists had verbally announced its aim, formulated its principles and laws, German art turned into the new paths. “It happened for the first time in the history of art,” wrote Goethe, “that important talents took pleasure in disciplining themselves by the past, and so founding a new epoch in art.”</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Des Deutschen Künstler’s Vaterland,</p> +<p>“Des Deutschen Künstler’s Vaterland,</p> <p class="i05">Ist Griechenland, ist Griechenland”</p> </div> </td></tr></table> @@ -4652,7 +4611,7 @@ Greek Prussian nor, later, Meister Ephraim was clear as to the difference between sculpture and painting, they practically recommended the painter to work after plastic models.</p> -<p>The fact that Lessing, in discussing the limits of painting in his <i>Laocoön</i>, +<p>The fact that Lessing, in discussing the limits of painting in his <i>Laocoön</i>, took a work of sculpture as his starting-point, proves that to him the laws and conditions of both arts were valued as the same. They denounced the confusion of the art of painting with poetry, and instead advocated the confounding @@ -4668,15 +4627,15 @@ pictorial apprehension; a vain and exclusively reproductive ideality deprived his figures of the last remnant of truth to nature which he had formerly understood how to give them. It is difficult to believe that Winckelmann’s paroxysm of friendship should have burst out, upon the completion of the “Parnassus,” -into this pæan: “During the whole of the new age a more beautiful work +into this pæan: “During the whole of the new age a more beautiful work has not appeared in painting; even Raphael would have bowed his head.” <span class="pagenum"><a name="page87" id="page87"></a>87</span> -The whole is nothing more than a <i>mélange</i> of plagiarism and <i>banal</i> reminiscences, +The whole is nothing more than a <i>mélange</i> of plagiarism and <i>banal</i> reminiscences, without soul or perception, without freshness or individuality; a mere plastic warehouse, and not even a painted antique group, but a daubed compilation of solitary statues, colder and more lifeless than any Baltoni ever painted. There was an audacious, strong aim, genial strength and an -overwhelming flow of fantasy in the contemporary works of the great <i>décorateur</i> +overwhelming flow of fantasy in the contemporary works of the great <i>décorateur</i> Tiepolo; here there is a mere work of intellect which with philological aid builds up the composition entirely of borrowed materials. The only thing which even still points in this work to the good old times is a more @@ -4788,7 +4747,7 @@ the <i>rococo</i>, so the younger generation broke with its technique, whilst th left the academy in open dissatisfaction, and threw off in contempt the whole paraphernalia of technical traditions.</p> -<p><i>Carstens</i> plays the momentous rôle in German art as the first who trod this +<p><i>Carstens</i> plays the momentous rôle in German art as the first who trod this path. He has more individuality than Mengs; <i>antiquarianising</i> with him is not exclusively an external derivation and a cold imitation: he lives in the antique; the world of the Greek poets is his spiritual home, and their profound @@ -4804,7 +4763,7 @@ was already sown in the youth’s soul. He heard talk of the dwarf intellige of the age; how the studios of inferior artists were full of gaping visitors, whilst the halls of the Vatican stood deserted. “Learn the taste for beauty in the antique,” the cooper’s apprentice learns from Webb’s works. “Let -us meditate upon the style of the painter’s art in the ‘Laocoön,’ with regard +us meditate upon the style of the painter’s art in the ‘Laocoön,’ with regard to the fighter. Notice the sublimity in the divine character of Apollo. Let us stand hushed before the exquisite beauty of the Venus di Medici. These are the extreme incentives of the art of drawing.... The Belvedere Apollo @@ -4817,7 +4776,7 @@ on a flowery plot, the shadow of the orange trees covers me;—there, unmole I gaze at a group full of the highest feminine beauty. Niobe, my beloved, beautiful mother of beautiful children, thou fairest among women, <span class="pagenum"><a name="page90" id="page90"></a>90</span> -how I love thee!” So dreamed Asmus Jacob in the wine-cellar at Eckernförde, +how I love thee!” So dreamed Asmus Jacob in the wine-cellar at Eckernförde, or in his solitary chamber by the dim light of his lamp, as he had been seized with giddiness before all the great and marvellous revelations of art which this book had afforded him. In his enraptured fantasy he painted @@ -4861,7 +4820,7 @@ At a period whose creative power found its highest expression in philosophy and poetry, the painter strove for the reputation only of being the <i>poet</i> of his pictures. And Carstens encountered the old tragedians and philosophic writers with a fine, poetic understanding. “The Greek Heroes with Cheiron,” -“Helen at the Skæan Gate,” “Ajax,” “Phœnix and Odysseus in the Tent of +“Helen at the Skæan Gate,” “Ajax,” “Phœnix and Odysseus in the Tent of Achilles,” “Priam and Achilles,” “The Fates,” “Night with her Children,” “Sleep and Death,” “The passage of Megapenthes,” “Homer before the People,” “The Golden Age”—all these prints have really something of the @@ -4875,17 +4834,17 @@ noble simplicity and quiet harmony of Greek art.</p> <td class="tcr f90 pb2">CHILDREN OF THE NIGHT.</td></tr></table> <p>It can be understood, then, that such subjects should be in the highest -degree interesting to an archæologist. When Carstens, in April 1795, was +degree interesting to an archæologist. When Carstens, in April 1795, was organising the famous exhibition of his collected works in Rome, Fernow published in Wieland’s <i>Deutscher Merkur</i> a discourse in which he celebrated him as the creator of a new epoch. From the very first, however, an equally -resolute opposition was excited in artistic circles. The painter Müller, nicknamed +resolute opposition was excited in artistic circles. The painter Müller, nicknamed “The Devil’s Miller,” who at that time wandered about Rome as a cicerone, proves that Winckelmann’s principles, even at the threshold of the century, by no means met with universal acceptance. The <i>Writing of Herr -Müller, Painter in Rome, upon the Exhibition of Herr Professor Carstens</i>, with +Müller, Painter in Rome, upon the Exhibition of Herr Professor Carstens</i>, with the motto <i>Amicus Plato, Amicus Socrates, magis amica veritas</i>, was published -in 1797 in Schiller’s <i>Horæ</i>. Carstens imitated; he worked rather by reminiscence +in 1797 in Schiller’s <i>Horæ</i>. Carstens imitated; he worked rather by reminiscence and understanding than by fantasy. Isolated figures do not bring their individuality to an expression. Then he pointed out the models, discussed the lack of colour, and proved numerous sins of the draughtsman @@ -4900,7 +4859,7 @@ exactly, since it is only from nature that the ideal springs, and consequently nothing can be great and beautiful in the representation which is not right and true. In almost similar words, later on, Koch, in his <i>Thoughts on Painting</i>, and with him the majority of artists, has censured Carstens. And posterity -cannot but allow them to be in the right as against the archæologists.</p> +cannot but allow them to be in the right as against the archæologists.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:599px; height:453px" src="images/img123.jpg" alt="" /></td></tr> @@ -4941,7 +4900,7 @@ encouragement such as were granted to no old master, and if, in spite of that, he never rose above the cares of life, that is only a proof of the limitations and partiality of his art. He had lost all decorative facility; still more was the inheritance of oil painting first naturally mislaid by him, and by draughtsmanship -alone not even Dürer nor Rembrandt could have lived.</p> +alone not even Dürer nor Rembrandt could have lived.</p> <p>This deficiency in technique must even debar him from claiming any higher signification than that of a clever dilettante. He is not an artist who @@ -5037,26 +4996,26 @@ technically healthy again, an impulse replete with life from abroad.</p> <p class="center chap2">THE CLASSICAL REACTION IN FRANCE</p> <p class="noind pt1"><span class="chap1 sc">In</span> France also modern art began with a stream of antiquarianism -which flowed from the same archæological source. De Brosses +which flowed from the same archæological source. De Brosses published a history of the Roman Republic, and wrote on Herculaneum. Leroy produced his <i>Ruines des plus anciens monuments de la -Grèce</i> in 1758. Shortly afterwards the <i>Recueils d’Antiquité</i> of Caylus and +Grèce</i> in 1758. Shortly afterwards the <i>Recueils d’Antiquité</i> of Caylus and Hamilton were published. The former undertook his great journeys, and -presented the Academy of Inscriptions with a succession of archæological +presented the Academy of Inscriptions with a succession of archæological treatises. He is perhaps the first since Batteux and Coypel who again makes of the modern painter a positive demand for a quiet beauty of lines -after the “<i>manière simple et noble du bel antique</i>.” The architects begin to +after the “<i>manière simple et noble du bel antique</i>.” The architects begin to take counsel of Vitruvius, and to work after some model borrowed from the -antique. Soufflot rebuilt the Pantheon, and produced the Temple of Pæstum.</p> +antique. Soufflot rebuilt the Pantheon, and produced the Temple of Pæstum.</p> <p>Even in 1763 Grimm could write: “For some years past we have been making keen inquiry for antique ornaments and forms. The predilection for -them has become so universal that now everything is to be done <i>à la Grecque</i>. +them has become so universal that now everything is to be done <i>à la Grecque</i>. The interior and exterior decorations of houses, furniture, dress material, and goldsmiths’ work all bear alike the stamp of the Greeks. The fashion passes -from architecture to millinery: our ladies have their hair dressed <i>à la Grecque</i>, +from architecture to millinery: our ladies have their hair dressed <i>à la Grecque</i>, our fine gentlemen would think themselves dishonoured if they did not hold -in their hands <i>une boîte à la Grecque</i>.” Even Diderot’s preference for the +in their hands <i>une boîte à la Grecque</i>.” Even Diderot’s preference for the ethical and emotional, as Greuze had painted it—and as Diderot himself had dramatised it—veered round at the commencement of the sixties into an enthusiasm for the antique. After 1761 he carried on in the salons a war @@ -5068,14 +5027,14 @@ be employed in relief, or even as statues. The new taste demanded pure and simple lines, the beauty of sculpture; it went back to the antique. When a French translation of Winckelmann appeared in 1765 he spoke out, on the occasion of a review of the book, clearly and plainly: “<i>Il me semble qu’il -faudrait étudier l’antique pour apprendre à voir la nature</i>.” In the same vein -Watelet pronounced on Boucher: “<i>Jamais artiste n’a plus ouvertement témoigné -son mépris pour la vraie beauté telle qu’elle a été sentie et exprimée par les statuaires</i> +faudrait étudier l’antique pour apprendre à voir la nature</i>.” In the same vein +Watelet pronounced on Boucher: “<i>Jamais artiste n’a plus ouvertement témoigné +son mépris pour la vraie beauté telle qu’elle a été sentie et exprimée par les statuaires</i> <span class="pagenum"><a name="page99" id="page99"></a>99</span> -<i>de l’ancienne Grèce</i>.” Thus the change in the artistic outlook was heralded +<i>de l’ancienne Grèce</i>.” Thus the change in the artistic outlook was heralded long before the curtain went up upon the events of 1789.</p> -<p><i>Madame Vigée-Lebrun</i>, the French Angelica Kauffmann, possessed of a +<p><i>Madame Vigée-Lebrun</i>, the French Angelica Kauffmann, possessed of a tender, soft, sympathetic talent, is perhaps the truest representative of this gracious, entirely French transition style, over which like a breath, but only like a breath, hovers the antique. She has in her portraits, in an especially refined @@ -5085,7 +5044,7 @@ of attitude in their simple white robe, the scarf thrown modestly over the shoulders, they had effected a return to antique simplicity. Boucher, moved to the depths of his consciousness by Diderot, resolved to paint a picture taken from ancient history. Greuze painted “Severus and Caracalla,” Fragonard -“Chœreas and Callirhöe.” Hubert Robert grew more and more archæological, +“Chœreas and Callirhöe.” Hubert Robert grew more and more archæological, and played in his landscapes with ancient remains and classical ruins. Vien became enthusiastic over antique gems, and thought he must draw the conclusion, from the noble calm of these figures, that the amiable coquetry and capricious @@ -5103,7 +5062,7 @@ earthquake which was announced in thunder from Paris. Soon they beheld the earth crack and burst asunder, as that time came when the air was filled with the smoke of powder, when the first notes of the Marseillaise rang out, and in the Place de la Concorde, where to-day the loveliest fountains -in the world are playing, blood ran from a dozen guillotines. That “<i>après +in the world are playing, blood ran from a dozen guillotines. That “<i>après nous le deluge</i>” of the Marquise de Pompadour had become a dire, prophetic truth, and in that flood of blood and horrors the artistic ideal of the eighteenth century was also washed away. The Revolution gave the death-blow to @@ -5130,7 +5089,7 @@ of proving their thesis, and their ideas aroused deep echoes in men’s hear <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:743px; height:956px" src="images/img131.jpg" alt="" /></td></tr> -<tr><td class="tcl f90 pb2">ELISABETH VIGÉE-LEBRUN.</td> +<tr><td class="tcl f90 pb2">ELISABETH VIGÉE-LEBRUN.</td> <td class="tcr f90 pb2">PORTRAIT OF THE PAINTER WITH HER DAUGHTER.</td></tr></table> <p>The sentiment of Rome had entered into the people as a thing of flesh and @@ -5145,21 +5104,21 @@ Voltaire and Rousseau.” It was evident then that France, so soon as she ha freed herself from her kings, so soon as she had spoken the word “Republic,” must take the <i>Roman</i> Republic as her pattern. People lived in an atmosphere of antiquity; the great citizens of Rome and Athens were ranged with the -French National Convention; Scævola, Scipio, Cato, Cincinnatus, were +French National Convention; Scævola, Scipio, Cato, Cincinnatus, were the idols of the populace. The speakers in the council cited the ancients in -preference; Madame Vigée-Lebrun gave <i>soupers à la Grecque</i>. “Everything +preference; Madame Vigée-Lebrun gave <i>soupers à la Grecque</i>. “Everything was ordered according to the <i>Voyage d’Anacharsis</i>—garments, viands, amusements, and the table, all were Athenian. Madame Lebrun herself was Aspasia; -M. l’Abbé Barthélémy, in a Greek dress with a laurel wreath on his head, -recited a poem; M. de Cabierès played the golden lyre as Memnon, and young +M. l’Abbé Barthélémy, in a Greek dress with a laurel wreath on his head, +recited a poem; M. de Cabierès played the golden lyre as Memnon, and young boys waited at table as slaves. The table itself was set entirely with Greek utensils, and all the viands were actually those of ancient Greece.” Children were given Greek and Roman names. People called themselves “Romans.” “<i>Mais, je l’aimais, Romains!</i>” cried Coulon at the death of Mirabeau. Paris is Rome. In the theatre the bust of Brutus is set opposite that of Voltaire, and the -actor says: “<i>O buste réveré de Brutus, d’un grand homme, transporté dans Paris -tu n’as point quitté Rome</i>.” And as with the bust of Brutus in the theatre, that -of Mucius Scævola appears in the cafés, which Parisian journalists, still full +actor says: “<i>O buste réveré de Brutus, d’un grand homme, transporté dans Paris +tu n’as point quitté Rome</i>.” And as with the bust of Brutus in the theatre, that +of Mucius Scævola appears in the cafés, which Parisian journalists, still full of remembrances of ancient history studied in the gymnasium, liken to the Lyceum and the Porch. In every case ancient Rome is set up as the exemplar. The Parisian collection of engravings on copper possesses a reproduction @@ -5171,7 +5130,7 @@ past, with all its grandeur, its simplicity, and its ruthlessness. Political and social forms did not suffice; even the implements and costume of the ancients were again brought into honour. Furniture put on antiquarian shapes; the <span class="pagenum"><a name="page101" id="page101"></a>101</span> -walls were decorated <i>à la Grecque</i>. The lively frivolity of <i>rococo</i>, with its +walls were decorated <i>à la Grecque</i>. The lively frivolity of <i>rococo</i>, with its freaks and fancies, was no longer adapted to the boudoir of the age of revolution, now transformed into the political council-room. Twists and curves were no longer permitted: everything had to be straightforward, @@ -5212,7 +5171,7 @@ Fragonard, who was only fifty-nine in 1789, and lived till 1806, saw himself hooted in spite of his “Chœreas.” He, the true representative of frivolous tenderness, of fair and roseate hues, had lost every right to exist in the new world, and ended his life by a sad death when, after the Reign of Terror, there -was no longer a place for <i>fêtes galantes</i>. A delightful portrait of himself, which +was no longer a place for <i>fêtes galantes</i>. A delightful portrait of himself, which he painted in the first period of the Revolution, shows us an old man, clothed entirely in black, softly melancholy, standing in a formal, dusky-brown salon. On the table on which his arm rests lies a guitar, at his feet a portfolio of @@ -5305,21 +5264,21 @@ Napoleon—this reaction of military simplicity against the effeminacy of <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:659px; height:440px" src="images/img135.jpg" alt="" /></td></tr> <tr><td class="tcl f90 pb2">DAVID.</td> -<td class="tcr f90 pb2">MADAME RÉCAMIER.</td></tr></table> +<td class="tcr f90 pb2">MADAME RÉCAMIER.</td></tr></table> <p>David, at the outbreak of the Revolution, no longer a young man, but forty years old, was the terrible painter of the age, its despotic dictator. As a deputy in the Convention he not only ruled over painting, but also imposed his taste upon sculpture, ivory work, goldsmiths’ work, and decoration. He designed the new costumes for the deputies and ministers. As organiser of -public fêtes, he brought to life again the whole of republican Rome. He was +public fêtes, he brought to life again the whole of republican Rome. He was one of those rare artists who are the men of their hour. To a new plebeian race, to whose feverishly excited patriotism the soft, luxurious, aristocratically reprehensible art of <i>rococo</i> must seem as a mockery of all the rights of men, he showed, for the first time, the man, the hero who died for an idea or for his country; and he gave this man huge and elastic muscles, like those of a gladiator who struggles in the arena. He was a second Hercules, cleansing the -Augæan stables; with his own strong shoulders he thrust back the petulant +Augæan stables; with his own strong shoulders he thrust back the petulant band of painters who had tarried too long in the island of Cythera. He applied art to the heroism of the day, gave it the martial attitude of patriotism, inspired it with the spirit of Robespierre, St. Just, and Danton. The more @@ -5347,11 +5306,11 @@ at first to concern itself not only with imitation and philological retrospect, but with the free expression of the characteristically modern spirit. German art had no new pronouncement to make through the medium of the antique; it followed, on the other hand, the programme of an artistically barren -scholar who forgot that archæology is not art, recommended imitation as the +scholar who forgot that archæology is not art, recommended imitation as the path to perfection, and perpetually reminded the artists who followed him how widely they deviated from the correct lines of the model. “Afterwards they rebuke it, and say it is not antique and consequently not good art,” as Albrecht -Dürer had complained of such people. In the earnest sentiment, the exalted +Dürer had complained of such people. In the earnest sentiment, the exalted Roman spirit, the declaiming over rugged, masculine virtues, freedom and patriotism, that found expression in David’s first pictures, there lived something of the Catonian spirit of the Terror; and that still gives them historical @@ -5380,9 +5339,9 @@ of the “first Martyr of Liberty,” it was hung in the Convention cham Corday. David was presiding at the Jacobin Club when the news was brought him, and he embraced the citizen who had arrested the girl. Deputations of the people appeared in the Convention to express their grief for the heavy -loss. Suddenly a voice was heard to cry: “<i>Où es tu, David? Tu as transmis -à la posterité l’image de Lepelletier mourant pour la patrie, il te reste encore un -tableau à faire.</i>” Silence succeeded in the Assembly. Then David started +loss. Suddenly a voice was heard to cry: “<i>Où es tu, David? Tu as transmis +à la posterité l’image de Lepelletier mourant pour la patrie, il te reste encore un +tableau à faire.</i>” Silence succeeded in the Assembly. Then David started up: “<i>Je le ferai.</i>” On 11th October he informed the Convention that his “Marat” was finished. “The people asked for their murdered man back again, longed to look once more on the features of their truest friend. They @@ -5398,7 +5357,7 @@ on the side of the bath, still holds a paper in a convulsive grip; the other hangs down limp and dead to the ground. Over this head, with the half-closed eyelids, and the mouth distorted from the death-throes, Caravaggio would have rejoiced, there is such keen naturalism in every stroke of the -brush. Like Géricault, in later times, David was then a regular visitor at the +brush. Like Géricault, in later times, David was then a regular visitor at the Morgue, attended at executions, and took an interest in the convulsive muscular movements of the guillotined. And the colour, too, like the drawing, is of a naturalistic strength to which he never again attained. The light falls @@ -5430,7 +5389,7 @@ them, too, he is neither rhetorical nor cold, but full of fire and the freshness youth. Face to face with his model, he forgot the Greeks and Romans, saw life alone, was rejuvenated in the youth-giving fount of nature, and painted—almost alone of the painters of his generation—the truth. Here -his effect, when otherwise he was lacking in all naïveté, is actually naïve and +his effect, when otherwise he was lacking in all naïveté, is actually naïve and intimate. The best painters have never treated flesh better. He had an aversion to palette tones, and sought after nature with unexampled attention. The fine pearl-grey of his colouring is as delicate as it is distinguished; in his @@ -5440,22 +5399,22 @@ an ardent Revolutionist, he was, as it were, created to be the portrayer of those men of an austerity like Cato’s, and those women with their free, masculine, proud gaze; that valiant generation that felt within itself a desire to begin civilisation again and found religion anew. The portrait of Lavoisier -and his wife reminds one in its refinement of Madame Vigée-Lebrun. The +and his wife reminds one in its refinement of Madame Vigée-Lebrun. The chemist is sitting by a table covered with instruments; his wife, in an elegant light gown, bends attentively over him. The picture dates from 1788, and it still looks like some good work of the age of Louis <span class="sc">XVI</span>. Again, how intimate -is the effect of the marvellous portrait of Michael Gérard and his family. The +is the effect of the marvellous portrait of Michael Gérard and his family. The good man, in his shirt-sleeves, seems to feel really at home; a small boy is leaning against his knee, a girl is playing on the clavicorde. There is not the slightest suggestion of pose or a conventional type of beauty in this stout old -gentleman sitting so comfortably in his <i>bourgeois négligé</i>, and with honest eyes +gentleman sitting so comfortably in his <i>bourgeois négligé</i>, and with honest eyes gazing out so inquisitively round him. In a few other pictures the spiritual life of women is portrayed with remarkable tenderness. One of the earliest <span class="pagenum"><a name="page110" id="page110"></a>110</span> -is the exceptionally fine portrait of his mother-in-law, Madame Pécoult, in +is the exceptionally fine portrait of his mother-in-law, Madame Pécoult, in 1783; then, in 1790, the portrait of the Marquise d’Orvilliers, with that expression of dreamy languor which plays round the eyes of the beautiful -woman. The Louvre possesses, in the portrait of Madame Récamier, perhaps +woman. The Louvre possesses, in the portrait of Madame Récamier, perhaps the most charming and attractive woman’s portrait that David ever painted. The beautiful Juliette lies stretched on a divan of antique pattern. She wears a white dress, her soft rosy feet are bare. The arrangement of the room @@ -5502,7 +5461,7 @@ visited David’s studio, accompanied by the Empress, his ministers, and his staff. The Court drew up, and the Emperor moved up and down in front of the picture, hat in hand, for more than half an hour, examining it in all its details. Finally, with one of those dramatic effects of which he was so fond, -he lightly raised his hat: “<i>C’est bien, très bien; David, je vous salue</i>.”</p> +he lightly raised his hat: “<i>C’est bien, très bien; David, je vous salue</i>.”</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:683px; height:564px" src="images/img143.jpg" alt="" /></td></tr> @@ -5528,9 +5487,9 @@ this Louis David was. He appeared in these pictures as an artist who stood compl within his age, who shared its passions and was permeated by its greatness; he even appeared as a <i>charmeur</i> who handled the phenomena of colour and light as few others have done. It is true, David showed himself in this -favourable light at the exhibition only because the entirely archæological +favourable light at the exhibition only because the entirely archæological side of his talent was not represented. For at the bottom of his heart he too -was an archæologist. Many of his works, such as “The Death of Socrates,” +was an archæologist. Many of his works, such as “The Death of Socrates,” “Brutus,” “The Oath in the Tennis Court,” and “The Rape of the Sabines,” are specimens of a barren theory.</p> @@ -5546,12 +5505,12 @@ only possible to create a type of it by comparison and through composition. The human being of art ought always to be a copy of that perfect being, primitive man, whom the Roman sculptors had still before their eyes, but who had deteriorated in the course of ages. Thus in France, too, the -sensuous art of painting was converted into an abstract science of æsthetics. +sensuous art of painting was converted into an abstract science of æsthetics. The classic ideal weighed upon French art and prescribed for all alike the same “heroic style,” the same elevation, the same marble coldness and -monotony of colour. <i>Jean-Baptiste Regnault</i>, and <i>François André Vincent</i>, whose +monotony of colour. <i>Jean-Baptiste Regnault</i>, and <i>François André Vincent</i>, whose studios were most frequented after David’s, worshipped the same gods. After -David’s departure, <i>Guérin</i>, in particular, endeavoured to bequeath to the +David’s departure, <i>Guérin</i>, in particular, endeavoured to bequeath to the students those genuinely academic rules which his pupil, Delacroix, has summed up in these words: “In order to make an ideal head of a negro, our teachers make him resemble as far as possible the profile of Antinous, and @@ -5595,21 +5554,21 @@ who cast the pictures of Boucher out of the Louvre, and whose pupils used to shoot bread-crumbs at Watteau’s masterpiece, -the “Voyage à Cythère,” +the “Voyage à Cythère,” yet conveyed with him into the new age, as an inheritance from <i>rococo</i>, its prodigious knowledge. The good old traditions of the technique of French painting were little shaken by him and his school. The Academy described by -Quatremère as the “eternal nursery garden of incurable prejudices,” +Quatremère as the “eternal nursery garden of incurable prejudices,” was indeed overthrown, but David became immediately the head of a new one. This age of absorption in politics developed an art to correspond, more disciplined than ever, girt round by an iron cuirass; and this art, notwithstanding multifarious phases, at no time lost its touch, technically, with the acquisitions of former epochs, but evolved itself in its various directions from one centre, distracted from its path by -nothing brought into it from outside. Géricault, Delacroix, Courbet, and +nothing brought into it from outside. Géricault, Delacroix, Courbet, and Manet, widely as they differ from one another, are links in one chain of evolution. Art comes from knowledge. This maxim, which David held in honour, has remained to the present day a dominant force in French art, @@ -5645,7 +5604,7 @@ following along new lines, the art of France did not thereby suffer as regards the quality of its execution; in spite of all Classicism it remained the disciplined art of the schools. These favourable preliminaries were lacking in Germany. It was not allotted to German painting to grow up in -naïve contentment with the technical inheritance of its forefathers, but, on +naïve contentment with the technical inheritance of its forefathers, but, on the contrary, at the entrance of its new career it broke so completely with its predecessor—the art of the eighteenth century—that it could no longer adopt even its technical traditions. It arose out of the negation of earlier art, an @@ -5699,14 +5658,14 @@ of German art; and the spirit of the past powerfully inspired them. Whilst for Lessing and Winckelmann “Gothic” art only meant barbarian art, the wonders of Nuremberg were now observed with fresh eyes. In a sort of intoxication of art the friends wandered through churches, -stood by the graves of Albrecht Dürer and Peter Vischer, and a vanished +stood by the graves of Albrecht Dürer and Peter Vischer, and a vanished world rose before them. The spires and turrets behind falling walls and ramparts, the old, stately, patrician houses, which jutted out their oriel windows, as it were with curiosity, into the crooked streets, were peopled to their imagination with picturesque figures in bonnet and hose from that great time when Nuremberg was “the living, swarming school of native art,” when “an exuberant, artistic spirit” governed within its walls, when Master Hans -Sachs and Adam Kraft and Peter Vischer and Albrecht Dürer and Willibald +Sachs and Adam Kraft and Peter Vischer and Albrecht Dürer and Willibald Pirkheymer were alive. Shortly after that they came to Dresden, and devoted themselves in the gallery there to an enthusiastic cult of the Madonna. The <i>Herzensergiessungen eines Kunstliebenden @@ -5718,7 +5677,7 @@ this tender production of a visionary youth the spirit of Romantic art found expression.</p> -<p>Winckelmann was an archæologist; +<p>Winckelmann was an archæologist; Wackenroder, an enthusiast of the Middle Ages; on the one side knowledge only, on the other all feeling; @@ -5740,7 +5699,7 @@ art, and offer it the homage of an “eternal and boundless love.” Thi to art, of which he himself was full, he found nowhere in his times. The age of enlightenment was to him an undevout and inartistic age. Only in his wanderings through the uneven streets of Nuremberg did the deepest -yearning of his soul seem satisfied. He applied himself to mediæval, and +yearning of his soul seem satisfied. He applied himself to mediæval, and especially to German art. His standpoint is the same which the young Goethe had adopted when he intervened with Herder for “German style and art,” and dedicated his pamphlet on German architecture to the shade of Erwin @@ -5829,13 +5788,13 @@ by unnoticed. From the monasteries, churches, guild halls, and castles which the French had plundered, countless masses of paintings of every sort were extricated. A great deal perished; nearly all, however, that had hitherto been kept as heirlooms, and for the most part almost inaccessible, -now became movable, attainable property. The brothers Boisserée began +now became movable, attainable property. The brothers Boisserée began their celebrated collection, which is to be seen to-day in the Munich <i>Pinakothek</i>. -While hitherto one had, at the most, known of Dürer, now one +While hitherto one had, at the most, known of Dürer, now one touched upon an age which lay behind the Reformation, an age in which Catholicism was flourishing, in which “not great artists but nameless monks represented art,” and it was soon all fire and ardour over the sweetness, -naïveté, and faith of these pictures. Fernow had still pronounced generally +naïveté, and faith of these pictures. Fernow had still pronounced generally <span class="pagenum"><a name="page123" id="page123"></a>123</span> against the capacity of the “Catholic religion, with its Jewish-Christian mythology and martyrology,” to satisfy the demands of a pure taste in art. @@ -5861,8 +5820,8 @@ as the true profession of faith of the young school. Where previously Augustus William had described in his sonnets the Io, Leda, and Cleopatra of the Dresden Gallery, it was now the Madonna who received the homage of the gallant poet. By Frederick, Christianity was recommended to the artist -as a formal model and a source of æsthetic enjoyment,—as it was, at the -same time, by Chateaubriand as <i>prédilection d’artiste</i>.</p> +as a formal model and a source of æsthetic enjoyment,—as it was, at the +same time, by Chateaubriand as <i>prédilection d’artiste</i>.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:700px; height:258px" src="images/img156.jpg" alt="" /></td></tr> @@ -5878,25 +5837,25 @@ abandoned the classic ideal for ever, and Schenkendorf cried imperiously: “We would see no more pagan pictures on any German walls.” French “frivolity” was contrasted with German seriousness, German Christianity with the free-thought of the French; there was a return from the cold philosophy -of enlightenment to the vigorous feeling of mediæval faith.</p> +of enlightenment to the vigorous feeling of mediæval faith.</p> <p>Frederick Schlegel, the author of <i>Lucinde</i>, who had written as lately as 1799:—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> <p>“Mein einzig Religion ist die,</p> -<p class="i05">Dass ich liebe ein schönes Knie,</p> -<p class="i05">Volle Brust und schlanke Hüften,</p> -<p class="i05">Dazu Blumen mit süssen Düften,”</p> +<p class="i05">Dass ich liebe ein schönes Knie,</p> +<p class="i05">Volle Brust und schlanke Hüften,</p> +<p class="i05">Dazu Blumen mit süssen Düften,”</p> </div> </td></tr></table> <p class="noind">was converted to Catholicism. Schelling wrote his <i>Philosophy of Revelation</i>; -Görres, the editor of the <i>Rothen Blut</i>, ended as the author of the <i>Christian +Görres, the editor of the <i>Rothen Blut</i>, ended as the author of the <i>Christian Mystic</i>.</p> <p>Here set in the period of the Nazarenes. What Schlegel had said was to become true, that the German artist has either no character at all or he must -have the character of the mediæval masters, true-hearted and thoughtful, +have the character of the mediæval masters, true-hearted and thoughtful, innocent withal, and somewhat maladroit. In architecture the Hellenic school is succeeded by the Gothic, painting passes from the reverence of the Greek statues to that of old Italian pictures.</p> @@ -5916,11 +5875,11 @@ Greek statues to that of old Italian pictures.</p> the centre of influence, only they no longer made pilgrimages, like the Classicists, to ancient but to Christian Rome. <i>Overbeck</i> -of Lübeck came in 1810 with Pforr of Frankfort -and Vogel of Zürich; the Düsseldorfer, +of Lübeck came in 1810 with Pforr of Frankfort +and Vogel of Zürich; the Düsseldorfer, Cornelius, followed in 1811, <i>Schadow</i> and <i>Veit</i> of Berlin in 1815, <i>Schnorr von Carolsfeld</i> -of Leipzig in 1818, the Viennese <i>Führich</i> and +of Leipzig in 1818, the Viennese <i>Führich</i> and <i>Steinle</i> in 1827 and 1828. In all of them there lived the perception that in such a serious age men should be of high moral @@ -5929,7 +5888,7 @@ religious capacity of their lives.</p> <p>There still stands to-day, on a secluded hillock of the Monte Pincio a small church, -whose façade is adorned with the statues of St. Isidore, the patron of +whose façade is adorned with the statues of St. Isidore, the patron of husbandmen, and of St. Patrick, apostle of Ireland. A court with weather-beaten cloisters and an old well separates the church from the monastery which lies behind it, where the cells of the monks, Irish and Italian Franciscans, @@ -5942,7 +5901,7 @@ frescoes, and which, formerly a refectory, is used to-day as a theological lecture-room. This was the room where Overbeck and his friends in the first period after their arrival stood for one another as models. -Lethière, the director of the +Lethière, the director of the French Academy, had obtained permission for them to install themselves in the deserted @@ -5954,7 +5913,7 @@ three scudi monthly.</p> <table class="flt" style="float: right; width: 400px;" summary="Illustration"> <tr><td class="figright1"><img style="width:353px; height:419px" src="images/img158.jpg" alt="" /></td></tr> -<tr><td class="captionx">JOSEPH FÜHRICH.   <i>Graphische Kunst.</i></td></tr></table> +<tr><td class="captionx">JOSEPH FÃœHRICH.   <i>Graphische Kunst.</i></td></tr></table> <p>“We led a truly monastic life,” relates Overbeck; “held @@ -6031,7 +5990,7 @@ heaven.”</p> <table class="flt" style="float: right; width: 375px;" summary="Illustration"> <tr><td class="figright1"><img style="width:325px; height:416px" src="images/img159.jpg" alt="" /></td></tr> -<tr><td class="captionx f80">FÜHRICH.  FROM THE “LEGEND OF ST. GWENDOLIN.”</td></tr></table> +<tr><td class="captionx f80">FÃœHRICH.  FROM THE “LEGEND OF ST. GWENDOLIN.”</td></tr></table> <p>It is obvious that between the ascetics of the monastery and the Classicists direct friction must ensue. To them the “ever repeated and @@ -6047,7 +6006,7 @@ Niebuhr touched glasses with Thorwaldsen “to the health of old Jupiter.” Only Cornelius joined in; the others started and looked upon the young -Düsseldorfer as a heretic.</p> +Düsseldorfer as a heretic.</p> <p>This positive Christian standpoint, which allowed art to be esteemed @@ -6061,7 +6020,7 @@ to him a continual subject of contempt. <span class="pagenum"><a name="page128" id="page128"></a>128</span> Religion no more bestows talent for the arts than it gives taste. He spoke with irony of the “valiant artists and ingenious friends of -art who had resort to the honourable, naïve, yet somewhat coarse +art who had resort to the honourable, naïve, yet somewhat coarse taste” of the fourteenth and fifteenth-century masters. He constantly employed of them the expression “star-gazing.” He had already mockingly remarked of Wackenroder’s <i>Herzensergiessungen</i> what an @@ -6081,12 +6040,12 @@ of the Middle Ages, and to praise the latter only when it imitated the antique. Speaking as a man of Mengs’ school, and merely proposing Hellenic art as a canon instead of early Italian, he had, after all, no right to be angry if Frederick Schlegel opposed classical models with -mediæval. Otherwise, however, even to-day little can be added to Goethe’s +mediæval. Otherwise, however, even to-day little can be added to Goethe’s animadversions.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:594px; height:365px" src="images/img160.jpg" alt="" /></td></tr> -<tr><td class="tcl f90 pb2">FÜHRICH.</td> +<tr><td class="tcl f90 pb2">FÃœHRICH.</td> <td class="tcr f90 pb2">RUTH AND BOAZ.</td></tr></table> <p>As with Carstens, so with the Nazarenes, we are warned by the idealistic @@ -6109,7 +6068,7 @@ religion.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:591px; height:429px" src="images/img161.jpg" alt="" /></td></tr> -<tr><td class="tcl f90 pb2">FÜHRICH.</td> +<tr><td class="tcl f90 pb2">FÃœHRICH.</td> <td class="tcr f90 pb2">THE DEPARTURE OF THE PRODIGAL SON.</td></tr></table> <p>In a certain sense they even show an advance in art. They found @@ -6139,7 +6098,7 @@ technique.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:680px; height:486px" src="images/img162.jpg" alt="" /></td></tr> -<tr><td class="tcl f90 pb2">FÜHRICH.</td> +<tr><td class="tcl f90 pb2">FÃœHRICH.</td> <td class="tcr f90 pb2">JACOB AND RACHEL.