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+Project Gutenberg's Pictures Every Child Should Know, by Dolores Bacon
+
+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: Pictures Every Child Should Know
+
+Author: Dolores Bacon
+
+Posting Date: March 15, 2014 [EBook #6932]
+Release Date: November, 2004
+First Posted: February 12, 2003
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PICTURES EVERY CHILD SHOULD KNOW ***
+
+
+
+
+Produced by Arno Peters, Branko Collin, Tiffany Vergon,
+Charles Aldarondo, Charles Franks, and the Online
+Distributed Proofreading Team.
+
+
+
+
+
+
+
+
+
+
+PICTURES EVERY CHILD SHOULD KNOW
+
+
+A SELECTION OF THE WORLD'S ART MASTERPIECES FOR YOUNG PEOPLE
+
+
+BY DOLORES BACON
+
+Illustrated from Great Paintings
+
+
+
+ACKNOWLEDGMENTS
+
+
+Besides making acknowledgments to the many authoritative writers upon
+artists and pictures, here quoted, thanks are due to such excellent
+compilers of books on art subjects as Sadakichi Hartmann, Muther,
+C. H. Caffin, Ida Prentice Whitcomb, Russell Sturgis and others.
+
+
+
+INTRODUCTION
+
+
+Man's inclination to decorate his belongings has always been one of
+the earliest signs of civilisation. Art had its beginning in the lines
+indented in clay, perhaps, or hollowed in the wood of family utensils;
+after that came crude colouring and drawing.
+
+Among the first serious efforts to draw were the Egyptian square and
+pointed things, animals and men. The most that artists of that day
+succeeded in doing was to preserve the fashions of the time. Their
+drawings tell us that men wore their beards in bags. They show us,
+also, many peculiar head-dresses and strange agricultural
+implements. Artists of that day put down what they saw, and they saw
+with an untrained eye and made the record with an untrained hand; but
+they did not put in false details for the sake of glorifying the
+subject. One can distinguish a man from a mountain in their work, but
+the arms and legs embroidered upon Mathilde's tapestry, or the figures
+representing family history on an Oriental rug, are quite as correct
+in drawing and as little of a puzzle. As men became more intelligent,
+hence spiritualised, they began to express themselves in ideal ways;
+to glorify the commonplace; and thus they passed from Egyptian
+geometry to gracious lines and beautiful colouring.
+
+Indian pottery was the first development of art in America and it led
+to the working of metals, followed by drawing and portraiture. Among
+the Americans, as soon as that term ceased to mean Indians, art took a
+most distracting turn. Europe was old in pictures, great and
+beautiful, when America was worshipping at the shrine of the chromo;
+but the chromo served a good turn, bad as it was. It was a link
+between the black and white of the admirable wood-cut and the true
+colour picture.
+
+Some of the Colonists brought over here the portraits of their
+ancestors, but those paintings could not be considered "American" art,
+nor were those early settlers Americans; but the generation that
+followed gave to the world Benjamin West. He left his Mother Country
+for England, where he found a knighthood and honours of every kind
+awaiting him.
+
+The earliest artists of America had to go away to do their work,
+because there was no place here for any men but those engaged in
+clearing land, planting corn, and fighting Indians. Sir Benjamin West
+was President of the Royal Academy while America was still revelling
+in chromos. The artists who remained chose such objects as Davy
+Crockett in the trackless forest, or made pictures of the Continental
+Congress.
+
+After the chromo in America came the picture known as the "buckeye,"
+painted by relays of artists. Great canvases were stretched and
+blocked off into lengths. The scene was drawn in by one man, who was
+followed by "artists," each in turn painting sky, water, foliage,
+figures, according to his specialty. Thus whole yards of canvas could
+be painted in a day, with more artists to the square inch than are now
+employed to paint advertisements on a barn.
+
+The Centennial Exhibition of 1876 came as a glorious flashlight. For
+the first time real art was seen by a large part of our nation. Every
+farmer took home with him a new idea of the possibilities of drawing
+and colour. The change that instantly followed could have occurred in
+no other country than the United States, because no other people would
+have travelled from the four points of the compass to see such an
+exhibition. Thus it was the American's _penchant_ for travel which
+first opened to him the art world, for he was conscious even then of
+the educational advantages to be found somewhere, although there
+seemed to be few of them in the United States.
+
+After the Centennial arose a taste for the painting of "plaques," upon
+which were the heads of ladies with strange-coloured hair; of
+leather-covered flatirons bearing flowers of unnatural colour, or of
+shovels decorated with "snow scenes." The whole nation began to revel
+in "art." It was a low variety, yet it started toward a goal which
+left the chromo at the rear end of the course, and it was a better
+effort than the mottoes worked in worsted, which had till then been
+the chief decoration in most homes. If the "buckeye" was
+hand-painting, this was "single-hand" painting, and it did not take a
+generation to bring the change about, only a season. After the
+Philadelphia exhibition the daughter of the household "painted a
+little" just as she played the piano "a little." To-day, much less
+than a man's lifetime since then, there is in America a universal love
+for refined art and a fair technical appreciation of pictures, while
+already the nation has worthily contributed to the world of
+artists. Sir Benjamin West, Sully, and Sargent are ours: Inness,
+Inman, and Trumbull.
+
+The curator of the Metropolitan Museum in New York has declared that
+portrait-painting must be the means which shall save the modern
+artists from their sins. To quote him: "An artist may paint a bright
+green cow, if he is so minded: the cow has no redress, the cow must
+suffer and be silent; but human beings who sit for portraits seem to
+lean toward portraits in which they can recognise their own features
+when they have commissioned an artist to paint them. A man _will_
+insist upon even the most brilliant artist painting him in trousers,
+for instance, instead of in petticoats, however the artist-whim may
+direct otherwise; and a woman is likely to insist that the artist who
+paints her portrait shall maintain some recognised shade of brown or
+blue or gray when he paints her eye, instead of indulging in a burnt
+orange or maybe pink! These personal preferences certainly put a limit
+to an artist's genius and keep him from writing himself down a
+madman. Thus, in portrait-painting, with the exactions of truth upon
+it, lies the hope of art-lovers!"
+
+It is the same authority who calls attention to the danger that lies
+in extremes; either in finding no value in art outside the "old
+masters," or in admiring pictures so impressionistic that the objects
+in them need to be labelled before they can be recognised.
+
+The true art-lover has a catholic taste, is interested in all forms of
+art; but he finds beauty where it truly exists and does not allow the
+nightmare of imagination to mislead him. That which is not beautiful
+from one point of view or another is not art, but decadence. That
+which is technical to the exclusion of other elements remains
+technique pure and simple, workmanship--the bare bones of art. A thing
+is not art simply because it is fantastic. It may be interesting as
+showing to what degree some imaginations can become diseased, but it
+is not pleasing nor is it art. There are fully a thousand pictures
+that every child should know, since he can hardly know too much of a
+good thing; but there is room in this volume only to acquaint him with
+forty-eight and possibly inspire him with the wish to look up the
+neglected nine hundred and fifty-two.
+
+
+
+CONTENTS
+
+
+INTRODUCTION
+
+I. Andrea del Sarto, Florentine School, 1486-1531
+
+II. Michael Angelo (Buonarroti), Florentine School, 1475-1564
+
+III. Arnold Böcklin, Modern German School, 1827-1901
+
+IV. Marie-Rosa Bonheur, French School, 1822-1899
+
+V. Alessandro Botticelli, Florentine School, 1447-1510
+
+VI. William Adolphe Bouguereau, French (Genre) School 1825-1905
+
+VII. Sir Edward Burne-Jones, English (Pre-Raphaelite) School, 1833-1898
+
+VIII. John Constable, English School, 1776-1837
+
+IX. John Singleton Copley, English School, 1737-1815
+
+X. Jean Baptiste Camille Corot, Fontainebleau-Barbizon School, 1796-1875
+
+XI. Correggio (Antonio Allegri), School of Parma, 1494(?)--1534
+
+XII. Paul Gustave Doré, French School, 1833-1883
+
+XIII. Albrecht Dürer, Nuremberg School, 1471-1528
+
+XIV. Mariano Fortuny, Spanish School, 1838-1874
+
+XV. Thomas Gainsborough, English School, 1727-1788
+
+XVI. Jean Léon Gérôme, French Semi-classical School, 1824-1904
+
+XVII. Ghirlandajo, Florentine School, 1449-1494
+
+XVIII. Giotto (di Bordone), Florentine School, 1276-1337
+
+XIX. Franz Hals, Dutch School, 1580-84-1666
+
+XX. Meyndert Hobbema, Dutch School, 1637-1709
+
+XXI. William Hogarth, School of Hogarth (English), 1697-1764
+
+XXII. Hans Holbein, the Younger, German School, 1497-1543
+
+XXIII. William Holman Hunt, English (Pre-Raphaelite) School, 1827-
+
+XXIV. George Inness, American, 1825-1897
+
+XXV. Sir Edwin Henry Landseer, English School, 1802-1873
+
+XXVI. Claude Lorrain (Gellée), Classical French School, 1600-1682
+
+XXVII. Masaccio (Tommaso Guidi), Florentine School, 1401-1428
+
+XXVIII. Jean Louis Ernest Meissonier, French School, 1815-1891
+
+XXIX. Jean François Millet, Fontainebleau-Barbizon School, 1814-1875
+
+XXX. Claude Monet, Impressionist School of France, 1840-
+
+XXXI. Murillo (Bartolomé Estéban), Andalusian School, 1617-1682
+
+XXXII. Raphael (Sanzio), Umbrian, Florentine, and Roman Schools,
+1483-1520
+
+XXXIII. Rembrandt (Van Rijn), Dutch School, 1606-1669
+
+XXXIV. Sir Joshua Reynolds, English School, 1723-1792
+
+XXXV. Peter Paul Rubens, Flemish School, 1577-1640
+
+XXXVI. John Singer Sargent, American and Foreign Schools, 1856-
+
+XXXVII. Tintoretto (Jacopo Robusti), Venetian School, 1518-1594
+
+XXXVIII. Titian (Tiziano Vecelli), Venetian School, 1489-1576
+
+XXXIX. Joseph Mallord William Turner, English, 1775-1831
+
+XL. Sir Anthony Van Dyck, Flemish School, 1599-1641
+
+XLI. Velasquez (Diego Rodriguez de Silva), Castilian School, 1599-1660
+
+XLII. Paul Veronese (Paolo Cagliari), Venetian School, 1528-1588.
+
+XLIII. Leonardo da Vinci, Florentine School, 1452-1519.
+
+XLIV. Jean Antoine Watteau, French (Genre) School, 1684-1721
+
+XLV. Sir Benjamin West, American, 1738-1820
+
+Index
+
+
+
+ILLUSTRATIONS
+
+
+FRONTISPIECE
+
+The Avenue, Middleharnis, Holland--_Hobbema_
+
+Madonna of the Sack--_Andrea del Sarto_
+
+Daniel--_Michael Angelo (Buonarroti)_
+
+The Isle of the Dead--_Arnold Böcklin_
+
+The Horse Fair--_Rosa Bonheur_
+
+Spring--_Alessandro Botticelli_
+
+The Hay Wain--_John Constable_
+
+A Family Picture--_John Singleton Copley_
+
+The Holy Night--_Correggio (Antonio Allegri)_
+
+Dance of the Nymphs--_Jean Baptiste Camille Corot_
+
+The Virgin as Consoler--_Wm. Adolphe Bouguereau_
+
+The Love Song--_Sir Edward Burne-Jones_
+
+The Mystic Marriage of St. Catherine--_Correggio_
+
+Moses Breaking the Tablets of the Law--_Paul Gustave Doré_
+
+The Nativity--_Albrecht Dürer_
+
+The Spanish Marriage--_Mariana Fortuny_
+
+Mrs. Richard Brinsley Sheridan--_Thomas Gainsborough_
+
+The Sword Dance--_Jean Léon Gérôme_
+
+Portrait of Giovanna degli Albizi--_Ghirlandajo (Domenico Bigordi)_
+
+The Nurse and the Child--_Franz Hals_
+
+The Meeting of St. John and St. Anna at Jerusalem--_Giotto (Di
+Bordone)_
+
+The Avenue--_Meyndert Hobbema_
+
+The Marriage Contract--_Wm. Hogarth_
+
+The Light of the World--_William Holman Hunt_
+
+Robert Cheseman with his Falcon--_Hans Holbein, the Younger_
+
+The Berkshire Hills--_George Inness_
+
+The Old Shepherd's Chief Mourner--_Sir Edwin Henry Landseer_
+
+The Artist's Portrait--_Tommaso Masaccio_
+
+Acis and Galatea--_Claude Lorrain_
+
+Retreat from Moscow--_Jean Louis Ernest Meissonier_
+
+The Angelus--_Jean François Millet_
+
+The Immaculate Conception--_Murillo (Bartolomé Estéban)_
+
+Haystack in Sunshine--_Claude Monet_
+
+The Sistine Madonna--_Raphael (Sanzio)_
+
+The Night Watch--_Rembrandt (Van Rijn)_
+
+The Duchess of Devonshire and Her Daughter--_Sir Joshua Reynolds_
+
+The Infant Jesus and St. John--_Peter Paul Rubens_
+
+Carmencita--_John Singer Sargent_
+
+The Miracle of St. Mark--_Tintoretto (Jacopo Robusti)_
+
+The Artist's Daughter, Lavinia--_Titian (Tiziano Vecelli)_
+
+The Fighting Téméraire--_Joseph Mallord William Turner_
+
+The Children of Charles the First--_Sir Anthony Van Dyck_
+
+Equestrian Portrait of Don Balthasar Carlos--_Velasquez (Diego
+Rodriguez de Silva)_
+
+The Marriage at Cana--_Paul Veronese_
+
+The Death of Wolfe--_Sir Benjamin West_
+
+The Artist's Two Sons--_Peter Paul Rubens_
+
+The Last Supper--_Leonardo da Vinci_
+
+Fête Champêtre--_Jean Antoine Watteau_
+
+
+
+I
+
+ANDREA DEL SARTO
+
+
+  (Pronounced Ahn'dray-ah del Sar'to)
+  _Florentine School_
+  1486-1531
+  _Pupil of Piero di Cosimo_
+
+Italian painters received their names in peculiar ways. This man's
+father was a tailor; and the artist was named after his father's
+profession. He was in fact "the Tailor's Andrea," and his father's
+name was Angelo.
+
+One story of this brilliant painter which reads from first to last
+like a romance has been told by the poet, Browning, who dresses up
+fact so as to smother it a little, but there is truth at the bottom.
+
+Andrea married a wife whom he loved tenderly. She had a beautiful face
+that seemed full of spirituality and feeling, and Andrea painted it
+over and over again. The artist loved his work and dreamed always of
+the great things that he should do; but he was so much in love with
+his wife that he was dependent on her smile for all that he did which
+was well done, and her frown plunged him into despair.
+
+Andrea's wife cared nothing for his genius, painting did not interest
+her, and she had no worthy ambition for her husband, but she loved
+fine clothes and good living, and so encouraged him enough to keep him
+earning these things for her. As soon as some money was made she would
+persuade him to work no more till it was spent; and even when he had
+made agreements to paint certain pictures for which he was paid in
+advance she would torment him till he gave all of his time to her
+whims, neglected his duty and spent the money for which he had
+rendered no service. Thus in time he became actually dishonest, as we
+shall see. It is a sad sort of story to tell of so brilliant a young
+man.
+
+Andrea was born in the Gualfonda quarter of Florence, and there is
+some record of his ancestors for a hundred years before that, although
+their lives were quite unimportant. Andrea was one of four children,
+and as usual with Italians of artistic temperament, he was set to work
+under the eye of a goldsmith. This craftsmanship of a fine order was
+as near to art as a man could get with any certainty of making his
+living. It was a time when the Italian world bedecked itself with rare
+golden trinkets, wreaths for women's hair, girdles, brooches, and the
+like, and the finest skill was needed to satisfy the taste. Thus it
+required talent of no mean order for a man to become a successful
+goldsmith.
+
+Andrea did not like the work, and instead of fashioning ornaments from
+his master's models he made original drawings which did not do at all
+in a shop where an apprentice was expected to earn his salt. Certain
+fashions had to be followed and people did not welcome fantastic or
+new designs. Because of this, Andrea was early put out of his master's
+shop and set to learn the only business that he could be got to learn,
+painting. This meant for him a very different teacher from the
+goldsmith.
+
+The artist may be said to have been his own master, because, even when
+he was apprenticed to a painter he was taught less than he already
+knew.
+
+That first teacher was Barile, a coarse and unpleasing man, as well as
+an incapable one; but he was fair minded, after a fashion, and put
+Andrea into the way of finding better help. After a few years under
+the direction of Piero di Cosimo, Andrea and a friend, Francia Bigio,
+decided to set up shop for themselves.
+
+The two devoted friends pitched their tent in the Piazza del Grano,
+and made a meagre beginning out of which great things were to
+grow. They began a series of pictures which was to lead at least one
+of them to fame. It was in the little Piazza, del Grano studio that
+the "Baptism of Christ" was painted, a partnership work that had been
+planned in the Campagnia dello Scalzo.
+
+"The Baptism" was not much of a picture as great pictures go, but it
+was a beginning and it was looked at and talked about, which was
+something at a time when Titian and Leonardo had set the standard of
+great work. In the Piazza del Grano, Andrea and his friend lived in
+the stables of the Tuscan Grand Dukes, with a host of other fine
+artists, and they had gay times together.
+
+Andrea was a shy youth, a little timid, and by no means vain of his
+own work, but he painted with surprising swiftness and sureness, and
+had a very brilliant imagination. Its was his main trouble that he had
+more imagination than true manhood; he sacrificed everything good to
+his imagination.
+
+After the partnership with his friend, he undertook to paint some
+frescoes independently, and that work earned for him the name of
+"Andrea senza Errori"--Andrea the Unerring. Then, as now, each artist
+had his own way of working, and Andrea's was perhaps the most
+difficult of all, yet the most genius-like. There were those, Michael
+Angelo for example, who laid in backgrounds for their paintings; but
+Andrea painted his subject upon the wet plaster, precisely as he meant
+it to be when finished.
+
+He was unlike the moody Michael Angelo; unlike the gentle Raphael;
+unlike the fastidious Van Dyck who came long afterward; he was
+hail-fellow-well-met among his associates, though often given over to
+dreaminess. He belonged to a jolly club named the "Kettle Club,"
+literally, the Company of the Kettle; and to another called "The
+Trowel," both suggesting an all around good time and much good
+fellowship The members of these clubs were expected to contribute to
+their wonderful suppers, and Andrea on one occasion made a great
+temple, in imitation of the Baptistry, of jelly with columns of
+sausages, white birds and pigeons represented the choir and
+priests. Besides being "Andrew the Unerring," and a "Merry Andrew," he
+was also the "Tailor's Andrew," a man in short upon whom a nickname
+sat comfortably. He helped to make the history of the "Company of the
+Kettle," for he recited and probably composed a touching ballad called
+"The Battle of the Mice and the Frogs," which doubtless had its origin
+in a poem of Homer's. But all at once, in the midst of his gay
+careless life came his tragedy; he fell in love with a hatter's
+wife. This was quite bad enough, but worse was to come, for the hatter
+shortly died, and the widow was free to marry Andrea.
+
+After his marriage Andrea began painting a series of Madonnas,
+seemingly for no better purpose than to exhibit his wife's beauty over
+and over again. He lost his ambition and forgot everything but his
+love for this unworthy woman. She was entirely commonplace, incapable
+of inspiring true genius or honesty of purpose.
+
+A great art critic, Vasari, who was Andrea's pupil during this time,
+has written that the wife, Lucretia, was abominable in every way. A
+vixen, she tormented Andrea from morning till night with her bitter
+tongue. She did not love him in the least, but only what his money
+could buy for her, for she was extravagant, and drove the sensitive
+artist to his grave while she outlived him forty years.
+
+About the time of the artist's marriage he painted one fresco, "The
+Procession of the Magi," in which he placed a very splendid substitute
+for his wife, namely himself. Afterward he painted the Dead Christ
+which found its way to France and it laid the foundation for Andrea's
+wrongdoing. This picture was greatly admired by the King of France who
+above all else was a lover of art. Francis I. asked Andrea to go to
+his court, as he had commissions for him. He made Andrea a money offer
+and to court he went.
+
+He took a pupil with him, but he left his wife at home. At the court
+of Francis I. he was received with great honours, and amid those new
+and gracious surroundings, away from the tantalising charms of his
+wife and her shrewish tongue, he began to have an honest ambition to
+do great things. His work for France was undertaken with enthusiasm,
+but no sooner was he settled and at peace, than the irrepressible wife
+began to torment him with letters to return. Each letter distracted
+him more and more, till he told the King in his despair, that he must
+return home, but that he would come back to France and continue his
+work, almost at once. Francis I., little suspecting the cause of
+Andrea's uneasiness, gave him permission to go, and also a large sum
+of money to spend upon certain fine works of art which he was to bring
+back to France.
+
+We can well believe that Andrea started back to his home with every
+good intention; that he meant to appease his wife and also his own
+longing to see her; to buy the King his pictures with the money
+entrusted to him, and to return to France and finish his work; but,
+alas, he no sooner got back to his wife than his virtuous purpose
+fled. She wanted this; she wanted that--and especially she wanted a
+fine house which could just about be built for the sum of money which
+the King of France had entrusted to Andrea.
+
+Andrea is a pitiable figure, but he was also a vagabond, if we are to
+believe Vasari. He took the King's money, built his wretched wife a
+mansion, and never again dared return to France, where his dishonesty
+made him forever despised.
+
+Afterward he was overwhelmed with despair for what he had done, and he
+tried to make his peace with Francis; but while that monarch did not
+punish him directly for his knavery; he would have no more to do with
+him, and this was the worst punishment the artist could have
+had. However, his genius was so great that other than French people
+forgot his dishonesty and he began life anew in his native place.
+
+Almost all his pictures were on sacred subjects; and finally, when
+driven from Florence to Luco by the plague, taking with him his wife
+and stepdaughter, he began a picture called the "Madonna del Sacco"
+(the Madonna of the Sack).
+
+This fresco was to adorn the convent of the Servi, and the sketches
+for it were probably made in Luco. When the plague passed and the
+artist was able to return to Florence, he began to paint it upon the
+cloister walls.
+
+Andrea, like Leonardo, painted a famous "Last Supper," although the
+two pictures cannot be compared. In Andrea's picture it is said that
+all the faces are portraits.
+
+Just before the plague sent him and his family from Florence a most
+remarkable incident took place. Raphael had painted a celebrated
+portrait of Pope Leo X. in a group, and the picture belonged to
+Ottaviano de Medici. Duke Frederick II., of Mantua, longed to own this
+picture, and at last requested the Medici to give it to him. The Duke
+could not well be refused, but Ottaviano wanted to keep so great a
+work for himself. What was to be done? He was in great trouble over
+the affair. The situation seemed hopeless. It seemed certain that he
+must part with his beloved picture to the Duke of Mantua; but one day
+Andrea del Sarto declared that he could make a copy of it that even
+Raphael himself could not tell from his original. Ottaviano could
+scarcely believe this, but he begged Andrea to set about it, hoping
+that it might be true.
+
+Going at the work in good earnest, Andrea painted a copy so exact that
+the pupil of Raphael, who had more or less to do with the original
+picture, could not tell which was which when he was asked to
+choose. This pupil, Giulio Romano, was so familiar with every stroke
+of Raphael's that if he were deceived surely any one might be; so the
+replica was given to the Duke of Mantua, who never found out the
+difference.
+
+Years afterward Giulio Romano showed the picture to Vasari, believing
+it to be the original Raphael, neither Andrea nor the Medici having
+told Romano the truth. But Vasari, who knew the whole story, declared
+to Romano that what he showed him was but a copy. Romano would not
+believe it, but Vasari told him that he would find upon the canvas a
+certain mark, known to be Andrea's. Romano looked, and behold, the
+original Raphael became a del Sarto! The original picture hangs in the
+Pitti Palace, while the copy made by Andrea is in the Naples Gallery.
+
+The introduction of Andrea to Vasari was one of the few gracious
+things, that Michael Angelo ever did. About Andrea he said to Raphael
+at the time: "There is a little fellow in Florence who will bring
+sweat to your brows if ever he is engaged in great works." Raphael,
+would certainly have agreed, with him had he known what was to happen
+in regard to the Leo X. picture.
+
+Notwithstanding Andrea's unfortunate temperament, which caused him to
+be guided mostly by circumstances instead of guiding them, he was said
+to be improving all the time in his art. He had a great many pupils,
+but none of them could tolerate his wife for long, so they were always
+changing.
+
+Throughout his life the artist longed for tenderness and encouragement
+from his wife, and finally, without ever receiving it, he died in a
+desolate way, untended even by her. After the siege of Florence there
+came a pestilence, and Andrea was overtaken by it. His wife, afraid
+that she too would become ill, would have nothing to do with him. She
+kept away and he died quite alone, few caring that he was dead and no
+one taking the trouble to follow him to his grave. Thus one of the
+greatest of Florentine painters lived and died. Years after his death,
+the artist Jacopo da Empoli, was copying Andrea's "Birth of the
+Virgin" when an old woman of about eighty years on her way to mass
+stopped to speak with him. She pointed to the beautiful Virgin's face
+in the picture and said: "I am that woman." And so she was--the widow
+of the great Andrea. Though she had treated him so cruelly, she was
+glad to have it known that she was the widow of the dead genius.
+
+  PLATE--THE MADONNA DEL SACCO
+  _(Madonna of the Sack)_
+
+This picture is a fresco in the cloister of the Annunziata at
+Florence, and it is called "of the sack" because Joseph is posed
+leaning against a sack, a book open upon his knees.
+
+Doubtless the model for this Madonna is Andrea del Sarto's abominable
+wife, but she looks very sweet and simple in the picture. The folds of
+Mary's garments are beautifully painted, so is the poise of her head,
+and all the details of the picture except the figure of the
+child. There is a line of stiffness there and it lacks the softness of
+many other pictures of the Infant Jesus.
+
+  PLATE--THE HOLY FAMILY
+
+In this picture in the Pitti Palace, Florence, Andrea del Sarto
+represents all the characters in a serious mood. There are St. John
+and Elizabeth, Mary and the Infant Jesus, and there is no touch of
+playfulness such as may be found in similar groups by other artists of
+the time. Attention is concentrated upon Jesus who seems to be
+learning from his young cousin. The left hand, resting upon Mary's arm
+is badly drawn and in character does not seem to belong to the figure
+of the child. A full, overhanging upper lip is a dominant feature in
+each face.
+
+Other works of Andrea del Sarto are "Charity," which is in the Louvre;
+"Madonna dell' Arpie," "A Head of Christ," "The Dead Christ," "Four
+Saints," "Joseph in Egypt," his own portrait, and "Joseph's Dream."
+
+
+
+
+
+II
+
+MICHAEL ANGELO (BUONARROTI)
+
+
+  (Pronounced Meek-el-ahn-jel-o (Bwone-ar-ro'tee))
+  _Florentine School_
+  1475-1564
+  _Pupil of Ghirlandajo_
+
+This wonderful man did more kinds of things, at a time when almost all
+artists were versatile, than any other but one. Probably Leonardo da
+Vinci was gifted in as many different ways as Michael Angelo, and in
+his own lines was as powerful. This Florentine's life was as tragic as
+it was restless.
+
+There is a tablet in a room of a castle which stands high upon a rocky
+mount, near the village of Caprese, which tells that Michael Angelo
+was born in that place. The great castle is now in ruins, and more
+than four hundred years of fame have passed since the little child was
+born therein.
+
+The unhappy existence of the artist seems to have been foreshadowed by
+an accident which happened to his mother before he was born. She was
+on horseback, riding with her husband to his official post at Chiusi,
+for he was governor of Chiusi and Caprese. Her horse stumbled, fell,
+and badly hurt her. This was two months before Michael Angelo was
+born, and misfortune ever pursued him.
+
+The father of Angelo was descended from an aristocratic house--the
+Counts of Canossa were his ancestors--and in that day the profession
+of an artist was not thought to be dignified. Hence the father had
+quite different plans for the boy; but the son persisted and at last
+had his way. When he was still a little child his father finished his
+work as an official at Caprese and returned to Florence; but he left
+the little Angelo behind with his nurse. That nurse was the wife of a
+stonemason, and almost as soon as the boy could toddle he used to
+wander about the quarries where the stonecutters worked, and doubtless
+the baby joy of Angelo was to play at chiseling as it is the pleasure
+of modern babies to play at peg-top. After a time he was sent for to
+go to Florence to begin his education.
+
+In Florence he fell in with a young chap who, like himself, loved art,
+but who was fortunate enough already to be apprenticed to the great
+painter of his time--Ghirlandajo. One happy day this young Granacci
+volunteered to take Michael Angelo to his master's studio, and there
+Angelo made such an impression on Ghirlandajo that he was urged by the
+artist to become his pupil.
+
+All the world began to seem rose coloured to the ambitious boy, and he
+started his life-work with enthusiasm. At that time he was thirteen
+years old, full of hope and of love for his kind; but his good fortune
+did not last long. He had hardly settled to work in Ghirlandajo's
+studio than his genius, which should have made him beloved, made him
+hated by his master. Angelo drew superior designs, created new
+art-ideas, was more clever in all his undertakings than any other
+pupil--even ahead of his master; and almost at once Ghirlandajo became
+furiously jealous. This enmity between pupil and master was the
+beginning of Angelo's many misfortunes.
+
+One day he got into a dispute with a fellow student, Torregiano, who
+broke his nose. This deformity alone was a tragedy to one like Michael
+Angelo who loved everything beautiful, yet must go through life
+knowing himself to be ill-favoured.
+
+In height he was a little man, topped by an abnormally large head
+which was part of the penalty he had to pay for his talents. He had a
+great, broad forehead, and an eye that did not gleam nor express the
+beauty of his creative mind, but was dull, and lustreless, matching
+his broken, flattened nose. Indeed he was a tragedy to himself. In the
+"History of Painting" Muther describes his unhappy disposition:
+
+"In his youthful years he never learned what love meant. 'If thou
+wishest to conquer me,' in old age he addresses love, 'give me back my
+features, from which nature has removed all beauty.' Whenever in his
+sonnets he speaks of passion, it is always of pain and tears, of
+sadness and unrequited longing, never of the fulfilment of his
+wishes."
+
+Then, too, Michael Angelo had a quarrelsome disposition, and he was
+harsh in his criticism of others. He hated Leonardo da Vinci more for
+his great physical beauty than for his genius. He quarreled with most
+of his contemporaries, never joined the assemblies of his brother
+artists, but dwelt altogether apart. His was a gloomy and melancholy
+disposition and he never found relief outside his work.
+
+He was all kinds of an artist--poet, sculptor, architect, painter--and
+although he worked with the irregularity of true genius, he worked
+indefatigably when once he began. It is said that when he was making
+his "David" he never removed his clothing the whole time he was
+employed upon the work, but dropped down when too exhausted to work
+more, and slept wherever he fell.
+
+His first flight from the workshop of Ghirlandajo was to the gardens
+of the great Florentine prince, Lorenzo de' Medici, who had sent to
+Ghirlandajo for two of his best pupils. He wished them to come to his
+gardens and study the beautiful Greek statues which ornamented
+them. The choice fell to Angelo and Granacci. Probably those statues
+in Lorenzo's garden were the first glimpses of really great art that
+Michael Angelo ever had. Certain it is that he was overwhelmed with
+happiness when he was given permission to copy what he would, and at
+once he fell to work with his chisel. His first work in that garden
+was upon the head of an old faun; and Lorenzo, walking by, curious to
+know to what use the lad was putting his opportunity, made a
+criticism:
+
+"You have made your faun old," he said, "yet you have left all the
+teeth; at such an age, generally the teeth are wanting."
+
+Angelo had nothing to say and the prince walked on, but when next he
+came that way, he found that Angelo had broken off two of the faun's
+teeth; and this recognition of his criticism pleased Lorenzo so much
+that he invited Angelo to live with him. At first his father
+objected. He felt himself to be an aristocrat, and sculpture and
+painting were indeed low occupations for his son, who he had resolved
+should be nothing less than a silk merchant. Nevertheless, the
+prince's command, united with the son's pleading, compelled the father
+to give up his cherished dream of making a merchant of him, and Angelo
+went to live in the palace.
+
+Then indeed what seemed a beautiful life opened out. He was dressed in
+fine clothing, dined with princes, and possibly he was grateful to his
+patron. Some historians say so, and add that when Lorenzo died Angelo
+wept, and returned sadly to his father's house to mourn, but this tale
+seems at odds with what else we know of Angelo's unangelic, envious
+and bitter disposition. It is quite certain, however, that with the
+death of Lorenzo, Angelo's, fortunes became greatly changed. Another
+prince followed in line--Pietro de' Medici--but he was a poor thing,
+who brought little good to anybody. He had small use for Michael
+Angelo's genius, but it is said that he did give him one
+commission. After a great storm one day, he asked him to make a
+snow-man for him, and Angelo obligingly complied. It was doubtless a
+very beautiful snow-man, but although it was Angelo's it melted in the
+night, even as if it had been Johnny's or Tommy's snow-man, and left
+no trace behind.
+
+In Rome there was a high and haughty pope on the throne--Julius
+II.--who had probably not his match for obstinacy and haughtiness,
+excepting in the great painter and sculptor. When Angelo went to Rome,
+he was bound to come in conflict with Julius for it was popes and
+princes who gave art any reason for being in those days, and the
+Church prescribed what kind of art should be cultivated. Michael was
+to come directly under the command of the pope and such a combination
+promised trouble. Kings themselves had to remove their crowns and hats
+to Julius, and why not Michael Angelo? Yet there he stood, covered,
+before the pope, opposing his greatness to that of the pope. Soderini
+says that Angelo treated the pope as the king of France never would
+have dared treat him; but Angelo may have known that kings of France
+might be born and die, times without number, while there would never
+be born another Michael Angelo. There could be nothing but antagonism
+between Angelo and Julius, and soon after the artist returned to
+Florence; but the necessity for following his profession enabled
+Julius to tame him after all, and it is said that the pope led him
+back to Rome, later, "with a halter about his neck." This must have
+been agony to Angelo.
+
+Back in Rome, he was commissioned to make a tomb for the pope. He had
+no sooner set about the preliminaries--the getting of suitable marble
+for his work--than he began to quarrel with the men who were to hew
+it. When that difficulty was settled, and the marble was got out, he
+had a set-to with the shipowners who were to transport the stone, and
+that row became so serious that the sculptor was besieged in his own
+house.
+
+At another and later time, when he was engaged upon the frescoes of
+the Sistine Chapel, he was made to work by force. He accused the man
+who had built the scaffolding upon which he must stand, or lie, to
+paint, of planning his destruction. He suspected the very assistants
+whom he, himself, had chosen to go from Florence, of having designs
+upon his life. He locked the chapel against them, and they had to turn
+away when they went to begin work. Because of his insane suspicion he
+did alone the enormous work of the frescoes. Doubtless he was half
+mad, just as he was wholly a genius.
+
+By the time he had finished those frescoes he was so exhausted and
+overworked that he wrote piteously to his people at home, "I have not
+a friend in Rome, neither do I wish nor have use for any." This of
+course was not true; or he would not have made the statement. "I
+hardly find time to take nourishment. Not an ounce more can I bear
+than already rests upon my shoulders." Even when the work was done he
+felt no happiness because of it, but complained about everything and
+everybody.
+
+If Angelo thought this an unhappy day, worse was in store for
+him. Julius II. died and in his place there came to reign upon the
+papal throne, Leo X. If Michael Angelo had been restricted in his work
+before, he was almost jailed under Leo X. Julius had been a virile,
+forceful man, and Michael Angelo was the same. Since he must be
+restrained and dictated to, it was possible for the artist to listen
+to a man who was in certain respects strong like himself, but to be
+under the thumb of a weak, effeminate person like Leo, was the tragedy
+of tragedies to Angelo. That was a marvellous time in Rome. All its
+citizens had become so pleasure-loving that the world, stood still to
+wonder. When the pope banqueted, he had the golden plates from which
+fair women had eaten hurled into the Tiber, that they might never be
+profaned by a less noble use than they had known. From all this riot
+and madness of pleasure, Michael Angelo stood aside with frowning brow
+and scornful mien. He approved of nothing and of nobody--despising
+even Raphael, the gentle and loving man whom the pleasure-crazed
+people of Rome paused to smile upon and love. The pope said that
+Angelo was "terrible," and that he filled everybody with fear.
+
+Finally, Rome so resented his frowning looks and his surly ways that
+work was provided for him at a distance. He was sent to Florence again
+to build a facade. While there, the city was conquered, and Angelo was
+one who fought for its freedom, but even so, he fled just at the
+crisis. Thus he ever did the wrong thing--excepting when he worked. In
+Florence he had planned to do mighty things, but he never accomplished
+any one of them. He planned to make a wonderful colossal statue on a
+cliff near Carrara, and also he resolved to make the tomb of Julius
+the nucleus of a "forest of statues."
+
+Michael Angelo never married, but he was burdened with a family and
+all its cares. He supported his brothers and even his nephews, and
+took care of his father. All of those people came to him with their
+difficulties and with their demands for money. He chided, quarreled,
+repelled, yet met every obligation. He would sit beside the sick-bed
+of a servant the night through, but growl at the demands of his near
+relatives--and it is not unlikely that he had good reason.
+
+At last he withdrew himself from all human society but that of little
+children, whom he cared to speak with and to please. He would have
+naught to do with men of genius like himself; and when he fell from a
+scaffolding and injured himself, the physician had to force his way
+through a barred window, in order to get into the sick man's presence
+to serve him.
+
+An illustration of his determined solitude is given in the "Young
+People's Story of Art:"
+
+"There had long been lying idle in Florence an immense block of
+marble. One hundred years before a sculptor had tried to carve
+something from it, but had failed. This was now given to Michael
+Angelo. He was to be paid twelve dollars a month, and to be allowed
+two years in which to carve a statue. He made his design in wax; and
+then built a tower around the block, so that he might work inside
+without being seen."
+
+Everything Angelo undertook bore the marks of gigantic
+enterprise. Although he never succeeded in making the tomb of Julius
+II. the central piece in his forest of statues, the undertaking was
+marvellous enough. His original plan was to make the tomb three
+stories high and to ornament it with forty statues, and if St. Peter's
+Church was large enough to hold it, the work was to be placed therein;
+but if not, a church was to be built specially to hold the tomb. When
+at last, in spite of his difficulties with workmen and shipowners, the
+marbles were deposited in the great square before St. Peter's, they
+filled the whole place; and the pope, wishing to watch the progress of
+the work and not himself to be observed, had a covered way built from
+the Vatican to the workshop of Angelo in the square, by which he might
+come and go as he chose, while an order was issued that the sculptor
+was to be admitted at all times to the Vatican. No sooner was this
+arrangement completed than Angelo's enemies frightened the pope by
+telling him there was danger in making his tomb before his death; and
+with these superstitions haunting him Julius II. stopped the work,
+leaving Angelo without the means to pay for his marbles. With the
+doors of the Vatican closed to him, Angelo withdrew, post haste to
+Florence--and who can blame him? Nevertheless, the work was resumed
+after infinite trouble on the pope's part. He had to send again and
+again for Angelo and after forty years, the work was finished. There
+the sequel of the sculptor's forty-years war with self and the world
+stands to-day in "Moses," the wonderful, commanding central figure
+which seems to reflect all the fierce power which Angelo had to keep
+in check during a life-time.
+
+The command of Julius that he should paint the ceiling of the Sistine
+Chapel aroused all his fierce resistance. He did it under protest, all
+the while accusing those about him of having designs upon his life.
+
+"I am not a painter, but a sculptor," he said.
+
+"Such a man as thou is everything that he wishes to be," the pope
+replied.
+
+"But this is an affair of Raphael. Give him this room to paint and let
+me carve a mountain!" But no, he must paint the ceiling; but to render
+it easier for him the pope told him he might fill in the spaces with
+saints, and charge a certain amount for each. This Angelo, who was
+first of all an artist, refused to do. He would do the work rightly or
+not at all. So he made his own plans and cut himself a cardboard
+helmet, into the front of which he thrust a candle, as if it were a
+Davy lamp, and he lay upon his back to work day and night at the hated
+task. During those months he was compelled to look up so continually,
+that never afterward was he able to look down without difficulty. When
+he had finished the work Julius had some criticisms to make.
+
+"Those dresses on your saints are such poor things," he said. "Not
+rich enough--such very poor things!"
+
+"Well, they were poor things," was Angelo's answer. "The saints did
+not wear golden ornaments, nor gold on their garments."
+
+After Julius II. and Leo X. came Pope Paul III., and he, like the
+other two, determined to have Angelo for his workman. Indeed all his
+life, Michael Angelo's gifts were commanded by the Church of Rome. It
+was for Paul III. he painted the "Last Judgment." His former work upon
+the Sistine Chapel had been the story of the creation. All his work
+was of a mighty and allegorical nature; tremendous shoulders, mighty
+limbs, herculean muscles that seemed fit to support the
+universe. These allegories are made of hundreds of figures. To-day
+they are still there, though dimmed by the smoke of centuries of
+incense, and dismembered by the cracking of plaster and disintegration
+of materials.
+
+Angelo's methods of work, as well as their results, were
+oppressive. In his youth, while trying to perfect himself in his study
+of the human form, he drew or modelled, from nude corpses. He had
+these conveyed by stealth from the hospital into the convent of Santo
+Spirito, where he had a cell and there he worked, alone.
+
+He was concentrated, mentally and emotionally, upon himself. The only
+remark he made after the blow from Torregiano was, "You will be
+remembered only as the man who broke my nose!" This proved nearly
+true, since Torregiano was banished, and murdered by the Spanish
+Inquisition.
+
+All sorts of anecdotes have floated through the centuries concerning
+this man and his work. For example, he made a statue of a sleeping
+cupid, which was buried in the ground for a time that it might assume
+the appearance of age, and pass for an antique. Afterward it was sold
+to the Cardinal San Giorgio for two hundred ducats, though Michael
+Angelo received only thirty. Nevertheless, he died a rich man, after
+having cared for a numerous family, while he himself lived like a man
+without means. All the tranquillity he ever knew he enjoyed in his old
+age.
+
+It was characteristic of his perversity that he left his name upon
+nothing that he made, with one exception. Vasari relates the story of
+that exception:
+
+"The love and care which Michael Angelo had given to this group, 'In
+Paradise,' were such that he there left his name--a thing he never did
+again for any work--on the cincture which girdles the robe of Our
+Lady; for it happened one day that Michael Angelo, entering the place
+where it was erected, found a large assemblage of strangers from
+Lombardy there, who were praising it highly; one of them asking who
+had done it, was told, 'our Hunchback of Milan'; hearing which Michael
+Angelo remained silent, although surprised that his work should be
+attributed to another. But one night he repaired to St. Peter's with a
+light and his chisels, to engrave his name on the figure, which seems
+to breathe a spirit as perfect as her form and countenance."
+
+If his youth had been given to sculpture, his maturity to the painting
+of wondrous frescoes, so his old age was devoted to architecture, and
+as architect he rebuilt the decaying St. Peter's. In this work he felt
+that he partly realised his ideal. Sculpture meant more to him, "did
+more for the glory of God," than any other form of art. When he had
+finished his work on St. Peter's, he is said to have looked upon it
+and exclaimed: "I have hung the Pantheon in the air!"
+
+This colossal genius died in Rome, and was carried by the light of
+torches from that city back to his better loved Florence, where he was
+buried. His tomb was made in the Santa Croce, and upon it are three
+female figures representing Michael Angelo's three wonderful arts:
+Architecture, sculpture and painting. No artist was greater than he.
+
+His will committed "his soul to God, his body to the earth, and his
+property to his nearest relatives."
+
+  PLATE--DANIEL
+
+This wonderful painting is a part of the decoration of the Sistine
+Chapel in Rome. The picture of the prophet tells so much in itself,
+that a description seems absurd. It is enough to call attention to the
+powerful muscles in the arm, the fall of the hand, and then to speak
+of the main characteristics of the artist's pictures.
+
+It is extraordinary that there is no blade of grass to be found in any
+painting by Michael Angelo. He loved to paint but one thing, and that
+was the naked man, the powerful muscles, or the twisted limbs of those
+in great agony. He loved only to work upon vast spaces of ceiling or
+wall. Look at this picture of Daniel and see how like sculpture the
+pose and modelling appear to be. First of all, Michael Angelo was a
+sculptor, and most of the painting which fate forced him to do has the
+characteristics of sculpture.
+
+One critic has remarked that he loves to think of this strange man
+sitting before the marble quarry of Pietra Santa and thinking upon all
+the beings hidden in the cliff--beings which he should fashion from
+the marble.
+
+It was said that in Michael Angelo's hands the Holy Family became a
+race of Titans, and where others would have put plants or foliage,
+Angelo placed men and naked limbs to fill the space. When his subject
+made some sort of herbage necessary, he invented a kind of mediæval
+fern in place of grass and familiar leaves. Everything appears brazen
+and hard and mighty, suggestive of Angelo's own throbbing spirit and
+maddened soul. Most of his work, when illustrated, must be shown not
+as a whole but in sections, but one can best mention them as entire
+picture themes. On the ceiling of the Sistine Chapel are nine frescoes
+describing "The Creation of The World," "The Fall of Man" and "The
+Deluge." "The Last Judgment" occupies the entire altar wall in the
+same chapel of the Vatican. "The Holy Family" is in the Uffizi
+Gallery, Florence.
+
+
+
+
+III
+
+ARNOLD BÖCKLIN
+
+
+  (Pronounced Bek'-lin)
+  _Modern German School (Düsseldorf)_
+  1827-1901
+
+This splendid artist is so lately dead that it does not seem proper
+yet to discuss his personal history, but we can speak understandingly
+of his art, for we already know it to be great art, which will stand
+the test of time. His imagination turned toward subjects of solemn
+grandeur and his work is very impressive and beautiful.
+
+He was born in Basel, "one of the most prosaic towns in Europe." His
+father was a Swiss merchant, and not poor; thus the son had ordinarily
+good chances to make an artist of himself. He was born at a time when
+to be an artist had long ceased to be a reproach, and men no longer
+discouraged their sons who felt themselves inspired to paint great
+pictures.
+
+When Böcklin was nineteen years old he took himself to Düsseldorf,
+with his merchant father's permission, and settled down to learn his
+art, but in that city he found mostly "sentimental and anecdotal"
+pictures being painted, which did not suit him at all. Then he took
+himself off to Brussels, where again he was not satisfied, and so went
+to Paris. But while in Brussels he had copied many old masters, and
+had advanced himself very much, so that he did not present himself in
+Paris raw and untried in art.
+
+At first he studied in the Louvre, then went to Rome, seeking ever the
+best, and being hard to satisfy. He found rest and tranquillity in
+Zürich, a city in his native country, but it was Italy that had most
+influenced his work.
+
+He loved the Campagna of Rome with its ruins and the sad grandeur of
+the crumbling tombs lining its way, and therefore a certain
+mysterious, grand, and solemn character made his pictures unlike those
+of any other artist. He loved to paint in vertical (up-and-down)
+fines, rather than with the conventional horizontal outlines that we
+find in most paintings. This method gives his pictures a different
+quality from any others in the world.
+
+He loved best of all to paint landscape, and it is said of him that
+"as the Greeks peopled their streams and woods and waves with
+creatures of their imagination, so Böcklin makes the waterfall take
+shape as a nymph, or the mists which rise above the water source
+wreathe into forms of merry children; or in some wild spot hurls
+centaurs together in fierce combat, or makes the slippery, moving wave
+give birth to Nereids and Tritons."
+
+Muther, art-critic and biographer, calls our attention to the
+similarity between Wagner's music and Böcklin's painting. While Wagner
+was "luring the colours of sound from music," Böcklin's "symphonies of
+colour streamed forth like a crashing orchestra," and he calls him the
+greatest colour-poet of the time.
+
+In appearance Böcklin was fine of form, healthy and wholesome in all
+his thoughts and way of living. In 1848 he took part in revolutionary
+politics and later this did him great harm. Only the influence of his
+friends kept him from ruin. After the Franco-Prussian war he was made
+Minister of Fine Arts. In this office he rendered great service; but
+because he had to witness the wrecking of the Column Vendôme in order
+to save the Louvre and the Luxembourg from the mob, he was censured;
+indeed so heavy a fine was imposed that it took his whole fortune to
+pay it; and he was banished into the bargain. From 1892 to 1901 he
+lived in or near Florence, and he died at Fiesole, January 16th, 1901.
+
+  PLATE--THE ISLE OF THE DEAD
+
+This picture is perhaps the greatest of the many great Arnold Böcklin
+paintings, and it is both fascinating and awe-inspiring.
+
+It best shows his liking for vertical lines in art. The Isle of the
+Dead is of a rocky, shaft-like formation in which we may see hewn-out
+tombs; and there, tall cypress trees are growing.
+
+The traces of man's work in the midst of this sombre, ideal, and
+mystic scene add to the impressiveness of the picture. The isle stands
+high and lonely in the midst of a sea.
+
+The water seems silently to lap the base of the rocks and the trees
+are in black shadow, massed in the centre. It looks very mysterious
+and still. There is a stone gateway touched with the light of a dying
+day. It is sunset and the dead is being brought to its resting place
+in a tiny boat, all the smaller for its relation to the gloomy
+grandeur of the isle which it is approaching. One figure is standing
+in the boat, facing the island, and the sunlight falls full upon his
+back and touches the boat, making that spot stand out brilliantly from
+all the rest of the picture.
+
+Among Böcklin's paintings are "Naiads at Play," which hangs in the
+Museum at Basel, "A Villa by the Sea," "The Sport of the Waves,"
+"Regions of Joy," "Flora," and "Venus Dispatching Cupid."
+
+
+
+
+IV
+
+MARIE-ROSA BONHEUR
+
+
+  (Pronounced Rosa Bon-er)
+  _French School_
+  1822-1895
+  _Pupil of Raymond B. Bonheur_
+
+Rosa Bonheur, Landseer, and Murillo maybe called "Children's Painters"
+in this book because they painted things that children, as well as
+grown-ups, certainly can enjoy. To be sure, Murillo was a very
+different sort of artist from Rosa Bonheur or Landseer, but if the two
+latter painted the most beautiful, animals--dogs, sheep, and
+horses--Murillo painted the loveliest little children.
+
+Rosa was the best pupil of her father; Raymond B. Bonheur. In Bordeaux
+they lived together the peaceful life of artists, the father being
+already a well known painter when his daughter was born. She became,
+as Mr. Hamerton, who knew her, said, "the most accomplished female
+painter who ever lived ... a pure, generous woman as well and can
+hardly be too much admired ... as a woman or an artist. She is simple
+in her tastes and habits of life and many stories are told of her
+generosity to others."
+
+After a time the Bonheurs moved to Paris where young Rosa could have
+better opportunities; and there she put on man's clothing, which she
+wore all her life thereafter. She wore a workingman's blouse and
+trousers, and tramped about looking more like a man than a woman with
+her short hair. This, made everybody stare at her and think her very
+queer, but people no longer believe that she dressed herself thus in
+order to advertise herself and attract attention; but because it was
+the most convenient costume for her to get about in. She went to all
+sorts of places; the stockyards, slaughter houses, all about the
+streets of Paris, to learn of things and people, especially of
+animals, which she wished most to paint. She could hardly have gone
+about thus if she had worn women's clothing.
+
+Rosa Bonheur exhibited her first painting at the _Salon_ in 1841, and
+this was twelve years before her beloved father died; thus he had the
+happiness of knowing that the daughter whom he had taught so lovingly
+was on the road to success and fortune. He knew that when fortune
+should come to her she would use it well. The year that she exhibited
+her work in the _Salon_ she painted only two little pictures--one of
+rabbits, the other of sheep and goats--but they were so splendidly
+done that all the critics knew a great woman artist had arrived.
+
+It was then that her enemies, those who were becoming jealous of her
+work, said that she was wearing men's clothing in order to attract
+attention to herself.
+
+Soon her work began to be bought by the French Government, which was a
+sure sign of her power. She was already much beloved by the people. In
+the meantime we in America and others in England had heard of
+Mademoiselle Bonheur, but we heard far less about her painting than we
+did about her masculine garb. We thought of her mostly as an eccentric
+woman; but one day came "The Horse Fair," and all the world heard of
+that, so the artist was to be no longer judged by the clothes she wore
+but by her art. Finally, she received the cross of the Legion of
+Honour, and also was made a member of the Institute of Antwerp.
+
+She lived near Fontainebleau; her studio a peaceful retired home, till
+the Franco-Prussian war came about. Then she and others began to fear
+that her studio and pictures would be destroyed, so the artist was
+forced to stop her work and prepared to go elsewhere. But the Crown
+Prince of Prussia himself ordered that Mademoiselle Bonheur should not
+even be disturbed. Her work had made her belong to all the world and
+all the world was to protect her if need be.
+
+Rosa Bonheur had a brother who, some critics said, was the better
+artist, but if that were true it is likely that his popularity would
+in some degree have approached that of his sister. Rosa Bonheur did
+not paint many large canvases, but mostly small ones, or only
+moderately large; but when she painted sheep it seems that one might
+shear the wool, it stands so fleecy and full; while her horses rampage
+and curvet, showing themselves off as if they were alive.
+
+  PLATE--THE HORSE FAIR
+
+This picture was exhibited all over the world very nearly. It was
+carried to England and to America, and won admiration wherever it was
+seen. Finally it was sold in America. It was first exhibited in 1853,
+the year in which the artist's father died. Mr. Ernest Gambart was the
+first who bought the picture, and he wrote of it to his friend,
+Mr. S.P. Avery: "I will give you the real history of 'The Horse Fair,'
+now in New York. It was painted in 1852, by Rosa Bonheur, then in her
+thirtieth year, and exhibited in the next _Salon_. Though much admired
+it did not find a purchaser. It was soon after exhibited in Ghent,
+meeting again with much appreciation, but was not sold, as art did not
+flourish at the time. In 1855 the picture was sent by Rosa Bonheur to
+her native town of Bordeaux and exhibited there. She offered to sell
+it to the town at the very low price 12,000 francs ($2,400). While
+there, I asked her if she would sell it to me, and allow me to take it
+to England and have it engraved. She said: 'I wish to have my picture
+remain in France. I will once more impress on my countrymen, my wish
+to sell it to them for 12,000 francs. If they refuse, you can have it,
+but if you take it abroad, you must pay me 40,000 francs.' The town
+failing to make the purchase, I at once accepted these terms, and Rosa
+Bonheur then placed the picture at my disposal. I tendered her the
+40,000 francs and she said: 'I am much gratified at your giving me
+such a noble price, but I do not like to feel that I have taken
+advantage of your liberality; let us see how we can combine in the
+matter. You will not be able to have an engraving made from so large a
+canvas. Suppose I paint you a small one from the same subject, of
+which I will make you a present.' Of course I accepted the gift, and
+thus it happened that the large work went travelling over the kingdom
+on exhibition, while Thomas Landseer was making an engraving from the
+quarter-size replica.
+
+"After some time (in 1857 I think), I sold the original picture to
+Mr. William P. Wright, New York (whose picture gallery and residence
+were at Weehawken, N.J.), for the sum of 30,000 francs, but later I
+understood that Mr. Stewart paid a much larger price for it on the
+breaking up of Mr. Wright's gallery. The quarter size replica, from
+which the engraving was made, I finally sold to Mr. Jacob Bell, who
+gave it in 1859 to the nation, and it is now in the National Gallery,
+London. A second, still smaller replica, was painted a few years
+later, and was resold some time ago in London for £4,000
+($20,000). There is also a smaller water-colour drawing which was sold
+to Mr. Bolckow for 2,500 guineas ($12,000), and is now an heirloom
+belonging to the town of Middlesbrough. That is the whole history of
+this grand work. The Stewart canvas is the real and true original, and
+only large size 'Horse-Fair.'
+
+"Once in Mr. Stewart's collection, it never left his gallery until the
+auction sale of his collection, March 25th, 1887, when it was
+purchased by Mr. Cornelius Vanderbilt for the sum of $55,000, and
+presented to the Metropolitan Museum of Art."
+
+And thus we have the whole story of the "Horse-Fair." The picture is
+93-1/2 inches high, and 197 inches wide, and it contains a great
+number of horses, some of which are ridden, while others are led, and
+all are crowding with wild gaiety toward the fair where it is quite
+plain they know they are about to be admired and their beauty shown to
+the best advantage. Other well-known Rosa Bonheurs are "Ploughing,"
+"Shepherd Guarding Sheep," "Highland Sheep," "Scotch Deer," "American
+Mustangs," and "The Study of a Lioness."
+
+
+
+
+V
+
+ALESSANDRO BOTTICELLI
+
+
+  (Pronounced Ah-lays-sahn'dro Bo't-te-chel'lee)
+  _Florentine School,_
+  1447-1510 (Vasari's dates)
+  _Pupil of Filippo Lippi and Verrocchio_
+
+Botticelli took his name from his first master, as was the fashion in
+those days. The relation of master and apprentice was very close, not
+at all like the relation of pupil and teacher to-day.
+
+Botticelli's father was a Florentine citizen, Mariano Filipepi, and he
+wished his son to become a goldsmith; hence the lad was soon
+apprenticed to Botticelli, the goldsmith. As a scholar, the little
+goldsmith had not distinguished himself. Indeed it is said that as a
+boy he would not "take to any sort of schooling in reading, writing,
+or arithmetic." It cannot be said that this failure distinguished him
+as a genius, or the world would be full of genius-boys; but the result
+was that he early began to learn his trade.
+
+Fortunately for him and us, Botticelli, the smith, was a man of some
+wisdom and when he saw that the lad originated beautiful designs and
+had creative genius he did not treat the matter with scorn, as the
+master of Andrea del Sarto had done, but sent him instead to Fra
+Filippo (Lippo Lippi) to be taught the art of painting. So kind a deed
+might well establish a feeling of devotion on little Alessandro's part
+and make him wish to take his master's name.
+
+Fra Filippo was a Carmelite monk, merry and kindly; simple, good, and
+gifted, but his temperament did not seem to influence his young
+pupil. Of all unhappy, morbid men, Botticelli seems to have been the
+most so, unless we are to except Michael Angelo.
+
+After studying with the monk, Botticelli was summoned by Pope Sixtus
+IV. to Rome to decorate a new chapel in the Vatican. Before that time
+his whole life had been greatly influenced by the teachings of
+Savonarola who had preached both passionately and learnedly in
+Florence, advocating liberty. From the time he fell under Savonarola's
+wonderful power, the artist grew more and more mystic and morbid. In
+Rome it was the custom to have the portraits of conspirators, or
+persons of high degree who were revolutionary or otherwise
+objectionable to the state, hung outside the Public Palace, and in
+Botticelli's time there was a famous disturbance among the aristocrats
+of the state. In 1478 the powerful Pazzi family conspired against the
+Medici family, which then actually had control. It was Botticelli who
+was engaged to paint the portraits of the Pazzi family, which to their
+shame and humiliation were to be displayed upon the palace walls.
+
+One peculiarity of this artist's pictures was that he used actual
+goldleaf to make the high lights upon hair, leaves, and draperies. The
+effect of the use of this gold was very beautiful, if unusual, and it
+may have been that his apprenticeship as a goldsmith suggested to him
+such a device.
+
+Also it was he who created certain characteristics of painting that
+have since been thought original with Burne-Jones. This was the use of
+long stiff lily-stalks or other upright details in his compositions.
+Examples of this idea, which produced so weird an effect, will be
+found in his allegory of "Spring," where stiff tree-trunks form a part
+of the background. In the "Madonna of the Palms" upright lily-stalks
+are held in pale and trembling hands. Like Michael Angelo, who came
+years afterward, Botticelli was a guest of the great Lorenzo the
+"Magnificent," in Florence. It was by Botticelli's hand that the
+greater painter sent a letter to Lorenzo from a duchess friend who was
+also his patron. This was in Angelo's youth; in Botticelli's old age.
+
+All his life was a drama of morbid seeking after the unattainable, and
+finally he became so poor and helpless that in his old age he would
+have starved had Lorenzo de' Medici not taken care of him. Lorenzo and
+other friends who in spite of his gloominess admired his real piety,
+gathered about him and kept him from starvation.
+
+On his "Nativity," Botticelli wrote: "This picture I, Alessandro,
+painted at the end of the year 1500 in the troubles of Italy, in the
+halftime after the time, during the fulfilment of the eleventh of
+John, in the second woe of the Apocalypse, in the loosing the devil
+for three and a half years. Afterward he shall be chained according to
+the twelfth of John, and see him trodden down as in this picture." All
+of this is interesting because Botticelli himself wrote it, but it is
+not very easily understood by any child, nor by many grown people.
+
+Botticelli did some very extraordinary things, but whether they are
+beautiful or not one must decide for himself. They are paintings so
+characteristic that one must think them very beautiful or else not at
+all so.
+
+  PLATE--LA PRIMAVERA
+  _(Spring)_
+
+In this picture we have the forerunner of a modern painter, because we
+see in it certain, qualities that we find in Böcklin. Look at the
+effect of vertical lines; the tree trunks, and the poses of the
+slender women. Over all hovers a cupid who is sending love-shafts into
+the hearts of all in springtime.
+
+Notice the lacy effect of the flowers that bestar the wind-blown gown
+of "La Primavera," the fern-like leaves that fleck the background; the
+draperies that do not conceal the forms of the nymphs of the lovely
+springtime.
+
+The very spirit of spring is seen in all the half-floating,
+half-dancing, gliding, diaphanous figures of the forest. The flowers
+of "La Primavera's" crown are blue and white cornflowers and
+primroses. She scatters over the earth tulips, anemones, and
+narcissus. The painting is allegorical and unique. Never were such
+fluttering odds and ends of draperies painted before, nor such
+fascinating effects had from canvas, paint, or brush. The picture
+hangs in Florence in the Uffizi Gallery. A German critic tells us that
+the "Realm of Venus," is a better title for this picture, and that it
+was painted after a poem of that name.
+
+Other pictures by this artist are: "The Birth of Venus," "Pallas,"
+"Judith," "Holofernes," "St. Augustine," "Adoration of the Magi," and
+"St. Sebastian."
+
+
+
+
+VI
+
+WILLIAM ADOLPHE BOUGUEREAU
+
+
+  (Pronounced W. A'dolf Bou-gair-roh)
+  _French (Genre) School_
+  1825-1905
+  _Pupil of Picot and the Ecole des Beaux-Arts_
+
+Bouguereau's business-like father meant his son also to be
+business-like, but he made the mistake of permitting him to go to a
+drawing school in Bordeaux and there, to his father's chagrin, the
+youngster took the annual prize. After that there seemed nothing for
+the father to do but grin and bear it, because the son decided to be
+an artist and had fairly won his right to be one.
+
+Young Bouguereau had no money, and therefore he went to live with an
+uncle at Saintonge, a priest, who had much sympathy with the boy's
+wish to paint, and he left him free to do the best he could for
+himself in art. He got a chance to paint some portraits, and when he
+and his uncle talked the matter over It was decided that he should
+take the money got for them, and go to Paris. It was there that he
+sought Picot, his first truly helpful teacher; and there, for the
+first time he learned more than he already knew about art.
+
+All Bouguereau's opportunities in life were made by himself, by his
+own genius. No one gave him anything; he earned all. He longed to go
+to Italy, and in the Ecole des Beaux-Arts he won the Prix de Rome,
+which made possible a journey to the land of great artists. The French
+Government began to buy his work, and he began to receive commissions
+to decorate walls in great buildings; thus, gradually, he made for
+himself fame and fortune.
+
+When this artist undertook to paint sacred subjects, of great dignity,
+he was not at his best; but when he chose children and mothers and
+everyday folk engaged about their everyday business, he painted
+beautifully. Americans have bought many of his pictures and he has had
+more popularity in this country than anywhere outside of France.
+
+Some authorities give the birthplace of Bouguereau as La Rochelle; at
+any rate he died there at midnight, on the nineteenth of August, 1905.
+
+  PLATE--THE VIRGIN AS CONSOLER
+
+The main distinction about this artist's pictured faces is the
+peculiarly earnest expression he has given to the eyes. In this
+picture of the Virgin there is great genius in the pose and death-look
+of the little child whose mother has flung herself across the lap of
+Mary, abandoned to her agony. This painting is hung in the
+Luxembourg. Others by the same master are called "Psyche and Cupid"
+"Birth of Venus," "Innocence," and "At the Well."
+
+
+
+
+VII
+
+SIR EDWARD BURNE-JONES
+
+
+  _English (Pre-Raphaelite) School_
+  1833-1898
+  _Pupil of Rossetti_
+
+This artist has been called the most original of all contemporaneous
+artists. He has also been called the "lyric painter"; meaning that he
+is to painting what the lyric poet is to literature. His work once
+known can almost always be recognised wherever seen afterward. He did
+not slavishly follow the Pre-Raphaelite school, yet he drew most of
+his ideas from its methods. He was, in the use of stiff lines, a
+follower of Botticelli, and not original in that detail, as some have
+seemed to think.
+
+  PLATE--CHANT D'AMOUR
+  _(The Love-Song)_
+
+This is a picture in the true Burne-Jones style: a beautiful woman in
+billowy draperies, playing upon a harp forms the central figure of the
+group of three--a listener on either side of her. There is the
+attractiveness of the Burne-Jones method about this picture, but after
+all there seems to be no very good reason for its having been
+painted. The subject thus treated has only a negative value, and
+little suggestion of thought or dramatic idea.
+
+Another picture of this artist, in which his use of stiff draperies is
+specially shown, is that of the women at the tomb of Christ, when they
+find the stone rolled away and, looking around, see the Saviour's
+figure before them. The scene is low and cavern-like, with a brilliant
+light surrounding the tomb. This artist also painted "The Vestal
+Virgin," "King Cophetua and the Beggar Maid," "Pan and Psyche," "The
+Golden Stairs," and "Love Among the Ruins."
+
+
+
+
+VIII
+
+JOHN CONSTABLE
+
+
+  _English School_
+  1776-1837
+  _Pupil of the Royal Academy_
+
+John Constable was the son of a "yeoman farmer" who meant to make him
+also a yeoman farmer. Mostly we find that the fathers of our artists
+had no higher expectations for their sons than to have them take up
+their own business; to begin as they had, and to end as they expected
+to. But in John Constable's case, as with all the others, the father's
+methods of living did not at all please the son, and having most of
+all a liking for picture-making; young John set himself to planning
+his own affairs.
+
+Nevertheless, the foundation of John's art was laid right there in the
+Suffolk farmer's home and conditions. He was born in East Bergholt,
+and the father seems to have believed in windmills, for early in life
+the signs of wind and weather became a part of the son's education. He
+learned a deal more of atmospheric conditions there on his father's
+windmill planted farm than he could possibly have learned shut up in a
+studio, French fashion. As a little boy he came to know all the signs
+of the heavens; the clouds gathering for storm or shine; the bending
+of the trees in the blast; all of these he loved, and later on made
+the principal subjects of his art. He learned to observe these things
+as a matter of business and at his father's command; thus we may say
+that he studied his life-work from his very infancy. All about him
+were beautiful hedgerows, picturesque cottages with high pitched roofs
+covered with thatch, and it was these beauties which bred one other
+great landscape painter besides Constable, of whom we shall presently
+speak, Gainsborough.
+
+At last, graduating from windmills, John went to London. He had a
+vacation from the work set him by his father, and for two years he
+painted "cottages, studied anatomy," and did the drudgery of his art;
+but there was little money in it for him, and soon he had to go into
+his father's counting house, for windmills seemed to have paid the
+elder Constable, considerably better than painting promised to pay
+young John.
+
+John doubtless liked counting-house work even less than he had done
+the study of windmills and weather in his father's fields. He was a
+most persistent fellow, however, and finally he returned to London, to
+study again the art he loved, this time in the Royal Academy, which
+meant that he had made some progress.
+
+His father gave him very little aid to do the things he longed to do,
+but after his father's death he found that a little money was coming
+to him from the estate--£4,000. He had already triumphed over his
+difficulties by painting his first fine pictures; he now knew that he
+was to become a successful artist, and be able to take care of himself
+and a wife. Though in love, he had hitherto been too poor to
+marry. His first splendid work was "Dedham Vale."
+
+Though things were going very well with him, it was not until Paris
+discovered him that he achieved great success. In 1824 he painted two
+large pictures which he took to Paris, and there he found fame. The
+best landscape painting in France dates from the time when Constable's
+works were hung in the Louvre, to become the delight of all
+art-lovers.
+
+He received a gold medal from Charles X., and became more honoured
+abroad than he had ever been at home.
+
+Constable had many enemies, and made many more after he became an
+Academician. Some artists, who would have liked that honour and who
+could not gain it for themselves, declared that Constable painted
+"with a palette knife," though it certainly would not have mattered if
+he had, since he made great pictures.
+
+He painted things exactly as he saw them, and was not a popular
+artist. Most of all, he loved to paint the scenes that he had known so
+well in his youth, and he did them over and over again, as if the
+subject was one in which he wished to reach perfection.
+
+When he died he left a picture, "Arundel Castle and Mill," standing
+with its paint wet upon his easel for he passed away very suddenly, on
+April 1st, leaving behind him many unsold paintings.
+
+He was a sensitive chap, and throughout his youth was greatly
+distressed by the differences of opinion between himself and his
+father. He was torn asunder between a sense of duty and his own wish
+to be an artist; and his greatest consolation in this situation was in
+the friendship he had formed for a plumber, who, like himself, dearly
+loved art. The plumber's name was John Dunthorne, and the two men
+wandered about the country, when not employed at their regular work,
+and together, by streams and in fields, painted the same scenes. At
+one time they hired a little room in the neighbouring village which
+they made into a studio. Constable was a handsome fellow in his youth
+and was known to all as the "handsome miller." His father, the yeoman
+farmer with the windmills, was also a miller.
+
+In London he became acquainted with one John Smith, known as
+"Antiquity Smith," who taught him something of etching. After he was
+recalled to his father's business, his mother wrote to "Antiquity
+Smith," that she hoped John "would now attend to business, by which he
+will please me and his father, and ensure his own respectability and
+comfort"--a complete expression of the middle-class British mind. Her
+satisfaction was short-lived, for her son soon returned to London.
+
+When his first pictures were rejected by the Royal Academy he showed
+one of them to Sir Benjamin West, who said hopefully: "Don't be
+disheartened, young man, we shall hear of you again; you must have
+loved nature very much before you could have painted this."
+
+About that time he tried to paint many kinds of pictures, such as
+portraits and sacred subjects, but he did not seem to succeed in
+anything except the scenes of his boyhood, which he truly loved. Hence
+he gave up attempting that which he could do only passably, and kept
+to what he could do supremely well.
+
+When his friends wished him to continue portrait painting, the only
+thing that was well paid at that time, Constable wrote: "You know I
+have always succeeded best with my native scenes. They have always
+charmed me, and I hope they always will. I have now a path marked out
+very distinctly for myself, and I am desirous of pursuing it
+uninterruptedly."
+
+About the time he fell in love and before his father's death, his
+health began to fail, and the young woman's mother would have none of
+him. Her father was in favour of Constable, but he could not hold out
+against the chance of his daughter losing her grandfather's fortune by
+marrying the wrong man.
+
+The lady was not so distractingly in love as young Constable was, and
+she did not entirely like the idea of poverty, even with John, so she
+held off, and with so much anxiety Constable became downright ill. For
+five years the pair lived apart, and then the artist and the young
+woman, whose name was Maria Bicknell, lost their mothers about the
+same time, This drew them very closely together; and to help the
+matter on, John's attendance upon his father in his last illness
+brought him to the same town as Miss Bicknell. After his father's
+death, he urged the young lady so strongly to be his wife that she
+consented They were married and her father soon forgave her, but not
+so her grandfather, who declared that he never would forgive her, but
+he really must have done so from the first, for when he died it was
+found that he had left her a little fortune of £4,000. This was about
+the same amount the artist had received from his father, so that they
+were able to get on very well.
+
+After Constable's marriage he went on a visit to Sir George Beaumont,
+and there an amusing incident occurred which is known to-day as the
+story of Sir George's "brown tree." It seems that Constable's ideas of
+colour for his landscapes were so true to nature that a good many
+people did not approve of them, and one day while painting, Sir George
+declared that the colour of an old Cremona fiddle was the best model
+of colour tone that a landscape could have. Constable's only answer
+was to place the fiddle on the green lawn in front of the house. At
+another time his host asked the artist, "Do you not find it very
+difficult to determine where to place your brown tree?" "Not at all,"
+was Constable's reply, "for I never put such a thing into a picture in
+my life."
+
+In painting one picture many times he declared, "Its light cannot be
+put out because it is the light of nature." A Frenchman called
+attention to one of his pictures thus: "Look at these landscapes by an
+Englishman. The ground appears to be covered with dew."
+
+Notwithstanding the little fortune of his wife and himself, Constable
+was not quite carefree, because he had to raise a good sized family of
+six children so that when his wife's father died and left his daughter
+£20,000 he said to a friend: "Now I shall stand before a six-foot
+canvas with a mind at ease, thank God!" In the very midst of this
+happiness, his beloved wife became ill with consumption, and was
+certain to die. He no longer cared very much for life and wrote very
+sadly:
+
+"I have been ill, but am endeavouring to get work again, and could I
+get afloat upon a canvas of six feet, I might have a chance of being
+carried from myself." When he became a member of the Royal Academy, he
+said: "It has been delayed until I am solitary and cannot impart it,"
+meaning that without his dear wife to share his good fortune, it
+seemed an empty honour to him.
+
+Strange things are told which show how little his work was valued by
+his countrymen. After he had become a member of the Academy one of his
+small pictures was entered but rejected; nobody knowing anything about
+it. It was put on one side among the "outsiders." Finally, one of his
+fellow members glancing at it was attracted.
+
+"Stop a bit! I rather like that. Why not say 'doubtful'?" Later
+Constable acknowledged the picture as his, and then they wished to
+hang it, but he refused to let them. Another Academy story is about
+his picture "Hadleigh Castle." On Varnishing Day, Chartney, a
+brilliant critic, told Constable that the foreground of the picture
+was "too cold," and so he undertook to "warm it," by giving it a
+strong glaze with asphaltum with Constable's brush which he snatched
+from the artist's hand. Constable gazed at him in horror. "Oh! there
+goes all my dew," he cried, and when Chartney's back was turned he
+hurriedly wiped the "warmth" all away and got back his "dew."
+
+Even the amusing things that happened to him, seem to have a little
+sadness about them. He wrote to a friend: "Beechey was here yesterday,
+and said: 'Why d--n it Constable, what a d--n fine picture you are
+making; but you look d--n ill, and you've got a d--n bad cold!' so,"
+added Constable, "you have evidence on oath of my being about a fine
+picture and that I am looking ill."
+
+An illustration of his painstaking and truthfulness to nature is that
+he once took home with him from a visit bottles of coloured sand and
+fragments of stone which he meant to introduce into a picture; and on
+passing some slimy posts near a mill, he said to his host, "I wish you
+could cut those off and send their tops to me."
+
+Constable was a loyal friend, the most persistent of men, and several
+anecdotes are told of his characteristics. His friend Fisher said to
+him:
+
+"Where real business is to be done, you are the most energetic and
+punctual of men. In smaller matters, such as putting on your breeches,
+you are apt to lose time in deciding which leg shall go in first."
+
+  PLATE--THE HAY WAIN
+
+This picture was first called "Landscape," and it was painted in
+1821. In his letters about it, however, Constable also called it
+"Noon," and others wrote of it as "Midsummer Noon." This tells us what
+a wealth of hot sunlight is suggested by the painting.
+
+It shows a little farmhouse upon the bank of a stream, a spot well
+known as "Willy Lott's Cottage." The owner had been born there and he
+died there eighty-eight years later, without ever having left his
+cottage for four whole days in all those years. Upon the tombstone of
+Lott, which is in the Bergholt burial ground, his epitaph calls the
+house "Gibeon Farm." It was a favourite scene with Constable, and he
+painted it many times from every side. It is the same house we see in
+the "Mill Stream," another Constable painting, and again in "Valley
+Farm." In this last picture he painted the side opposite to the one
+shown in the "Hay Wain."
+
+The stream near which the house stands spreads out into a ford, and in
+the picture the hay cart, with two men upon it, is passing through the
+ford. The horses are decked out with red tassels. On the right of the
+stream there is a broad meadow, golden green in the sunlight, "with
+groups of trees casting cool shadows on the grass, and backed by a
+distant belt of woodland of rich blues and greens." On the right is a
+fisherman, half hidden by a bush, standing near his punt.
+
+Constable wrote to his friend, Fisher, "My picture goes to the Academy
+on the tenth." This was written on April 1st, 1821. "It is not so
+grand as Tinney's." This shows us, that Constable had not vanity
+enough to interfere with his self-criticism. Again in a letter written
+to him by a friend: "How does the 'Hay Wain' look now it has got into
+your own room again?" adding that he wished to see it there, away from
+the Academy which to him was always "like a great pot of boiling
+varnish."
+
+Later Fisher wrote: "I have a great desire to possess your 'Wain,' but
+I cannot now reach what it is worth;" and he begged Constable not to
+sell it without giving him a chance to try once more to raise the
+money to buy it. He wrote that the picture would become of greater
+value to his children if the artist left it hanging upon the walls of
+the Academy, "till you join the society of Ruysdael, Wilson, and
+Claude. As praise and money will then be of no value to you, the world
+will liberally bestow both."
+
+Later a Frenchman wished to buy it for exhibition purposes, and when
+Constable wrote to Fisher of this, his friend replied that he had
+better sell it to the Frenchman "for the sake of the _éclat_ it may
+give you. The stupid English public, which has no judgment of its own,
+will begin to think there is something in it if the French make your
+works national property. You have long lain under a mistake; men do
+not purchase pictures because they admire them, but because others
+covet them."
+
+Finally, the "Hay Wain" was sold to the French dealer for £250, and
+Constable threw in a picture of Yarmouth for good measure. Later a
+friend declared that he had created a good deal of argument about
+landscape painting, and that there had come to be two divisions, for
+he had practically founded a new school. He received a gold medal for
+the "Hay Wain," and the French nation tried to buy it. In the Louvre
+are "The Cottage," "Weymouth Bay," and "The Glebe Farm." Elsewhere are
+"Hampstead Heath," "Salisbury Cathedral," "The Lock on the Stour,"
+"Dedham Mill," "The Valley Farm," "Gillingham Mill," "The Cornfield,"
+"Boat-Building," "Flatford Mill on the River Stour," besides many
+others.
+
+
+
+
+IX
+
+JOHN SINGLETON COPLEY
+
+
+  _English School_
+  1737-1815
+
+A little boy with a squirrel was the first picture that pointed this
+artist toward fame and that was painted in England and exhibited at
+the Society of Arts.
+
+This American-born Irishman had no family or ancestry of account, but
+he himself was to become the father of Lord Chancellor Lyndhurst, and
+he did some truly fine things in art.
+
+About the same time America had another painter, Benjamin West, marked
+out for fame, but he got his start in Europe while Copley had already
+become a successful artist before he left Boston, his native place.
+
+He liked best to paint "interiors"--rooms with fine furniture and
+curtains, women in fine clothing and men in embroidered waistcoats and
+bejewelled buckles.
+
+In 1777 he got into the Royal Academy, and on the whole had
+considerable influence on European art. If we study the portraits that
+he painted while in Boston, we can get a very complete idea of the
+surroundings of the "Royalists" at the time of our colonial history.
+
+  PLATE--THE COPLEY FAMILY GROUP
+
+In this picture there are seven figures with an open landscape forming
+the background. The baby of the family plays, with uplifted arms, upon
+grandfather's knee. The mother on the couch, surrounded by her three
+other children, is kissing one while another clings to her. Before her
+stands a prim little maid, gowned in the fashion of grown-folks of her
+day. A little lock of hair falling upon her forehead suggests that
+when she was good she was very, very good, and when she was bad she
+was horrid! She wears a little cap. At the back is the artist himself
+in a wig and other fashions of the time. A great column rises behind
+him, forming a part of the architecture or the landscape, one hardly
+knows which in so artificially constructed a picture.
+
+Copley painted also John Hancock, Judge Graham, Jeremiah Lee, and
+General Joseph Warren.
+
+
+
+
+X
+
+JEAN BAPTISTE CAMILLE COROT
+
+
+  (Pronounced Zhahn Bah-teest' Cah-mee'yel Coh'roh)
+  _Fontainebleau-Barbizon School_
+  1796-1875
+  _Pupil of Michallon_
+
+About three hundred years before Corot's time there was a
+Fontainebleau school of artists, made up of the pathetic Andrea del
+Sarto, the wonderful Leonardo da Vinci, and Cellini. These painters
+had been summoned from their Italian homes by Francis I., to decorate
+the Palace of Fontainebleau. The second great group of painters who
+had studios in the forest and beside the stream were Rousseau, Dupré,
+Diaz, and Daubigny; Troyon, Van Marcke, Jacque; then Millet, the
+painter of peasants.
+
+Corot was born in Paris and received what education the ordinary
+school at Rouen could give him. He was intended by his parents for
+something besides art, as it would seem that every artist in the world
+was intended. Corot was to grow up and become a respectable draper; at
+any rate a draper.
+
+The young chap did as his father wished, until he was twenty-six years
+old, and dreary years those must have been to him. He did not get on
+well with his master, nor did the world treat him very well. He found
+neither riches nor the fame that was his due till he was an old man of
+seventy. At that age he had become as rich a man as he might have been
+had he remained a sensible draper.
+
+Best of all, Corot loved to paint clouds and dewy nights, pale moons
+and early day, and of all amusements in the world, he preferred the
+theatre. There he would sit; gay or sad as the play might make him,
+weeping or laughing and as interested as a little child.
+
+After he had anything to give away, Corot was the most madly generous
+of men. It was he who gave a pension to the widow of his brother
+artist, Millet, on which she lived all the rest of her days. He gave
+money to his brother painters and to all who went to him for aid; and
+he always gave gaily, freely, as if giving were the greatest joy,
+outside of the theatre, a man could have. Everyone who knew him loved
+him, and there was no note of sadness in his daily life, though there
+seems to be one in his poetical pictures. Because of his generous ways
+he was known as "Pere Corot." He sang as he worked, and loved his
+fellowmen all the time; but most of all, he loved his sister.
+
+"Rousseau is an eagle," he used to say in speaking of his fellow
+artist. "As for me, I am only a lark, putting forth some little songs
+in my gray clouds."
+
+It has been noted that most great landscape painters have been
+city-bred, a remarkable fact. Constable and Gainsborough were born and
+bred in the country, but they are exceptions to the rule. Corot's
+parents were Parisians of the purest dye, having been court-dressmakers
+to Napoleon I.; and when Corot finally determined to leave the
+draper's shop and become a painter, his father said: "You shall
+have a yearly allowance of 1,200 francs, and if you can live on that,
+you can do as you please." When his son was made a member of the
+Legion of Honour, after twenty-three years of earnest work, his father
+thought the matter over, and presently doubled the allowance, "for
+Camille seems to have some talent after all," he remarked as an excuse
+for his generosity.
+
+It is told that when he first went to study in Italy, Corot longed to
+transfer the moving scenes before him to canvas; but people moved too
+quickly for him, so he methodically set about learning how to do with
+a few strokes what he would otherwise have laboured over. So he
+reduced his sketching to such a science that he became able to sketch
+a ballet in full movement; and it is remarked that this practice
+trained him for presenting the tremulousness of leaves of trees, which
+he did so exquisitely.
+
+One learns something of this painter of early dawn and soft evening
+from a letter he wrote to his friend Dupré:
+
+One gets up at three in the morning, before the sun; one goes and sits
+at the foot of a tree; one watches and waits. One sees nothing much at
+first. Nature resembles a whitish canvas on which are sketched
+scarcely the profiles of some masses; everything is perfumed, and
+shines in the fresh breath of dawn. Bing! the sun grows bright but has
+not yet torn aside the veil behind which lie concealed the meadows,
+the dale, and hills of the horizon. The vapours of night still creep,
+like silvery flakes over the numbed-green vegetation. Bing! bing!--a
+first ray of sunlight--a second ray of sunlight--the little flowers
+seem to wake up joyously. They all have their drop of dew which
+trembles--the chilly leaves are stirred with the breath of morning--in
+the foliage the birds sing unseen--all the flowers seem to be saying
+their prayers. Loves on butterfly wings frolic over the meadows and
+make the tall plants wave--one sees nothing--yet everything is
+there--the landscape is entirely behind the veil of mist, which
+mounts, mounts, sucked up by the sun; and as it rises, reveals the
+river, plated with silver, the meadow, the trees, cottages, the
+receding distance--one distinguishes at last everything that one had
+divined at first.
+
+In all the world there can hardly be a more exquisite story of
+daybreak than this; and so beautiful was the mood into which Corot
+fell at eventime, as he himself describes it, that it would be a
+mistake to leave it out. This is his story of the night:
+
+Nature drowses--the fresh air, however, sighs among the leaves--the
+dew decks the velvety grass with pearls. The nymphs fly--hide
+themselves--and desire to be seen. Bing! a star in the sky which
+pricks its image on the pool. Charming star--whose brilliance is
+increased by the quivering of the water, thou watchest me--thou
+smilest to me with half-closed eye! Bing!--a second star appears in
+the water, a second eye opens. Be the harbingers of welcome, fresh and
+charming stars. Bing! Bing! Bing!--three, six, twenty stars. All the
+stars in the sky are keeping tryst in this happy pool. Everything
+darkens, the pool alone sparkles. There is a swarm of stars--all
+yields to illusion. The sun being gone to bed, the inner sun of the
+soul, the sun of art awakens. Bon! there is my picture done!
+
+In writing those letters, Corot made literature as well as
+pictures. That little word "bing!" appears also in his paintings, as
+little leaves or bits of tree-trunk, some small detail which,
+high-lightened, accents the whole.
+
+  PLATE--DANCE OF THE NYMPHS
+
+There could hardly be a more charming painting than this which hangs
+in the Louvre. It is of a half-shut-in landscape of tall trees, their
+branches mingling; and all the atmospheric effects that belong to
+Corot's work can here be seen.
+
+On the open greensward is a group of nymphs dancing gaily, while over
+all the scene is the veil of fairy-land or of something quite
+mysterious. At the back and side, satyrs can be seen watching the
+nymphs. There is here less of the blur of leaves than that seen in
+later pictures, but the same soft effect is found, and the little
+"bings" are the accents of light placed upon a leaf, a nymph's
+shoulder, or a tree-trunk.
+
+This picture was painted in 1851, when Corot had not yet developed
+that style which was to mark all his later work.
+
+Besides this picture he painted "Paysage," "The Bathers" "Ville
+d'Arvay," "Willows near Arras," "The Bent Tree," "A Gust of Wind," and
+others.
+
+
+
+
+XI
+
+CORREGGIO (ANTONIO ALLEGRI)
+
+
+  (Pronounced Cor-rage'jyo Ahl-lay'gree)
+  _School of Parma_
+  1494(?)-1534
+  _Pupil of Mantegna_
+
+When Correggio was a little boy, he lived in the odour of spices,
+which were kept upon his father's shop-shelves. He was a highly-spiced
+little boy and man, although the most timid and shrinking. His
+imagination was the liveliest possible.
+
+The spice merchant lived in the town of Correggio, and thus the artist
+got his name. Correggio knew what should be inside the lovely flesh of
+his painted figures before he began to paint them, because he studied
+anatomy in a truly scientific manner before he studied painting.
+Probably no other artist up to that time, had ever begun with the bare
+bones of his models, but Correggio may be said to have worked from the
+inside out. He learned about the structure of the human frame from
+Dr. Giovanni Battista Lombardi, and showed his gratitude to his
+teacher by painting a picture "Il Medico del Correggio" (Correggio's
+Physician), and presenting it to Doctor Lombardi.
+
+Now Correggio's childhood, or at least his early manhood, could not
+have been spent in poverty, because it is known that he used the most
+expensive colours to paint with, painted upon the finest of canvas,
+while greater artists had often to be content with boards. He also
+painted upon copper plates, and it is said that he hired Begarelli, a
+sculptor of much fame, to make models in relief for him to copy for
+the pictures he painted on the cupolas of the churches in Parma. That
+sculptor's services must have been expensive.
+
+On the lovely island of Capri, in the Franciscan convent, will be
+found one of his first pictures, painted when Correggio was about
+nineteen years old.
+
+He was highly original in many ways. Although he had never seen the
+work of any great artist, he painted the most extraordinary
+fore-shortened pictures; and fore-shortening was a technicality in art
+then uncommon. He also was the first to paint church cupolas.
+Fore-shortening produces some peculiar as well as great results, and
+being a feature of art with which people were not then familiar,
+Correggio's work did not go uncriticised. Indeed one artist, gazing up
+into one of the cupolas where Correggio's fore-shortened figures were
+placed, remarked that to him it appeared a "hash of frogs."
+
+But when Titian saw that cupola, he said: "Reverse the cupola, fill it
+with gold, and even then that will not be its money's worth."
+
+Correggio did not receive very large sums for his work, and since he
+was married and took good care of his family, he must have had some
+source of income besides his brush. He received some interesting
+rewards for his paintings. For example, for "St. Jerome," called "Il
+Giorno," he was given "400 gold imperials, some cartloads of faggots
+and measures of wheat, and a fat pig." That picture is in the Parma
+Gallery, and all the cupolas which he painted are in Parma churches.
+
+Some of his pictures are signed; "Leito," a synonym for his name,
+"Allegri." This indicates his style of art.
+
+There is an interesting story told of how Correggio stood entranced
+before a picture of Raphael's, and after long study of it he
+exclaimed: "I too, am a painter!" showing at once his appreciation of
+Raphael's greatness and satisfaction at his own genius.
+
+Doubtless a good share of Correggio's comfortable living came from the
+lady he married, since she was considered a rich woman for those times
+and in that locality. Her name was Girolama Merlini, and she lived in
+Mantua, the place where the Montagues and Capulets lived of whom
+Shakespeare wrote the most wonderful love story ever imagined. This
+young woman was only sixteen years old when Correggio met and loved
+her, and very beautiful and later on he painted a picture,
+"Zingarella," for which his wife is said to have been the model. It
+seems to have been a stroke of economy and enterprise for painters to
+marry, since we read of so many who made fame and fortune through the
+beauty of their wives.
+
+They were very happy together, Correggio and his wife, and they had
+four children. Their happiness was not for long, because Correggio
+seems to have been but thirty-four years old when she died, nor did he
+live to be old. There is a most curious tale of his death which is
+probably not true, but it is worth telling since many have believed
+it. He is supposed to have died in Correggio, of pleurisy, but the
+story is that he had made a picture for one who had some grudge
+against him, and who in order to irritate him paid him in copper,
+fifty scudi. This was a considerable burden, and in order to save
+expense and time, it is said that Correggio undertook to carry it home
+alone. It was a very hot day, and he became so overheated and
+exhausted with his heavy load that he took ill and died, and he may be
+said literally to have been killed by "too much money," if this were
+true. Vasari, a biographer to be generally believed, says it is a
+fact.
+
+Correggio said that he always had his "thoughts at the end of his
+pencil," and there are those who impudently declare that is the only
+place he _did_ have them, but that is a carping criticism, because he
+was a very great artist, his greatest power being the presentation of
+soft blendings of light and shade. There seem to have been few unusual
+events in Correggio's life; very little that helps us to judge the
+man, but there is a general opinion that he was a kind and devoted
+father and husband, as well as a good citizen. With little demand upon
+his moral character, he did his work, did it well, and his work alone
+gave him place and fame.
+
+He became the head of a school of painting and had many imitators, but
+we hear little of his pupils, except that one of them was his own son,
+Pompino, who lived to be very old, and in his turn was successful as
+an artist.
+
+Correggio was buried with honours in the Arrivabene Chapel, in the
+Franciscan church at Correggio.
+
+  PLATE--THE HOLY NIGHT
+
+This painting is not characteristic of Correggio's work, but
+nevertheless it is very beautiful. The brilliant warm light which
+comes from the Infant Jesus in His mother's arms is reflected upon the
+faces of those gathered about, and even illuminates the angelic group
+hovering above him. The slight landscape forming the background is
+also suggestive, and the conditions of the birth are indicated by the
+ass which may be seen in the middle distance. The faces of all are
+joyous yet full of wonderment, the whole scene intimate and human.
+
+The picture is also called the "Adoration of the Shepherds," and that
+title best tells the story. See the shepherdess shading her face with
+one hand and offering two turtle-doves with the other. The ass in the
+distance is the one on which Mary rode to Bethlehem, and Joseph is
+caring for it. Even the cold light of the dawning day is softened by
+the beauty of the group below. This picture is in the Royal Gallery in
+Dresden.
+
+  PLATE--THE MYSTIC MARRIAGE OF ST. CATHERINE
+
+The Infant Jesus sits upon His mother's lap, and places the ring upon
+St. Catherine's finger, while Mary's hand helps to guide that of her
+Child. This action brings the three hands close together and adds to
+the beauty of the composition. All of the faces are full of pleasure
+and kindliness, while that of St. Sebastian fairly glows with happy
+emotion. The light is concentrated upon the body of the Child and is
+reflected upon the faces of the women. This painting hangs in the
+Louvre.
+
+Other great Correggio pictures are the "School of Cupid," which is
+more characteristic of his work; "Antiope," "Leda," "Danae," and "Ecce
+Homo."
+
+
+
+
+XII
+
+PAUL GUSTAVE DORE
+
+
+  _French School_
+  1833-1883
+
+This artist died in Paris twenty-five years ago, but there is little
+as yet to be told of his life history. He was educated in Paris at the
+Lycée Charlemagne, having gone there from Strasburg, where he was
+born.
+
+He was a painter of fantastic and grotesque subjects, and as far as we
+know, he began his career when a boy. He made sketches before his
+eighth year which attracted much attention, and he earned considerable
+money while still at school. He was at that time engaged to illustrate
+for journals, at a good round sum, and before he left the Lycée he had
+made hundreds of drawings, somewhat after the satirical fashion of
+Hogarth.
+
+His work is very characteristic and once seen is likely to be always
+recognised.
+
+He first worked for the _Journal Pour Rire_, but then he undertook to
+illustrate the work of Rabelais, the great satirist, whose text just
+suited Doré's pencil. After Rabelais he illustrated Balzac, also the
+"Wandering Jew," "Don Quixote," and Dante's "Divine Comedy."
+
+He undertook to do things which he could not do well, simply for the
+money there was in the commissions. He had but a poor idea of colour
+and his work was coarse, but it had such marked peculiarities that it
+became famous. He did a little sculpture as well, and even that showed
+his eccentricities of thought.
+
+  PLATE--MOSES BREAKING THE TABLETS OF THE LAW
+
+This is one of the illustrations of the Doré Bible, published in
+1865-66. The story is well known of how Moses went up into the Mount
+of the Lord to receive the laws for the Israelites, which were written
+upon tables of stone. Upon his descent from the Mount he found that
+his followers had set up a golden calf, which they were worshipping;
+and in his wrath Moses broke the tablets on which the Law was
+inscribed. The power shown in his attitude, the affrighted faces of
+the cowering Jews, the thunder and lightning as an expression of the
+wrath of the Almighty are all painted in Doré's best manner.
+
+
+
+
+XIII
+
+ALBRECHT DÜRER
+
+
+  (Pronounced Dooer-rer')
+  _Nuremberg School_
+  1471-1528
+  _Pupil of Wolgemuth and Schongauer_
+
+Albrecht Dürer by nationality was a Hungarian, but he was born in the
+city of Nuremberg. His father had come from the little Hungarian town
+of Eytas to Nuremberg that he might practise the craft of a
+goldsmith. Notwithstanding his Hungarian origin, the name is German
+and the family "bearing," or sign, is the open door. This device
+suggests that the name was first formed from "Thurer," which means
+"carpenter," maker of doors.
+
+The father became the goldworker for a master goldsmith of Nuremberg
+named Hieronymus Holper, and very soon the new employee had fallen in
+love with his master's daughter. The daughter was very young and very
+beautiful; her name was Barbara, and as Herr Dürer was quite forty
+years of age, while she was but fifteen, the match seemed most
+unlikely, but they married and had eighteen children! The great
+painter was one of them.
+
+Albrecht loved his parents most tenderly, and from first to last we
+hear no word of disagreement among any members of that immense
+household. Young Albrecht was especially the companion of his father,
+being brilliant, generous, and hard-working in a family where everyone
+needed to do his best to help along. This love and companionship never
+ceased until death, and after his parents died Albrecht wrote in a
+touching manner of their death, describing his love for them, and
+their many virtues. He was an author and a poet as well as a painter,
+and only Leonardo da Vinci matched him for greatness and
+versatility. We may know what Dürer's father looked like, since the
+son made two portraits of him; one is to be seen in the Uffizi Gallery
+at Florence and the other belongs to the Duke of Northumberland's
+collection. The latter portrait has been reproduced in an engraving,
+so that it is familiar to most people.
+
+In the days when the great artist was growing up, Nuremberg was the
+centre of all intellectuality and art in the North. The city of
+Augsburg also followed art fashions, but it was far less important
+than Nuremberg, because in the latter city every sort of art-craft was
+followed in sincerity and with great originality.
+
+In those days, the craft of the goldsmith was closely allied with the
+profession of the painter, because the smith had to create his own
+designs, and that called for much talent. Thus it was but a step from
+designing in precious metals to the use of colour, and to
+engraving. In making wood engravings, however, the drudgery of it was
+left almost entirely to workmen, not artists. Nuremberg was also the
+seat of musical learning. Wagner makes this fact pathetic, comical,
+and altogether charming in his "Mastersingers of Nuremberg."
+
+Till Dürer's time, however, there had been little painting that could
+be regarded as art, and when he came to study it there was but little
+opportunity in his own land, but Dürer was destined to bring art to
+Nuremberg. If he went elsewhere to study, it was only for a little
+time, because he was above all things patriotic and dearly loved his
+home.
+
+With seventeen brothers and sisters, young Dürer's problem was a
+serious one. His father not only meant him to become a goldsmith like
+himself--a craft in which there was much money to be made at a time
+when people dressed with great ornamentation and used gold to decorate
+with--it was highly necessary with so large a family that he should
+learn to do that which could make him helpful to his father. Hence the
+young boy entered his father's shop. If he had not been handicapped
+with so many to help to maintain, he would have laid up a considerable
+fortune, because from the very beginning he was master of all that he
+undertook; doing the least thing better than any other did it, putting
+conscience and painstaking into all.
+
+"My father took special delight in me," the son said, "seeing that I
+was industrious in working and learning, he put me to school; and when
+I had learned to read and write, he took me home from my school and
+taught me the goldsmith's trade."
+
+The family were good and kind; excellent neighbours, deeply religious,
+and little Albrecht certainly was comely. He was beautiful as a little
+child, and as a man was very handsome, with long light hair sweeping
+his shoulders, and gentle eyes. He was very tall, stately, and full of
+dignity.
+
+In his father's shop he made little clay figures which were afterward
+moulded in metal; also he learned to carve wood and ivory, and he
+added the touch of originality to all that he did. He was the Leonardo
+da Vinci of Germany, an intellectual man, a poet, painter, sculptor,
+engraver, and engineer. He approached everything that he did from an
+intellectual point of view, looking for the reasons of things.
+
+After a while in his father's shop, he found mere craftsmanship
+irksome, and he begged to be allowed to enter a studio. This was a
+great disappointment to the father, even a distress, because he could
+see no very quick nor large returns in money for an artist, and he
+sorely needed the help of his son; but being kind and reasonable, he
+consented Albrecht was apprenticed to the only artist of any repute
+then in Nuremberg, Wolgemuth.
+
+To his studio Albrecht went, at the age of fifteen, and if he did not
+learn much more of painting, under that artist's direction, than his
+own genius had already taught him, he learned the drudgery of his
+work; how to grind colours and to mix them, and he studied wood
+engraving also.
+
+In Wolgemuth's studio he remained for the three years of his
+apprenticeship, and then he fled to better things. For a time he
+followed the methods of another German artist, Schongauer, but finally
+he went forth to try his luck alone. He wandered from place to place,
+practising all his trades, goldsmithing, engraving, whatever would
+support him, yet always and everywhere painting.
+
+It is thought that he may have gone as far as Italy, but it is not
+certain whether he went there in his first wanderings or later
+on. However, he was soon recalled home, for his father had found a
+suitable wife for him. She was the daughter of a rich citizen and her
+name was Agnes Frey. She was pretty as well as rich, but had she been
+neither Albrecht would have returned at his father's bidding. There
+was never any resistance to the fine and proper things of life on
+Albrecht Dürer's part. He was the well balanced, reasonable man from
+youth up.
+
+There have been extraordinary tales told of the artist's wife. She has
+been called hateful and spiteful as Xantippe, the wife of Socrates,
+but we think this is calumny. The stories came about in this way:
+Dürer had a life-long friend, Wilibald Pirkheimer, who in his old age
+became the most malicious and quarrelsome of old fellows. He lived
+longer than Dürer did, and Dürer's wife also outlived her
+husband. Pirkheimer wanted a set of antlers which had belonged to
+Dürer and which he thought the wife should give him after Dürer was
+dead, but Agnes thought otherwise and would not give them up. Then,
+full of rage, the old man wrote the most outrageous letters about poor
+Agnes, saying that she was a shrew and had compelled Dürer to work
+himself to death; that she was a miser and had led the artist an awful
+dance through life. This is the only evidence against her, and that so
+sane and sensible a man as the artist lived with her all his life and
+cherished her, is evidence enough that Pirkheimer didn't tell the
+truth. When Dürer died he was in good circumstances and instead of
+being overworked, he for many years had done no "pot-boiling," but had
+followed investigations along lines that pleased him. After his death,
+the widow treated his brothers and sisters generously, giving them
+properties of Dürer's and being of much help to them. During the
+artist's life he and she had travelled everywhere together and had
+appeared to love each other tenderly; hence we may conclude that the
+old Pirkheimer was simply a disgruntled, gouty old man without a good
+word for anybody.
+
+If Dürer's father and mother had eighteen children, Albrecht and Agnes
+struck a balance, for they had none. Whether or not Dürer went to
+Italy before his marriage in 1494, certain it is that he was in
+Venice, the home of Titian, in 1506. Titian was six years younger than
+Dürer, who was then about thirty-five years old. It is said that he
+started for Italy in 1505 and that he went the whole of the way, over
+the Alps, through forests and streams, on horseback. Who knows but it
+was during that very journey, while travelling alone, often finding
+himself in lonely ways, and full of the speculative thoughts that were
+characteristic of him, that he did not think first of his subject,
+"Knight, Death, and the Devil," which helped make his fame. In that
+picture we have a knight, helmeted, carrying his lance, mounted upon
+his horse, riding in a lonely forest, with death upon a "pale horse"
+by his side, holding an hour glass to remind the knight of the
+fleeting of time. Behind comes the devil, with trident and horn,
+represented as a frightful and disgusting beast, which follows
+hot-foot after the lonely knight, who looks neither to right nor left,
+but persistently goes his way.
+
+Titian's teacher, Bellini, was still living, and he was one of Dürer's
+greatest admirers. Especially did he believe that he could paint the
+finest hair of any artist in the world. One day, while studying
+Dürer's work, and being especially fascinated by the hair of one of
+his figures, the old man took Dürer's brush and tried to reproduce as
+beautiful a tress. Presently he put down the brush in despair, but the
+younger artist took it up, still wet with the same colours, and in a
+few brilliant strokes produced a lovely lock of woman's hair.
+
+While luxuriating in Venetian heat, Dürer wrote home to his friend
+Pirkheimer: "Oh, how I shall freeze after this sunshine!" He was a
+lover of warm, beautiful colour, gay and tender life. Most of all he
+loved the fatherland, and all the honours paid him and all the
+invitations pressed upon him could not keep him long from
+Nuremberg. The journey homeward was not uneventful because he was
+taken ill, and had to stop at a house on his way, where he was cared
+for till he was strong enough to proceed. Before he went his way he
+painted upon the wall of that house a fine picture, to show his
+gratitude for the kind treatment he had received. Imagine a people so
+settled in their homes that it would be worth while for an artist who
+came along to leave a picture upon the walls to-day--we should have
+moved to a new house or a new flat almost before Dürer could have
+washed his brushes and turned the corner.
+
+Back in Nuremberg, he settled down into the life of a responsible
+citizen, lived in a fine new house, in time became a member of the
+council, and his studio was a veritable workshop. Studios were quite
+different from those of to-day. Then the pupils turned to and ground
+colours, did much of their own manufacturing, engaged at first in such
+commonplace occupations, which were nevertheless teaching them the
+foundation of their art, while they watched the work of the
+master. Such a studio as Dürer's must have been full of young men
+coming and going, not all working at the art of painting, but
+engraving, preparing materials for such work, designing, and executing
+many other details of art work.
+
+After this time Dürer made his smallest picture, which is hardly more
+than an inch in diameter. On that tiny surface he painted the whole
+story of the crucifixion, and it is now in the Dresden Gallery. To
+those of us who see little mentality in the faces of the Italian
+subjects, the German art of Dürer, often ugly in the choice of models,
+and so exact as to bring out unpleasing details, is nevertheless the
+greater; because in all cases, the faces have sincere expressions. They
+exhibit human purposes and emotions which we can understand, and
+despise or love as the case may be.
+
+They say that his Madonna is generally a "much-dressed round-faced
+German mother, holding a merry little German boy." That may be true;
+but at any rate, she is every inch a mother and he a well-beloved
+little boy, which is considerably more than can be said of some
+Italian performances.
+
+Dürer made a painting of "Praying Hands," a queer subject for a
+picture, but those hands are nothing _but_ praying hands. The story of
+them is touching. It is said that for several years Dürer had won a
+prize for which a friend of his had also competed, and upon losing the
+prize the last time he tried for it, the friend raised his hands and
+prayed for the power to accept his failure with resignation and
+humility. Dürer, looking at him, was impressed with the eloquence of
+the gesture; thus the "Praying Hands" was conceived.
+
+Dürer was also called the _Father of Picture Books_, because he
+designed so many woodcuts that he first made possible the illustration
+of stories.
+
+He printed his own illustrations in his own house, and was well paid
+for it. The Emperor Maximillian visited Nuremberg, and wishing to
+honour Dürer, commanded him to make a triumphal arch.
+
+"It was not to be fashioned in stone like the arches given to the
+victorious Roman Emperors; but instead it was to be composed of
+engravings. Dürer made for this purpose ninety-two separate blocks of
+woodcuts. On these were represented Maximillian's genealogical tree
+and the principal events of his life. All these were arranged in the
+form of an arch, 9 feet wide and 10-1/2 feet high. It took Dürer three
+years to do this work, and he was never well paid," so says one who
+has compiled many incidents of his life.
+
+"While the artist worked, the Emperor often visited his studio; and as
+Dürer's pet cats often visited it at the same time, the expression
+arose, 'a cat may look at a King!'"
+
+On the occasion of one of these kingly visits, Maximillian tried to do
+a little art-work on his own account. Taking a piece of charcoal he
+tried to sketch, but the charcoal kept breaking and he asked Dürer why
+it did so.
+
+"That is my sceptre; your Majesty has other and greater work to do,"
+was the tactful reply. It is a question with us to-day whether the
+King ever did a greater work than Albrecht Dürer, king of painters,
+was doing.
+
+After this, Maximillian gave Dürer a pension, but when the Emperor
+died the artist found it necessary to apply to the monarch who came
+after him, in order to have the gift confirmed. This was the occasion
+for his journey to the Low Countries, and he took his wife Agnes with
+him. In the Netherlands he was received with much honour and was
+invited to become court painter; and what was more, his pension was
+fixed upon him for life. The great work of his life was his
+illustration of the Apocalypse. For this he made sixteen extraordinary
+woodcuts, of great size.
+
+On his journey to see Charles V., Maximillian's successor, Dürer kept
+a diary in which he noted the minutest details of all that happened to
+him. He told of the coronation of Charles; of hearing about a whale
+that had been cast upon the shore; of his disappointment that it had
+been removed before he had reached the place. He wrote with great
+indignation about the supposed kidnapping of Martin Luther, while he
+was on his way home from the Diet of Worms.
+
+While Dürer was in the Low Countries, a fever came upon him, and when
+he returned home, it still followed him. Indeed, although he lived for
+seven years after his return, he was never well again. Among his
+effects there was a sketch made to indicate to his physician the seat
+of his illness.
+
+Dürer did not paint great frescoes upon walls as did Raphael, Michael
+Angelo, and all great Italian artists; but instead he painted on wood,
+canvas, and in oils.
+
+In all the civilised world Dürer was honoured equally with the great
+Italian painters of his time. He was a man of much conscientiousness,
+dignity, and tenderness. He was devoted to his home and country, and
+regarded the problems of life intellectually. When he came to die, his
+end was so unexpected that those dearest to him could not reach his
+bedside. He was buried in St. John's cemetery in Nuremberg. After his
+death, Martin Luther wrote as follows to their mutual friend, Eoban
+Hesse:
+
+"As for Dürer; assuredly affection bids us mourn for one who was the
+best of men, yet you may well hold him happy that he has made so good
+an end, and that Christ has taken him from the midst of this time of
+troubles, and from yet greater troubles in store, lest he, that
+deserved to behold nothing but the best, should be compelled to behold
+the worst. Therefore may he rest in peace with his fathers, Amen."
+
+  PLATE--THE NATIVITY
+
+Our description of this painting calls attention to the fact that the
+columns and arches of the picturesque ruin belong to a much later
+period in history than the birth of Christ. Dürer was not acquainted
+with any earlier style of architecture than the Romanesque and
+therefore he used it here. "The ruin serves as a stable. A roof of
+board is built out in front of the side-room which shelters the ox and
+ass, and under this lean-to lies the new born babe surrounded by
+angels who express their childish joy. Mary kneels and contemplates
+her child with glad emotion. Joseph, also deeply moved, kneels down on
+the other side of the child, outside the shelter of the roof. Some
+shepherds to whom the angel, who is still seen hovering in the air,
+has announced the tidings, are already entering from without the
+walls." (Knackfuss). The picture is the central panel of an
+altar-piece now in the Old Pinakothek at Munich. Dürer's oil painting
+of the four apostles--John, Peter, Mark, and Paul--is in the same
+gallery. Other Dürer pictures are: "The Knight, Death and the Devil,"
+"The Adoration of the Magi," "Melancholy," and portraits of himself.
+
+
+
+
+XIV
+
+MARIANO FORTUNY
+
+
+  (Pronounced Mah-ree-ah-no' For-tu'ne)
+  _Spanish School_
+  1838-1874
+  _Pupil of Claudio Lorenzalez_
+
+Fortuny won his own opportunities. He took a prize, while still very
+young, which made it possible for him to go to Rome where he wished to
+study art. He did not spend his time studying and copying the old
+masters as did most artists who went there, but, instead, he studied
+the life of the Roman streets.
+
+He had already been at the Academy of Barcelona, but he did not follow
+his first master; instead, he struck out a line of art for
+himself. After a year in Rome the artist went to war; but he did not
+go to fight men, he was still fighting fate, and his weapon was his
+sketch book. He went with General Prim, and he filled his book with
+warlike scenes and the brilliant skies of Morocco. From that time his
+work was inspired by his Moorish experiences.
+
+After going to war without becoming a soldier, Fortuny returned to
+Paris and there he became fast friends with Meissonier, so that a good
+deal of his work was influenced by that artist's genius. After a time
+Fortuny's paintings came into great vogue and far-off Americans began
+buying them, as well as Europeans. There was a certain rich dry-goods
+merchant in the United States who had made a large fortune for those
+days, and while he knew nothing about art, he wanted to spend his
+money for fine things. So he employed people who did understand the
+matter to buy for him many pictures whose excellence he, himself,
+could not understand, but which were to become a fine possession for
+succeeding generations. This was about 1860, and this man,
+A.T. Stewart, bought two of Fortuny's pictures at high prices. "The
+Serpent Charmer," and "A Fantasy of Morocco."
+
+When Fortuny was thirty years old he married the daughter of a
+Spaniard called Madrazo, director of the Royal Museum. His wife's
+family had several well known artists in it, and the marriage was a
+very happy one. Because of this, Fortuny was inspired to paint one of
+the greatest of his pictures, "The Spanish Marriage." In it are to be
+seen the portraits of his wife and his friend Regnault. After a time
+he went to live in Granada; but he could never forget the beautiful,
+barbaric scenes in Morocco, and so he returned there. Afterward he
+went with his wife to live in Rome, and there they had a fine home and
+everything exquisite about them, while fortune and favour showered
+upon them; but he fell ill with Roman fever, because of working in the
+open air, and he died while he was comparatively a young man.
+
+  PLATE--THE SPANISH MARRIAGE
+
+Fortuny is said to "split the light into a thousand particles, till
+his pictures sparkle like jewels and are as brilliant as a
+kaleidoscope.... He set the fashion for a class of pictures, filled
+with silks and satins, bric-à-brac and elegant trifling."
+
+Look at the brilliant scene in this picture! The priest rising from
+his chair and leaning over the table is watching the bridegroom sign
+his name. This chap is an old fop, bedecked in lilac satin, while the
+bride is a dainty young woman, without much interest in her husband,
+for she is fingering her beautiful fan and gossiping with one of her
+girl friends. She wears orange-blossoms in her black hair and is in
+full bridal array. One couple, two men, sit on an elegantly carved
+seat and are looking at the goings-on with amusement, while an old
+gentleman sits quite apart, disgusted with the whole unimpressive
+scene. Everybody is trifling, and no one is serious for the
+occasion. The furnishings of the room are beautiful, delicate, almost
+frivolous. People are strewn about like flowers, and the whole effect
+is airy and inconsequent. Fortuny painted also "The Praying Arab," "A
+Fantasy of Morocco," "Snake Charmers," "Camels at Rest," etc.
+
+
+
+
+XV
+
+THOMAS GAINSBOROUGH
+
+
+  _English School_
+  1727-1788
+  _Pupil of Gravelot and of Hayman_
+
+There seems to have been no artist, with the extraordinary exceptions
+of Dürer and Leonardo, who learned his lessons while at school. Little
+painters have uniformly begun as bad spellers.
+
+Gainsborough's father was in the business of woolen-crape making,
+while his mother painted flowers, very nicely, and it was she who
+taught the small Thomas. There were nine little Gainsboroughs and,
+shocking to relate, the artist of the family was so ready with his
+pencil that when he was ten years old he forged his father's name to a
+note which he took to the schoolmaster, and thereby gained himself a
+holiday. There is no account of any other wicked use to which he put
+his talent. It is said that he could copy any writing that he saw, and
+his ready pencil covered all his copy-books with sketches of his
+schoolmasters. It was thought better for him finally to follow his own
+ideas of education, namely, to roam the woodlands and make beautiful
+pictures.
+
+His father's heart was not softened till one day little Gainsborough
+brought home a sketch of the orchard into which the head of a man had
+thrust itself, painted with great ability. This man was a poacher, and
+father Gainsborough recognised him by the portrait. There seemed to be
+utility in art of this kind, and before long the boy found himself
+apprenticed to a silversmith.
+
+Through the silversmith the artist got admission to an art school and
+began his studies; but his master was a dissolute fellow, and before
+long the pupil left him.
+
+Gainsborough was born in the town of Sudbury on the River Stour, the
+same which inspired another great painter half a century
+later. Gainsborough is best known by his portraits, in particular as
+the inventor of "the Gainsborough hat," but he was first of all a
+truly great landscape painter, and learned his art as Constable did
+after him, along the beautiful shores of the river that flowed past
+his native town.
+
+The old Black Horse Inn is still to be seen, and it was in the orchard
+behind it that he studied nature, the same in which he made the first
+of his famous portraits, that of the poacher. It is known to this day
+as the portrait of "Tom Pear-tree." That picture was copied on a piece
+of wood cut into the shape of a man, and it is in the possession of
+Mr. Jackson, who lent it for the exhibition of Gainsborough's work
+held at the Grosvenor Gallery, in 1885.
+
+While Thomas was with his first master, by no means a good companion
+for a lad of fifteen, he lived a busy, self-respecting life, since he
+was devoted to his home and to his parents. Only three years after he
+set out to learn his art he married a young lady of Sudbury. The pair
+were by no means rich, Gainsborough having only eighteen years of
+experience in this world, besides his brush, and a maker of
+woolen-crape shrouds for a father--who was not over pleased to have an
+artist for a son. The lady had two hundred pounds but this did not
+promise a very luxurious living, so they took a house for six pounds a
+year, at Ipswich. Thus the two young lovers began their life
+together. There was a good deal of romance in the story of his wife,
+whose name was supposed to be Margaret Burr. The two hundred pounds
+that helped to pay the Ipswich rent did not come from the man accepted
+as her father, but from her real father, who was either the Duke of
+Bedford, or an exiled prince. This would seem to be just the sort of
+story that should surround a great painter and his affairs.
+
+While he lived at Ipswich Gainsborough used to say of himself that he
+was "chiefly in the face-way" meaning that for the most part he made
+portraits. He loved best to paint the scenes of his boyhood, as
+Constable afterward did, but he soon found there was more money in
+portraits, and so he decided to go to live in Bath, the fashionable
+resort of English people in that day, where he was likely to find rich
+folk who wanted to see themselves on canvas. He settled down there
+with his wife, whom he loved dearly, and his two daughters and at once
+began to make money. It is said he painted five hours a day and all
+the rest of the time studied music. As the theatre was Corot's
+greatest happiness, so did music most delight Gainsborough, and he
+could play well on nearly every known instrument; he became so
+excellent a musician that he even gave concerts. He had the most
+delightful people about him, people who loved art and who appreciated
+him, and then there were the other people who paid for having
+themselves painted. Altogether it was an ideal situation.
+
+His studio was in the place known as the "Circus" at Bath, and people
+came and went all day, for it became the fashionable resort for all
+the fine folks.
+
+From five guineas for half length portraits, he soon raised his price
+to forty; he had charged eight for full length portraits, but now they
+went for one hundred. He painted some famous men of the time. The very
+thought is inspiring of such a company of geniuses with Gainsborough
+in the centre of the group. He painted Laurence Sterne, who wrote "The
+Sentimental Journey," and a few other delightful things; also Garrick,
+the renowned actor.
+
+Even the encyclopædia reads thrillingly upon this subject and one can
+afford to quote it, with the feeling that the quotation will be read:
+"His house harboured Italian, German, French and English musicians. He
+haunted the green room of Palmer's Theatre, and painted gratuitously
+the portraits of many of the actors. He gave away his sketches and
+landscapes to any one who had taste or assurance enough to ask for
+them." This sounds royal and exciting.
+
+After that Gainsborough went up to London with plenty of money and
+plenty of confidence and instead of six pounds a year for his house,
+he paid three hundred pounds, which suggests much more comfort.
+
+There were two other great painters of the time in London, Sir
+Benjamin West--an American, by the way--and Sir Joshua Reynolds. West
+was court favourite, but Gainsborough too was called upon to paint
+royalty, and share West's honours. Reynolds was the favourite of the
+town, but he too had to divide honours with Gainsborough when the
+latter painted Richard Brinsley Sheridan, Edmund Burke and Sir William
+Blackstone.
+
+Notwithstanding, his landscapes, for which he should have been most
+famous, did not sell. Everybody approved of them, but it is said they
+were returned to him till they "stood ranged in long lines from his
+hall to his painting room" Gainsborough was a member of the Royal
+Academy and also a true Bohemian. He cared little for elegant society,
+but made his friends among men of genius of all sorts. He was very
+handsome and impulsive, tall and fair, and generous in his ways; but
+he had much sorrow on account of one of his daughters, Mary, who
+married Fischer, a hautboy player, against her father's wishes. The
+girl became demented--at least she had spells of madness.
+
+When Mary Gainsborough married, her father wrote the following letter
+to his sister, which shows that he was a man of tender feeling for
+those whom he truly loved:
+
+" ... I had not the least suspicion of the attachment being so long
+and deeply seated; and as it was too late for me to alter anything
+without being the cause of total unhappiness on both sides, my
+consent ... I needs must give ... and accordingly they were married
+last Monday and settled for the present in a ready-furnished little
+house in Curzon Street, Mayfair ... I can't say I have any reason to
+doubt the man's honesty or goodness of heart, as I never heard anyone
+speak anything amiss of him, and as to his oddities and temper, she
+must learn to like them as she likes his person ... Peggy has been
+very unhappy about it, but I endeavour to comfort her." Peggy was his
+wife.
+
+The abominable Fischer died twenty-years before Mary did--she lived to
+be an old, old woman.
+
+Among those whom Gainsborough loved best was the man called Wiltshire
+who carried his pictures to and from London. He was a public "carrier"
+but would never take any money for his services to the artist, because
+he loved his work. All he asked was "a little picture"--and he got so
+many of these, given in purest affection, that he might have gone out
+of business as a carrier, had he chosen to sell them. Four of those
+little pictures are now very great ones worth thousands of pounds and
+known everywhere to fame. They are "The Parish Clerk," "Portrait of
+Quin," "A Landscape with Cattle," and "The Harvest Waggon."
+
+We have a good many stories of Gainsborough's bad manners. The artists
+of his day tried to treat him with every consideration, but in return
+he treated them very badly, especially Sir Joshua Reynolds. Reynolds,
+who was then President of the Academy greatly admired Gainsborough but
+the latter would not return Sir Joshua's call, and when Reynolds asked
+him to paint his portrait for him, Gainsborough undertook it
+thanklessly. Sir Joshua left town for Bath for a time, and when he
+returned he tried to learn how soon the portrait would be finished,
+but Gainsborough would not even reply to his inquiry. There seems to
+have been no reason for this behaviour unless it was jealousy, but it
+made a most uncomfortable situation between fellow artists.
+
+Gainsborough has told some not very pleasing stories about himself,
+but one of them shows us what a knack he had for seeing the comic side
+of things, and perhaps for seeing comedy where it never existed. Upon
+one occasion he was invited to a friend's house where the family were
+in the habit of assembling for prayers, and he had no sooner got
+inside, than he began to fear he should laugh, when prayer time came,
+at the chaplain. In a rush of shyness he fled, leaving his host to
+look for him, till he stumbled over a servant who said that
+Mr. Gainsborough had charged him to say he had gone to breakfast at
+Salisbury. Even respect for the customs of others could not make him
+control himself.