</td></tr></table> <p>The Nazarenes abandoned on principle the employment of the model, @@ -6155,7 +6114,7 @@ deemed it a sacrilege to have depicted her as purely womanly. They therefore only occasionally sat to one another for studies of drapery, and, for the rest, “in order not to be naturalistic,” painted their pictures from imagination in the seclusion of their cells. As the Catholicism of Schlegel -was an anæmic system, so the painters, too, deprived their figures of blood +was an anæmic system, so the painters, too, deprived their figures of blood and being in order to leave them only the abstract beauty of line. They are beings who are exalted above everything, even above correctness of drawing, and who must expire of a lack of blood in their veins. The @@ -6190,7 +6149,7 @@ a factor again in the development of the German nation. It must not be used, wrote Cornelius in his -famous letter to Görres, as +famous letter to Görres, as a mere plaything, or to tickle the senses, not merely for the delectation and @@ -6284,7 +6243,7 @@ that time still free.</p> <td class="tcr f90 pb2">BOOK ILLUSTRATION.</td></tr></table> <p>When the pictures had been unveiled in 1819 a festival of German -artists was held in Rome. Rückert, Bunsen, the Humboldts, the Herzes +artists was held in Rome. Rückert, Bunsen, the Humboldts, the Herzes were there; Cornelius, Veit, and Overbeck had arranged the transparencies. “The centre of all,” writes the Danish romantic Atterbom, was the Crown Prince Ludwig of Bavaria, “the idol of every German artist, whose @@ -6329,10 +6288,10 @@ Gallery at Mayence.</p> <p>Overbeck, the only one who could not tear himself from Rome, remained, till his death in 1869, the “Young German Raphael,” as his father -had called him in a letter from Lübeck in 1811: a devout, religious +had called him in a letter from Lübeck in 1811: a devout, religious poet, pure of soul and of fine culture, as one-coloured and one-sided as he was mild and tender. At the outset he knew, at least, how to extract -from the old masters a certain naïve piety without positive character, +from the old masters a certain naïve piety without positive character, whereas later he lost himself more and more in the arid formalism of dead dogmas. @@ -6342,7 +6301,7 @@ such as the “Entry of Christ into Jerusalem” and the “Weeping over the Body of Christ”—both in the -Marienkirche at Lübeck, in +Marienkirche at Lübeck, in the “Miracle of Roses,” in Santa Maria Degli Angeli at Assisi, in the “Christ on @@ -6362,7 +6321,7 @@ composition and type a complete imitation of the Florentine Raphael; his “Lamentation of Christ” in -the Lübeck Marienkirche is +the Lübeck Marienkirche is <span class="pagenum"><a name="page136" id="page136"></a>136</span> reminiscent of Perugino; his “Burial” would never have existed but for Raphael’s picture in the Borghese Gallery. His sentiment coincided @@ -6412,14 +6371,14 @@ of the soul was lost, or through the obduracy of the material did not attain a right expression, here their spiritual and emotional qualities can be better valued.</p> -<p>Joseph Führich, one of the most staunchly convinced champions +<p>Joseph Führich, one of the most staunchly convinced champions of these reactionary tendencies, has become, entirely owing to his extensive <span class="pagenum"><a name="page137" id="page137"></a>137</span> activity as a draughtsman, somewhat more familiar to our modern knowledge than most of his contemporaries. He had begun as a draughtsman. As a student of the Prague Academy he was an enthusiast for Schlegel, Novalis, and Tieck; and even before his journey to Rome he -had etched fifteen plates for Tieck’s <i>Genoveva</i>. It was Dürer who +had etched fifteen plates for Tieck’s <i>Genoveva</i>. It was Dürer who exercised the deciding influence upon his further development. He had been led to him through Wackenroder, and had copied his “Marienleben” in 1821. “Here I saw,” he says in his Autobiography, “a form before @@ -6430,7 +6389,7 @@ grace. In contrast with that absence of character which prevailing academic art mistakes for beauty I saw here a keen and mighty characterisation which dominated the figures through and through, making them, as it were, into old acquaintances.” The strong and godly German -middle age took then in Führich’s heart the same place which the +middle age took then in Führich’s heart the same place which the Italian Quattrocento had filled in Overbeck’s range of thought. And this old-German tendency was only temporarily interrupted by his sojourn in Rome. After he came to Rome in 1826 he became a @@ -6455,18 +6414,18 @@ impressions of his youth, and so found himself again.</p> <p>As a boy, in his little native village of Kratzau, in Bohemia, he had tended the cows in summer time and had acquired a certain sincere -knowledge of nature and shepherd-life. He had to thank Dürer for his +knowledge of nature and shepherd-life. He had to thank Dürer for his preference for the idyllic and patriarchal family scenes in Sacred History, and these tendencies found pleasing expression in pictures like “Jacob and Rachel,” or “The Passage of Mary across the Mountains.” No matter that the figures in “Jacob and Rachel” are taken out of the early pictures of Pinturicchio and Raphael, they are still interwoven, -with their background of landscape, into an idyll of great naïveté and +with their background of landscape, into an idyll of great naïveté and charm. More especially, however, did the qualities which he owed to -Dürer acquire value—a sturdy characterisation, a naïve art in telling the +Dürer acquire value—a sturdy characterisation, a naïve art in telling the story, and a great wealth of fresh traits, straight from nature—in the serial compositions of his old age. There is no sentimental vagueness, -nothing academical. Führich had a keen eye for what was intimate, +nothing academical. Führich had a keen eye for what was intimate, familiar; a tender sense of the individualities of landscape in woodland and meadow, of the charm of everyday life as well as of the animal world; and though an idealist, he knew how to assimilate ingeniously @@ -6493,7 +6452,7 @@ figures of fable. His “Loreley,” in the Schack Gallery, as she looks a Medusa-like destroyer, from the tall cliff; his watchman who looks dreamily into space over the houses of the old town; his violin player on his tower who plays, forgetful of the world,—these have something musical, -poetical, that freshness of sentiment and unsought naïveté which as an +poetical, that freshness of sentiment and unsought naïveté which as an inheritance of his Viennese home was also peculiar in such a high degree to Schwind.</p> @@ -6502,7 +6461,7 @@ after colour.” There lives in his works a refined feeling for colour that, <span class="pagenum"><a name="page139" id="page139"></a>139</span> in his water-colours, rarely forsakes him. Take, for instance, the fresh, tinted pen-drawings, engraved by Schaffer, in which he displayed with the -naïveté of Memlinc the life of St. Euphrosyne; the five aquarelles of +naïveté of Memlinc the life of St. Euphrosyne; the five aquarelles of Grimm’s “Snow-White and Rose-Red”; or his illustrations to Brentano’s poems, such as the <i>Chronicle of the Wandering Student</i>, and the <i>Fairy Tale of the Rhine and Radlauf the Miller</i>, in which he developed a delight in @@ -6527,12 +6486,12 @@ strokes.</p> <p>Strangest to the present-day taste have become the drawings of Cornelius. His plates to Goethe’s <i>Faust</i> have, indeed, a certain austere strength of <span class="pagenum"><a name="page140" id="page140"></a>140</span> -conception, which he learnt from Dürer; but also faults of drawing, +conception, which he learnt from Dürer; but also faults of drawing, exaggerations, crudities, and errors in perspective, which he did not find -in Dürer.</p> +in Dürer.</p> <p>In his second work, the Nibelungen cycle, an intentional old-German -angularity, with an unintentional modern clumsiness, has effected a <i>mésalliance</i> +angularity, with an unintentional modern clumsiness, has effected a <i>mésalliance</i> even less attractive.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -6551,7 +6510,7 @@ even less attractive.</p> <p class="noind pt1"><span class="chap1 sc">More</span> than seventeen hundred years ago there reigned a Roman emperor who loved art passionately. He looked upon it from an intellectual altitude which few have reached, and he valued it as the monumental -consummation of Græco-Roman culture. Standing upon a plane of intellectual +consummation of Græco-Roman culture. Standing upon a plane of intellectual elevation, himself gifted with artistic intuition, he knew of no higher enjoyment for a ruler than the cultivation of the architectural and other forms of art. It was he who opened up to the energy of artists a field such as has @@ -6592,12 +6551,12 @@ art, and thus fulfilled a noble mission. The king’s splendid enthusiasm fo the ideal significance of art, which he hoped would lead the German people, then seeking to work out its individuality, from out of its Philistine narrow-mindedness to nobler and greater things—this enthusiasm will redound to his -enduring honour. Schiller’s idea of educating humanity by æsthetic means +enduring honour. Schiller’s idea of educating humanity by æsthetic means had in him grown into a living and powerful sentiment.</p> <p>All that it was possible to accomplish in the cause of art, on the basis of existing development, his endeavours have fully realised. In the course of -twenty-three years he spent more than £3,000,000 from his privy purse, and +twenty-three years he spent more than £3,000,000 from his privy purse, and made Munich what it is, the principal art centre of Germany; changed it from a Bœotia into an Athens; founded its art collections, and erected the buildings which give the town its character. Then he offered those new walls @@ -6615,8 +6574,8 @@ living soul of art in those days posterity will no more acknowledge than it does in the case of the age of Hadrian.</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Wie bei Bartholdy als Kind, so in Massimis Villa als Jüngling</p> -<p class="i05">Teutshes Fresco wir sehn, aber in München als Mann,”</p> +<p>“Wie bei Bartholdy als Kind, so in Massimis Villa als Jüngling</p> +<p class="i05">Teutshes Fresco wir sehn, aber in München als Mann,”</p> </div> </td></tr></table> <p class="noind">sang King Ludwig. Now, after two generations, it can be seen that fresco-painting @@ -6639,7 +6598,7 @@ almost make one believe in a kind of metempsychosis; as though the spirit of the great Florentine master, that giant of the Renaissance, had been restored to humanity. At that very period the Italian art of the Cinquecento enjoyed the exclusive favour of the German scholars. It alone was worthy of imitation; -in it the æsthetic philosophers +in it the æsthetic philosophers sought for rules and laws to govern the development of art. And as they thought that all the qualities @@ -6757,7 +6716,7 @@ they produced nothing better than caricatures of Michael Angelo, that they expressed themselves in shallow phrases, that their religious pictures are cold and inflated, and that their mythological presentations with naked figures impress us as bombastic and repellent. Houbraken, in his biography of -Gérard de Lairesse, wrote: “A whole book could be filled with the description +Gérard de Lairesse, wrote: “A whole book could be filled with the description of his innumerable pictures and panels, ceilings and frescoes.” To-day we dismiss this unattractive mannerist in a few lines. What his contemporaries <span class="pagenum"><a name="page146" id="page146"></a>146</span> @@ -6834,7 +6793,7 @@ very same mannerism into which the Dutchmen had fallen three hundred years earlier,—the only difference being that he surpassed them in erudition. But although this quality would no doubt have greatly helped him had he written books, we cannot take it into account in discussing his artistic merits, -any more than we can judge Gérard de Lairesse by his literary achievements. +any more than we can judge Gérard de Lairesse by his literary achievements. Nay, more, as he had elected to confine himself to painting, his erudition became a curse to him, bringing him to disregard beauty of form in a manner as yet unknown in the history of art. Not only was he filled with ardour for the @@ -6949,8 +6908,8 @@ It was much easier to copy their lord and master, whose name was on their lips, but not a spark of whose genius was in their heads, with every sort of mannerism. “When nature once produces a new birth she does so with a lavish hand. Talents, talents enough for centuries!” In these words -Cornelius himself did honour to his pupils—to Carl Herrmann, Strähuber, -Hermann Anschütz, Hiltensperger, and Lindenschmit the elder, the mention +Cornelius himself did honour to his pupils—to Carl Herrmann, Strähuber, +Hermann Anschütz, Hiltensperger, and Lindenschmit the elder, the mention of whose names evokes a painful memory of the arcades in the palace garden at Munich.</p> @@ -6988,7 +6947,7 @@ equally into insignificance. But if we come to accept the problem of art criticism as a matter of psychology -rather than of æsthetics, if +rather than of æsthetics, if we search for the relations between the work of art and the soul of its author, we @@ -7064,8 +7023,8 @@ Hogarth should unfortunately have been caught in the toils of the Cornelian school. But this comparison does little justice to Hogarth. There is nothing in the illustrations of Kaulbach which many other artists could not have improved upon. In his “Reynard the Fox” he adapted, for the benefit of -the German public, Grandville’s <i>Scènes de la Vie privée et publique des Animaux</i>, -published in 1842. His illustrations for <i>éditions de luxe</i> (“The Women of +the German public, Grandville’s <i>Scènes de la Vie privée et publique des Animaux</i>, +published in 1842. His illustrations for <i>éditions de luxe</i> (“The Women of Goethe,” etc.) marked the first steps of the road which ended in Thuman. And Thuman stands higher than Kaulbach. The faint, unaccented drawing, the oval “beauty” of heads, declamatory and expressionless, the academic @@ -7088,24 +7047,24 @@ what he should have glorified.</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> <p>“All die Meister Kunstbahnbrecher, wie die Herren selbst sich nennen,</p> -<p class="i05">Wahrlich Widderköpfe sind sie, Mauern damit einzurennen.</p> +<p class="i05">Wahrlich Widderköpfe sind sie, Mauern damit einzurennen.</p> <p class="i05">Mit dem Loche in der Mauer ist’s noch lange nicht geschehen,</p> <p class="i05">Da muss erst der Held erscheinen, siegreich dadurch einzugehen.</p> <p class="i05">Gegen jenes Ungeheuer ziehen sie zu Feld mit Phrasen,</p> -<p class="i05">Wie die sieben Schwaben einstmals ritterlich bekämpft den Hasen.</p> -<p class="i05">Voran zieht der edle Ritter Schnorr, der Künste Don Quixote,</p> +<p class="i05">Wie die sieben Schwaben einstmals ritterlich bekämpft den Hasen.</p> +<p class="i05">Voran zieht der edle Ritter Schnorr, der Künste Don Quixote,</p> <p class="i05">Seine Rosinante setzt er, statt des Pegasus in Trotte;</p> <p class="i05">Heiliger Hess, sein Sancho Pansa, Du nicht liebst das offene Streiten,</p> -<p class="i05">Und du lässt dich sachte, sachte, ’rab von Deinem Esel gleiten.</p> +<p class="i05">Und du lässt dich sachte, sachte, ’rab von Deinem Esel gleiten.</p> <p class="i05">Was ist denn so grosses Neues in der Neuen Kunst geschehen?</p> -<p class="i05">Nichts, als was sie nicht der aften, längst vergangnen abgesehen.</p> -<p class="i05">Wände ich auch Lorbeerkränze all um diese Alltagsfratzen,</p> -<p class="i05">Würden sie sie doch nur zieren zu bedecken hohle Glatzen.”</p> +<p class="i05">Nichts, als was sie nicht der aften, längst vergangnen abgesehen.</p> +<p class="i05">Wände ich auch Lorbeerkränze all um diese Alltagsfratzen,</p> +<p class="i05">Würden sie sie doch nur zieren zu bedecken hohle Glatzen.”</p> </div> </td></tr></table> <p><span class="pagenum"><a name="page156" id="page156"></a>156</span></p> -<p>This is the commentary written by Kaulbach himself; and Théophile +<p>This is the commentary written by Kaulbach himself; and Théophile Gautier called the suite <i>un carnaval au soleil</i>. “The king in his youth spent millions in order to elevate art,” says Schwind; “and now in his old age he pays another thousand pounds in order to be laughed at for it.” Heine’s @@ -7136,10 +7095,10 @@ it had to be learnt again right from the beginning.</p> <div class="center ptb6"><img style="width:258px; height:35px; vertical-align: middle;" src="images/img0.jpg" alt="" /></div> <p class="center chap">CHAPTER VII</p> -<p class="center chap2">THE DÜSSELDORFERS</p> +<p class="center chap2">THE DÃœSSELDORFERS</p> <p class="noind pt1"><span class="chap1 sc">On</span> the Rhine there existed a school of painting instead of a school of -drawing, a fact which at that time placed Düsseldorf next in importance +drawing, a fact which at that time placed Düsseldorf next in importance to Munich. Wilhelm Schadow, its first director, was lacking in any personal distinction as an artist, but he had received from his great father a tendency towards perfection of technique, which brought him and his @@ -7149,11 +7108,11 @@ exercise an authoritative influence. In Rome he was the only one of the Nazarenes amenable to the French influence, while the others nervously held aloof from the members of the French Academy. And this formal bent of his talent later gave him the qualifications of a sound teacher. Immediately -upon his arrival at Düsseldorf, in November 1826, he was escorted by a stately -throng of students: Carl Friedrich Lessing, Julius Hübner, Theodor Hildebrandt, -Carl Sohn, H. Mücke, and Christian Koehler, who were afterwards +upon his arrival at Düsseldorf, in November 1826, he was escorted by a stately +throng of students: Carl Friedrich Lessing, Julius Hübner, Theodor Hildebrandt, +Carl Sohn, H. Mücke, and Christian Koehler, who were afterwards joined by Eduard Bendemann, Ernest Deger, and others. These became -the mainstay of the celebrated Old Düsseldorf School, which was soon supported +the mainstay of the celebrated Old Düsseldorf School, which was soon supported by the jubilant enthusiasm of its contemporaries. At the Berlin exhibitions the new school of painting passed from one triumph to the other. Young men fresh from school suddenly made names that were honoured @@ -7167,7 +7126,7 @@ result of a sudden burst of ardour, and the disillusion had now followed upon the enthusiasm. In 1810, with the French bayonets gleaming outside the windows, and the French kettledrums drowning the sound of his voice, Fichte delivered at the Berlin University his famous speeches which sounded -the réveillé for Germany. At the same time Kleist wrote his <i>Hermannschlacht</i>: +the réveillé for Germany. At the same time Kleist wrote his <i>Hermannschlacht</i>: Napoleon was to be treated as Hermann had treated Varus. “<i>Was blasen die Trompeten, Husaren heraus</i>,” pealed through the air; the song of “<i>Got, der Eisen wachsen liess</i>” rose heavenwards in brazen accords. And @@ -7183,7 +7142,7 @@ object of a fanatical adoration. Men lost themselves in the old storehouses of faded German reminiscences, and fled for inspiration to the times of a consolidated German Empire. This return to the ruins of the past was a protest against the grey, colourless present. The patriotic frenzy of the -poets of freedom changed into enthusiasm for the vanished glories of mediæval +poets of freedom changed into enthusiasm for the vanished glories of mediæval Germany. They remembered with longing and yearning the days when the robber-knights ruled town and country from their strongholds. Schenkendorff sang hymns inspired by the old cathedrals, rummaged with holy horror @@ -7206,8 +7165,8 @@ wilfulness, dreamily winsome, like summer evenings on the Rhine. Uhland sang, as once had sung the knightly poets with the golden harps—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Von Gottesminne, von kühner Helden Muth,</p> -<p class="i05">Von lindem liebesinne, von süsser Maiengluth.”</p> +<p>“Von Gottesminne, von kühner Helden Muth,</p> +<p class="i05">Von lindem liebesinne, von süsser Maiengluth.”</p> </div> </td></tr></table> <p class="noind">To this day we seem to peep between the weather-beaten castles, standing @@ -7215,7 +7174,7 @@ on their grey rocks along the Rhine Valley, into the realm of romance as into an enigma propounded by mountain and dale. Rhine and romance!</p> <p>No spot in Germany was better fitted to become the cradle of a romantic -art than Düsseldorf, the peaceful town on the legend-haunted banks of the +art than Düsseldorf, the peaceful town on the legend-haunted banks of the green river. In the fifteenth century, in addition to the school of Florence, where flowed a rich current of political and human life, where great buildings, monuments, and frescoes kept architects and sculptors and painters uniformly @@ -7228,24 +7187,24 @@ their pictures. In the same manner, in the nineteenth century, we find in contrast with the Munich school, with its numerous architectural products, its massive statuary, and the epic-dramatic fresco painting of Cornelius—“wedding the German to the Greek, and Faust to Helen”—that lyrico-sentimental -Düsseldorf school of painting which embraced Madonnas and +Düsseldorf school of painting which embraced Madonnas and prophets, knights and robbers, gipsies and monks, water-nymphs and nuns with the same languishing tenderness. In matter and technique it completes the art of Cornelius and the Nazarenes; that of the Munich master by its encouragement of oil-painting; that of the Nazarenes by the stress which it -lays upon the more worldly side of mediæval life, upon chivalry, and in a less -degree upon that other pillar of mediævalism the Church. The Nazarenes -are archæological and ascetic; the Düsseldorf school is insipid in a modern +lays upon the more worldly side of mediæval life, upon chivalry, and in a less +degree upon that other pillar of mediævalism the Church. The Nazarenes +are archæological and ascetic; the Düsseldorf school is insipid in a modern way, feeble, colourless, and sentimental.</p> <p>Count Raczynski and Friedrich von Uechtritz have given us interesting -descriptions of life at Düsseldorf at that time, and their story reads like a +descriptions of life at Düsseldorf at that time, and their story reads like a chapter of Tacitus’ <i>Germania</i>. “<i>Grand dieu! Bons et affectueux allemands!</i>” exclaimed a Parisian critic of the Count’s book in sad emotion, and held up this virtuous German life, as an example worthy of imitation, to his compatriots, the decadents of fashionable artistic Paris, fallen into modern luxury. Undisturbed by the hum of a big city, and without any -communication with its surroundings, the Düsseldorf colony of artists lived +communication with its surroundings, the Düsseldorf colony of artists lived its life of seclusion. The painters saw none but painters. They herded together in the studios, and the sole recreation in the intervals of their work was a visit to another studio. The whole of the day was devoted to painting; @@ -7259,7 +7218,7 @@ allowed no questions of the day to interfere with the calmness of their artistic life. Few of them ever read a newspaper. In the year of revolution, 1830, their sole interest in the events around them was concentrated in the fear that a war might disturb their idyllic life. The end of the day’s work saw -them in summer-time bent on a pilgrimage to the Stockkämpchen, to refresh +them in summer-time bent on a pilgrimage to the Stockkämpchen, to refresh themselves with a cup of buttermilk, to play at bowls, or to enjoy a race among the cabbage patches of the garden. In winter they made a point of meeting at seven o’clock every Saturday night at the inn for a literary @@ -7267,7 +7226,7 @@ reading. Each taking his part they recited the dramas of Tieck, of Calderon, and Lopez; or Uechtritz read extracts from German history, the Crusades, the period of the emperors, the riots of the Hussites. Every Sunday night there met at Schadow’s a very distinguished intellectual circle, -consisting of Judge Immermann (the reformer of the stage at Düsseldorf), +consisting of Judge Immermann (the reformer of the stage at Düsseldorf), Felix Mendelssohn the composer, Kortum, author of the <i>Jobsiade</i>, and Assessor <span class="pagenum"><a name="page160" id="page160"></a>160</span> von Uechtritz, with their ladies. But the great gala-days were the theatrical @@ -7277,18 +7236,18 @@ gathered their liveliest suggestions. Some of them went even so far as to take part in amateur performances, conducted by Immermann, and given in Schadow’s house, under the auspices of the whole of the distinguished society. And thus the pictures of this school were not conceived under -the influence of life, but of the theatre. The Düsseldorf artists were youths +the influence of life, but of the theatre. The Düsseldorf artists were youths whose productions were not rooted in life, but in reading and culture; youths who always moved in good society, and who had passed through the great ordeals of life, but only on “the boards representing the universe.”</p> -<p><i>Theodor Hildebrandt</i> became the Shakespeare of Düsseldorf. The translation +<p><i>Theodor Hildebrandt</i> became the Shakespeare of Düsseldorf. The translation of the works of the English poet by Schlegel had been published some -time earlier, and Immermann, in Düsseldorf, had been the first to offer Shakespeare +time earlier, and Immermann, in Düsseldorf, had been the first to offer Shakespeare a home on the German stage. The performances of his tragedies were regarded as red-letter days. During the three years of Immermann’s leadership (1834-37), <i>Hamlet</i>, <i>Macbeth</i>, <i>King John</i>, <i>King Lear</i>, <i>The Merchant of -Venice</i>, <i>Romeo and Juliet</i>, <i>Othello</i>, and <i>Julius Cæsar</i> were performed on fifteen +Venice</i>, <i>Romeo and Juliet</i>, <i>Othello</i>, and <i>Julius Cæsar</i> were performed on fifteen occasions in all.<a name="fa1a" id="fa1a" href="#ft1a"><span class="sp">1</span></a> To give the titles of these plays is at once to characterise the subject-matter of Hildebrandt’s paintings. He very often had a hand in the staging of the plays, and is said to have shown a remarkable histrionic @@ -7297,11 +7256,11 @@ his inspiration, as in his “Pictures from Faust” and his “Bewa Water Nymph,” where he honoured Goethe, and in his “Brigands,” where he may have been inspired by one of the many variations on <i>Rinaldo Rinaldini</i> that flooded the market at the time, or perhaps also by Byron, whose influence -was very marked on the Düsseldorf school.</p> +was very marked on the Düsseldorf school.</p> <p>Goethe’s <i>Frauengestalten</i>, more especially the Leonoras, were reproduced -in oils by old father <i>Sohn</i>. <i>Eduard Steinbruck</i> painted Genevièves, Red Riding -Hoods, Elves, and Undines, after Tieck and Fouqué; <i>H. Stilke’s</i> “Pictures +in oils by old father <i>Sohn</i>. <i>Eduard Steinbruck</i> painted Genevièves, Red Riding +Hoods, Elves, and Undines, after Tieck and Fouqué; <i>H. Stilke’s</i> “Pictures from the Crusades” introduced Walter Scott to the German public. Uhland’s first ballads had brought into fashion the damsels who from the ramparts of their castles wave a sad farewell to the lonely shepherds; the ancestral tombs, @@ -7311,7 +7270,7 @@ Shepherdess</i>—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> <p>“Und halt ich dich in den Armen</p> -<p class="i05">Auf freien Bergeshöhn,</p> +<p class="i05">Auf freien Bergeshöhn,</p> <p class="i05">Wir sehn in die weiten Lande</p> <p class="i05">Und werden doch nicht gesehn,”</p> </div> </td></tr></table> @@ -7329,7 +7288,7 @@ in German art.</p> <p class="i05">Die Jungfrau sah ich nicht.”</p> </div> </td></tr></table> -<p class="noind">After Bürger he painted a Leonora—of course in so-called mediæval costume, +<p class="noind">After Bürger he painted a Leonora—of course in so-called mediæval costume, in order “to avoid the unpicturesque attire in fashion during the Seven Years’ War”; and at the same time as Hildebrandt, “A Mourning Brigand,” who, in the full light of the evening sun, sits brooding on a rock over the depravity @@ -7354,11 +7313,11 @@ Hebrew elegies are easily traced back to theatrical inspirations. With the exception of the frescoes of the Casa Bartholdy, the subjects of which were selected with an eye to the religious belief of their purchaser, the Nazarenes found all the subject-matter they wanted in the New Testament. The -Passion of Our Lord was unable to inspire the Düsseldorf school. As compared +Passion of Our Lord was unable to inspire the Düsseldorf school. As compared to the few Christian paintings by W. Schadow, and the dreamy Madonnas of Deger, Ittenbach, and little Perugino Mintrop, we find a far greater number of scenes from the Old Testament, which at the time gave birth to numerous -dramas. Hübner, always inclined to idyllic and melancholy scenes, painted +dramas. Hübner, always inclined to idyllic and melancholy scenes, painted Ruth and Boaz, his first great picture, which established his reputation. After Klingemann had utilised the whole life of Moses by turning it into a theatrically effective sequence, Christian Koehler scored a success with his “Moses @@ -7366,7 +7325,7 @@ hidden in the Bulrushes” and his “Finding of Moses,” and then, Raupach’s “Semiramis,” abandoned his biblical heroines for Oriental ones. Theodor Hildebrandt took Tieck’s “Judith” as an inspiration for his picture of this Jewish heroine. Kehren’s “Joseph reveals Himself to his Brethren” -was begun after the opera <i>Joseph in Egypt</i> had been performed at Düsseldorf. +was begun after the opera <i>Joseph in Egypt</i> had been performed at Düsseldorf. Bendemann, in 1832, played his trump card with his “Lament of the Jews,” now in the Cologne Museum, after Byron had made his propaganda, suggested by the sad lives of the children of Israel, and Friedrich von Uechtritz had @@ -7374,10 +7333,10 @@ caused his drama, <i>The Babylonians in Jerusalem</i>, to be performed, ending a it does with the sending of the Jews into captivity in Babylon—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Wein’ über die die weinen fern in Babel,</p> +<p>“Wein’ über die die weinen fern in Babel,</p> <p class="i05">Ihr Tempel brach, ihr Land ward, ach! zur Fabel!</p> <p class="i05">Wein’! es erstart der heil ’gen Harfe Ton,</p> -<p class="i05">Im Haus Jehovas haust der Spötter Hohn.”</p> +<p class="i05">Im Haus Jehovas haust der Spötter Hohn.”</p> </div> </td></tr></table> <p class="noind">And his oil-paintings of a later date, “Jeremiah on the Ruins of Jerusalem” @@ -7386,8 +7345,8 @@ it does with the sending of the Jews into captivity in Babylon—</p> Jews into Captivity in Babylon” (1872), in the Berlin National Gallery, were variations on the same theme.</p> -<p>The productions of the Düsseldorf school were thus in perfect harmony -with the programme issued by Püttmann in his book. Pictorial representations +<p>The productions of the Düsseldorf school were thus in perfect harmony +with the programme issued by Püttmann in his book. Pictorial representations may be taken from two ranges, History or Poetry; the painter may choose an historical fact as a subject for representation, or reproduce in visible form the rhythmically shaped fancy of a stranger. History shows him figures @@ -7409,7 +7368,7 @@ catastrophe.”</p> <td class="tcr f90 pb2">THE SORROWING ROYAL PAIR.</td></tr></table> <p>Thus the scale of sorrow from sad melancholy to painful suffering became -the speciality of the Düsseldorf school. At the foot of the scale we +the speciality of the Düsseldorf school. At the foot of the scale we find the pictures which “represent the common, yet keen sorrow of parents at the death or the sad future of their children.” Lessing’s “Royal Pair” mourn the death of their daughter; Hagar grieves because @@ -7430,11 +7389,11 @@ the children—</p> </div> </td></tr></table> <p class="noind">Job grieves at the downfall of his -house; Hübner’s “Ruth,” because +house; Hübner’s “Ruth,” because her weeping mother-in-law entreats her to depart; Stilke’s “Pilgrim in the Desert,” because his horse -has died of thirst; Plüddeman’s +has died of thirst; Plüddeman’s “Columbus,” because he knows himself to be unworthy of the grace of God which enabled him @@ -7464,7 +7423,7 @@ the present, just as between the Germany of to-day and the Germany of 1830. Men of the younger generation, who were still at school when Bismarck spoke his word of blood and iron, can hardly understand how this modern, realistic Germany can have been, two generations ago, a sentimental -Germany. Now the significance of the Düsseldorf school in the +Germany. Now the significance of the Düsseldorf school in the history of civilisation lies in the fact that they are the real representatives of that age of @@ -7504,13 +7463,13 @@ their knapsacks.</p> “The greatness of Michael Angelo” may not have been Bendemann’s, and Sohn’s carnations are far removed from “the melting colouring of Titian.” But as opposed to the one-sidedness to which fresco painting at Munich was -given up, the encouragement of oil-painting at Düsseldorf must be looked +given up, the encouragement of oil-painting at Düsseldorf must be looked upon as praiseworthy. These painters were the first in Germany to try again to learn how to paint in oils. The extreme artistic clumsiness that had reigned under Cornelius was followed by a period in which, under Schadow, earnest studies and serious work were devoted to an effort again to master a technical medium. Their friendly emulation led to surprising progress, which -assured to the Düsseldorf school a technical superiority over all the other +assured to the Düsseldorf school a technical superiority over all the other German schools of the period.</p> <table class="flt" style="float: right; width: 390px;" summary="Illustration"> @@ -7523,7 +7482,7 @@ pressure of that mechanical idealism which makes all their productions so utterly unattractive to us. The ideal “line of beauty” has turned the figures into bloodless shadows and washed-out theatrical forms. As philosophy <span class="pagenum"><a name="page166" id="page166"></a>166</span> -was to Cornelius, so to the Düsseldorfers was poetry their Noah’s Ark. +was to Cornelius, so to the Düsseldorfers was poetry their Noah’s Ark. The interest aroused by the poet was their ally; the breath of the wind that set their boat afloat; the general poetical tendency made up for the deficiency in artistic interest. Had it not been @@ -7553,7 +7512,7 @@ they are subject to may be interpreted with the assistance of the plaster bust: honour, fidelity, love. And as sentiment and heroism are national virtues of the Germans, they are bound to show sentimental expression whilst killing their adversaries. Even the brigands are generalised lay figures. The -Düsseldorf ideal of beauty aimed at a certain tender, vaguely graceful swing +Düsseldorf ideal of beauty aimed at a certain tender, vaguely graceful swing of outline that anxiously avoided all manly and strong, energetic and characteristic expression, all that could remind one of nature. They rejected Leonardo da Vinci’s advice, to tug at the nipple of Mother Nature, but looked @@ -7579,18 +7538,18 @@ night. Two or three consecutive performances of one play remain a rarity.</p> <p class="center chap2">THE LEGACY OF GERMAN ROMANTICISM</p> <p class="noind pt1"><span class="chap1 sc">It</span> was reserved for two younger men to reach the aim that hovered in the -far distance before Cornelius and the Düsseldorfians. And, by one of +far distance before Cornelius and the Düsseldorfians. And, by one of fortune’s remarkable freaks, the greatest German monumental painter of the -nineteenth century came from the Düsseldorf, the greatest Romanticist from +nineteenth century came from the Düsseldorf, the greatest Romanticist from the Munich school.</p> <p><i>Alfred Rethel</i> was twenty-four years old when he received the commission to paint the frescoes in the <i>Kaisersaal</i> at Aachen, and had previously worked -in the Düsseldorf Academy, and then with Veit at Frankfort. But the -pictures are suggestive neither of his Düsseldorfian nor of his Nazarene +in the Düsseldorf Academy, and then with Veit at Frankfort. But the +pictures are suggestive neither of his Düsseldorfian nor of his Nazarene training. The deeds of Charlemagne, the ancestor of the German Imperial dynasties, are nobly, and, at the same time, vigorously embodied in them. -Rethel had studied the harsh strength of his Albrecht Dürer, but only as a +Rethel had studied the harsh strength of his Albrecht Dürer, but only as a kindred spirit studies his kin. Neither Cornelius nor Schnorr has depicted the old German heroic might and the vanished imperial grandeur, the great past, the iron Middle Ages, with such notable traits. How plain in his heroic @@ -7627,7 +7586,7 @@ have been the man to create a monumental German art. A tragic destiny! Heinrich von Kleist, the greatest German poet of the post-classical age, who was chosen for so high a vocation, the creation of a new dramatic style, shot himself; and the giant, Alfred Rethel, was to end in madness. Barely forty years -old was he when he walked by the warder’s side in the courtyard at Düsseldorf, +old was he when he walked by the warder’s side in the courtyard at Düsseldorf, picking up flint-stones, a poor, simple madman. Only two series of designs ensure, apart from the frescoes at Aix, the immortality of his name: “Hannibal’s Passage over the Alps,” and the “Dance of Death.” As a draughtsman, @@ -7651,7 +7610,7 @@ burst over the soil of Europe, Rethel’s fantasy reaped a rich harvest. He drew his “Dance of Death,” represented Death the Leveller, who drives poor fools behind the barricades. The ghostly and spectral, that horror of death that breaks in upon us in the midst of life, had been the propensity of German -art since Dürer and Holbein. Like them, Rethel loved the world of the +art since Dürer and Holbein. Like them, Rethel loved the world of the diabolical, and similarly chose for his embodiment of it the sturdy, simple contours of the old German wood engravings. Death as the hero of revolution makes a commencement. There he rides as the town-executioner, a cigar @@ -7682,7 +7641,7 @@ twist and turn.</p> <td class="tcr f90 pb2">THE EMPEROR OTTO AT THE TOMB OF CHARLEMAGNE.</td></tr></table> <p>There is something of Th. A. Hofmann’s wild fantasy of the ague-fit in -this picture,—something morbid, satanic, that suggests Félicien Rops; yet, +this picture,—something morbid, satanic, that suggests Félicien Rops; yet, at the same time, something so pithy and virile, and in form so compressed, well-balanced, and correct, that it brings the old Germans, too, to our recollection. And the reconciliation with which the series ends is pathetic. In @@ -7734,11 +7693,11 @@ wit.</p> <tr><td class="tcl f90 pb2">RETHEL.</td> <td class="tcr f90 pb2">HANNIBAL’S PASSAGE OVER THE ALPS.</td></tr></table> -<p>When an æsthetic once hailed him as “the creator of an original, German +<p>When an æsthetic once hailed him as “the creator of an original, German kind of ideal, romantic art,” Schwind repeated very slowly, weighing each word: “’An original, German kind of ideal, romantic art.’ My dear sir, to me there are only two kinds of pictures, the sold and the unsold; and to me -the sold are always the best. Those are my entire æsthetics.” Or a noble +the sold are always the best. Those are my entire æsthetics.” Or a noble amateur comes to him with the request that he would take him just for a few days into his school, and instruct him especially in his masterly art of drawing in pencil. Whereupon Schwind: “It does not require a day for that, my dear @@ -7753,8 +7712,8 @@ and a few thoughts in my head as well; then I sit down here and begin to draw. And now you know all that I can tell you.” Again he asks “to be decorated with an order,” because he “is ashamed to mix in such a naked <span class="pagenum"><a name="page172" id="page172"></a>172</span> -condition with his bestarred confrères,” and after the bestowal of the desired -decoration he says: “I wore it only once, at the last New Year’s levée, but I +condition with his bestarred confrères,” and after the bestowal of the desired +decoration he says: “I wore it only once, at the last New Year’s levée, but I vowed at the same time that six horses should not drag me there again. Before, there was at any rate a beautiful queen there, and then the court ladies laughed at one; but amongst men only, the stupidity of it is not to be endured.” @@ -7764,7 +7723,7 @@ the most delicate pictures and then growls, “What am I to do with the thin if nobody buys them?” when he indulges in outbursts of wrath, and a minute later has forgotten again the abusive words which the others spitefully bring up against him years afterwards,—then here, too, his happy humour forces -its way everywhere, that divine naïveté which forms the soul of his and of all +its way everywhere, that divine naïveté which forms the soul of his and of all true art.