+
+It was through his intimacy with King George's family that his quarrel
+with the Royal Academy came about. He had painted the three
+princesses--the Princess Royal, Princesses Augusta and Elizabeth, and
+these were to be hung at a certain height in Carlton House, but when
+he sent the first to the Academy he asked it to be specially hung and
+his request was refused. Then he sent a note as follows:
+
+"He begs pardon for giving them so much trouble, but he has painted
+the picture of the princesses in so tender a light that,
+notwithstanding he approves very much of the established line for
+strong effects, he cannot possibly consent to have it placed higher
+than eight feet and a half, because the likeness and the work of the
+picture will not be seen any higher, therefore at a word he will not
+trouble the gentlemen against their inclination, but will beg the best
+of his pictures back again." Immediately, the Academy returned his
+pictures, although it would seem that they might better have
+accommodated Gainsborough than have lost such a fine exhibition. He
+never again would send anything to them.
+
+He was inclined to be irritated by inartistic points in his sitters,
+and is said to have muttered when he was painting the portrait of
+Mrs. Siddons, the great actress: "Damn your nose madam; there is no
+end to it." The nose in question must have been an "eyesore" to more
+than Gainsborough, for a famous critic is said to have declared that
+"Mrs. Siddons, with all her beauty was a kind of female Johnson ...
+her nose was not too long for nothing."
+
+Notwithstanding that his landscapes were not popular, he used to go
+off into the country to indulge his taste for painting them, and once
+he wrote to a friend that he meant to mount "all the Lakes at the next
+Exhibition in the great style, and you know, if people don't like
+them, it's only jumping into one of the deepest of them from off a
+wooded island and my reputation will be fixed forever." An old lady,
+whose guest he was, down in the country, told how he was "gay, very
+gay, and good looking, creating a great sensation, in a rich suit of
+drab with laced ruffles and cocked hat."
+
+One of the boys he saw in the country he delighted to paint, and he
+also grew so much attached to him that he took him to London and kept
+him with him as his own son. That boy's name was Jack Hill and he did
+not care for city life, nor maybe for Gainsborough's eccentricities,
+so he ran away. He was found again and again, till one day he got away
+for good, and never came back.
+
+All his later life Gainsborough was happy. His daughter, who had
+married Fischer, the hautboy-player, came back home to live, and her
+disorder was not bad enough to prevent her being a cause of great
+happiness to her father. The other daughter never married.
+Gainsborough says that he spent a thousand pounds a year, but he also
+gave to everybody who asked of him, and to many who asked nothing, so
+that he must have made a great deal of money during his lifetime, by
+his art. It is said that the "Boy at the Stile" was bestowed on
+Colonel Hamilton for his fine playing of a solo on the violin. A lady
+who had done the artist some trifling service received twenty drawings
+as a reward, which she pasted on the walls of her rooms without the
+slightest idea of their value.
+
+Gainsborough got up early in the morning, but did not work more than
+five hours. He liked his friends, his music, and his wife, and spent
+much time with them. He was witty, and while he sketched pictures in
+the evening, with his wife and daughters at his side, he kept them
+laughing with his droll sayings.
+
+The last days of Gainsborough showed him to be a hero. He died of
+cancer, and some time before he knew what his disease was he must have
+suffered a great deal. There is a story that is very pathetic of a
+dinner with his friends, Beaumont and Sheridan. Usually, he was the
+gayest of the gay, but of late all his friends had noticed that gaiety
+came to him with effort. Upon the night of this dinner, Sheridan had
+been his wittiest, and had tried his hardest to make Gainsborough
+cheer up, till finally, the artist, finding it impossible to get out
+of his sad mood, asked Sheridan if he would leave the table and speak
+with him alone. The two friends went out together. "Now don't laugh,
+but listen," Gainsborough said; "I shall soon die. I know it; I feel
+it. I have less time to live than my looks infer, but I do not fear
+death. What oppresses my mind is this: I have many acquaintances, few
+friends; and as I wish to have one worthy man to accompany me to the
+grave, I am desirous of bespeaking you. Will you come? Aye or no!" At
+that Sheridan, who was greatly shocked, tried to cheer him, but
+Gainsborough would not return to the table, till he got the promise,
+which of course Sheridan made.
+
+It was not very long after this that a famous trial took place--that
+of Warren Hastings. It was in Westminster Hall, and Gainsborough went
+to listen several times. On the last occasion, he became so interested
+in what was happening that he did not notice a window open at his
+back. After a little he said to a friend that he "felt something
+inexpressibly cold" touch his neck. On his return home he told of the
+strange feeling to his wife. Then he sent for a doctor, and there was
+found a little swelling. The doctor said it was not serious and that
+when the weather grew warmer it would disappear; but all the while
+Gainsborough felt certain that it would mean his death. A short time
+after that he told his sister that he knew himself to have a cancer,
+and that was true.
+
+When he felt that he must die, he fell to thinking of many things in
+the past, and wished to right certain mistakes of his behaviour as far
+as possible.
+
+He sent to Sir Joshua Reynolds and asked him to come and see him,
+since he could not go to see Sir Joshua. Reynolds went and then
+Gainsborough told him of his regret that he had shown so much ill-will
+and jealousy toward so great and worthy a rival. Reynolds was very
+generous and tried to make Gainsborough understand that all was
+forgiven and forgotten. He left his brother artist much relieved and
+happier, and he afterward said: "The impression on my mind was that
+his regret at losing life was principally the regret of leaving his
+art." As Reynolds left the dying man's room, Gainsborough called after
+him: "We are all going to heaven--and Van Dyck is of the company."
+
+He was buried in Kew Churchyard and the ceremonies were followed by
+Reynolds and five of the Royal Academicians, who forgot all
+Gainsborough's eccentricities of conduct toward them in their honest
+grief over his death. He was one of the first three dozen original
+members of the Royal Academy.
+
+  PLATE--PORTRAIT OF MRS. RICHARD BRINSLEY SHERIDAN
+
+This picture is now in the collection of Lord Rothschild,
+London. Mrs. Sheridan was the loveliest lady of her time. She was the
+daughter of Thomas Linley, and a singer.
+
+She came from a home which was called "a nest of nightingales,"
+because all in it were musicians. The father had a large family and
+made up his mind to become the best musician of his time in his
+locality in order to support them. He was successful, and in turn most
+of his children became musicians. His lovely daughter, Eliza
+(Mrs. Sheridan), he bound to himself as an apprentice and taught her
+till she was twenty-one, insisting that she "serve out her time" to
+him, that she might become a perfect singer. The story of this
+beautiful lady seems to belong to the story of Gainsborough's portrait
+and shall be told here.
+
+When she was a very little girl, no more than eight years old, she was
+so beautiful that as she stood at the door of the pump room in Bath to
+sell tickets for her father's concerts, everyone bought them from
+her. When she was a very young woman her father engaged her to marry a
+Mr. Long, sixty years old. She did not seem to mind what arrangements
+her father made for her, but continued to sing and attend to her
+business, till after the wedding gowns were all made and everything
+ready for the marriage, when she happened to meet the brilliant
+Richard Brinsley Sheridan, whose plays were so fashionable, and she
+fell deeply in love with him. She told Mr. Long she would not marry
+him, and without much objection he gave her up, but her father was
+very angry and he threatened to sue Mr. Long for letting his daughter
+go. Then the beautiful lady ran away to Calais and married
+Mr. Sheridan without her father's permission; but she came home again
+and said nothing of what she had done, kept on singing and helping her
+father earn money for his family. One day, Mr. Sheridan was wounded in
+a duel which he had fought with one of his wife's admirers, and when
+she heard the news she screamed, "my husband, my husband," so that
+everybody knew she was married to the fascinating playwright. Sheridan
+for some reason did not at once come and get her, nor arrange for them
+to have a home together. For a good while she continued to sing; and
+once hearing her in oratorio, Sheridan fell in love with his wife all
+over again. He took her from her home and would never let her sing
+again in public. They remarried publicly and went to live in
+London. He was not at all a rich and famous man at that time--only a
+poor law-student--but he would not let his wife make the fortune she
+might easily have made, by singing.
+
+This must have made his beautiful wife very sad, but she made no
+complaint at giving up her music and letting him silence her lovely
+voice, but turned all her attention to advancing his fortunes. She
+worked for him even harder than she had for her father, and that was
+saying a great deal. When he became a great writer of plays his wife
+took charge of all the accounts of his Drury Lane Theatre, and when he
+was in the House of Commons she acted as his secretary. Sheridan died
+in great poverty and wretchedness, and it is believed had his
+self-sacrificing wife not died before him she would have looked after
+his affairs so well that he would not have lost his fortune.
+Gainsborough painted the portraits of Sheridan's father-in-law, and of
+Samuel Linley; and it was said that this last portrait was painted in
+forty-eight minutes. Among his other portraits are: eight of George
+III., Sir John Skynner, Admiral Hood, Colonel St. Leger, and "The Blue
+Boy"; but he was first and last a landscape painter of highest genius.
+
+
+
+
+XVI
+
+JEAN LEON GEROME
+
+
+  (Pronounced Zhahn Lay'on Zhay-rome)
+  _French, Semi-classical School_
+  1824-1904
+  _Pupil of Delaroche_
+
+One cannot write much more than the date of birth and death of a man
+who lived until three or four years of the time of writing, so we may
+only say that Gérôme was one of the most brilliant of modern French
+painters. He was born at Vesoul and his father was a goldsmith. Thus
+he probably had no very great difficulty in getting a start in his
+work. The prejudice against having an artist in the family was dying
+out, and as a prosperous goldsmith we may believe that his father had
+means enough to give his son good opportunities.
+
+Gérôme, like Millet, studied under Delaroche, but became no such
+characteristic painter as he. While studying with Delaroche he also
+was taking the course in l'Ecole des Beaux-Arts.
+
+His first exhibited picture was "The Cock Fight," and he won a third
+class medal by it.
+
+Almost always this painter has chosen his subjects from ancient or
+classic life, and his pictures are not always decent, but he painted
+with much care, the details of his work are very finely done and their
+vivid colour is fascinating.
+
+  PLATE--THE SWORD DANCE
+
+This painting may be seen in the Metropolitan Museum of Art in New
+York City. The scene is full of action and interest, but perhaps the
+details of dress, mosaic decoration upon the walls, patterns of the
+rugs, the coloured and jewelled lamps and windows are the most
+splendidly painted of all.
+
+The central figure is a dancing girl, only partly draped, balancing a
+sword on her head, while a brilliant green veil flies from head and
+face. Other Oriental women squat upon the floor watching her with a
+half indolent expression, while their Oriental masters and their
+friends sit in pomp at one side, absorbed in the dance and in the
+girl. The expressions upon all the faces are excellent and, the
+jewelled light that falls upon the group, the rich clothing, the grace
+of the dancer--all make a fascinating picture of a genre type. Other
+Gérômes are "Daphnis and Chloe," "Leda," and "The Duel after the
+Masked Ball."
+
+
+
+
+XVII
+
+GHIRLANDAJO
+
+
+  (Pronounced Geer-lan-da'yo)
+  _Florentine School_
+  1449-1494
+  _Pupil of Fra Bartolommeo_
+
+It is a good deal of a name--Domenico di Tommaso di Currado
+Bigordi--and it would appear that the child who bore it was under
+obligation to become a good deal of a something before he died.
+
+Italian and Spanish painters generally had large names to live up to,
+and the one known as Ghirlandajo did nobly.
+
+His father was a goldsmith and a popular part of his work was the
+making of golden garlands for the hair of rich Italian ladies. His
+work was so beautiful that it gained for him the name of Ghirlandajo,
+meaning the garland-twiner, a name that lived after him, in the great
+art of his son. Domenico began as a worker in mosaic, a maker of
+pictures or designs with many coloured pieces of glass or stone.
+
+Ghirlandajo's art was no improvement on that of his teacher, but he in
+turn became the teacher of Michael Angelo.
+
+The Florentine school of painting, to which Ghirlandajo belonged, was
+not so famous for colour as the Venetian school, but it had many other
+elements to commend it. One cannot expect Ghirlandajo to rank with
+Titian, Rubens, or other "colourists" of his own and later periods,
+but he did the very best work of his day and school. He attained to
+fame through his choice of types of faces for his models, and by his
+excellent grouping of figures.
+
+Until his day, the faces introduced into paintings were likely to be
+unattractive, but he chose pleasing ones, and he painted the folds of
+garments beautifully. He was not entirely original in his ideas, but
+he carried out those which others had thus far failed to make
+interesting.
+
+Often, in his wish to paint exactly what he saw, he softened nothing
+and therefore his figures were repulsive, but Fra Bartolommeo's pupil
+gave promise of what Michael Angelo was to fulfill.
+
+Ghirlandajo and Michael Angelo were a good deal alike in their
+emotional natures. Both sought great spaces in which to paint, and
+both chose to paint great frescoes. Indeed Ghirlandajo had the
+extraordinary ambition to put frescoes on all the fortification walls
+about Florence. It certainly would have made the city a great picture
+gallery to have had its walls forever hung with the pictures of one
+master. Had he painted them, inside and out, when such an enemy as
+Napoleon came along, with his love of art, and his fashion of taking
+all that he saw to Paris, he would likely enough have camped outside
+the walls while he decided what part of the gallery he would transfer
+to the Louvre.
+
+One of the reasons that Ghirlandajo is famous is that he often chose
+well known personages for his models, and as he painted just what he
+saw, did not idealise his subject, he gave to the world amazing
+portraits, as well as fine paintings. The same thing was done by
+painters of a far different school, at another period. The Dutch and
+Flemish painters were in the habit of using their neighbours as
+models.
+
+Ghirlandajo is classed among religious painters, but let us compare
+some of his "religious" paintings with those of Raphael or Murillo,
+and see the result.
+
+He painted seven frescos on the walls of the Santa Maria Novella in
+Florence, all scenes of Biblical history, as Ghirlandajo imagined
+them. They show him to have been a fine artist, but to have had not
+much idea of history, and to have had little sense of fitness.
+
+Ghirlandajo's seven subjects are taken from legends of the Virgin, and
+the greatest represents Mary's visit to Elizabeth; it is called "The
+Visitation," and it is a fresco about eighteen feet long painted on
+the choir wall.
+
+Let us imagine the possible scene. The Virgin Mary came from Cana, a
+little town in Galilee placed in the hills about nine miles from
+Nazareth, the home of the lowliest and the poorest, of a kindly
+pastoral people living in the open air, needing and wanting very
+little, simple in their habits. Elizabeth, Mary's old cousin, lived in
+Judea, and St. Luke writes thus: "Mary arose in those days and went
+into the hill country with haste, into a city of Judea; and entered
+into the house of Zacharias" (Elizabeth's husband) "and saluted
+Elizabeth."
+
+This record had been made at least eleven hundred years before
+Ghirlandajo painted in the Santa Maria Novella, and from it one cannot
+imagine that Mary made any preparation for her journey, nor does it
+suggest that Elizabeth had any chance to arrange a reception for
+her. Even had she done so, it must have been of the simplest
+description, at that time among those people. One can imagine a lowly
+home; an aged woman coming out to meet her young relative either at
+her door or in the high road.
+
+There may have been surroundings of fruit and flowers, a stretch of
+highroad or a hospitable doorway; but the wildest imagination could
+not picture what Ghirlandajo did.
+
+He paints Elizabeth flanked with handmaidens, as if she were some
+royal personage, instead of a priest's wife in fairly comfortable
+circumstances where comfort was easily obtained. Mary appears to be
+escorted by ladies-in-waiting, hardly a likely circumstance since she
+was affianced to no richer or more important person than a carpenter
+of Galilee. Possibly the three ladies that stand behind Mary in, the
+picture are merely lookers-on, but in that case the visit of Mary
+would seem to have been of public importance, especially as there are
+youths near by who are also much interested in one woman's hasty visit
+to another. The rich brocades worn by Elizabeth's waiting ladies are
+splendid indeed and the landscape is fine--a rich Italian landscape
+with architecture of the most up-to-date sort--showing, in short, that
+the artist lacked historical imagination. He found some models, made a
+purely decorative painting with an Italian setting and called it "The
+Visitation." The doorway on the right is distinctly renaissance.
+
+Such a painting as this is not "religious," nor is it historic, nor
+does it suggest a subject; it is merely a fine picture better coloured
+than most of those of the Florentine school. There is another painting
+of this same subject by Ghirlandajo in the Louvre, but it is no nearer
+truth than the one in the Santa Maria.
+
+Ghirlandajo painted other than religious subjects, and one of them, at
+least, is quite repulsive. It is the picture of an old man, with a
+beautiful little child embracing him. The old man may have tenderness
+and love in his face, but his heavy features, his warty nose, do not
+make one think of pleasant things and one does not care to imagine the
+dear little child kissing the grotesque old fellow.
+
+It was before Ghirlandajo's time that another painter had discovered
+the use of oil in mixing paints. Previously colours had been mixed in
+water with some gelatinous substance, such as the white and yolk of an
+egg, to give the paint a proper texture or consistency. This
+preparation was called "distemper," and frescoes were made by using
+this upon plaster while it was still wet. Plaster and colours dried
+together, and the painting became a part of the wall, not to be
+removed except by taking the plaster with it.
+
+The different gluey substances used had often the effect of making the
+colours lose their tone and they presented a glazed surface when used
+upon wood, a favourite material with artists.
+
+There are numberless anecdotes written of this artist and his brother,
+and one of these shows he had a temper. The brothers were engaged in a
+monastery at Passignano painting a picture of the "Last Supper." While
+at work upon it, they lived in the house. The coarse fare did not suit
+Ghirlandajo, and one night he could endure it no longer. Springing
+from his seat in the refectory he flung the soup all over the monk who
+had served it, and taking a great loaf of bread he beat him with it so
+hard that the poor monk was carried to his cell, nearly dead. The
+abbot had gone to bed, but hearing the rumpus he thought it was
+nothing less than the roof falling in, and he hurried to the room
+where he found the brothers still raging over their dinner. David
+shouted out to him, when the abbot tried to reprove the artist, that
+his brother was worth more than any "pig of an abbot who ever lived!"
+
+It is recorded in the documents found in the Confraternity of St. Paul
+that:
+
+Domenico de Ghurrado Bighordi, painter, called del Grillandaio, died
+on Saturday morning, on the 11th day of January, 1493 (o.s.), of a
+pestilential fever, and the overseers allowed no one to see the dead
+man, and would not have him buried by day. So he was buried, in Santa
+Maria Novella, on Saturday night after sunset, and may God forgive
+him! This was a very great loss for he was highly esteemed for his
+many qualities, and is universally lamented.
+
+The artist left nine children behind him.
+
+Ghirlandajo's pictures may be found in the Louvre, the Berlin Museum,
+the Dresden, Munich, and London galleries. Most children will find it
+hard to see their beauty.
+
+Great men are likely to come in groups, and with Ghirlandajo there are
+associated Botticelli and Fra Filippo Lippi.
+
+  PLATE--PORTRAIT OF GIOVANNA DEGLI ALBIZI
+
+This lovely lady was the wife of one of the painter's patrons,
+Giovanni Tornabuoni, through whom he received the commission for a
+series of frescoes in the choir of the Santa Maria Novella,
+Florence. The subjects chosen were sacred, but since Ghirlandajo, no
+more than his neighbours, knew what the Virgin or her contemporaries
+looked like, he saw no reason why he should not compliment some of the
+great ones of his own city and his own time by painting them in to
+represent the different characters of Holy Writ. So, as one of the
+ladies attendant upon Elizabeth when Mary comes to visit her, we have
+this signora of the fifteenth century. The artist made another picture
+of her, the one here shown, but in the same dress and posed the same
+as she had been for the church fresco. This accounts for its dignity
+and simplicity. It would seem like a bas-relief cut out of marble were
+it not for its wonderful colouring. It is in the Rudolf Kann
+Collection, Paris. This artist's other pictures are "Adoration of the
+Shepherds," "Adoration of the Magi," "Madonna and Child with Saints,"
+"Three Saints and God the Father," "Coronation of the Virgin," and
+"Portrait of Old Man and Boy."
+
+
+
+
+XVIII
+
+GIOTTO (DI BORDONE)
+
+
+  (Pronounced Jot-to)
+  _Florentine School_
+  1276-1337
+  _Pupil of Cimabue_
+
+Giotto painted upon wood, and in "distemper"--the mixture of colour
+with egg or some other jelly-like substance. We know nothing of his
+childhood except that he was a shepherd, as we learn from a story told
+of him and his teacher, Cimabue.
+
+The story runs that one day while Giotto was watching his sheep, high
+up on a mountain, Cimabue was walking abroad to study nature, and he
+ran across a shepherd boy who was drawing the figure of a sheep, with
+a piece of slate upon a stone. In those days we can imagine how rare
+it was to find one who could draw anything, ever so rudely.
+Immediately Cimabue saw a chance to make an artist and he asked the
+little shepherd if he would like to be taught art in his studio.
+Giotto was overjoyed at the opportunity, and at once he left the
+mountains for the town, the shepherd's crook for the brush.
+
+In those days the studio of one like Cimabue was really a workshop.
+Artists had to grind their own colours, prepare their own panels upon
+which to paint, and do a hundred other things of a workman rather than
+an artist kind in connection with their painting. Such a studio was
+crowded with apprentices--boys who did these jobs while learning from
+the master. Their teaching consisted in watching the artist and now
+and then receiving advice from him.
+
+It was into such a shop as this, in Florence, that Giotto went, and
+soon he was to become greater than his master. Even so, we cannot
+think him great, excepting for his time, because his pictures,
+compared with later art, are crude, stiff, and strange.
+
+No pupil was permitted to use a brush till he had learned all the
+craft of colour grinding and the like, and this was supposed to take
+about six years. These workshops were likely to be dull, gloomy
+places, and only a strong desire to do such things as they saw their
+master doing, would induce a boy to persevere through the first
+drudgery of the work. Giotto persevered, and not only became an
+original painter, at a time when even Cimabue hardly made figures
+appear human in outline, but he designed the great Campanile in
+Florence, and he saw it partly finished before he died. The Campanile
+is a wonder of architecture, but Giotto's Madonnas had to be improved
+upon, as certainly as he had improved upon those of Cimabue.
+
+There are many amusing stories of Giotto, mainly telling of his good
+nature, and his ugly appearance, which everyone forgot in appreciation
+of his truly kind heart. Once a visit was made to his studio by the
+King of Naples, after the artist had become famous. Giotto was
+painting busily, though the day was very hot. The King entered, and
+bade Giotto not to be disturbed but to continue his work, adding:
+"Still, if I were you, I should not paint in such hot weather." Giotto
+looked up with a laugh in his eye: "Neither would I--if I were you,
+Sire!" he answered.
+
+There is a famous saying: "As round as Giotto's "O," and this is how
+it came about. The pope wanted the best of the Florentine artists to
+do some work in Rome for him and he sent out to them for examples of
+their work. When the pope's messenger came to Giotto the artist was
+very busy. When asked for some of his work to show the pope, he
+paused, snatched a piece of paper and with the brush he had been
+using, which was full of red paint, he hurriedly drew a circle and
+gave it to the messenger who stared at him.
+
+"But--is this _all_?" he asked.
+
+"All--yes--and too much. Put it with the others." This perfect circle
+and the account the messenger gave of his visit so delighted the pope
+that Giotto was chosen from all the Florentine artists to decorate the
+Roman buildings.
+
+Thus Giotto worked till he was fifty-seven or eight years old when he
+put aside his brush and turned to sculpture and architecture. Meantime
+he had far outstripped his master in art. The arrangement of the
+groups is about the same, but the figures look human and the draperies
+are more natural, while he gives the appearance of length, breadth,
+and thickness to his thrones and enclosures. We shall not choose a
+Madonna for illustration, but another of Giotto's masterpieces,
+remembering that good as he was in his time, he seems amazingly bad
+compared with those who came after him.
+
+  PLATE--THE MEETING OF ST. JOHN AND ST. ANNA AT JERUSALEM.
+
+In 1303 a certain Enrico Scrovegno had a private chapel built in the
+Arena at Padua and he sent for Giotto to come there and adorn the
+whole of its walls and ceiling with frescoes. These remain, though the
+chapel is now emptied of all else, and they suffice to bring scores of
+art-lovers to Padua. The picture here reproduced represents the
+meeting and reconciliation between the father and mother of the Virgin
+before her birth. The peculiarly shaped eyes and eyebrows that Giotto
+gives to all his characters are specially noteworthy here as in every
+one of the thirty-eight frescoes. There are three rows of pictures,
+one above the other and in them are portrayed the principal scenes in
+the lives of Christ and the Virgin. The painter here reached his
+high-water mark, showed the very best he could produce in sincere,
+restrained art.
+
+
+
+
+XIX
+
+FRANZ HALS
+
+
+  _Dutch School_
+  1580-04-1666
+  _Pupil of Karel Van Mander_
+
+Franz Hals belonged to a family which for two hundred years had been
+highly respected in Haarlem in the Netherlands. The father of the
+painter left that town for political reasons in 1579, and it was at
+Antwerp that Franz was born sometime between that date and 1585. His
+parents took him back to Haarlem as an infant, and that is the town
+with which his name and fame are most closely associated.
+
+Little is known of his early life except that he began his studies
+with Karel Van Mander and Cornelis Cornelissen. What we know of his
+family life is not to his credit. In the parish register of 1611 is
+recorded the birth of a son to Franz Hals and five years later he is
+on the public records for abusing his wife, who died shortly
+afterward. He married again within a year and the second wife bore him
+many children and survived him ten years. Five of his seven sons
+became painters.
+
+Franz Hals drank too much and mixed too freely with the kind of
+disreputable people he loved to paint, but he never became so degraded
+that his hand lost its cunning, or his eye its keen vision for that
+which he wished to portray. In 1644, he was made a director of the
+Guild of St. Lucas, an institution for the protection of arts and
+crafts in Haarlem, but from that time onward he sank in popular
+esteem, deservedly. He fell into debt, then into pauperism, and when
+he died, about the age of eighty-six, he was buried at public expense
+in the choir of St. Bavon Church in Haarlem.
+
+It was in the year 1616 that Hals first became known as a master of
+his art by the painting of the St. Jovis Shooting Company, one of the
+clubs composed of volunteers banded together for the defence of the
+town should occasion arise. Such guilds were common throughout
+Holland, and they became a favourite subject with Hals, as with other
+painters of the time, who vied with one another in portraiture of the
+different members. These groups were hung upon the walls of the
+chambers where meetings were held for social purposes in times of
+peace. The men of highest rank are always given the most conspicuous
+places in the pictures. The flag is generally the one bit of gorgeous
+colour in the scene; but Franz Hals seized the opportunity to show his
+wonderful skill in detail while painting the cuffs and ruffs worn by
+these grandees. In all his work there is an impression of strength
+rather than of beauty; it is the charm of expressiveness he is aiming
+at, rather than the charm of grace and colour to which the Italian
+school was devoted. He differed from that school, also, in his choice
+of subjects, for he was distinctly and almost entirely a portrait
+painter, and within his own limited range he is unsurpassed. A
+wonderful collection of his works is to be seen in the Haarlem Town
+Hall.
+
+  PLATE--THE NURSE AND THE CHILD
+
+Considering the woeful life that Franz Hals led, it is amazing to
+think that he of all artists is the best painter of good humour. He
+puts a smile on the face of nearly every one of his "leading
+characters," whether it be a modest young girl, a hideous old woman, a
+strolling musician, or a riotous soldier, and in every case the laugh
+suits the subject. It may have been his own easygoing shiftlessness,
+his way of casting care aside with a jest that enabled him to live so
+long and to accomplish so much in spite of his poverty and other
+misfortunes.
+
+The roguish look upon the face of this baby of the house of Ilpenstein
+makes it appear older than the pleasant faced nurse. The dress of the
+child is such as Hals delighted to spend his talents upon. The picture
+is in the Berlin Gallery.
+
+Among his best known paintings are "The Laughing Cavalier," "The
+Fool," "The Man with the Sword," and "Hille Bobbe. the Witch of
+Haarlem."
+
+
+
+
+XX
+
+MEYNDERT HOBBEMA
+
+
+  _Dutch School_
+  1637-1709
+  _Pupil of Jacob van Ruisdael_
+
+When a man becomes famous many people claim his acquaintance, and
+often many places his birthplace. In Hobbema's case it has never been
+decided whether he was born in the little town of Koeverdam, or in the
+city of Haarlem or in Amsterdam. Nor is it quite certain when he was
+born; but what he did afterward, we are all acquainted with.
+
+No one knows much about the life of this artist, but his master was
+doubtless his uncle, van Ruisdael. Hobbema was dead a hundred years
+before the world acknowledged his genius, thus he reaped no reward for
+hard work and ambition. He, like Rembrandt, died in great poverty, and
+with nearly the same surroundings. Rembrandt died forsaken in
+Roosegraft Street, Amsterdam, and Hobbema died in the same
+locality. We must speak chiefly about his work, since we know little
+of his personality or affairs.
+
+If Böcklin's pictures seem to be composed of vertical lines, Hobbema's
+are as startling in their positive vertical and horizontal lines
+combined. We are not likely to find elevations or gentle, gradual
+depressions in his landscapes, but straight horizons, long trunked,
+straight limbed trees; and the landscape seems to be punctured here
+and there by an upright house or a spire. It is startlingly beautiful,
+and so characteristic that after seeing one or two of Hobbema's
+pictures we are likely to know his work again wherever we may find it.
+
+Hobbema got at the soul of a landscape. It was as if one painted a
+face that was dear to one, and not only made it a good likeness but
+also painted the person as one felt him to be--all the tenderness, or
+maybe all the sternness.
+
+It may be that Hobbema's failure to get money and honours, or at the
+very least, kind recognition as a great artist, while he lived,
+influenced his painting, and made him see mostly the sad side of
+beauty, nor it is certain that his landscapes give one a strange
+feeling of sadness and desolation, even when he paints a scene of
+plenty and fulness.
+
+The French have made a phrase for his kind of work, _paysage
+intime_--meaning the beloved country--the one best known. It is a fine
+phrase, and it was first used to describe Rousseau's and Corot's work;
+but it especially applies to Hobbema's.
+
+While this artist was not yet recognised, his uncle van Ruisdael was
+known as a great artist. The family must have been rich in spirit that
+gave so much genius to the world. Hobbema certainly loved his art
+above all things, for he had no return during his lifetime, save what
+was given by the joy of work. There are those who complain that
+Hobbema was a poor colourist. True, he used little besides grays and a
+peculiar green, which seemed especially to please him; but since that
+colouring belonged to the subjects he chose, one cannot complain on
+the ground that what he did was unsatisfying. For lack of knowledge
+about him we can think of him as a man of moods, sad, desolate ones at
+that; because his work is too extreme and uniform in its character for
+us to believe his method was affected.
+
+  PLATE--THE AVENUE, MIDDELHARNIS, HOLLAND
+
+This perhaps is one of the most characteristic of Hobbema's
+pictures. Note a strange hopelessness in the scene, as well as
+beauty. The tall and solemn trees, the high light upon the road,
+suggesting to us all sorts of joys struggling through the
+cheerlessness of life. What other artist would have chosen such a
+corner of nature for a subject to paint? To quote a fine description:
+
+"He loved the country-side, studied it as a lover, and has depicted it
+with such intimacy of truth that the road to Middelharnis seems as
+real to-day as it did over a hundred years ago to the artist. We see
+the poplars, with their lopped stems, lifting their bushy tops against
+that wide, high sky which floats over a flat country, full of billowy
+clouds as the sky near the North Sea is apt to be. Deep ditches skirt
+the road, which drain and collect the water for purposes of
+irrigation, and later on will join some deeper, wider canal, for
+purposes of navigation. We get a glimpse on the right, of patient
+perfection of gardening, where a man is pruning his grafted fruit
+trees; farther on a group of substantial farm buildings. On the
+opposite side of the road stretches a long, flat meadow, or "polder,"
+up to the little village which nestles so snugly around its tall
+church tower; the latter fulfilling also the purpose of a beacon, lit
+by night, to guide the wayfarer on sea and land; scene of tireless
+industry, comfortable prosperity, and smiling peace. ... Pride and
+love of country breathe through the whole scene. To many of us the
+picture smiles less than it thrills with sadness. Perhaps it speaks
+thus only to those who find a kind of hurt in the revival of the
+spring, which promises so much and may fulfill so little."
+
+Hobbema's "Watermill" is very well-known and so are his "Wooded
+Landscape," and "Haarlem's Little Forest."
+
+
+
+
+XXI
+
+WILLIAM HOGARTH
+
+
+  _School of Hogarth (English)_
+  1697-1764
+
+William Hogarth, like Watteau, originated his own school; in short
+there never was anybody like him. He was an editorial writer in
+charcoal and paint, or in other words he had a story to tell every
+time he made a picture, and there was an argument in it, a right and a
+wrong, and he presented his point of view by making pictures.
+
+English artists in literature and in painting have done some great
+reformatory work. Charles Dickens overthrew some dreadful abuses by
+writing certain novels. The one which has most interest for children
+is the awful story of Dotheboys' Hall, which exposed the ill treatment
+of pupils in a certain class of English schools. What Dickens and
+Charles Reade did in literature, Hogarth undertook to do in
+painting. He described social shams; painted things as they were, thus
+making many people ashamed and possibly better.
+
+Italians had always painted saints and Madonnas, but Hogarth pretended
+to despise that sort of work, and painted only human beings. He did
+not really despise Raphael, Titian, and their brother artists, but he
+was so disgusted with the use that had been made of them and their
+schools of art, to the entire exclusion of more familiar subjects,
+that he turned satirist and ridiculed everything.
+
+First of all, Hogarth was an engraver. He was born in London on the
+10th December, 1697, and eighteen days later was baptised in the
+church of St. Bartholemew the Great. His father was a school teacher
+and a "literary hack," which means that in literature he did whatever
+he could find to do, reporting, editing, and so on.
+
+Hogarth must early have known something of vagabond life, for his
+father's life during his own youth must have brought him into
+association with all sorts of people. He knew how madhouses were run,
+how kings dined, how beggars slept in goods boxes, and many other
+useful items.
+
+Hogarth said of himself: "Shows of all sorts gave me uncommon pleasure
+when an infant, and mimicry, common to all children, was remarkable in
+me.... My exercises, when at school, were more remarkable for the
+ornaments which adorned them, than for the exercises themselves." He
+became an engraver or silver-plater, being apprenticed to Mr. Ellis
+Gamble, at the sign of the "Golden Angel," Cranbourne Alley, Leicester
+Fields.
+
+Engraving on silver plate was all well enough, but Hogarth aspired to
+become an engraver on copper, and he has said that this was about the
+highest ambition he had while he was in Cranbourne Alley.
+
+The shop-card which he engraved for Mr. Ellis Gamble may have been the
+first significant piece of work he undertook. The card is still among
+the Hogarth relics. He set up as an engraver on his own account,
+though he did study a little in Sir James Thornhill's art school; but
+whatever he learned he turned to characteristic account.
+
+He continued to make shop-cards, shop-bills, and book-plates. Finally,
+in 1727, a maker of tapestry engaged Hogarth to sketch him a design
+end he set to work ambitiously He worked throughout that year upon the
+design, but when he took it to the man it was refused. The truth was
+that the man who had commissioned the work had heard that Hogarth was
+"an engraver and no painter," and he had so little intelligence that
+he did not intend to accept his design, however much it might have
+pleased him. Hogarth sued the man for his refusal and he won the
+suit. He next began to make what he called "conversation pieces,"
+little paintings about a foot high of groups of people, the figures
+being all portraits. These were very fashionable for a time and made
+some money for the artist. Both he and Watteau were fond of the stage,
+and both painted scenes from operas and plays.
+
+In time he moved into lodgings at the "Golden Head," in Leicester
+Fields, and there he made his home. He had already begun the great
+paintings which were to make him famous among artists. These were a
+series of pictures, telling stories of fashionable and other life. His
+own story of how he came to think of the picture series was that he
+had always wished to present dramatic stories--present them in scenes
+as he saw them on the stage.
+
+He had married the daughter of Sir James Thornhill, and had never been
+thought of kindly by his father-in-law till he made so much stir with
+his first series. Then Sir James approved of him, and Hogarth found
+life more pleasing.
+
+There are very few anecdotes to tell of the artist's life, and the
+story of his pictures is much more amusing. One of his first satires
+was made into a pantomime by Theophilus Gibber, and another person
+made it into an opera. Many pamphlets and poems were written about it,
+and finally china was painted with its scenes and figures. There was
+as much to cry as to laugh over in Hogarth's pieces and that is what
+made them so truly great. One of his great picture series was called
+the "Rake's Progress" and it was a warning to all young men against
+leading too gay a life. It showed the "Rake" at the beginning of his
+misfortunes, gambling, and in the last reaping the reward of his
+follies in a debtor's prison and the madhouse. There are eight
+pictures in that set.
+
+In this series, especially in the fifth picture, there are
+extraordinary proofs of Hogarth's completeness of ideas. Upon the wall
+in the room wherein the "Rake" marries an old woman for her money, the
+Ten Commandments are hung, all cracked, and the Creed also is cracked
+and nearly smudged out; while the poor-box is covered with
+cobwebs. The eight pictures brought to Hogarth only seventy guineas.
+
+One of his pictures was suggested to him by an incident which greatly
+angered him. He had started for France on some errand of his own, and
+was in the very act of sketching the old gate at Calais, when he was
+arrested as a spy. Now Hogarth was a hard-headed Englishman, and when
+he was hustled back to England without being given time for argument,
+he was so enraged that he made his picture as grotesque as possible,
+to the lasting chagrin of France. He painted the French soldiers as
+the most absurd, thin little fellows imaginable, and that picture has
+largely influenced people's idea of the French soldier all over the
+English-speaking world.
+
+As Hogarth grew old he grew also a little bitter and revengeful toward
+his enemies, often taking his revenge in the ordinary way of
+belittling the people he disliked, in his paintings.
+
+Hogarth came before Reynolds or Gainsborough; in short, was the first
+great English artist, and his chief power lay in being able instantly
+to catch a fleeting expression, and to interpret it. An incident of
+Hogarth's youth illustrates this. He had got into a row in a pot-house
+with one of the hangers-on, and when someone struck the brawler over
+the head with a pewter pot, there, in the midst of excitement and
+rioting, Hogarth whipped out his pencil and hastily sketched the
+expression of the chap who had been hit.
+
+Hogarth was friends with most of the theatre managers, and one of his
+souvenirs was a gold pass given him by Tyers, the director of Vauxhall
+Gardens, which entitled Hogarth and his family to entrance during
+their lives. This was in return for some "passes," which Hogarth had
+engraved for Tyer.
+
+Upon one occasion Hogarth set off with some companions for a trip to
+the Isle of Sheppey. Incidentally Forest wrote a sketch of their
+journey and Hogarth illustrated it. That work is to be found,
+carefully preserved, in the British Museum. The repeated copying and
+reproduction for sale of his pictures brought about the first effort
+to protect his works of art by copyright. But it was not till he had
+done the "Rake's Progress" that he was able to protect himself at all,
+and even then not completely.
+
+Just before his death he was staying at Chiswick, but the day before
+he died he was removed to his house in Leicester Fields. He was buried
+in the Chiswick churchyard; and in that suburb of London may still be
+seen his old house and a mulberry tree where he often sat amusing
+children for whom he cared very much. Garrick wrote the following
+epitaph for his tomb:
+
+  If Genius fire thee, Reader, stay;
+  If Nature touch thee, drop a tear;
+  If neither move thee, turn away,
+  For Hogarth's honour'd dust lies here.
+
+  Farewell, great Painter of Mankind!
+  Who reached the noblest point of art,
+  Whose pictured Morals charm the Mind
+  And through the Eye correct the Heart.
+
+  PLATE--THE MARRIAGE CONTRACT
+
+The picture used in illustration here is part of probably the very
+greatest art-sermon ever painted, called "Marriage à la Mode." The
+story of it is worth telling:
+
+"The first act is laid in the drawing-room of the Viscount
+Squanderfield"--is not that a fine name for the character? "On the
+left, his lordship is seated, pointing with complacent pride to his
+family tree, which has its roots in William the Conqueror. But his
+rent roll had been squandered, the gouty foot suggesting whither some
+of it has gone; and to restore his fortunes he is about to marry his
+heir to the daughter of a rich alderman. The latter is seated
+awkwardly at the table, holding the marriage contract duly sealed,
+signed and delivered; the price paid for it, being shown by the pile
+of money on the table and the bunch of cancelled mortgages which the
+lawyer is presenting to the nobleman, who refuses to soil his elegant
+fingers with them. Over on the left is his weakling son, helping
+himself at this critical turn of his affairs, to a pinch of snuff
+while he gazes admiringly at his own figure in the mirror. The lady is
+equally indifferent; she has strung the ring on to her finger and is
+toying with it, while she listens to the compliments being paid to her
+by Counsellor Silver-tongue. Through an open window another lawyer is
+comparing his lordship's new house, that is in the course of building,
+with the plan in his hand. A marriage so begun could only end in
+misery." This is the first act, and the pictures that follow show all
+the steps of unhappiness which the couple take. There are five more
+acts to that painted drama, which is in the National Gallery, London.
+
+
+
+
+XXII
+
+HANS HOLBEIN, THE YOUNGER
+
+
+  (Pronounced Hahntz Hol'bine)
+  _German School_
+  1497-1543
+  _Pupil of Holbein, the Elder_
+
+There were three generations of painters in the Holbein family, and
+the Hans of whom we speak was of the third. His grandfather was called
+"old Holbein," and when more painters of the same name and family came
+along it became necessary to distinguish them from each other thus:
+"old Holbein," the "elder Holbein," and "young Holbein." The first one
+was not much of an artist; still, in a locality where at best there
+was not much art he was good enough to be remembered.
+
+"Young Holbein" was born in Augsburg, which is in Swabia, in southern
+Germany; "elder Holbein" and his father, Michael, "old Holbein," had
+moved there from Schonenfeld, a neighbouring village, about forty
+three years before little Hans was born, the old Michael bringing his
+family to the larger town where it was easier to make a living.
+
+The "elder Holbein" was a really good artist and well thought of in
+Augsburg, and when little Hans's turn came he had no teacher but his
+father, unless indeed we were to call him also a pupil of his elder
+brother, Ambrosius. His uncle Sigismund, too, taught him something of
+art, for the whole Holbein family seem to have been artists. Young
+Holbein was never regularly apprenticed to any outsider.
+
+Art was not then taught as it is now. The work of a beginner was often
+to paint for his master certain details which it was thought that he
+might handle properly, while the master occupied himself with what he
+thought to be some more important part of the picture. It is said that
+Hans often painted the draperies of his father's figures when his
+father was engaged upon the altar pieces so fashionable at the
+time. The Holbeins one and all must have been bad managers or
+improvident; at any rate, Hans did not turn out well as a man and we
+read that his father was always in debt and difficulty although he
+received much money for his work and was not handicapped, like Dürer's
+father, by a family of eighteen children.
+
+The story of the Holbeins is quite unlike that of the Dürers, and not
+nearly so attractive.
+
+Some time before Hans was twenty years of age, the entire family had
+packed up and gone to live in Lucerne, while Hans and his brother,
+Ambrosius, went travelling together, as most young Germans went at
+that time before they settled down to the serious work of life. The
+last we hear of Ambrosius he had joined the painters' guild in Basel,
+and probably he died not long afterward, or at any rate while he was
+still young. There was in Basel a certain Hans Bar, for whose wedding
+occasion Hans Holbein designed a table, on which he pictured an
+allegory of "St. Nobody." This was very likely such work as our
+cartoonists do to-day, but being the work of Holbein, it had great
+artistic value. Besides that, he painted a schoolmaster's sign to be
+hung outside the door.
+
+As an illustrator, Holbein made the acquaintance of several authors
+about that time and started on the high road to fame. He was a man of
+very little conscience or fine feeling, and there could hardly be a
+greater contrast than that between the clean sweet life of Dürer and
+the brawling, unfeeling one that Hans Holbein led.
+
+Dürer married, had no children, but tenderly loved and cared for his
+wife, taking her with him upon his journeys and making her happy.
+
+Holbein married and beat his wife; had several children and took care
+of none of them. His wife grew to look old and worn while he remained
+a gay looking sport, quite tired of one whom he had had on his hands
+for ten years. He wandered everywhere and left his family to shift for
+itself. One writer in speaking of the two men says:
+
+"Dürer would never have deserted his wife whom he took with him even
+on his journey to the Netherlands; and he was bound by the same
+tenderness to his native town. However much he rejoiced to receive a
+visit from Bellini at Venice, or when at Antwerp, the artists
+instituted, a torch-light procession in his honour, nothing could have
+moved him to leave Nuremberg." Dürer loved his home; Holbein hated
+his.
+
+Holbein had a cold, light-blue eye; Dürer a soft and tender
+glance. While Dürer lived he was the mainstay of his family--father
+and brothers. Holbein's father died in misery and his brother's life
+was disastrous, Hans doing nothing to serve them and looking on at
+their sufferings indifferently.
+
+There is a court document in existence which tells the particulars of
+Hans Holbein's arrest for getting into a brawl with a lot of
+goldsmiths' apprentices during a night of carousal. The court warned
+him that he would be more severely punished if he did not cease his
+lawless life and he was made to promise not to "jostle, pinch, nor
+beat his lawful spouse." When he died he made no provision in his will
+for his family. There is a picture of his wife, Elizabeth Schmidt, to
+be seen in his "Madonna" at Solothurn Holbein used her for the
+model. She then was young and blooming and the model for the child was
+his own baby; at that time he found them useful.
+
+His life of folly can hardly be excused by impulsiveness or emotion,
+for his pictures show little of either. He was best at portrait
+painting. At that time guilds and town councils wanted the portraits
+of their members preserved in some way, and it was the habit of
+painters like Holbein to form picturesque groups and give to such
+dramatic groupings the features of townsmen. Rembrandt did this much
+later than Holbein, when he painted the "Night Watch," or as it is
+more properly called, "The Sortie."
+
+Probably Holbein's first important work was to make title pages for
+the second edition of Martin Luther's translation of the New
+Testament. This MS. was made about the time that Holbein's work began
+to be of interest to the public, and so the commission was given to
+him.
+
+After a time this artist went to England with letters of introduction
+to Sir Thomas More, Chancellor to King Henry VIII. Sir Thomas treated
+him very kindly and set him to work making portraits of his own
+family. During the time he was living at More's home in Chelsea, the
+King himself, used frequently to visit there, and on one occasion he
+saw the brilliant portraits of the More family and inquired about the
+artist. Sir Thomas offered the King any of the pictures he liked, but
+Henry VIII. asked to see the artist. When brought before him,
+Holbein's fortune seemed to be made for the King asked him to go to
+court and paint for him, remarking that "now he had the artist he did
+not care about the pictures."
+
+Holbein seems to have been a favourite with Henry and many anecdotes
+are told of his life at Whitehall, where he went to live. Once while
+Holbein was engaged upon a portrait, a nobleman insisted upon entering
+his studio, after the artist had told him that he was painting the
+portrait of a lady, by order of the King. The nobleman insisted upon
+seeing it, but Holbein seized him and threw him down the Stairs; then
+he rushed to the King and told what had happened. He had no sooner
+finished than the nobleman appeared and told his story. The King
+blamed the nobleman for his rudeness.
+
+"You have not to do with Holbein," he said, "but with me. I tell you,
+of seven peasants I can make seven lords, but of seven lords I cannot
+make one Holbein. Begone! and remember that if you ever attempt to
+avenge yourself, I shall look upon any injury offered to the painter
+as done to myself."
+
+It was Holbein who, visiting a brother artist and finding a picture on
+the easel, painted a fly upon it. When the artist returned he tried to
+brush the fly off, then set about looking for the one who had deceived
+him.
+
+His portrait painting was so superb that he received many commissions.
+
+Meantime, Sir Thomas More had fallen into disfavour with the King and
+was to lose his head, but it is written that the artist's portraits
+"betray nothing of this tragedy." He was as ready to climb to fame by
+the favour of his generous patron's enemies as he had been to accept
+the offices of Sir Thomas More. He painted the portraits of several of
+the wives of Henry VIII., and it may be said that there was a good
+deal of that monarch's temperament to be found in Holbein
+himself. Take him all in all, Hans was as detestable as a man as he
+was excellent as a painter.
+
+In his adopted home in Lucerne, Holbein had painted frescoes, both on
+the inside and the outside of a citizen's house, and this house stood
+until 1824, when it was torn down to make way for street improvements,
+but several artists hastily copied the frescoes so that they are not
+entirely lost.
+
+Before he left Germany for England, Holbein had been commissioned to
+decorate the town hall in Basel, and a certain amount of money was
+voted for the work, but after he had finished three walls, he decided
+that the money was only enough to pay him for what he had already
+done. The councillors agreed with him, but as money was a little
+"close" in Basel at that time, they felt unable to give him more, and
+so voted to "let the back wall alone, till further notice."
+
+He painted one Madonna whom he surrounded with the entire family of
+Burgomaster Meyer, including even the burgomaster's first wife, who
+was dead. This work is called the "Meyer Madonna."
+
+It is said that after Holbein's return to Basel he, with others, was
+persecuted for his "religious principles," but if this were true, his
+persecutors went to considerable pains for nothing, because Holbein
+was never known to have any sort of principles, religious or
+otherwise. He was neither a Protestant, nor a Catholic but a painter,
+a man without convictions and without thought. He did not care for
+family, country, friends, politics, religion, nor for anything else,
+so far as any one knows.
+
+When he was asked why he had not partaken of the Sacrament, he
+answered that he wanted to understand the matter better before he did
+so. Thus he escaped punishment, and when matters were explained to
+him, he did whatever seemed safest and most convenient under the
+circumstances.
+
+On his return to England, he settled among the colony of German and
+Netherland merchants, who were in the habit of meeting at a place
+called "The Steelyard," as their home and warehouses were grouped in
+that locality, with a guild hall and a wineshop they alone patronised.
+
+While associated with his compatriots Holbein made portraits of many
+of them, and these are magnificent works of art. He painted them
+separately or in groups; in their offices and in their guild hall, as
+the case might be. The men whom he thus painted were: Gorg Gisze, Hans
+of Antwerp, Derich Berck, Geryck Tybis, Ambrose Fallen, and many
+others. He designed the arch which the guild erected upon the occasion
+of Anne Boleyn's coronation, and he painted Henry's next Queen, Jane
+Seymour.
+
+Holbein painted many portraits of Henry VIII. and probably all those
+dated after 1537 were either copies or founded upon the portrait which
+Holbein made and which was destroyed with Whitehall.
+
+While he painted for Henry, Holbein received a sort of retainer's fee
+of thirty pounds a year, but he may have received sums for outside
+commissions which he undertook. On one occasion, when he took a
+journey to Upper Burgundy to paint a portrait of the Duchess whom
+Henry contemplated making his next wife, the King gave him ten pounds
+out of his own purse. We have no record of vast sums such as Raphael
+received.
+
+Henry did not succeed in making the Duchess his wife, so Holbein was
+sent to paint another--Anne of Cleves--that Henry might see what he
+thought of her before he undertook to make her his queen. Holbein did
+a disastrous deed, for he made Anne a very acceptable looking woman,
+(the portrait hangs in the Louvre) and Henry negotiated for her on the
+strength of that portrait. Later, when he saw her, he was utterly
+disgusted and disappointed.
+
+Holbein, notwithstanding this trick, was employed to paint the next
+wife of Henry, and doubtless he also made the miniature of Catherine
+Howard which is in Windsor Castle. Holbein finally died of the plague
+and no one knows where he was buried. His wife died later, and it was
+left for his son, Philip, who was said to be "a good well-behaved
+lad," to bring honours to the family. He was apprenticed in Paris,
+and, settling later in Augsburg, he founded a branch of the Holbein
+family on which the Emperor Matthias conferred a patent of nobility,
+making them the Holbeins of Holbeinsberg.
+
+  PLATE--ROBERT CHESEMAN WITH HIS FALCON
+
+This is one of the best of the many splendid portraits Holbein
+painted. It hangs in The Hague gallery. The gentleman was forty-eight
+years old and in the portrait he wears a purplish-red doublet of silk
+and a black overcoat, which was the fashion of the day, all trimmed
+with fur. He has curly hair, just turning gray. His left hand is
+gloved and on it he holds his falcon, while with the other hand he
+strokes its feathers.
+
+Of all sports at that time, falconry was the most fashionable and
+every fine gentleman had his sporting birds. Robert Cheseman lived in
+Essex. He was rich and a leader in English politics. His father was
+"keeper of the wardrobe to Henry VIII." and he himself served in many
+public offices. He was one of the gentleman chosen to welcome Anne of
+Cleves when she landed on English soil to marry Henry VIII. These
+details were first published by Mr. Arthur Chamberlain and are taken
+from his sketch of Holbein and his works.
+
+Among Holbein's other famous pictures are: "The Ambassadors," "Hans of
+Antwerp," "Christina of Denmark," "Jane Seymour," "Anne of Cleves,"
+and "St. George and the Dragon."
+
+
+
+
+
+XXIII
+
+WILLIAM HOLMAN HUNT
+
+
+  _English (Pre-Raphaelite) School_
+  1827--
+  _Pupil of Academy School_
+
+The story of the Pre-Raphaelites is all by itself a story of
+art. Holman Hunt was one of three who formed this "brotherhood"; and
+he, with one other, are the only ones whom some of us think worthy of
+giving a place in art. This is to be the story of the brotherhood
+rather than a story of one man.
+
+The last great artist England had had before this extraordinary group,
+was J. M. W. Turner, truly a wonderful man, but after him England's
+painters became more and more commonplace, drawing further and further
+away from truth, There was one, J. F. Lewis, who went away to Syria
+and lived a lonely and studious life, trying to paint with fidelity
+sacred scenes, but he was not great enough to do what his conscience
+and desires demanded of him; and, finally, Constable declared that the
+end of art in England had come. But it had not, for up in London, in
+the very heart of the city, in Cheapside (Wood Street) there was born,
+in April, 1827, a child destined to be a brilliant and wonderful man,
+who was actually to rescue English art from death. Many do not think
+thus, but enough of us do to warrant the statement.
+
+The new artist was Holman Hunt. He was the son of a London
+warehouseman, with no inclination whatever for learning, so that it
+seemed simply a waste of time to send him to school. This continually
+repeated history of artists who seem to know nothing outside their
+brushes and colours, is astonishing, but it is true that artists for
+the most part must be regarded as artists, pure and simple, and not as
+men of even reasonably good intellectual attainments, and more or less
+this accounts for their low estate centuries ago. One does not
+associate "learning" and the artist. When we have such splendid
+examples as Dürer and two or three others we discuss their
+intellectuality because they are so unusual.
+
+Holman Hunt was like most of his brother artists in all but his
+art. He hated school and at twelve years of age was taken from it. His
+father wanted him to become a warehouse merchant like himself, and he
+began life as clerk or apprentice to an auctioneer. He next went into
+the employment of some calico-printers of Manchester. The designing of
+calicoes can hardly be called art, even if the department of design
+had fallen to Holman Hunt's lot and we have no evidence that it did,
+but he started to be an artist nevertheless, there in the
+print-shop. He found in his new place another clerk who cared for art;
+and this sympathy encouraged him to fix his mind upon painting more
+than ever. He used to draw such natural flies upon the window panes
+that his employer tried one day to "shoo away a whole colony of flies
+that seemed miraculously to have settled." This gave the clerks much
+amusement, and also attracted attention to Holman Hunt's genius.
+
+His very small salary was spent, not on his support, but in lessons
+from a portrait painter of the city. His parents did not like this,
+but they could not help themselves, and thus this greatest of the
+Pre-Raphaelites began his work.
+
+The Pre-Raphaelites were a little group of men who believed that
+artists were drawing too much on their imaginations, not painting
+things as they saw them, and that the painter had become incapable of
+close observation. He worked in his studio, did not get near enough to
+nature, and instead of trying to follow along this line, this group of
+men, with their new and partly correct ideas, meant to go back further
+than the great masters themselves and present an elemental art. This
+was a part of their scheme and partly it was justified, but of all the
+men who undertook to make a new school, Holman Hunt was the only one
+who remained, and will remain forever, a representative. He alone
+stuck to the original purpose of the group and developed it into a
+truly great school; so that it is he alone we need to know.
+
+After he began to take lessons of the portrait painter in London, he
+developed so quickly that he found by painting portraits three days a
+week, he could pay his own expenses, and the rest of the time he
+devoted to study. He tried to be admitted to the Academy schools twice
+and was twice refused before they would receive him.
+
+It was there in the Academy the three original Pre-Raphaelites met for
+the first time; they were Holman Hunt, Dante Gabriel Rossetti, and
+Millais. After entering the school Hunt painted and sold four
+excellent pictures, but they all seem to have been lost; nobody can
+trace them. He was not yet a "Pre-Raphaelite."
+
+All this time Hunt was half ill because he knew that he was grieving
+his father of whom he was devotedly fond, and the strain of trying to
+work while he was unhappy nearly destroyed him. The pictures that he
+exhibited at the Royal Academy were so poor that the commission
+declared they should not only be removed but that Hunt ought really to
+be forbidden to exhibit any more. This must have been a great blow to
+the young and struggling artist, and to add to this trouble, his
+father was being jeered at for having such a good-for-nothing
+son. Hunt's pictures in the Academy were so much despised that his
+father was told his son was a disgrace to him, and we may be sure that
+did not help the young fellow, who meantime was earning a living, not
+by painting pictures, but by cleaning up those of another man. Dyce,
+who had painted on the walls of Trinity House, engaged him to clean
+and restore those paintings, and Hunt was doing this for his bread and
+butter.
+
+At that time he became so downhearted and discouraged that he almost
+decided to leave England altogether and go to live in Canada away from
+his friends who jeered, and his family who reproached him; but just
+then Millais, one of the successful painters whom he had met in the
+Academy school, who could afford to be generous, came to Hunt's aid
+and gave him the means of living while he painted "The Hireling
+Shepherd." This was destined to be the turning point in Hunt's luck,
+for that painting was properly hung at the exhibition, and it received
+recognition. After that he painted a picture which he sold on the
+installment plan--being paid by the purchaser so much a month.
+
+Meantime he owed his landlady a large sum, and he says himself that he
+"suffered almost unbearable pain at passing her and her husband week
+after week without being able to even talk of annulling his debts." In
+time he not only settled that bill which distressed him, but paid back
+his friend Millais the money loaned by him.
+
+Hunt rarely took a commission, because to do so meant that he must
+paint a picture after the manner his employer wished, and Hunt had
+certain ideas of art in which he believed and therefore would not bind
+himself to depart from them; but after a little success, which enabled
+him to pay his bills, he did undertake a commission from Sir Thomas
+Fairbairn, and it was called "The Awakened Conscience." He finished
+this picture on a January day late in the afternoon, and that very
+night he left England, setting out upon a longed-for journey to the
+Holy Land, where he meant to study the country and people till he
+believed himself able to paint a truthful picture of sacred scenes. He
+refused to paint pictures of Eastern Jews who should look like
+Parisians, with Venetian backgrounds. He meant to paint Oriental
+scenes as nearly as he could, as they might have taken place.
+
+He came back to his English home just two years and one month from the
+time he had left it, and he brought back a picture of the goat upon
+which the Jews loaded their sins and then turned loose in waste-places
+to wander and die. "The Scapegoat" was a great picture, but before he
+left England he had painted a greater--the one we see here--"The Light
+of the World."
+
+He had depended upon the sale of the "Scapegoat" to pay his way for a
+time after his return home, and alas, it did not sell. More than that,
+his beloved father died and this added to his sense of desolation, for
+he had not been sufficiently successful before his death to justify
+himself in his father's eyes. These things so overwhelmed his
+sensitive mind with trouble, that his condition became very serious,
+and if certain good friends had not stood by him loyally, he would
+probably never have painted again.
+
+He began at last another ambitious picture--"Finding of Christ in the
+Temple"--but while he was engaged upon this, he had to paint mere
+pot-boilers also in order to get on at all, and he says that half the
+time the great picture "stood with its face to the wall" while he was
+trying merely to earn bread and butter. The wonderful Louis Blanc
+tried once to plan a way by which all deserving people should have in
+this world equal opportunity to try. This has never been "worked out."
+It never will be, but Holman Hunt reminds us how much the world loses
+by not providing that "equal opportunity." No one deserves more than
+his chance; but such struggles of genius tell us that all is not fair.
+
+Hunt persevered with this Christ in the Temple and when finished he
+sold it for 5,500 guineas--a larger sum than he had ever before been
+given for a painting.
+
+He no sooner received his money for this great picture than off he
+went once more to the Holy Land. He was conscientious in everything he
+did, and never before had an artist painted scenes of Christ that
+carried such a sense of truth with them. The set haloes seen about the
+heads of the saints and of holy people even in Raphael's pictures and
+in those of the very greatest artists of his time, disappeared with
+Holman Hunt's coming. In the "Light of the World," the halo is an
+accident--the great white moon, happening to rise behind the Christ's
+head--and there we have the halo, simple, natural, only suggestive,
+not artificial. Then, too, in the "Shadow of Death," there is a
+menacing shadow of the cross--made upon the wall by Christ's body, as
+he naturally stretches out his arms, after his work in the carpenter
+shop.
+
+There is not one false note that shocks us, or makes us feel that
+after all the story itself is affected and artificial. Everything that
+is symbolical is brought about naturally. They are sincere, truthful
+pictures that speak to the mind as well as to the eye.
+
+Hunt's colouring and many other technical matters are often far from
+perfect, but there is something besides technicality to be considered
+in judging a picture.
+
+For a time, while the three men, Hunt, Rossetti, and Millais, kept
+together, their pictures were signed P. R. B., as a sign of their
+league; but this did not last very long, and afterward Hunt signed his
+pictures independently.
+
+After the "Brotherhood" had worked against the greatest
+discouragements for a long time, and felt nearly hopeless of success,
+John Ruskin, one of the greatest of critics and most fearless of men,
+who was so much respected that his words had great influence, suddenly
+published a defence of these Pre-Raphaelites. He declared that they
+were the greatest artists of the time, and while scorning their
+critics he applauded those three young men, till he turned the tide,
+and everybody began to know what truly brilliant work they were
+doing. Ruskin's words came, Hunt said, "as thunder out of a clear
+sky."
+
+When the "Brotherhood" was formed the three young men thought they
+should have a paper--a periodical of some sort, in which they might
+tell of their purposes and express their ideas; and so Rossetti, who
+wrote as well as painted, proposed that they print such a periodical
+once a month, and call it the _Germ_; and the P. R. B's. were to be
+joint proprietors. Rossetti had first thought of a different title,
+_Thoughts Toward Nature_, and his brother, W. M. Rossetti, who was
+going to take charge of the monthly, thought that expressed the
+Pre-Raphaelites' idea; but it was finally agreed to call it the
+_Germ_. Only two numbers could be published by the Pre-Raphaelites,
+because nobody bought it and the young men's money gave out, but the
+printers came to the rescue, and put up the money to issue two or
+three more _Germs_.
+
+Although that journal failed utterly, its four numbers were worth
+publishing, and are to-day worth reading. They were truly valuable,
+for they contained a story and poem by Dante Gabriel Rossetti, besides
+work of the other P. R. B's.
+
+Above all things Hunt was conscientious in his work, trying with all
+his might to represent things as be believed them to be. When he made
+his "Scapegoat," he went to the shores of the Dead Sea to paint,
+accompanied only by Arab guides, and there he found the desolate, hard
+landscape for his picture. The hardships he experienced were very
+many. The wretched goat he took with him died in the desert of that
+dreary place after it had been no more than sketched in, but back in
+Jerusalem Hunt finished the goat. Ruskin's description of the picture
+helps one to feel all the desolation of the subject: "The salt sand of
+the wilderness of Ziph, where the weary goat is dying. The
+neighbourhood is stagnant and pestiferous, polluted by the decaying
+vegetables brought down by the Jordan in its floods, and the bones of
+the beasts of burden that have died by the way of the sea, lie like
+wrecks upon its edge, bared by the vultures and bleached by the salt
+ooze."
+
+Even the superstitious Arabs would not go near the spot which Hunt
+chose as the scene of his picture, but Hunt endured all things,
+believing it due to his art.
+
+When he painted "Christ in the Temple," he needed Jewish models, and
+it was almost impossible for him to get them. He could not let them
+know what they were to represent, or they would not have sat for him
+at all but he succeeded in painting the "first Semitic presentment of
+the Semitic Scriptures." In Jerusalem the Jews heard that he had come
+"to traffic with the souls of the faithful," and they forbade him to
+have any Jews come into his studio; so that he could not finish the
+picture there. Back in London he had to find his models in the Jewish
+school. He left the figures of Christ and the Virgin till the last and
+then painted them "from a lady of the ancient race, distinguished
+alike for her amiability and beauty, and a lad in one of the Jewish
+schools, to which the husband of the lady furnished a friendly
+introduction."
+
+Thus, step by step, through the greatest difficulties, Holman Hunt
+established a new school of painting--allegory with a modern treatment
+which all could understand.
+
+  PLATE--THE LIGHT OF THE WORLD
+
+This is the most popular picture of a sacred subject, ever painted;
+and John Ruskin's description of it, here quoted, is the best ever
+written or that can be written. "On the left of the picture is seen
+the door of the human soul. It is fast barred, its bars and nails are
+rusty; it is knitted and bound to its stanchions by creeping tendrils
+of ivy, showing that it has never been opened. A bat hovers over it;
+its threshold is overgrown with brambles, nettles and fruitless
+corn.... Christ approaches in the night time, ... he wears the white
+robe, representing the power of the Spirit upon Him; the jewelled robe
+and breastplate, representing the sacredotal investitude; the rayed
+crown of gold, interwoven with the crown of thorns; not dead thorns,
+but now bearing soft leaves, for the healing of the nations.... The
+lantern carried in Christ's left hand is the light of conscience....
+Its fire is red and fierce; it falls only on the closed door, on the
+weeds that encumber it, and on an apple shaken from one of the trees
+of the orchard, thus marking that the entire awakening of the
+conscience is not to one's own guilt alone, but to the guilt of the
+world, or, 'hereditary guilt.'...
+
+"This light is suspended by a chain, wrapt around the wrist of the
+figure, showing that the light which reveals sin to the sinner appears
+also to chain the hand of Christ. The light which proceeds from the
+head of the figure--is that of the hope of salvation; it springs from
+the crown of thorns, and, though itself sad, subdued and full of
+softness, is yet so powerful, that it entirely melts into the glow of
+it the forms of the leaves and boughs which it crosses, showing that
+every earthly object must be hidden by this light, where its sphere
+extends."
+
+If you will study every detail of this reproduction, finding all the
+objects--the apple, the rusty bolts--noting how the full risen moon
+has formed a natural nimbus for the sacred head, and then re-read what
+Ruskin has said, you will discover the rarest truths in Holman Hunt's
+picture. The several pictures which he painted, but which cannot now
+be found are: "Hark!" which was first exhibited in the Royal Academy;
+"Scene from Woodstock," "The Eve of St. Agnes," "Jerusalem by
+Moonlight," "The King of Hearts," "Moonlight at Salerno," "Interior of
+the Mosque of Omar," "The Pathless Water," "Winter," "Afternoon,"
+"Sussex Downs," "Penzance," "The Archipelago," "Will-o'-the-Wisp,"
+"Ivybridge," "The Foal of an Ass," "Road over the Downs," "The Haunt
+of the Gazelle," "'Oh, Pearl,' Quoth I," "Miss Flamborough," "The
+School-girl's Hymn." Portraits: Mr. Martineau; Mr. J. B. Brice. Small
+sketch of the "Scapegoat," "Sunset on the Sea," "Morning Prayer,"
+"Bianca," "Past and Present," and "Dead Mallard."
+
+Should you ever find one of these pictures bearing the initials
+P. R. B. or those of Holman Hunt, you will have made an interesting
+discovery and should make it known to others.
+
+
+
+
+XXIV
+
+GEORGE INNESS
+
+
+  _American_
+  1825-1897
+  _Pupil of Regis Gignoux_
+
+George Inness was destined to keep a grocery store as his father had
+kept one before him, and had grown rich in it. When George was a young
+man he was given a grocery store in Newark, New Jersey, a very small
+store indeed, and it is not surprising that the young man preferred
+art to butter and eggs. The Inness family had just moved from Newburg,
+probably the elder Innes seeking in Newark a good location for his
+son's beginning.
+
+The first art-work Inness did was engraving; as he had been
+apprenticed to that business, but afterward he studied with Gignoux, a
+pupil of Delaroche.
+
+At that time there was what is known as the Hudson River School. Its
+ideas were set and formal, and not very inspiring, aside from the
+subjects treated. Church was then a young man like Inness, and he was
+studying in the Hudson River School, but the young grocer struck out a
+line for himself.
+
+He was forty years old before he got to Paris, but once there, he
+turned to the men at Barbizon--Rousseau, Millet, Corot, and the
+rest--for inspiration, and began to do beautiful things
+indeed. Rousseau became his friend, and the art of Inness grew large
+and rich through such influences.
+
+Inness had inherited much religious feeling from his Scotch ancestors,
+and all his work was conscientious, very carefully done.
+
+When Inness returned from Paris he was not yet well known. He went to
+Montclair, New Jersey, to live and it was there that he did his best
+work. Finally, after he was fifty years old, he became known as a
+truly splendid painter. He loved best to paint quiet scenes of
+morning, evening sunset, and the like. His pictures began to gain
+value, and one that he had sold for three hundred dollars jumped in
+price to ten thousand and more. His work is not equally good, because
+his moods greatly influenced him.
+
+  PLATE--BERKSHIRE HILLS
+
+This picture in the George A. Hearn collection is full of the sense of
+restfulness that the works of this artist always convey. The trees are
+as motionless as the distant hills, and if the oxen are moving at all
+it is but slowly.
+
+Some other Inness paintings are the "Georgia Pines," "Sunset on the
+Passaic," "The Wood Gatherers" and "After a Summer Shower."
+
+
+
+
+XXV
+
+SIR EDWIN HENRY LANDSEER
+
+
+  _English School_
+  1802-1873
+  _Pupil of his father, John Landseer_
+
+It is pleasant to speak of one artist whose good work began in the
+companionship of his father; the case of Edwin Landseer is most
+unusual.
+
+His father was a skilful engraver who loved art, and encouraged the
+cultivation of it in his son, as other fathers of painters encouraged
+them to become priests or haberdashers or bakers, as the case might
+be. Little Landseer's beginning has been described by his father as he
+and a friend stood looking upon one of the scenes of his childhood:
+
+"These two fields were Edwin's first studio. Many a time have I lifted
+him over this very stile. I then lived in Foley Street, and nearly all
+the way between Marylebone and Hampstead was open fields. It was a
+favourite walk with my boys; and one day when I had accompanied them,
+Edwin stopped by this stile to admire some sheep and cows which were
+quietly grazing. At his request I lifted him over, and finding a scrap
+of paper and a pencil in my pocket, I made him sketch the cow. He was
+very young indeed, then--not more than six or seven years old.
+
+"After this we came on several occasions, and as he grew older this
+was one of his favourite spots for sketching. He would start off
+alone, or with John (Thomas?) or Charles, and remain till I fetched
+him in the afternoon. I would then criticise his work, and make him
+correct defects before we left the spot. Sometimes he would sketch in
+one field, sometimes in the other, but generally in the one beyond the
+old oak we see there, as it was more pleasant and sunny."
+
+All the Landseer men were gifted, and the mother was the beautiful
+woman whom Reynolds painted as a gleaner, carrying a bundle of wheat
+upon her head.
+
+There were seven little Landseers, the oldest of them being Thomas,
+the famous engraver, whose reproduction of his brother's works will
+preserve them to us always, even after the originals are gone. The
+first of Edwin's drawings which seemed to his family worthy of
+publishing was a great St. Bernard dog, such a wonderful performance
+for a little fellow of thirteen that Thomas engraved it and
+distributed it all over England. Little Edwin had seen this beautiful
+dog one day in the streets of London in a servant's charge, and he was
+so delighted with its beauty, that he followed the two home and asked
+the dog's owner if he might sketch him. The St. Bernard was six feet
+four inches long "and at the middle of his back, stood two feet seven
+inches in height." A great critic said that this drawing was one of
+the very finest that any master of art had ever made, though it was
+done by a little child of thirteen years and it is also said that
+Landseer himself never did anything better than that little-boy
+work. A live dog who was let into the room with it--as critic,
+maybe--proved to be the most flattering of such, because he bristled
+instantly for a fight.
+
+While the boy was still thirteen--which seems to have been a magic and
+not a tragic number to him--he exhibited pictures in the Royal
+Academy. These were a mule, and a dog with a puppy. In the stories of
+"Famous Artists" we are told that he was a fine, manly little chap
+with light curly hair and very well behaved. When he became a student
+of the Academy the keeper, Fuseli, used to look about among the
+students and cry: "Where is my little dog boy?" if Landseer was not in
+his place. The little chap's favourite dog was his own Brutus, which
+he painted lying at full length; and though the picture was small, it
+sold for seventy guineas. This means an earning capacity indeed, for a
+small boy.
+
+When he was but seven years old he had made pictures of lions and
+tigers, each with a different expression from the other and each with
+a character of its own. Critics spoke specially of the tiger's
+whiskers as "admirable in the rendering of foreshortened curves."
+Tigers' whiskers were thought to be most difficult things to make, but
+in Landseer's pictures, they were as "natural as life." The great
+success of the artist's animal pictures was that he made them seem to
+have human intelligence, and it was also said that if one only saw the
+dog's collar, as Landseer painted it, he would know it to be the work
+of a great artist, that a great dog-picture must be attached to it.
+
+At least one of his pictures had a remarkable history. He had been
+commissioned by the Hon. H. Pierrpont to paint a "white horse in a
+stable." After the painting was ready for delivery it disappeared, and
+for twenty-four years it could not be found. At last it was discovered
+in a hay-loft! It had been stolen by a servant and hidden there. In
+spite of the long years that had passed, Landseer sent it at once to
+the man for whom it had been made, with the message that he had not
+retouched it nor changed it in the least, "because," said he, "I
+thought it better not to mingle the style of my youth with that of my
+old age."
+
+One of Landseer's early advisers had told him he must dissect animals
+to get the proper effects in painting them, as it was necessary for
+him to understand their construction. So, one time, when a famous old
+lion died in the Exeter Exchange menagerie Landseer got its body and
+dissected it, and immediately afterward he painted three great lion
+pictures: "The Lion Disturbed at His Repast," "A Lion Enjoying His
+Repast," and "A Prowling Lion."
+
+Sir Walter Scott became so enchanted with Landseer's pictures that the
+great novelist came to London to take the young artist to his home at
+Abbotsford. "His dogs are the most magnificent things I ever saw,"
+said Scott, "leaping and bounding and grinning all over the canvas."
+
+Landseer lived in the centre of London till he was more than thirty
+years old, and then, looking for more quiet and space he bought a very
+small house and garden at No. 1, St. John's Wood. There was not much
+room in the house but it had a stable attached which made a fine
+studio, and there Landseer lived with a sister of his, for nearly
+fifty years. When he first wished to rent the house, the landlord
+asked him a hundred pounds premium which Landseer felt that he could
+not pay and he was about to give it up, when a friend declared that if
+the matter of money was all that prevented him, he was to rent it
+immediately, and he could repay him as he chose. Landseer then took
+the house, his friend paying down the premium, and Landseer returned
+the money twenty-pounds at a time, till all the debt was paid.
+
+Landseer made this a famous and hospitable house, and it is said that
+more great people gathered under his roof than had ever gathered about
+any other artist with the exception of Sir Joshua Reynolds. That was
+the house in which Landseer's loving old father spent his last days
+and finally died. A story is told of the witty D'Orsay, who would call
+out at the door, when he went to visit the artist: "Landseer, keep de
+dogs off me, I want to come in and some of dem will bite me--and dat
+fellow in de corner is growling furiously."
+
+On one of his several visits to Abbotsford, where he went many times
+after his first invitation, to enjoy Scott's delightful hospitality,
+he painted a famous dog of Sir Walter's called Maida, which died six
+weeks afterward.
+
+There are several such stories about dogs who died rather tragically
+and were also painted by Landseer. The two King Charles spaniels which
+he painted both died soon after sitting to the great painter. They had
+been pets of Mr. Vernon, who commissioned the painting, and the white
+Blenheim spaniel fell from a table and was killed, while the King
+Charles fell through the railings of a staircase and was picked up
+dead. The great bloodhound, Countess, belonging to Mr. Bell who gave
+her picture to the Academy, was watching for her master's return one
+dark night and when she heard the wheels of his carriage, then his
+voice, she leaped from the balcony, but missed her footing and fell
+nearly dead at Mr. Bell's feet. That gentleman loved the dog so much
+that he was distracted, and taking her into his gig, knowing that she
+must die, he raced in to London again that same night, and rousing Sir
+Edwin, begged him to paint the dog before it was too late. Then and
+there was the sketch of the dying animal made.
+
+Sir Edwin Landseer was the most versatile and entertaining of
+artists. He was a wit, and could also perform all sorts of sleight of
+hand tricks, besides being so quick with his pencil that his doings
+seemed miraculous. One evening, during a conversation with many
+friends, someone declared that in point of time Sir Edwin could do a
+record-sketch. One young woman spoke up and said: "There is one thing
+that even he cannot do--he cannot make two different pictures at the
+same time."
+
+"Think not?" cried Sir Edwin. "Let us see!" Gaily taking two pencils,
+he rapidly drew a stag's head with one hand and a horse's head with
+the other.
+
+Landseer became the guest of royalty, a favourite of Queen Victoria,
+whose dog Dash was one of the many famous dogs painted by him. Dash
+was the favourite spaniel of the Duchess of Kent, Victoria's mother;
+and the Queen's biographer says that she too loved him very much. On
+Coronation Day she had been away from him longer than usual, and when
+the great state coach rolled up to the palace steps she could hear
+Dash barking for her in the hall. "Oh," she exclaimed, "there's Dash,"
+and throwing aside the ball and sceptre which she carried, she hurried
+to change her fine robes, in order to wash the dog. This is a very
+homelike and picturesque story, but it is possibly not true. Doubtless
+the little Queen heard the dog bark--and was glad to see him.
+
+At Windsor Landseer painted another royal dog, Islay, the pet terrier
+of Victoria; also Dandie Dinmont, belonging to the Princess Alice;
+then Eos, who was Prince Albert's--King Edward's--dog. All the last
+years of Sir Edwin Landseer' life, the royal family were his devoted
+and comforting friends. The painter suffered much and during his
+visits to Balmoral he wrote to his sister how the Queen used to go
+several times a day to his room, to look after his comfort and to
+inquire about his condition. He wrote:
+
+"The Queen kindly commands me to get well here. She has to-day been
+twice to my room to show additions recently added to her already rich
+collection of photographs. Why, I know not, but since I have been in
+the High lands I have for the first time felt wretchedly weak, without
+appetite. The easterly winds, and now again the unceasing cold rain,
+may possibly account for my condition, but I can't get out. Drawing
+tires me; however, I have done a little better to-day. The doctor
+residing in the castle has taken me in hand, and gives me leave to
+dine to-day with the Queen and the rest of the royal family....
+Flogging would be mild compared with my sufferings. No sleep, fearful
+cramp at night, accompanied by a feeling of faintness and distressful
+feebleness."
+
+When he was well, he was gay and cheerful; and Dickens, Thackeray, and
+many other noted men were his friends. We are told that above all
+things. Sir Edwin was a great mimic and that one night at dinner he
+threw everybody into fits of laughter by imitating his friend the
+sculptor Sir Francis Chantry. It was at the sculptor's table, where a
+large party was assembled. Chantry called Sir Edwin's attention, when
+the cloth was removed, to the reflection of light in the highly
+polished table.
+
+"Come here and sit in my place," said Chantry, "and see the
+perspective you can get." Then he went and stood by the fire, while
+Landseer sat in his place. Seated then in Chantry's chair, Landseer
+called out in perfect imitation of his host: "Come, young man, you
+think yourself ornamental; now make yourself useful, and ring the
+bell." Chantry did so, and when the butler came in he was confused and
+amazed to hear his master's voice from where Landseer sat in Chantry's
+place at the table. The voice of his master from the head of the table
+ordered claret, while his master really stood before the fire with his
+hands under his coat-tails.
+
+We are told that Landseer stood his pictures on their heads, or upon
+one corner or looked at them from between his legs, any way, every
+way, to get a complete view of them from all quarters. He went to bed
+very late and got up very late, but in the mornings, while lying in
+bed he mostly thought out the subjects of his pictures.
+
+He was not much of a sportsman, preferring to paint animals rather
+than to kill them, and one day when hunting, he saw a fine stag before
+him. Instead of firing at it, he thrust his gun into a gillie's hands,
+crying: "Hold that! hold that!" and whipping out his pencil and pad he
+began to sketch the stag. Whereupon the gillies were disgusted that he
+should miss so fine a shot, and they said something to each other in
+Gaelic, which Sir Edwin must have understood, for he became very
+angry.
+
+"It was a pity," wrote one who knew all his qualities, "that Landseer,
+who might have done so much for the good of the animal kind, never
+wrote on the subject of their treatment. He had a strong feeling
+against the way some dogs are tied up, only allowed their freedom now
+and then. He used to say a man would fare better tied up than a dog,
+because the former can take his coat off, but a dog lives in his
+forever. He declared a tied-up dog, without daily exercise, goes mad,
+or dies, in three years."
+
+He had a wonderful power over dogs, and he told one lady it was
+because he had "peeped into their hearts." A great mastiff rushed
+delightedly upon him one day and someone remarked how the dog loved
+him. "I never saw the dog before in my life," the artist said.
+
+While teaching some horses tricks for Astley's, he showed his friends
+some sugar in his hand and said: "Here is my whip." His studio was
+full of pets, and one dog used as a model used to bring the master's
+hat and lay it at his feet when he got tired of posing.
+
+This charming man suffered a great deal before his death, and had
+dreadful fits of depression. During one of these he wrote: "I have got
+trouble enough; ten or twelve pictures about which I am tortured, and
+a large national monument to complete." That monument was the one in
+Trafalgar Square, for which he designed the lions at the base. "If I
+am bothered about anything and everything, no matter what, I know my
+head will not stand it much longer." Later he wrote: "My health (or
+rather condition), is a mystery beyond human intelligence. I sleep
+seven hours, and awake tired and jaded, and do not rally till after
+luncheon. J. L. came down yesterday and did her best to cheer me... I
+return to my own home in spite of kind invitations from Mr. and
+Mrs. Gladstone to meet Princess Louise at breakfast." Of the many
+anecdotes told of this great man, his introduction to the King of
+Portugal furnishes the most amusing. "I am delighted to make your
+acquaintance," the King said, "I am so fond of beasts."
+
+Before he died he had made a large fortune from his work, and during
+his illness he was tended most lovingly by his friends and sister. One
+day, walking in his garden, much depressed, he said sadly: "I shall
+never see the green leaves again," but he did live through other
+seasons. He wished to die in his studio, and at one time when he was
+much distracted the Queen wrote him not to fear, but to trust those
+who were doing all they could for him, that her confidence in his
+physicians and nurses was complete. At last with brother, sister,
+friends and fortune about him the great animal painter died, and on
+October 11, 1873, and was buried with great honours in St. Paul's
+Cathedral.
+
+  PLATE--THE OLD SHEPHERD'S CHIEF MOURNER
+
+Of all the dogs Landseer loved to paint, the sheep collie has the most
+character; and here he shows us one expressing in every line of his
+face and form the most profound grief. The Glengarry bonnet on the
+floor beside the shepherd's staff, the spectacles lying on the Bible,
+the ram's horn, the vacant chair, the black and white shawl known as a
+"Shepherd's plaid"--all these things have failed to comfort this
+humble follower. We can imagine him, not bounding ahead with a joyous
+bark, but walking staidly behind the coffin when it is borne away and
+laying himself down upon his master's grave, perhaps to die of
+starvation, as some of his kind have been known to do. The painting is
+one of the Sheepshanks Collection in the South Kensington Museum.
+
+Among Landseer's other famous dog pictures are "Low Life and High
+Life," "Dignity and Impudence" and "The Sleeping Bloodhound," all in
+the National Gallery.
+
+
+
+
+XXVI
+
+CLAUDE LORRAIN (GELLEE)
+
+
+  _Classical French School_
+  1600-1689
+  _Pupil of Godfrey Wals_
+
+Of all the contrasts between the early and later lives of great
+artists, Claude Lorrain gives us the most complete.
+
+He was born to make pastry. His family may have been all pastry cooks,
+because people of Lorrain were famous for that work; anyway as a
+little chap he was apprenticed to one. His parents were poor, lived in
+the Duchy of Lorrain and from that political division the Artist was
+named.
+
+The town in which he was born was Chamagne, and his real name was
+Gellée. As a pastry cook's apprentice he served his time, and then,
+without any thought of becoming anything else in the world, he set off
+with several other pastry cooks to go to Rome, where their talents
+were to be well rewarded.
+
+But how strangely things fall out! In Rome he was engaged to make
+tarts for Agostine Tassi, a landscape painter. His work was not simply
+to furnish his master with desserts, but to do general housekeeping,
+and it fell to his lot to clean Tassi's paint brushes. So far as we
+know, this was the first introduction of Claude Lorrain to art other
+than culinary.
+
+From cleaning brushes it was but a step to trying to use them upon
+canvas, and Tassi being a good-natured man, began to give Lorrain
+instruction, till the pastry cook became his master's assistant in the
+studio. This led to a larger and larger life for the young Frenchman,
+and he copied great masters, did original things, and finally in his
+twenty-fifth year returned to France a full-fledged artist. He
+remained there two years, and then went back to Italy, where he lived
+till he died. The visit to France turned out fortunately because on
+his way back he fell in with one of the original twelve members of the
+French Academy, Charles Errard, who became the first director of the
+Academy in Rome. A warm friendship sprang up between the men, and
+Errard was very helpful to the young artist.
+
+Nevertheless, Lorrain did not gain much fame till about his fortieth
+year, when he was noticed by Cardinal Bentivoglio, and was given
+certain commissions by him. He grew in Bentivoglio's favour so much
+that the Cardinal introduced him to the pope. The Catholic Church set
+the fashions in art, politics, and history of all sorts at that time,
+so that Lorrain could not have had better luck than to become its
+favourite. The pope was Urban VIII., whose main business was to hold
+the power of the Church and make it stronger if he could, so that he
+was continually building fortresses and other fortifications, and he
+had use for artists and decorators. Lorrain's fame outlasted the life
+of Urban VIII., and he became a favourite in turn with each of the
+three succeeding popes. All this time he was doing fine work in Italy
+and for Italy, besides receiving orders for pictures from France,
+Holland, Germany, Spain, and England, for his fame had reached
+throughout the world.
+
+Besides leaving many paintings behind him when he died, he left half a
+hundred etchings; also a more precise record of his work than most
+artists have left. He executed two hundred sketches in pen or pencil,
+washed in with brown or India ink, the high lights being brought out
+with touches of white. On the backs of them the artist noted the date
+on which the sketch was developed into a picture, and for whom the
+latter was intended. The story is that his popularity produced many
+imitators, and that he adopted this means to establish the identity of
+his own work and distinguish it from the many copies made.
+
+These sketches were collected in a volume by Lorrain and called "Liber
+Veritatis," and for more than a hundred years the Dukes of Westminster
+have owned this.
+
+  PLATE--ACIS AND GALATEA
+
+This picture in the Dresden Gallery is a scene from the mythical story
+of a goddess who fell in love with the youthful son of a faun and a
+naiad. Thus she excited the jealous fury of the cyclops, Polythemus,
+who is seen in the picture herding his flock of sheep upon the high
+cliff at the right. Soon he will rise and hurl a rock upon Acis,
+crushing the life out of him, so that there will be nothing left for
+Galatea to do but to turn him into the River Acis, but meanwhile the
+lovers are unconscious and happy. Venus is reposing near them on the
+waves and Cupid is closer still, while the sea in the background seems
+to be stirred with a fresh morning breeze.
+
+Some of the famous Lorrains in the Louvre are: "Seaport at Sunset,"
+"Cleopatra Landing at Tarsus," and "The Village Festival."
+
+
+
+
+XXVII
+
+MASACCIO (TOMMASO GUIDI)
+
+
+  (Pronounced Tome-mah'so Mah'sahch'cheeo)
+  _Florentine School_
+  1401-1428
+  _Pupil of Ghibertio, Donatello, and Brunellesco_
+
+This artist, who lived and died within the century that witnessed the
+discovery of America, was famous for more than his painting. He was
+the original inventor who first learned and taught the mixing of
+colours with oils, thus making the peculiar "distemper" unnecessary.
+
+The story of Italian artists includes a history of their names, for
+the Italians seem to have had most remarkable reasons for naming
+children. For example, this artist, Masaccio, was born on St. Thomas's
+day, hence, his name of Tommaso. Presently, for short, or for love, he
+was called Maso, and to cap all, being a careless lad, his friends
+added the derogatory "accio," and there we have the artist completely
+named. He owed nothing of this to his father, who was plain, or
+ornamentally, Ser Giovanni di Simone Guidi, of Castello San Giovanni,
+in the Valdamo.
+
+As a very little boy, it was plain to be seen that slovenly Thomas was
+going to be a great artist, and no time was lost in putting him to
+work with the best of masters.
+
+He was a veritable inventive genius. Until his time difficulties in
+drawing had been overcome mostly by ignoring them. Since no artist had
+been able to draw a foreshortened foot, it had been the fashion in art
+to paint people standing upon their tiptoes, to make it possible for
+an artist to paint the foot. The enterprising Thomas came along and he
+decided that feet must be painted both flat and crossed, on tiptoe or
+otherwise; in short he did not mean to lose by a foot.
+
+He worked at this problem day and night, till at last the naturally
+poised foot came into existence for the artist. Never after Masaccio's
+time did an artist paint the foot stretched upon the toes. Moreover,
+until his time flesh had never been painted of a remotely natural
+colour, so Masaccio set about combining colours till he made one that
+had the tint of real flesh. Thus he was the first to overcome the
+difficulties of drawing and the first to discover a mixture that would
+not leave a glazed, hard, unnatural appearance and be likely to crack
+and destroy the finest effort of an artist.
+
+He worked during his youth in Pisa, where the "leaning tower" stands;
+then he worked in Florence, finally in Rome, but those early pictures
+are long since gone. It was a century of adventure and discovery as
+well as of art, and with so much change, so many wars and rumours of
+wars, many great art works were lost. Besides, the horrible plague
+swept Italy east, west, north, and south. Who was to concern himself
+with saving works of art, when human life was going out wholesale all
+over the land?
+
+Masaccio was certainly very poor most of his life. He lived with his
+mother and his brother Giovanni, an artist like himself, but not
+nearly so brilliant. Masaccio could not spend his life in painting but
+had to eke out the family fortunes by keeping a little shop near the
+old Badia, and being pestered day and night by his creditors he was
+forced again and again to go to the pawn shop.
+
+Somewhere about 1422, careless Thomas painted his greatest picture
+which was doomed to destruction too early for us to know much about
+it; but it was named "San Paolo" and it was painted in the bell-room
+of the Church of the Carmine in Florence. The figure for his model was
+an illustrious personage, Bartoli d'Angiolini, who had held many
+honourable offices in Florence for many years. A critic and friend of
+artists tells us that the portrait was so great it lacked only the
+power of speech.
+
+In this picture Masaccio made his first great triumph in the
+foreshortening of feet.
+
+He undertook to celebrate the consecration Of the Church of the
+Carmine, and for this he made many frescoes, among which was a correct
+painting of the procession as it entered from the cloisters of the
+church. "Among the citizens who followed in its wake, portraits are
+introduced of Brunellesco, Donatello, Masolino, Felice Brancacci (the
+founder of the chapel) Giovanni di Bicci de' Medici, and others,
+including the porter of the convent with the key of the door in his
+hand."
+
+This work was thought to be very wonderful because the figures grew
+smaller in the distance, thereby giving "perspective" for the first
+time. Imagine how crude a thing was painting in the day of careless
+Thomas.
+
+That fresco is long since gone, but drawings of it still exist which
+tell us something of the people of Christopher Columbus's
+day--previous to their appearance, and their conditions.
+
+After Masaccio had finished the procession he went back to his
+painting of the chapel and in the end covered three of its four walls
+with his works. Many of those paintings are scenes from the life of
+St. Peter, and several were worked at by other artists than Masaccio.
+
+Masaccio was greater than Raphael, greater than Michael Angelo in so
+far as he pointed the way that they were to go, having solved for them
+all the problems that had kept artists from being great before
+him. Sir Joshua Reynolds says that "he appeared to be the first who
+discovered the path that leads to every excellence to which the art
+afterward arrived; and may therefore be justly considered one of the
+great fathers of modern art."
+
+The artist lived but a little time, and was most likely
+poisoned. Nobody knows, but it is said that other painters were so
+wildly jealous of his original genius that they wished him out of the
+way, and his death was at least mysterious. He drew very rapidly and
+let the details go, caring only to represent motion and
+action. Because he painted so many portraits into his pictures there
+was great life and animation in them, and people said of him that he
+painted not only the body but the soul.
+
+  PLATE--ARTIST'S PORTRAIT [Footnote: Many artists have left us
+  portraits of themselves, painted, no doubt, with the aid of a
+  mirror, in a group or alone. This one of Masaccio in the Naples
+  Museum, shows him to have been a picturesque model.]
+
+Some of his known pictures are the frescoes in the church of
+St. Clemente in Rome; the frescoes in the Brancacci Chapel in the
+Church of the Carmine, "St. Peter Baptising" and the "Madonna and
+Child, with St. Anne," which is in the Accademia at Florence.
+
+
+
+
+XXVIII
+
+JEAN LOUIS ERNEST MEISSONIER
+
+
+  (Pronounced May-sohn-yay)
+  _French School_
+  1815-1891
+  _Pupil of Léon Cogniet_
+
+This artist was born at Lyons. His father was a salesman and an
+art-training seemed impossible for the young man because the
+Meissoniers were poor people. Nevertheless, he was so persevering that
+while still a young man he got to Paris and began to paint in the
+Louvre. He was but nineteen at that time, and his fate seemed so hard
+and bitter that later in life he refused to talk of those days.
+
+He sat for many days in the Louvre, by Daubigny's side, painting
+pictures for which we are told he received a dollar a yard. We can
+think of nothing more discouraging to a genius than having to paint by
+the yard. It is said that his poverty permitted him to sleep only
+every other night, because he must work unceasingly, and someone
+declares that he lived at one time on ten cents a week. This is a
+frightful picture of poverty and distress.
+
+Meissonier's first paying enterprise was the painting of bon-bon boxes
+and the decorating of fans, and he tried to sell illustrations for
+children's stories, but for these he found no market. A brilliant
+compiler of Meissonier's life has written that "his first
+illustrations in some unknown journal were scenes from the life of
+'The Old Bachelor.' In the first picture he is represented making his
+toilet before the mirror, his wig spread out on the table; in the
+second, dining with two friends; in the third, on his death-bed,
+surrounded by greedy relations and in the fifth, the servants
+ransacking the death chamber for the property." This was very likely a
+vision of his own possible fate, for Meissonier must have been at that
+time a lonely and unhappy man.
+
+There are many stories of his first exhibited work, which Caffin
+declares was the "Visit to the Burgomaster," but Mrs. Bolton, who is
+almost always correct in her statements, tells us that it was called
+"The Visitor," and that it sold for twenty dollars. At the end of a
+six years struggle in Paris, his pictures were selling for no more.
+
+Until this artist's time people had been used only to great canvases,
+and had grown to look for fine work, only in much space, but here was
+an artist who could paint exquisitely a whole interior on a space said
+to be no "larger than his thumb nail." His work was called
+"microscopic," which meant that he gave great attention to details,
+painting very slowly.
+
+During the Italian war of 1859, and in the German war of 1870, this
+wonderful artist was on the staff of Napoleon III. During the siege of
+Paris he held the rank of colonel, and he lost no chance to learn
+details of battles which he might use later, in making great
+pictures. Thus he gained the knowledge and inspiration to paint his
+picture "Friedland," which was bought by A. T. Stewart and is now in
+the Metropolitan Museum. He, himself, wrote of that picture: "I did
+not intend to paint a battle--I wanted to paint Napoleon at the zenith
+of his glory; I wanted to paint the love, the adoration of the
+soldiers for the great captain in whom they had faith, and for whom
+they were ready to die.... It seemed to me I did not have colours
+sufficiently dazzling. No shade should be on the imperial face.... The
+battle already commenced, was necessary to add to the enthusiasm of
+the soldiers, and make the subject stand forth, but not to diminish it
+by saddening details. All such shadows I have avoided, and presented
+nothing but a dismounted cannon, and some growing wheat which should
+never ripen.
+
+"This was enough.
+
+"The men and the Emperor are in the presence of each other. The
+soldiers cry to him that they are his, and the impressive chief, whose
+imperial will directs the masses that move around, salutes his devoted
+army. He and they plainly comprehend each other and absolute
+confidence is expressed in every face."
+
+This great work was sold at auction for $66,000 and given to the
+Metropolitan Museum.
+
+It is said that when he painted the "Retreat from Russia," Meissonier
+obtained the coat which Napoleon had worn at the time, and had it
+copied, "crease for crease and button for button." He painted the
+picture mostly out of doors in midwinter when the ground was covered
+with snow, and he writes: "Sometimes I sat at my easel for five or six
+hours together, endeavouring to seize the exact aspect of the winter
+atmosphere. My servant placed a hot foot-stove under my feet, which he
+renewed from time to time, but I used to get half-frozen and terribly
+tired."
+
+So attentive was he to truthfulness in detail that he had a wooden
+horse made in imitation of the white charger of the Emperor; and
+seating himself on this, he studied his own figure in a mirror.
+
+At last this conscientious man was made an officer of the Legion of
+Honour, having already become President of the Academy. Edmund About
+writes that "to cover M. Meissonier's pictures with gold pieces simply
+would be to buy them for nothing; and the practice has now been
+established of covering them with bank-notes."
+
+Meissonier seldom painted the figure of a woman in his pictures, but
+all of his subjects were wholesome and fine.
+
+One time an admirer said to him "I envy you; you can afford to own as
+many Meissonier pictures as you please!"
+
+"Oh no, I can't," the distinguished artist replied. "That would ruin
+me. They are a good deal too dear for me."
+
+In his maturity he became very rich, and his homes were dreams of
+beauty, filled with rare possessions such as bridles of black leather
+once owned by Murat, rare silver designed by the artist himself, great
+pictures, and flowers of the rarest description besides valuable dogs
+and horses. Yet it was said that "this man who lives in a palace is as
+moderate as a soldier on the march. This artist, whose canvases are
+valued by the half-million, is as generous as a nabob. He will give to
+a charity sale a picture worth the price of a house. Praised as he is
+by all he has less conceit in his nature than a wholesale painter."
+
+On the 31st of January in his country house at Poissy, this great man,
+whose life reads like a romance, died, after a short illness. His
+funeral services were held in the Madeleine, and he was buried at
+Poissy, near Versailles, a great military procession following him to
+the grave.
+
+  PLATE--RETREAT FROM MOSCOW
+
+In the painting of this picture we have already told how every detail
+was mastered by actual experience of most of them. Meissonier made
+dozens of studies for it--"a horse's head, an uplifted leg, cuirasses,
+helmets, models of horses in red wax, etc. He also prepared a
+miniature landscape, strewn with white powder resembling snow, with
+models of heavy wheels running through it, that he might study the
+furrow made in that terrible march home from burning Moscow. All this
+work--hard, patient, exacting work."
+
+Some of his other pictures are "The Emperor at Solferino," "Moreau and
+His Staff before Hohenlinden," "A Reading at Diderot's" and the "Chess
+Players."
+
+
+
+
+XXIX
+
+JEAN FRANÇOIS MILLET
+
+
+  _Fontainebleau-Barbizon School_
+  1814-1875
+  _Pupil of Delaroche_
+
+Two great artists painted peasants and little else. One was the artist
+of whom we shall speak, and the other was Jules Breton. One was
+realistic, the other idealistic. Both did wonderful work, but Millet
+painted the peasant, worn, patient steadfast, overwhelmed with toil;
+Breton, a peasant full of energy, grace, vitality, and joy.
+
+Millet painted peasants as he knew them, and hardly any one could have
+known them better, for he was himself peasant-born. His youth was
+hard, and the scenes of his childhood were such as in after life he
+became famous by painting. Millet lived in the department of Manche,
+in the village of Gruchy, near Cherbourg. Manche juts into the sea, at
+the English Channel, and whichever way Millet looked he must have seen
+the sea. His old grandmother looked after the household affairs, while
+his father and mother worked in the fields and Millet must have seen
+them hundreds of times, standing at evening, with bowed heads,
+listening to the Angelus bell. He toiled, too, as did other lads in
+his position. His grandmother was a religious old woman, and nearly
+all the pictures he ever saw in his boyhood were those in the Bible,
+which he copied again and again, drawing them upon the stone walls in
+white chalk.
+
+The old grandmother watched him, never doubting that her boy would
+become an artist. It was she who had named him--François, after her
+favourite saint, Francis, and it was she, who, beside the evening
+fire, would tell him legends of St. Francis. It was she alone who had
+time and strength left, after the day's work, to teach him the little
+he learned as a boy and to fix in his mind pictures of home. His
+father and mother were worn, like pack-horses, after their day in the
+fields. The mother very likely had to hitch herself up with the
+donkey, or the big dog, after the fashion of these people, as she
+helped draw loads about the field. Who can look for Breton's ideal
+stage peasants from Millet who knew the truth as he saw it every day?
+
+Many years after his life in the Gruchy home, Millet painted the
+portrait of the grandmother whom he had loved so much that he cried
+out: "I wish to paint her soul!" No one could desire a better reward
+than such a tribute.
+
+Millet had an uncle who was a priest and he did what he could to give
+the boy a start in learning. He taught him to read Virgil and the
+Latin Testament; and all his life those two books were Millet's
+favourites. Besides drawing pictures on the walls of his home, he drew
+them on his sabots. Pity some one did not preserve those old wooden
+shoes! He did his share of the farm work, doing his drawing on rainy
+days.
+
+When he was about eighteen years old, coming from mass one day, he was
+impressed with the figure of an old man going along the road, and
+taking some charcoal from his pocket he drew the picture of him on a
+stone wall. The villagers passing, at once knew the likeness; they
+were pleased and told Millet so. Old Millet, the father, also was
+delighted for he, too, had wished to be an artist, but fate had been
+against him. Seeing the wonderful things his son could do, he decided
+that he should become what he himself had wished to be, and that he
+should go to Cherbourg to study.
+
+François set off with his father, carrying a lot of sketches to show,
+and upon telling the master in Cherbourg what he wanted and showing
+the sketches, he was encouraged to stay and begin study in earnest. So
+back the old father went, with the news to the mother and grandmother
+and the priest uncle, that François had begun his career. He stayed in
+Cherbourg studying till his father died, when he thought it right to
+go home and do the work his father had always done. He returned, but
+the women-folk would not agree to him staying. "You go back at once,"
+said the grandmother, "and stick to your art. We shall manage the
+farm." She sewed up in his belt all the money she had saved, and
+started him off again, for he had then been studying only two
+months. Now he remained till he was twenty-three, a fine, strapping,
+broad-shouldered country fellow. He had long fair hair and piercing
+dark blue eyes. All the time he was with Delaroche he was dissatisfied
+with his work--and with his master's, which seemed to Millet
+artificial, untrue. He knew nothing of the classical figures the
+master painted and wished him to paint, for his heart and mind were
+back in Gruchy among the scenes that bore a meaning for him. He wished
+to study elsewhere, and by this time he had done so well that one of
+the artists with whom he had studied went to the mayor of Millet's
+home town, and begged him to furnish through the town-council money
+enough to send Millet to Paris. This was done, and Millet began to
+hope.
+
+He was very shy and afraid of seeming awkward and out of place. The
+night he got to Paris was snowy, full of confusion and strange things
+to him, and an awful loneliness overwhelmed him. The next morning he
+set out to find the Louvre, but would not ask his way for fear of
+seeming absurd to some one, so that he rambled about alone, looking
+for the great gallery till he found it unaided. He spent most of the
+days that followed gazing in ecstasy at the pictures.
+
+He liked Angelo, Titian, and Rubens best. He had come to Paris to
+enter a studio, but he put off his entrance from day to day, for his
+shyness was painful and he feared above all things to be laughed at by
+city students. At last one day, he got up enough courage to apply to
+Delaroche, whose studio he had decided to enter if he could, as he
+liked his work best. The students in that studio were full of
+curiosity about the new chap, with his peasant air, his bushy hair and
+great frame, so sturdy and awkward. They at once nicknamed him "the
+man of the woods," and they nagged at him and laughed at the idea that
+he could learn to paint, till one day, exasperated nearly to death, he
+shook his fist at them. From that moment he heard no more from them,
+for they were certain that if he could not paint he could use his
+fists a good deal better than any of them. Delaroche liked the peasant
+but did not understand him very well, and Millet was not too fond of
+his painting, so after two years he and a friend withdrew from that
+studio and set up one for themselves. Thus eight years passed, the
+friends living from hand to mouth, doing all sorts of things:
+sign-painting, advertisements, and the like; and Millet, in the midst
+of his poverty, got married.
+
+He went home, returning to Paris with his wife, and after starving
+regularly, he became desperate enough to paint a single picture as he
+wished. It seemed at the time the maddest kind of thing to do. Who
+would see ugly, toil-worn peasants upon his _salon_ walls? Paris
+wanted dainty, aesthetic art, and an Academy artist would have scoffed
+at the idea; but the Millets were starving anyway, so why not starve
+doing at least what one chose. So Millet painted his first wonderful
+peasant picture "The Winnower," and just as the family were starving
+he sold it--for $100. He had done at last the right thing, in doing as
+he pleased. This was a sign to him that there was after all a place
+for truth and emotion in art. But the Millets must change their place
+of living, and go to some place where the money made would not at once
+be eaten up. Jacque--the friend with whom Millet had set up shop, and
+who also became famous, later--advised them to go to a little place he
+knew about, which had a name ending in "zon." It was near the forest
+of Fontainebleau, he said and they could live there very cheaply, and
+it was quiet and decent. The Millets got into a rumbling old cart and
+started in search of the place which ended in "zon" near the forest of
+Fontainebleau. Jacque had also decided to take his family there and
+they all went together. When they got to Fontainebleau they got down
+from the car and went a-foot through the forest.
+
+They arrived tired and hungry toward evening, and went to Ganne's Inn,
+where there were Rousseau, Diaz, and other artists who like themselves
+had come in search of a nice, clean, picturesque place in which to
+starve, if they had to. Those who were just sitting down to supper
+welcomed the newcomers, for they had been there long enough to form a
+colony and fraternity ways. One of these was to take a certain great
+pipe from the wall, and ask the newcomer to smoke; and according to
+the way he blew his "rings" he was pronounced a "colourist" or
+"classicist." The two friends blew the smoke, and at once the other
+artists were able to place Jacque. He was a colourist; but what were
+they to say about Millet who blew rings after his own fashion.
+
+"Oh, well!" he cried. "Don't trouble about it. Just put me down in a
+class of my own!"
+
+"A good answer!" Diaz answered. "And he looks strong and big enough to
+hold his own in it!" Thus the newcomers took their places in the life
+of Barbizon--the place whose name ended in "zon," and Millet's real
+work began. His first wife lived only two years, but he married
+again. All this time he was following his conscience in the matter of
+his work, and selling almost nothing. In a letter to a friend he tells
+how dreadfully poor they are, although his new wife was the most
+devoted helpful woman imaginable, known far and near as "Mère Millet."
+The artist wrote to Sensier, his friend, who aided him: "I have
+received the hundred francs. They came just at the right time. Neither
+my wife nor I had tasted food in twenty-four hours. It is a blessing
+that the little ones, at any rate, have not been in want."
+
+The revolution of 1848 had come before Millet went to Barbizon, and he
+like other men had to go to war. Then the cholera appeared, and these
+things interrupted his work; and after such troubles people did not
+begin buying pictures at once. Rousseau was famous now, but Millet
+lived by the hardest toil until one day he sold the "Woodcutter" to
+Rousseau himself, for four hundred francs. Rousseau had been very
+poor, and it grieved him to see the trials and want of his friend, so
+he pretended that he was buying the picture for an American. That
+picture was later sold at the Hartmann sale for 133,000 francs. Millet
+was now forty years old, and had not yet been recognised as a
+wonderful man by any but his brother artists. He was truly "in a class
+of his own." He had learned to love Barbizon, and cried: "Better a
+thatched cottage here than a palace in Paris!" and we have the picture
+in our minds of Millet followed patiently and lovingly by "Mère
+Millet" in the peasant dress which she always wore, that she might be
+ready at a moment's notice to pose for his figures. Then there were
+his little children and his sunny, simple, fraternal surroundings,
+which make his life the most picturesque of all artists.
+
+His paintings had the simplest stories with seldom more than two or
+three figures in them. It was said that he needed only a field and a
+peasant to make a great picture. When he painted the "Man with the
+Hoe," he did it so truthfully, in a way to make the story so well
+understood by all who looked upon it, that he was called a
+socialist. No one was so much surprised as Millet by that name. "I
+never dreamed of being a leader in any cause," he said. "I am a
+peasant--only a peasant."
+
+Of his picture "The Reaper" a critic wrote, "He might have reaped the
+whole earth." All his pictures were sermons, he called them "epics of
+the fields." He pretended to nothing except to present things just as
+they were, as he writes in a letter to a friend about "The Water
+Carrier:"
+
+In the woman coming from drawing water I have endeavoured that she
+shall be neither a water-carrier nor a servant, but the woman who has
+just drawn water for the house, the water for her husband's and her
+children's soup; that she shall seem to be carrying neither more nor
+less than the weight of the full buckets; that beneath the sort of
+grimace which is natural on account of the strain on her arms, and the
+blinking of her eyes caused by the light, one may see a look of rustic
+kindliness on her face. I have always shunned with a kind of horror
+everything approaching the sentimental. I have desired on the other
+hand, that this woman should perform simply and good-naturedly,
+without regarding it as irksome, an act which, like her other
+household duties, is one she is accustomed to perform every day of her
+life. Also I wanted to make people imagine the freshness of the
+fountain, and that its antiquated appearance should make it clear that
+many before her had come to draw water from it.
+
+At forty he was in about the same condition as he had been on that
+evening ten or twelve years before, when he had entered Barbizon
+carrying his two little daughters upon his shoulders, his wife
+following with the servant and a basket of food, to settle themselves
+down to hardship made sweet by kind comradeship and hope. Now a change
+came. Millet painted "The Angelus." He was dreadfully poor at that
+time and sold the picture cheaply, but it laid the foundation of his
+fame and fortune. He had worked upon the canvas till he said he could
+hear the sound of the bell. Although its first purchaser paid very
+little for it, it has since been sold for one hundred and fifty
+thousand dollars.
+
+At last, having struggled through his worst days, without recognition,
+and with nine little children to feed and clothe, he was given the
+white cross of the Legion of Honour; and as if to make up for the days
+of his starvation, he was nearly feasted to death in Paris. He was
+placed upon the hanging committee of the _Salon_, and took a dignified
+place among artists. He and Mère Millet travelled a little, but always
+he returned to Barbizon, till the war came and he had to move to
+Normandy to work. Afterward he returned to Barbizon, to the scenes and
+the old friends he loved so well, and there he died. He had come back
+ill and tired with the long struggle, and he instructed his friends to
+give him a simple funeral. This was done. They carried his coffin,
+while his wife and children walked beside him to the cemetery, and he
+was buried near the little church of Chailly, whose spire is seen in
+"The Angelas," and where Rousseau, whom he loved, had already been
+laid.
+
+There in Barbizon, to-day, may be seen Rousseau's cottage and Millet's
+studio. "The peasants sow and reap and glean as in the days of Millet;
+Troyon's oxen and sheep are still standing in the meadow; Jacque's
+poultry are feeding in the barnyard. The leaves on Rousseau's grand
+old trees are trembling in the forest; Corot's misty morning is as
+fresh and soft as ever; while Diaz's ruddy sunsets still penetrate the
+branches; and the peasant pauses daily as the Angelus from the Chailly
+church calls him to silent prayer."
+
+  PLATE--THE ANGELUS
+
+In "The Angelus" you may see far-off the spire of the church at
+Chailly, from which the bell sounds. The day's work is drawing to a
+close. The peasant man and woman have been digging potatoes--the man
+uncovering them, while his wife has been putting them in the
+basket. As the Angelus floats across the fields, the two pause and bow
+their heads in prayer. The man has dropped his fork and uncovered his
+head, and his wife has clasped her hands devoutly before her.
+
+All the air seems still and full of tender sound and colour, and we,
+like Millet, seem "to hear the bell." This is the only picture he
+painted which is full of the sentimentality he so much disliked. It is
+a great picture, but we need to know the title in order to interpret
+it.
+
+Besides this one, Millet painted "The Gleaners," "The Woodcutters,"
+"The Sower," "The Man with the Hoe;" "The Water Carrier," "The
+Reaper," and many other stories of the peasant poor.
+
+
+
+
+XXX
+
+CLAUDE MONET
+
+
+  (_Pronounced Claude Mo-nay_)
+  _Impressionist School of France_
+  1840--
+
+Another--Manet--was the founder of this school among modern painters,
+but Monet is always considered his most conspicuous follower.
+
+Monet's remarkable method of putting his colours upon canvas does not
+mean impressionism. He is an impressionist but also _Monet_--an artist
+with a method entirely different from that of any other. He belongs to
+what in France is called the _pointillistes_. The word means nothing
+more nor less than an effort to accomplish the impossible. If you
+stand a little way from a very hot stove you may be able to see a kind
+of movement in the air, a quivering of particles or molecular motion,
+and this is what the _pointillistes_ try to show in their
+paintings--Monet most of all.
+
+The theory is that by putting little dabs of primitive colours, close
+together upon canvas, without mixing them, just separate dabs of red,
+yellow, blue, etc., the effect of movement is produced. Needless to
+say, none of them ever have produced such an effect, but they have
+made such grotesque, ugly pictures that they have attracted attention
+even as a humpbacked person does.
+
+The first who painted thus was a Frenchman named Seurat, who tried it
+after closely studying experiments made in light and colour by
+Professor Rood, of Columbia University. After him came Pissarro, and
+then Monet. America also has such a painter, Childe Hassam, but nobody
+is so grotesque as Monet.
+
+He was born in Paris but spent most of his youth in Havre, where he
+met a painter of harbours and shipping scenes called Boudin. Through
+his influence Monet studied out-of-door effects, and was beginning to
+do fairly good work, when he was drawn as a conscript and sent to
+Algeria. It is written that Monet discovered that "green, seen under
+strong sunshine is not green, but yellow; that the shadows cast by
+sunlight upon snow or upon brightly lighted surfaces are not black,
+but blue; and that a white dress, seen under the shade of trees on a
+bright day, has violet or lilac tones." This only means that these
+things have been scientifically determined, not that the naked eye
+ever perceives them, and it is for the natural, unscientific eye that
+art exists. None of us see the separate colours of the spectrum, as we
+look about in every-day fashion upon every-day objects.
+
+Professor Rood managed to produce an intelligent effect by putting
+separate colours on discs and whirling these round so that the colours
+mingled. Monet tried to do the same by dotting his original colours
+close together, and leaving the picture to its own destruction. It
+ought to revolve, if the scientific idea is to be carried out.
+
+Nothing desirable can be made out of his pictures even when viewed
+from far off, while at close range they are simply grotesque, and
+photographs of them give the impression that the entire landscape is
+wabbling to the ground.
+
+I wonder if anyone, small or grown up, can understand this: "It was
+indeed a higher kind of impressionism that Monet originated, one that
+reveals a vivid rendering, not of the natural and concrete facts, but
+of their influence upon the spirit when they are wrapped in the
+infinite diversities of that impalpable, immaterial, universal medium
+which we call light, when the concrete loses itself in the abstract,
+and what is of time and matter impinges on the eternal and the
+universal." Monet's pictures look just as that explanation of them
+sounds!
+
+The same writer says that Monet was greater than Corot because he was
+more sensitive to colour; but if Monet had been as sensitive to colour
+as Corot, he could not have lived and looked at his own pictures.
+
+  PLATE--HAYSTACK IN SUNSHINE
+
+The main feature of this picture is such a hay stack as never existed
+anywhere, of indescribable lurid colour, against a background of blue
+such as never was seen. All about there are violet and rose-coloured
+trees, and it is a picture that every child should know, because he is
+likely never to have another such opportunity.
+
+Monet has made two interesting pictures of churches, one at Vernon,
+the other at Varangeville.
+
+
+
+
+XXXI
+
+MURILLO (BARTOLOME ESTEBAN)
+
+
+  (Pronounced Moo-reel'oh Bar-tol-o-may' A-stay'bahn)
+  _Andalusian School_
+  1617-1682
+  _Pupil of Juan del Castillo_
+
+The story of Murillo has been delightfully told by Mrs. Sarah Bolton.
+
+Like Velasquez, he was born in Seville, a city called "the glory of
+the Spanish realms," and was baptised on New Year's day, 1618, in the
+Church of the Magdalen.
+
+Murillo's father paid his rent in work, instead of in money. He made a
+bargain with the convent who owned his house that he would keep it in
+repair if he might have it free of rent, so there Gaspar Estéban and
+his wife, Maria Perez, settled. "Perez" was the family name of
+Murillo's mother, who had very good connections; one of her brothers,
+Juan del Castillo, being a man who encouraged all art and had an art
+school of his own. Little Murillo therefore had encouragement from the
+start, an unusual circumstance at a time when parents rarely wished to
+think of their sons as painters. As a matter of fact, his mother would
+have preferred that he should become a priest, but she was kind and
+sensible, and put no difficulties in the way of the little Murillo
+doing as he wished.
+
+The story goes that the Perez family had been very rich, but, however
+it may have been, that was not the case when the artist was born. One
+day after his mother had gone to church, Murillo being left at home
+alone, retouched a picture that hung upon the wall. It was a picture
+of sacred subject--"Jesus and the Lamb." He thought he could make some
+improvements in it, so he painted his own hat upon the head of Jesus
+and changed the lamb into a little dog. His mother was a good deal
+shocked at what seemed to her an irreligious act, though it showed the
+family genius. After that the boy was found to be painting upon the
+walls of his schoolroom, and making sketches upon the margins of his
+books, though he did little else at school.
+
+He had one sister, Therese, and they were left without father or
+mother before the artist was eleven years old.
+
+It was at that time that he received the name of "Murillo" by which he
+is known.
+
+It came about thus: After the death of his parents he went to live
+with his mother's sister, the Doña Anna Murillo, who had married a
+surgeon called Juan Agustin Lagares, and since the little artist was
+to live with his aunt, he soon became known by her family name. There,
+in her home, he and his sister Therese, were brought up, but he was
+not to become a surgeon like his uncle-in-law, but an artist like his
+uncle Juan, the teacher in Seville. That uncle took him in hand,
+taught the boy to draw, to mix colours, to stretch his canvas, and
+soon Murillo's genius won the love of master and pupils.
+
+In peace and reasonable comfort he served a nine years apprenticeship,
+and painted his first important, if not especially great,
+pictures. These were two Madonnas, one of them "The Story of the
+Rosary." St. Dominic had instituted the rosary; using fifteen large
+and one hundred and fifty small beads upon which to keep record of the
+number of prayers he had said; the large beads representing the
+_Paternosters and Glorias_ and the small ones, the _Aves_. This
+practical way of indicating duties helped the heedless to concentrate
+their attention, and did much to increase the number of prayers
+offered. Indeed, it is said that "by this single expedient Dominic did
+more to excite the devotion of the lower orders, especially of the
+women, and made more converts, than by all his orthodoxy, learning,
+arguments, and eloquence." It was this incident in the history of the
+Catholic Church that Murillo commemorated.
+
+When the artist was twenty-two years old, his uncle, Juan del
+Castillo, broke up his home and went elsewhere to live, leaving the
+artist without home or means, and with his little sister to take care
+of. Without vanity or ambition, but with only the wish to care for his
+sister and to get food, the marvellous painter took himself to the
+market place, and there, wedged in between stalls, old clothes,
+vegetables, all sorts of wares, like a wanderer and a gypsy, he began
+his career.
+
+At the weekly market--the _Feria_ or fair, opposite the Church of All
+Saints--his brotherly, kindly feeling for the vagabonds he daily met
+is shown in the treatment he gives them in his wonderful
+pictures. During the two years that he worked in that open-air studio
+he had flower-girls, muleteers, hucksters all about him, and he
+painted dozens of rough pictures which found quick sale among the
+patrons of the market. What Velasquez was doing in the court of
+Madrid, Murillo was doing in the streets of Seville; the one painting
+cardinals, kings, and courtiers; the other painting beggars, _gamins_,
+and waifs. Between the two, the world has been shown the social
+history of Spain as it then existed.
+
+Through a peculiar happening, the American Indian saw the beauties of
+Murillo's work before Europe was even conscious there was such a
+man. In his old home, his uncle's studio, Murillo had had a dear
+comrade, Moya. They had not met for two years or more, and when they
+did come together again Moya told Murillo he had been travelling, that
+he had been to Flanders with the Spanish army, and thence to London,
+in both places seeing gorgeous paintings and other inspiring
+things. He opened the eyes of Murillo to the splendours the world
+contained, and the artist became wild with desire to go and see them
+for himself, but he had no money. He was painting pictures in the
+market place of Seville and getting so little for his hasty work that
+he could barely support himself and little Therese. What must he do in
+order to get to London and see the world?
+
+What he did do was to buy a piece of linen, cut it into six pieces and
+hide himself long enough to paint upon them "saints, flowers, fruit
+and landscapes," and then he went forth to sell them.
+
+He actually sold those pictures to a ship-owner who was sending his
+ship to the West Indies. Eventually they were hung upon the walls of a
+mission in wild, far off America. It is said that after this Murillo
+made no little money by painting such pictures, destined to give the
+American savage an idea of the Christian religion. One cannot but
+wonder if there may not be, all unknown to us, Murillo pictures, made
+in the market-place of Seville nearly three hundred years ago, hidden
+away in the remains of those old Spanish missions, even to-day. Such a
+picture would be more rare than the greatest that he ever painted.
+
+After selling his six pictures Murillo started a-foot, not to London
+but on a terrible journey across the Sierra Mountains, to Madrid--the
+home of Velasquez. Murillo knew that this native of Seville had become
+a famous artist. He was powerful and rich and at the court of Philip
+II., while Murillo had no place to lay his head, and besides he had
+left Therese behind in Seville in the care of friends. He had no claim
+upon the kindness of Velasquez but he determined to see him; to
+introduce himself and possibly to gain a friend. It was under these
+forlorn circumstances he made himself known to the great Spanish court
+painter.
+
+The story of their meeting is a fine one. For Murillo Velasquez had a
+warm embrace, a kind and hospitable word. The stranger told Velasquez
+how he had crossed the mountains on foot, was penniless, but could use
+his brush. Instead of jealousy and suspicion, the young man met with
+nothing but the most cheerful encouragement, found the Velasquez home
+open to him, took up his lodging there and established his workshop
+with nothing around him but friendship and the sympathy his nature
+craved.
+
+From the market-place to the home of Velasquez and the Palace of
+Philip II.! It was a beautiful dream to Murillo.
+
+With what splendour of colour and mastery of design he illuminated the
+annals of the poor! Coming forth from some dim chancel or palace-hall
+in which he had been working on a majestic Madonna picture, he would
+sketch in, with the brush still loaded with the colours of celestial
+glory, the lineaments of the beggar crouching by the wall, or the
+gypsy calmly reposing in the black shadow of an archway. Such
+versatility had never before been seen west of the Mediterranean, and
+it commanded the admiration of his countrymen.
+
+All his beggarly little children, neglected and houseless, appeared
+only to be full of cheer and merriment, with soft eyes and contented
+faces. It was a happy, care-free, gay, and kindly beggardom that he
+painted, with nothing in it to sadden the heart.
+
+Thus he lived for three years; working in the galleries of the king,
+making friends at court, painting beautiful women, gallant cavaliers
+and fascinating little beggars.
+
+In the course of time, however, he grew restless, and Velasquez wished
+to give him letters of introduction to Roman artists and people of
+quality, advising him to go to Rome to study the greatest art in the
+world. This was an alluring plan to Murillo, but after all he longed
+for his own home and chose to return there rather than go to
+Rome. Besides, his sister Therese was still in Seville.
+
+Once more in his home, at one stroke of his magic brush Murillo raised
+himself and a monastic order from obscurity to greatness. In his
+native city was the order of San Francisco. The monks had long wished
+to have their convent decorated in a worthy manner by some artist of
+repute; but they were poor and had never been able to engage such a
+painter. When Murillo got back home, he was as badly in need of work
+as the Franciscans were in want of an artist. The monks held a council
+and finally agreed upon a price which they could pay and which Murillo
+could live upon. Then he began a wonderful set of eleven large
+paintings. Among them were many saints, dark and rich in colouring,
+and no sooner was it known that the paintings were being made than all
+the rich and powerful people of Seville flocked to the convent to see
+the work. They gathered about the young artist, overwhelmed him with
+honours and praise, and the monastery was crowded from morning till
+night with those who wished to study his work. From that moment
+Murillo's fame, if not his fortune, was made.
+
+He married a rich and noble lady with the tremendous name of Doña
+Beatriz de Cabrera y Sotomayer. He had fallen in love with her while
+painting her as an angel.
+
+About that time he formed a strange partnership with a landscape
+painter, who agreed to supply the backgrounds that his pictures
+needed, if Murillo would paint figures into his landscapes. This plan
+did very well for a little time, but it did not last long.
+
+Murillo painted in three distinct styles, and these have come to be
+known as the "warm," the "cold," and the "vaporous." He painted
+pictures in the great cathedral of the Escorial and the "Guardian
+Angel" was one of them. Also, he painted "St. Anthony of Padua," and
+of this picture there is one of those absurd stories meant to
+illustrate the perfection of art. It is said that the lilies in it are
+so natural that the birds flew down the cathedral aisles to pluck at
+them. Many artists have painted this saint, but Murillo's is the best
+picture of all.
+
+When the nephew of his first master, Murillo's cousin, saw that work
+he said: "It is all over with Castillo! Is it possible that Murillo,
+that servile imitator of my uncle, can be the author of all this grace
+and beauty of colouring?"
+
+The Duke of Wellington offered for this picture as many gold pieces
+"as would cover its surface of fifteen square feet." This would have
+been about two hundred and forty thousand dollars; but we need not
+imagine that Murillo received any such sum for the work. This picture
+has a further interesting history. The canvas was cut from the frame
+by thieves in 1874, and later it was sold to Mr. Schaus, the
+connoisseur and picture dealer of New York. He paid $250 for it, and
+at once put it into the hands of the Spanish consul, who restored it
+to the cathedral.
+
+The story of the saint whom Murillo painted is as interesting as
+Murillo's own. Among the many wonderful things said to have happened
+to him was that a congregation of fishes hearing his voice as he
+preached beside the sea, came to the top and lifted up their heads to
+listen.
+
+While Murillo was doing his work, he was living a happy, domestic
+life. He had three children, and doubtless he used them as models for
+his lively cherubs, as he used his wife's face for madonnas and
+angels.
+
+He founded an academy of painting in Seville, for the entrance to
+which a student could not qualify unless he made the following
+declaration: "Praised be the most Holy Sacrament and the pure
+conception of Our Lady."
+
+The most delightful stories are told of Murillo's kindness and
+sweetness of disposition. He had a slave who loved him and who, one
+day while Murillo was gone from the studio, painted in the head of the
+Virgin which the master had left incomplete. When Murillo returned and
+saw the excellent work he cried: "I am fortunate, Sebastian"--the
+slave's name--"For I have not created only pictures but an artist!"
+This slave was set free by Murillo and in the course of time he
+painted many splendid pictures which are to-day highly prized in
+Seville.
+
+This is a description of Murillo's house which is still to be seen
+near the Church of Santa Cruz: "The courtyard contains a marble
+fountain, amidst flowering shrubs, and is surrounded on three sides by
+an arcade upheld by marble pillars. At the rear is a pretty garden,
+shaded by cypress and citron trees, and terminated by a wall whereon
+are the remains of ancient frescoes which have been attributed to the
+master himself. The studio is on the upper floor, and overlooks the
+Moorish battlements, commanding a beautiful view to the eastward, over
+orange groves and rich corn-lands, out to the gray highlands about
+Alcala."
+
+Murillo's fame brought fortune to his little sister, Therese. She
+married a nobleman of Burgos, a knight of Santiago and judge of the
+royal colonial court. He became the chief secretary of state for
+Madrid.
+
+Murillo made money, but gave almost all that he made to the poor,
+though he did not make money in the service of the Church, as
+Velasquez made it in the service of the king.
+
+His work of more than twenty pictures in the Capuchin Church of
+Seville occupied him for three years, and in that time he did not
+leave the convent for a single day.
+
+Of all the charming stories told of this glorious artist, one which is
+connected with his work in that church is the most picturesque. It
+seems that every one within the walls loved him, and among others a
+lay brother who was cook. This man begged for some little personal
+token from Murillo and since there was no canvas at hand, the artist
+bade the cook leave the napkin which he had brought to cover his food,
+and during the day he painted upon it a Madonna and child, so natural
+that one of his biographers declares the child seems about to spring
+from Mary's arms. This souvenir made for the cook of the Capuchin,
+convent has been reproduced again and again, as one of the artist's
+greatest performances.
+
+Toward the close of his happy life, he became more and more devout,
+spending many hours before an altar-piece in the Church of Santa Cruz
+where was a picture of "The Descent from the Cross," by Pedro
+Campana. "Why do you always tarry before 'The Descent from the
+Cross?'" the sacristan once asked of him.
+
+"I am waiting till those men have brought the body of our blessed Lord
+down the ladder." Murillo answered. His wife had died, his daughter
+had become a nun, and all that was left to him was his dear son
+Gaspar, when in his sixty-third year he began his last work, "The
+Marriage of St. Catherine." He had not finished this when he fell from
+the scaffolding upon which he was working, and fatally hurt
+himself. He died, with his son beside him. He was a much loved man,
+and when he was buried, his bier was carried by "two marquises and
+four knights and followed by a great concourse of people." He chose to
+be buried beneath the picture he loved so much--"The Descent from the
+Cross," and upon his grave was laid a stone carved with his name, a
+skeleton and an inscription in Latin which means "Live as one who is
+about to die."
+
+The church has since been destroyed, and on its site is the Plaza
+Santa Cruz, but Murillo's grave is marked by a tablet.
+
+Each country seems to have had at least one man of beautiful heart and
+mind, to represent its art. Raphael in Italy, Murillo in Spain, were
+types of gentle and greatly beloved men. Leonardo in Italy and Dürer
+in Nuremberg, were types of forceful, intellectual men, highly
+respected and of great benefit to the world.
+
+Of all the painters who ever lived, Murillo was the one who painted
+little children with the most loving and fascinating touch.
+
+  PLATE--THE IMMACULATE CONCEPTION
+
+Besides the little angels in this picture, we have a bewildering
+choice among many other beauties.
+
+Many pictures of this subject have been painted, and many were painted
+by Murillo, but the one presented here is the greatest of all. It
+hangs in the Louvre, Salle VI. Mary seems to be suspended in the
+heavens, not standing upon clouds. Under the hem of her garments is
+the circle of the moon, while there is the effect of hundreds of
+little cherub children massed about her feet, in a little swarm at the
+right, where the shadow falls heaviest, and still others, half lost in
+the vapoury background at the left, where the heavenly light streams
+upon them, and brilliantly lights up the Virgin's gown. In this
+picture are all Murillo's beloved child figures, some carrying little
+streamers, their tiny wings a-flutter and all crowding lovingly about
+Mary. Far below this gorgeous group we can imagine the dark and weary
+earth lost in shadow.
+
+Among Murillo's most famous paintings are: "The Birth of the Virgin,"
+"Two Beggar Boys," "The Madonna of the Rosary," "The Annunciation,"
+"Adoration of the Shepherds," "Holy Family," "Education of Mary," "The
+Dice Players," and "The Vision of St. Anthony."
+
+
+
+
+XXXII
+
+RAPHAEL (SANZIO)
+
+
+  (Pronounced Rah'fay-el (Sahnt'syoh))
+  1483-1590
+  _Umbrian, Florentine, and Roman Schools_
+  _Pupil of Perugino_
+
+It was said of Raphael that "every evil humour vanished when his
+comrades saw him, every low thought fled from their minds"; and this
+was because they felt themselves vanquished by his pleasant ways and
+sweet nature.
+
+Imagine his beautiful face, with its sunny eyes, reflecting no shadow
+of sadness or pain. Such a one was sure to be beloved by all.
+
+The father of Raphael was Giovanni Santi, himself an able artist. Both
+he and Raphael studied in many schools and took the best from
+each. The son was brought up in an Italian court, that of Guidobaldo
+of Urbino, where the father was a favourite poet and painter, so that
+he had at least one generation of art-lovers behind him, at a time
+when learning and art were much prized. Nothing ever entered into his
+life that was sad or sorrowful; his whole existence was a triumph of
+beautiful achievements. There were three great artists of that time,
+the other two being Michael Angelo and Leonardo da Vinci, both of whom
+were absolutely unlike Raphael in their art and in their characters.
+
+Raphael was born on April 6th at Contrada del Monte in the ducal city
+of Urbino. His mother's name was Magia Ciarla, and she was the
+daughter of an Urbino merchant. She had three children besides the
+great painter, all of whom died young, and when Raphael was but eight
+years old his mother died also. It is said that it was from her
+Raphael inherited his beauty, goodness, mildness, and genius. His
+father's patron, the Duke of Urbino, was a fine soldier, but he also
+cherished scholarship and art, and kept at his court not less than
+twenty or thirty persons at work copying Greek and Latin manuscript
+which he wished to add to his library.
+
+Raphael had a stepmother, Bernardina, the daughter of a goldsmith, a
+good and forceful woman, but not gentle like the first wife; and when
+Raphael was eleven years of age his father, too, died. By his father's
+will Raphael became the charge of his uncle Bartolommeo, a priest, but
+the property was left to the stepmother so long as she remained
+unmarried. Almost at once the priest and the stepmother fell to
+quarreling over the spoils, and thus Raphael was left pretty much to
+his own devices, but just when life began to look dark and sad for
+him, his mother's brother took a hand in the situation. He settled the
+dispute between the priest and the second wife, and arranged that
+Raphael should be placed in the studio of some great painter, for the
+loving lad had already worked in his father's studio, and had given
+promise of his wonderful gifts. So he became the pupil of Perugino, a
+painter noted for his fine colouring and sympathetic handling of his
+subjects. At that time, Italian schools were less wonderful in
+colouring than in other matters of technique.
+
+"Let him become my pupil," said Perugino, when Raphael was brought to
+him and some of his work was exhibited; "soon he will be my master." A
+very different attitude from that of Ghirlandajo toward Michael
+Angelo.
+
+Raphael and his master became friends and worked together for nine
+years.
+
+His first work was not conceived until Raphael was seventeen. It was
+to be a surprise to his master who had gone to Florence. A banner was
+wanted for the Church of S. Trinita at Citta di Castello, and Raphael
+undertook it, painting the "Trinity," on one canvas and the "Creation
+of Man" on another. Then he painted the "Crucifixion," which was
+bought by Cardinal Fesch, who lived in Rome. That painting is now in a
+collection of the Earl of Dudley. It was sold away from Rome in 1845,
+for twelve thousand dollars--or a little more. No one will deny that
+this is an unusual sum for an artist's first work, but about the same
+time he did a much more wonderful thing.
+
+He painted a little picture, six and three-quarter inches square. It
+was of the Virgin walking in the springtime, before the leaves had
+appeared upon the trees, and with snow-capped mountains behind
+her. She holds the infant Jesus in her arms while she reads from a
+small book, and the little child looks upon the page with her. This
+six inches of beauty sold to the Emperor of Russia, in 1871, for sixty
+thousand dollars.
+
+Before Raphael was twenty-one, he had left his master's studio and had
+gone into the splendid world of Rome, where Angelo was straining at
+his bonds. But how differently each accepted his life! The gentle
+Raphael, who took the best of the ideas of all great painters, and
+gave to them his own exquisite characteristics, was beloved of all,
+shed light upon art and friends alike. To such a one all life was
+joyous. Michael Angelo, trying ever to do the impossible, betraying
+his hatred of limitations in all that he did, doing always that which
+aroused horror, distress, longing, elemental feelings, in those who
+studied his wonderful work, and giving hope and satisfaction and peace
+to none--to such as he life must ever have been hateful and
+painful. These men lived at the same time, among the same people.
+
+One of Raphael's greatest pictures came into the possession of a poor
+widow, who being hard pressed by poverty, sold it to a bookseller for
+twelve scudi. In time it was bought from the bookseller by Grand Duke
+Ferdinand III. of Tuscany, who prayed before it night and morning,
+taking it with him on his travels. That picture is now in the Pitti
+Palace at Florence and it is called the "Madonna del Granduca." The
+Berlin Museum purchased a Raphael Madonna for $34,000 which was
+painted about the same time as these others, but after a little the
+artist left Florence where he had been studying the methods of
+Leonardo and Angelo and returned to Urbino, the home he loved, where
+his conduct was such that all the world seems to have become his
+lover. It is written that he was "the only very distinguished man of
+whom we read, who lived and died without an enemy or detractor!" No
+better can ever be said of any one.
+
+While he dwelt in Perugia and Urbino he had painted the "Ansidei
+Madonna," so called because that was the name of the family for which
+it was painted. That Madonna was sold in 1884 to the National Gallery,
+by the Duke of Marlborough for $350,000. A Madonna on a round
+plaque-like canvas, 42-3/4 inches in diameter, was bought by the Duke
+of Bridgewater for $60,000. It is the "Holy Family under a Palm Tree,"
+painted originally for a friend, Taddeo Taddei, who was a Florentine
+scholar. Many of the pictures which after many vicissitudes have
+landed far from home and been bought for fabulous sums were painted
+for love of some friend, or were paid for by modest sums at the time
+the artist received the commissions. Lord Ellesmere in London now owns
+the "Holy Family under a Palm Tree."
+
+It is said of Raphael that whenever another painter, known to him or
+not, requested any design or assistance of any kind at his hands, he
+would invariably leave his work to perform the service. He continually
+kept a large number of artists employed, all of whom he assisted and
+instructed with an affection which was rather that of a father to his
+children than merely of an artist to artists. From this it followed
+that he was never seen to go to court, except surrounded and
+accompanied, as he left his house, by some fifty painters, all men of
+ability and distinction, who attended him, thus to give evidence of
+the honour in which they held him. He did not, in short, live the life
+of a painter, but that of a prince.
+
+There is something wonderfully inspiring about such a life. We read of
+emperors and the homage paid to them; of the esteem in which men who
+accomplish deeds of universal value are held, but nowhere do we behold
+the power of a beautiful and exquisite personality and character,
+allied with a single art, so impressively exhibited.
+
+He urged nothing, yet won all things by the force of his loving and
+sympathetic mind. "How is it, dear Cesare that we live in such good
+friendship, but that in the art of painting we show no deference to
+each other?" he asked of Cesare da Sesto, who was Da Vinci's greatest
+pupil.
+
+In discussing the great ones of the earth, Herman Grimm, son of the
+collector of fairy tales, says: "Can we mention a violent act of
+Raphael's, Goethe's or Shakespeare's? No, it is restful only to recall
+these wonderful men."
+
+One of Raphael's most beautiful Virgins was modeled from a beautiful
+flower-girl whom he loved, "La Belle Jardinière."
+
+Raphael as well as Michael Angelo was summoned by Pope Julius II., but
+how different were the two occasions! Michael Angelo had stood with
+dogged, gloomy self-assertiveness before the pope, head covered, knee
+unbent. Uncompromising, while yet no injury had been done him,
+resentful before he had received a single cause for resentment, the
+attitude was typical of his art and his unhappy life.
+
+When Raphael appeared, his bent knee, his "chestnut locks falling upon
+his shoulders, the pope exclaimed: 'He is an innocent angel. I will
+give him Cardinal Bembo for a teacher, and he shall fill my walls with
+historical pictures.'" The artist's behaviour was no sign of
+servility, but the simple recognition of forms and customs which the
+people themselves had made and by which they had decided they should
+graciously be bound. The attitude of Angelo was not heroic but vulgar;
+that of Raphael not servile, but in good taste, showing a reasonable
+mind.
+
+Pope Julius had summoned Raphael for a special reason. Alexander VI.,
+his predecessor in the Vatican, had been a depraved man. The fair and
+virile Julius had a healthy sentiment against occupying rooms which
+must continually remind him of the notorious Alexander's mode of
+life. Some one suggested that he have all the portraits of the former
+pope removed, but Julius declared: "Even if the portraits were
+destroyed, the walls themselves would remind me of that Simoniac, that
+Jew!" The word 'Jew' was then execrated by all Christians, for the
+world was not yet Christian enough to know better.
+
+Raphael was summoned to decorate the Vatican, that Julius might have a
+place which reminded him not at all of Alexander. It is said that when
+Raphael had completed one of his masterpieces the pope threw himself
+upon the ground and cried, "I thank Thee, God, that Thou hast sent me
+so great a painter!"
+
+While at work upon his first fresco at the Vatican--"La Disputa," the
+dispute over the Holy Sacrament--Raphael met a woman with whom he fell
+deeply in love. Her father was a soda manufacturer and her name was
+Margherita. Missirini relates this incident in Raphael's career.
+
+"She lived on the other side of the Tiber. A small house, No. 20, in
+the street of Santa Dorothea, the windows of which are decorated with
+a pretty frame work of earthenware, is pointed out as the house where
+she was born.
+
+"The beautiful girl was very frequently in a little garden adjoining
+the house, where, the wall not being very high, it was easy to see her
+from the outside. So the young men, especially artists--always
+passionate admirers of beauty--did not fail to come and look at her,
+by climbing up above the wall.
+
+"Raphael is said to have seen her for the first time as she was
+bathing her pretty feet in a little fountain in the garden. Struck by
+her perfect beauty, he fell deeply in love with her, and after having
+made acquaintance with her, and discovered that her mind was as
+beautiful as her body, he became so much attached as to be unable to
+live without her."
+
+She is spoken of to-day as the "Fornarina," because at first she was
+supposed to have been the daughter of a baker (_fornajo_).
+
+Raphael made many rough studies for his picture "La Disputa," and upon
+them he left three sonnets, written to the woman so dear to him. These
+sonnets have been translated by the librarian of l'Ecole Nationale des
+Beaux-Arts, as follows: "Love, thou hast bound me with the light of
+two eyes which torment me, with a face like snow and roses, with sweet
+words and tender manners. So great is my ardour that no river or sea
+could extinguish my fire. But I do not complain, for my ardour makes
+me happy.... How sweet was the chain, how light the yoke of her white
+arms about my neck. When these bonds were loosed, I felt a mortal
+grief. I will say no more; a great joy kills, and, though my thoughts
+turn to thee, I will keep silence."
+
+Although he had been a man of many loves, Raphael must have found in
+the manufacturer's daughter his best love, because he remained
+faithful and devoted to her for the twelve years of life that were
+left to him. It was said some years later, while he was engaged upon a
+commission for a rich banker, that "Raphael was so much occupied with
+the love that he bore to the lady of his choice that he could not give
+sufficient attention to his work. Agostino (the banker) therefore,
+falling at length into despair of seeing it finished, made so many
+efforts by means of friends and by his own care that after much
+difficulty he at length prevailed on the lady to take up her abode in
+his house, where she was accordingly installed, in apartments near
+those which Raphael was painting; In this manner the work was
+ultimately brought to a conclusion."
+
+Raphael painted this beautiful lady-love many times, and in a picture
+in which she wears a bracelet he has placed his name upon the
+ornament.
+
+After this time he painted the "Madonna della Casa d'Alba," which the
+Duchess d'Alba gave to her physician for curing her of a grave
+disorder. She died soon afterward, and the physician was arrested on
+the charge of having poisoned her. In course of time the picture was
+purchased for $70,000 by the Russian Emperor, and it is now in "The
+Hermitage," St. Petersburg.
+
+A writer telling of that time, relates the following anecdote:
+"Raphael of Urbino had painted for Agostino Chigi (the rich banker
+already mentioned) at Santa Maria della Pace, some prophets and
+sibyls, on which he had received an advance of five hundred scudi. One
+day he demanded of Agostino's cashier (Giulio Borghesi) the remainder
+of the sum at which he estimated his work. The cashier, being
+astounded at this demand, and thinking that the sum already paid was
+sufficient, did not reply. 'Cause the work to be estimated by a judge
+of painting,' replied Raphael, 'and you will see how moderate my
+demand is.'
+
+"Giulio Borghesi thought of Michael Angelo for this valuation, and
+begged him to go to the church and estimate the figures of
+Raphael. Possibly he imagined that self-love, rivalry, and jealousy
+would lead the Florentine to lower the price of the pictures.
+
+"Michael Angelo went, accompanied by the cashier, to Santa Maria della
+Pace, and, as he was contemplating the fresco without uttering a word,
+Borghesi questioned him. 'That head,' replied Michael Angelo, pointing
+to one of the sibyls, 'that head is worth a hundred scudi.' ... 'and
+the others?' asked the cashier. 'The others are not less.'
+
+"Someone who witnessed this scene related it to Chigi. He heard every
+particular and, offering in addition to the five hundred scudi for
+five heads a hundred scudi to be paid for each of the others, he said
+to his cashier, 'go and give that to Raphael in payment for his heads,
+and behave very politely to him, so that he may be satisfied; for if
+he insists on my paying also for the drapery, we should probably be
+ruined!'"
+
+By the time Raphael was thirty-one he was a rich man, and had built
+himself a beautiful house near the Vatican, on the Via di Borgo
+Nuova. Naught remains of that dwelling except an angle of the right
+basement, which has been made a part of the Accoramboni Palace. His
+friends wished him above all things to marry, but he was still true to
+Margherita though he had become engaged to the daughter of his
+nephew. He put the marriage off year after year, till finally the lady
+he was to have married died, and was buried in Raphael's chapel in the
+Pantheon.
+
+Margherita was with him when he died, and it was to her that he left
+much of his wealth.
+
+In the time of Raphael excavations were being made about Rome, and
+many beautiful statues uncovered, and he was charged with the
+supervision of this work in order that no art treasure should be lost
+or overlooked. The pope decreed that if the excavators failed to
+acquaint Raphael with every stone and tablet that should he unearthed,
+they should be fined from one to three hundred gold crowns.
+
+Raphael had his many paintings copied under his own eye and engraved,
+and then distributed broadcast, so that not only men of great wealth
+but the common people might study them.
+
+Henry VIII. invited him to visit England, and become court painter,
+and Francis I. wished him to become the court painter of France.
+
+He loved history, and wished to write certain historical works. He
+loved poetry and wrote it. He loved philosophy and lived it--the
+philosophy of generous feeling and kindly thought for all the
+world. He kept poor artists in his own home and provided for them.
+
+Raphael died on Good Friday night, April 6th, in his thirty-seventh
+year, and all Rome wept. He lay in state in his beautiful home, with
+his unfinished picture of the "Transfiguration," as background for his
+catafalque. That painting with its colours still wet, was carried in
+the procession to his burial place in the Pantheon. When his death was
+announced, the pope, Leo X., wept and cried _"Ora pro nobis!"_ while
+the Ambassador from Mantua wrote home that "nothing is talked of here
+but the loss of the man who at the close of his six-and-thirtieth year
+has now ended his first life; his second, that of his posthumous fame,
+independent of death and transitory things, through his works, and in
+what the learned will write in his praise, must continue forever."
+
+Raphael painted two hundred and eighty-seven pictures in his
+thirty-seven years of life.
+
+  PLATE--THE SISTINE MADONNA
+
+It is said that the "Sistine Madonna," while painted from an Italian
+model--doubtless the lady whom Raphael so dearly loved--has universal
+characteristics, so that she may "be understood by everyone."
+
+He lived only three years after painting this picture and it was the
+last "Holy Family" painted by him. The Madonna stands upon a curve of
+the earth, which is scarcely to be seen, and looming mistily in front
+of her is a mass of white vaporous clouds. On either side are figures,
+St. Sixtus (for whom the picture was named) and St. Barbara. Beside
+St. Sixtus we see a crown or tiara; and the little tower at
+St. Barbara's side is a part of her story.
+
+Barbara was the daughter of an Eastern nobleman who feared that her
+great beauty might lead to her being carried off; therefore he caused
+her to be shut up in a great tower. While thus imprisoned Barbara
+became a Christian through the influence of a holy man, and she begged
+her father to make three windows in her gloomy tower: one, to let the
+light of the Father stream upon her, another to admit the light of the
+Son, and the third that she might bathe in the light of the Holy
+Ghost. Both St. Barbara and St. Sixtus were martyrs for their faith.
+
+This Madonna is painted as if enclosed by green velvet curtains, which
+have been drawn aside, letting the golden light of the picture blaze
+upon the one who looks; then upon a little ledge below, looking out
+from the heavens, are two little cherubs--known to all the world. They
+look wistful, wise, roguish, and beautiful, with fat little arms
+resting comfortably upon the ledge. Raphael is said to have found his
+models for these little angels in the street, leaning wistfully upon
+the ledge of a baker's window, looking at the good things to eat,
+which were within. Raphael took them, put wings to them, placed them
+at the feet of Mary, and made two little images which have brought
+smiles and tears to a multitude of people. The "Sistine Madonna" hangs
+alone in a room in the Dresden Gallery.
+
+Among Raphael's greatest works are: The "Madonna della Sedia" (of the
+chair), "La Belle Jardinière," "The School of Athens," "Saint Cecilia,"
+"The Transfiguration," "Death of Ananias" (a cartoon for a series of
+tapestries), "Madonna del Pesce," "La Disputa," "The Marriage of Mary
+and Joseph," "St. George Slaying the Dragon," "St. Michael Attacking
+Satan" and the "Coronation of the Virgin."
+
+
+
+
+XXXIII
+
+REMBRANDT (VAN RIJN)
+
+
+  _Dutch School_
+  1606-1669
+  _Pupil of Van Swanenburch_
+
+Here are a few of the titles that have been given to the greatest
+Dutch painter that ever lived: The Shakespeare of Painting; the Prince
+of Etchers; the King of Shadows; the Painter of Painters. Muther calls
+him a "hero from cloudland," and not only does he alone wear these
+titles of greatness, but he alone in his family had the name of
+Rembrandt.
+
+One writer has said that the great painter was born "in a windmill,"
+but this is not true. He was born in Leyden for certain, though not a
+great deal is known about his youth; and his father was a miller, his
+mother a baker's daughter.
+
+When the Pilgrim Fathers, who had sought safety in Leyden, were
+starting for America, where they were going to oppress others as they
+had been oppressed, Rembrandt was just beginning his apprenticeship in
+art.
+
+He was born at No. 3, Weddesteg, a house on the rampart looking out
+upon the Rhine whose two arms meet there. In front of it whirled the
+great arms of his father's windmill, though he was not born in it; and
+of all the women Rembrandt ever knew, it is not likely that he ever
+admired or loved one as passionately as he admired and loved his
+mother. He painted and etched her again and again, with a touch so
+tender that his deepest emotion is placed before us.
+
+Rembrandt had brothers and sisters--five: Adriaen, Gerrit, Machteld,
+Cornelis, and Willem. Of these, Adriaen became a miller like his
+father, and presumably the old historic windmill fell to him; Willem
+became a baker, but Rembrandt, the fourth child, it was determined
+should be a learned man, and belong to one of the honoured
+professions, such as the law. So he was sent to the Leyden Academy,
+but here again we have an artist who decided he knew enough of all
+else but art before he was twelve years old. He found himself at that
+age in the studio of his first art-master, Jacob van Swanenburch, a
+relative, who had studied art in Italy, and was a good master for the
+lad; but Rembrandt became so brilliant a painter in three years' time,
+that he was sent to Amsterdam to learn of abler men.
+
+The lad could not in those days get far from his adored mother; so he
+stayed only a little time, before he went back to Leyden where she
+was. There was his heart, and, painting or no painting, he must be
+near it.
+
+Until the past thirty years no one has seemed to know a great deal of
+Rembrandt's early history, but much was written of him as a boorish,
+gross, vulgar fellow. Those stories were false. He was a devoted son,
+handsome, studious in art, and earnest in all that he did, and after
+he had made his first notable painting he was compelled by the demands
+of his work to move to Amsterdam for good. He hired an apartment over
+a shop on the Quay Bloemgracht; it is probable that his sister went
+with him to keep his house, and that it is her face repeated so
+frequently in the many pictures which he painted at that time. This
+does not suggest coarse doings or a careless life, but permits us to
+imagine a quiet, sober, unselfish existence for the young bachelor at
+that time.
+
+Soon, however, he fell in love. He saw one other woman to place in his
+heart and memory beside his mother. His wife was Saskia van Ulenburg,
+the daughter of an aristocrat, refined and rich. He met her through
+her cousin, an art dealer, who had ordered Rembrandt to paint a
+portrait of his dainty cousin. Rembrandt could have been nothing but
+what was delightful and good, since he was loved by so charming a girl
+as Saskia.
+
+He painted her sitting upon his knee, and used her as model in many
+pictures. First, last, and always he loved her tenderly.
+
+In one portrait she is dressed in "red and gold-embroidered velvets";
+the mantle she wore he had brought from Leyden. In another picture she
+is at her toilet, having her hair arranged; again she is painted in a
+great red velvet hat, and then as a Jewish bride, wearing pearls, and
+holding a shepherd's staff in her hand. Again, Rembrandt painted
+himself as a giant at the feet of a dainty woman, and in every way his
+work showed his love for her. After he married her, in June 1634, he
+painted the picture, "Samson's Wedding," "Saskia, dainty and serene,
+sitting like a princess in a circle of her relatives, he himself
+appearing as a crude plebeian, whose strange jokes frighten more than
+they amuse the distinguished company. ... The early years of his
+marriage were spent in joy and revelry. Surrounded by calculating
+business men who kept a tight grasp on their money bags, he assumed
+the rôle of an artist scattering money with a free hand; surrounded by
+small townsmen most proper in demeanour, he revealed himself as the
+bold lasquenet, frightening them by his cavalier manners. He brought
+together all manner of Oriental arms, ancient fabrics, and gleaming
+jewellery; and his house became one of the sights of Amsterdam." His
+existence reads like a fairy tale.
+
+It is said that Saskia strutted about decked in gold and diamonds,
+till her relatives "shook their heads" in alarm and amazement at such
+wild goings on.
+
+Before he married Saskia he had painted a remarkable picture, named
+the "School of Anatomy." It represents a great anatomist, the friend
+of Rembrandt--Nicholaus Tulp,--and a group of physicians who were
+members of the Guild of Surgeons of Amsterdam. It is so wonderful a
+picture that even the dead man, who is being used as a subject by the
+anatomist, does not too greatly disturb us as we look upon him. The
+thoughtful, interested faces of the surgeons are so strong that we
+half lose ourselves in their feeling, and forget to start in repulsion
+at sight of the dead body. A fine description of this painting can be
+found in Sarah K. Bolton's book "Famous Artists" and it includes the
+description given by another excellent authority.
+
+The artist was twenty-six years old when he painted the "School of
+Anatomy." This picture is now at The Hague and two hundred years after
+it was painted the Dutch Government gave 30,000 florins for it.
+
+Rembrandt painted a good many "Samsons" first and last--himself
+evidently being the strong man; and the pictures beyond doubt express
+his own mood and his idea of his relation to things. After a little
+son was born to the artist, he painted still another Samson--this time
+menacing his father-in-law but as the artist had named his son after
+his father-in-law,--Rombertus--we cannot believe that there was any
+menace in the heart of Rembrandt--Samson. Soon his son died, and
+Rembrandt thought he should never again know happiness, or that the
+world could hold a greater grief, but one day he was to learn
+otherwise. A little girl was born to the artist, named Cornelia, after
+Rembrandt's mother, and he was again very happy.
+
+Meantime his brothers and sisters had died, and there came some
+trouble over Rembrandt's inheritance, but what angered him most of
+all, was that Saskia's relatives said she "had squandered her heritage
+in ornaments and ostentation." This made Rembrandt wild with rage, and
+he sued her slanderers, for he himself had done the squandering,
+buying every beautiful thing he could find or pay for, to deck Saskia
+in, and he meant to go on doing so.
+
+At this time he painted a picture of "The Feast of Ahasuerus" (or the
+"Wedding of Samson") and he placed Saskia in the middle of the table
+to represent Esther or Delilah as the case might be, dressed in a way
+to horrify her critical relatives, for she looked like a veritable
+princess laden with gorgeous jewels.
+
+One of his pictures he wished to have hung in a strong light, for he
+said: "Pictures are not made to be smelt. The odour of the colours is
+unhealthy."
+
+The first baby girl died and on the birth of another daughter she too
+was named Cornelia, but that baby girl also died, and next came a son,
+Titus, named for Saskia's sister, Titia, and then Saskia died. Thus
+Rembrandt knew the deepest sorrow of his life.
+
+He painted her portrait once again from memory, and that picture is
+quite unlike the others for it is no longer full of glowing life, but
+daintier, suggestive of a more spiritual life, as if she were growing
+fragile.
+
+It is written that "from this time, while he did much remarkable work,
+he seemed like a man on a mountain top, looking on one side to sweet
+meadows filled with flowers and sunlight, and on the other to a
+desolate landscape over which a clouded sun is setting." With Saskia
+died the best of Rembrandt. He made only one more portrait of
+himself--before this he had made many; and in it he makes himself
+appear a stern and fateful man. It was after Saskia's death that he
+painted the "Night Watch," or more properly, "The Sortie."
+
+Rembrandt's home, where he and Saskia were so happy, is still to be
+seen on a quay of the River Amstel. It is a house of brick and cut
+stone, four stories high. The vestibule used to have a flag-stone
+pavement covered with fir-wood. There were also "black-cushioned,
+Spanish chairs for those who wait," and all about were twenty-four
+busts and paintings. There was an ante-chamber, very large, with seven
+Spanish chairs covered with green velvet, and a walnut table covered
+with "a Tournay cloth"; there was a mirror with an ebony frame, and
+near by a marble wine-cooler. Upon the wall of this _salon_ were
+thirty-nine pictures and most of them had beautiful frames. "There
+were religious scenes, landscapes, architectural sketches, works of
+Pinas, Brouwer, Lucas van Leyden, and other Dutch masters; sixteen
+pictures by Rembrandt; and costly paintings by Palma Vecchio, Bassano,
+and Raphael."
+
+In the next room was a real art museum, containing splendid pictures,
+an oaken press and other things which suggest that this was the
+workroom where Rembrandt's etchings were made and printed.
+
+In the drawing-room was a huge mirror, a great oaken table covered
+with a rich embroidered cloth, "six chairs with blue coverings, a bed
+with blue hangings, a cedar wardrobe, and a chest of the same wood."
+The walls were literally covered with pictures, among which was a
+Raphael.
+
+Above was a sort of museum and Rembrandt's studio. There was rare
+glass from Venice, busts, sketches, paintings, cloths, weapons,
+armour, plants, stuffed birds and shells, fans, and books and
+globes. In short, this was a most wonderful house and no other
+interior can we reconstruct as we can this, because no other such
+detailed inventory can be found of a great man's effects as that from
+which these notes are taken: a legal inventory made in 1656, long
+after Saskia had died and possibly at a time when Rembrandt wished to
+close his doors forever and forget the scenes in which he had been so
+happy.
+
+Holland being truly a Protestant country, its artists have given us no
+great Madonna pictures, although they painted loving, happy Dutch
+mothers and little babes, but on the whole their subjects are quite
+different from those of the painters of Italy, France, and Spain.
+
+Rembrandt's studio was different from any other. When he first began
+to work independently and to have pupils, he fitted it up with many
+little cells, properly lighted, so that each student might work alone,
+as he knew far better work could be done in that way. It is said that
+his pictures of beggars would, by themselves, fill a gallery. He had a
+kindly sympathy for the poor and unfortunate, and tramps knew this, so
+that they swarmed about his studio doors, trying to get sittings.
+
+There is a story which doubtless had for its germ a joke regarding the
+slowness of an errand boy in a friend's household, but which at the
+same time shows us how rapidly Rembrandt worked. The artist had been
+carried off to the country to lunch with his friend Jan Six, and as
+they sat down at the table, Six discovered there was no mustard. He
+sent his boy, Hans, for it, and as the boy went out, Rembrandt wagered
+that he could make an etching before the boy got back. Six took the
+wager, and the artist pulled a copper plate from his pocket--he always
+carried one--and on its waxed surface began to etch the landscape
+before him. Just as Hans returned, Rembrandt gleefully handed Six the
+completed picture.
+
+He was a great portrait painter, but he loved certain effects of
+shadow so well that he often sacrificed his subject's good looks to
+his artistic purpose, and very naturally his sitters became
+displeased, so that in time he had fewer commissions than if he had
+been entirely accommodating.
+
+His meals in working time were very simple, often just bread and
+cheese, eaten while sitting at his easel, and after Saskia died he
+became more and more careless of all domestic details.
+
+Rembrandt finally married again, the second time choosing his
+housekeeper, a good and helpful woman, who was properly bringing up
+his little son, and making life better ordered for the artist, but he
+had grown poor by this time for he was never a very good business
+man. His beautiful house was at last sold to a rich shoemaker. Every
+picture latterly reflected his condition and mood. He chose subjects
+in which he imagined himself always to be the actor, and when his
+second wife died he painted a picture of "Youth Surprised by Death";
+he had not long to live. He became more and more melancholy; and
+sleeping by day, would wander about the country at night, disconsolate
+and sad. Finally, when he died, an inventory of his effects, showed
+him to be possessed of only a few old woollen clothes and his brushes
+The miracle in Rembrandt's painting is the deep, impenetrable shadow,
+in which nevertheless one can see form and outline, punctuated with
+wonderful explosions of light. Nothing like it has ever been seen. It
+is the most dramatic work in the world, and the most powerful in its
+effect. Other men have painted light and colour; Rembrandt makes gloom
+and shadow living things.
+
+This miracle-worker's funeral cost ten dollars; he died in Amsterdam
+and was buried in the Wester Kirk.
+
+  PLATE--THE SORTIE
+
+This picture is generally known as "The Night Watch," but it is really
+"The Sortie" of a company of musketeers under the command of a
+standard bearer. Captain Frans Banning-Cock and all his company were
+to pay Rembrandt for painting their portraits in a group and in
+action, and they expected to see themselves in heroic and picturesque
+dress, in the full blaze of day, but Rembrandt had found a magnificent
+subject for his wonderful shadows, and the artist was not going to
+sacrifice it to the vanity of the archers.
+
+This picture was called the "Patrouille de Nuit," by the French and
+the "Night Watch," by Sir Joshua Reynolds because upon its discovery
+the picture was so dimmed and defaced by time that it was almost
+indistinguishable and it looked quite like a night scene. After it was
+cleaned up, it was discovered to represent broad day--a party of
+archers stepping from a gloomy courtyard into the blinding
+sunlight. "How this different light is painted, which encircles the
+figures, here sunny, there gloomy!... Rembrandt runs through the
+entire range of his colours, from the lightest yellow through all
+shades of light and dark red to the gloomiest black." One writer
+describes it thus: "It is more than a picture; it is a spectacle, and
+an amazing one... A great crowd of human figures, a great light, a
+great darkness--at the first glance this is what strikes you, and for
+a moment you know not where to fix your eyes in order to comprehend
+that grand and splendid confusion... There are officers, halberdiers,
+boys running, arquebusiers loading and firing, youths beating drums,
+people bowing talking, calling out, gesticulating--all dressed in
+different costumes, with round hats, plumes, casques, morions, iron
+corgets, linen collars, doublets embroidered with gold, great boots,
+stockings of all colours, arms of every form; and all this tumultuous
+and glittering throng start out from the dark background of the
+picture and advance toward the spectator. The two first personages are
+Frans Banning-Cock, Lord of Furmerland and Ilpendam, captain of the
+company, and his lieutenant, Willem van Ruijtenberg, Lord of
+Vlaardingen, the two marching side by side. The only figures that are
+in full light are this lieutenant, dressed in a doublet of
+buffalo-hide, with gold ornaments, scarf, gorget, and white plume,
+with high boots, and a girl who comes behind, with blond hair
+ornamented with pearls, and a yellow satin dress; all the other
+figures are in deep shadow, excepting the heads, which are
+illuminated. By what light? Here is the enigma. Is it the light of the
+sun? or of the moon? or of the torches? There are gleams of gold and
+silver, moonlight coloured reflections, fiery lights; personages
+which, like the girl with blond tresses, seem to shine by a light of
+their own.... The more you look at it, the more it is alive and
+glowing; and, even seen only at a glance, it remains forever in the
+memory, with all its mystery and splendour, like a stupendous vision."
+Charles Blanc has said: "To tell the truth, this is only a dream of
+night, and no one can decide what the light is that falls on the
+groups of figures. It is neither the light of the sun or of the moon,
+nor does it come from the torches; it is rather the light from the
+genius of Rembrandt."
+
+This wonderful picture was painted in 1642 and many of the archer's
+guild who gave Rembrandt the commission would not pay their share
+because their faces were not plainly seen. This picture which alone
+was enough to make him immortal, was the very last commission that any
+of the guilds were willing to give the artist, because he would not
+make their portraits beautiful or fine looking to the disadvantage of
+the whole picture. This work hangs in the Rijks Museum in
+Amsterdam. He painted more than six hundred and twenty-five pictures
+and some of them are: "The Anatomy Lesson," "The Syndics of the Cloth
+Hall," "The Descent from the Cross," "Samson Threatening His Step
+Father," "The Money Changer," "Holy Family," "The Presentation of
+Christ in the Temple," "The Marriage of Samson," "The Rape of
+Ganymede," "Susanna and the Elders," "Manoah's Sacrifice," "The
+Storm," "The Good Samaritan," "Pilate Washing His Hands," "Ecce Home,"
+and pictures of his wife, Saskia.
+
+
+
+
+XXXIV
+
+SIR JOSHUA REYNOLDS
+
+
+  _English School_
+  1723-1792
+  _Pupil of Thomas Hudson_
+
+When Reynolds was "little Josh," instead of "Sir Joshua" he grew tired
+in church one day, and sketched upon the nail of his thumb the
+portrait of the Rev. Mr. Smart who was preaching. After service he ran
+to a boat-house near, and with ship's paint, upon an old piece of
+sail, he painted in full and flowing colours that reverend gentleman's
+portrait. After that there was not the least possible excuse for his
+father to deny him the right to become an artist.
+
+The father himself was a clergyman with a good education, and he had
+meant that his son should also be well educated and become a
+physician; but a lad who at eight years of age can draw the Plympton
+school house--he was born at Plympton Earl, in Devonshire--has a right
+to choose his own profession.
+
+At twenty-three years of age Sir Joshua was painting the portraits of
+great folk, and being well paid for it, as well as lavishly
+praised. His first real sorrow came at a Christmas time when he was
+summoned home from London where he was working, to his father's
+deathbed.
+
+After that the artist turned his thoughts toward Italy, but where was
+the money to come from? Earning a living did not include travelling
+expenses, but a good friend, Captain Keppel, was going out to treat
+with the Dey of Algiers about his piracies, and learning that the
+artist wished to go to Italy he invited him to go with him on his own
+ship, the _Centurion._ So while the captain was discussing pirates
+with the dey, Sir Joshua stopped with the Governor of Minorca and
+painted many of the people of that locality. Thence on to Rome!
+
+Strange to say, Raphael's pictures disappointed the English artist,
+and he said so; but Michael Angelo was to Reynolds the most wonderful
+of painters, and he said that his pictures influenced him all the rest
+of his life. He wished his name to be the last upon his lips, and
+while that was not so, yet it was the last he pronounced to his fellow
+Academicians in his final address.
+
+It was in Italy that a distressing misfortune came upon Sir Joshua. He
+meant to learn all that a man could learn in a given time of the art
+treasures there, and while he was working in a draughty corridor of
+the Vatican, he caught a severe cold which rendered him deaf. He
+continued deaf till the end of his life and had to use an ear-trumpet
+when people talked with him.
+
+When he got back to England, Hudson, his old master, said
+discouragingly: "Reynolds, you don't paint as well as when you left
+England." On the whole his reception at home, after his long absence,
+was not all that he could have wished, but he took a place in
+Leicester Square, settled down to live there for the rest of his life,
+and went at painting in earnest.
+
+Although artists criticised him more or less after his return, the
+public appreciated him and very soon orders for portraits began to
+pour in upon him, and the flow of wealth never ceased so long as he
+lived. It was said that all the fashionables came to him that did not
+go to Gainsborough, but those who were partial to Sir Joshua declared
+that all who could not go to him went to Gainsborough. The two great
+artists controlled the art world in their time, dividing honours about
+equally. It was said that all those women and men sat to Sir Joshua
+for portraits "who wished to be transmitted as angels... and who
+wished to appear as heroes or philosophers."
+
+Sir Joshua was a charming man, generous in feeling--as Gainsborough
+was not--and his closest friend was Dr. Johnson, the most different
+man from the artist imaginable, but Reynolds's art and Johnson's
+philosophy made a fine combination, each giving the other great
+pleasure. Besides Johnson, his friends were Goldsmith, Garrick, Bishop
+Percy, and other famous men of the time. These and others formed the
+"Literary Club" at Sir Joshua's suggestion. About that time there was
+the first public exhibition of the work of English artists, and Sir
+Benjamin West and Sir Joshua Reynolds built the Royal Academy for that
+first exhibition, with the help of King George's patronage. Joshua
+Reynolds was knighted when he was made the first president of that
+great body.
+
+Soon after the Academy was established, Reynolds began a series of
+"discourses," which in time became famous for their splendid literary
+quality, and some people, knowing his close friendship with Burke and
+Dr. Johnson, declared that the artist got one of them to write his
+"discourses" for him. This threw Johnson and Burke into a fury of
+resentment for their friend, and the doctor declared indignantly that
+"Sir Joshua would as soon get me to paint for him as to write for
+him!" Burke denied the story no less emphatically. Besides these
+speeches, which were a great advantage to the members of the Academy,
+Sir Joshua instituted the annual banquet to the members, and King
+George--who just before had given the commission of court painter to
+one less talented than Sir Joshua--bade him paint his portrait and the
+queen's, to hang in the Academy. This was a great thing for the new
+society and advanced its fortunes very much.
+
+Barry and Gainsborough were both churlish enough to envy Sir Joshua
+and to quarrel with his good feeling for them, but both men had the
+grace to be sorry for behaviour that had no excuse, and both made
+friends with him before they died--Gainsborough on his death-bed.
+
+Toward his last days the artist was attacked with paralysis, but grew
+better and was able to paint again; then he began to go blind--he was
+already deaf--and this affliction made painting impossible. Shortly
+before his death, he undertook to raise funds for a monument to his
+dead friend, Dr. Johnson, but he grew more and more ill, "and on the
+23d February, 1792, this great artist and blameless gentleman passed
+peacefully away."
+
+That he was very painstaking in his work is shown by an anecdote about
+his infant "Hercules." "How did you paint that part of the picture?"
+some one asked him. "How can I tell! There are ten pictures below
+this, some better, some worse"--showing that in his desire for
+perfection he painted and repainted.
+
+So untiring was he in seeking out the secrets of the old masters that
+he bought works of Titian and Rubens, and scraped them, to learn their
+methods, insisting that they had some secret underlying their work. So
+anxious was he to get the most brilliant effects of colours that he
+mixed his paints with asphaltum, egg, varnish, wax, and the like, till
+one artist said: "The wonder is that the picture did not crack beneath
+the brush." Many of these great pictures did go to pieces because of
+the chances Sir Joshua took in mixing things that did not belong
+together, in order to make wonderful results.
+
+Sir George Beaumont recommended a friend to go to Reynolds for his
+portrait and the friend demurred, because "his colours fade and his
+pictures die before the man."
+
+"Never mind that!" Sir George declared; "a faded portrait by Reynolds
+is better than a fresh one by anybody else."
+
+The same tender, sensitive and devoted nature which caused Sir
+Joshua's mother to weep herself blind upon her husband's death,
+belonged to the artist. All of his life he was surrounded by loving
+friends, and his devotion to them was conspicuous. He, like Dürer and
+several other painters, was a seventh son, and his father's
+disappointment was keen when he took to art instead of to medicine. So
+little did his father realise what his future might be, that he wrote
+under the sketch of a wall with a window in it, drawn upon a Latin
+exercise book: "This is drawn by Joshua in school, out of pure
+idleness."
+
+But by the time Joshua was eight years old and had drawn a fine
+"sketch of the grammar-school with its cloister... the astonished
+father said: 'Now, this exemplifies what the author of "perspective"
+says in his preface: "that, by observing the rules laid down in this
+book, a man may do wonders"--for this is wonderful.'"
+
+Sir Joshua laid down--even wrote out--a great many rules of conduct
+for himself. Some of these were: "The great principle of being happy
+in this world is not to mind or be affected with small things." Also:
+"If you take too much care of yourself, nature will cease to take care
+of you."
+
+When Samuel Reynolds, Joshua's father, consulted with his friend
+Mr. Craunch, as to whether a boy who made wonderful paintings at
+twelve years of age, would be likely to be a successful apothecary, he
+told Craunch that Joshua himself had declared that he would rather be
+a good apothecary than a poor artist, but if he could be bound to a
+good master of painting he would prefer that above everything in the
+world. This was how he came to be apprenticed to Hudson, the
+painter. Young Reynolds's sister paid for his instruction at first--or
+for half of it, with the understanding that Reynolds was to pay her
+back when he was earning. At that time Reynolds wrote to his father:
+"While I am doing this I am the happiest creature alive."
+
+One day, while in an art store, buying something for Hudson, Reynolds
+saw Alexander Pope, the poet, come in, and every one bowed to him and
+made way for him as if for a prince. Pope shook hands with young
+Reynolds, and in writing home, describing the poet, the artist said
+that he was "about four feet six inches high; very humpbacked and
+deformed. He wore a black coat and according to the fashion of that
+time, had on a little sword. He had a large and very fine eye, and a
+long handsome nose; his mouth had those peculiar marks which are
+always found in the mouths of crooked persons, and the muscles which
+run across the cheeks were so strongly marked that they seemed like
+small cords." This is a masterly description of one famous man by
+another.
+
+He finally was dismissed from his master's studio on the ground that
+he had neglected to carry a picture to its owner at the time set by
+Hudson, but the fact was the older artist had become jealous of the
+work of his pupil, and would no longer have him in his studio.
+
+Afterwards, while he was painting down in Devonshire--thirty portraits
+of country squires for fifteen dollars apiece--he said: "Those who are
+determined to excel must go to their work whether willing or
+unwilling, morning, noon, and night, and they will find it to be no
+play, but, on the contrary, very hard labour." This shows that
+Reynolds's idea of genius was "an infinite capacity for hard work."
+
+While Reynolds was on his memorable journey to Rome, he made several
+volumes of notes about the pictures of great Italian artists--Raphael,
+Titian, etc. And one of those volumes is in the Lenox Library, New
+York City. He made a most characteristic and delightful remark in
+regard to his disappointment in Raphael's pictures. "I did not for a
+moment conceive or suppose that the name of Raphael, and those
+admirable paintings in particular, owed their reputation to the
+_ignorance_ ... of mankind; on the contrary, my not relishing them, as
+I was conscious I ought to have done was one of the most humiliating
+things that ever happened to me."
+
+He loved home and country so much that while in Venice he heard a
+familiar ballad sung in an opera, and it brought the tears to his eyes
+because of its association with "home."
+
+His young sister, was so undecided in her ways and opinions as to make
+it impossible for Reynolds long to live with her, but she undertook to
+be his housekeeper when he returned to London, and she also tried to
+copy his pictures Reynolds said the results "made other people laugh,
+but they made me cry."
+
+Reynolds painted the portraits of two Irish sisters--the Countess of
+Coventry and the Duchess of Hamilton--two of the most beautiful women
+in all the British Empire. "Seven hundred people sat up all night, in
+and about a Yorkshire inn, to see the Duchess of Hamilton get into her
+postchaise in the morning, while a Worcester shoemaker made money by
+showing the shoe he was making for the Countess of Coventry." Sir
+Joshua declared that whenever a new sitter came to him, even till the
+last years of his life, he always began his portrait with the
+determination that that one should be the best he had ever
+painted. Success was bound to attend that sort of man.
+
+He painted every picture almost as an experiment; meaning to learn
+something new with every work, and he spent more than he made in
+perfecting his art. As he said: "He would be content to ruin himself"
+in order to own one of the best works of Titian.
+
+His deeds of kindness are beyond counting. He rescued his friend
+Dr. Johnson from debt--thereby saving him from prison; and when a
+young lad, "a son of Dr. Mudge," who was very anxious to visit his
+father on the occasion of his sixteenth birthday, grew too ill to make
+the journey. Reynolds said gaily: "No matter my boy. _I_ will send you
+to your father." He painted a splendid portrait of the boy and sent it
+to Dr. Mudge. This gift of a picture, however, was very unusual with
+Reynolds, who, unlike Gainsborough who gave his by the bushel to
+everyone, declared that his pictures were not valued unless paid
+for. When Sir William Lowther, a gay and rich young man of London,
+died, he left twenty-five thousand dollars to each of thirteen
+friends, and each of the thirteen commissioned the painter to make a
+portrait of Lowther, their benefactor. His work room was of interest:
+"The chair for his sitters was raised eighteen inches from the floor,
+and turned on casters. His palettes were those which are held by a
+handle, not those held on the thumb. The stocks of his pencils were
+long, measuring about nineteen inches. He painted in that part of the
+room nearest to the window, and never sat down when he painted." The
+chariot in which he drove about had the four seasons allegorically
+painted upon its panels, and his liveries were "laced with silver";
+while the wheels of his coach were carved with foliage and gilded.
+
+Sir Joshua knew that it paid to advertise, and as he had no time to go
+about in that gorgeous chariot he made his sister go, for he declared
+that people seeing that magnificent coach would ask: "Whose chariot is
+that?" and upon being told could not fail to be impressed with his
+prestige. The comical inconsequence of this anecdote concerning a man
+so important robs it of vulgarity.
+
+The graceful anecdotes told of Reynolds are without number, but one
+and all are to his advantage and show him to have been good and
+gentle, a devoted and high-bred man.
+
+  PLATE--THE DUCHESS OF DEVONSHIRE AND HER DAUGHTER
+
+This is generally considered one of the finest of Sir Joshua's
+pictures, if not the most beautiful of all. He was such a welcome
+guest at the houses of grandees that perchance he had noticed the
+lovely duchess playing with her still more lovely baby, and thought
+what a charming picture the two would make. As a representation of the
+artist's ability to portray grace and sweetness it can hardly be
+surpassed. He painted it in 1786, half a dozen years before his death,
+and it now hangs in Chatsworth, the home of the present Duke of
+Devonshire.
+
+Other well known Reynolds paintings are "The Hon. Ann Bingham," "The
+Countess of Spencer," the "Nieces of Sir Horace Walpole," and the
+"Angels' Heads" in the National Gallery.
+
+
+
+
+XXXV
+
+PETER PAUL RUBENS.
+
+
+  _Flemish School_
+  1577-1640
+  _Pupil of Tobias Verhaecht_
+
+The story of Peter Paul Rubens, whose birthday falling upon the saint
+days of Peter and Paul gave to him his name, is hardly more
+interesting than that of his parents, although it is quite
+different. The story of Rubens's parents seems a part of the artist's
+story, because it must have had something to do with influencing his
+life, so let us begin with that.
+
+John Rubens was Peter Paul's father, and he was a learned man, a
+druggist, but he had also studied law, and had been town councillor
+and alderman in the town where he was born. Life went easily enough
+with him till the reformation wrought by Martin Luther began to change
+John Rubens's way of thinking, and he turned from Catholic to
+Lutheran.
+
+From being a good Catholic John Rubens became a rabid reformer; and
+when, under the new faith, the Antwerp churches were stripped of their
+treasures, the magistrates were called to account for it. John Rubens,
+as councillor, was among those summoned. The magistrates declared that
+they were all good Catholics, but a list of the reformers fell into
+the Duke of Alva's hands and Rubens's name was there. This meant death
+unless he should succeed in flying from the country, which he
+instantly did. That was in 1568, when he had four children, but Peter
+Paul was not one of them--since he was a seventh son.
+
+The Rubens family went to live in Cologne, where the father found his
+learning of great use to him, and he was honoured by being made legal
+adviser to Anne of Saxony who was William the Silent's second
+queen. John Rubens's behaviour was not entirely honourable and before
+long he was thrown into prison, but his good wife, Maria Pypelincx
+undertook to free him. He had treated her very badly, but her devotion
+to his cause was as great as if he had treated her well. Despite his
+wife's efforts he was kept a prisoner in the dungeon at Dillenburg for
+two years, and afterward he was removed to Siegen, the place where
+Peter Paul was born.
+
+In the sixteenth century there were no records of any sort kept in the
+town of Siegen, and so we cannot be absolutely sure that Peter Paul
+was born there, but his mother was certainly there just before and
+after the date of his birth, which was the 29th of June 1577. After
+his birth, his father was set free in Siegen and allowed to go back to
+the city in which he had misbehaved himself. In Cologne he became once
+more a Catholic, and he died in that faith. Meantime, ten years had
+passed since Peter Paul's birth, and both his father and mother were
+determined above all things their son should have a fine education,
+quite unlike other artists, for the boy seemed capable of
+learning. While he was still very small he could speak to his tutor in
+French, to his mother in Flemish, and to his father in Latin. Besides
+these languages he spoke also Italian and English. Before he was an
+artist, Rubens, like Dürer and Leonardo da Vinci, was a child of rare
+intelligence. As a little chap he went to Antwerp with his
+mother--this was after his father's death--and in Belgium he took for
+the first time the rôle of courtier, in which he was to become so
+successful later in life. The charming little fellow, dressed in
+velvet and lace, took his place in the household of the Countess of
+Lalaing, in Brussels.
+
+Very soon after entering that household, Rubens was permitted by his
+mother to leave it for the studio of the painter who was his first
+master, though not the one who really taught him much. Rubens did not
+stay there long, but went instead to the studio of Adam van Noort, an
+excellent painter of the time. After that he studied under another
+artist, who was both a scholar and a gentleman, Van Veen, and with him
+Peter Paul was able to speak in Latin and in his many other languages,
+while learning to paint at the same time.
+
+Thus we find Rubens's lot was always cast, not among the rich, but
+among the intelligent, the well bred, and the cultivated. This fact
+alone would prepare us to anticipate pleasant things for him and from
+him.
+
+In those days of guilds, there were many rules and regulations. Van
+Noort, Rubens's teacher, was dean of the painters' guild and through
+his influence the guild recognised Rubens as "master," which meant
+that he was qualified to take pupils; thus he was pupil and teacher at
+the same time.
+
+One is unable to think of Rubens as having low tastes, as being
+morose, erratic, or anything but a refined, gracious, and brilliant
+gentleman. He began well, lived well, and ended well.
+
+None of his teachers really impressed their style of art upon him. He
+was the model for others. Rubens became nothing but Rubens, but all
+the art world wished to become "Rubenesque."
+
+Rubens went to Mantua to see the art of Italy, and while there he met
+the Duke of Mantua who was Vincenzo Gonzaga, the richest, most
+powerful personage of that region and time. The duke engaged Rubens to
+paint the portraits of many beautiful women--just the sort of
+commission that Rubens's pupil, Van Dyck, would have loved; but
+Rubens's art was of sterner stuff, and the work by no means delighted
+him. He had great ideas, profound purposes, and wished to undertake
+them, but just then it seemed best that he perform that which the Duke
+of Mantua wanted him to do; hence he set about it.
+
+Later Rubens went to the Spanish court, not as a painter, but as a
+cavalier upon a diplomatic mission. Bearing many beautiful presents to
+King Philip III., he went to Madrid, where his elegance, manly beauty,
+dashing manner, and ability to speak several languages made him a
+wonderful success. He remained for three years at the court and
+studied the methods of Spanish painters. He also painted the members
+of the Spanish court, as Velasquez had done, but they looked like
+people of another world. The Spanish aristocracy had always been
+painted with pallid faces, languid and elegant poses; but Rubens gave
+them a touch of the life he loved--made them robust and apparently
+healthy-minded. Of all great colourists, Rubens took the lead. Titian
+with his golden hues and warm haired women was very great, but Rubens,
+"the Fleming" as he was called, revelled in richness of colouring, and
+flamed through art like a glorious comet.
+
+Rubens had long been wanted in his own country. His sovereigns, Albert
+and Isabella, wished him to return and become their painter, but they
+were unable to free him from his engagements in Italy and Spain. At
+last Rubens received word that his mother, whom he loved devotedly,
+was likely to die, and what kings could not do his love for her
+accomplished.
+
+Although his patron, the Duke of Mantua, was absent, and his consent
+could not be secured, Rubens set off post-haste to his mother's
+home. He arrived in Antwerp too late to see Maria Pypelincx, who had
+died before he reached her. Once more on his native soil, Albert and
+Isabella determined to induce him to remain. He had intended to go
+back to Mantua and continue his work under the duke, but since he was
+now in Belgium he decided to stay there, and thus he became the court
+painter in his own country, which after all he greatly preferred to
+any other.
+
+He was to have a salary of five hundred livres ($96) a year, also "the
+rights, honours, privileges, exemptions, etc." that belonged to those
+of the royal household; and he was given a gold chain. In this day of
+large doings there is something about such details that seems
+childish, but a "gold chain" was by no means a small affair at a time
+when $96 was considered an ample money-provision for an artist.
+
+That gorgeous gold chain, a mark of distinction rather than a reward,
+is to be seen in all its glory in one of Rubens's great paintings. The
+artist himself is mounted upon a horse, the chain about his neck,
+while he is surrounded by "no fewer than eight-and-twenty life-size
+figures, many in gorgeous attire, warriors in steel armour, horsemen,
+slaves, camels, etc." This picture, "The Adoration of the Magi," was
+twelve feet by seventeen, and was painted at the town's expense. It
+was later sent to Spain and placed in the Madrid Gallery.
+
+One of the greatest honours that could come to students of that day,
+was to be admitted to Rubens's studio to paint under his direction,
+and it is said that "hundreds of young men waited their turn, painting
+meanwhile in the studios of inferior artists, till they should be
+admitted to the studio of the great master."
+
+Rubens was a king among painters, as well as a painter patronised by
+kings.
+
+He had two wives, and he married the first one in 1609. Her name was
+Isabella Brant. Sir Joshua Reynolds said of her: "His wife is very
+handsome and has an agreeable countenance, but the picture is rather
+hard in manner"--by which he meant a picture which Rubens had painted
+of her. One of his greatest privileges when he was engaged at the
+court of Albert and Isabella, had been that he need obey none of the
+exactions of the Guild of St. Luke, none of their rigid rules
+concerning the employment of art students. Rubens could take into his
+service whom he pleased, whether they had been admitted as members of
+the guild or not, though to be a member of the guild was a testimony
+to their qualifications. In the end, this did a good deal of harm, for
+Rubens employed students to do the preliminary work of his pictures,
+who had not been his pupils and who were not otherwise qualified. Thus
+we read criticisms like that of Sir Joshua's; and many of Rubens's
+pictures are marred in this manner.
+
+A story is told of Van Dyck and other pupils of Rubens breaking into
+the master's studio and smudging a picture which Van Dyck afterward
+repaired by painting in the damaged portion most successfully. We are
+also told in connection with Rubens's picture, "The Descent from the
+Cross," that Van Dyck restored an arm and shoulder of Mary of Magdala,
+but certainly Van Dyck did not become a pupil of Rubens till some time
+after that picture was painted.
+
+The work of a wonderful period in Rubens's art was completely
+destroyed. In two years time he painted forty ceilings of churches in
+Antwerp, all of which were burned, but there is a record of them in
+the copies made by De Witt, in water colours from which etchings were
+afterward made. This work of Rubens was the first example of
+foreshortening done by a Flemish painter.
+
+Above all things Rubens liked to paint big pictures, on very large
+surfaces, as did Michael Angelo. "The large size of picture gives us
+painters more courage to present our ideas with the utmost freedom and
+semblance of reality. ... I confess myself to be, by a natural
+instinct, better fitted to execute works of the largest size." He
+wrote this to the English diplomat Trumbull in 1621.
+
+In the midst of Rubens's greatest success as a painter came his
+diplomatic services. It was desirable that Spain and England should be
+friends, and Rubens always moving about because of his work, and being
+so very clever, the Spanish powers thought him a good one to negotiate
+with England. While on a professional visit to Paris, the English Duke
+of Buckingham and the artist met, and this seemed to open a way for
+business. The Infanta consented to have Rubens undertake this delicate
+piece of statesmanship, but Philip of Spain did not like the idea of
+an artist--a wandering fellow, as an artist was then thought to
+be--entering into such a dignified affair. The real negotiator on the
+English side, was Gerbier, by birth also a Fleming, and strange to
+tell, he too had been an artist. The English engaged him to look after
+their interests in the affair, and as soon as Philip learned that
+their diplomat was also an artist, his prejudices against Rubens as a
+statesman, disappeared. So it was decided that the two Flemings,
+artists and diplomats, should meet in Holland to discuss
+matters. About that time Sir Dudley Carleton wrote to Lord Conway:
+"Rubens is come hither to Holland, where he now is, and Gerbier in his
+company, walking from town to town, upon their pretence of taking
+pictures, which may serve him for a few days if he dispatch and be
+gone; but yf he entertayne tyme here long, he will infallibly be layd
+hold of, or sent with disgrace out of the country ... this I have made
+known to Rubens lest he should meet with a skorne what may in some
+sort reflect upon others."
+
+The two clever men got through with their talk, nothing unfortunate
+happened, and Rubens got off to Spain where he laid the result of his
+talk with Gerbier before the Spanish powers. He was given a studio in
+Philip's palace, where he carried on his art and his diplomacy. The
+king became delighted with him as a man and an artist, and as well as
+attending to state business, he did some wonderful painting while in
+Madrid. He was there nine months or more, and then started off for
+England to tell Charles I. of Philip III.'s wishes. But upon his
+arrival he learned that a peace had just been concluded between France
+and England, and all was excitement.
+
+He was received in England as a great artist; every honour was
+showered upon him, and when he made Philip's request to Charles, that
+he should not act in a manner hostile to Spain, Charles agreed, and
+kept that agreement though France and Venice urged him to break it.
+
+Charles knighted Rubens while he was in England, and the University of
+Cambridge made him Master of Arts. The sword used by the king at the
+time he gave the accolade is still kept by Rubens's descendants.
+
+While he was in London Rubens was very nearly drowned in the Thames
+going down to Greenwich in a boat.
+
+When he first went from Italy to Spain on a mission of state, he
+carried a note or passport bearing the following lines: "With these
+presents" (he took magnificent gifts to Philip, among them a carriage
+and six Neapolitan horses) "comes Peter Paul, a Fleming. Peter Paul
+will say all that is proper, like the well informed man that he
+is. Peter Paul is very successful in painting portraits. If any ladies
+of quality wish their pictures, let them take advantage of his
+presence." When he visited England there was no longer need of such
+introduction; he went in all the magnificence that his genius had
+earned for him.
+
+Rubens was always a happy man, so far as history shows. He married the
+first time, a woman who was beautiful and who loved him, as he loved
+her. He was able to build for himself a beautiful house in Antwerp. In
+the middle of it was a great _salon_, big enough to hold all his
+collection of pictures, vases, bronzes, and beautiful jewels. There
+was also a magnificent staircase, up which his largest pictures could
+be easily carried, for it was built especially to accommodate the
+requirements of his work.
+
+Rubens's greatest picture was painted through a strange happening when
+this beautiful house was being built. The land next to his belonged to
+the Archers' Guild and when the workmen came to dig Rubens's cellar,
+they went too far and invaded the adjoining property. The archers made
+complaint, and there seemed no way to adjust the matter, till some one
+suggested that Rubens make them a picture which should be accepted as
+compensation for the harm done. This Rubens did, and the picture was
+to be St. Christopher--the archers' patron saint; but when the work
+was done "Rubens surprised them" by exhibiting a picture "of all who
+could ever have been called 'Christ-bearers.'" This was "The Descent
+from the Cross"--not a single picture but a picture within a picture,
+for there were shutters folding in front of it, and on these was
+painted the archers' patron, St. Christopher.
+
+Rubens's daily life is described thus: "His life was very
+methodical. He rose at four, attended mass, breakfasted, and painted
+for hours; then he rested, dined, worked until late afternoon; then,
+after riding for an hour or two one of his spirited horses, and later
+supping, he would spend the evening with his friends.
+
+"He was fond of books, and often a friend would read aloud to him
+while he worked." This is a pleasant picture of a reasonable and
+worthy life.
+
+It is said that once he painted eighteen pictures in eighteen days,
+and it is known that he valued his time at fifty dollars a day.
+
+His pupil, Van Dyck, being pushed for money, turned alchemist and
+tried to manufacture gold, but when Rubens was approached by a
+visionary who wanted him to lend him money by which he might pursue
+such a work, promising Rubens a fortune when he should have discovered
+how to make his gold, the artist laughed and said: "You are twenty
+years too late, friend. When I wield these," indicating his palette
+and brush, "I turn all to gold."
+
+Many are the delightful anecdotes told of Rubens. It is said that
+while he was at the English court he was painting the ceiling of the
+king's banqueting hall, and a courtier who stood watching, wished to
+say something _pour passer le temps_, so he asked: "Does the
+ambassador of his Catholic Majesty sometimes amuse himself with
+painting?"
+
+"No--but he sometimes amuses himself with being an ambassador," was
+the witty retort, which showed how he valued his two commissions.
+
+When King Charles I. knighted Rubens he gave him, beside the jewelled
+sword, a golden chain to which his miniature was attached. If Rubens
+had gone about with all the chains and decorations given him by kings
+and other great ones of the earth he would have been weighted down,
+and would have needed two pairs of shoulders on which to display them.
+
+Rubens's first wife died; and when he married again, he was as fond of
+painting pictures of the second wife as he had been of the first. The
+name of the second was Helena Fourment, and she is called by one
+author "a spicy blonde." Certainly she was very gay, big, and robust,
+and only sixteen years old when she married Rubens who was then a man
+of fifty-three. Of one picture, "The Straw Hat," for which he is
+supposed to have used his wife's sister as model, he was so fond that
+he would not sell it at any price.
+
+Rubens had a rare mother, as shown in her letters to her husband,
+John, when he was in prison for his wrongdoing. It would seem that
+such a mother must have a strong, forceful son, and Rubens is less of
+a surprise than many artists who had no such influence in their
+childhood. The history of Rubens's mother is worthy of being told even
+had she not had a famous son who painted a beautiful picture of her.
+
+Rubens's "Holy Families" are like those of no other painter. The
+Virgin, the Child, all the others in the picture, are quite different
+from the Italian figures. These are human beings, good to look upon;
+full of love and joy, softness and beauty.
+
+It was his learning that first won favour for him in Italy. The Duke
+of Mantua hearing him read from Virgil, spoke to him in Latin, and
+being answered in that tongue was so charmed that the foundation of
+their friendship and the duke's patronage was laid. In Italy he was
+called "the antiquary and Apelles of our time."
+
+His nephew-biographer writes of him: "He never gave himself the
+pastime of going to parties where there was drinking and card-playing,
+having always had a dislike for such."
+
+As Rubens grew in fame, he found that many were jealous of him, and on
+one occasion a rival proposed that he and Rubens each paint a picture
+upon a certain subject and leave it to judges to decide which work was
+the best--Rubens's or his own.
+
+"No," said Rubens. "My attempts have been subjected to the scrutiny of
+connoisseurs in Italy and Spain. They are to be found in public
+collections and private galleries in those countries; gentlemen are at
+liberty to place their works beside them, in order that comparison may
+be made." This was a dignified way of disposing of the case.
+
+Rubens loved to paint animals, and he had a great lion brought to his
+home, that he might study its poses and movements.
+
+The flesh of his figures was so lifelike that Guido declared he must
+mix blood with his paints. He was called "the painter of life."
+
+Rubens, a seventh child, had also seven children, two belonging to his
+first wife, five to the second.
+
+Many stories are told of his patience and his kindness. It is said
+that at one time his old pupil, Van Dyck, returned to Antwerp after an
+absence, greatly depressed and in need of money. Rubens bought all his
+unsold pictures, and he did this charitable act more than once, and is
+known to have done the same thing for a rival and enemy, out of sheer
+goodness of heart.
+
+Kings and queens came to the Rubens house, people of many nations did
+him honour; and toward his closing days, when gout had disabled him,
+ambassadors visited him, since he could not go to them.
+
+In a description of his death and burial which took place at Antwerp
+we read: "He was buried at night as was the custom, a great concourse
+of citizens ... and sixty orphan children with torches followed the
+body." He was placed in the vault of the Fourment family, and as he
+had requested, "The Holy Family" was hung above him. In that picture,
+we find the St. George to be Rubens himself; St. Jerome, his father;
+an angel, his youngest son, while Martha and Mary are Isabella and
+Helena, his two wives.
+
+He left many sketches "to whichever of his sons became an artist, or
+to the husband of his daughter who should marry an artist." But there
+were none such to claim the bequest.
+
+  PLATE--THE INFANT JESUS AND ST. JOHN
+
+The little girl behind Jesus is supposed to represent his future
+bride, the Christian Church. The thoughtful, far-seeing look upon the
+face of the Christ-child, though it does not clash with His youthful
+charm, is meant to suggest that He has a premonition of His work in
+the world. The other joyous little figures also demonstrate the
+artist's love for children. He brings them into his pictures, as
+cherubs, wherever he can, and they are frequently just as well painted
+and more universally appreciated than his stout women. In this picture
+he has a good opportunity to show his adorable flesh tints, combined
+with the movement and freedom naturally associated with child life.
+
+The original painting is in the Court Museum at Vienna, but it has
+always been so popular that many copies of it have been made, and one
+of these is in the Berlin Gallery.
+
+  PLATE--THE ARTIST'S TWO SONS
+  _(See Frontispiece_)
+
+This picture hangs in the Lichtenstein Gallery at Vienna; the two
+boys, eleven and seven years of age, are the sons of Rubens by his
+first wife, Isabella Brant; and Albert, the elder of the two, greatly
+resembles his mother. He is evidently a student, for he wears the
+dress of one and carries a book in one hand. The other is placed
+affectionately upon the shoulder of his little brother, Nicolas, whose
+face, figure, and attire are all much the more childish of the two.
+
+Critics consider this painting to mark the Highest point which Rubens
+reached in portraiture. It has all the colour, character, and vitality
+of his best work. Some of his other pictures are: "Coronation of Marie
+de Medicis," "The Kirmesse," "Slaughter of the Innocents," "Susanna's
+Bath," "Capture of Samson," "A Lion Hunt" and "The Rape of the
+Daughters of Leucippus."
+
+
+
+
+XXXVI
+
+JOHN SINGER SARGENT
+
+
+  _American and Foreign Schools_
+  1856-1926
+  _Pupil of Carolus Durand_
+
+This artist was born in Europe, of American parents; thus we may say
+that he was "American," though he owed nothing but dollars to the
+United States, since his instruction was obtained in Italy and France,
+and all his associations in art and friendship were there. He was
+probably the most brilliant of the artists termed American. His great
+mural work in the Boston Public Library, is hardly to be surpassed.
+
+Above all, Sargent's portraits are masterly. He was famous in that
+branch of art before he was twenty-eight years old. Among his finest
+portraits is that of "Carmencita," a Spanish dancer, who for a time
+set the world wild with pleasure. The list of his famous portraits is
+very long.
+
+Sargent's father was a Philadelphia physician; who originally came
+from New England, but the artist himself was born in Florence. He was
+given a good education and grew up with the beauties of Florence all
+about him, in a refined and charming home. He was the delight of his
+master, Carolus Durand for he was modest and refined, yet full of
+enthusiasm and energy. In his twenty-third year he painted a fine
+picture of his master. Sargent was a musician as well as a painter; a
+man of great versatility, as if the gods and all the muses had
+presided at his birth.
+
+  PLATE--CARMENCITA
+
+In this picture of the famous Spanish dancer Sargent shows all the
+life and character he can put into a portrait. The girl seems on the
+point of springing into motion. She is poised, ready for flight and
+the proud lift of her head makes one believe that she will accomplish
+the most difficult steps she attempts. The painting is in the
+Luxembourg, Paris.
+
+Other noted Sargent portraits are "Mr. Marquand" in the Metropolitan
+Museum of Art, "Lady Elcho, Mrs. Arden, Mrs. Tennant," "Mrs. Meyer and
+Children," "Homer St. Gaudens," "Henschel," and "Mr. Penrose."
+
+
+
+
+XXXVII
+
+TINTORETTO (JACOPO ROBUSTI)
+
+
+  _Venetian School_
+  1518-1594
+  _Pupil of Titian_
+
+Tintoretto was born with an ideal. As a young boy he wrote upon his
+studio wall: "The drawing of Michael Angelo, the colouring of Titian,"
+and that was the end he tried to reach. His father was a "tintore"--a
+dyer of silk, a tinter--and it was from the character of that work the
+artist took his name. He helped his father with the dyeing of silks,
+while he was still a child, and was called "II tintoretto," little
+dyer.
+
+As the little tinter showed great genius for painting, his father
+placed him in Titian's studio, but for some reason he only stayed
+there a few days, long enough, however, to permit us to call him a
+pupil of Titian; especially as he wrote that master's name upon his
+wall and determined to imitate him. After his few days with Titian,
+Tintoretto studied with Schiavone and afterward set up a studio for
+himself.
+
+As a determined lad in this studio of his, Tintoretto tried every
+means of developing his art. He studied the figures upon Medicean
+tombs made by Michael Angelo, taking plaster casts of them and copying
+them in his studio. He used to hang little clay figures up by strings
+attached to his ceiling, that he might get the effect of them high in
+air. By looking at them thus from below he gained an idea of
+foreshortening.
+
+Although this artist nearly succeeded in getting into line with
+Michael Angelo, he did not colour after the fashion of his master,
+Titian. Tintoretto was about twenty-eight years old before he got any
+very big commission, but at that age a chance came to him. In the
+church of Santa Maria del Orto were two great bare spaces, unsightly
+and vast, about fifty feet high and twenty broad. In that day anything
+and everything was decorated with masterpieces, and it was almost
+disgraceful for a church to let such a space as that go
+unfrescoed. Tintoretto saw an opportunity, and finally offered to
+paint pictures there for nothing if the church would agree to pay for
+the materials he needed. The church certainly was not going to refuse
+such an offer, even if Tintoretto was not thought to be much of an
+artist at the time. If the work was poor, one day they could choose to
+have it repainted. Thus Tintoretto got his first great opportunity. He
+painted on those walls "The Last Judgment" and "The Golden Calf." They
+made him famous, and gained him the commission to paint the picture
+which is used as an illustration here.
+
+The brothers of the Scuola di San Rocco asked him to compete with
+Veronese, in painting the ceilings after he had done four pictures for
+their walls.
+
+Tintoretto consented, and Veronese and two others who were in the
+competition set about making their sketches which they were to present
+for the brothers' consideration. Finaly the day of decision came. All
+were assembled, the artists armed with sketches of their plans.
+
+"Where are yours, Tintoretto?" the others asked. "We expect a drawing
+of your idea."
+
+"Well, there it is," the artist answered, drawing a screen from the
+ceiling. Behold! he had already painted it to suit himself. The work
+was complete.
+
+"That is the way I make my sketches," he said.
+
+Though the work was magnificent it had not been done according to the
+monks' ideas of business and order. They objected and objected.
+
+"Very well," the artist cried; "I will make the ceiling a present to
+you." As there was a rule of their order forbidding them to refuse a
+present, they had to accept Tintoretto's. This did not promise very
+good business at the time, but the work was so splendid and Tintoretto
+so reasonable that they finally agreed to give him all the work of
+their order--nearly enough to keep him employed during a
+lifetime. After that he painted sixty great pictures upon their walls.
+
+He painted so much and so fast that he did not always do good work,
+and one critic declares that "while Tintoretto was the equal of
+Titian, he was often inferior to Tintoretto"--which after all is a
+very fine compliment.
+
+His life was so tranquil and uneventful that there is little to say of
+it; but there is much to say of his art. He lived mostly in his
+studio, and when he died he was buried in the Santa Maria del
+Orto--the church in which he had done his first work.
+
+Veronese had given to Venice a brilliant, glowing, rich, ravishing
+riot of colour and figures, but Tintoretto was said to rise up
+"against the joyful Veronese as the black knight of the Middle Ages,
+the sombre priest of a gloomy art." Tintoretto was of stormy
+temperament, and upon one occasion he proved it by thrusting a pistol
+under a critic's nose, after he had invited him to his studio; it is
+this half savage spirit that may be seen in his paintings. He had
+deep-set, staring eyes, it is said, a furrowed brow and hollow cheeks,
+indicative of his passionate spirit. He painted very few female
+figures, but mostly men. When he did paint a woman, she looked mannish
+and not beautiful. When he painted gorgeous subjects, like doges and
+senators, he gave to them gloomy backgrounds, awe-inspiring poses, and
+he seldom painted a figure "full-face" but three-quarter, or half, so
+that he did not give himself a chance to present human figures in
+beautiful postures. He is said to have been the first who painted
+groups of well-known men in pictures intended for the decoration of
+public buildings. One great critic has written that "while the Dutch,
+in order to unite figures, represented them at a banquet, Tintoretto's
+_nobili_ (aristocrats) were far too proud to show themselves to the
+people" in so gay and informal a situation. With the coming of
+Tintoretto it was said "a dark cloud had overcast the bright heaven of
+Venetian art. Instead of smiling women, bloody martyrs and pale
+ascetics" were painted by him. He dissected the dead in order to learn
+the structure of the human body. In his paintings "his women,
+especially, with their pale livid features and encircled eyes,
+strangely sparkling as if from black depths, have nothing in common
+with the soft" painted flesh which he pictured in his youth while he
+was following Titian as closely as he could. As he grew older and his
+art more fixed, he followed Michael Angelo more and more. Titian's
+colouring was that of "an autumn day" but Tintoretto's that of a
+"dismal night." Yet these very qualities in Tintoretto's work made him
+great.
+
+  PLATE--THE MIRACLE OF ST. MARK
+
+This painting in the Academy at Venice tells the story of how a
+Christian slave who belonged to a pagan nobleman went to worship at
+the shrine of St. Mark. That was unlawful. The nobleman had his slave
+taken before the judge, who ordered him to be tortured. Just as the
+executioner raised the hammer with which he was finally to kill the
+slave, St. Mark himself came down from heaven, broke the weapon and
+rescued the slave.
+
+The figure of the patron saint of Venice is swooping down, head first,
+above the group, his garments flying in the air. A bright light
+touches the slave's naked body, as he lies upon his back, the
+executioner having turned away and raised his hammer aloft, while
+others have drawn back in fright at the appearance of the patron
+saint. We may imagine that Tintoretto was trying to acquire this power
+of painting wonderful figures hovering in the air when he hung his
+little clay images from the ceiling of his studio years before. Other
+pictures of his are: "The Marriage of Bacchus and Ariadne," "Martyrdom
+of St. Agnes," "St. Rocco Healing the Sick," "The Annunciation," "The
+Crucifixion," and many others.
+
+
+
+
+XXXVIII
+
+TITIAN (TIZIANO VECELLI)
+
+
+  (Pronounced Tit-zee-ah'no (Vay-chel'lee))
+  _Venetian School_
+  1477-1576
+  _Pupil of Giovanni and Gentile Bellini_
+
+Titian was a child of the Tirol Mountains, handsome, strong, full of
+health and fine purposes, even as a boy. He was born in a little
+cottage at Pieve, in the valley of Cadore, through which flows the
+River Piave; and he wandered daily beside its banks, gathering flowers
+from which he squeezed the juices to paint with. When he grew up he
+became a wonderful colourist, and from his boyhood nothing so much
+delighted him as the brilliant colours flaunted by the flowers of wood
+and field.
+
+Gathered about his good father's hearth were many children, Caterina,
+Francesco, Orsa, and the rest, living in peace and happiness, closely
+bound together by love. Titian had a gentle, loving mother named
+Lucia, while his father was a soldier and an honoured man. In the
+little town where they lived, he was councillor and also
+superintendent of the castle and inspector of mines, no light honours
+among those simple country people. Doubtless Titian inherited his
+splendid bearing and his determined character from his soldier father.
+
+Even while a little child, the man who was destined to become a great
+artist began his work with the juices of the wild-flowers, which he
+daubed upon the wall of the humble home in the Tirol valley, making a
+Madonna with angels at her feet and a little Jesus upon her knee. But
+if Titian was a great painter, he was never even a fair scholar. He
+went to school, but would not, or could not, study. His father soon
+saw that he was wasting his time and being made very unhappy through
+being forced to do that for which he had no ability; so he was soon
+released from book-learning and sent to Venice, seventy-five miles
+from home, to learn art. In Venice, the Vecelli family had an uncle,
+and it was with him that Titian lived, though he studied first with
+Sebastian Zuccato, the head of the Venetian guild of mosaic workers,
+and a pretty good teacher in his way. He was not able to teach Titian
+very much, for the boy was an inspired artist and needed a good
+master; so, after a little, the family held a consultation and it was
+decided that Titian should become the pupil of Gentile Bellini, a very
+clever artist indeed. There was an interesting story told about this
+master which made the Vecellis feel that their boy would do well to be
+under the influence of a kind-hearted man, as well as a genius. It
+seems that Bellini's fame had become so great that the Sultan had sent
+for him to paint the portraits of himself and the Sultana. Bellini
+went gladly to Turkey to do this; but he took with him certain
+pictures to show his patron. Among them was one of St. John the
+Baptist having his head cut off. The Sultan looked at it, and cutting
+heads off being a large part of his business, he saw that Bellini had
+not scientifically painted it, and in order to show him the true way
+to conduct such matters, he sent for a slave and ordered his head
+chopped off in Bellini's presence. Bellini was so terrified and
+sickened by the dreadful sight that he fled from Turkey and would not
+paint its ruler, the Sultana nor anyone else who had to do with such
+cruel things as he had witnessed.
+
+It was into this man's studio that Titian went as a young boy, but
+after a little he displeased Gentile Bellini, who complained that his
+pupil worked too fast, and therefore could not expect to do great
+work. He declared that picture painting was serious and careful work,
+and that Titian was too careless and quick. As a matter of fact,
+Titian was too wonderful for Bellini ever to do much for; and since he
+could not get on with him, he went to another master--Gentile
+Bellini's brother, Giovanni. One of Titian's chief troubles in the
+studio of Gentile had been that he was not allowed to use the gorgeous
+colouring he loved, but in the brother's studio he found to his joy
+that colour was more valued, and he was given more freedom to use
+it. Also there was a young peasant pupil with Giovanni, who, like
+Titian, loved to use beautiful colours, and he and the newcomer became
+fast friends.
+
+The other artist's name was Giorgione, and he had the most delightful
+ways about him, winning friends wherever he went, so it was no wonder
+that the warm-hearted Titian sought his companionship. One day those
+two young comrades left their master's studio, to have a good time off
+by themselves. There was a stated hour for their return; but they had
+spent all their money, and forgot that Giovanni Bellini was expecting
+them home. When they did return the door was closed and locked. What
+were they to do? They did the only thing they could. As comrades in
+misfortune they joined forces, set up a studio of their own, and went
+to work to earn their living as best they might. At first it was hard
+sledding, but in time they got a good job, namely to decorate the
+walls of a public building in Venice which was used by foreign
+merchants for the transaction of their business, a sort of "exchange,"
+as we understand it. This was the Fondaco de' Tedeschi, and it had two
+great halls, eighty rooms, and twenty-six warehouses. It was indeed a
+big undertaking for the two young men, and they divided the business
+between them. Their joy was great, their cartoons successfully made
+and the work well begun, when, alas, they fell to quarreling simply
+because someone had declared that Titian's work upon the building was
+a little better than Giorgione's.
+
+This dispute parted the two friends, who had had good times together,
+and it must have been Giorgione's fault, because Ludovico Dolce, one
+who knew Titian well, said that "he was most modest ... he never spoke
+reproachfully of other painters ... in his discourse he was ever ready
+to give honour where honour was due ... he was, moreover, an eloquent
+speaker, having an excellent wit and perfect judgment in all things;
+of a most sweet and gentle nature, affable and most courteous in
+manner; so that whoever once conversed with him could not choose but
+love him henceforth forever." That is a most loving and splendid
+tribute for one man to pay another. Not long after Giorgione died, and
+Titian took up his unfinished work, doing it as well as his own.
+
+There was a brilliant and mature artist called Palma Vecchio, in
+Venice, and Titian painted in his studio, where he saw and loved
+Vecchio's daughter, Violante. The young artist was not very well off
+financially, and therefore could not marry; hence he was not specially
+happy over his love affair. About that time he took to painting after
+the manner of Vecchio, through being so much influenced by his soft
+feelings for the older artist's daughter. He used the lovely Violante
+again and again for his model, and many of the beautiful faces which
+Titian painted at that time show the features of his lady-love. With
+his new love Titian's serious work seemed to begin, and at twenty-one
+he painted his first truly great picture, "Sacred and Profane Love."
+To day this picture hangs upon the walls of the Borghese Palace, in
+Rome.
+
+Raphael painted a great many pictures, but Titian must have painted
+more. At least one thousand have his signature.
+
+Now came wars and troubles for Venice. The Turks, French, and
+Venetians became at odds, and during the strife many fine works of art
+were lost, among them many of Titian's pictures. He had painted
+bishops, also the wicked Borgias, and many other great personages, but
+all of these are gone and to this day, no one knows what became of
+them.
+
+At last Titian began one of his greatest paintings, "The Tribute
+Money," and he set about it because he had been criticised. Some
+German travellers in Venice visited Titian's studio, and though they
+found his work very fine, one of them said that after all there was
+only one master able to finish a painting as it should be finished,
+and that was the great Dürer. The German pointed out the differences
+between Titian's method and Dürer's, and declared that Venetian
+painters never quite came up to the promise of their first
+pictures. Dürer's wonderful pictures were quite different from
+Titian's, inasmuch as his work was fuller of detail and careful
+finishing, but Titian was as great in another way. His effects were
+broader, but quite as satisfying. However, the German criticism put
+him on his mettle, and he answered that if he had thought the greatest
+value of a painting lay in its fiddling little details of finishing,
+he too would have painted them. To show that he could paint after
+Dürer's fashion, as well as his own, he undertook the "Tribute Money,"
+and the result was a wonderful picture.
+
+Soon Rome sent for Titian. The Florentines, Raphael and Michael
+Angelo, were already there doing marvellous things, but the pope
+wished to add the genius of Titian to theirs and made him a great
+offer to go and live in Rome and do his future work for that
+city. This was an honour, but amid all his fame and the homage paid
+him, Titian had remembered the old home in the vale of Cadore. It was
+there his heart was, and he determined to return to the home of his
+boyhood to do his best work. So he sent his thanks and refusal to the
+pope, and he wrote as follows to his home folks, through the council
+of his town:
+
+"I, Titian of Cadore, having studied painting from childhood upward,
+and desirous of fame rather than profit, wish to serve the doge and
+signorini, rather than his highness the pope and other signori, who in
+past days, and even now, have urgently asked to employ me. I am
+therefore anxious, if it should appear feasible to paint the hall of
+council, beginning, if it pleases their sublimity, with the canvas of
+the battle on the side toward the Piazza, which is so difficult that
+no one as yet has had the courage to attempt it."
+
+Then in stating his terms he asked for a very moderate sum of money
+and a "brokerage" for life. The Government did not have to think over
+the matter long. Titian's father had been honoured among them,
+Titian's genius was well known, and the commission was gladly given
+him. As soon as he got this business affair settled he moved into the
+palace of the Duke of Milan "at San Samuele; on the Grand Canal, where
+he remained for sixteen years," so says his biographer.
+
+Titian's affairs were not yet entirely smooth, because both of the
+Bellinis having painted for his patrons, they naturally considered
+Titian an intruder, and thought that the work should have been given
+to them. They did all they could to make trouble for the younger
+artist, but after a time Titian came into his rights, receiving his
+"brokerage" which gave to him a yearly sum of money 120 crowns,
+$126.04. His taxes were taken off for the future, provided he would
+agree to paint all the doges that should rule during his lifetime.
+
+Titian undertook to do this, but he did not keep his word, for he
+painted only five doges, though many more followed. He had no sooner
+received his commission from the council of his native place than he
+began to neglect it, and to paint for the husband of the wicked
+poisoner--Lucretia Borgia--whose name was Alfonso d'Este, the Duke of
+Ferrara. It was for him he painted the "Venus Worship," now in the
+Museum of Madrid, also "The Three Ages," which belongs to Lord
+Ellesmere, and the "Virgin's Rest near Bethlehem," now in the National
+Gallery. Afterward he painted "Noli Me Tangere," which is in the same
+London Gallery.
+
+There is a picture of great size in the Academy of Arts in Venice,
+which was first seen on a public holiday nearly four hundred years
+ago. It is the "Assumption of the Virgin," first shown on
+St. Bernardino's day, when all the public offices were closed by order
+of the Senate, and the whole city had a gay time. This occasion made
+Titian the most honoured artist of his time, but still the Venetians
+had cause to complain; because now their painter took so much work in
+hand that he nearly ceased doing the work on the council hall. The
+council sent him word that unless he attended to business the
+paintings should be finished by some one else and he would have to pay
+the new artist out of his own pocket; but in waywardness he paid no
+attention to this summons. Lucretia Borgia died, and her husband
+having never loved her, fell at once in love with a girl of a lower
+class, who was very good and worthy to be loved. The duke wanted
+Titian to paint them both, and so once more the great painter
+neglected his contract with the council. The girl's name was Laura,
+and Titian painted her and the duke in one picture, which now hangs in
+the Louvre.
+
+At last, after seven years of his neglecting to do his promised work
+the council became enraged and threatened to take the artist's
+property away from him. That frightened Titian very much, and he began
+frantically to work on the battle piece on the hall wall. It was about
+this time that he married. He had probably forgotten Violante in the
+passing of so many years; at any rate it was not she whom he married,
+but a lady whose first name was Cecilia. Soon he had a little family
+of children, but one of them was destined to make Titian very
+unhappy. This was Pomponic who became a priest, but he was also a
+wicked spendthrift, and kept his father forever in trouble, trying to
+pay his debts and keep him out of scrapes. Another son became an
+artist; not great like his father, but very helpful and a comfort to
+him. Then his wife died, and Titian had loved her so dearly that for a
+long time he had not the heart to paint much. His sister, Orsa, came
+to live at his home and take care of his motherless children.
+
+He left the palace on the Grand Canal and bought a home north of
+Venice, with beautiful gardens attached, and there he lived and
+worked, entertaining the most illustrious men. Titian's house and
+gardens became the show place of the country, so many geniuses and
+famous people visited there. It was there that he painted "The
+Martyrdom of Saint Peter," and the picture was so loved by the
+Venetians that the signori threatened with death any one who should
+take the picture from the chapel where it hung. In spite of this
+caution the picture was burned in the fire that destroyed the chapel
+in 1867.
+
+Titian was now getting to be old, but he was yet to do great work and
+to have kingly patrons. Charles V. visited Bologna, and, seeing
+Titian's great work, wanted him to paint his portrait. So the artist
+went to Bologna and painted the portrait of the king, clothed in
+armour, but without any head-covering, making Charles V. look so fine
+a personage, that he was delighted. Charles said he had always been
+painted to look so much uglier than he really was that when people who
+had seen his portraits, actually saw himself they were pleasantly
+disappointed. While Titian was painting his picture, Lombardi, the
+sculptor, wished above all things to see Charles, so Titian said: "You
+come with me to the sittings, and act as if you were some apprentice,
+carrying my colours and brushes, and then you can watch the king as
+easily as possible." Lombardi did as Titian suggested, but he hid in
+his big and baggy sleeve a tablet of wax, on which to make a relief
+picture of Charles. One day the king surprised the sculptor and
+demanded to be shown what he was doing. Thereupon he was so much
+pleased that he commissioned Lombardi to make the model in
+marble. While the king was sitting for two portraits to Titian, the
+artist one day dropped his brush. The king looked at the courtiers who
+were lounging about watching the work, but none of them picked it up,
+so the king himself did so. Titian was distressed over this and
+apologised to the king. "There may be many kings," said Charles, "but
+there will never be more than one Titian--and he deserves to be served
+by Caesar himself." After that he would allow no other artist to paint
+his portrait, declaring that Titian alone could do it properly, and
+for the two pictures Titian received two thousand scudi in gold, was
+made a Count of the Lateran Palace, of the Aulic Council and of the
+Consistory; with the title of Count Palatine and all the advantages
+attached to those dignities. His children were thereby raised to the
+rank of nobles of the empire, with all the honours appertaining to
+families with four generations of ancestors. He was also made Knight
+of the Golden Spur, with the right of entrance to court. This was
+great return for two portraits of a king, but it shows what a king
+could do if he chose.
+
+Titian had a brother who also became an artist, less famous than
+himself, and it was that brother, who, when their father died in the
+Cadore home, went back to care for the old place and to keep it in
+readiness so that the famous Titian might return to it for rest and
+peace. Foreign sovereigns had invited Titian to end his days with
+them, but they could not tempt him from that vale of Cadore nor his
+country home in Venice.
+
+All this time he had been neglecting the work upon the hall of
+council, and at last, the councillors gave the work to another, took
+away Titian's "brokerage" and told him he must return to Venice all
+the moneys they had given him for twenty years back. This finally
+cured him of his neglect, and he went to work in earnest painting so
+rapidly that he finished the work in two years.
+
+Before he died Titian went to Rome, where he painted Pope Paul's
+portrait, and the story is told that when the portrait was set to dry
+upon the terrace--which it probably was not,--the people who passed
+took off their hats to it, thinking it was the pope himself.
+
+Besides his bad son and his good one, Titian had a beautiful daughter
+whom he painted again and again. He went to Augsburg once more to
+paint King Charles, who for that work added a pension of five hundred
+scudi to what he had already done for him. This made the artist "as
+rich as a prince, instead of poor as a painter." King Philip II. loved
+art as his father had, and he took a painting of Titian's with him to
+the convent of Yuste, where he went to die, wishing to have it near to
+console him. In those days art had become a religion for high and
+low. Great personages still went to Casa Grande, Titian's Venetian
+home, where he entertained like a prince. No one knew better than he
+how princes behaved, and when a cardinal came to dine with him, he
+threw his purse to his servant, crying: "Prepare a feast, for all the
+world is dining with me!" Henry III. of France visited Titian and
+ordered sent to him every picture of which he had asked the price.
+
+His friends stood by him all his life, but in his old age his
+beautiful daughter, Lavinia, died, leaving behind her six children for
+him to love as his own. The brother had died before that, in the old
+home at Cadore, and at more than eighty years of age Titian was still
+painting from morning till night. About this time he sent to King
+Philip "The Last Supper," which was to be hung in the Escorial. The
+monks found it too high to fill the space, and though the artist in
+charge, Navarrette, begged them to let it be, they cut a piece off the
+top, that it might be hung where they wanted it. Titian had so far had
+to pay no taxes, but at that time an account of his property was
+demanded and this is what he owned: "Several houses, pieces of land,
+sawmills, and the like," and he was blamed because he did not state
+the full value of his possessions. At ninety-one he painted a picture
+which became the guide of Rubens and his brother artists, so wonderful
+was it. Again, at ninety-nine he began a picture, which was to be
+given to the monks of the Frari in return for a burial place for the
+artist within the convent walls, but he never finished it. He died
+during the time of the plague, but of old age alone, though his son,
+Orzio, died of the disease. The alarm of the people was so great that
+a law had been passed to bury all who died at that time, instantly and
+without ceremony, but that law was waived for the painter. Titian, in
+the midst of a nation's tragedy was borne to the convent of the Frari,
+with honours. Two centuries later the Austrian Emperor commanded the
+great sculptor, Canova, to make a mausoleum above the tomb.
+
+It was said that shortly before he died Titian began to be less sure
+in his use of colours, and would often daub on great masses, but his
+students came in the night and rubbed them off, so that the master
+never felt his failing.
+
+As King Charles had said, there was never but one such artist in the
+world.
+
+Titian prepared his canvas by painting upon it a solid colour to serve
+for the bed upon which the picture itself was to be painted. To quote
+more exactly from a good description--some of these foundation colours
+were laid on with resolute strokes of his brush which was heavily
+laden with colour, while the half-tints were made with pure red earth,
+the lights with pure white, softened into the rest of the foundation
+painting with touches of the same brush dipped into red, black, and
+yellow. In this way he could give the "promise" of a figure in four
+strokes. After laying this foundation, he turned his picture toward
+the wall and left it there for months at a time, frequently turning it
+around that he might criticise it. If, during this time of waiting, he
+thought any part of the work already done was poor, he made it right,
+changing the shape of an arm, adding flesh where he thought it was
+needed, reducing flesh where it seemed to him out of proportion, and
+then he would again turn the canvas face to the wall. After months of
+self-criticism and retouching he would have the first layer of flesh
+painted upon his figures, and a good beginning made. "It was contrary
+to his habit to finish at one painting, and he used to say that a poet
+who improvises cannot hope to form pure verses." He would often
+produce a half-light with a rub of his finger, "or with a touch of the
+thumb he would dab a spot of dark pigment into some corner to
+strengthen it; or throw in a reddish stroke--a tear of blood so to
+speak--to break the parts ... in fact when finishing he painted more
+with his fingers than with his brush." He used to say, "White, red,
+and black, these are all the colours that a painter needs, but one
+must know how to use them."
+
+  PLATE--THE ARTIST'S DAUGHTER, LAVINIA.
+
+Previous to the time of Titian, it had been the custom to paint
+portraits of beautiful ladies merely to their waists, just far enough
+to show their hands. He went further, and produced "knee portraits,"
+which gave him an opportunity to paint their gorgeous gowns as
+well. He has done so in making this picture of his daughter Lavinia,
+probably just before her marriage to Cornelio Sarcinelli which took
+place in 1555. She is attired in gold-coloured brocade with pearls
+about her neck. Her dress, combined with the dish of fruit she holds
+so high, gives Titian the colour effects he always sought. A yellow
+lemon is specially striking, and the red curtain to the left
+harmonises with the whole. The uplift of the arms and the turn of the
+head give the desired amount of action. It is not Titian's customary
+style of work; he seldom did anything so intimate and personal, and
+the picture is the more interesting on that account. It is in the
+Berlin Gallery.
+
+Some of Titian's famous pictures are: his own portrait; "Flora," "Holy
+Family and St. Bridget," "The Last Judgment," "The Entombment," "The
+Magdalene," "Bacchanal," "St. Sebastian," "Bacchus and Ariadne," and
+"The Sleeping Venus."
+
+
+
+
+XXXIX
+
+JOSEPH MALLORD WILLIAM TURNER
+
+
+  _English_
+  1775-1851
+  _Pupil of the Royal Academy_
+
+If the occupation of a shepherd produced a poet, no less did an artist
+of the first water come out of a barber shop. Turner's father was a
+jolly little fellow who dressed hair for English dandies and did all
+of those things which in those days fell to men of his profession. It
+was in this little shop that the great artist grew up. Father Turner
+was ambitious for his son, who was anxious to study art. The less said
+of the artist's mother the better, for she was a termagant and finally
+went crazy, so that the father and his little boy were soon left
+alone, to plan and work and strive to make each other happy. The pair
+were never apart.
+
+Turner's art beginning was at six years of age, on the occasion of a
+visit his father paid to a goldsmith of whose hair curling and
+peruquing he had charge. Perched upon a chair too high for a little
+boy's comfort, and feeling that it took his father very long indeed to
+satisfy the customer, Joseph's eye lighted upon a silver lion which
+ornamented a silver tray. He studied every detail of that lion while
+waiting for his father, and finally when they got home, he sat down
+and drew it from memory. By tea time he had a lion in full action upon
+the paper. This delighted his father above everything, and it was
+settled then and there that the little fellow should have a chance to
+learn art.
+
+The father could not give much time to his upbringing, but he taught
+him to be honest and kind-hearted and to save his money. His
+playground was generally the bank of the Thames, and under London
+Bridge where, roving with the sailors, he learned to love the ships,
+the setting-suns and evening waters from a daily study of them.
+
+He did not do much at school, because the other pupils at New
+Brentford, learning that he could draw wonderful things upon the
+schoolroom walls, used to do his "sums" for him, while he sketched for
+them. After a while father Turner began to hang up some of his son's
+sketches upon the walls of the barber shop, among the wigs and curls
+and _toupées_, and he put little tags upon them, telling the
+price. The extraordinary work of his little boy began to attract the
+attention of the jolly barber's patrons, and by the time he was twelve
+years old the child had a picture upon the walls of the Royal
+Academy--a far-cry from barber shop to Academy!
+
+One authority says that this first exhibition occurred in his
+fourteenth year, but by that time he was a pupil of the Academy, and
+it is not unlikely that he had shown his mettle before.
+
+He now began to earn his own living, but he still dwelt in the barber
+shop with his father. While in the Academy he coloured prints, made
+backgrounds for other painters, drew architect's plans, and in that
+way made money. He had been sent to a drawing master to study "the art
+of perspective," but having no mathematical knowledge he had been
+unable to learn it, and the teacher had advised his father to put
+little Turner to cobbling or making clothes. However, William was to
+learn perspective, and even to be made master of that branch of art in
+the Academy itself.
+
+In after years, when he had become a great artist, someone spoke
+pityingly of the drudgery he had had to do to make money as a young
+boy--referring to his painting of backgrounds and the like. "Well! and
+what could be better practice?" Turner answered cheerfully.
+
+He used to go to the house of Dr. Munro, who lived in fine style on
+the Strand. This gentleman owned Rembrandts, Rubenses, Titians, and
+other great masterpieces, and in that house the "little barber" had a
+chance to see the best of art, and also to copy it. This was a great
+opportunity for him and he made the most of it. Besides the chance for
+study, he earned about half a crown an evening and his supper, for his
+copying.
+
+Turner was the first painter to make "warm moonlight." All other
+artists had given cold, silvery effects to a moonlit atmosphere, but
+Turner had seen a mellow, sympathetic moon, and he first showed it to
+others. About this time he went travelling; for an engraver of the
+_Copper Plate Magazine_ had engaged the young boy to go into Wales and
+make sketches for his work. Turner set off on a pony which a friend
+had lent him, with his baggage done up in a bundle--it did not make a
+very big one--and thus he voyaged. It was a fine experience, and he
+came home with many beautiful scenes on paper, which he in after years
+made into complete pictures. Next he made the acquaintance of Thomas
+Girtin, the first in his country of a fine school of water-colour
+painters, and this acquaintance grew into a close friendship. The two
+were devoted to each other and worked together at any sort of
+mechanical art work that would bring them a living. When Girtin died
+Turner said: "Had Tim Girtin lived, I should have starved," showing
+how highly he valued Girtin's work.
+
+Turner is said to have been "a stout, clumsy little fellow, who never
+cared how he looked. He wore an ill-fitting suit, and his luggage tied
+up in a handkerchief was slung over his shoulder on a cane. Sometimes
+he carried a small valise and an old umbrella, the handle of which he
+converted into a fishing rod, for Turner dearly loved both hunting and
+fishing."
+
+The hero travelled a great deal, because above every thing he loved
+the fields and streams, and to tramp alone. It is said that it was his
+habit to walk twenty-five miles a day, seeing everything on the way,
+letting no peculiarity of nature escape him. His sketchbook was a
+curiosity, because he not only made sketches in it, but jotted down
+his travelling expenses, what he thought about things that he saw, and
+all the gossip he heard in the towns through which he passed. Because
+he liked best to travel alone he was called "the Great Hermit of
+Nature."
+
+One memorable day--of which he thought but little at the time--he
+stopped on the road to make a sketch of Norham Castle. Later he
+completed the picture, and it became famous, so successful that from
+that hour he had all the work he could do. Years afterward, when
+passing that way again in company with a friend, he was seen to take
+off his hat to the castle.
+
+"Why are you doing that?" his friend asked, in amazement.
+
+"Well, that castle laid the foundation of my success," he answered,
+"and I am pleased to salute it."
+
+During his young manhood Turner had fallen in love with a girl, and
+planned to marry, but after he returned from one of his country trips
+he found she had married another, and from that moment the artist was
+a changed man. He had been generous and gay before, now he began to
+save his money, so that people thought him miserly--but he was
+forgiven when it became known what he finally did with his
+fortune. After the young woman deserted him he wandered more than
+ever, and one of his fancies was to keep boys from robbing birds'
+nests. He looked after the little birds so carefully that the boys
+named him "old Blackbirdy." He had already begun those wonderful
+pictures of ships and seas, and his house was ornamented with
+full-rigged little ships and water plants, which he carefully raised
+to put into his pictures. By that time he had bought a home of his own
+in the country, and his father the barber went to live with him. The
+old man's trade had fallen off, because the fashions had changed, wigs
+were less worn, and hair was not so elaborately dressed. In the
+country home the old man took charge of all the household affairs,
+prepared his son's canvases for him, and after the pictures were
+painted it was the ex-barber who varnished them, so that Turner said,
+"Father begins and finishes all my pictures." There the father and son
+lived, in perfect peace and affection, till Turner decided to sell the
+place and move into town, "because," said he, "Dad is always working
+in the garden and catching cold."
+
+Meanwhile he had been made master of perspective in the Academy, and
+it was expected that he would lecture to the students, but he was not
+cut out for a lecturer. He was not elegant in his manners, nor
+impressive in his speech. On one occasion, when he had risen to
+deliver a speech, he looked helplessly about him and finally blurted
+out: "Gentlemen! I've been and left my lecture in the hackney coach!"
+
+During these years he had tried to establish a studio like other
+masters and to have pupils and apprentices about him; but the stupid
+ones he could not endure, having no patience with them, and he treated
+all the fashionable ones so bluntly they would not stay; so the idea
+had to be given up.
+
+He became a visitor at Farnley Hall in Yorkshire, where a friend,
+Mr. Hawksworth Fawkes lived, and in the course of his lifetime Fawkes
+put fifty thousand dollars worth of Turner's pictures upon his
+walls. The Fawkes family described Turner as a most delightful man:
+"The fun, frolic, and shooting we enjoyed together, and which,
+whatever may be said by others of his temper and disposition, have
+proved to me that he was, in his hours of distraction from his
+professional labours as kindly hearted a man and as capable of
+enjoyment and fun of all kinds as any I ever knew."
+
+Another friend writes: "Of all light-hearted, merry creatures I ever
+knew, Turner was the most so; and the laughter and fun that abounded
+when he was an inmate of our cottage was inconceivable, particularly
+with the juvenile members of our family."
+
+The story of his disappointment in marriage is an interesting one. It
+is said that the young lady whom he loved was the sister of a
+schoolmate. They had been engaged for some time, but while he was on
+one of his travels his letters were stolen and kept from the young
+woman. She believed he had forgotten her, and her stepmother, who had
+taken the letters, persuaded the girl to engage herself to
+another. Turner returned just a week before her marriage and tried to
+win her back, but although she loved him, she felt herself then bound
+to her new suitor and therefore married him. Her marriage was very
+unhappy and her misery, as well as his own, distressed the artist till
+his death. Almost all his life, in spite of his seeming gaiety, he
+worked like a slave, rising at four o'clock in the morning and working
+while light lasted. When remonstrated with about this he would sadly
+say: "There are no holidays for me."
+
+All his ways were honest and simple, and his election to the Academy
+was very exceptional in the way it came about. Most Academicians had
+graces and airs and good fellowship to commend them, as well as their
+works, but Turner had none of these things. He had given no dinners,
+nor played a social part in order to get the membership. When the news
+was brought him that he was elected, some one advised him to go and
+thank his fellow Academicians for the honour, as that was the custom;
+but Turner saw no reason in it. "Since I am elected, it must have been
+because they thought my pictures made me worthy. Why, then should I
+thank them? Why thank a man for performing a simple duty." In half a
+century Turner was absent only three times from the Academy
+exhibitions, and his membership was of very great value to him.
+
+At this time Turner had an idea for an art publication to be called
+_Liber Studiorum_. He meant to issue this in dark blue covers and to
+include in each number five plates. There was to be a series of five
+hundred plates altogether, and these were to be divided, according to
+subject, into historical, landscape, pastoral, mountainous, marine,
+and architectural studies. After seventy plates had been, published,
+the enterprise fell through, because no one bought the periodical, and
+there was no money to keep it going. The engraver of the plates,
+Charles Turner, became so disgusted with the failure that he even used
+the proofs of these wonderful studies to kindle the fire with. Many
+years later, a great print-dealer, Colnaghi, made Turner, the
+engraver, hunt up all the proofs that he had not used for kindling
+paper, and these he bought for £1,500.
+
+"Good God!" cried Charles Turner, "I have been burning banknotes all
+my life."
+
+Some years later still £3,000 was paid for a single copy of the _Liber
+Studiorum_.
+
+Turner was a most conscientious man, and many stories are told of his
+manner of teaching. He could not talk eloquently nor give very clear
+instructions, talking not being his forte, but he would lean over a
+student's shoulder, point out the defects in his work, and then on a
+paper beside him make a few marks to illustrate what he had said. If
+the artist had genius enough then to imitate him, well and good; if
+not, Turner simply went away and left him. His own ways of working
+were remarkable. He often painted with a sponge and used his thumbnail
+to "tear up a sea." It mattered little to him how he produced his
+effects so long as he did it. His impressionistic style confused many
+of his critics, and it is told how a fine lord once looked at a
+picture be had made, and snorted: "Nothing but daubs, nothing but
+daubs!" Then catching the inspiration, he leaned close to the canvas,
+and said: "No! Painting! so it is!"
+
+"I find, Mr. Turner," said a lady, "that in copying your pictures,
+touches of red, blue and yellow appear all through the work."
+
+"Well, madam, don't you see that yourself, in nature? Because if you
+don't, heaven help you!" was the reply.
+
+"Once, after painting a summer evening, he thought that the picture
+needed a dark spot in front by way of contrast; so he cut out a dog
+from black paper and stuck it on. That dog still appears in the
+picture."
+
+Another time he painted "A Snow-storm at Sea," which some critics
+called "Soap-suds and Whitewash." Turner, who had been for hours
+lashed to the mast of a ship in order to catch the proper effect, was
+naturally much hurt by the criticism. "What would they have!" he
+exclaimed. "I wonder what they think a storm is like. I wish they'd
+been in it."
+
+Turner was conscientiously fond of his work, and when he sold a
+picture he said that he had lost one of his children.
+
+He grew rich, but he never was knighted, because his manners were not
+fine enough to suit the king. He wished to become President of the
+Royal Academy, but that was impossible because he was not polished
+enough to carry the honour gracefully.
+
+After selling his place in the country Turner bought a house in Harley
+Street, where he lived a strange and lonely life. A gentleman has
+written about this incident, which shows us his manner of living:
+
+"Two ladies called upon Turner while he lived in Harley Street. On
+sending in their names, after having ascertained that he was at home,
+they were politely requested to walk in, and were shown into a large
+sitting-room without a fire. This was in the depth of winter; and
+lying about in various places were several cats without tails. In a
+short time our talented friend made his appearance, asking the ladies
+if they felt cold. The youngest replied in the negative; her
+companion, more curious, wished she had stated otherwise, as she hoped
+they might have been shown into his sanctum or studio. After a little
+conversation he offered them biscuits, which they partook of for the
+novelty--such an event being almost unprecedented in his house. One of
+the ladies bestowing some notice upon the cats, he was induced to
+remark that he had seven, and that they came from the Isle of Man."
+
+Thus we learn that Turner's desolate house was full of Manx cats, and
+of many other pets. When he had moved elsewhere--to 47 Queen Anne
+Street--one of the pictures he cared most for, "Bligh Shore," was put
+up as a covering to the window and a cat wishing to come in, scratched
+it hopelessly. The housekeeper started to punish it for this but
+Turner said indulgently, "Oh, never mind!" and saved the cat from
+chastisement.
+
+The place he lived in, where his "dad was always working in the garden
+and catching cold," he called Solus Lodge, because he wished his
+acquaintances to understand that he wanted to be alone. One picture
+painted by him to order, was to have brought him $2,500; but when it
+was finished the man was disappointed with it and would not take
+it. Later, Turner was offered $8,000 for it, but would not sell it.
+
+Turner again fell in love, but his bashfulness ruined his chances. He
+wrote to the brother of the lady. "If she would only waive her
+bashfulness, or, in other words, make an offer instead of expecting
+one, the same (Solus Lodge) might change occupiers." Faint heart
+certainly did not win fair lady in this case, for she married
+another. Before he died Turner was offered $25,000 for two pictures
+which he would not sell. "No" he said. "I have willed them and cannot
+sell them." He disposed of several great works as legacies. One
+picture of which he was very fond, "Carthage," was the occasion of an
+amusing anecdote. "Chantry," he said to his friend the sculptor, "I
+want you to promise that when I am dead you will see me rolled in that
+canvas when I'm buried."
+
+"All right," said Chantry, "I'll do it, but I'll promise to have you
+taken up and unrolled, also."
+
+A remarkable incident of generosity is told of Turner. In 1826 he hung
+two exquisite pictures in the Academy. One, "Cologne," having a most
+beautiful, golden effect. This was hung between two portraits by Sir
+Thomas Lawrence. The golden colouring of Turner's picture entirely
+destroyed the effect of the Lawrence pictures, and without a word,
+Turner washed his lovely picture over with lampblack. This gave the
+Lawrence, pictures their full colour value. A friend who had been
+enthusiastic about the "Cologne" was provoked with Turner. "What in
+the world did you do that for?" he demanded. "Well, poor Lawrence was
+so unhappy. It will all wash off after the exhibition." Turner had his
+reward in cash, for the picture sold for 2,000 guineas.
+
+Above all things Turner hated engravings, or any process that
+cheapened art, and one day he stated this to his friend Lawrence. "I
+don't choose to be a basket engraver," he declared.
+
+"What do you mean by that," Sir Thomas inquired.
+
+"Why when I got off the coach t' other day at Hastings, a woman came
+up with a basket of your 'Mrs. Peel,' and offered to sell me one for a
+sixpence."
+
+Turner dearly loved his friends, and the story of Chantry's death,
+illustrates it. He was in his room when the sculptor breathed his
+last, and just as he died, the artist turned to another friend, George
+Jones, and with tears streaming down his face, wrung Jones's hand and
+rushed from the room, unable to speak.
+
+Again, when William Frederick Wells, another friend, died, Turner
+rushed to the house of Clara Wells, his daughter, and cried: "Oh
+Clara, Clara! these are iron tears. I have lost the best friend I ever
+had in my life."
+
+In his old age Turner suddenly disappeared from all his haunts, and
+his friends could not find him. They were much troubled, but one day
+his old housekeeper found a note in a pocket of an old coat, which
+made her think he had gone to Chelsea. She looked there for him, and
+found him very ill, in a little cottage on the Thames River. Everybody
+about called him Admiral Booth, believing him to be a retired
+admiral. He had felt his death near and had tried to meet it quite
+alone. He died the very day after his friends found him, as he was
+being wheeled by them to the window to look out upon the river for the
+last time. He was buried in St. Paul's Cathedral between Sir Joshua
+Reynolds and James Barry. He left his drawings and pictures to a
+"Turner Gallery," and $100,000 to the Royal Academy, to be used for a
+medal to be struck every two years for the best exhibitor. The rest of
+his fortune went to care for "poor and decayed male artists born in
+England and of English parents only." This was to be known as Turner's
+Gift, and that is why he had saved money all his life.
+
+A few more of the numberless stories of his generosity should be
+told. A picture had been sent to the Academy by a painter named Bird
+It was very fine, and Turner was full of its praise, but when they
+came to hang it no place could be found.
+
+"It can't be hung," the others of the committee said.
+
+"It must be hung," returned Turner, but nothing could be done about
+it, for there was absolutely no place. Then Turner went aside with the
+picture and sat studying it a long time. Finally he got up, took down
+a picture of his own and hung Bird's in its place. "There!" he
+said. "It is hung!"