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -7787,10 +7746,10 @@ the resurrection of the Middle Ages, misunderstood, and grasped sentimentally, and as it were by stencil. He was spiritually permeated by that which had given Romanticism the capacity to exist: the sense of that forgotten and imperishable world of beauty which it has again discovered. The others -sought for the “blue flower,” Schwind found it; resuscitated in all its faëry +sought for the “blue flower,” Schwind found it; resuscitated in all its faëry beauty that “fair night of enchantment which holds the mind captive.” He incorporated the romantic idea in painting as Weber did in music, and his works, -like the <i>Freischütz</i>, will live for ever. Many a man listened to him holding +like the <i>Freischütz</i>, will live for ever. Many a man listened to him holding forth upon water-nymphs, gnomes, and tricksy kobolds, as of beings of whose existence he appeared to have no doubt whatever. On one occasion, while out walking near Eisenach in the Annathal, a friend laughingly observed to @@ -7831,9 +7790,9 @@ sense. He was a painter of love—a breath of Walter von der Vogelweide&rsqu ideal perfection of womanhood pervades his pictures.</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Durchsüsset und geblümet sind die reinen Frauen,</p> +<p>“Durchsüsset und geblümet sind die reinen Frauen,</p> <p class="i05">Es ward nie nichts so Wonnigliches anzuschauen,</p> -<p class="i05">In Lüften, auf Erden, noch in allen grünen Auen.”</p> +<p class="i05">In Lüften, auf Erden, noch in allen grünen Auen.”</p> </div> </td></tr></table> <p>Schwind, too, painted frescoes, and in them he is very unequal. All his @@ -7870,7 +7829,7 @@ angel’s wings.</p> <table class="flt" style="float: right; width: 400px;" summary="Illustration"> <tr><td class="figright1"><img style="width:346px; height:423px" src="images/img209.jpg" alt="" /></td></tr> -<tr><td class="captionx">MORITZ SCHWIND.   <i>Graphische Künste.</i></td></tr></table> +<tr><td class="captionx">MORITZ SCHWIND.   <i>Graphische Künste.</i></td></tr></table> <p>Schwind, like Rethel, is numbered among the few artists of that period who were able to preserve their absolute simplicity against the great painters @@ -7945,7 +7904,7 @@ and fairy-tale, which Count Schack has collected in his private gallery for the quiet and devout enjoyment of thousands, he has given us his best work as a painter.</p> -<p>Yet even <i>his</i> pictures have the failings of his time. Compared with Dürer, +<p>Yet even <i>his</i> pictures have the failings of his time. Compared with Dürer, he seems like a gifted amateur; there are manifold empty, dead spaces to be observed among his figures; their action is at times misconceived and puppet-like; and his sense of colour was always limited. One may be permitted @@ -7975,7 +7934,7 @@ the “blue flower” pours forth the whole of its sense-benumbing perfume. Count von Gleichen; the boy’s miraculous horn; the mountain spirit -Rübezahl, wandering along through +Rübezahl, wandering along through the wild mountain forest; the hermits; the elves’ dance; the erlking; the knight and the water nymph,—they @@ -7993,7 +7952,7 @@ master was an innocent, harmless, and joyous being.</p> <p>His works, in comparison with those of his contemporaries, who were devising systems by means of which art should be brought back to the classical, -bear the stamp of naïve creations in which no hypocrisy, no decorative +bear the stamp of naïve creations in which no hypocrisy, no decorative nothingness finds expression. As against the erudite treatises of the Cornelius school, they preached for the first time the doctrine, that in works of art what is important is not the quantity of learning displayed therein, but the @@ -8009,7 +7968,7 @@ masters; he spoke the language of his time.</p> <p>He was one of the first who at that time laid aside the prejudice against modern costume, and in his “Symphony” turned to artistic account, in -one fantastic whole, even Franz Lachner’s frockcoat and Fräulein Hetzenecker’s +one fantastic whole, even Franz Lachner’s frockcoat and Fräulein Hetzenecker’s modern society toilette. “If you may paint a man hidden in an iron stove—what is called a knight in armour—you may still more permissibly paint a man in a frockcoat. In general, one can paint what one will, @@ -8026,11 +7985,11 @@ Journey” he raised all reality into the poetry of purest romance, so is hi Romanticism saturated with a sense of reality charged with memories of home. Out of his fairy-tale pictures is breathed a charming fragrance of the long-vanished days of earth’s first springtide, and yet for that very reason -a breath of the most modern Décadence. He is distinguished from Marées +a breath of the most modern Décadence. He is distinguished from Marées and Burne-Jones, from Puvis de Chavannes and Gustave Moreau, by a very unmodern attribute—he is bursting -with health. He is still naïvely +with health. He is still naïvely childlike, free from that elegiac melancholy, that temper of weary resignation, which the end of the nineteenth @@ -8116,7 +8075,7 @@ like a delicate vapour; and quite especially in his illustrations—so far a word may be employed with respect to him, for he never illustrated, he gave shape to his own thoughts, and that only which moved his innermost being he brought fully formed before one’s eye. The <i>Bilderbogen</i> and the <i>Fliegende -Blätter</i> of Munich obtained from him witty and humorous inventions, such +Blätter</i> of Munich obtained from him witty and humorous inventions, such as “The Almond Tree,” “Puss in Boots,” “The Peasant and the Donkey,” “Herr Winter,” and “The Acrobat Games.” His fairest legacy consists of three cyclic works: “Cinderella,” “The Seven Ravens,” and “The Beautiful @@ -8180,7 +8139,7 @@ round the walls runs a frieze, depicting the legend of the “Beautiful Melusina.” It is Schwind’s monument. With him German Romanticism perished; reality itself had now become so marvellous. When, in 1850, <span class="pagenum"><a name="page184" id="page184"></a>184</span> -Hübner had to paint a figure of Germania +Hübner had to paint a figure of Germania for a page in King Ludwig’s album, he depicted a queenly woman, prone on the ground, with her face in @@ -8261,7 +8220,7 @@ has a single idea,” as Schwind said in his drastic way. The Muse of Schwind, the last Romanticist, was a chaste, pensive, soulful maiden; while that -of Piloty, the first colourist, was a noisy, bloodthirsty Megæra. Yet one +of Piloty, the first colourist, was a noisy, bloodthirsty Megæra. Yet one can have no doubt as to the necessity of this evolutionary change.</p> <p>Schwind himself is among the masters “who have been, and are, and shall @@ -8305,14 +8264,14 @@ as possible of the art of foreign countries.</p> <p>In the very years when the first railways were ousting the old mail-coaches the mutual interchange of endeavour and ability between the various nations was slower and scantier than ever before. How German artists had wandered -abroad in the fifteenth and sixteenth centuries, in that great age when Dürer +abroad in the fifteenth and sixteenth centuries, in that great age when Dürer crossed the Alps on Pirkheymer’s pony, and when Holbein obtained from -Erasmus letters of introduction for England! With what joy Dürer, in his +Erasmus letters of introduction for England! With what joy Dürer, in his letters and in his journal, gives an account of the recognition accorded him in artistic circles in Italy and the Dutch cities! Nearly all the German painters had, in the course of their long wanderings, made acquaintance with either the Netherlands or Italy. They knew exactly what was going on in the -world around them. Dürer and Raphael used to send drawings to each other, +world around them. Dürer and Raphael used to send drawings to each other, “so as to know each other’s handwriting.” It was only in the first half of the nineteenth century that the Germans, once proud in the consciousness of possessing the finest comprehension of, and the greatest receptivity for, foreign @@ -8333,7 +8292,7 @@ the ineradicable national failing of that of France.</p> <p>With some such ideas in their heads the majority of the German painters, in the autumn of 1843, found themselves confronted by Gallait’s “Abdication -of Charles <span class="sc">V</span>” and Bièfve’s “Agreement of the Dutch Nobility”; two Belgian +of Charles <span class="sc">V</span>” and Bièfve’s “Agreement of the Dutch Nobility”; two Belgian <span class="pagenum"><a name="page187" id="page187"></a>187</span> pictures which at that time were going the round of the exhibitions in all the larger towns of Germany. And it was not long before the belief in the old @@ -8364,45 +8323,45 @@ powerful development which was shortly to take place in French art. A legion of characterless pupils issuing from David’s studio wearied the world with their aimless works, and hurled their thunderbolts against all rising talent. The austere catalogue of the Salon was a pell-mell of Belisarii, -Télémaques, Phædras, Electras, Brutuses, Psyches, and Endymions. Girodet -and Guérin wearied themselves in putting on canvas the chief scenes in the +Télémaques, Phædras, Electras, Brutuses, Psyches, and Endymions. Girodet +and Guérin wearied themselves in putting on canvas the chief scenes in the classical tragedies at that time so frequently performed—Pygmalion and Galatea, the Death of Agamemnon, and the like—and painted portraits -between times; Girodet’s dry and poor, Guérin’s solemnly vacant. The +between times; Girodet’s dry and poor, Guérin’s solemnly vacant. The universal note was that of tedium.</p> -<p><i>François Gérard</i> alone, the “King of Painters and Painter of Kings,” +<p><i>François Gérard</i> alone, the “King of Painters and Painter of Kings,” survives, at least in his portraits. Like David he is redeemed only by his -portrait painting, and his successes in that direction eclipse even Mme. Vigée-Lebrun, +portrait painting, and his successes in that direction eclipse even Mme. Vigée-Lebrun, the amiable, gifted, and graceful painter of Marie Antoinette’s days. At the outbreak of the Revolution she had left France. Everywhere extolled -and welcomed with open arms, she painted Mme. de Staël in Switzerland, and +and welcomed with open arms, she painted Mme. de Staël in Switzerland, and at Naples Lady Hamilton, the famous beauty of the time of the Directory. But when, in 1810, she returned to Paris, she had been forgotten. The day on which Marie Antoinette picked up her brush for her, as Charles <span class="sc">V</span> had done for Titian, was to remain the happiest in her life. She belonged to the Ancien -Régime, and although her death did not take place till 1842, at the age of +Régime, and although her death did not take place till 1842, at the age of eighty-seven, her work was already over in 1792. In her old age she busied herself in writing memoirs of the splendour of her youthful days, from the -famous mythological dinner in the Rue de Cléry, where her husband appeared +famous mythological dinner in the Rue de Cléry, where her husband appeared in the character of Pindar and recited his translation of Anacreon’s odes, to the triumphs which accompanied her journey round Europe.</p> <table class="flt" style="float: right; width: 320px;" summary="Illustration"> <tr><td class="figright1"><img style="width:270px; height:307px" src="images/img226.jpg" alt="" /></td></tr> -<tr><td class="captionx">FRANÇOIS GÉRARD.   <i>L’Art.</i></td></tr></table> +<tr><td class="captionx">FRANÇOIS GÉRARD.   <i>L’Art.</i></td></tr></table> -<p>Gérard took the place which she had left vacant at her departure, and +<p>Gérard took the place which she had left vacant at her departure, and filled it well, especially in his youth. When, in the Exhibition of Portrait Painting held at Paris in 1885, there appeared the likeness of Mlle. Brongniart, -from the collection of Baron Pichon, painted by Gérard in 1795, at the age +from the collection of Baron Pichon, painted by Gérard in 1795, at the age of twenty-five, there was general astonishment at the familiar and intimate grasp of character it displayed. The portrait of this young girl standing in her white dress, so tranquil and without pose, has in the firmness of its <span class="pagenum"><a name="page190" id="page190"></a>190</span> draughtsmanship the austere charm and dignity of a Bronzino. And later none could give to the aristocracy of Europe a nobler or more natural bearing -than did Gérard, who became their tried and trusted depicter: yet in his last +than did Gérard, who became their tried and trusted depicter: yet in his last days he descended into theatrical exaggeration. Endowed as he was with all the captivating qualities of a cultured man of the world, @@ -8417,14 +8376,14 @@ the salons, the born painter of the great world, his house the centre of a distinguished circle of society. Not a celebrity, not an emperor or king, but wished to be painted by -Gérard. And just as he had been the chosen +Gérard. And just as he had been the chosen portrait painter of the Bonaparte family, so after the Restoration he was still the official favourite of the Court. Josephine took the fashionable painter under her high protection, Napoleon’s marshals defiled before him, and the aristocracy which returned with Louis <span class="sc">XVIII</span> vied with one another for his favour.</p> -<p>Gérard’s three hundred portraits are a continuous catalogue of all those +<p>Gérard’s three hundred portraits are a continuous catalogue of all those who in the first quarter of the century played any part in France upon the political, military, or literary stage. A man of supple talent and fine tastes, he completely satisfied the desires of a society which, after the storm of the @@ -8435,8 +8394,8 @@ people whom he painted are no longer “citizens,” as with David, but generals, princesses; and their surroundings allow of no doubt as to whether they are to be addressed as Sir, as Your Serene Highness, or as Your Excellency. No one knew how to flatter in so tactful a manner, particularly in portraits -of ladies. It was to him, therefore, that Mme. Récamier had recourse when -she was dissatisfied with David’s likeness of her. Gérard’s, which she destined +of ladies. It was to him, therefore, that Mme. Récamier had recourse when +she was dissatisfied with David’s likeness of her. Gérard’s, which she destined for Prince Augustus of Prussia, one of her admirers, gave the “fair Juliette” the fullest satisfaction. In the former she was represented reposing on a couch, austere and without charm, like a tragic muse. Here she sits in a @@ -8453,9 +8412,9 @@ about babies and the stork.</p> <td class="figcenter" colspan="2"><img style="width:378px; height:558px" src="images/img228.jpg" alt="" /></td></tr> <tr><td class="tcr f90" colspan="2"><i>Gaz. des Beaux-Arts.</i></td> <td class="tcr f90" colspan="2"><i>Gaz. des Beaux-Arts.</i></td></tr> -<tr><td class="tcl f90 pb2">GÉRARD.</td> +<tr><td class="tcl f90 pb2">GÉRARD.</td> <td class="tcr f90 pb2">MADAME VISCONTI.</td> -<td class="tcl f90 pb2">GÉRARD.</td> +<td class="tcl f90 pb2">GÉRARD.</td> <td class="tcr f90 pb2">MLLE. BRONGNIART.</td></tr></table> <p>The background, too, that colonnade “leading nowhither,” is characteristic @@ -8481,7 +8440,7 @@ Revolution, under the influence of which all extravagant pomp, not only in life, but even in portrait painting, was replaced by an ascetic sobriety. -Gérard, the Court painter of the +Gérard, the Court painter of the Bourbons, who on their return had “learnt nothing and forgotten nothing,” reintroduced the gorgeous pillar @@ -8493,16 +8452,16 @@ the simple, neutral-toned background of the Italians.</p> <p>David, by the way, never forgave -Mme. Récamier for having preferred +Mme. Récamier for having preferred his pupil to himself. When, in 1805, -after the completion of Gérard’s likeness +after the completion of Gérard’s likeness of her, she approached David on the subject of finishing his, he answered drily: “Madame, artists have their caprices as well as women; now it is <i>I</i> who will not.”</p> -<p>As an historical painter Gérard was +<p>As an historical painter Gérard was an imitator of the mannerist Girodet. <span class="pagenum"><a name="page192" id="page192"></a>192</span> Paintings such as “Daphnis and @@ -8566,10 +8525,10 @@ dreamed of embracing, when he held but its skeleton in his hands.</p> <td class="figcenter" colspan="2"><img style="width:440px; height:578px" src="images/img230.jpg" alt="" /></td></tr> <tr><td class="tcr f90" colspan="2"><i>Gaz. des Beaux-Arts.</i></td> <td class="tcr f90" colspan="2"><i>Cassell & Co.</i></td></tr> -<tr><td class="tcl f90 pb2">GÉRARD.</td> +<tr><td class="tcl f90 pb2">GÉRARD.</td> <td class="tcr f90 pb2">CUPID AND PSYCHE.</td> -<td class="tcl f90 pb2">GÉRARD.</td> -<td class="tcr f90 pb2">MADAME RÉCAMIER [DETAIL].</td></tr></table> +<td class="tcl f90 pb2">GÉRARD.</td> +<td class="tcr f90 pb2">MADAME RÉCAMIER [DETAIL].</td></tr></table> <p>And meanwhile, away from the broad high-road, and almost unnoticed, was living that painter whom David contemptuously called “the Boucher of @@ -8612,7 +8571,7 @@ with girl-like tenderness. His parents used often to send him out with the other poor children of the little town to gather faggots for the winter in the wood belonging to the neighbouring Benedictine monastery. There the handsome, sprightly boy -with the large melancholy eyes attracted the notice of the priest, Père +with the large melancholy eyes attracted the notice of the priest, Père Besson, who made him a chorister and gave him some instruction. Here, in the old abbey of Cluny, surrounded by venerable statues carved in wood, by old pictures of saints and artistic miniatures, he recognised his vocation. @@ -8743,7 +8702,7 @@ mysterious visitor of his studio.</p> <p>To keep the wolf from the door, Prudhon was obliged for some years to draw vignettes on letter-sheets for the Government offices, business cards for -tradesmen, and even little pictures for <i>bonbonnières</i>. For this the representatives +tradesmen, and even little pictures for <i>bonbonnières</i>. For this the representatives of high art held him in contempt. Greuze alone treated him amicably, and even he held out no hopes for his future. “You have a family and you have talent, young man; that is enough in these days to bring about @@ -8789,7 +8748,7 @@ pictures, sketches, pastels, <span class="pagenum"><a name="page198" id="page198"></a>198</span> all of which have the same piquant charm, the same elegant grace, the same joyous and merry expression. In her he had found his type, as his namesake -Rubens did in Hélène Fourment. Constance Mayer became the muse of his +Rubens did in Hélène Fourment. Constance Mayer became the muse of his delicate, graceful work. And she too died before his eyes, having cut her throat with a razor.</p> @@ -8878,8 +8837,8 @@ exile. Solitary, tortured by remorse of conscience, and with continual thoughts of suicide, he lived on only for his recollections of her, in tender converse with the memorials she had left, insensible to the renown which began gradually to gather round his name. The completion of the “Unfortunate Family,” -which Constance had left unfinished on her easel, was his last <i>tête-à-tête</i> with -her, his last farewell. He left his studio only to visit her grave in Père-Lachaise, +which Constance had left unfinished on her easel, was his last <i>tête-à -tête</i> with +her, his last farewell. He left his studio only to visit her grave in Père-Lachaise, or to wander alone along the outer boulevards. An “Ascension of the Virgin” and a “Christ on the Cross” were the last works of the once joyous painter of ancient mythology: the Mater Dolorosa and the Crucified—symbols @@ -8956,7 +8915,7 @@ scene.</p> <tr><td class="figright1"><img style="width:342px; height:230px" src="images/img239.jpg" alt="" /></td></tr> <tr><td class="tcl f90"></td></tr> <tr><td class="caption">THE TOMB OF PRUDHON AND CONSTANCE<br /> -MAYER AT PÈRE-LACHAISE.</td></tr></table> +MAYER AT PÈRE-LACHAISE.</td></tr></table> <p>In general, Prudhon was not a tragic painter; his preference was for the more joyous, light and dreamy, delicately veiled myths of the ancients. His @@ -9040,7 +8999,7 @@ Prudhon. His heads of women charm one by the mysterious language of their eyes, by their familiar smile, and by their dreamy melancholy. No one knew better how to catch the fleeting expression in its most delicate shades, how to grasp the very mood of the moment. How piquant is his smiling -Antoinette Leroux with her dress <i>à la</i> Charlotte Corday, her coquettish extravagant +Antoinette Leroux with her dress <i>à la</i> Charlotte Corday, her coquettish extravagant hat, and all the amusing “chic” of her toilette! Madame Copia, the wife of the engraver, with her delicately veiled eyes, has become in Prudhon’s hands the very essence of a beautiful soul. A languishing weariness, a remarkable @@ -9063,7 +9022,7 @@ in the name of the graceful against David’s formal stiffness. He sought to demonstrate that human beings do not in truth differ very widely to-day from those in whom Leonardo and Correggio delighted, that they are fashioned out of delicate flesh and blood, not out of marble and stone. Standing beside -David, he appealed to the art of colour. But as with André Chénier, a spirit +David, he appealed to the art of colour. But as with André Chénier, a spirit congenial to his, it was long before he attained success. His modesty and his rustic character could effect nothing against the dictatorial power of David, on whom had been showered every dignity that Art could offer. People @@ -9078,7 +9037,7 @@ who, without wishing it or knowing of it, was preparing the way for the overthro of David’s school. He was born 17th March 1771, at Paris, where <span class="pagenum"><a name="page207" id="page207"></a>207</span> his father was a miniature painter. His vocation was determined in the -studio of Mme. Vigée-Lebrun, who was a friend of his parents. In the Salon of +studio of Mme. Vigée-Lebrun, who was a friend of his parents. In the Salon of 1785, which contained David’s “Andromache beside the Body of Hector,” he chose his instructor. He was then the handsome youth of fifteen represented in his portrait of himself at Versailles, with delicate features, full of @@ -9096,7 +9055,7 @@ for the Prix de Rome, and this failure was the making of him.</p> <td class="tcr f90 pb2">LA NUIT.</td></tr></table> <p>He went to Italy on his own account, and was an eye-witness of the war -which Napoleon was there waging. There he beheld scenes in which archæology +which Napoleon was there waging. There he beheld scenes in which archæology had no part. For when Augereau’s foot-soldiers carried the bridge of Arcola by assault, they had little thought of imitating an antique bas-relief. Gros observed armies on the march, and saw their triumphant entry into @@ -9117,7 +9076,7 @@ of works of art to Paris, he had abundant opportunities of admiring critically the works of the sixteenth and seventeenth century masters. The two impressions thus received had a decisive effect upon his life. Gros became the great colourist of the Classical school, the singer of the Napoleonic -epos. Compared with David’s marmoreal Græco-Romans, Gros’ figures seem +epos. Compared with David’s marmoreal Græco-Romans, Gros’ figures seem to belong to another world; his pictures speak, both in purport and in technique, a language which must more than once have astonished his master.</p> @@ -9133,7 +9092,7 @@ the Dictator’s impetuous heroism; and he made a sketch of the General storming the bridge of Arcola at the head of his troops, ensign in hand. It pleased Napoleon, who saw in it something of the -dæmonic power of the future +dæmonic power of the future conqueror of the world; and when the picture was exhibited in Paris in 1801 @@ -9163,7 +9122,7 @@ mythology, but he did not feel at home there. His field was that living history which the generals and soldiers of France were making. He won for contemporary military life its citizenship in art. David, wishing to remain true to “history” and to “style,” had depicted contemporary events -with reluctance. What Gérard and Girodet had produced was interesting as +with reluctance. What Gérard and Girodet had produced was interesting as a protest on the part of reality against classical convention, but on the whole it was unsatisfying and wearisome. Gros, the famous painter of the “Plague of Jaffa” and of the “Battle of Eylau,” was the first to attain to high renown in @@ -9207,7 +9166,7 @@ Classical contemporaries, excites a sensation of pleasure.</p> <table class="flt" style="float: right; width: 460px;" summary="Illustration"> <tr><td class="figright1"><img style="width:409px; height:362px" src="images/img246.jpg" alt="" /></td></tr> -<tr><td class="captionx">PRUDHON.   LES PETITS DÉVIDEURS.</td></tr></table> +<tr><td class="captionx">PRUDHON.   LES PETITS DÉVIDEURS.</td></tr></table> <p>Gros’ heroes know, as David’s do, that they are @@ -9242,10 +9201,10 @@ which Vien and David presided was given in honour of the painter. Girodet read a poem, of which the conclusion ran as follows—</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> -<p>“Et toi, sage Vien, toi, David, maître illustre,</p> -<p class="i05">Jouissez de vos succès; dans son sixième lustre,</p> -<p class="i05">Votre élève, déjà de toutes parts cité,</p> -<p class="i05">Auprès de vous vivra dans la postérité.”</p> +<p>“Et toi, sage Vien, toi, David, maître illustre,</p> +<p class="i05">Jouissez de vos succès; dans son sixième lustre,</p> +<p class="i05">Votre élève, déjà de toutes parts cité,</p> +<p class="i05">Auprès de vous vivra dans la postérité.”</p> </div> </td></tr></table> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -9264,7 +9223,7 @@ mangled limbs and corrupting flesh he, the Conqueror, the Master, the Emperor, comes to a halt, pale, his eyes turned towards the cities burning on the horizon, in his grey overcoat and small cocked hat, at the head of his staff, indifferent, inexorable, merciless as Fate. “<i>Ah! si les rois pouvaient contempler ce -spectacle, ils scraient moins avides de conquêtes.</i>” The classical posturing which +spectacle, ils scraient moins avides de conquêtes.</i>” The classical posturing which still lingered, a disturbing element, in the Plague picture, has been put aside <span class="pagenum"><a name="page212" id="page212"></a>212</span> completely. The conventional @@ -9281,7 +9240,7 @@ It was, beyond all controversy, the chief work in the Salon of 1808, rich in remarkable pictures; neither -Gérard’s “Battle of Austerlitz,” +Gérard’s “Battle of Austerlitz,” nor Girodet’s “Atala,” nor David’s Coronation piece endangered Gros’ right to @@ -9303,11 +9262,11 @@ monuments forty centuries contemplate your actions,” constitutes, in 1810, the coping-stone of the cycle. Gros alone at that time understood the epic grandeur of war. He became, also, the portrait painter of the great men from whom its -events proceeded. His picture of General Masséna, with its meditative, +events proceeded. His picture of General Masséna, with its meditative, slily tenacious expression, is the genuine portrait of a warrior; and how well is heroic, simple daring depicted in the likeness of General Lasalle, without the commonplace device of a mantle puffed out by the wind! -His portrait of General Fournier Sarlovèse, at Versailles, has a freshness +His portrait of General Fournier Sarlovèse, at Versailles, has a freshness of colouring, the secret of which no one else possessed in those days except the two Englishmen, Lawrence and Raeburn. Gros was far in advance of his age. A painter of movement rather than of psychological analysis, @@ -9491,7 +9450,7 @@ standpoint of our own days seems even younger than youth commonly is, richer, fresher, more glowing and fiery—the Generation of 1830, the “<i>vaillants de -dix-huit cent trente</i>,” as Théophile Gautier +dix-huit cent trente</i>,” as Théophile Gautier called them in one of his poems.</p> <p><span class="pagenum"><a name="page217" id="page217"></a>217</span></p> @@ -9517,11 +9476,11 @@ called them in one of his poems.</p> a great and admirable school of art. After the convulsions of the Revolution and the wars of the Empire, that generation had arisen, daring and eager for action, which de Musset describes in his <i>Confessions d’un Enfan -du Siècle</i>. And these young men, born between the thunders of one battle +du Siècle</i>. And these young men, born between the thunders of one battle and another, who had grown up in the midst of greatness and glory, had to experience, as they ripened into manhood, the ignominy of Charles <span class="sc">X</span>’s reign, the period of clerical reaction. They saw monasteries re-erected, laws of -mediæval severity made against blasphemy and the desecration of churches +mediæval severity made against blasphemy and the desecration of churches and saints’ days, and the doctrine of the divine origin of the monarchy proclaimed anew. “And when young men spoke of glory,” says de Musset, “the answer was, ‘Become priests!’ And when they spoke of honour, @@ -9557,7 +9516,7 @@ art—such is Vitet’s definition of the movement.</p> <p>Literature, which, adapting itself to the politics of the government, had begun in Chateaubriand with an enthusiastic fervour for Catholicism, Monarchy, -and Mediævalism, had in the twenties become revolutionary; and +and Mediævalism, had in the twenties become revolutionary; and the description of its battles is one of the most glowing chapters in George Brandes’ classic work. There was a revolt against the pseudo-antique, against the stiff handling of the Alexandrine metre, against the yoke of tradition. @@ -9572,7 +9531,7 @@ serious and terrible power with which one may not trifle, as the fire with which one must not play, as the electric spark that kills. So George Sand, the female Titan of Romanticism, published her novels, with their subversive tendencies and their sparkling animation of narrative. Between these two -rises the keen bronze-like profile of Prosper Mérimée, who prefers to describe +rises the keen bronze-like profile of Prosper Mérimée, who prefers to describe the life of gypsies and robbers, and to depict the most violent and desperate characters in history. Finally, Victor Hugo, the great chieftain of the Romantic school, the Paganini of literature, unrivalled in imposing grandeur, @@ -9584,23 +9543,23 @@ breathing passion and full of diversified movement.</p> <table class="flt" style="float: right; width: 390px;" summary="Illustration"> <tr><td class="figright1"><img style="width:342px; height:441px" src="images/img257.jpg" alt="" /></td></tr> -<tr><td class="caption">THÉODORE GÉRICAULT.</td></tr></table> +<tr><td class="caption">THÉODORE GÉRICAULT.</td></tr></table> <p>The conflict was deadly. The young generation hailed with applause the new Messiah of letters, and grew intoxicated with the harmony of Hugo’s phrases, which sounded so much fuller and fierier than the measured speech -of Corneille and Racine. The Théâtre Français, recently benumbed as with +of Corneille and Racine. The Théâtre Français, recently benumbed as with the quiet of the grave, became all at once a tumultuous battlefield. There they sat, when Hugo’s <i>Cromwell</i> and <i>Hernani</i> were produced on the stage, correct, well dressed, gloved, close shaven, with their neat ties and shirt collars, the representatives of the old generation, whose blameless conduct had raised them to office and place. And in contrast to them, in the pit were crowded -together the young men, the “Jeune France,” as Théophile Gautier described +together the young men, the “Jeune France,” as Théophile Gautier described them, one with his waving hair like a lion’s mane, another with his Rubens hat and Spanish mantle, another in his vest of bright red satin. Their common <span class="pagenum"><a name="page221" id="page221"></a>221</span> uniform was the red waistcoat -introduced by Théophile Gautier—not +introduced by Théophile Gautier—not the red chosen for their symbol by the men of the Revolution, but the scarlet-red which @@ -9628,7 +9587,7 @@ phosphorescence, seas at night-time in which ships are sinking, landscapes over which roaring War shakes his brand, and where maddened nations fall furiously upon one another—such are the subjects, resonant with shout of battle and song of victory, which held sway over French Romanticism. At -the very time when at Düsseldorf the young artists of Germany were +the very time when at Düsseldorf the young artists of Germany were painting with the milk of pious feeling their lachrymose, susceptible, sentimental pictures, utterly tame and respectable; when the Nazarene school were holding their post-mortem on the livid corpse of old Italian art, and @@ -9682,22 +9641,22 @@ of movement against stiffness.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:414px; height:569px" src="images/img258.jpg" alt="" /></td> <td class="figcenter" colspan="2"><img style="width:412px; height:565px" src="images/img259.jpg" alt="" /></td></tr> -<tr><td class="tcl f90 pb2">GÉRICAULT.</td> +<tr><td class="tcl f90 pb2">GÉRICAULT.</td> <td class="tcr f90 pb2">THE WOUNDED CUIRASSIER.</td> -<td class="tcl f90 pb2">GÉRICAULT.</td> +<td class="tcl f90 pb2">GÉRICAULT.</td> <td class="tcr f90 pb2">CHASSEUR.</td></tr></table> -<p>It was in the studio of Guérin, the tame and timid Classicist, that the +<p>It was in the studio of Guérin, the tame and timid Classicist, that the young assailants grew up, “the daubers of 1830,” who called the Apollo Belvidere a shabby yellow turnip, and who spoke of Racine and Raphael as of street arabs. They were tired of copying profiles of Antinous. The contemplation -of a picture by Girodet was wearisome to them. It was <i>Théodore -Géricault</i>, a hot, hasty passionate nature, of Beethoven-like unruliness and +of a picture by Girodet was wearisome to them. It was <i>Théodore +Géricault</i>, a hot, hasty passionate nature, of Beethoven-like unruliness and of heaven-storming boldness, who spoke the word of deliverance.</p> <p>He was a Norman, sturdily built and serious in manner. Even while he -was studying in Guérin’s studio he had already grasped some of the ideas -which Gros had in his mind, and, although not his pupil, Géricault may be +was studying in Guérin’s studio he had already grasped some of the ideas +which Gros had in his mind, and, although not his pupil, Géricault may be said to have continued his work, or at least would have been able to do so had he lived longer. Like him, he had from his youth up contemplated, full of <span class="pagenum"><a name="page223" id="page223"></a>223</span> @@ -9726,24 +9685,24 @@ studies of such subjects, which he continued to the day of his death. Afterwards, while he was working -under Guérin and before his +under Guérin and before his visit to Italy in 1817, he often went to the Louvre, copied pictures and studied Rubens, to the great annoyance of his teacher, who with horror beheld him entering upon so perilous a path.</p> <p>Here again he followed in the steps of Gros, whose portrait of General -Fournier Sarlovése was hung in the Salon of 1812 close by Géricault’s “Mounted -Officer.” This picture, a portrait of M. Dieudonné, an officer in the Chasseurs +Fournier Sarlovése was hung in the Salon of 1812 close by Géricault’s “Mounted +Officer.” This picture, a portrait of M. Dieudonné, an officer in the Chasseurs d’Afrique, crossing the battlefield sword in hand on a rearing horse, was -the first work exhibited by Géricault, then twenty-one years of age. It was +the first work exhibited by Géricault, then twenty-one years of age. It was an event. Gros found himself supported, if not surpassed, by a beginner who had his own enthusiasm for colour and movement, for profiles broadly and boldly delineated. In 1814 followed the “Wounded Cuirassier,” staggering across the field of battle and dragging his horse behind him. These were no longer warriors seated on classical steeds foaming with rage, but real -soldiers in whom there was nothing of the Greek statue. Then Géricault -went to Italy, but in this case also it was not to pursue archæological studies in +soldiers in whom there was nothing of the Greek statue. Then Géricault +went to Italy, but in this case also it was not to pursue archæological studies in the museums, but to see the race of the <i>barberi</i> during carnival. To this time belong those studies of horses, for the possession of which collectors vie <span class="pagenum"><a name="page224" id="page224"></a>224</span> @@ -9769,16 +9728,16 @@ anxiety is terrible. And ever higher and higher the grey waves roll on.</p> <tr><td class="figcenter" colspan="2"><img style="width:713px; height:500px" src="images/img260.jpg" alt="" /></td></tr> <tr><td class="tcl f90"> </td> <td class="tcr f90"><i>Seemann, Leipzig.</i></td></tr> -<tr><td class="tcl f90 pb2">GÉRICAULT.</td> +<tr><td class="tcl f90 pb2">GÉRICAULT.</td> <td class="tcr f90 pb2">THE RAFT OF THE MEDUSA.</td></tr></table> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:685px; height:505px" src="images/img261.jpg" alt="" /></td></tr> -<tr><td class="tcl f90 pb2">GÉRICAULT.</td> +<tr><td class="tcl f90 pb2">GÉRICAULT.</td> <td class="tcr f90 pb2">THE START.</td></tr></table> <p>How must such a scene have impressed a generation which for long years -had seen nothing in the Salon but dry mythology and painted statues! Géricault +had seen nothing in the Salon but dry mythology and painted statues! Géricault was the first to free himself from the tyranny of the plaster-of-Paris bust, and once again to put passion and truth to nature in the place of cold marble. <span class="pagenum"><a name="page225" id="page225"></a>225</span> @@ -9786,7 +9745,7 @@ Just as he commissioned the ship’s carpenter who had constructed the raft and was one of the saved to make him a model of it, so also he moved into a studio close to the hospital, for the purpose of studying the sick and dying, of sketching dead bodies and single limbs. It must be admitted that one would -wish for a yet firmer grasp of the subject. In form, Géricault still belongs to +wish for a yet firmer grasp of the subject. In form, Géricault still belongs to the school of David. A good deal of Classicism shows itself in the fact that he thought it necessary to depict the majority of the figures naked, in order to avoid “unpictorial” costumes. There is still something academic in the @@ -9799,7 +9758,7 @@ part in expressing the meaning of the picture. From the distance, indeed, whence the rescuing ship is drawing near, a bright light shines forth upon a scene otherwise depicted in dull brown. Save for this, the intention of the picture is not expressed by means of colour, and it even shows some retrogression -as compared with Géricault’s earlier works. He had begun with +as compared with Géricault’s earlier works. He had begun with Rubens, yet these studies in colouring did not last. In the “Wounded Cuirassier” of 1814 dark tones took the place of the former cheerfulness, and <span class="pagenum"><a name="page226" id="page226"></a>226</span> @@ -9818,7 +9777,7 @@ their hour is come.</p> <table class="flt" style="float: right; width: 310px;" summary="Illustration"> <tr><td class="figright1"><img style="width:258px; height:341px" src="images/img262.jpg" alt="" /></td></tr> <tr><td class="tcr f90"><i>Seemann, Leipzig.</i></td></tr> -<tr><td class="caption">EUGÈNE DELACROIX.</td></tr></table> +<tr><td class="caption">EUGÈNE DELACROIX.</td></tr></table> <p>The next step in French art was to be that of reinstating the significance of colour in the @@ -9826,7 +9785,7 @@ full rights conquered for it by Titian, so that it should no longer be merely a tasteful tinting of the figures, but should become truly that which gives its temper to the picture. It -was not reserved for Géricault to effect this. A trip to London, which he +was not reserved for Géricault to effect this. A trip to London, which he made in 1820, in company with his friend Charlet, was the last event of his life. There the sportsman awoke in him once more, and he painted the “Race for the Derby at Epsom.” Soon after his return he was thrown from @@ -9835,15 +9794,15 @@ spinal complaint. With a few more years in which to develop he should have been one of the great masters of France, but he died when scarcely in his thirty-second year.</p> -<p>Yet he lived long enough to observe, in the Salon of 1822, the début of -one of his comrades from Guérin’s studio. A greater than himself, to whom +<p>Yet he lived long enough to observe, in the Salon of 1822, the début of +one of his comrades from Guérin’s studio. A greater than himself, to whom with dying voice he had given a few words of advice, arose as the intellectual heir of the young painter so prematurely carried off, and carried to its issue the struggle which he had begun. It was on 26th April 1799, at midday, that the first genuine painter’s eye of the century saw the light, at Charenton Saint-Maurice. -Géricault had made a beginning, but it was the impetuous, powerful -genius of <i>Eugène Delacroix</i> which entered in and completed his work. What -Gros had dimly perceived, but had not dared to express, what Géricault had +Géricault had made a beginning, but it was the impetuous, powerful +genius of <i>Eugène Delacroix</i> which entered in and completed his work. What +Gros had dimly perceived, but had not dared to express, what Géricault had barely had time with a courageous hand to point out, a hand too soon stiffened in death—the modern poetry of colour, of fever, and of quivering emotion—it was reserved for Delacroix to write.