+
+Again, an old drawing-master died and Turner who had known the family
+for a long time, was aware that they were destitute, so he gave the
+widow a good sum of money with which to bury her husband and to meet
+general expenses. After some time she came to him with the money; but
+Turner put his hands in his pockets. "No," he said; "keep it. Use it
+to send the children to school and to church."
+
+On one occasion when he had irritably sent a beggar from his house, he
+ran out and called her back, thrusting a £5 note into her hand before
+letting her go.
+
+There was a man who in Turner's youth, while the little fellow was
+making pictures in the cheerless barber shop bought all of these
+drawings he could find. He often raised the price and in every way
+tried to help Turner. In after years that old patron went
+bankrupt. Turner heard that his steward had been instructed to cut
+down some fine old trees on this man's estate, and sell them. Turner,
+without letting himself be known in the matter, at once stopped the
+cutting and put into his old patron's hands about £20,000. The rescued
+man, afterward, through the same channels that he had received the
+money, paid it all back. Years passed, and the son of that same man
+got into the same difficulties, and again, without being known in the
+matter, Turner restored his fortune. That son, in his turn, honestly
+paid back the full amount. This was the miser who saved all his
+money--to do good deeds to his friends. Ruskin wrote that in all his
+life he had never heard from Turner one unkind or blameful word for
+others.
+
+  PLATE--THE FIGHTING TÉMÉRAIRE
+
+This was the picture which Turner loved best of all, the one he would
+never sell; but at his death ho gave it to the English nation.
+
+"Many years before he painted it, he had gone down to Portsmouth one
+day to see Nelson's fleet come in after the glorious victory of
+Trafalgar. The _Téméraire_ was pointed out to him--a battle ship that
+had very proudly borne the English flag, for during the battle it had
+run in between two French frigates and captured them both.
+
+"And now between thirty and forty years later, he lingered one
+afternoon on the banks of the Thames. As he looked over the water he
+saw the grand old hulk being towed down the river by a noisy little
+tug to be broken up at Deptford. 'There's a fine subject!' he
+exclaimed as he looked at the heroic ship that had known many glorious
+years; and in his thought he compared it to 'a battle-scarred warrior
+borne to the grave.'
+
+"Then he painted the picture. The glow of the setting sun irradiates
+the scene and bids farewell to the old ship. Twilight is coming on,
+and the new moon has just risen in its pearly light. It is a pathetic
+picture," and well illustrates how truly a "master of sunsets and
+waves" the artist was.
+
+Among his other paintings are several of Venice; "The Slave Ship" and
+many other sea pieces.
+
+
+
+
+XL
+
+SIR ANTHONY VAN DYCK
+
+
+  _Flemish School_
+  1599-1641
+  _Pupil of Rubens_
+
+Anthony Van Dyke's father was neither a gentleman nor an ill-born
+person. He was "betwixt-and-between," being a silk merchant, who met
+so many fine folk that he seemed to be "fine folk" himself; and by the
+time Anthony had grown up, he actually believed himself to be one of
+them. If manners stand for fineness Sir Anthony must have been
+superfine, because he was almost overburdened with "manners."
+
+He became a wonderful, be-laced, perfumed, shiny gentleman who never
+stooped to paint anything less than royalty and its associates, nor in
+anything less than velvets and laces. Like Rembrandt and Gainsborough,
+he set a fashion--or rather the style in which he painted came to be
+known after his name. We are all familiar with the kind of
+ornamentation on clothes called Van Dyck--pointed lace, or
+trimmings--and pointed beards.
+
+As a very young lad he was almost too dainty to be liked by healthy
+boys; and the worst of it was he did not care whether healthy, robust
+chaps liked him or not; certainly he did not care for them. He liked
+to sit in his father's shop and be smiled upon by the great ladies who
+came to buy, and in turn to smile shyly at them; this tendency became
+stronger as he grew to be a man.
+
+Anthony's mother made the most exquisite embroideries, and this may
+mean that some part of his art was inherited. She handled lovely
+colours, and tried to fashion beautiful flower shapes for
+customers. She was a fragile, tender sort of woman, while the father
+was doubtless a dapper, over-nice little fellow.
+
+Anthony was born in Antwerp, and the facts concerning his education,
+as in the case of most artists, are lost to our knowledge. He probably
+had a little of some sort outside of painting, but it certainly was
+not enough to hurt him, nor to make a fine healthy man of him. He was
+very beautiful, in a lady-like, faint-coloured way, not in the least
+resembling the handsome, gorgeous, elegant, robust Rubens, a true
+cavalier, of a dashing sort.
+
+He was apprenticed to a painter when he was ten years old, and later
+on became the pupil of Rubens. He painted a whole series of Apostles'
+heads, about which a lawsuit took place. The papers relating to this
+were found about twenty years ago, though the lawsuit occurred as far
+back as 1615. Several of the Apostles' heads that brought about the
+suit are to-day to be seen in the gallery at Dresden.
+
+Everything in those days--especially in Germany and Holland--was
+represented by a "guild." In reading about the Mastersingers of
+Nuremberg we are told that on the day when the trial of singers was to
+take place, dozens of "guilds" assembled in the meadow--guilds of
+bakers, of shoemakers--of which Hans Sachs was the head--guilds of
+goldsmiths, etc. Van Dyck was a member of the painters' guild when he
+was no more than nineteen. His work at that time showed so much
+strength that there is a picture of his, an old gentleman and lady, in
+the Dresden gallery, which for a long time was supposed to have been
+painted by his master, Rubens.
+
+An intimate friend of Van Dyck, Kenelm Digby, says that Van Dyck's
+first relations with Rubens came about by Van Dyck being employed to
+make engravings for the reproduction of Rubens's great works. After
+that he studied painting with him.
+
+One of his friends of that time wrote that at twenty Van Dyck was
+nearly as great as Rubens, though this is hardly substantiated by the
+verdict of time, and that being a man with very rich family
+connections, he could hardly be expected to leave home. On every hand
+we have signs of the artist's affected feeling about himself and other
+people.
+
+However, an annual pension from the King of England seems to have made
+travelling possible to this fine gentleman of lace ruffles, pale face,
+and lady-like ways.
+
+There is an entry about him on the royal account book of "Special
+service ... performed for His Majesty." Also "Antonio Van Dyck, gent.,
+_His Majesty's servant_, is allowed to travaile 8 months, he havinge
+obtayneid his Majesty's leave in that behalf, as was signified to the
+E. of Arundel." Certainly by that time Van Dyck had become a truly
+great portrait painter; not the greatest, because every picture showed
+the same characteristics in its subject--elegance, fine clothes,
+languid manners, without force of great truth or any excellent moral
+quality to distinguish one from another. Nevertheless, the kind of
+painting that he did, he did better than anyone else had ever done, or
+probably ever will do.
+
+While in England he painted all the royalties and many aristocrats,
+and wherever he went he was always painting pictures of himself.
+
+He travelled about a good deal, always painting people of the same
+class--kings and queens and fine folk, and painting them pretty nearly
+all alike.
+
+When he went to Italy he was everywhere received as a great painter,
+but while artists agreed that his work was excellent he was not much
+liked by them, and many tales are told about that journey which are
+interesting, if not entirely true. Van Dyck was the sort of man about
+whom tales would be made up. One, however, sounds true. It is said
+that he fell in love--which of course he was always doing--with a
+beautiful country girl, and that for love of her he painted an altar
+piece into which he put himself, seated on the great gray horse which
+Rubens had given him. That picture is in St. Martin's Church at
+Saventhem, near Brussels, but although one is inclined to believe this
+story because it was quite the sort of thing which might be expected
+of Van Dyck, even this is not true, because the painting was done long
+after the artist had made his Italian journey, and it was commissioned
+by a gentleman living at Saventhem, whose daughter Van Dyck
+undoubtedly liked pretty well; but he made the picture for money, not
+for love.
+
+While he was in Italy he lived with a cardinal, and painted languid
+pictures of sacred subjects, which were far from being his best
+work. The best that he did was in portraiture. Distinguished though he
+was, he did not have a very good time in Italy, because he would not
+join the artists who worked there, nor associate with them in the
+least, and naturally this made him disliked.
+
+We see a good many portraits painted by Van Dyck, of persons mounted
+upon or standing beside the gray horse, and these were painted about
+the time of that Italian journey. He used the Rubens horse in many
+paintings.
+
+Of all the people with whom he painted, he most valued the knowledge
+he got from a blind woman painter of Sicily, called Sofonisba
+Anguisciola, and he often said that he had learned more from a blind
+woman than from all the open-eyed men he ever knew. This woman artist
+was over ninety years old at the time he learned from her.
+
+While he was in Italy the plague broke out, and Van Dyck fled for his
+life, leaving an unfinished picture behind him, one ordered by the
+English king, the subject being Rinaldo and Armida, which had gained
+for the artist his knighthood pension.
+
+It is said that during his first year in England he painted the king
+and queen twelve times. He had an extraordinary record for industry,
+and painted very quickly, as he had need to do, because it took a
+great deal of money to buy the sort of things Van Dyck liked--fine
+laces and velvets, perfumes and satins. His plan was to sketch his
+subject first on gray paper with black and white chalk, and after that
+he gave the sketch to an assistant who increased it to the size he
+wished to paint. The next step was to set his painter to work upon the
+clothing of his figures. This was painted in roughly, together with
+background and any architectural effect Van Dyck wanted. After this
+the artist himself sat down and in three or four sittings, of not more
+than an hour each, he was able to finish a picture worth to-day
+thousands of dollars.
+
+He painted hands specially well, and kept certain models for them
+alone.
+
+Van Dyck had eleven brothers and sisters, whom he always kept in
+mind. Some of his sisters had become nuns while some of his brothers
+were priests, and Van Dyck's influence got a monkish brother called to
+the Dutch court to act as chaplain to the queen.
+
+By this time every royal personage in the world, nearly, had sent for
+Van Dyck to paint his portrait, for he could make one look handsomer
+than could any other painter in existence. If the king was very ugly,
+Van Dyck painted such beautiful clothes upon him that nobody noticed
+the plainness of the features.
+
+When Van Dyck was about thirty-six years old he married a great lady,
+the Lady Mary Ruthven, granddaughter of the Earl of Gowrie, but before
+that he had had a lady-love, Margaret Lemon, whom he painted as the
+Virgin and in several other pictures. When he married Lady Mary,
+Margaret Lemon was so furiously jealous that she tried to injure Van
+Dyck's right hand so that he could paint no more.
+
+About this time Rubens died in Flanders, leaving behind him an
+unfinished series of pictures which had been commissioned by the king
+of Spain. Van Dyck was asked to finish these, but declined until he
+was asked to make an independent picture, to complete the series, and
+this he was delighted to do. Ferdinand of Austria wrote to the king of
+Spain that Van Dyck had returned in great haste to London to arrange
+for his change of home, in order to do the work. "Possibly he may
+still change his mind," he added, "for he is stark mad." This shows
+how Van Dyck's erratic ways appeared to some people.
+
+He had a sister, Justiniana, who was also something of an artist and
+she married a nobleman when she was about twelve years old.
+
+When Van Dyck died he was buried in St. Paul's, London, and Charles
+I. placed an inscription on his tomb.
+
+In the "Young People's Story of Art," is the following anecdote: "A
+visit was once paid by a courtly looking stranger passing through
+Haarlem, to Franz Hals, the distinguished Dutch painter.
+
+"Hals was not at home but he was sent for to the tavern and hastily
+returned. The stranger told him that he had heard of his
+reputation--had just two hours to spare--and wished to have his
+portrait painted. Hals, seizing canvas and brushes fell vigorously to
+work; and before the given time had elapsed, he said, 'Have the
+goodness to rise, sir, and examine your portrait!' The stranger looked
+at it, expressed his satisfaction, and then said, 'Painting seems such
+a very easy thing, suppose we change places and see what I can do!'
+
+"Hals assented, and took his position as the sitter. The unknown
+began, and as Hals watched him, he saw that he wielded the brush so
+quickly, he must be a painter. His work, too, was rapidly finished,
+and as Hals looked at it he exclaimed, 'You must be Van Dyck! No one
+else could paint such a portrait!'
+
+"No two portraits could have been more unlike. The story adds that the
+famous Dutch and Flemish masters heartily embraced each other."
+
+The stories of Van Dyck's youth are interesting, and probably true. It
+is said that he drew so well when he was a pupil of Rubens that the
+great master often allowed him to retouch his own works. Once in
+Rubens's studio, some of the students got the key and went in to see
+what the master was doing, when he was absent. Rubens had left a
+painting fresh upon the easel, and in looking about them one of the
+boys rubbed against it. This frightened them all. What should they do?
+Rubens would find his picture ruined and know that they had broken in.
+
+After consultation they decided there was no one with them who could
+repair the damage as well as Van Dyck, who set about it, and soon he
+had painted in the smudged part so perfectly that when Rubens saw it,
+he did not for some time know that anything had happened to his
+picture. Later he suspected something, and when he learned of the
+prank and its outcome, he was so delighted with Van Dyck's work that
+he praised him instead of blaming him for it.
+
+Van Dyck had a very precise method of working. When sitters came to
+him he would paint for just one hour. Then he would politely dismiss
+them, and his servant would wash his brushes, and clear the way for
+the next sitter. He dined with his sitters often that he might
+surprise in them the expression which he wanted to paint. Also, he had
+their clothing sent to his studio, that it might be exactly imitated
+by himself or by those assistants who painted in the foundation for
+his finished work.
+
+While attached to King Charles I.'s court, Van Dyck was given a fine
+house at Blackfriars, on the Thames, and he had a private landing
+place made for boats, so that the royal family might visit him at
+their convenience. Charles I. used often to go to Van Dyck's studio to
+escape his many troubles, and thus the artist's home became as
+fashionable a gathering place, as Gainsborough's studio was in
+Bath. He painted Queen Henrietta not less than twenty-five times. He
+often furnished concerts for his sitters, for he himself was
+passionately fond of music, and moreover he believed that music often
+brought to the faces of his sitters, an expression that he loved to
+paint.
+
+He painted so many pictures of a certain kind of little dog, in the
+pictures of King Charles I. that ever since that breed has been known
+as the King Charles spaniel.
+
+After a while Van Dyck got heavily into debt. King Charles himself was
+in great trouble, and he had no money with which to pay his painter's
+pension. The artist had lived so extravagantly that he did not know at
+last which way to turn, so in desperation he thought to try alchemy
+and maybe to learn the secret of making gold. He wasted much time at
+this, as cleverer men have done, but at last he became too ill for
+that or for his own proper work, and badly off though Charles was
+himself, he offered his court physician a large sum if he could cure
+his court painter. But Van Dyck had enjoyed life too well, and nothing
+could be done for him.
+
+He was the seventh child of his parents--which some have thought had
+something to do with his genius and success; he lived gaily all the
+years of his life, going restlessly from place to place, and having
+many acquaintances but probably few friends, outside of his old
+master, Rubens, who loved him for his genius.
+
+  PLATE--CHILDREN OF CHARLES THE FIRST
+
+Van Dyck painted the family of the unfortunate king of England four
+times. There are five children in the Windsor Castle picture, and this
+one, which hangs in the Turin Gallery, was probably painted before the
+birth of the fourth child in 1636. It is celebrated for its colouring
+as well as for its great artistic merit. The children are surely
+childlike enough, despite their stately attire, and they little dream
+of the sad fate awaiting the whole of the Stuart family to which they
+belong.
+
+Other Van Dycks are: "The Blessed Herman Joseph," "Lords Digby and
+Russell," "Lord Wharton," "Countess Folkestone," and "William Prince
+of Orange."
+
+
+
+
+XLI
+
+VELASQUEZ (DIEGO RODRIGUEZ DE SILVA)
+
+
+  (Pronounced Vay-lahs'keth)
+  _Castilian School_
+  1599-1669
+  _Pupil of Herrera_
+
+It is pretty difficult to find out why a man was named so-and-so in
+the days of the early Italian and Spanish painters. More likely than
+not they would be called after the master to whom they had been first
+apprenticed; or after their trade; after the town from which they
+came, and rarely because their father had had the name before them. In
+Velasquez's case, he was named after his mother.
+
+No one seemed to be certain what to call him, but he generally wrote
+his name "Diego de Silva Velasquez." His father was Rodriguez de
+Silva, a lawyer, but in calling the boy Velasquez the family followed
+a universal Spanish custom of naming children after their mothers.
+
+Little Velasquez was well taught in his childhood; he studied many
+languages and philosophy, for he was intended to be a lawyer or
+something learned, anything but a painter. The disappointment of
+parents in those days, when they found a child was likely to become an
+artist is touching.
+
+Despite his equipment for a useful life, according to the ideas of his
+parents, this little chap was bound to become nothing but a maker of
+pictures.
+
+Herrera was a bad-tempered master and little Velasquez could not get
+on with him, so after a year of harsh treatment, he went to another
+master, Pacheco, but by that time he had learned a secret that was to
+help make his work great. Herrera had taught him to use a brush with
+very long bristles, which had the effect of spreading the paint,
+making it look as if his "colours had floated upon the canvas," in a
+way that was the "despair of those who came after him."
+
+Velasquez was born in Seville at a time when about all the art of the
+world was Italian or German; thus he became the creator of a new
+school of painting.
+
+He stayed five years in Pacheco's studio and pupil and master became
+very fond of each other. Pacheco was not a great master--not so good
+as Herrera--but he was easy to get on with, and knew a good deal about
+painting, so that as Velasquez had the genius, he was as well placed
+as he needed to be.
+
+In Pacheco's studio there was a peasant boy whose face was very
+mobile, showed every passing feeling; and Velasquez used to make him
+laugh and weep, till, surprising some good expression, he would
+quickly sketch him. With this excellent model, Velasquez did a
+surprising amount of good work.
+
+Spain had just then conquered the far-off provinces of Mexico and
+Peru, and was continually receiving from its newly got lands much
+valuable merchandise. Rapidly growing rich, this Latin country loved
+art and all things beautiful, so its money was bound to be spent
+freely in such ways. Madrid had been made its capital, and at that
+time there were few fine pictures to be found there. The Moors who had
+conquered Spain had forbidden picture making, because it was contrary
+to their religion to represent the human figure, or even the figures
+of birds and beasts. Then the Inquisition had hindered art by its
+rules, one of which was that the Virgin Mary should always be painted
+with her feet covered; another, that all saints should be
+beardless. There were many more exactions.
+
+While cathedrals were being built elsewhere, the Moors had been in
+control of Spanish lands, so that no cathedral had been built there,
+and when Velasquez came upon the scene the time of great cathedral
+building was past. It had ceased to be the fashion. Although there had
+been such painters as Beneguette, Morales, Navarrette, and Ribera, all
+Spanish and of considerable genius, they had been too badly
+handicapped to make painting a great art in Spain. When Madrid became
+the capital of Spain, it had no unusual buildings, unless it was an
+old fortress of the Moors, the Alcazar, Caesar's house, but the nation
+was buying paintings from Italy, and it began to beautify Madrid,
+which had the advantage of the former Moorish luxury and art, very
+beautiful, though not pictorial.
+
+In Madrid, then, there seemed to be great opportunity for a fine
+artist like Velasquez, and his master urged him to go there and try
+his fortune. So he set out on mule-back, attended by his slave, but
+unless he could get the ear of the king, it was useless for him to
+seek advancement in Madrid. Without the king as patron at that time,
+an artist could not accomplish much. After trying again and again,
+Velasquez had to return to his old master, without having seen the
+king; but after a time a picture of his was seen by Philip IV., and he
+was so much pleased with it that he summoned the artist. Through his
+minister, Olivares, he offered him $113.40 in gold (fifty ducats) to
+pay his return expenses. The next year he gave him $680.40 to move his
+family to Madrid.
+
+At last the artist had found a place in the rich city, and he went to
+live at the court where the warmest friendship grew between him and
+the king. The latter was an author and something of a painter, so that
+they loved the same things. This friendship lasted all their lives,
+and they were together most of the time, the king always being found,
+in Velasquez's studio in the palace when his duties did not call him
+elsewhere. During the many many years--nearly thirty-seven--that
+Velasquez lived with Philip IV. he employed himself in painting the
+scenes at court. Thus he became the pictorial historian of the Spanish
+capital. He was a man of good disposition, kindly and generous in
+conduct and in feeling, so that he was always in the midst of friends
+and well-wishers.
+
+Philip IV. was indeed a noble companion, but he was not a gay one,
+being known as the king who never laughed--or at least whose laughter
+was so rare, the few times he did laugh became historic. One would
+expect this serious and depressing atmosphere to have had an effect
+upon a painter's art; but it chanced that Rubens visited Spain, and
+there, Velasquez being the one famous artist, it was natural they
+should become interested in each other. Rubens told Velasquez of the
+wonders of Italian painting, till the Spaniard could think of nothing
+else, and finally he begged Philip to let him journey to Italy that he
+might see some of those wonders for himself. The request made the king
+unhappy at first, but at last he gave his consent and Velasquez set
+out for Italy. The king gave him money and letters of introduction,
+and he went in company with the Marquis of Spinola.
+
+After Velasquez had stayed eighteen months in Italy, Philip began to
+long for his friend and sent for him to return. He came back full of
+the stories of brilliant Italy, and charmed the king completely.
+
+There is as absurd a story of Velasquez's perfection in painting as
+that of Raphael's, whose portrait of the pope, left upon the terrace
+to dry, imposed upon passers by. It is said of Velasquez's work that
+when he had painted an admiral whom the king had ordered to sea, and
+left it exposed in his studio, the king, entering, thought it was the
+admiral himself, and angrily inquired why he had not put to sea
+according to orders. On the face of them these stories are false, but
+they serve to suggest the perfection of these artists' paintings.
+
+Philip, being a melancholy man, had his court full of jesters, poor
+misshapen creatures--dwarfs and hunchbacks--who were supposed to
+appear "funny," and Velasquez, as court painter, painted those whom he
+continually saw about him, who formed the court family. Thus we have
+pictures of strange groups--dwarfs, little princesses, dressed
+precisely as the elders were dressed, favourite dogs, and Velasquez
+himself at his easel.
+
+In 1618, while still with his master, Pacheco, he had married the
+master's daughter, a big, portly woman. Before he left Seville he bad
+two daughters.
+
+These were all the children he had, although he painted a picture of
+"Velasquez's Family" which includes a great number of people. The
+figures in that painting are the children of his daughter, not his
+own; and this may account for one biographer's statement that the
+artist had "seven children." He was devoted to and happy in his family
+of children and grandchildren.
+
+He did not grow rich, but received regularly during his life in
+Madrid, twenty gold ducats ($45.36) a month to live upon, and besides
+this his medical attendance, lodging, and additional payment for every
+picture. The one which brought him this good fortune was an equestrian
+portrait of Philip; first uncovered on the steps of San
+Felipe. Everywhere the people were delighted with it, poets sung of
+it, and the king declared no other should ever paint his
+portrait. This picture has long since disappeared.
+
+In 1627 Velasquez won the prize for a picture representing the
+expulsion of the Moors from Spain and was rewarded by "being appointed
+gentleman usher. To this was shortly afterward added a daily allowance
+of twelve reals--the same amount which was allowed to court
+barbers--and ninety gold ducats ($204.12) a year for dress, which was
+also paid to the dwarfs, buffoons, and players about the king's
+person--truly a curious estimate of talent at the court of Spain."
+
+The record of Philip IV. with unpleasing, even degenerate characters,
+about him, is brightened by the thought of his loyalty to his court
+painter and life-long friend. When the king's favourites fell, those
+who had been the friends of Velasquez, the artist loyally remained
+their friend in adversity as he had been while they were
+powerful. This constancy, even to the royal enemies, was never
+resented by Philip. He honoured the faithfulness of his artist, even
+as he himself was faithful in this friendship. Philip's court was such
+that there was little to paint that was ennobling, and so Velasquez
+lacked the inspiration of such surroundings as the Italian painters
+had.
+
+Philip IV. was hail-fellow-well-met with his stablemen, his huntsmen,
+his cooks, and yet he seems to have had no sense of humour, was long
+faced and forbidding to look at, and despite his strange habits
+considered himself the most mighty and haughty man in the world. He
+felt himself free to behave as he chose, because he was Philip of
+Spain; and he chose to do a great many absurd and outrageous
+things. In all Philip's portraits, painted by Velasquez, he wears a
+stiff white linen collar of his own invention, and he was so proud of
+this that he celebrated it by a festival. He went in procession to
+church to thank God for the wonderful blessing of the _Golilla_--the
+name of his collar. This unsightly thing became the fashion, and all
+portraits of men of that time were painted with it. "In regard to the
+wonderful structure of Philip's moustaches it is said, that, to
+preserve their form they were encased during the night in perfumed
+leather covers called _bigoteras_." Such absurdities in a king, who
+had the responsibilities of a nation upon him, seem incredible.
+
+Velasquez made in all three journeys to Italy, and the last one was on
+a mission for the king, which was much to the latter's credit. Philip
+had determined to have a fine art gallery in Madrid, for Spain had by
+this time many pictures, but no statuary; so he commissioned his
+painter to buy whatever he thought well of and _could_ buy, in
+Italy. Hence the artist set off again with his slave--the same one
+with whom he had journeyed to Madrid so long before. His name was
+Pareja, and his master had already made an excellent artist of him.
+
+They went to Genoa, thence to the great art-centres of Italy, were
+received everywhere with honour, and the artist bought wisely.
+Velasquez did not care for Raphael's paintings as much as for
+Titian's, and he said so to Salvator Rosa, an honoured painter in
+Italy.
+
+While in Rome Velasquez painted the pope, also his own slave, Pareja.
+
+When he returned to Spain he took with him three hundred statues, but
+a large number of them were nude, and the Spanish court, not over
+particular about most things, was very particular about naked statues,
+so that after Philip's death, they nearly all disappeared. After his
+return, and after the queen had died and Philip had married again,
+Velasquez was made quartermaster-general, no easy post but not without
+honour, though it interfered with his picture painting a good deal. He
+had to look after the comfort of all the court, and to see that the
+apartments it occupied, at home or when it visited, were suitable.
+
+"Even the powerful king of Spain could not make his favourite a belted
+knight without a commission to inquire into the purity of his lineage
+on both sides of the house. Fortunately, the pedigree could bear
+scrutiny, as for generations the family was found free from all taint
+of heresy, from all trace of Jewish or Moorish blood, and from
+contamination from trade or commerce. The difficulty connected with
+the fact that he was a painter was got over by his being painter to
+the king and by the declaration that he did not sell his pictures."
+
+The red Cross of Santiago conferred upon him by Philip, made Velasquez
+a knight and freed him also from the rulings of the Inquisition, which
+directed so largely what artists could and could not do. Thus it is
+that we come to have certain great pictures from Velasquez's brush
+which could not otherwise have been painted.
+
+This action of the king, setting free the artist, made two schools of
+art, of which the court painter represented one; and Murillo the
+other, under the command of the Church. Although not so rich perhaps
+as Raphael, Velasquez lived and died in plenty, while Murillo, the
+artist of the Church of Rome, was a poverty-stricken man.
+
+Finally, while in the midst of honours, and fulfilling his official
+duty to the court of Spain, Velasquez contracted the disease which
+killed him. The Infanta, Maria Theresa, was to wed Louis XIV., and the
+ceremony was to take place on a swampy little island called the Island
+of Pheasants. There he went to decorate a pavilion and other places of
+display. He became ill with a fever and died soon after he returned to
+Madrid.
+
+He made his wife, his old master Pacheco's daughter, his executor, and
+was buried in the church of San Juan, in the vault of Fuensalida; but
+within a week his devoted wife was dead, and in eight days' time she
+was buried beside him.
+
+He left his affairs--accounts between him and the court--badly
+entangled, and it was many years before they were straightened
+out. His many deeds of kindness lived after him. He made of his slave
+a good artist and a devoted friend, and by his efforts the slave
+became a freedman. The story of his kindly help to Murillo when that
+exquisite painter came, unknown and friendless to Madrid, has already
+been told.
+
+The Church where Velasquez was buried was destroyed by the French in
+1811, and all trace of the resting place of the great Spanish artist
+is forever lost to us.
+
+He is called not only "painter to the king," but "king of painters."
+
+  PLATE--EQUESTRIAN PORTRAIT OF DON BALTHASAR CARLOS.
+
+Philip of Spain had long prayed for a son and when at last one was
+granted him his pride in his young heir was unbounded. The little Don
+Carlos was not unworthy, for he was a cheerful, hearty boy, trained to
+horsemanship, from his fourth year, for his father was a noted rider
+and had the best instructors for his son. The prince was a brave
+hunter too and we are told that he shot a wild boar when he was but
+nine years of age. In this portrait which is in the Museo del Prado he
+is six years old, and it was neither the first nor the last that
+Velasquez made of him. It was one of the court painter's chief duties
+to see that the heir to the throne was placed upon canvas at every
+stage of his career, and he painted him from two years of age till his
+lamented death at sixteen.
+
+The young prince wears in this picture a green velvet jacket with
+white sleeves and his scarf is crimson embroidered with gold. The
+lively pony is a light chestnut and the foreshortening of its body
+must be noticed. The steady grave eyes of the lad are gazing far ahead
+as they would naturally be if he were riding rapidly, but his princely
+dignity is shown in his firm seat in the saddle and his manner of
+holding his marshal's batôn.
+
+The great art of the painter is also shown in the way he subordinates
+the landscape to the figure. He will not allow even a tree to come
+near the young horseman, but brings his young activity into vivid
+contrast with the calm peacefulness of the distant view.
+
+With the death of Don Carlos the downfall of his father's dynasty was
+assured, though for a time his little sister, the Infanta Maria
+Theresa, was upheld as the heiress. She married Louis XIV. and had a
+weary time of it in France. Velasquez painted her picture too, in the
+grown up dress of the children of that day. It is in the Vienna
+Gallery. Among his best known pictures are "The Surrender of Breda,"
+"Alessandro del Borro," and "Philip IV."
+
+
+
+
+XLII
+
+PAUL VERONESE (PAOLO CAGLIARI)
+
+
+  (Pronounced Vay-ro-nay'zay and pah'o-lah cal-ee-ah'ree)
+  _Venetian School_
+  1528-1588
+  _Pupil of Titian_
+
+"One has never done well enough, when one can do better; one never
+knows enough when he can learn more!"
+
+This was the motto of Paul Veronese. This artist was born in
+Verona--whence he took his name--and spent much of his life with the
+monks in the monastery of St. Sebastian.
+
+His father was a sculptor, and taught his son. Veronese himself was a
+lovable fellow, had a kind feeling for all, and in return received the
+good will of most people. When he first went to Venice to study he
+took letters of introduction to the monks of St. Sebastian, and
+finally went to live with them, for his uncle was prior of the
+monastery, and it was upon its walls that he did his first work in
+Venice. His subject was the story of Esther, which he illustrated
+completely.
+
+He became known in time as "the most magnificent of magnificent
+painters." He loved the gaieties of Venice; the lords and ladies; the
+exquisite colouring; the feasting and laughter, and everything he
+painted, showed this taste. When he chose great religious subjects he
+dressed all his figures in elegant Venetian costumes, in the midst of
+elegant Venetian scenes. His Virgins, or other Biblical people, were
+not Jews of Palestine, but Venetians of Venice, but so beautiful were
+they and so inspiring, that nobody cared to criticise them on that
+score. He loved to paint festival scenes such as, "The Marriage at
+Cana," "Banquet in Levi's House," or "Feast in the House of Simon." He
+painted nothing as it could possibly have been, but everything as he
+would have liked it to be.
+
+Into the "Wedding Feast at Cana," where Jesus was said to have turned
+the water into wine, he introduced a great host of his friends, people
+then living. Titian is there, and several reigning kings and queens,
+including Francis I. of France and his bride, for whom the picture was
+made. This treatment of the Bible story startles the mind, but
+delights the eye.
+
+It was said that his "red recurred like a joyful trumpet blast among
+the silver gray harmonies of his paintings."
+
+Muther, one who has written brilliantly about him, tells us that
+"Veronese seems to have come into the world to prove that the painter
+need have neither head nor heart, but only a hand, a brush, and a pot
+of paint in order to clothe all the walls of the world with oil
+paintings" and that "if he paints Mary, she is not the handmaid of the
+Lord or even the Queen of Heaven, but a woman of the world, listening
+with approving smile to the homage of a cavalier. In light red silk
+morning dress, she receives the Angel of the Annunciation and hears
+without surprise--for she has already heard it--what he has to say;
+and at the Entombment she only weeps in order to keep up appearances."
+
+Such criticism raises a smile, but it is quite just, and what is more,
+the Veronese pictures are so beautiful that one is not likely to
+quarrel with the painter for having more good feeling than
+understanding. His joyous temperament came near to doing him harm, for
+he was summoned before the Inquisition for the manner in which he had
+painted "The Last Supper."
+
+After the Esther pictures in St. Sebastian, the artist painted there
+the "Martyrdom of St. Sebastian," and there is a tradition that he did
+his work while hiding in the monastery because of some mischief of
+which he had been guilty.
+
+At that time he was not much more than twenty-six or eight, while the
+great painter Tintoretto was forty-five, yet his work in St. Sebastian
+made him as famous as the older artist.
+
+There is very little known of the private affairs of Veronese. He
+signed a contract for painting the "Marriage at Cana," for the
+refectory of the monastery of St. Giorgio Maggiore, in June 1562, and
+that picture, stupendous as it is, was finished eighteen months
+later. He received $777.60 for it, as well as his living while he was
+at work upon it, and a tun of wine. One picture he is supposed to have
+left behind him at a house where he had been entertained, as an
+acknowledgment of the courtesy shown him.
+
+Paul had a brother, Benedetto, ten years younger than himself, and it
+is said that he greatly helped Paul in his work, by designing the
+architectural backgrounds of his pictures. If that is so, Benedetto
+must have been an artist of much genius, for those backgrounds in the
+paintings are very fine.
+
+Veronese married, and had two sons; the younger being named
+Carletto. He was also the favourite, and an excellent artist, who did
+some fine painting, but he died while he was still young. Gabriele the
+elder son, also painted, but he was mainly a man of affairs, and
+attended to business rather than to art.
+
+Veronese was a loving father and brother, and beyond doubt a happy
+man. After his death both his sons and his brother worked upon his
+unfinished paintings, completing them for him. He was buried in the
+Church of St. Sebastian.
+
+  PLATE--THE MARRIAGE AT CANA
+
+This painting is most characteristic of Veronese's methods. He has no
+regard for the truth in presenting the picture story. At the marriage
+at Cana everybody must have been very simply dressed, and there could
+have been no beautiful architecture, such as we see in the picture. In
+the painting we find courtier-like men and women dressed in beautiful
+silks. Some of the costumes appear to be a little Russian in
+character, the others Venetian; and Jesus Himself wears the loose
+every-day robe of the pastoral people to whom he belonged. We think of
+luxury and rich food and a splendid house when we look at this
+painting, when as a matter of fact nothing of this sort could have
+belonged to the scene which Veronese chose to represent. Perhaps no
+painter was more lacking in imagination than was Veronese in painting
+this particular picture. He chose to place historical or legendary
+characters, in the midst of a scene which could not have existed
+co-incidently with the event.
+
+Among his other pictures are "Europa and the Bull," "Venice
+Enthroned," and the "Presentation of the Family of Darius to
+Alexander."
+
+
+
+
+XLIII
+
+LEONARDO DA VINCI
+
+
+  (Pronounced Lay-o-nar'do dah Veen'chee)
+  _Florentine School_
+  1451-1519
+  _Pupil of Verrocchio_
+
+Leonardo da Vinci was the natural son of a notary, Ser Pier, and he
+was born at the Castello of Vinci, near Empoli. From the very hour
+that he was apprenticed to his master, Verrocchio, he proved that he
+was the superior of his master in art. Da Vinci was one of the most
+remarkable men who ever lived, because he not only did an
+extraordinary number of things, but he did all of them well.
+
+He was an engineer, made bridges, fortifications, and plans which to
+this day are brilliant achievements.
+
+He was a sculptor, and as such did beautiful work.
+
+He was a naturalist, and as such was of use to the world.
+
+He was an author and left behind him books written backward, of which
+he said that only he who was willing to devote enough study to them to
+read them in that form, was able to profit by what he had written.
+
+Finally, and most wonderfully, he was a painter.
+
+He had absolute faith in himself. Before he constructed his bridge he
+said that he could build the best one in the world, and a king took
+him at his word and was not disappointed by the result.
+
+He stated that he could paint the finest picture in the world--but let
+us read what he himself said of it, in so sure and superbly confident
+a way that it robbed his statement of anything like foolish
+vanity. Such as he could afford to speak frankly of his greatness,
+without appearing absurd. He wrote:
+
+"In time of peace, I believe I can equal anyone in architecture, in
+constructing public and private buildings, and in conducting water
+from one place to another. I can execute sculpture, whether in marble,
+bronze, or terra cotta, and in painting I can do as much as any other
+man, be he who he may. Further, I could engage to execute the bronze
+horse in eternal memory of your father and the illustrious house of
+Sforza." He was writing to Ludovico Sforza whose house then ruled at
+Milan. "If any of the above-mentioned things should appear to you
+impossible or impracticable, I am ready to make trial of them in your
+park, or in any other place that may please your excellency, to whom I
+commend myself in proud humility."
+
+Leonardo's experiments with oils and the mixing of his pigments has
+nearly lost to us his most remarkable pictures. His first fourteen
+years of work as an artist were spent in Milan, where he was employed
+to paint by the Duke of Milan, and never again was his life so
+peaceful; it was ever afterward full of change. He went from Milan to
+Venice, to Rome, to Florence, and back to Milan where his greatest
+work was done.
+
+While Leonardo was a baby he lived in the Castle of Vinci. He was
+beautiful as a child and very handsome as a man. When a child he wore
+long curls reaching below his waist. He was richly clothed, and
+greatly beloved. His body seemed no less wonderful than his mind. He
+wished to learn everything, and his memory was so wonderful that he
+remembered all that he undertook to learn. His muscles were so
+powerful that he could bend iron, and all animals seemed to love
+him. It is said he could tame the wildest horses. Indeed his life and
+accomplishments read as if he were one enchanted. One writer tells us
+that "he never could bear to see any creature cruelly treated, and
+sometimes he would buy little caged birds that he might just have the
+pleasure of opening the doors of their cages, and setting them at
+liberty."
+
+The story told of his first known work is that his master, being
+hurried in finishing a picture, permitted Leonardo to paint in an
+angel's head, and that it was so much better than the rest of the
+picture, that Verrocchio burned his brushes and broke his palette,
+determined never to paint again, but probably this is a good deal of a
+fairy tale and one that is not needed to impress us with the artist's
+greatness, since there is so much to prove it without adding fable to
+fact.
+
+Leonardo was also a very far seeing inventor and most ingenious. He
+made mechanical toys that "worked" when they were wound up. He even
+devised a miniature flying machine; however, history does not tell us
+whether it flew or not. He thought out the uses of steam as a motive
+power long before Fulton's time.
+
+Leonardo haunted the public streets, sketchbook in hand, and when
+attracted by a face, would follow till he was able to transfer it to
+paper. Ida Prentice Whitcomb, who has compiled many anecdotes of da
+Vinci, says that it was also his habit to invite peasants to his
+house, and there amuse them with funny stories till he caught some
+fleeting expression of mirth which he was pleased to reproduce.
+
+As a courtier Leonardo was elegant and full of amusing devices. He
+sang, accompanying himself on a silver lute, which he had had
+fashioned in imitation of a horse's skull. After he attached himself
+to the court of the Duke of Milan, his gift of invention was
+constantly called into use, and one of the surprises he had in store
+for the Duke's guests was a great mechanical lion, which being wound
+up, would walk into the presence of the court, open its mouth and
+disclose a bunch of flowers inside.
+
+Leonardo worked very slowly upon his paintings, because he was never
+satisfied with a work, and would retouch it day after day. Then, too,
+he was a man of moods, like most geniuses, and could not work with
+regularity. The picture of the "Last Supper" was painted in Milan, by
+order of his patron, the Duke, and there are many picturesque stories
+written of its production. It was painted upon the refectory wall of a
+Dominican convent, the Santa Maria delle Grazie; and at first the work
+went off well, and the artist would remain upon his scaffolding from
+morning till night, absorbed in his painting. It is said that at such
+times he neither ate nor drank, forgetting all but his great work. He
+kept postponing the painting of two heads--Christ and Judas.
+
+He had worked painstakingly and with enthusiasm till that point, but
+deferred what he was hardly willing to trust himself to perform. He
+had certain conceptions of these features which he almost feared to
+execute, so tremendous was his purpose. He let that part of the work
+go, month after month, and having already spent two years upon the
+picture, the monks began to urge him to a finish. He was not the man
+to endure much pressure, and the more they urged the more resentful he
+became. Finally, he began to feel a bitter dislike for the prior, the
+man who annoyed him most. One day, when the prior was nagging him
+about the picture, wanting to know why he didn't get to work upon it
+again, and when would it be finished, Leonardo said suavely: "If you
+will sit for the head of Judas, I'll be able to finish the picture at
+once." The prior was enraged, as Leonardo meant he should be; but
+Leonardo is said actually to have painted him in as Judas. Afterward
+he painted in the face of Christ with haste and little care, simply
+because he despaired of ever doing the wonderful face that his art
+soul demanded Christ should wear.
+
+The one bitter moment in Leonardo's life, in all probability, was when
+he came in dire competition with Michael Angelo. When he removed to
+Florence he was required to submit sketches for the Town Hall--the
+Palazzo Vecchio--and Michael Angelo was his rival. The choice fell to
+Angelo, and after a life of supremacy Leonardo could not endure the
+humiliation with grace. Added to disappointment, someone declared that
+Leonardo's powers were waning because he was growing old. This was
+more than he could bear, and he left Italy for France, where the king
+had invited him to come and spend the remainder of his life. Francis
+I. had wished to have the picture in the Milan monastery taken to
+France, but that was not to be done.
+
+Doubtless the king expected Leonardo to do some equally great work
+after he became the nation's guest.
+
+Before leaving Italy, Leonardo had painted his one other "greatest"
+picture--"La Gioconda" (Mona Lisa)-and he took that wonderful work
+with him to France, where the King purchased it for $9,000, and to
+this day it hangs in the Louvre.
+
+But Leonardo was to do no great work in France, for in truth he was
+growing old. His health had failed, and although he was still a dandy
+and court favourite, setting the fashion in clothing and in the cut of
+hair and beard, he was no longer the brilliant, active Leonardo.
+
+Bernard Berensen, has written of him: "Painting ... was to Leonardo so
+little of a preoccupation that we must regard it as merely a mode of
+expression used at moments by a man of universal genius." By which
+Berensen means us to understand that Leonardo was so brilliant a
+student and inventor, so versatile, that art was a mere pastime. "No,
+let us not join in the reproaches made to Leonardo for having painted
+so little; because he had so much more to do than to paint, he has
+left all of us heirs to one or two of the supremest works of art ever
+created."
+
+Another author writes that "in Leonardo da Vinci every talent was
+combined in one man."
+
+Leonardo was the third person of the wonderful trinity of Florentine
+painters, Raphael and Michael Angelo being the other two.
+
+He knew so much that he never doubted his own powers, but when he
+died, after three years in France, he left little behind him, and that
+little he had ever declared to be unfinished--the "Mona Lisa" and the
+"Last Supper." He died in the Château de Cloux, at Amboise, and it is
+said that "sore wept the king when he heard that Leonardo was dead."
+
+In Milan, near the Cathedral, there stands a monument to his memory,
+and about it are placed the statues of his pupils. To this day he is
+wonderful among the great men of the world.
+
+  PLATE--THE LAST SUPPER
+
+This, as we have said, is in the former convent of Santa Maria delle
+Grazie, in Milan. It was the first painted story of this legendary
+event in which natural and spontaneous action on the part of all the
+company was presented.
+
+To-day the picture is nearly ruined by smoke, time, and alterations in
+the place, for a great door lintel has been cut into the
+picture. Leonardo used the words of the Christ: "Verily, I say unto
+you that one of you shall betray me," as the starting point for this
+painting. It is after the utterance of these words that we see each of
+the disciples questioning horrified, frightened, anxious, listening,
+angered--all these emotions being expressed by the face or gestures of
+the hands or pose of the figures. It is a most wonderful picture and
+it seems as if the limit of genius was to be found in it.
+
+The company is gathered in a half-dark hall, the heads outlined
+against the evening light that comes through the windows at the
+back. We look into a room and seem to behold the greatest tragedy of
+legendary history: treachery and sorrow and consternation brought to
+Jesus of Nazareth and his comrades.
+
+This great picture was painted in oil instead of in "distemper," the
+proper kind of mixture for fresco, and therefore it was bound to be
+lost in the course of time. Besides, it has known more than ordinary
+disaster. The troops of Napoleon used this room, the convent
+refectory, for a stable, and that did not do the painting any
+good. The reason we have so complete a knowledge of it, however, is
+that Leonardo's pupils made an endless number of copies of it, and
+thus it has found its way into thousands of homes. The following is
+the order in which Leonardo placed the disciples at the table: Jesus
+of Nazareth in the centre, Bartholomew the last on the left, after him
+is James, Andrew, Peter, Judas--who holds the money bag--and John. On
+the right, next to Jesus, comes Thomas, the doubting one; James the
+Greater, Philip, Matthew, Thaddeus, and Simon. Jesus has just declared
+that one of them shall betray him, and each in his own way seems to be
+asking "Lord, is it I?" In the South Kensington Museum in London will
+be found carefully preserved a description, written out fairly in
+Leonardo's own hand, to guide him in painting the Last Supper. It is
+most interesting and we shall quote it: "One, in the act of drinking
+puts down his glass and turns his head to the speaker. Another
+twisting his fingers together, turns to his companion, knitting his
+eyebrows. Another, opening his hands and turning the palm toward the
+spectator, shrugs his shoulders, his mouth expressing the liveliest
+surprise. Another whispers in the ear of a companion, who turns to
+listen, holding in one hand a knife, and in the other a loaf, which he
+has cut in two. Another, turning around with a knife in his hand,
+upsets a glass upon the table and looks; another gasps in amazement;
+another leans forward to look at the speaker, shading his eyes with
+his hand; another, drawing back behind the one who leans forward,
+looks into the space between the wall and the stooping disciple."
+
+Other paintings of Leonardo's are: "Mona Lisa," "Head of Medusa,"
+"Adoration of the Magi," and the "Madonna della Caraffa."
+
+
+
+
+XLIV
+
+JEAN ANTOINE WATTEAU
+
+
+  (Pronounced in French, Vaht-toh; English, Wot-toh)
+  _French (Genre) School_
+  1684-1721
+  _Pupil of Gillot and Audran_
+
+Watteau's father was a tiler in a Flemish town--Valenciennes. He meant
+that his son should be a carpenter, but that son tramped from
+Valenciennes to Paris with the purpose of becoming a great painter. He
+did more, he became a "school" of painting, all by himself.
+
+There is no sadder story among artists than that of this lowly born
+genius. He was not good to look upon, being the very opposite of all
+that he loved, having no grace or charm in appearance. He had a
+drooping mouth, red and bony hands, and a narrow chest with stooping
+shoulders. Because of a strange sensitiveness he lived all his life
+apart from those he would have been happy with, for he mistrusted his
+own ugliness, and thought he might be a burden to others.
+
+Such a man has painted the gayest, gladdest, most delicate and
+exquisite pictures imaginable.
+
+He entered Paris as a young man, without friends, without money or
+connections of any kind, and after wandering forlornly, about the
+great city, he found employment with a dealer who made hundreds of
+saints for out-of-town churches.
+
+It is said that for this first employer Watteau made dozens and dozens
+of pictures of St. Nicholas; and when we think of the beautiful
+figures he was going to make, pictures that should delight all the
+world, there seems something tragic in the monotony and
+common-placeness of that first work he was forced by poverty to
+do. Certainly St. Nicholas brought one man bread and butter, even if
+he forgot him at Christmas time.
+
+After that hard apprenticeship, Watteau's condition became slightly
+better. He had been employed near the Pont Notre Dame, at three francs
+a week, but now in the studio of a scene painter, Gillot, he did work
+of coarse effect, very different from that exquisite school of art
+which he was to bring into being. After Gillot's came the studio of
+Claude Audran, the conservator of the Luxembourg, and with him Watteau
+did decorative work. In reality he had no master, learned from nobody,
+grovelled in poverty, and at first, forced a living from the meanest
+sources. With this in mind, it remains a wonder that he should paint
+as no other ever could, scenes of exquisite beauty and grace; scenes
+of high life, courtiers and great ladies assembled in lovely
+landscapes, doing elegant and charming things, dressed in unrivalled
+gowns and costumes. Until Watteau went to the Luxembourg he had seen
+absolutely nothing of refined or gracious living. He had come from
+country scenes, and in Paris had lived among workmen and
+bird-fanciers, flower sellers, hucksters and the like. This is very
+likely the secret of his peculiar art.
+
+Watteau would have been a wonderful artist under any circumstances, no
+matter what sort of pictures he had painted; but circumstances gave
+his imagination a turn toward the exquisite in colourand
+composition. Doubtless when he first looked down from the palace
+windows of the Luxembourg and saw gorgeous women and handsome men
+languishing and coquetting and revelling in a life of ease and beauty,
+he was transported. He must have thought himself in fairyland, and the
+impulse to paint, to idealise the loveliness that he saw, must have
+been greater in him than it would have been in one who had lived so
+long among such scenes that they had become familiar with them.
+
+After Watteau there were artists who tried to do the kind of work he
+had done, but no one ever succeeded. Watteau clothed all his
+shepherdesses in fine silken gowns, with a plait in the back, falling
+from the shoulders, and to-day we have a fashion known as the "Watteau
+back"--gowns made with this shoulder-plait. He put filmy laces or
+softest silks upon his dairy maids, as upon his court ladies, dressing
+his figures exquisitely, and in the loveliest colours. He had suffered
+from poverty and from miserable sights, so when he came to paint
+pictures, he determined to reproduce only the loveliest objects.
+
+At that time French fashions were very unusual, and it was quite the
+thing for ladies to hold a sort of reception while at their toilet. A
+description of one of these affairs was written by Madame de Grignon
+to her daughter: "Nothing can be more delightful than to assist at the
+toilet of Madame la Duchesse (de Bourgoyne), and to watch her arrange
+her hair. I was present the other day. She rose at half past twelve,
+put on her dressing gown, and set to work to eat a _méringue_. She ate
+the powder and greased her hair. The whole formed an excellent
+breakfast and charming _coiffure_." Watteau has caught the spirit of
+this strange airy, artificial, incongruous existence. His ladies seem
+to be eating _meringues_ and powdering their hair and living on a diet
+of the combination. One hardly knows which is toilet and which is real
+life in looking at his paintings.
+
+He quarreled with Audran at the Luxembourg, and having sold his first
+picture, he went back to his Valenciennes home, to see his former
+acquaintances, no doubt being a little vain of his performance.
+
+After that he painted another picture which sold well enough to keep
+him from poverty for a time, and on his return to Paris he was warmly
+greeted by a celebrated and influential artist, Crozat. Watteau tried
+for a prize, and though his picture came second it had been seen by
+the Academy committee.
+
+His greatness was acknowledged, and he was immediately admitted to the
+Academy and granted a pension by the crown, with which he was able to
+go to Italy, the Mecca of all artists the world over.
+
+From Italy he went to London, but there the fogs and unsuitable
+climate made his disease much worse and he hurried back to France,
+where he went to live with a friend who was a picture dealer. It was
+then that he painted a sign for this friend, Gersaint, a sign so
+wonderful that it is reckoned in the history of Watteau's paintings.
+
+Soon he grew so sensitive over his illness, that he did not wish to
+remain near his dearest friends, but one of them, the Abbé Haranger,
+insisted upon looking after his welfare, and got lodgings for him at
+Nogent, where he could have country air and peace.
+
+Watteau died very soon after going to Nogent in July, 1721, and he
+left nine thousand livres to his parents, and his paintings to his
+best friends, the Abbé, Gersaint, Monsieur Henin, and Monsieur
+Julienne. He is called the "first French painter" and so he
+was--though he was Flemish, by birth.
+
+  PLATE--FÊTE CHAMPÊTRE
+
+This exquisite picture displays nearly all the characteristics of
+Watteau's painting. He was said to paint with "honey and gold," and
+his method was certainly remarkable. His clear, delicate colours were
+put upon a canvas first daubed with oil, and he never cleaned his
+palette. His "oil-pot was full of dust and dirt and mixed with the
+washings of his brush." One would think that only the most slovenly
+results could come from such habits of work, but the artist made a
+colour which no one could copy, and that was a sort of creamy,
+opalescent white. This was original with Watteau, and most beautiful.
+
+In this "Fête Champêtre," which is now in the National Gallery at
+Edinburgh, he paints an elegant group of ladies and gentlemen
+indulging in an open air dance of some sort. One couple are doing
+steps facing one another, to the music of a set of pipes, while the
+rest flirt and talk, decorously, round about. There is no boisterous
+rusticity here; all is dainty and refined.
+
+The same characteristics are to be found in Watteau's other pictures
+such as, "Embarkation for the Island of Cythera," "The Judgment of
+Paris," and "Gay Company in a Park."
+
+
+
+
+XLV
+
+SIR BENJAMIN WEST
+
+
+  _American_
+  1738-1820
+  _Pupil of the Italian School_
+
+The beautiful smile of his little niece helped to make this man an
+artist. This is the story:
+
+Benjamin West was born down in Pennsylvania, at Westdale, a small
+village in the township of Springfield, of Quaker parentage. The
+family was poor perhaps, but in America at a time when everybody was
+struggling with a new civilisation it did not seem to be such binding
+poverty as the same condition in Europe would have been. Benjamin had
+a married sister whose baby he greatly loved, and he gave it devoted
+attention. One day while it was sleeping and the undiscovered artist
+was sitting beside it he saw it smile, and the beauty of the smile
+inspired him to keep it forever if he could. He got paper and pencil
+and forthwith transferred that "angel's whisper."
+
+No child of to-day can imagine the difficulties a boy must have had in
+those days in America, to get an art education, and having learned his
+art, how impossible it was to live by it. Men were busy making a new
+country and pictures do not take part in such pioneer work; they come
+later. Still, there were bound to be born artistic geniuses then, just
+as there were men for the plough and men for politics and for war. He
+who happened to be the artist was the Quaker boy, West.
+
+He took his first inspiration from the Cherokees, for it was the
+Indian in all the splendour of his strength and straightness that
+formed West's ideal of beautiful physique.
+
+When he first saw the Apollo Belvedere, he exclaimed: "A young Mohawk
+warrior!" to the disgust of every one who heard him, but he meant to
+compliment the noblest of forms. Europeans did not know how
+magnificent a figure the "young Mohawk warrior" could be; but West
+knew.
+
+After his Indian impetus toward art he went to Philadelphia, and
+settled himself in a studio, where he painted portraits. His sitters
+went to him out of curiosity as much as anything else, but at last a
+Philadelphia gentleman, who knew what art meant, recognised Benjamin
+West's talent, and made some arrangement by which the young man went
+to Italy.
+
+Life began to look beautiful and promising to the Pennsylvanian. He
+was in Italy for three years, and in that home of art the young man
+who had made the smile of his sister's sleeping baby immortal was
+given highest honours. He was elected a member of all the great art
+societies in Italy, and studied with the best artists of the time. He
+began to earn his living, we may be sure, and then he went to England,
+where, in spite of the prejudice there must have been against the
+colonists, he became at once a favourite of George III., a friend of
+Reynolds and of all the English artists of repute--unless perhaps of
+Gainsborough, who made friends with none.
+
+West was appointed "historical painter" to his Majesty, George III.,
+and he was chosen to be one of four who should draw plans for a Royal
+Academy. He was one of the first members of that great organisation,
+and when Sir Joshua Reynolds, the first president, died, West became
+president, remaining in office for twenty-eight years.
+
+About that time came the Peace of Amiens, and West was able to go to
+Paris, where he could see the greatest art treasures of Europe, which
+had been brought to France from every quarter as a consequence of the
+war. At that time, before Paris began to return these, and when she
+had just pillaged every great capital of Europe, artists need take but
+a single trip to see all the art worth seeing in the whole world.
+
+After a long service in the Academy, West quarreled with some of the
+Academicians and sent in his resignation; but his fellow artists had
+too much sense and good feeling to accept it, and begged him to
+reconsider his action. He did so, and returned to his place as
+president. When West was sixty-five years old he made a picture,
+"Christ Healing the Sick," which he meant to give to the Quakers in
+Philadelphia, who were trying to get funds with which to build a
+hospital. This picture was to be sold for the fund; but it was no
+sooner finished and exhibited in London before being sent to America,
+than it was bought for 3,000 guineas for Great Britain. West did not
+contribute this money to the hospital fund, but he made a replica for
+the Quakers, and sent that instead of the original.
+
+West was eighty-two years old when he died and he was buried in
+St. Paul's Cathedral after a distinguished and honoured life. Since
+Europe gave him his education and also supported him most of his life,
+we must consider him more English than American, his birth on American
+soil being a mere accident.
+
+  PLATE--THE DEATH OF WOLFE
+
+This death scene upon the Plains of Abraham, without the walls of
+Quebec in 1759, must not be taken as a realistic picture of an
+historic event. West drew upon his imagination and upon portraits of
+the prominent men supposed to have been grouped around the dying
+general, and he has produced a dramatic effect. One can imagine it is
+the two with fingers pointing backward who have just brought the
+memorable tidings, "They run! They run!"
+
+"Who run?" asks Wolfe, for when he had fallen the issues of the fight
+were still undecided. "The French, sir. They give way everywhere."
+"Thank God! I die in peace," replied the English hero. At a time when
+the momentous results of this battle had set the whole of Great
+Britain afire with enthusiasm it is easy to understand the popularity
+of a picture such as this. It was sold in 1791 for £28, and now
+belongs to the Duke of Westminster. There is a replica of it in the
+Queen's drawing-room at Hampton Court.
+
+Another famous historical picture by West is "The Battle of La Hogue."
+
+
+
+
+INDEX
+
+About, Edmund
+Academia, Florence
+Academy, French
+  Rome,
+  Royal, London,
+  Venice
+"Acis and Galatea"
+Adoration of the Magi
+"Adoration of the Shepherds"
+"After a Summer Shower"
+"Afternoon"
+Albert, King
+"Alessandro del Borro"
+Alexander VI.
+Alice, Princess
+Allegri, Antonio. _See_ Correggi
+Allegri, Pompino
+"Ambassadors, The"
+"American Mustangs"
+"Anatomy Lesson, The"
+Andrea del Sarto
+Angelo, Michael
+"Angels' Heads"
+"Angelas, The"
+Anguisciola, Sofonisba
+Anne of Cleves
+Anne of Saxony
+Annunciata, cloister of the
+"Annunciation, The"
+"Ansidei Madonna, The"
+"Antiope"
+Apocalypse
+Apollo Belvedere
+Apostles, the Four
+Apostles' Heads
+Appelles
+"Archipelago"
+Arena Chapel
+Arrivabene Chapel
+"Artist's Two Sons, The"
+"Arundel Castle and Mill"
+"Assumption of the Virgin"
+"At the Well"
+Audran
+Augusta, Princess
+"Avenue, Middelharnis, Holland"
+"Awakened Conscience, The"
+
+"Bacchanal"
+"Bacchus and Ariadne"
+Balzac
+"Banquet in Levi's House"
+"Baptism of Christ, The"
+Barbizon
+Barile
+Barry, James
+Bartoli d'Angiolini
+Bartolommeo, Fra
+Bassano
+"Bathers"
+"Battle of La Hogue"
+Beaumont, Sir George
+Beaux-Arts, l'Ecole des
+Begarelli
+Bellini, Gentile
+Bellini, Giovanni
+Bembo, Cardinal
+Beneguette
+"Bent Tree"
+Bentivoglio, Cardinal
+Berck, Derich
+Berensen, Bernard
+Bergholt, East
+"Berkshire Hills"
+"Bianca"
+Bicknell, Maria
+Bigio, Francia
+Bigordi. _See_ Ghirlandajo
+Bird
+"Birth of the Virgin"
+  (Andrea del Sarto)
+  (Murillo)
+"Birth of Venus"
+Blanc, Charles
+"Blessed Herman Joseph, The"
+"Bligh Shore"
+"Blue Boy, The"
+Böcklin, Arnold
+"Boat-Building"
+Boleyn, Anne
+Bolton, Mrs. Sarah K.
+Bonheur, Marie-Rosea
+Bonheur, Raymond B.
+Bordeaux
+Bordone. _See_ Giotto
+Borghese Palace
+Borgia family
+Borgia, Lucretia
+Botticelli
+Boudin
+Bouguereau, William Adolphe
+"Boy at the Stile, The"
+Brancacci Chapel
+Brant, Isabella
+Breton, Jules
+Brice, J. B.
+Brouwer
+Browning
+Brunellesco
+"Brutus"
+Buckingham, Duke of
+Buonarroti. _See_ Angelo Michael
+Burgundy, Duchess of
+Burke, Edmund
+Burne-Jones, Sir Edward
+Burr, Margaret
+
+Caffin
+Cagliari, Benedetto
+Cagliari, Carletto
+Cagliari, Gabriele
+Cagliari, Paolo. _See_ Veronese
+Cambridge, University of
+"Camels at Rest"
+Campagna
+Campana, Pedro
+Campanile, Florence
+Canova
+Caprese
+"Capture of Samson"
+Capuchin Church
+Capuchin Convent
+Carlos, Don
+"Carmencita"
+Carmine, Church of the
+"Carthage"
+Castillo, Juan del
+Cecelia, wife of Titian
+Cellini
+Centennial Exhibition
+Chamberlain, Arthur
+"Chant d'Amour"
+Chantry, Sir Francis
+"Charity"
+Charles, I.
+Charles V.
+Charles X.
+Cherokees
+"Chess Players, The"
+"Children of Charles I."
+"Christ Healing the Sick"
+"Christ in the Temple"
+"Christina of Denmark"
+Church
+Cibber, Theophilus
+Cimabue
+Claude
+"Cleopatra Landing at Tarsus"
+"Cock Fight"
+Cogniet, Léon
+Colnaghi
+"Cologne"
+Constable, John
+Copley, John Singleton
+Copper Plate Magazine
+Cornelia, Rembrandt's daughter
+Cornelissen, Cornelis
+"Cornfield"
+"Coronation of Marie de Medicis"
+"Coronation of the Virgin"
+  (Ghirlandajo)
+  (Raphael)
+Corot, Jean Baptiste Camille
+Correggio
+Cosimo, Piero di
+"Cottage, The"
+"Countess Folkstone"
+"Countess of Spencer"
+Coventry, Countess of
+"Creation of Man, The"
+"Creation of the World, The"
+Crozat
+"Crucifixion, The"
+  (Raphael)
+  (Tintoretto)
+
+"Danaë"
+Dandie Dinmont
+"Daniel"
+Dante
+"Daphnis and Chloe"
+Daubigny
+"David"
+"Dead Christ, The"
+"Dead Mallard"
+"Death of Ananias, The"
+"Death of Wolfe, The"
+"Dedham Mill"
+"Dedham Vale"
+Delaroche
+"Deluge, The"
+"Descent from the Cross, The"
+  (Campana)
+  (Rembrandt)
+  (Rubens)
+De Witt
+Diaz
+"Dice Players, The"
+Dickens, Charles
+Digby, Kenelm
+"Dignity and Impudence"
+"Divine Comedy"
+Dolce, Ludovico
+Donatello
+"Don Quixote"
+Doré, Paul Gustave
+D'Orsay
+"Duchess of Devonshire and Her Daughter, The"
+"Duel After the Masked Ball"
+Dunthorne, John
+Dupré
+Durand, Carolus
+Dürer, Albrecht
+Dyce
+
+"Ecce Homo"
+"Education of Mary, The"
+Edward, King
+Egyptian art
+Elizabeth, Cousin of the Virgin
+Elizabeth, Princess
+"Embarkation for the Island of Cythera"
+"Emperor at Solferino, The"
+Engravers and engraving
+"Entombment, The"
+  (Titian)
+  (Veronese)
+Eos
+"Equestrian Portrait of Don Balthasar Carlos"
+Errard, Charles
+Escorial, the
+Estéban, Bartolomé. See Murillo
+Estéban, Gaspar
+Estéban, Therese
+Etchers and etching
+"Europa and the Bull"
+"Eve of St. Agnes, The"
+
+Fallen, Ambrose
+"Fall of Man, The"
+"Fantasy of Morocco"
+Fawkes, Hawksworth
+"Feast in the House of Simon"
+"Feast of Ahasuerus"
+"Ferdinand of Austria"
+Ferdinand III., Grand Duke
+Ferrara, Duke of
+"Fête Champêtre"
+"Fighting Téméraire, The"
+Filipepi, Mariano
+"Finding of Christ in the Temple, The"
+"Flamborough, Miss"
+"Flatford Mill on the River Stour"
+"Flora"
+  (Böcklin)
+  (Titian)
+"Foal of an Ass, The"
+Fondato de' Tedeschi
+Fontainebleau
+"Fool, The"
+"Fornarina, The"
+Fortuny, Mariano
+Fourment family
+Fourment, Helena
+"Four Saints"
+Francis I.
+Frari, monks of the
+Frey, Agnes
+"Friedland"
+
+Gainsborough, Mary
+Gainsborough, Thomas
+Gallery, Berlin
+  Dresden
+  Grosvenor
+  Hague, The
+  Hermitage, The
+  Lichtenstein, Vienna
+  Louvre
+  Luxembourg
+  Madrid
+  Naples
+  National, Edinburgh
+  National, London
+  Old Pinakothek, Munich
+  Parma
+  Pitti Palace
+  Uffizi
+  Vienna
+Garrick
+"Gay Company in a Park"
+Gellée. See Claude Lorrain
+George III.
+"Georgia Pines"
+Gerbier
+Germ, The
+Gérôme, Jean Léon
+Gersaint
+Ghibertio
+Ghirlandajo
+"Gibeon Farm"
+Gignoux, Regis
+"Gillingham Mill"
+Gillot
+Giorgione
+Giotto
+"Giovanna degli Albizi"
+Girten, Thomas
+Gisze, Gorg
+Gladstone, Mr. and Mrs.
+"Gleaners, The"
+"Glebe Farm"
+Goethe
+"Golden Calf, The"
+"Golden Stairs, The"
+Goldsmith, craft of the
+Goldsmith, Oliver
+Gonzaga, Vincenzo
+"Good Samaritan, The"
+Graham, Judge
+Granacci
+Gravelot
+Grignon, Madame de
+Gualfonda
+"Guardian Angel, The"
+Guidi, Giovanni
+Guidi, Simone
+Guidi. Tommaso. _See_ Masaccio
+Guido
+Guidobaldo of Urbino
+Guilds
+"Gust of Wind"
+
+Haarlem Town Hall
+"Haarlem's Little Forest"
+"Hadleigh Castle"
+Hals, Franz
+Hamerton
+Hamilton, Duchess of
+"Hampstead Heath"
+Hancock, John
+"Hans of Antwerp"
+Haranger, Abbé
+"Hark!"
+"Harvest Waggon, The"
+Hassam, Childe
+Hastings, Warren
+"Haunt of the Gazelle, The"
+Hayman
+"Haystack in Sunshine"
+"Hay Wain, The"
+"Head of Christ"
+"Head of Medusa"
+Hearn, George A.
+Henin
+Henrietta, Queen
+Henry III.
+Henry VIII.
+"Henschel"
+"Hercules"
+Herrera
+"Highland Sheep"
+"Hille Bobbe, the Witch of Haarlem"
+Hill, Jack
+"Hireling Shepherd, The"
+Hobbema, Meindert
+Hogarth, William
+Holbein, Ambrosius
+Holbein, Hans, the Younger
+Holbein, Michael
+Holbein, Philip
+Holbein, Sigismund
+Holbein, the Elder
+"Holofernes"
+Holper, Barbara
+"Holy Family and St. Bridget"
+Holy Family in art, The
+"Holy Family under a Palm Tree, The"
+"Holy Night, The"
+"Homer St. Gaudens"
+"Hon. Ann Bingham, The"
+Hood, Admiral
+"Horse Fair, The"
+Howard, Catherine
+Hudson, Thomas
+Hunt, William Holman
+
+"II Giorno"
+"II Medico del Correggio"
+"Immaculate Conception, The"
+Indian pottery
+Infanta
+"Infant Jesus and St. John, The"
+Inman
+Inness
+"Innocence"
+"In Paradise"
+Inquisition, Spanish
+"Interior of the Mosque of Omar"
+Isabella, Queen
+Islay
+"Isle of the Dead, The"
+"Ivybridge"
+
+Jacopo da Empoli
+Jacque
+"Jane Seymour"
+"Jerusalem by Moonlight"
+"Jesus and the Lamb"
+Jesus in art
+Johnson, Dr.
+Jones, George
+Joseph in art
+"Joseph in Egypt"
+"Joseph's Dream"
+"Judgment of Paris, The"
+"Judith"
+Julienne
+Julius II.
+Justiniana
+
+Kann, Rudolf
+"King Cophetua and the Beggar Maid"
+"King of Hearts"
+"Kirmesse, The"
+Knackfuss
+"Knight, Death and the Devil, The"
+
+"La Belle Jardinière"
+"La Disputa"
+"Lady Elcho, Mrs. Arden, Mrs. Tennant"
+"La Gioconda"
+"Landscape with Cattle."
+Landseer, John
+Landseer, Sir Edwin Henry
+Landseer, Thomas
+"La Primavera"
+"Last Judgment, The"
+  (Angelo)
+  (Tintoretto)
+  (Titian)
+"Last Supper, The"
+  (Andrea del Sarto)
+  (Ghirlandajo)
+  (Veronese)
+  (Leonardo da Vinci)
+"Laughing Cavalier, The"
+Laura
+Lavinia, daughter of Titian
+"Lavinia, the Artist's Daughter"
+Lawrence, Sir Thomas
+"Leda"
+  (Correggio)
+  (Gérome)
+Lee, Jeremiah
+Legion of Honour
+Lemon, Margaret
+Leonardo. See da Vinci
+Leo X.
+Lewis, J. F.
+_Liber Studiorium_
+"Liber Veritas"
+Library, Boston Public
+"Light of the World, The"
+Linley, Thomas
+Linley, Samuel
+"Lion Disturbed at His Repast"
+"Lion Enjoying His Repast"
+"Lioness, The Study off a"
+"Lion Hunt, A"
+Lippi, Fra Filippo
+"Lock on the Stour"
+Lombardi
+"Lords Digby and Russell"
+"Lord Wharton"
+Lorenzalez, Claudio
+Lorrain, Claude
+Lott, Willy
+Louis XIV.
+Louise, Princess
+"Love Among the Ruins"
+"Low Life and High Life"
+Lowther, Sir William
+Lucas van Leyden
+Lucia, mother of Titian
+Lucretia, wife of Andrea del Sarto
+Luther, Martin
+Madonna and Child
+"Madonna and Child with St. Anne"
+"Madonna and Child with Saints"
+"Madonna del'Arpie"
+"Madonna della Caraffa"
+"Madonna della Casa d'Alba"
+"Madonna della Sedia"
+"Madonna del Granduca"
+"Madonna del Pesce"
+"Madonna del Sacco"
+"Madonna of the Palms"
+"Madonna of the Rosary."
+Madrazo
+"Magdalene, The"
+Manet
+"Manoah's Sacrifice"
+Mantegna
+Mantua, Duke of
+Mantua, Duke Frederick II. of
+"Man with the Hoe, The"
+"Man with the Sword, The"
+Margherita
+Maria Theresa
+"Marriage à la Mode"
+"Marriage at Cana, The"
+"Marriage Contract, The"
+"Marriage of Bacchus and Ariadne, The"
+"Marriage of Mary and Joseph, The"
+"Marriage of St. Catherine, The"
+"Marriage of Samson, The"
+Martineau
+"Martyrdom of St. Agnes, The"
+"Martyrdom of St. Peter, The"
+"Martyrdom of St. Sebastian, The"
+Mary, the Virgin, in art
+Masaccio (Tommasco Guidi)
+Masoline
+Mastersingers, Nuremberg
+Maximillian, Emperor
+Medici family
+Medici, Giovanni di Bicci de'
+Medici, Lorenzi de'
+Medici, Ottaviano de'
+Medici, Pietro de'
+"Meeting of St. John and St. Anna at Jerusalem"
+Meissonier, Jean Louis Ernest
+"Melancholy"
+Merlini, Girolama
+"Meyer Madonna, The"
+Michallon
+"Midsummer Noon"
+Millais
+Millet, Jean François
+Millet, Mère
+"Mill Stream"
+"Miracle of St. Mark, The"
+Missions, Spanish
+Missirini
+"Mr. Marquand"
+"Mr. Penrose"
+"Mrs. Meyer and Children"
+"Mrs. Peel"
+Mohawk
+Mona Lisa
+Monet, Claude
+"Money Changers, The"
+"Moonlight at Salerno"
+Morales
+"Moreau and His Staff before Hohenlinden"
+More, Sir Thomas
+"Morning Prayer, The"
+"Moses"
+"Moses Breaking the Tablets of the Law"
+Mudge, Dr.
+Murat
+Murillo (Bartolomé Estéban)
+Murillo, Doña Anna
+Museum of Art, Basel
+  Berlin
+  Court, Vienna
+  Madrid
+  Metropolitan, New York
+  Prado
+  Rijks, Amsterdam
+  South Kensington
+Muther
+"Mystic Marriage of St. Catherine, The"
+
+"Naiads at Play"
+Napoleon
+"Nativity, The"
+  (Botticelli)
+  (Dürer)
+Navarrette
+"Nieces of Sir Horace Walpole"
+"Night Watch, The"
+"Noli me Tangere"
+Norham Castle
+Nuremberg
+"Nurse and the Child, The"
+
+"'Oh, Pearl' Quoth I"
+"Old Bachelor, The"
+"Old Shepherd's Chief Mourner, The"
+Olivares
+
+Pacheco
+"Pallas"
+"Pan and Psyche"
+Pantheon
+Pareja
+"Parish Clerk, The"
+'Past and Present"
+Passignano
+"Pathless Water, The"
+Paul III.
+"Paysage"
+Pazzi family
+"Penzance"
+Percy, Bishop
+Perez family
+Perez, Maria
+Perugino
+Philip II.
+Philip III.
+Philip IV.
+Picot
+"Pilate Washing His Hands"
+Pinas
+Pirkneimer
+Pissaro
+"Ploughing"
+Pope, Alexander
+"Portrait of Old Man and Boy"
+Portraits of artists by themselves
+"Praying Arab"
+"Praying Hands"
+Pre-Raphaelites
+"Presentation of Christ in the Temple"
+"Presentation of the Family of Darius to Alexander"
+Prim, General
+"Procession of the Magi"
+"Prowling Lion, The"
+"Psyche and Cupid"
+Pypelincx, Maria
+
+Quakers
+"Quin, Portrait of"
+
+Rabelais
+"Rake's Progress, The"
+"Rape of Ganymede, The"
+"Rape of the Daughters of Leucippus, The"
+Raphael (Sanzio)
+Reade, Charles
+"Reading at Diderot's, A"
+"Reaper, The"
+"Regions of Joy"
+Rembrandt (van Rijn)
+"Retreat from Russia"
+Reynolds, Samuel
+Reynolds, Sir Joshua
+Ribera
+Rinaldo and Armida
+"Road over the Downs, The"
+"Robert Cheseman with his Falcon"
+Robusto, Jacopo. _See_ Tintoretto
+Romano, Guilio
+Rood, Professor
+"Rosary, Story of the"
+Rossetti, Dante Gabriel
+Rossetti, W. M.
+Rothschild, Lord
+Rousseau
+Royal Princess
+Rubens, Albert
+Rubens, John
+Rubens, Nicholas
+Rubens, Peter Paul
+Ruisdael, Jacob van
+Ruskin, John
+Ruthven, Lady Mary
+Sachs, Hans
+"Sacred and Profane Love"
+"St. Anthony of Padua"
+"St. Augustine"
+"St. Barbara"
+St. Bernard dog
+St. Bernardino
+"Saint Cecelia"
+St. Christopher
+St. Clemente
+St. Dominic
+St. George
+"St. George and the Dragon"
+"St. George Slaying the Dragon"
+St. Giorgio Maggiore
+"St. Jerome"
+St, John the Baptist
+St. Jovis Shooting Company
+St. Leger, Colonel
+St. Lucas, Guild of
+St. Luke, Guild of
+St. Mark
+St. Martin's Church
+"St. Michael Attacking Satan."
+"St. Nobody"
+St. Paul's Cathedral
+St. Peter
+"St. Peter Baptising"
+St. Peter's Church
+"St. Rocco Healing the Sick"
+"St. Sebastian."
+  (Botticelli)
+  (Correggio)
+  (Titian)
+St. Sebastian, Church of
+St. Sebastian, Monastery of
+St. Sixtus
+St. Trinita, Church of
+"Salisbury Cathedral"
+Salon
+Salvator Rosa
+"Samson"
+"Samson Threatening His Stepfather"
+"Samson's Wedding"
+San Francisco
+Santa Croce
+Santa Maria della Pace
+Santa Maria delle Grazte
+Santa Maria del Orto
+Santa Maria Novella
+Santi, Bartolommeo
+Santi Giovanni
+Santo Cruz, Church of
+Santo Spirito, Convent of
+Sanzio. _See_ Raphael
+Sarcinelli, Cornelio
+Sargent, John Singer
+Sarto, Andrea del. _See_ Andrea
+Saskia
+Savonarola
+"Scapegoat, The"
+"Scene from Woodstock"
+Schiavone
+Schmidt, Elizabeth
+Schongauer
+School Girl's Hymn
+"School of Anatomy, The"
+School of Art, Academy, London
+  American
+  Andalusian
+  Castilian
+  Düsseldorf
+  Dutch
+  English
+  Flemish
+  Florentine
+  Fontainebleau-Barbizon
+  Foreign
+  French in
+  German
+  Hudson River
+  Impressionist
+  Italian
+  Nuremberg
+  Parma
+  Roman
+  Spanish
+  Umbrian
+  Venetian
+"School, of Athens, The"
+"School, of Cupid, The"
+"Scotch Deer"
+Scott, Sir Walter
+Scrovegno, Enrico
+Scuola di San Rocco
+"Seaport at Sunset"
+Sebastian
+"Serpent Charmer, The"
+Servi, convent of the
+Sesto, Cesare de
+Seurat
+Sforza, Ludovico
+"Shadow of Death, The"
+Shakespeare
+Sheepshanks Collection
+"Shepherd Guarding Sheep"
+Sheppey, Isle of
+Sheridan, Mrs. Richard Brinsley
+Sheridan, Richard Brinsley
+Siddons, Mrs.
+Silva, Rodriguez de
+Sistine Chapel
+"Sistine Madonna, The"
+Six, Jan
+Sixtus IV.
+Skynner, Sir John
+"Slaughter of the Innocents, The"
+"Slave Ship, The"
+"Sleeping Bloodhound, The"
+"Sleeping Venus, The"
+Smith, John
+"Snake Charmers, The"
+"Snow-storm at Sea, A"
+Society of Arts
+Soderini
+Solus Lodge
+"Sortie, The"
+  _See also_ Night Watch
+Sotomayer, Doña Beatriz de
+  Cabrera y
+"Sower, The"
+Spaniel, King Charles
+"Spanish Marriage, The"
+Spinola, Marquis of
+"Sport of the Waves"
+"Spring"
+Sterne, Lawrence
+"Storm, The"
+Stour, River
+"Straw Hat, The"
+Sudbury
+Sully
+Sultan of Turkey
+"Sunset on the Passaic"
+"Sunset on the Sea"
+"Surrender of Breda"
+"Susanna and the Elders"
+"Susanna's Bath"
+"Sussex Downs"
+Swanenburch, Jacob van
+"Sword-Dance, The"
+"Syndics of the Cloth Hall"
+
+Taddei, Taddeo
+Tassi, Agostine
+Thackeray
+Thornhill, Sir James
+"Three Ages, The"
+"Three Saints and God the Father"
+Tintoretto (Jacopo Robusti)
+Titian (Tiziano Vecelli)
+Tornabuoni, Giovanni
+Torregiano
+Trafalgar Square
+"Transfiguration, The"
+"Tribute Money, The"
+"Trinity"
+Troyon
+Trumbull, American painter
+Trumbull, English diplomat
+Tulp, Nicholaus
+Turner, Charles
+Turner, Joseph Mallord William
+"Two Beggar Boys"
+Tybis, Geryck
+
+Ulenberg, Saskia van
+Urban VIII.
+Urbino, Duke of
+
+"Valley Farm, The"
+Van Dyck, Sir Anthony
+Van Mander, Karel
+Van Marcke
+Van Noort, Adam
+Van Rijn. _See_ Rembrandt
+Van Veen
+Varangeville
+Vasari
+Vatican
+Vecchio, Palazzo
+Vecchio, Palma
+Vecelli family
+Vecelli, Orsa
+Vecelli, Orzio
+Vecelli, Pompino
+Vecelli, Tiziano. _See_ Titian
+Velasquez (Diego Rodriguez de Silva)
+"Venice Enthroned"
+"Venus Dispatching Cupid"
+"Venus Worship"
+Verhaecht, Tobias
+Vernon
+Veronese, Paul (Paolo Cagliari)
+Verrocchio
+"Vestal Virgin, The"
+Victoria, Queen
+"Villa by the Sea"
+"Village Festival, The"
+"Ville d'Avray"
+Vinci, Leonardo da
+Violante
+"Virgin as Consoler, The"
+"Virgin's Rest Near Bethlehem"
+"Vision of St. Anthony, The"
+"Visitation, The"
+"Visitor, The"
+"Visit to the Burgomaster"
+
+Warren, General Joseph
+"Water Carrier, The"
+"Watermill, The"
+Watteau, Jean Antoine
+"Wedding Feast at Cana, The"
+Wells, Frederick
+West, Sir Benjamin
+"Weymouth Bay"
+Whitcomb, Ida Prentice
+"William, Prince of Orange"
+William the Silent
+"Will-o'-the-Wisp"
+"Willows near Arras"
+Wilson
+"Winnower, The"
+"Winter"
+Wolgemuth
+"Woodcutters, The"
+"Wooded Landscape"
+"Wood Gatherers, The"
+
+Yarmouth
+"Young People's Story of Art"
+"Youth Surprised by Death"
+
+"Zingarella"
+Zuccato, Sebastian
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Pictures Every Child Should Know, by Dolores Bacon
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PICTURES EVERY CHILD SHOULD KNOW ***
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+<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+<HTML>
+<HEAD>
+<TITLE>The Project Gutenberg eBook of Pictures Every Child Should Know, by Dolores Bacon</TITLE>
+<META HTTP-EQUIV="content-Type" CONTENT="text/html; charset=iso-8859-1">
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+<pre>
+
+Project Gutenberg's Pictures Every Child Should Know, by Dolores Bacon
+
+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: Pictures Every Child Should Know
+
+Author: Dolores Bacon
+
+Posting Date: March 15, 2014 [EBook #6932]
+Release Date: November, 2004
+First Posted: February 12, 2003
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PICTURES EVERY CHILD SHOULD KNOW ***
+
+
+
+
+Produced by Arno Peters, Branko Collin, Tiffany Vergon,
+Charles Aldarondo, Charles Franks, and the Online
+Distributed Proofreading Team.
+
+
+
+
+
+
+</pre>
+
+
+<h1><a name="001"></a>
+PICTURES
+EVERY CHILD SHOULD KNOW</h1>
+
+<p>A SELECTION OF THE WORLD'S ART<br>
+MASTERPIECES FOR YOUNG PEOPLE</p>
+
+<p>BY<br>
+DOLORES BACON</p>
+
+<p>Illustrated from
+Great Paintings
+<a name="002"></a>
+
+<a name="003"></a></p>
+<h1>ACKNOWLEDGMENTS</h1>
+
+<p>Besides making acknowledgments to the
+many authoritative writers upon artists and
+pictures, here quoted, thanks are due to
+such excellent compilers of books on art
+subjects as Sadakichi Hartmann, Muther,
+C. H. Caffin, Ida Prentice Whitcomb,
+Russell Sturgis and others.
+<a name="004"></a></p>
+
+<h1>INTRODUCTION</h1>
+
+<p>Man's inclination to decorate his belongings
+has always been one of the earliest signs of
+civilisation. Art had its beginning in the lines
+indented in clay, perhaps, or hollowed in the
+wood of family utensils; after that came crude
+colouring and drawing.</p>
+
+<p>Among the first serious efforts to draw were
+the Egyptian square and pointed things, animals
+and men. The most that artists of that
+day succeeded in doing was to preserve the
+fashions of the time. Their drawings tell us
+that men wore their beards in bags. They
+show us, also, many peculiar head-dresses and
+strange agricultural implements. Artists of
+that day put down what they saw, and they
+saw with an untrained eye and made the record
+with an untrained hand; but they did not put
+in false details for the sake of glorifying the
+subject. One can distinguish a man from a
+mountain in their work, but the arms and legs
+embroidered upon Mathilde's tapestry, or the
+figures representing family history on an Oriental
+rug, are quite as correct in drawing and as
+little of a puzzle. As men became more intelligent,
+hence spiritualised, they began to
+express themselves in ideal ways; to glorify
+the commonplace; and thus they passed from
+<a name="005"></a>
+Egyptian geometry to gracious lines and beautiful
+colouring.</p>
+
+<p>Indian pottery was the first development
+of art in America and it led to the working
+of metals, followed by drawing and portraiture.
+Among the Americans, as soon as that term
+ceased to mean Indians, art took a most distracting
+turn. Europe was old in pictures,
+great and beautiful, when America was worshipping
+at the shrine of the chromo; but the
+chromo served a good turn, bad as it was. It
+was a link between the black and white of
+the admirable wood-cut and the true colour
+picture.</p>
+
+<p>Some of the Colonists brought over here the
+portraits of their ancestors, but those paintings
+could not be considered "American" art, nor
+were those early settlers Americans; but the
+generation that followed gave to the world
+Benjamin West. He left his Mother Country
+for England, where he found a knighthood and
+honours of every kind awaiting him.</p>
+
+<p>The earliest artists of America had to go
+away to do their work, because there was no
+place here for any men but those engaged in
+clearing land, planting corn, and fighting
+Indians. Sir Benjamin West was President of
+the Royal Academy while America was still
+revelling in chromos. The artists who remained
+chose such objects as Davy Crockett
+in the trackless forest, or made pictures of the
+Continental Congress.</p>
+
+<p><a name="006"></a>
+After the chromo in America came the picture
+known as the "buckeye," painted by relays
+of artists. Great canvases were stretched
+and blocked off into lengths. The scene was
+drawn in by one man, who was followed by
+"artists," each in turn painting sky, water,
+foliage, figures, according to his specialty.
+Thus whole yards of canvas could be painted
+in a day, with more artists to the square inch
+than are now employed to paint advertisements
+on a barn.</p>
+
+<p>The Centennial Exhibition of 1876 came as
+a glorious flashlight. For the first time real
+art was seen by a large part of our nation.
+Every farmer took home with him a new idea
+of the possibilities of drawing and colour.
+The change that instantly followed could
+have occurred in no other country than the
+United States, because no other people would
+have travelled from the four points of the
+compass to see such an exhibition. Thus it
+was the American's <i>penchant</i> for travel which
+first opened to him the art world, for he
+was conscious even then of the educational
+advantages to be found somewhere, although
+there seemed to be few of them in the
+United States.</p>
+
+<p>After the Centennial arose a taste for the
+painting of "plaques," upon which were the
+heads of ladies with strange-coloured hair;
+of leather-covered flatirons bearing flowers
+of unnatural colour, or of shovels decorated
+<a name="007"></a>
+with "snow scenes." The whole nation began
+to revel in "art." It was a low variety, yet
+it started toward a goal which left the chromo
+at the rear end of the course, and it was a better
+effort than the mottoes worked in worsted,
+which had till then been the chief decoration
+in most homes. If the "buckeye" was hand-painting,
+this was "single-hand" painting,
+and it did not take a generation to bring the
+change about, only a season. After the Philadelphia
+exhibition the daughter of the household
+"painted a little" just as she played the
+piano "a little." To-day, much less than a
+man's lifetime since then, there is in America
+a universal love for refined art and a fair technical
+appreciation of pictures, while already
+the nation has worthily contributed to the
+world of artists. Sir Benjamin West, Sully,
+and Sargent are ours: Inness, Inman, and
+Trumbull.</p>
+
+<p>The curator of the Metropolitan Museum in
+New York has declared that portrait-painting
+must be the means which shall save the modern
+artists from their sins. To quote him: "An
+artist may paint a bright green cow, if he is so
+minded: the cow has no redress, the cow must
+suffer and be silent; but human beings who
+sit for portraits seem to lean toward portraits
+in which they can recognise their own features
+when they have commissioned an artist to
+paint them. A man <i>will</i> insist upon even the
+most brilliant artist painting him in trousers,
+<a name="008"></a>
+for instance, instead of in petticoats, however
+the artist-whim may direct otherwise; and a
+woman is likely to insist that the artist who
+paints her portrait shall maintain some recognised
+shade of brown or blue or gray when he
+paints her eye, instead of indulging in a burnt
+orange or maybe pink! These personal preferences
+certainly put a limit to an artist's
+genius and keep him from writing himself down
+a madman. Thus, in portrait-painting, with
+the exactions of truth upon it, lies the hope
+of art-lovers!"</p>
+
+<p>It is the same authority who calls attention
+to the danger that lies in extremes; either in
+finding no value in art outside the "old masters,"
+or in admiring pictures so impressionistic
+that the objects in them need to be labelled
+before they can be recognised.</p>
+
+<p>The true art-lover has a catholic taste, is
+interested in all forms of art; but he finds
+beauty where it truly exists and does not allow
+the nightmare of imagination to mislead him.
+That which is not beautiful from one point of
+view or another is not art, but decadence.
+That which is technical to the exclusion of
+other elements remains technique pure and
+simple, workmanship--the bare bones of art.
+A thing is not art simply because it is fantastic.
+It may be interesting as showing to what degree
+some imaginations can become diseased, but
+it is not pleasing nor is it art. There are fully
+a thousand pictures that every child should
+<a name="009"></a>
+know, since he can hardly know too much
+of a good thing; but there is room in this
+volume only to acquaint him with forty-eight
+and possibly inspire him with the wish to
+look up the neglected nine hundred and
+fifty-two.
+<a name="010"></a></p>
+
+<h1>CONTENTS</h1>
+
+<p>INTRODUCTION</p>
+
+<p>I. Andrea del Sarto, Florentine School, 1486-1531</p>
+
+<p>II. Michael Angelo (Buonarroti), Florentine School, 1475-1564</p>
+
+<p>III. Arnold Böcklin, Modern German School, 1827-1901</p>
+
+<p>IV. Marie-Rosa Bonheur, French School, 1822-1899</p>
+
+<p>V. Alessandro Botticelli, Florentine School, 1447-1510</p>
+
+<p>VI. William Adolphe Bouguereau, French (Genre) School 1825-1905</p>
+
+<p>VII. Sir Edward Burne-Jones, English (Pre-Raphaelite) School, 1833-1898</p>
+
+<p>VIII. John Constable, English School, 1776-1837</p>
+
+<p>IX. John Singleton Copley, English School, 1737-1815</p>
+
+<p>X. Jean Baptiste Camille Corot, Fontainebleau-Barbizon
+School, 1796-1875</p>
+
+<p>XI. Correggio (Antonio Allegri), School of Parma, 1494(?)--1534</p>
+
+<p><a name="011"></a>
+XII. Paul Gustave Doré, French
+School, 1833-1883</p>
+
+<p>XIII. Albrecht Dürer, Nuremberg
+School, 1471-1528</p>
+
+<p>XIV. Mariano Fortuny, Spanish
+School, 1838-1874</p>
+
+<p>XV. Thomas Gainsborough, English
+School, 1727-1788</p>
+
+<p>XVI. Jean Léon Gérôme, French
+Semi-classical School, 1824-1904</p>
+
+<p>XVII. Ghirlandajo, Florentine
+School, 1449-1494</p>
+
+<p>XVIII. Giotto (di Bordone), Florentine
+School, 1276-1337</p>
+
+<p>XIX. Franz Hals, Dutch School,
+1580-84-1666</p>
+
+<p>XX. Meyndert Hobbema, Dutch
+School, 1637-1709</p>
+
+<p>XXI. William Hogarth, School of
+Hogarth (English), 1697-1764</p>
+
+<p>XXII. Hans Holbein, the Younger,
+German School, 1497-1543</p>
+
+<p>XXIII. William Holman Hunt,
+English (Pre-Raphaelite)
+School, 1827-</p>
+
+<p>XXIV. George Inness, American,
+1825-1897</p>
+
+<p>XXV. Sir Edwin Henry Landseer,
+English School, 1802-1873</p>
+
+<p>XXVI. Claude Lorrain (Gellée), Classical
+French School, 1600-1682</p>
+
+<p><a name="012"></a>
+XXVII. Masaccio (Tommaso Guidi), Florentine School, 1401-1428</p>
+
+<p>XXVIII. Jean Louis Ernest Meissonier, French School, 1815-1891</p>
+
+<p>XXIX. Jean François Millet, Fontainebleau-Barbizon School, 1814-1875</p>
+
+<p>XXX. Claude Monet, Impressionist  School of France, 1840-</p>
+
+<p>XXXI. Murillo (Bartolomé Estéban), Andalusian School, 1617-1682</p>
+
+<p>XXXII. Raphael (Sanzio), Umbrian, Florentine, and Roman
+Schools, 1483-1520</p>
+
+<p>XXXIII. Rembrandt (Van Rijn), Dutch School, 1606-1669</p>
+
+<p>XXXIV. Sir Joshua Reynolds, English School, 1723-1792</p>
+
+<p>XXXV. Peter Paul Rubens, Flemish School, 1577-1640</p>
+
+<p>XXXVI. John Singer Sargent, American and Foreign Schools,
+1856-</p>
+
+<p>XXXVII. Tintoretto (Jacopo Robusti), Venetian School, 1518-1594</p>
+
+<p>XXXVIII. Titian (Tiziano Vecelli), Venetian School, 1489-1576</p>
+
+<p>XXXIX. Joseph Mallord William Turner, English, 1775-1831</p>
+
+<p><a name="013"></a>
+XL. Sir Anthony Van Dyck,
+Flemish School, 1599-1641</p>
+
+<p>XLI. Velasquez (Diego Rodriguez
+de Silva), Castilian School,
+1599-1660</p>
+
+<p>XLII. Paul Veronese (Paolo Cagliari),
+Venetian School,
+1528-1588.</p>
+
+<p>XLIII. Leonardo da Vinci, Florentine
+School, 1452-1519.</p>
+
+<p>XLIV. Jean Antoine Watteau,
+French (Genre) School,
+1684-1721</p>
+
+<p>XLV. Sir Benjamin West, American,
+1738-1820</p>
+
+<p>Index
+<a name="014"></a></p>
+
+<h1>ILLUSTRATIONS</h1>
+
+<p><a href="images/400.jpg"><img src="images/thumb_400.jpg" alt=""><br>
+FRONTISPIECE</a></p>
+
+<p><a href="images/401.jpg"><img src="images/thumb_401.jpg" alt=""><br>
+The Avenue, Middleharnis, Holland--<i>Hobbema</i></a></p>
+
+<p><a href="images/402.jpg"><img src="images/thumb_402.jpg" alt=""><br>
+Madonna of the Sack--<i>Andrea del Sarto</i></a></p>
+
+<p><a href="images/428.jpg"><img src="images/thumb_428.jpg" alt=""><br>
+Daniel--<i>Michael Angelo (Buonarroti)</i></a></p>
+
+<p><a href="images/427.jpg"><img src="images/thumb_427.jpg" alt=""><br>
+The Isle of the Dead--<i>Arnold Böcklin</i></a></p>
+
+<p><a href="images/429.jpg"><img src="images/thumb_429.jpg" alt=""><br>
+The Horse Fair--<i>Rosa Bonheur</i></a></p>
+
+<p><a href="images/430.jpg"><img src="images/thumb_430.jpg" alt=""><br>
+Spring--<i>Alessandro Botticelli</i></a></p>
+
+<p><a href="images/403.jpg"><img src="images/thumb_403.jpg" alt=""><br>
+The Hay Wain--<i>John Constable</i></a></p>
+
+<p><a href="images/404.jpg"><img src="images/thumb_404.jpg" alt=""><br>
+A Family Picture--<i>John Singleton Copley</i></a></p>
+
+<p><a href="images/405.jpg"><img src="images/thumb_405.jpg" alt=""><br>
+The Holy Night--<i>Correggio (Antonio Allegri)</i></a></p>
+
+<p><a href="images/406.jpg"><img src="images/thumb_406.jpg" alt=""><br>
+Dance of the Nymphs--<i>Jean Baptiste Camille Corot</i></a></p>
+
+<p><a href="images/407.jpg"><img src="images/thumb_407.jpg" alt=""><br>
+The Virgin as Consoler--<i>Wm. Adolphe Bouguereau</i></a></p>
+
+<p><a href="images/408.jpg"><img src="images/thumb_408.jpg" alt=""><br>
+The Love Song--<i>Sir Edward Burne-Jones</i></a></p>
+
+<p><a href="images/409.jpg"><img src="images/thumb_409.jpg" alt=""><br>
+The Mystic Marriage of St. Catherine--<i>Correggio</i></a></p>
+
+<p><a href="images/410.jpg"><img src="images/thumb_410.jpg" alt=""><br>
+Moses Breaking the Tablets of the Law--<i>Paul Gustave Doré</i></a></p>
+
+<p><a href="images/412.jpg"><img src="images/thumb_412.jpg" alt=""><br>
+The Nativity--<i>Albrecht Dürer</i></a></p>
+
+<p><a href="images/411.jpg"><img src="images/thumb_411.jpg" alt=""><br>
+The Spanish Marriage--<i>Mariana Fortuny</i></a></p>
+
+<p><a href="images/413.jpg"><img src="images/thumb_413.jpg" alt=""><br>
+Mrs. Richard Brinsley Sheridan--<i>Thomas Gainsborough</i></a></p>
+
+<p><a href="images/414.jpg"><img src="images/thumb_414.jpg" alt=""><br>
+The Sword Dance--<i>Jean Léon Gérôme</i></a></p>
+
+<p><a href="images/415.jpg"><img src="images/thumb_415.jpg" alt=""><br>
+Portrait of Giovanna degli Albizi--<i>Ghirlandajo (Domenico Bigordi)</i></a></p>
+
+<p><a href="images/417.jpg"><img src="images/thumb_417.jpg" alt=""><br>
+The Nurse and the Child--<i>Franz Hals</i></a></p>
+
+<p><a href="images/416.jpg"><img src="images/thumb_416.jpg" alt=""><br>
+The Meeting of St. John and St. Anna at Jerusalem--<i>Giotto (Di
+Bordone)</i></a></p>
+
+<p><a href="images/418.jpg"><img src="images/thumb_418.jpg" alt=""><br>
+The Avenue--<i>Meyndert Hobbema</i></a></p>
+
+<p><a href="images/419.jpg"><img src="images/thumb_419.jpg" alt=""><br>
+The Marriage Contract--<i>Wm. Hogarth</i></a></p>
+
+<p><a href="images/421.jpg"><img src="images/thumb_421.jpg" alt=""><br>
+The Light of the World--<i>William Holman Hunt</i></a></p>
+
+<p><a href="images/420.jpg"><img src="images/thumb_420.jpg" alt=""><br>
+Robert Cheseman with his Falcon--<i>Hans Holbein, the
+Younger</i></a></p>
+
+<p><a href="images/422.jpg"><img src="images/thumb_422.jpg" alt=""><br>
+The Berkshire Hills--<i>George Inness</i></a></p>
+
+<p><a href="images/423.jpg"><img src="images/thumb_423.jpg" alt=""><br>
+The Old Shepherd's Chief Mourner--<i>Sir Edwin Henry
+Landseer</i></a></p>
+
+<p><a href="images/425.jpg"><img src="images/thumb_425.jpg" alt=""><br>
+The Artist's Portrait--<i>Tommaso Masaccio</i></a></p>
+
+<p><a href="images/424.jpg"><img src="images/thumb_424.jpg" alt=""><br>
+Acis and Galatea--<i>Claude Lorrain</i></a></p>
+
+<p><a href="images/426.jpg"><img src="images/thumb_426.jpg" alt=""><br>
+Retreat from Moscow--<i>Jean Louis Ernest Meissonier</i></a></p>
+
+<p><a href="images/434.jpg"><img src="images/thumb_434.jpg" alt=""><br>
+The Angelus--<i>Jean François Millet</i></a></p>
+
+<p><a href="images/432.jpg"><img src="images/thumb_432.jpg" alt=""><br>
+The Immaculate Conception--<i>Murillo (Bartolomé Estéban)</i></a></p>
+
+<p><a name="016"></a><a href="images/433.jpg"><img src="images/thumb_433.jpg" alt=""><br>
+Haystack in Sunshine--<i>Claude Monet</i></a></p>
+
+<p><a href="images/431.jpg"><img src="images/thumb_431.jpg" alt=""><br>
+The Sistine Madonna--<i>Raphael (Sanzio)</i></a></p>
+
+<p><a href="images/436.jpg"><img src="images/thumb_436.jpg" alt=""><br>
+The Night Watch--<i>Rembrandt (Van Rijn)</i></a></p>
+
+<p><a href="images/435.jpg"><img src="images/thumb_435.jpg" alt=""><br>
+The Duchess of Devonshire and Her Daughter--<i>Sir Joshua
+Reynolds</i></a></p>
+
+<p><a href="images/438.jpg"><img src="images/thumb_438.jpg" alt=""><br>
+The Infant Jesus and St. John--<i>Peter Paul Rubens</i></a></p>
+
+<p><a href="images/437.jpg"><img src="images/thumb_437.jpg" alt=""><br>
+Carmencita--<i>John Singer Sargent</i></a></p>
+
+<p><a href="images/440.jpg"><img src="images/thumb_440.jpg" alt=""><br>
+The Miracle of St. Mark--<i>Tintoretto (Jacopo Robusti)</i></a></p>
+
+<p><a href="images/439.jpg"><img src="images/thumb_439.jpg" alt=""><br>
+The Artist's Daughter, Lavinia--<i>Titian (Tiziano
+Vecelli)</i></a></p>
+
+<p><a href="images/442.jpg"><img src="images/thumb_442.jpg" alt=""><br>
+The Fighting Téméraire--<i>Joseph Mallord William Turner</i></a></p>
+
+<p><a href="images/441.jpg"><img src="images/thumb_441.jpg" alt=""><br>
+The Children of Charles the First--<i>Sir Anthony Van Dyck</i></a></p>
+
+<p><a href="images/445.jpg"><img src="images/thumb_445.jpg" alt=""><br>
+Equestrian Portrait of Don Balthasar Carlos--<i>Velasquez (Diego
+Rodriguez de Silva)</i></a></p>
+
+<p><a href="images/444.jpg"><img src="images/thumb_444.jpg" alt=""><br>
+The Marriage at Cana--<i>Paul Veronese</i></a></p>
+
+<p><a href="images/443.jpg"><img src="images/thumb_443.jpg" alt=""><br>
+The Death of Wolfe--<i>Sir Benjamin West</i></a></p>
+
+<p><a href="images/446.jpg"><img src="images/thumb_446.jpg" alt=""><br>
+The Artist's Two Sons--<i>Peter Paul Rubens</i></a></p>
+
+<p><a href="images/448.jpg"><img src="images/thumb_448.jpg" alt=""><br>
+The Last Supper--<i>Leonardo da Vinci</i></a></p>
+
+<p><a href="images/447.jpg"><img src="images/thumb_447.jpg" alt=""><br>
+Fête Champêtre--<i>Jean Antoine Watteau</i></a></p>
+
+<p><a href="images/449.jpg"><img src="images/thumb_449.jpg" alt=""></a><a name="017"></a></p>
+
+<h1>I</h1>
+
+<h1>ANDREA DEL SARTO</h1>
+
+<center>(Pronounced Ahn'dray-ah del Sar'to)<br>
+<i>Florentine School</i><br>
+1486-1531<br>
+<i>Pupil of Piero di Cosimo</i></center>
+
+<p>Italian painters received their names in
+peculiar ways. This man's father was a
+tailor; and the artist was named after his
+father's profession. He was in fact "the
+Tailor's Andrea," and his father's name was
+Angelo.</p>
+
+<p>One story of this brilliant painter which
+reads from first to last like a romance has been
+told by the poet, Browning, who dresses up
+fact so as to smother it a little, but there is
+truth at the bottom.</p>
+
+<p>Andrea married a wife whom he loved
+tenderly. She had a beautiful face that
+seemed full of spirituality and feeling, and
+Andrea painted it over and over again. The
+artist loved his work and dreamed always of
+the great things that he should do; but he was
+so much in love with his wife that he was
+dependent on her smile for all that he did
+which was well done, and her frown plunged
+him into despair.</p>
+
+<p>Andrea's wife cared nothing for his genius,
+<a name="018"></a>
+painting did not interest her, and she had no
+worthy ambition for her husband, but she
+loved fine clothes and good living, and so
+encouraged him enough to keep him earning
+these things for her. As soon as some money
+was made she would persuade him to work no
+more till it was spent; and even when he had
+made agreements to paint certain pictures
+for which he was paid in advance she would
+torment him till he gave all of his time to her
+whims, neglected his duty and spent the
+money for which he had rendered no service.
+Thus in time he became actually dishonest, as
+we shall see. It is a sad sort of story to tell
+of so brilliant a young man.</p>
+
+<p>Andrea was born in the Gualfonda quarter
+of Florence, and there is some record of his
+ancestors for a hundred years before that,
+although their lives were quite unimportant.
+Andrea was one of four children, and as usual
+with Italians of artistic temperament, he was
+set to work under the eye of a goldsmith. This
+craftsmanship of a fine order was as near to
+art as a man could get with any certainty of
+making his living. It was a time when the
+Italian world bedecked itself with rare golden
+trinkets, wreaths for women's hair, girdles,
+brooches, and the like, and the finest skill was
+needed to satisfy the taste. Thus it required
+talent of no mean order for a man to become a
+successful goldsmith.</p>
+
+<p>Andrea did not like the work, and instead
+<a name="019"></a>
+of fashioning ornaments from his master's
+models he made original drawings which did
+not do at all in a shop where an apprentice was
+expected to earn his salt. Certain fashions
+had to be followed and people did not welcome
+fantastic or new designs. Because of this,
+Andrea was early put out of his master's shop
+and set to learn the only business that he could
+be got to learn, painting. This meant for him
+a very different teacher from the goldsmith.</p>
+
+<p>The artist may be said to have been his own
+master, because, even when he was apprenticed
+to a painter he was taught less than he already
+knew.</p>
+
+<p>That first teacher was Barile, a coarse and
+unpleasing man, as well as an incapable one;
+but he was fair minded, after a fashion, and
+put Andrea into the way of finding better
+help. After a few years under the direction
+of Piero di Cosimo, Andrea and a friend,
+Francia Bigio, decided to set up shop for
+themselves.</p>
+
+<p>The two devoted friends pitched their tent
+in the Piazza del Grano, and made a meagre
+beginning out of which great things were to
+grow. They began a series of pictures which
+was to lead at least one of them to fame. It
+was in the little Piazza, del Grano studio that
+the "Baptism of Christ" was painted, a partnership
+work that had been planned in the Campagnia
+dello Scalzo.</p>
+
+<p>"The Baptism" was not much of a picture
+<a name="020"></a>
+as great pictures go, but it was a beginning and
+it was looked at and talked about, which was
+something at a time when Titian and Leonardo
+had set the standard of great work. In the
+Piazza del Grano, Andrea and his friend lived
+in the stables of the Tuscan Grand Dukes,
+with a host of other fine artists, and they had
+gay times together.</p>
+
+<p>Andrea was a shy youth, a little timid, and
+by no means vain of his own work, but he
+painted with surprising swiftness and sureness,
+and had a very brilliant imagination. Its
+was his main trouble that he had more imagination
+than true manhood; he sacrificed everything
+good to his imagination.</p>
+
+<p>After the partnership with his friend, he
+undertook to paint some frescoes independently,
+and that work earned for him the name of
+"Andrea senza Errori"--Andrea the Unerring.
+Then, as now, each artist had his own way of
+working, and Andrea's was perhaps the most
+difficult of all, yet the most genius-like. There
+were those, Michael Angelo for example, who
+laid in backgrounds for their paintings; but
+Andrea painted his subject upon the wet
+plaster, precisely as he meant it to be when
+finished.</p>
+
+<p>He was unlike the moody Michael Angelo;
+unlike the gentle Raphael; unlike the fastidious
+Van Dyck who came long afterward; he was
+hail-fellow-well-met among his associates,
+though often given over to dreaminess. He
+<a name="021"></a>
+belonged to a jolly club named the "Kettle
+Club," literally, the Company of the Kettle;
+and to another called "The Trowel," both
+suggesting an all around good time and much
+good fellowship The members of these clubs
+were expected to contribute to their wonderful
+suppers, and Andrea on one occasion made a
+great temple, in imitation of the Baptistry,
+of jelly with columns of sausages, white birds
+and pigeons represented the choir and priests.
+Besides being "Andrew the Unerring," and a
+"Merry Andrew," he was also the "Tailor's
+Andrew," a man in short upon whom a nickname
+sat comfortably. He helped to make
+the history of the "Company of the Kettle,"
+for he recited and probably composed a
+touching ballad called "The Battle of the Mice
+and the Frogs," which doubtless had its
+origin in a poem of Homer's. But all at once,
+in the midst of his gay careless life came his
+tragedy; he fell in love with a hatter's wife.
+This was quite bad enough, but worse was to
+come, for the hatter shortly died, and the
+widow was free to marry Andrea.</p>
+
+<p>After his marriage Andrea began painting
+a series of Madonnas, seemingly for no better
+purpose than to exhibit his wife's beauty over
+and over again. He lost his ambition and
+forgot everything but his love for this unworthy
+woman. She was entirely commonplace,
+incapable of inspiring true genius or
+honesty of purpose.</p>
+
+<p><a name="022"></a>
+A great art critic, Vasari, who was Andrea's
+pupil during this time, has written that the
+wife, Lucretia, was abominable in every way.
+A vixen, she tormented Andrea from morning
+till night with her bitter tongue. She did not
+love him in the least, but only what his money
+could buy for her, for she was extravagant,
+and drove the sensitive artist to his grave
+while she outlived him forty years.</p>
+
+<p>About the time of the artist's marriage he
+painted one fresco, "The Procession of the
+Magi," in which he placed a very splendid
+substitute for his wife, namely himself. Afterward
+he painted the Dead Christ which found
+its way to France and it laid the foundation
+for Andrea's wrongdoing. This picture was
+greatly admired by the King of France who
+above all else was a lover of art. Francis I.
+asked Andrea to go to his court, as he had
+commissions for him. He made Andrea a
+money offer and to court he went.</p>
+
+<p>He took a pupil with him, but he left his
+wife at home. At the court of Francis I.
+he was received with great honours, and amid
+those new and gracious surroundings, away
+from the tantalising charms of his wife and her
+shrewish tongue, he began to have an honest
+ambition to do great things. His work for
+France was undertaken with enthusiasm, but
+no sooner was he settled and at peace, than the
+irrepressible wife began to torment him with
+letters to return. Each letter distracted him
+<a name="023"></a>
+more and more, till he told the King in his
+despair, that he must return home, but that
+he would come back to France and continue
+his work, almost at once. Francis I., little
+suspecting the cause of Andrea's uneasiness,
+gave him permission to go, and also a large
+sum of money to spend upon certain fine
+works of art which he was to bring back to
+France.</p>
+
+<p>We can well believe that Andrea started
+back to his home with every good intention;
+that he meant to appease his wife and also
+his own longing to see her; to buy the King
+his pictures with the money entrusted to him,
+and to return to France and finish his work;
+but, alas, he no sooner got back to his wife
+than his virtuous purpose fled. She wanted
+this; she wanted that--and especially she
+wanted a fine house which could just about be
+built for the sum of money which the King of
+France had entrusted to Andrea.</p>
+
+<p>Andrea is a pitiable figure, but he was also
+a vagabond, if we are to believe Vasari. He
+took the King's money, built his wretched
+wife a mansion, and never again dared return
+to France, where his dishonesty made him
+forever despised.</p>
+
+<p>Afterward he was overwhelmed with despair
+for what he had done, and he tried to make
+his peace with Francis; but while that monarch
+did not punish him directly for his knavery;
+he would have no more to do with him, and
+<a name="024"></a>
+this was the worst punishment the artist
+could have had. However, his genius was so
+great that other than French people forgot
+his dishonesty and he began life anew in his
+native place.</p>
+
+<p>Almost all his pictures were on sacred
+subjects; and finally, when driven from
+Florence to Luco by the plague, taking with
+him his wife and stepdaughter, he began a
+picture called the "Madonna del Sacco" (the
+Madonna of the Sack).</p>
+
+<p>This fresco was to adorn the convent of the
+Servi, and the sketches for it were probably
+made in Luco. When the plague passed and
+the artist was able to return to Florence, he
+began to paint it upon the cloister walls.</p>
+
+<p>Andrea, like Leonardo, painted a famous
+"Last Supper," although the two pictures
+cannot be compared. In Andrea's picture it
+is said that all the faces are portraits.</p>
+
+<p>Just before the plague sent him and his
+family from Florence a most remarkable
+incident took place. Raphael had painted a
+celebrated portrait of Pope Leo X. in a group,
+and the picture belonged to Ottaviano de
+Medici. Duke Frederick II., of Mantua, longed
+to own this picture, and at last requested the
+Medici to give it to him. The Duke could
+not well be refused, but Ottaviano wanted to
+keep so great a work for himself. What was
+to be done? He was in great trouble over the
+affair. The situation seemed hopeless. It
+<a name="025"></a>
+seemed certain that he must part with his
+beloved picture to the Duke of Mantua; but
+one day Andrea del Sarto declared that he
+could make a copy of it that even Raphael
+himself could not tell from his original. Ottaviano
+could scarcely believe this, but he begged
+Andrea to set about it, hoping that it might be
+true.</p>
+
+<p>Going at the work in good earnest, Andrea
+painted a copy so exact that the pupil of
+Raphael, who had more or less to do with the
+original picture, could not tell which was which
+when he was asked to choose. This pupil,
+Giulio Romano, was so familiar with every
+stroke of Raphael's that if he were deceived
+surely any one might be; so the replica was
+given to the Duke of Mantua, who never
+found out the difference.</p>
+
+<p>Years afterward Giulio Romano showed the
+picture to Vasari, believing it to be the original
+Raphael, neither Andrea nor the Medici
+having told Romano the truth. But Vasari,
+who knew the whole story, declared to Romano
+that what he showed him was but a copy.
+Romano would not believe it, but Vasari told
+him that he would find upon the canvas a
+certain mark, known to be Andrea's. Romano
+looked, and behold, the original Raphael
+became a del Sarto! The original picture
+hangs in the Pitti Palace, while the copy
+made by Andrea is in the Naples Gallery.</p>
+
+<p>The introduction of Andrea to Vasari was
+<a name="026"></a>
+one of the few gracious things, that Michael
+Angelo ever did. About Andrea he said to
+Raphael at the time: "There is a little
+fellow in Florence who will bring sweat to
+your brows if ever he is engaged in great
+works." Raphael, would certainly have agreed,
+with him had he known what was to happen
+in regard to the Leo X. picture.</p>
+
+<p>Notwithstanding Andrea's unfortunate temperament,
+which caused him to be guided
+mostly by circumstances instead of guiding
+them, he was said to be improving all the
+time in his art. He had a great many pupils,
+but none of them could tolerate his wife for
+long, so they were always changing.</p>
+
+<p>Throughout his life the artist longed for
+tenderness and encouragement from his wife,
+and finally, without ever receiving it, he died
+in a desolate way, untended even by her.
+After the siege of Florence there came a
+pestilence, and Andrea was overtaken by it.
+His wife, afraid that she too would become ill,
+would have nothing to do with him. She kept
+away and he died quite alone, few caring that
+he was dead and no one taking the trouble to
+follow him to his grave. Thus one of the
+greatest of Florentine painters lived and died.
+Years after his death, the artist Jacopo da
+Empoli, was copying Andrea's "Birth of the
+Virgin" when an old woman of about eighty
+years on her way to mass stopped to speak with
+him. She pointed to the beautiful Virgin's
+<a name="027"></a>
+face in the picture and said: "I am that
+woman." And so she was--the widow of
+the great Andrea. Though she had treated
+him so cruelly, she was glad to have it known
+that she was the widow of the dead genius.</p>
+
+<center><a href="images/402.jpg"><img src="images/thumb_402.jpg" alt=""><br>
+PLATE--THE MADONNA DEL SACCO<br>
+<i>(Madonna of the Sack)</i></a></center>
+
+<p>This picture is a fresco in the cloister of the
+Annunziata at Florence, and it is called "of
+the sack" because Joseph is posed leaning
+against a sack, a book open upon his knees.</p>
+
+<p>Doubtless the model for this Madonna is
+Andrea del Sarto's abominable wife, but she
+looks very sweet and simple in the picture.
+The folds of Mary's garments are beautifully
+painted, so is the poise of her head, and all
+the details of the picture except the figure of
+the child. There is a line of stiffness there
+and it lacks the softness of many other pictures
+of the Infant Jesus.</p>
+
+<center>PLATE--THE HOLY FAMILY</center>
+
+<p>In this picture in the Pitti Palace, Florence,
+Andrea del Sarto represents all the characters
+in a serious mood. There are St. John and
+Elizabeth, Mary and the Infant Jesus, and
+there is no touch of playfulness such as may
+be found in similar groups by other artists
+of the time. Attention is concentrated upon
+<a name="028"></a>
+Jesus who seems to be learning from his
+young cousin. The left hand, resting upon
+Mary's arm is badly drawn and in character
+does not seem to belong to the figure of the
+child. A full, overhanging upper lip is a
+dominant feature in each face.</p>
+
+<p>Other works of Andrea del Sarto are
+"Charity," which is in the Louvre; "Madonna
+dell' Arpie," "A Head of Christ," "The Dead
+Christ," "Four Saints," "Joseph in Egypt,"
+his own portrait, and "Joseph's Dream."</p>
+
+<p><a name="029"></a></p>
+<h1>II</h1>
+
+<h1>MICHAEL ANGELO (BUONARROTI)</h1>
+
+<center>(Pronounced Meek-el-ahn-jel-o (Bwone-ar-ro'tee))<br>
+<i>Florentine School</i><br>
+1475-1564<br>
+<i>Pupil of Ghirlandajo</i></center>
+
+<p>This wonderful man did more kinds of
+things, at a time when almost all artists
+were versatile, than any other but one. Probably
+Leonardo da Vinci was gifted in as many
+different ways as Michael Angelo, and in his
+own lines was as powerful. This Florentine's
+life was as tragic as it was restless.</p>
+
+<p>There is a tablet in a room of a castle which
+stands high upon a rocky mount, near the
+village of Caprese, which tells that Michael
+Angelo was born in that place. The great
+castle is now in ruins, and more than four
+hundred years of fame have passed since the
+little child was born therein.</p>
+
+<p>The unhappy existence of the artist seems
+to have been foreshadowed by an accident
+which happened to his mother before he
+was born. She was on horseback, riding
+with her husband to his official post at
+Chiusi, for he was governor of Chiusi and
+Caprese. Her horse stumbled, fell, and badly
+hurt her. This was two months before
+<a name="030"></a>
+Michael Angelo was born, and misfortune ever
+pursued him.</p>
+
+<p>The father of Angelo was descended from an
+aristocratic house--the Counts of Canossa
+were his ancestors--and in that day the
+profession of an artist was not thought to be
+dignified. Hence the father had quite different
+plans for the boy; but the son persisted and
+at last had his way. When he was still a little
+child his father finished his work as an official
+at Caprese and returned to Florence; but he
+left the little Angelo behind with his nurse.
+That nurse was the wife of a stonemason, and
+almost as soon as the boy could toddle he used
+to wander about the quarries where the stonecutters
+worked, and doubtless the baby joy
+of Angelo was to play at chiseling as it is the
+pleasure of modern babies to play at peg-top.
+After a time he was sent for to go to Florence
+to begin his education.</p>
+
+<p>In Florence he fell in with a young chap
+who, like himself, loved art, but who was
+fortunate enough already to be apprenticed
+to the great painter of his time--Ghirlandajo.
+One happy day this young Granacci volunteered
+to take Michael Angelo to his master's studio,
+and there Angelo made such an impression
+on Ghirlandajo that he was urged by the
+artist to become his pupil.</p>
+
+<p>All the world began to seem rose coloured to
+the ambitious boy, and he started his life-work
+with enthusiasm. At that time he was thirteen
+<a name="031"></a>
+years old, full of hope and of love for his kind;
+but his good fortune did not last long.
+He had hardly settled to work in Ghirlandajo's
+studio than his genius, which should have made
+him beloved, made him hated by his master.
+Angelo drew superior designs, created new art-ideas,
+was more clever in all his undertakings
+than any other pupil--even ahead of his
+master; and almost at once Ghirlandajo became
+furiously jealous. This enmity between pupil
+and master was the beginning of Angelo's
+many misfortunes.</p>
+
+<p>One day he got into a dispute with a
+fellow student, Torregiano, who broke his nose.
+This deformity alone was a tragedy to one
+like Michael Angelo who loved everything
+beautiful, yet must go through life knowing
+himself to be ill-favoured.</p>
+
+<p>In height he was a little man, topped by
+an abnormally large head which was part of the
+penalty he had to pay for his talents. He
+had a great, broad forehead, and an eye that
+did not gleam nor express the beauty of his
+creative mind, but was dull, and lustreless,
+matching his broken, flattened nose. Indeed
+he was a tragedy to himself. In the "History
+of Painting" Muther describes his unhappy
+disposition:</p>
+
+<p>"In his youthful years he never learned what
+love meant. 'If thou wishest to conquer me,'
+in old age he addresses love, 'give me back
+my features, from which nature has removed
+<a name="032"></a>
+all beauty.' Whenever in his sonnets he
+speaks of passion, it is always of pain and tears,
+of sadness and unrequited longing, never of the
+fulfilment of his wishes."</p>
+
+<p>Then, too, Michael Angelo had a quarrelsome
+disposition, and he was harsh in his criticism
+of others. He hated Leonardo da Vinci more
+for his great physical beauty than for his
+genius. He quarreled with most of his
+contemporaries, never joined the assemblies
+of his brother artists, but dwelt altogether
+apart. His was a gloomy and melancholy
+disposition and he never found relief outside
+his work.</p>
+
+<p>He was all kinds of an artist--poet, sculptor,
+architect, painter--and although he worked
+with the irregularity of true genius, he worked
+indefatigably when once he began. It is said
+that when he was making his "David" he
+never removed his clothing the whole time he
+was employed upon the work, but dropped
+down when too exhausted to work more, and
+slept wherever he fell.</p>
+
+<p>His first flight from the workshop of Ghirlandajo
+was to the gardens of the great
+Florentine prince, Lorenzo de' Medici, who had
+sent to Ghirlandajo for two of his best pupils.