</p> @@ -9867,9 +9826,9 @@ right.</p> <p class="pt2"> </p> <p><span class="pagenum"><a name="page229" id="page229"></a>229</span></p> -<p>Delacroix was another of the pupils who had grown up in Guérin’s studio, +<p>Delacroix was another of the pupils who had grown up in Guérin’s studio, but he became the latter’s antipode. Even in his student years he took -counsel, not of the antique, but of Rubens and Veronese; and when Géricault +counsel, not of the antique, but of Rubens and Veronese; and when Géricault was painting his “Raft of the Medusa,” Delacroix belonged to the little band of enthusiastic admirers which gathered round the young master. He served as model for the half-submerged man to the left in the foreground of that @@ -9878,12 +9837,12 @@ studies of horses, and with Madonnas in the Classical style, he exhibited in 1822 his “Dante’s Bark,” in a pictorial sense the first characteristic picture of the century. One is inclined even to-day to repeat David’s exclamation when he caught sight of the work, the first great epoch-making life-utterance of the -revolutionary Romanticists: “<i>D’où vient-il? Je ne connais pas cette touche-la.</i>” +revolutionary Romanticists: “<i>D’où vient-il? Je ne connais pas cette touche-la.</i>” There were thoughts in it which had not been conceived and expressed in the same manner since the time of Tintoretto. Dante and Virgil, ferried by Phlegyas over Acheron, are passing among the souls of the damned, who grasp hold of the boat with the energy of despair. A theme taken from a -mediæval author; an antique figure, that of Virgil, but seen through the +mediæval author; an antique figure, that of Virgil, but seen through the prism of modern poetry. While the Florentine, stiff with horror, gazes upon the swimming figures which cling to the boat with teeth and nails, Virgil, tranquil and serious, turns on them a face which the emotions of life can no @@ -9904,7 +9863,7 @@ absolutely opposed to all the exact, regular, well-balanced, colourless traditio which held sway in David’s school with their pedantic erudition and <i>bourgeois</i> discretion. The principle of the Classicists was the Greek type of beauty, and the translation of sculpture into painting. In Delacroix’s picture there was -no longer anything of that sort. Géricault had already broken away from +no longer anything of that sort. Géricault had already broken away from the academic stencilling of form, and had substituted natural expression, life, and emotion for conventional types; Delacroix now set aside the sullen colouring of the Classical school, and its painted statues made way for the colour-symphonies @@ -9967,7 +9926,7 @@ glow of colour more than any that had appeared in <span class="pagenum"><a name="page231" id="page231"></a>231</span> France since the days of Rubens. The English had been his teachers. “It -is here only that colour and effect are understood and felt,” Géricault had +is here only that colour and effect are understood and felt,” Géricault had previously written from London. Delacroix’s work had already been sent off to the Salon when Constable’s first pictures were just arriving there, and the impression which they made upon him was so powerful that, at the very @@ -9995,7 +9954,7 @@ systematically to prefer the ugly—that is to say, he was blamed for the ve qualities wherein lay his importance as a reformer. Accustomed as they had been for many years to an art in which intellect, correctness, and moderation held sway, not one of the critics was in a position to perceive all at once the -value of this fiery spirit. Delécluze, the indefatigable defender of the sacred +value of this fiery spirit. Delécluze, the indefatigable defender of the sacred dogmas of the Classical school, characterised “dramatic expression and composition marked by action” as the reef whereon the grand style of painting must inevitably be wrecked. The modern schools of art, he taught as late as @@ -10005,7 +9964,7 @@ the work showed, it nevertheless belonged, he said, to an inferior genus, and all its excellences in colouring could not outweigh the ugliness of its form.</p> <p>Therewith began the battles of the Romantic school, and all the daring of -Théophile Gautier, Thiers, Victor Hugo, Sainte-Beuve, Baudelaire, Bürger-Thoré, +Théophile Gautier, Thiers, Victor Hugo, Sainte-Beuve, Baudelaire, Bürger-Thoré, Gustave Planche, Paul Mantz, and others had to be called upon in order to storm the heights held by the batteries of the Classical critics. Count Forbin gave proof of no less courage when he bought the picture, torn to @@ -10037,7 +9996,7 @@ an enthusiasm for the great Anglo-Saxon and German poets, Shakespeare and Goethe, in whom, contrasting with Racine’s correctness, were to be found unrestrained genius and glowing passion. This influence of poetry over art may easily become dangerous, if painters sponge, so to speak, upon the poet, -as the Düsseldorf school did, and make use of his work only for the purpose +as the Düsseldorf school did, and make use of his work only for the purpose <span class="pagenum"><a name="page233" id="page233"></a>233</span> of enabling works, in themselves valueless, to keep their heads, artistically speaking, above water, by means of their extrinsic poetical interest. But @@ -10068,7 +10027,7 @@ he returned to the port of Toulon, on 5th July 1832, he had seen Algiers and Spain, and had assimilated an abundance of sunshine and colour. It is in his Oriental pictures that his painting first reaches its zenith, just as Victor Hugo’s mastery over language was at its highest -point in his <i>Orientales</i>. Goethe, in his <i>West-östliches Divan</i>, celebrated +point in his <i>Orientales</i>. Goethe, in his <i>West-östliches Divan</i>, celebrated what is quiet and contemplative in the Oriental view of life. Obermann sang of the land of legend, of buried treasures, of Aladdin and the wonderful lamp; but for Byron (who was practically the first to introduce into @@ -10095,7 +10054,7 @@ have had. They possess nothing save a blanket in which they walk, sleep, and are buried, and yet they look as dignified as Cicero in his curule chair. What truth, what nobility in these figures! There is nothing more beautiful in the antique. And all in white, as with Roman senators or at the Greek -Panathenæa.”</p> +Panathenæa.”</p> <p>His palette was thus further enriched in lucid tints, the contrasts he formerly delighted in became less sharp and glaring, the gloomy background @@ -10165,7 +10124,7 @@ in a masterly manner the theme so familiar and sympathetic to him. In his works there is something of the joyous and sportive energy of Rubens’ allegorical pictures, but not the least trace of imitation. He understood decorative painting in the sense of the great old masters, Giulio Romano and Veronese, -not as wall didactics and lectures on archæology; he knew that descriptive +not as wall didactics and lectures on archæology; he knew that descriptive prose has nothing whatever to do with the walls of a building, but that the sole aim of such paintings is to fill the house with their solemn grandeur, to make the whole building resound as it were with sacred organ music. Between @@ -10203,13 +10162,13 @@ battling warriors; and he sought it in every sphere, in nature no less than in poetry and the Bible. Hardly any painter—not even Rubens—has depicted with equal power the passions and movements of animals: lions in which he is own brother to Barye; fighting horses, in which he stands side by -side with Géricault. No other artist painted waves more grand, wind-beaten, +side with Géricault. No other artist painted waves more grand, wind-beaten, foaming, dashing, towering on high. Looking at them, one divines all the horrors concealed beneath the roar of the blue surface, horrors which were as -yet so insufficiently suggested in Géricault’s “Raft of the Medusa.” In his +yet so insufficiently suggested in Géricault’s “Raft of the Medusa.” In his historical pictures there reigns now terror and despair, as in the “Massacre of Chios”; now gloomy horror, as in the “Medea”; now feverish movement, -as in the “Death of the Bishop of Liège.” He passes from Dante +as in the “Death of the Bishop of Liège.” He passes from Dante to Shakespeare, from Goethe to Byron, but only to borrow from them their most moving dramatic situations—Hamlet at Yorick’s grave, his fight with <span class="pagenum"><a name="page238" id="page238"></a>238</span> @@ -10322,7 +10281,7 @@ internal fire.</p> <p>His portrait of himself in the Louvre, with its pale forehead, its large dark-rimmed eyes, its lean, hollow face, its parchment-like skin stretched tightly over the bones, explains his pictures better than any critical appreciation. -Delacroix was one of the <i>âmes maladives</i>, the spirits sick unto death, to whom +Delacroix was one of the <i>âmes maladives</i>, the spirits sick unto death, to whom Baudelaire addresses himself in his <i>Fleurs du Mal</i>. Delicate from his youth up, thoroughly nervous by nature, he prolonged his sickly existence throughout his life by sheer energy of will. Even in his childhood he passed through @@ -10363,7 +10322,7 @@ his opponents half-way. He did not trouble himself for a single moment to please the public; and therefore the public did not come to him. Controversies such as that which took place over the “Massacre of Chios” continued decade after decade, and the exhibition of each of his pictures was -the signal for a battle. “No work of his,” writes Thoré, “but called forth +the signal for a battle. “No work of his,” writes Thoré, “but called forth deafening howls, curses, and furious controversy. Insults were heaped upon <span class="pagenum"><a name="page241" id="page241"></a>241</span> the artist, coarser and more opprobrious than one would be justified in applying @@ -10426,7 +10385,7 @@ suddenly disappear out of their art, that it was not possible at a blow to banish all that had hitherto held sway and to replace it by its opposite. Ever since Poussin they -had sought in Roman antiquity the formulæ +had sought in Roman antiquity the formulæ of their art. The predilection which the Parisians have even to-day for the representation of Racine’s and Corneille’s @@ -10456,20 +10415,20 @@ literature of the world.</p> <p>Classicism found its poet and its muse. An unknown but very worthy young man, not endowed with wealth of imagination, but imbued with the most honourable intentions, came to Paris from the provincial town where -he had grown to manhood, with a manuscript in his pocket. And François -Ronsard’s <i>Lucrèce</i>, a tragedy from the antique, in its style sober and severe, +he had grown to manhood, with a manuscript in his pocket. And François +Ronsard’s <i>Lucrèce</i>, a tragedy from the antique, in its style sober and severe, reminding one of Racine, was represented amid thunders of applause, shortly after Hugo had been hissed off the stage. Enthusiastic admirers saw in it a glorious return to the great tragic drama of France, an emanation from the spirit of Corneille, and praised its clear, measured, and at once “classic and familiar” language. Together with its poet, the Classical reaction -found its actress. In 1838 a young untrained child made her début at the -Théâtre Français—a Jewish girl who had sung in the streets to the accompaniment +found its actress. In 1838 a young untrained child made her début at the +Théâtre Français—a Jewish girl who had sung in the streets to the accompaniment <span class="pagenum"><a name="page243" id="page243"></a>243</span> of her harp. Rachel appeared upon the boards, and restored its former power of attraction to the old Classical repertoire, to the very tragedies which the Romantic school had banished from the theatre amid mockery and derision. -<i>The Cid</i>, <i>Mérope</i>, <i>Chimène</i>, and <i>Phèdre</i> recovered their place upon +<i>The Cid</i>, <i>Mérope</i>, <i>Chimène</i>, and <i>Phèdre</i> recovered their place upon the stage.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -10527,7 +10486,7 @@ artistic natures of the North, who preferred other qualities belonging to their art? Is the sense of the beautiful that impression which is made upon us by a picture by Velasquez, an etching by Rembrandt, or a scene out of Shakespeare? Or again, is the beautiful revealed to us by the contemplation of the straight -noses and correctly disposed draperies of Girodet, Gérard, and others of David’s +noses and correctly disposed draperies of Girodet, Gérard, and others of David’s pupils? A satyr is beautiful, a faun is beautiful. The antique bust of Socrates is full of character, notwithstanding its flattened nose, swollen lips, and small eyes. In Paul Veronese’s ‘Marriage at Cana’ I see men of various features @@ -10574,7 +10533,7 @@ metal.</p> <tr><td class="captionx">(<i>By permission of M. Jules Bapst, the owner of the picture.</i>)</td></tr></table> <p>Ingres was born in 1781, under the -<i>Ancien Régime</i>. As a young man he +<i>Ancien Régime</i>. As a young man he lived through the triumphs of the Empire and the Classical school, and it was only natural that he should become @@ -10616,7 +10575,7 @@ consisted of correctness, balance, exactness; qualities which go to make rather a great architect or mathematician than an interesting painter.</p> <p>Ingres’ range of subjects was unusually wide. Pictures on themes taken -from antiquity (“Œdipus and the Sphinx” and “Virgil reading the Æneid”); +from antiquity (“Œdipus and the Sphinx” and “Virgil reading the Æneid”); costume pictures (“Henry <span class="sc">IV</span> and his Children” and the “Entry of Charles <span class="sc">V</span> into Paris”); religious paintings (Madonnas, “Christ giving the Keys to St. Peter,” and “St. Symphorian”); nude female figures (the “Odalisque,” @@ -10650,7 +10609,7 @@ Classical master. The picture is put together after a design on a Greek vase, and represents in its studied archaism -the Æginetan period of his +the Æginetan period of his art. The “Vow of Louis <span class="sc">XIII</span>,” of 1824, was his confession of faith as regards the Cinquecento. @@ -10672,7 +10631,7 @@ the Keys to St. Peter” is also put together out of elements derived from the school of Urbino. In his “St. Symphorian,” which was belauded as the <i>ne plus ultra</i> of style, he turned by way of variety to the imitation of Michael Angelo: the action is violent, the muscles swollen. The “Apotheosis of -Homer” is an admirable lecture in archæology, a sitting of the great academy +Homer” is an admirable lecture in archæology, a sitting of the great academy of genius, in which the poses are so fine and the heads so full of marble idealism that in comparison with it Raphael’s “School of Athens” has the effect of the wildest naturalism.</p> @@ -10725,7 +10684,7 @@ incapable of painting heads expressive of feeling or emotion. He depicted the form in itself, the abstract, typical, absolute form. He was dominated -only by a love for the <i>beauté suprême</i>, +only by a love for the <i>beauté suprême</i>, so that when he was in presence of nature he could not refrain from purifying and generalising. Everywhere @@ -10783,7 +10742,7 @@ doubt whether any one down to the present time has rightly understood the mysterious figure of Ingres, the man who in his youth was enraptured -by “<i>l’esprit, la grâce, l’originalité de Vataux et la délicieuse couleur de +by “<i>l’esprit, la grâce, l’originalité de Vataux et la délicieuse couleur de ses tableaux</i>,” and who, at a later time, not because of failing powers but deliberately and of set purpose, adopted a calmer system of colour tones; of this Classicist <i>par excellence</i>, who is counted among the greatest artists, in @@ -10812,10 +10771,10 @@ esteem, but his portraits are splendid creations which can truly stand compariso with the great old masters.</p> <p>So far back as 1806 there appeared in the Salon his likeness of Napoleon <span class="sc">I</span>, -with his bloodless, corpse-like face, enchased with such art that Delécluze +with his bloodless, corpse-like face, enchased with such art that Delécluze called it a Gothic medal. The Emperor is seated like a wax figure upon the throne, surrounded by the attributes of majesty—stiff, motionless as a -Byzantine idol. It was followed in 1807 by the portrait of Mme. Devauçay, +Byzantine idol. It was followed in 1807 by the portrait of Mme. Devauçay, which even to-day impresses the beholder most pleasingly, notwithstanding the pedantic style in which it is painted. One feels in it fire and youthfulness, the enthusiasm and ardour of a new convert, who has for the first time discovered @@ -10856,7 +10815,7 @@ Blanc’s <i>Histoire de Dix Ans</i>. <span class="pagenum"><a name="page253" id="page253"></a>253</span> In the best of humours, with the four-square solidity of a knowledge of his own worth, which is full of character, this modern newspaper demi-god sits -on his chair as on a throne, the throne of the <i>Journal des Débats</i>, like a +on his chair as on a throne, the throne of the <i>Journal des Débats</i>, like a <i>bourgeois</i> Jupiter Tonans, with his hands on his knees.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -10881,7 +10840,7 @@ painter.” To-day these small masterpieces of which he was ashamed sell for their weight in gold. In the Paris Exhibition of 1889 there was Mme. Chauvin with her Chinese eyes; Mme. Besnard on the terrace of the Pincio with her broad hat and her elegant sunshade; Mrs. Henting with her innocent -smile of an “<i>honnête femme</i>”; Mrs. Cavendish, an affected young blonde, +smile of an “<i>honnête femme</i>”; Mrs. Cavendish, an affected young blonde, <span class="pagenum"><a name="page254" id="page254"></a>254</span> with her overladen travelling dress and her crazy coiffure. Strange, that a man like Ingres should rave so about new fashions and pretty toilettes!</p> @@ -10896,7 +10855,7 @@ industry, but also a heart, a genuine, warm, and fine-feeling heart; that he was in his innermost being by no means the cold academician, the stiff doctrinaire he appears in his large pictures, and which he became by his opposition to the Romantic school. Here we have an enchanter such as the Primitives were -and the Impressionists are, like Massys and Manet, like Dürer and Degas, like +and the Impressionists are, like Massys and Manet, like Dürer and Degas, like all who have looked Nature in the face. And while these drawings, at once occasional and austere, place him as a draughtsman on a level with the greatest masters in the history of art, they also show him, the reactionary, to be at the @@ -10920,12 +10879,12 @@ by the citizen monarchy of the tricolour. The <i>bourgeoisie</i> which had effec the Revolution of 1830 was soon appalled at its own temerity. Even in literature it inclined towards a temperate and lukewarm mediocrity. It was astonished to find itself admiring Casimir Delavigne. It found in Auber and -Scribe its ideal of music and comedy, as in Guizot, Duchâtel, Thiers, and +Scribe its ideal of music and comedy, as in Guizot, Duchâtel, Thiers, and Odilon Barrot its ideal of politics. The intellectual exaltation which had gone before and followed after the Revolution of July had calmed down, and that which was to rise out of the Revolution of February was as yet latent. The same elder generation which had looked upon Napoleon Bonaparte’s stony -Cæsarian eye, when, like a god of war, unapproachable in his power he rode +Cæsarian eye, when, like a god of war, unapproachable in his power he rode by at the head of his staff, now saw the Roi Citoyen, the long-exiled ex-school-master, homely and fond of law and order, as every day at the same hour he passed alone on foot and in plain clothes through the streets of Paris, the @@ -10944,18 +10903,18 @@ between Ingres and Delacroix, was the end towards which their efforts were chiefly directed.</p> <p><i>Jean Gigoux</i>, a remarkable artist, has the merit of having given the most -effective support which Delacroix received in his battle against the <i>beauté -suprême</i> of the Classical school. When, in the Universal Exhibition of 1889 +effective support which Delacroix received in his battle against the <i>beauté +suprême</i> of the Classical school. When, in the Universal Exhibition of 1889 at Paris, his picture of “The Last Moments of Leonardo da Vinci,” painted in 1835, emerged from the seclusion of a provincial museum, its healthy <span class="pagenum"><a name="page256" id="page256"></a>256</span> fidelity to nature was the cause of general astonishment. The personages indeed wear costly costumes, and are surrounded by wealth and magnificence, but they themselves are common, ugly human beings. Here there is no trace -of idealism, not even in the sense of Géricault, who, notwithstanding his love +of idealism, not even in the sense of Géricault, who, notwithstanding his love of truth, remained faithful to the heroic type. The faces are, with religious devotion, painted exactly after nature by a man who evidently loved the -youthful works of Guercino and had zealously studied Dürer. At the same +youthful works of Guercino and had zealously studied Dürer. At the same time was exhibited the portrait of the Polish “General Dwernicki,” painted in 1833, whom also Gigoux depicts as a man, not as a hero. War has made him not lean but fat, and in Gigoux’s picture his red nose and prominent @@ -10964,10 +10923,10 @@ war against every kind of idealism. Even in his religious paintings in Saint Germain l’Auxerrois he held fast to this principle, and this circumstance gives him a place to himself, apart from all the productions of his contemporaries. In a period which, with the solitary exception of Delacroix, was still absolutely -devoted to the doctrine <i>Exagérer la beauté</i>, his works are of a healthy, soul-refreshing +devoted to the doctrine <i>Exagérer la beauté</i>, his works are of a healthy, soul-refreshing ugliness.</p> -<p>A portion of Delacroix’s charm in colour descended to <i>Eugène Isabey</i>. He +<p>A portion of Delacroix’s charm in colour descended to <i>Eugène Isabey</i>. He is certainly not a great artist, but a delightful, sympathetic individuality, a painter who affords one pleasure even at this day. Amid the group of Classicists of his time he has the effect of a beautiful patch of colour, of a palette on @@ -11033,7 +10992,7 @@ chief defect of his genius. Scheffer’s draughtsmanship is dry and hard, hi colouring without tenderness or charm. These failings are ill-assorted with the attitudes and physiognomy of his figures, which have always an affectation of weakness, exhaustion, and moral suffering. He is a sentimental Classicist, -and his subjects the antithesis of the Græco-Roman ideal to which he does +and his subjects the antithesis of the Græco-Roman ideal to which he does homage in his technique. His “Suliote Women” was already, in sentiment, form, and colour, only a subdued and weakened reminiscence of the “Massacre of Chios.” At a later time he entirely forsook historical subjects (such as @@ -11053,7 +11012,7 @@ were also favourite figures for his delicate and contemplative spirit. He alone in French art inclines a little, in his tearful sentimentality, to -the Romantic school of Düsseldorf.</p> +the Romantic school of Düsseldorf.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:347px; height:548px" src="images/img294.jpg" alt="" /></td> @@ -11088,7 +11047,7 @@ first time regained a greater importance in French art; but he followed much more slavishly than Ingres in the paths of the Italian masters of the fourteenth and fifteenth centuries. This painter, worthy of respect, full of conviction, learned and of sterling worth, but colourless and cold, who decorated -the churches of St. Vincent de Paul and St. Germain des Prés, has enriched the +the churches of St. Vincent de Paul and St. Germain des Prés, has enriched the history of art by no new gift. An indefatigable worker, but endowed with little intellectual power, he went no further than to follow out strictly the rules which Ingres taught his pupils and had himself acquired from the old @@ -11111,7 +11070,7 @@ pictures of the Italian masters. Only a certain blond, tender, slightly melancho modern face of a Christian maiden is Flandrin’s peculiar property. He transferred these same ascetic and pure principles to portrait painting, and thereby acquired for himself a large practice as the painter of the <i>femme -honnête</i>. These women conversed with him and blushed in his presence; +honnête</i>. These women conversed with him and blushed in his presence; in his pictures we find grace and delicacy, eyes sparkling or meek, tenderness and mocking laughter, all translated into a nun-like, unapproachable appearance, which under the Second Empire gained the greater approbation among @@ -11154,7 +11113,7 @@ Campo Santo frescoes of Cornelius. Chenavard could draw much better than the German, but was not much better as a painter; the works of both have a literary rather than an artistic value.</p> -<p>Brief and brilliant was the career of <i>Théodore Chassériau</i>, who shot across +<p>Brief and brilliant was the career of <i>Théodore Chassériau</i>, who shot across the heavens of art like a gleaming meteor, first as a devotee of form, in Ingres’ sense of the word, and afterwards, like Delacroix, as an enthusiastic lover of sunshine and the clear light of Africa. Born in 1819 at St. Domingo, he @@ -11165,14 +11124,14 @@ or the changes which have entered into art in our time, and knows absolutely nothing of the poets of recent days. He will live on as a reminiscence and a reproduction of certain ages in the art of the past, without having created anything to hand down to the future. My wishes and my ideas do not in the -least correspond with his.” In these words Chassériau has himself pointed +least correspond with his.” In these words Chassériau has himself pointed out what it was that distinguished him from Ingres. Unfortunately he produced -but little. Personally a very elegant, <i>blasé</i> gentleman, he plunged on +but little. Personally a very elegant, <i>blasé</i> gentleman, he plunged on his return from Italy into the whirlpool of Parisian life. He was remarkably ugly; but his black, piercing eyes made him the idol of the ladies, and he hurried through life with such haste that he broke down altogether at the age of thirty-six. Beyond various decorative paintings for the church of Saint -Méry and for the Salle des Comptes in the Palais d’Orsay, only a few Eastern +Méry and for the Salle des Comptes in the Palais d’Orsay, only a few Eastern pictures, and, best and most characteristic, a couple of lithographs, remain to represent his work. In these delicate mythological compositions a chord is struck which found no echo until, a generation later, it was heard again in the @@ -11180,12 +11139,12 @@ work of the French New Idealists and the English Pre-Raphaelites: there speaks in them a Romantic Hellenism, a something dreamily mystic, which makes him a remarkable link between Delacroix and the most refined spirit in the modern school, Gustave Moreau. It was purely an act of gratitude in Moreau -when he affixed the dedication “To Théodore Chassériau” to his fine picture +when he affixed the dedication “To Théodore Chassériau” to his fine picture of “The Young Man and Death.”</p> -<p><i>Léon Benouville</i> will be remembered only for his picture of the “Death of St. +<p><i>Léon Benouville</i> will be remembered only for his picture of the “Death of St. Francis,” in the Louvre, a good piece of work in the manner of the Quattrocento. -<i>Léon Cogniet</i> deserves to be mentioned because in the fifties he brought +<i>Léon Cogniet</i> deserves to be mentioned because in the fifties he brought together in his studio so many foreign pupils, especially Germans. He enjoyed above all others the reputation of being able to initiate beginners both quickly and with certainty into the peculiar mysteries of craftsmanship. All that a @@ -11217,8 +11176,8 @@ most famous painters of the century; and in this double capacity is an interesti proof that in art the “Vox populi” is seldom the “Vox Dei.” What a difference between him and the great spirits of the Romantic school! They <span class="pagenum"><a name="page262" id="page262"></a>262</span> -were enthusiastic poets; their predilection for Mediævalism was concerned -only with its æsthetic charm, with the twilight shadows of its picturesque +were enthusiastic poets; their predilection for Mediævalism was concerned +only with its æsthetic charm, with the twilight shadows of its picturesque churches, the sounding presage of its bells, the motley processions of that world gleaming bright with uninterrupted colour. And what further allured their imaginative powers was the unruly character of certain epochs, the destructive @@ -11275,7 +11234,7 @@ Rossini’s <i>Guillaume Tell</i>.</p> <p>Art also sought to turn to account the new materials furnished by historical -science, and æsthetic minds hastened +science, and æsthetic minds hastened to enumerate the advantages which were to be expected of it. On the one hand—and this was nothing new—the @@ -11329,10 +11288,10 @@ might be permitted to make one’s flesh creep in an agreeable way.</p> <tr><td class="tcr f90"><i>L’Art.</i></td></tr> <tr><td class="tcc f90"><i>PAUL DELAROCHE.</i></td></tr> <tr><td class="tcl f80"> -“Paul Delaroche à la funèbre mine<br /> +“Paul Delaroche à la funèbre mine<br />  S’entour avec plaisir de cadavres et d’os<br /> -Jane Grey, Mazarin, héros et héroine<br /> - Chez lui tout meurt ... excepté ces tableaux.” +Jane Grey, Mazarin, héros et héroine<br /> + Chez lui tout meurt ... excepté ces tableaux.” </td></tr></table> <p>For the average painter of mediocre ability historical exercises of this sort @@ -11357,7 +11316,7 @@ pictures showing some laboured animation, became in the twinkling of an eye leaders of the schools.</p> -<p><i>Eugène Devéria</i> was the first and most +<p><i>Eugène Devéria</i> was the first and most important painter deliberately to enter upon this course. When his picture of the “Birth of Henry <span class="sc">IV</span>” was exhibited in the Salon of @@ -11365,7 +11324,7 @@ of Henry <span class="sc">IV</span>” was exhibited in the Salon of of a new Veronese, and his work joyfully saluted as the first historical picture in which the local colour of the epoch represented was -accurately observed. Henceforth Devéria +accurately observed. Henceforth Devéria dressed always in the style of Rubens, and his house became the headquarters of the Romantic school. He was perhaps the only @@ -11432,7 +11391,7 @@ along with them, for to his circumspect nature Romanticism was an abomination, and his cool and deliberative spirit felt itself much more at home in the society of the Classicists. The works of the historians opened to him a welcome outlet by which to avoid a rupture with either party, and Delaroche -found his vocation. He assumed the rôle of a peacemaker between the quarrelling +found his vocation. He assumed the rôle of a peacemaker between the quarrelling brothers, placed himself as mediator between Montagues and Capulets, and thus became—like Casimir Delavigne in literature—the head of that “School of Common Sense” on whose banner glittered in golden letters Louis @@ -11483,7 +11442,7 @@ the weeping and terrified children by placing in front of the bed a small dog, which is looking uneasily towards the door, where the red light of torches indicates the approach of the -assassins,—a Düsseldorf picture with improved +assassins,—a Düsseldorf picture with improved technique. It is just the same with his melodramatic and lachrymose “Cromwell.” It would be hardly possible to represent one of @@ -11496,7 +11455,7 @@ ecclesiastical revolution of England must have been extremely busy on the day of Charles <span class="sc">I</span>’s funeral, and have had better things to do than stealthily to open the coffin and contemplate, with a mixture of childish curiosity and sentimental pity, the corpse of the king -whom he had fought and conquered. Eugène Delacroix had treated this +whom he had fought and conquered. Eugène Delacroix had treated this subject in a sketch, in which Cromwell, at the funeral of Charles, gazes in quiet contempt upon the weak monarch who had not known how to keep either his crown or his head. As a work of art this little water-colour @@ -11505,10 +11464,10 @@ executed painting. From the very beginning he had no sense for the passionate or dramatic. From the first day, had the tailor who prepared costumes struck work, his artistic greatness would have fallen away to nothing; from the commencement he produced nothing but large, clumsily conceived -illustrations for historical novels. Planché pointed out long ago that all the +illustrations for historical novels. Planché pointed out long ago that all the costumes are glaringly new, that all the victims look as if they had got themselves up for a masked ball, that this sort of painting is much too clean and -pretty to give the argument the appearance of probability. Théophile Gautier, +pretty to give the argument the appearance of probability. Théophile Gautier, who had proclaimed the powerful originality of Delacroix, fumed with rage against these “saliva-polished representations, this art for the half-educated, disguised in false, Philistine realism, this art of historical illustration for the @@ -11543,7 +11502,7 @@ for him small models of rooms, in which he then arranged his lay-figures.</p> between the vagrant painter of history and the artist. The latter had the gift of the inner vision, and only painted things which had intellectually laid hold upon him and had assumed firm shape in his imagination. It was -while the organ was playing the <i>Dies iræ</i> that he saw his “Pietà” in a vision—that +while the organ was playing the <i>Dies iræ</i> that he saw his “Pietà ” in a vision—that mighty work which in power of expression almost approaches Rembrandt. “Is not Tasso’s life most interesting?” he writes. “You weep for him, swaying restlessly from side to side on your chair, when you read the story @@ -11589,7 +11548,7 @@ remain, as ever, thoroughly middle-class.</p> <p>His likeness of Napoleon is perhaps that which shows most clearly how paltry a soul this painter possessed. It is not Devastation in human shape, not the man in whom his officers saw the “God of War” and of whom Mme. -de Staël said, “There is nothing human left in him.” The intellect of that +de Staël said, “There is nothing human left in him.” The intellect of that Corsican, with his great thoughts striding as in seven-leagued boots, thoughts each of which would give any single German writer material for the rest of his life, was hidden to the inquisitive glance of a painter who had never seen in @@ -11615,8 +11574,8 @@ His parents, shoemakers at Senlis, seem to have regarded the thick-headed, slowly developing boy as a kind of idiot, and are said to have treated him with no excessive gentleness. He was sent away from school because he could not understand the simplest things, and studied without success in the studios -of Gros and Delaroche. And yet, after he had made his début in the Salon -of 1843 with the “Troubadour,” a fine picture in the style of Devéria, his +of Gros and Delaroche. And yet, after he had made his début in the Salon +of 1843 with the “Troubadour,” a fine picture in the style of Devéria, his “Orgie Romaine” of 1847 made him at one stroke the most celebrated painter in France. Pupils thronged to him from every quarter of the globe, and he left a deep and enduring impression upon every one of them. A very short, @@ -11654,7 +11613,7 @@ it was as if one long buried had come to life again. It had meanwhile become evident that even his “Romans of the Decadence” was only a work of compromise, the whole novelty of which consisted in forcing the results attained by the Romantic school in colouring into that bed of Procrustes, -the formulæ of idealism. The work is undoubtedly very noble in colouring, +the formulæ of idealism. The work is undoubtedly very noble in colouring, but what would not Delacroix have made of such a theme! or Rubens, indeed, whose Flemish “Kermesse” hangs not far from it in the Louvre. Couture’s figures have only “absolute beauty,” nothing individual; far less @@ -11698,10 +11657,10 @@ the right to maintain that he raised palaces where there had been barracks.</p> thorough-going Republicans reluctantly concede to him the possession of one good quality: he knew how to bring prosperity to the shop; “<i>il faisait marcher le commerce</i>.” One hears it said that the beautiful city on the Seine is but -the shadow of what it then was. “<i>Le niveau a baissé!</i>” says the Parisian, +the shadow of what it then was. “<i>Le niveau a baissé!</i>” says the Parisian, when he calls to mind the gorgeous days of the Empire. The extravagant elegance, the magnificent luxury, which used to roll in superb carriages along -the Boulevards and the Champs Elysées towards the Bois de Boulogne, and +the Boulevards and the Champs Elysées towards the Bois de Boulogne, and exhibited itself in the evening in the boxes of the theatres; the lustre which emanated from the Court, and the concourse of all the nabobs of the world,—all this must in those days have given to Parisian life a sparkling splendour, @@ -11713,7 +11672,7 @@ has to offer. The gentlefolk of the Empire understood the art of living better, cultivated and exhausted it after a more inventive fashion, than any generation that had gone before. In the Tuileries sat the man of the Second of December, the connoisseur and promoter of all refined tastes. In his person the age was -embodied, that age depicted by Zola in <i>La Curée</i>, in the passage where he +embodied, that age depicted by Zola in <i>La Curée</i>, in the passage where he describes the halls, illumined as if by enchantment, of the imperial palace. There, all the splendour of over-civilisation glitters and gleams, with its bright eyes and sparkling jewels, with its breath of intoxicating perfumes floating from @@ -11721,8 +11680,8 @@ naked shoulders and arms and half-veiled voluptuous bosoms; while the green, sphinx-like eye of Napoleon <span class="sc">III</span> rests indifferently on the alabaster sea of <span class="pagenum"><a name="page279" id="page279"></a>279</span> white shoulders bowing before him, as he reviews all that he has possessed -and all that he can yet enjoy. Dumas’ <i>Dame aux Camélias</i>, <i>Diane de Lys</i> -and <i>Le Demi-monde</i>, Barrière’s <i>Filles de Marbre</i>, Augier’s <i>Mariage d’Olympe</i>, +and all that he can yet enjoy. Dumas’ <i>Dame aux Camélias</i>, <i>Diane de Lys</i> +and <i>Le Demi-monde</i>, Barrière’s <i>Filles de Marbre</i>, Augier’s <i>Mariage d’Olympe</i>, give the impress of the period upon literature, and the single phrase “The Lady of the Camelias” conjures up a world of forms and of scenery. <i>La Nouvelle Babylone</i> is the title of the fine book in which Joseph Pelletan depicted @@ -11798,7 +11757,7 @@ provocatively. A modern refined taste plays round the classical scheme.</p> <p><span class="pagenum"><a name="page283" id="page283"></a>283</span></p> <p><i>Alexandre Cabanel</i>, the incarnation of the academician, was, under -Napoleon <span class="sc">III</span>, the head of the École des Beaux Arts. He was a fortunate +Napoleon <span class="sc">III</span>, the head of the École des Beaux Arts. He was a fortunate man. Born at Montpellier, the city of professors, nourished from his earliest youth on academic milk, winner of the Grand Prix de Rome in 1845, awarded the first medal at the Universal Exhibition of 1855, he went on his way, @@ -11817,7 +11776,7 @@ names: Delilah, the Shulamite woman, Jephthah’s daughter, Ruth, Tamar, Flora, Echo, Psyche, Hero, Lucretia, Cleopatra, -Penelope, Phædra, +Penelope, Phædra, Desdemona, Fiammetta, Francesca da Rimini, Pia dei Tolomei—an endless procession. @@ -11887,7 +11846,7 @@ every appearance of life.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:379px; height:917px" src="images/img319.jpg" alt="" /></td></tr> -<tr><td class="tcl f90">LEFÉBURE.</td> +<tr><td class="tcl f90">LEFÉBURE.</td> <td class="tcr f90">TRUTH.</td></tr> <tr><td class="caption" colspan="2">(<i>By permission of Messrs. Goupil, the owners of the copyright.</i>)</td></tr></table> @@ -11915,7 +11874,7 @@ be called modern; it is an elegant lie, like the whole of the Second Empire.</p> <p>Close by Bouguereau’s “Venus” in the Luxembourg hangs the well-known colossal figure of a beautiful nude woman with unnaturally over-developed thighs, which by the shining mirror in its uplifted right hand proclaims itself -to be “Truth.” <i>Jules Lefébure</i>, the painter of this picture, is also completely +to be “Truth.” <i>Jules Lefébure</i>, the painter of this picture, is also completely a slave to tradition; he came from Cogniet’s studio, and won the Prix de Rome in 1861. But he at least possesses @@ -11925,7 +11884,7 @@ distinguished, truer, and more powerful. He is in the broader sense of the word a worshipper of nature, and was so in his youth especially. His “Sleeping -Girl” of 1865 and his “Femme couchée” +Girl” of 1865 and his “Femme couchée” of 1868 are smooth and honest studies from the nude, of delicate, sure draughtsmanship, and have therefore @@ -12133,7 +12092,7 @@ works are a synthesis of the favourite forms of the Cinquecento; they are the testament of the Cinquecento masters. He was a Parisian Primaticcio, a posthumous member of the old school of Fontainebleau. In him was embodied the last smile of the Renaissance, the results of which he assimilated -and reduced to formulæ. He lacked creative imagination, and +and reduced to formulæ. He lacked creative imagination, and his pictures are wanting in individual character. The nervous movement and sinewy stretchings of his young men’s bodies would never have been painted but for Donatello’s “David.” Of his women, the powerful and @@ -12174,7 +12133,7 @@ He possesses an elegance and grace which are neither Correggio’s, nor Raph nor Veronese’s, but French and Parisian. His Muses and Cupids, his “Comedy” and his “Judgment of Paris,” are documents of the French spirit in the nineteenth century, and—together with a few small and fine portraits on a -green or blue background <i>à la</i> Clouet, among which that of his friend About +green or blue background <i>à la</i> Clouet, among which that of his friend About takes the first rank—they will always assure him an important place in the history of French art.</p> @@ -12197,14 +12156,14 @@ history of French art.</p> <td class="tcr f90 pb2">EDMOND ABOUT.</td></tr></table> <p>Another artist who worked with Baudry at the decoration of the Grand -Opera House was <i>Élie Delaunay</i>, who painted in a hall leading out of the foyer +Opera House was <i>Élie Delaunay</i>, who painted in a hall leading out of the foyer three large pictures on the myths of Apollo, Orpheus, and Amphion, and was at that time less appreciated than he deserved. Delaunay was born in the same year as Baudry, and, like him, was a Breton. In their genius also they are very similar. He shared in Baudry’s admiration of the masters of the Renaissance, but his worship was less for the Cinquecento than the fourteenth century. It was in Flandrin’s studio that he prepared himself for his entry -into the École des Beaux Arts. His first picture, in 1849, “Christ healing +into the École des Beaux Arts. His first picture, in 1849, “Christ healing a Leper,” was, with respect to its Roman manner of conceiving form and its bronze-like firm draughtsmanship, still entirely in the style of Ingres. It was not till he went to Italy in 1856, as winner of the Prix de Rome, that he turned @@ -12223,7 +12182,7 @@ which only Ingres amongst modern French painters shares with him. The bodies of his nude male figures are strained in nerve and muscle like those of Donatello; they have the essential elegance and powerful rhythm of Dubois’ statues. Even the two pictures which he sent from Italy to the Salon, “The -Nymph Hesperia fleeing from the Pursuit of Æsacus,” and the “Lesson on +Nymph Hesperia fleeing from the Pursuit of Æsacus,” and the “Lesson on the Flute” in the Museum at Nantes, were works of great taste and sincerity, studied with respectful and patient devotion to nature, without striving after sentimental effect and without conventional reminiscences. When in @@ -12272,11 +12231,11 @@ Palais Royal. His last works, which remained unfinished, were designs for the Pantheon—scenes from the life of St. -Geneviève—in which he followed +Geneviève—in which he followed in the footsteps of the great fresco colourists of Upper Italy, Gaudenzio Ferrari and -Pordenone. Élie Delaunay +Pordenone. Élie Delaunay was no original genius, and as a pupil of the painters of the Quattrocento has not enriched the history of art in any way, but he stands @@ -12291,9 +12250,9 @@ this period also. Historical painting takes the highest places in the Salon, and shows itself altered only in this respect, that, instead of Delaroche’s tameness of style, we have sensational subjects, arguments which revel in scenes of horror and display of corpses. Literature had already entered upon this path. -Even Mérimée in his last novel, <i>Lokis</i>, was clearly the forerunner of that +Even Mérimée in his last novel, <i>Lokis</i>, was clearly the forerunner of that tendency in taste which Taine characterised by the words, “<i>Depuis dix ans -une nuance de brutalité complète l’élégance</i>.” Flaubert himself, in his <i>Salambo</i>, +une nuance de brutalité complète l’élégance</i>.” Flaubert himself, in his <i>Salambo</i>, was to some extent carried away by the stream. Consider, for instance, the descriptions of Gisko crawling, a maimed, shapeless stump, out of the ditch into Matho’s tent, and of how his head is sawn off; of the tortures inflicted by @@ -12311,7 +12270,7 @@ under various headings, as biblical, historical, political murders; murders in connection with robbery, and murders arising out of revenge; with subdivisions corresponding to the means employed, as poison, the dagger, the halter, broadsword and rapier, the bowstring, strangling, burning, etc. This -was the time when, on account of this dominance of the “<i>Genre féroce</i>,” the +was the time when, on account of this dominance of the “<i>Genre féroce</i>,” the public used to call the Salon the Morgue.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -12337,7 +12296,7 @@ mother stands beneath the scaffold, swinging a knotted club to protect the corpses from an antediluvian vulture. In a painting -by <i>Bréhan</i>, Cyaxares, King of +by <i>Bréhan</i>, Cyaxares, King of the Medes, gives a banquet, and by way of dessert has his guests the Scythian leaders massacred @@ -12346,10 +12305,10 @@ by his mercenaries. In one by upon a yet happier idea, for at the conclusion of the meal he sets half-starved lions and tigers -upon his guests. <i>Aimé Morot</i> +upon his guests. <i>Aimé Morot</i> depicted in a large picture “The Wives of the Ambrones” in the -battle of Aquæ Sextiæ. They +battle of Aquæ Sextiæ. They are hurling themselves like a horde of furies upon the Roman horsemen who are attacking the @@ -12359,7 +12318,7 @@ them, they throw themselves <span class="pagenum"><a name="page294" id="page294"></a>294</span> upon the Romans, catch hold of the swords by the blade, tear their eyes out, and are trampled beneath the horses’ hoofs. Especially popular were -the voluptuous and cruel wild beasts from the menagerie of the Cæsars. +the voluptuous and cruel wild beasts from the menagerie of the Cæsars. Nero in particular suited the atmosphere of the period; his ghost haunted the novel, the stage, sculpture, and painting, and there seemed to be a general agreement to immortalise him and the morally monstrous personality of @@ -12377,12 +12336,12 @@ blood which the athlete’s hand had left upon the unhappy prince’s ne very familiar figure is that of Seneca, with distorted features, uttering his last words of wisdom while the blood pours from his opened veins. After -the madness of the Cæsars comes the +the madness of the Cæsars comes the atrocious history of the Merovingian kings. <i>Luminais</i>, the painter of Gauls and barbarians, represented in -his large picture “Les Énervés de -Jumièges” the sons of King Clovis II, +his large picture “Les Énervés de +Jumièges” the sons of King Clovis II, who, after the muscles of their knees have been destroyed by fire, are set helplessly adrift in a boat on the @@ -12446,7 +12405,7 @@ weight which alone gives to such themes a character of convincing probability. True, these pictures compel respect on account of their unusual ability. These naked bodies, twisting themselves in the most varying postures of pain, give proof by their correct draughtsmanship of the most painstaking anatomical -studies, yet after all they are nothing more than inverted Laocoöns. The +studies, yet after all they are nothing more than inverted Laocoöns. The Classical spirit haunts them still, and a discordant effect is produced when subjects so full of wild passion are tranquilly depicted according to cold conventional rules. Over all these figures and scenes, even the most horrible, @@ -12495,7 +12454,7 @@ to himself, his art is not without its justification.</p> <tr><td class="tcl f90"> </td> <td class="tcr f90"><i>L’Art.</i></td></tr> <tr><td class="tcl f90 pb2">LUMINAIS.</td> -<td class="tcr f90 pb2">LES ÉNERVÉS DE JUMIÈGES.</td></tr></table> +<td class="tcr f90 pb2">LES ÉNERVÉS DE JUMIÈGES.</td></tr></table> <p>Among the younger generation, <i>Rochegrosse</i>, an artist of daring genius, appeared for a while to have taken to such themes by free choice, and not solely @@ -12515,7 +12474,7 @@ corpses complete the picture, and on the bare wall to the left, over the stairs, hang dead bodies abandoned to corruption and the birds of prey. In his third picture he took for his theme the horrors of the barbarous and ferocious <span class="pagenum"><a name="page298" id="page298"></a>298</span> -Peasants’ War in the fourteenth century, as Mérimée had described them in his +Peasants’ War in the fourteenth century, as Mérimée had described them in his book entitled <i>La Jacquerie</i>; and his work is all the more effective as there lurks in the subject a certain grim modern touch which reminds one of the Social Democracy, of the insurrection of the Commune, of something which might @@ -12539,18 +12498,18 @@ upon the mortal terror of the aristocratic ladies.</p> <td class="tcr f90 pb2">THE INTERDICT.</td></tr></table> <p>In his subsequent pictures Rochegrosse did not go so far afield. His -“Murder of Julius Cæsar” was a work of art in white upon white, full of crude +“Murder of Julius Cæsar” was a work of art in white upon white, full of crude imagination, with white walls, white reflections of light, white togas, and dark red blotches of blood. His grass-eating “Nebuchadnezzar” proved that from the sublime to the ridiculous there is often only a step. Between times he -painted archæological trifles for ladies of literary culture, such as the “Battle of +painted archæological trifles for ladies of literary culture, such as the “Battle of the Sparrows” of 1890; but in his great “Fall of Babylon” he has proved once <span class="pagenum"><a name="page299" id="page299"></a>299</span> more what he can do. No doubt it is not a fine work: it is a mere decorative piece, but an astonishingly spirited performance. The scene is the palace of the Babylonian kings, the decorative construction of which the recovered monuments and the recent scientific investigations had rendered it possible to -reproduce. Rochegrosse consulted with the zeal of an archæologist all the +reproduce. Rochegrosse consulted with the zeal of an archæologist all the treasures of the Louvre and the British Museum,—Assyrian friezes, ornaments, and costumes,—and then set forth in these surroundings the famous banquet at which the Prophet Daniel explained the words “Mene, Tekel, Peres.” The @@ -12590,7 +12549,7 @@ rejected by the sitter, came eventually to the Louvre, is somewhat reminiscent of Velasquez and Delacroix, but is nevertheless, with -those of Géricault, amongst the +those of Géricault, amongst the finest equestrian portraits of the century. In his “Salome” he has depicted a black-haired girl with @@ -12639,8 +12598,8 @@ and precious stones. The more in these fascinating harmonies, in the power, splendour, and lustre of the colouring. Just as Baudry at the close of the Classical period produced in his paintings for the Opera House the noblest -work after the idealist formulæ, so Regnault in his “Salome” and his “Prim” -has completed the last defiant works of the formulæ of Romanticism.</p> +work after the idealist formulæ, so Regnault in his “Salome” and his “Prim” +has completed the last defiant works of the formulæ of Romanticism.</p> <p>We have thought it advisable to follow this development of the art of painting down to its close, just as in treating of the older periods we have @@ -12654,7 +12613,7 @@ art of painting was proceeding during these years in other countries.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:704px; height:866px" src="images/img337.jpg" alt="" /></td></tr> <tr><td class="tcl f90 pb2">HENRI REGNAULT.</td> -<td class="tcr f90 pb2">GENERAL PRÍM.</td></tr></table> +<td class="tcr f90 pb2">GENERAL PRÃM.</td></tr></table> <p><span class="pagenum"><a name="page301" id="page301"></a>301</span></p> @@ -12687,7 +12646,7 @@ little lamp at the sun of Rubens. France was the only country where art followed the great changes of culture in the age. Hence Flemish painting had been crossed with French elements long before David’s arrival. And Paris was for the artists of 1800 what Italy had been for those of 1600. They -made their pilgrimage in troops to the studio of Suvée, who had originally +made their pilgrimage in troops to the studio of Suvée, who had originally come from Bruges, but had lived since 1771 on the Seine. There, and there only, recipes for the composition of great figure pictures were to be obtained. And thus art completed what the Empire had in a political sense begun. The @@ -12711,7 +12670,7 @@ and carnal Flemish art was prescribed the mathematical regularity of the antique canon. The old Flemish joyousness of colour passed into a consumptive cacophony. And then was repeated in Belgium the tragedy which Classicism had played in France. Everything became a pretext for -draperies, stiff poses, sculptural groupings, and plaster heads. Phædra and +draperies, stiff poses, sculptural groupings, and plaster heads. Phædra and Theseus, Hector and Andromache, Paris and Helen, were, as in Paris, the most popular subjects. And so great a confusion reigned, that a sculptor from whom a wolf was ordered included the history of Romulus and Remus @@ -12761,7 +12720,7 @@ were by ideas of liberty: the brilliant method of presentation did this no less. What the old Van Bree looked for, the return to the splendour of colour and sensuous fulness of life of the old masters, was achieved in this picture. In the same year, when Belgium had won her nationality and independence once -more, a painter also ventured to break away from the French formulæ of +more, a painter also ventured to break away from the French formulæ of Classicism, and to treat a national theme in the manner of those painters who in former centuries had been the glory of Flanders. Wappers was greeted as a national hero; his part it was to bring to an issue with the brush that good @@ -12832,7 +12791,7 @@ time, Wappers had been merely praised as the renewer of Belgian art, he was now placed alongside of the greatest masters. Thiers induced him to exhibit in Paris the much discussed work, the fame of which had passed beyond the boundaries of Belgium. The “Episode” made a triumphal tour of all the -great towns of Europe before it found its home in the Musée Moderne; and +great towns of Europe before it found its home in the Musée Moderne; and Wappers’ fame abroad increased yet more his celebrity in Flanders. Thanks to him, the neighbouring nations began to interest themselves in the Belgian school. All were united in admiration of “the mighty conception and the @@ -12890,10 +12849,10 @@ Lamartine, and celebrated by Alfred de Musset in a brilliant article in the <i>Revue des Deux Mondes</i>, now gratified a long cherished desire of the Belgian national pride when he united the heroes of the land in an ideal gathering.</p> -<p>Soon afterwards <i>Gallait</i> and <i>Bièfve</i> trod the stage of Belgian painting. In +<p>Soon afterwards <i>Gallait</i> and <i>Bièfve</i> trod the stage of Belgian painting. In point of size their pictures surpassed all that that age, accustomed as it was to vast canvases, had yet witnessed. “The Abdication of Charles <span class="sc">V</span>” measured -twenty feet; it was hung in the Salon Carré of the Louvre above Paul Veronese’s +twenty feet; it was hung in the Salon Carré of the Louvre above Paul Veronese’s “Marriage at Cana.” An entire court of great ladies and gentlemen, clad in velvet and brocade, move in the gorgeous hall of state of a king’s castle. The solemn moment is represented when Charles <span class="sc">V</span>, erect and dominating @@ -12927,7 +12886,7 @@ Louis Gallait took the lead.</p> <tr><td class="tcl f90 pb2">WAPPERS.</td> <td class="tcr f90 pb2">THE DEATH OF COLUMBUS.</td></tr></table> -<p><i>Edouard de Bièfve’s</i> “Treaty of the Nobles” formed the historical supplement +<p><i>Edouard de Bièfve’s</i> “Treaty of the Nobles” formed the historical supplement to this work; after the triumph of the kingdom came the triumph of the people. The picture represents the signing of the defensive league, against the Inquisition and other breaches of privilege, which the nobility of the Netherlands @@ -12972,7 +12931,7 @@ light. After the disconsolate wilderness of Classicism this period marked an advance. Every Salon brought some new name to light. The State had contributed a big budget for art, and extended its protecting hand over the “great painting” which was the glory of the young nation. What could not -be got into the Musée Moderne, founded in 1845, was divided amongst the +be got into the Musée Moderne, founded in 1845, was divided amongst the churches and provincial museums. The number of painters and exhibitions increased very noticeably. Beside the great triennial exhibitions in Brussels, Antwerp, and Ghent, there were others in the smaller towns, such as Mons and @@ -12983,7 +12942,7 @@ especially widened the horizon, by breaking the formula of Classicism and renewing the tradition of the brilliant colourists of the seventeenth century. -De Bièfve, De Keyzer, Slingeneyer, +De Bièfve, De Keyzer, Slingeneyer, severally contributed to the Belgian Renaissance. The old Flemish race knew itself once more in this fond quest @@ -12997,7 +12956,7 @@ the glorious present and the great past, and to waken patriotic memories by the apotheosis of popular heroes. <span class="pagenum"><a name="page309" id="page309"></a>309</span> -And yet the Musée Moderne of Brussels is not one of those collections in +And yet the Musée Moderne of Brussels is not one of those collections in which one willingly lingers. The works in the old museum, hard by, have remained fresh and living and in touch with us; those in the new gallery seem to be divided from us by centuries. For the mischief with pictures @@ -13031,7 +12990,7 @@ siege! His revolutionary picture of 1834 is an unfortunate transposition into a sentimental key of the “Freedom on the Barricades” by Delacroix. Here also are play-actors rather than men and women of the people. This old man who is kissing the banner, the wife who winds her arms about her husband -as Venus does about Tannhäuser, the pale girl who has fallen in a faint, the +as Venus does about Tannhäuser, the pale girl who has fallen in a faint, the warrior who, with his eyes turned up to Heaven, is breaking his sword—these are figures out of a melodrama, not revolutionaries storming the barricades, nor famishing artisans fighting for their very existence. And the thin, spick-and-span @@ -13044,7 +13003,7 @@ course went further and further down hill. Only in these two early works, in which he responded to a political movement by an artistic endeavour, does he seem, in a certain sense, individual and powerful. All the others are stereotyped productions which, having nothing to do with the Belgian national -movement, have all the more to do with the Parisian <i>École du bon sens</i>. Even +movement, have all the more to do with the Parisian <i>École du bon sens</i>. Even his “Christ in the Grave,” painted in 1833, and now in St. Michael’s Church at Louvain, with its artificial grace and pietistical sentimentality, might have been painted by Ary Scheffer. The pathetic scenes from English and French @@ -13054,7 +13013,7 @@ Agnes Sorel and Charles <span class="sc">VII</span>, Abelard and Eloise, Charles his children, Anne Bullen’s parting from Elizabeth, Peter the Great presenting to his ministers the model of a Dutch ship, Columbus in prison, Boccaccio reading the <i>Decameron</i> to Joanna of Naples, the brothers De Witt before their -execution, André Chénier in the prison of Saint-Lazare, Louis <span class="sc">XVII</span> at Simon +execution, André Chénier in the prison of Saint-Lazare, Louis <span class="sc">XVII</span> at Simon the shoe-maker’s, the poet Camoens as a beggar, Charles <span class="sc">I</span> going to the scaffold—all are subjects treated by others before him in France, and neither in their conception nor their technique have they anything original. In the last-mentioned @@ -13143,7 +13102,7 @@ appearance of family portraits painted after death, and then washed over with a faint conventional tinge of red. The whole thing is like a huge piece of still-life, which an adroit painter has put together out of a mixture of heads, gold, jewels, mantles, and perukes. Delaroche seems to have contributed -the composition, Devéria the sumptuous costumery; and as for the colouring, +the composition, Devéria the sumptuous costumery; and as for the colouring, Isabey, with his sunbeams shimmering in gold and silver, may not improbably have had something to do with that. What was spontaneous in Wappers is replaced in Gallait by cold calculation. Once and once only did this correct @@ -13171,11 +13130,11 @@ through. Heads, hands, and outlines have all a sickly idealism; a studious and sedulously polished manner of painting has ruined the intrinsic spirit of the work as -a whole. Théophile Gautier was right +a whole. Théophile Gautier was right when he wrote of Gallait: “<i>Tout le talent</i> <span class="pagenum"><a name="page313" id="page313"></a>313</span> -<i>qu’on peut acquérir avec du travail, du goût, du jugememt, et de la volonté, -M. Gallait le possède.</i>” Gallait’s “Last Obsequies,” hung in that same +<i>qu’on peut acquérir avec du travail, du goût, du jugememt, et de la volonté, +M. Gallait le possède.</i>” Gallait’s “Last Obsequies,” hung in that same Salon of 1850 which contained Courbet’s “Stone-breakers,” and the words of recognition accorded to it, were the last obsequies given to the parting genius of historical painting. A few years went by, and Gallait’s fame died @@ -13203,32 +13162,32 @@ to have been long dead.</p> <table class="flt" style="float: right; width: 380px;" summary="Illustration"> <tr><td class="figright1"><img style="width:333px; height:372px" src="images/img352.jpg" alt="" /></td></tr> <tr><td class="tcr f90"><i>Bruyllant, Brussels.</i></td></tr> -<tr><td class="caption">EDOUARD BIÈFVE.</td></tr></table> +<tr><td class="caption">EDOUARD BIÈFVE.</td></tr></table> -<p>Finally, <i>Edouard de Bièfve</i>, who in 1842 shared Gallait’s triumph in Germany, +<p>Finally, <i>Edouard de Bièfve</i>, who in 1842 shared Gallait’s triumph in Germany, <span class="pagenum"><a name="page314" id="page314"></a>314</span> and was afterwards named in the same breath with him, is the man who marks the complete corruption of this tendency. If the sturdy Wappers, the emasculate De Keyzer, and the eclectic Gallait tricked out their pathetic heroes with noble heads like that of the Antinous, and offered their contemporaries an adroit theatrical art, a parade, and a hollow pathos, the -incapable Bièfve never got beyond the painting of <i>tableaux vivants</i> laboriously +incapable Bièfve never got beyond the painting of <i>tableaux vivants</i> laboriously presented. Terrible and of Shakespearian impressiveness is the scene in which the half-famished Ugolino hurls himself upon his son in an appalling ecstasy of frenzy, a curse against God and man upon his lips. Upon the -canvas, six metres wide, which Bièfve in 1836 devoted to this theme, there is +canvas, six metres wide, which Bièfve in 1836 devoted to this theme, there is represented an old gentleman, who, though certainly a little pale, contrives to maintain in perfection the punctilious bearing of a cavalier, and in the midst of his fasting cure has picturesquely draped round his shoulders an ermine mantle, as if he had been asked out to dinner. Before him stands a young -man, possessing that graceful outline beloved of Paul Delaroche. Devéria, +man, possessing that graceful outline beloved of Paul Delaroche. Devéria, Ary Scheffer, and Johannot were better painters of such monumental illustrations of the classics. As yet the shivering art of Belgium had learnt only to -warm itself at the Parisian fireside. Even Bièfve’s “League of the Nobles of +warm itself at the Parisian fireside. Even Bièfve’s “League of the Nobles of the Netherlands,” despite its national subject-matter, was no more than a lucky hit, which he owed to his long residence in Paris. And how tiresomely is the scene played out! One would wish to catch the mutterings of insurrection -from these men who personify the Belgian people; but Bièfve’s picture is +from these men who personify the Belgian people; but Bièfve’s picture is restful and dignified. Egmont and Horn, the lions of the occasion, are conducting themselves like honest citizens who are bored at a party. Seated in his chair, the handsome Egmont thinks merely of showing his fine profile @@ -13259,7 +13218,7 @@ was enough to set it in flames.</p> <tr><td class="figcenter" colspan="2"><img style="width:679px; height:473px" src="images/img353.jpg" alt="" /></td></tr> <tr><td class="tcl f90"> </td> <td class="tcr f90"><i>Bruyllant, Brussels.</i></td></tr> -<tr><td class="tcl f90 pb2">BIÈFVE.</td> +<tr><td class="tcl f90 pb2">BIÈFVE.</td> <td class="tcr f90 pb2">THE LEAGUE OF THE NOBLES OF THE NETHERLANDS.</td></tr></table> <p>Since the wars of liberation Germany had been very reserved in her attitude @@ -13273,7 +13232,7 @@ and other authors, who had wandered to Paris, “the lofty tower of Freedom, to escape from the depressing condition of German affairs, had done what in them lay for the dissemination of this cult. The rising generation of the forties had been driven by Heine’s notices of the Salon into an almost hostile -attitude towards the dominant art schools of Germany, the schools of Düsseldorf +attitude towards the dominant art schools of Germany, the schools of Düsseldorf and Munich. The stylists on the Isar and the sentimental elegiac painters on the Rhine met with the same antipathy from the younger generation. The appearance of the two Belgian historical pictures, which were really nothing @@ -13291,7 +13250,7 @@ with the intention that painters should transform it into a world of shadowless contours. They recognised that the style of cartoon work had led away from all painting, and that it was therefore necessary to do honour once more to the despised handiwork and technique of art, as the fundamental condition -of its well-being. However much the æsthetic party might warn them not +of its well-being. However much the æsthetic party might warn them not to renounce “the Reformation of painting, which had been begun and perfected forty years before,” and not “with modern technique to sink back into the pre-Cornelian, ornamental model painting,” the demand for colour, @@ -13339,14 +13298,14 @@ revolution against the abstract idealism of the school of Cornelius. In their opulence of ideas the draughtsmen of cartoons had made a notch in the history of art by casting the technical tradition overboard. To have reinstated this as far as they could, with the aid of the French, is the peculiar merit of the -generation of 1850. “<i>Règle générale: si vous rencontrez un bon peintre allemamd, -vous pouvez le complimenter en français.</i>” So runs the motto—not complimentary +generation of 1850. “<i>Règle générale: si vous rencontrez un bon peintre allemamd, +vous pouvez le complimenter en français.</i>” So runs the motto—not complimentary to Germany, but quite unassailable—which Edmond About prefixed to his notices on the Paris Universal Exhibition of 1855.</p> <table class="flt" style="float: right; width: 460px;" summary="Illustration"> <tr><td class="figright1"><img style="width:414px; height:513px" src="images/img356.jpg" alt="" /></td></tr> -<tr><td class="tcr f90"><i>Hanfstängl.</i></td></tr> +<tr><td class="tcr f90"><i>Hanfstängl.</i></td></tr> <tr><td class="captionx">ANSELM FEUERBACH.   PORTRAIT OF HIMSELF.</td></tr></table> <p><i>Anselm Feuerbach</i> was the first distinguished German artist who made the @@ -13361,7 +13320,7 @@ after the Greek writers, German Classicism achieved in Feuerbach’s “Symposium of Plato” a great, noble, and faultless work, which will live. He moved upon classic ground more naturally and freely and with more of the Hellenic spirit than even the French. For the classic genius was begotten -in him, and not inoculated from without. In the <i>Vermächtniss</i> the son calls +in him, and not inoculated from without. In the <i>Vermächtniss</i> the son calls his father’s book the prophetic seal of his own original being. He inherited the classic spirit from the enthusiastic scholar, the subtile author of the Vatican Apollo, to whom the genius of Greece had so fully and completely @@ -13373,7 +13332,7 @@ strayed through life solitary and with leaden weights upon her feet,—such was Anselm Feuerbach, and by that division of his being he was ruined. Equipped with a superior education, an appearance of singular nobility, and with proud family traditions, he emerged like a shining -meteor in Düsseldorf, when he began his career at the age of sixteen, +meteor in Düsseldorf, when he began his career at the age of sixteen, brilliant, precocious, and already a favourite amongst women. This was in 1845. He ran through all the schools in Germany, Belgium, and France. In regard to @@ -13438,7 +13397,7 @@ learnt to understand the divine simplicity and noble dignity of antique art better than Couture was capable of understanding them; and he achieved a simple amplitude to which the French Classicism had never risen.</p> -<p>From his first works, to which the Düsseldorf egg-shell is still sticking, +<p>From his first works, to which the Düsseldorf egg-shell is still sticking, down to the “Symposium of Plato”—what a route it is, and through what phases he passes. “Hafiz at the Well,” surrounded by voluptuous, half-naked girls, painted at Paris in 1852, was his first eminent achievement. In @@ -13501,7 +13460,7 @@ of spiritual emotion in the eyes and features has been subdued in the extreme. -The “Pietà,” +The “Pietà ,” both the “Iphigenias,” <span class="pagenum"><a name="page323" id="page323"></a>323</span> and the “Symposium @@ -13511,7 +13470,7 @@ height of classic inspiration which he touched in Italy. Measure, nobility, unsought and perfected loftiness characterise -the “Pietà,” that +the “Pietà ,” that mother of the Saviour who bows herself in silent agony over the body of her Divine @@ -13570,7 +13529,7 @@ arrival, promised the greatest things. They display a sureness and majesty which find no parallel in the German art of those years. But they were destined never to be completed.</p> -<p>Feeling himself, like Antæus, strong only on Roman soil, he lost his power +<p>Feeling himself, like Antæus, strong only on Roman soil, he lost his power in Vienna. Reserved, innately delicate, a mystical, ideal nature like that of Faust, and one which only with reluctance permitted to a stranger a glimpse of its inner being; in his life, as in his art, high-bred and simple, hating both @@ -13611,7 +13570,7 @@ did he believe himself to be, that he held himself justified in saying: “Believe me, after fifty years my pictures will possess tongues, and <span class="pagenum"><a name="page325" id="page325"></a>325</span> tell the world what I was and what I meant.” In truth, he owes his resurrection -less to his pictures than to the <i>Vermächtniss</i>. A book has opened the +less to his pictures than to the <i>Vermächtniss</i>. A book has opened the eyes of Germany to Feuerbach’s greatness, and since that time the worship of Feuerbach has gone almost into extremes. Throughout his lifetime—like almost every great artist who has died before old age—he was handled by @@ -13630,11 +13589,11 @@ will subscribe to only with hesitation.</p> <td class="tcr f90 pb2">MOTHER’S JOY.</td></tr></table> <p>Feuerbach presents a problem for psychological rather than artistic -analysis. Whoever has read the <i>Vermächtniss</i> feels the personal element in +analysis. Whoever has read the <i>Vermächtniss</i> feels the personal element in these works, sees in them the confessions of a proud, unsatisfied, and suffering <span class="pagenum"><a name="page326" id="page326"></a>326</span> soul, and in their author no son of the Renaissance born out of due season, -but a modern who has been agitated through and through by the <i>décadent</i> +but a modern who has been agitated through and through by the <i>décadent</i> fever. In his book Feuerbach appears as one of the first who felt to his inmost fibre all the intellectual and spiritual contradictions which are bred by the nineteenth century, and who cherished them even with a sort of tenderness, @@ -13657,7 +13616,7 @@ the shore of the sea, chilled through and through by the consciousness of her abandonment; the daughter of Agamemnon, who in spirit is seeking the land of the Greeks, with the boundless sea spreading wide and grey before her, like her own yearning,—both are images of the lonely Feuerbach, who, like -Hölderlin, the Werther of Greece, flies to a dreamy Hellas as to a happy +Hölderlin, the Werther of Greece, flies to a dreamy Hellas as to a happy shore, to find peace for his sick spirit. His “Symposium of Plato” has not that exuberant sensuousness, that mixture of <i>esprit</i> and voluptuousness, of temperance and intemperance, which marks the Athenian life under @@ -13695,7 +13654,7 @@ into elegiac complaints for their lost husbands.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:672px; height:335px" src="images/img365.jpg" alt="" /></td></tr> <tr><td class="tcl f90"> </td> -<td class="tcr f90"><i>Hanfstängl.</i></td></tr> +<td class="tcr f90"><i>Hanfstängl.</i></td></tr> <tr><td class="tcl f90 pb2">FEUERBACH.</td> <td class="tcr f90 pb2">MEDEA.</td></tr></table> @@ -13785,7 +13744,7 @@ gifted natures.</p> <td class="tcr f90 pb2">DANTE WALKING WITH HIGH-BORN LADIES OF RAVENNA.</td></tr></table> <p>These matters—a silent historical sermon—one reads, with the help of the -<i>Vermächtniss</i>, out of Feuerbach’s works. There “his pictures possess tongues”; +<i>Vermächtniss</i>, out of Feuerbach’s works. There “his pictures possess tongues”; there comes out of them a sound like the cry of a human heart; the whole tragedy of his career becomes present—what he succeeded in doing and what remained unapproachable. Yet later generations, which will judge him no @@ -13826,7 +13785,7 @@ of the Cinquecentists, or, if you will, a phenomenon of atavism. His writings and drawings show him concerned with the present, his paintings with the past. <span class="pagenum"><a name="page331" id="page331"></a>331</span> The modern temperament, artistically restrained, breaks out no more, the -nerves have no rôle, no human sound is forced from his figures. He learnt +nerves have no rôle, no human sound is forced from his figures. He learnt through the spectacles of the great old masters to look away from everything petty in life, but he never laid those spectacles down. This modern man, who was so neurotic as a writer, sought as a painter, for the sake of the ideal, to @@ -13845,7 +13804,7 @@ could come to the consciousness of itself.</p> <tr><td class="captionx">GUSTAV RICHTER.   PORTRAIT OF HIMSELF.</td></tr></table> <p>Together with Feuerbach—and having, like him, previously received -enlightenment as to colouring at the Antwerp Academy—<i>Victor Müller</i>, of +enlightenment as to colouring at the Antwerp Academy—<i>Victor Müller</i>, of Frankfort, had gone to Couture in 1849. He resided until 1858 on the banks of the Seine, and was especially influenced by Delacroix, and perhaps also a little affected by Courbet. @@ -13875,7 +13834,7 @@ poetry of nature which in the hands of Delacroix so mystically heightens the <span class="pagenum"><a name="page332" id="page332"></a>332</span> -impression of human tragedies. Victor Müller was of a bold, uncompromising +impression of human tragedies. Victor Müller was of a bold, uncompromising talent, full of southern glow and wild Romanticism; a powerful, forcible realist, who never sought the empty, sentimental, ideal beauty known to his age. In a period dominated almost from end to end by a jejune and @@ -13885,7 +13844,7 @@ painted by a man who openly loved the youthful works of Riberas and Caravaggio. And just as surprising is the power of expression, the deep and earnest sentiment, which he attained in gestures and physiognomy. While Makart, in his balcony scene from <i>Romeo and Juliet</i>, never got away from a -hollow, theatrical affectation, Müller’s picture glows throughout with a sensuous +hollow, theatrical affectation, Müller’s picture glows throughout with a sensuous passion that saps the blood. A new Delacroix seemed to have been born; an extraordinary talent seemed to be rising above the horizon of our art, but Germany had to follow to the grave her greatest offshoot of Romanticism @@ -13893,7 +13852,7 @@ before he had spoken a decisive word, just as she lost Rethel, the greatest son of the cartoon era, in the flower of his age.</p> <p>Of the others who made the pilgrimage to Paris with Feuerbach and -Müller, not one has a similar importance as an artist. Their merit was that +Müller, not one has a similar importance as an artist. Their merit was that they made themselves comparatively able masters of technique, and taught the new gospel when they returned to Germany. To their superiority in technique and colour, given them by a sound French schooling, they owed @@ -13915,18 +13874,18 @@ in whose studio he worked from 1851, and his subject-matter to the German classical authors. Born a Brunswicker, he felt himself specially attracted by his countryman -Bürger, and became a Northern ballad +Bürger, and became a Northern ballad painter with French technique. Movement, animation, wildness, and a certain romantic eeriness, proper to the Northern ballad—these are Henneberg’s prominent -features, as they are Bürger’s. His pictures +features, as they are Bürger’s. His pictures have a bold caprice and a peculiarly powerful and sombre poetry. The hunting party storm past irresistibly, like a whirlwind, in his “Wild Hunt,” the <span class="pagenum"><a name="page333" id="page333"></a>333</span> -illustration to Bürger’s ballad, which in 1856 won him the gold medal in +illustration to Bürger’s ballad, which in 1856 won him the gold medal in Paris.</p> <table class="reg f90" summary="poem"><tr><td> <div class="poemr"> @@ -13934,11 +13893,11 @@ Paris.</p> <p class="i05">Der Tross mit Hund und Ross und Mann.”</p> </div> </td></tr></table> -<p class="noind">A Düsseldorfian Romanticism, from the Wolf’s Glen, is united to Couture’s +<p class="noind">A Düsseldorfian Romanticism, from the Wolf’s Glen, is united to Couture’s nobleness of colouring in his “Criminal from Lost Honour,” of 1860. And -a part—even if only a small one—of the spirit which created Dürer’s “The +a part—even if only a small one—of the spirit which created Dürer’s “The Knight, Death, and the Devil” lives in his masterpiece “The Race for -Fortune,” a picture breathed on by the spirit of sombre, mediæval Romanticism, +Fortune,” a picture breathed on by the spirit of sombre, mediæval Romanticism, which made his name the most honoured in the Exhibition of 1868.