+He wished them to come to his gardens and
+study the beautiful Greek statues which
+ornamented them. The choice fell to Angelo
+and Granacci. Probably those statues in
+Lorenzo's garden were the first glimpses of
+<a name="033"></a>
+really great art that Michael Angelo ever had.
+Certain it is that he was overwhelmed with
+happiness when he was given permission to
+copy what he would, and at once he fell to work
+with his chisel. His first work in that garden
+was upon the head of an old faun; and Lorenzo,
+walking by, curious to know to what use the
+lad was putting his opportunity, made a
+criticism:</p>
+
+<p>"You have made your faun old," he said,
+"yet you have left all the teeth; at such an age,
+generally the teeth are wanting."</p>
+
+<p>Angelo had nothing to say and the prince
+walked on, but when next he came that way,
+he found that Angelo had broken off two of the
+faun's teeth; and this recognition of his
+criticism pleased Lorenzo so much that he
+invited Angelo to live with him. At first his
+father objected. He felt himself to be an
+aristocrat, and sculpture and painting were
+indeed low occupations for his son, who he
+had resolved should be nothing less than a
+silk merchant. Nevertheless, the prince's
+command, united with the son's pleading,
+compelled the father to give up his cherished
+dream of making a merchant of him, and
+Angelo went to live in the palace.</p>
+
+<p>Then indeed what seemed a beautiful life
+opened out. He was dressed in fine clothing,
+dined with princes, and possibly he was grateful
+to his patron. Some historians say so, and add
+that when Lorenzo died Angelo wept, and
+<a name="034"></a>
+returned sadly to his father's house to mourn,
+but this tale seems at odds with what else we
+know of Angelo's unangelic, envious and
+bitter disposition. It is quite certain, however,
+that with the death of Lorenzo, Angelo's,
+fortunes became greatly changed. Another
+prince followed in line--Pietro de' Medici--but
+he was a poor thing, who brought little
+good to anybody. He had small use for
+Michael Angelo's genius, but it is said that
+he did give him one commission. After a
+great storm one day, he asked him to make a
+snow-man for him, and Angelo obligingly
+complied. It was doubtless a very beautiful
+snow-man, but although it was Angelo's
+it melted in the night, even as if it had been
+Johnny's or Tommy's snow-man, and left no
+trace behind.</p>
+
+<p>In Rome there was a high and haughty pope
+on the throne--Julius II.--who had probably
+not his match for obstinacy and
+haughtiness, excepting in the great painter
+and sculptor. When Angelo went to Rome,
+he was bound to come in conflict with Julius
+for it was popes and princes who gave art any
+reason for being in those days, and the Church
+prescribed what kind of art should be cultivated.
+Michael was to come directly under the
+command of the pope and such a combination
+promised trouble. Kings themselves had to
+remove their crowns and hats to Julius, and
+why not Michael Angelo? Yet there he stood,
+<a name="035"></a>
+covered, before the pope, opposing his greatness
+to that of the pope. Soderini says that
+Angelo treated the pope as the king of France
+never would have dared treat him; but Angelo
+may have known that kings of France might
+be born and die, times without number, while
+there would never be born another Michael
+Angelo. There could be nothing but antagonism
+between Angelo and Julius, and soon after
+the artist returned to Florence; but the
+necessity for following his profession enabled
+Julius to tame him after all, and it is said that
+the pope led him back to Rome, later, "with
+a halter about his neck." This must have
+been agony to Angelo.</p>
+
+<p>Back in Rome, he was commissioned to make
+a tomb for the pope. He had no sooner set
+about the preliminaries--the getting of suitable
+marble for his work--than he began to quarrel
+with the men who were to hew it. When that
+difficulty was settled, and the marble was got
+out, he had a set-to with the shipowners
+who were to transport the stone, and that row
+became so serious that the sculptor was
+besieged in his own house.</p>
+
+<p>At another and later time, when he was
+engaged upon the frescoes of the Sistine
+Chapel, he was made to work by force. He
+accused the man who had built the scaffolding
+upon which he must stand, or lie, to paint, of
+planning his destruction. He suspected the
+very assistants whom he, himself, had chosen
+<a name="036"></a>
+to go from Florence, of having designs upon his
+life. He locked the chapel against them, and
+they had to turn away when they went to
+begin work. Because of his insane suspicion
+he did alone the enormous work of the frescoes.
+Doubtless he was half mad, just as he was
+wholly a genius.</p>
+
+<p>By the time he had finished those frescoes
+he was so exhausted and overworked that
+he wrote piteously to his people at home,
+"I have not a friend in Rome, neither do I
+wish nor have use for any." This of course
+was not true; or he would not have made the
+statement. "I hardly find time to take
+nourishment. Not an ounce more can I bear
+than already rests upon my shoulders." Even
+when the work was done he felt no happiness
+because of it, but complained about everything
+and everybody.</p>
+
+<p>If Angelo thought this an unhappy day,
+worse was in store for him. Julius II. died
+and in his place there came to reign upon the
+papal throne, Leo X. If Michael Angelo had
+been restricted in his work before, he was
+almost jailed under Leo X. Julius had been a
+virile, forceful man, and Michael Angelo was
+the same. Since he must be restrained and
+dictated to, it was possible for the artist to
+listen to a man who was in certain respects
+strong like himself, but to be under the thumb
+of a weak, effeminate person like Leo, was the
+tragedy of tragedies to Angelo. That was a
+<a name="037"></a>
+marvellous time in Rome. All its citizens had
+become so pleasure-loving that the world, stood
+still to wonder. When the pope banqueted,
+he had the golden plates from which fair women
+had eaten hurled into the Tiber, that they
+might never be profaned by a less noble use
+than they had known. From all this riot and
+madness of pleasure, Michael Angelo stood
+aside with frowning brow and scornful mien.
+He approved of nothing and of nobody--despising
+even Raphael, the gentle and loving
+man whom the pleasure-crazed people of Rome
+paused to smile upon and love. The pope
+said that Angelo was "terrible," and that he
+filled everybody with fear.</p>
+
+<p>Finally, Rome so resented his frowning looks
+and his surly ways that work was provided
+for him at a distance. He was sent to Florence
+again to build a facade. While there, the city
+was conquered, and Angelo was one who fought
+for its freedom, but even so, he fled just at the
+crisis. Thus he ever did the wrong thing--excepting
+when he worked. In Florence he
+had planned to do mighty things, but he never
+accomplished any one of them. He planned
+to make a wonderful colossal statue on a cliff
+near Carrara, and also he resolved to make
+the tomb of Julius the nucleus of a "forest of
+statues."</p>
+
+<p>Michael Angelo never married, but he was
+burdened with a family and all its cares.
+He supported his brothers and even his
+<a name="038"></a>
+nephews, and took care of his father. All of
+those people came to him with their difficulties
+and with their demands for money. He
+chided, quarreled, repelled, yet met every
+obligation. He would sit beside the sick-bed
+of a servant the night through, but growl at the
+demands of his near relatives--and it is not
+unlikely that he had good reason.</p>
+
+<p>At last he withdrew himself from all human
+society but that of little children, whom he
+cared to speak with and to please. He would
+have naught to do with men of genius like himself;
+and when he fell from a scaffolding and injured
+himself, the physician had to force his way
+through a barred window, in order to get into
+the sick man's presence to serve him.</p>
+
+<p>An illustration of his determined solitude
+is given in the "Young People's Story of Art:"</p>
+
+<p>"There had long been lying idle in Florence
+an immense block of marble. One hundred
+years before a sculptor had tried to carve
+something from it, but had failed. This was
+now given to Michael Angelo. He was to be
+paid twelve dollars a month, and to be allowed
+two years in which to carve a statue. He
+made his design in wax; and then built a
+tower around the block, so that he might
+work inside without being seen."</p>
+
+<p>Everything Angelo undertook bore the marks
+of gigantic enterprise. Although he never
+succeeded in making the tomb of Julius II.
+the central piece in his forest of statues, the
+<a name="039"></a>
+undertaking was marvellous enough. His
+original plan was to make the tomb three
+stories high and to ornament it with forty
+statues, and if St. Peter's Church was large
+enough to hold it, the work was to be placed
+therein; but if not, a church was to be built
+specially to hold the tomb. When at last,
+in spite of his difficulties with workmen and
+shipowners, the marbles were deposited in the
+great square before St. Peter's, they filled the
+whole place; and the pope, wishing to watch
+the progress of the work and not himself to be
+observed, had a covered way built from the
+Vatican to the workshop of Angelo in the
+square, by which he might come and go as he
+chose, while an order was issued that the
+sculptor was to be admitted at all times to
+the Vatican. No sooner was this arrangement
+completed than Angelo's enemies frightened
+the pope by telling him there was danger in
+making his tomb before his death; and with
+these superstitions haunting him Julius II.
+stopped the work, leaving Angelo without the
+means to pay for his marbles. With the doors
+of the Vatican closed to him, Angelo withdrew,
+post haste to Florence--and who can blame
+him? Nevertheless, the work was resumed
+after infinite trouble on the pope's part. He
+had to send again and again for Angelo and
+after forty years, the work was finished.
+There the sequel of the sculptor's forty-years
+war with self and the world stands to-day in
+<a name="040"></a>
+"Moses," the wonderful, commanding central
+figure which seems to reflect all the fierce
+power which Angelo had to keep in check
+during a life-time.</p>
+
+<p>The command of Julius that he should paint
+the ceiling of the Sistine Chapel aroused all his
+fierce resistance. He did it under protest,
+all the while accusing those about him of
+having designs upon his life.</p>
+
+<p>"I am not a painter, but a sculptor," he said.</p>
+
+<p>"Such a man as thou is everything that he
+wishes to be," the pope replied.</p>
+
+<p>"But this is an affair of Raphael. Give
+him this room to paint and let me carve a
+mountain!" But no, he must paint the
+ceiling; but to render it easier for him the pope
+told him he might fill in the spaces with saints,
+and charge a certain amount for each. This
+Angelo, who was first of all an artist, refused
+to do. He would do the work rightly or not at
+all. So he made his own plans and cut himself
+a cardboard helmet, into the front of which
+he thrust a candle, as if it were a Davy lamp,
+and he lay upon his back to work day and
+night at the hated task. During those months
+he was compelled to look up so continually,
+that never afterward was he able to look down
+without difficulty. When he had finished the
+work Julius had some criticisms to make.</p>
+
+<p>"Those dresses on your saints are such poor
+things," he said. "Not rich enough--such
+very poor things!"</p>
+
+<p><a name="041"></a>
+"Well, they were poor things," was Angelo's
+answer. "The saints did not wear golden
+ornaments, nor gold on their garments."</p>
+
+<p>After Julius II. and Leo X. came Pope
+Paul III., and he, like the other two, determined
+to have Angelo for his workman. Indeed all
+his life, Michael Angelo's gifts were commanded
+by the Church of Rome. It was for Paul III.
+he painted the "Last Judgment." His former
+work upon the Sistine Chapel had been the
+story of the creation. All his work was of a
+mighty and allegorical nature; tremendous
+shoulders, mighty limbs, herculean muscles
+that seemed fit to support the universe. These
+allegories are made of hundreds of figures.
+To-day they are still there, though dimmed
+by the smoke of centuries of incense, and
+dismembered by the cracking of plaster and
+disintegration of materials.</p>
+
+<p>Angelo's methods of work, as well as their
+results, were oppressive. In his youth, while
+trying to perfect himself in his study of the
+human form, he drew or modelled, from
+nude corpses. He had these conveyed by
+stealth from the hospital into the convent of
+Santo Spirito, where he had a cell and there
+he worked, alone.</p>
+
+<p>He was concentrated, mentally and emotionally,
+upon himself. The only remark he made
+after the blow from Torregiano was, "You will
+be remembered only as the man who broke
+my nose!" This proved nearly true, since
+<a name="042"></a>
+Torregiano was banished, and murdered by
+the Spanish Inquisition.</p>
+
+<p>All sorts of anecdotes have floated through
+the centuries concerning this man and his work.
+For example, he made a statue of a sleeping
+cupid, which was buried in the ground for a
+time that it might assume the appearance of
+age, and pass for an antique. Afterward it
+was sold to the Cardinal San Giorgio for two
+hundred ducats, though Michael Angelo
+received only thirty. Nevertheless, he died a
+rich man, after having cared for a numerous
+family, while he himself lived like a man
+without means. All the tranquillity he ever
+knew he enjoyed in his old age.</p>
+
+<p>It was characteristic of his perversity that
+he left his name upon nothing that he made,
+with one exception. Vasari relates the story
+of that exception:</p>
+
+<p>"The love and care which Michael Angelo
+had given to this group, 'In Paradise,' were
+such that he there left his name--a thing he
+never did again for any work--on the cincture
+which girdles the robe of Our Lady; for it
+happened one day that Michael Angelo, entering
+the place where it was erected, found a large
+assemblage of strangers from Lombardy there,
+who were praising it highly; one of them
+asking who had done it, was told, 'our Hunchback
+of Milan'; hearing which Michael Angelo
+remained silent, although surprised that his
+work should be attributed to another. But
+<a name="043"></a>
+one night he repaired to St. Peter's with a light
+and his chisels, to engrave his name on the
+figure, which seems to breathe a spirit as perfect
+as her form and countenance."</p>
+
+<p>If his youth had been given to sculpture,
+his maturity to the painting of wondrous
+frescoes, so his old age was devoted to architecture,
+and as architect he rebuilt the
+decaying St. Peter's. In this work he felt
+that he partly realised his ideal. Sculpture
+meant more to him, "did more for the glory
+of God," than any other form of art. When
+he had finished his work on St. Peter's, he is said
+to have looked upon it and exclaimed: "I
+have hung the Pantheon in the air!"</p>
+
+<p>This colossal genius died in Rome, and was
+carried by the light of torches from that city
+back to his better loved Florence, where he
+was buried. His tomb was made in the Santa
+Croce, and upon it are three female figures
+representing Michael Angelo's three wonderful
+arts: Architecture, sculpture and painting.
+No artist was greater than he.</p>
+
+<p>His will committed "his soul to God, his
+body to the earth, and his property to his
+nearest relatives."</p>
+
+<center>PLATE--DANIEL</center>
+
+<p>This wonderful painting is a part of the
+decoration of the Sistine Chapel in Rome.
+The picture of the prophet tells so much in
+<a name="044"></a>
+itself, that a description seems absurd. It is
+enough to call attention to the powerful
+muscles in the arm, the fall of the hand, and
+then to speak of the main characteristics of the
+artist's pictures.</p>
+
+<p>It is extraordinary that there is no blade of
+grass to be found in any painting by Michael
+Angelo. He loved to paint but one thing,
+and that was the naked man, the powerful
+muscles, or the twisted limbs of those in great
+agony. He loved only to work upon vast
+spaces of ceiling or wall. Look at this picture
+of Daniel and see how like sculpture the
+pose and modelling appear to be. First of all,
+Michael Angelo was a sculptor, and most of
+the painting which fate forced him to do has
+the characteristics of sculpture.</p>
+
+<p>One critic has remarked that he loves to
+think of this strange man sitting before the
+marble quarry of Pietra Santa and thinking
+upon all the beings hidden in the cliff--beings
+which he should fashion from the marble.</p>
+
+<p>It was said that in Michael Angelo's hands
+the Holy Family became a race of Titans, and
+where others would have put plants or foliage,
+Angelo placed men and naked limbs to fill the
+space. When his subject made some sort of
+herbage necessary, he invented a kind of
+mediæval fern in place of grass and familiar
+leaves. Everything appears brazen and hard
+and mighty, suggestive of Angelo's own
+throbbing spirit and maddened soul. Most
+<a name="045"></a>
+of his work, when illustrated, must be shown
+not as a whole but in sections, but one can
+best mention them as entire picture themes.
+On the ceiling of the Sistine Chapel are nine
+frescoes describing "The Creation of The
+World," "The Fall of Man" and "The Deluge."
+"The Last Judgment" occupies the entire
+altar wall in the same chapel of the Vatican.
+"The Holy Family" is in the Uffizi Gallery,
+Florence.</p>
+
+<p><a name="046"></a></p>
+<h1>III</h1>
+
+<h1>ARNOLD BÖCKLIN</h1>
+
+<center>(Pronounced Bek'-lin)<br>
+<i>Modern German School (Düsseldorf)</i><br>
+1827-1901</center>
+
+<p>This splendid artist is so lately dead that
+it does not seem proper yet to discuss
+his personal history, but we can speak understandingly
+of his art, for we already know it
+to be great art, which will stand the test of
+time. His imagination turned toward subjects
+of solemn grandeur and his work is very
+impressive and beautiful.</p>
+
+<p>He was born in Basel, "one of the most
+prosaic towns in Europe." His father was a
+Swiss merchant, and not poor; thus the son
+had ordinarily good chances to make an artist
+of himself. He was born at a time when to be
+an artist had long ceased to be a reproach,
+and men no longer discouraged their sons
+who felt themselves inspired to paint great
+pictures.</p>
+
+<p>When Böcklin was nineteen years old he
+took himself to Düsseldorf, with his merchant
+father's permission, and settled down to learn
+his art, but in that city he found mostly
+"sentimental and anecdotal" pictures being
+painted, which did not suit him at all. Then
+<a name="047"></a>
+he took himself off to Brussels, where again
+he was not satisfied, and so went to Paris.
+But while in Brussels he had copied many old
+masters, and had advanced himself very
+much, so that he did not present himself in
+Paris raw and untried in art.</p>
+
+<p>At first he studied in the Louvre, then went
+to Rome, seeking ever the best, and being
+hard to satisfy. He found rest and tranquillity
+in Zürich, a city in his native country, but it
+was Italy that had most influenced his work.</p>
+
+<p>He loved the Campagna of Rome with its
+ruins and the sad grandeur of the crumbling
+tombs lining its way, and therefore a certain
+mysterious, grand, and solemn character made
+his pictures unlike those of any other artist.
+He loved to paint in vertical (up-and-down)
+fines, rather than with the conventional horizontal
+outlines that we find in most paintings.
+This method gives his pictures a different
+quality from any others in the world.</p>
+
+<p>He loved best of all to paint landscape,
+and it is said of him that "as the Greeks
+peopled their streams and woods and waves
+with creatures of their imagination, so Böcklin
+makes the waterfall take shape as a nymph, or
+the mists which rise above the water source
+wreathe into forms of merry children; or in
+some wild spot hurls centaurs together in
+fierce combat, or makes the slippery, moving
+wave give birth to Nereids and Tritons."</p>
+
+<p>Muther, art-critic and biographer, calls our
+<a name="048"></a>
+attention to the similarity between Wagner's
+music and Böcklin's painting. While Wagner
+was "luring the colours of sound from music,"
+Böcklin's "symphonies of colour streamed
+forth like a crashing orchestra," and he calls
+him the greatest colour-poet of the time.</p>
+
+<p>In appearance Böcklin was fine of form,
+healthy and wholesome in all his thoughts and
+way of living. In 1848 he took part in
+revolutionary politics and later this did him
+great harm. Only the influence of his friends
+kept him from ruin. After the Franco-Prussian
+war he was made Minister of Fine Arts. In
+this office he rendered great service; but
+because he had to witness the wrecking of the
+Column Vendôme in order to save the Louvre
+and the Luxembourg from the mob, he was
+censured; indeed so heavy a fine was imposed
+that it took his whole fortune to pay it; and
+he was banished into the bargain. From
+1892 to 1901 he lived in or near Florence,
+and he died at Fiesole, January 16th, 1901.</p>
+
+<center>PLATE--THE ISLE OF THE DEAD</center>
+
+<p>This picture is perhaps the greatest of the
+many great Arnold Böcklin paintings, and it is
+both fascinating and awe-inspiring.</p>
+
+<p>It best shows his liking for vertical lines in
+art. The Isle of the Dead is of a rocky, shaft-like
+formation in which we may see hewn-out
+tombs; and there, tall cypress trees are growing.</p>
+
+<p><a name="049"></a>
+The traces of man's work in the midst of this
+sombre, ideal, and mystic scene add to the
+impressiveness of the picture. The isle stands
+high and lonely in the midst of a sea.</p>
+
+<p>The water seems silently to lap the base
+of the rocks and the trees are in black shadow,
+massed in the centre. It looks very mysterious
+and still. There is a stone gateway touched
+with the light of a dying day. It is sunset
+and the dead is being brought to its resting
+place in a tiny boat, all the smaller for its
+relation to the gloomy grandeur of the isle
+which it is approaching. One figure is standing
+in the boat, facing the island, and the sunlight
+falls full upon his back and touches the boat,
+making that spot stand out brilliantly from all
+the rest of the picture.</p>
+
+<p>Among Böcklin's paintings are "Naiads at
+Play," which hangs in the Museum at Basel,
+"A Villa by the Sea," "The Sport of the
+Waves," "Regions of Joy," "Flora," and
+"Venus Dispatching Cupid."</p>
+
+<p><a name="050"></a></p>
+<h1>IV</h1>
+
+<h1>MARIE-ROSA BONHEUR</h1>
+
+<center>(Pronounced Rosa Bon-er)<br>
+<i>French School</i><br>
+1822-1895<br>
+<i>Pupil of Raymond B. Bonheur</i></center>
+
+<p>Rosa Bonheur, Landseer, and Murillo
+maybe called "Children's Painters" in this
+book because they painted things that children,
+as well as grown-ups, certainly can enjoy.
+To be sure, Murillo was a very different sort
+of artist from Rosa Bonheur or Landseer,
+but if the two latter painted the most beautiful,
+animals--dogs, sheep, and horses--Murillo
+painted the loveliest little children.</p>
+
+<p>Rosa was the best pupil of her father;
+Raymond B. Bonheur. In Bordeaux they
+lived together the peaceful life of artists,
+the father being already a well known painter
+when his daughter was born. She became,
+as Mr. Hamerton, who knew her, said, "the
+most accomplished female painter who ever
+lived ... a pure, generous woman as
+well and can hardly be too much admired ...
+as a woman or an artist. She is simple in her
+tastes and habits of life and many stories are
+told of her generosity to others."</p>
+
+<p>After a time the Bonheurs moved to Paris
+<a name="051"></a>
+where young Rosa could have better opportunities;
+and there she put on man's clothing,
+which she wore all her life thereafter. She
+wore a workingman's blouse and trousers,
+and tramped about looking more like a man
+than a woman with her short hair. This,
+made everybody stare at her and think her
+very queer, but people no longer believe that
+she dressed herself thus in order to advertise
+herself and attract attention; but because it
+was the most convenient costume for her to
+get about in. She went to all sorts of places;
+the stockyards, slaughter houses, all about the
+streets of Paris, to learn of things and people,
+especially of animals, which she wished most
+to paint. She could hardly have gone about
+thus if she had worn women's clothing.</p>
+
+<p>Rosa Bonheur exhibited her first painting
+at the <i>Salon</i> in 1841, and this was twelve years
+before her beloved father died; thus he had the
+happiness of knowing that the daughter whom
+he had taught so lovingly was on the road
+to success and fortune. He knew that when
+fortune should come to her she would use it
+well. The year that she exhibited her work
+in the <i>Salon</i> she painted only two little pictures--one
+of rabbits, the other of sheep and
+goats--but they were so splendidly done
+that all the critics knew a great woman artist
+had arrived.</p>
+
+<p>It was then that her enemies, those who
+were becoming jealous of her work, said that
+<a name="052"></a>
+she was wearing men's clothing in order to
+attract attention to herself.</p>
+
+<p>Soon her work began to be bought by the
+French Government, which was a sure sign of
+her power. She was already much beloved
+by the people. In the meantime we in America
+and others in England had heard of Mademoiselle
+Bonheur, but we heard far less about her
+painting than we did about her masculine
+garb. We thought of her mostly as an eccentric
+woman; but one day came "The Horse
+Fair," and all the world heard of that, so the
+artist was to be no longer judged by the
+clothes she wore but by her art. Finally, she
+received the cross of the Legion of Honour,
+and also was made a member of the Institute
+of Antwerp.</p>
+
+<p>She lived near Fontainebleau; her studio
+a peaceful retired home, till the Franco-Prussian
+war came about. Then she and others began
+to fear that her studio and pictures would be
+destroyed, so the artist was forced to stop her
+work and prepared to go elsewhere. But
+the Crown Prince of Prussia himself ordered
+that Mademoiselle Bonheur should not even
+be disturbed. Her work had made her belong
+to all the world and all the world was to
+protect her if need be.</p>
+
+<p>Rosa Bonheur had a brother who, some
+critics said, was the better artist, but if that
+were true it is likely that his popularity would
+in some degree have approached that of his
+<a name="053"></a>
+sister. Rosa Bonheur did not paint many
+large canvases, but mostly small ones, or
+only moderately large; but when she painted
+sheep it seems that one might shear the wool,
+it stands so fleecy and full; while her horses
+rampage and curvet, showing themselves off
+as if they were alive.</p>
+
+<center>PLATE--THE HORSE FAIR</center>
+
+<p>This picture was exhibited all over the world
+very nearly. It was carried to England and
+to America, and won admiration wherever it
+was seen. Finally it was sold in America.
+It was first exhibited in 1853, the year in
+which the artist's father died. Mr. Ernest
+Gambart was the first who bought the picture,
+and he wrote of it to his friend, Mr. S.P.
+Avery: "I will give you the real history of
+'The Horse Fair,' now in New York. It
+was painted in 1852, by Rosa Bonheur, then
+in her thirtieth year, and exhibited in the next
+<i>Salon</i>. Though much admired it did not find
+a purchaser. It was soon after exhibited in
+Ghent, meeting again with much appreciation,
+but was not sold, as art did not flourish at the
+time. In 1855 the picture was sent by Rosa
+Bonheur to her native town of Bordeaux and
+exhibited there. She offered to sell it to
+the town at the very low price 12,000
+francs ($2,400). While there, I asked her if
+she would sell it to me, and allow me to take
+<a name="054"></a>
+it to England and have it engraved. She said:
+'I wish to have my picture remain in France.
+I will once more impress on my countrymen,
+my wish to sell it to them for 12,000 francs.
+If they refuse, you can have it, but if you take
+it abroad, you must pay me 40,000 francs.'
+The town failing to make the purchase, I at
+once accepted these terms, and Rosa Bonheur
+then placed the picture at my disposal. I
+tendered her the 40,000 francs and she said:
+'I am much gratified at your giving me such
+a noble price, but I do not like to feel that I
+have taken advantage of your liberality; let
+us see how we can combine in the matter. You
+will not be able to have an engraving made
+from so large a canvas. Suppose I paint you
+a small one from the same subject, of which I
+will make you a present.' Of course I accepted
+the gift, and thus it happened that the large
+work went travelling over the kingdom on
+exhibition, while Thomas Landseer was making
+an engraving from the quarter-size replica.</p>
+
+<p>"After some time (in 1857 I think), I sold
+the original picture to Mr. William P. Wright,
+New York (whose picture gallery and residence
+were at Weehawken, N.J.), for the sum
+of 30,000 francs, but later I understood
+that Mr. Stewart paid a much larger price
+for it on the breaking up of Mr. Wright's
+gallery. The quarter size replica, from which
+the engraving was made, I finally sold to Mr.
+Jacob Bell, who gave it in 1859 to the nation,
+<a name="055"></a>
+and it is now in the National Gallery, London.
+A second, still smaller replica, was painted a
+few years later, and was resold some time ago
+in London for £4,000 ($20,000). There
+is also a smaller water-colour drawing which
+was sold to Mr. Bolckow for 2,500 guineas
+($12,000), and is now an heirloom belonging
+to the town of Middlesbrough. That is the
+whole history of this grand work. The Stewart
+canvas is the real and true original, and only
+large size 'Horse-Fair.'</p>
+
+<p>"Once in Mr. Stewart's collection, it never
+left his gallery until the auction sale of his
+collection, March 25th, 1887, when it was purchased
+by Mr. Cornelius Vanderbilt for the
+sum of $55,000, and presented to the Metropolitan
+Museum of Art."</p>
+
+<p>And thus we have the whole story of the
+"Horse-Fair." The picture is 93-1/2 inches high,
+and 197 inches wide, and it contains a great
+number of horses, some of which are ridden,
+while others are led, and all are crowding with
+wild gaiety toward the fair where it is quite
+plain they know they are about to be admired
+and their beauty shown to the best advantage.
+Other well-known Rosa Bonheurs are "Ploughing,"
+"Shepherd Guarding Sheep," "Highland
+Sheep," "Scotch Deer," "American Mustangs,"
+and "The Study of a Lioness."</p>
+
+<p><a name="056"></a></p>
+<h1>V</h1>
+
+<h1>ALESSANDRO BOTTICELLI</h1>
+
+<center>(Pronounced Ah-lays-sahn'dro Bo't-te-chel'lee)<br>
+<i>Florentine School,</i><br>
+1447-1510 (Vasari's dates)<br>
+<i>Pupil of Filippo Lippi and Verrocchio</i></center>
+
+<p>Botticelli took his name from his first
+master, as was the fashion in those days.
+The relation of master and apprentice was very
+close, not at all like the relation of pupil and
+teacher to-day.</p>
+
+<p>Botticelli's father was a Florentine citizen,
+Mariano Filipepi, and he wished his son to
+become a goldsmith; hence the lad was soon
+apprenticed to Botticelli, the goldsmith. As a
+scholar, the little goldsmith had not distinguished
+himself. Indeed it is said that as a
+boy he would not "take to any sort of schooling
+in reading, writing, or arithmetic." It cannot
+be said that this failure distinguished him as a
+genius, or the world would be full of genius-boys;
+but the result was that he early began
+to learn his trade.</p>
+
+<p>Fortunately for him and us, Botticelli, the
+smith, was a man of some wisdom and when he
+saw that the lad originated beautiful designs
+and had creative genius he did not treat the
+matter with scorn, as the master of Andrea del
+<a name="057"></a>
+Sarto had done, but sent him instead to Fra
+Filippo (Lippo Lippi) to be taught the art
+of painting. So kind a deed might well
+establish a feeling of devotion on little Alessandro's
+part and make him wish to take his
+master's name.</p>
+
+<p>Fra Filippo was a Carmelite monk, merry
+and kindly; simple, good, and gifted, but his
+temperament did not seem to influence his
+young pupil. Of all unhappy, morbid men,
+Botticelli seems to have been the most so, unless
+we are to except Michael Angelo.</p>
+
+<p>After studying with the monk, Botticelli
+was summoned by Pope Sixtus IV. to Rome
+to decorate a new chapel in the Vatican.
+Before that time his whole life had been greatly
+influenced by the teachings of Savonarola
+who had preached both passionately and
+learnedly in Florence, advocating liberty.
+From the time he fell under Savonarola's
+wonderful power, the artist grew more and
+more mystic and morbid. In Rome it was the
+custom to have the portraits of conspirators,
+or persons of high degree who were revolutionary
+or otherwise objectionable to the state,
+hung outside the Public Palace, and in Botticelli's
+time there was a famous disturbance
+among the aristocrats of the state. In 1478
+the powerful Pazzi family conspired against
+the Medici family, which then actually had
+control. It was Botticelli who was engaged
+to paint the portraits of the Pazzi family,
+<a name="058"></a>
+which to their shame and humiliation were
+to be displayed upon the palace walls.</p>
+
+<p>One peculiarity of this artist's pictures was
+that he used actual goldleaf to make the high
+lights upon hair, leaves, and draperies. The
+effect of the use of this gold was very beautiful,
+if unusual, and it may have been that his
+apprenticeship as a goldsmith suggested to
+him such a device.</p>
+
+<p>Also it was he who created certain characteristics
+of painting that have since been thought
+original with Burne-Jones. This was the use
+of long stiff lily-stalks or other upright details
+in his compositions. Examples of this idea,
+which produced so weird an effect, will be found
+in his allegory of "Spring," where stiff tree-trunks
+form a part of the background. In
+the "Madonna of the Palms" upright lily-stalks
+are held in pale and trembling hands.
+Like Michael Angelo, who came years afterward,
+Botticelli was a guest of the great Lorenzo
+the "Magnificent," in Florence. It was by
+Botticelli's hand that the greater painter sent
+a letter to Lorenzo from a duchess friend
+who was also his patron. This was in Angelo's
+youth; in Botticelli's old age.</p>
+
+<p>All his life was a drama of morbid seeking
+after the unattainable, and finally he became
+so poor and helpless that in his old age he
+would have starved had Lorenzo de' Medici
+not taken care of him. Lorenzo and other
+friends who in spite of his gloominess admired
+<a name="059"></a>
+his real piety, gathered about him and kept
+him from starvation.</p>
+
+<p>On his "Nativity," Botticelli wrote: "This
+picture I, Alessandro, painted at the end of
+the year 1500 in the troubles of Italy, in the
+halftime after the time, during the fulfilment
+of the eleventh of John, in the second woe
+of the Apocalypse, in the loosing the devil
+for three and a half years. Afterward he
+shall be chained according to the twelfth of
+John, and see him trodden down as in this
+picture." All of this is interesting because
+Botticelli himself wrote it, but it is not
+very easily understood by any child, nor by
+many grown people.</p>
+
+<p>Botticelli did some very extraordinary things,
+but whether they are beautiful or not one
+must decide for himself. They are paintings
+so characteristic that one must think them
+very beautiful or else not at all so.</p>
+
+<center>PLATE--LA PRIMAVERA<br>
+<i>(Spring)</i></center>
+
+<p>In this picture we have the forerunner of a
+modern painter, because we see in it certain,
+qualities that we find in Böcklin. Look at
+the effect of vertical lines; the tree trunks,
+and the poses of the slender women. Over
+all hovers a cupid who is sending love-shafts
+into the hearts of all in springtime.</p>
+
+<p>Notice the lacy effect of the flowers that
+<a name="060"></a>
+bestar the wind-blown gown of "La Primavera,"
+the fern-like leaves that fleck the background;
+the draperies that do not conceal the forms
+of the nymphs of the lovely springtime.</p>
+
+<p>The very spirit of spring is seen in all the
+half-floating, half-dancing, gliding, diaphanous
+figures of the forest. The flowers of "La
+Primavera's" crown are blue and white cornflowers
+and primroses. She scatters over the
+earth tulips, anemones, and narcissus. The
+painting is allegorical and unique. Never were
+such fluttering odds and ends of draperies
+painted before, nor such fascinating effects had
+from canvas, paint, or brush. The picture
+hangs in Florence in the Uffizi Gallery. A
+German critic tells us that the "Realm of
+Venus," is a better title for this picture, and
+that it was painted after a poem of that name.</p>
+
+<p>Other pictures by this artist are: "The
+Birth of Venus," "Pallas," "Judith," "Holofernes,"
+"St. Augustine," "Adoration of the
+Magi," and "St. Sebastian."</p>
+
+<p><a name="061"></a></p>
+<h1>VI</h1>
+
+<h1>WILLIAM ADOLPHE BOUGUEREAU</h1>
+
+<center>(Pronounced W. A'dolf Bou-gair-roh)<br>
+<i>French (Genre) School</i><br>
+1825-1905<br>
+<i>Pupil of Picot and the Ecole des Beaux-Arts</i></center>
+
+<p>Bouguereau's business-like father meant
+his son also to be business-like, but
+he made the mistake of permitting him to
+go to a drawing school in Bordeaux and there,
+to his father's chagrin, the youngster took the
+annual prize. After that there seemed nothing
+for the father to do but grin and bear it,
+because the son decided to be an artist and had
+fairly won his right to be one.</p>
+
+<p>Young Bouguereau had no money, and
+therefore he went to live with an uncle at
+Saintonge, a priest, who had much sympathy
+with the boy's wish to paint, and he left him
+free to do the best he could for himself in art.
+He got a chance to paint some portraits, and
+when he and his uncle talked the matter over
+It was decided that he should take the money
+got for them, and go to Paris. It was there
+that he sought Picot, his first truly helpful
+teacher; and there, for the first time he learned
+more than he already knew about art.</p>
+
+<p>All Bouguereau's opportunities in life were
+made by himself, by his own genius. No one
+<a name="062"></a>
+gave him anything; he earned all. He longed
+to go to Italy, and in the Ecole des Beaux-Arts
+he won the Prix de Rome, which made possible
+a journey to the land of great artists. The
+French Government began to buy his work,
+and he began to receive commissions to decorate
+walls in great buildings; thus, gradually, he
+made for himself fame and fortune.</p>
+
+<p>When this artist undertook to paint sacred
+subjects, of great dignity, he was not at his
+best; but when he chose children and mothers
+and everyday folk engaged about their everyday
+business, he painted beautifully. Americans
+have bought many of his pictures and he
+has had more popularity in this country than
+anywhere outside of France.</p>
+
+<p>Some authorities give the birthplace of Bouguereau
+as La Rochelle; at any rate he died there
+at midnight, on the nineteenth of August, 1905.</p>
+
+<center>PLATE--THE VIRGIN AS CONSOLER</center>
+
+<p>The main distinction about this artist's
+pictured faces is the peculiarly earnest expression
+he has given to the eyes. In this picture
+of the Virgin there is great genius in the pose
+and death-look of the little child whose
+mother has flung herself across the lap of Mary,
+abandoned to her agony. This painting is
+hung in the Luxembourg. Others by the same
+master are called "Psyche and Cupid" "Birth of
+Venus," "Innocence," and "At the Well."</p>
+
+<p><a name="063"></a></p>
+<h1>VII</h1>
+
+<h1>SIR EDWARD BURNE-JONES</h1>
+
+<center><i>English (Pre-Raphaelite) School</i><br>
+1833-1898<br>
+<i>Pupil of Rossetti</i></center>
+
+<p>This artist has been called the most original
+of all contemporaneous artists. He has
+also been called the "lyric painter"; meaning
+that he is to painting what the lyric poet is
+to literature. His work once known can almost
+always be recognised wherever seen afterward.
+He did not slavishly follow the Pre-Raphaelite
+school, yet he drew most of his
+ideas from its methods. He was, in the use of
+stiff lines, a follower of Botticelli, and not
+original in that detail, as some have seemed to
+think.</p>
+
+<center>PLATE--CHANT D'AMOUR<br>
+<i>(The Love-Song)</i></center>
+
+<p>This is a picture in the true Burne-Jones
+style: a beautiful woman in billowy draperies,
+playing upon a harp forms the central
+figure of the group of three--a listener on
+either side of her. There is the attractiveness
+of the Burne-Jones method about this picture,
+but after all there seems to be no very good
+<a name="064"></a>
+reason for its having been painted. The
+subject thus treated has only a negative value,
+and little suggestion of thought or dramatic
+idea.</p>
+
+<p>Another picture of this artist, in which his
+use of stiff draperies is specially shown, is
+that of the women at the tomb of Christ,
+when they find the stone rolled away and,
+looking around, see the Saviour's figure before
+them. The scene is low and cavern-like, with
+a brilliant light surrounding the tomb. This
+artist also painted "The Vestal Virgin,"
+"King Cophetua and the Beggar Maid," "Pan
+and Psyche," "The Golden Stairs," and
+"Love Among the Ruins."</p>
+
+<p><a name="065"></a></p>
+<h1>VIII</h1>
+
+<h1>JOHN CONSTABLE</h1>
+
+<center><i>English School</i><br>
+1776-1837<br>
+<i>Pupil of the Royal Academy</i></center>
+
+<p>John Constable was the son of a "yeoman
+farmer" who meant to make him also
+a yeoman farmer. Mostly we find that the
+fathers of our artists had no higher expectations
+for their sons than to have them take up their
+own business; to begin as they had, and to end
+as they expected to. But in John Constable's
+case, as with all the others, the father's methods
+of living did not at all please the son, and
+having most of all a liking for picture-making;
+young John set himself to planning his own
+affairs.</p>
+
+<p>Nevertheless, the foundation of John's art
+was laid right there in the Suffolk farmer's
+home and conditions. He was born in East
+Bergholt, and the father seems to have believed
+in windmills, for early in life the signs of
+wind and weather became a part of the son's
+education. He learned a deal more of atmospheric
+conditions there on his father's windmill
+planted farm than he could possibly have
+learned shut up in a studio, French fashion.
+As a little boy he came to know all the signs of
+<a name="066"></a>
+the heavens; the clouds gathering for storm or
+shine; the bending of the trees in the blast;
+all of these he loved, and later on made the
+principal subjects of his art. He learned to
+observe these things as a matter of business
+and at his father's command; thus we may say
+that he studied his life-work from his very
+infancy. All about him were beautiful hedgerows,
+picturesque cottages with high pitched
+roofs covered with thatch, and it was these
+beauties which bred one other great landscape
+painter besides Constable, of whom we shall
+presently speak, Gainsborough.</p>
+
+<p>At last, graduating from windmills, John
+went to London. He had a vacation from
+the work set him by his father, and for two
+years he painted "cottages, studied anatomy,"
+and did the drudgery of his art; but there was
+little money in it for him, and soon he had to go
+into his father's counting house, for windmills
+seemed to have paid the elder Constable,
+considerably better than painting promised
+to pay young John.</p>
+
+<p>John doubtless liked counting-house work
+even less than he had done the study of windmills
+and weather in his father's fields. He
+was a most persistent fellow, however, and
+finally he returned to London, to study again
+the art he loved, this time in the Royal Academy,
+which meant that he had made some
+progress.</p>
+
+<p>His father gave him very little aid to do
+<a name="067"></a>
+the things he longed to do, but after his father's
+death he found that a little money was coming
+to him from the estate--£4,000. He
+had already triumphed over his difficulties by
+painting his first fine pictures; he now knew
+that he was to become a successful artist,
+and be able to take care of himself and a wife.
+Though in love, he had hitherto been too poor
+to marry. His first splendid work was
+"Dedham Vale."</p>
+
+<p>Though things were going very well with him,
+it was not until Paris discovered him that he
+achieved great success. In 1824 he painted
+two large pictures which he took to Paris,
+and there he found fame. The best landscape
+painting in France dates from the time when
+Constable's works were hung in the Louvre,
+to become the delight of all art-lovers.</p>
+
+<p>He received a gold medal from Charles X.,
+and became more honoured abroad than he had
+ever been at home.</p>
+
+<p>Constable had many enemies, and made
+many more after he became an Academician.
+Some artists, who would have liked that
+honour and who could not gain it for themselves,
+declared that Constable painted "with a
+palette knife," though it certainly would not
+have mattered if he had, since he made great
+pictures.</p>
+
+<p>He painted things exactly as he saw them,
+and was not a popular artist. Most of all, he
+loved to paint the scenes that he had known so
+<a name="068"></a>
+well in his youth, and he did them over and
+over again, as if the subject was one in which
+he wished to reach perfection.</p>
+
+<p>When he died he left a picture, "Arundel
+Castle and Mill," standing with its paint wet
+upon his easel for he passed away very suddenly,
+on April 1st, leaving behind him many unsold
+paintings.</p>
+
+<p>He was a sensitive chap, and throughout his
+youth was greatly distressed by the differences
+of opinion between himself and his father. He
+was torn asunder between a sense of duty and
+his own wish to be an artist; and his greatest
+consolation in this situation was in the friendship
+he had formed for a plumber, who, like
+himself, dearly loved art. The plumber's
+name was John Dunthorne, and the two men
+wandered about the country, when not
+employed at their regular work, and together,
+by streams and in fields, painted the same
+scenes. At one time they hired a little room
+in the neighbouring village which they made
+into a studio. Constable was a handsome
+fellow in his youth and was known to all as the
+"handsome miller." His father, the yeoman
+farmer with the windmills, was also a miller.</p>
+
+<p>In London he became acquainted with one
+John Smith, known as "Antiquity Smith,"
+who taught him something of etching. After
+he was recalled to his father's business, his
+mother wrote to "Antiquity Smith," that she
+hoped John "would now attend to business,
+<a name="069"></a>
+by which he will please me and his father,
+and ensure his own respectability and comfort"--a
+complete expression of the middle-class
+British mind. Her satisfaction was short-lived,
+for her son soon returned to London.</p>
+
+<p>When his first pictures were rejected by the
+Royal Academy he showed one of them to Sir
+Benjamin West, who said hopefully: "Don't
+be disheartened, young man, we shall hear of
+you again; you must have loved nature very
+much before you could have painted this."</p>
+
+<p>About that time he tried to paint many
+kinds of pictures, such as portraits and sacred
+subjects, but he did not seem to succeed in
+anything except the scenes of his boyhood,
+which he truly loved. Hence he gave up
+attempting that which he could do only
+passably, and kept to what he could do
+supremely well.</p>
+
+<p>When his friends wished him to continue
+portrait painting, the only thing that was well
+paid at that time, Constable wrote: "You
+know I have always succeeded best with my
+native scenes. They have always charmed
+me, and I hope they always will. I have now
+a path marked out very distinctly for myself,
+and I am desirous of pursuing it uninterruptedly."</p>
+
+<p>About the time he fell in love and before his
+father's death, his health began to fail, and the
+young woman's mother would have none of
+him. Her father was in favour of Constable,
+<a name="070"></a>
+but he could not hold out against the chance
+of his daughter losing her grandfather's fortune
+by marrying the wrong man.</p>
+
+<p>The lady was not so distractingly in love as
+young Constable was, and she did not entirely
+like the idea of poverty, even with John, so
+she held off, and with so much anxiety Constable
+became downright ill. For five years
+the pair lived apart, and then the artist and
+the young woman, whose name was Maria
+Bicknell, lost their mothers about the same time,
+This drew them very closely together; and to
+help the matter on, John's attendance upon
+his father in his last illness brought him to the
+same town as Miss Bicknell. After his father's
+death, he urged the young lady so strongly
+to be his wife that she consented They were
+married and her father soon forgave her,
+but not so her grandfather, who declared that
+he never would forgive her, but he really must
+have done so from the first, for when he died
+it was found that he had left her a little fortune
+of £4,000. This was about the same amount
+the artist had received from his father, so that
+they were able to get on very well.</p>
+
+<p>After Constable's marriage he went on a visit
+to Sir George Beaumont, and there an amusing
+incident occurred which is known to-day as
+the story of Sir George's "brown tree." It
+seems that Constable's ideas of colour for his
+landscapes were so true to nature that a good
+many people did not approve of them, and one
+<a name="071"></a>
+day while painting, Sir George declared that
+the colour of an old Cremona fiddle was the
+best model of colour tone that a landscape
+could have. Constable's only answer was to
+place the fiddle on the green lawn in front of
+the house. At another time his host asked
+the artist, "Do you not find it very difficult
+to determine where to place your brown tree?"
+"Not at all," was Constable's reply, "for I
+never put such a thing into a picture in my
+life."</p>
+
+<p>In painting one picture many times he
+declared, "Its light cannot be put out because
+it is the light of nature." A Frenchman called
+attention to one of his pictures thus: "Look
+at these landscapes by an Englishman. The
+ground appears to be covered with dew."</p>
+
+<p>Notwithstanding the little fortune of his
+wife and himself, Constable was not quite carefree,
+because he had to raise a good sized
+family of six children so that when his wife's
+father died and left his daughter £20,000
+he said to a friend: "Now I shall stand before
+a six-foot canvas with a mind at ease, thank
+God!" In the very midst of this happiness,
+his beloved wife became ill with consumption,
+and was certain to die. He no longer cared
+very much for life and wrote very sadly:</p>
+
+<p>"I have been ill, but am endeavouring to
+get work again, and could I get afloat upon a
+canvas of six feet, I might have a chance of
+being carried from myself." When he became
+<a name="072"></a>
+a member of the Royal Academy, he said:
+"It has been delayed until I am solitary and
+cannot impart it," meaning that without his
+dear wife to share his good fortune, it seemed
+an empty honour to him.</p>
+
+<p>Strange things are told which show how little
+his work was valued by his countrymen.
+After he had become a member of the Academy
+one of his small pictures was entered but
+rejected; nobody knowing anything about it.
+It was put on one side among the "outsiders."
+Finally, one of his fellow members glancing at
+it was attracted.</p>
+
+<p>"Stop a bit! I rather like that. Why not
+say 'doubtful'?" Later Constable acknowledged
+the picture as his, and then they wished
+to hang it, but he refused to let them. Another
+Academy story is about his picture "Hadleigh
+Castle." On Varnishing Day, Chartney, a brilliant
+critic, told Constable that the foreground
+of the picture was "too cold," and so he
+undertook to "warm it," by giving it a strong
+glaze with asphaltum with Constable's brush
+which he snatched from the artist's hand.
+Constable gazed at him in horror. "Oh!
+there goes all my dew," he cried, and when
+Chartney's back was turned he hurriedly wiped
+the "warmth" all away and got back his "dew."</p>
+
+<p>Even the amusing things that happened to
+him, seem to have a little sadness about them.
+He wrote to a friend: "Beechey was here
+yesterday, and said: 'Why d--n it Constable,
+<a name="073"></a>
+what a d--n fine picture you are making;
+but you look d--n ill, and you've got a d--n
+bad cold!' so," added Constable, "you have
+evidence on oath of my being about a fine
+picture and that I am looking ill."</p>
+
+<p>An illustration of his painstaking and truthfulness
+to nature is that he once took home
+with him from a visit bottles of coloured sand
+and fragments of stone which he meant to
+introduce into a picture; and on passing some
+slimy posts near a mill, he said to his host,
+"I wish you could cut those off and send
+their tops to me."</p>
+
+<p>Constable was a loyal friend, the most
+persistent of men, and several anecdotes are
+told of his characteristics. His friend Fisher
+said to him:</p>
+
+<p>"Where real business is to be done, you are
+the most energetic and punctual of men. In
+smaller matters, such as putting on your
+breeches, you are apt to lose time in deciding
+which leg shall go in first."</p>
+
+<center>PLATE--THE HAY WAIN</center>
+
+<p>This picture was first called "Landscape,"
+and it was painted in 1821. In his letters
+about it, however, Constable also called it
+"Noon," and others wrote of it as "Midsummer
+Noon." This tells us what a wealth
+of hot sunlight is suggested by the painting.</p>
+
+<p>It shows a little farmhouse upon the bank of
+<a name="074"></a>
+a stream, a spot well known as "Willy Lott's
+Cottage." The owner had been born there
+and he died there eighty-eight years later,
+without ever having left his cottage for four
+whole days in all those years. Upon the
+tombstone of Lott, which is in the Bergholt
+burial ground, his epitaph calls the house
+"Gibeon Farm." It was a favourite scene
+with Constable, and he painted it many times
+from every side. It is the same house we see
+in the "Mill Stream," another Constable painting,
+and again in "Valley Farm." In this
+last picture he painted the side opposite to the
+one shown in the "Hay Wain."</p>
+
+<p>The stream near which the house stands
+spreads out into a ford, and in the picture the
+hay cart, with two men upon it, is passing
+through the ford. The horses are decked out
+with red tassels. On the right of the stream
+there is a broad meadow, golden green in the
+sunlight, "with groups of trees casting cool
+shadows on the grass, and backed by a distant
+belt of woodland of rich blues and greens." On
+the right is a fisherman, half hidden by a bush,
+standing near his punt.</p>
+
+<p>Constable wrote to his friend, Fisher, "My
+picture goes to the Academy on the tenth."
+This was written on April 1st, 1821. "It is not
+so grand as Tinney's." This shows us, that
+Constable had not vanity enough to interfere
+with his self-criticism. Again in a letter
+written to him by a friend: "How does the
+<a name="075"></a>
+'Hay Wain' look now it has got into your
+own room again?" adding that he wished to
+see it there, away from the Academy which
+to him was always "like a great pot of boiling
+varnish."</p>
+
+<p>Later Fisher wrote: "I have a great
+desire to possess your 'Wain,' but I cannot
+now reach what it is worth;" and he begged
+Constable not to sell it without giving him a
+chance to try once more to raise the money
+to buy it. He wrote that the picture would
+become of greater value to his children if the
+artist left it hanging upon the walls of the
+Academy, "till you join the society of Ruysdael,
+Wilson, and Claude. As praise and money
+will then be of no value to you, the world will
+liberally bestow both."</p>
+
+<p>Later a Frenchman wished to buy it for
+exhibition purposes, and when Constable wrote
+to Fisher of this, his friend replied that he had
+better sell it to the Frenchman "for the sake
+of the <i>éclat</i> it may give you. The stupid
+English public, which has no judgment of its
+own, will begin to think there is something
+in it if the French make your works national
+property. You have long lain under a mistake;
+men do not purchase pictures because they
+admire them, but because others covet them."</p>
+
+<p>Finally, the "Hay Wain" was sold to the
+French dealer for £250, and Constable threw
+in a picture of Yarmouth for good measure.
+Later a friend declared that he had created a
+<a name="076"></a>
+good deal of argument about landscape painting,
+and that there had come to be two divisions,
+for he had practically founded a new school.
+He received a gold medal for the "Hay Wain,"
+and the French nation tried to buy it. In
+the Louvre are "The Cottage," "Weymouth
+Bay," and "The Glebe Farm." Elsewhere are
+"Hampstead Heath," "Salisbury Cathedral,"
+"The Lock on the Stour," "Dedham Mill,"
+"The Valley Farm," "Gillingham Mill," "The
+Cornfield," "Boat-Building," "Flatford Mill
+on the River Stour," besides many others.</p>
+
+<p><a name="077"></a></p>
+<h1>IX</h1>
+
+<h1>JOHN SINGLETON COPLEY</h1>
+
+<center><i>English School</i><br>
+1737-1815</center>
+
+<p>A little boy with a squirrel was the
+first picture that pointed this artist
+toward fame and that was painted in England
+and exhibited at the Society of Arts.</p>
+
+<p>This American-born Irishman had no family
+or ancestry of account, but he himself was
+to become the father of Lord Chancellor
+Lyndhurst, and he did some truly fine things
+in art.</p>
+
+<p>About the same time America had another
+painter, Benjamin West, marked out for fame,
+but he got his start in Europe while Copley
+had already become a successful artist before
+he left Boston, his native place.</p>
+
+<p>He liked best to paint "interiors"--rooms
+with fine furniture and curtains, women in
+fine clothing and men in embroidered waistcoats
+and bejewelled buckles.</p>
+
+<p>In 1777 he got into the Royal Academy,
+and on the whole had considerable influence on
+European art. If we study the portraits
+that he painted while in Boston, we can
+get a very complete idea of the surroundings
+<a name="078"></a>
+of the "Royalists" at the time of our
+colonial history.</p>
+
+<center>PLATE--THE COPLEY FAMILY GROUP</center>
+
+<p>In this picture there are seven figures with
+an open landscape forming the background.
+The baby of the family plays, with uplifted
+arms, upon grandfather's knee. The mother
+on the couch, surrounded by her three other
+children, is kissing one while another clings
+to her. Before her stands a prim little
+maid, gowned in the fashion of grown-folks
+of her day. A little lock of hair falling upon
+her forehead suggests that when she was
+good she was very, very good, and when she
+was bad she was horrid! She wears a little
+cap. At the back is the artist himself in a wig
+and other fashions of the time. A great column
+rises behind him, forming a part of the
+architecture or the landscape, one hardly
+knows which in so artificially constructed a
+picture.</p>
+
+<p>Copley painted also John Hancock, Judge
+Graham, Jeremiah Lee, and General Joseph
+Warren.</p>
+
+<p><a name="079"></a></p>
+<h1>X</h1>
+
+<h1>JEAN BAPTISTE CAMILLE COROT</h1>
+
+<center>(Pronounced Zhahn Bah-teest' Cah-mee'yel Coh'roh)<br>
+<i>Fontainebleau-Barbizon School</i><br>
+1796-1875<br>
+<i>Pupil of Michallon</i></center>
+
+<p>About three hundred years before Corot's
+time there was a Fontainebleau school
+of artists, made up of the pathetic Andrea del
+Sarto, the wonderful Leonardo da Vinci, and
+Cellini. These painters had been summoned
+from their Italian homes by Francis I., to
+decorate the Palace of Fontainebleau. The
+second great group of painters who had studios
+in the forest and beside the stream were
+Rousseau, Dupré, Diaz, and Daubigny; Troyon,
+Van Marcke, Jacque; then Millet, the painter
+of peasants.</p>
+
+<p>Corot was born in Paris and received what
+education the ordinary school at Rouen could
+give him. He was intended by his parents
+for something besides art, as it would seem
+that every artist in the world was intended.
+Corot was to grow up and become a respectable
+draper; at any rate a draper.</p>
+
+<p>The young chap did as his father wished,
+until he was twenty-six years old, and dreary
+years those must have been to him. He did
+<a name="080"></a>
+not get on well with his master, nor did the
+world treat him very well. He found neither
+riches nor the fame that was his due till he was
+an old man of seventy. At that age he had
+become as rich a man as he might have been
+had he remained a sensible draper.</p>
+
+<p>Best of all, Corot loved to paint clouds and
+dewy nights, pale moons and early day, and of
+all amusements in the world, he preferred the
+theatre. There he would sit; gay or sad as the
+play might make him, weeping or laughing
+and as interested as a little child.</p>
+
+<p>After he had anything to give away, Corot
+was the most madly generous of men. It was
+he who gave a pension to the widow of his
+brother artist, Millet, on which she lived all
+the rest of her days. He gave money to his
+brother painters and to all who went to him
+for aid; and he always gave gaily, freely, as if
+giving were the greatest joy, outside of the
+theatre, a man could have. Everyone who
+knew him loved him, and there was no note
+of sadness in his daily life, though there seems
+to be one in his poetical pictures. Because of
+his generous ways he was known as "Pere
+Corot." He sang as he worked, and loved his
+fellowmen all the time; but most of all, he
+loved his sister.</p>
+
+<p>"Rousseau is an eagle," he used to say in
+speaking of his fellow artist. "As for me, I
+am only a lark, putting forth some little songs
+in my gray clouds."</p>
+
+<p><a name="081"></a>
+It has been noted that most great landscape
+painters have been city-bred, a remarkable fact.
+Constable and Gainsborough were born and
+bred in the country, but they are exceptions
+to the rule. Corot's parents were Parisians
+of the purest dye, having been court-dressmakers
+to Napoleon I.; and when Corot finally determined
+to leave the draper's shop and become a painter,
+his father said: "You shall have a yearly
+allowance of 1,200 francs, and if you can live on
+that, you can do as you please." When his son was
+made a member of the Legion of Honour, after
+twenty-three years of earnest work, his father
+thought the matter over, and presently doubled
+the allowance, "for Camille seems to have some
+talent after all," he remarked as an excuse for
+his generosity.</p>
+
+<p>It is told that when he first went to study
+in Italy, Corot longed to transfer the moving
+scenes before him to canvas; but people moved
+too quickly for him, so he methodically set
+about learning how to do with a few strokes
+what he would otherwise have laboured over.
+So he reduced his sketching to such a science
+that he became able to sketch a ballet in full
+movement; and it is remarked that this practice
+trained him for presenting the tremulousness
+of leaves of trees, which he did so exquisitely.</p>
+
+<p>One learns something of this painter of early
+dawn and soft evening from a letter he wrote
+to his friend Dupré:</p>
+
+<p><a name="082"></a>
+One gets up at three in the morning, before the sun;
+one goes and sits at the foot of a tree; one watches and
+waits. One sees nothing much at first. Nature resembles
+a whitish canvas on which are sketched scarcely the
+profiles of some masses; everything is perfumed, and
+shines in the fresh breath of dawn. Bing! the sun grows
+bright but has not yet torn aside the veil behind which lie
+concealed the meadows, the dale, and hills of the horizon.
+The vapours of night still creep, like silvery flakes over
+the numbed-green vegetation. Bing! bing!--a first ray
+of sunlight--a second ray of sunlight--the little flowers
+seem to wake up joyously. They all have their drop of
+dew which trembles--the chilly leaves are stirred with the
+breath of morning--in the foliage the birds sing unseen--all
+the flowers seem to be saying their prayers. Loves
+on butterfly wings frolic over the meadows and make the
+tall plants wave--one sees nothing--yet everything is
+there--the landscape is entirely behind the veil of mist,
+which mounts, mounts, sucked up by the sun; and
+as it rises, reveals the river, plated with silver, the
+meadow, the trees, cottages, the receding distance--one
+distinguishes at last everything that one had
+divined at first.</p>
+
+<p>In all the world there can hardly be a more
+exquisite story of daybreak than this; and so
+beautiful was the mood into which Corot
+fell at eventime, as he himself describes it,
+that it would be a mistake to leave it out.
+This is his story of the night:</p>
+
+<p>Nature drowses--the fresh air, however, sighs among
+the leaves--the dew decks the velvety grass with pearls.
+The nymphs fly--hide themselves--and desire to be seen.
+Bing! a star in the sky which pricks its image on the pool.
+Charming star--whose brilliance is increased by the quivering
+of the water, thou watchest me--thou smilest to me
+with half-closed eye! Bing!--a second star appears in the
+<a name="083"></a>
+water, a second eye opens. Be the harbingers of welcome,
+fresh and charming stars. Bing! Bing! Bing!--three,
+six, twenty stars. All the stars in the sky are keeping
+tryst in this happy pool. Everything darkens, the pool
+alone sparkles. There is a swarm of stars--all yields to
+illusion. The sun being gone to bed, the inner sun of
+the soul, the sun of art awakens. Bon! there is my
+picture done!</p>
+
+<p>In writing those letters, Corot made literature
+as well as pictures. That little word "bing!"
+appears also in his paintings, as little leaves
+or bits of tree-trunk, some small detail which,
+high-lightened, accents the whole.</p>
+
+<center>PLATE--DANCE OF THE NYMPHS</center>
+
+<p>There could hardly be a more charming
+painting than this which hangs in the Louvre.
+It is of a half-shut-in landscape of tall trees,
+their branches mingling; and all the atmospheric
+effects that belong to Corot's work can
+here be seen.</p>
+
+<p>On the open greensward is a group of nymphs
+dancing gaily, while over all the scene is the
+veil of fairy-land or of something quite mysterious.
+At the back and side, satyrs can be seen
+watching the nymphs. There is here less of
+the blur of leaves than that seen in later
+pictures, but the same soft effect is found,
+and the little "bings" are the accents of light
+placed upon a leaf, a nymph's shoulder, or a
+tree-trunk.</p>
+
+<p>This picture was painted in 1851, when
+<a name="084"></a>
+Corot had not yet developed that style which
+was to mark all his later work.</p>
+
+<p>Besides this picture he painted "Paysage,"
+"The Bathers" "Ville d'Arvay," "Willows near
+Arras," "The Bent Tree," "A Gust of Wind,"
+and others.</p>
+
+<p><a name="085"></a></p>
+<h1>XI</h1>
+
+<h1>CORREGGIO (ANTONIO ALLEGRI)</h1>
+
+<center>(Pronounced Cor-rage'jyo Ahl-lay'gree)<br>
+<i>School of Parma</i><br>
+1494(?)-1534<br>
+<i>Pupil of Mantegna</i></center>
+
+<p>When Correggio was a little boy, he
+lived in the odour of spices, which
+were kept upon his father's shop-shelves. He
+was a highly-spiced little boy and man, although
+the most timid and shrinking. His imagination
+was the liveliest possible.</p>
+
+<p>The spice merchant lived in the town of
+Correggio, and thus the artist got his name.
+Correggio knew what should be inside the
+lovely flesh of his painted figures before he
+began to paint them, because he studied
+anatomy in a truly scientific manner before he
+studied painting. Probably no other artist
+up to that time, had ever begun with the bare
+bones of his models, but Correggio may be said
+to have worked from the inside out. He learned
+about the structure of the human frame from
+Dr. Giovanni Battista Lombardi, and showed his
+gratitude to his teacher by painting a picture
+"Il Medico del Correggio" (Correggio's Physician),
+and presenting it to Doctor Lombardi.</p>
+
+<p>Now Correggio's childhood, or at least his
+<a name="086"></a>
+early manhood, could not have been spent in
+poverty, because it is known that he used
+the most expensive colours to paint with,
+painted upon the finest of canvas, while greater
+artists had often to be content with boards.
+He also painted upon copper plates, and it is
+said that he hired Begarelli, a sculptor of much
+fame, to make models in relief for him to copy
+for the pictures he painted on the cupolas of
+the churches in Parma. That sculptor's services
+must have been expensive.</p>
+
+<p>On the lovely island of Capri, in the Franciscan
+convent, will be found one of his first
+pictures, painted when Correggio was about
+nineteen years old.</p>
+
+<p>He was highly original in many ways.
+Although he had never seen the work of any
+great artist, he painted the most extraordinary
+fore-shortened pictures; and fore-shortening
+was a technicality in art then uncommon.
+He also was the first to paint church cupolas.
+Fore-shortening produces some peculiar as well
+as great results, and being a feature of art
+with which people were not then familiar,
+Correggio's work did not go uncriticised.
+Indeed one artist, gazing up into one of the
+cupolas where Correggio's fore-shortened
+figures were placed, remarked that to him it
+appeared a "hash of frogs."</p>
+
+<p>But when Titian saw that cupola, he said:
+"Reverse the cupola, fill it with gold, and even
+then that will not be its money's worth."</p>
+
+<p><a name="087"></a>
+Correggio did not receive very large sums for
+his work, and since he was married and took
+good care of his family, he must have had
+some source of income besides his brush.
+He received some interesting rewards for his
+paintings. For example, for "St. Jerome,"
+called "Il Giorno," he was given "400 gold
+imperials, some cartloads of faggots and
+measures of wheat, and a fat pig." That
+picture is in the Parma Gallery, and all the
+cupolas which he painted are in Parma churches.</p>
+
+<p>Some of his pictures are signed; "Leito,"
+a synonym for his name, "Allegri." This
+indicates his style of art.</p>
+
+<p>There is an interesting story told of how
+Correggio stood entranced before a picture of
+Raphael's, and after long study of it he exclaimed:
+"I too, am a painter!" showing at
+once his appreciation of Raphael's greatness
+and satisfaction at his own genius.</p>
+
+<p>Doubtless a good share of Correggio's comfortable
+living came from the lady he married,
+since she was considered a rich woman for
+those times and in that locality. Her name
+was Girolama Merlini, and she lived in Mantua,
+the place where the Montagues and Capulets
+lived of whom Shakespeare wrote the most
+wonderful love story ever imagined. This
+young woman was only sixteen years old when
+Correggio met and loved her, and very beautiful
+and later on he painted a picture, "Zingarella,"
+for which his wife is said to have been the
+<a name="088"></a>
+model. It seems to have been a stroke of
+economy and enterprise for painters to marry,
+since we read of so many who made fame and
+fortune through the beauty of their wives.</p>
+
+<p>They were very happy together, Correggio
+and his wife, and they had four children.
+Their happiness was not for long, because
+Correggio seems to have been but thirty-four
+years old when she died, nor did he live to be
+old. There is a most curious tale of his death
+which is probably not true, but it is worth
+telling since many have believed it. He is
+supposed to have died in Correggio, of pleurisy,
+but the story is that he had made a picture
+for one who had some grudge against him, and
+who in order to irritate him paid him in copper,
+fifty scudi. This was a considerable burden,
+and in order to save expense and time, it is
+said that Correggio undertook to carry it home
+alone. It was a very hot day, and he became
+so overheated and exhausted with his heavy
+load that he took ill and died, and he may be
+said literally to have been killed by "too much
+money," if this were true. Vasari, a biographer
+to be generally believed, says it is a fact.</p>
+
+<p>Correggio said that he always had his
+"thoughts at the end of his pencil," and there
+are those who impudently declare that is the
+only place he <i>did</i> have them, but that is a
+carping criticism, because he was a very great
+artist, his greatest power being the presentation
+of soft blendings of light and shade. There
+<a name="089"></a>
+seem to have been few unusual events in
+Correggio's life; very little that helps us to
+judge the man, but there is a general opinion
+that he was a kind and devoted father and
+husband, as well as a good citizen. With
+little demand upon his moral character, he did
+his work, did it well, and his work alone gave
+him place and fame.</p>
+
+<p>He became the head of a school of painting
+and had many imitators, but we hear little of
+his pupils, except that one of them was his own
+son, Pompino, who lived to be very old, and
+in his turn was successful as an artist.</p>
+
+<p>Correggio was buried with honours in the
+Arrivabene Chapel, in the Franciscan church
+at Correggio.</p>
+
+<center>PLATE--THE HOLY NIGHT</center>
+
+<p>This painting is not characteristic of Correggio's
+work, but nevertheless it is very
+beautiful. The brilliant warm light which
+comes from the Infant Jesus in His mother's
+arms is reflected upon the faces of those
+gathered about, and even illuminates the
+angelic group hovering above him. The slight
+landscape forming the background is also
+suggestive, and the conditions of the birth
+are indicated by the ass which may be seen
+in the middle distance. The faces of all are
+joyous yet full of wonderment, the whole scene
+intimate and human.</p>
+
+<p><a name="090"></a>
+The picture is also called the "Adoration of
+the Shepherds," and that title best tells the
+story. See the shepherdess shading her face
+with one hand and offering two turtle-doves
+with the other. The ass in the distance is the
+one on which Mary rode to Bethlehem, and
+Joseph is caring for it. Even the cold light
+of the dawning day is softened by the beauty
+of the group below. This picture is in the
+Royal Gallery in Dresden.</p>
+
+<center>PLATE--THE MYSTIC MARRIAGE OF ST. CATHERINE</center>
+
+<p>The Infant Jesus sits upon His mother's
+lap, and places the ring upon St. Catherine's
+finger, while Mary's hand helps to guide that
+of her Child. This action brings the three
+hands close together and adds to the beauty
+of the composition. All of the faces are full of
+pleasure and kindliness, while that of St.
+Sebastian fairly glows with happy emotion.
+The light is concentrated upon the body of the
+Child and is reflected upon the faces of the
+women. This painting hangs in the Louvre.</p>
+
+<p>Other great Correggio pictures are the
+"School of Cupid," which is more characteristic
+of his work; "Antiope," "Leda," "Danae,"
+and "Ecce Homo."
+<a name="091"></a></p>
+<h1>XII</h1>
+
+<h1>PAUL GUSTAVE DORÉ</h1>
+
+<center><i>French School</i><br>
+1833-1883</center>
+
+<p>This artist died in Paris twenty-five years
+ago, but there is little as yet to be told
+of his life history. He was educated in Paris
+at the Lycée Charlemagne, having gone there
+from Strasburg, where he was born.</p>
+
+<p>He was a painter of fantastic and grotesque
+subjects, and as far as we know, he began his
+career when a boy. He made sketches before
+his eighth year which attracted much attention,
+and he earned considerable money while still
+at school. He was at that time engaged to
+illustrate for journals, at a good round sum,
+and before he left the Lycée he had made
+hundreds of drawings, somewhat after the
+satirical fashion of Hogarth.</p>
+
+<p>His work is very characteristic and once seen
+is likely to be always recognised.</p>
+
+<p>He first worked for the <i>Journal Pour Rire</i>,
+but then he undertook to illustrate the work
+of Rabelais, the great satirist, whose text just
+suited Doré's pencil. After Rabelais he illustrated
+Balzac, also the "Wandering Jew," "Don
+Quixote," and Dante's "Divine Comedy."</p>
+
+<p>He undertook to do things which he could
+<a name="092"></a>
+not do well, simply for the money there was in
+the commissions. He had but a poor idea of
+colour and his work was coarse, but it had
+such marked peculiarities that it became
+famous. He did a little sculpture as well,
+and even that showed his eccentricities of
+thought.</p>
+
+<center>PLATE--MOSES BREAKING THE TABLETS
+OF THE LAW</center>
+
+<p>This is one of the illustrations of the Doré
+Bible, published in 1865-66. The story is well
+known of how Moses went up into the Mount
+of the Lord to receive the laws for the Israelites,
+which were written upon tables of stone.
+Upon his descent from the Mount he found
+that his followers had set up a golden calf,
+which they were worshipping; and in his wrath
+Moses broke the tablets on which the Law
+was inscribed. The power shown in his attitude,
+the affrighted faces of the cowering Jews,
+the thunder and lightning as an expression of
+the wrath of the Almighty are all painted in
+Doré's best manner.</p>
+
+<p><a name="093"></a></p>
+<h1>XIII</h1>
+
+<h1>ALBRECHT DÜRER</h1>
+
+<center>(Pronounced Dooer-rer')<br>
+<i>Nuremberg School</i><br>
+1471-1528<br>
+<i>Pupil of Wolgemuth and Schongauer</i></center>
+
+<p>Albrecht Dürer by nationality was a
+Hungarian, but he was born in the city
+of Nuremberg. His father had come from
+the little Hungarian town of Eytas to Nuremberg
+that he might practise the craft of
+a goldsmith. Notwithstanding his Hungarian
+origin, the name is German and the family
+"bearing," or sign, is the open door. This
+device suggests that the name was first formed
+from "Thurer," which means "carpenter,"
+maker of doors.</p>
+
+<p>The father became the goldworker for a
+master goldsmith of Nuremberg named Hieronymus
+Holper, and very soon the new
+employee had fallen in love with his master's
+daughter. The daughter was very young and
+very beautiful; her name was Barbara, and as
+Herr Dürer was quite forty years of age, while
+she was but fifteen, the match seemed most
+unlikely, but they married and had eighteen
+children! The great painter was one of them.</p>
+
+<p>Albrecht loved his parents most tenderly,
+<a name="094"></a>
+and from first to last we hear no word of
+disagreement among any members of that
+immense household. Young Albrecht was
+especially the companion of his father, being
+brilliant, generous, and hard-working in a
+family where everyone needed to do his best
+to help along. This love and companionship
+never ceased until death, and after his parents
+died Albrecht wrote in a touching manner of
+their death, describing his love for them,
+and their many virtues. He was an author
+and a poet as well as a painter, and only
+Leonardo da Vinci matched him for greatness
+and versatility. We may know what
+Dürer's father looked like, since the son made
+two portraits of him; one is to be seen in the
+Uffizi Gallery at Florence and the other belongs
+to the Duke of Northumberland's collection.
+The latter portrait has been reproduced in an
+engraving, so that it is familiar to most people.</p>
+
+<p>In the days when the great artist was growing
+up, Nuremberg was the centre of all intellectuality
+and art in the North. The city of Augsburg
+also followed art fashions, but it was far
+less important than Nuremberg, because in the
+latter city every sort of art-craft was followed
+in sincerity and with great originality.</p>
+
+<p>In those days, the craft of the goldsmith
+was closely allied with the profession of the
+painter, because the smith had to create his
+own designs, and that called for much talent.
+Thus it was but a step from designing in
+<a name="095"></a>
+precious metals to the use of colour, and to
+engraving. In making wood engravings, however,
+the drudgery of it was left almost entirely
+to workmen, not artists. Nuremberg was also
+the seat of musical learning. Wagner makes
+this fact pathetic, comical, and altogether
+charming in his "Mastersingers of Nuremberg."</p>
+
+<p>Till Dürer's time, however, there had been
+little painting that could be regarded as art,
+and when he came to study it there was but
+little opportunity in his own land, but Dürer
+was destined to bring art to Nuremberg. If
+he went elsewhere to study, it was only for a
+little time, because he was above all things
+patriotic and dearly loved his home.</p>
+
+<p>With seventeen brothers and sisters, young
+Dürer's problem was a serious one. His
+father not only meant him to become a goldsmith
+like himself--a craft in which there
+was much money to be made at a time when
+people dressed with great ornamentation and
+used gold to decorate with--it was highly
+necessary with so large a family that he should
+learn to do that which could make him helpful
+to his father. Hence the young boy entered
+his father's shop. If he had not been handicapped
+with so many to help to maintain,
+he would have laid up a considerable fortune,
+because from the very beginning he was master
+of all that he undertook; doing the least thing
+better than any other did it, putting conscience
+and painstaking into all.</p>
+
+<p><a name="096"></a>
+"My father took special delight in me,"
+the son said, "seeing that I was industrious
+in working and learning, he put me to school;
+and when I had learned to read and write, he
+took me home from my school and taught
+me the goldsmith's trade."</p>
+
+<p>The family were good and kind; excellent
+neighbours, deeply religious, and little Albrecht
+certainly was comely. He was beautiful as a
+little child, and as a man was very handsome,
+with long light hair sweeping his shoulders,
+and gentle eyes. He was very tall, stately,
+and full of dignity.</p>
+
+<p>In his father's shop he made little clay figures
+which were afterward moulded in metal; also
+he learned to carve wood and ivory, and he
+added the touch of originality to all that he
+did. He was the Leonardo da Vinci of Germany,
+an intellectual man, a poet, painter, sculptor,
+engraver, and engineer. He approached everything
+that he did from an intellectual point
+of view, looking for the reasons of things.</p>
+
+<p>After a while in his father's shop, he found
+mere craftsmanship irksome, and he begged
+to be allowed to enter a studio. This was a
+great disappointment to the father, even a
+distress, because he could see no very quick
+nor large returns in money for an artist, and
+he sorely needed the help of his son; but being
+kind and reasonable, he consented Albrecht
+was apprenticed to the only artist of any
+repute then in Nuremberg, Wolgemuth.</p>
+
+<p><a name="097"></a>
+To his studio Albrecht went, at the age of
+fifteen, and if he did not learn much more of
+painting, under that artist's direction, than
+his own genius had already taught him, he
+learned the drudgery of his work; how to grind
+colours and to mix them, and he studied wood
+engraving also.</p>
+
+<p>In Wolgemuth's studio he remained for
+the three years of his apprenticeship, and then
+he fled to better things. For a time he followed
+the methods of another German artist, Schongauer,
+but finally he went forth to try his luck
+alone. He wandered from place to place,
+practising all his trades, goldsmithing, engraving,
+whatever would support him, yet
+always and everywhere painting.</p>
+
+<p>It is thought that he may have gone as far
+as Italy, but it is not certain whether he went
+there in his first wanderings or later on.
+However, he was soon recalled home, for his
+father had found a suitable wife for him. She
+was the daughter of a rich citizen and her
+name was Agnes Frey. She was pretty as well
+as rich, but had she been neither Albrecht would
+have returned at his father's bidding. There was
+never any resistance to the fine and proper things
+of life on Albrecht Dürer's part. He was the
+well balanced, reasonable man from youth up.</p>
+
+<p>There have been extraordinary tales told of
+the artist's wife. She has been called hateful
+and spiteful as Xantippe, the wife of Socrates,
+but we think this is calumny. The stories
+<a name="098"></a>
+came about in this way: Dürer had a life-long
+friend, Wilibald Pirkheimer, who in his old
+age became the most malicious and quarrelsome
+of old fellows. He lived longer than
+Dürer did, and Dürer's wife also outlived her
+husband. Pirkheimer wanted a set of antlers
+which had belonged to Dürer and which he
+thought the wife should give him after Dürer
+was dead, but Agnes thought otherwise and
+would not give them up. Then, full of rage,
+the old man wrote the most outrageous letters
+about poor Agnes, saying that she was a shrew
+and had compelled Dürer to work himself to
+death; that she was a miser and had led the
+artist an awful dance through life. This is the
+only evidence against her, and that so sane and
+sensible a man as the artist lived with her all
+his life and cherished her, is evidence enough
+that Pirkheimer didn't tell the truth. When
+Dürer died he was in good circumstances and
+instead of being overworked, he for many
+years had done no "pot-boiling," but had
+followed investigations along lines that pleased
+him. After his death, the widow treated his
+brothers and sisters generously, giving them
+properties of Dürer's and being of much help
+to them. During the artist's life he and she
+had travelled everywhere together and had
+appeared to love each other tenderly; hence
+we may conclude that the old Pirkheimer
+was simply a disgruntled, gouty old man
+without a good word for anybody.</p>
+
+<p><a name="099"></a>
+If Dürer's father and mother had eighteen
+children, Albrecht and Agnes struck a balance,
+for they had none. Whether or not Dürer
+went to Italy before his marriage in 1494,
+certain it is that he was in Venice, the home of
+Titian, in 1506. Titian was six years younger
+than Dürer, who was then about thirty-five
+years old. It is said that he started for Italy
+in 1505 and that he went the whole of the way,
+over the Alps, through forests and streams,
+on horseback. Who knows but it was during
+that very journey, while travelling alone,
+often finding himself in lonely ways, and full
+of the speculative thoughts that were characteristic
+of him, that he did not think first of
+his subject, "Knight, Death, and the Devil,"
+which helped make his fame. In that picture
+we have a knight, helmeted, carrying his lance,
+mounted upon his horse, riding in a lonely
+forest, with death upon a "pale horse" by
+his side, holding an hour glass to remind the
+knight of the fleeting of time. Behind comes
+the devil, with trident and horn, represented
+as a frightful and disgusting beast, which
+follows hot-foot after the lonely knight, who
+looks neither to right nor left, but persistently
+goes his way.</p>
+
+<p>Titian's teacher, Bellini, was still living,
+and he was one of Dürer's greatest admirers.
+Especially did he believe that he could paint
+the finest hair of any artist in the world. One
+day, while studying Dürer's work, and being
+<a name="100"></a>
+especially fascinated by the hair of one of
+his figures, the old man took Dürer's brush
+and tried to reproduce as beautiful a
+tress. Presently he put down the brush
+in despair, but the younger artist took it up,
+still wet with the same colours, and in a
+few brilliant strokes produced a lovely lock
+of woman's hair.</p>
+
+<p>While luxuriating in Venetian heat, Dürer
+wrote home to his friend Pirkheimer: "Oh,
+how I shall freeze after this sunshine!" He
+was a lover of warm, beautiful colour, gay
+and tender life. Most of all he loved the
+fatherland, and all the honours paid him and
+all the invitations pressed upon him could
+not keep him long from Nuremberg. The
+journey homeward was not uneventful because
+he was taken ill, and had to stop at a house
+on his way, where he was cared for till he was
+strong enough to proceed. Before he went
+his way he painted upon the wall of that house
+a fine picture, to show his gratitude for the
+kind treatment he had received. Imagine a
+people so settled in their homes that it
+would be worth while for an artist who
+came along to leave a picture upon the walls
+to-day--we should have moved to a new
+house or a new flat almost before Dürer
+could have washed his brushes and turned
+the corner.</p>
+
+<p>Back in Nuremberg, he settled down into
+the life of a responsible citizen, lived in a fine
+<a name="101"></a>
+new house, in time became a member of the
+council, and his studio was a veritable workshop.
+Studios were quite different from those
+of to-day. Then the pupils turned to and
+ground colours, did much of their own manufacturing,
+engaged at first in such commonplace
+occupations, which were nevertheless teaching
+them the foundation of their art, while they
+watched the work of the master. Such a
+studio as Dürer's must have been full of young
+men coming and going, not all working at the
+art of painting, but engraving, preparing
+materials for such work, designing, and executing
+many other details of art work.</p>
+
+<p>After this time Dürer made his smallest
+picture, which is hardly more than an inch in
+diameter. On that tiny surface he painted
+the whole story of the crucifixion, and it is now
+in the Dresden Gallery. To those of us who
+see little mentality in the faces of the Italian
+subjects, the German art of Dürer, often ugly
+in the choice of models, and so exact as to
+bring out unpleasing details, is nevertheless
+the greater; because in all cases, the faces have
+sincere expressions. They exhibit human purposes
+and emotions which we can understand, and despise
+or love as the case may be.</p>
+
+<p>They say that his Madonna is generally a
+"much-dressed round-faced German mother,
+holding a merry little German boy." That
+may be true; but at any rate, she is every inch
+<a name="102"></a>
+a mother and he a well-beloved little boy,
+which is considerably more than can be said of
+some Italian performances.</p>
+
+<p>Dürer made a painting of "Praying Hands,"
+a queer subject for a picture, but those hands
+are nothing <i>but</i> praying hands. The story of
+them is touching. It is said that for several
+years Dürer had won a prize for which a friend
+of his had also competed, and upon losing the
+prize the last time he tried for it, the friend
+raised his hands and prayed for the power to
+accept his failure with resignation and humility.
+Dürer, looking at him, was impressed with the
+eloquence of the gesture; thus the "Praying
+Hands" was conceived.</p>
+
+<p>Dürer was also called the <i>Father of Picture
+Books</i>, because he designed so many woodcuts
+that he first made possible the illustration of
+stories.</p>
+
+<p>He printed his own illustrations in his own
+house, and was well paid for it. The Emperor
+Maximillian visited Nuremberg, and wishing
+to honour Dürer, commanded him to make a
+triumphal arch.</p>
+
+<p>"It was not to be fashioned in stone like
+the arches given to the victorious Roman
+Emperors; but instead it was to be composed
+of engravings. Dürer made for this purpose
+ninety-two separate blocks of woodcuts. On
+these were represented Maximillian's genealogical
+tree and the principal events of his life.
+All these were arranged in the form of an
+<a name="103"></a>
+arch, 9 feet wide and 10-1/2 feet high. It took
+Dürer three years to do this work, and he was
+never well paid," so says one who has compiled
+many incidents of his life.</p>
+
+<p>"While the artist worked, the Emperor
+often visited his studio; and as Dürer's pet
+cats often visited it at the same time,
+the expression arose, 'a cat may look at a
+King!'"</p>
+
+<p>On the occasion of one of these kingly visits,
+Maximillian tried to do a little art-work on his
+own account. Taking a piece of charcoal he
+tried to sketch, but the charcoal kept breaking
+and he asked Dürer why it did so.</p>
+
+<p>"That is my sceptre; your Majesty has other
+and greater work to do," was the tactful reply.
+It is a question with us to-day whether the
+King ever did a greater work than Albrecht
+Dürer, king of painters, was doing.</p>
+
+<p>After this, Maximillian gave Dürer a pension,
+but when the Emperor died the artist found it
+necessary to apply to the monarch who came
+after him, in order to have the gift confirmed.
+This was the occasion for his journey to the
+Low Countries, and he took his wife Agnes with
+him. In the Netherlands he was received
+with much honour and was invited to become
+court painter; and what was more, his pension
+was fixed upon him for life. The great work
+of his life was his illustration of the Apocalypse.
+For this he made sixteen extraordinary woodcuts,
+of great size.</p>
+
+<p><a name="104"></a>
+On his journey to see Charles V., Maximillian's
+successor, Dürer kept a diary in which he
+noted the minutest details of all that happened
+to him. He told of the coronation of Charles;
+of hearing about a whale that had been cast
+upon the shore; of his disappointment that it
+had been removed before he had reached the
+place. He wrote with great indignation about
+the supposed kidnapping of Martin Luther,
+while he was on his way home from the Diet
+of Worms.</p>
+
+<p>While Dürer was in the Low Countries, a
+fever came upon him, and when he returned
+home, it still followed him. Indeed, although
+he lived for seven years after his return, he was
+never well again. Among his effects there was
+a sketch made to indicate to his physician the
+seat of his illness.</p>
+
+<p>Dürer did not paint great frescoes upon walls
+as did Raphael, Michael Angelo, and all great
+Italian artists; but instead he painted on wood,
+canvas, and in oils.</p>
+
+<p>In all the civilised world Dürer was honoured
+equally with the great Italian painters of his
+time. He was a man of much conscientiousness,
+dignity, and tenderness. He was devoted
+to his home and country, and regarded the
+problems of life intellectually. When he came
+to die, his end was so unexpected that those
+dearest to him could not reach his bedside.
+He was buried in St. John's cemetery in
+Nuremberg. After his death, Martin Luther
+<a name="105"></a>
+wrote as follows to their mutual friend, Eoban
+Hesse:</p>
+
+<p>"As for Dürer; assuredly affection bids us mourn for
+one who was the best of men, yet you may well hold him
+happy that he has made so good an end, and that Christ
+has taken him from the midst of this time of troubles, and
+from yet greater troubles in store, lest he, that deserved
+to behold nothing but the best, should be compelled to
+behold the worst. Therefore may he rest in peace with
+his fathers, Amen."</p>
+
+<center>PLATE--THE NATIVITY</center>
+
+<p>Our description of this painting calls attention
+to the fact that the columns and arches of
+the picturesque ruin belong to a much later
+period in history than the birth of Christ.
+Dürer was not acquainted with any earlier
+style of architecture than the Romanesque and
+therefore he used it here. "The ruin serves as
+a stable. A roof of board is built out in front
+of the side-room which shelters the ox and ass,
+and under this lean-to lies the new born babe
+surrounded by angels who express their
+childish joy. Mary kneels and contemplates
+her child with glad emotion. Joseph, also
+deeply moved, kneels down on the other side of
+the child, outside the shelter of the roof. Some
+shepherds to whom the angel, who is still seen
+hovering in the air, has announced the tidings,
+are already entering from without the walls."
+(Knackfuss). The picture is the central panel
+of an altar-piece now in the Old Pinakothek at
+<a name="106"></a>
+Munich. Dürer's oil painting of the four
+apostles--John, Peter, Mark, and Paul--is in
+the same gallery. Other Dürer pictures are:
+"The Knight, Death and the Devil," "The
+Adoration of the Magi," "Melancholy,"  and
+portraits of himself.</p>
+
+<p><a name="107"></a></p>
+<h1>XIV</h1>
+
+<h1>MARIANO FORTUNY</h1>
+
+<center>(Pronounced Mah-ree-ah-no' For-tu'ne)<br>
+<i>Spanish School</i><br>
+1838-1874<br>
+<i>Pupil of Claudio Lorenzalez</i></center>
+
+<p>Fortuny won his own opportunities.
+He took a prize, while still very young,
+which made it possible for him to go to Rome
+where he wished to study art. He did not
+spend his time studying and copying the old
+masters as did most artists who went there, but,
+instead, he studied the life of the Roman streets.</p>
+
+<p>He had already been at the Academy of
+Barcelona, but he did not follow his first
+master; instead, he struck out a line of art for
+himself. After a year in Rome the artist
+went to war; but he did not go to fight men,
+he was still fighting fate, and his weapon
+was his sketch book. He went with General
+Prim, and he filled his book with warlike
+scenes and the brilliant skies of Morocco.
+From that time his work was inspired by
+his Moorish experiences.</p>
+
+<p>After going to war without becoming a
+soldier, Fortuny returned to Paris and there
+he became fast friends with Meissonier, so that
+a good deal of his work was influenced by
+that artist's genius. After a time Fortuny's
+<a name="108"></a>
+paintings came into great vogue and far-off
+Americans began buying them, as well as
+Europeans. There was a certain rich dry-goods
+merchant in the United States who had
+made a large fortune for those days, and while
+he knew nothing about art, he wanted to spend
+his money for fine things. So he employed
+people who did understand the matter to buy
+for him many pictures whose excellence he,
+himself, could not understand, but which were
+to become a fine possession for succeeding
+generations. This was about 1860, and this
+man, A.T. Stewart, bought two of Fortuny's
+pictures at high prices. "The Serpent Charmer,"
+and "A Fantasy of Morocco."</p>
+
+<p>When Fortuny was thirty years old he
+married the daughter of a Spaniard called
+Madrazo, director of the Royal Museum.
+His wife's family had several well known
+artists in it, and the marriage was a very
+happy one. Because of this, Fortuny was
+inspired to paint one of the greatest of his
+pictures, "The Spanish Marriage." In it are
+to be seen the portraits of his wife and his
+friend Regnault. After a time he went to
+live in Granada; but he could never forget the
+beautiful, barbaric scenes in Morocco, and so
+he returned there. Afterward he went with
+his wife to live in Rome, and there they had a
+fine home and everything exquisite about them,
+while fortune and favour showered upon them;
+but he fell ill with Roman fever, because of
+<a name="109"></a>
+working in the open air, and he died while he
+was comparatively a young man.</p>
+
+<center>PLATE--THE SPANISH MARRIAGE</center>
+
+<p>Fortuny is said to "split the light into a
+thousand particles, till his pictures sparkle
+like jewels and are as brilliant as a kaleidoscope....
+He set the fashion for a class
+of pictures, filled with silks and satins, bric-à-brac
+and elegant trifling."</p>
+
+<p>Look at the brilliant scene in this picture!
+The priest rising from his chair and leaning
+over the table is watching the bridegroom
+sign his name. This chap is an old fop, bedecked
+in lilac satin, while the bride is a dainty
+young woman, without much interest in her
+husband, for she is fingering her beautiful
+fan and gossiping with one of her girl friends.
+She wears orange-blossoms in her black hair
+and is in full bridal array. One couple, two
+men, sit on an elegantly carved seat and are
+looking at the goings-on with amusement,
+while an old gentleman sits quite apart,
+disgusted with the whole unimpressive scene.
+Everybody is trifling, and no one is serious for
+the occasion. The furnishings of the room are
+beautiful, delicate, almost frivolous. People
+are strewn about like flowers, and the whole
+effect is airy and inconsequent. Fortuny painted
+also "The Praying Arab," "A Fantasy of Morocco,"
+"Snake Charmers," "Camels at Rest," etc.</p>
+
+<p><a name="110"></a></p>
+<h1>XV</h1>
+
+<h1>THOMAS GAINSBOROUGH</h1>
+
+<center><i>English School</i><br>
+1727-1788<br>
+<i>Pupil of Gravelot and of Hayman</i> </center>
+
+<p>There seems to have been no artist, with
+the extraordinary exceptions of Dürer and
+Leonardo, who learned his lessons while at
+school. Little painters have uniformly begun
+as bad spellers.</p>
+
+<p>Gainsborough's father was in the business
+of woolen-crape making, while his mother
+painted flowers, very nicely, and it was she
+who taught the small Thomas. There were
+nine little Gainsboroughs and, shocking to
+relate, the artist of the family was so ready
+with his pencil that when he was ten years
+old he forged his father's name to a note which
+he took to the schoolmaster, and thereby
+gained himself a holiday. There is no account
+of any other wicked use to which he put his
+talent. It is said that he could copy any
+writing that he saw, and his ready pencil
+covered all his copy-books with sketches of
+his schoolmasters. It was thought better
+for him finally to follow his own ideas of
+education, namely, to roam the woodlands
+and make beautiful pictures.</p>
+
+<p><a name="111"></a>
+His father's heart was not softened till one
+day little Gainsborough brought home a sketch
+of the orchard into which the head of a man
+had thrust itself, painted with great ability.
+This man was a poacher, and father Gainsborough
+recognised him by the portrait. There
+seemed to be utility in art of this kind, and
+before long the boy found himself apprenticed
+to a silversmith.</p>
+
+<p>Through the silversmith the artist got
+admission to an art school and began his
+studies; but his master was a dissolute fellow,
+and before long the pupil left him.</p>
+
+<p>Gainsborough was born in the town of
+Sudbury on the River Stour, the same which
+inspired another great painter half a century
+later. Gainsborough is best known by his
+portraits, in particular as the inventor of "the
+Gainsborough hat," but he was first of all a
+truly great landscape painter, and learned
+his art as Constable did after him, along the
+beautiful shores of the river that flowed past
+his native town.</p>
+
+<p>The old Black Horse Inn is still to be seen,
+and it was in the orchard behind it that he
+studied nature, the same in which he made
+the first of his famous portraits, that of the
+poacher. It is known to this day as the
+portrait of "Tom Pear-tree." That picture
+was copied on a piece of wood cut into the
+shape of a man, and it is in the possession of
+Mr. Jackson, who lent it for the exhibition of
+<a name="112"></a>
+Gainsborough's work held at the Grosvenor
+Gallery, in 1885.</p>
+
+<p>While Thomas was with his first master,
+by no means a good companion for a lad of
+fifteen, he lived a busy, self-respecting life,
+since he was devoted to his home and to his
+parents. Only three years after he set out
+to learn his art he married a young lady of
+Sudbury. The pair were by no means rich,
+Gainsborough having only eighteen years of
+experience in this world, besides his brush,
+and a maker of woolen-crape shrouds for a
+father--who was not over pleased to have
+an artist for a son. The lady had two hundred
+pounds but this did not promise a very luxurious
+living, so they took a house for six pounds a
+year, at Ipswich. Thus the two young lovers
+began their life together. There was a good
+deal of romance in the story of his wife, whose
+name was supposed to be Margaret Burr.
+The two hundred pounds that helped to pay
+the Ipswich rent did not come from the man
+accepted as her father, but from her real
+father, who was either the Duke of Bedford, or
+an exiled prince. This would seem to be just
+the sort of story that should surround a great
+painter and his affairs.</p>
+
+<p>While he lived at Ipswich Gainsborough
+used to say of himself that he was "chiefly
+in the face-way" meaning that for the most
+part he made portraits. He loved best to
+paint the scenes of his boyhood, as Constable
+<a name="113"></a>
+afterward did, but he soon found there was
+more money in portraits, and so he decided
+to go to live in Bath, the fashionable resort of
+English people in that day, where he was
+likely to find rich folk who wanted to see
+themselves on canvas. He settled down there
+with his wife, whom he loved dearly, and his
+two daughters and at once began to make
+money. It is said he painted five hours a day
+and all the rest of the time studied music. As
+the theatre was Corot's greatest happiness, so
+did music most delight Gainsborough, and he
+could play well on nearly every known instrument;
+he became so excellent a musician that
+he even gave concerts. He had the most
+delightful people about him, people who loved
+art and who appreciated him, and then there
+were the other people who paid for having
+themselves painted. Altogether it was an
+ideal situation.</p>
+
+<p>His studio was in the place known as the
+"Circus" at Bath, and people came and went
+all day, for it became the fashionable resort
+for all the fine folks.</p>
+
+<p>From five guineas for half length portraits,
+he soon raised his price to forty; he had charged
+eight for full length portraits, but now they
+went for one hundred. He painted some
+famous men of the time. The very thought
+is inspiring of such a company of geniuses
+with Gainsborough in the centre of the group.
+He painted Laurence Sterne, who wrote "The
+<a name="114"></a>
+Sentimental Journey," and a few other delightful
+things; also Garrick, the renowned actor.</p>
+
+<p>Even the encyclopædia reads thrillingly upon
+this subject and one can afford to quote it, with
+the feeling that the quotation will be read:
+"His house harboured Italian, German, French
+and English musicians. He haunted the green
+room of Palmer's Theatre, and painted gratuitously
+the portraits of many of the actors. He
+gave away his sketches and landscapes to any
+one who had taste or assurance enough to ask
+for them." This sounds royal and exciting.</p>
+
+<p>After that Gainsborough went up to London
+with plenty of money and plenty of confidence
+and instead of six pounds a year for his house,
+he paid three hundred pounds, which suggests
+much more comfort.</p>
+
+<p>There were two other great painters of the time
+in London, Sir Benjamin West--an American,
+by the way--and Sir Joshua Reynolds. West
+was court favourite, but Gainsborough too was
+called upon to paint royalty, and share West's
+honours. Reynolds was the favourite of the
+town, but he too had to divide honours with
+Gainsborough when the latter painted Richard
+Brinsley Sheridan, Edmund Burke and Sir
+William Blackstone.</p>
+
+<p>Notwithstanding, his landscapes, for which
+he should have been most famous, did not sell.
+Everybody approved of them, but it is said they
+were returned to him till they "stood ranged in
+long lines from his hall to his painting room"
+<a name="115"></a>
+Gainsborough was a member of the Royal
+Academy and also a true Bohemian. He cared
+little for elegant society, but made his friends
+among men of genius of all sorts. He was very
+handsome and impulsive, tall and fair, and
+generous in his ways; but he had much sorrow
+on account of one of his daughters, Mary, who
+married Fischer, a hautboy player, against her
+father's wishes. The girl became demented--at
+least she had spells of madness.</p>
+
+<p>When Mary Gainsborough married, her father
+wrote the following letter to his sister, which
+shows that he was a man of tender feeling for
+those whom he truly loved:</p>
+
+<p>" ... I had not the least suspicion of
+the attachment being so long and deeply seated;
+and as it was too late for me to alter anything
+without being the cause of total unhappiness on
+both sides, my consent ... I needs must
+give ... and accordingly they were married
+last Monday and settled for the present in a
+ready-furnished little house in Curzon Street,
+Mayfair ... I can't say I have any reason to
+doubt the man's honesty or goodness of heart, as
+I never heard anyone speak anything amiss of
+him, and as to his oddities and temper, she must
+learn to like them as she likes his person ...
+Peggy has been very unhappy about it, but I endeavour
+to comfort her." Peggy was his wife.</p>
+
+<p>The abominable Fischer died twenty-years
+before Mary did--she lived to be an old, old
+woman.</p>
+
+<p><a name="116"></a>
+Among those whom Gainsborough loved best
+was the man called Wiltshire who carried his
+pictures to and from London. He was a public
+"carrier" but would never take any money
+for his services to the artist, because he loved his
+work. All he asked was "a little picture"--and
+he got so many of these, given in purest
+affection, that he might have gone out of business
+as a carrier, had he chosen to sell them. Four
+of those little pictures are now very great ones
+worth thousands of pounds and known everywhere
+to fame. They are "The Parish Clerk," "Portrait
+of Quin," "A Landscape with Cattle," and
+"The Harvest Waggon."</p>
+
+<p>We have a good many stories of Gainsborough's
+bad manners. The artists of his day tried to
+treat him with every consideration, but in return
+he treated them very badly, especially Sir Joshua
+Reynolds. Reynolds, who was then President of
+the Academy greatly admired Gainsborough but
+the latter would not return Sir Joshua's call, and
+when Reynolds asked him to paint his portrait
+for him, Gainsborough undertook it thanklessly.
+Sir Joshua left town for Bath for a time, and
+when he returned he tried to learn how soon the
+portrait would be finished, but Gainsborough
+would not even reply to his inquiry. There
+seems to have been no reason for this behaviour
+unless it was jealousy, but it made a most uncomfortable
+situation between fellow artists.</p>
+
+<p>Gainsborough has told some not very pleasing
+stories about himself, but one of them
+<a name="117"></a>
+shows us what a knack he had for seeing the
+comic side of things, and perhaps for seeing
+comedy where it never existed. Upon one
+occasion he was invited to a friend's house
+where the family were in the habit of assembling
+for prayers, and he had no sooner got
+inside, than he began to fear he should laugh,
+when prayer time came, at the chaplain. In a
+rush of shyness he fled, leaving his host to look
+for him, till he stumbled over a servant who
+said that Mr. Gainsborough had charged him
+to say he had gone to breakfast at Salisbury.
+Even respect for the customs of others could
+not make him control himself.</p>
+
+<p>It was through his intimacy with King
+George's family that his quarrel with the
+Royal Academy came about. He had painted
+the three princesses--the Princess Royal,
+Princesses Augusta and Elizabeth, and these
+were to be hung at a certain height in Carlton
+House, but when he sent the first to the
+Academy he asked it to be specially hung and
+his request was refused. Then he sent a note
+as follows:</p>
+
+<p>"He begs pardon for giving them so much trouble, but
+he has painted the picture of the princesses in so tender a
+light that, notwithstanding he approves very much of
+the established line for strong effects, he cannot possibly
+consent to have it placed higher than eight feet and a half,
+because the likeness and the work of the picture will not
+be seen any higher, therefore at a word he will not trouble
+the gentlemen against their inclination, but will beg the
+best of his pictures back again."
+
+<a name="118"></a>
+Immediately, the Academy returned his
+pictures, although it would seem that they
+might better have accommodated Gainsborough
+than have lost such a fine exhibition. He
+never again would send anything to them.</p>
+
+<p>He was inclined to be irritated by inartistic
+points in his sitters, and is said to have muttered
+when he was painting the portrait of Mrs.
+Siddons, the great actress: "Damn your nose
+madam; there is no end to it." The nose
+in question must have been an "eyesore"
+to more than Gainsborough, for a famous
+critic is said to have declared that "Mrs.
+Siddons, with all her beauty was a kind of
+female Johnson ... her nose was not
+too long for nothing."</p>
+
+<p>Notwithstanding that his landscapes were
+not popular, he used to go off into the country
+to indulge his taste for painting them, and
+once he wrote to a friend that he meant to
+mount "all the Lakes at the next Exhibition
+in the great style, and you know, if people
+don't like them, it's only jumping into one
+of the deepest of them from off a wooded island
+and my reputation will be fixed forever."
+An old lady, whose guest he was, down in the
+country, told how he was "gay, very gay, and
+good looking, creating a great sensation, in a rich
+suit of drab with laced ruffles and cocked hat."</p>
+
+<p>One of the boys he saw in the country he
+delighted to paint, and he also grew so much
+attached to him that he took him to London
+<a name="119"></a>
+and kept him with him as his own son. That
+boy's name was Jack Hill and he did not care
+for city life, nor maybe for Gainsborough's
+eccentricities, so he ran away. He was found
+again and again, till one day he got away for
+good, and never came back.</p>
+
+<p>All his later life Gainsborough was happy.
+His daughter, who had married Fischer, the
+hautboy-player, came back home to live, and
+her disorder was not bad enough to prevent
+her being a cause of great happiness to her
+father. The other daughter never married.
+Gainsborough says that he spent a thousand
+pounds a year, but he also gave to everybody
+who asked of him, and to many who asked
+nothing, so that he must have made a great
+deal of money during his lifetime, by his art.
+It is said that the "Boy at the Stile" was
+bestowed on Colonel Hamilton for his fine
+playing of a solo on the violin. A lady who
+had done the artist some trifling service
+received twenty drawings as a reward, which
+she pasted on the walls of her rooms without
+the slightest idea of their value.</p>
+
+<p>Gainsborough got up early in the morning,
+but did not work more than five hours. He
+liked his friends, his music, and his wife, and
+spent much time with them. He was witty,
+and while he sketched pictures in the evening,
+with his wife and daughters at his side, he kept
+them laughing with his droll sayings.</p>
+
+<p>The last days of Gainsborough showed him
+<a name="120"></a>
+to be a hero. He died of cancer, and some
+time before he knew what his disease was he
+must have suffered a great deal. There is a
+story that is very pathetic of a dinner with his
+friends, Beaumont and Sheridan. Usually,
+he was the gayest of the gay, but of late all his
+friends had noticed that gaiety came to him
+with effort. Upon the night of this dinner,
+Sheridan had been his wittiest, and had tried
+his hardest to make Gainsborough cheer up,
+till finally, the artist, finding it impossible to
+get out of his sad mood, asked Sheridan if
+he would leave the table and speak with him
+alone. The two friends went out together.
+"Now don't laugh, but listen," Gainsborough
+said; "I shall soon die. I know it; I feel it.
+I have less time to live than my looks infer,
+but I do not fear death. What oppresses my
+mind is this: I have many acquaintances,
+few friends; and as I wish to have one worthy
+man to accompany me to the grave, I am
+desirous of bespeaking you. Will you come?
+Aye or no!" At that Sheridan, who was greatly
+shocked, tried to cheer him, but Gainsborough
+would not return to the table, till he got the
+promise, which of course Sheridan made.</p>
+
+<p>It was not very long after this that a famous
+trial took place--that of Warren Hastings. It
+was in Westminster Hall, and Gainsborough
+went to listen several times. On the last
+occasion, he became so interested in what was
+happening that he did not notice a window
+<a name="121"></a>
+open at his back. After a little he said to a
+friend that he "felt something inexpressibly
+cold" touch his neck. On his return home he
+told of the strange feeling to his wife. Then
+he sent for a doctor, and there was found a
+little swelling. The doctor said it was not
+serious and that when the weather grew
+warmer it would disappear; but all the while
+Gainsborough felt certain that it would mean
+his death. A short time after that he told his
+sister that he knew himself to have a cancer,
+and that was true.</p>
+
+<p>When he felt that he must die, he fell to
+thinking of many things in the past, and
+wished to right certain mistakes of his behaviour
+as far as possible.</p>
+
+<p>He sent to Sir Joshua Reynolds and asked
+him to come and see him, since he could not
+go to see Sir Joshua. Reynolds went and then
+Gainsborough told him of his regret that he
+had shown so much ill-will and jealousy toward
+so great and worthy a rival. Reynolds was
+very generous and tried to make Gainsborough
+understand that all was forgiven and forgotten.
+He left his brother artist much relieved and
+happier, and he afterward said: "The impression
+on my mind was that his regret at
+losing life was principally the regret of leaving
+his art." As Reynolds left the dying man's
+room, Gainsborough called after him: "We
+are all going to heaven--and Van Dyck is of
+the company."</p>
+
+<p><a name="122"></a>
+He was buried in Kew Churchyard and the
+ceremonies were followed by Reynolds and
+five of the Royal Academicians, who forgot
+all Gainsborough's eccentricities of conduct
+toward them in their honest grief over his
+death. He was one of the first three dozen
+original members of the Royal Academy.</p>
+
+<center>PLATE--PORTRAIT OF MRS. RICHARD BRINSLEY SHERIDAN</center>
+
+<p>This picture is now in the collection of Lord
+Rothschild, London. Mrs. Sheridan was the
+loveliest lady of her time. She was the daughter
+of Thomas Linley, and a singer.</p>
+
+<p>She came from a home which was called "a
+nest of nightingales," because all in it were
+musicians. The father had a large family and
+made up his mind to become the best musician
+of his time in his locality in order to support them.
+He was successful, and in turn most of his children
+became musicians. His lovely daughter,
+Eliza (Mrs. Sheridan), he bound to himself as an
+apprentice and taught her till she was twenty-one,
+insisting that she "serve out her time" to him,
+that she might become a perfect singer. The
+story of this beautiful lady seems to belong to
+the story of Gainsborough's portrait and shall
+be told here.</p>
+
+<p>When she was a very little girl, no more than
+eight years old, she was so beautiful that as she
+stood at the door of the pump room in Bath to sell
+<a name="123"></a>
+tickets for her father's concerts, everyone bought
+them from her. When she was a very young
+woman her father engaged her to marry a Mr.
+Long, sixty years old. She did not seem to mind
+what arrangements her father made for her,
+but continued to sing and attend to her business,
+till after the wedding gowns were all made and
+everything ready for the marriage, when she
+happened to meet the brilliant Richard Brinsley
+Sheridan, whose plays were so fashionable, and
+she fell deeply in love with him. She told Mr.
+Long she would not marry him, and without
+much objection he gave her up, but her father
+was very angry and he threatened to sue Mr. Long
+for letting his daughter go. Then the beautiful
+lady ran away to Calais and married Mr. Sheridan
+without her father's permission; but she came
+home again and said nothing of what she had
+done, kept on singing and helping her father
+earn money for his family. One day, Mr.
+Sheridan was wounded in a duel which he had
+fought with one of his wife's admirers, and when
+she heard the news she screamed, "my husband,
+my husband," so that everybody knew she was
+married to the fascinating playwright. Sheridan
+for some reason did not at once come and get her,
+nor arrange for them to have a home together.
+For a good while she continued to sing; and once
+hearing her in oratorio, Sheridan fell in love
+with his wife all over again. He took her from
+her home and would never let her sing again in
+public. They remarried publicly and went to
+<a name="124"></a>
+live in London. He was not at all a rich and
+famous man at that time--only a poor law-student--but
+he would not let his wife make
+the fortune she might easily have made, by
+singing.</p>
+
+<p>This must have made his beautiful wife very
+sad, but she made no complaint at giving up
+her music and letting him silence her lovely
+voice, but turned all her attention to advancing
+his fortunes. She worked for him even harder
+than she had for her father, and that was saying
+a great deal. When he became a great writer
+of plays his wife took charge of all the accounts
+of his Drury Lane Theatre, and when he was in
+the House of Commons she acted as his secretary.
+Sheridan died in great poverty and wretchedness,
+and it is believed had his self-sacrificing wife
+not died before him she would have looked after
+his affairs so well that he would not have lost his
+fortune. Gainsborough painted the portraits of
+Sheridan's father-in-law, and of Samuel Linley;
+and it was said that this last portrait was painted
+in forty-eight minutes. Among his other portraits
+are: eight of George III., Sir John
+Skynner, Admiral Hood, Colonel St. Leger,
+and "The Blue Boy"; but he was first and last
+a landscape painter of highest genius.</p>
+
+<p><a name="125"></a></p>
+<h1>XVI</h1>
+
+<h1>JEAN LEON GEROME</h1>
+
+<center>(Pronounced Zhahn Lay'on Zhay-rome)<br>
+<i>French, Semi-classical School</i><br>
+1824-1904<br>
+<i>Pupil of Delaroche</i></center>
+
+<p>One cannot write much more than the date
+of birth and death of a man who lived until
+three or four years of the time of writing, so we may
+only say that Gérôme was one of the most brilliant
+of modern French painters. He was born at
+Vesoul and his father was a goldsmith. Thus
+he probably had no very great difficulty in getting
+a start in his work. The prejudice against having
+an artist in the family was dying out, and as a
+prosperous goldsmith we may believe that his
+father had means enough to give his son good
+opportunities.</p>
+
+<p>Gérôme, like Millet, studied under Delaroche,
+but became no such characteristic painter as he.
+While studying with Delaroche he also was taking
+the course in l'Ecole des Beaux-Arts.</p>
+
+<p>His first exhibited picture was "The Cock
+Fight," and he won a third class medal by it.</p>
+
+<p>Almost always this painter has chosen his
+subjects from ancient or classic life, and his
+pictures are not always decent, but he painted
+with much care, the details of his work are
+<a name="126"></a>
+very finely done and their vivid colour is
+fascinating.</p>
+
+<center>PLATE--THE SWORD DANCE</center>
+
+<p>This painting may be seen in the Metropolitan
+Museum of Art in New York City. The scene
+is full of action and interest, but perhaps the
+details of dress, mosaic decoration upon the walls,
+patterns of the rugs, the coloured and jewelled
+lamps and windows are the most splendidly
+painted of all.</p>
+
+<p>The central figure is a dancing girl, only partly
+draped, balancing a sword on her head, while
+a brilliant green veil flies from head and face.
+Other Oriental women squat upon the floor
+watching her with a half indolent expression,
+while their Oriental masters and their friends
+sit in pomp at one side, absorbed in the dance
+and in the girl. The expressions upon all the
+faces are excellent and, the jewelled light that
+falls upon the group, the rich clothing, the grace
+of the dancer--all make a fascinating picture
+of a genre type. Other Gérômes are "Daphnis
+and Chloe," "Leda," and "The Duel after
+the Masked Ball."</p>
+
+<p><a name="127"></a></p>
+<h1>XVII</h1>
+
+<h1>GHIRLANDAJO</h1>
+
+<center>(Pronounced Geer-lan-da'yo)<br>
+<i>Florentine School</i><br>
+1449-1494<br>
+<i>Pupil of Fra Bartolommeo</i></center>
+
+<p>It is a good deal of a name--Domenico
+di Tommaso di Currado Bigordi--and
+it would appear that the child who bore it
+was under obligation to become a good deal
+of a something before he died.</p>
+
+<p>Italian and Spanish painters generally had
+large names to live up to, and the one known as
+Ghirlandajo did nobly.</p>
+
+<p>His father was a goldsmith and a popular part
+of his work was the making of golden garlands
+for the hair of rich Italian ladies. His work
+was so beautiful that it gained for him the name
+of Ghirlandajo, meaning the garland-twiner, a
+name that lived after him, in the great art of his
+son. Domenico began as a worker in mosaic,
+a maker of pictures or designs with many coloured
+pieces of glass or stone.</p>
+
+<p>Ghirlandajo's art was no improvement on that
+of his teacher, but he in turn became the teacher
+of Michael Angelo.</p>
+
+<p>The Florentine school of painting, to which
+Ghirlandajo belonged, was not so famous for
+<a name="128"></a>
+colour as the Venetian school, but it had many
+other elements to commend it. One cannot
+expect Ghirlandajo to rank with Titian, Rubens,
+or other "colourists" of his own and later periods,
+but he did the very best work of his day and school.
+He attained to fame through his choice of types
+of faces for his models, and by his excellent
+grouping of figures.</p>
+
+<p>Until his day, the faces introduced into paintings
+were likely to be unattractive, but he chose
+pleasing ones, and he painted the folds of garments
+beautifully. He was not entirely original
+in his ideas, but he carried out those which others
+had thus far failed to make interesting.</p>
+
+<p>Often, in his wish to paint exactly what he
+saw, he softened nothing and therefore his
+figures were repulsive, but Fra Bartolommeo's
+pupil gave promise of what Michael Angelo was
+to fulfill.</p>
+
+<p>Ghirlandajo and Michael Angelo were a good
+deal alike in their emotional natures. Both
+sought great spaces in which to paint, and both
+chose to paint great frescoes. Indeed Ghirlandajo
+had the extraordinary ambition to put
+frescoes on all the fortification walls about
+Florence. It certainly would have made the
+city a great picture gallery to have had its walls
+forever hung with the pictures of one master.
+Had he painted them, inside and out, when such
+an enemy as Napoleon came along, with his love
+of art, and his fashion of taking all that he saw
+to Paris, he would likely enough have camped
+<a name="129"></a>
+outside the walls while he decided what part of
+the gallery he would transfer to the Louvre.</p>
+
+<p>One of the reasons that Ghirlandajo is famous
+is that he often chose well known personages
+for his models, and as he painted just what
+he saw, did not idealise his subject, he gave
+to the world amazing portraits, as well as fine
+paintings. The same thing was done by
+painters of a far different school, at another
+period. The Dutch and Flemish painters
+were in the habit of using their neighbours
+as models.</p>
+
+<p>Ghirlandajo is classed among religious
+painters, but let us compare some of his
+"religious" paintings with those of Raphael
+or Murillo, and see the result.</p>
+
+<p>He painted seven frescos on the walls of the
+Santa Maria Novella in Florence, all scenes
+of Biblical history, as Ghirlandajo imagined
+them. They show him to have been a fine
+artist, but to have had not much idea of history,
+and to have had little sense of fitness.</p>
+
+<p>Ghirlandajo's seven subjects are taken from
+legends of the Virgin, and the greatest represents
+Mary's visit to Elizabeth; it is called
+"The Visitation," and it is a fresco about
+eighteen feet long painted on the choir wall.</p>
+
+<p>Let us imagine the possible scene. The
+Virgin Mary came from Cana, a little town in
+Galilee placed in the hills about nine miles
+from Nazareth, the home of the lowliest and
+the poorest, of a kindly pastoral people living
+<a name="130"></a>
+in the open air, needing and wanting very
+little, simple in their habits. Elizabeth, Mary's
+old cousin, lived in Judea, and St. Luke writes
+thus: "Mary arose in those days and went
+into the hill country with haste, into a city
+of Judea; and entered into the house of Zacharias"
+(Elizabeth's husband) "and saluted
+Elizabeth."</p>
+
+<p>This record had been made at least eleven
+hundred years before Ghirlandajo painted in the
+Santa Maria Novella, and from it one cannot
+imagine that Mary made any preparation for
+her journey, nor does it suggest that Elizabeth
+had any chance to arrange a reception for her.
+Even had she done so, it must have been of
+the simplest description, at that time among
+those people. One can imagine a lowly home;
+an aged woman coming out to meet her young
+relative either at her door or in the high road.</p>
+
+<p>There may have been surroundings of fruit
+and flowers, a stretch of highroad or a hospitable
+doorway; but the wildest imagination
+could not picture what Ghirlandajo did.</p>
+
+<p>He paints Elizabeth flanked with handmaidens,
+as if she were some royal personage,
+instead of a priest's wife in fairly comfortable
+circumstances where comfort was easily
+obtained. Mary appears to be escorted by
+ladies-in-waiting, hardly a likely circumstance
+since she was affianced to no richer or more
+important person than a carpenter of Galilee.
+Possibly the three ladies that stand behind
+<a name="131"></a>
+Mary in, the picture are merely lookers-on,
+but in that case the visit of Mary would seem
+to have been of public importance, especially
+as there are youths near by who are also much
+interested in one woman's hasty visit to another.
+The rich brocades worn by Elizabeth's waiting
+ladies are splendid indeed and the landscape
+is fine--a rich Italian landscape with architecture
+of the most up-to-date sort--showing,
+in short, that the artist lacked historical
+imagination. He found some models, made a
+purely decorative painting with an Italian
+setting and called it "The Visitation." The
+doorway on the right is distinctly renaissance.</p>
+
+<p>Such a painting as this is not "religious,"
+nor is it historic, nor does it suggest a subject;
+it is merely a fine picture better coloured than
+most of those of the Florentine school. There
+is another painting of this same subject by
+Ghirlandajo in the Louvre, but it is no nearer
+truth than the one in the Santa Maria.</p>
+
+<p>Ghirlandajo painted other than religious
+subjects, and one of them, at least, is quite
+repulsive. It is the picture of an old man,
+with a beautiful little child embracing him.
+The old man may have tenderness and love in
+his face, but his heavy features, his warty
+nose, do not make one think of pleasant
+things and one does not care to imagine the
+dear little child kissing the grotesque old fellow.</p>
+
+<p>It was before Ghirlandajo's time that another
+painter had discovered the use of oil in mixing
+<a name="132"></a>
+paints. Previously colours had been mixed
+in water with some gelatinous substance, such
+as the white and yolk of an egg, to give the
+paint a proper texture or consistency. This
+preparation was called "distemper," and frescoes
+were made by using this upon plaster
+while it was still wet. Plaster and colours dried
+together, and the painting became a part of
+the wall, not to be removed except by taking
+the plaster with it.</p>
+
+<p>The different gluey substances used had
+often the effect of making the colours lose their
+tone and they presented a glazed surface when
+used upon wood, a favourite material with
+artists.</p>
+
+<p>There are numberless anecdotes written of this
+artist and his brother, and one of these shows
+he had a temper. The brothers were engaged in
+a monastery at Passignano painting a picture
+of the "Last Supper." While at work upon it,
+they lived in the house. The coarse fare did
+not suit Ghirlandajo, and one night he could
+endure it no longer. Springing from his seat in
+the refectory he flung the soup all over the monk
+who had served it, and taking a great loaf of
+bread he beat him with it so hard that the poor
+monk was carried to his cell, nearly dead. The
+abbot had gone to bed, but hearing the rumpus
+he thought it was nothing less than the roof
+falling in, and he hurried to the room where he
+found the brothers still raging over their dinner.