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> @@ -14120,7 +14079,7 @@ his “Seni” is indicative of the beginning of a new period. Before hi celebrated men of the Munich school made a boast of not being able to paint, and looked down upon the “colourers” with a contemptuous shrug; so here everything was attained which the young generation had admired in Gallait -and Bièfve. This astounding revelation of colour was in 1855 praised in +and Bièfve. This astounding revelation of colour was in 1855 praised in Germany as something unheard of and absolutely perfect. There was no more of the petty, motley, bodyless painting which had hitherto been dominant. The manner in which the grey of morning falls upon the murdered man @@ -14194,13 +14153,13 @@ world. Under the influence of Makart the whole province of the more artistic trades was regarded from a pictorial point of view. Oriental carpets, heavy silken stuffs, Japanese vases, weapons and inlaid furniture, became henceforth the principal elements of decoration. The fashionable world surrounded -itself with brilliant colours; papers were supplemented by <i>portières</i> and +itself with brilliant colours; papers were supplemented by <i>portières</i> and Gobelins, ceilings were painted, and gay umbrellas stood in the fireplace. The bald, honest city-alderman style gave way, and a bright triumph of colour took its place. In the studio of the master were the finest blossoms of all epochs of art; richly ornamented German chests of the Renaissance stood near Chinese idols and Greek terra-cotta, Smyrna carpets and Gobelins, and -old Italian and Netherlandish pictures were mingled with antique and mediæval +old Italian and Netherlandish pictures were mingled with antique and mediæval weapons. And amid this rich still-life of splendid vessels, weapons, sculpture, and costly stuffs and costumes, which crowded all the walls and corners, there rose to the surface as further pieces of decoration a velvet coat, @@ -14245,9 +14204,9 @@ lavish instrumentation. Because a correct and solid anatomy was wanting to his creations from their birth upwards, they can live no longer now that their blooming flesh is withered. In fact, Makart’s painting was a weakly and superficial art. He had a sense for nothing but what was external. It is said -that in Chile there are huge and splendid façades on which are written <i>Museo +that in Chile there are huge and splendid façades on which are written <i>Museo Nacional</i>, <i>Theatro Nacional</i>, and there is nothing behind. And so for Makart -the world was a house with a splendid façade glowing with colour, but without +the world was a house with a splendid façade glowing with colour, but without dwelling-rooms in which the sorrow and joy of humanity make their abode. His men do not think and do not live; they are only lay figures for splendid garments, or materially circumscribed spaces of rosy flesh colour; @@ -14278,7 +14237,7 @@ historians in painting, Makart, though much tamer and smaller, has a relationshi with Delacroix in his sovereign artistry. That joy in the purely pictorial which expressed itself in the festal procession in the Ring-Strasse and in the furnishing of his studio was, moreover, the ground-principle of his art. With -the naïveté of the old masters he has boldly set himself above all historical +the naïveté of the old masters he has boldly set himself above all historical truth; with absolute want of respect for books of history he has committed anachronisms at which any critic would be irritated. Revelling in splendid revelations of colour, all that he concerned himself about was that his costumed @@ -14298,7 +14257,7 @@ and historical figures, and at the same time draws into his kingdom of art all nature with its variety of plants, flowers, and fruits, all civilisation with its fulness of splendid vessels and jewels, of shining stuffs, emblems, weapons, <span class="pagenum"><a name="page344" id="page344"></a>344</span> -and masks. All that he created breathes the naïve, sensuous satisfaction of +and masks. All that he created breathes the naïve, sensuous satisfaction of the genuine painter.</p> <p>“The Pest in Florence” undoubtedly had its origin in Boccaccio’s description @@ -14314,7 +14273,7 @@ of the piazza. To the anger of the historian, he removes the scene from the fifteenth century to the blossoming period of the sixteenth, when the creations of Sansovino, Titian, and Veronese adorned the Queen of the Adriatic. “The Entry of Charles <span class="sc">V</span> into Antwerp” derived only its external impulse from -Dürer’s Diary. The picture with the naked girls strewing flowers might +Dürer’s Diary. The picture with the naked girls strewing flowers might almost as well represent the triumphal entry of Alexander into Babylon. In the magic land by the Nile it is not the history of civilisation and ethnography that attracts him, nor the monumental world of the pyramids and the @@ -14422,7 +14381,7 @@ which invited pity, that the victim should not have been a hero, as in conventio catastrophes, but a soft and sweet girl, made for love and never for the cross. And it was the more absorbing, too, because it was impossible to say whether the young Roman was looking up to the beautiful woman with -the desecrating sensuality of a <i>décadent</i> or with the fervid ecstasy of a convert. +the desecrating sensuality of a <i>décadent</i> or with the fervid ecstasy of a convert. The same horrified fascination was wakened again and again in the presence of the later pictures of the painter. Almost every one contained a scene of martyrdom, in which the tormented and sinking heroine was a helpless child @@ -14446,7 +14405,7 @@ expression that was terribly demoniacal, and had been attained to the same degree by no earlier illustrator of <i>Faust</i>. A raven, pecking at the lost ring, was her ghostly escort.</p> -<p>Max showed great invention in hitting upon such things. Bürger’s <i>Pfarrertochter +<p>Max showed great invention in hitting upon such things. Bürger’s <i>Pfarrertochter von Taubenhain</i> gave him the material for his “Child-murderess”—a young girl who, by the bank of a lonely pool, overgrown with reeds, stabs her child to the heart with a needle, and in a sudden rush of maternal love @@ -14487,7 +14446,7 @@ of this group. The underlying idea of the picture “Light” is that a Christian girl, at the portal of the Roman catacombs, offers lamps to the entering Christians for the illumination of their dark way. The blind woman as the giver of light! Even in his youth, with cruel irony, he had had sung -by a blind quartet the song, “<i>Du hast die schönsten Augen</i>.” A touch of +by a blind quartet the song, “<i>Du hast die schönsten Augen</i>.” A touch of Delaroche is in the other young martyr, who, between the bloodthirsty beasts of the Roman circus, looks up amazed to the rows of spectators, from the midst of which a young Roman has flung her a rose as a last greeting. In the next @@ -14537,7 +14496,7 @@ and listens enraptured to the warbling of a nightingale.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:670px; height:437px" src="images/img389.jpg" alt="" /></td></tr> <tr><td class="tcl f90"> </td> -<td class="tcr f90"><i>Hanfstängl.</i></td></tr> +<td class="tcr f90"><i>Hanfstängl.</i></td></tr> <tr><td class="tcl f90 pb2">MAX.</td> <td class="tcr f90 pb2">THE LION’S BRIDE.</td></tr></table> @@ -14615,11 +14574,11 @@ shivering in the breeze.</p> <p>In such pictures, too, Max has a morbid inclination to a mystical delicacy of sentiment. He gives what is real an exquisite subtlety which transplants it into the world of dreams, and his tender sense of pain perhaps appeals only -to spirits of an æsthetic temper. He is the antithesis of robust health; and +to spirits of an æsthetic temper. He is the antithesis of robust health; and yet there lies in the excess of nervous sensibility—in the pathological trait in his art—precisely the quality which inspires the characteristic delicacy of his earlier works. Here is no pupil of Piloty, but our contemporary. In their -anæmic colour his pictures have the effect of a song of high, fine-drawn, and +anæmic colour his pictures have the effect of a song of high, fine-drawn, and tremulous violin tones, at once dulcet and painful. With their refinement and polish, @@ -14642,8 +14601,8 @@ in place of the <i>emotions fortes</i>.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:412px; height:520px" src="images/img393.jpg" alt="" /></td> <td class="figcenter" colspan="2"><img style="width:414px; height:536px" src="images/img394.jpg" alt="" /></td></tr> -<tr><td class="tcr f90" colspan="2"><i>Hanfstängl.</i></td> -<td class="tcr f90" colspan="2"><i>Gräphische Kunst.</i></td></tr> +<tr><td class="tcr f90" colspan="2"><i>Hanfstängl.</i></td> +<td class="tcr f90" colspan="2"><i>Gräphische Kunst.</i></td></tr> <tr><td class="tcl f90 pb2">MAX.</td> <td class="tcr f90 pb2">THE SPIRIT’S GREETING.</td> <td class="tcl f90 pb2">MAX.</td> @@ -14788,8 +14747,8 @@ And what happened was just the contrary.</p> <p>When Delaroche had skimmed the cream, his successors were forced to search in the great martyr book of history for events which were more and more unknown and indifferent. Piloty took from ancient history “The Death -of Alexander the Great,” “The Death of Cæsar,” “Nero at the Burning of -Rome,” and “The Triumphal Progress of Germanicus”; and from mediæval +of Alexander the Great,” “The Death of Cæsar,” “Nero at the Burning of +Rome,” and “The Triumphal Progress of Germanicus”; and from mediæval history, “Galileo in his Prison observing the Periodic Return of a Solar Ray,” and “Columbus sighting Land”; from the history of the Thirty Years’ War, “The Foundation of the Catholic League by Duke Maximilian of Bavaria,” @@ -14817,7 +14776,7 @@ Hunyadi,” and “The Baptism of Vajk,” afterwards King Stephen t of Hungary; <i>Josef Fluggen</i>: “The Flight of the Landgravine Elizabeth,” “Milton dictating Paradise Lost,” and “The Landgravine Margarethe taking leave of her Children”; by <i>Carl Gustav Hellquist</i> there were “The Death of -the wounded Sten Sture after the Battle of Bogesund in the Mälarsee,” “The +the wounded Sten Sture after the Battle of Bogesund in the Mälarsee,” “The Embarkment of the Body of Gustavus Adolphus,” and the forced contribution of “Wisby and Huss going to the Stake.” <i>Ernst Hildebrand</i> had the Electress <span class="pagenum"><a name="page359" id="page359"></a>359</span> @@ -14844,7 +14803,7 @@ Liezenmayer</i>: “The Coronation of Charles Durazzo in Stuhlweissenburg,” and “The Canonisation of the Landgravine -Elizabeth of Thüringen”; +Elizabeth of Thüringen”; <i>Wilhelm Lindenschmit</i>: “Duke Alva at the Countess of Rudolstadt’s,” “Francis <span class="sc">I</span> at @@ -14853,14 +14812,14 @@ Pavia,” “The Death of Franz Von Sickingen,” “Knox and th visited in his Cell by his Family,” “Luther before Cardinal Cajetan,” “Anne Boleyn giving her Child Elizabeth to the care of Matthew Parker,” and “The Entrance of Alaric into Rome”; <i>Alexander Wagner</i>: “The Departure of -Isabella Zapolya from Siebenbürgen,” “The Entry into Aschaffenburg +Isabella Zapolya from Siebenbürgen,” “The Entry into Aschaffenburg of Gustavus Adolphus,” “The Wedding of Otto of Bavaria,” “The Death of Titus Dugowich,” “Matthias Corvinus with his Hunting Train,” and many more of the same description.</p> <table class="flt" style="float: right; width: 460px;" summary="Illustration"> <tr><td class="figright1"><img style="width:409px; height:579px" src="images/img397.jpg" alt="" /></td></tr> -<tr><td class="tcr f90"><i>Hanfstängl.</i></td></tr> +<tr><td class="tcr f90"><i>Hanfstängl.</i></td></tr> <tr><td class="captionx">MAX.   MADONNA.</td></tr></table> <p>Was it at all possible to make works of art out of such material? Perhaps @@ -14918,7 +14877,7 @@ life creates. There was a fear of “ugliness,” as if it were a spot o the personages portrayed received, one and all, an icy trait of “the Beautiful.” The various Egmonts, Wallensteins, and Charles the Firsts of Gallait and <span class="pagenum"><a name="page361" id="page361"></a>361</span> -Bièfve, Delaroche, and Piloty have not the blood of human beings, they have +Bièfve, Delaroche, and Piloty have not the blood of human beings, they have not the scars which are made by fate, but are all alike in their Byronic turn of the head. One knows the so-called character-heads—Luther gazing upwards with the look of one strong in faith, Columbus discovering America, and Milton @@ -14976,10 +14935,10 @@ movement than to rap nervously with his pencil. “The German only becomes impassioned when he lies.” The most genuine masters of German blood have felt that right well, and they have been honest enough to say it out. A pervading trait of old German art is simplicity, the avoidance of everything -impassioned even in the grandest conception, such as Dürer has. If in Leonardo’s +impassioned even in the grandest conception, such as Dürer has. If in Leonardo’s “Last Supper” terror, indignation, curiosity, and sorrow are reflected by twelve heads and twenty-four hands in movements of agitation which -are always new, in Dürer’s woodcut all the limbs and senses of the disciples +are always new, in Dürer’s woodcut all the limbs and senses of the disciples are paralysed at the sorrowful revelation of the Saviour; it seemed to them desecration to break the solemn, oppressive stillness by noisy utterances of opinion and hasty gestures. And the same thing is to be remarked in every @@ -15010,7 +14969,7 @@ and the transition was accomplished in “the historical picture of manners. <p class="center chap2">THE VICTORY OVER PSEUDO-IDEALISM</p> <p class="noind pt1"><span class="chap1 sc">Immediately</span> upon the epoch-making labours of the historians followed -the first romances that were archæological and dealt with the history +the first romances that were archæological and dealt with the history of civilisation; and hand in hand with these literary productions there was developed—by the side of historical painting proper, in France, Belgium, and Germany—a tendency to represent the life of the past, not in its grand @@ -15059,7 +15018,7 @@ world quite at their ease, and began to paint simple little pictures from the daily life of antiquity, instead of the great ostentatious canvases of David and Ingres. In literature their parallels are Ponsard and Augier, who in their comedies brought antique life upon the stage, the one in <i>Horace et Lydie</i>, -the other in <i>La Ciguë</i> and <i>Le Joueur de Flûte</i>.</p> +the other in <i>La Ciguë</i> and <i>Le Joueur de Flûte</i>.</p> <p><i>Charles Gleyre</i> approached nearest to the strict academical style of Ingres. Not even by a tour in the East did he allow himself to be led away from the @@ -15098,7 +15057,7 @@ grace. What distinguishes him is something simple, pure, youthful, fresh, and childlike. His colour is lighter and more delicate than Gleyre’s. None but blended colours such as light blue and light yellow mingle in the harmony of white tones. The severe antique style has been given a pretty -<i>rococo</i> turn: his Greek girls, women, and children are like figures of Sèvres +<i>rococo</i> turn: his Greek girls, women, and children are like figures of Sèvres porcelain; the scenes in which he groups them are pleasing,—sports of fancy brought forward in a Grecian garb, of an affected sensuousness and a coquettish grace. His prettiest picture was probably “My Sister’s not at Home”—Greece @@ -15112,18 +15071,18 @@ seen through a gauze transparency in the theatre.</p> <td class="tcr f90">MY SISTER’S NOT AT HOME.</td></tr> <tr><td class="caption" colspan="2">(<i>By permission of Messrs. Boussod, Valadon & Co., the owners of the copyright.</i>)</td></tr></table> -<p><i>Léon Gérôme</i> has also a taste for borrowing his subjects from the antique; +<p><i>Léon Gérôme</i> has also a taste for borrowing his subjects from the antique; being a pupil of Delaroche, however, he has treated not mythological but historical episodes of antiquity. His “Cock-fight,” “Phryne before the Areopagus,” “The Augurs,” “The Gladiators,” “Alcibiades at the House of -Aspasia,” and “The Death of Cæsar,” together with pictures from Egypt, +Aspasia,” and “The Death of Cæsar,” together with pictures from Egypt, are his most characteristic works: Ingres and Delaroche upon a smaller scale. He shares with the one his learnedly pedantic composition, and with the other his taste for anecdote. It may be remarked that in these same years Emile Augier was active in literature, but that Augier, living in the same epoch of modern life, is far more powerful and animated in his Classical pieces. <span class="pagenum"><a name="page366" id="page366"></a>366</span> -Gérôme’s art is an intelligent, frigid, calculating art. In execution he does +Gérôme’s art is an intelligent, frigid, calculating art. In execution he does not rise above a petty study of form and an academic discipline. His drawing is accurate, and he has even succeeded in giving his figures a certain natural truth which is in advance of the generalisation of the classic ideal; yet from @@ -15139,10 +15098,10 @@ outlines. And this marble coldness remained with him later when, moving with the development of historical painting, he gradually took to working on more tragical subjects. Even the most violent subjects are depicted with a dainty grace, and with a smile he serves up decapitated heads, prepared -with a painting <i>à la maitre d’hôtel</i>, upon a gold-rimmed porcelain plate as +with a painting <i>à la maitre d’hôtel</i>, upon a gold-rimmed porcelain plate as smooth as glass.</p> -<p>Another painter of archæological <i>genre</i> is <i>Gustave Boulanger</i>, who after +<p>Another painter of archæological <i>genre</i> is <i>Gustave Boulanger</i>, who after extensive studies in Pompeii gave a vogue to those antique interiors and scenes of Pompeian street life now associated with the name of Alma-Tadema.</p> @@ -15150,7 +15109,7 @@ scenes of Pompeian street life now associated with the name of Alma-Tadema.</p> themselves enthusiastically into treating the physiognomy of the sixteenth and seventeenth centuries, and devoted the most ardent study to the weapons, costumes, and furniture of those epochs. They never wearied in representing -François <span class="sc">I</span> and Henri <span class="sc">IV</span> in the most varied situations of life, nor in searching +François <span class="sc">I</span> and Henri <span class="sc">IV</span> in the most varied situations of life, nor in searching the biographies of great artists and scholars for episodes worth painting. Especially popular subjects were those of celebrated painters at their meeting with contemporaries of high station: Raphael and Michael Angelo coming across @@ -15193,13 +15152,13 @@ by the hands of the following painters.</p> <tr><td class="figcenter" colspan="2"><img style="width:612px; height:440px" src="images/img405.jpg" alt="" /></td></tr> <tr><td class="tcl f90"> </td> <td class="tcr f90"><i>Cassell & Co.</i></td></tr> -<tr><td class="tcl f90 pb2">GÉRÔME.</td> +<tr><td class="tcl f90 pb2">GÉRÔME.</td> <td class="tcr f90 pb2">THE COCK-FIGHT.</td></tr></table> <p>Of the generation of the eminent Flemish artists of 1830 <i>Hendrik Leys</i> is the one whose fame has been most enduring. Born in Antwerp on 18th February 1815, at first destined for the priesthood, and then in 1829 admitted to the -studio of Ferdinand de Braekeleers, he had made his début in the beginning +studio of Ferdinand de Braekeleers, he had made his début in the beginning <span class="pagenum"><a name="page368" id="page368"></a>368</span> of the thirties with a pair of historical pictures. These indeed revealed little of the power which he evinced later, but they furnished some indication @@ -15208,7 +15167,7 @@ popular at the time—in which blood flows as from the pipes of a fountain; the combatants fought with decorum and moderation, and less from conviction than to justify the helmets and cuirasses which had been fetched from the wardrobe. In both of them, on the other hand, the background—a -mediæval town with tortuous alleys, lanterns, and picturesque taverns—was +mediæval town with tortuous alleys, lanterns, and picturesque taverns—was most lovingly treated. Here was revealed a thoroughly German delight in minute detail. Instead of subordinating the accessories as others did, with the object of throwing the principal personages into relief, Leys @@ -15216,7 +15175,7 @@ represented an entire corner of the world at once, giving full distinctness to the smallest things, down to the implements of daily life, the grasses and flowers of the landscape, and the variegated corner-stones of the old house-fronts, whose picturesque porches and lattices bulge into the crooked -lanes. His next picture, “The Massacre of the Löwen Magistrates,” was +lanes. His next picture, “The Massacre of the Löwen Magistrates,” was a still further departure from precedent, since—quite in Callot’s manner—it mingled with the principal drama a mass of grotesque episodes. The born <i>genre</i> painter was announced by these traits; and not less striking was the @@ -15259,7 +15218,7 @@ sixteenth century, and, according to his own saying, “from that time forward to become an artist.” During a tour through Germany, in 1852, he had become familiar -with Dürer and Cranach; in Dresden, +with Dürer and Cranach; in Dresden, Wittenberg, and Eisenach there hovered round him the great figures of the Reformation period. Half-effaced memories of @@ -15358,7 +15317,7 @@ in all its brightness of life and colour. And whilst as a colourist he was bent upon avoiding uniformity of tone and giving everything its natural character, as a draughtsman, too, he set up, in opposition to the more patrician fluency of others, the citizen-like angularity of an art uninfluenced by the Cinquecento. -As in Cranach, Dürer, +As in Cranach, Dürer, and Holbein, one finds in his pictures profiles that are vividly true; harsh and often @@ -15374,7 +15333,7 @@ made of the image of God is expressed in the works of Leys for the first time since David. Even his “Massacre -of the Löwen Magistrates” +of the Löwen Magistrates” showed sharp, naturalistic physiognomies in the midst of its confused composition, @@ -15394,7 +15353,7 @@ who effected the transition which led to the modern style. In setting up quaintness and far-fetched archaism against the mannerism of the idealists, Leys accustomed the eye again to recognise that there was something truer than nobility of line and aristocratic pose; and, as he appealed to the old -masters as accomplices, it was impossible for æsthetic criticism to be offended.</p> +masters as accomplices, it was impossible for æsthetic criticism to be offended.</p> <p>In France the transition from the absolutely beautiful to the characteristic, from types to individuals, was brought about from various sides. On the one @@ -15418,7 +15377,7 @@ even shrink from ugliness, induced painters to go back more than they had formerly done to the sources of real life and to bring something of its directness -into their creations. Élie Delaunay began +into their creations. Élie Delaunay began to look on nature with an eye less bent on making abstractions and regarding all things from the standpoint of style; @@ -15632,7 +15591,7 @@ the Berlin painting. In the beginning of the century, however, it set the Berlin painting, as art of the healthy human understanding, in salutary contrast to the sickliness of Munich -and Düsseldorf. Even eighty years ago the +and Düsseldorf. Even eighty years ago the people of Berlin were too acute and practical to be Romanticists. The artists whom Menzel found active and honoured at his arrival were @@ -15646,7 +15605,7 @@ Romanticists on the Rhine as never having given an unqualified homage to their flag. A clear, realistic method was dominant in the art of Berlin. And in this respect it was as much a corrective—and one by no means to be undervalued—against the inflated sentiment of Munich -as against the weak and sickly sentimentalism of Düsseldorf, with its +as against the weak and sickly sentimentalism of Düsseldorf, with its knights and monks and noble maidens. Even Cornelius, who had been called to Berlin by Frederick William IV—that King of the Romanticists on the throne of the eminently unromantic Hohenzollerns—found himself @@ -15702,7 +15661,7 @@ himself familiar with the technique of reproduction; and having devoted himself in particular to the newly discovered art of lithography, he turned out -<i>ménus</i>, New Year cards, vignettes +<i>ménus</i>, New Year cards, vignettes for occasional poems, etc., and in things of this sort displayed a genuine affinity @@ -15747,7 +15706,7 @@ History in the Brandenburg Era,” the “scholar” Menzel stands ready as the actual historian of the Prussian kingdom. In an age which took its -pleasure in a vaporous, sentimental enthusiasm for the mediæval splendour +pleasure in a vaporous, sentimental enthusiasm for the mediæval splendour of the empire, he was the one who as a youth of twenty pointed to the corner-stones of Prussian history in the Brandenburg times; he was the only man of his age who refused to blow the horn of the mawkish Romanticists, @@ -15757,7 +15716,7 @@ touching situations; they had nothing poetical; and just as little were they tedious pictures of ceremonies or spectacular pieces. Striking characterisation and sparkling vividness were united here to the most painstaking study of nature and history, carried down to the peculiarities of costume and weapons. -History was not arranged in accordance with academic formulæ, but delineated +History was not arranged in accordance with academic formulæ, but delineated as if from life with absorbing truthfulness. Everything was expressed simply and sincerely, without exciting passages, and without conventional sentiment pumped out of models. Every epoch had its historical physiognomy, and @@ -15782,7 +15741,7 @@ plates of the book were made possible.</p> <tr><td class="figright1"><img style="width:328px; height:215px" src="images/img420.jpg" alt="" /></td></tr> <tr><td class="captionx f80">MENZEL.  FREDERICK THE GREAT AND HIS TUTOR.</td></tr></table> -<p>But it became more revolutionary still for the æsthetic ideas of the time. +<p>But it became more revolutionary still for the æsthetic ideas of the time. Menzel had not set himself to produce a sequence of pictures, displaying events and heroes in the most ideal situations possible, but made it his business to sift the entire life of Frederick the Great to its minutest particulars. And @@ -15823,7 +15782,7 @@ countries was based.</p> monopoly in this subject, and when in 1840 Frederick William <span class="sc">IV</span> had the works of the great king published in -an <i>édition de luxe</i>, Menzel, amongst +an <i>édition de luxe</i>, Menzel, amongst others, was entrusted with the illustration. Every one of the thirty volumes contains portraits of Frederick’s contemporaries @@ -15836,11 +15795,11 @@ pages, but were destined to be incorporated in the text as tail-pieces, vignettes, and the like. This was the great work which occupied him during the forties; and in these headings and tail-pieces to the works of Frederick the Great he showed, for the first time, that he was not -merely a learned investigator of sources, but was full of brilliant <i>aperçus</i>. +merely a learned investigator of sources, but was full of brilliant <i>aperçus</i>. <span class="pagenum"><a name="page382" id="page382"></a>382</span> One has to read Frederick the Great before one can do full justice to the acuteness and ready resource, the subtlety and pungency of the artist’s pencil. -All æsthetic categories of realistic and idealistic art are scattered like dust +All æsthetic categories of realistic and idealistic art are scattered like dust before these creations, in which the most fantastic ideas are embodied with the whole force of the realistic power of our days.</p> @@ -15893,7 +15852,7 @@ Court festival of the past.</p> <table class="nobctr" style="clear: both;" summary="Illustration"> <tr><td class="figcenter" colspan="2"><img style="width:678px; height:461px" src="images/img423.jpg" alt="" /></td></tr> -<tr><td class="tcr f90" colspan="2"><i>Hanfstängl.</i></td></tr> +<tr><td class="tcr f90" colspan="2"><i>Hanfstängl.</i></td></tr> <tr><td class="tcl f90 pb2">MENZEL.</td> <td class="tcr f90 pb2">FREDERICK THE GREAT ON A JOURNEY.</td></tr></table> @@ -16068,7 +16027,7 @@ MENZEL.</td></tr></table> <div class="list f90"> <p class="pt1a"><b>General:</b></p> -<p>Rouquet: L’état des Arts en Angleterre Paris, 1755.</p> +<p>Rouquet: L’état des Arts en Angleterre Paris, 1755.</p> <p>H. Walpole: Anecdotes of Painting in England. With Illustrations. 5 vols. London, Strawberry Hill, 1762-71. New Edition, London, Ward, Lock & Co., 1879.</p> @@ -16078,7 +16037,7 @@ Strawberry Hill, 1762-71. New Edition, London, Ward, Lock & Co., 1879.</p> <p>Edward Edwards: Anecdotes of Painters who have resided or been born in England. London, 1808.</p> -<p>J. D. Fiorillo, Geschichte der Malerei in Grossbritannien, vol. v. Göttingen, 1808.</p> +<p>J. D. Fiorillo, Geschichte der Malerei in Grossbritannien, vol. v. Göttingen, 1808.</p> <p>W. Carey: Progress of the Fine Arts in England and Ireland during the Reigns of George II, III, IV. London, 1826.</p> @@ -16101,11 +16060,11 @@ Artists. 3 vols. London, 1849.</p> <p>G. F. Waagen: Treasures of Art in Great Britain. London, 1854.</p> -<p>Prosper Mérimée: Les Beaux-Arts en Angleterre, “Revue des Deux Mondes,” 1857.</p> +<p>Prosper Mérimée: Les Beaux-Arts en Angleterre, “Revue des Deux Mondes,” 1857.</p> <p>T. Silvestre: L’Art, Les Artistes, etc., en Angleterre. London, 1857.</p> -<p>C. de Pesquidoux: L’École Anglaise, 1672-1851. Études biographiques et critiques. +<p>C. de Pesquidoux: L’École Anglaise, 1672-1851. Études biographiques et critiques. Paris, 1858.</p> <p>Our Living Painters: their Lives and Works. London, 1859.</p> @@ -16114,7 +16073,7 @@ Paris, 1858.</p> <p>W. Thornbury: British Artists from Hogarth to Turner. 2 vols. London, 1860-61.</p> -<p>J. Milsand: L’esthétique anglaise. Étude sur M. John Ruskin. Trad. franç. Paris, +<p>J. Milsand: L’esthétique anglaise. Étude sur M. John Ruskin. Trad. franç. Paris, 1864.</p> <p>R. and S. Redgrave: A Century of Painters of the English School. 2 vols. London, @@ -16175,7 +16134,7 @@ Sampson Low, 1881.</p> <p>E. Chesneau: La peinture anglaise. Paris, 1882.</p> -<p>J. Faber: La peinture anglaise. “Fédération artistique,” 1883. 11-15.</p> +<p>J. Faber: La peinture anglaise. “Fédération artistique,” 1883. 11-15.</p> <p>N. D’Anvers: An Elementary History of Modern Painting. New Edition. London, Sampson Low, 1883.</p> @@ -16187,10 +16146,10 @@ Watts, etc.) With portraits and illustrations. London, Cassell & Co., 1883.< of F. G. Dumas. (Leighton, Millais, Herkomer, Hook, etc.) 2 vols. London and Paris, 1882-84.</p> -<p>Feuillet de Conches: Histoire de l’école anglaise de peinture jusqu’à Sir Thomas Lawrence -et ses émules. Paris, Leroux, 1883.</p> +<p>Feuillet de Conches: Histoire de l’école anglaise de peinture jusqu’à Sir Thomas Lawrence +et ses émules. Paris, Leroux, 1883.</p> -<p>H. J. Wilmot-Buxton and S. R. Köhler: English and American Painters. Plates. +<p>H. J. Wilmot-Buxton and S. R. Köhler: English and American Painters. Plates. London, 1883.</p> <p>John Ruskin: The Art of England. Lectures given in Oxford. Orpington, Kent, @@ -16234,10 +16193,10 @@ others.) London, 1888.</p> <p>W. E. Henley: A Century of Artists. A Memorial of the Glasgow International Exhibition, 1888. With Illustrations. Glasgow, 1889.</p> -<p>Hermann Helferich: Ueber die Kunst in England, “Kunst für Alle,” iv, 1888, pp. +<p>Hermann Helferich: Ueber die Kunst in England, “Kunst für Alle,” iv, 1888, pp. 161, 177.</p> -<p>Paul Meyerheim: Die englische Malerie in den letzten 50 Jahren, “Nord und Süd,” +<p>Paul Meyerheim: Die englische Malerie in den letzten 50 Jahren, “Nord und Süd,” 1889, p. 17.</p> <p>J. A. Crowe, Continental and English Painting, “Nineteenth Century,” April 1890.</p> @@ -16257,19 +16216,19 @@ de la peinture japonaise. Illustrations. Paris, 1891.</p> <p>H. Taine: Notes sur l’Angleterre. Paris, 1872.</p> -<p>H. Taine: Histoire de la Littérature Anglaise.</p> +<p>H. Taine: Histoire de la Littérature Anglaise.</p> <p>Periodicals: “Art Journal,” “Portfolio,” and “Magazine of Art,” <i>passim.</i></p> <p class="pt1a"><b>Hogarth:</b></p> -<p>W. Hogarth: Analyse de la beauté. 2 vols. Paris, 1805.</p> +<p>W. Hogarth: Analyse de la beauté. 2 vols. Paris, 1805.</p> <p>John Nichols: Biographical Anecdotes of W. Hogarth. London, 1781. Second Edition, 1785.</p> -<p>G. C. Lichtenberg: Erklärung der Hogarth’schen Kupferstiche, mit verkleinerten -Copien derselben v. Riepenhausen. Göttingen, 1794-1831.</p> +<p>G. C. Lichtenberg: Erklärung der Hogarth’schen Kupferstiche, mit verkleinerten +Copien derselben v. Riepenhausen. Göttingen, 1794-1831.</p> <p>W. Hogarth: Complete Works, Including the Analysis of Beauty. London, 1837.</p> @@ -16280,7 +16239,7 @@ Copien derselben v. Riepenhausen. Göttingen, 1794-1831.</p> <p>G. A. Sala: W. Hogarth, Painter, Engraver, and Philosopher. Illustrations. London, 1866.</p> -<p>C. Justi: W. Hogarth, “Zeitschrift für bildende Kunst,” vii, 1872.</p> +<p>C. Justi: W. Hogarth, “Zeitschrift für bildende Kunst,” vii, 1872.</p> <p>A. Dobson: Hogarth. London, Low, New and Enlarged Edition, 1903. (Illustrated Biographies of Great Artists.)</p> @@ -16289,7 +16248,7 @@ Biographies of Great Artists.)</p> <p>Hogarth’s Shrimp Girl, “Portfolio,” 1886, p. 105.</p> -<p>F. Rabbe in the compilation, “Les artistes célèbres.”</p> +<p>F. Rabbe in the compilation, “Les artistes célèbres.”</p> <p class="pt1a"><b><i>Reproductions:</i></b></p> @@ -16345,7 +16304,7 @@ November 1867.</p> <p>J. C. Collins: Sir Joshua Reynolds as a Portrait Painter. An Essay, with 20 Portraits. London, 1874.</p> -<p>Edw. Hamilton: A Catalogue Raisonné of the Engraved Works of Joshua Reynolds, +<p>Edw. Hamilton: A Catalogue Raisonné of the Engraved Works of Joshua Reynolds, 1755-1820. London, 1874.</p> <p>Frederick Wedmore: Sir Joshua Reynolds, “Temple Bar,” July 1876.</p> @@ -16360,7 +16319,7 @@ London, 1874.</p> et de la Grosvenor Gallerie, “Gazette des Beaux Arts,” 1884, i 327. (The same reprinted and enlarged. Paris, 1885.)</p> -<p>Various articles in the “Athenæum,” 1883 and 1884.</p> +<p>Various articles in the “Athenæum,” 1883 and 1884.</p> <p>Helen Zimmern: Sir Joshua Reynolds, in “Westermanns Monatsheften,” May 1884.</p> @@ -16368,11 +16327,11 @@ reprinted and enlarged. Paris, 1885.)</p> London, Seeley & Co., 1886.</p> <p>Ernest Chesneau: Joshua Reynolds. With 18 Illustrations. Paris, 1887 (in the compilation -“Les artistes célèbres”).</p> +“Les artistes célèbres”).</p> <p>Lady Blennerhasset: Joshua Reynolds’ Discourses, “Allgemeine Zeitung,” 1889.</p> -<p>Ed. Leisching: Zur Aesthetik u. Technik der bildenden Künste. Akademische Reden +<p>Ed. Leisching: Zur Aesthetik u. Technik der bildenden Künste. Akademische Reden von Sir J. R., Uebersetzt u. mit Einleitung, Anmerkungen, Register u. Textvergleichung versehen von Dr. E. L. Leipzig, 1893.</p> @@ -16404,7 +16363,7 @@ British Artists’ Series, 1902.</p> <p>George M. Brock-Arnold: Gainsborough. London, Sampson Low, 1889.</p> -<p>Walter Armstrong in the compilation, “Les artistes célèbres.”</p> +<p>Walter Armstrong in the compilation, “Les artistes célèbres.”</p> <p>Mrs. Bell: Thomas Gainsborough: a Record of his Life and Works, with Illustrations, etc. London, 1897.</p> @@ -16440,15 +16399,15 @@ No date.</p> <div class="list pt1"> <p class="pt1a"><b>General:</b></p> -<p>Georg Brandes: Hauptströmungen der Literatur des 19 Jahrhunderts, Bd. i, 2 Aufl. +<p>Georg Brandes: Hauptströmungen der Literatur des 19 Jahrhunderts, Bd. i, 2 Aufl. Leipzig, 1887.</p> <p>Wilhelm Weigand: Essays. (Voltaire, Rousseau, zur Psychologie des 19 Jahrhunderts, -etc.) München, 1892.</p> +etc.) München, 1892.</p> <p class="pt1a"><b>Goya:</b></p> -<p>Théophile Gautier: Cabinet de l’amateur, 1842.</p> +<p>Théophile Gautier: Cabinet de l’amateur, 1842.</p> <p>Laurent Matheron: Biographie de Fr. Goya. Paris, 1858.</p> @@ -16461,19 +16420,19 @@ etc.) München, 1892.</p> <p>D. F. Zapater y Gomez: Goya, noticias biograficas. Zaragoza, 1868.</p> <p>Paul Lefort: “Gazette des Beaux Arts,” 1875, ii 506; 1876, i 336; ii 500. Reprinted -and enlarged under the title of Francisco Goya, Étude biographique et critique, suivie -de l’essai d’un catalogue raisonné de son œuvre gravé et lithographié. Paris, 1877.</p> +and enlarged under the title of Francisco Goya, Étude biographique et critique, suivie +de l’essai d’un catalogue raisonné de son œuvre gravé et lithographié. Paris, 1877.</p> <p>Charles Yriarte: Goya, Aquafortiste, “L’Art,” 1877, ii 3, 33, 56, 78.</p> <p>P. G. Hamerton: Fr. Goya, “Portfolio.” 1879, 67-99.</p> -<p>Muñoz y Manzano: Francesco de Goya y Lucientes, “Revista contemporanea,” September +<p>Muñoz y Manzano: Francesco de Goya y Lucientes, “Revista contemporanea,” September 1883.</p> -<p>Lucien Solvay: L’Art Espagnol. Paris, 1887. (Bibliothèque internationale de l’Art.)</p> +<p>Lucien Solvay: L’Art Espagnol. Paris, 1887. (Bibliothèque internationale de l’Art.)</p> -<p>Con. de la Viñaza: Goya, su tiempo, su vida, sus obras. Madrid, 1887.</p> +<p>Con. de la Viñaza: Goya, su tiempo, su vida, sus obras. Madrid, 1887.</p> <p>P. Lafond: Goya. Paris, 1902.</p> @@ -16491,131 +16450,131 @@ de l’essai d’un catalogue raisonné de son œuvre gravé et litho <p>Los Proverbios. Colleccion de 18 laminos. Madrid, 1864.</p> -<p>Los Caprichos. Gravures fac-similé de M. Segui y Riera. Notice biographique et étude +<p>Los Caprichos. Gravures fac-similé de M. Segui y Riera. Notice biographique et étude critique par Ant. de Nait. Barcelone, 1887.</p> <p class="pt1a f80"><b><span class="verd">French Art in the Eighteenth Century:</span></b></p> -<p>Edmond et Jules de Goncourt: L’Art du XVIII siècle. Paris, 1850. 3rd Edition, +<p>Edmond et Jules de Goncourt: L’Art du XVIII siècle. Paris, 1850. 3rd Edition, Paris, 1880.</p> -<p>Edmond et Jules de Goncourt: La femme au XVIII siècle. Paris, 1889.</p> +<p>Edmond et Jules de Goncourt: La femme au XVIII siècle. Paris, 1889.</p> -<p>Charles Blanc: Les Peintres des Fêtes galantes. (Watteau, Lancret, Pater, Boucher.) +<p>Charles Blanc: Les Peintres des Fêtes galantes. (Watteau, Lancret, Pater, Boucher.) Paris, 1854.</p> -<p>Arsène Houssaye: Histoire de l’Art Français du XVIII siècle. Portraits. Paris, 1860.</p> +<p>Arsène Houssaye: Histoire de l’Art Français du XVIII siècle. Portraits. Paris, 1860.</p> -<p>E. B. de la Chavignerie: Les Artistes Français du XVIII siècle oubliés ou dédaignés. +<p>E. B. de la Chavignerie: Les Artistes Français du XVIII siècle oubliés ou dédaignés. Paris, 1865.</p> -<p>A. v. Wurzbach: Die französischen Maler des 18 Jahrh. Stuttgart, 1879.</p> +<p>A. v. Wurzbach: Die französischen Maler des 18 Jahrh. Stuttgart, 1879.</p> -<p>Auguste Nicaise: L’école française au XVIII siècle. Chalons-sur-Marne, 1883.</p> +<p>Auguste Nicaise: L’école française au XVIII siècle. Chalons-sur-Marne, 1883.</p> -<p>Paul Seidel: Friedrich d. Gr. u. die französische Kunst seiner Zeit. Berlin, 1892.</p> +<p>Paul Seidel: Friedrich d. Gr. u. die französische Kunst seiner Zeit. Berlin, 1892.</p> <p class="pt1a"><b>Watteau:</b></p> -<p>Figures de différents caractères de paysage et d’études dessinées d’après nature par +<p>Figures de différents caractères de paysage et d’études dessinées d’après nature par A. Watteau. 2 vols., 350 pl. Paris. No date.</p> -<p>D’Argenville: Abrégé de la vie des plus fameux peintres. Paris, 1762.</p> +<p>D’Argenville: Abrégé de la vie des plus fameux peintres. Paris, 1762.</p> -<p>Mariette: Abecedario. Published in the archives of French Art by Chennevières. 1852, etc.</p> +<p>Mariette: Abecedario. Published in the archives of French Art by Chennevières. 1852, etc.</p> <p>Caylus: La vie d’Antoine Watteau. Read on 3rd February 1748 before the Paris -Academy. Cited by Goncourt, L’Art du XVIII siècle, 1850.</p> +Academy. Cited by Goncourt, L’Art du XVIII siècle, 1850.</p> <p>Julienne in the preface to his book of plates, 1755.</p> <p>Cellier: Antoine Watteau, son enfance, ses contemporains. Valenciennes, 1867.</p> <p>Edmond de Goncourt: A. Watteau. Paris, 1860. By the same author, Catalogue -raisonné de l’œuvre peint, dessiné et gravé d’A. Watteau. Paris, 1875.</p> +raisonné de l’œuvre peint, dessiné et gravé d’A. Watteau. Paris, 1875.</p> <p>Theodor Volbehr: Antoine Watteau, ein Beitrag zur Kunstgeschichte des 18 Jahrh. -München, 1885.</p> +München, 1885.</p> <p>Emil Hannover: A. Watteau. Kopenhagen, 1887. Deutsch von Alice Hannover. Berlin, 1889.</p> -<p>G. Dargenty in “Les artistes célèbres.” Paris, 1889.</p> +<p>G. Dargenty in “Les artistes célèbres.” Paris, 1889.</p> <p>Paul Mantz: “Gazette des Beaux Arts,” 1889, i 5, 177, 455; ii 5, 129, 222. Reprinted 1892.</p> <p class="pt1a"><b>Boucher:</b></p> -<p>P. Mantz: François Boucher, Lemoyne et Natoire (with engravings from their works). +<p>P. Mantz: François Boucher, Lemoyne et Natoire (with engravings from their works). Paris, 1880.</p> -<p>André Michel in “Les artistes célèbres.” Paris, 1889.</p> +<p>André Michel in “Les artistes célèbres.” Paris, 1889.</p> <p class="pt1a"><b>Lancret:</b></p> -<p>G. Dargenty in “Les artistes célèbres.”</p> +<p>G. Dargenty in “Les artistes célèbres.”</p> <p class="pt1a"><b>Pater:</b></p> -<p>G. Dargenty in “Les artistes célèbres.”</p> +<p>G. Dargenty in “Les artistes célèbres.”</p> <p class="pt1a"><b>Fragonard:</b></p> -<p>Baron Roger Portalis: Honoré Fragonard, sa vie et ses œuvres. Paris, 1887.</p> +<p>Baron Roger Portalis: Honoré Fragonard, sa vie et ses œuvres. Paris, 1887.</p> -<p>Felix Naquet in “Les artistes célèbres.” 1893.</p> +<p>Felix Naquet in “Les artistes célèbres.” 1893.</p> <p><span class="pagenum"><a name="page397" id="page397"></a>397</span></p> -<p>C. Mauclair: Fragonard, Biographie critique illustrée de vingt-quatre reproductions hors +<p>C. Mauclair: Fragonard, Biographie critique illustrée de vingt-quatre reproductions hors texte (Les Grands Artistes, etc.), 1904.