+David shouted out to him, when the abbot tried
+<a name="133"></a>
+to reprove the artist, that his brother was worth
+more than any "pig of an abbot who ever
+lived!"</p>
+
+<p>It is recorded in the documents found in the
+Confraternity of St. Paul that:</p>
+
+<p>Domenico de Ghurrado Bighordi, painter, called del
+Grillandaio, died on Saturday morning, on the 11th day
+of January, 1493 (o.s.), of a pestilential fever, and the
+overseers allowed no one to see the dead man, and would
+not have him buried by day. So he was buried, in Santa
+Maria Novella, on Saturday night after sunset, and may
+God forgive him! This was a very great loss for he was
+highly esteemed for his many qualities, and is universally
+lamented.</p>
+
+<p>The artist left nine children behind him.</p>
+
+<p>Ghirlandajo's pictures may be found in the
+Louvre, the Berlin Museum, the Dresden,
+Munich, and London galleries. Most children
+will find it hard to see their beauty.</p>
+
+<p>Great men are likely to come in groups, and
+with Ghirlandajo there are associated Botticelli
+and Fra Filippo Lippi.</p>
+
+<center>PLATE--PORTRAIT OF GIOVANNA DEGLI ALBIZI</center>
+
+<p>This lovely lady was the wife of one of the
+painter's patrons, Giovanni Tornabuoni, through
+whom he received the commission for a series of
+frescoes in the choir of the Santa Maria Novella,
+Florence. The subjects chosen were sacred, but
+since Ghirlandajo, no more than his neighbours,
+knew what the Virgin or her contemporaries
+looked like, he saw no reason why he should not
+<a name="134"></a>
+compliment some of the great ones of his own
+city and his own time by painting them in to
+represent the different characters of Holy Writ.
+So, as one of the ladies attendant upon Elizabeth
+when Mary comes to visit her, we have this
+signora of the fifteenth century. The artist made
+another picture of her, the one here shown, but
+in the same dress and posed the same as she had
+been for the church fresco. This accounts for
+its dignity and simplicity. It would seem like
+a bas-relief cut out of marble were it not for
+its wonderful colouring. It is in the Rudolf
+Kann Collection, Paris. This artist's other
+pictures are "Adoration of the Shepherds,"
+"Adoration of the Magi," "Madonna and
+Child with Saints," "Three Saints and God
+the Father," "Coronation of the Virgin," and
+"Portrait of Old Man and Boy."</p>
+
+<p><a name="135"></a></p>
+<h1>XVIII</h1>
+
+<h1>GIOTTO (DI BORDONE)</h1>
+
+<center>(Pronounced Jot-to)<br>
+<i>Florentine School</i><br>
+1276-1337<br>
+<i>Pupil of Cimabue</i></center>
+
+<p>Giotto painted upon wood, and in "distemper"--the
+mixture of colour with
+egg or some other jelly-like substance. We know
+nothing of his childhood except that he was a
+shepherd, as we learn from a story told of him and
+his teacher, Cimabue.</p>
+
+<p>The story runs that one day while Giotto was
+watching his sheep, high up on a mountain,
+Cimabue was walking abroad to study nature,
+and he ran across a shepherd boy who was
+drawing the figure of a sheep, with a piece of
+slate upon a stone. In those days we can imagine
+how rare it was to find one who could draw anything,
+ever so rudely. Immediately Cimabue
+saw a chance to make an artist and he asked the
+little shepherd if he would like to be taught art
+in his studio. Giotto was overjoyed at the
+opportunity, and at once he left the mountains
+for the town, the shepherd's crook for the brush.</p>
+
+<p>In those days the studio of one like Cimabue
+was really a workshop. Artists had to grind
+their own colours, prepare their own panels upon
+<a name="136"></a>
+which to paint, and do a hundred other things
+of a workman rather than an artist kind in
+connection with their painting. Such a studio
+was crowded with apprentices--boys who did
+these jobs while learning from the master.
+Their teaching consisted in watching the artist
+and now and then receiving advice from him.</p>
+
+<p>It was into such a shop as this, in Florence,
+that Giotto went, and soon he was to become
+greater than his master. Even so, we cannot
+think him great, excepting for his time, because
+his pictures, compared with later art, are crude,
+stiff, and strange.</p>
+
+<p>No pupil was permitted to use a brush till he
+had learned all the craft of colour grinding and the
+like, and this was supposed to take about six
+years. These workshops were likely to be dull,
+gloomy places, and only a strong desire to do
+such things as they saw their master doing, would
+induce a boy to persevere through the first
+drudgery of the work. Giotto persevered, and
+not only became an original painter, at a time
+when even Cimabue hardly made figures appear
+human in outline, but he designed the great
+Campanile in Florence, and he saw it partly
+finished before he died. The Campanile is a
+wonder of architecture, but Giotto's Madonnas
+had to be improved upon, as certainly as he had
+improved upon those of Cimabue.</p>
+
+<p>There are many amusing stories of Giotto,
+mainly telling of his good nature, and his ugly
+appearance, which everyone forgot in appreciation
+<a name="137"></a>
+of his truly kind heart. Once a visit was made
+to his studio by the King of Naples, after the
+artist had become famous. Giotto was painting
+busily, though the day was very hot. The King
+entered, and bade Giotto not to be disturbed but
+to continue his work, adding: "Still, if I were you,
+I should not paint in such hot weather." Giotto
+looked up with a laugh in his eye: "Neither would
+I--if I were you, Sire!" he answered.</p>
+
+<p>There is a famous saying: "As round as
+Giotto's "O," and this is how it came about.
+The pope wanted the best of the Florentine
+artists to do some work in Rome for him and he
+sent out to them for examples of their work.
+When the pope's messenger came to Giotto the
+artist was very busy. When asked for some of
+his work to show the pope, he paused, snatched
+a piece of paper and with the brush he had been
+using, which was full of red paint, he hurriedly
+drew a circle and gave it to the messenger who
+stared at him.</p>
+
+<p>"But--is this <i>all</i>?" he asked.</p>
+
+<p>"All--yes--and too much. Put it with
+the others." This perfect circle and the
+account the messenger gave of his visit so delighted
+the pope that Giotto was chosen from all the
+Florentine artists to decorate the Roman
+buildings.</p>
+
+<p>Thus Giotto worked till he was fifty-seven or
+eight years old when he put aside his brush
+and turned to sculpture and architecture.
+Meantime he had far outstripped his master in
+<a name="138"></a>
+art. The arrangement of the groups is about the
+same, but the figures look human and the
+draperies are more natural, while he gives the
+appearance of length, breadth, and thickness
+to his thrones and enclosures. We shall not
+choose a Madonna for illustration, but another
+of Giotto's masterpieces, remembering that good
+as he was in his time, he seems amazingly bad
+compared with those who came after him.</p>
+
+<center>PLATE--THE MEETING OF ST. JOHN AND ST. ANNA
+AT JERUSALEM.</center>
+
+<p>In 1303 a certain Enrico Scrovegno had a
+private chapel built in the Arena at Padua and
+he sent for Giotto to come there and adorn the
+whole of its walls and ceiling with frescoes.
+These remain, though the chapel is now emptied
+of all else, and they suffice to bring scores of art-lovers
+to Padua. The picture here reproduced
+represents the meeting and reconciliation between
+the father and mother of the Virgin before her
+birth. The peculiarly shaped eyes and eyebrows
+that Giotto gives to all his characters are specially
+noteworthy here as in every one of the thirty-eight
+frescoes. There are three rows of pictures,
+one above the other and in them are portrayed
+the principal scenes in the lives of Christ and the
+Virgin. The painter here reached his high-water
+mark, showed the very best he could produce
+in sincere, restrained art.
+<a name="139"></a></p>
+<h1>XIX</h1>
+
+<h1>FRANZ HALS</h1>
+
+<center><i>Dutch School</i><br>
+1580-04-1666 <br>
+<i>Pupil of Karel Van Mander</i></center>
+
+<p>Franz Hals belonged to a family which
+for two hundred years had been highly
+respected in Haarlem in the Netherlands. The
+father of the painter left that town for political
+reasons in 1579, and it was at Antwerp that
+Franz was born sometime between that date
+and 1585. His parents took him back to Haarlem
+as an infant, and that is the town with which
+his name and fame are most closely associated.</p>
+
+<p>Little is known of his early life except that he
+began his studies with Karel Van Mander and
+Cornelis Cornelissen. What we know of his
+family life is not to his credit. In the parish
+register of 1611 is recorded the birth of a son to
+Franz Hals and five years later he is on the public
+records for abusing his wife, who died shortly
+afterward. He married again within a year
+and the second wife bore him many children and
+survived him ten years. Five of his seven sons
+became painters.</p>
+
+<p>Franz Hals drank too much and mixed too
+freely with the kind of disreputable people he
+<a name="140"></a>
+loved to paint, but he never became so degraded
+that his hand lost its cunning, or his eye its keen
+vision for that which he wished to portray. In
+1644, he was made a director of the Guild of St.
+Lucas, an institution for the protection of arts
+and crafts in Haarlem, but from that time
+onward he sank in popular esteem, deservedly.
+He fell into debt, then into pauperism, and when
+he died, about the age of eighty-six, he was buried
+at public expense in the choir of St. Bavon
+Church in Haarlem.</p>
+
+<p>It was in the year 1616 that Hals first became
+known as a master of his art by the painting of
+the St. Jovis Shooting Company, one of the
+clubs composed of volunteers banded together
+for the defence of the town should occasion arise.
+Such guilds were common throughout Holland,
+and they became a favourite subject with Hals,
+as with other painters of the time, who vied with
+one another in portraiture of the different
+members. These groups were hung upon the walls
+of the chambers where meetings were held for
+social purposes in times of peace. The men
+of highest rank are always given the most
+conspicuous places in the pictures. The flag
+is generally the one bit of gorgeous colour in the
+scene; but Franz Hals seized the opportunity to
+show his wonderful skill in detail while painting
+the cuffs and ruffs worn by these grandees. In
+all his work there is an impression of strength
+rather than of beauty; it is the charm of
+expressiveness he is aiming at, rather than the charm
+<a name="141"></a>
+of grace and colour to which the Italian school
+was devoted. He differed from that school, also,
+in his choice of subjects, for he was distinctly
+and almost entirely a portrait painter, and within
+his own limited range he is unsurpassed. A
+wonderful collection of his works is to be seen in
+the Haarlem Town Hall.</p>
+
+<center>PLATE--THE NURSE AND THE CHILD</center>
+
+<p>Considering the woeful life that Franz Hals led,
+it is amazing to think that he of all artists is the
+best painter of good humour. He puts a smile
+on the face of nearly every one of his "leading
+characters," whether it be a modest young girl,
+a hideous old woman, a strolling musician, or a
+riotous soldier, and in every case the laugh suits
+the subject. It may have been his own easygoing
+shiftlessness, his way of casting care aside
+with a jest that enabled him to live so long and
+to accomplish so much in spite of his poverty
+and other misfortunes.</p>
+
+<p>The roguish look upon the face of this baby
+of the house of Ilpenstein makes it appear older
+than the pleasant faced nurse. The dress of the
+child is such as Hals delighted to spend his
+talents upon. The picture is in the Berlin
+Gallery.</p>
+
+<p>Among his best known paintings are "The
+Laughing Cavalier," "The Fool," "The Man
+with the Sword," and "Hille Bobbe. the Witch
+of Haarlem."
+<a name="142"></a></p>
+<h1>XX</h1>
+
+<h1>MEYNDERT HOBBEMA</h1>
+
+<center><i>Dutch School</i><br>
+1637-1709<br>
+<i>Pupil of Jacob van Ruisdael</i></center>
+
+<p>When a man becomes famous many
+people claim his acquaintance, and
+often many places his birthplace. In Hobbema's
+case it has never been decided whether
+he was born in the little town of Koeverdam,
+or in the city of Haarlem or in Amsterdam. Nor
+is it quite certain when he was born; but what
+he did afterward, we are all acquainted with.</p>
+
+<p>No one knows much about the life of this
+artist, but his master was doubtless his uncle,
+van Ruisdael. Hobbema was dead a hundred
+years before the world acknowledged his genius,
+thus he reaped no reward for hard work and
+ambition. He, like Rembrandt, died in great
+poverty, and with nearly the same surroundings.
+Rembrandt died forsaken in Roosegraft Street,
+Amsterdam, and Hobbema died in the same
+locality. We must speak chiefly about his
+work, since we know little of his personality
+or affairs.</p>
+
+<p>If Böcklin's pictures seem to be composed
+of vertical lines, Hobbema's are as startling
+in their positive vertical and horizontal lines
+<a name="143"></a>
+combined. We are not likely to find elevations
+or gentle, gradual depressions in his
+landscapes, but straight horizons, long trunked,
+straight limbed trees; and the landscape seems
+to be punctured here and there by an upright
+house or a spire. It is startlingly beautiful,
+and so characteristic that after seeing one or
+two of Hobbema's pictures we are likely to
+know his work again wherever we may find it.</p>
+
+<p>Hobbema got at the soul of a landscape. It
+was as if one painted a face that was dear to
+one, and not only made it a good likeness but
+also painted the person as one felt him to be--all
+the tenderness, or maybe all the sternness.</p>
+
+<p>It may be that Hobbema's failure to get
+money and honours, or at the very least, kind
+recognition as a great artist, while he lived,
+influenced his painting, and made him see
+mostly the sad side of beauty, nor it is certain
+that his landscapes give one a strange feeling
+of sadness and desolation, even when he paints
+a scene of plenty and fulness.</p>
+
+<p>The French have made a phrase for his kind
+of work, <i>paysage intime</i>--meaning the
+beloved country--the one best known. It
+is a fine phrase, and it was first used to describe
+Rousseau's and Corot's work; but it especially
+applies to Hobbema's.</p>
+
+<p>While this artist was not yet recognised,
+his uncle van Ruisdael was known as a great
+artist. The family must have been rich in
+spirit that gave so much genius to the world.
+<a name="144"></a>
+Hobbema certainly loved his art above all
+things, for he had no return during his lifetime,
+save what was given by the joy of work. There
+are those who complain that Hobbema was a
+poor colourist. True, he used little besides grays
+and a peculiar green, which seemed especially
+to please him; but since that colouring belonged
+to the subjects he chose, one cannot complain
+on the ground that what he did was unsatisfying.
+For lack of knowledge about him we
+can think of him as a man of moods, sad,
+desolate ones at that; because his work is too
+extreme and uniform in its character for us
+to believe his method was affected.</p>
+
+<center>PLATE--THE AVENUE, MIDDELHARNIS, HOLLAND</center>
+
+<p>This perhaps is one of the most characteristic
+of Hobbema's pictures. Note a strange hopelessness
+in the scene, as well as beauty. The
+tall and solemn trees, the high light upon the
+road, suggesting to us all sorts of joys struggling
+through the cheerlessness of life. What other
+artist would have chosen such a corner of
+nature for a subject to paint? To quote a
+fine description:</p>
+
+<p>"He loved the country-side, studied it as a
+lover, and has depicted it with such intimacy of
+truth that the road to Middelharnis seems
+as real to-day as it did over a hundred years
+ago to the artist. We see the poplars, with
+<a name="145"></a>
+their lopped stems, lifting their bushy tops
+against that wide, high sky which floats over
+a flat country, full of billowy clouds as the sky
+near the North Sea is apt to be. Deep ditches
+skirt the road, which drain and collect the
+water for purposes of irrigation, and later on
+will join some deeper, wider canal, for purposes
+of navigation. We get a glimpse on the right,
+of patient perfection of gardening, where a
+man is pruning his grafted fruit trees; farther
+on a group of substantial farm buildings. On
+the opposite side of the road stretches a long,
+flat meadow, or "polder," up to the little
+village which nestles so snugly around its tall
+church tower; the latter fulfilling also the
+purpose of a beacon, lit by night, to guide the
+wayfarer on sea and land; scene of tireless
+industry, comfortable prosperity, and smiling
+peace. ... Pride and love of country
+breathe through the whole scene. To many
+of us the picture smiles less than it thrills
+with sadness. Perhaps it speaks thus only
+to those who find a kind of hurt in the revival
+of the spring, which promises so much and
+may fulfill so little."</p>
+
+<p>Hobbema's "Watermill" is very well-known
+and so are his "Wooded Landscape," and
+"Haarlem's Little Forest."</p>
+
+<p><a name="146"></a></p>
+<h1>XXI</h1>
+
+<h1>WILLIAM HOGARTH</h1>
+
+<center><i>School of Hogarth (English)</i><br>
+1697-1764 </center>
+
+<p>William Hogarth, like Watteau, originated
+his own school; in short there never
+was anybody like him. He was an editorial
+writer in charcoal and paint, or in other words
+he had a story to tell every time he made a picture,
+and there was an argument in it, a right and a
+wrong, and he presented his point of view by
+making pictures.</p>
+
+<p>English artists in literature and in painting
+have done some great reformatory work. Charles
+Dickens overthrew some dreadful abuses by
+writing certain novels. The one which has most
+interest for children is the awful story of Dotheboys'
+Hall, which exposed the ill treatment of
+pupils in a certain class of English schools. What
+Dickens and Charles Reade did in literature,
+Hogarth undertook to do in painting. He
+described social shams; painted things as they
+were, thus making many people ashamed and
+possibly better.</p>
+
+<p>Italians had always painted saints and
+Madonnas, but Hogarth pretended to despise
+that sort of work, and painted only human
+beings. He did not really despise Raphael,
+<a name="147"></a>
+Titian, and their brother artists, but he was so
+disgusted with the use that had been made of
+them and their schools of art, to the entire
+exclusion of more familiar subjects, that he
+turned satirist and ridiculed everything.</p>
+
+<p>First of all, Hogarth was an engraver. He was
+born in London on the 10th December, 1697, and
+eighteen days later was baptised in the church
+of St. Bartholemew the Great. His father was
+a school teacher and a "literary hack," which
+means that in literature he did whatever he could
+find to do, reporting, editing, and so on.</p>
+
+<p>Hogarth must early have known something
+of vagabond life, for his father's life during his
+own youth must have brought him into association
+with all sorts of people. He knew how
+madhouses were run, how kings dined, how
+beggars slept in goods boxes, and many other
+useful items.</p>
+
+<p>Hogarth said of himself: "Shows of all sorts
+gave me uncommon pleasure when an infant,
+and mimicry, common to all children, was
+remarkable in me.... My exercises, when
+at school, were more remarkable for the ornaments
+which adorned them, than for the exercises
+themselves." He became an engraver or silver-plater,
+being apprenticed to Mr. Ellis Gamble,
+at the sign of the "Golden Angel," Cranbourne
+Alley, Leicester Fields.</p>
+
+<p>Engraving on silver plate was all well enough,
+but Hogarth aspired to become an engraver on
+copper, and he has said that this was about the
+<a name="148"></a>
+highest ambition he had while he was in Cranbourne
+Alley.</p>
+
+<p>The shop-card which he engraved for Mr.
+Ellis Gamble may have been the first significant
+piece of work he undertook. The card is still
+among the Hogarth relics. He set up as an
+engraver on his own account, though he did study
+a little in Sir James Thornhill's art school;
+but whatever he learned he turned to characteristic
+account.</p>
+
+<p>He continued to make shop-cards, shop-bills,
+and book-plates. Finally, in 1727, a maker of
+tapestry engaged Hogarth to sketch him a design
+end he set to work ambitiously He worked
+throughout that year upon the design, but when
+he took it to the man it was refused. The truth
+was that the man who had commissioned the
+work had heard that Hogarth was "an engraver
+and no painter," and he had so little intelligence
+that he did not intend to accept his design,
+however much it might have pleased him.
+Hogarth sued the man for his refusal and he won
+the suit. He next began to make what he called
+"conversation pieces," little paintings about a
+foot high of groups of people, the figures being
+all portraits. These were very fashionable for
+a time and made some money for the artist.
+Both he and Watteau were fond of the stage,
+and both painted scenes from operas and plays.</p>
+
+<p>In time he moved into lodgings at the "Golden
+Head," in Leicester Fields, and there he made his
+home. He had already begun the great paintings
+<a name="149"></a>
+which were to make him famous among artists.
+These were a series of pictures, telling stories
+of fashionable and other life. His own story of
+how he came to think of the picture series was
+that he had always wished to present dramatic
+stories--present them in scenes as he saw them
+on the stage.</p>
+
+<p>He had married the daughter of Sir James
+Thornhill, and had never been thought of kindly
+by his father-in-law till he made so much stir
+with his first series. Then Sir James approved
+of him, and Hogarth found life more pleasing.</p>
+
+<p>There are very few anecdotes to tell of the
+artist's life, and the story of his pictures is much
+more amusing. One of his first satires was made
+into a pantomime by Theophilus Gibber, and
+another person made it into an opera. Many
+pamphlets and poems were written about it,
+and finally china was painted with its scenes and
+figures. There was as much to cry as to laugh
+over in Hogarth's pieces and that is what made
+them so truly great. One of his great picture
+series was called the "Rake's Progress" and it was
+a warning to all young men against leading too
+gay a life. It showed the "Rake" at the beginning
+of his misfortunes, gambling, and in the last
+reaping the reward of his follies in a debtor's
+prison and the madhouse. There are eight
+pictures in that set.</p>
+
+<p>In this series, especially in the fifth picture,
+there are extraordinary proofs of Hogarth's
+completeness of ideas. Upon the wall in the
+<a name="150"></a>
+room wherein the "Rake" marries an old woman
+for her money, the Ten Commandments are
+hung, all cracked, and the Creed also is cracked
+and nearly smudged out; while the poor-box
+is covered with cobwebs. The eight pictures
+brought to Hogarth only seventy guineas.</p>
+
+<p>One of his pictures was suggested to him
+by an incident which greatly angered him.
+He had started for France on some errand of
+his own, and was in the very act of sketching
+the old gate at Calais, when he was arrested
+as a spy. Now Hogarth was a hard-headed
+Englishman, and when he was hustled back
+to England without being given time for
+argument, he was so enraged that he made his
+picture as grotesque as possible, to the lasting
+chagrin of France. He painted the French
+soldiers as the most absurd, thin little fellows
+imaginable, and that picture has largely influenced
+people's idea of the French soldier
+all over the English-speaking world.</p>
+
+<p>As Hogarth grew old he grew also a little
+bitter and revengeful toward his enemies,
+often taking his revenge in the ordinary way
+of belittling the people he disliked, in his
+paintings.</p>
+
+<p>Hogarth came before Reynolds or Gainsborough;
+in short, was the first great English
+artist, and his chief power lay in being able
+instantly to catch a fleeting expression, and to
+interpret it. An incident of Hogarth's youth
+illustrates this. He had got into a row in a
+<a name="151"></a>
+pot-house with one of the hangers-on, and
+when someone struck the brawler over the
+head with a pewter pot, there, in the midst of
+excitement and rioting, Hogarth whipped out
+his pencil and hastily sketched the expression
+of the chap who had been hit.</p>
+
+<p>Hogarth was friends with most of the
+theatre managers, and one of his souvenirs
+was a gold pass given him by Tyers, the
+director of Vauxhall Gardens, which entitled
+Hogarth and his family to entrance during
+their lives. This was in return for some
+"passes," which Hogarth had engraved for
+Tyer.</p>
+
+<p>Upon one occasion Hogarth set off with
+some companions for a trip to the Isle of
+Sheppey. Incidentally Forest wrote a sketch
+of their journey and Hogarth illustrated it.
+That work is to be found, carefully preserved,
+in the British Museum. The repeated copying
+and reproduction for sale of his pictures brought
+about the first effort to protect his
+works of art by copyright. But it was not
+till he had done the "Rake's Progress" that
+he was able to protect himself at all, and even
+then not completely.</p>
+
+<p>Just before his death he was staying at
+Chiswick, but the day before he died he was
+removed to his house in Leicester Fields.
+He was buried in the Chiswick churchyard;
+and in that suburb of London may still be seen
+his old house and a mulberry tree where he
+<a name="152"></a>
+often sat amusing children for whom he cared
+very much. Garrick wrote the following
+epitaph for his tomb:</p>
+
+<blockquote>
+Farewell, great Painter of Mankind!<br>
+Who reached the noblest point of art,<br>
+Whose pictured Morals charm the Mind <br>
+And through the Eye correct the Heart.<br>
+
+<p>If Genius fire thee, Reader, stay;<br>
+If Nature touch thee, drop a tear;<br>
+If neither move thee, turn away,<br>
+For Hogarth's honour'd dust lies here.</p>
+</blockquote>
+
+<center>PLATE--THE MARRIAGE CONTRACT</center>
+
+<p>The picture used in illustration here is part
+of probably the very greatest art-sermon ever
+painted, called "Marriage à la Mode." The
+story of it is worth telling:</p>
+
+<p>"The first act is laid in the drawing-room
+of the Viscount Squanderfield"--is not that
+a fine name for the character? "On the left,
+his lordship is seated, pointing with complacent
+pride to his family tree, which has its roots
+in William the Conqueror. But his rent roll
+had been squandered, the gouty foot suggesting
+whither some of it has gone; and to restore his
+fortunes he is about to marry his heir to the
+daughter of a rich alderman. The latter is
+seated awkwardly at the table, holding the
+marriage contract duly sealed, signed and
+delivered; the price paid for it, being shown
+by the pile of money on the table and the bunch
+<a name="153"></a>
+of cancelled mortgages which the lawyer is
+presenting to the nobleman, who refuses
+to soil his elegant fingers with them. Over
+on the left is his weakling son, helping himself
+at this critical turn of his affairs, to a pinch
+of snuff while he gazes admiringly at his own
+figure in the mirror. The lady is equally
+indifferent; she has strung the ring on to her
+finger and is toying with it, while she listens
+to the compliments being paid to her by
+Counsellor Silver-tongue. Through an open
+window another lawyer is comparing his lordship's
+new house, that is in the course of building,
+with the plan in his hand. A marriage so
+begun could only end in misery." This is the
+first act, and the pictures that follow show all
+the steps of unhappiness which the couple
+take. There are five more acts to that painted
+drama, which is in the National Gallery,
+London.</p>
+
+<p>
+<a name="154"></a></p>
+<h1>XXII</h1>
+
+<h1>HANS HOLBEIN, THE YOUNGER</h1>
+
+<center>(Pronounced Hahntz Hol'bine)<br>
+<i>German School</i><br>
+1497-1543<br>
+<i>Pupil of Holbein, the Elder</i> </center>
+
+<p>There were three generations of painters in
+the Holbein family, and the Hans of whom
+we speak was of the third. His grandfather
+was called "old Holbein," and when more painters
+of the same name and family came along it became
+necessary to distinguish them from each other
+thus: "old Holbein," the "elder Holbein," and
+"young Holbein." The first one was not much
+of an artist; still, in a locality where at best there
+was not much art he was good enough to be
+remembered.</p>
+
+<p>"Young Holbein" was born in Augsburg,
+which is in Swabia, in southern Germany; "elder
+Holbein" and his father, Michael, "old Holbein,"
+had moved there from Schonenfeld, a neighbouring
+village, about forty three years before little
+Hans was born, the old Michael bringing his
+family to the larger town where it was easier to
+make a living.</p>
+
+<p>The "elder Holbein" was a really good artist
+and well thought of in Augsburg, and when little
+Hans's turn came he had no teacher but his
+<a name="155"></a>
+father, unless indeed we were to call him also a
+pupil of his elder brother, Ambrosius. His
+uncle Sigismund, too, taught him something of
+art, for the whole Holbein family seem to have
+been artists. Young Holbein was never regularly
+apprenticed to any outsider.</p>
+
+<p>Art was not then taught as it is now. The
+work of a beginner was often to paint for his
+master certain details which it was thought that
+he might handle properly, while the master
+occupied himself with what he thought to be
+some more important part of the picture. It is
+said that Hans often painted the draperies of his
+father's figures when his father was engaged upon
+the altar pieces so fashionable at the time.
+The Holbeins one and all must have been bad
+managers or improvident; at any rate, Hans did
+not turn out well as a man and we read that his
+father was always in debt and difficulty although
+he received much money for his work and was
+not handicapped, like Dürer's father, by a family
+of eighteen children.</p>
+
+<p>The story of the Holbeins is quite unlike that
+of the Dürers, and not nearly so attractive.</p>
+
+<p>Some time before Hans was twenty years of age,
+the entire family had packed up and gone to live
+in Lucerne, while Hans and his brother, Ambrosius,
+went travelling together, as most young
+Germans went at that time before they settled
+down to the serious work of life. The last we
+hear of Ambrosius he had joined the painters'
+guild in Basel, and probably he died not long
+<a name="156"></a>
+afterward, or at any rate while he was still young.
+There was in Basel a certain Hans Bar, for whose
+wedding occasion Hans Holbein designed a table,
+on which he pictured an allegory of "St. Nobody."
+This was very likely such work as our cartoonists
+do to-day, but being the work of Holbein,
+it had great artistic value. Besides that, he
+painted a schoolmaster's sign to be hung outside
+the door.</p>
+
+<p>As an illustrator, Holbein made the acquaintance
+of several authors about that time and
+started on the high road to fame. He was a man
+of very little conscience or fine feeling, and there
+could hardly be a greater contrast than that
+between the clean sweet life of Dürer and the
+brawling, unfeeling one that Hans Holbein led.</p>
+
+<p>Dürer married, had no children, but tenderly
+loved and cared for his wife, taking her with him
+upon his journeys and making her happy.</p>
+
+<p>Holbein married and beat his wife; had
+several children and took care of none of them.
+His wife grew to look old and worn while he
+remained a gay looking sport, quite tired of one
+whom he had had on his hands for ten years.
+He wandered everywhere and left his family
+to shift for itself. One writer in speaking of the
+two men says:</p>
+
+<p>"Dürer would never have deserted his wife
+whom he took with him even on his journey
+to the Netherlands; and he was bound by the
+same tenderness to his native town. However
+much he rejoiced to receive a visit from Bellini
+<a name="157"></a>
+at Venice, or when at Antwerp, the artists instituted,
+a torch-light procession in his honour,
+nothing could have moved him to leave Nuremberg."
+Dürer loved his home; Holbein hated his.</p>
+
+<p>Holbein had a cold, light-blue eye; Dürer a
+soft and tender glance. While Dürer lived he
+was the mainstay of his family--father and
+brothers. Holbein's father died in misery and
+his brother's life was disastrous, Hans doing
+nothing to serve them and looking on at their
+sufferings indifferently.</p>
+
+<p>There is a court document in existence which
+tells the particulars of Hans Holbein's arrest
+for getting into a brawl with a lot of goldsmiths'
+apprentices during a night of carousal. The
+court warned him that he would be more severely
+punished if he did not cease his lawless life and
+he was made to promise not to "jostle, pinch, nor
+beat his lawful spouse." When he died he
+made no provision in his will for his family.
+There is a picture of his wife, Elizabeth Schmidt,
+to be seen in his "Madonna" at Solothurn
+Holbein used her for the model. She then was
+young and blooming and the model for the child
+was his own baby; at that time he found them
+useful.</p>
+
+<p>His life of folly can hardly be excused by
+impulsiveness or emotion, for his pictures show
+little of either. He was best at portrait painting.
+At that time guilds and town councils
+wanted the portraits of their members preserved
+in some way, and it was the habit of
+<a name="158"></a>
+painters like Holbein to form picturesque groups
+and give to such dramatic groupings the
+features of townsmen. Rembrandt did this
+much later than Holbein, when he painted
+the "Night Watch," or as it is more properly
+called, "The Sortie."</p>
+
+<p>Probably Holbein's first important work
+was to make title pages for the second edition
+of Martin Luther's translation of the New
+Testament. This MS. was made about the
+time that Holbein's work began to be of
+interest to the public, and so the commission
+was given to him.</p>
+
+<p>After a time this artist went to England
+with letters of introduction to Sir Thomas
+More, Chancellor to King Henry VIII. Sir
+Thomas treated him very kindly and set him
+to work making portraits of his own family.
+During the time he was living at More's home
+in Chelsea, the King himself, used frequently
+to visit there, and on one occasion he saw the
+brilliant portraits of the More family and
+inquired about the artist. Sir Thomas offered
+the King any of the pictures he liked, but
+Henry VIII. asked to see the artist. When
+brought before him, Holbein's fortune seemed
+to be made for the King asked him to go to
+court and paint for him, remarking that "now
+he had the artist he did not care about the
+pictures."</p>
+
+<p>Holbein seems to have been a favourite
+with Henry and many anecdotes are told of his
+<a name="159"></a>
+life at Whitehall, where he went to live. Once
+while Holbein was engaged upon a portrait, a
+nobleman insisted upon entering his studio,
+after the artist had told him that he was painting
+the portrait of a lady, by order of the King.
+The nobleman insisted upon seeing it, but
+Holbein seized him and threw him down the
+Stairs; then he rushed to the King and told
+what had happened. He had no sooner
+finished than the nobleman appeared and told
+his story. The King blamed the nobleman for
+his rudeness.</p>
+
+<p>"You have not to do with Holbein," he said,
+"but with me. I tell you, of seven peasants
+I can make seven lords, but of seven lords I
+cannot make one Holbein. Begone! and remember
+that if you ever attempt to avenge
+yourself, I shall look upon any injury offered
+to the painter as done to myself."</p>
+
+<p>It was Holbein who, visiting a brother
+artist and finding a picture on the easel,
+painted a fly upon it. When the artist
+returned he tried to brush the fly off, then
+set about looking for the one who had
+deceived him.</p>
+
+<p>His portrait painting was so superb that he
+received many commissions.</p>
+
+<p>Meantime, Sir Thomas More had fallen into
+disfavour with the King and was to lose his
+head, but it is written that the artist's portraits
+"betray nothing of this tragedy." He was
+as ready to climb to fame by the favour of
+<a name="160"></a>
+his generous patron's enemies as he had been
+to accept the offices of Sir Thomas More. He
+painted the portraits of several of the wives
+of Henry VIII., and it may be said that there
+was a good deal of that monarch's temperament
+to be found in Holbein himself. Take
+him all in all, Hans was as detestable as a man
+as he was excellent as a painter.</p>
+
+<p>In his adopted home in Lucerne, Holbein
+had painted frescoes, both on the inside and
+the outside of a citizen's house, and this house
+stood until 1824, when it was torn down to
+make way for street improvements, but several
+artists hastily copied the frescoes so that they
+are not entirely lost.</p>
+
+<p>Before he left Germany for England, Holbein
+had been commissioned to decorate the town
+hall in Basel, and a certain amount of money
+was voted for the work, but after he had
+finished three walls, he decided that the money
+was only enough to pay him for what he had
+already done. The councillors agreed with
+him, but as money was a little "close" in
+Basel at that time, they felt unable to give
+him more, and so voted to "let the back wall
+alone, till further notice."</p>
+
+<p>He painted one Madonna whom he surrounded
+with the entire family of Burgomaster Meyer,
+including even the burgomaster's first wife,
+who was dead. This work is called the
+"Meyer Madonna."</p>
+
+<p>It is said that after Holbein's return to
+<a name="161"></a>
+Basel he, with others, was persecuted for his
+"religious principles," but if this were true,
+his persecutors went to considerable pains
+for nothing, because Holbein was never known
+to have any sort of principles, religious or
+otherwise. He was neither a Protestant, nor
+a Catholic but a painter, a man without convictions
+and without thought. He did not care
+for family, country, friends, politics, religion,
+nor for anything else, so far as any one knows.</p>
+
+<p>When he was asked why he had not partaken
+of the Sacrament, he answered that he wanted
+to understand the matter better before he did
+so. Thus he escaped punishment, and when
+matters were explained to him, he did whatever
+seemed safest and most convenient under
+the circumstances.</p>
+
+<p>On his return to England, he settled among
+the colony of German and Netherland merchants,
+who were in the habit of meeting at a place
+called "The Steelyard," as their home and
+warehouses were grouped in that locality,
+with a guild hall and a wineshop they alone
+patronised.</p>
+
+<p>While associated with his compatriots Holbein
+made portraits of many of them, and these
+are magnificent works of art. He painted them
+separately or in groups; in their offices and in
+their guild hall, as the case might be. The
+men whom he thus painted were: Gorg Gisze,
+Hans of Antwerp, Derich Berck, Geryck Tybis,
+Ambrose Fallen, and many others. He designed
+<a name="162"></a>
+the arch which the guild erected upon the occasion
+of Anne Boleyn's coronation, and he painted
+Henry's next Queen, Jane Seymour.</p>
+
+<p>Holbein painted many portraits of Henry VIII.
+and probably all those dated after 1537 were
+either copies or founded upon the portrait which
+Holbein made and which was destroyed with
+Whitehall.</p>
+
+<p>While he painted for Henry, Holbein received
+a sort of retainer's fee of thirty pounds a year,
+but he may have received sums for outside
+commissions which he undertook. On one
+occasion, when he took a journey to Upper
+Burgundy to paint a portrait of the Duchess
+whom Henry contemplated making his next wife,
+the King gave him ten pounds out of his own
+purse. We have no record of vast sums such as
+Raphael received.</p>
+
+<p>Henry did not succeed in making the Duchess
+his wife, so Holbein was sent to paint another--Anne
+of Cleves--that Henry might see what
+he thought of her before he undertook to make
+her his queen. Holbein did a disastrous deed,
+for he made Anne a very acceptable looking
+woman, (the portrait hangs in the Louvre)
+and Henry negotiated for her on the strength of
+that portrait. Later, when he saw her, he was
+utterly disgusted and disappointed.</p>
+
+<p>Holbein, notwithstanding this trick, was employed
+to paint the next wife of Henry, and
+doubtless he also made the miniature of Catherine
+Howard which is in Windsor Castle.
+
+<a name="163"></a>
+Holbein finally died of the plague and no one
+knows where he was buried. His wife died later,
+and it was left for his son, Philip, who was said to
+be "a good well-behaved lad," to bring honours
+to the family. He was apprenticed in Paris, and,
+settling later in Augsburg, he founded a branch
+of the Holbein family on which the Emperor
+Matthias conferred a patent of nobility, making
+them the Holbeins of Holbeinsberg.</p>
+
+<center>PLATE--ROBERT CHESEMAN WITH HIS FALCON</center>
+
+<p>This is one of the best of the many splendid
+portraits Holbein painted. It hangs in The
+Hague gallery. The gentleman was forty-eight
+years old and in the portrait he wears a purplish-red
+doublet of silk and a black overcoat,
+which was the fashion of the day, all trimmed
+with fur. He has curly hair, just turning gray.
+His left hand is gloved and on it he holds his
+falcon, while with the other hand he strokes its
+feathers.</p>
+
+<p>Of all sports at that time, falconry was the
+most fashionable and every fine gentleman had
+his sporting birds. Robert Cheseman lived in
+Essex. He was rich and a leader in English
+politics. His father was "keeper of the wardrobe
+to Henry VIII." and he himself served in many
+public offices. He was one of the gentleman
+chosen to welcome Anne of Cleves when she landed
+on English soil to marry Henry VIII. These
+details were first published by Mr. Arthur
+<a name="164"></a>
+Chamberlain and are taken from his sketch of
+Holbein and his works.</p>
+
+<p>Among Holbein's other famous pictures are:
+"The Ambassadors," "Hans of Antwerp,"
+"Christina of Denmark," "Jane Seymour,"
+"Anne of Cleves," and "St. George and the
+Dragon."</p>
+
+<p><a name="165"></a></p>
+<h1>XXIII</h1>
+
+<h1>WILLIAM HOLMAN HUNT</h1>
+
+<center><i>English (Pre-Raphaelite) School</i><br>
+1827--<br>
+<i>Pupil of Academy School</i></center>
+
+<p>The story of the Pre-Raphaelites is all by
+itself a story of art. Holman Hunt was
+one of three who formed this "brotherhood";
+and he, with one other, are the only ones whom
+some of us think worthy of giving a place in art.
+This is to be the story of the brotherhood
+rather than a story of one man.</p>
+
+<p>The last great artist England had had before
+this extraordinary group, was J. M. W. Turner,
+truly a wonderful man, but after him England's
+painters became more and more commonplace,
+drawing further and further away from truth,
+There was one, J. F. Lewis, who went away to
+Syria and lived a lonely and studious life, trying
+to paint with fidelity sacred scenes, but he was
+not great enough to do what his conscience and
+desires demanded of him; and, finally, Constable
+declared that the end of art in England had come.
+But it had not, for up in London, in the very
+heart of the city, in Cheapside (Wood Street)
+there was born, in April, 1827, a child destined to
+be a brilliant and wonderful man, who was
+actually to rescue English art from death. Many
+<a name="166"></a>
+do not think thus, but enough of us do to warrant
+the statement.</p>
+
+<p>The new artist was Holman Hunt. He was
+the son of a London warehouseman, with no inclination
+whatever for learning, so that it
+seemed simply a waste of time to send him to
+school. This continually repeated history of
+artists who seem to know nothing outside their
+brushes and colours, is astonishing, but it is true
+that artists for the most part must be regarded
+as artists, pure and simple, and not as men of even
+reasonably good intellectual attainments, and
+more or less this accounts for their low estate
+centuries ago. One does not associate "learning"
+and the artist. When we have such splendid
+examples as Dürer and two or three others we
+discuss their intellectuality because they are so
+unusual.</p>
+
+<p>Holman Hunt was like most of his brother
+artists in all but his art. He hated school and at
+twelve years of age was taken from it. His father
+wanted him to become a warehouse merchant
+like himself, and he began life as clerk or apprentice
+to an auctioneer. He next went into the
+employment of some calico-printers of Manchester.
+The designing of calicoes can hardly be called art,
+even if the department of design had fallen to
+Holman Hunt's lot and we have no evidence that
+it did, but he started to be an artist nevertheless,
+there in the print-shop. He found in his new
+place another clerk who cared for art; and this
+sympathy encouraged him to fix his mind upon
+<a name="167"></a>
+painting more than ever. He used to draw such
+natural flies upon the window panes that his
+employer tried one day to "shoo away a whole
+colony of flies that seemed miraculously to have
+settled." This gave the clerks much amusement,
+and also attracted attention to Holman Hunt's
+genius.</p>
+
+<p>His very small salary was spent, not on his
+support, but in lessons from a portrait painter
+of the city. His parents did not like this, but
+they could not help themselves, and thus this
+greatest of the Pre-Raphaelites began his work.</p>
+
+<p>The Pre-Raphaelites were a little group of men
+who believed that artists were drawing too much
+on their imaginations, not painting things as
+they saw them, and that the painter had
+become incapable of close observation. He
+worked in his studio, did not get near enough to
+nature, and instead of trying to follow along this
+line, this group of men, with their new and partly
+correct ideas, meant to go back further than the
+great masters themselves and present an elemental
+art. This was a part of their scheme and partly
+it was justified, but of all the men who undertook
+to make a new school, Holman Hunt was the only
+one who remained, and will remain forever, a representative.
+He alone stuck to the original purpose
+of the group and developed it into a truly great
+school; so that it is he alone we need to know.</p>
+
+<p>After he began to take lessons of the portrait
+painter in London, he developed so quickly that
+he found by painting portraits three days a week,
+<a name="168"></a>
+he could pay his own expenses, and the rest of the
+time he devoted to study. He tried to be
+admitted to the Academy schools twice and was
+twice refused before they would receive him.</p>
+
+<p>It was there in the Academy the three original
+Pre-Raphaelites met for the first time; they were
+Holman Hunt, Dante Gabriel Rossetti, and
+Millais. After entering the school Hunt painted
+and sold four excellent pictures, but they all
+seem to have been lost; nobody can trace them.
+He was not yet a "Pre-Raphaelite."</p>
+
+<p>All this time Hunt was half ill because he knew
+that he was grieving his father of whom he was
+devotedly fond, and the strain of trying to work
+while he was unhappy nearly destroyed him.
+The pictures that he exhibited at the Royal
+Academy were so poor that the commission
+declared they should not only be removed but
+that Hunt ought really to be forbidden to exhibit
+any more. This must have been a great blow
+to the young and struggling artist, and to add to
+this trouble, his father was being jeered at for
+having such a good-for-nothing son. Hunt's
+pictures in the Academy were so much despised
+that his father was told his son was a disgrace to
+him, and we may be sure that did not help the
+young fellow, who meantime was earning a living,
+not by painting pictures, but by cleaning up those
+of another man. Dyce, who had painted on the
+walls of Trinity House, engaged him to clean and
+restore those paintings, and Hunt was doing this
+for his bread and butter.</p>
+
+<p><a name="169"></a>
+At that time he became so downhearted
+and discouraged that he almost decided to
+leave England altogether and go to live in
+Canada away from his friends who jeered, and
+his family who reproached him; but just then
+Millais, one of the successful painters whom
+he had met in the Academy school, who could
+afford to be generous, came to Hunt's aid and
+gave him the means of living while he painted
+"The Hireling Shepherd." This was destined
+to be the turning point in Hunt's luck, for
+that painting was properly hung at the exhibition,
+and it received recognition. After that
+he painted a picture which he sold on the
+installment plan--being paid by the purchaser
+so much a month.</p>
+
+<p>Meantime he owed his landlady a large sum,
+and he says himself that he "suffered almost
+unbearable pain at passing her and her husband
+week after week without being able to
+even talk of annulling his debts." In time he
+not only settled that bill which distressed him,
+but paid back his friend Millais the money
+loaned by him.</p>
+
+<p>Hunt rarely took a commission, because to
+do so meant that he must paint a picture
+after the manner his employer wished, and
+Hunt had certain ideas of art in which he
+believed and therefore would not bind himself
+to depart from them; but after a little success,
+which enabled him to pay his bills, he did
+undertake a commission from Sir Thomas
+<a name="170"></a>
+Fairbairn, and it was called "The Awakened
+Conscience." He finished this picture on a
+January day late in the afternoon, and that
+very night he left England, setting out upon a
+longed-for journey to the Holy Land, where
+he meant to study the country and people
+till he believed himself able to paint a truthful
+picture of sacred scenes. He refused to
+paint pictures of Eastern Jews who should
+look like Parisians, with Venetian backgrounds.
+He meant to paint Oriental scenes
+as nearly as he could, as they might have
+taken place.</p>
+
+<p>He came back to his English home just two
+years and one month from the time he had
+left it, and he brought back a picture of the
+goat upon which the Jews loaded their sins and
+then turned loose in waste-places to wander
+and die. "The Scapegoat" was a great picture,
+but before he left England he had painted a
+greater--the one we see here--"The Light
+of the World."</p>
+
+<p>He had depended upon the sale of the
+"Scapegoat" to pay his way for a time after
+his return home, and alas, it did not sell.
+More than that, his beloved father died and
+this added to his sense of desolation, for he had
+not been sufficiently successful before his
+death to justify himself in his father's eyes.
+These things so overwhelmed his sensitive
+mind with trouble, that his condition became
+very serious, and if certain good friends had
+<a name="171"></a>
+not stood by him loyally, he would probably
+never have painted again.</p>
+
+<p>He began at last another ambitious picture--"Finding
+of Christ in the Temple"--but while
+he was engaged upon this, he had to paint
+mere pot-boilers also in order to get on at
+all, and he says that half the time the great
+picture "stood with its face to the wall" while
+he was trying merely to earn bread and butter.
+The wonderful Louis Blanc tried once to plan
+a way by which all deserving people should
+have in this world equal opportunity to try.
+This has never been "worked out." It never
+will be, but Holman Hunt reminds us how
+much the world loses by not providing that
+"equal opportunity." No one deserves more
+than his chance; but such struggles of genius
+tell us that all is not fair.</p>
+
+<p>Hunt persevered with this Christ in the
+Temple and when finished he sold it for 5,500
+guineas--a larger sum than he had ever
+before been given for a painting.</p>
+
+<p>He no sooner received his money for this
+great picture than off he went once more to
+the Holy Land. He was conscientious in
+everything he did, and never before had an
+artist painted scenes of Christ that carried
+such a sense of truth with them. The set
+haloes seen about the heads of the saints and of
+holy people even in Raphael's pictures and
+in those of the very greatest artists of his
+time, disappeared with Holman Hunt's
+<a name="172"></a>
+coming. In the "Light of the World," the
+halo is an accident--the great white moon,
+happening to rise behind the Christ's head--and
+there we have the halo, simple, natural,
+only suggestive, not artificial. Then, too, in
+the "Shadow of Death," there is a menacing
+shadow of the cross--made upon the wall by
+Christ's body, as he naturally stretches out
+his arms, after his work in the carpenter shop.</p>
+
+<p>There is not one false note that shocks us,
+or makes us feel that after all the story itself
+is affected and artificial. Everything that
+is symbolical is brought about naturally.
+They are sincere, truthful pictures that speak
+to the mind as well as to the eye.</p>
+
+<p>Hunt's colouring and many other technical
+matters are often far from perfect, but there
+is something besides technicality to be considered
+in judging a picture.</p>
+
+<p>For a time, while the three men, Hunt,
+Rossetti, and Millais, kept together, their pictures
+were signed P. R. B., as a sign of their league;
+but this did not last very long, and afterward
+Hunt signed his pictures independently.</p>
+
+<p>After the "Brotherhood" had worked against
+the greatest discouragements for a long time,
+and felt nearly hopeless of success, John Ruskin,
+one of the greatest of critics and most fearless
+of men, who was so much respected that his
+words had great influence, suddenly published
+a defence of these Pre-Raphaelites. He declared
+that they were the greatest artists of the time,
+<a name="173"></a>
+and while scorning their critics he applauded
+those three young men, till he turned the tide,
+and everybody began to know what truly
+brilliant work they were doing. Ruskin's words
+came, Hunt said, "as thunder out of a clear
+sky."</p>
+
+<p>When the "Brotherhood" was formed the
+three young men thought they should have a
+paper--a periodical of some sort, in which they
+might tell of their purposes and express their
+ideas; and so Rossetti, who wrote as well as
+painted, proposed that they print such a periodical
+once a month, and call it the <i>Germ</i>; and the
+P. R. B's. were to be joint proprietors. Rossetti
+had first thought of a different title, <i>Thoughts
+Toward Nature</i>, and his brother, W. M. Rossetti,
+who was going to take charge of the monthly,
+thought that expressed the Pre-Raphaelites'
+idea; but it was finally agreed to call it the
+<i>Germ</i>. Only two numbers could be published
+by the Pre-Raphaelites, because nobody bought
+it and the young men's money gave out, but
+the printers came to the rescue, and put up the
+money to issue two or three more <i>Germs</i>.</p>
+
+<p>Although that journal failed utterly, its four
+numbers were worth publishing, and are to-day
+worth reading. They were truly valuable, for
+they contained a story and poem by Dante
+Gabriel Rossetti, besides work of the other
+P. R. B's.</p>
+
+<p>Above all things Hunt was conscientious in
+his work, trying with all his might to represent
+<a name="174"></a>
+things as be believed them to be. When he
+made his "Scapegoat," he went to the shores of
+the Dead Sea to paint, accompanied only by Arab
+guides, and there he found the desolate, hard
+landscape for his picture. The hardships he
+experienced were very many. The wretched
+goat he took with him died in the desert of that
+dreary place after it had been no more than
+sketched in, but back in Jerusalem Hunt finished
+the goat. Ruskin's description of the picture
+helps one to feel all the desolation of the
+subject: "The salt sand of the wilderness of
+Ziph, where the weary goat is dying. The
+neighbourhood is stagnant and pestiferous,
+polluted by the decaying vegetables brought
+down by the Jordan in its floods, and the bones
+of the beasts of burden that have died by the way
+of the sea, lie like wrecks upon its edge, bared
+by the vultures and bleached by the salt ooze."</p>
+
+<p>Even the superstitious Arabs would not go
+near the spot which Hunt chose as the scene
+of his picture, but Hunt endured all things,
+believing it due to his art.</p>
+
+<p>When he painted "Christ in the Temple," he
+needed Jewish models, and it was almost impossible
+for him to get them. He could not let
+them know what they were to represent, or
+they would not have sat for him at all but he
+succeeded in painting the "first Semitic presentment
+of the Semitic Scriptures." In Jerusalem
+the Jews heard that he had come "to traffic with
+the souls of the faithful," and they forbade him
+<a name="175"></a>
+to have any Jews come into his studio; so that
+he could not finish the picture there. Back
+in London he had to find his models in the
+Jewish school. He left the figures of Christ
+and the Virgin till the last and then painted
+them "from a lady of the ancient race, distinguished
+alike for her amiability and beauty,
+and a lad in one of the Jewish schools, to which
+the husband of the lady furnished a friendly
+introduction."</p>
+
+<p>Thus, step by step, through the greatest
+difficulties, Holman Hunt established a new
+school of painting--allegory with a modern
+treatment which all could understand.</p>
+
+<center>PLATE--THE LIGHT OF THE WORLD</center>
+
+<p>This is the most popular picture of a sacred
+subject, ever painted; and John Ruskin's
+description of it, here quoted, is the best ever
+written or that can be written. "On the left
+of the picture is seen the door of the human
+soul. It is fast barred, its bars and nails are
+rusty; it is knitted and bound to its stanchions
+by creeping tendrils of ivy, showing that it
+has never been opened. A bat hovers over
+it; its threshold is overgrown with brambles,
+nettles and fruitless corn.... Christ approaches
+in the night time, ... he wears
+the white robe, representing the power of the
+Spirit upon Him; the jewelled robe and breastplate,
+representing the sacredotal investitude;
+<a name="176"></a>
+the rayed crown of gold, interwoven with the
+crown of thorns; not dead thorns, but now
+bearing soft leaves, for the healing of the
+nations.... The lantern carried in Christ's
+left hand is the light of conscience....
+Its fire is red and fierce; it falls only on the
+closed door, on the weeds that encumber
+it, and on an apple shaken from one of the
+trees of the orchard, thus marking that the
+entire awakening of the conscience is not to
+one's own guilt alone, but to the guilt of the
+world, or, 'hereditary guilt.'...</p>
+
+<p>"This light is suspended by a chain, wrapt
+around the wrist of the figure, showing that
+the light which reveals sin to the sinner appears
+also to chain the hand of Christ. The light
+which proceeds from the head of the figure--is
+that of the hope of salvation; it springs
+from the crown of thorns, and, though itself
+sad, subdued and full of softness, is yet so
+powerful, that it entirely melts into the glow
+of it the forms of the leaves and boughs which
+it crosses, showing that every earthly object
+must be hidden by this light, where its sphere
+extends."</p>
+
+<p>If you will study every detail of this reproduction,
+finding all the objects--the apple, the
+rusty bolts--noting how the full risen moon
+has formed a natural nimbus for the sacred
+head, and then re-read what Ruskin has
+said, you will discover the rarest truths in
+Holman Hunt's picture.
+<a name="177"></a>
+The several pictures which he painted, but
+which cannot now be found are: "Hark!"
+which was first exhibited in the Royal Academy;
+"Scene from Woodstock," "The Eve of St.
+Agnes," "Jerusalem by Moonlight," "The
+King of Hearts," "Moonlight at Salerno,"
+"Interior of the Mosque of Omar," "The
+Pathless Water," "Winter," "Afternoon,"
+"Sussex Downs," "Penzance," "The Archipelago,"
+"Will-o'-the-Wisp," "Ivybridge,"
+"The Foal of an Ass," "Road over the Downs,"
+"The Haunt of the Gazelle," "'Oh, Pearl,'
+Quoth I," "Miss Flamborough," "The School-girl's
+Hymn." Portraits: Mr. Martineau;
+Mr. J. B. Brice. Small sketch of the "Scapegoat,"
+"Sunset on the Sea," "Morning Prayer,"
+"Bianca," "Past and Present," and "Dead
+Mallard."</p>
+
+<p>Should you ever find one of these pictures
+bearing the initials P. R. B. or those of Holman
+Hunt, you will have made an interesting
+discovery and should make it known to others.</p>
+
+<p><a name="178"></a></p>
+<h1>XXIV</h1>
+
+<h1>GEORGE INNESS</h1>
+
+<center><i>American</i><br>
+1825-1897<br>
+<i>Pupil of Regis Gignoux</i></center>
+
+<p>George Inness was destined to keep a
+grocery store as his father had kept
+one before him, and had grown rich in it.
+When George was a young man he was
+given a grocery store in Newark, New Jersey,
+a very small store indeed, and it is not surprising
+that the young man preferred art to
+butter and eggs. The Inness family had
+just moved from Newburg, probably the elder
+Innes seeking in Newark a good location for
+his son's beginning.</p>
+
+<p>The first art-work Inness did was engraving;
+as he had been apprenticed to that business,
+but afterward he studied with Gignoux, a
+pupil of Delaroche.</p>
+
+<p>At that time there was what is known as
+the Hudson River School. Its ideas were
+set and formal, and not very inspiring, aside
+from the subjects treated. Church was then
+a young man like Inness, and he was studying
+in the Hudson River School, but the young
+grocer struck out a line for himself.</p>
+
+<p>He was forty years old before he got to Paris,
+<a name="179"></a>
+but once there, he turned to the men at Barbizon--Rousseau,
+Millet, Corot, and the rest--for
+inspiration, and began to do beautiful things
+indeed. Rousseau became his friend, and the
+art of Inness grew large and rich through such
+influences.</p>
+
+<p>Inness had inherited much religious feeling
+from his Scotch ancestors, and all his work
+was conscientious, very carefully done.</p>
+
+<p>When Inness returned from Paris he was
+not yet well known. He went to Montclair,
+New Jersey, to live and it was there that he
+did his best work. Finally, after he was fifty
+years old, he became known as a truly splendid
+painter. He loved best to paint quiet scenes
+of morning, evening sunset, and the like. His
+pictures began to gain value, and one that he
+had sold for three hundred dollars jumped in
+price to ten thousand and more. His work
+is not equally good, because his moods greatly
+influenced him.</p>
+
+<center>PLATE--BERKSHIRE HILLS</center>
+
+<p>This picture in the George A. Hearn collection
+is full of the sense of restfulness that the
+works of this artist always convey. The trees
+are as motionless as the distant hills, and if
+the oxen are moving at all it is but slowly.</p>
+
+<p>Some other Inness paintings are the "Georgia
+Pines," "Sunset on the Passaic," "The Wood
+Gatherers" and "After a Summer Shower."</p>
+
+<p><a name="180"></a></p>
+<h1>XXV</h1>
+
+<h1>SIR EDWIN HENRY LANDSEER</h1>
+
+<center><i>English School</i><br>
+1802-1873<br>
+<i>Pupil of his father, John Landseer</i></center>
+
+<p>
+It is pleasant to speak of one artist whose
+good work began in the companionship
+of his father; the case of Edwin Landseer is
+most unusual.</p>
+
+<p>His father was a skilful engraver who loved
+art, and encouraged the cultivation of it in his
+son, as other fathers of painters encouraged
+them to become priests or haberdashers or
+bakers, as the case might be. Little Landseer's
+beginning has been described by his
+father as he and a friend stood looking upon
+one of the scenes of his childhood:</p>
+
+<p>"These two fields were Edwin's first studio.
+Many a time have I lifted him over this very
+stile. I then lived in Foley Street, and nearly
+all the way between Marylebone and Hampstead
+was open fields. It was a favourite walk
+with my boys; and one day when I had
+accompanied them, Edwin stopped by this
+stile to admire some sheep and cows which
+were quietly grazing. At his request I lifted
+him over, and finding a scrap of paper and a
+pencil in my pocket, I made him sketch the
+<a name="181"></a>
+cow. He was very young indeed, then--not
+more than six or seven years old.</p>
+
+<p>"After this we came on several occasions,
+and as he grew older this was one of his favourite
+spots for sketching. He would start off alone,
+or with John (Thomas?) or Charles, and remain
+till I fetched him in the afternoon. I would
+then criticise his work, and make him correct
+defects before we left the spot. Sometimes
+he would sketch in one field, sometimes in the
+other, but generally in the one beyond the old
+oak we see there, as it was more pleasant and
+sunny."</p>
+
+<p>All the Landseer men were gifted, and the
+mother was the beautiful woman whom Reynolds
+painted as a gleaner, carrying a bundle
+of wheat upon her head.</p>
+
+<p>There were seven little Landseers, the oldest
+of them being Thomas, the famous engraver,
+whose reproduction of his brother's works
+will preserve them to us always, even after
+the originals are gone. The first of Edwin's
+drawings which seemed to his family worthy
+of publishing was a great St. Bernard dog,
+such a wonderful performance for a little
+fellow of thirteen that Thomas engraved it and
+distributed it all over England. Little Edwin
+had seen this beautiful dog one day in the
+streets of London in a servant's charge, and he
+was so delighted with its beauty, that he
+followed the two home and asked the dog's
+owner if he might sketch him. The St.
+<a name="182"></a>
+Bernard was six feet four inches long "and
+at the middle of his back, stood two feet seven
+inches in height." A great critic said that
+this drawing was one of the very finest that
+any master of art had ever made, though it was
+done by a little child of thirteen years and it is
+also said that Landseer himself never did
+anything better than that little-boy work.
+A live dog who was let into the room with it--as
+critic, maybe--proved to be the most
+flattering of such, because he bristled instantly
+for a fight.</p>
+
+<p>While the boy was still thirteen--which
+seems to have been a magic and not a tragic
+number to him--he exhibited pictures in the
+Royal Academy. These were a mule, and a
+dog with a puppy. In the stories of "Famous
+Artists" we are told that he was a fine, manly
+little chap with light curly hair and very well
+behaved. When he became a student of the
+Academy the keeper, Fuseli, used to look about
+among the students and cry: "Where is my
+little dog boy?" if Landseer was not in his
+place. The little chap's favourite dog was his
+own Brutus, which he painted lying at full
+length; and though the picture was small, it
+sold for seventy guineas. This means an
+earning capacity indeed, for a small boy.</p>
+
+<p>When he was but seven years old he had
+made pictures of lions and tigers, each with
+a different expression from the other and each
+with a character of its own. Critics spoke
+<a name="183"></a>
+specially of the tiger's whiskers as "admirable
+in the rendering of foreshortened curves."
+Tigers' whiskers were thought to be most
+difficult things to make, but in Landseer's
+pictures, they were as "natural as life." The
+great success of the artist's animal pictures
+was that he made them seem to have human
+intelligence, and it was also said that if one
+only saw the dog's collar, as Landseer painted
+it, he would know it to be the work of a great
+artist, that a great dog-picture must be attached
+to it.</p>
+
+<p>At least one of his pictures had a remarkable
+history. He had been commissioned by the
+Hon. H. Pierrpont to paint a "white horse in
+a stable." After the painting was ready for
+delivery it disappeared, and for twenty-four
+years it could not be found. At last it was
+discovered in a hay-loft! It had been stolen
+by a servant and hidden there. In spite of
+the long years that had passed, Landseer sent
+it at once to the man for whom it had been
+made, with the message that he had not
+retouched it nor changed it in the least,
+"because," said he, "I thought it better not
+to mingle the style of my youth with that of
+my old age."</p>
+
+<p>One of Landseer's early advisers had told
+him he must dissect animals to get the proper
+effects in painting them, as it was necessary
+for him to understand their construction.
+So, one time, when a famous old lion died in the
+<a name="184"></a>
+Exeter Exchange menagerie Landseer got its
+body and dissected it, and immediately afterward
+he painted three great lion pictures:
+"The Lion Disturbed at His Repast," "A Lion
+Enjoying His Repast," and "A Prowling Lion."</p>
+
+<p>Sir Walter Scott became so enchanted with
+Landseer's pictures that the great novelist
+came to London to take the young artist to his
+home at Abbotsford. "His dogs are the most
+magnificent things I ever saw," said Scott,
+"leaping and bounding and grinning all over
+the canvas."</p>
+
+<p>Landseer lived in the centre of London
+till he was more than thirty years old, and then,
+looking for more quiet and space he bought a
+very small house and garden at No. 1, St. John's
+Wood. There was not much room in the house
+but it had a stable attached which made a fine
+studio, and there Landseer lived with a sister
+of his, for nearly fifty years. When he first
+wished to rent the house, the landlord asked
+him a hundred pounds premium which Landseer
+felt that he could not pay and he was
+about to give it up, when a friend declared
+that if the matter of money was all that
+prevented him, he was to rent it immediately,
+and he could repay him as he chose. Landseer
+then took the house, his friend paying down the
+premium, and Landseer returned the money
+twenty-pounds at a time, till all the debt was
+paid.</p>
+
+<p>Landseer made this a famous and hospitable
+<a name="185"></a>
+house, and it is said that more great people
+gathered under his roof than had ever gathered
+about any other artist with the exception of
+Sir Joshua Reynolds. That was the house in
+which Landseer's loving old father spent his
+last days and finally died. A story is told of
+the witty D'Orsay, who would call out at the
+door, when he went to visit the artist: "Landseer,
+keep de dogs off me, I want to come in
+and some of dem will bite me--and dat fellow
+in de corner is growling furiously."</p>
+
+<p>On one of his several visits to Abbotsford,
+where he went many times after his first invitation,
+to enjoy Scott's delightful hospitality,
+he painted a famous dog of Sir Walter's called
+Maida, which died six weeks afterward.</p>
+
+<p>There are several such stories about dogs
+who died rather tragically and were also
+painted by Landseer. The two King Charles
+spaniels which he painted both died soon
+after sitting to the great painter. They had
+been pets of Mr. Vernon, who commissioned
+the painting, and the white Blenheim spaniel
+fell from a table and was killed, while the King
+Charles fell through the railings of a staircase
+and was picked up dead. The great bloodhound,
+Countess, belonging to Mr. Bell who
+gave her picture to the Academy, was watching
+for her master's return one dark night and when
+she heard the wheels of his carriage, then his
+voice, she leaped from the balcony, but missed
+her footing and fell nearly dead at Mr. Bell's
+<a name="186"></a>
+feet. That gentleman loved the dog so much
+that he was distracted, and taking her into his
+gig, knowing that she must die, he raced in to
+London again that same night, and rousing
+Sir Edwin, begged him to paint the dog before
+it was too late. Then and there was the sketch
+of the dying animal made.</p>
+
+<p>Sir Edwin Landseer was the most versatile
+and entertaining of artists. He was a wit, and
+could also perform all sorts of sleight of hand
+tricks, besides being so quick with his pencil
+that his doings seemed miraculous. One
+evening, during a conversation with many
+friends, someone declared that in point of
+time Sir Edwin could do a record-sketch.
+One young woman spoke up and said: "There
+is one thing that even he cannot do--he cannot
+make two different pictures at the same time."</p>
+
+<p>"Think not?" cried Sir Edwin. "Let us
+see!" Gaily taking two pencils, he rapidly
+drew a stag's head with one hand and a horse's
+head with the other.</p>
+
+<p>Landseer became the guest of royalty, a
+favourite of Queen Victoria, whose dog Dash
+was one of the many famous dogs painted by
+him. Dash was the favourite spaniel of the
+Duchess of Kent, Victoria's mother; and the
+Queen's biographer says that she too loved
+him very much. On Coronation Day she had
+been away from him longer than usual, and
+when the great state coach rolled up to the
+palace steps she could hear Dash barking for
+<a name="187"></a>
+her in the hall. "Oh," she exclaimed, "there's
+Dash," and throwing aside the ball and sceptre
+which she carried, she hurried to change her
+fine robes, in order to wash the dog. This is
+a very homelike and picturesque story, but
+it is possibly not true. Doubtless the little
+Queen heard the dog bark--and was glad to
+see him.</p>
+
+<p>At Windsor Landseer painted another royal
+dog, Islay, the pet terrier of Victoria; also
+Dandie Dinmont, belonging to the Princess
+Alice; then Eos, who was Prince Albert's--King
+Edward's--dog. All the last years
+of Sir Edwin Landseer' life, the royal family
+were his devoted and comforting friends. The
+painter suffered much and during his visits
+to Balmoral he wrote to his sister how the
+Queen used to go several times a day to his
+room, to look after his comfort and to inquire
+about his condition. He wrote:</p>
+
+<p>"The Queen kindly commands me to get
+well here. She has to-day been twice to my
+room to show additions recently added to her
+already rich collection of photographs. Why,
+I know not, but since I have been in the High
+lands I have for the first time felt wretchedly
+weak, without appetite. The easterly winds,
+and now again the unceasing cold rain, may
+possibly account for my condition, but I can't
+get out. Drawing tires me; however, I have
+done a little better to-day. The doctor residing
+in the castle has taken me in hand, and gives
+<a name="188"></a>
+me leave to dine to-day with the Queen and
+the rest of the royal family.... Flogging
+would be mild compared with my sufferings.
+No sleep, fearful cramp at night, accompanied
+by a feeling of faintness and distressful
+feebleness."</p>
+
+<p>When he was well, he was gay and cheerful;
+and Dickens, Thackeray, and many other noted
+men were his friends. We are told that above
+all things. Sir Edwin was a great mimic and
+that one night at dinner he threw everybody
+into fits of laughter by imitating his friend the
+sculptor Sir Francis Chantry. It was at the
+sculptor's table, where a large party was
+assembled. Chantry called Sir Edwin's attention,
+when the cloth was removed, to the
+reflection of light in the highly polished table.</p>
+
+<p>"Come here and sit in my place," said
+Chantry, "and see the perspective you can
+get." Then he went and stood by the fire,
+while Landseer sat in his place. Seated then
+in Chantry's chair, Landseer called out in
+perfect imitation of his host: "Come, young
+man, you think yourself ornamental; now
+make yourself useful, and ring the bell."
+Chantry did so, and when the butler came in
+he was confused and amazed to hear his
+master's voice from where Landseer sat in
+Chantry's place at the table. The voice of
+his master from the head of the table ordered
+claret, while his master really stood before
+the fire with his hands under his coat-tails.</p>
+
+<p><a name="189"></a>
+We are told that Landseer stood his pictures
+on their heads, or upon one corner or looked
+at them from between his legs, any way, every
+way, to get a complete view of them from all
+quarters. He went to bed very late and got
+up very late, but in the mornings, while lying
+in bed he mostly thought out the subjects of
+his pictures.</p>
+
+<p>He was not much of a sportsman, preferring
+to paint animals rather than to kill them,
+and one day when hunting, he saw a fine stag
+before him. Instead of firing at it, he thrust
+his gun into a gillie's hands, crying: "Hold
+that! hold that!" and whipping out his pencil
+and pad he began to sketch the stag. Whereupon
+the gillies were disgusted that he should
+miss so fine a shot, and they said something
+to each other in Gaelic, which Sir Edwin must
+have understood, for he became very angry.</p>
+
+<p>"It was a pity," wrote one who knew all
+his qualities, "that Landseer, who might have
+done so much for the good of the animal kind,
+never wrote on the subject of their treatment.
+He had a strong feeling against the way some
+dogs are tied up, only allowed their freedom
+now and then. He used to say a man would
+fare better tied up than a dog, because the
+former can take his coat off, but a dog lives
+in his forever. He declared a tied-up dog,
+without daily exercise, goes mad, or dies,
+in three years."</p>
+
+<p>He had a wonderful power over dogs, and
+<a name="190"></a>
+he told one lady it was because he had "peeped
+into their hearts." A great mastiff rushed
+delightedly upon him one day and someone
+remarked how the dog loved him. "I never
+saw the dog before in my life," the artist said.</p>
+
+<p>While teaching some horses tricks for Astley's,
+he showed his friends some sugar in his hand
+and said: "Here is my whip." His studio
+was full of pets, and one dog used as a model
+used to bring the master's hat and lay it at his
+feet when he got tired of posing.</p>
+
+<p>This charming man suffered a great deal
+before his death, and had dreadful fits of
+depression. During one of these he wrote:
+"I have got trouble enough; ten or twelve
+pictures about which I am tortured, and a
+large national monument to complete." That
+monument was the one in Trafalgar Square,
+for which he designed the lions at the base.
+"If I am bothered about anything and everything,
+no matter what, I know my head will
+not stand it much longer." Later he wrote:
+"My health (or rather condition), is a mystery
+beyond human intelligence. I sleep seven
+hours, and awake tired and jaded, and do not
+rally till after luncheon. J. L. came down
+yesterday and did her best to cheer me...
+I return to my own home in spite of kind
+invitations from Mr. and Mrs. Gladstone to
+meet Princess Louise at breakfast." Of the
+many anecdotes told of this great man, his
+introduction to the King of Portugal furnishes
+<a name="191"></a>
+the most amusing. "I am delighted to make
+your acquaintance," the King said, "I am
+so fond of beasts."</p>
+
+<p>Before he died he had made a large fortune
+from his work, and during his illness he was
+tended most lovingly by his friends and sister.
+One day, walking in his garden, much depressed,
+he said sadly: "I shall never see the green
+leaves again," but he did live through other
+seasons. He wished to die in his studio, and
+at one time when he was much distracted the
+Queen wrote him not to fear, but to trust those
+who were doing all they could for him, that her
+confidence in his physicians and nurses was
+complete. At last with brother, sister, friends
+and fortune about him the great animal
+painter died, and on October 11, 1873, and
+was buried with great honours in St. Paul's
+Cathedral.</p>
+
+<center>PLATE--THE OLD SHEPHERD'S CHIEF MOURNER</center>
+
+<p>Of all the dogs Landseer loved to paint, the
+sheep collie has the most character; and here
+he shows us one expressing in every line of
+his face and form the most profound grief.
+The Glengarry bonnet on the floor beside the
+shepherd's staff, the spectacles lying on the
+Bible, the ram's horn, the vacant chair, the
+black and white shawl known as a "Shepherd's
+plaid"--all these things have failed to comfort
+this humble follower. We can imagine him,
+<a name="192"></a>
+not bounding ahead with a joyous bark, but
+walking staidly behind the coffin when it is
+borne away and laying himself down upon his
+master's grave, perhaps to die of starvation,
+as some of his kind have been known to do.
+The painting is one of the Sheepshanks Collection
+in the South Kensington Museum.</p>
+
+<p>Among Landseer's other famous dog pictures
+are "Low Life and High Life," "Dignity
+and Impudence" and "The Sleeping Bloodhound,"
+all in the National Gallery.
+<a name="193"></a></p>
+<h1>XXVI</h1>
+
+<h1>CLAUDE LORRAIN (GELLEE)</h1>
+
+<center><i>Classical French School</i><br>
+1600-1689<br>
+<i>Pupil of Godfrey Wals</i></center>
+
+<p>Of all the contrasts between the early
+and later lives of great artists, Claude
+Lorrain gives us the most complete.</p>
+
+<p>He was born to make pastry. His family
+may have been all pastry cooks, because people
+of Lorrain were famous for that work; anyway
+as a little chap he was apprenticed to one. His
+parents were poor, lived in the Duchy of
+Lorrain and from that political division the
+Artist was named.</p>
+
+<p>The town in which he was born was
+Chamagne, and his real name was Gellée. As
+a pastry cook's apprentice he served his time,
+and then, without any thought of becoming
+anything else in the world, he set off with
+several other pastry cooks to go to Rome,
+where their talents were to be well rewarded.</p>
+
+<p>But how strangely things fall out! In
+Rome he was engaged to make tarts for
+Agostine Tassi, a landscape painter. His work
+was not simply to furnish his master with
+desserts, but to do general housekeeping, and
+it fell to his lot to clean Tassi's paint brushes.
+<a name="194"></a>
+So far as we know, this was the first introduction
+of Claude Lorrain to art other than culinary.</p>
+
+<p>From cleaning brushes it was but a step
+to trying to use them upon canvas, and Tassi
+being a good-natured man, began to give
+Lorrain instruction, till the pastry cook became
+his master's assistant in the studio. This led
+to a larger and larger life for the young Frenchman,
+and he copied great masters, did original
+things, and finally in his twenty-fifth year
+returned to France a full-fledged artist. He
+remained there two years, and then went back
+to Italy, where he lived till he died. The
+visit to France turned out fortunately because
+on his way back he fell in with one of the original
+twelve members of the French Academy,
+Charles Errard, who became the first director
+of the Academy in Rome. A warm friendship
+sprang up between the men, and Errard was
+very helpful to the young artist.</p>
+
+<p>Nevertheless, Lorrain did not gain much
+fame till about his fortieth year, when he was
+noticed by Cardinal Bentivoglio, and was given
+certain commissions by him. He grew in
+Bentivoglio's favour so much that the Cardinal
+introduced him to the pope. The Catholic
+Church set the fashions in art, politics, and
+history of all sorts at that time, so that Lorrain
+could not have had better luck than to become
+its favourite. The pope was Urban VIII.,
+whose main business was to hold the power of
+the Church and make it stronger if he could,
+<a name="195"></a>
+so that he was continually building fortresses
+and other fortifications, and he had use for
+artists and decorators. Lorrain's fame outlasted
+the life of Urban VIII., and he
+became a favourite in turn with each of the
+three succeeding popes. All this time he
+was doing fine work in Italy and for Italy,
+besides receiving orders for pictures from
+France, Holland, Germany, Spain, and England,
+for his fame had reached throughout the world.</p>
+
+<p>Besides leaving many paintings behind him
+when he died, he left half a hundred etchings;
+also a more precise record of his work than most
+artists have left. He executed two hundred
+sketches in pen or pencil, washed in with brown
+or India ink, the high lights being brought
+out with touches of white. On the backs of
+them the artist noted the date on which the
+sketch was developed into a picture, and for
+whom the latter was intended. The story is
+that his popularity produced many imitators,
+and that he adopted this means to establish
+the identity of his own work and distinguish
+it from the many copies made.</p>
+
+<p>These sketches were collected in a volume
+by Lorrain and called "Liber Veritatis," and
+for more than a hundred years the Dukes of
+Westminster have owned this.</p>
+
+<center>PLATE--ACIS AND GALATEA</center>
+
+<p>This picture in the Dresden Gallery is a scene
+from the mythical story of a goddess who
+<a name="196"></a>
+fell in love with the youthful son of a faun and
+a naiad. Thus she excited the jealous fury
+of the cyclops, Polythemus, who is seen in the
+picture herding his flock of sheep upon the
+high cliff at the right. Soon he will rise and
+hurl a rock upon Acis, crushing the life out of
+him, so that there will be nothing left for
+Galatea to do but to turn him into the River
+Acis, but meanwhile the lovers are unconscious
+and happy. Venus is reposing near them on the
+waves and Cupid is closer still, while the sea
+in the background seems to be stirred with a
+fresh morning breeze.</p>
+
+<p>Some of the famous Lorrains in the Louvre
+are: "Seaport at Sunset," "Cleopatra Landing
+at Tarsus," and "The Village Festival."
+<a name="197"></a></p>
+<h1>XXVII</h1>
+
+<h1>MASACCIO (TOMMASO GUIDI)</h1>
+
+<center>(Pronounced Tome-mah'so Mah'sahch'cheeo)<br>
+<i>Florentine School</i><br>
+1401-1428<br>
+<i>Pupil of Ghibertio, Donatello, and Brunellesco</i></center>
+
+<p>This artist, who lived and died within the
+century that witnessed the discovery
+of America, was famous for more than his
+painting. He was the original inventor who
+first learned and taught the mixing of colours
+with oils, thus making the peculiar "distemper"
+unnecessary.</p>
+
+<p>The story of Italian artists includes a history
+of their names, for the Italians seem to have had
+most remarkable reasons for naming children.
+For example, this artist, Masaccio, was born
+on St. Thomas's day, hence, his name of
+Tommaso. Presently, for short, or for love,
+he was called Maso, and to cap all, being a
+careless lad, his friends added the derogatory
+"accio," and there we have the artist completely
+named. He owed nothing of this to his father,
+who was plain, or ornamentally, Ser Giovanni
+di Simone Guidi, of Castello San Giovanni,
+in the Valdamo.</p>
+
+<p>As a very little boy, it was plain to be seen
+that slovenly Thomas was going to be a great
+<a name="198"></a>
+artist, and no time was lost in putting him to
+work with the best of masters.</p>
+
+<p>He was a veritable inventive genius. Until
+his time difficulties in drawing had been overcome
+mostly by ignoring them. Since no artist
+had been able to draw a foreshortened foot,
+it had been the fashion in art to paint people
+standing upon their tiptoes, to make it possible
+for an artist to paint the foot. The enterprising
+Thomas came along and he decided
+that feet must be painted both flat and crossed,
+on tiptoe or otherwise; in short he did not
+mean to lose by a foot.</p>
+
+<p>He worked at this problem day and night,
+till at last the naturally poised foot came
+into existence for the artist. Never after
+Masaccio's time did an artist paint the foot
+stretched upon the toes. Moreover, until
+his time flesh had never been painted of a
+remotely natural colour, so Masaccio set about
+combining colours till he made one that had
+the tint of real flesh. Thus he was the first to
+overcome the difficulties of drawing and the
+first to discover a mixture that would not leave
+a glazed, hard, unnatural appearance and be
+likely to crack and destroy the finest effort of
+an artist.</p>
+
+<p>He worked during his youth in Pisa, where
+the "leaning tower" stands; then he worked
+in Florence, finally in Rome, but those early
+pictures are long since gone. It was a century
+of adventure and discovery as well as of art,
+<a name="199"></a>
+and with so much change, so many wars and
+rumours of wars, many great art works were lost.
+Besides, the horrible plague swept Italy east,
+west, north, and south. Who was to concern
+himself with saving works of art, when human
+life was going out wholesale all over the land?</p>
+
+<p>Masaccio was certainly very poor most of his
+life. He lived with his mother and his
+brother Giovanni, an artist like himself, but not
+nearly so brilliant. Masaccio could not spend
+his life in painting but had to eke out the family
+fortunes by keeping a little shop near the old
+Badia, and being pestered day and night by
+his creditors he was forced again and again to go
+to the pawn shop.</p>
+
+<p>Somewhere about 1422, careless Thomas
+painted his greatest picture which was doomed
+to destruction too early for us to know much
+about it; but it was named "San Paolo" and
+it was painted in the bell-room of the Church
+of the Carmine in Florence. The figure for
+his model was an illustrious personage, Bartoli
+d'Angiolini, who had held many honourable
+offices in Florence for many years. A critic
+and friend of artists tells us that the portrait
+was so great it lacked only the power of speech.</p>
+
+<p>In this picture Masaccio made his first great
+triumph in the foreshortening of feet.</p>
+
+<p>He undertook to celebrate the consecration
+Of the Church of the Carmine, and for this he
+made many frescoes, among which was a correct
+painting of the procession as it entered from
+<a name="200"></a>
+the cloisters of the church. "Among the
+citizens who followed in its wake, portraits
+are introduced of Brunellesco, Donatello,
+Masolino, Felice Brancacci (the founder of the
+chapel) Giovanni di Bicci de' Medici, and others,
+including the porter of the convent with the
+key of the door in his hand."</p>
+
+<p>This work was thought to be very wonderful
+because the figures grew smaller in the distance,
+thereby giving "perspective" for the first time.
+Imagine how crude a thing was painting in the
+day of careless Thomas.</p>
+
+<p>That fresco is long since gone, but drawings
+of it still exist which tell us something of the
+people of Christopher Columbus's day--previous
+to their appearance, and their conditions.</p>
+
+<p>After Masaccio had finished the procession
+he went back to his painting of the chapel and
+in the end covered three of its four walls with
+his works. Many of those paintings are scenes
+from the life of St. Peter, and several were
+worked at by other artists than Masaccio.</p>
+
+<p>Masaccio was greater than Raphael, greater
+than Michael Angelo in so far as he pointed the
+way that they were to go, having solved for them
+all the problems that had kept artists from
+being great before him. Sir Joshua Reynolds
+says that "he appeared to be the first who
+discovered the path that leads to every
+excellence to which the art afterward arrived;
+and may therefore be justly considered one of
+the great fathers of modern art."</p>
+
+<p><a name="201"></a>
+The artist lived but a little time, and was
+most likely poisoned. Nobody knows, but it is
+said that other painters were so wildly jealous of
+his original genius that they wished him out of
+the way, and his death was at least mysterious.
+He drew very rapidly and let the details go,
+caring only to represent motion and action.
+Because he painted so many portraits into his
+pictures there was great life and animation
+in them, and people said of him that he painted
+not only the body but the soul.</p>
+
+<center>PLATE--ARTIST'S PORTRAIT [Footnote:
+Many artists have left us portraits of themselves, painted, no doubt,
+with the aid of a mirror, in a group or alone. This one of Masaccio in
+the Naples Museum, shows him to have been a picturesque model.]</center>
+
+<p>Some of his known pictures are the frescoes
+in the church of St. Clemente in Rome; the
+frescoes in the Brancacci Chapel in the Church
+of the Carmine, "St. Peter Baptising" and the
+"Madonna and Child, with St. Anne," which is
+in the Accademia at Florence.</p>
+
+<p>
+<a name="202"></a></p>
+<h1>XXVIII</h1>
+
+<h1>JEAN LOUIS ERNEST MEISSONIER</h1>
+
+<center>(Pronounced May-sohn-yay)<br>
+<i>French School</i><br>
+1815-1891<br>
+<i>Pupil of Léon Cogniet</i></center>
+
+<p>This artist was born at Lyons. His
+father was a salesman and an art-training
+seemed impossible for the young man
+because the Meissoniers were poor people.
+Nevertheless, he was so persevering that while
+still a young man he got to Paris and began
+to paint in the Louvre. He was but nineteen
+at that time, and his fate seemed so hard and
+bitter that later in life he refused to talk of
+those days.</p>
+
+<p>He sat for many days in the Louvre, by
+Daubigny's side, painting pictures for which
+we are told he received a dollar a yard. We
+can think of nothing more discouraging to a
+genius than having to paint by the yard. It
+is said that his poverty permitted him to
+sleep only every other night, because he must
+work unceasingly, and someone declares that he
+lived at one time on ten cents a week. This
+is a frightful picture of poverty and distress.</p>
+
+<p>Meissonier's first paying enterprise was the
+painting of bon-bon boxes and the decorating
+<a name="203"></a>
+of fans, and he tried to sell illustrations for
+children's stories, but for these he found no
+market. A brilliant compiler of Meissonier's
+life has written that "his first illustrations in
+some unknown journal were scenes from the
+life of 'The Old Bachelor.' In the first
+picture he is represented making his toilet
+before the mirror, his wig spread out on the
+table; in the second, dining with two friends;
+in the third, on his death-bed, surrounded by
+greedy relations and in the fifth, the servants
+ransacking the death chamber for the property."
+This was very likely a vision of his own possible
+fate, for Meissonier must have been at that
+time a lonely and unhappy man.</p>
+
+<p>There are many stories of his first exhibited
+work, which Caffin declares was the "Visit to
+the Burgomaster," but Mrs. Bolton, who is
+almost always correct in her statements, tells
+us that it was called "The Visitor," and that it
+sold for twenty dollars. At the end of a six
+years struggle in Paris, his pictures were
+selling for no more.</p>
+
+<p>Until this artist's time people had been
+used only to great canvases, and had grown
+to look for fine work, only in much space, but
+here was an artist who could paint exquisitely
+a whole interior on a space said to be no "larger
+than his thumb nail." His work was called
+"microscopic," which meant that he gave
+great attention to details, painting very slowly.</p>
+
+<p>During the Italian war of 1859, and in the
+<a name="204"></a>
+German war of 1870, this wonderful artist was
+on the staff of Napoleon III. During the siege
+of Paris he held the rank of colonel, and he
+lost no chance to learn details of battles which
+he might use later, in making great pictures.
+Thus he gained the knowledge and inspiration
+to paint his picture "Friedland," which
+was bought by A. T. Stewart and is now in the
+Metropolitan Museum. He, himself, wrote of
+that picture: "I did not intend to paint a
+battle--I wanted to paint Napoleon at the
+zenith of his glory; I wanted to paint the love,
+the adoration of the soldiers for the great
+captain in whom they had faith, and for whom
+they were ready to die.... It seemed
+to me I did not have colours sufficiently dazzling.
+No shade should be on the imperial
+face.... The battle already commenced,
+was necessary to add to the enthusiasm of the
+soldiers, and make the subject stand forth, but
+not to diminish it by saddening details. All
+such shadows I have avoided, and presented
+nothing but a dismounted cannon, and some
+growing wheat which should never ripen.</p>
+
+<p>"This was enough.</p>
+
+<p>"The men and the Emperor are in the presence
+of each other. The soldiers cry to him that
+they are his, and the impressive chief, whose
+imperial will directs the masses that move
+around, salutes his devoted army. He and
+they plainly comprehend each other and
+absolute confidence is expressed in every face."</p>
+
+<p><a name="205"></a>
+This great work was sold at auction for
+$66,000 and given to the Metropolitan Museum.</p>
+
+<p>It is said that when he painted the "Retreat
+from Russia," Meissonier obtained the coat
+which Napoleon had worn at the time, and had
+it copied, "crease for crease and button for
+button." He painted the picture mostly out
+of doors in midwinter when the ground was
+covered with snow, and he writes: "Sometimes
+I sat at my easel for five or six hours together,
+endeavouring to seize the exact aspect of the
+winter atmosphere. My servant placed a
+hot foot-stove under my feet, which he renewed
+from time to time, but I used to get half-frozen
+and terribly tired."</p>
+
+<p>So attentive was he to truthfulness in detail
+that he had a wooden horse made in imitation
+of the white charger of the Emperor; and
+seating himself on this, he studied his own
+figure in a mirror.</p>
+
+<p>At last this conscientious man was made an
+officer of the Legion of Honour, having already
+become President of the Academy. Edmund
+About writes that "to cover M. Meissonier's
+pictures with gold pieces simply would be to
+buy them for nothing; and the practice has
+now been established of covering them with
+bank-notes."</p>
+
+<p>Meissonier seldom painted the figure of a
+woman in his pictures, but all of his subjects
+were wholesome and fine.</p>
+
+<p>One time an admirer said to him "I envy
+<a name="206"></a>
+you; you can afford to own as many Meissonier
+pictures as you please!"</p>
+
+<p>"Oh no, I can't," the distinguished artist
+replied. "That would ruin me. They are a
+good deal too dear for me."</p>
+
+<p>In his maturity he became very rich, and
+his homes were dreams of beauty, filled with
+rare possessions such as bridles of black leather
+once owned by Murat, rare silver designed by
+the artist himself, great pictures, and flowers
+of the rarest description besides valuable dogs
+and horses. Yet it was said that "this man
+who lives in a palace is as moderate as a
+soldier on the march. This artist, whose
+canvases are valued by the half-million, is as
+generous as a nabob. He will give to a charity
+sale a picture worth the price of a house.
+Praised as he is by all he has less conceit in his
+nature than a wholesale painter."</p>
+
+<p>On the 31st of January in his country house
+at Poissy, this great man, whose life reads
+like a romance, died, after a short illness. His
+funeral services were held in the Madeleine,
+and he was buried at Poissy, near Versailles,
+a great military procession following him to
+the grave.</p>
+
+<center>PLATE--RETREAT FROM MOSCOW</center>
+
+<p>In the painting of this picture we have
+already told how every detail was mastered
+by actual experience of most of them. Meissonier
+<a name="207"></a>
+made dozens of studies for it--"a horse's
+head, an uplifted leg, cuirasses, helmets,
+models of horses in red wax, etc. He also
+prepared a miniature landscape, strewn with
+white powder resembling snow, with models
+of heavy wheels running through it, that he
+might study the furrow made in that terrible
+march home from burning Moscow. All this
+work--hard, patient, exacting work."</p>
+
+<p>Some of his other pictures are "The Emperor
+at Solferino," "Moreau and His Staff before
+Hohenlinden," "A Reading at Diderot's" and
+the "Chess Players."</p>
+
+<p><a name="208"></a></p>
+<h1>XXIX</h1>
+
+<h1>JEAN FRANÇOIS MILLET</h1>
+
+<center><i>Fontainebleau-Barbizon School</i><br>
+1814-1875<br>
+<i>Pupil of Delaroche</i></center>
+
+<p>Two great artists painted peasants and
+little else. One was the artist of whom
+we shall speak, and the other was Jules Breton.
+One was realistic, the other idealistic. Both
+did wonderful work, but Millet painted the
+peasant, worn, patient steadfast, overwhelmed
+with toil; Breton, a peasant full of energy,
+grace, vitality, and joy.</p>
+
+<p>Millet painted peasants as he knew them,
+and hardly any one could have known them
+better, for he was himself peasant-born. His
+youth was hard, and the scenes of his childhood
+were such as in after life he became famous by
+painting. Millet lived in the department of
+Manche, in the village of Gruchy, near Cherbourg.
+Manche juts into the sea, at the
+English Channel, and whichever way Millet
+looked he must have seen the sea. His old
+grandmother looked after the household affairs,
+while his father and mother worked in the
+fields and Millet must have seen them hundreds
+of times, standing at evening, with bowed
+heads, listening to the Angelus bell. He
+<a name="209"></a>
+toiled, too, as did other lads in his position.
+His grandmother was a religious old woman,
+and nearly all the pictures he ever saw in his
+boyhood were those in the Bible, which he
+copied again and again, drawing them upon the
+stone walls in white chalk.</p>
+
+<p>The old grandmother watched him, never
+doubting that her boy would become an artist.
+It was she who had named him--François,
+after her favourite saint, Francis, and it was
+she, who, beside the evening fire, would tell him
+legends of St. Francis. It was she alone who
+had time and strength left, after the day's
+work, to teach him the little he learned as a boy
+and to fix in his mind pictures of home. His
+father and mother were worn, like pack-horses,
+after their day in the fields. The mother very
+likely had to hitch herself up with the donkey,
+or the big dog, after the fashion of these people,
+as she helped draw loads about the field.
+Who can look for Breton's ideal stage peasants
+from Millet who knew the truth as he saw it
+every day?</p>
+
+<p>Many years after his life in the Gruchy
+home, Millet painted the portrait of the grandmother
+whom he had loved so much that he
+cried out: "I wish to paint her soul!" No one
+could desire a better reward than such a
+tribute.</p>
+
+<p>Millet had an uncle who was a priest and he
+did what he could to give the boy a start in
+learning. He taught him to read Virgil and
+<a name="210"></a>
+the Latin Testament; and all his life those
+two books were Millet's favourites. Besides
+drawing pictures on the walls of his home,
+he drew them on his sabots. Pity some one
+did not preserve those old wooden shoes!
+He did his share of the farm work, doing his
+drawing on rainy days.</p>
+
+<p>When he was about eighteen years old,
+coming from mass one day, he was impressed
+with the figure of an old man going along the
+road, and taking some charcoal from his
+pocket he drew the picture of him on a stone
+wall. The villagers passing, at once knew the
+likeness; they were pleased and told Millet so.
+Old Millet, the father, also was delighted for he,
+too, had wished to be an artist, but fate had
+been against him. Seeing the wonderful things
+his son could do, he decided that he should
+become what he himself had wished to be,
+and that he should go to Cherbourg to study.</p>
+
+<p>François set off with his father, carrying a
+lot of sketches to show, and upon telling the
+master in Cherbourg what he wanted and
+showing the sketches, he was encouraged to
+stay and begin study in earnest. So back the
+old father went, with the news to the mother
+and grandmother and the priest uncle, that
+François had begun his career. He stayed in
+Cherbourg studying till his father died,
+when he thought it right to go home and do the
+work his father had always done. He returned,
+but the women-folk would not agree to him
+<a name="211"></a>
+staying. "You go back at once," said the
+grandmother, "and stick to your art. We
+shall manage the farm." She sewed up in his
+belt all the money she had saved, and started
+him off again, for he had then been studying
+only two months. Now he remained till he
+was twenty-three, a fine, strapping, broad-shouldered
+country fellow. He had long fair
+hair and piercing dark blue eyes. All the time
+he was with Delaroche he was dissatisfied with
+his work--and with his master's, which
+seemed to Millet artificial, untrue. He knew
+nothing of the classical figures the master
+painted and wished him to paint, for his heart
+and mind were back in Gruchy among the
+scenes that bore a meaning for him. He wished
+to study elsewhere, and by this time he had
+done so well that one of the artists with whom
+he had studied went to the mayor of Millet's
+home town, and begged him to furnish through
+the town-council money enough to send Millet
+to Paris. This was done, and Millet began to
+hope.</p>
+
+<p>He was very shy and afraid of seeming
+awkward and out of place. The night he got
+to Paris was snowy, full of confusion and
+strange things to him, and an awful loneliness
+overwhelmed him. The next morning he set
+out to find the Louvre, but would not ask his
+way for fear of seeming absurd to some one,
+so that he rambled about alone, looking for the
+great gallery till he found it unaided. He
+<a name="212"></a>
+spent most of the days that followed gazing
+in ecstasy at the pictures.</p>
+
+<p>He liked Angelo, Titian, and Rubens best.
+He had come to Paris to enter a studio, but
+he put off his entrance from day to day, for
+his shyness was painful and he feared above all
+things to be laughed at by city students. At
+last one day, he got up enough courage to apply
+to Delaroche, whose studio he had decided
+to enter if he could, as he liked his work best.
+The students in that studio were full of
+curiosity about the new chap, with his peasant
+air, his bushy hair and great frame, so sturdy
+and awkward. They at once nicknamed him
+"the man of the woods," and they nagged
+at him and laughed at the idea that he could
+learn to paint, till one day, exasperated nearly
+to death, he shook his fist at them. From that
+moment he heard no more from them, for
+they were certain that if he could not paint he
+could use his fists a good deal better than any
+of them. Delaroche liked the peasant but
+did not understand him very well, and Millet
+was not too fond of his painting, so after two
+years he and a friend withdrew from that
+studio and set up one for themselves. Thus
+eight years passed, the friends living from
+hand to mouth, doing all sorts of things: sign-painting,
+advertisements, and the like; and
+Millet, in the midst of his poverty, got married.</p>
+
+<p>He went home, returning to Paris with his
+wife, and after starving regularly, he became
+<a name="213"></a>
+desperate enough to paint a single picture as
+he wished. It seemed at the time the maddest
+kind of thing to do. Who would see ugly,
+toil-worn peasants upon his <i>salon</i> walls? Paris
+wanted dainty, aesthetic art, and an Academy
+artist would have scoffed at the idea; but the
+Millets were starving anyway, so why not
+starve doing at least what one chose. So
+Millet painted his first wonderful peasant
+picture "The Winnower," and just as the
+family were starving he sold it--for $100.
+He had done at last the right thing, in doing
+as he pleased. This was a sign to him that
+there was after all a place for truth and emotion
+in art. But the Millets must change their
+place of living, and go to some place where
+the money made would not at once be eaten
+up. Jacque--the friend with whom Millet
+had set up shop, and who also became famous,
+later--advised them to go to a little place
+he knew about, which had a name ending in
+"zon." It was near the forest of Fontainebleau,
+he said and they could live there very
+cheaply, and it was quiet and decent. The
+Millets got into a rumbling old cart and started
+in search of the place which ended in "zon"
+near the forest of Fontainebleau. Jacque
+had also decided to take his family there and
+they all went together. When they got to
+Fontainebleau they got down from the car
+and went a-foot through the forest.</p>
+
+<p>They arrived tired and hungry toward
+<a name="214"></a>
+evening, and went to Ganne's Inn, where
+there were Rousseau, Diaz, and other artists
+who like themselves had come in search of a
+nice, clean, picturesque place in which to starve,
+if they had to. Those who were just sitting
+down to supper welcomed the newcomers, for
+they had been there long enough to form a
+colony and fraternity ways. One of these
+was to take a certain great pipe from the wall,
+and ask the newcomer to smoke; and according
+to the way he blew his "rings" he was pronounced
+a "colourist" or "classicist." The
+two friends blew the smoke, and at once the
+other artists were able to place Jacque. He
+was a colourist; but what were they to say about
+Millet who blew rings after his own fashion.</p>
+
+<p>"Oh, well!" he cried. "Don't trouble about
+it. Just put me down in a class of my own!"</p>
+
+<p>"A good answer!" Diaz answered. "And
+he looks strong and big enough to hold his
+own in it!" Thus the newcomers took their
+places in the life of Barbizon--the place whose
+name ended in "zon," and Millet's real work
+began. His first wife lived only two years,
+but he married again. All this time he was
+following his conscience in the matter of his
+work, and selling almost nothing. In a letter
+to a friend he tells how dreadfully poor they
+are, although his new wife was the most devoted
+helpful woman imaginable, known far and
+near as "Mère Millet." The artist wrote to
+Sensier, his friend, who aided him: "I have
+<a name="215"></a>
+received the hundred francs. They came just
+at the right time. Neither my wife nor I had
+tasted food in twenty-four hours. It is a
+blessing that the little ones, at any rate, have
+not been in want."</p>
+
+<p>The revolution of 1848 had come before
+Millet went to Barbizon, and he like other men
+had to go to war. Then the cholera appeared,
+and these things interrupted his work; and
+after such troubles people did not begin buying
+pictures at once. Rousseau was famous now,
+but Millet lived by the hardest toil until one
+day he sold the "Woodcutter" to Rousseau
+himself, for four hundred francs. Rousseau
+had been very poor, and it grieved him to see
+the trials and want of his friend, so he pretended
+that he was buying the picture for an American.
+That picture was later sold at the Hartmann
+sale for 133,000 francs. Millet was now forty
+years old, and had not yet been recognised as
+a wonderful man by any but his brother
+artists. He was truly "in a class of his own."
+He had learned to love Barbizon, and cried:
+"Better a thatched cottage here than a palace
+in Paris!" and we have the picture in our
+minds of Millet followed patiently and lovingly
+by "Mère Millet" in the peasant dress which
+she always wore, that she might be ready at
+a moment's notice to pose for his figures. Then
+there were his little children and his sunny,
+simple, fraternal surroundings, which make his
+life the most picturesque of all artists.</p>
+
+<p><a name="216"></a>
+His paintings had the simplest stories with
+seldom more than two or three figures in them.
+It was said that he needed only a field and a
+peasant to make a great picture. When he
+painted the "Man with the Hoe," he did it so
+truthfully, in a way to make the story so
+well understood by all who looked upon it,
+that he was called a socialist. No one was
+so much surprised as Millet by that name.
+"I never dreamed of being a leader in any
+cause," he said. "I am a peasant--only a
+peasant."</p>
+
+<p>Of his picture "The Reaper" a critic wrote,
+"He might have reaped the whole earth."
+All his pictures were sermons, he called them
+"epics of the fields." He pretended to nothing
+except to present things just as they were, as
+he writes in a letter to a friend about "The
+Water Carrier:"</p>
+
+<p>In the woman coming from drawing water I have
+endeavoured that she shall be neither a water-carrier nor
+a servant, but the woman who has just drawn water for
+the house, the water for her husband's and her children's
+soup; that she shall seem to be carrying neither more nor
+less than the weight of the full buckets; that beneath the
+sort of grimace which is natural on account of the strain
+on her arms, and the blinking of her eyes caused by the
+light, one may see a look of rustic kindliness on her face.
+I have always shunned with a kind of horror everything
+approaching the sentimental. I have desired on the other
+hand, that this woman should perform simply and good-naturedly,
+without regarding it as irksome, an act which,
+like her other household duties, is one she is accustomed
+to perform every day of her life. Also I wanted to make
+<a name="217"></a>
+people imagine the freshness of the fountain, and that
+its antiquated appearance should make it clear that many
+before her had come to draw water from it.</p>
+
+<p>At forty he was in about the same condition
+as he had been on that evening ten or twelve
+years before, when he had entered Barbizon
+carrying his two little daughters upon his
+shoulders, his wife following with the servant
+and a basket of food, to settle themselves down
+to hardship made sweet by kind comradeship
+and hope. Now a change came. Millet
+painted "The Angelus." He was dreadfully
+poor at that time and sold the picture cheaply,
+but it laid the foundation of his fame and
+fortune. He had worked upon the canvas
+till he said he could hear the sound of the bell.
+Although its first purchaser paid very little
+for it, it has since been sold for one hundred
+and fifty thousand dollars.</p>
+
+<p>At last, having struggled through his worst
+days, without recognition, and with nine little
+children to feed and clothe, he was given the
+white cross of the Legion of Honour; and as
+if to make up for the days of his starvation, he
+was nearly feasted to death in Paris. He was
+placed upon the hanging committee of the
+<i>Salon</i>, and took a dignified place among
+artists. He and Mère Millet travelled a little,
+but always he returned to Barbizon, till the
+war came and he had to move to Normandy
+to work. Afterward he returned to Barbizon,
+to the scenes and the old friends he loved so
+<a name="218"></a>
+well, and there he died. He had come back
+ill and tired with the long struggle, and he
+instructed his friends to give him a simple
+funeral. This was done. They carried his
+coffin, while his wife and children walked
+beside him to the cemetery, and he was buried
+near the little church of Chailly, whose spire
+is seen in "The Angelas," and where Rousseau,
+whom he loved, had already been laid.</p>
+
+<p>There in Barbizon, to-day, may be seen
+Rousseau's cottage and Millet's studio. "The
+peasants sow and reap and glean as in the days
+of Millet; Troyon's oxen and sheep are still
+standing in the meadow; Jacque's poultry are
+feeding in the barnyard. The leaves on
+Rousseau's grand old trees are trembling in the
+forest; Corot's misty morning is as fresh and
+soft as ever; while Diaz's ruddy sunsets still
+penetrate the branches; and the peasant pauses
+daily as the Angelus from the Chailly church
+calls him to silent prayer."</p>
+
+<center>PLATE--THE ANGELUS</center>
+
+<p>In "The Angelus" you may see far-off the spire
+of the church at Chailly, from which the bell
+sounds. The day's work is drawing to a close.
+The peasant man and woman have been digging
+potatoes--the man uncovering them, while
+his wife has been putting them in the basket.
+As the Angelus floats across the fields, the two
+pause and bow their heads in prayer. The
+<a name="219"></a>
+man has dropped his fork and uncovered his
+head, and his wife has clasped her hands
+devoutly before her.</p>
+
+<p>All the air seems still and full of tender
+sound and colour, and we, like Millet, seem
+"to hear the bell." This is the only picture
+he painted which is full of the sentimentality
+he so much disliked. It is a great picture,
+but we need to know the title in order to
+interpret it.</p>
+
+<p>Besides this one, Millet painted "The
+Gleaners," "The Woodcutters," "The Sower,"
+"The Man with the Hoe;" "The Water Carrier,"
+"The Reaper," and many other stories of the
+peasant poor.</p>
+
+<p><a name="220"></a></p>
+<h1>XXX</h1>
+
+<h1>CLAUDE MONET</h1>
+
+<center>(<i>Pronounced Claude Mo-nay</i>)<br>
+<i>Impressionist School of France</i><br>
+1840--</center>
+
+<p>Another--Manet--was the founder
+of this school among modern painters,
+but Monet is always considered his most
+conspicuous follower.</p>
+
+<p>Monet's remarkable method of putting his
+colours upon canvas does not mean impressionism.
+He is an impressionist but also
+<i>Monet</i>--an artist with a method entirely
+different from that of any other. He belongs
+to what in France is called the <i>pointillistes</i>.
+The word means nothing more nor less than
+an effort to accomplish the impossible. If you
+stand a little way from a very hot stove you
+may be able to see a kind of movement in the
+air, a quivering of particles or molecular motion,
+and this is what the <i>pointillistes</i> try to show in
+their paintings--Monet most of all.</p>
+
+<p>The theory is that by putting little dabs of
+primitive colours, close together upon canvas,
+without mixing them, just separate dabs of
+red, yellow, blue, etc., the effect of movement
+is produced. Needless to say, none of them
+ever have produced such an effect, but they
+<a name="221"></a>
+have made such grotesque, ugly pictures that
+they have attracted attention even as a humpbacked
+person does.</p>
+
+<p>The first who painted thus was a Frenchman
+named Seurat, who tried it after closely studying
+experiments made in light and colour by
+Professor Rood, of Columbia University.
+After him came Pissarro, and then Monet.
+America also has such a painter, Childe Hassam,
+but nobody is so grotesque as Monet.</p>
+
+<p>He was born in Paris but spent most of his
+youth in Havre, where he met a painter of
+harbours and shipping scenes called Boudin.
+Through his influence Monet studied out-of-door
+effects, and was beginning to do fairly
+good work, when he was drawn as a conscript
+and sent to Algeria. It is written that Monet
+discovered that "green, seen under strong
+sunshine is not green, but yellow; that the
+shadows cast by sunlight upon snow or upon
+brightly lighted surfaces are not black, but
+blue; and that a white dress, seen under the
+shade of trees on a bright day, has violet or
+lilac tones." This only means that these
+things have been scientifically determined,
+not that the naked eye ever perceives them,
+and it is for the natural, unscientific eye that
+art exists. None of us see the separate colours
+of the spectrum, as we look about in every-day
+fashion upon every-day objects.</p>
+
+<p>Professor Rood managed to produce an
+intelligent effect by putting separate colours
+<a name="222"></a>
+on discs and whirling these round so that the
+colours mingled. Monet tried to do the same
+by dotting his original colours close together,
+and leaving the picture to its own destruction.
+It ought to revolve, if the scientific idea is to
+be carried out.</p>
+
+<p>Nothing desirable can be made out of his
+pictures even when viewed from far off, while
+at close range they are simply grotesque, and
+photographs of them give the impression that
+the entire landscape is wabbling to the ground.</p>
+
+<p>I wonder if anyone, small or grown up, can
+understand this: "It was indeed a higher
+kind of impressionism that Monet originated,
+one that reveals a vivid rendering, not of the
+natural and concrete facts, but of their
+influence upon the spirit when they are wrapped
+in the infinite diversities of that impalpable, immaterial,
+universal medium which we call light,
+when the concrete loses itself in the abstract,
+and what is of time and matter impinges on the
+eternal and the universal." Monet's pictures
+look just as that explanation of them sounds!</p>
+
+<p>The same writer says that Monet was greater
+than Corot because he was more sensitive to
+colour; but if Monet had been as sensitive to
+colour as Corot, he could not have lived and
+looked at his own pictures.</p>
+
+<center>PLATE--HAYSTACK IN SUNSHINE</center>
+
+<p>The main feature of this picture is such a
+hay stack as never existed anywhere, of
+<a name="223"></a>
+indescribable lurid colour, against a background
+of blue such as never was seen. All
+about there are violet and rose-coloured
+trees, and it is a picture that every child should
+know, because he is likely never to have
+another such opportunity.</p>
+
+<p>Monet has made two interesting pictures of
+churches, one at Vernon, the other at Varangeville.</p>
+
+<p><a name="224"></a></p>
+<h1>XXXI</h1>
+
+<h1>MURILLO (BARTOLOME ESTEBAN)</h1>
+
+<center>(Pronounced Moo-reel'oh Bar-tol-o-may' A-stay'bahn)<br>
+<i>Andalusian School</i><br>
+1617-1682<br>
+<i>Pupil of Juan del Castillo</i></center>
+
+<p>The story of Murillo has been delightfully
+told by Mrs. Sarah Bolton.</p>
+
+<p>Like Velasquez, he was born in Seville, a
+city called "the glory of the Spanish realms,"
+and was baptised on New Year's day, 1618,
+in the Church of the Magdalen.</p>
+
+<p>Murillo's father paid his rent in work,
+instead of in money. He made a bargain with
+the convent who owned his house that he
+would keep it in repair if he might have it
+free of rent, so there Gaspar Estéban and his
+wife, Maria Perez, settled. "Perez" was the
+family name of Murillo's mother, who had
+very good connections; one of her brothers,
+Juan del Castillo, being a man who encouraged
+all art and had an art school of his own. Little
+Murillo therefore had encouragement from the
+start, an unusual circumstance at a time when
+parents rarely wished to think of their sons
+as painters. As a matter of fact, his mother
+would have preferred that he should become a
+priest, but she was kind and sensible, and put
+<a name="225"></a>
+no difficulties in the way of the little Murillo
+doing as he wished.</p>
+
+<p>The story goes that the Perez family had
+been very rich, but, however it may have been,
+that was not the case when the artist was born.
+One day after his mother had gone to church,
+Murillo being left at home alone, retouched
+a picture that hung upon the wall. It was a
+picture of sacred subject--"Jesus and the
+Lamb." He thought he could make some
+improvements in it, so he painted his own hat
+upon the head of Jesus and changed the lamb
+into a little dog. His mother was a good deal
+shocked at what seemed to her an irreligious
+act, though it showed the family genius. After
+that the boy was found to be painting upon the
+walls of his schoolroom, and making sketches
+upon the margins of his books, though he
+did little else at school.</p>
+
+<p>He had one sister, Therese, and they were
+left without father or mother before the artist
+was eleven years old.</p>
+
+<p>It was at that time that he received the name
+of "Murillo" by which he is known.</p>
+
+<p>It came about thus: After the death of his
+parents he went to live with his mother's
+sister, the Doña Anna Murillo, who had
+married a surgeon called Juan Agustin Lagares,
+and since the little artist was to live with his
+aunt, he soon became known by her family
+name. There, in her home, he and his sister
+Therese, were brought up, but he was not to
+<a name="226"></a>
+become a surgeon like his uncle-in-law, but an
+artist like his uncle Juan, the teacher in Seville.
+That uncle took him in hand, taught the boy to
+draw, to mix colours, to stretch his canvas,
+and soon Murillo's genius won the love of
+master and pupils.</p>
+
+<p>In peace and reasonable comfort he served
+a nine years apprenticeship, and painted his
+first important, if not especially great, pictures.
+These were two Madonnas, one of them "The
+Story of the Rosary." St. Dominic had
+instituted the rosary; using fifteen large and
+one hundred and fifty small beads upon which
+to keep record of the number of prayers he
+had said; the large beads representing the
+<i>Paternosters and Glorias</i> and the small ones, the
+<i>Aves</i>. This practical way of indicating duties
+helped the heedless to concentrate their attention,
+and did much to increase the number of
+prayers offered. Indeed, it is said that "by
+this single expedient Dominic did more to
+excite the devotion of the lower orders, especially
+of the women, and made more converts,
+than by all his orthodoxy, learning, arguments,
+and eloquence." It was this incident in the
+history of the Catholic Church that Murillo
+commemorated.</p>
+
+<p>When the artist was twenty-two years old,
+his uncle, Juan del Castillo, broke up his home
+and went elsewhere to live, leaving the artist
+without home or means, and with his little
+sister to take care of. Without vanity or
+<a name="227"></a>
+ambition, but with only the wish to care for
+his sister and to get food, the marvellous painter
+took himself to the market place, and there,
+wedged in between stalls, old clothes, vegetables,
+all sorts of wares, like a wanderer and a gypsy,
+he began his career.</p>
+
+<p>At the weekly market--the <i>Feria</i> or fair,
+opposite the Church of All Saints--his brotherly,
+kindly feeling for the vagabonds he daily met
+is shown in the treatment he gives them in
+his wonderful pictures. During the two years
+that he worked in that open-air studio he had
+flower-girls, muleteers, hucksters all about him,
+and he painted dozens of rough pictures which
+found quick sale among the patrons of the
+market. What Velasquez was doing in the
+court of Madrid, Murillo was doing in the
+streets of Seville; the one painting cardinals,
+kings, and courtiers; the other painting beggars,
+<i>gamins</i>, and waifs. Between the two, the
+world has been shown the social history of
+Spain as it then existed.</p>
+
+<p>Through a peculiar happening, the American
+Indian saw the beauties of Murillo's work
+before Europe was even conscious there was
+such a man. In his old home, his uncle's
+studio, Murillo had had a dear comrade, Moya.
+They had not met for two years or more, and
+when they did come together again Moya
+told Murillo he had been travelling, that he
+had been to Flanders with the Spanish army,
+and thence to London, in both places seeing
+<a name="228"></a>
+gorgeous paintings and other inspiring things.
+He opened the eyes of Murillo to the splendours
+the world contained, and the artist became
+wild with desire to go and see them for himself,
+but he had no money. He was painting pictures
+in the market place of Seville and getting so
+little for his hasty work that he could barely
+support himself and little Therese. What must
+he do in order to get to London and see the
+world?</p>
+
+<p>What he did do was to buy a piece of linen,
+cut it into six pieces and hide himself long
+enough to paint upon them "saints, flowers,
+fruit and landscapes," and then he went forth
+to sell them.</p>
+
+<p>He actually sold those pictures to a ship-owner
+who was sending his ship to the West
+Indies. Eventually they were hung upon the
+walls of a mission in wild, far off America.
+It is said that after this Murillo made no little
+money by painting such pictures, destined to
+give the American savage an idea of the
+Christian religion. One cannot but wonder
+if there may not be, all unknown to us, Murillo
+pictures, made in the market-place of Seville
+nearly three hundred years ago, hidden away
+in the remains of those old Spanish missions,
+even to-day. Such a picture would be more
+rare than the greatest that he ever painted.</p>
+
+<p>After selling his six pictures Murillo started
+a-foot, not to London but on a terrible journey
+across the Sierra Mountains, to Madrid--the
+<a name="229"></a>
+home of Velasquez. Murillo knew that this
+native of Seville had become a famous artist.
+He was powerful and rich and at the court of
+Philip II., while Murillo had no place to lay
+his head, and besides he had left Therese behind
+in Seville in the care of friends. He had no
+claim upon the kindness of Velasquez but he
+determined to see him; to introduce himself
+and possibly to gain a friend. It was under
+these forlorn circumstances he made himself
+known to the great Spanish court painter.</p>
+
+<p>The story of their meeting is a fine one. For
+Murillo Velasquez had a warm embrace, a kind
+and hospitable word. The stranger told Velasquez
+how he had crossed the mountains on
+foot, was penniless, but could use his brush.
+Instead of jealousy and suspicion, the young
+man met with nothing but the most cheerful
+encouragement, found the Velasquez home
+open to him, took up his lodging there and
+established his workshop with nothing around
+him but friendship and the sympathy his nature
+craved.</p>
+
+<p>From the market-place to the home of
+Velasquez and the Palace of Philip II.! It was
+a beautiful dream to Murillo.</p>
+
+<p>With what splendour of colour and mastery
+of design he illuminated the annals of the poor!
+Coming forth from some dim chancel or palace-hall
+in which he had been working on a majestic
+Madonna picture, he would sketch in, with
+the brush still loaded with the colours of
+<a name="230"></a>
+celestial glory, the lineaments of the beggar
+crouching by the wall, or the gypsy calmly
+reposing in the black shadow of an archway.
+Such versatility had never before been seen
+west of the Mediterranean, and it commanded
+the admiration of his countrymen.</p>
+
+<p>All his beggarly little children, neglected and
+houseless, appeared only to be full of cheer
+and merriment, with soft eyes and contented
+faces. It was a happy, care-free, gay, and
+kindly beggardom that he painted, with nothing
+in it to sadden the heart.</p>
+
+<p>Thus he lived for three years; working in
+the galleries of the king, making friends at
+court, painting beautiful women, gallant
+cavaliers and fascinating little beggars.</p>
+
+<p>In the course of time, however, he grew
+restless, and Velasquez wished to give him
+letters of introduction to Roman artists and
+people of quality, advising him to go to Rome
+to study the greatest art in the world. This
+was an alluring plan to Murillo, but after all
+he longed for his own home and chose to return
+there rather than go to Rome. Besides, his
+sister Therese was still in Seville.</p>
+
+<p>Once more in his home, at one stroke of his
+magic brush Murillo raised himself and a
+monastic order from obscurity to greatness.
+In his native city was the order of San Francisco.
+The monks had long wished to have their
+convent decorated in a worthy manner by some
+artist of repute; but they were poor and had
+<a name="231"></a>
+never been able to engage such a painter.
+When Murillo got back home, he was as badly
+in need of work as the Franciscans were in
+want of an artist. The monks held a council
+and finally agreed upon a price which they
+could pay and which Murillo could live upon.
+Then he began a wonderful set of eleven large
+paintings. Among them were many saints,
+dark and rich in colouring, and no sooner was
+it known that the paintings were being made
+than all the rich and powerful people of Seville
+flocked to the convent to see the work. They
+gathered about the young artist, overwhelmed
+him with honours and praise, and the monastery
+was crowded from morning till night with
+those who wished to study his work. From
+that moment Murillo's fame, if not his fortune,
+was made.</p>
+
+<p>He married a rich and noble lady with the
+tremendous name of Doña Beatriz de Cabrera y
+Sotomayer. He had fallen in love with her
+while painting her as an angel.</p>
+
+<p>About that time he formed a strange partnership
+with a landscape painter, who agreed to
+supply the backgrounds that his pictures
+needed, if Murillo would paint figures into his
+landscapes. This plan did very well for a
+little time, but it did not last long.</p>
+
+<p>Murillo painted in three distinct styles, and
+these have come to be known as the "warm,"
+the "cold," and the "vaporous." He painted
+pictures in the great cathedral of the Escorial
+<a name="232"></a>
+and the "Guardian Angel" was one of them.
+Also, he painted "St. Anthony of Padua,"
+and of this picture there is one of those absurd
+stories meant to illustrate the perfection of
+art. It is said that the lilies in it are so
+natural that the birds flew down the cathedral
+aisles to pluck at them. Many artists have
+painted this saint, but Murillo's is the best
+picture of all.</p>
+
+<p>When the nephew of his first master, Murillo's
+cousin, saw that work he said: "It is all over
+with Castillo! Is it possible that Murillo,
+that servile imitator of my uncle, can be the
+author of all this grace and beauty of
+colouring?"</p>
+
+<p>The Duke of Wellington offered for this
+picture as many gold pieces "as would cover
+its surface of fifteen square feet." This would
+have been about two hundred and forty thousand
+dollars; but we need not imagine that
+Murillo received any such sum for the work.
+This picture has a further interesting history.
+The canvas was cut from the frame by thieves
+in 1874, and later it was sold to Mr. Schaus,
+the connoisseur and picture dealer of New York.
+He paid $250 for it, and at once put it into
+the hands of the Spanish consul, who restored
+it to the cathedral.</p>
+
+<p>The story of the saint whom Murillo painted
+is as interesting as Murillo's own. Among the
+many wonderful things said to have happened
+to him was that a congregation of fishes hearing
+<a name="233"></a>
+his voice as he preached beside the sea, came
+to the top and lifted up their heads to listen.</p>
+
+<p>While Murillo was doing his work, he was
+living a happy, domestic life. He had three
+children, and doubtless he used them as
+models for his lively cherubs, as he used his
+wife's face for madonnas and angels.</p>
+
+<p>He founded an academy of painting in
+Seville, for the entrance to which a student
+could not qualify unless he made the following
+declaration: "Praised be the most Holy
+Sacrament and the pure conception of Our
+Lady."</p>
+
+<p>The most delightful stories are told of
+Murillo's kindness and sweetness of disposition.