</p> <p class="pt1a"><b>Baudouin:</b></p> -<p>Ch. Normand in “Les artistes célèbres.” Paris, 1892.</p> +<p>Ch. Normand in “Les artistes célèbres.” Paris, 1892.</p> <p class="pt1a"><b>Greuze:</b></p> -<p>Edmond et Jules de Goncourt: L’Art du XVIII siècle.</p> +<p>Edmond et Jules de Goncourt: L’Art du XVIII siècle.</p> -<p>Charles Blanc: Histoire de peintres des toutes les écoles, ii.</p> +<p>Charles Blanc: Histoire de peintres des toutes les écoles, ii.</p> -<p>Jules Renouvier: Histoire de l’Art pendant la Révolution, p. 517.</p> +<p>Jules Renouvier: Histoire de l’Art pendant la Révolution, p. 517.</p> -<p>Charles Normand in “Les artistes célèbres.” Paris, 1892.</p> +<p>Charles Normand in “Les artistes célèbres.” Paris, 1892.</p> <p class="pt1a"><b>Quentin La Tour:</b></p> <p>Clement de Ris: L’œuvre de Maurice Quentin de Latour, “Gazette des Beaux Arts,” 1882, ii 251.</p> -<p>Champfleury in “Les artistes célèbres.” Paris, 1886.</p> +<p>Champfleury in “Les artistes célèbres.” Paris, 1886.</p> -<p>H. Lapauze. With 87 Plates. Paris, 1885. La Tour et son œuvre au Musée de Saint-Quentin, +<p>H. Lapauze. With 87 Plates. Paris, 1885. La Tour et son œuvre au Musée de Saint-Quentin, 1905.</p> <p class="pt1a"><b>Liotard:</b></p> -<p>F. Guye: Jean Étienne Liotard, 1702-91. Zofingen, 1890.</p> +<p>F. Guye: Jean Étienne Liotard, 1702-91. Zofingen, 1890.</p> <p class="pt1a"><b>Chardin:</b></p> -<p>Edmond et Jules de Goncourt: L’Art du XVIII siècle.</p> +<p>Edmond et Jules de Goncourt: L’Art du XVIII siècle.</p> <p>G. Dargenty: “L’Art,” 1883, ii 3.</p> -<p>H. de Chennevières: Chardin au Musée du Louvre, “Gazette des Beaux Arts,” 1889, +<p>H. de Chennevières: Chardin au Musée du Louvre, “Gazette des Beaux Arts,” 1889, i 121.</p> -<p>Charles Normand in “Les artistes célèbres.” Paris, 1892.</p> +<p>Charles Normand in “Les artistes célèbres.” Paris, 1892.</p> -<p>G. Schéfer: Chardin ... Biographie critique illustrée de vingt-quatre reproductions +<p>G. Schéfer: Chardin ... Biographie critique illustrée de vingt-quatre reproductions hors texte (Les Grands Artistes, etc.), 1904.</p> <p class="pt1a"><b>Cornelis Troost:</b></p> -<p>A Ver Huell: Cornelis Troost en zÿn Werken. Arnhem, 1873.</p> +<p>A Ver Huell: Cornelis Troost en zÿn Werken. Arnhem, 1873.</p> <p class="pt1a f80"><b><span class="verd">Changes of Taste in Germany:</span></b></p> @@ -16624,21 +16583,21 @@ hors texte (Les Grands Artistes, etc.), 1904.</p> <p class="pt1a"><b>Chodowiecki:</b></p> -<p>W. Engelmann: Daniel Chodowieckis sämmtliche Kupferstiche. Leipzig, 1857.</p> +<p>W. Engelmann: Daniel Chodowieckis sämmtliche Kupferstiche. Leipzig, 1857.</p> -<p>Alfred Woltmann: Hogarth und Chodowiecki. From Vier Jahrhunderte niederländisch-deutscher +<p>Alfred Woltmann: Hogarth und Chodowiecki. From Vier Jahrhunderte niederländisch-deutscher Kunstgeschichte. Berlin, 1878.</p> <p>Ferdinand Meyer: Daniel Chodowiecki der Peintre-graveur. Berlin, 1888.</p> <p>W. von Oettingen. Berlin, 1895.</p> -<p>L Kämmerer: Bd. 21 der Künstlermonographien von Knackfuss. Bielefeld, 1897.</p> +<p>L Kämmerer: Bd. 21 der Künstlermonographien von Knackfuss. Bielefeld, 1897.</p> <p>See Selection from the artist’s finest engravings, in photography, by A. Frisch. Berlin, 1885.</p> -<p>D. Chodowiecki: Von Berlin nach Danzig, eine Künstlerfahrt im Jahre 1783. 108 +<p>D. Chodowiecki: Von Berlin nach Danzig, eine Künstlerfahrt im Jahre 1783. 108 Facsimiledrucke nach Ch.’s Zeichnungen. Berlin, 1883.</p> <p class="pt1a"><b>Tischbein:</b></p> @@ -16650,13 +16609,13 @@ Facsimiledrucke nach Ch.’s Zeichnungen. Berlin, 1883.</p> <p>Fr. v. Alten: Ans Tischbeins Leben und Briefwechsel. Leipzig, 1872.</p> -<p>Edmond Michel: Étude biographique sur les Tischbein. Lyon, 1881.</p> +<p>Edmond Michel: Étude biographique sur les Tischbein. Lyon, 1881.</p> <p class="pt1a"><b>Pesne:</b></p> <p>Paul Seidel: “Gazette des Beaux Arts,” 1891.</p> -<p>Paul Seidel: Die Berliner Kunst unter Friedrich Wilhelm I. “Zeitschrift für bildende +<p>Paul Seidel: Die Berliner Kunst unter Friedrich Wilhelm I. “Zeitschrift für bildende Kunst,” 1888, p. 185.</p> <p class="pt1a"><b>Anton Graft:</b></p> @@ -16668,18 +16627,18 @@ Kunst,” 1888, p. 185.</p> <p class="pt1a"><b>Joseph Vernet:</b></p> -<p>Amedée Durande: Joseph, Carl, et Horace Vernet, Correspondence et biographie. Paris, +<p>Amedée Durande: Joseph, Carl, et Horace Vernet, Correspondence et biographie. Paris, 1863.</p> -<p>L. Lagrange: J. Vernet et la peinture au XVIII siècle. Paris, 1864.</p> +<p>L. Lagrange: J. Vernet et la peinture au XVIII siècle. Paris, 1864.</p> <p>A. Genevay: “L’Art,” 1876, iii 254, 307; iv 61.</p> -<p>Albert Maire: Les Vernet in “Les artistes célèbres.”</p> +<p>Albert Maire: Les Vernet in “Les artistes célèbres.”</p> <p class="pt1a"><b>Hubert Robert:</b></p> -<p>C. Gabillot in “Les artistes célèbres.”</p> +<p>C. Gabillot in “Les artistes célèbres.”</p> <p class="pt1a"><b>Canaletto:</b></p> @@ -16691,11 +16650,11 @@ Kunst,” 1888, p. 185.</p> <p class="pt1a"><b>Gessner:</b></p> -<p>Heinrich Wölfflin: Salomon Gessner. Frauenfeld. 1889.</p> +<p>Heinrich Wölfflin: Salomon Gessner. Frauenfeld. 1889.</p> <p class="pt1a"><b>Oudry und Desportes:</b></p> -<p>Charles Normand in “Les artistes célèbres.”</p> +<p>Charles Normand in “Les artistes célèbres.”</p> <p class="pt1a"><b>Riedinger:</b></p> @@ -16707,48 +16666,48 @@ Kunst,” 1888, p. 185.</p> <div class="list pt1"> <p class="pt1a f80"><b><span class="verd">German Art in General:</span></b></p> -<p>Raczynski: Geschichte der neueren deutschen Kunst, übersetzt von K. Hagen. 3 Bde. +<p>Raczynski: Geschichte der neueren deutschen Kunst, übersetzt von K. Hagen. 3 Bde. Text, 1 Bd. Tafeln. Berlin, 1836.</p> <p>Anton Hallmann: Kunstbestrebungen der Gegenwart. Berlin, 1842.</p> -<p>Théophile Gautier: Les Beaux Arts en Europe, 1855. Paris, 1855.</p> +<p>Théophile Gautier: Les Beaux Arts en Europe, 1855. Paris, 1855.</p> <p>A. Hagen: Die deutsche Kunst in unserm Jahrhundert. Berlin, 1857.</p> -<p>E. Förster: Geschichte der neueren deutschen Kunst. Leipzig, 1863.</p> +<p>E. Förster: Geschichte der neueren deutschen Kunst. Leipzig, 1863.</p> <p>Anton Springer: Die bildende Kunst des 19 Jahrhunderts. Leipzig, 1858.</p> -<p>J. Gérard: Considérations sur l’art allemand, ses principes et tendances à propos de +<p>J. Gérard: Considérations sur l’art allemand, ses principes et tendances à propos de l’exposition de Munich. Bruxelles, 1859.</p> <p>Hermann Riegel: Geschichte des Wiederauflebens der deutschen Kunst seit Carstens. Hannover, 1876.</p> -<p>Friedr. Pecht: Deutsche Künstler des 19 Jahrhunderts, Studien und Erinnerungen. -Nördlingen, Beck, 1877-81.</p> +<p>Friedr. Pecht: Deutsche Künstler des 19 Jahrhunderts, Studien und Erinnerungen. +Nördlingen, Beck, 1877-81.</p> <p><span class="pagenum"><a name="page399" id="page399"></a>399</span></p> <p>J. Beavington-Atkinson: The Schools of Modern Art in Germany. With numerous Illustrations. London, Seeley, 1880.</p> -<p>A. F. Graf v. Schack: Meine Gemäldesammlung. Stuttgart, Cotta, 1881. Neue Ausgabe -als Einleitung zu den Albertschen Heliogravuren der Galerie Schack. München, 1889.</p> +<p>A. F. Graf v. Schack: Meine Gemäldesammlung. Stuttgart, Cotta, 1881. Neue Ausgabe +als Einleitung zu den Albertschen Heliogravuren der Galerie Schack. München, 1889.</p> -<p>Kunst und Künstler des 19 Jahrhunderts, unter Mitwirkung von Fachgenossen, herausgegeben +<p>Kunst und Künstler des 19 Jahrhunderts, unter Mitwirkung von Fachgenossen, herausgegeben von R. Dohme. Leipzig, Seemann, 1881 ff.</p> <p>D. Duncker, Moderne Meister. Charakteristiken aus Kunst und Leben. Berlin, 1883.</p> -<p>Franz Reber: Geschichte der neueren deutschen Kunst, mit Excursen über die parallele -Kunstentwicklung der übrigen Länder. 3 Bde. 3 Aufl. Leipzig, 1884.</p> +<p>Franz Reber: Geschichte der neueren deutschen Kunst, mit Excursen über die parallele +Kunstentwicklung der übrigen Länder. 3 Bde. 3 Aufl. Leipzig, 1884.</p> -<p>Anton Springer: Die Wege und Ziele der gegenwärtigen Kunst, in seinen Bildern aus der +<p>Anton Springer: Die Wege und Ziele der gegenwärtigen Kunst, in seinen Bildern aus der neueren Kunstgeschichte. 2 Aufl. Bonn, 1886.</p> -<p>Adolf Rosenberg: Die Münchener Malerschule seit 1871. Leipzig, 1887.</p> +<p>Adolf Rosenberg: Die Münchener Malerschule seit 1871. Leipzig, 1887.</p> <p>Adolf Rosenberg: Geschichte der modernen Malerei. Bd. 2 und 3, Deutschland. Leipzig, 1888 ff.</p> @@ -16757,12 +16716,12 @@ neueren Kunstgeschichte. 2 Aufl. Bonn, 1886.</p> <p>L. Pfau in “Kunst und Kritik,” Bd. 1. Stuttgart, 1888, pp. 445-535.</p> -<p>Friedrich Pecht: Geschichte der Münchener Kunst. München, 1889.</p> +<p>Friedrich Pecht: Geschichte der Münchener Kunst. München, 1889.</p> <p>Hubert Janitscheks, final chapter in his Geschichte der Deutschen Malerei. Berlin, Grote, 1890.</p> -<p>M. de la Mazelière: La peinture allemande au XIX siècle. Paris, 1900.</p> +<p>M. de la Mazelière: La peinture allemande au XIX siècle. Paris, 1900.</p> <p>Cornelius Gurlitt: Die deutsche Kunst des 19 Jahrhunderts. Berlin, 1899.</p> @@ -16770,27 +16729,27 @@ Grote, 1890.</p> <p>Friedrich Haack: Die Kunst des 19 Jahrhunderts. Stuttgart, 1905.</p> -<p>Periodicals chiefly: “Zeitschrift für bildende Kunst,” Leipzig, 1866. “Die Kunst für -Alle,” München, 1886. “Die Kunst unserer Zeit” (specially the work of H. E. v. -Berlepsch and Corn. Gurlitt), München, 1890. “Der Kunstwart,” Dresden, 1887. +<p>Periodicals chiefly: “Zeitschrift für bildende Kunst,” Leipzig, 1866. “Die Kunst für +Alle,” München, 1886. “Die Kunst unserer Zeit” (specially the work of H. E. v. +Berlepsch and Corn. Gurlitt), München, 1890. “Der Kunstwart,” Dresden, 1887. “Die Gegenwart” (articles by Floerke, Lichtwark, Gurlitt, etc.), Berlin, 1872 ff. “Die -Nation” (articles by Helferich, Elias, etc.), Berlin, 1883 ff. “Die Freie Bühne” -(articles by Helferich, B. Becker, etc.), Berlin, 1888 ff. “Die preussischen Jahrbücher” +Nation” (articles by Helferich, Elias, etc.), Berlin, 1883 ff. “Die Freie Bühne” +(articles by Helferich, B. Becker, etc.), Berlin, 1888 ff. “Die preussischen Jahrbücher” (articles by Carl Neumann, etc.). All cited in particular in the appropriate place.</p> <p class="pt1a f80"><b><span class="verd">The Classical Reaction:</span></b></p> -<p>Hermann Helferich: Classicität, “Freie Bühne,” 1890.</p> +<p>Hermann Helferich: Classicität, “Freie Bühne,” 1890.</p> -<p>Carl Neumann: Christian Rauch, Betrachtungen über Ursprung und Anfänge der -modernen deutschen Plastik, “Preuss. Jahrbücher,” Bd. 64, 1889.</p> +<p>Carl Neumann: Christian Rauch, Betrachtungen über Ursprung und Anfänge der +modernen deutschen Plastik, “Preuss. Jahrbücher,” Bd. 64, 1889.</p> <p>Heinr. v. Stein: Die Entstehung der neueren Aesthetik. Stuttgart, 1886.</p> -<p class="pt1a"><b>The Theories of Gérard de Lairesse:</b></p> +<p class="pt1a"><b>The Theories of Gérard de Lairesse:</b></p> -<p>Carl Lemcke in his Study of Adriean van der Werff in “Kunst and Künstler Deutschlands +<p>Carl Lemcke in his Study of Adriean van der Werff in “Kunst and Künstler Deutschlands und der Niederlande,” vol. ii. Leipzig, 1878.</p> <p class="pt1a"><b>Winckelmann:</b></p> @@ -16798,7 +16757,7 @@ und der Niederlande,” vol. ii. Leipzig, 1878.</p> <p>Carl Justi: Winckelmann, sein Leben, seine Werke, seine Zeitgenossen. Bd. 1, Leipzig, 1866; Bd. 2, Leipzig, 1872.</p> -<p class="pt1a"><b>The Influence of Archæological Studies upon Art:</b></p> +<p class="pt1a"><b>The Influence of Archæological Studies upon Art:</b></p> <p>K. Bernh. Stark: Handbuch der Archaeologie, Bd. 1. Leipzig, 1879.</p> @@ -16823,9 +16782,9 @@ Schriften. Wien, 1884. Bd. 3, pp. 221-261.</p> <p>Gustav Ebe: Goethes Beziehungen zur bildenden Kunst, “Gegenwart,” xxvii. Heft 16 und 18.</p> -<p>C. Urlichs: Ueber Goethes Verhältniss zur alten Kunst. “Goethe-Jahrbuch,” iii.</p> +<p>C. Urlichs: Ueber Goethes Verhältniss zur alten Kunst. “Goethe-Jahrbuch,” iii.</p> -<p>Hermann Uhde: Goethe, J. G. Quandt und der sächsische Kunstverein. Stuttgart, +<p>Hermann Uhde: Goethe, J. G. Quandt und der sächsische Kunstverein. Stuttgart, Cotta, 1877.</p> <p>A. Heusler: Goethe und die italienische Kunst. Basel, Reich, 1891.</p> @@ -16834,73 +16793,73 @@ Cotta, 1877.</p> <p>Bode: Goethes Asthetik. Berlin, 1901.</p> -<p>Julius Vogel: Aus Goethes römischen Tagen. Leipzig, 1906.</p> +<p>Julius Vogel: Aus Goethes römischen Tagen. Leipzig, 1906.</p> <p class="pt1a"><b>Mengs:</b></p> <p>Bianconi: Elogio storico del Cavaliere Anton R. Mengs. Pavia, 1759.</p> -<p>Mengs: Gedanken über die Schönheit und über den Geschmack in der Malerei. Zürich, -1765. Seine sämmtlichen hinterlassenen Schriften. Bonn, 1843-44.</p> +<p>Mengs: Gedanken über die Schönheit und über den Geschmack in der Malerei. Zürich, +1765. Seine sämmtlichen hinterlassenen Schriften. Bonn, 1843-44.</p> -<p>Franz Reber in “Kunst und Künstler Deutschl. u. der Niederlande,” 1878.</p> +<p>Franz Reber in “Kunst und Künstler Deutschl. u. der Niederlande,” 1878.</p> -<p>Friedrich Pecht: “Zeitschrift für bildende Kunst,” xiv, 1879, pp. 33 u. 72.</p> +<p>Friedrich Pecht: “Zeitschrift für bildende Kunst,” xiv, 1879, pp. 33 u. 72.</p> -<p>Woermann: “Zeitschrift für bildende Kunst,” 1894.</p> +<p>Woermann: “Zeitschrift für bildende Kunst,” 1894.</p> <p class="pt1a"><b>Angelica Kauffmann:</b></p> <p>Giov. Gher. de Rossi: Vita di Angelica Kauffmann. Firenze, 1810. German by A. Weinhart, Bregenz, 1814.</p> -<p>J. E. Wessely in “Kunst und Künstler Deutschlands und der Niederlande,” 1878.</p> +<p>J. E. Wessely in “Kunst und Künstler Deutschlands und der Niederlande,” 1878.</p> <p>A. W. Grube: Angelika Kauffmann. Bregenz, 1889.</p> -<p>Wilh. Schram: Die Malerin Angelika Kauffmann. Brünn, 1890.</p> +<p>Wilh. Schram: Die Malerin Angelika Kauffmann. Brünn, 1890.</p> -<p>Fr. A. Gérard: Angelica Kauffmann. London, 1892.</p> +<p>Fr. A. Gérard: Angelica Kauffmann. London, 1892.</p> <p><i>See also</i> F. Guhl: Die Frauen in der Kunstgeschichte. Berlin, 1858.</p> <p class="pt1a"><b>Oeser:</b></p> -<p>Alphons Dürr: A. F. Oeser, Ein Beitrag zur Kunstgeschichte des 18 Jahrh. Leipzig, -Dürr, 1879.</p> +<p>Alphons Dürr: A. F. Oeser, Ein Beitrag zur Kunstgeschichte des 18 Jahrh. Leipzig, +Dürr, 1879.</p> <p class="pt1a"><b>Carstens:</b></p> -<p>Karl Ludwig Fernow: Leben des Künstlers J. A. Carstens. Leipzig, 1806. Neuherausgegeben +<p>Karl Ludwig Fernow: Leben des Künstlers J. A. Carstens. Leipzig, 1806. Neuherausgegeben von Hermann Riegel. Hannover, 1867.</p> -<p>Hermann Grimm: Ausgewählte Essays zur Einführung in das Studium der neueren +<p>Hermann Grimm: Ausgewählte Essays zur Einführung in das Studium der neueren Kunst. 2 Aufl. Berlin, 1883, p. 216.</p> <p>F. v. Alten: A. F. Carstens. Schleswig, 1865.</p> -<p>H. Grimm: Ueber Künstler und Kunstwerke, i. Berlin, 1865, pp. 73-95.</p> +<p>H. Grimm: Ueber Künstler und Kunstwerke, i. Berlin, 1865, pp. 73-95.</p> -<p>Schöne: Beiträge zur Lebensgeschichte des Malers Carstens. Leipzig, 1866.</p> +<p>Schöne: Beiträge zur Lebensgeschichte des Malers Carstens. Leipzig, 1866.</p> -<p>Fr. Eggers: Vier Vorträge aus der neueren Kunstgeschichte. Berlin, 1867, p. 1.</p> +<p>Fr. Eggers: Vier Vorträge aus der neueren Kunstgeschichte. Berlin, 1867, p. 1.</p> -<p>Carstens’ Werke, in Kupferstichen von W. Müller, herausgegeben von Hermann Riegel. +<p>Carstens’ Werke, in Kupferstichen von W. Müller, herausgegeben von Hermann Riegel. Leipzig, Bd. 1, 1869; Bd. 2, 1874; Bd. 3, 1884.</p> <p>Jul. Lange: Nutids Kunst. Kopenhagen, 1873, pp. 1-15.</p> <p>Fr. Pauli: A. Carstens. Berlin, 1876.</p> -<p>Hermann Riegel: Kunstgeschichtliche Vorträge und Aufsätze, p. 200, “Carstensiana.” +<p>Hermann Riegel: Kunstgeschichtliche Vorträge und Aufsätze, p. 200, “Carstensiana.” Braunschweig, 1877.</p> <p><span class="pagenum"><a name="page401" id="page401"></a>401</span></p> -<p>Alfr. Woltmann, from Vier Jahrhunderte niederländisch-deutscher Kunstgeschichte. +<p>Alfr. Woltmann, from Vier Jahrhunderte niederländisch-deutscher Kunstgeschichte. Berlin, 1878, p. 169.</p> -<p>Fr. Pecht: Deutsche Künstler des 19 Jahrhunderts. III Reihe. Nördlingen, 1881, p. +<p>Fr. Pecht: Deutsche Künstler des 19 Jahrhunderts. III Reihe. Nördlingen, 1881, p. 31 ff.</p> <p>August Sach: Asmus Jacob Carstens’ Jugend und Lehrjahre nach urkundliche Quellen. @@ -16908,26 +16867,26 @@ Halle, 1881.</p> <p>D. Schnittgen: A. J. Carstens, “Christliches Kunstblatt,” 1882, 12.</p> -<p>Hermann Lücke in “Kunst und Künstler des 19 Jahrh.” Leipzig, 1886.</p> +<p>Hermann Lücke in “Kunst und Künstler des 19 Jahrh.” Leipzig, 1886.</p> -<p class="pt1a"><b>The Painter Müller:</b></p> +<p class="pt1a"><b>The Painter Müller:</b></p> -<p>C. Seuffert: Maler Müller. Berlin, 1877.</p> +<p>C. Seuffert: Maler Müller. Berlin, 1877.</p> <p>Sauer in “Deutscher Nationallitteratur,” Bd. 81.</p> -<p>Müller’s article against Carstens is in Schiller’s Horen, 1797, iii 21, iv 4.</p> +<p>Müller’s article against Carstens is in Schiller’s Horen, 1797, iii 21, iv 4.</p> <p class="pt1a"><b>Luise Seidler:</b></p> <p>Hermann Uhde: Erinnerungen aus dem Leben der Malerin Luise Seidler, aus handschriftliche Nachlass zusammengestellt und bearbeitet, 2 Auflage. Berlin, Hertz, 1876.</p> -<p class="pt1a"><b>Wächter:</b></p> +<p class="pt1a"><b>Wächter:</b></p> <p>Dav. Friedr. Strauss: Kleine Schriften. Leipzig, 1862, pp. 333-360.</p> -<p>A. Haakh: Beiträge aus Württemberg zur neueren deutschen Kunstgeschichte. Stuttgart, +<p>A. Haakh: Beiträge aus Württemberg zur neueren deutschen Kunstgeschichte. Stuttgart, 1863, pp. vii ff., 10 ff., 133 ff.</p> <p class="pt1a"><b>Schick:</b></p> @@ -16936,34 +16895,34 @@ Nachlass zusammengestellt und bearbeitet, 2 Auflage. Berlin, Hertz, 1876.</p> <p>Fr. Eggers: “Deutsches Kunstblatt,” 1858, pp. 129-137.</p> -<p>A. Haakh: Beiträge aus Württernberg zur neueren deutschen Kunstgeschichte, pp. xiv +<p>A. Haakh: Beiträge aus Württernberg zur neueren deutschen Kunstgeschichte, pp. xiv ff., 23-31, 59-312.</p> -<p>H. Kindt: Zu Gottlieb Schicks 100 jährigem Geburtstag. Gegenwart, 1879, 31.</p> +<p>H. Kindt: Zu Gottlieb Schicks 100 jährigem Geburtstag. Gegenwart, 1879, 31.</p> -<p>Winterlin: Württenbergische Künstler. Stuttgart, 1895.</p> +<p>Winterlin: Württenbergische Künstler. Stuttgart, 1895.</p> <p class="pt1a"><b>Genelli:</b></p> <p>H. Riegel: Deutsche Kunststudien. Hannover, 1868, pp. 291 ff.</p> -<p>M. Jordan: Bonaventura Genelli, “Zeitschrift für bildende Kunst,” v pp. 1-19.</p> +<p>M. Jordan: Bonaventura Genelli, “Zeitschrift für bildende Kunst,” v pp. 1-19.</p> -<p>H. Riegel: Kunstgeschichtliche Vorträge und Aufsätze. Braunschweig, 1877, pp. +<p>H. Riegel: Kunstgeschichtliche Vorträge und Aufsätze. Braunschweig, 1877, pp. 148-170.</p> -<p>L. v. Donop: Briefe von Bonaventura Genelli und Karl Rahl, “Zeitschrift für bildende +<p>L. v. Donop: Briefe von Bonaventura Genelli und Karl Rahl, “Zeitschrift für bildende Kunst,” xii pp. 25 ii.; xiii pp. 115 ff. Letters from Schwind to Genelli, do. xi p. 11.</p> -<p>Fr. Pecht: Deutsche Künstler des 19 Jahrhunderts, II Reihe. Nördlingen, 1879, pp. +<p>Fr. Pecht: Deutsche Künstler des 19 Jahrhunderts, II Reihe. Nördlingen, 1879, pp. 271-304.</p> -<p>A. F. Graf v. Schack: Meine Gemäldesammlung. Stuttgart, 1881, pp. 9-40.</p> +<p>A. F. Graf v. Schack: Meine Gemäldesammlung. Stuttgart, 1881, pp. 9-40.</p> -<p>O. Berggruen: Die Gallerie Schack in München. Wien, 1883. Also in “Die graph. -Künste,” iv, 1881, 1.</p> +<p>O. Berggruen: Die Gallerie Schack in München. Wien, 1883. Also in “Die graph. +Künste,” iv, 1881, 1.</p> -<p>O. Baisch: Einzelheiten aus Genellis Leben und Briefwechsel, “Zeitschrift für bildende +<p>O. Baisch: Einzelheiten aus Genellis Leben und Briefwechsel, “Zeitschrift für bildende Kunst,” xviii pp. 257-262.</p> </div> @@ -16972,46 +16931,46 @@ Kunst,” xviii pp. 257-262.</p> <div class="list pt1"> <p class="pt1a f80"><b><span class="verd">French Art in General:</span></b></p> -<p>Charles Blanc: Histoire des peintres français au XIX siècle. Paris, 1845.</p> +<p>Charles Blanc: Histoire des peintres français au XIX siècle. Paris, 1845.</p> -<p>Gustave Planché; Portraits d’artistes. Paris, 1853.</p> +<p>Gustave Planché; Portraits d’artistes. Paris, 1853.</p> -<p>Gustave Planché: Études sur l’école française, 1831-52. Paris, 1855.</p> +<p>Gustave Planché: Études sur l’école française, 1831-52. Paris, 1855.</p> <p>A. de la Forge: La Peinture contemporaine en France. Paris, 1856.</p> -<p>T Silvestre: Histoire des Artistes vivants français et étrangers. Paris, 1857.</p> +<p>T Silvestre: Histoire des Artistes vivants français et étrangers. Paris, 1857.</p> <p><span class="pagenum"><a name="page402" id="page402"></a>402</span></p> -<p>Théodore Pelloquet: Dictionnaire de poche des Artistes contemporains. Paris, 1858.</p> +<p>Théodore Pelloquet: Dictionnaire de poche des Artistes contemporains. Paris, 1858.</p> <p>L. Laurent-Pichat: L’Art et les Artistes en France. Paris, 1859.</p> -<p>Moritz Hartmann; Bilder und Büsten. Frankfurt-am-Main, 1860.</p> +<p>Moritz Hartmann; Bilder und Büsten. Frankfurt-am-Main, 1860.</p> <p>Ch. Lenormant: Beaux Arts et Voyages. Paris, 1861.</p> <p>Olivier Merson: La Peinture en France. Paris, 1861.</p> -<p>E. Chesneau: La Peinture Française au XIX siècle. Les Chefs d’École, L. David -Gros, Géricault, Decamps, Meissonier, Ingres, H. Flandrin, E. Delacroix. Paris, +<p>E. Chesneau: La Peinture Française au XIX siècle. Les Chefs d’École, L. David +Gros, Géricault, Decamps, Meissonier, Ingres, H. Flandrin, E. Delacroix. Paris, 1862. New Edition, Paris, 1883.</p> -<p>Charles Blanc: Histoire des peintres de toutes les écoles. Paris, 1861-76.</p> +<p>Charles Blanc: Histoire des peintres de toutes les écoles. Paris, 1861-76.</p> -<p>L. Pfau: Französische Maler und Bilder, in “Freie Studien.” Stuttgart, 1866. Enlarged +<p>L. Pfau: Französische Maler und Bilder, in “Freie Studien.” Stuttgart, 1866. Enlarged in “Kunst und Kritik,” Bd. 1, pp. 115-444. Stuttgart, 1888.</p> -<p>Charles Clement: Études sur les Beaux Arts en France. Paris, 1865. Second Edition, +<p>Charles Clement: Études sur les Beaux Arts en France. Paris, 1865. Second Edition, 1867.</p> -<p>Julius Meyer: Geschichte der modernen französischen Malerei seit 1789. Leipzig, 1867.</p> +<p>Julius Meyer: Geschichte der modernen französischen Malerei seit 1789. Leipzig, 1867.</p> -<p>Julius Meyer: Die französische Malerei seit 1848, “Zeitschrift für bildende Kunst,” +<p>Julius Meyer: Die französische Malerei seit 1848, “Zeitschrift für bildende Kunst,” ii pp. 13, 32, 56, 119. Leipzig, 1867.</p> -<p>A. Bonnin: Études sur l’art contemporain. Les Écoles françaises et étrangères en 1867. +<p>A. Bonnin: Études sur l’art contemporain. Les Écoles françaises et étrangères en 1867. Paris, 1868.</p> <p>P. G. Hamerton: Contemporary French Painters. London, 1868.</p> @@ -17023,36 +16982,36 @@ Paris, 1868.</p> <p>W. B. Scott: Gems of French Art, with an Essay on the French School. Plates. London, 1871.</p> -<p>M. Chaumelin: L’Art contemporain. La Peinture à l’Exposition universelle de 1867. +<p>M. Chaumelin: L’Art contemporain. La Peinture à l’Exposition universelle de 1867. Salon de 1868, 1869, 1870. Paris, 1873.</p> <p>Th. Gautier: Portraits contemporains. Paris, 1874.</p> <p>Pierre Petroz: L’Art et la critique en France depuis 1822. Paris, 1875.</p> -<p>L. Dussieux: Les Artistes français à l’étranger. Paris, Lecoffre fils et Cie, 1876.</p> +<p>L. Dussieux: Les Artistes français à l’étranger. Paris, Lecoffre fils et Cie, 1876.</p> -<p>R. Ménard: French Artists of the Present Day. Notices of some Contemporary Painters. +<p>R. Ménard: French Artists of the Present Day. Notices of some Contemporary Painters. 12 engravings. London, 1876.</p> <p>Charles Blanc: Les Artistes de mon temps. Paris, 1876.</p> -<p>Jules Claretie: L’Art et les Artistes Français contemporains, avec un avant-propos sur -le Salon de 1876. Paris, 1876. Deuxième série, Paris, 1881.</p> +<p>Jules Claretie: L’Art et les Artistes Français contemporains, avec un avant-propos sur +le Salon de 1876. Paris, 1876. Deuxième série, Paris, 1881.</p> -<p>Philippe Burty: Maîtres et petits maîtres. Paris, 1877.</p> +<p>Philippe Burty: Maîtres et petits maîtres. Paris, 1877.</p> -<p>Marquet de Vasselot: Recherches sur l’art français. Architecture, Peinture, Sculpture. +<p>Marquet de Vasselot: Recherches sur l’art français. Architecture, Peinture, Sculpture. Paris, 1878.</p> -<p>Lucien Double: Promenade à travers deux siècles et quatorze salons. Paris, 1878.</p> +<p>Lucien Double: Promenade à travers deux siècles et quatorze salons. Paris, 1878.</p> -<p>G. Berger: L’école Française de Peinture. Paris, 1879.</p> +<p>G. Berger: L’école Française de Peinture. Paris, 1879.</p> -<p>Victor Champier: Les Beaux Arts en France et à l’Étranger. Paris, 1879.</p> +<p>Victor Champier: Les Beaux Arts en France et à l’Étranger. Paris, 1879.</p> -<p>E. Bellier de la Chavignerie et L. Auvray; Dictionnaire générale des Artistes de l’École -Française. Paris, 1880.</p> +<p>E. Bellier de la Chavignerie et L. Auvray; Dictionnaire générale des Artistes de l’École +Française. Paris, 1880.</p> <p>Ernest Chesneau: Peintres et Statuaires Romantiques. Paris, 1880.</p> @@ -17060,18 +17019,18 @@ Française. Paris, 1880.</p> <p>Marquet de Vasselot: Histoire du Portrait en France. Paris, 1880.</p> -<p>George Lafenestre: L’Art vivant, la Peinture et la Sculpture aux Salons de 1868 à 1877. +<p>George Lafenestre: L’Art vivant, la Peinture et la Sculpture aux Salons de 1868 à 1877. Paris, 1881.</p> -<p>E. Leclerq: Caractères de l’École française moderne de Peinture. Paris, 1881.</p> +<p>E. Leclerq: Caractères de l’École française moderne de Peinture. Paris, 1881.</p> <p>F. Gosselin: Histoire anecdotique des Salons de peinture depuis 1673. Paris, Dentu, 1881.</p> -<p>L. de Pesquidoux: L’Art au XIX siècle. L’Art dans les deux mondes, Peinture et +<p>L. de Pesquidoux: L’Art au XIX siècle. L’Art dans les deux mondes, Peinture et Sculpture. 2 vols. Paris, 1881.</p> -<p>Eugène Montrasier. Les artistes modernes: 1. Les peintres de genre; 2. Les peintres militaires +<p>Eugène Montrasier. Les artistes modernes: 1. Les peintres de genre; 2. Les peintres militaires et les peintres de nu. 40 Biogr., 40 Tables. 2 vols. Paris, 1881.</p> <p><span class="pagenum"><a name="page403" id="page403"></a>403</span></p> @@ -17079,7 +17038,7 @@ et les peintres de nu. 40 Biogr., 40 Tables. 2 vols. Paris, 1881.</p> <p>Adolf Rosenberg: Geschichte der modernen Kunst. 1 Abtheilung. Die franz. Kunst Leipzig, 1882.</p> -<p>H. Houssaye: L’Art français depuis dix ans. Paris, 1882.</p> +<p>H. Houssaye: L’Art français depuis dix ans. Paris, 1882.</p> <p>Henri de Clenzion: L’Art national en France. Paris, 1882-83.</p> @@ -17087,7 +17046,7 @@ Leipzig, 1882.</p> <p>Raf. Sinset et Jules d’Auriac: Histoire du Portrait en France. Paris, 1884.</p> -<p>V. Fournal: Les artistes contemporains français, peintres, sculpteurs. With 176 Illustrations. +<p>V. Fournal: Les artistes contemporains français, peintres, sculpteurs. With 176 Illustrations. Tours, Mame et fils, 1884.</p> <p>Jean Gigoux: Causeries sur les artistes de mon temps. Paris, 1885.</p> @@ -17096,32 +17055,32 @@ Tours, Mame et fils, 1884.</p> <p>Victor d’Halle: Histoire de la peinture en France. Paris, 1886.</p> -<p>Paul Marmottan: L’école française de peinture (1789-1830). Paris, 1886.</p> +<p>Paul Marmottan: L’école française de peinture (1789-1830). Paris, 1886.</p> <p>J. Comyns Carr: Art in Provincial France. 1883.</p> -<p>Henri Jouin: Maîtres contemporains. Paris, 1887.</p> +<p>Henri Jouin: Maîtres contemporains. Paris, 1887.</p> -<p>Charles Bigot: Peintres français contemporains. Paris, 1888.</p> +<p>Charles Bigot: Peintres français contemporains. Paris, 1888.</p> <p>C. H. Stranahan: A History of French Painting. New York, 1888.</p> -<p>La peinture française à l’exposition centennaire de 1889. Ouvrage publié sous la direction +<p>La peinture française à l’exposition centennaire de 1889. Ouvrage publié sous la direction de Antonin Proust. Paris, 1890.</p> -<p>Les Chefs d’œuvres de l’Art au XIX siècle. 5 vols. Paris, 1890 ff.</p> +<p>Les Chefs d’œuvres de l’Art au XIX siècle. 5 vols. Paris, 1890 ff.</p> <table class="reg" summary="poem"><tr><td> <div class="poemr"> -<p>1. L’école française de David à Delacroix, par André Michel.</p> -<p>2. L’école française de Delacroix à H. Regnault, par Alfred de Lostalot.</p> -<p>3. La peinture française actuelle, par Paul Lefort.</p> -<p>4. Les écoles étrangères aux XIX siècle, par Th. de Wyzewa.</p> -<p>5. La Sculpture et la Gravure en France au XIX siècle, par Louis Gonse.</p> +<p>1. L’école française de David à Delacroix, par André Michel.</p> +<p>2. L’école française de Delacroix à H. Regnault, par Alfred de Lostalot.</p> +<p>3. La peinture française actuelle, par Paul Lefort.</p> +<p>4. Les écoles étrangères aux XIX siècle, par Th. de Wyzewa.</p> +<p>5. La Sculpture et la Gravure en France au XIX siècle, par Louis Gonse.</p> </div> </td></tr></table> -<p>Richard Muther, Ein Jahrhundert französischer Malerei. Berlin, 1901.</p> +<p>Richard Muther, Ein Jahrhundert französischer Malerei. Berlin, 1901.</p> -<p>A. Julius Meier-Gräfe: Der Entwichlungsgeschichte der modernen Kunst. (With Illustrations +<p>A. Julius Meier-Gräfe: Der Entwichlungsgeschichte der modernen Kunst. (With Illustrations and a volume of Plates.) Stuttgart, 1904.</p> <p>Periodicals specially to be noted: “Gazette des Beaux Arts,” Paris, 1865. “L’Art,” @@ -17131,27 +17090,27 @@ Paris, 1875.</p> <p>Jules Renouvier: Histoire de l’art pendant la revolution. Paris, 1863.</p> -<p>Edmond et Jules de Goncourt: Histoire de la société française pendant la révolution. +<p>Edmond et Jules de Goncourt: Histoire de la société française pendant la révolution. Paris, 1854. New Edition, 1889.</p> -<p>Edmond et Jules de Goncourt: Histoire de la société française pendant le Directoire. +<p>Edmond et Jules de Goncourt: Histoire de la société française pendant le Directoire. Paris, 1855.</p> -<p>Anton Springer: Die Kunst während der französischen Revolution, Bilder aus der neueren +<p>Anton Springer: Die Kunst während der französischen Revolution, Bilder aus der neueren Kuntsgeschichte. Bonn, 1886.</p> -<p>Paul Marmottan: L’école française de peinture 1789-1850. Paris, 1886.</p> +<p>Paul Marmottan: L’école française de peinture 1789-1850. Paris, 1886.</p> -<p>Carl v. Lützow: Die französische Kunst vor 100 Jahren, “Zeitschrift für bildende Kunst,” +<p>Carl v. Lützow: Die französische Kunst vor 100 Jahren, “Zeitschrift für bildende Kunst,” xxiv, 1889, p. 181.</p> -<p class="pt1a"><b>Madame Vigée-Lebrun:</b></p> +<p class="pt1a"><b>Madame Vigée-Lebrun:</b></p> <p>Her Autobiography: Souvenirs de ma vie. Paris, 1835-37.</p> -<p>Sophia Beale: Elisabeth Louise Vigée-Lebrun, “Portfolio,” 1891, 89.</p> +<p>Sophia Beale: Elisabeth Louise Vigée-Lebrun, “Portfolio,” 1891, 89.</p> -<p>Charles Pillet in “Les artistes célèbres.” Paris, 1892.</p> +<p>Charles Pillet in “Les artistes célèbres.” Paris, 1892.</p> <p class="pt1a"><b>Vien:</b></p> @@ -17163,23 +17122,23 @@ xxiv, 1889, p. 181.</p> <p>P. A. Coupin: Essai sur J. L. David. Paris, 1827.</p> -<p>E. J. Delécluze: Louis David. Paris, 1855.</p> +<p>E. J. Delécluze: Louis David. Paris, 1855.</p> <p><span class="pagenum"><a name="page404" id="page404"></a>404</span></p> -<p>Jules David: Le peintre Louis David (1748-1825), souvenirs et documents inédits. +<p>Jules David: Le peintre Louis David (1748-1825), souvenirs et documents inédits. Paris, Havard, 1879.</p> -<p>C. A. Regnet in “Kunst und Künstler Spaniens, Frankreichs, und Englands.” Leipzig, +<p>C. A. Regnet in “Kunst und Künstler Spaniens, Frankreichs, und Englands.” Leipzig, 1880.</p> -<p>G. Nieter: Le peintre David, “Revue générale,” March 1881.</p> +<p>G. Nieter: Le peintre David, “Revue générale,” March 1881.</p> <p>“L’Art,” 1889, ii p. 46.</p> -<p>C. Brun: Louis David und die französische Revolution. Zürich, 1886.</p> +<p>C. Brun: Louis David und die französische Revolution. Zürich, 1886.</p> -<p>Charles Normand in “Les artistes célèbres.”</p> +<p>Charles Normand in “Les artistes célèbres.”</p> <p>L. Rosenthal: David. Paris, 1904.</p> </div> @@ -17189,7 +17148,7 @@ Paris, Havard, 1879.</p> <div class="list pt1"> <p class="pt1a f80"><b><span class="verd">The Parallel Movement in Literature:</span></b></p> -<p>Georg Brandes, Haupströmungen der Literatur des 19 Jahrhunderts. Vol. ii, Die +<p>Georg Brandes, Haupströmungen der Literatur des 19 Jahrhunderts. Vol. ii, Die deutsche romantische Schule. Leipzig, 1887.</p> <p>Georg Haim: Die romantische Schule. Berlin, 1871.</p> @@ -17199,7 +17158,7 @@ Schiller. Braunschweig, 1850.</p> <p class="pt1a"><b>On the Nazarenes in General:</b></p> -<p>Veit Valentin in “Kunst und Künstler des 19 Jahrh.” Leipzig, 1886.</p> +<p>Veit Valentin in “Kunst und Künstler des 19 Jahrh.” Leipzig, 1886.</p> <p>Alfred Woltmann: Cornelius und seine Genossen in Rom. Aus Vier Jahrhunderte, etc. Berlin, 1878, pp. 208 ff.</p> @@ -17209,79 +17168,79 @@ Erlangen, 1901.</p> <p class="pt1a"><b>Overbeck:</b></p> -<p>A. v. Zahn: “Zeitschrift für bildende Kunst,” vi, 1871, pp. 217-235.</p> +<p>A. v. Zahn: “Zeitschrift für bildende Kunst,” vi, 1871, pp. 217-235.</p> <p>J. R. Beavington-Atkinson, Overbeck (Great Artists). London, Low, 1882.</p> <p>Margaret Howitt: Friedrich Overbeck. Sein Leben u. Schaffen, etc. 1886.</p> -<p>Amongst minor works: J. N. Sepp: Friedrich Overbeck, Gedächtnissrede. Augsburg, -1869.—Franz Binder: Zur Erinnerung an Friedrich Overbeck. München, 1870.—H. +<p>Amongst minor works: J. N. Sepp: Friedrich Overbeck, Gedächtnissrede. Augsburg, +1869.—Franz Binder: Zur Erinnerung an Friedrich Overbeck. München, 1870.—H. Holland: Zu Friedrich Overbeck’s Heimgang, 1870.—G. Fr. v. Hertling: Zur -Erinnerung an Friedrich Overbeck. Köln, 1875.</p> +Erinnerung an Friedrich Overbeck. Köln, 1875.</p> -<p class="pt1a"><b>Führich:</b></p> +<p class="pt1a"><b>Führich:</b></p> <p>Autobiography in the “Libussa.” Prag, 1844. New Edition, Vienna, Sartori, 1876.</p> -<p>R. Zimmermann: “Zeitschrift für bildende Kunst,” vii, 1868, pp. 189, 209.</p> +<p>R. Zimmermann: “Zeitschrift für bildende Kunst,” vii, 1868, pp. 189, 209.</p> -<p>F. Pecht: Deutsche Künstler des 19 Jahrh., iii. Nördlingen, 1881, pp. 64-108.</p> +<p>F. Pecht: Deutsche Künstler des 19 Jahrh., iii. Nördlingen, 1881, pp. 64-108.</p> -<p>Lucas v. Führich: “Graphische Künste,” viii pp. 1-16, 25-64. Also separate.</p> +<p>Lucas v. Führich: “Graphische Künste,” viii pp. 1-16, 25-64. Also separate.</p> -<p>C. v. Lützow, from Führichs Nachlass, “Zeitschrift für bildende Kunst,” xvii, 1882, p. 33.</p> +<p>C. v. Lützow, from Führichs Nachlass, “Zeitschrift für bildende Kunst,” xvii, 1882, p. 33.</p> -<p>Die Führich-Ausstellung in Frankfurt: “Zeitschrift für bildende Kunst,” 1885, xx, +<p>Die Führich-Ausstellung in Frankfurt: “Zeitschrift für bildende Kunst,” 1885, xx, Beiblatt, 32.</p> -<p>L. R. von Kurz: T. von Führich. Graz, 1902.</p> +<p>L. R. von Kurz: T. von Führich. Graz, 1902.</p> <p class="pt1a"><b>Veit:</b></p> -<p>Veit Valentin: Kunst, Künstler, und Kunstwerke; also in “Zeitschrift für bildende +<p>Veit Valentin: Kunst, Künstler, und Kunstwerke; also in “Zeitschrift für bildende Kunst,” xv 2.</p> <p>Martin Spahn: Philipp Veit. (With 92 Illustrations.) Bielefeld, 1901.</p> <p class="pt1a"><b>The Frescoes in the Casa Bartholdy:</b></p> -<p>L. v. Donop: Die Wandgemälde der Casa Bartholdy in der Nationalgalerie. Berlin, 1888.</p> +<p>L. v. Donop: Die Wandgemälde der Casa Bartholdy in der Nationalgalerie. Berlin, 1888.</p> <p><span class="pagenum"><a name="page405" id="page405"></a>405</span></p> <p class="pt1a"><b>Steinle:</b></p> -<p>O. Berggruen: Die Galerie Schack, “Graph. Künste,” iv. 3 and 4.</p> +<p>O. Berggruen: Die Galerie Schack, “Graph. Künste,” iv. 3 and 4.</p> <p>Constantin v. Wurzbach: Ed. Steinle, ein Madonnenmaler unserer Zeit. Biographische Studie. Wien, 1879.</p> -<p>Veit Valentin: “Zeitschrift für bildende Kunst,” 1888, xxiii 1 and 33.</p> +<p>Veit Valentin: “Zeitschrift für bildende Kunst,” 1888, xxiii 1 and 33.</p> -<p>L. Christiani: Plaudereien über Kunstinteressen der Gegenwart. Berlin, 1871.</p> +<p>L. Christiani: Plaudereien über Kunstinteressen der Gegenwart. Berlin, 1871.</p> <p>A. Reichensperger: Erinnerungen an Steinle. Frankfurt, 1887.</p> -<p>A. M. von Steinle: E. von Steinle und August Reichensperger. Köln, 1890.</p> +<p>A. M. von Steinle: E. von Steinle und August Reichensperger. Köln, 1890.</p> <p class="pt1a"><b><i>Reproductions:</i></b></p> -<p>Ausgewählte Werke E. v. Steinles. Frankfurt, 1888.</p> +<p>Ausgewählte Werke E. v. Steinles. Frankfurt, 1888.</p> <p>Ed. Steinles Bilder zu Parcival. Frankfurt, 1884.</p> <p class="pt1a"><b>Schnorr:</b></p> -<p>M. Jordan: Aus Julius Schnorrs Lehr-und Wanderjahren, “Zeitschrift für bildende +<p>M. Jordan: Aus Julius Schnorrs Lehr-und Wanderjahren, “Zeitschrift für bildende Kunst,” 1867, pp. 1 ff.</p> -<p>H. Riegel, “Kunstgeschichtliche Vorträge und Aufsätze.” Braunschweig, 1877, pp. +<p>H. Riegel, “Kunstgeschichtliche Vorträge und Aufsätze.” Braunschweig, 1877, pp. 210-248.</p> <p>M. Jordan: Ausstellung von Werken Julius Schnorrs in der Berliner Nationalgalerie, 1878.</p> -<p>Veit Valentin in “Kunst und Künstler des 19 Jahrhunderts.”</p> +<p>Veit Valentin in “Kunst und Künstler des 19 Jahrhunderts.”</p> <p>Friedrich Haack in “Das 19 Jahrhundert in Bildnissen.” Berlin. Photographische Gesellschaft, 1901.</p> @@ -17293,7 +17252,7 @@ von Franz Schnorr v. Carolsfeld. Gotha, 1886.</p> <p><i>Compare</i> “Bibel in Bildern.” Leipzig, 1852-62.</p> -<p>Zeichnungen von Jul. Schnorr v. Carolsfeld, mit Einleitung von Jordan. Leipzig, Dürr, +<p>Zeichnungen von Jul. Schnorr v. Carolsfeld, mit Einleitung von Jordan. Leipzig, Dürr, 1878.</p> </div> @@ -17302,28 +17261,28 @@ von Franz Schnorr v. Carolsfeld. Gotha, 1886.</p> <div class="list pt1"> <p class="pt1a"><b>The Art of Munich under King Ludwig I.:</b></p> -<p>Alfred Woltmann, from “Vier Jahrhunderte niederländisch-deutscher Kunstgeschichte.” +<p>Alfred Woltmann, from “Vier Jahrhunderte niederländisch-deutscher Kunstgeschichte.” Berlin, 1878, pp. 260 ff.</p> -<p>Hans Reidelbach: König Ludwig I und seine Kunstschöpfungen. München, 1888.</p> +<p>Hans Reidelbach: König Ludwig I und seine Kunstschöpfungen. München, 1888.</p> <p class="pt1a"><b>Cornelius:</b></p> <p>Herm. Riegel: Cornelius, der Meister der deutschen Malerei. Hannover, 1866.</p> -<p>M. Carrière: Denkrede auf Cornelius. Leipzig, 1867.</p> +<p>M. Carrière: Denkrede auf Cornelius. Leipzig, 1867.</p> -<p>A. Teichlein: Betrachtungen über Riegels Buch, “Cornelius, der Meister der deutschen -Malerei,” “Zeitschrift für bildende Kunst,” ii. 1867, pp. 128 ff., 189 ff.</p> +<p>A. Teichlein: Betrachtungen über Riegels Buch, “Cornelius, der Meister der deutschen +Malerei,” “Zeitschrift für bildende Kunst,” ii. 1867, pp. 128 ff., 189 ff.</p> <p>Alfred Frhr. v. Wolzogen: Peter v. Cornelius. Berlin, 1867.</p> -<p>Max Lohde: Gespräche mit Cornelius, “Zeitschrift für bildende Kunst,” III 1, 30, 84. +<p>Max Lohde: Gespräche mit Cornelius, “Zeitschrift für bildende Kunst,” III 1, 30, 84. 1868.</p> -<p>W. Lübke: Kunsthistorische Studien. Stuttgart, 1869.</p> +<p>W. Lübke: Kunsthistorische Studien. Stuttgart, 1869.</p> -<p>Ernst Förster: Peter Cornelius, ein Gedenkbuch aus seinem Leben und Wirken. 2 vols. +<p>Ernst Förster: Peter Cornelius, ein Gedenkbuch aus seinem Leben und Wirken. 2 vols. Berlin, 1874.</p> <p>Herm. Grimm: Berlin und P. v. Cornelius (Die Cartons von P. v. Cornelius, Cornelius und @@ -17331,32 +17290,32 @@ die ersten 50 Jahre nach 1800), in “15 Essays.” Berlin, 1875.</p> <p>V. Kaiser: Cornelius und Kaulbach in ihren Lieblingswerken. Basel, 1876.</p> -<p>Fr. Pecht: Deutsche Künstler des 19 Jahrh., Bd. 1. Nördlingen, 1877.</p> +<p>Fr. Pecht: Deutsche Künstler des 19 Jahrh., Bd. 1. Nördlingen, 1877.</p> -<p>A. Woltmann, from “Vier Jahrhunderte niederländisch-deutscher Kunst.” Berlin, 1878, +<p>A. Woltmann, from “Vier Jahrhunderte niederländisch-deutscher Kunst.” Berlin, 1878, pp. 208-259.</p> <p><span class="pagenum"><a name="page406" id="page406"></a>406</span></p> <p>Fr. Pecht: P. v. Cornelius. “Gartenlaube,” 1879, 29.</p> -<p>M. Carrière in “Deutscher Plutarch,” Bd. vii. Leipzig, 1880, pp. 1-56.</p> +<p>M. Carrière in “Deutscher Plutarch,” Bd. vii. Leipzig, 1880, pp. 1-56.</p> <p>A. Rosenberg: Cornelius im Lichte der Gegenwart. Grenzboten, 1881, I.</p> -<p>A. Berggruen: Die Galerie Schack, P. v. Cornelius, “Die graph. Künste,” 1881, 4, 2.</p> +<p>A. Berggruen: Die Galerie Schack, P. v. Cornelius, “Die graph. Künste,” 1881, 4, 2.</p> <p>Rossmann: Briefe von Peter Cornelius. Grenzboten, 1882, 16.</p> <p>G. Portig: Die sixtinische Madonna und die Camposanto Cartons von Cornelius. Leipzig, 1882.</p> -<p>V. Valentin in “Kunst und Künstler des 19 Jahrh.” Leipzig, 1883-85.</p> +<p>V. Valentin in “Kunst und Künstler des 19 Jahrh.” Leipzig, 1883-85.</p> -<p>Herm. Riegel: Peter Cornelius, Festschrift zu des grossen Künstlers 100 Geburtstage. +<p>Herm. Riegel: Peter Cornelius, Festschrift zu des grossen Künstlers 100 Geburtstage. Berlin, 1883.</p> -<p>Carl v. Lützow: Zur Erinnerung an P. v. Cornelius, “Zeitschrift für bildende Kunst,” +<p>Carl v. Lützow: Zur Erinnerung an P. v. Cornelius, “Zeitschrift für bildende Kunst,” 19, 1.