+He had a slave who loved him and who, one
+day while Murillo was gone from the studio,
+painted in the head of the Virgin which the
+master had left incomplete. When Murillo
+returned and saw the excellent work he cried:
+"I am fortunate, Sebastian"--the slave's
+name--"For I have not created only pictures
+but an artist!" This slave was set free by
+Murillo and in the course of time he painted
+many splendid pictures which are to-day
+highly prized in Seville.</p>
+
+<p>This is a description of Murillo's house which
+is still to be seen near the Church of Santa
+Cruz: "The courtyard contains a marble
+fountain, amidst flowering shrubs, and is
+surrounded on three sides by an arcade upheld
+by marble pillars. At the rear is a pretty
+<a name="234"></a>
+garden, shaded by cypress and citron trees, and
+terminated by a wall whereon are the remains
+of ancient frescoes which have been attributed
+to the master himself. The studio is on the
+upper floor, and overlooks the Moorish battlements,
+commanding a beautiful view to the
+eastward, over orange groves and rich corn-lands,
+out to the gray highlands about Alcala."</p>
+
+<p>Murillo's fame brought fortune to his little
+sister, Therese. She married a nobleman of
+Burgos, a knight of Santiago and judge of the
+royal colonial court. He became the chief
+secretary of state for Madrid.</p>
+
+<p>Murillo made money, but gave almost all
+that he made to the poor, though he did not
+make money in the service of the Church, as
+Velasquez made it in the service of the king.</p>
+
+<p>His work of more than twenty pictures in
+the Capuchin Church of Seville occupied him
+for three years, and in that time he did not
+leave the convent for a single day.</p>
+
+<p>Of all the charming stories told of this
+glorious artist, one which is connected with his
+work in that church is the most picturesque.
+It seems that every one within the walls loved
+him, and among others a lay brother who was
+cook. This man begged for some little personal
+token from Murillo and since there was no
+canvas at hand, the artist bade the cook leave
+the napkin which he had brought to cover
+his food, and during the day he painted upon
+it a Madonna and child, so natural that one of
+<a name="235"></a>
+his biographers declares the child seems about
+to spring from Mary's arms. This souvenir
+made for the cook of the Capuchin, convent
+has been reproduced again and again, as one
+of the artist's greatest performances.</p>
+
+<p>Toward the close of his happy life, he became
+more and more devout, spending many hours
+before an altar-piece in the Church of Santa
+Cruz where was a picture of "The Descent
+from the Cross," by Pedro Campana. "Why
+do you always tarry before 'The Descent from
+the Cross?'" the sacristan once asked of him.</p>
+
+<p>"I am waiting till those men have brought
+the body of our blessed Lord down the ladder."
+Murillo answered. His wife had died, his
+daughter had become a nun, and all that was
+left to him was his dear son Gaspar, when in his
+sixty-third year he began his last work, "The
+Marriage of St. Catherine." He had not finished
+this when he fell from the scaffolding upon
+which he was working, and fatally hurt himself.
+He died, with his son beside him. He was a
+much loved man, and when he was buried, his
+bier was carried by "two marquises and four
+knights and followed by a great concourse of
+people." He chose to be buried beneath
+the picture he loved so much--"The Descent
+from the Cross," and upon his grave was laid
+a stone carved with his name, a skeleton and
+an inscription in Latin which means "Live as
+one who is about to die."</p>
+
+<p>The church has since been destroyed, and
+<a name="236"></a>
+on its site is the Plaza Santa Cruz, but Murillo's
+grave is marked by a tablet.</p>
+
+<p>Each country seems to have had at least one
+man of beautiful heart and mind, to represent
+its art. Raphael in Italy, Murillo in Spain,
+were types of gentle and greatly beloved men.
+Leonardo in Italy and Dürer in Nuremberg,
+were types of forceful, intellectual men,
+highly respected and of great benefit to the
+world.</p>
+
+<p>Of all the painters who ever lived, Murillo
+was the one who painted little children with
+the most loving and fascinating touch.</p>
+
+<center>PLATE--THE IMMACULATE CONCEPTION</center>
+
+<p>Besides the little angels in this picture, we
+have a bewildering choice among many other
+beauties.</p>
+
+<p>Many pictures of this subject have been
+painted, and many were painted by Murillo,
+but the one presented here is the greatest of all.
+It hangs in the Louvre, Salle VI. Mary seems
+to be suspended in the heavens, not standing
+upon clouds. Under the hem of her garments
+is the circle of the moon, while there is the effect
+of hundreds of little cherub children massed
+about her feet, in a little swarm at the right,
+where the shadow falls heaviest, and still
+others, half lost in the vapoury background
+at the left, where the heavenly light streams
+upon them, and brilliantly lights up the Virgin's
+<a name="237"></a>
+gown. In this picture are all Murillo's beloved
+child figures, some carrying little streamers,
+their tiny wings a-flutter and all crowding
+lovingly about Mary. Far below this gorgeous
+group we can imagine the dark and weary
+earth lost in shadow.</p>
+
+<p>Among Murillo's most famous paintings are:
+"The Birth of the Virgin," "Two Beggar Boys,"
+"The Madonna of the Rosary," "The
+Annunciation," "Adoration of the Shepherds,"
+"Holy Family," "Education of Mary," "The
+Dice Players," and "The Vision of St. Anthony."
+<a name="238"></a></p>
+
+<h1>XXXII</h1>
+
+<h1>RAPHAEL (SANZIO)</h1>
+
+<center>(Pronounced Rah'fay-el (Sahnt'syoh))<br>
+1483-1590<br>
+<i>Umbrian, Florentine, and Roman Schools</i><br>
+<i>Pupil of Perugino</i></center>
+
+<p>It was said of Raphael that "every evil
+humour vanished when his comrades saw
+him, every low thought fled from their minds";
+and this was because they felt themselves
+vanquished by his pleasant ways and sweet
+nature.</p>
+
+<p>Imagine his beautiful face, with its sunny
+eyes, reflecting no shadow of sadness or pain.
+Such a one was sure to be beloved by all.</p>
+
+<p>The father of Raphael was Giovanni Santi,
+himself an able artist. Both he and Raphael
+studied in many schools and took the best from
+each. The son was brought up in an Italian
+court, that of Guidobaldo of Urbino, where the
+father was a favourite poet and painter, so that
+he had at least one generation of art-lovers
+behind him, at a time when learning and art
+were much prized. Nothing ever entered
+into his life that was sad or sorrowful; his
+whole existence was a triumph of beautiful
+achievements. There were three great artists
+of that time, the other two being Michael
+<a name="239"></a>
+Angelo and Leonardo da Vinci, both of whom
+were absolutely unlike Raphael in their art
+and in their characters.</p>
+
+<p>Raphael was born on April 6th at Contrada
+del Monte in the ducal city of Urbino.
+His mother's name was Magia Ciarla, and
+she was the daughter of an Urbino merchant.
+She had three children besides the great painter,
+all of whom died young, and when Raphael
+was but eight years old his mother died also.
+It is said that it was from her Raphael inherited
+his beauty, goodness, mildness, and genius.
+His father's patron, the Duke of Urbino, was
+a fine soldier, but he also cherished scholarship
+and art, and kept at his court not less than
+twenty or thirty persons at work copying
+Greek and Latin manuscript which he wished
+to add to his library.</p>
+
+<p>Raphael had a stepmother, Bernardina,
+the daughter of a goldsmith, a good and forceful
+woman, but not gentle like the first wife; and
+when Raphael was eleven years of age his
+father, too, died. By his father's will Raphael
+became the charge of his uncle Bartolommeo,
+a priest, but the property was left to the stepmother
+so long as she remained unmarried.
+Almost at once the priest and the stepmother
+fell to quarreling over the spoils, and thus
+Raphael was left pretty much to his own
+devices, but just when life began to look dark
+and sad for him, his mother's brother took a
+hand in the situation. He settled the dispute
+<a name="240"></a>
+between the priest and the second wife, and
+arranged that Raphael should be placed in the
+studio of some great painter, for the loving
+lad had already worked in his father's studio,
+and had given promise of his wonderful gifts.
+So he became the pupil of Perugino, a painter
+noted for his fine colouring and sympathetic
+handling of his subjects. At that time, Italian
+schools were less wonderful in colouring than
+in other matters of technique.</p>
+
+<p>"Let him become my pupil," said Perugino,
+when Raphael was brought to him and some of
+his work was exhibited; "soon he will be my
+master." A very different attitude from that
+of Ghirlandajo toward Michael Angelo.</p>
+
+<p>Raphael and his master became friends and
+worked together for nine years.</p>
+
+<p>His first work was not conceived until
+Raphael was seventeen. It was to be a
+surprise to his master who had gone to Florence.
+A banner was wanted for the Church of S.
+Trinita at Citta di Castello, and Raphael undertook
+it, painting the "Trinity," on one canvas
+and the "Creation of Man" on another. Then
+he painted the "Crucifixion," which was bought
+by Cardinal Fesch, who lived in Rome. That
+painting is now in a collection of the Earl of
+Dudley. It was sold away from Rome in 1845,
+for twelve thousand dollars--or a little more.
+No one will deny that this is an unusual sum
+for an artist's first work, but about the same
+time he did a much more wonderful thing.</p>
+
+<p><a name="241"></a>
+He painted a little picture, six and three-quarter
+inches square. It was of the Virgin walking
+in the springtime, before the leaves had appeared
+upon the trees, and with snow-capped
+mountains behind her. She holds the infant
+Jesus in her arms while she reads from a small
+book, and the little child looks upon the page
+with her. This six inches of beauty sold to
+the Emperor of Russia, in 1871, for sixty
+thousand dollars.</p>
+
+<p>Before Raphael was twenty-one, he had left
+his master's studio and had gone into the
+splendid world of Rome, where Angelo was
+straining at his bonds. But how differently
+each accepted his life! The gentle Raphael,
+who took the best of the ideas of all great
+painters, and gave to them his own exquisite
+characteristics, was beloved of all, shed light
+upon art and friends alike. To such a one all
+life was joyous. Michael Angelo, trying ever
+to do the impossible, betraying his hatred of
+limitations in all that he did, doing always
+that which aroused horror, distress, longing,
+elemental feelings, in those who studied his
+wonderful work, and giving hope and satisfaction
+and peace to none--to such as he life
+must ever have been hateful and painful.
+These men lived at the same time, among the
+same people.</p>
+
+<p>One of Raphael's greatest pictures came
+into the possession of a poor widow, who being
+hard pressed by poverty, sold it to a bookseller
+<a name="242"></a>
+for twelve scudi. In time it was bought from
+the bookseller by Grand Duke Ferdinand III.
+of Tuscany, who prayed before it night and
+morning, taking it with him on his travels.
+That picture is now in the Pitti Palace at
+Florence and it is called the "Madonna del
+Granduca." The Berlin Museum purchased
+a Raphael Madonna for $34,000 which was
+painted about the same time as these
+others, but after a little the artist left
+Florence where he had been studying the
+methods of Leonardo and Angelo and returned
+to Urbino, the home he loved, where his conduct
+was such that all the world seems to have
+become his lover. It is written that he was
+"the only very distinguished man of whom we
+read, who lived and died without an enemy
+or detractor!" No better can ever be said of
+any one.</p>
+
+<p>While he dwelt in Perugia and Urbino he
+had painted the "Ansidei Madonna," so called
+because that was the name of the family for
+which it was painted. That Madonna was
+sold in 1884 to the National Gallery, by the
+Duke of Marlborough for $350,000. A Madonna
+on a round plaque-like canvas, 42-3/4 inches in
+diameter, was bought by the Duke of Bridgewater
+for $60,000. It is the "Holy Family
+under a Palm Tree," painted originally for a
+friend, Taddeo Taddei, who was a Florentine
+scholar. Many of the pictures which after many
+vicissitudes have landed far from home and been
+<a name="243"></a>
+bought for fabulous sums were painted for love
+of some friend, or were paid for by modest sums
+at the time the artist received the commissions.
+Lord Ellesmere in London now owns the
+"Holy Family under a Palm Tree."</p>
+
+<p>It is said of Raphael that whenever another
+painter, known to him or not, requested any
+design or assistance of any kind at his hands,
+he would invariably leave his work to perform
+the service. He continually kept a large
+number of artists employed, all of whom he
+assisted and instructed with an affection which
+was rather that of a father to his children than
+merely of an artist to artists. From this it
+followed that he was never seen to go to court,
+except surrounded and accompanied, as he
+left his house, by some fifty painters, all men
+of ability and distinction, who attended him,
+thus to give evidence of the honour in which
+they held him. He did not, in short, live the
+life of a painter, but that of a prince.</p>
+
+<p>There is something wonderfully inspiring
+about such a life. We read of emperors and
+the homage paid to them; of the esteem in
+which men who accomplish deeds of universal
+value are held, but nowhere do we behold
+the power of a beautiful and exquisite personality
+and character, allied with a single art,
+so impressively exhibited.</p>
+
+<p>He urged nothing, yet won all things by the
+force of his loving and sympathetic mind.
+"How is it, dear Cesare that we live in such
+<a name="244"></a>
+good friendship, but that in the art of painting
+we show no deference to each other?" he
+asked of Cesare da Sesto, who was Da Vinci's
+greatest pupil.</p>
+
+<p>In discussing the great ones of the earth,
+Herman Grimm, son of the collector of fairy
+tales, says: "Can we mention a violent act of
+Raphael's, Goethe's or Shakespeare's? No, it
+is restful only to recall these wonderful men."</p>
+
+<p>One of Raphael's most beautiful Virgins was
+modeled from a beautiful flower-girl whom he
+loved, "La Belle Jardinière."</p>
+
+<p>Raphael as well as Michael Angelo was
+summoned by Pope Julius II., but how
+different were the two occasions! Michael
+Angelo had stood with dogged, gloomy self-assertiveness
+before the pope, head covered,
+knee unbent. Uncompromising, while yet no
+injury had been done him, resentful before he
+had received a single cause for resentment,
+the attitude was typical of his art and his
+unhappy life.</p>
+
+<p>When Raphael appeared, his bent knee, his
+"chestnut locks falling upon his shoulders,
+the pope exclaimed: ' He is an innocent
+angel. I will give him Cardinal Bembo for a
+teacher, and he shall fill my walls with historical
+pictures.'" The artist's behaviour was no
+sign of servility, but the simple recognition of
+forms and customs which the people themselves
+had made and by which they had decided they
+should graciously be bound. The attitude of
+<a name="245"></a>
+Angelo was not heroic but vulgar; that of
+Raphael not servile, but in good taste, showing
+a reasonable mind.</p>
+
+<p>Pope Julius had summoned Raphael for a
+special reason. Alexander VI., his predecessor
+in the Vatican, had been a depraved man.
+The fair and virile Julius had a healthy
+sentiment against occupying rooms which must
+continually remind him of the notorious
+Alexander's mode of life. Some one suggested
+that he have all the portraits of the former pope
+removed, but Julius declared: "Even if the
+portraits were destroyed, the walls themselves
+would remind me of that Simoniac, that Jew!"
+The word 'Jew' was then execrated by all
+Christians, for the world was not yet Christian
+enough to know better.</p>
+
+<p>Raphael was summoned to decorate the
+Vatican, that Julius might have a place which
+reminded him not at all of Alexander. It is
+said that when Raphael had completed one of
+his masterpieces the pope threw himself upon
+the ground and cried, "I thank Thee, God, that
+Thou hast sent me so great a painter!"</p>
+
+<p>While at work upon his first fresco at the
+Vatican--"La Disputa," the dispute over
+the Holy Sacrament--Raphael met a woman
+with whom he fell deeply in love. Her father
+was a soda manufacturer and her name was
+Margherita. Missirini relates this incident in
+Raphael's career.</p>
+
+<p>"She lived on the other side of the Tiber.
+<a name="246"></a>
+A small house, No. 20, in the street of Santa
+Dorothea, the windows of which are decorated
+with a pretty frame work of earthenware,
+is pointed out as the house where she was born.</p>
+
+<p>"The beautiful girl was very frequently in
+a little garden adjoining the house, where,
+the wall not being very high, it was easy to see
+her from the outside. So the young men,
+especially artists--always passionate admirers
+of beauty--did not fail to come and look at
+her, by climbing up above the wall.</p>
+
+<p>"Raphael is said to have seen her for the
+first time as she was bathing her pretty feet
+in a little fountain in the garden. Struck by
+her perfect beauty, he fell deeply in love with
+her, and after having made acquaintance with
+her, and discovered that her mind was as
+beautiful as her body, he became so much
+attached as to be unable to live without her."</p>
+
+<p>She is spoken of to-day as the "Fornarina,"
+because at first she was supposed to have
+been the daughter of a baker (<i>fornajo</i>).</p>
+
+<p>Raphael made many rough studies for his
+picture "La Disputa," and upon them he left
+three sonnets, written to the woman so dear to
+him. These sonnets have been translated by
+the librarian of l'Ecole Nationale des Beaux-Arts,
+as follows: "Love, thou hast bound me
+with the light of two eyes which torment me,
+with a face like snow and roses, with sweet
+words and tender manners. So great is my
+ardour that no river or sea could extinguish
+<a name="247"></a>
+my fire. But I do not complain, for my
+ardour makes me happy.... How sweet
+was the chain, how light the yoke of her
+white arms about my neck. When these bonds
+were loosed, I felt a mortal grief. I will say
+no more; a great joy kills, and, though my
+thoughts turn to thee, I will keep silence."</p>
+
+<p>Although he had been a man of many loves,
+Raphael must have found in the manufacturer's
+daughter his best love, because he remained
+faithful and devoted to her for the twelve
+years of life that were left to him. It was said
+some years later, while he was engaged upon a
+commission for a rich banker, that "Raphael
+was so much occupied with the love that he
+bore to the lady of his choice that he could not
+give sufficient attention to his work. Agostino
+(the banker) therefore, falling at length into
+despair of seeing it finished, made so many
+efforts by means of friends and by his own care
+that after much difficulty he at length prevailed
+on the lady to take up her abode in his house,
+where she was accordingly installed, in apartments
+near those which Raphael was painting;
+In this manner the work was ultimately brought
+to a conclusion."</p>
+
+<p>Raphael painted this beautiful lady-love
+many times, and in a picture in which she
+wears a bracelet he has placed his name upon
+the ornament.</p>
+
+<p>After this time he painted the "Madonna
+della Casa d'Alba," which the Duchess d'Alba
+<a name="248"></a>
+gave to her physician for curing her of a grave
+disorder. She died soon afterward, and the
+physician was arrested on the charge of having
+poisoned her. In course of time the picture
+was purchased for $70,000 by the Russian
+Emperor, and it is now in "The Hermitage,"
+St. Petersburg.</p>
+
+<p>A writer telling of that time, relates the
+following anecdote: "Raphael of Urbino had
+painted for Agostino Chigi (the rich banker
+already mentioned) at Santa Maria della Pace,
+some prophets and sibyls, on which he had
+received an advance of five hundred scudi.
+One day he demanded of Agostino's cashier
+(Giulio Borghesi) the remainder of the sum
+at which he estimated his work. The cashier,
+being astounded at this demand, and thinking
+that the sum already paid was sufficient, did
+not reply. 'Cause the work to be estimated
+by a judge of painting,' replied Raphael, 'and
+you will see how moderate my demand is.'</p>
+
+<p>"Giulio Borghesi thought of Michael Angelo
+for this valuation, and begged him to go to
+the church and estimate the figures of Raphael.
+Possibly he imagined that self-love, rivalry,
+and jealousy would lead the Florentine to
+lower the price of the pictures.</p>
+
+<p>"Michael Angelo went, accompanied by the
+cashier, to Santa Maria della Pace, and, as he
+was contemplating the fresco without uttering
+a word, Borghesi questioned him. 'That
+head,' replied Michael Angelo, pointing to one
+<a name="249"></a>
+of the sibyls, 'that head is worth a hundred
+scudi.' ... 'and the others?' asked the
+cashier. 'The others are not less.'</p>
+
+<p>"Someone who witnessed this scene related
+it to Chigi. He heard every particular and,
+offering in addition to the five hundred scudi
+for five heads a hundred scudi to be paid for
+each of the others, he said to his cashier, 'go
+and give that to Raphael in payment for his
+heads, and behave very politely to him, so that
+he may be satisfied; for if he insists on my
+paying also for the drapery, we should probably
+be ruined!'"</p>
+
+<p>By the time Raphael was thirty-one he was
+a rich man, and had built himself a beautiful
+house near the Vatican, on the Via di Borgo
+Nuova. Naught remains of that dwelling
+except an angle of the right basement, which
+has been made a part of the Accoramboni
+Palace. His friends wished him above all
+things to marry, but he was still true to Margherita
+though he had become engaged to
+the daughter of his nephew. He put the
+marriage off year after year, till finally the
+lady he was to have married died, and was
+buried in Raphael's chapel in the Pantheon.</p>
+
+<p>Margherita was with him when he died, and
+it was to her that he left much of his wealth.</p>
+
+<p>In the time of Raphael excavations were
+being made about Rome, and many beautiful
+statues uncovered, and he was charged
+with the supervision of this work in order that
+<a name="250"></a>
+no art treasure should be lost or overlooked.
+The pope decreed that if the excavators failed
+to acquaint Raphael with every stone and
+tablet that should he unearthed, they should
+be fined from one to three hundred gold crowns.</p>
+
+<p>Raphael had his many paintings copied under
+his own eye and engraved, and then distributed
+broadcast, so that not only men of great wealth
+but the common people might study them.</p>
+
+<p>Henry VIII. invited him to visit England, and
+become court painter, and Francis I. wished
+him to become the court painter of France.</p>
+
+<p>He loved history, and wished to write certain
+historical works. He loved poetry and wrote
+it. He loved philosophy and lived it--the
+philosophy of generous feeling and kindly
+thought for all the world. He kept poor
+artists in his own home and provided for them.</p>
+
+<p>Raphael died on Good Friday night,
+April 6th, in his thirty-seventh year, and all
+Rome wept. He lay in state in his beautiful
+home, with his unfinished picture of the
+"Transfiguration," as background for his
+catafalque. That painting with its colours
+still wet, was carried in the procession to his
+burial place in the Pantheon. When his death
+was announced, the pope, Leo X., wept and
+cried <i>"Ora pro nobis!"</i> while the Ambassador
+from Mantua wrote home that "nothing is talked
+of here but the loss of the man who at the close
+of his six-and-thirtieth year has now ended
+his first life; his second, that of his posthumous
+<a name="251"></a>
+fame, independent of death and transitory
+things, through his works, and in what the
+learned will write in his praise, must continue
+forever."</p>
+
+<p>Raphael painted two hundred and eighty-seven
+pictures in his thirty-seven years of life.</p>
+
+<center>PLATE--THE SISTINE MADONNA</center>
+
+<p>It is said that the "Sistine Madonna," while
+painted from an Italian model--doubtless
+the lady whom Raphael so dearly loved--has
+universal characteristics, so that she may "be
+understood by everyone."</p>
+
+<p>He lived only three years after painting this
+picture and it was the last "Holy Family"
+painted by him. The Madonna stands upon a
+curve of the earth, which is scarcely to be seen,
+and looming mistily in front of her is a mass of
+white vaporous clouds. On either side are
+figures, St. Sixtus (for whom the picture was
+named) and St. Barbara. Beside St. Sixtus
+we see a crown or tiara; and the little tower at
+St. Barbara's side is a part of her story.</p>
+
+<p>Barbara was the daughter of an Eastern
+nobleman who feared that her great beauty
+might lead to her being carried off; therefore
+he caused her to be shut up in a great tower.
+While thus imprisoned Barbara became a
+Christian through the influence of a holy man,
+and she begged her father to make three
+windows in her gloomy tower: one, to let the
+<a name="252"></a>
+light of the Father stream upon her, another
+to admit the light of the Son, and the third
+that she might bathe in the light of the Holy
+Ghost. Both St. Barbara and St. Sixtus were
+martyrs for their faith.</p>
+
+<p>This Madonna is painted as if enclosed by
+green velvet curtains, which have been drawn
+aside, letting the golden light of the picture
+blaze upon the one who looks; then upon a
+little ledge below, looking out from the heavens,
+are two little cherubs--known to all the world.
+They look wistful, wise, roguish, and beautiful,
+with fat little arms resting comfortably upon
+the ledge. Raphael is said to have found his
+models for these little angels in the street,
+leaning wistfully upon the ledge of a baker's
+window, looking at the good things to eat,
+which were within. Raphael took them, put
+wings to them, placed them at the feet of
+Mary, and made two little images which have
+brought smiles and tears to a multitude of
+people. The "Sistine Madonna" hangs alone
+in a room in the Dresden Gallery.</p>
+
+<p>Among Raphael's greatest works are: The
+"Madonna della Sedia" (of the chair), "La Belle
+Jardinière," "The School of Athens," "Saint
+Cecilia," "The Transfiguration," "Death of
+Ananias" (a cartoon for a series of tapestries),
+"Madonna del Pesce," "La Disputa," "The
+Marriage of Mary and Joseph," "St. George
+Slaying the Dragon," "St. Michael Attacking
+Satan" and the "Coronation of the Virgin."</p>
+
+<p><a name="253"></a></p>
+<h1>XXXIII</h1>
+
+<h1>REMBRANDT (VAN RIJN)</h1>
+
+<center><i>Dutch School</i><br>
+1606-1669<br>
+<i>Pupil of Van Swanenburch</i></center>
+
+<p>Here are a few of the titles that have been
+given to the greatest Dutch painter that
+ever lived: The Shakespeare of Painting; the
+Prince of Etchers; the King of Shadows; the
+Painter of Painters. Muther calls him a "hero
+from cloudland," and not only does he alone
+wear these titles of greatness, but he alone
+in his family had the name of Rembrandt.</p>
+
+<p>One writer has said that the great painter
+was born "in a windmill," but this is not true.
+He was born in Leyden for certain, though
+not a great deal is known about his youth; and
+his father was a miller, his mother a baker's
+daughter.</p>
+
+<p>When the Pilgrim Fathers, who had sought
+safety in Leyden, were starting for America,
+where they were going to oppress others as
+they had been oppressed, Rembrandt was
+just beginning his apprenticeship in art.</p>
+
+<p>He was born at No. 3, Weddesteg, a house
+on the rampart looking out upon the Rhine
+whose two arms meet there. In front of it
+whirled the great arms of his father's windmill,
+<a name="254"></a>
+though he was not born in it; and of all the
+women Rembrandt ever knew, it is not likely
+that he ever admired or loved one as passionately
+as he admired and loved his mother. He
+painted and etched her again and again, with a
+touch so tender that his deepest emotion is
+placed before us.</p>
+
+<p>Rembrandt had brothers and sisters--five:
+Adriaen, Gerrit, Machteld, Cornelis, and Willem.
+Of these, Adriaen became a miller like his
+father, and presumably the old historic windmill
+fell to him; Willem became a baker, but
+Rembrandt, the fourth child, it was determined
+should be a learned man, and belong to one
+of the honoured professions, such as the law.
+So he was sent to the Leyden Academy, but
+here again we have an artist who decided he
+knew enough of all else but art before he was
+twelve years old. He found himself at that age
+in the studio of his first art-master, Jacob van
+Swanenburch, a relative, who had studied art
+in Italy, and was a good master for the lad;
+but Rembrandt became so brilliant a painter
+in three years' time, that he was sent to Amsterdam
+to learn of abler men.</p>
+
+<p>The lad could not in those days get far from
+his adored mother; so he stayed only a little
+time, before he went back to Leyden where she
+was. There was his heart, and, painting or no
+painting, he must be near it.</p>
+
+<p>Until the past thirty years no one has
+seemed to know a great deal of Rembrandt's
+<a name="255"></a>
+early history, but much was written of him
+as a boorish, gross, vulgar fellow. Those
+stories were false. He was a devoted son,
+handsome, studious in art, and earnest in
+all that he did, and after he had made his
+first notable painting he was compelled by the
+demands of his work to move to Amsterdam
+for good. He hired an apartment over a shop
+on the Quay Bloemgracht; it is probable
+that his sister went with him to keep his house,
+and that it is her face repeated so frequently
+in the many pictures which he painted at
+that time. This does not suggest coarse doings
+or a careless life, but permits us to imagine a
+quiet, sober, unselfish existence for the young
+bachelor at that time.</p>
+
+<p>Soon, however, he fell in love. He saw one
+other woman to place in his heart and memory
+beside his mother. His wife was Saskia van
+Ulenburg, the daughter of an aristocrat,
+refined and rich. He met her through her
+cousin, an art dealer, who had ordered Rembrandt
+to paint a portrait of his dainty cousin.
+Rembrandt could have been nothing but what
+was delightful and good, since he was loved
+by so charming a girl as Saskia.</p>
+
+<p>He painted her sitting upon his knee, and
+used her as model in many pictures. First,
+last, and always he loved her tenderly.</p>
+
+<p>In one portrait she is dressed in "red and
+gold-embroidered velvets"; the mantle she wore
+he had brought from Leyden. In another
+<a name="256"></a>
+picture she is at her toilet, having her hair
+arranged; again she is painted in a great red
+velvet hat, and then as a Jewish bride, wearing
+pearls, and holding a shepherd's staff in her
+hand. Again, Rembrandt painted himself as a
+giant at the feet of a dainty woman, and in
+every way his work showed his love for her. After
+he married her, in June 1634, he painted the
+picture, "Samson's Wedding," "Saskia, dainty
+and serene, sitting like a princess in a circle of
+her relatives, he himself appearing as a crude
+plebeian, whose strange jokes frighten more than
+they amuse the distinguished company. ...
+The early years of his marriage were spent in
+joy and revelry. Surrounded by calculating
+business men who kept a tight grasp on their
+money bags, he assumed the rôle of an artist
+scattering money with a free hand; surrounded
+by small townsmen most proper in demeanour,
+he revealed himself as the bold lasquenet,
+frightening them by his cavalier manners. He
+brought together all manner of Oriental arms,
+ancient fabrics, and gleaming jewellery; and his
+house became one of the sights of Amsterdam."
+His existence reads like a fairy tale.</p>
+
+<p>It is said that Saskia strutted about decked
+in gold and diamonds, till her relatives "shook
+their heads" in alarm and amazement at such
+wild goings on.</p>
+
+<p>Before he married Saskia he had painted a
+remarkable picture, named the "School of
+Anatomy." It represents a great anatomist,
+<a name="257"></a>
+the friend of Rembrandt--Nicholaus Tulp,--and
+a group of physicians who were members
+of the Guild of Surgeons of Amsterdam. It is
+so wonderful a picture that even the dead
+man, who is being used as a subject by the
+anatomist, does not too greatly disturb us as
+we look upon him. The thoughtful, interested
+faces of the surgeons are so strong that we half
+lose ourselves in their feeling, and forget to
+start in repulsion at sight of the dead body.
+A fine description of this painting can be found
+in Sarah K. Bolton's book "Famous Artists"
+and it includes the description given by another
+excellent authority.</p>
+
+<p>The artist was twenty-six years old when he
+painted the "School of Anatomy." This
+picture is now at The Hague and two hundred
+years after it was painted the Dutch Government
+gave 30,000 florins for it.</p>
+
+<p>Rembrandt painted a good many "Samsons"
+first and last--himself evidently being the
+strong man; and the pictures beyond doubt
+express his own mood and his idea of his relation
+to things. After a little son was born to
+the artist, he painted still another Samson--this
+time menacing his father-in-law but as the
+artist had named his son after his father-in-law,--Rombertus--we
+cannot believe that there
+was any menace in the heart of Rembrandt--Samson.
+Soon his son died, and Rembrandt
+thought he should never again know happiness,
+or that the world could hold a greater grief,
+<a name="258"></a>
+but one day he was to learn otherwise. A
+little girl was born to the artist, named
+Cornelia, after Rembrandt's mother, and he
+was again very happy.</p>
+
+<p>Meantime his brothers and sisters had died,
+and there came some trouble over Rembrandt's
+inheritance, but what angered him most of all,
+was that Saskia's relatives said she "had
+squandered her heritage in ornaments and
+ostentation." This made Rembrandt wild
+with rage, and he sued her slanderers, for he
+himself had done the squandering, buying every
+beautiful thing he could find or pay for, to
+deck Saskia in, and he meant to go on doing so.</p>
+
+<p>At this time he painted a picture of "The
+Feast of Ahasuerus" (or the "Wedding of
+Samson") and he placed Saskia in the middle
+of the table to represent Esther or Delilah as
+the case might be, dressed in a way to
+horrify her critical relatives, for she looked like
+a veritable princess laden with gorgeous
+jewels.</p>
+
+<p>One of his pictures he wished to have hung
+in a strong light, for he said: "Pictures are
+not made to be smelt. The odour of the colours
+is unhealthy."</p>
+
+<p>The first baby girl died and on the birth
+of another daughter she too was named Cornelia,
+but that baby girl also died, and next
+came a son, Titus, named for Saskia's sister,
+Titia, and then Saskia died. Thus Rembrandt
+knew the deepest sorrow of his life.</p>
+
+<p><a name="259"></a>
+He painted her portrait once again from
+memory, and that picture is quite unlike the
+others for it is no longer full of glowing life,
+but daintier, suggestive of a more spiritual life,
+as if she were growing fragile.</p>
+
+<p>It is written that "from this time, while he
+did much remarkable work, he seemed like a
+man on a mountain top, looking on one side to
+sweet meadows filled with flowers and sunlight,
+and on the other to a desolate landscape over
+which a clouded sun is setting." With Saskia
+died the best of Rembrandt. He made only
+one more portrait of himself--before this he
+had made many; and in it he makes himself
+appear a stern and fateful man. It was after
+Saskia's death that he painted the "Night
+Watch," or more properly, "The Sortie."</p>
+
+<p>Rembrandt's home, where he and Saskia
+were so happy, is still to be seen on a quay
+of the River Amstel. It is a house of brick and
+cut stone, four stories high. The vestibule
+used to have a flag-stone pavement covered
+with fir-wood. There were also "black-cushioned,
+Spanish chairs for those who wait,"
+and all about were twenty-four busts and
+paintings. There was an ante-chamber, very
+large, with seven Spanish chairs covered with
+green velvet, and a walnut table covered with
+"a Tournay cloth"; there was a mirror with
+an ebony frame, and near by a marble wine-cooler.
+Upon the wall of this <i>salon</i> were
+thirty-nine pictures and most of them had
+<a name="260"></a>
+beautiful frames. "There were religious
+scenes, landscapes, architectural sketches,
+works of Pinas, Brouwer, Lucas van Leyden,
+and other Dutch masters; sixteen pictures by
+Rembrandt; and costly paintings by Palma
+Vecchio, Bassano, and Raphael."</p>
+
+<p>In the next room was a real art museum,
+containing splendid pictures, an oaken press
+and other things which suggest that this was
+the workroom where Rembrandt's etchings
+were made and printed.</p>
+
+<p>In the drawing-room was a huge mirror, a
+great oaken table covered with a rich embroidered
+cloth, "six chairs with blue coverings, a
+bed with blue hangings, a cedar wardrobe, and a
+chest of the same wood." The walls were
+literally covered with pictures, among which
+was a Raphael.</p>
+
+<p>Above was a sort of museum and Rembrandt's
+studio. There was rare glass from
+Venice, busts, sketches, paintings, cloths,
+weapons, armour, plants, stuffed birds and
+shells, fans, and books and globes. In short,
+this was a most wonderful house and no other
+interior can we reconstruct as we can this,
+because no other such detailed inventory can
+be found of a great man's effects as that from
+which these notes are taken: a legal inventory
+made in 1656, long after Saskia had died and
+possibly at a time when Rembrandt wished to
+close his doors forever and forget the scenes in
+which he had been so happy.</p>
+
+<p><a name="261"></a>
+Holland being truly a Protestant country,
+its artists have given us no great Madonna
+pictures, although they painted loving, happy
+Dutch mothers and little babes, but on the
+whole their subjects are quite different from
+those of the painters of Italy, France, and
+Spain.</p>
+
+<p>Rembrandt's studio was different from any
+other. When he first began to work independently
+and to have pupils, he fitted it up
+with many little cells, properly lighted, so that
+each student might work alone, as he knew
+far better work could be done in that way. It
+is said that his pictures of beggars would, by
+themselves, fill a gallery. He had a kindly
+sympathy for the poor and unfortunate, and
+tramps knew this, so that they swarmed about
+his studio doors, trying to get sittings.</p>
+
+<p>There is a story which doubtless had for its
+germ a joke regarding the slowness of an errand
+boy in a friend's household, but which at the
+same time shows us how rapidly Rembrandt
+worked. The artist had been carried off to
+the country to lunch with his friend Jan Six,
+and as they sat down at the table, Six discovered
+there was no mustard. He sent his boy, Hans,
+for it, and as the boy went out, Rembrandt
+wagered that he could make an etching before
+the boy got back. Six took the wager, and
+the artist pulled a copper plate from his
+pocket--he always carried one--and on its
+waxed surface began to etch the landscape
+<a name="262"></a>
+before him. Just as Hans returned, Rembrandt
+gleefully handed Six the completed
+picture.</p>
+
+<p>He was a great portrait painter, but he loved
+certain effects of shadow so well that he often
+sacrificed his subject's good looks to his artistic
+purpose, and very naturally his sitters became
+displeased, so that in time he had fewer
+commissions than if he had been entirely
+accommodating.</p>
+
+<p>His meals in working time were very simple,
+often just bread and cheese, eaten while sitting
+at his easel, and after Saskia died he became
+more and more careless of all domestic details.</p>
+
+<p>Rembrandt finally married again, the
+second time choosing his housekeeper, a good
+and helpful woman, who was properly bringing
+up his little son, and making life better ordered
+for the artist, but he had grown poor by this
+time for he was never a very good business man.
+His beautiful house was at last sold to a rich
+shoemaker. Every picture latterly reflected
+his condition and mood. He chose subjects
+in which he imagined himself always to be the
+actor, and when his second wife died he painted
+a picture of "Youth Surprised by Death";
+he had not long to live. He became more and
+more melancholy; and sleeping by day, would
+wander about the country at night, disconsolate
+and sad. Finally, when he died, an inventory
+of his effects, showed him to be possessed of
+only a few old woollen clothes and his brushes
+<a name="263"></a>
+The miracle in Rembrandt's painting is the
+deep, impenetrable shadow, in which nevertheless
+one can see form and outline, punctuated
+with wonderful explosions of light. Nothing
+like it has ever been seen. It is the most
+dramatic work in the world, and the most
+powerful in its effect. Other men have painted
+light and colour; Rembrandt makes gloom and
+shadow living things.</p>
+
+<p>This miracle-worker's funeral cost ten
+dollars; he died in Amsterdam and was buried
+in the Wester Kirk.</p>
+
+<center>PLATE--THE SORTIE</center>
+
+<p>This picture is generally known as "The
+Night Watch," but it is really "The Sortie"
+of a company of musketeers under the command
+of a standard bearer. Captain Frans Banning-Cock
+and all his company were to pay Rembrandt
+for painting their portraits in a group
+and in action, and they expected to see
+themselves in heroic and picturesque dress, in
+the full blaze of day, but Rembrandt had
+found a magnificent subject for his wonderful
+shadows, and the artist was not going to
+sacrifice it to the vanity of the archers.</p>
+
+<p>This picture was called the "Patrouille de
+Nuit," by the French and the "Night Watch,"
+by Sir Joshua Reynolds because upon its
+discovery the picture was so dimmed and
+defaced by time that it was almost indistinguishable
+<a name="264"></a>
+and it looked quite like a
+night scene. After it was cleaned up, it was
+discovered to represent broad day--a party
+of archers stepping from a gloomy courtyard
+into the blinding sunlight. "How this
+different light is painted, which encircles the
+figures, here sunny, there gloomy!...
+Rembrandt runs through the entire range of his
+colours, from the lightest yellow through all
+shades of light and dark red to the gloomiest
+black." One writer describes it thus: "It
+is more than a picture; it is a spectacle, and
+an amazing one... A great crowd of
+human figures, a great light, a great darkness--at
+the first glance this is what strikes you, and
+for a moment you know not where to fix your
+eyes in order to comprehend that grand and
+splendid confusion... There are officers,
+halberdiers, boys running, arquebusiers loading
+and firing, youths beating drums, people bowing
+talking, calling out, gesticulating--all dressed
+in different costumes, with round hats, plumes,
+casques, morions, iron corgets, linen collars,
+doublets embroidered with gold, great boots,
+stockings of all colours, arms of every form;
+and all this tumultuous and glittering throng
+start out from the dark background of the
+picture and advance toward the spectator.
+The two first personages are Frans Banning-Cock,
+Lord of Furmerland and Ilpendam,
+captain of the company, and his lieutenant,
+Willem van Ruijtenberg, Lord of Vlaardingen,
+<a name="265"></a>
+the two marching side by side. The
+only figures that are in full light are this
+lieutenant, dressed in a doublet of buffalo-hide,
+with gold ornaments, scarf, gorget, and white
+plume, with high boots, and a girl who comes
+behind, with blond hair ornamented with
+pearls, and a yellow satin dress; all the other
+figures are in deep shadow, excepting the
+heads, which are illuminated. By what
+light? Here is the enigma. Is it the light of
+the sun? or of the moon? or of the torches?
+There are gleams of gold and silver, moonlight
+coloured reflections, fiery lights; personages
+which, like the girl with blond tresses, seem to
+shine by a light of their own.... The
+more you look at it, the more it is alive and
+glowing; and, even seen only at a glance, it
+remains forever in the memory, with all its
+mystery and splendour, like a stupendous
+vision." Charles Blanc has said: "To tell
+the truth, this is only a dream of night, and
+no one can decide what the light is that falls
+on the groups of figures. It is neither the light
+of the sun or of the moon, nor does it come
+from the torches; it is rather the light from
+the genius of Rembrandt."</p>
+
+<p>This wonderful picture was painted in 1642
+and many of the archer's guild who gave
+Rembrandt the commission would not pay
+their share because their faces were not plainly
+seen. This picture which alone was enough
+to make him immortal, was the very last
+<a name="266"></a>
+commission that any of the guilds were willing
+to give the artist, because he would not make
+their portraits beautiful or fine looking to the
+disadvantage of the whole picture. This work
+hangs in the Rijks Museum in Amsterdam.
+He painted more than six hundred and
+twenty-five pictures and some of them are:
+"The Anatomy Lesson," "The Syndics of the
+Cloth Hall," "The Descent from the Cross,"
+"Samson Threatening His Step Father," "The
+Money Changer," "Holy Family," "The
+Presentation of Christ in the Temple," "The
+Marriage of Samson," "The Rape of Ganymede,"
+"Susanna and the Elders," "Manoah's Sacrifice,"
+"The Storm," "The Good Samaritan,"
+"Pilate Washing His Hands," "Ecce Home,"
+and pictures of his wife, Saskia.</p>
+
+<p><a name="267"></a></p>
+<h1>XXXIV</h1>
+
+<h1>SIR JOSHUA REYNOLDS</h1>
+
+<center><i>English School</i><br>
+1723-1792<br>
+<i>Pupil of Thomas Hudson</i></center>
+
+<p>When Reynolds was "little Josh," instead
+of "Sir Joshua" he grew tired in church
+one day, and sketched upon the nail of his
+thumb the portrait of the Rev. Mr. Smart who
+was preaching. After service he ran to a boat-house
+near, and with ship's paint, upon an old
+piece of sail, he painted in full and flowing
+colours that reverend gentleman's portrait.
+After that there was not the least possible
+excuse for his father to deny him the right to
+become an artist.</p>
+
+<p>The father himself was a clergyman with a
+good education, and he had meant that his son
+should also be well educated and become a
+physician; but a lad who at eight years of age
+can draw the Plympton school house--he
+was born at Plympton Earl, in Devonshire--has
+a right to choose his own profession.</p>
+
+<p>At twenty-three years of age Sir Joshua was
+painting the portraits of great folk, and being
+well paid for it, as well as lavishly praised.
+His first real sorrow came at a Christmas
+time when he was summoned home from
+<a name="268"></a>
+London where he was working, to his father's
+deathbed.</p>
+
+<p>After that the artist turned his thoughts
+toward Italy, but where was the money to
+come from? Earning a living did not include
+travelling expenses, but a good friend, Captain
+Keppel, was going out to treat with the Dey of
+Algiers about his piracies, and learning that the
+artist wished to go to Italy he invited him to go
+with him on his own ship, the <i>Centurion.</i>
+So while the captain was discussing pirates
+with the dey, Sir Joshua stopped with the
+Governor of Minorca and painted many of the
+people of that locality. Thence on to Rome!</p>
+
+<p>Strange to say, Raphael's pictures disappointed
+the English artist, and he said so;
+but Michael Angelo was to Reynolds the most
+wonderful of painters, and he said that his
+pictures influenced him all the rest of his life.
+He wished his name to be the last upon his
+lips, and while that was not so, yet it was
+the last he pronounced to his fellow Academicians
+in his final address.</p>
+
+<p>It was in Italy that a distressing misfortune
+came upon Sir Joshua. He meant to learn
+all that a man could learn in a given time
+of the art treasures there, and while he was
+working in a draughty corridor of the Vatican,
+he caught a severe cold which rendered him
+deaf. He continued deaf till the end of his
+life and had to use an ear-trumpet when people
+talked with him.</p>
+
+<p><a name="269"></a>
+When he got back to England, Hudson, his
+old master, said discouragingly: "Reynolds,
+you don't paint as well as when you left
+England." On the whole his reception at
+home, after his long absence, was not all that
+he could have wished, but he took a place in
+Leicester Square, settled down to live there for
+the rest of his life, and went at painting in
+earnest.</p>
+
+<p>Although artists criticised him more or less
+after his return, the public appreciated him
+and very soon orders for portraits began to
+pour in upon him, and the flow of wealth never
+ceased so long as he lived. It was said that all
+the fashionables came to him that did not go to
+Gainsborough, but those who were partial to
+Sir Joshua declared that all who could not go
+to him went to Gainsborough. The two great
+artists controlled the art world in their time,
+dividing honours about equally. It was said
+that all those women and men sat to Sir Joshua
+for portraits "who wished to be transmitted
+as angels... and who wished to appear
+as heroes or philosophers."</p>
+
+<p>Sir Joshua was a charming man, generous
+in feeling--as Gainsborough was not--and
+his closest friend was Dr. Johnson, the most
+different man from the artist imaginable, but
+Reynolds's art and Johnson's philosophy made
+a fine combination, each giving the other great
+pleasure. Besides Johnson, his friends were
+Goldsmith, Garrick, Bishop Percy, and other
+<a name="270"></a>
+famous men of the time. These and others
+formed the "Literary Club" at Sir Joshua's
+suggestion. About that time there was the
+first public exhibition of the work of English
+artists, and Sir Benjamin West and Sir Joshua
+Reynolds built the Royal Academy for that
+first exhibition, with the help of King George's
+patronage. Joshua Reynolds was knighted
+when he was made the first president of that
+great body.</p>
+
+<p>Soon after the Academy was established,
+Reynolds began a series of "discourses," which
+in time became famous for their splendid
+literary quality, and some people, knowing his
+close friendship with Burke and Dr. Johnson,
+declared that the artist got one of them to write
+his "discourses" for him. This threw Johnson
+and Burke into a fury of resentment for their
+friend, and the doctor declared indignantly
+that "Sir Joshua would as soon get me to
+paint for him as to write for him!"
+Burke denied the story no less emphatically.
+Besides these speeches, which were a great
+advantage to the members of the Academy,
+Sir Joshua instituted the annual banquet to
+the members, and King George--who just
+before had given the commission of court
+painter to one less talented than Sir Joshua--bade
+him paint his portrait and the queen's,
+to hang in the Academy. This was a great
+thing for the new society and advanced its
+fortunes very much.</p>
+
+<p><a name="271"></a>
+Barry and Gainsborough were both churlish
+enough to envy Sir Joshua and to quarrel
+with his good feeling for them, but both men
+had the grace to be sorry for behaviour that
+had no excuse, and both made friends with
+him before they died--Gainsborough on his
+death-bed.</p>
+
+<p>Toward his last days the artist was attacked
+with paralysis, but grew better and was able
+to paint again; then he began to go blind--he
+was already deaf--and this affliction made
+painting impossible. Shortly before his death,
+he undertook to raise funds for a monument
+to his dead friend, Dr. Johnson, but he grew
+more and more ill, "and on the 23d February,
+1792, this great artist and blameless gentleman
+passed peacefully away."</p>
+
+<p>That he was very painstaking in his work is
+shown by an anecdote about his infant
+"Hercules." "How did you paint that part
+of the picture?" some one asked him. "How
+can I tell! There are ten pictures below this,
+some better, some worse"--showing that in
+his desire for perfection he painted and
+repainted.</p>
+
+<p>So untiring was he in seeking out the secrets
+of the old masters that he bought works of
+Titian and Rubens, and scraped them, to learn
+their methods, insisting that they had some
+secret underlying their work. So anxious
+was he to get the most brilliant effects of
+colours that he mixed his paints with asphaltum,
+<a name="272"></a>
+egg, varnish, wax, and the like, till one artist
+said: "The wonder is that the picture did
+not crack beneath the brush." Many of
+these great pictures did go to pieces because of
+the chances Sir Joshua took in mixing things
+that did not belong together, in order to make
+wonderful results.</p>
+
+<p>Sir George Beaumont recommended a friend
+to go to Reynolds for his portrait and the
+friend demurred, because "his colours fade
+and his pictures die before the man."</p>
+
+<p>"Never mind that!" Sir George declared;
+"a faded portrait by Reynolds is better than
+a fresh one by anybody else."</p>
+
+<p>The same tender, sensitive and devoted
+nature which caused Sir Joshua's mother to
+weep herself blind upon her husband's death,
+belonged to the artist. All of his life he was
+surrounded by loving friends, and his devotion
+to them was conspicuous. He, like Dürer and
+several other painters, was a seventh son, and
+his father's disappointment was keen when he
+took to art instead of to medicine. So little
+did his father realise what his future might be,
+that he wrote under the sketch of a wall with a
+window in it, drawn upon a Latin exercise
+book: "This is drawn by Joshua in school,
+out of pure idleness."</p>
+
+<p>But by the time Joshua was eight years old
+and had drawn a fine "sketch of the grammar-school
+with its cloister... the astonished
+father said: 'Now, this exemplifies what the
+<a name="273"></a>
+author of "perspective" says in his preface:
+"that, by observing the rules laid down in this
+book, a man may do wonders"--for this is
+wonderful.'"</p>
+
+<p>Sir Joshua laid down--even wrote out--a
+great many rules of conduct for himself.
+Some of these were: "The great principle
+of being happy in this world is not to mind or
+be affected with small things." Also: "If
+you take too much care of yourself, nature
+will cease to take care of you."</p>
+
+<p>When Samuel Reynolds, Joshua's father,
+consulted with his friend Mr. Craunch, as to
+whether a boy who made wonderful paintings
+at twelve years of age, would be likely to be a
+successful apothecary, he told Craunch that
+Joshua himself had declared that he would
+rather be a good apothecary than a poor artist,
+but if he could be bound to a good master of
+painting he would prefer that above everything
+in the world. This was how he came
+to be apprenticed to Hudson, the painter.
+Young Reynolds's sister paid for his instruction
+at first--or for half of it, with the understanding
+that Reynolds was to pay her back when he
+was earning. At that time Reynolds wrote
+to his father: "While I am doing this I am
+the happiest creature alive."</p>
+
+<p>One day, while in an art store, buying something
+for Hudson, Reynolds saw Alexander
+Pope, the poet, come in, and every one bowed
+to him and made way for him as if for a prince.
+<a name="274"></a>
+Pope shook hands with young Reynolds, and
+in writing home, describing the poet, the
+artist said that he was "about four feet six
+inches high; very humpbacked and deformed.
+He wore a black coat and according to the
+fashion of that time, had on a little sword. He
+had a large and very fine eye, and a long handsome
+nose; his mouth had those peculiar
+marks which are always found in the mouths of
+crooked persons, and the muscles which run
+across the cheeks were so strongly marked
+that they seemed like small cords." This is a
+masterly description of one famous man by
+another.</p>
+
+<p>He finally was dismissed from his master's
+studio on the ground that he had neglected to
+carry a picture to its owner at the time set by
+Hudson, but the fact was the older artist had
+become jealous of the work of his pupil, and
+would no longer have him in his studio.</p>
+
+<p>Afterwards, while he was painting down in
+Devonshire--thirty portraits of country
+squires for fifteen dollars apiece--he said:
+"Those who are determined to excel must go
+to their work whether willing or unwilling,
+morning, noon, and night, and they will find
+it to be no play, but, on the contrary, very
+hard labour." This shows that Reynolds's idea
+of genius was "an infinite capacity for hard
+work."</p>
+
+<p>While Reynolds was on his memorable
+journey to Rome, he made several volumes
+<a name="275"></a>
+of notes about the pictures of great Italian
+artists--Raphael, Titian, etc. And one of
+those volumes is in the Lenox Library, New
+York City. He made a most characteristic
+and delightful remark in regard to his disappointment
+in Raphael's pictures. "I did not
+for a moment conceive or suppose that the
+name of Raphael, and those admirable paintings
+in particular, owed their reputation to the
+<i>ignorance</i> ... of mankind; on the
+contrary, my not relishing them, as I was
+conscious I ought to have done was one of the
+most humiliating things that ever happened to
+me."</p>
+
+<p>He loved home and country so much that
+while in Venice he heard a familiar ballad sung
+in an opera, and it brought the tears to his
+eyes because of its association with "home."</p>
+
+<p>His young sister, was so undecided in her
+ways and opinions as to make it impossible
+for Reynolds long to live with her, but she
+undertook to be his housekeeper when he
+returned to London, and she also tried to copy
+his pictures Reynolds said the results "made
+other people laugh, but they made me cry."</p>
+
+<p>Reynolds painted the portraits of two Irish
+sisters--the Countess of Coventry and the
+Duchess of Hamilton--two of the most beautiful
+women in all the British Empire.
+"Seven hundred people sat up all night, in and
+about a Yorkshire inn, to see the Duchess of
+Hamilton get into her postchaise in the morning,
+<a name="276"></a>
+while a Worcester shoemaker made money by
+showing the shoe he was making for the Countess
+of Coventry." Sir Joshua declared that
+whenever a new sitter came to him, even till
+the last years of his life, he always began his
+portrait with the determination that that one
+should be the best he had ever painted. Success
+was bound to attend that sort of man.</p>
+
+<p>He painted every picture almost as an
+experiment; meaning to learn something new
+with every work, and he spent more than he
+made in perfecting his art. As he said: "He
+would be content to ruin himself" in order to
+own one of the best works of Titian.</p>
+
+<p>His deeds of kindness are beyond counting.
+He rescued his friend Dr. Johnson from debt--thereby
+saving him from prison; and when a
+young lad, "a son of Dr. Mudge," who was
+very anxious to visit his father on the occasion
+of his sixteenth birthday, grew too ill to make
+the journey. Reynolds said gaily: "No matter
+my boy. <i>I</i> will send you to your father." He
+painted a splendid portrait of the boy and sent
+it to Dr. Mudge. This gift of a picture,
+however, was very unusual with Reynolds,
+who, unlike Gainsborough who gave his by
+the bushel to everyone, declared that his
+pictures were not valued unless paid for.
+When Sir William Lowther, a gay and rich
+young man of London, died, he left twenty-five
+thousand dollars to each of thirteen friends,
+and each of the thirteen commissioned the
+<a name="277"></a>
+painter to make a portrait of Lowther, their
+benefactor. His work room was of interest:
+"The chair for his sitters was raised eighteen
+inches from the floor, and turned on casters.
+His palettes were those which are held by
+a handle, not those held on the thumb. The
+stocks of his pencils were long, measuring about
+nineteen inches. He painted in that part of
+the room nearest to the window, and never sat
+down when he painted." The chariot in which
+he drove about had the four seasons allegorically
+painted upon its panels, and his liveries were
+"laced with silver"; while the wheels of his
+coach were carved with foliage and gilded.</p>
+
+<p>Sir Joshua knew that it paid to advertise,
+and as he had no time to go about in that
+gorgeous chariot he made his sister go, for he
+declared that people seeing that magnificent
+coach would ask: "Whose chariot is that?"
+and upon being told could not fail to be impressed
+with his prestige. The comical
+inconsequence of this anecdote concerning a
+man so important robs it of vulgarity.</p>
+
+<p>The graceful anecdotes told of Reynolds are
+without number, but one and all are to his
+advantage and show him to have been good and
+gentle, a devoted and high-bred man.</p>
+
+<center>PLATE--THE DUCHESS OF DEVONSHIRE AND HER DAUGHTER</center>
+
+<p>This is generally considered one of the finest
+of Sir Joshua's pictures, if not the most
+<a name="278"></a>
+beautiful of all. He was such a welcome guest
+at the houses of grandees that perchance he had
+noticed the lovely duchess playing with her
+still more lovely baby, and thought what a
+charming picture the two would make. As a
+representation of the artist's ability to portray
+grace and sweetness it can hardly be surpassed.
+He painted it in 1786, half a dozen
+years before his death, and it now hangs in
+Chatsworth, the home of the present Duke of
+Devonshire.</p>
+
+<p>Other well known Reynolds paintings are
+"The Hon. Ann Bingham," "The Countess of
+Spencer," the "Nieces of Sir Horace Walpole,"
+and the "Angels' Heads" in the National
+Gallery.</p>
+
+<p><a name="279"></a></p>
+<h1>XXXV</h1>
+
+<h1>PETER PAUL RUBENS.</h1>
+
+<center><i>Flemish School</i><br>
+1577-1640<br>
+<i>Pupil of Tobias Verhaecht</i> </center>
+
+<p>The story of Peter Paul Rubens, whose
+birthday falling upon the saint days
+of Peter and Paul gave to him his name, is
+hardly more interesting than that of his parents,
+although it is quite different. The story of
+Rubens's parents seems a part of the artist's
+story, because it must have had something to
+do with influencing his life, so let us begin with
+that.</p>
+
+<p>John Rubens was Peter Paul's father, and he
+was a learned man, a druggist, but he had also
+studied law, and had been town councillor and
+alderman in the town where he was born.
+Life went easily enough with him till the
+reformation wrought by Martin Luther began
+to change John Rubens's way of thinking, and
+he turned from Catholic to Lutheran.</p>
+
+<p>From being a good Catholic John Rubens
+became a rabid reformer; and when, under
+the new faith, the Antwerp churches were
+stripped of their treasures, the magistrates
+were called to account for it. John Rubens,
+as councillor, was among those summoned.
+<a name="280"></a>
+The magistrates declared that they were all
+good Catholics, but a list of the reformers fell
+into the Duke of Alva's hands and Rubens's
+name was there. This meant death unless he
+should succeed in flying from the country,
+which he instantly did. That was in 1568,
+when he had four children, but Peter Paul was
+not one of them--since he was a seventh son.</p>
+
+<p>The Rubens family went to live in Cologne,
+where the father found his learning of great
+use to him, and he was honoured by being
+made legal adviser to Anne of Saxony who
+was William the Silent's second queen. John
+Rubens's behaviour was not entirely honourable
+and before long he was thrown into prison, but
+his good wife, Maria Pypelincx undertook to
+free him. He had treated her very badly,
+but her devotion to his cause was as great as
+if he had treated her well. Despite his wife's
+efforts he was kept a prisoner in the dungeon
+at Dillenburg for two years, and afterward
+he was removed to Siegen, the place where
+Peter Paul was born.</p>
+
+<p>In the sixteenth century there were no
+records of any sort kept in the town of Siegen,
+and so we cannot be absolutely sure that Peter
+Paul was born there, but his mother was
+certainly there just before and after the date
+of his birth, which was the 29th of June
+1577. After his birth, his father was set free
+in Siegen and allowed to go back to the city
+in which he had misbehaved himself. In
+<a name="281"></a>
+Cologne he became once more a Catholic, and
+he died in that faith. Meantime, ten years had
+passed since Peter Paul's birth, and both his
+father and mother were determined above
+all things their son should have a fine education,
+quite unlike other artists, for the boy seemed
+capable of learning. While he was still very
+small he could speak to his tutor in French, to
+his mother in Flemish, and to his father in Latin.
+Besides these languages he spoke also Italian
+and English. Before he was an artist, Rubens,
+like Dürer and Leonardo da Vinci, was a child
+of rare intelligence. As a little chap he went
+to Antwerp with his mother--this was after
+his father's death--and in Belgium he took
+for the first time the rôle of courtier, in which
+he was to become so successful later in life.
+The charming little fellow, dressed in velvet
+and lace, took his place in the household of the
+Countess of Lalaing, in Brussels.</p>
+
+<p>Very soon after entering that household,
+Rubens was permitted by his mother to leave
+it for the studio of the painter who was his
+first master, though not the one who really
+taught him much. Rubens did not stay there
+long, but went instead to the studio of Adam
+van Noort, an excellent painter of the time.
+After that he studied under another artist,
+who was both a scholar and a gentleman, Van
+Veen, and with him Peter Paul was able to
+speak in Latin and in his many other languages,
+while learning to paint at the same time.</p>
+
+<p><a name="282"></a>
+Thus we find Rubens's lot was always cast, not
+among the rich, but among the intelligent, the
+well bred, and the cultivated. This fact alone
+would prepare us to anticipate pleasant things
+for him and from him.</p>
+
+<p>In those days of guilds, there were many
+rules and regulations. Van Noort, Rubens's
+teacher, was dean of the painters' guild
+and through his influence the guild recognised
+Rubens as "master," which meant that he
+was qualified to take pupils; thus he was pupil
+and teacher at the same time.</p>
+
+<p>One is unable to think of Rubens as having
+low tastes, as being morose, erratic, or anything
+but a refined, gracious, and brilliant gentleman.
+He began well, lived well, and ended well.</p>
+
+<p>None of his teachers really impressed their
+style of art upon him. He was the model for
+others. Rubens became nothing but Rubens,
+but all the art world wished to become
+"Rubenesque."</p>
+
+<p>Rubens went to Mantua to see the art of
+Italy, and while there he met the Duke of
+Mantua who was Vincenzo Gonzaga, the richest,
+most powerful personage of that region and
+time. The duke engaged Rubens to paint
+the portraits of many beautiful women--just
+the sort of commission that Rubens's pupil,
+Van Dyck, would have loved; but Rubens's
+art was of sterner stuff, and the work by no
+means delighted him. He had great ideas,
+profound purposes, and wished to undertake
+<a name="283"></a>
+them, but just then it seemed best that he
+perform that which the Duke of Mantua wanted
+him to do; hence he set about it.</p>
+
+<p>Later Rubens went to the Spanish court,
+not as a painter, but as a cavalier upon a
+diplomatic mission. Bearing many beautiful
+presents to King Philip III., he went to Madrid,
+where his elegance, manly beauty, dashing
+manner, and ability to speak several languages
+made him a wonderful success. He remained
+for three years at the court and studied the
+methods of Spanish painters. He also painted
+the members of the Spanish court, as Velasquez
+had done, but they looked like people of
+another world. The Spanish aristocracy had
+always been painted with pallid faces, languid
+and elegant poses; but Rubens gave them a
+touch of the life he loved--made them robust
+and apparently healthy-minded. Of all great
+colourists, Rubens took the lead. Titian with
+his golden hues and warm haired women was
+very great, but Rubens, "the Fleming" as he
+was called, revelled in richness of colouring,
+and flamed through art like a glorious comet.</p>
+
+<p>Rubens had long been wanted in his own
+country. His sovereigns, Albert and Isabella,
+wished him to return and become their painter,
+but they were unable to free him from his
+engagements in Italy and Spain. At last Rubens
+received word that his mother, whom he loved
+devotedly, was likely to die, and what kings
+could not do his love for her accomplished.</p>
+
+<p><a name="284"></a>
+Although his patron, the Duke of Mantua, was
+absent, and his consent could not be secured,
+Rubens set off post-haste to his mother's home.
+He arrived in Antwerp too late to see Maria
+Pypelincx, who had died before he reached her.
+Once more on his native soil, Albert and
+Isabella determined to induce him to remain.
+He had intended to go back to Mantua and
+continue his work under the duke, but since
+he was now in Belgium he decided to stay there,
+and thus he became the court painter in his
+own country, which after all he greatly preferred
+to any other.</p>
+
+<p>He was to have a salary of five hundred
+livres ($96) a year, also "the rights, honours,
+privileges, exemptions, etc." that belonged to
+those of the royal household; and he was given
+a gold chain. In this day of large doings there
+is something about such details that seems
+childish, but a "gold chain" was by no means
+a small affair at a time when $96 was
+considered an ample money-provision for an
+artist.</p>
+
+<p>That gorgeous gold chain, a mark of distinction
+rather than a reward, is to be seen in all its
+glory in one of Rubens's great paintings. The
+artist himself is mounted upon a horse, the
+chain about his neck, while he is surrounded by
+"no fewer than eight-and-twenty life-size
+figures, many in gorgeous attire, warriors in
+steel armour, horsemen, slaves, camels, etc."
+This picture, "The Adoration of the Magi," was
+<a name="285"></a>
+twelve feet by seventeen, and was painted at
+the town's expense. It was later sent to Spain
+and placed in the Madrid Gallery.</p>
+
+<p>One of the greatest honours that could come
+to students of that day, was to be admitted
+to Rubens's studio to paint under his direction,
+and it is said that "hundreds of young men
+waited their turn, painting meanwhile in the
+studios of inferior artists, till they should be
+admitted to the studio of the great master."</p>
+
+<p>Rubens was a king among painters, as well
+as a painter patronised by kings.</p>
+
+<p>He had two wives, and he married the first
+one in 1609. Her name was Isabella Brant.
+Sir Joshua Reynolds said of her: "His wife is
+very handsome and has an agreeable countenance,
+but the picture is rather hard in manner"--by
+which he meant a picture which Rubens
+had painted of her. One of his greatest
+privileges when he was engaged at the court of
+Albert and Isabella, had been that he need
+obey none of the exactions of the Guild of St.
+Luke, none of their rigid rules concerning the
+employment of art students. Rubens could
+take into his service whom he pleased, whether
+they had been admitted as members of the
+guild or not, though to be a member of the
+guild was a testimony to their qualifications.
+In the end, this did a good deal of harm, for
+Rubens employed students to do the preliminary
+work of his pictures, who had not been
+his pupils and who were not otherwise qualified.
+<a name="286"></a>
+Thus we read criticisms like that of Sir Joshua's;
+and many of Rubens's pictures are marred
+in this manner.</p>
+
+<p>A story is told of Van Dyck and other pupils
+of Rubens breaking into the master's studio
+and smudging a picture which Van Dyck
+afterward repaired by painting in the damaged
+portion most successfully. We are also told
+in connection with Rubens's picture, "The
+Descent from the Cross," that Van Dyck
+restored an arm and shoulder of Mary of
+Magdala, but certainly Van Dyck did not
+become a pupil of Rubens till some time after
+that picture was painted.</p>
+
+<p>The work of a wonderful period in Rubens's
+art was completely destroyed. In two years
+time he painted forty ceilings of churches in
+Antwerp, all of which were burned, but there
+is a record of them in the copies made by De
+Witt, in water colours from which etchings were
+afterward made. This work of Rubens was
+the first example of foreshortening done by a
+Flemish painter.</p>
+
+<p>Above all things Rubens liked to paint big
+pictures, on very large surfaces, as did Michael
+Angelo. "The large size of picture gives us
+painters more courage to present our ideas
+with the utmost freedom and semblance of
+reality. ... I confess myself to be, by
+a natural instinct, better fitted to execute
+works of the largest size." He wrote this to
+the English diplomat Trumbull in 1621.</p>
+
+<p><a name="287"></a>
+In the midst of Rubens's greatest success as a
+painter came his diplomatic services. It was
+desirable that Spain and England should be
+friends, and Rubens always moving about
+because of his work, and being so very clever,
+the Spanish powers thought him a good one to
+negotiate with England. While on a professional
+visit to Paris, the English Duke of
+Buckingham and the artist met, and this
+seemed to open a way for business. The
+Infanta consented to have Rubens undertake
+this delicate piece of statesmanship, but
+Philip of Spain did not like the idea of an artist--a
+wandering fellow, as an artist was then
+thought to be--entering into such a dignified
+affair. The real negotiator on the English
+side, was Gerbier, by birth also a Fleming, and
+strange to tell, he too had been an artist.
+The English engaged him to look after their
+interests in the affair, and as soon as Philip
+learned that their diplomat was also an artist,
+his prejudices against Rubens as a statesman,
+disappeared. So it was decided that the two
+Flemings, artists and diplomats, should meet
+in Holland to discuss matters. About that
+time Sir Dudley Carleton wrote to Lord
+Conway: "Rubens is come hither to Holland,
+where he now is, and Gerbier in his company,
+walking from town to town, upon their pretence
+of taking pictures, which may serve him for
+a few days if he dispatch and be gone; but yf
+he entertayne tyme here long, he will infallibly
+<a name="288"></a>
+be layd hold of, or sent with disgrace out of
+the country ... this I have made known
+to Rubens lest he should meet with a skorne
+what may in some sort reflect upon others."</p>
+
+<p>The two clever men got through with their
+talk, nothing unfortunate happened, and
+Rubens got off to Spain where he laid the result
+of his talk with Gerbier before the Spanish
+powers. He was given a studio in Philip's
+palace, where he carried on his art and his
+diplomacy. The king became delighted with
+him as a man and an artist, and as well as
+attending to state business, he did some
+wonderful painting while in Madrid. He was
+there nine months or more, and then started
+off for England to tell Charles I. of Philip III.'s
+wishes. But upon his arrival he learned that
+a peace had just been concluded between France
+and England, and all was excitement.</p>
+
+<p>He was received in England as a great artist;
+every honour was showered upon him, and
+when he made Philip's request to Charles,
+that he should not act in a manner hostile to
+Spain, Charles agreed, and kept that agreement
+though France and Venice urged him to
+break it.</p>
+
+<p>Charles knighted Rubens while he was in
+England, and the University of Cambridge
+made him Master of Arts. The sword used by
+the king at the time he gave the accolade is
+still kept by Rubens's descendants.</p>
+
+<p>While he was in London Rubens was very
+<a name="289"></a>
+nearly drowned in the Thames going down to
+Greenwich in a boat.</p>
+
+<p>When he first went from Italy to Spain on a
+mission of state, he carried a note or passport
+bearing the following lines: "With these
+presents" (he took magnificent gifts to Philip,
+among them a carriage and six Neapolitan
+horses) "comes Peter Paul, a Fleming. Peter
+Paul will say all that is proper, like the well
+informed man that he is. Peter Paul is very
+successful in painting portraits. If any ladies
+of quality wish their pictures, let them take
+advantage of his presence." When he visited
+England there was no longer need of such
+introduction; he went in all the magnificence
+that his genius had earned for him.</p>
+
+<p>Rubens was always a happy man, so far as
+history shows. He married the first time,
+a woman who was beautiful and who loved
+him, as he loved her. He was able to build
+for himself a beautiful house in Antwerp. In
+the middle of it was a great <i>salon</i>, big enough
+to hold all his collection of pictures, vases,
+bronzes, and beautiful jewels. There was also
+a magnificent staircase, up which his largest
+pictures could be easily carried, for it was built
+especially to accommodate the requirements
+of his work.</p>
+
+<p>Rubens's greatest picture was painted through
+a strange happening when this beautiful house
+was being built. The land next to his belonged
+to the Archers' Guild and when the workmen
+<a name="290"></a>
+came to dig Rubens's cellar, they went too far
+and invaded the adjoining property. The
+archers made complaint, and there seemed no
+way to adjust the matter, till some one suggested
+that Rubens make them a picture which
+should be accepted as compensation for the
+harm done. This Rubens did, and the picture
+was to be St. Christopher--the archers'
+patron saint; but when the work was done
+"Rubens surprised them" by exhibiting a
+picture "of all who could ever have been
+called 'Christ-bearers.'" This was "The
+Descent from the Cross"--not a single picture
+but a picture within a picture, for there were
+shutters folding in front of it, and on these
+was painted the archers' patron, St. Christopher.</p>
+
+<p>Rubens's daily life is described thus: "His
+life was very methodical. He rose at four,
+attended mass, breakfasted, and painted for
+hours; then he rested, dined, worked until
+late afternoon; then, after riding for an hour
+or two one of his spirited horses, and later
+supping, he would spend the evening with his
+friends.</p>
+
+<p>"He was fond of books, and often a friend
+would read aloud to him while he worked."
+This is a pleasant picture of a reasonable and
+worthy life.</p>
+
+<p>It is said that once he painted eighteen
+pictures in eighteen days, and it is known
+that he valued his time at fifty dollars a day.</p>
+
+<p>His pupil, Van Dyck, being pushed for
+<a name="291"></a>
+money, turned alchemist and tried to manufacture
+gold, but when Rubens was approached
+by a visionary who wanted him to lend him
+money by which he might pursue such a work,
+promising Rubens a fortune when he should
+have discovered how to make his gold, the
+artist laughed and said: "You are twenty
+years too late, friend. When I wield these,"
+indicating his palette and brush, "I turn all
+to gold."</p>
+
+<p>Many are the delightful anecdotes told of
+Rubens. It is said that while he was at the
+English court he was painting the ceiling of
+the king's banqueting hall, and a courtier
+who stood watching, wished to say something
+<i>pour passer le temps</i>, so he asked: "Does the
+ambassador of his Catholic Majesty sometimes
+amuse himself with painting?"</p>
+
+<p>"No--but he sometimes amuses himself
+with being an ambassador," was the witty
+retort, which showed how he valued his two
+commissions.</p>
+
+<p>When King Charles I. knighted Rubens
+he gave him, beside the jewelled sword, a
+golden chain to which his miniature was attached.
+If Rubens had gone about with all
+the chains and decorations given him by kings
+and other great ones of the earth he would
+have been weighted down, and would have
+needed two pairs of shoulders on which to
+display them.</p>
+
+<p>Rubens's first wife died; and when he
+<a name="292"></a>
+married again, he was as fond of painting
+pictures of the second wife as he had been of
+the first. The name of the second was Helena
+Fourment, and she is called by one author
+"a spicy blonde." Certainly she was very gay,
+big, and robust, and only sixteen years old
+when she married Rubens who was then a man
+of fifty-three. Of one picture, "The Straw
+Hat," for which he is supposed to have used
+his wife's sister as model, he was so fond that
+he would not sell it at any price.</p>
+
+<p>Rubens had a rare mother, as shown in her
+letters to her husband, John, when he was
+in prison for his wrongdoing. It would seem
+that such a mother must have a strong,
+forceful son, and Rubens is less of a surprise
+than many artists who had no such influence
+in their childhood. The history of Rubens's
+mother is worthy of being told even had she
+not had a famous son who painted a beautiful
+picture of her.</p>
+
+<p>Rubens's "Holy Families" are like those of
+no other painter. The Virgin, the Child, all
+the others in the picture, are quite different
+from the Italian figures. These are human
+beings, good to look upon; full of love and joy,
+softness and beauty.</p>
+
+<p>It was his learning that first won favour
+for him in Italy. The Duke of Mantua hearing
+him read from Virgil, spoke to him in Latin,
+and being answered in that tongue was so
+charmed that the foundation of their friendship
+<a name="293"></a>
+and the duke's patronage was laid. In
+Italy he was called "the antiquary and Apelles
+of our time."</p>
+
+<p>His nephew-biographer writes of him: "He
+never gave himself the pastime of going to
+parties where there was drinking and card-playing,
+having always had a dislike for such."</p>
+
+<p>As Rubens grew in fame, he found that many
+were jealous of him, and on one occasion a rival
+proposed that he and Rubens each paint a
+picture upon a certain subject and leave it to
+judges to decide which work was the best--Rubens's
+or his own.</p>
+
+<p>"No," said Rubens. "My attempts have
+been subjected to the scrutiny of connoisseurs
+in Italy and Spain. They are to be found in
+public collections and private galleries in those
+countries; gentlemen are at liberty to place
+their works beside them, in order that comparison
+may be made." This was a dignified
+way of disposing of the case.</p>
+
+<p>Rubens loved to paint animals, and he had a
+great lion brought to his home, that he might
+study its poses and movements.</p>
+
+<p>The flesh of his figures was so lifelike that
+Guido declared he must mix blood with his
+paints. He was called "the painter of life."</p>
+
+<p>Rubens, a seventh child, had also seven
+children, two belonging to his first wife, five to
+the second.</p>
+
+<p>Many stories are told of his patience and his
+kindness. It is said that at one time his old
+<a name="294"></a>
+pupil, Van Dyck, returned to Antwerp after an
+absence, greatly depressed and in need of
+money. Rubens bought all his unsold pictures,
+and he did this charitable act more than once,
+and is known to have done the same thing
+for a rival and enemy, out of sheer goodness
+of heart.</p>
+
+<p>Kings and queens came to the Rubens
+house, people of many nations did him honour;
+and toward his closing days, when gout had
+disabled him, ambassadors visited him, since
+he could not go to them.</p>
+
+<p>In a description of his death and burial which
+took place at Antwerp we read: "He was buried
+at night as was the custom, a great concourse
+of citizens ... and sixty orphan children
+with torches followed the body." He was
+placed in the vault of the Fourment family,
+and as he had requested, "The Holy Family"
+was hung above him. In that picture, we find
+the St. George to be Rubens himself; St.
+Jerome, his father; an angel, his youngest son,
+while Martha and Mary are Isabella and
+Helena, his two wives.</p>
+
+<p>He left many sketches "to whichever of his
+sons became an artist, or to the husband of
+his daughter who should marry an artist."
+But there were none such to claim the bequest.</p>
+
+<center>PLATE--THE INFANT JESUS AND ST. JOHN</center>
+
+<p>The little girl behind Jesus is supposed
+to represent his future bride, the Christian
+<a name="295"></a>
+Church. The thoughtful, far-seeing look upon
+the face of the Christ-child, though it does
+not clash with His youthful charm, is meant
+to suggest that He has a premonition of His
+work in the world. The other joyous little
+figures also demonstrate the artist's love for
+children. He brings them into his pictures, as
+cherubs, wherever he can, and they are frequently
+just as well painted and more universally
+appreciated than his stout women.
+In this picture he has a good opportunity
+to show his adorable flesh tints, combined
+with the movement and freedom naturally
+associated with child life.</p>
+
+<p>The original painting is in the Court Museum
+at Vienna, but it has always been so popular
+that many copies of it have been made, and
+one of these is in the Berlin Gallery.</p>
+
+<center>PLATE--THE ARTIST'S TWO SONS<br>
+<i>(See Frontispiece</i>)</center>
+
+<p>This picture hangs in the Lichtenstein
+Gallery at Vienna; the two boys, eleven and
+seven years of age, are the sons of Rubens
+by his first wife, Isabella Brant; and Albert,
+the elder of the two, greatly resembles his
+mother. He is evidently a student, for he
+wears the dress of one and carries a book in
+one hand. The other is placed affectionately
+upon the shoulder of his little brother, Nicolas,
+whose face, figure, and attire are all much the
+more childish of the two.</p>
+
+<p><a name="296"></a>
+Critics consider this painting to mark the
+Highest point which Rubens reached in portraiture.
+It has all the colour, character, and
+vitality of his best work. Some of his other pictures
+are: "Coronation of Marie de Medicis,"
+"The Kirmesse," "Slaughter of the Innocents,"
+"Susanna's Bath," "Capture of Samson," "A
+Lion Hunt" and "The Rape of the Daughters
+of Leucippus."</p>
+
+<p><a name="297"></a></p>
+<h1>XXXVI</h1>
+
+<h1>JOHN SINGER SARGENT</h1>
+
+<center><i>American and Foreign Schools</i><br>
+1856-1926<br>
+<i>Pupil of Carolus Durand</i></center>
+
+<p>This artist was born in Europe, of American
+parents; thus we may say that he was
+"American," though he owed nothing but
+dollars to the United States, since his instruction
+was obtained in Italy and France, and all
+his associations in art and friendship were
+there. He was probably the most brilliant of
+the artists termed American. His great mural
+work in the Boston Public Library, is hardly
+to be surpassed.</p>
+
+<p>Above all, Sargent's portraits are masterly.
+He was famous in that branch of art before he
+was twenty-eight years old. Among his finest
+portraits is that of "Carmencita," a Spanish
+dancer, who for a time set the world wild with
+pleasure. The list of his famous portraits is
+very long.</p>
+
+<p>Sargent's father was a Philadelphia physician;
+who originally came from New England, but
+the artist himself was born in Florence. He
+was given a good education and grew up with
+the beauties of Florence all about him, in a
+refined and charming home. He was the
+<a name="298"></a>
+delight of his master, Carolus Durand for he
+was modest and refined, yet full of enthusiasm
+and energy. In his twenty-third year he
+painted a fine picture of his master. Sargent
+was a musician as well as a painter; a man of
+great versatility, as if the gods and all the
+muses had presided at his birth.</p>
+
+<center>PLATE--CARMENCITA</center>
+
+<p>In this picture of the famous Spanish dancer
+Sargent shows all the life and character he can
+put into a portrait. The girl seems on the
+point of springing into motion. She is poised,
+ready for flight and the proud lift of her head
+makes one believe that she will accomplish
+the most difficult steps she attempts. The
+painting is in the Luxembourg, Paris.</p>
+
+<p>Other noted Sargent portraits are "Mr. Marquand"
+in the Metropolitan Museum of Art,
+"Lady Elcho, Mrs. Arden, Mrs. Tennant," "Mrs.
+Meyer and Children," "Homer St. Gaudens,"
+"Henschel," and "Mr. Penrose."</p>
+
+<p><a name="299"></a></p>
+<h1>XXXVII</h1>
+
+<h1>TINTORETTO (JACOPO ROBUSTI)</h1>
+
+<center><i>Venetian School</i><br>
+1518-1594<br>
+<i>Pupil of Titian</i></center>
+
+<p>Tintoretto was born with an ideal.
+As a young boy he wrote upon his
+studio wall: "The drawing of Michael Angelo,
+the colouring of Titian," and that was the end
+he tried to reach. His father was a "tintore"--a
+dyer of silk, a tinter--and it was from
+the character of that work the artist took his
+name. He helped his father with the dyeing
+of silks, while he was still a child, and was
+called "II tintoretto," little dyer.</p>
+
+<p>As the little tinter showed great genius for
+painting, his father placed him in Titian's
+studio, but for some reason he only stayed there
+a few days, long enough, however, to permit us
+to call him a pupil of Titian; especially as he
+wrote that master's name upon his wall and
+determined to imitate him. After his few days
+with Titian, Tintoretto studied with Schiavone
+and afterward set up a studio for himself.</p>
+
+<p>As a determined lad in this studio of his,
+Tintoretto tried every means of developing his
+art. He studied the figures upon Medicean
+tombs made by Michael Angelo, taking plaster
+<a name="300"></a>
+casts of them and copying them in his studio.
+He used to hang little clay figures up by strings
+attached to his ceiling, that he might get the
+effect of them high in air. By looking at them
+thus from below he gained an idea of foreshortening.</p>
+
+<p>Although this artist nearly succeeded in
+getting into line with Michael Angelo, he did
+not colour after the fashion of his master,
+Titian. Tintoretto was about twenty-eight
+years old before he got any very big commission,
+but at that age a chance came to him. In the
+church of Santa Maria del Orto were two great
+bare spaces, unsightly and vast, about fifty
+feet high and twenty broad. In that day
+anything and everything was decorated with
+masterpieces, and it was almost disgraceful
+for a church to let such a space as that go
+unfrescoed. Tintoretto saw an opportunity,
+and finally offered to paint pictures there for
+nothing if the church would agree to pay for
+the materials he needed. The church certainly
+was not going to refuse such an offer, even if
+Tintoretto was not thought to be much of an
+artist at the time. If the work was poor, one
+day they could choose to have it repainted.
+Thus Tintoretto got his first great opportunity.
+He painted on those walls "The Last Judgment"
+and "The Golden Calf." They made him famous,
+and gained him the commission to paint the
+picture which is used as an illustration here.</p>
+
+<p>The brothers of the Scuola di San Rocco
+<a name="301"></a>
+asked him to compete with Veronese, in
+painting the ceilings after he had done four
+pictures for their walls.</p>
+
+<p>Tintoretto consented, and Veronese and two
+others who were in the competition set about
+making their sketches which they were to
+present for the brothers' consideration.
+Finaly the day of decision came. All were
+assembled, the artists armed with sketches of
+their plans.</p>
+
+<p>"Where are yours, Tintoretto?" the others
+asked. "We expect a drawing of your idea."</p>
+
+<p>"Well, there it is," the artist answered,
+drawing a screen from the ceiling. Behold!
+he had already painted it to suit himself. The
+work was complete.</p>
+
+<p>"That is the way I make my sketches," he
+said.</p>
+
+<p>Though the work was magnificent it had not
+been done according to the monks' ideas of business
+and order. They objected and objected.</p>
+
+<p>"Very well," the artist cried; "I will make
+the ceiling a present to you." As there was
+a rule of their order forbidding them to refuse a
+present, they had to accept Tintoretto's. This
+did not promise very good business at the
+time, but the work was so splendid and
+Tintoretto so reasonable that they finally
+agreed to give him all the work of their order--nearly
+enough to keep him employed during
+a lifetime. After that he painted sixty great
+pictures upon their walls.</p>
+
+<p><a name="302"></a>
+He painted so much and so fast that he did
+not always do good work, and one critic
+declares that "while Tintoretto was the equal
+of Titian, he was often inferior to Tintoretto"--which
+after all is a very fine compliment.</p>
+
+<p>His life was so tranquil and uneventful that
+there is little to say of it; but there is much to
+say of his art. He lived mostly in his studio,
+and when he died he was buried in the Santa
+Maria del Orto--the church in which he had
+done his first work.</p>
+
+<p>Veronese had given to Venice a brilliant,
+glowing, rich, ravishing riot of colour and
+figures, but Tintoretto was said to rise up
+"against the joyful Veronese as the black
+knight of the Middle Ages, the sombre priest of
+a gloomy art." Tintoretto was of stormy
+temperament, and upon one occasion he proved
+it by thrusting a pistol under a critic's nose,
+after he had invited him to his studio; it is this
+half savage spirit that may be seen in his
+paintings. He had deep-set, staring eyes, it
+is said, a furrowed brow and hollow cheeks,
+indicative of his passionate spirit. He painted
+very few female figures, but mostly men.
+When he did paint a woman, she looked
+mannish and not beautiful. When he painted
+gorgeous subjects, like doges and senators,
+he gave to them gloomy backgrounds, awe-inspiring
+poses, and he seldom painted a figure
+"full-face" but three-quarter, or half, so that
+he did not give himself a chance to present
+<a name="303"></a>
+human figures in beautiful postures. He is
+said to have been the first who painted groups
+of well-known men in pictures intended for the
+decoration of public buildings. One great
+critic has written that "while the Dutch, in
+order to unite figures, represented them at a
+banquet, Tintoretto's <i>nobili</i> (aristocrats) were
+far too proud to show themselves to the people"
+in so gay and informal a situation. With
+the coming of Tintoretto it was said "a dark
+cloud had overcast the bright heaven of
+Venetian art. Instead of smiling women,
+bloody martyrs and pale ascetics" were painted
+by him. He dissected the dead in order to
+learn the structure of the human body. In
+his paintings "his women, especially, with their
+pale livid features and encircled eyes, strangely
+sparkling as if from black depths, have nothing
+in common with the soft" painted flesh which
+he pictured in his youth while he was following
+Titian as closely as he could. As he grew
+older and his art more fixed, he followed
+Michael Angelo more and more. Titian's
+colouring was that of "an autumn day" but
+Tintoretto's that of a "dismal night." Yet
+these very qualities in Tintoretto's work made
+him great.</p>
+
+<center>PLATE--THE MIRACLE OF ST. MARK</center>
+
+<p>This painting in the Academy at Venice tells
+the story of how a Christian slave who belonged
+<a name="304"></a>
+to a pagan nobleman went to worship at the
+shrine of St. Mark. That was unlawful.
+The nobleman had his slave taken before the
+judge, who ordered him to be tortured. Just
+as the executioner raised the hammer with
+which he was finally to kill the slave, St. Mark
+himself came down from heaven, broke the
+weapon and rescued the slave.</p>
+
+<p>The figure of the patron saint of Venice is
+swooping down, head first, above the group, his
+garments flying in the air. A bright light
+touches the slave's naked body, as he lies upon
+his back, the executioner having turned away
+and raised his hammer aloft, while others
+have drawn back in fright at the appearance
+of the patron saint. We may imagine that
+Tintoretto was trying to acquire this power of
+painting wonderful figures hovering in the air
+when he hung his little clay images from the
+ceiling of his studio years before. Other
+pictures of his are: "The Marriage of Bacchus
+and Ariadne," "Martyrdom of St. Agnes," "St.
+Rocco Healing the Sick," "The Annunciation,"
+"The Crucifixion," and many others.</p>
+
+<p><a name="305"></a></p>
+<h1>XXXVIII</h1>
+
+<h1>TITIAN (TIZIANO VECELLI)</h1>
+
+<center>(Pronounced Tit-zee-ah'no (Vay-chel'lee))<br>
+<i>Venetian School</i><br>
+1477-1576<br>
+<i>Pupil of Giovanni and Gentile Bellini</i></center>
+
+<p>Titian was a child of the Tirol Mountains,
+handsome, strong, full of health and
+fine purposes, even as a boy. He was born in
+a little cottage at Pieve, in the valley of
+Cadore, through which flows the River Piave;
+and he wandered daily beside its banks,
+gathering flowers from which he squeezed the
+juices to paint with. When he grew up he
+became a wonderful colourist, and from his
+boyhood nothing so much delighted him as the
+brilliant colours flaunted by the flowers of wood
+and field.</p>
+
+<p>Gathered about his good father's hearth were
+many children, Caterina, Francesco, Orsa, and
+the rest, living in peace and happiness, closely
+bound together by love. Titian had a gentle,
+loving mother named Lucia, while his father
+was a soldier and an honoured man. In the
+little town where they lived, he was councillor
+and also superintendent of the castle and
+inspector of mines, no light honours among
+those simple country people. Doubtless
+<a name="306"></a>
+Titian inherited his splendid bearing and his
+determined character from his soldier father.</p>
+
+<p>Even while a little child, the man who was
+destined to become a great artist began his
+work with the juices of the wild-flowers,
+which he daubed upon the wall of the humble
+home in the Tirol valley, making a Madonna
+with angels at her feet and a little Jesus upon
+her knee. But if Titian was a great painter,
+he was never even a fair scholar. He went to
+school, but would not, or could not, study.
+His father soon saw that he was wasting his
+time and being made very unhappy through
+being forced to do that for which he had no
+ability; so he was soon released from book-learning
+and sent to Venice, seventy-five miles
+from home, to learn art. In Venice, the
+Vecelli family had an uncle, and it was with
+him that Titian lived, though he studied first
+with Sebastian Zuccato, the head of the Venetian
+guild of mosaic workers, and a pretty
+good teacher in his way. He was not able to
+teach Titian very much, for the boy was an
+inspired artist and needed a good master; so,
+after a little, the family held a consultation
+and it was decided that Titian should become
+the pupil of Gentile Bellini, a very clever artist
+indeed. There was an interesting story told
+about this master which made the Vecellis
+feel that their boy would do well to be under
+the influence of a kind-hearted man, as well as a
+genius. It seems that Bellini's fame had
+<a name="307"></a>
+become so great that the Sultan had sent for him
+to paint the portraits of himself and the
+Sultana. Bellini went gladly to Turkey to do
+this; but he took with him certain pictures
+to show his patron. Among them was one of
+St. John the Baptist having his head cut off.
+The Sultan looked at it, and cutting heads off
+being a large part of his business, he saw that
+Bellini had not scientifically painted it, and in
+order to show him the true way to conduct
+such matters, he sent for a slave and ordered
+his head chopped off in Bellini's presence.
+Bellini was so terrified and sickened by the
+dreadful sight that he fled from Turkey and
+would not paint its ruler, the Sultana nor anyone
+else who had to do with such cruel things
+as he had witnessed.</p>
+
+<p>It was into this man's studio that Titian
+went as a young boy, but after a little he
+displeased Gentile Bellini, who complained
+that his pupil worked too fast, and therefore
+could not expect to do great work. He
+declared that picture painting was serious and
+careful work, and that Titian was too careless
+and quick. As a matter of fact, Titian was
+too wonderful for Bellini ever to do much for;
+and since he could not get on with him, he
+went to another master--Gentile Bellini's
+brother, Giovanni. One of Titian's chief
+troubles in the studio of Gentile had been that
+he was not allowed to use the gorgeous colouring
+he loved, but in the brother's studio he found
+<a name="308"></a>
+to his joy that colour was more valued, and he
+was given more freedom to use it. Also there
+was a young peasant pupil with Giovanni,
+who, like Titian, loved to use beautiful colours,
+and he and the newcomer became fast friends.</p>
+
+<p>The other artist's name was Giorgione, and
+he had the most delightful ways about him,
+winning friends wherever he went, so it was
+no wonder that the warm-hearted Titian sought
+his companionship. One day those two young
+comrades left their master's studio, to have a
+good time off by themselves. There was a
+stated hour for their return; but they had
+spent all their money, and forgot that Giovanni
+Bellini was expecting them home. When
+they did return the door was closed and locked.
+What were they to do? They did the only
+thing they could. As comrades in misfortune
+they joined forces, set up a studio of their
+own, and went to work to earn their living
+as best they might. At first it was hard
+sledding, but in time they got a good job,
+namely to decorate the walls of a public building
+in Venice which was used by foreign merchants
+for the transaction of their business, a sort of
+"exchange," as we understand it. This was
+the Fondaco de' Tedeschi, and it had two great
+halls, eighty rooms, and twenty-six warehouses.
+It was indeed a big undertaking for the two
+young men, and they divided the business
+between them. Their joy was great, their
+cartoons successfully made and the work well
+<a name="309"></a>
+begun, when, alas, they fell to quarreling simply
+because someone had declared that Titian's
+work upon the building was a little better than
+Giorgione's.</p>
+
+<p>This dispute parted the two friends, who
+had had good times together, and it must have
+been Giorgione's fault, because Ludovico Dolce,
+one who knew Titian well, said that "he was
+most modest ... he never spoke reproachfully
+of other painters ... in his
+discourse he was ever ready to give honour
+where honour was due ... he was, moreover,
+an eloquent speaker, having an excellent
+wit and perfect judgment in all things; of a
+most sweet and gentle nature, affable and most
+courteous in manner; so that whoever once
+conversed with him could not choose but love
+him henceforth forever." That is a most
+loving and splendid tribute for one man to pay
+another. Not long after Giorgione died, and
+Titian took up his unfinished work, doing it
+as well as his own.</p>
+
+<p>There was a brilliant and mature artist called
+Palma Vecchio, in Venice, and Titian painted
+in his studio, where he saw and loved Vecchio's
+daughter, Violante. The young artist was not
+very well off financially, and therefore could
+not marry; hence he was not specially happy
+over his love affair. About that time he took
+to painting after the manner of Vecchio,
+through being so much influenced by his soft
+feelings for the older artist's daughter. He
+<a name="310"></a>
+used the lovely Violante again and again for
+his model, and many of the beautiful faces
+which Titian painted at that time show the
+features of his lady-love. With his new love
+Titian's serious work seemed to begin, and at
+twenty-one he painted his first truly great
+picture, "Sacred and Profane Love." To
+day this picture hangs upon the walls of the
+Borghese Palace, in Rome.</p>
+
+<p>Raphael painted a great many pictures, but
+Titian must have painted more. At least one
+thousand have his signature.</p>
+
+<p>Now came wars and troubles for Venice.
+The Turks, French, and Venetians became at
+odds, and during the strife many fine works of
+art were lost, among them many of Titian's
+pictures. He had painted bishops, also the
+wicked Borgias, and many other great personages,
+but all of these are gone and to this day,
+no one knows what became of them.</p>
+
+<p>At last Titian began one of his greatest
+paintings, "The Tribute Money," and he set
+about it because he had been criticised. Some
+German travellers in Venice visited Titian's
+studio, and though they found his work very
+fine, one of them said that after all there was
+only one master able to finish a painting as it
+should be finished, and that was the great
+Dürer. The German pointed out the differences
+between Titian's method and Dürer's,
+and declared that Venetian painters never
+quite came up to the promise of their first
+<a name="311"></a>
+pictures. Dürer's wonderful pictures were quite
+different from Titian's, inasmuch as his work
+was fuller of detail and careful finishing, but
+Titian was as great in another way. His
+effects were broader, but quite as satisfying.
+However, the German criticism put him on
+his mettle, and he answered that if he had
+thought the greatest value of a painting lay in
+its fiddling little details of finishing, he too
+would have painted them. To show that he
+could paint after Dürer's fashion, as well as
+his own, he undertook the "Tribute Money,"
+and the result was a wonderful picture.</p>
+
+<p>Soon Rome sent for Titian. The Florentines,
+Raphael and Michael Angelo, were already
+there doing marvellous things, but the pope
+wished to add the genius of Titian to theirs
+and made him a great offer to go and live in
+Rome and do his future work for that city.
+This was an honour, but amid all his fame
+and the homage paid him, Titian had remembered
+the old home in the vale of Cadore.
+It was there his heart was, and he determined
+to return to the home of his boyhood to do his
+best work. So he sent his thanks and refusal
+to the pope, and he wrote as follows to his
+home folks, through the council of his town:</p>
+
+<p>"I, Titian of Cadore, having studied painting
+from childhood upward, and desirous of fame
+rather than profit, wish to serve the doge and
+signorini, rather than his highness the pope
+and other signori, who in past days, and even
+<a name="312"></a>
+now, have urgently asked to employ me. I
+am therefore anxious, if it should appear
+feasible to paint the hall of council, beginning,
+if it pleases their sublimity, with the canvas
+of the battle on the side toward the Piazza,
+which is so difficult that no one as yet has had
+the courage to attempt it."</p>
+
+<p>Then in stating his terms he asked for a very
+moderate sum of money and a "brokerage"
+for life. The Government did not have to
+think over the matter long. Titian's father
+had been honoured among them, Titian's
+genius was well known, and the commission
+was gladly given him. As soon as he got this
+business affair settled he moved into the palace
+of the Duke of Milan "at San Samuele; on the
+Grand Canal, where he remained for sixteen
+years," so says his biographer.</p>
+
+<p>Titian's affairs were not yet entirely smooth,
+because both of the Bellinis having painted
+for his patrons, they naturally considered
+Titian an intruder, and thought that the work
+should have been given to them. They did
+all they could to make trouble for the younger
+artist, but after a time Titian came into his
+rights, receiving his "brokerage" which gave
+to him a yearly sum of money 120 crowns,
+$126.04. His taxes were taken off for the
+future, provided he would agree to paint all
+the doges that should rule during his lifetime.</p>
+
+<p>Titian undertook to do this, but he did not
+keep his word, for he painted only five doges,
+<a name="313"></a>
+though many more followed. He had no
+sooner received his commission from the
+council of his native place than he began to
+neglect it, and to paint for the husband of the
+wicked poisoner--Lucretia Borgia--whose
+name was Alfonso d'Este, the Duke of Ferrara.
+It was for him he painted the "Venus Worship,"
+now in the Museum of Madrid, also "The Three
+Ages," which belongs to Lord Ellesmere, and
+the "Virgin's Rest near Bethlehem," now in
+the National Gallery. Afterward he painted
+"Noli Me Tangere," which is in the same
+London Gallery.</p>
+
+<p>There is a picture of great size in the Academy
+of Arts in Venice, which was first seen on a
+public holiday nearly four hundred years ago.
+It is the "Assumption of the Virgin," first
+shown on St. Bernardino's day, when all the
+public offices were closed by order of the
+Senate, and the whole city had a gay time.
+This occasion made Titian the most honoured
+artist of his time, but still the Venetians had
+cause to complain; because now their painter
+took so much work in hand that he nearly
+ceased doing the work on the council hall.
+The council sent him word that unless he
+attended to business the paintings should be
+finished by some one else and he would have
+to pay the new artist out of his own pocket;
+but in waywardness he paid no attention to this
+summons. Lucretia Borgia died, and her husband
+having never loved her, fell at once in
+<a name="314"></a>
+love with a girl of a lower class, who was very
+good and worthy to be loved. The duke
+wanted Titian to paint them both, and so once
+more the great painter neglected his contract
+with the council. The girl's name was Laura,
+and Titian painted her and the duke in one
+picture, which now hangs in the Louvre.</p>
+
+<p>At last, after seven years of his neglecting
+to do his promised work the council became
+enraged and threatened to take the artist's
+property away from him. That frightened
+Titian very much, and he began frantically
+to work on the battle piece on the hall wall.
+It was about this time that he married. He
+had probably forgotten Violante in the passing
+of so many years; at any rate it was not she
+whom he married, but a lady whose first name
+was Cecilia. Soon he had a little family of
+children, but one of them was destined to make
+Titian very unhappy. This was Pomponic
+who became a priest, but he was also a wicked
+spendthrift, and kept his father forever in
+trouble, trying to pay his debts and keep him
+out of scrapes. Another son became an
+artist; not great like his father, but very
+helpful and a comfort to him. Then his wife
+died, and Titian had loved her so dearly that
+for a long time he had not the heart to paint
+much. His sister, Orsa, came to live at his
+home and take care of his motherless children.</p>
+
+<p>He left the palace on the Grand Canal and
+bought a home north of Venice, with beautiful
+<a name="315"></a>
+gardens attached, and there he lived and
+worked, entertaining the most illustrious men.
+Titian's house and gardens became the show
+place of the country, so many geniuses and
+famous people visited there. It was there
+that he painted "The Martyrdom of Saint
+Peter," and the picture was so loved by the
+Venetians that the signori threatened with
+death any one who should take the picture
+from the chapel where it hung. In spite of
+this caution the picture was burned in the fire
+that destroyed the chapel in 1867.</p>
+
+<p>Titian was now getting to be old, but he was
+yet to do great work and to have kingly patrons.
+Charles V. visited Bologna, and, seeing
+Titian's great work, wanted him to paint his
+portrait. So the artist went to Bologna and
+painted the portrait of the king, clothed in
+armour, but without any head-covering, making
+Charles V. look so fine a personage, that he
+was delighted. Charles said he had always
+been painted to look so much uglier than he
+really was that when people who had seen
+his portraits, actually saw himself they were
+pleasantly disappointed. While Titian was
+painting his picture, Lombardi, the sculptor,
+wished above all things to see Charles, so
+Titian said: "You come with me to the
+sittings, and act as if you were some apprentice,
+carrying my colours and brushes, and then
+you can watch the king as easily as possible."
+Lombardi did as Titian suggested, but he hid
+<a name="316"></a>
+in his big and baggy sleeve a tablet of wax, on
+which to make a relief picture of Charles. One
+day the king surprised the sculptor and
+demanded to be shown what he was doing.
+Thereupon he was so much pleased that he
+commissioned Lombardi to make the model
+in marble. While the king was sitting for two
+portraits to Titian, the artist one day dropped
+his brush. The king looked at the courtiers
+who were lounging about watching the work,
+but none of them picked it up, so the king
+himself did so. Titian was distressed over
+this and apologised to the king. "There may
+be many kings," said Charles, "but there
+will never be more than one Titian--and he
+deserves to be served by Caesar himself."
+After that he would allow no other artist to
+paint his portrait, declaring that Titian alone
+could do it properly, and for the two pictures
+Titian received two thousand scudi in gold,
+was made a Count of the Lateran Palace,
+of the Aulic Council and of the Consistory;
+with the title of Count Palatine and all the
+advantages attached to those dignities. His
+children were thereby raised to the rank of
+nobles of the empire, with all the honours
+appertaining to families with four generations
+of ancestors. He was also made Knight of
+the Golden Spur, with the right of entrance to
+court. This was great return for two portraits
+of a king, but it shows what a king could
+do if he chose.</p>
+
+<p><a name="317"></a>
+Titian had a brother who also became an
+artist, less famous than himself, and it was
+that brother, who, when their father died in
+the Cadore home, went back to care for the old
+place and to keep it in readiness so that the
+famous Titian might return to it for rest and
+peace. Foreign sovereigns had invited Titian
+to end his days with them, but they could not
+tempt him from that vale of Cadore nor his
+country home in Venice.</p>
+
+<p>All this time he had been neglecting the
+work upon the hall of council, and at last,
+the councillors gave the work to another, took
+away Titian's "brokerage" and told him he must
+return to Venice all the moneys they had given
+him for twenty years back. This finally cured
+him of his neglect, and he went to work in
+earnest painting so rapidly that he finished the
+work in two years.</p>
+
+<p>Before he died Titian went to Rome, where
+he painted Pope Paul's portrait, and the story
+is told that when the portrait was set to dry
+upon the terrace--which it probably was not,--the
+people who passed took off their hats
+to it, thinking it was the pope himself.</p>
+
+<p>Besides his bad son and his good one, Titian
+had a beautiful daughter whom he painted
+again and again. He went to Augsburg once
+more to paint King Charles, who for that work
+added a pension of five hundred scudi to what
+he had already done for him. This made
+the artist "as rich as a prince, instead of poor
+<a name="318"></a>
+as a painter." King Philip II. loved art as
+his father had, and he took a painting of
+Titian's with him to the convent of Yuste,
+where he went to die, wishing to have it near
+to console him. In those days art had become
+a religion for high and low. Great personages
+still went to Casa Grande, Titian's Venetian
+home, where he entertained like a prince. No
+one knew better than he how princes behaved,
+and when a cardinal came to dine with him, he
+threw his purse to his servant, crying: "Prepare
+a feast, for all the world is dining with me!"
+Henry III. of France visited Titian and ordered
+sent to him every picture of which he had
+asked the price.</p>
+
+<p>His friends stood by him all his life, but in
+his old age his beautiful daughter, Lavinia,
+died, leaving behind her six children for him to
+love as his own. The brother had died before
+that, in the old home at Cadore, and at more
+than eighty years of age Titian was still
+painting from morning till night. About this
+time he sent to King Philip "The Last Supper,"
+which was to be hung in the Escorial. The
+monks found it too high to fill the space, and
+though the artist in charge, Navarrette, begged
+them to let it be, they cut a piece off the top,
+that it might be hung where they wanted it.
+Titian had so far had to pay no taxes, but at
+that time an account of his property was
+demanded and this is what he owned: "Several
+houses, pieces of land, sawmills, and the like,"
+<a name="319"></a>
+and he was blamed because he did not state
+the full value of his possessions. At ninety-one
+he painted a picture which became the
+guide of Rubens and his brother artists, so
+wonderful was it. Again, at ninety-nine he
+began a picture, which was to be given to the
+monks of the Frari in return for a burial place
+for the artist within the convent walls, but he
+never finished it. He died during the time of
+the plague, but of old age alone, though his
+son, Orzio, died of the disease. The alarm
+of the people was so great that a law had been
+passed to bury all who died at that time,
+instantly and without ceremony, but that law
+was waived for the painter. Titian, in the
+midst of a nation's tragedy was borne to the
+convent of the Frari, with honours. Two
+centuries later the Austrian Emperor commanded
+the great sculptor, Canova, to
+make a mausoleum above the tomb.</p>
+
+<p>It was said that shortly before he died
+Titian began to be less sure in his use of colours,
+and would often daub on great masses, but
+his students came in the night and rubbed them
+off, so that the master never felt his failing.</p>
+
+<p>As King Charles had said, there was never
+but one such artist in the world.</p>
+
+<p>Titian prepared his canvas by painting upon
+it a solid colour to serve for the bed upon which
+the picture itself was to be painted. To quote
+more exactly from a good description--some
+of these foundation colours were laid on with
+<a name="320"></a>
+resolute strokes of his brush which was heavily
+laden with colour, while the half-tints were
+made with pure red earth, the lights with pure
+white, softened into the rest of the foundation
+painting with touches of the same brush dipped
+into red, black, and yellow. In this way he
+could give the "promise" of a figure in four
+strokes. After laying this foundation, he
+turned his picture toward the wall and left
+it there for months at a time, frequently
+turning it around that he might criticise it.
+If, during this time of waiting, he thought any
+part of the work already done was poor, he
+made it right, changing the shape of an arm,
+adding flesh where he thought it was needed,
+reducing flesh where it seemed to him out of
+proportion, and then he would again turn
+the canvas face to the wall. After months of
+self-criticism and retouching he would have
+the first layer of flesh painted upon his figures,
+and a good beginning made. "It was contrary
+to his habit to finish at one painting, and he
+used to say that a poet who improvises cannot
+hope to form pure verses." He would often
+produce a half-light with a rub of his finger,
+"or with a touch of the thumb he would dab
+a spot of dark pigment into some corner to
+strengthen it; or throw in a reddish stroke--a
+tear of blood so to speak--to break the
+parts ... in fact when finishing he painted
+more with his fingers than with his brush."
+He used to say, "White, red, and black, these
+<a name="321"></a>
+are all the colours that a painter needs, but
+one must know how to use them."</p>
+
+<center>PLATE--THE ARTIST'S DAUGHTER, LAVINIA.</center>
+
+<p>Previous to the time of Titian, it had been
+the custom to paint portraits of beautiful
+ladies merely to their waists, just far enough
+to show their hands. He went further, and
+produced "knee portraits," which gave him
+an opportunity to paint their gorgeous gowns
+as well. He has done so in making this
+picture of his daughter Lavinia, probably
+just before her marriage to Cornelio Sarcinelli
+which took place in 1555. She is attired in
+gold-coloured brocade with pearls about her
+neck. Her dress, combined with the dish of
+fruit she holds so high, gives Titian the colour
+effects he always sought. A yellow lemon is
+specially striking, and the red curtain to the
+left harmonises with the whole. The uplift
+of the arms and the turn of the head give the
+desired amount of action. It is not Titian's
+customary style of work; he seldom did anything
+so intimate and personal, and the picture
+is the more interesting on that account. It
+is in the Berlin Gallery.</p>
+
+<p>Some of Titian's famous pictures are: his
+own portrait; "Flora," "Holy Family and St.
+Bridget," "The Last Judgment," "The Entombment,"
+"The Magdalene," "Bacchanal," "St.
+Sebastian," "Bacchus and Ariadne," and "The
+Sleeping Venus."</p>
+
+<p><a name="322"></a></p>
+<h1>XXXIX</h1>
+
+<h1>JOSEPH MALLORD WILLIAM TURNER</h1>
+
+<center><i>English</i><br>
+1775-1851<br>
+<i>Pupil of the Royal Academy</i></center>
+
+<p>If the occupation of a shepherd produced
+a poet, no less did an artist of the first
+water come out of a barber shop. Turner's
+father was a jolly little fellow who dressed
+hair for English dandies and did all of those
+things which in those days fell to men of his
+profession. It was in this little shop that the
+great artist grew up. Father Turner was
+ambitious for his son, who was anxious to study
+art. The less said of the artist's mother the
+better, for she was a termagant and finally
+went crazy, so that the father and his little boy
+were soon left alone, to plan and work and strive
+to make each other happy. The pair were
+never apart.</p>
+
+<p>Turner's art beginning was at six years of
+age, on the occasion of a visit his father paid
+to a goldsmith of whose hair curling and
+peruquing he had charge. Perched upon a
+chair too high for a little boy's comfort, and
+feeling that it took his father very long indeed
+to satisfy the customer, Joseph's eye lighted upon
+a silver lion which ornamented a silver tray.
+<a name="323"></a>
+He studied every detail of that lion while
+waiting for his father, and finally when they
+got home, he sat down and drew it from
+memory. By tea time he had a lion in full
+action upon the paper. This delighted his
+father above everything, and it was settled
+then and there that the little fellow should have
+a chance to learn art.</p>
+
+<p>The father could not give much time to his
+upbringing, but he taught him to be honest
+and kind-hearted and to save his money.
+His playground was generally the bank of the
+Thames, and under London Bridge where,
+roving with the sailors, he learned to love the
+ships, the setting-suns and evening waters
+from a daily study of them.</p>
+
+<p>He did not do much at school, because the
+other pupils at New Brentford, learning that
+he could draw wonderful things upon the
+schoolroom walls, used to do his "sums" for
+him, while he sketched for them. After a
+while father Turner began to hang up some
+of his son's sketches upon the walls of the
+barber shop, among the wigs and curls and
+<i>toupées</i>, and he put little tags upon them,
+telling the price. The extraordinary work
+of his little boy began to attract the attention
+of the jolly barber's patrons, and by the time
+he was twelve years old the child had a
+picture upon the walls of the Royal Academy--a
+far-cry from barber shop to Academy!</p>
+
+<p>One authority says that this first exhibition
+<a name="324"></a>
+occurred in his fourteenth year, but by that
+time he was a pupil of the Academy, and it is not
+unlikely that he had shown his mettle before.</p>
+
+<p>He now began to earn his own living, but
+he still dwelt in the barber shop with his father.
+While in the Academy he coloured prints,
+made backgrounds for other painters, drew
+architect's plans, and in that way made money.
+He had been sent to a drawing master to study
+"the art of perspective," but having no
+mathematical knowledge he had been unable
+to learn it, and the teacher had advised his
+father to put little Turner to cobbling or
+making clothes. However, William was to
+learn perspective, and even to be made master
+of that branch of art in the Academy itself.</p>
+
+<p>In after years, when he had become a great
+artist, someone spoke pityingly of the drudgery
+he had had to do to make money as a young
+boy--referring to his painting of backgrounds
+and the like. "Well! and what could be better
+practice?" Turner answered cheerfully.</p>
+
+<p>He used to go to the house of Dr. Munro,
+who lived in fine style on the Strand. This
+gentleman owned Rembrandts, Rubenses,
+Titians, and other great masterpieces, and
+in that house the "little barber" had a chance
+to see the best of art, and also to copy it. This
+was a great opportunity for him and he made
+the most of it. Besides the chance for study,
+he earned about half a crown an evening and
+his supper, for his copying.</p>
+
+<p><a name="325"></a>
+Turner was the first painter to make "warm
+moonlight." All other artists had given cold,
+silvery effects to a moonlit atmosphere, but
+Turner had seen a mellow, sympathetic moon,
+and he first showed it to others. About this
+time he went travelling; for an engraver of the
+<i>Copper Plate Magazine</i> had engaged the
+young boy to go into Wales and make sketches
+for his work. Turner set off on a pony which
+a friend had lent him, with his baggage done
+up in a bundle--it did not make a very big
+one--and thus he voyaged. It was a fine
+experience, and he came home with many
+beautiful scenes on paper, which he in after
+years made into complete pictures. Next
+he made the acquaintance of Thomas Girtin, the
+first in his country of a fine school of water-colour
+painters, and this acquaintance grew
+into a close friendship. The two were devoted
+to each other and worked together at any sort
+of mechanical art work that would bring them
+a living. When Girtin died Turner said:
+"Had Tim Girtin lived, I should have starved,"
+showing how highly he valued Girtin's work.</p>
+
+<p>Turner is said to have been "a stout, clumsy
+little fellow, who never cared how he looked.
+He wore an ill-fitting suit, and his luggage tied
+up in a handkerchief was slung over his
+shoulder on a cane. Sometimes he carried a
+small valise and an old umbrella, the handle
+of which he converted into a fishing rod, for
+Turner dearly loved both hunting and fishing."</p>
+
+<p><a name="326"></a>
+The hero travelled a great deal, because
+above every thing he loved the fields and
+streams, and to tramp alone. It is said that
+it was his habit to walk twenty-five miles a
+day, seeing everything on the way, letting no
+peculiarity of nature escape him. His sketchbook
+was a curiosity, because he not only made
+sketches in it, but jotted down his travelling
+expenses, what he thought about things that
+he saw, and all the gossip he heard in the towns
+through which he passed. Because he liked
+best to travel alone he was called "the Great
+Hermit of Nature."</p>
+
+<p>One memorable day--of which he thought
+but little at the time--he stopped on the road
+to make a sketch of Norham Castle. Later
+he completed the picture, and it became
+famous, so successful that from that hour he
+had all the work he could do. Years afterward,
+when passing that way again in company
+with a friend, he was seen to take off his hat
+to the castle.</p>
+
+<p>"Why are you doing that?" his friend asked,
+in amazement.</p>
+
+<p>"Well, that castle laid the foundation of
+my success," he answered, "and I am pleased
+to salute it."</p>
+
+<p>During his young manhood Turner had
+fallen in love with a girl, and planned to marry,
+but after he returned from one of his country
+trips he found she had married another, and
+from that moment the artist was a changed
+<a name="327"></a>
+man. He had been generous and gay before,
+now he began to save his money, so that people
+thought him miserly--but he was forgiven
+when it became known what he finally did with
+his fortune. After the young woman deserted
+him he wandered more than ever, and one of
+his fancies was to keep boys from robbing
+birds' nests. He looked after the little birds
+so carefully that the boys named him "old
+Blackbirdy." He had already begun those
+wonderful pictures of ships and seas, and
+his house was ornamented with full-rigged
+little ships and water plants, which he carefully
+raised to put into his pictures. By that time
+he had bought a home of his own in the
+country, and his father the barber went to
+live with him. The old man's trade had fallen
+off, because the fashions had changed, wigs
+were less worn, and hair was not so elaborately
+dressed. In the country home the old man
+took charge of all the household affairs, prepared
+his son's canvases for him, and after the pictures
+were painted it was the ex-barber who varnished
+them, so that Turner said, "Father begins
+and finishes all my pictures." There the
+father and son lived, in perfect peace and
+affection, till Turner decided to sell the place
+and move into town, "because," said he,
+"Dad is always working in the garden and
+catching cold."</p>
+
+<p>Meanwhile he had been made master of
+perspective in the Academy, and it was
+<a name="328"></a>
+expected that he would lecture to the students,
+but he was not cut out for a lecturer. He was
+not elegant in his manners, nor impressive in
+his speech. On one occasion, when he had
+risen to deliver a speech, he looked helplessly
+about him and finally blurted out: "Gentlemen!
+I've been and left my lecture in the
+hackney coach!"</p>
+
+<p>During these years he had tried to establish
+a studio like other masters and to have pupils
+and apprentices about him; but the stupid ones
+he could not endure, having no patience with
+them, and he treated all the fashionable ones
+so bluntly they would not stay; so the idea
+had to be given up.</p>
+
+<p>He became a visitor at Farnley Hall in
+Yorkshire, where a friend, Mr. Hawksworth
+Fawkes lived, and in the course of his lifetime
+Fawkes put fifty thousand dollars worth of
+Turner's pictures upon his walls. The Fawkes
+family described Turner as a most delightful
+man: "The fun, frolic, and shooting we enjoyed
+together, and which, whatever may be said by
+others of his temper and disposition, have
+proved to me that he was, in his hours of
+distraction from his professional labours as
+kindly hearted a man and as capable of
+enjoyment and fun of all kinds as any I ever
+knew."</p>
+
+<p>Another friend writes: "Of all light-hearted,
+merry creatures I ever knew, Turner was
+the most so; and the laughter and fun that
+<a name="329"></a>
+abounded when he was an inmate of our
+cottage was inconceivable, particularly with the
+juvenile members of our family."</p>
+
+<p>The story of his disappointment in marriage
+is an interesting one. It is said that the
+young lady whom he loved was the sister of a
+schoolmate. They had been engaged for some
+time, but while he was on one of his travels his
+letters were stolen and kept from the young
+woman. She believed he had forgotten her,
+and her stepmother, who had taken the
+letters, persuaded the girl to engage herself
+to another. Turner returned just a week
+before her marriage and tried to win her back,
+but although she loved him, she felt herself
+then bound to her new suitor and therefore
+married him. Her marriage was very unhappy
+and her misery, as well as his own, distressed
+the artist till his death. Almost all his life,
+in spite of his seeming gaiety, he worked like
+a slave, rising at four o'clock in the morning
+and working while light lasted. When
+remonstrated with about this he would sadly
+say: "There are no holidays for me."</p>
+
+<p>All his ways were honest and simple, and
+his election to the Academy was very exceptional
+in the way it came about. Most
+Academicians had graces and airs and good
+fellowship to commend them, as well as their
+works, but Turner had none of these things.
+He had given no dinners, nor played a social
+part in order to get the membership. When
+<a name="330"></a>
+the news was brought him that he was elected,
+some one advised him to go and thank his fellow
+Academicians for the honour, as that was the
+custom; but Turner saw no reason in it.
+"Since I am elected, it must have been because
+they thought my pictures made me worthy.
+Why, then should I thank them? Why thank
+a man for performing a simple duty." In half
+a century Turner was absent only three times
+from the Academy exhibitions, and his.
+membership was of very great value to him.</p>
+
+<p>At this time Turner had an idea for an art
+publication to be called <i>Liber Studiorum</i>.
+He meant to issue this in dark blue covers and
+to include in each number five plates. There
+was to be a series of five hundred plates
+altogether, and these were to be divided,
+according to subject, into historical, landscape,
+pastoral, mountainous, marine, and architectural
+studies. After seventy plates had been,
+published, the enterprise fell through, because
+no one bought the periodical, and there was
+no money to keep it going. The engraver
+of the plates, Charles Turner, became so
+disgusted with the failure that he even used
+the proofs of these wonderful studies to kindle
+the fire with. Many years later, a great print-dealer,
+Colnaghi, made Turner, the engraver,
+hunt up all the proofs that he had not used for
+kindling paper, and these he bought for £1,500.</p>
+
+<p>"Good God!" cried Charles Turner, "I have
+been burning banknotes all my life."</p>
+
+<p><a name="331"></a>
+Some years later still £3,000 was paid for
+a single copy of the <i>Liber Studiorum</i>.</p>
+
+<p>Turner was a most conscientious man, and
+many stories are told of his manner of teaching.
+He could not talk eloquently nor give very
+clear instructions, talking not being his forte,
+but he would lean over a student's shoulder,
+point out the defects in his work, and then on
+a paper beside him make a few marks to
+illustrate what he had said. If the artist had
+genius enough then to imitate him, well and
+good; if not, Turner simply went away and
+left him. His own ways of working were
+remarkable. He often painted with a sponge
+and used his thumbnail to "tear up a sea."