</p> <p>Der 100 Geburtstag von Cornelius, “Allegemeine Zeitung,” 1883, B. 130.</p> @@ -17365,97 +17324,97 @@ Berlin, 1883.</p> <p>H. Grimm: Cornelius betreffend, “Deutsche Rundschau,” March 1884.</p> -<p>L. v. Urlichs: Beiträge zur Kunstgeschichte. Leipzig, 1885, p. 119. Cornelius in -München und Rom.</p> +<p>L. v. Urlichs: Beiträge zur Kunstgeschichte. Leipzig, 1885, p. 119. Cornelius in +München und Rom.</p> <p>A. Frantz in “Kunst und Literatur.” Berlin, 1888, pp. 1-60.</p> <p class="pt1a"><b>Kaulbach:</b></p> -<p>Guido Görres: Das Narrenhaus von W. Kaulbach. München. No date.</p> +<p>Guido Görres: Das Narrenhaus von W. Kaulbach. München. No date.</p> -<p>Max Schasler: Die Wandgemälde Wilhelm von Kaulbachs im Treppenhause des Neuen +<p>Max Schasler: Die Wandgemälde Wilhelm von Kaulbachs im Treppenhause des Neuen Museums zu Berlin. Berlin, 1854.</p> -<p>W. v. Kaulbachs Shakespeare-Galerie, by M. Carrière. Berlin, 1856.</p> +<p>W. v. Kaulbachs Shakespeare-Galerie, by M. Carrière. Berlin, 1856.</p> <p>V. Kaiser: Kaulbachs Bilderkreis der Weltgeschichte. Berlin, 1879.</p> <p>Ed. Dobbert: Die monumentale Darstellung der Reformation durch Rietschel und -Kaulbach. “Sammlung gemeinverständlicher wissenschaftlicher Vorträge,” No. 74. +Kaulbach. “Sammlung gemeinverständlicher wissenschaftlicher Vorträge,” No. 74. Berlin, 1869.</p> -<p>A. Teichlein: Zur Charakteristik W. v. Kaulbachs, “Zeitschrift für bildende Kunst,” +<p>A. Teichlein: Zur Charakteristik W. v. Kaulbachs, “Zeitschrift für bildende Kunst,” xi, 1876, pp. 257-264.</p> <p>V. Kaiser: Macbeth und Lady Macbeth in Shakespeare’s Dichtungen und in Kunstwerken von Cornelius und Kaulbach. Basel, Schweighauser, 1876.</p> -<p>A. Woltmann, from “Vier Jahrhunderte niederländisch-deutscher Kunstgeschichte.” +<p>A. Woltmann, from “Vier Jahrhunderte niederländisch-deutscher Kunstgeschichte.” Berlin, 1878, pp. 288-316.</p> -<p>Fr. Pecht: “Deutsche Künstler des 19 Jahrhunderts,” ii. Nördlin gen, 1879, pp. 54-109.</p> +<p>Fr. Pecht: “Deutsche Künstler des 19 Jahrhunderts,” ii. Nördlin gen, 1879, pp. 54-109.</p> -<p>Kaulbachs Wandgemälde im Treppenhause des Neuen Museums zu Berlin, in Kupfer -gestochen von G. Eilers, H. Merz, J. L. Raab, A. Schultheiss. Mit erläuterndem Text +<p>Kaulbachs Wandgemälde im Treppenhause des Neuen Museums zu Berlin, in Kupfer +gestochen von G. Eilers, H. Merz, J. L. Raab, A. Schultheiss. Mit erläuterndem Text herausgegeben unter den Auspicien des Meisters. Neue Ausgabe. Berlin, A. Duncker, 1879.</p> -<p>Hans Müller: W. Kaulbach. Berlin, 1893.</p> +<p>Hans Müller: W. Kaulbach. Berlin, 1893.</p> </div> <p class="center chap2 pt1">CHAPTER VII</p> <div class="list pt1"> -<p class="pt1a f80"><b><span class="verd">The Düsseldorfers:</span></b></p> +<p class="pt1a f80"><b><span class="verd">The Düsseldorfers:</span></b></p> -<p>W. Schadow: Gedanken über folgerichtige Ausbildung des Malers, “Berliner Kunstblatt,” +<p>W. Schadow: Gedanken über folgerichtige Ausbildung des Malers, “Berliner Kunstblatt,” 1828, pp. 264-273.</p> -<p>A. Fahne: Die Düsseldorfer Malerschule, 1835-36. Düsseldorf, 1837.</p> +<p>A. Fahne: Die Düsseldorfer Malerschule, 1835-36. Düsseldorf, 1837.</p> -<p>H. Püttmann: Die Düsseldorfer Malerschule und ihre Leistungen seit der Errichtung des +<p>H. Püttmann: Die Düsseldorfer Malerschule und ihre Leistungen seit der Errichtung des Kunstvereins in Jahre 1829. Leipzig, 1839.</p> -<p>Fr. v. Uechtritz: Blicke in das Düsseldorfer Künst- und Künstlerleben. Düsseldorf, 1839.</p> +<p>Fr. v. Uechtritz: Blicke in das Düsseldorfer Künst- und Künstlerleben. Düsseldorf, 1839.</p> -<p>Wolfg. Müller v. Königswinter: Düsseldorfer Künstler ans den letzten 25 Jahren. +<p>Wolfg. Müller v. Königswinter: Düsseldorfer Künstler ans den letzten 25 Jahren. Leipzig, 1854.</p> <p><span class="pagenum"><a name="page407" id="page407"></a>407</span></p> -<p>W. v. Schadow: Der moderne Vasari, Erinnerungen aus dem Künstlerleben. Berlin, 1854.</p> +<p>W. v. Schadow: Der moderne Vasari, Erinnerungen aus dem Künstlerleben. Berlin, 1854.</p> -<p>R. Wiegmann: Die königliche Kunstakademie zu Düsseldorf, ihre Geschichte, Einrichtung -und Wirksamkeit und die Düsseldorfer Künstler. Düsseldorf, 1854.</p> +<p>R. Wiegmann: Die königliche Kunstakademie zu Düsseldorf, ihre Geschichte, Einrichtung +und Wirksamkeit und die Düsseldorfer Künstler. Düsseldorf, 1854.</p> -<p>J. Hübner: Schadow und seine Schule, Festrede bei Enthüllung des Schadowdenkmals zu -Düsseldorf, 1869. Bonn, 1869.</p> +<p>J. Hübner: Schadow und seine Schule, Festrede bei Enthüllung des Schadowdenkmals zu +Düsseldorf, 1869. Bonn, 1869.</p> -<p>M. Blanckarts: Düsseldorfer Künstler, Nekrologe aus den letzten zehn Jahren. Stuttgart, +<p>M. Blanckarts: Düsseldorfer Künstler, Nekrologe aus den letzten zehn Jahren. Stuttgart, 1877.</p> -<p>K. Woermann: Zur Geschichte der Düsseldorfer Kunstakademie. Düsseldorf, 1880.</p> +<p>K. Woermann: Zur Geschichte der Düsseldorfer Kunstakademie. Düsseldorf, 1880.</p> -<p>A. Rosenberg: Die Düsseldorfer Schule. Grenzboten, 1881, 1 1 ff.</p> +<p>A. Rosenberg: Die Düsseldorfer Schule. Grenzboten, 1881, 1 1 ff.</p> -<p>Mor. Blanckarts: Der Künstlerverein Malkasten in Düsseldorf, “Allgemeine Kunstchronik,” +<p>Mor. Blanckarts: Der Künstlerverein Malkasten in Düsseldorf, “Allgemeine Kunstchronik,” 1883, 47.</p> -<p>A. Rosenberg: Die Düsseldorfer Schule. Leipzig, Seemann, 1886.</p> +<p>A. Rosenberg: Die Düsseldorfer Schule. Leipzig, Seemann, 1886.</p> -<p>Schaarschmidt: Geschichte der Düsseldorfer Kunst, 1902.</p> +<p>Schaarschmidt: Geschichte der Düsseldorfer Kunst, 1902.</p> <p class="pt1a"><b>Bendemann:</b></p> -<p>Die Ausstellung der Werke von E. Bendemann in der königliche Nationalgalerie v. 3 Nov. +<p>Die Ausstellung der Werke von E. Bendemann in der königliche Nationalgalerie v. 3 Nov. bis 15 Dez. 1890. Berlin, 1890.</p> <p>L. Bund: Ed. Bendemann, “Illustrirte Zeitung,” 1881, 2014.</p> -<p class="pt1a"><b>Hübner:</b></p> +<p class="pt1a"><b>Hübner:</b></p> -<p>M. Blanckarts: “Zeitschrift für bildende Kunst,” 1883, 13.</p> +<p>M. Blanckarts: “Zeitschrift für bildende Kunst,” 1883, 13.</p> <p>Reumont, “Archiv. storico italiano,” xi 2.</p> @@ -17471,7 +17430,7 @@ bis 15 Dez. 1890. Berlin, 1890.</p> <div class="list pt1"> <p class="pt1a"><b>Rethel:</b></p> -<p>Wolfgang Müller v. Königswinter: Alfred Rethel. Blätter der Erinnerung. Leipzig, 1861.</p> +<p>Wolfgang Müller v. Königswinter: Alfred Rethel. Blätter der Erinnerung. Leipzig, 1861.</p> <p>Friedr. Theodor Vischer: Altes und Neues. Drittes Heft. Stuttgart, 1882, pp. 1-24.</p> @@ -17479,94 +17438,94 @@ bis 15 Dez. 1890. Berlin, 1890.</p> <p>Veit Valentin: A. Rethel, eine Charakteristik, “Aesthet. Schriften I.” Berlin, 1892.</p> -<p>Max Schmid: Bd. 32 der Künstlermonographien von Knackfuss. Bielefeld, 1898.</p> +<p>Max Schmid: Bd. 32 der Künstlermonographien von Knackfuss. Bielefeld, 1898.</p> <p class="pt1a"><b>Schwind:</b></p> -<p>L. v. Führich: Moriz v. Schwind, Eine Lebensskizze. Leipzig, 1871.</p> +<p>L. v. Führich: Moriz v. Schwind, Eine Lebensskizze. Leipzig, 1871.</p> -<p>Ed. Ille: Dem Andenken M. Schwinds. München, 1871.</p> +<p>Ed. Ille: Dem Andenken M. Schwinds. München, 1871.</p> -<p>A. W. Müller: M. v. Schwind. Eisenach, 1871.</p> +<p>A. W. Müller: M. v. Schwind. Eisenach, 1871.</p> -<p>Hermann Dalton: “Sechs Vorträge.” St. Petersburg, 1872.</p> +<p>Hermann Dalton: “Sechs Vorträge.” St. Petersburg, 1872.</p> <p>Ludwig Hevesi: M. Schwind. “Gegenwart,” 1872.</p> <p>H. Holland: M. v. Schwind. Stuttgart, 1873.</p> -<p>A. v. Zahn: Zur Charakteristik M. v. Schwinds, “Zeitschrift für bildende Kunst,” vii +<p>A. v. Zahn: Zur Charakteristik M. v. Schwinds, “Zeitschrift für bildende Kunst,” vii 1873, p. 287.</p> -<p>F. Pecht: Deutsche Künstler des 19 Jahrh. Nördlingen, 1877, i 195-231.</p> +<p>F. Pecht: Deutsche Künstler des 19 Jahrh. Nördlingen, 1877, i 195-231.</p> -<p>Bauernfeld: Moriz Schwind zum Gedächtniss, “Nord und Süd,” iii, 1877, p. 353.</p> +<p>Bauernfeld: Moriz Schwind zum Gedächtniss, “Nord und Süd,” iii, 1877, p. 353.</p> -<p>Bernh. Schädel: Briefe von Moriz Schwind, “Nord und Süd,” xiv, 1880, p. 23; xv, 1881, +<p>Bernh. Schädel: Briefe von Moriz Schwind, “Nord und Süd,” xiv, 1880, p. 23; xv, 1881, p. 357.</p> -<p>Graf v. Schack: Meine Gemäldesammlung. Stuttgart, 1881, pp. 41-73.</p> +<p>Graf v. Schack: Meine Gemäldesammlung. Stuttgart, 1881, pp. 41-73.</p> <p>O. Berggruen: Die Galerie Schack. Wien, 1883. Mit Radirungen.</p> -<p>Alph. Dürr: Ein halbvergessenes Werk von Schwind (Wandmalereien in Hohenschwangau) +<p>Alph. Dürr: Ein halbvergessenes Werk von Schwind (Wandmalereien in Hohenschwangau) in der Festschrift zu Ehren Anton Springers. Leipzig, 1885, pp. 231-239.</p> <p><span class="pagenum"><a name="page408" id="page408"></a>408</span></p> -<p>Veit Valentin: Kunst, Künstler, und Kunstwerke. Leipzig, 1888.</p> +<p>Veit Valentin: Kunst, Künstler, und Kunstwerke. Leipzig, 1888.</p> -<p>Briefwechsel zwischen Schwind u. Ed. Mörike, mitgeth. v. J. Baechtold. Leipzig, 1890.</p> +<p>Briefwechsel zwischen Schwind u. Ed. Mörike, mitgeth. v. J. Baechtold. Leipzig, 1890.</p> <p>H. W. Riehl: Studien und Charakteristiken. Stuttgart, 1891.</p> -<p>Friedrich Haack: Bd. 31 der Künstlermonographien von Knackfuss. Bielefeld, 1898.</p> +<p>Friedrich Haack: Bd. 31 der Künstlermonographien von Knackfuss. Bielefeld, 1898.</p> <p>Otto Grantoff, in “Muthers Sammlung Die Kunst.” Berlin, 1903.</p> <p>Julius Naue: Worte u. Wirken v. M. von Schwind. (With a Portrait and 3 Illustrations.) -München, 1904.</p> +München, 1904.</p> <p class="pt1a"><b><i>Reproductions:</i></b></p> -<p>Aschenbrödel, Bildercyclus von M. v. Schwind. Holzschnittausgabe nach den Theaterschen -Stichen, mit Text von H. Lücke. 1873.</p> +<p>Aschenbrödel, Bildercyclus von M. v. Schwind. Holzschnittausgabe nach den Theaterschen +Stichen, mit Text von H. Lücke. 1873.</p> -<p>Die sieben Raben u. die schöne Melusine, zuletzt unter dem Titel “Deutsche Märchen” +<p>Die sieben Raben u. die schöne Melusine, zuletzt unter dem Titel “Deutsche Märchen” bei Neff in Stuttgart erschienen.</p> <p>Operncyclus im Foyer des k. k. Opernhauses in Wien. 14 Compositionen von Moritz -Schwind. Mit Text von Ed. Hanslick. München, 1880.</p> +Schwind. Mit Text von Ed. Hanslick. München, 1880.</p> -<p>Almanach von Radirungen mit Erklärungen. Text von Feuchtersleben. Zürich, 1844.</p> +<p>Almanach von Radirungen mit Erklärungen. Text von Feuchtersleben. Zürich, 1844.</p> -<p>Schwinds Wandgemälde in Hohenschwangau. 46 Compositionen nach den Aquarellentwürfen +<p>Schwinds Wandgemälde in Hohenschwangau. 46 Compositionen nach den Aquarellentwürfen gestochen von J. Naue und K. Walde. Leipzig.</p> -<p>Schwind-Album. München, 1880.</p> +<p>Schwind-Album. München, 1880.</p> </div> <p class="center chap2 pt1">CHAPTER IX</p> <div class="list pt1"> -<p class="pt1a"><b>Gérard:</b></p> +<p class="pt1a"><b>Gérard:</b></p> -<p>Charles Lenormant: François Gérard, peintre d’histoire. Essai de biographie et de +<p>Charles Lenormant: François Gérard, peintre d’histoire. Essai de biographie et de critique. Paris, 1847.</p> -<p>Adam: L’œuvre du Baron Gérard. Paris, 1852-57.</p> +<p>Adam: L’œuvre du Baron Gérard. Paris, 1852-57.</p> -<p>Correspondance de François Gérard, peintre d’histoire. Publiée par Henri Gérard, son -neveu, et précédée d’une Notice sur la vie de Gérard par Adolphe Viollet le Duc. +<p>Correspondance de François Gérard, peintre d’histoire. Publiée par Henri Gérard, son +neveu, et précédée d’une Notice sur la vie de Gérard par Adolphe Viollet le Duc. Paris, 1867.</p> -<p>Charles Ephrussi: François Gérard d’après les lettres publiées par M. le baron Gérard, +<p>Charles Ephrussi: François Gérard d’après les lettres publiées par M. le baron Gérard, “Gazette des Beaux Arts,” 1890, ii 449. 1891, i 57, 201.</p> <p><b>Prudhon</b> (besides Jul. Meyer, Renouvier, and Rosenberg):</p> <p>Voiart: Notice historique sur la vie et les œuvres de P. P. Prudhon, peintre. Paris, 1824. -Quatremère de Quincy: Notice lue à l’Institut, 2 Octobre 1824.</p> +Quatremère de Quincy: Notice lue à l’Institut, 2 Octobre 1824.</p> <p>Eug. Delacroix: “Revue des Deux Mondes,” 1857.</p> @@ -17574,30 +17533,30 @@ Quatremère de Quincy: Notice lue à l’Institut, 2 Octobre 1824.</p> 1867-68, then in “Gazette des Beaux Arts,” 1872, with 30 Illustrations. Paris, Didier & Co., 3rd Edition, 1880.</p> -<p>Edm. et J. de Goncourt: L’Art au XVIII siècle. Paris, 1875. New Edition, 1882, +<p>Edm. et J. de Goncourt: L’Art au XVIII siècle. Paris, 1875. New Edition, 1882, vol. ii, p. 385.</p> -<p>Edm. de Goncourt: Catalogue raisonné de l’œuvre peint, dessiné et gravé de Prudhon. +<p>Edm. de Goncourt: Catalogue raisonné de l’œuvre peint, dessiné et gravé de Prudhon. Paris, 1876.</p> <p>Ph. Burty: L’œuvre de P. P. Prudhon, “L’Art,” 1877, i p. 33.</p> -<p>Alfred Sensier: Le Roman de Prudhon, “Revue internationale de l’Art et de la Curiosité,” +<p>Alfred Sensier: Le Roman de Prudhon, “Revue internationale de l’Art et de la Curiosité,” 15 Dec. 1869.</p> -<p>Arséne Houssaye: Artiste, Janvier-Juin 1877. Article in “L’Art,” 1877, i p. 33.</p> +<p>Arséne Houssaye: Artiste, Janvier-Juin 1877. Article in “L’Art,” 1877, i p. 33.</p> <p>Charles Gueullette: Mlle. Constance Mayer et Prudhon, “Gazette des Beaux Arts,” 1878, p. 476. 1879, p. 268.</p> <p>Charles Blanc: Histoire des peintres, vol. iii.</p> -<p>Aug. Schmarsow in “Kunst und Künstler der ersten Hälfte des 19 Jahrhunderts,” +<p>Aug. Schmarsow in “Kunst und Künstler der ersten Hälfte des 19 Jahrhunderts,” published by Robert Dohme, vol. ii. Leipzig, Seemann, 1886.</p> <p><span class="pagenum"><a name="page409" id="page409"></a>409</span></p> -<p>Pierre Gauthiez: Prudhon in “Les artistes célèbres.” Paris, 1891.</p> +<p>Pierre Gauthiez: Prudhon in “Les artistes célèbres.” Paris, 1891.</p> <p>Almost all the works of Prudhon are photographed by Braun of Dornach.</p> @@ -17609,19 +17568,19 @@ published by Robert Dohme, vol. ii. Leipzig, Seemann, 1886.</p> <p>J. Tripier le Franc: Histoire de la vie et de la mort du baron Gros, le grand peintre. Paris, 1880.</p> -<p>Eugène Delacroix: “Revue des Deux Mondes,” 1848. Also in a separate reprint.</p> +<p>Eugène Delacroix: “Revue des Deux Mondes,” 1848. Also in a separate reprint.</p> -<p>Ernest Chesneau: Les chefs d’école. 3rd Edition, 1883, pp. 58-126.</p> +<p>Ernest Chesneau: Les chefs d’école. 3rd Edition, 1883, pp. 58-126.</p> -<p>On Gros’ paintings in the Pantheon: Ph. de Chennevières in the “Gazette des Beaux +<p>On Gros’ paintings in the Pantheon: Ph. de Chennevières in the “Gazette des Beaux Arts,” xxiii pp. 168-174.</p> <p>G. Dargenty: Les Chefs-d’œuvre de Gros, “L’Art,” 1886, ii p. 121, and 1889, ii p. 100.</p> -<p>Richard Graul in “Kunst und Künstler der ersten Hälfte des 19 Jahrhunderts,” vol. 2. +<p>Richard Graul in “Kunst und Künstler der ersten Hälfte des 19 Jahrhunderts,” vol. 2. Leipzig, Seemann, 1886.</p> -<p>G. Dargenty: Le baron Gros. Paris, 1887, in “Les artistes célèbres.”</p> +<p>G. Dargenty: Le baron Gros. Paris, 1887, in “Les artistes célèbres.”</p> <p>The chief pictures of Gros are photographed by Braun of Dornach.</p> </div> @@ -17631,27 +17590,27 @@ Leipzig, Seemann, 1886.</p> <div class="list pt1"> <p class="pt1a f80"><b><span class="verd">On the Parallel Movement in Literature:</span></b></p> -<p>Georg Brandes: Die Literatur des 19 Jahrhunderts in ihren Hauptströmungen, 2 Auflage +<p>Georg Brandes: Die Literatur des 19 Jahrhunderts in ihren Hauptströmungen, 2 Auflage Bd. 5. Leipzig, 1883.</p> <p class="pt1a f80"><b><span class="verd">On the Romantic Movement in General:</span></b></p> -<p>E. Chesneau: Peintres et statuaires romantiques (Huet, Boulanger, Préault, Delacroix, -Th. Rousseau, Millet, etc.). Paris, Charavay frères, 1879.</p> +<p>E. Chesneau: Peintres et statuaires romantiques (Huet, Boulanger, Préault, Delacroix, +Th. Rousseau, Millet, etc.). Paris, Charavay frères, 1879.</p> -<p class="pt1a"><b>Géricault:</b></p> +<p class="pt1a"><b>Géricault:</b></p> -<p>Charles Blanc: Th. Géricault, 1845.</p> +<p>Charles Blanc: Th. Géricault, 1845.</p> -<p>Charles Clement: Th. Géricault, Étude biographique et critique, avec le catalogue -raisonné. Paris, 1868. New Edition, 1879.</p> +<p>Charles Clement: Th. Géricault, Étude biographique et critique, avec le catalogue +raisonné. Paris, 1868. New Edition, 1879.</p> <p class="pt1a"><b>Delacroix:</b></p> -<p>E. Galichon: Les Peintures de M. E. Delacroix à Saint-Sulpice, “Gazette des Beaux +<p>E. Galichon: Les Peintures de M. E. Delacroix à Saint-Sulpice, “Gazette des Beaux Arts,” xi, 1861, p. 511.</p> -<p>Amédée Cantaloube: Eugène Delacroix, l’homme et l’artiste. Paris, 1864.</p> +<p>Amédée Cantaloube: Eugène Delacroix, l’homme et l’artiste. Paris, 1864.</p> <p>Henri de Cleurion: L’œuvre de Delacroix. Paris, 1865.</p> @@ -17659,45 +17618,45 @@ Arts,” xi, 1861, p. 511.</p> <p>Adolphe Moreau: E. Delacroix et son œuvre. Paris, 1873.</p> -<p>Lettres de E. Delacroix (1815-1863), recueillies et publiées par Phil. Burty. Paris, +<p>Lettres de E. Delacroix (1815-1863), recueillies et publiées par Phil. Burty. Paris, Quantin, 1879.</p> -<p>Alfred Robaut: Peintures décoratives de E. Delacroix. Le Salon du roi au Palais legislatif. +<p>Alfred Robaut: Peintures décoratives de E. Delacroix. Le Salon du roi au Palais legislatif. Paris, A. Levy, 1879.</p> -<p>Alfred Robaut: Peintures décoratives de E. Delacroix, “L’Art,” 1880, 279.</p> +<p>Alfred Robaut: Peintures décoratives de E. Delacroix, “L’Art,” 1880, 279.</p> -<p>M. Vachon: E. Delacroix à l’école des Beaux Arts. Paris, 1885.</p> +<p>M. Vachon: E. Delacroix à l’école des Beaux Arts. Paris, 1885.</p> -<p>Ph. Burty: Eugène Delacroix à Alger, “L’Art,” 1880, 422.</p> +<p>Ph. Burty: Eugène Delacroix à Alger, “L’Art,” 1880, 422.</p> -<p>Ernest Chesneau: Eugène Delacroix, “L’Art,” 1882, 382.</p> +<p>Ernest Chesneau: Eugène Delacroix, “L’Art,” 1882, 382.</p> -<p>Ernest Chesneau: L’œuvre complet de E. Delacroix, commenté par E. Chesneau. Paris, +<p>Ernest Chesneau: L’œuvre complet de E. Delacroix, commenté par E. Chesneau. Paris, 1885.</p> -<p>G. Dargenty: Eug. Delacroix par lui-même. Paris, 1885.</p> +<p>G. Dargenty: Eug. Delacroix par lui-même. Paris, 1885.</p> <p>Henri Guet: L’œuvre de E. Delacroix, “Le Salon” de 1885, etc. Paris, 1885.</p> <p><span class="pagenum"><a name="page410" id="page410"></a>410</span></p> -<p>Maurice Tourneux: Eug. Delacroix, devant ses contemporains, ses écrits, ses biographes, -ses critiques. Paris, 1886. (Bibliothèque internationale de l’Art, Sér. II, vol. vi.)</p> +<p>Maurice Tourneux: Eug. Delacroix, devant ses contemporains, ses écrits, ses biographes, +ses critiques. Paris, 1886. (Bibliothèque internationale de l’Art, Sér. II, vol. vi.)</p> -<p>Véron: Eugène Delacroix. Paris, 1887.</p> +<p>Véron: Eugène Delacroix. Paris, 1887.</p> -<p><i>See</i> Eugène Delacroix: Journal de E. D. (With Introductory Study, etc., by M. Paul -Flat and René Piot, etc.) 3 vols., 1893-1895. Berlin, 1903.</p> +<p><i>See</i> Eugène Delacroix: Journal de E. D. (With Introductory Study, etc., by M. Paul +Flat and René Piot, etc.) 3 vols., 1893-1895. Berlin, 1903.</p> <p class="pt1a"><b>Ingres:</b></p> -<p>A. Magimel: Œuvres de J. A. I., gravées par A. Réveil. [102 Copperplates.] Paris, +<p>A. Magimel: Œuvres de J. A. I., gravées par A. Réveil. [102 Copperplates.] Paris, 1851.</p> <p>Charles Lenormant: Beaux Arts et Voyages. Paris, 1861.</p> -<p>Ernest Chesneau: Les chefs d’école. Paris, 1868, p. 253.</p> +<p>Ernest Chesneau: Les chefs d’école. Paris, 1868, p. 253.</p> <p>Henri Delaborde: Ingres, sa vie et ses travaux. Paris, 1870.</p> @@ -17705,19 +17664,19 @@ Flat and René Piot, etc.) 3 vols., 1893-1895. Berlin, 1903.</p> <p>Amaury Duval: L’atelier d’Ingres. Souvenirs. Paris, 1878.</p> -<p>Th. Silvestre: Les artistes français. Paris, 1878, p. 139.</p> +<p>Th. Silvestre: Les artistes français. Paris, 1878, p. 139.</p> -<p>R. Balze: Ingres, son école, son enseignement du dessin: avec des notes recueillies par +<p>R. Balze: Ingres, son école, son enseignement du dessin: avec des notes recueillies par P. et A. Flandrin, Lehman, Delaborde, etc. Paris, Pillet et Dumoulin, 1880.</p> <p>Ernest Chesneau: Peintres et statuaires romantiques. Paris, 1880, p. 259.</p> -<p>Eugène Montrosier; Peintres modernes: Ingres, H. Flandrin, Robert Fleury. Paris, +<p>Eugène Montrosier; Peintres modernes: Ingres, H. Flandrin, Robert Fleury. Paris, Baschet, 1883.</p> -<p>August Schmarsow in “Kunst und Künstler des 19 Jahrhunderts.” Leipzig, 1886.</p> +<p>August Schmarsow in “Kunst und Künstler des 19 Jahrhunderts.” Leipzig, 1886.</p> -<p>Jules Mommeja in “Les artistes célèbres.”</p> +<p>Jules Mommeja in “Les artistes célèbres.”</p> </div> <p class="center chap2 pt1">CHAPTER XI</p> @@ -17727,7 +17686,7 @@ Baschet, 1883.</p> <p>Blanche de Saffray: Ary Scheffer. Paris, 1859.</p> -<p>Antoine Etex: Ary Scheffer, étude sur sa vie et ses ouvrages. Paris, 1859.</p> +<p>Antoine Etex: Ary Scheffer, étude sur sa vie et ses ouvrages. Paris, 1859.</p> <p>Miss Grote: Memoir of the Life of A. Scheffer. 2nd Edition. London, 1860.</p> @@ -17738,7 +17697,7 @@ Baschet, 1883.</p> <p>Hofstede de Groot: Ary Scheffer, ein Charakterbild. Berlin, 1870.</p> -<p>M. E. Im-Thurn; Scheffer et Decamps. Nîmes, 1876.</p> +<p>M. E. Im-Thurn; Scheffer et Decamps. Nîmes, 1876.</p> <p class="pt1a"><b>Johannot:</b></p> @@ -17751,27 +17710,27 @@ Flandrin. Paris, 1862.</p> <p>J. B. Poucet: Hippolyte Flandrin. Paris, 1864.</p> -<p>A. Galimard: Examen des Peintures de l’Eglise de St. Germain des Prés. Paris, 1864.</p> +<p>A. Galimard: Examen des Peintures de l’Eglise de St. Germain des Prés. Paris, 1864.</p> -<p>Charles Clement: Études sur les Beaux Arts en France. Paris, 1865, p. 191.</p> +<p>Charles Clement: Études sur les Beaux Arts en France. Paris, 1865, p. 191.</p> <p>Anon.: Hippolyte Flandrin, A Christian Painter of the Nineteenth Century. London, 1875.</p> -<p>M. de Montrond: H. Flandrin, Étude biographique et historique. 3rd Edition, with +<p>M. de Montrond: H. Flandrin, Étude biographique et historique. 3rd Edition, with plates. Paris, Lefort, 1876.</p> -<p>Ernest Chesneau: Les chefs d’école, p. 297.</p> +<p>Ernest Chesneau: Les chefs d’école, p. 297.</p> <p>Charles Blanc: Les artistes de mon temps, p. 263.</p> -<p>Henri Delaborde: Lettres et pensées d’Hippolyte Flandrin. Paris, 1877.</p> +<p>Henri Delaborde: Lettres et pensées d’Hippolyte Flandrin. Paris, 1877.</p> <p><span class="pagenum"><a name="page411" id="page411"></a>411</span></p> <p>Eng. Montrosier: Peintres modernes; Ingres, Flandrin, Robert-Fleury. Paris, 1882.</p> -<p>Hermann Helferich: Etwas über französische Neuidealisten, “Kunst für Alle,” 1892.</p> +<p>Hermann Helferich: Etwas über französische Neuidealisten, “Kunst für Alle,” 1892.</p> <p>Louis Flandrin: Hippolyte Flandrin, sa vie et son œuvre, etc. Paris, 1902.</p> @@ -17783,11 +17742,11 @@ plates. Paris, Lefort, 1876.</p> <p>Charles Blanc: Les artistes de mon temps, p. 191.</p> -<p>Th. Silvestre: Les artistes français, p. 299.</p> +<p>Th. Silvestre: Les artistes français, p. 299.</p> -<p class="pt1a"><b>Th. Chassériau:</b></p> +<p class="pt1a"><b>Th. Chassériau:</b></p> -<p>Arthur Baignières: “Gazette des Beaux Arts,” 1886, i 209.</p> +<p>Arthur Baignières: “Gazette des Beaux Arts,” 1886, i 209.</p> <p class="pt1a"><b>Cogniet:</b></p> @@ -17795,22 +17754,22 @@ plates. Paris, Lefort, 1876.</p> <p>Paul Mantz: “Gazette des Beaux Arts,” 1881, i 33.</p> -<p>Léon Bonnat: “Chronique des Arts,” 1883, 8. Also separate.</p> +<p>Léon Bonnat: “Chronique des Arts,” 1883, 8. Also separate.</p> -<p>Ernest Vinet: Léon Cogniet. Paris. Without date.</p> +<p>Ernest Vinet: Léon Cogniet. Paris. Without date.</p> <p>H. Delaborde: Notice sur la vie de L. Cogniet. Paris, 1881.</p> -<p class="pt1a"><b>Devéria:</b></p> +<p class="pt1a"><b>Devéria:</b></p> -<p>J. Guiffrey: Achille et Eugène Devéria, “L’Art,” 1883, p. 422.</p> +<p>J. Guiffrey: Achille et Eugène Devéria, “L’Art,” 1883, p. 422.</p> <p class="pt1a"><b>Delaroche:</b></p> -<p>Œuvre de Paul Delaroche: reproduit en photographie par Bingham, accompagné d’une -Notice par H. Delaborde et Jules Goddé. Paris, 1858.</p> +<p>Œuvre de Paul Delaroche: reproduit en photographie par Bingham, accompagné d’une +Notice par H. Delaborde et Jules Goddé. Paris, 1858.</p> -<p>Henri Delaborde: Études sur les Beaux Arts, vol. ii. Paris, 1857.</p> +<p>Henri Delaborde: Études sur les Beaux Arts, vol. ii. Paris, 1857.</p> <p>Charles Blanc: P. Delaroche in “Histoire des peintres.”</p> @@ -17818,11 +17777,11 @@ Notice par H. Delaborde et Jules Goddé. Paris, 1858.</p> <p>J. Runtz-Rees: P. Delaroche. London, 1880.</p> -<p>Adolf Rosenberg in “Kunst und Künstler des 19 Jahrhunderts.”</p> +<p>Adolf Rosenberg in “Kunst und Künstler des 19 Jahrhunderts.”</p> <p class="pt1a"><b>Couture:</b></p> -<p>Méthodes et Entretiens d’atelier, par Thomas Couture. Paris, 1868.</p> +<p>Méthodes et Entretiens d’atelier, par Thomas Couture. Paris, 1868.</p> <p>Jules Claretie: Peintres et sculpteurs contemporains. Paris, 1873, p. 163.</p> @@ -17832,7 +17791,7 @@ Notice par H. Delaborde et Jules Goddé. Paris, 1858.</p> <p>Paul Leroy: “L’Art,” 1880, 298. Also separate.</p> -<p>Clara Biller: Zur Erinnerung an Thomas Couture, “Zeitschrift für bildende Kunst,” xvi, +<p>Clara Biller: Zur Erinnerung an Thomas Couture, “Zeitschrift für bildende Kunst,” xvi, 1881, p. 101.</p> <p>H. C. Angel: Th. Couture, “American Art Review,” 1881, 24.</p> @@ -17847,11 +17806,11 @@ Notice par H. Delaborde et Jules Goddé. Paris, 1858.</p> <p class="pt1a"><b>Bouguereau:</b></p> -<p>Artistes modernes. “Dictionnaire illustré des Beaux Arts.” Paris, 1885. Parts I-V.</p> +<p>Artistes modernes. “Dictionnaire illustré des Beaux Arts.” Paris, 1885. Parts I-V.</p> <p class="pt1a"><b>Baudry:</b></p> -<p>Emile Bergerat: Peintures décoratives de Paul Baudry au grand foyer de l’Opéra. Avec +<p>Emile Bergerat: Peintures décoratives de Paul Baudry au grand foyer de l’Opéra. Avec preface de Th. Gautier. Paris, 1875.</p> <p>Edmond About: Paul Baudry, “L’Art,” 1876, iv 169.</p> @@ -17860,16 +17819,16 @@ preface de Th. Gautier. Paris, 1875.</p> <p>Jules Claretie: L’art et les artistes contemporains. Paris, 1876, p. 49.</p> -<p>Edmond About: Peintures décoratives de Paul Baudry. Photogr. Goupil. Paris, +<p>Edmond About: Peintures décoratives de Paul Baudry. Photogr. Goupil. Paris, 1876.</p> -<p>G. Berger: Les peintures de Paul Baudry dans le Foyer de l’Opéra, “Chronique des Arts,” +<p>G. Berger: Les peintures de Paul Baudry dans le Foyer de l’Opéra, “Chronique des Arts,” 1879.</p> <p>Charles Ephrussi: L’exposition des œuvres de M. P. Baudry, “Gazette des Beaux Arts,” 1882, ii 132.</p> -<p>G. Dargenty: Paul Baudry à propos de l’exposition de ses œuvres à l’orangerie des Tuileries, +<p>G. Dargenty: Paul Baudry à propos de l’exposition de ses œuvres à l’orangerie des Tuileries, “Courrier de l’Art,” 28, 1883.</p> <p>Dubufe: Paul Baudry, “La nouvelle Revue,” 15 Juli 1883.</p> @@ -17880,7 +17839,7 @@ preface de Th. Gautier. Paris, 1875.</p> <p>Charles Ephrussi: Paul Baudry, sa vie et son œuvre. Paris, 1887.</p> -<p>Richard Graul: Paul Baudry, “Zeitschrift für bildende Kunst,” xxii, 1887, pp. 1 and 65.</p> +<p>Richard Graul: Paul Baudry, “Zeitschrift für bildende Kunst,” xxii, 1887, pp. 1 and 65.</p> <p>A. Bonnin: Paul Baudry. Vannes, 1889.</p> @@ -17898,23 +17857,23 @@ preface de Th. Gautier. Paris, 1875.</p> <p>H. Cazalis: Henri Regnault, sa vie et son œuvre. Paris, 1871.</p> -<p>H. Baillière: H. Regnault. Paris, 1871.</p> +<p>H. Baillière: H. Regnault. Paris, 1871.</p> <p>Arthur Duparc: Correspondence de Henri Regnault. Paris, 1873.</p> <p>Charles Blanc: Les artistes de mon temps. Paris, 1876, p. 347.</p> -<p>Roger-Ballu: Le monument de Henri Regnault à l’école des Beaux Arts. “L’Art,” 1876, +<p>Roger-Ballu: Le monument de Henri Regnault à l’école des Beaux Arts. “L’Art,” 1876, iii 176.</p> <p>Philip G. Hamerton: Modern Frenchmen, 5 biographies. London, 1878, p. 334.</p> -<p>A. Angelier: Étude sur Henri Regnault. Paris, Boulanger, 1879.</p> +<p>A. Angelier: Étude sur Henri Regnault. Paris, Boulanger, 1879.</p> -<p>Hermann Billung: Henri Regnault, “Zeitschrift für bildende Kunst,” 1880, xv 93. +<p>Hermann Billung: Henri Regnault, “Zeitschrift für bildende Kunst,” 1880, xv 93. “L’Art,” 1886, ii 48.</p> -<p>Roger Marx: Henri Regnault, in “Les artistes célèbres.” Paris, 1886.</p> +<p>Roger Marx: Henri Regnault, in “Les artistes célèbres.” Paris, 1886.</p> <p>Gustave Larroumet: Henri Regnault, 1848-1871. Paris, 1889.</p> </div> @@ -17925,24 +17884,24 @@ iii 176.</p> <p class="pt1a f80"><b><span class="verd">The Historical School in Belgium:</span></b></p> <p>Principal work: Camille Lemonnier: Histoire des beaux-arts en Belgique. Cinquante -ans de liberté. Bruxelles, 1881, vol. iii. Neue Ausgabe. 1906.</p> +ans de liberté. Bruxelles, 1881, vol. iii. Neue Ausgabe. 1906.</p> <p>Likewise: Von Hasselt: La Belgique, in “L’Art moderne en Allemagne,” iii. Paris, 1841.</p> -<p>Felix Bogaerts: Esquisse d’une histoire des Arts en Belgique depuis 1640 jusqu’à 1830. +<p>Felix Bogaerts: Esquisse d’une histoire des Arts en Belgique depuis 1640 jusqu’à 1830. Anvers, 1841.</p> -<p>L. Pfau: Die zeitgenössische Kunst in Belgien, “Freie Studien.” Stuttgart, 1866.</p> +<p>L. Pfau: Die zeitgenössische Kunst in Belgien, “Freie Studien.” Stuttgart, 1866.</p> <p>F. Reber: Die belgische Malerei, “Deutsche Revue,” vii, 1882, p. 219. “Patria Belgica,” tome iii, Les Expositions de tableaux depuis 1830. Bruxelles, 1875.</p> -<p>Annuaire de l’Académie royale des Sciences, Lettres, et Beaux Arts, passim.</p> +<p>Annuaire de l’Académie royale des Sciences, Lettres, et Beaux Arts, passim.</p> -<p>J. A. Wauters: La peinture flamande, 3 éd. Paris, Quantin, 1891.</p> +<p>J. A. Wauters: La peinture flamande, 3 éd. Paris, Quantin, 1891.</p> <p>Compare also the final chapter in Max Rooses’ “Geschichte der Malerschule Antwerpens,” -deutsch von Reber. 2 Ausgabe. München, 1889.</p> +deutsch von Reber. 2 Ausgabe. München, 1889.</p> <p><span class="pagenum"><a name="page413" id="page413"></a>413</span></p> @@ -17966,13 +17925,13 @@ Jan Swerts. Berlin, Wasmuth, 1883.</p> <p class="pt1a"><b>Gallait:</b></p> -<p>A. Teichlein: L. Gallait und die Malerei in Deutschland. München, 1853.</p> +<p>A. Teichlein: L. Gallait und die Malerei in Deutschland. München, 1853.</p> -<p>Henne, Louis Gallait: Annales de l’Académie d’arch. de Belgique, 1890, 4.</p> +<p>Henne, Louis Gallait: Annales de l’Académie d’arch. de Belgique, 1890, 4.</p> -<p>Nekrolog in “Zeitschrift für bildende Kunst,” 1890.</p> +<p>Nekrolog in “Zeitschrift für bildende Kunst,” 1890.</p> -<p class="pt1a"><b>Bièfve:</b></p> +<p class="pt1a"><b>Bièfve:</b></p> <p>Obituary in “L’Art moderne,” 7, 1881.</p> @@ -17984,38 +17943,38 @@ Jan Swerts. Berlin, Wasmuth, 1883.</p> <div class="list pt1"> <p class="pt1a f80"><b><span class="verd">The Germans in Paris:</span></b></p> -<p>Edmond About: Voyage à travers l’exposition des Beaux Arts, 1855, p. 56.</p> +<p>Edmond About: Voyage à travers l’exposition des Beaux Arts, 1855, p. 56.</p> <p class="pt1a"><b>Feuerbach:</b></p> -<p>Ein Vermächtniss von Anselm Feuerbach. 2 Auflage. Wien, 1885. 4 Aufl, 1897.</p> +<p>Ein Vermächtniss von Anselm Feuerbach. 2 Auflage. Wien, 1885. 4 Aufl, 1897.</p> -<p>Fr. Pecht: “Zeitschrift für bildende Kunst,” viii, 1873, p. 161.</p> +<p>Fr. Pecht: “Zeitschrift für bildende Kunst,” viii, 1873, p. 161.</p> -<p>Fr. Pecht: Deutsche Künstler des 19 Jahrhunderts. Nördlingen, 1877, pp. 238-268.</p> +<p>Fr. Pecht: Deutsche Künstler des 19 Jahrhunderts. Nördlingen, 1877, pp. 238-268.</p> -<p>Katalog der Ausstellung des Künstlerischen Nachlasses in der Berliner Nationalgalerie, +<p>Katalog der Ausstellung des Künstlerischen Nachlasses in der Berliner Nationalgalerie, mit Biographie von Max Jordan. Berlin, 1880.</p> -<p>Graf v. Schack: Meine Gemäldesammlung. Stuttgart, 1881, pp. 93-116.</p> +<p>Graf v. Schack: Meine Gemäldesammlung. Stuttgart, 1881, pp. 93-116.</p> -<p>O. Berggruen: Die Galerie Schack in München. Wien, 1883. Mit Radirungen. (Also -in “Graphische Künste,” 1880, iii 1.)</p> +<p>O. Berggruen: Die Galerie Schack in München. Wien, 1883. Mit Radirungen. (Also +in “Graphische Künste,” 1880, iii 1.)</p> -<p>A. Wolf: “Zeitschrift für bildende Kunst,” xv Beiblatt, 15.</p> +<p>A. Wolf: “Zeitschrift für bildende Kunst,” xv Beiblatt, 15.</p> <p>W. v. Seidlitz: A. Feuerbach, im 4 Heft der “Stichausgabe moderner Meister der Dresdener Galerie.”</p> -<p>Marc Schüssler: Zum Gedächtniss an A. Feuerbach. Nürnberg, 1880.</p> +<p>Marc Schüssler: Zum Gedächtniss an A. Feuerbach. Nürnberg, 1880.</p> <p>H. Grimm in “15 Essays,” 3 Folge. Berlin, 1882, p. 337.</p> -<p>Feuerbachs Handzeichnungen. München, Hanfstängl, 1888.</p> +<p>Feuerbachs Handzeichnungen. München, Hanfstängl, 1888.</p> -<p>Carl Neumann: A. Feuerbach, “Preussische Jahrbücher,” Bd. 62, 1888.</p> +<p>Carl Neumann: A. Feuerbach, “Preussische Jahrbücher,” Bd. 62, 1888.</p> -<p>C. Allgeyer: A. Feuerbach, “Nord und Süd,” 1888.</p> +<p>C. Allgeyer: A. Feuerbach, “Nord und Süd,” 1888.</p> <p>Emil Hannover: A. Feuerbach, “Tilskueren.” Copenhagen, 1890.</p> @@ -18030,7 +17989,7 @@ besorgt von Karl Neumann. Berlin, 1902.</p> <p class="pt1a"><b>R. Henneberg:</b></p> -<p>H. Riegel: Kunstgeschichtliche Vorträge und Aufsätze. Braunschweig, 1877, p. 367.</p> +<p>H. Riegel: Kunstgeschichtliche Vorträge und Aufsätze. Braunschweig, 1877, p. 367.</p> <p class="pt1a"><b>Gustav Richter:</b></p> @@ -18047,12 +18006,12 @@ Berlin, Mittler, 1890.</p> <p>Ernst Guhl: Die neuere geschichtliche Malerei und die Akademien. Stuttgart, 1848.</p> -<p>R. v. Eitelberger: Geschichte und Geschichtsmalerei, Mittheilungen des österreichischen +<p>R. v. Eitelberger: Geschichte und Geschichtsmalerei, Mittheilungen des österreichischen Museums, 1883, 208.</p> <p class="pt1a"><b>Lessing:</b></p> -<p>R. Redtenbacher: Erinnerungen an Carl Fr. Lessing, “Zeitschrift für bildende Kunst,” +<p>R. Redtenbacher: Erinnerungen an Carl Fr. Lessing, “Zeitschrift für bildende Kunst,” xvi, 1881, p. 33.</p> <p class="pt1a"><b>Piloty:</b></p> @@ -18061,11 +18020,11 @@ xvi, 1881, p. 33.</p> <p>Karl Stieler: Die Pilotyschule. Berlin, 1881.</p> -<p>F. Pecht: “Künstler des 19 Jahrhunderts.” III Reihe. Nördlingen, 1881.</p> +<p>F. Pecht: “Künstler des 19 Jahrhunderts.” III Reihe. Nördlingen, 1881.</p> -<p>C. A. Regnet: Münchener Künstlerbiographien, Bd. 2.</p> +<p>C. A. Regnet: Münchener Künstlerbiographien, Bd. 2.</p> -<p>A. Rosenberg: Die Hauptströmungen in der bildenden Kunst der Gegenwart. Grenzboten, +<p>A. Rosenberg: Die Hauptströmungen in der bildenden Kunst der Gegenwart. Grenzboten, 1880.</p> <p>H. Helferich, Neue Kunst. Berlin, 1887.</p> @@ -18076,7 +18035,7 @@ xvi, 1881, p. 33.</p> <p>C. Landsteiner: H. Makart und Robert Hamerling. Wien, 1873.</p> -<p>C. v. Lützow; Makarts Entwürfe für den Wiener Festzug, “Zeitschrift für bildende +<p>C. v. Lützow; Makarts Entwürfe für den Wiener Festzug, “Zeitschrift für bildende Kunst,” 1879, 7.</p> <p>S. Feldmann: Hans Makarts neuestes Bild, “Die Gegenwart,” 1881, 24.</p> @@ -18086,20 +18045,20 @@ Kunst,” 1879, 7.</p> <p>Makart-Album, in 10 Lieferungen, Holzschnitte, und Lichtdrucke, mit Text. Wien, Bondy, 1883.</p> -<p>H. Makart als Architekt. “Wochenblatt für Architekten,” 1884, 89, 90.</p> +<p>H. Makart als Architekt. “Wochenblatt für Architekten,” 1884, 89, 90.</p> <p>Mrs. Schuyler van Rensselaer: Hans Makart, “Portfolio,” 1886, pp. 36-49.</p> -<p>Carl v. Lützow: “Zeitschrift fir bildende Kunst,” xxi, 1886, pp. 181, 214.</p> +<p>Carl v. Lützow: “Zeitschrift fir bildende Kunst,” xxi, 1886, pp. 181, 214.</p> <p>Robert Stiassny: H. Makart und seine bleibende Bedeutung, “Sammlung kunstgewerblicher -und kunsthistorischer Vorträge,” Nr. 12. Leipzig, 1886.</p> +und kunsthistorischer Vorträge,” Nr. 12. Leipzig, 1886.</p> <p class="pt1a"><b>Max:</b></p> -<p>Friedrich Pecht: “Zeitschrift für bildende Kunst,” 1879, xiv 225, 375.</p> +<p>Friedrich Pecht: “Zeitschrift für bildende Kunst,” 1879, xiv 225, 375.</p> -<p>Agathon Klemt: “Graphische Künste,” ix 1-12, 25-36.</p> +<p>Agathon Klemt: “Graphische Künste,” ix 1-12, 25-36.</p> <p>J. Beavington-Atkinson: Gabriel Max, “Art Journal,” 1881, 6.</p> @@ -18115,15 +18074,15 @@ und kunsthistorischer Vorträge,” Nr. 12. Leipzig, 1886.</p> <div class="list pt1"> <p class="pt1a"><b>Gleyre:</b></p> -<p>Charles Clement: Gleyre; Étude biographique. Paris, 1878.</p> +<p>Charles Clement: Gleyre; Étude biographique. Paris, 1878.</p> <p>Paul Mantz: “Gazette des Beaux Arts,” 1875, i 233.</p> -<p>Fr. Berthoud: Ch. Gleyre. Genève, 1874 (“Bibliothèque universelle,” vol. 50).</p> +<p>Fr. Berthoud: Ch. Gleyre. Genève, 1874 (“Bibliothèque universelle,” vol. 50).</p> -<p>E. Montégut: Ch. Gleyre, “Revue des Deux Mondes,” 1878.</p> +<p>E. Montégut: Ch. Gleyre, “Revue des Deux Mondes,” 1878.</p> -<p>Hofmeister: Das Leben des Kunstmalers Karl Gleyre. Zürich, 1879.</p> +<p>Hofmeister: Das Leben des Kunstmalers Karl Gleyre. Zürich, 1879.</p> <p>Ch. Berthoud: Ch. Gleyre. Lausanne, 1880.</p> @@ -18133,23 +18092,23 @@ und kunsthistorischer Vorträge,” Nr. 12. Leipzig, 1886.</p> <p>Georges Lafenestre, “L’Art,” 1875, i 394.</p> -<p class="pt1a"><b>Gérôme:</b></p> +<p class="pt1a"><b>Gérôme:</b></p> <p>Charles Timbal: “Gazette des Beaux Arts,” 1876, ii 228, 334.</p> <p class="pt1a"><b>Leys:</b></p> -<p>Hermann Billung: “Zeitschrift für bildende Kunst,” xv 333, 370. 1880.</p> +<p>Hermann Billung: “Zeitschrift für bildende Kunst,” xv 333, 370. 1880.</p> <p>Ludwig Pfau: “Freie Studien,” p. 262.</p> <p class="pt1a"><b>Meissonier:</b></p> -<p>Ernest Chesneau: Les chefs d’école, p. 241.</p> +<p>Ernest Chesneau: Les chefs d’école, p. 241.</p> -<p>Otto Mündler: “Zeitschrift für bildende Kunst,” 1866.</p> +<p>Otto Mündler: “Zeitschrift für bildende Kunst,” 1866.</p> -<p>Charles Clement: Études sur les Beaux Arts en France. Paris, 1869, p. 237.</p> +<p>Charles Clement: Études sur les Beaux Arts en France. Paris, 1869, p. 237.</p> <p>Jules Claretie: Peintres et sculpteurs contemporains. Paris, 1873, pp. 23, 120.</p> @@ -18165,15 +18124,15 @@ und kunsthistorischer Vorträge,” Nr. 12. Leipzig, 1886.</p> <p>Lionel Robinson: J. L. E. Meissonier, his Life and Work. “Art Annual” for 1887.</p> -<p>Ch. Bigot: Peintres français contemporains. Paris, 1888.</p> +<p>Ch. Bigot: Peintres français contemporains. Paris, 1888.</p> <p>L. Gonse: Meissonier, “Gazette des Beaux Arts,” 1891, i 177.</p> <p>G. Larroumet: Meissonier. (Study followed by a Biography by Philippe Burty.) Paris, 1893.</p> -<p>Gréard: Jean-Louis-Ernest Meissonier, Ses souvenirs—Ses entretiens. (With a study of -his life and work by M. O. Gréard; with Plates and a Catalogue of the artist’s +<p>Gréard: Jean-Louis-Ernest Meissonier, Ses souvenirs—Ses entretiens. (With a study of +his life and work by M. O. Gréard; with Plates and a Catalogue of the artist’s work.) Paris, 1897.</p> <p>E. Hubbard: Meissonier. New York, 1899.</p> @@ -18182,12 +18141,12 @@ work.) Paris, 1897.</p> <p class="pt1a"><b>Menzel:</b></p> -<p>Bruno Meyer: Adolf Menzel, “Zeitschrift für bildende Kunst,” xi, 1, 41. 1876.</p> +<p>Bruno Meyer: Adolf Menzel, “Zeitschrift für bildende Kunst,” xi, 1, 41. 1876.</p> -<p>Alfred Woltmann: Das Preussenthum in der neueren Kunst, “Nord und Süd,” 1877, +<p>Alfred Woltmann: Das Preussenthum in der neueren Kunst, “Nord und Süd,” 1877, p. 109.</p> -<p>Ludwig Pietsch: A. Menzel, “Nord und Süd,” 1879, p. 439.</p> +<p>Ludwig Pietsch: A. Menzel, “Nord und Süd,” 1879, p. 439.</p> <p>Duranty: Adolphe Menzel, “Gazette des Beaux Arts,” 1880, ii 105.</p> @@ -18198,406 +18157,28 @@ p. 109.</p> <p><span class="pagenum"><a name="page416" id="page416"></a>416</span></p> -<p>L. Gonse: Illustrations d’Adolphe Menzel pour les œuvres de Frédéric le Grand, “Gazette +<p>L. Gonse: Illustrations d’Adolphe Menzel pour les œuvres de Frédéric le Grand, “Gazette des Beaux Arts,” 1882, i 596.</p> -<p>Das Werk A. Menzels. Text by Jordan and Dohme. München, 1885, ff.</p> +<p>Das Werk A. Menzels. Text by Jordan and Dohme. München, 1885, ff.</p> <p>Cornelius Gurlitt: A. Menzel, “Die Kunst unserer Zeit,” 1892.</p> <p>Sondermann: Adolph Menzel, Monographie. Magdeburg, 1896.</p> -<p>Knackfuss: Menzel. (With 141 Illustrations), Künstler Monographien, vii. Bielefeld, +<p>Knackfuss: Menzel. (With 141 Illustrations), Künstler Monographien, vii. Bielefeld, 1895.</p> <p>H. von Tschudi: Das Werk Adolf Menzels. Berlin, 1905.</p> -<p>Julius Meyer-Gräfe: Der junge Menzel. Stuttgart, 1906.</p> +<p>Julius Meyer-Gräfe: Der junge Menzel. Stuttgart, 1906.</p> </div> <div class="center ptb6"><img style="width:258px; height:35px; vertical-align: middle;" src="images/img0.jpg" alt="" /></div> <p class="pt2 center f80"><i>Printed by</i> <span class="sc">Morrison & Gibb Limited</span>, <i>Edinburgh</i></p> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The History of Modern Painting, Volume -1 (of 4), by Richard Muther - -*** END OF THIS PROJECT GUTENBERG EBOOK HISTORY OF MODERN PAINTING, VOL I *** - -***** This file should be named 43792-h.htm or 43792-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/7/9/43792/ - -Produced by Marius Masi, Albert László and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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