+It mattered little to him how he produced his
+effects so long as he did it. His impressionistic
+style confused many of his critics, and it is
+told how a fine lord once looked at a picture
+be had made, and snorted: "Nothing but
+daubs, nothing but daubs!" Then catching
+the inspiration, he leaned close to the canvas,
+and said: "No! Painting! so it is!"</p>
+
+<p>"I find, Mr. Turner," said a lady, "that in
+copying your pictures, touches of red, blue
+and yellow appear all through the work."</p>
+
+<p>"Well, madam, don't you see that yourself,
+in nature? Because if you don't, heaven
+help you!" was the reply.</p>
+
+<p>"Once, after painting a summer evening,
+he thought that the picture needed a dark
+spot in front by way of contrast; so he cut out
+<a name="332"></a>
+a dog from black paper and stuck it on. That
+dog still appears in the picture."</p>
+
+<p>Another time he painted "A Snow-storm
+at Sea," which some critics called "Soap-suds
+and Whitewash." Turner, who had been for
+hours lashed to the mast of a ship in order to
+catch the proper effect, was naturally much
+hurt by the criticism. "What would they
+have!" he exclaimed. "I wonder what they
+think a storm is like. I wish they'd been in it."</p>
+
+<p>Turner was conscientiously fond of his work,
+and when he sold a picture he said that he
+had lost one of his children.</p>
+
+<p>He grew rich, but he never was knighted,
+because his manners were not fine enough
+to suit the king. He wished to become
+President of the Royal Academy, but that
+was impossible because he was not polished
+enough to carry the honour gracefully.</p>
+
+<p>After selling his place in the country Turner
+bought a house in Harley Street, where
+he lived a strange and lonely life. A gentleman
+has written about this incident, which shows
+us his manner of living:</p>
+
+<p>"Two ladies called upon Turner while he
+lived in Harley Street. On sending in their
+names, after having ascertained that he was
+at home, they were politely requested to walk
+in, and were shown into a large sitting-room
+without a fire. This was in the depth of winter;
+and lying about in various places were several
+cats without tails. In a short time our talented
+<a name="333"></a>
+friend made his appearance, asking the ladies
+if they felt cold. The youngest replied in the
+negative; her companion, more curious, wished
+she had stated otherwise, as she hoped they
+might have been shown into his sanctum or
+studio. After a little conversation he offered
+them biscuits, which they partook of for the
+novelty--such an event being almost
+unprecedented in his house. One of the ladies
+bestowing some notice upon the cats, he was
+induced to remark that he had seven, and that
+they came from the Isle of Man."</p>
+
+<p>Thus we learn that Turner's desolate house
+was full of Manx cats, and of many other pets.
+When he had moved elsewhere--to 47 Queen
+Anne Street--one of the pictures he cared
+most for, "Bligh Shore," was put up as a
+covering to the window and a cat wishing to
+come in, scratched it hopelessly. The housekeeper
+started to punish it for this but
+Turner said indulgently, "Oh, never mind!"
+and saved the cat from chastisement.</p>
+
+<p>The place he lived in, where his "dad was
+always working in the garden and catching
+cold," he called Solus Lodge, because he wished
+his acquaintances to understand that he
+wanted to be alone. One picture painted by
+him to order, was to have brought him $2,500;
+but when it was finished the man was disappointed
+with it and would not take it. Later,
+Turner was offered $8,000 for it, but would not
+sell it.</p>
+
+<p><a name="334"></a>
+Turner again fell in love, but his bashfulness
+ruined his chances. He wrote to the brother
+of the lady. "If she would only waive her
+bashfulness, or, in other words, make an offer
+instead of expecting one, the same (Solus
+Lodge) might change occupiers." Faint heart
+certainly did not win fair lady in this case,
+for she married another. Before he died
+Turner was offered $25,000 for two pictures
+which he would not sell. "No" he said.
+"I have willed them and cannot sell them."
+He disposed of several great works as
+legacies. One picture of which he was very
+fond, "Carthage," was the occasion of an
+amusing anecdote. "Chantry," he said to his
+friend the sculptor, "I want you to promise
+that when I am dead you will see me rolled
+in that canvas when I'm buried."</p>
+
+<p>"All right," said Chantry, "I'll do it, but
+I'll promise to have you taken up and unrolled,
+also."</p>
+
+<p>A remarkable incident of generosity is told
+of Turner. In 1826 he hung two exquisite
+pictures in the Academy. One, "Cologne,"
+having a most beautiful, golden effect. This
+was hung between two portraits by Sir Thomas
+Lawrence. The golden colouring of Turner's
+picture entirely destroyed the effect of the
+Lawrence pictures, and without a word, Turner
+washed his lovely picture over with lampblack.
+This gave the Lawrence, pictures their
+full colour value. A friend who had been
+<a name="335"></a>
+enthusiastic about the "Cologne" was provoked
+with Turner. "What in the world did you
+do that for?" he demanded. "Well, poor
+Lawrence was so unhappy. It will all wash off
+after the exhibition." Turner had his reward
+in cash, for the picture sold for 2,000 guineas.</p>
+
+<p>Above all things Turner hated engravings,
+or any process that cheapened art, and one
+day he stated this to his friend Lawrence.
+"I don't choose to be a basket engraver,"
+he declared.</p>
+
+<p>"What do you mean by that," Sir Thomas
+inquired.</p>
+
+<p>"Why when I got off the coach t' other day
+at Hastings, a woman came up with a basket
+of your 'Mrs. Peel,' and offered to sell me
+one for a sixpence."</p>
+
+<p>Turner dearly loved his friends, and the story
+of Chantry's death, illustrates it. He was in
+his room when the sculptor breathed his last,
+and just as he died, the artist turned to another
+friend, George Jones, and with tears streaming
+down his face, wrung Jones's hand and rushed
+from the room, unable to speak.</p>
+
+<p>Again, when William Frederick Wells,
+another friend, died, Turner rushed to the
+house of Clara Wells, his daughter, and cried:
+"Oh Clara, Clara! these are iron tears. I have
+lost the best friend I ever had in my life."</p>
+
+<p>In his old age Turner suddenly disappeared
+from all his haunts, and his friends could not
+find him. They were much troubled, but one
+<a name="336"></a>
+day his old housekeeper found a note in a
+pocket of an old coat, which made her think
+he had gone to Chelsea. She looked there for
+him, and found him very ill, in a little cottage
+on the Thames River. Everybody about called
+him Admiral Booth, believing him to be a
+retired admiral. He had felt his death near
+and had tried to meet it quite alone. He died
+the very day after his friends found him,
+as he was being wheeled by them to the window
+to look out upon the river for the last time.
+He was buried in St. Paul's Cathedral between
+Sir Joshua Reynolds and James Barry. He
+left his drawings and pictures to a "Turner
+Gallery," and $100,000 to the Royal Academy,
+to be used for a medal to be struck
+every two years for the best exhibitor. The
+rest of his fortune went to care for "poor
+and decayed male artists born in England
+and of English parents only." This was
+to be known as Turner's Gift, and that is
+why he had saved money all his life.</p>
+
+<p>A few more of the numberless stories of his
+generosity should be told. A picture had been
+sent to the Academy by a painter named Bird
+It was very fine, and Turner was full of its
+praise, but when they came to hang it no place
+could be found.</p>
+
+<p>"It can't be hung," the others of the committee
+said.</p>
+
+<p>"It must be hung," returned Turner, but
+nothing could be done about it, for there was
+<a name="337"></a>
+absolutely no place. Then Turner went aside
+with the picture and sat studying it a long
+time. Finally he got up, took down a picture
+of his own and hung Bird's in its place.
+"There!" he said. "It is hung!"</p>
+
+<p>Again, an old drawing-master died and
+Turner who had known the family for a long
+time, was aware that they were destitute, so
+he gave the widow a good sum of money with
+which to bury her husband and to meet
+general expenses. After some time she came
+to him with the money; but Turner put his
+hands in his pockets. "No," he said; "keep
+it. Use it to send the children to school and
+to church."</p>
+
+<p>On one occasion when he had irritably sent
+a beggar from his house, he ran out and called
+her back, thrusting a £5 note into her hand
+before letting her go.</p>
+
+<p>There was a man who in Turner's youth,
+while the little fellow was making pictures in
+the cheerless barber shop bought all of these
+drawings he could find. He often raised the
+price and in every way tried to help Turner.
+In after years that old patron went bankrupt.
+Turner heard that his steward had been
+instructed to cut down some fine old trees on
+this man's estate, and sell them. Turner,
+without letting himself be known in the
+matter, at once stopped the cutting and put
+into his old patron's hands about £20,000.
+The rescued man, afterward, through the
+<a name="338"></a>
+same channels that he had received the
+money, paid it all back. Years passed, and the
+son of that same man got into the same
+difficulties, and again, without being known
+in the matter, Turner restored his fortune.
+That son, in his turn, honestly paid back the
+full amount. This was the miser who saved
+all his money--to do good deeds to his friends.
+Ruskin wrote that in all his life he had never
+heard from Turner one unkind or blameful
+word for others.</p>
+
+<center>PLATE--THE FIGHTING TÉMÉRAIRE</center>
+
+<p>This was the picture which Turner loved
+best of all, the one he would never sell; but
+at his death ho gave it to the English nation.</p>
+
+<p>"Many years before he painted it, he had
+gone down to Portsmouth one day to see Nelson's
+fleet come in after the glorious victory
+of Trafalgar. The <i>Téméraire</i> was pointed
+out to him--a battle ship that had very
+proudly borne the English flag, for during the
+battle it had run in between two French
+frigates and captured them both.</p>
+
+<p>"And now between thirty and forty years
+later, he lingered one afternoon on the banks
+of the Thames. As he looked over the water
+he saw the grand old hulk being towed down
+the river by a noisy little tug to be broken
+up at Deptford. 'There's a fine subject!' he
+exclaimed as he looked at the heroic ship that
+<a name="339"></a>
+had known many glorious years; and in his
+thought he compared it to 'a battle-scarred
+warrior borne to the grave.'</p>
+
+<p>"Then he painted the picture. The glow
+of the setting sun irradiates the scene and bids
+farewell to the old ship. Twilight is coming
+on, and the new moon has just risen in its
+pearly light. It is a pathetic picture," and
+well illustrates how truly a "master of sunsets
+and waves" the artist was.</p>
+
+<p>Among his other paintings are several of
+Venice; "The Slave Ship" and many other sea
+pieces.</p>
+
+<p><a name="340"></a></p>
+<h1>XL</h1>
+
+<h1>SIR ANTHONY VAN DYCK</h1>
+
+<center><i>Flemish School</i><br>
+1599-1641<br>
+<i>Pupil of Rubens</i> </center>
+
+<p>Anthony Van Dyke's father was
+neither a gentleman nor an ill-born
+person. He was "betwixt-and-between,"
+being a silk merchant, who met so many fine
+folk that he seemed to be "fine folk" himself;
+and by the time Anthony had grown up, he actually
+believed himself to be one of them. If
+manners stand for fineness Sir Anthony must
+have been superfine, because he was almost
+overburdened with "manners."</p>
+
+<p>He became a wonderful, be-laced, perfumed,
+shiny gentleman who never stooped to paint
+anything less than royalty and its associates,
+nor in anything less than velvets and laces.
+Like Rembrandt and Gainsborough, he set a
+fashion--or rather the style in which he painted
+came to be known after his name. We are
+all familiar with the kind of ornamentation
+on clothes called Van Dyck--pointed lace,
+or trimmings--and pointed beards.</p>
+
+<p>As a very young lad he was almost too
+dainty to be liked by healthy boys; and the
+worst of it was he did not care whether healthy,
+<a name="341"></a>
+robust chaps liked him or not; certainly he
+did not care for them. He liked to sit in his
+father's shop and be smiled upon by the great
+ladies who came to buy, and in turn to smile
+shyly at them; this tendency became stronger
+as he grew to be a man.</p>
+
+<p>Anthony's mother made the most exquisite
+embroideries, and this may mean that some
+part of his art was inherited. She handled
+lovely colours, and tried to fashion beautiful
+flower shapes for customers. She was a fragile,
+tender sort of woman, while the father was
+doubtless a dapper, over-nice little fellow.</p>
+
+<p>Anthony was born in Antwerp, and the facts
+concerning his education, as in the case of most
+artists, are lost to our knowledge. He probably
+had a little of some sort outside of painting,
+but it certainly was not enough to hurt him,
+nor to make a fine healthy man of him. He
+was very beautiful, in a lady-like, faint-coloured
+way, not in the least resembling the handsome,
+gorgeous, elegant, robust Rubens, a true
+cavalier, of a dashing sort.</p>
+
+<p>He was apprenticed to a painter when he
+was ten years old, and later on became the pupil
+of Rubens. He painted a whole series of
+Apostles' heads, about which a lawsuit took
+place. The papers relating to this were found
+about twenty years ago, though the lawsuit
+occurred as far back as 1615. Several of the
+Apostles' heads that brought about the suit
+are to-day to be seen in the gallery at Dresden.</p>
+
+<p><a name="342"></a>
+Everything in those days--especially in
+Germany and Holland--was represented by
+a "guild." In reading about the Mastersingers
+of Nuremberg we are told that on the day
+when the trial of singers was to take place,
+dozens of "guilds" assembled in the meadow--guilds
+of bakers, of shoemakers--of which
+Hans Sachs was the head--guilds of goldsmiths,
+etc. Van Dyck was a member of
+the painters' guild when he was no more
+than nineteen. His work at that time
+showed so much strength that there is a
+picture of his, an old gentleman and lady, in
+the Dresden gallery, which for a long time
+was supposed to have been painted by his
+master, Rubens.</p>
+
+<p>An intimate friend of Van Dyck, Kenelm
+Digby, says that Van Dyck's first relations with
+Rubens came about by Van Dyck being
+employed to make engravings for the reproduction
+of Rubens's great works. After that
+he studied painting with him.</p>
+
+<p>One of his friends of that time wrote that
+at twenty Van Dyck was nearly as great as
+Rubens, though this is hardly substantiated by
+the verdict of time, and that being a man with
+very rich family connections, he could hardly be
+expected to leave home. On every hand we
+have signs of the artist's affected feeling about
+himself and other people.</p>
+
+<p>However, an annual pension from the King
+of England seems to have made travelling
+<a name="343"></a>
+possible to this fine gentleman of lace ruffles,
+pale face, and lady-like ways.</p>
+
+<p>There is an entry about him on the royal
+account book of "Special service ...
+performed for His Majesty." Also "Antonio
+Van Dyck, gent., <i>His Majesty's servant</i>, is
+allowed to travaile 8 months, he havinge
+obtayneid his Majesty's leave in that behalf,
+as was signified to the E. of Arundel."
+Certainly by that time Van Dyck had become
+a truly great portrait painter; not the greatest,
+because every picture showed the same
+characteristics in its subject--elegance, fine
+clothes, languid manners, without force of
+great truth or any excellent moral quality to
+distinguish one from another. Nevertheless,
+the kind of painting that he did, he did better
+than anyone else had ever done, or probably
+ever will do.</p>
+
+<p>While in England he painted all the royalties
+and many aristocrats, and wherever he went
+he was always painting pictures of himself.</p>
+
+<p>He travelled about a good deal, always
+painting people of the same class--kings and
+queens and fine folk, and painting them pretty
+nearly all alike.</p>
+
+<p>When he went to Italy he was everywhere
+received as a great painter, but while artists
+agreed that his work was excellent he was not
+much liked by them, and many tales are told
+about that journey which are interesting,
+if not entirely true. Van Dyck was the sort
+<a name="344"></a>
+of man about whom tales would be made up.
+One, however, sounds true. It is said that he
+fell in love--which of course he was always
+doing--with a beautiful country girl, and that
+for love of her he painted an altar piece into
+which he put himself, seated on the great gray
+horse which Rubens had given him. That
+picture is in St. Martin's Church at Saventhem,
+near Brussels, but although one is inclined to
+believe this story because it was quite the sort
+of thing which might be expected of Van Dyck,
+even this is not true, because the painting was
+done long after the artist had made his Italian
+journey, and it was commissioned by a gentleman
+living at Saventhem, whose daughter
+Van Dyck undoubtedly liked pretty well; but
+he made the picture for money, not for love.</p>
+
+<p>While he was in Italy he lived with a
+cardinal, and painted languid pictures of
+sacred subjects, which were far from being his
+best work. The best that he did was in
+portraiture. Distinguished though he was,
+he did not have a very good time in Italy,
+because he would not join the artists who
+worked there, nor associate with them in the
+least, and naturally this made him disliked.</p>
+
+<p>We see a good many portraits painted by
+Van Dyck, of persons mounted upon or standing
+beside the gray horse, and these were painted
+about the time of that Italian journey. He
+used the Rubens horse in many paintings.</p>
+
+<p>Of all the people with whom he painted,
+<a name="345"></a>
+he most valued the knowledge he got from a
+blind woman painter of Sicily, called Sofonisba
+Anguisciola, and he often said that he had
+learned more from a blind woman than from
+all the open-eyed men he ever knew. This
+woman artist was over ninety years old at the
+time he learned from her.</p>
+
+<p>While he was in Italy the plague broke out,
+and Van Dyck fled for his life, leaving an
+unfinished picture behind him, one ordered
+by the English king, the subject being Rinaldo
+and Armida, which had gained for the artist
+his knighthood pension.</p>
+
+<p>It is said that during his first year in England
+he painted the king and queen twelve
+times. He had an extraordinary record for
+industry, and painted very quickly, as he had
+need to do, because it took a great deal of money
+to buy the sort of things Van Dyck liked--fine
+laces and velvets, perfumes and satins.
+His plan was to sketch his subject first on gray
+paper with black and white chalk, and after
+that he gave the sketch to an assistant who
+increased it to the size he wished to paint.
+The next step was to set his painter to work
+upon the clothing of his figures. This was
+painted in roughly, together with background
+and any architectural effect Van Dyck wanted.
+After this the artist himself sat down and in
+three or four sittings, of not more than an hour
+each, he was able to finish a picture worth to-day
+thousands of dollars.</p>
+
+<p><a name="346"></a>
+He painted hands specially well, and kept
+certain models for them alone.</p>
+
+<p>Van Dyck had eleven brothers and sisters,
+whom he always kept in mind. Some of his
+sisters had become nuns while some of his
+brothers were priests, and Van Dyck's influence
+got a monkish brother called to the Dutch
+court to act as chaplain to the queen.</p>
+
+<p>By this time every royal personage in the
+world, nearly, had sent for Van Dyck to paint
+his portrait, for he could make one look handsomer
+than could any other painter in
+existence. If the king was very ugly, Van
+Dyck painted such beautiful clothes upon him
+that nobody noticed the plainness of the
+features.</p>
+
+<p>When Van Dyck was about thirty-six years
+old he married a great lady, the Lady Mary
+Ruthven, granddaughter of the Earl of Gowrie,
+but before that he had had a lady-love,
+Margaret Lemon, whom he painted as the Virgin
+and in several other pictures. When he
+married Lady Mary, Margaret Lemon was so
+furiously jealous that she tried to injure
+Van Dyck's right hand so that he could paint
+no more.</p>
+
+<p>About this time Rubens died in Flanders,
+leaving behind him an unfinished series of
+pictures which had been commissioned by
+the king of Spain. Van Dyck was asked to
+finish these, but declined until he was asked
+to make an independent picture, to complete
+<a name="347"></a>
+the series, and this he was delighted to do.
+Ferdinand of Austria wrote to the king of
+Spain that Van Dyck had returned in great
+haste to London to arrange for his change of
+home, in order to do the work. "Possibly he
+may still change his mind," he added, "for he
+is stark mad." This shows how Van Dyck's
+erratic ways appeared to some people.</p>
+
+<p>He had a sister, Justiniana, who was also
+something of an artist and she married a
+nobleman when she was about twelve years old.</p>
+
+<p>When Van Dyck died he was buried in
+St. Paul's, London, and Charles I. placed an
+inscription on his tomb.</p>
+
+<p>In the "Young People's Story of Art,"
+is the following anecdote: "A visit was once
+paid by a courtly looking stranger passing
+through Haarlem, to Franz Hals, the distinguished
+Dutch painter.</p>
+
+<p>"Hals was not at home but he was sent for
+to the tavern and hastily returned. The
+stranger told him that he had heard of his
+reputation--had just two hours to spare--and
+wished to have his portrait painted. Hals,
+seizing canvas and brushes fell vigorously to
+work; and before the given time had elapsed,
+he said, 'Have the goodness to rise, sir, and
+examine your portrait!' The stranger looked
+at it, expressed his satisfaction, and then said,
+'Painting seems such a very easy thing, suppose
+we change places and see what I can do!'</p>
+
+<p>"Hals assented, and took his position as the
+<a name="348"></a>
+sitter. The unknown began, and as Hals
+watched him, he saw that he wielded the brush
+so quickly, he must be a painter. His work,
+too, was rapidly finished, and as Hals looked
+at it he exclaimed, 'You must be Van Dyck!
+No one else could paint such a portrait!'</p>
+
+<p>"No two portraits could have been more
+unlike. The story adds that the famous
+Dutch and Flemish masters heartily embraced
+each other."</p>
+
+<p>The stories of Van Dyck's youth are interesting,
+and probably true. It is said that he
+drew so well when he was a pupil of Rubens
+that the great master often allowed him to
+retouch his own works. Once in Rubens's
+studio, some of the students got the key and
+went in to see what the master was doing,
+when he was absent. Rubens had left a
+painting fresh upon the easel, and in looking
+about them one of the boys rubbed against
+it. This frightened them all. What should
+they do? Rubens would find his picture
+ruined and know that they had broken in.</p>
+
+<p>After consultation they decided there was
+no one with them who could repair the damage
+as well as Van Dyck, who set about it, and soon
+he had painted in the smudged part so perfectly
+that when Rubens saw it, he did not for some
+time know that anything had happened to
+his picture. Later he suspected something,
+and when he learned of the prank and its
+outcome, he was so delighted with Van Dyck's
+<a name="349"></a>
+work that he praised him instead of blaming
+him for it.</p>
+
+<p>Van Dyck had a very precise method of working.
+When sitters came to him he would paint for
+just one hour. Then he would politely dismiss
+them, and his servant would wash his brushes,
+and clear the way for the next sitter. He
+dined with his sitters often that he might
+surprise in them the expression which he
+wanted to paint. Also, he had their clothing
+sent to his studio, that it might be exactly
+imitated by himself or by those assistants who
+painted in the foundation for his finished work.</p>
+
+<p>While attached to King Charles I.'s court,
+Van Dyck was given a fine house at Blackfriars,
+on the Thames, and he had a private
+landing place made for boats, so that the
+royal family might visit him at their convenience.
+Charles I. used often to go to Van
+Dyck's studio to escape his many troubles,
+and thus the artist's home became as fashionable
+a gathering place, as Gainsborough's studio
+was in Bath. He painted Queen Henrietta not
+less than twenty-five times. He often furnished
+concerts for his sitters, for he himself was passionately
+fond of music, and moreover he believed
+that music often brought to the faces of
+his sitters, an expression that he loved to paint.</p>
+
+<p>He painted so many pictures of a certain
+kind of little dog, in the pictures of King
+Charles I. that ever since that breed has been
+known as the King Charles spaniel.</p>
+
+<p><a name="350"></a>
+After a while Van Dyck got heavily into
+debt. King Charles himself was in great
+trouble, and he had no money with which to
+pay his painter's pension. The artist had
+lived so extravagantly that he did not know
+at last which way to turn, so in desperation
+he thought to try alchemy and maybe to learn
+the secret of making gold. He wasted much
+time at this, as cleverer men have done, but
+at last he became too ill for that or for his own
+proper work, and badly off though Charles was
+himself, he offered his court physician a large
+sum if he could cure his court painter. But
+Van Dyck had enjoyed life too well, and
+nothing could be done for him.</p>
+
+<p>He was the seventh child of his parents--which
+some have thought had something to do
+with his genius and success; he lived gaily
+all the years of his life, going restlessly from
+place to place, and having many acquaintances
+but probably few friends, outside of his old
+master, Rubens, who loved him for his genius.</p>
+
+<center>PLATE--CHILDREN OF CHARLES THE FIRST</center>
+
+<p>Van Dyck painted the family of the unfortunate
+king of England four times. There
+are five children in the Windsor Castle picture,
+and this one, which hangs in the Turin
+Gallery, was probably painted before the birth
+of the fourth child in 1636. It is celebrated
+for its colouring as well as for its great
+<a name="351"></a>
+artistic merit. The children are surely childlike
+enough, despite their stately attire, and
+they little dream of the sad fate awaiting the
+whole of the Stuart family to which they
+belong.</p>
+
+<p>Other Van Dycks are: "The Blessed Herman
+Joseph," "Lords Digby and Russell," "Lord
+Wharton," "Countess Folkestone," and
+"William Prince of Orange."</p>
+
+<p><a name="352"></a></p>
+<h1>XLI</h1>
+
+<h1>VELASQUEZ (DIEGO RODRIGUEZ DE SILVA)</h1>
+
+<center>(Pronounced Vay-lahs'keth)<br>
+<i>Castilian School</i><br>
+1599-1669<br>
+<i>Pupil of Herrera</i> </center>
+
+<p>It is pretty difficult to find out why a
+man was named so-and-so in the days
+of the early Italian and Spanish painters.
+More likely than not they would be called after
+the master to whom they had been first apprenticed;
+or after their trade; after the town from
+which they came, and rarely because their
+father had had the name before them. In
+Velasquez's case, he was named after his mother.</p>
+
+<p>No one seemed to be certain what to call
+him, but he generally wrote his name "Diego
+de Silva Velasquez." His father was Rodriguez
+de Silva, a lawyer, but in calling the boy
+Velasquez the family followed a universal
+Spanish custom of naming children after their
+mothers.</p>
+
+<p>Little Velasquez was well taught in his
+childhood; he studied many languages and
+philosophy, for he was intended to be a lawyer
+or something learned, anything but a painter.
+The disappointment of parents in those days,
+<a name="353"></a>
+when they found a child was likely to become
+an artist is touching.</p>
+
+<p>Despite his equipment for a useful life,
+according to the ideas of his parents, this little
+chap was bound to become nothing but a
+maker of pictures.</p>
+
+<p>Herrera was a bad-tempered master and
+little Velasquez could not get on with him,
+so after a year of harsh treatment, he went to
+another master, Pacheco, but by that time
+he had learned a secret that was to help make
+his work great. Herrera had taught him to use
+a brush with very long bristles, which had the
+effect of spreading the paint, making it look
+as if his "colours had floated upon the canvas,"
+in a way that was the "despair of those who
+came after him."</p>
+
+<p>Velasquez was born in Seville at a time when
+about all the art of the world was Italian or
+German; thus he became the creator of a new
+school of painting.</p>
+
+<p>He stayed five years in Pacheco's studio and
+pupil and master became very fond of each
+other. Pacheco was not a great master--not
+so good as Herrera--but he was easy to
+get on with, and knew a good deal about
+painting, so that as Velasquez had the genius,
+he was as well placed as he needed to be.</p>
+
+<p>In Pacheco's studio there was a peasant
+boy whose face was very mobile, showed every
+passing feeling; and Velasquez used to make
+him laugh and weep, till, surprising some good
+<a name="354"></a>
+expression, he would quickly sketch him.
+With this excellent model, Velasquez did a
+surprising amount of good work.</p>
+
+<p>Spain had just then conquered the far-off
+provinces of Mexico and Peru, and was continually
+receiving from its newly got lands
+much valuable merchandise. Rapidly growing
+rich, this Latin country loved art and all things
+beautiful, so its money was bound to be spent
+freely in such ways. Madrid had been made its
+capital, and at that time there were few fine
+pictures to be found there. The Moors who
+had conquered Spain had forbidden picture
+making, because it was contrary to their
+religion to represent the human figure, or even
+the figures of birds and beasts. Then the
+Inquisition had hindered art by its rules,
+one of which was that the Virgin Mary should
+always be painted with her feet covered;
+another, that all saints should be beardless.
+There were many more exactions.</p>
+
+<p>While cathedrals were being built elsewhere,
+the Moors had been in control of Spanish
+lands, so that no cathedral had been built
+there, and when Velasquez came upon the
+scene the time of great cathedral building
+was past. It had ceased to be the fashion.
+Although there had been such painters as
+Beneguette, Morales, Navarrette, and Ribera,
+all Spanish and of considerable genius, they
+had been too badly handicapped to make
+painting a great art in Spain. When Madrid
+<a name="355"></a>
+became the capital of Spain, it had no unusual
+buildings, unless it was an old fortress of the
+Moors, the Alcazar, Caesar's house, but the
+nation was buying paintings from Italy, and
+it began to beautify Madrid, which had the
+advantage of the former Moorish luxury and
+art, very beautiful, though not pictorial.</p>
+
+<p>In Madrid, then, there seemed to be great
+opportunity for a fine artist like Velasquez,
+and his master urged him to go there and try
+his fortune. So he set out on mule-back,
+attended by his slave, but unless he could get
+the ear of the king, it was useless for him to
+seek advancement in Madrid. Without the
+king as patron at that time, an artist could
+not accomplish much. After trying again and
+again, Velasquez had to return to his old
+master, without having seen the king; but
+after a time a picture of his was seen by Philip
+IV., and he was so much pleased with it
+that he summoned the artist. Through his
+minister, Olivares, he offered him $113.40 in
+gold (fifty ducats) to pay his return expenses.
+The next year he gave him $680.40 to move
+his family to Madrid.</p>
+
+<p>At last the artist had found a place in the
+rich city, and he went to live at the court
+where the warmest friendship grew between
+him and the king. The latter was an author
+and something of a painter, so that they loved
+the same things. This friendship lasted all
+their lives, and they were together most of
+<a name="356"></a>
+the time, the king always being found, in
+Velasquez's studio in the palace when his
+duties did not call him elsewhere. During
+the many many years--nearly thirty-seven--that
+Velasquez lived with Philip IV. he
+employed himself in painting the scenes at
+court. Thus he became the pictorial historian
+of the Spanish capital. He was a man of good
+disposition, kindly and generous in conduct
+and in feeling, so that he was always in the
+midst of friends and well-wishers.</p>
+
+<p>Philip IV. was indeed a noble companion,
+but he was not a gay one, being known as the
+king who never laughed--or at least whose
+laughter was so rare, the few times he did
+laugh became historic. One would expect
+this serious and depressing atmosphere to have
+had an effect upon a painter's art; but it
+chanced that Rubens visited Spain, and there,
+Velasquez being the one famous artist, it was
+natural they should become interested in each
+other. Rubens told Velasquez of the wonders of
+Italian painting, till the Spaniard could think
+of nothing else, and finally he begged Philip
+to let him journey to Italy that he might see
+some of those wonders for himself. The
+request made the king unhappy at first, but at
+last he gave his consent and Velasquez set out
+for Italy. The king gave him money and
+letters of introduction, and he went in company
+with the Marquis of Spinola.</p>
+
+<p>After Velasquez had stayed eighteen months
+<a name="357"></a>
+in Italy, Philip began to long for his friend
+and sent for him to return. He came back
+full of the stories of brilliant Italy, and
+charmed the king completely.</p>
+
+<p>There is as absurd a story of Velasquez's
+perfection in painting as that of Raphael's,
+whose portrait of the pope, left upon the
+terrace to dry, imposed upon passers by. It
+is said of Velasquez's work that when he had
+painted an admiral whom the king had
+ordered to sea, and left it exposed in his studio,
+the king, entering, thought it was the admiral
+himself, and angrily inquired why he had not
+put to sea according to orders. On the face
+of them these stories are false, but they serve
+to suggest the perfection of these artists'
+paintings.</p>
+
+<p>Philip, being a melancholy man, had his
+court full of jesters, poor misshapen creatures--dwarfs
+and hunchbacks--who were supposed
+to appear "funny," and Velasquez, as
+court painter, painted those whom he continually
+saw about him, who formed the court
+family. Thus we have pictures of strange
+groups--dwarfs, little princesses, dressed precisely
+as the elders were dressed, favourite
+dogs, and Velasquez himself at his easel.</p>
+
+<p>In 1618, while still with his master, Pacheco,
+he had married the master's daughter, a big,
+portly woman. Before he left Seville he bad
+two daughters.</p>
+
+<p>These were all the children he had, although
+<a name="358"></a>
+he painted a picture of "Velasquez's Family"
+which includes a great number of people.
+The figures in that painting are the children of
+his daughter, not his own; and this may
+account for one biographer's statement that
+the artist had "seven children." He was
+devoted to and happy in his family of children
+and grandchildren.</p>
+
+<p>He did not grow rich, but received regularly
+during his life in Madrid, twenty gold ducats
+($45.36) a month to live upon, and besides this
+his medical attendance, lodging, and additional
+payment for every picture. The one which
+brought him this good fortune was an equestrian
+portrait of Philip; first uncovered on
+the steps of San Felipe. Everywhere the
+people were delighted with it, poets sung of it,
+and the king declared no other should ever
+paint his portrait. This picture has long
+since disappeared.</p>
+
+<p>In 1627 Velasquez won the prize for a picture
+representing the expulsion of the Moors from
+Spain and was rewarded by "being appointed
+gentleman usher. To this was shortly afterward
+added a daily allowance of twelve reals--the
+same amount which was allowed to court
+barbers--and ninety gold ducats ($204.12) a
+year for dress, which was also paid to the
+dwarfs, buffoons, and players about the king's
+person--truly a curious estimate of talent at
+the court of Spain."</p>
+
+<p>The record of Philip IV. with unpleasing,
+<a name="359"></a>
+even degenerate characters, about him, is
+brightened by the thought of his loyalty to his
+court painter and life-long friend. When the
+king's favourites fell, those who had been
+the friends of Velasquez, the artist loyally
+remained their friend in adversity as he had
+been while they were powerful. This constancy,
+even to the royal enemies, was never
+resented by Philip. He honoured the faithfulness
+of his artist, even as he himself was
+faithful in this friendship. Philip's court was
+such that there was little to paint that was
+ennobling, and so Velasquez lacked the inspiration
+of such surroundings as the Italian
+painters had.</p>
+
+<p>Philip IV. was hail-fellow-well-met with his
+stablemen, his huntsmen, his cooks, and yet
+he seems to have had no sense of humour,
+was long faced and forbidding to look at,
+and despite his strange habits considered
+himself the most mighty and haughty man in
+the world. He felt himself free to behave as
+he chose, because he was Philip of Spain; and
+he chose to do a great many absurd and outrageous
+things. In all Philip's portraits, painted
+by Velasquez, he wears a stiff white linen
+collar of his own invention, and he was so
+proud of this that he celebrated it by a festival.
+He went in procession to church to thank God
+for the wonderful blessing of the <i>Golilla</i>--the
+name of his collar. This unsightly thing
+became the fashion, and all portraits of men of
+<a name="360"></a>
+that time were painted with it. "In regard to
+the wonderful structure of Philip's moustaches
+it is said, that, to preserve their form they
+were encased during the night in perfumed
+leather covers called <i>bigoteras</i>." Such absurdities
+in a king, who had the responsibilities of
+a nation upon him, seem incredible.</p>
+
+<p>Velasquez made in all three journeys to
+Italy, and the last one was on a mission for
+the king, which was much to the latter's
+credit. Philip had determined to have a fine
+art gallery in Madrid, for Spain had by this
+time many pictures, but no statuary; so he
+commissioned his painter to buy whatever he
+thought well of and <i>could</i> buy, in Italy. Hence
+the artist set off again with his slave--the
+same one with whom he had journeyed to
+Madrid so long before. His name was Pareja,
+and his master had already made an excellent
+artist of him.</p>
+
+<p>They went to Genoa, thence to the great art-centres
+of Italy, were received everywhere
+with honour, and the artist bought wisely.
+Velasquez did not care for Raphael's paintings
+as much as for Titian's, and he said so to
+Salvator Rosa, an honoured painter in Italy.</p>
+
+<p>While in Rome Velasquez painted the pope,
+also his own slave, Pareja.</p>
+
+<p>When he returned to Spain he took with
+him three hundred statues, but a large number
+of them were nude, and the Spanish court, not
+over particular about most things, was very
+<a name="361"></a>
+particular about naked statues, so that after
+Philip's death, they nearly all disappeared.
+After his return, and after the queen had
+died and Philip had married again, Velasquez
+was made quartermaster-general, no easy post
+but not without honour, though it interfered
+with his picture painting a good deal. He
+had to look after the comfort of all the court,
+and to see that the apartments it occupied,
+at home or when it visited, were suitable.</p>
+
+<p>"Even the powerful king of Spain could not
+make his favourite a belted knight without a
+commission to inquire into the purity of his
+lineage on both sides of the house. Fortunately,
+the pedigree could bear scrutiny, as for
+generations the family was found free from
+all taint of heresy, from all trace of Jewish
+or Moorish blood, and from contamination
+from trade or commerce. The difficulty
+connected with the fact that he was a painter
+was got over by his being painter to the king
+and by the declaration that he did not sell his
+pictures."</p>
+
+<p>The red Cross of Santiago conferred upon
+him by Philip, made Velasquez a knight and
+freed him also from the rulings of the Inquisition,
+which directed so largely what artists
+could and could not do. Thus it is that we
+come to have certain great pictures from
+Velasquez's brush which could not otherwise
+have been painted.</p>
+
+<p>This action of the king, setting free the artist,
+<a name="362"></a>
+made two schools of art, of which the court
+painter represented one; and Murillo the other,
+under the command of the Church. Although
+not so rich perhaps as Raphael, Velasquez
+lived and died in plenty, while Murillo, the
+artist of the Church of Rome, was a poverty-stricken
+man.</p>
+
+<p>Finally, while in the midst of honours, and
+fulfilling his official duty to the court of Spain,
+Velasquez contracted the disease which killed
+him. The Infanta, Maria Theresa, was to
+wed Louis XIV., and the ceremony was to take
+place on a swampy little island called the
+Island of Pheasants. There he went to
+decorate a pavilion and other places of display.
+He became ill with a fever and died soon after
+he returned to Madrid.</p>
+
+<p>He made his wife, his old master Pacheco's
+daughter, his executor, and was buried in the
+church of San Juan, in the vault of Fuensalida;
+but within a week his devoted wife was dead, and
+in eight days' time she was buried beside him.</p>
+
+<p>He left his affairs--accounts between him
+and the court--badly entangled, and it was
+many years before they were straightened out.
+His many deeds of kindness lived after him.
+He made of his slave a good artist and a
+devoted friend, and by his efforts the slave
+became a freedman. The story of his kindly
+help to Murillo when that exquisite painter
+came, unknown and friendless to Madrid, has
+already been told.</p>
+
+<p><a name="363"></a>
+The Church where Velasquez was buried was
+destroyed by the French in 1811, and all trace
+of the resting place of the great Spanish artist
+is forever lost to us.</p>
+
+<p>He is called not only "painter to the king,"
+but "king of painters."</p>
+
+<center>PLATE--EQUESTRIAN PORTRAIT OF DON
+BALTHASAR CARLOS.</center>
+
+<p>Philip of Spain had long prayed for a son
+and when at last one was granted him his pride
+in his young heir was unbounded. The little
+Don Carlos was not unworthy, for he was a
+cheerful, hearty boy, trained to horsemanship,
+from his fourth year, for his father was a noted
+rider and had the best instructors for his son.
+The prince was a brave hunter too and we are
+told that he shot a wild boar when he was but
+nine years of age. In this portrait which is
+in the Museo del Prado he is six years old, and
+it was neither the first nor the last that
+Velasquez made of him. It was one of the
+court painter's chief duties to see that the heir
+to the throne was placed upon canvas at
+every stage of his career, and he painted him
+from two years of age till his lamented death
+at sixteen.</p>
+
+<p>The young prince wears in this picture a
+green velvet jacket with white sleeves and his
+scarf is crimson embroidered with gold. The
+lively pony is a light chestnut and the foreshortening
+<a name="364"></a>
+of its body must be noticed. The
+steady grave eyes of the lad are gazing far
+ahead as they would naturally be if he were
+riding rapidly, but his princely dignity is
+shown in his firm seat in the saddle and his
+manner of holding his marshal's batôn.</p>
+
+<p>The great art of the painter is also shown
+in the way he subordinates the landscape
+to the figure. He will not allow even a tree
+to come near the young horseman, but brings
+his young activity into vivid contrast with the
+calm peacefulness of the distant view.</p>
+
+<p>With the death of Don Carlos the downfall
+of his father's dynasty was assured, though
+for a time his little sister, the Infanta Maria
+Theresa, was upheld as the heiress. She
+married Louis XIV. and had a weary time
+of it in France. Velasquez painted her picture
+too, in the grown up dress of the children of
+that day. It is in the Vienna Gallery. Among
+his best known pictures are "The Surrender
+of Breda," "Alessandro del Borro," and
+"Philip IV."</p>
+
+<p><a name="365"></a></p>
+<h1>XLII</h1>
+
+<h1>PAUL VERONESE (PAOLO CAGLIARI)</h1>
+
+<center>(Pronounced Vay-ro-nay'zay and pah'o-lah cal-ee-ah'ree)<br>
+<i>Venetian School</i><br>
+1528-1588<br>
+<i>Pupil of Titian</i> </center>
+
+<p>"One has never done well enough, when
+one can do better; one never knows
+enough when he can learn more!"</p>
+
+<p>This was the motto of Paul Veronese. This
+artist was born in Verona--whence he took
+his name--and spent much of his life with the
+monks in the monastery of St. Sebastian.</p>
+
+<p>His father was a sculptor, and taught his
+son. Veronese himself was a lovable fellow,
+had a kind feeling for all, and in return
+received the good will of most people. When
+he first went to Venice to study he took letters
+of introduction to the monks of St. Sebastian,
+and finally went to live with them, for his uncle
+was prior of the monastery, and it was upon its
+walls that he did his first work in Venice. His
+subject was the story of Esther, which he
+illustrated completely.</p>
+
+<p>He became known in time as "the most
+magnificent of magnificent painters." He
+loved the gaieties of Venice; the lords and
+ladies; the exquisite colouring; the feasting
+<a name="366"></a>
+and laughter, and everything he painted,
+showed this taste. When he chose great
+religious subjects he dressed all his figures in
+elegant Venetian costumes, in the midst of
+elegant Venetian scenes. His Virgins, or other
+Biblical people, were not Jews of Palestine,
+but Venetians of Venice, but so beautiful were
+they and so inspiring, that nobody cared to
+criticise them on that score. He loved to
+paint festival scenes such as, "The Marriage
+at Cana," "Banquet in Levi's House," or
+"Feast in the House of Simon." He painted
+nothing as it could possibly have been, but
+everything as he would have liked it to be.</p>
+
+<p>Into the "Wedding Feast at Cana," where
+Jesus was said to have turned the water into
+wine, he introduced a great host of his friends,
+people then living. Titian is there, and several
+reigning kings and queens, including Francis
+I. of France and his bride, for whom the
+picture was made. This treatment of the Bible
+story startles the mind, but delights the eye.</p>
+
+<p>It was said that his "red recurred like a
+joyful trumpet blast among the silver gray
+harmonies of his paintings."</p>
+
+<p>Muther, one who has written brilliantly
+about him, tells us that "Veronese seems to
+have come into the world to prove that the
+painter need have neither head nor heart, but
+only a hand, a brush, and a pot of paint in
+order to clothe all the walls of the world with
+oil paintings" and that "if he paints Mary,
+<a name="367"></a>
+she is not the handmaid of the Lord or even
+the Queen of Heaven, but a woman of the
+world, listening with approving smile to the
+homage of a cavalier. In light red silk morning
+dress, she receives the Angel of the Annunciation
+and hears without surprise--for she has
+already heard it--what he has to say; and at
+the Entombment she only weeps in order to
+keep up appearances."</p>
+
+<p>Such criticism raises a smile, but it is quite
+just, and what is more, the Veronese pictures
+are so beautiful that one is not likely to quarrel
+with the painter for having more good feeling
+than understanding. His joyous temperament
+came near to doing him harm, for he was summoned
+before the Inquisition for the manner
+in which he had painted "The Last Supper."</p>
+
+<p>After the Esther pictures in St. Sebastian,
+the artist painted there the "Martyrdom of
+St. Sebastian," and there is a tradition that
+he did his work while hiding in the monastery
+because of some mischief of which he had been
+guilty.</p>
+
+<p>At that time he was not much more than
+twenty-six or eight, while the great painter
+Tintoretto was forty-five, yet his work in
+St. Sebastian made him as famous as the older
+artist.</p>
+
+<p>There is very little known of the private
+affairs of Veronese. He signed a contract
+for painting the "Marriage at Cana," for the
+refectory of the monastery of St. Giorgio
+<a name="368"></a>
+Maggiore, in June 1562, and that picture,
+stupendous as it is, was finished eighteen
+months later. He received $777.60 for it, as
+well as his living while he was at work upon it,
+and a tun of wine. One picture he is supposed
+to have left behind him at a house where he
+had been entertained, as an acknowledgment
+of the courtesy shown him.</p>
+
+<p>Paul had a brother, Benedetto, ten years
+younger than himself, and it is said that he
+greatly helped Paul in his work, by designing
+the architectural backgrounds of his pictures.
+If that is so, Benedetto must have been an
+artist of much genius, for those backgrounds
+in the paintings are very fine.</p>
+
+<p>Veronese married, and had two sons; the
+younger being named Carletto. He was also
+the favourite, and an excellent artist, who did
+some fine painting, but he died while he was
+still young. Gabriele the elder son, also painted,
+but he was mainly a man of affairs, and attended
+to business rather than to art.</p>
+
+<p>Veronese was a loving father and brother,
+and beyond doubt a happy man. After his
+death both his sons and his brother worked upon
+his unfinished paintings, completing them for
+him. He was buried in the Church of St.
+Sebastian.</p>
+
+<center>PLATE--THE MARRIAGE AT CANA</center>
+
+<p>This painting is most characteristic of
+Veronese's methods. He has no regard for
+<a name="369"></a>
+the truth in presenting the picture story. At
+the marriage at Cana everybody must have
+been very simply dressed, and there could
+have been no beautiful architecture, such as
+we see in the picture. In the painting we
+find courtier-like men and women dressed
+in beautiful silks. Some of the costumes
+appear to be a little Russian in character, the
+others Venetian; and Jesus Himself wears
+the loose every-day robe of the pastoral people
+to whom he belonged. We think of luxury
+and rich food and a splendid house when we
+look at this painting, when as a matter of fact
+nothing of this sort could have belonged to the
+scene which Veronese chose to represent.
+Perhaps no painter was more lacking in
+imagination than was Veronese in painting
+this particular picture. He chose to place
+historical or legendary characters, in the midst
+of a scene which could not have existed
+co-incidently with the event.</p>
+
+<p>Among his other pictures are "Europa and
+the Bull," "Venice Enthroned," and the
+"Presentation of the Family of Darius to
+Alexander."</p>
+
+<p><a name="370"></a></p>
+<h1>XLIII</h1>
+
+<h1>LEONARDO DA VINCI</h1>
+
+<center>(Pronounced Lay-o-nar'do dah Veen'chee)<br>
+<i>Florentine School</i><br>
+1451-1519<br>
+<i>Pupil of Verrocchio</i></center>
+
+<p>Leonardo da Vinci was the natural
+son of a notary, Ser Pier, and he was
+born at the Castello of Vinci, near Empoli.
+From the very hour that he was apprenticed
+to his master, Verrocchio, he proved that he
+was the superior of his master in art. Da
+Vinci was one of the most remarkable men who
+ever lived, because he not only did an extraordinary
+number of things, but he did all of
+them well.</p>
+
+<p>He was an engineer, made bridges, fortifications,
+and plans which to this day are
+brilliant achievements.</p>
+
+<p>He was a sculptor, and as such did beautiful
+work.</p>
+
+<p>He was a naturalist, and as such was of use
+to the world.</p>
+
+<p>He was an author and left behind him books
+written backward, of which he said that only
+he who was willing to devote enough study to
+them to read them in that form, was able to
+profit by what he had written.</p>
+
+<p><a name="371"></a>
+Finally, and most wonderfully, he was a
+painter.</p>
+
+<p>He had absolute faith in himself. Before
+he constructed his bridge he said that he
+could build the best one in the world, and a
+king took him at his word and was not
+disappointed by the result.</p>
+
+<p>He stated that he could paint the finest
+picture in the world--but let us read what he
+himself said of it, in so sure and superbly
+confident a way that it robbed his statement
+of anything like foolish vanity. Such as he
+could afford to speak frankly of his greatness,
+without appearing absurd. He wrote:</p>
+
+<p>"In time of peace, I believe I can equal
+anyone in architecture, in constructing public
+and private buildings, and in conducting water
+from one place to another. I can execute
+sculpture, whether in marble, bronze, or terra
+cotta, and in painting I can do as much as
+any other man, be he who he may. Further,
+I could engage to execute the bronze horse in
+eternal memory of your father and the illustrious
+house of Sforza." He was writing to Ludovico
+Sforza whose house then ruled at
+Milan. "If any of the above-mentioned
+things should appear to you impossible or
+impracticable, I am ready to make trial of
+them in your park, or in any other place that
+may please your excellency, to whom I
+commend myself in proud humility."</p>
+
+<p>Leonardo's experiments with oils and the
+<a name="372"></a>
+mixing of his pigments has nearly lost to us
+his most remarkable pictures. His first fourteen
+years of work as an artist were spent in
+Milan, where he was employed to paint by the
+Duke of Milan, and never again was his life
+so peaceful; it was ever afterward full of
+change. He went from Milan to Venice, to
+Rome, to Florence, and back to Milan where
+his greatest work was done.</p>
+
+<p>While Leonardo was a baby he lived in the
+Castle of Vinci. He was beautiful as a child
+and very handsome as a man. When a child
+he wore long curls reaching below his waist.
+He was richly clothed, and greatly beloved.
+His body seemed no less wonderful than his
+mind. He wished to learn everything, and his
+memory was so wonderful that he remembered
+all that he undertook to learn. His muscles
+were so powerful that he could bend iron, and
+all animals seemed to love him. It is said he
+could tame the wildest horses. Indeed his
+life and accomplishments read as if he were one
+enchanted. One writer tells us that "he
+never could bear to see any creature cruelly
+treated, and sometimes he would buy little
+caged birds that he might just have the
+pleasure of opening the doors of their cages,
+and setting them at liberty."</p>
+
+<p>The story told of his first known work is
+that his master, being hurried in finishing a
+picture, permitted Leonardo to paint in an
+angel's head, and that it was so much better
+<a name="373"></a>
+than the rest of the picture, that Verrocchio
+burned his brushes and broke his palette,
+determined never to paint again, but probably
+this is a good deal of a fairy tale and one that
+is not needed to impress us with the artist's
+greatness, since there is so much to prove it
+without adding fable to fact.</p>
+
+<p>Leonardo was also a very far seeing inventor
+and most ingenious. He made
+mechanical toys that "worked" when they
+were wound up. He even devised a miniature
+flying machine; however, history does
+not tell us whether it flew or not. He
+thought out the uses of steam as a motive
+power long before Fulton's time.</p>
+
+<p>Leonardo haunted the public streets, sketchbook
+in hand, and when attracted by a face,
+would follow till he was able to transfer it to
+paper. Ida Prentice Whitcomb, who has
+compiled many anecdotes of da Vinci, says
+that it was also his habit to invite peasants to
+his house, and there amuse them with funny
+stories till he caught some fleeting expression
+of mirth which he was pleased to reproduce.</p>
+
+<p>As a courtier Leonardo was elegant and full
+of amusing devices. He sang, accompanying
+himself on a silver lute, which he had had
+fashioned in imitation of a horse's skull.
+After he attached himself to the court of the
+Duke of Milan, his gift of invention was
+constantly called into use, and one of the
+surprises he had in store for the Duke's guests
+<a name="374"></a>
+was a great mechanical lion, which being wound
+up, would walk into the presence of the court,
+open its mouth and disclose a bunch of flowers
+inside.</p>
+
+<p>Leonardo worked very slowly upon his
+paintings, because he was never satisfied with
+a work, and would retouch it day after day.
+Then, too, he was a man of moods, like most
+geniuses, and could not work with regularity.
+The picture of the "Last Supper" was painted
+in Milan, by order of his patron, the Duke,
+and there are many picturesque stories written
+of its production. It was painted upon the
+refectory wall of a Dominican convent, the
+Santa Maria delle Grazie; and at first the
+work went off well, and the artist would remain
+upon his scaffolding from morning till night,
+absorbed in his painting. It is said that at
+such times he neither ate nor drank, forgetting
+all but his great work. He kept postponing
+the painting of two heads--Christ and Judas.</p>
+
+<p>He had worked painstakingly and with
+enthusiasm till that point, but deferred
+what he was hardly willing to trust himself
+to perform. He had certain conceptions of
+these features which he almost feared to
+execute, so tremendous was his purpose. He
+let that part of the work go, month after
+month, and having already spent two years
+upon the picture, the monks began to urge
+him to a finish. He was not the man to endure
+much pressure, and the more they urged the
+<a name="375"></a>
+more resentful he became. Finally, he began
+to feel a bitter dislike for the prior, the man
+who annoyed him most. One day, when the
+prior was nagging him about the picture,
+wanting to know why he didn't get to work
+upon it again, and when would it be finished,
+Leonardo said suavely: "If you will sit for the
+head of Judas, I'll be able to finish the picture
+at once." The prior was enraged, as Leonardo
+meant he should be; but Leonardo is said
+actually to have painted him in as Judas.
+Afterward he painted in the face of Christ
+with haste and little care, simply because he
+despaired of ever doing the wonderful face that
+his art soul demanded Christ should wear.</p>
+
+<p>The one bitter moment in Leonardo's life,
+in all probability, was when he came in dire
+competition with Michael Angelo. When he
+removed to Florence he was required to
+submit sketches for the Town Hall--the
+Palazzo Vecchio--and Michael Angelo was
+his rival. The choice fell to Angelo, and
+after a life of supremacy Leonardo could not
+endure the humiliation with grace. Added
+to disappointment, someone declared that
+Leonardo's powers were waning because he
+was growing old. This was more than he could
+bear, and he left Italy for France, where the
+king had invited him to come and spend the
+remainder of his life. Francis I. had wished
+to have the picture in the Milan monastery
+taken to France, but that was not to be done.</p>
+
+<p><a name="376"></a>
+Doubtless the king expected Leonardo to do
+some equally great work after he became the
+nation's guest.</p>
+
+<p>Before leaving Italy, Leonardo had painted
+his one other "greatest" picture--"La
+Gioconda" (Mona Lisa)-and he took
+that wonderful work with him to France,
+where the King purchased it for $9,000, and
+to this day it hangs in the Louvre.</p>
+
+<p>But Leonardo was to do no great work in
+France, for in truth he was growing old. His
+health had failed, and although he was still
+a dandy and court favourite, setting the
+fashion in clothing and in the cut of hair and
+beard, he was no longer the brilliant, active
+Leonardo.</p>
+
+<p>Bernard Berensen, has written of him:
+"Painting ... was to Leonardo so little
+of a preoccupation that we must regard it
+as merely a mode of expression used at
+moments by a man of universal genius." By
+which Berensen means us to understand that
+Leonardo was so brilliant a student and
+inventor, so versatile, that art was a mere
+pastime. "No, let us not join in the
+reproaches made to Leonardo for having
+painted so little; because he had so much more
+to do than to paint, he has left all of us heirs
+to one or two of the supremest works of art
+ever created."</p>
+
+<p>Another author writes that "in Leonardo da
+Vinci every talent was combined in one man."</p>
+
+<p><a name="377"></a>
+Leonardo was the third person of the wonderful
+trinity of Florentine painters, Raphael and
+Michael Angelo being the other two.</p>
+
+<p>He knew so much that he never doubted his
+own powers, but when he died, after three
+years in France, he left little behind him, and
+that little he had ever declared to be unfinished--the
+"Mona Lisa" and the "Last Supper."
+He died in the Château de Cloux, at Amboise,
+and it is said that "sore wept the king when
+he heard that Leonardo was dead."</p>
+
+<p>In Milan, near the Cathedral, there stands
+a monument to his memory, and about it are
+placed the statues of his pupils. To this day
+he is wonderful among the great men of the
+world.</p>
+
+<center>PLATE--THE LAST SUPPER</center>
+
+<p>This, as we have said, is in the former convent
+of Santa Maria delle Grazie, in Milan. It was
+the first painted story of this legendary event
+in which natural and spontaneous action on
+the part of all the company was presented.</p>
+
+<p>To-day the picture is nearly ruined by smoke,
+time, and alterations in the place, for a great
+door lintel has been cut into the picture.
+Leonardo used the words of the Christ: "Verily,
+I say unto you that one of you shall betray
+me," as the starting point for this painting.
+It is after the utterance of these words that
+we see each of the disciples questioning
+<a name="378"></a>
+horrified, frightened, anxious, listening,
+angered--all these emotions being expressed
+by the face or gestures of the hands or pose of
+the figures. It is a most wonderful picture and
+it seems as if the limit of genius was to be found
+in it.</p>
+
+<p>The company is gathered in a half-dark hall,
+the heads outlined against the evening light
+that comes through the windows at the back.
+We look into a room and seem to behold the
+greatest tragedy of legendary history: treachery
+and sorrow and consternation brought to
+Jesus of Nazareth and his comrades.</p>
+
+<p>This great picture was painted in oil instead
+of in "distemper," the proper kind of mixture
+for fresco, and therefore it was bound
+to be lost in the course of time. Besides, it
+has known more than ordinary disaster. The
+troops of Napoleon used this room, the convent
+refectory, for a stable, and that did not do the
+painting any good. The reason we have
+so complete a knowledge of it, however, is that
+Leonardo's pupils made an endless number
+of copies of it, and thus it has found its way
+into thousands of homes. The following is
+the order in which Leonardo placed the disciples
+at the table: Jesus of Nazareth in the
+centre, Bartholomew the last on the left,
+after him is James, Andrew, Peter, Judas--who
+holds the money bag--and John. On
+the right, next to Jesus, comes Thomas, the
+doubting one; James the Greater, Philip,
+<a name="379"></a>
+Matthew, Thaddeus, and Simon. Jesus has
+just declared that one of them shall betray
+him, and each in his own way seems to be
+asking "Lord, is it I?" In the South Kensington
+Museum in London will be found
+carefully preserved a description, written out
+fairly in Leonardo's own hand, to guide him
+in painting the Last Supper. It is most
+interesting and we shall quote it: "One, in the
+act of drinking puts down his glass and turns
+his head to the speaker. Another twisting
+his fingers together, turns to his companion,
+knitting his eyebrows. Another, opening his
+hands and turning the palm toward the
+spectator, shrugs his shoulders, his mouth
+expressing the liveliest surprise. Another
+whispers in the ear of a companion, who turns
+to listen, holding in one hand a knife, and in
+the other a loaf, which he has cut in two.
+Another, turning around with a knife in his
+hand, upsets a glass upon the table and looks;
+another gasps in amazement; another leans
+forward to look at the speaker, shading his
+eyes with his hand; another, drawing back
+behind the one who leans forward, looks into
+the space between the wall and the stooping
+disciple."</p>
+
+<p>Other paintings of Leonardo's are: "Mona
+Lisa," "Head of Medusa," "Adoration of the
+Magi," and the "Madonna della Caraffa."</p>
+
+<p><a name="380"></a></p>
+<h1>XLIV</h1>
+
+<h1>JEAN ANTOINE WATTEAU</h1>
+
+<center>(Pronounced in French, Vaht-toh; English, Wot-toh)<br>
+<i>French (Genre) School</i><br>
+1684-1721<br>
+<i>Pupil of Gillot and Audran</i></center>
+
+<p>Watteau's father was a tiler in a
+Flemish town--Valenciennes. He
+meant that his son should be a carpenter, but
+that son tramped from Valenciennes to Paris
+with the purpose of becoming a great painter.
+He did more, he became a "school" of painting,
+all by himself.</p>
+
+<p>There is no sadder story among artists than
+that of this lowly born genius. He was not
+good to look upon, being the very opposite of
+all that he loved, having no grace or charm
+in appearance. He had a drooping mouth,
+red and bony hands, and a narrow chest with
+stooping shoulders. Because of a strange
+sensitiveness he lived all his life apart from
+those he would have been happy with, for
+he mistrusted his own ugliness, and thought
+he might be a burden to others.</p>
+
+<p>Such a man has painted the gayest, gladdest,
+most delicate and exquisite pictures
+imaginable.</p>
+
+<p>He entered Paris as a young man, without
+<a name="381"></a>
+friends, without money or connections of any
+kind, and after wandering forlornly, about the
+great city, he found employment with a dealer
+who made hundreds of saints for out-of-town
+churches.</p>
+
+<p>It is said that for this first employer
+Watteau made dozens and dozens of pictures
+of St. Nicholas; and when we think of the
+beautiful figures he was going to make, pictures
+that should delight all the world, there seems
+something tragic in the monotony and common-placeness
+of that first work he was forced by
+poverty to do. Certainly St. Nicholas brought
+one man bread and butter, even if he forgot
+him at Christmas time.</p>
+
+<p>After that hard apprenticeship, Watteau's
+condition became slightly better. He had
+been employed near the Pont Notre Dame, at
+three francs a week, but now in the studio
+of a scene painter, Gillot, he did work of coarse
+effect, very different from that exquisite school
+of art which he was to bring into being. After
+Gillot's came the studio of Claude Audran,
+the conservator of the Luxembourg, and with
+him Watteau did decorative work. In reality
+he had no master, learned from nobody,
+grovelled in poverty, and at first, forced a
+living from the meanest sources. With this in
+mind, it remains a wonder that he should
+paint as no other ever could, scenes of exquisite
+beauty and grace; scenes of high life,
+courtiers and great ladies assembled in lovely
+<a name="382"></a>
+landscapes, doing elegant and charming things,
+dressed in unrivalled gowns and costumes.
+Until Watteau went to the Luxembourg he
+had seen absolutely nothing of refined or
+gracious living. He had come from country
+scenes, and in Paris had lived among workmen
+and bird-fanciers, flower sellers, hucksters
+and the like. This is very likely the secret of
+his peculiar art.</p>
+
+<p>Watteau would have been a wonderful
+artist under any circumstances, no matter what
+sort of pictures he had painted; but circumstances
+gave his imagination a turn toward
+the exquisite in colourand composition. Doubtless
+when he first looked down from the palace
+windows of the Luxembourg and saw gorgeous
+women and handsome men languishing and
+coquetting and revelling in a life of ease and
+beauty, he was transported. He must have
+thought himself in fairyland, and the impulse
+to paint, to idealise the loveliness that he saw,
+must have been greater in him than it would
+have been in one who had lived so long among
+such scenes that they had become familiar
+with them.</p>
+
+<p>After Watteau there were artists who tried
+to do the kind of work he had done, but no
+one ever succeeded. Watteau clothed all his
+shepherdesses in fine silken gowns, with a
+plait in the back, falling from the shoulders,
+and to-day we have a fashion known as the
+"Watteau back"--gowns made with this
+<a name="383"></a>
+shoulder-plait. He put filmy laces or softest
+silks upon his dairy maids, as upon his court
+ladies, dressing his figures exquisitely, and in
+the loveliest colours. He had suffered from
+poverty and from miserable sights, so when he
+came to paint pictures, he determined to
+reproduce only the loveliest objects.</p>
+
+<p>At that time French fashions were very
+unusual, and it was quite the thing for ladies
+to hold a sort of reception while at their toilet.
+A description of one of these affairs was
+written by Madame de Grignon to her daughter:
+"Nothing can be more delightful than to assist
+at the toilet of Madame la Duchesse (de
+Bourgoyne), and to watch her arrange her hair.
+I was present the other day. She rose at
+half past twelve, put on her dressing gown,
+and set to work to eat a <i>méringue</i>. She ate
+the powder and greased her hair. The whole
+formed an excellent breakfast and charming
+<i>coiffure</i>." Watteau has caught the spirit
+of this strange airy, artificial, incongruous
+existence. His ladies seem to be eating
+<i>meringues</i> and powdering their hair and living
+on a diet of the combination. One hardly
+knows which is toilet and which is real life
+in looking at his paintings.</p>
+
+<p>He quarreled with Audran at the Luxembourg,
+and having sold his first picture, he
+went back to his Valenciennes home, to see
+his former acquaintances, no doubt being a
+little vain of his performance.</p>
+
+<p><a name="384"></a>
+After that he painted another picture
+which sold well enough to keep him from
+poverty for a time, and on his return to
+Paris he was warmly greeted by a celebrated
+and influential artist, Crozat. Watteau tried
+for a prize, and though his picture came
+second it had been seen by the Academy
+committee.</p>
+
+<p>His greatness was acknowledged, and he
+was immediately admitted to the Academy
+and granted a pension by the crown, with
+which he was able to go to Italy, the Mecca
+of all artists the world over.</p>
+
+<p>From Italy he went to London, but there
+the fogs and unsuitable climate made his
+disease much worse and he hurried back to
+France, where he went to live with a friend who
+was a picture dealer. It was then that he
+painted a sign for this friend, Gersaint, a sign
+so wonderful that it is reckoned in the history
+of Watteau's paintings.</p>
+
+<p>Soon he grew so sensitive over his illness,
+that he did not wish to remain near his dearest
+friends, but one of them, the Abbé Haranger,
+insisted upon looking after his welfare, and
+got lodgings for him at Nogent, where he could
+have country air and peace.</p>
+
+<p>Watteau died very soon after going to Nogent
+in July, 1721, and he left nine thousand livres
+to his parents, and his paintings to his best
+friends, the Abbé, Gersaint, Monsieur Henin,
+and Monsieur Julienne. He is called the "first
+<a name="385"></a>
+French painter" and so he was--though he
+was Flemish, by birth.</p>
+
+<center>PLATE--FÊTE CHAMPÊTRE</center>
+
+<p>This exquisite picture displays nearly all
+the characteristics of Watteau's painting. He
+was said to paint with "honey and gold," and
+his method was certainly remarkable. His
+clear, delicate colours were put upon a canvas
+first daubed with oil, and he never cleaned his
+palette. His "oil-pot was full of dust and dirt
+and mixed with the washings of his brush."
+One would think that only the most slovenly
+results could come from such habits of work,
+but the artist made a colour which no one could
+copy, and that was a sort of creamy, opalescent
+white. This was original with Watteau, and
+most beautiful.</p>
+
+<p>In this "Fête Champêtre," which is now in
+the National Gallery at Edinburgh, he paints
+an elegant group of ladies and gentlemen
+indulging in an open air dance of some sort.
+One couple are doing steps facing one another,
+to the music of a set of pipes, while the rest
+flirt and talk, decorously, round about. There
+is no boisterous rusticity here; all is dainty and
+refined.</p>
+
+<p>The same characteristics are to be found in
+Watteau's other pictures such as, "Embarkation
+for the Island of Cythera," "The Judgment
+of Paris," and "Gay Company in a Park."</p>
+
+<p><a name="386"></a></p>
+<h1>XLV</h1>
+
+<h1>SIR BENJAMIN WEST</h1>
+
+<center><i>American</i><br>
+1738-1820<br>
+<i>Pupil of the Italian School</i></center>
+
+<p>The beautiful smile of his little niece
+helped to make this man an artist.
+This is the story:</p>
+
+<p>Benjamin West was born down in Pennsylvania,
+at Westdale, a small village in the township
+of Springfield, of Quaker parentage.
+The family was poor perhaps, but in America
+at a time when everybody was struggling with
+a new civilisation it did not seem to be such
+binding poverty as the same condition in
+Europe would have been. Benjamin had a
+married sister whose baby he greatly loved,
+and he gave it devoted attention. One day
+while it was sleeping and the undiscovered
+artist was sitting beside it he saw it smile, and
+the beauty of the smile inspired him to keep it
+forever if he could. He got paper and pencil
+and forthwith transferred that "angel's
+whisper."</p>
+
+<p>No child of to-day can imagine the difficulties
+a boy must have had in those days in America,
+to get an art education, and having learned
+his art, how impossible it was to live by it.
+<a name="387"></a>
+Men were busy making a new country and
+pictures do not take part in such pioneer work;
+they come later. Still, there were bound to be
+born artistic geniuses then, just as there were
+men for the plough and men for politics and
+for war. He who happened to be the artist
+was the Quaker boy, West.</p>
+
+<p>He took his first inspiration from the
+Cherokees, for it was the Indian in all the
+splendour of his strength and straightness that
+formed West's ideal of beautiful physique.</p>
+
+<p>When he first saw the Apollo Belvedere,
+he exclaimed: "A young Mohawk warrior!"
+to the disgust of every one who heard him, but
+he meant to compliment the noblest of forms.
+Europeans did not know how magnificent a
+figure the "young Mohawk warrior" could be;
+but West knew.</p>
+
+<p>After his Indian impetus toward art he went
+to Philadelphia, and settled himself in a studio,
+where he painted portraits. His sitters went
+to him out of curiosity as much as anything
+else, but at last a Philadelphia gentleman,
+who knew what art meant, recognised Benjamin
+West's talent, and made some arrangement by
+which the young man went to Italy.</p>
+
+<p>Life began to look beautiful and promising
+to the Pennsylvanian. He was in Italy for
+three years, and in that home of art the young
+man who had made the smile of his sister's
+sleeping baby immortal was given highest
+honours. He was elected a member of all the
+<a name="388"></a>
+great art societies in Italy, and studied with
+the best artists of the time. He began to
+earn his living, we may be sure, and then he
+went to England, where, in spite of the prejudice
+there must have been against the colonists,
+he became at once a favourite of George III.,
+a friend of Reynolds and of all the English
+artists of repute--unless perhaps of Gainsborough,
+who made friends with none.</p>
+
+<p>West was appointed "historical painter"
+to his Majesty, George III., and he was chosen
+to be one of four who should draw plans for
+a Royal Academy. He was one of the first
+members of that great organisation, and when
+Sir Joshua Reynolds, the first president, died,
+West became president, remaining in office
+for twenty-eight years.</p>
+
+<p>About that time came the Peace of Amiens,
+and West was able to go to Paris, where he
+could see the greatest art treasures of Europe,
+which had been brought to France from every
+quarter as a consequence of the war. At
+that time, before Paris began to return
+these, and when she had just pillaged every
+great capital of Europe, artists need take but
+a single trip to see all the art worth seeing
+in the whole world.</p>
+
+<p>After a long service in the Academy, West
+quarreled with some of the Academicians and
+sent in his resignation; but his fellow artists
+had too much sense and good feeling to accept
+it, and begged him to reconsider his action.
+<a name="389"></a>
+He did so, and returned to his place as president.
+When West was sixty-five years old he made
+a picture, "Christ Healing the Sick," which
+he meant to give to the Quakers in Philadelphia,
+who were trying to get funds with which to
+build a hospital. This picture was to be sold
+for the fund; but it was no sooner finished and
+exhibited in London before being sent to
+America, than it was bought for 3,000 guineas
+for Great Britain. West did not contribute
+this money to the hospital fund, but he made
+a replica for the Quakers, and sent that instead
+of the original.</p>
+
+<p>West was eighty-two years old when he
+died and he was buried in St. Paul's Cathedral
+after a distinguished and honoured life. Since
+Europe gave him his education and also
+supported him most of his life, we must consider
+him more English than American, his
+birth on American soil being a mere accident.</p>
+
+<center>PLATE--THE DEATH OF WOLFE</center>
+
+<p>This death scene upon the Plains of Abraham,
+without the walls of Quebec in 1759, must not
+be taken as a realistic picture of an historic
+event. West drew upon his imagination and
+upon portraits of the prominent men supposed
+to have been grouped around the dying
+general, and he has produced a dramatic
+effect. One can imagine it is the two with
+fingers pointing backward who have just
+<a name="390"></a>
+brought the memorable tidings, "They run!
+They run!"</p>
+
+<p>"Who run?" asks Wolfe, for when he had
+fallen the issues of the fight were still undecided.
+"The French, sir. They give way
+everywhere." "Thank God! I die in peace,"
+replied the English hero. At a time when
+the momentous results of this battle had set
+the whole of Great Britain afire with enthusiasm
+it is easy to understand the popularity of a
+picture such as this. It was sold in 1791 for
+£28, and now belongs to the Duke of Westminster.
+There is a replica of it in the Queen's
+drawing-room at Hampton Court.</p>
+
+<p>Another famous historical picture by West
+is "The Battle of La Hogue."</p>
+
+<p><a name="391"></a></p>
+<h1>INDEX</h1>
+
+<p>About, Edmund<br>
+Academia, Florence<br>
+Academy, French<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Rome,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Royal, London,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Venice<br>
+"Acis and Galatea"<br>
+Adoration of the Magi<br>
+"Adoration of the Shepherds" <br>
+"After a Summer Shower"<br>
+"Afternoon"<br>
+Albert, King<br>
+"Alessandro del Borro"<br>
+Alexander VI.<br>
+Alice, Princess<br>
+Allegri, Antonio. <i>See</i> Correggi<br>
+Allegri, Pompino<br>
+"Ambassadors, The"<br>
+"American Mustangs"<br>
+"Anatomy Lesson, The"<br>
+Andrea del Sarto<br>
+Angelo, Michael<br>
+"Angels' Heads"<br>
+"Angelas, The"<br>
+Anguisciola, Sofonisba<br>
+Anne of Cleves<br>
+Anne of Saxony<br>
+Annunciata, cloister of the<br>
+"Annunciation, The"<br>
+"Ansidei Madonna, The"<br>
+"Antiope"<br>
+Apocalypse<br>
+Apollo Belvedere<br>
+Apostles, the Four<br>
+Apostles' Heads<br>
+Appelles<br>
+"Archipelago"<br>
+Arena Chapel<br>
+Arrivabene Chapel<br>
+"Artist's Two Sons, The"<br>
+"Arundel Castle and Mill"<br>
+"Assumption of the Virgin"<br>
+"At the Well"<br>
+Audran<br>
+Augusta, Princess<br>
+"Avenue, Middelharnis, Holland"<br>
+"Awakened Conscience, The"</p>
+
+<p>"Bacchanal"<br>
+"Bacchus and Ariadne"<br>
+Balzac<br>
+"Banquet in Levi's House"<br>
+"Baptism of Christ, The"<br>
+Barbizon<br>
+Barile<br>
+Barry, James<br>
+Bartoli d'Angiolini<br>
+Bartolommeo, Fra<br>
+Bassano<br>
+"Bathers"<br>
+"Battle of La Hogue"<br>
+Beaumont, Sir George<br>
+Beaux-Arts, l'Ecole des<br>
+Begarelli<br>
+Bellini, Gentile<br>
+Bellini, Giovanni<br>
+Bembo, Cardinal<br>
+Beneguette<br>
+"Bent Tree"<br>
+Bentivoglio, Cardinal<br>
+Berck, Derich<br>
+Berensen, Bernard<br>
+Bergholt, East<br>
+"Berkshire Hills"<br>
+"Bianca"<br>
+Bicknell, Maria<br>
+Bigio, Francia<br>
+Bigordi. <i>See</i> Ghirlandajo<br>
+Bird<br>
+"Birth of the Virgin"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Andrea del Sarto)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Murillo)<br>
+"Birth of Venus"<br>
+Blanc, Charles<br>
+"Blessed Herman Joseph, The"<br>
+"Bligh Shore"<br>
+"Blue Boy, The"<br>
+Böcklin, Arnold<br>
+"Boat-Building"<br>
+Boleyn, Anne<br>
+Bolton, Mrs. Sarah K.<br>
+<a name="392"></a>Bonheur, Marie-Rosea<br>
+Bonheur, Raymond B. <br>
+Bordeaux<br>
+Bordone. <i>See</i> Giotto <br>
+Borghese Palace <br>
+Borgia family<br>
+Borgia, Lucretia <br>
+Botticelli<br>
+Boudin <br>
+Bouguereau, William Adolphe<br>
+"Boy at the Stile, The"<br>
+Brancacci Chapel<br>
+Brant, Isabella<br>
+Breton, Jules<br>
+Brice, J. B.<br>
+Brouwer<br>
+Browning<br>
+Brunellesco<br>
+"Brutus"<br>
+Buckingham, Duke of<br>
+Buonarroti. <i>See</i> Angelo Michael<br>
+Burgundy, Duchess of<br>
+Burke, Edmund<br>
+Burne-Jones, Sir Edward <br>
+Burr, Margaret</p>
+
+<p>Caffin<br>
+Cagliari, Benedetto<br>
+Cagliari, Carletto <br>
+Cagliari, Gabriele <br>
+Cagliari, Paolo. <i>See</i> Veronese <br>
+Cambridge, University of <br>
+"Camels at Rest"<br>
+Campagna<br>
+Campana, Pedro <br>
+Campanile, Florence <br>
+Canova<br>
+Caprese<br>
+"Capture of Samson"<br>
+Capuchin Church<br>
+Capuchin Convent <br>
+Carlos, Don <br>
+"Carmencita"<br>
+Carmine, Church of the<br>
+"Carthage"<br>
+Castillo, Juan del <br>
+Cecelia, wife of Titian <br>
+Cellini<br>
+Centennial Exhibition<br>
+Chamberlain, Arthur <br>
+"Chant d'Amour"<br>
+Chantry, Sir Francis <br>
+"Charity"<br>
+Charles, I.<br>
+Charles V.<br>
+Charles X. <br>
+Cherokees <br>
+"Chess Players, The" <br>
+"Children of Charles I." <br>
+"Christ Healing the Sick" <br>
+"Christ in the Temple" <br>
+"Christina of Denmark"  <br>
+Church<br>
+Cibber, Theophilus<br>
+Cimabue <br>
+Claude <br>
+"Cleopatra Landing at Tarsus"<br>
+"Cock Fight"<br>
+Cogniet, Léon<br>
+Colnaghi<br>
+"Cologne"<br>
+Constable, John<br>
+Copley, John Singleton<br>
+Copper Plate Magazine<br>
+Cornelia, Rembrandt's daughter <br>
+Cornelissen, Cornelis<br>
+"Cornfield"<br>
+"Coronation of Marie de Medicis" <br>
+"Coronation of the Virgin"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Ghirlandajo)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Raphael)<br>
+Corot, Jean Baptiste Camille<br>
+Correggio<br>
+Cosimo, Piero di<br>
+"Cottage, The"<br>
+"Countess Folkstone" <br>
+"Countess of Spencer"<br>
+Coventry, Countess of<br>
+"Creation of Man, The"<br>
+"Creation of the World, The"<br>
+Crozat<br>
+"Crucifixion, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Raphael) <br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Tintoretto) </p>
+
+<p>"Danaë"  <br>
+Dandie Dinmont<br>
+"Daniel" <br>
+Dante <br>
+"Daphnis and Chloe"<br>
+Daubigny <br>
+"David"  <br>
+"Dead Christ, The" <br>
+"Dead Mallard" <br>
+"Death of Ananias, The"  <br>
+"Death of Wolfe, The" <br>
+"Dedham Mill"<br>
+"Dedham Vale"  <br>
+Delaroche <br>
+"Deluge, The"  <br>
+"Descent from the Cross, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Campana)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Rembrandt)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Rubens) <br>
+De Witt<br>
+Diaz<br>
+"Dice Players, The"<br>
+Dickens, Charles <br>
+Digby, Kenelm <br>
+"Dignity and Impudence" <br>
+"Divine Comedy"<br>
+Dolce, Ludovico <br>
+Donatello <br>
+"Don Quixote"<br>
+<a name="393"></a>Doré, Paul Gustave<br>
+D'Orsay<br>
+"Duchess of Devonshire and Her Daughter, The"<br>
+"Duel After the Masked Ball"<br>
+Dunthorne, John<br>
+Dupré <br>
+Durand, Carolus <br>
+Dürer, Albrecht<br>
+Dyce</p>
+
+<p>"Ecce Homo"<br>
+"Education of Mary, The"<br>
+Edward, King<br>
+Egyptian art<br>
+Elizabeth, Cousin of the Virgin<br>
+Elizabeth, Princess<br>
+"Embarkation for the Island of Cythera"<br>
+"Emperor at Solferino, The"<br>
+Engravers and engraving<br>
+"Entombment, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Titian)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Veronese) <br>
+Eos<br>
+"Equestrian Portrait of Don Balthasar Carlos"<br>
+Errard, Charles<br>
+Escorial, the<br>
+Estéban, Bartolomé. See Murillo<br>
+Estéban, Gaspar<br>
+Estéban, Therese<br>
+Etchers and etching <br>
+"Europa and the Bull"<br>
+"Eve of St. Agnes, The"</p>
+
+<p>Fallen, Ambrose<br>
+"Fall of Man, The"<br>
+"Fantasy of Morocco"<br>
+Fawkes, Hawksworth<br>
+"Feast in the House of Simon"<br>
+"Feast of Ahasuerus"<br>
+"Ferdinand of Austria"<br>
+Ferdinand III., Grand Duke<br>
+Ferrara, Duke of<br>
+"Fête Champêtre"<br>
+"Fighting Téméraire, The"<br>
+Filipepi, Mariano<br>
+"Finding of Christ in the Temple, The"<br>
+"Flamborough, Miss"<br>
+"Flatford Mill on the River Stour"<br>
+"Flora"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Böcklin)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Titian) <br>
+"Foal of an Ass, The"<br>
+Fondato de' Tedeschi<br>
+Fontainebleau <br>
+"Fool, The"<br>
+"Fornarina, The"<br>
+Fortuny, Mariano<br>
+Fourment family<br>
+Fourment, Helena<br>
+"Four Saints"<br>
+Francis I.<br>
+Frari, monks of the<br>
+Frey, Agnes<br>
+"Friedland"</p>
+
+<p>Gainsborough, Mary<br>
+Gainsborough, Thomas<br>
+Gallery, Berlin<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Dresden<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Grosvenor<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Hague, The<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Hermitage, The<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Lichtenstein, Vienna<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Louvre<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Luxembourg<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Madrid<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Naples<br>
+&nbsp;&nbsp;&nbsp;&nbsp;National, Edinburgh<br>
+&nbsp;&nbsp;&nbsp;&nbsp;National, London<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Old Pinakothek, Munich <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Parma<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Pitti Palace<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Uffizi<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Vienna<br>
+Garrick<br>
+"Gay Company in a Park"<br>
+Gellée. See Claude Lorrain<br>
+George III.<br>
+"Georgia Pines"<br>
+Gerbier<br>
+Germ, The<br>
+Gérôme, Jean Léon <br>
+Gersaint<br>
+Ghibertio<br>
+Ghirlandajo<br>
+"Gibeon Farm"<br>
+Gignoux, Regis<br>
+"Gillingham Mill"<br>
+Gillot<br>
+Giorgione <br>
+Giotto<br>
+"Giovanna degli Albizi"<br>
+Girten, Thomas<br>
+Gisze, Gorg<br>
+Gladstone, Mr. and Mrs.<br>
+"Gleaners, The"<br>
+"Glebe Farm"<br>
+Goethe<br>
+"Golden Calf, The"<br>
+<a name="394"></a>"Golden Stairs, The"<br>
+Goldsmith, craft of the<br>
+Goldsmith, Oliver<br>
+Gonzaga, Vincenzo<br>
+"Good Samaritan, The"<br>
+Graham, Judge<br>
+Granacci<br>
+Gravelot <br>
+Grignon, Madame de<br>
+Gualfonda<br>
+"Guardian Angel, The"<br>
+Guidi, Giovanni<br>
+Guidi, Simone<br>
+Guidi. Tommaso. <i>See</i> Masaccio<br>
+Guido<br>
+Guidobaldo of Urbino<br>
+Guilds<br>
+"Gust of Wind"</p>
+
+<p>Haarlem Town Hall<br>
+"Haarlem's Little Forest"<br>
+"Hadleigh Castle" <br>
+Hals, Franz<br>
+Hamerton<br>
+Hamilton, Duchess of <br>
+"Hampstead Heath"<br>
+Hancock, John<br>
+"Hans of Antwerp"  <br>
+Haranger, Abbé<br>
+"Hark!"<br>
+"Harvest Waggon, The"<br>
+Hassam, Childe<br>
+Hastings, Warren <br>
+"Haunt of the Gazelle, The"<br>
+Hayman <br>
+"Haystack in Sunshine"<br>
+"Hay Wain, The"<br>
+"Head of Christ" <br>
+"Head of Medusa"<br>
+Hearn, George A.<br>
+Henin <br>
+Henrietta, Queen<br>
+Henry III.<br>
+Henry VIII. <br>
+"Henschel" <br>
+"Hercules" <br>
+Herrera<br>
+"Highland Sheep"<br>
+"Hille Bobbe, the Witch of Haarlem"<br>
+Hill, Jack<br>
+"Hireling Shepherd, The"<br>
+Hobbema, Meindert<br>
+Hogarth, William<br>
+Holbein, Ambrosius<br>
+Holbein, Hans, the Younger<br>
+Holbein, Michael<br>
+Holbein, Philip<br>
+Holbein, Sigismund<br>
+Holbein, the Elder<br>
+"Holofernes" <br>
+Holper, Barbara <br>
+"Holy Family and St. Bridget"<br>
+Holy Family in art, The <br>
+"Holy Family under a Palm Tree, The"<br>
+"Holy Night, The"<br>
+"Homer St. Gaudens"<br>
+"Hon. Ann Bingham, The"<br>
+Hood, Admiral<br>
+"Horse Fair, The"<br>
+Howard, Catherine<br>
+Hudson, Thomas<br>
+Hunt, William Holman</p>
+
+<p>"II Giorno" <br>
+"II Medico del Correggio"<br>
+"Immaculate Conception, The"<br>
+Indian pottery<br>
+Infanta<br>
+"Infant Jesus and St. John, The" <br>
+Inman<br>
+Inness<br>
+"Innocence"<br>
+"In Paradise"<br>
+Inquisition, Spanish<br>
+"Interior of the Mosque of Omar"<br>
+Isabella, Queen<br>
+Islay<br>
+"Isle of the Dead, The"<br>
+"Ivybridge" </p>
+
+<p>Jacopo da Empoli<br>
+Jacque <br>
+"Jane Seymour"<br>
+"Jerusalem by Moonlight"<br>
+"Jesus and the Lamb"<br>
+Jesus in art<br>
+Johnson, Dr.<br>
+Jones, George<br>
+Joseph in art <br>
+"Joseph in Egypt"<br>
+"Joseph's Dream" <br>
+"Judgment of Paris, The" <br>
+"Judith"<br>
+Julienne<br>
+Julius II.<br>
+Justiniana</p>
+
+<p>Kann, Rudolf <br>
+"King Cophetua and the Beggar Maid"<br>
+"King of Hearts"<br>
+"Kirmesse, The"<br>
+Knackfuss<br>
+"Knight, Death and the Devil, The"</p>
+
+<p><a name="395"></a>"La Belle Jardinière" <br>
+"La Disputa" <br>
+"Lady Elcho, Mrs. Arden, Mrs. Tennant"<br>
+"La Gioconda"<br>
+"Landscape with Cattle."<br>
+Landseer, John <br>
+Landseer, Sir Edwin Henry <br>
+Landseer, Thomas <br>
+"La Primavera" <br>
+"Last Judgment, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Angelo)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Tintoretto)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Titian)<br>
+"Last Supper, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Andrea del Sarto)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Ghirlandajo)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Veronese)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Leonardo da Vinci)<br>
+"Laughing Cavalier, The" <br>
+Laura <br>
+Lavinia, daughter of Titian <br>
+"Lavinia, the Artist's Daughter" <br>
+Lawrence, Sir Thomas <br>
+"Leda"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Correggio)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Gérome)<br>
+Lee, Jeremiah<br>
+Legion of Honour <br>
+Lemon, Margaret <br>
+Leonardo. See da Vinci<br>
+Leo X. <br>
+Lewis, J. F. <br>
+<i>Liber Studiorium</i> <br>
+"Liber Veritas" <br>
+Library, Boston Public <br>
+"Light of the World, The" <br>
+Linley, Thomas <br>
+Linley, Samuel <br>
+"Lion Disturbed at His Repast" <br>
+"Lion Enjoying His Repast" <br>
+"Lioness, The Study off a"<br>
+"Lion Hunt, A"<br>
+Lippi, Fra Filippo<br>
+"Lock on the Stour"<br>
+Lombardi<br>
+"Lords Digby and Russell" <br>
+"Lord Wharton"<br>
+Lorenzalez, Claudio<br>
+Lorrain, Claude<br>
+Lott, Willy <br>
+Louis XIV.<br>
+Louise, Princess<br>
+"Love Among the Ruins"<br>
+"Low Life and High Life"<br>
+Lowther, Sir William<br>
+Lucas van Leyden<br>
+Lucia, mother of Titian<br>
+Lucretia, wife of Andrea del Sarto<br>
+Luther, Martin <br>
+Madonna and Child<br>
+"Madonna and Child with St. Anne"<br>
+"Madonna and Child with Saints"<br>
+"Madonna del'Arpie"<br>
+"Madonna della Caraffa"<br>
+"Madonna della Casa d'Alba" <br>
+"Madonna della Sedia"<br>
+"Madonna del Granduca"<br>
+"Madonna del Pesce"<br>
+"Madonna del Sacco"<br>
+"Madonna of the Palms"<br>
+"Madonna of the Rosary."<br>
+Madrazo<br>
+"Magdalene, The"<br>
+Manet<br>
+"Manoah's Sacrifice"<br>
+Mantegna<br>
+Mantua, Duke of<br>
+Mantua, Duke Frederick II. of<br>
+"Man with the Hoe, The"<br>
+"Man with the Sword, The"<br>
+Margherita<br>
+Maria Theresa <br>
+"Marriage à la Mode"<br>
+"Marriage at Cana, The" <br>
+"Marriage Contract, The"<br>
+"Marriage of Bacchus and Ariadne, The"<br>
+"Marriage of Mary and Joseph, The"<br>
+"Marriage of St. Catherine, The"<br>
+"Marriage of Samson, The"<br>
+Martineau <br>
+"Martyrdom of St. Agnes, The" <br>
+"Martyrdom of St. Peter, The" <br>
+"Martyrdom of St. Sebastian, The"<br>
+Mary, the Virgin, in art<br>
+Masaccio (Tommasco Guidi) <br>
+Masoline <br>
+Mastersingers, Nuremberg <br>
+Maximillian, Emperor <br>
+Medici family<br>
+Medici, Giovanni di Bicci de' <br>
+Medici, Lorenzi de'<br>
+Medici, Ottaviano de'<br>
+Medici, Pietro de' <br>
+"Meeting of St. John and St. Anna at Jerusalem"<br>
+Meissonier, Jean Louis Ernest<br>
+<a name="396"></a>"Melancholy"<br>
+Merlini, Girolama <br>
+"Meyer Madonna, The"<br>
+Michallon <br>
+"Midsummer Noon"<br>
+Millais<br>
+Millet, Jean François <br>
+Millet, Mère<br>
+"Mill Stream"<br>
+"Miracle of St. Mark, The"<br>
+Missions, Spanish<br>
+Missirini<br>
+"Mr. Marquand" <br>
+"Mr. Penrose"<br>
+"Mrs. Meyer and Children"<br>
+"Mrs. Peel"<br>
+Mohawk<br>
+Mona Lisa<br>
+Monet, Claude<br>
+"Money Changers, The"<br>
+"Moonlight at Salerno"<br>
+Morales<br>
+"Moreau and His Staff before Hohenlinden"<br>
+More, Sir Thomas<br>
+"Morning Prayer, The"<br>
+"Moses"<br>
+"Moses Breaking the Tablets of the Law"<br>
+Mudge, Dr.<br>
+Murat<br>
+Murillo (Bartolomé Estéban)<br>
+Murillo, Dona Anna<br>
+Museum of Art, Basel<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Berlin <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Court, Vienna <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Madrid<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Metropolitan, New York <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Prado<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Rijks, Amsterdam<br>
+&nbsp;&nbsp;&nbsp;&nbsp;South Kensington<br>
+Muther<br>
+"Mystic Marriage of St. Catherine, The"  </p>
+
+<p>"Naiads at Play"<br>
+Napoleon<br>
+"Nativity, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Botticelli) <br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Dürer) <br>
+Navarrette<br>
+"Nieces of Sir Horace Walpole" <br>
+"Night Watch, The"<br>
+"Noli me Tangere"<br>
+Norham Castle<br>
+Nuremberg <br>
+"Nurse and the Child, The"<br>
+ <br>
+"'Oh, Pearl' Quoth I"<br>
+"Old Bachelor, The" <br>
+"Old Shepherd's Chief Mourner, The"<br>
+Olivares</p>
+
+<p>Pacheco<br>
+"Pallas"<br>
+"Pan and Psyche"<br>
+Pantheon<br>
+Pareja <br>
+"Parish Clerk, The"<br>
+'Past and Present"<br>
+Passignano<br>
+"Pathless Water, The"<br>
+Paul III.<br>
+"Paysage"<br>
+Pazzi family<br>
+"Penzance"<br>
+Percy, Bishop<br>
+Perez family<br>
+Perez, Maria<br>
+Perugino<br>
+Philip II.<br>
+Philip III.<br>
+Philip IV.<br>
+Picot<br>
+"Pilate Washing His Hands"<br>
+Pinas<br>
+Pirkneimer<br>
+Pissaro<br>
+"Ploughing"<br>
+Pope, Alexander<br>
+"Portrait of Old Man and Boy"<br>
+Portraits of artists by themselves<br>
+"Praying Arab"<br>
+"Praying Hands"<br>
+Pre-Raphaelites<br>
+"Presentation of Christ in the Temple"<br>
+"Presentation of the Family of Darius to Alexander"<br>
+Prim, General<br>
+"Procession of the Magi"<br>
+"Prowling Lion, The"<br>
+"Psyche and Cupid"<br>
+Pypelincx, Maria </p>
+
+<p>Quakers<br>
+"Quin, Portrait of" </p>
+
+<p>Rabelais <br>
+"Rake's Progress, The"<br>
+"Rape of Ganymede, The"<br>
+"Rape of the Daughters of Leucippus, The"<br>
+Raphael (Sanzio)<br>
+<a name="397"></a>Reade, Charles<br>
+"Reading at Diderot's, A"<br>
+"Reaper, The"<br>
+"Regions of Joy"<br>
+Rembrandt (van Rijn)<br>
+"Retreat from Russia" <br>
+Reynolds, Samuel<br>
+Reynolds, Sir Joshua<br>
+Ribera<br>
+Rinaldo and Armida<br>
+"Road over the Downs, The" <br>
+"Robert Cheseman with his Falcon" <br>
+Robusto, Jacopo. <i>See</i> Tintoretto<br>
+Romano, Guilio<br>
+Rood, Professor<br>
+"Rosary, Story of the" <br>
+Rossetti, Dante Gabriel<br>
+Rossetti, W. M.<br>
+Rothschild, Lord<br>
+Rousseau   <br>
+Royal Princess<br>
+Rubens, Albert<br>
+Rubens, John<br>
+Rubens, Nicholas<br>
+Rubens, Peter Paul  <br>
+Ruisdael, Jacob van<br>
+Ruskin, John  <br>
+Ruthven, Lady Mary<br>
+Sachs, Hans<br>
+"Sacred and Profane Love"<br>
+"St. Anthony of Padua"<br>
+"St. Augustine"<br>
+"St. Barbara"<br>
+St. Bernard dog<br>
+St. Bernardino<br>
+"Saint Cecelia"  <br>
+St. Christopher<br>
+St. Clemente<br>
+St. Dominic<br>
+St. George<br>
+"St. George and the Dragon"<br>
+"St. George Slaying the Dragon"<br>
+St. Giorgio Maggiore<br>
+"St. Jerome"<br>
+St, John the Baptist <br>
+St. Jovis Shooting Company <br>
+St. Leger, Colonel<br>
+St. Lucas, Guild of<br>
+St. Luke, Guild of<br>
+St. Mark<br>
+St. Martin's Church<br>
+"St. Michael Attacking Satan." <br>
+"St. Nobody"  <br>
+St. Paul's Cathedral<br>
+St. Peter<br>
+"St. Peter Baptising"<br>
+St. Peter's Church<br>
+"St. Rocco Healing the Sick"  <br>
+"St. Sebastian."<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Botticelli)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Correggio)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Titian)<br>
+St. Sebastian, Church of<br>
+St. Sebastian, Monastery of<br>
+St. Sixtus<br>
+St. Trinita, Church of<br>
+"Salisbury Cathedral"<br>
+Salon<br>
+Salvator Rosa<br>
+"Samson" <br>
+"Samson Threatening His Stepfather"<br>
+"Samson's Wedding"<br>
+San Francisco<br>
+Santa Croce<br>
+Santa Maria della Pace<br>
+Santa Maria delle Grazte <br>
+Santa Maria del Orto<br>
+Santa Maria Novella<br>
+Santi, Bartolommeo<br>
+Santi Giovanni<br>
+Santo Cruz, Church of<br>
+Santo Spirito, Convent of<br>
+Sanzio. <i>See</i> Raphael<br>
+Sarcinelli, Cornelio<br>
+Sargent, John Singer<br>
+Sarto, Andrea del. <i>See</i> Andrea<br>
+Saskia<br>
+Savonarola<br>
+"Scapegoat, The"<br>
+"Scene from Woodstock"<br>
+Schiavone<br>
+Schmidt, Elizabeth<br>
+Schongauer<br>
+School Girl's Hymn<br>
+"School of Anatomy, The"<br>
+School of Art, Academy, London<br>
+&nbsp;&nbsp;&nbsp;&nbsp;American<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Andalusian<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Castilian<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Dusseldorf<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Dutch  <br>
+&nbsp;&nbsp;&nbsp;&nbsp;English  <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Flemish <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Florentine is, xti. <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Fontainebleau-Barbizon<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Foreign <br>
+&nbsp;&nbsp;&nbsp;&nbsp;French in<br>
+&nbsp;&nbsp;&nbsp;&nbsp;German <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Hudson River <br>
+&nbsp;&nbsp;&nbsp;&nbsp;<a name="398"></a>Impressionist<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Italian<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Nuremberg<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Parma<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Roman<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Spanish<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Umbrian<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Venetian<br>
+"School, of Athens, The"<br>
+"School, of Cupid, The"<br>
+"Scotch Deer"<br>
+Scott, Sir Walter<br>
+Scrovegno, Enrico<br>
+Scuola di San Rocco<br>
+"Seaport at Sunset"<br>
+Sebastian<br>
+"Serpent Charmer, The"<br>
+Servi, convent of the<br>
+Sesto, Cesare de<br>
+Seurat<br>
+Sforza, Ludovico<br>
+"Shadow of Death, The"<br>
+Shakespeare<br>
+Sheepshanks Collection<br>
+"Shepherd Guarding Sheep"<br>
+Sheppey, Isle of<br>
+Sheridan, Mrs. Richard Brinsley<br>
+Sheridan, Richard Brinsley<br>
+Siddons, Mrs.<br>
+Silva, Rodriguez de<br>
+Sistine Chapel<br>
+"Sistine Madonna, The"<br>
+Six, Jan<br>
+Sixtus IV.<br>
+Skynner, Sir John<br>
+"Slaughter of the Innocents, The"<br>
+"Slave Ship, The"<br>
+"Sleeping Bloodhound, The"<br>
+"Sleeping Venus, The"<br>
+Smith, John<br>
+"Snake Charmers, The"<br>
+"Snow-storm at Sea, A"<br>
+Society of Arts<br>
+Soderini<br>
+Solus Lodge<br>
+"Sortie, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;<i>See also</i> Night Watch<br>
+Sotomayer, Doña Beatriz de <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Cabrera y<br>
+"Sower, The"<br>
+Spaniel, King Charles<br>
+"Spanish Marriage, The"<br>
+Spinola, Marquis of<br>
+"Sport of the Waves"<br>
+"Spring"<br>
+Sterne, Lawrence<br>
+"Storm, The"<br>
+Stour, River<br>
+"Straw Hat, The"<br>
+Sudbury<br>
+Sully<br>
+Sultan of Turkey<br>
+"Sunset on the Passaic"<br>
+"Sunset on the Sea"<br>
+"Surrender of Breda"<br>
+"Susanna and the Elders"<br>
+"Susanna's Bath"<br>
+"Sussex Downs"<br>
+Swanenburch, Jacob van<br>
+"Sword-Dance, The"<br>
+"Syndics of the Cloth Hall"</p>
+
+<p>Taddei, Taddeo<br>
+Tassi, Agostine<br>
+Thackeray<br>
+Thornhill, Sir James<br>
+"Three Ages, The"<br>
+"Three Saints and God the Father"<br>
+Tintoretto (Jacopo Robusti)<br>
+Titian (Tiziano Vecelli)<br>
+Tornabuoni, Giovanni<br>
+Torregiano <br>
+Trafalgar Square<br>
+"Transfiguration, The"<br>
+"Tribute Money, The"<br>
+"Trinity"<br>
+Troyon<br>
+Trumbull, American painter<br>
+Trumbull, English diplomat<br>
+Tulp, Nicholaus<br>
+Turner, Charles<br>
+Turner, Joseph Mallord William<br>
+"Two Beggar Boys"<br>
+Tybis, Geryck</p>
+
+<p>Ulenberg, Saskia van<br>
+Urban VIII.<br>
+Urbino, Duke of</p>
+
+<p>"Valley Farm, The"<br>
+Van Dyck, Sir Anthony <br>
+Van Mander, Karel<br>
+Van Marcke<br>
+Van Noort, Adam<br>
+Van Rijn. <i>See</i> Rembrandt<br>
+Van Veen<br>
+Varangeville<br>
+Vasari<br>
+Vatican<br>
+Vecchio, Palazzo<br>
+Vecchio, Palma<br>
+Vecelli family<br>
+Vecelli, Orsa<br>
+Vecelli, Orzio<br>
+Vecelli, Pompino<br>
+Vecelli, Tiziano. <i>See</i> Titian<br>
+<a name="399"></a>Velasquez (Diego Rodriguez de Silva)<br>
+"Venice Enthroned"<br>
+"Venus Dispatching Cupid"<br>
+"Venus Worship"<br>
+Verhaecht, Tobias<br>
+Vernon<br>
+Veronese, Paul (Paolo Cagliari)<br>
+Verrocchio<br>
+"Vestal Virgin, The"<br>
+Victoria, Queen<br>
+"Villa by the Sea"<br>
+"Village Festival, The"<br>
+"Ville d'Avray"<br>
+Vinci, Leonardo da<br>
+Violante <br>
+"Virgin as Consoler, The"<br>
+"Virgin's Rest Near Bethlehem"<br>
+"Vision of St. Anthony, The"<br>
+"Visitation, The"<br>
+"Visitor, The"<br>
+"Visit to the Burgomaster"</p>
+
+<p>Warren, General Joseph<br>
+"Water Carrier, The"<br>
+"Watermill, The"<br>
+Watteau, Jean Antoine<br>
+"Wedding Feast at Cana, The" <br>
+Wells, Frederick<br>
+West, Sir Benjamin<br>
+"Weymouth Bay"<br>
+Whitcomb, Ida Prentice<br>
+"William, Prince of Orange"<br>
+William the Silent<br>
+"Will-o'-the-Wisp"<br>
+"Willows near Arras"<br>
+Wilson<br>
+"Winnower, The"<br>
+"Winter"<br>
+Wolgemuth<br>
+"Woodcutters, The"<br>
+"Wooded Landscape"<br>
+"Wood Gatherers, The"</p>
+
+<p>Yarmouth<br>
+"Young People's Story of Art" <br>
+"Youth Surprised by Death"</p>
+
+<p>"Zingarella"<br>
+Zuccato, Sebastian</p>
+<BR>
+<BR>
+<BR>
+<BR>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Pictures Every Child Should Know, by Dolores Bacon
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PICTURES EVERY CHILD SHOULD KNOW ***
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+Project Gutenberg's Pictures Every Child Should Know, by Dolores Bacon
+
+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: Pictures Every Child Should Know
+
+Author: Dolores Bacon
+
+Posting Date: March 15, 2014 [EBook #6932]
+Release Date: November, 2004
+First Posted: February 12, 2003
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PICTURES EVERY CHILD SHOULD KNOW ***
+
+
+
+
+Produced by Arno Peters, Branko Collin, Tiffany Vergon,
+Charles Aldarondo, Charles Franks, and the Online
+Distributed Proofreading Team.
+
+
+
+
+
+
+
+
+
+
+PICTURES EVERY CHILD SHOULD KNOW
+
+
+A SELECTION OF THE WORLD'S ART MASTERPIECES FOR YOUNG PEOPLE
+
+
+BY DOLORES BACON
+
+Illustrated from Great Paintings
+
+
+
+ACKNOWLEDGMENTS
+
+
+Besides making acknowledgments to the many authoritative writers upon
+artists and pictures, here quoted, thanks are due to such excellent
+compilers of books on art subjects as Sadakichi Hartmann, Muther,
+C. H. Caffin, Ida Prentice Whitcomb, Russell Sturgis and others.
+
+
+
+INTRODUCTION
+
+
+Man's inclination to decorate his belongings has always been one of
+the earliest signs of civilisation. Art had its beginning in the lines
+indented in clay, perhaps, or hollowed in the wood of family utensils;
+after that came crude colouring and drawing.
+
+Among the first serious efforts to draw were the Egyptian square and
+pointed things, animals and men. The most that artists of that day
+succeeded in doing was to preserve the fashions of the time. Their
+drawings tell us that men wore their beards in bags. They show us,
+also, many peculiar head-dresses and strange agricultural
+implements. Artists of that day put down what they saw, and they saw
+with an untrained eye and made the record with an untrained hand; but
+they did not put in false details for the sake of glorifying the
+subject. One can distinguish a man from a mountain in their work, but
+the arms and legs embroidered upon Mathilde's tapestry, or the figures
+representing family history on an Oriental rug, are quite as correct
+in drawing and as little of a puzzle. As men became more intelligent,
+hence spiritualised, they began to express themselves in ideal ways;
+to glorify the commonplace; and thus they passed from Egyptian
+geometry to gracious lines and beautiful colouring.
+
+Indian pottery was the first development of art in America and it led
+to the working of metals, followed by drawing and portraiture. Among
+the Americans, as soon as that term ceased to mean Indians, art took a
+most distracting turn. Europe was old in pictures, great and
+beautiful, when America was worshipping at the shrine of the chromo;
+but the chromo served a good turn, bad as it was. It was a link
+between the black and white of the admirable wood-cut and the true
+colour picture.
+
+Some of the Colonists brought over here the portraits of their
+ancestors, but those paintings could not be considered "American" art,
+nor were those early settlers Americans; but the generation that
+followed gave to the world Benjamin West. He left his Mother Country
+for England, where he found a knighthood and honours of every kind
+awaiting him.
+
+The earliest artists of America had to go away to do their work,
+because there was no place here for any men but those engaged in
+clearing land, planting corn, and fighting Indians. Sir Benjamin West
+was President of the Royal Academy while America was still revelling
+in chromos. The artists who remained chose such objects as Davy
+Crockett in the trackless forest, or made pictures of the Continental
+Congress.
+
+After the chromo in America came the picture known as the "buckeye,"
+painted by relays of artists. Great canvases were stretched and
+blocked off into lengths. The scene was drawn in by one man, who was
+followed by "artists," each in turn painting sky, water, foliage,
+figures, according to his specialty. Thus whole yards of canvas could
+be painted in a day, with more artists to the square inch than are now
+employed to paint advertisements on a barn.
+
+The Centennial Exhibition of 1876 came as a glorious flashlight. For
+the first time real art was seen by a large part of our nation. Every
+farmer took home with him a new idea of the possibilities of drawing
+and colour. The change that instantly followed could have occurred in
+no other country than the United States, because no other people would
+have travelled from the four points of the compass to see such an
+exhibition. Thus it was the American's _penchant_ for travel which
+first opened to him the art world, for he was conscious even then of
+the educational advantages to be found somewhere, although there
+seemed to be few of them in the United States.
+
+After the Centennial arose a taste for the painting of "plaques," upon
+which were the heads of ladies with strange-coloured hair; of
+leather-covered flatirons bearing flowers of unnatural colour, or of
+shovels decorated with "snow scenes." The whole nation began to revel
+in "art." It was a low variety, yet it started toward a goal which
+left the chromo at the rear end of the course, and it was a better
+effort than the mottoes worked in worsted, which had till then been
+the chief decoration in most homes. If the "buckeye" was
+hand-painting, this was "single-hand" painting, and it did not take a
+generation to bring the change about, only a season. After the
+Philadelphia exhibition the daughter of the household "painted a
+little" just as she played the piano "a little." To-day, much less
+than a man's lifetime since then, there is in America a universal love
+for refined art and a fair technical appreciation of pictures, while
+already the nation has worthily contributed to the world of
+artists. Sir Benjamin West, Sully, and Sargent are ours: Inness,
+Inman, and Trumbull.
+
+The curator of the Metropolitan Museum in New York has declared that
+portrait-painting must be the means which shall save the modern
+artists from their sins. To quote him: "An artist may paint a bright
+green cow, if he is so minded: the cow has no redress, the cow must
+suffer and be silent; but human beings who sit for portraits seem to
+lean toward portraits in which they can recognise their own features
+when they have commissioned an artist to paint them. A man _will_
+insist upon even the most brilliant artist painting him in trousers,
+for instance, instead of in petticoats, however the artist-whim may
+direct otherwise; and a woman is likely to insist that the artist who
+paints her portrait shall maintain some recognised shade of brown or
+blue or gray when he paints her eye, instead of indulging in a burnt
+orange or maybe pink! These personal preferences certainly put a limit
+to an artist's genius and keep him from writing himself down a
+madman. Thus, in portrait-painting, with the exactions of truth upon
+it, lies the hope of art-lovers!"
+
+It is the same authority who calls attention to the danger that lies
+in extremes; either in finding no value in art outside the "old
+masters," or in admiring pictures so impressionistic that the objects
+in them need to be labelled before they can be recognised.
+
+The true art-lover has a catholic taste, is interested in all forms of
+art; but he finds beauty where it truly exists and does not allow the
+nightmare of imagination to mislead him. That which is not beautiful
+from one point of view or another is not art, but decadence. That
+which is technical to the exclusion of other elements remains
+technique pure and simple, workmanship--the bare bones of art. A thing
+is not art simply because it is fantastic. It may be interesting as
+showing to what degree some imaginations can become diseased, but it
+is not pleasing nor is it art. There are fully a thousand pictures
+that every child should know, since he can hardly know too much of a
+good thing; but there is room in this volume only to acquaint him with
+forty-eight and possibly inspire him with the wish to look up the
+neglected nine hundred and fifty-two.
+
+
+
+CONTENTS
+
+
+INTRODUCTION
+
+I. Andrea del Sarto, Florentine School, 1486-1531
+
+II. Michael Angelo (Buonarroti), Florentine School, 1475-1564
+
+III. Arnold Boecklin, Modern German School, 1827-1901
+
+IV. Marie-Rosa Bonheur, French School, 1822-1899
+
+V. Alessandro Botticelli, Florentine School, 1447-1510
+
+VI. William Adolphe Bouguereau, French (Genre) School 1825-1905
+
+VII. Sir Edward Burne-Jones, English (Pre-Raphaelite) School, 1833-1898
+
+VIII. John Constable, English School, 1776-1837
+
+IX. John Singleton Copley, English School, 1737-1815
+
+X. Jean Baptiste Camille Corot, Fontainebleau-Barbizon School, 1796-1875
+
+XI. Correggio (Antonio Allegri), School of Parma, 1494(?)--1534
+
+XII. Paul Gustave Dore, French School, 1833-1883
+
+XIII. Albrecht Duerer, Nuremberg School, 1471-1528
+
+XIV. Mariano Fortuny, Spanish School, 1838-1874
+
+XV. Thomas Gainsborough, English School, 1727-1788
+
+XVI. Jean Leon Gerome, French Semi-classical School, 1824-1904
+
+XVII. Ghirlandajo, Florentine School, 1449-1494
+
+XVIII. Giotto (di Bordone), Florentine School, 1276-1337
+
+XIX. Franz Hals, Dutch School, 1580-84-1666
+
+XX. Meyndert Hobbema, Dutch School, 1637-1709
+
+XXI. William Hogarth, School of Hogarth (English), 1697-1764
+
+XXII. Hans Holbein, the Younger, German School, 1497-1543
+
+XXIII. William Holman Hunt, English (Pre-Raphaelite) School, 1827-
+
+XXIV. George Inness, American, 1825-1897
+
+XXV. Sir Edwin Henry Landseer, English School, 1802-1873
+
+XXVI. Claude Lorrain (Gellee), Classical French School, 1600-1682
+
+XXVII. Masaccio (Tommaso Guidi), Florentine School, 1401-1428
+
+XXVIII. Jean Louis Ernest Meissonier, French School, 1815-1891
+
+XXIX. Jean Francois Millet, Fontainebleau-Barbizon School, 1814-1875
+
+XXX. Claude Monet, Impressionist School of France, 1840-
+
+XXXI. Murillo (Bartolome Esteban), Andalusian School, 1617-1682
+
+XXXII. Raphael (Sanzio), Umbrian, Florentine, and Roman Schools,
+1483-1520
+
+XXXIII. Rembrandt (Van Rijn), Dutch School, 1606-1669
+
+XXXIV. Sir Joshua Reynolds, English School, 1723-1792
+
+XXXV. Peter Paul Rubens, Flemish School, 1577-1640
+
+XXXVI. John Singer Sargent, American and Foreign Schools, 1856-
+
+XXXVII. Tintoretto (Jacopo Robusti), Venetian School, 1518-1594
+
+XXXVIII. Titian (Tiziano Vecelli), Venetian School, 1489-1576
+
+XXXIX. Joseph Mallord William Turner, English, 1775-1831
+
+XL. Sir Anthony Van Dyck, Flemish School, 1599-1641
+
+XLI. Velasquez (Diego Rodriguez de Silva), Castilian School, 1599-1660
+
+XLII. Paul Veronese (Paolo Cagliari), Venetian School, 1528-1588.
+
+XLIII. Leonardo da Vinci, Florentine School, 1452-1519.
+
+XLIV. Jean Antoine Watteau, French (Genre) School, 1684-1721
+
+XLV. Sir Benjamin West, American, 1738-1820
+
+Index
+
+
+
+ILLUSTRATIONS
+
+
+FRONTISPIECE
+
+The Avenue, Middleharnis, Holland--_Hobbema_
+
+Madonna of the Sack--_Andrea del Sarto_
+
+Daniel--_Michael Angelo (Buonarroti)_
+
+The Isle of the Dead--_Arnold Boecklin_
+
+The Horse Fair--_Rosa Bonheur_
+
+Spring--_Alessandro Botticelli_
+
+The Hay Wain--_John Constable_
+
+A Family Picture--_John Singleton Copley_
+
+The Holy Night--_Correggio (Antonio Allegri)_
+
+Dance of the Nymphs--_Jean Baptiste Camille Corot_
+
+The Virgin as Consoler--_Wm. Adolphe Bouguereau_
+
+The Love Song--_Sir Edward Burne-Jones_
+
+The Mystic Marriage of St. Catherine--_Correggio_
+
+Moses Breaking the Tablets of the Law--_Paul Gustave Dore_
+
+The Nativity--_Albrecht Duerer_
+
+The Spanish Marriage--_Mariana Fortuny_
+
+Mrs. Richard Brinsley Sheridan--_Thomas Gainsborough_
+
+The Sword Dance--_Jean Leon Gerome_
+
+Portrait of Giovanna degli Albizi--_Ghirlandajo (Domenico Bigordi)_
+
+The Nurse and the Child--_Franz Hals_
+
+The Meeting of St. John and St. Anna at Jerusalem--_Giotto (Di
+Bordone)_
+
+The Avenue--_Meyndert Hobbema_
+
+The Marriage Contract--_Wm. Hogarth_
+
+The Light of the World--_William Holman Hunt_
+
+Robert Cheseman with his Falcon--_Hans Holbein, the Younger_
+
+The Berkshire Hills--_George Inness_
+
+The Old Shepherd's Chief Mourner--_Sir Edwin Henry Landseer_
+
+The Artist's Portrait--_Tommaso Masaccio_
+
+Acis and Galatea--_Claude Lorrain_
+
+Retreat from Moscow--_Jean Louis Ernest Meissonier_
+
+The Angelus--_Jean Francois Millet_
+
+The Immaculate Conception--_Murillo (Bartolome Esteban)_
+
+Haystack in Sunshine--_Claude Monet_
+
+The Sistine Madonna--_Raphael (Sanzio)_
+
+The Night Watch--_Rembrandt (Van Rijn)_
+
+The Duchess of Devonshire and Her Daughter--_Sir Joshua Reynolds_
+
+The Infant Jesus and St. John--_Peter Paul Rubens_
+
+Carmencita--_John Singer Sargent_
+
+The Miracle of St. Mark--_Tintoretto (Jacopo Robusti)_
+
+The Artist's Daughter, Lavinia--_Titian (Tiziano Vecelli)_
+
+The Fighting Temeraire--_Joseph Mallord William Turner_
+
+The Children of Charles the First--_Sir Anthony Van Dyck_
+
+Equestrian Portrait of Don Balthasar Carlos--_Velasquez (Diego
+Rodriguez de Silva)_
+
+The Marriage at Cana--_Paul Veronese_
+
+The Death of Wolfe--_Sir Benjamin West_
+
+The Artist's Two Sons--_Peter Paul Rubens_
+
+The Last Supper--_Leonardo da Vinci_
+
+Fete Champetre--_Jean Antoine Watteau_
+
+
+
+I
+
+ANDREA DEL SARTO
+
+
+  (Pronounced Ahn'dray-ah del Sar'to)
+  _Florentine School_
+  1486-1531
+  _Pupil of Piero di Cosimo_
+
+Italian painters received their names in peculiar ways. This man's
+father was a tailor; and the artist was named after his father's
+profession. He was in fact "the Tailor's Andrea," and his father's
+name was Angelo.
+
+One story of this brilliant painter which reads from first to last
+like a romance has been told by the poet, Browning, who dresses up
+fact so as to smother it a little, but there is truth at the bottom.
+
+Andrea married a wife whom he loved tenderly. She had a beautiful face
+that seemed full of spirituality and feeling, and Andrea painted it
+over and over again. The artist loved his work and dreamed always of
+the great things that he should do; but he was so much in love with
+his wife that he was dependent on her smile for all that he did which
+was well done, and her frown plunged him into despair.
+
+Andrea's wife cared nothing for his genius, painting did not interest
+her, and she had no worthy ambition for her husband, but she loved
+fine clothes and good living, and so encouraged him enough to keep him
+earning these things for her. As soon as some money was made she would
+persuade him to work no more till it was spent; and even when he had
+made agreements to paint certain pictures for which he was paid in
+advance she would torment him till he gave all of his time to her
+whims, neglected his duty and spent the money for which he had
+rendered no service. Thus in time he became actually dishonest, as we
+shall see. It is a sad sort of story to tell of so brilliant a young
+man.
+
+Andrea was born in the Gualfonda quarter of Florence, and there is
+some record of his ancestors for a hundred years before that, although
+their lives were quite unimportant. Andrea was one of four children,
+and as usual with Italians of artistic temperament, he was set to work
+under the eye of a goldsmith. This craftsmanship of a fine order was
+as near to art as a man could get with any certainty of making his
+living. It was a time when the Italian world bedecked itself with rare
+golden trinkets, wreaths for women's hair, girdles, brooches, and the
+like, and the finest skill was needed to satisfy the taste. Thus it
+required talent of no mean order for a man to become a successful
+goldsmith.
+
+Andrea did not like the work, and instead of fashioning ornaments from
+his master's models he made original drawings which did not do at all
+in a shop where an apprentice was expected to earn his salt. Certain
+fashions had to be followed and people did not welcome fantastic or
+new designs. Because of this, Andrea was early put out of his master's
+shop and set to learn the only business that he could be got to learn,
+painting. This meant for him a very different teacher from the
+goldsmith.
+
+The artist may be said to have been his own master, because, even when
+he was apprenticed to a painter he was taught less than he already
+knew.
+
+That first teacher was Barile, a coarse and unpleasing man, as well as
+an incapable one; but he was fair minded, after a fashion, and put
+Andrea into the way of finding better help. After a few years under
+the direction of Piero di Cosimo, Andrea and a friend, Francia Bigio,
+decided to set up shop for themselves.
+
+The two devoted friends pitched their tent in the Piazza del Grano,
+and made a meagre beginning out of which great things were to
+grow. They began a series of pictures which was to lead at least one
+of them to fame. It was in the little Piazza, del Grano studio that
+the "Baptism of Christ" was painted, a partnership work that had been
+planned in the Campagnia dello Scalzo.
+
+"The Baptism" was not much of a picture as great pictures go, but it
+was a beginning and it was looked at and talked about, which was
+something at a time when Titian and Leonardo had set the standard of
+great work. In the Piazza del Grano, Andrea and his friend lived in
+the stables of the Tuscan Grand Dukes, with a host of other fine
+artists, and they had gay times together.
+
+Andrea was a shy youth, a little timid, and by no means vain of his
+own work, but he painted with surprising swiftness and sureness, and
+had a very brilliant imagination. Its was his main trouble that he had
+more imagination than true manhood; he sacrificed everything good to
+his imagination.
+
+After the partnership with his friend, he undertook to paint some
+frescoes independently, and that work earned for him the name of
+"Andrea senza Errori"--Andrea the Unerring. Then, as now, each artist
+had his own way of working, and Andrea's was perhaps the most
+difficult of all, yet the most genius-like. There were those, Michael
+Angelo for example, who laid in backgrounds for their paintings; but
+Andrea painted his subject upon the wet plaster, precisely as he meant
+it to be when finished.
+
+He was unlike the moody Michael Angelo; unlike the gentle Raphael;
+unlike the fastidious Van Dyck who came long afterward; he was
+hail-fellow-well-met among his associates, though often given over to
+dreaminess. He belonged to a jolly club named the "Kettle Club,"
+literally, the Company of the Kettle; and to another called "The
+Trowel," both suggesting an all around good time and much good
+fellowship The members of these clubs were expected to contribute to
+their wonderful suppers, and Andrea on one occasion made a great
+temple, in imitation of the Baptistry, of jelly with columns of
+sausages, white birds and pigeons represented the choir and
+priests. Besides being "Andrew the Unerring," and a "Merry Andrew," he
+was also the "Tailor's Andrew," a man in short upon whom a nickname
+sat comfortably. He helped to make the history of the "Company of the
+Kettle," for he recited and probably composed a touching ballad called
+"The Battle of the Mice and the Frogs," which doubtless had its origin
+in a poem of Homer's. But all at once, in the midst of his gay
+careless life came his tragedy; he fell in love with a hatter's
+wife. This was quite bad enough, but worse was to come, for the hatter
+shortly died, and the widow was free to marry Andrea.
+
+After his marriage Andrea began painting a series of Madonnas,
+seemingly for no better purpose than to exhibit his wife's beauty over
+and over again. He lost his ambition and forgot everything but his
+love for this unworthy woman. She was entirely commonplace, incapable
+of inspiring true genius or honesty of purpose.
+
+A great art critic, Vasari, who was Andrea's pupil during this time,
+has written that the wife, Lucretia, was abominable in every way. A
+vixen, she tormented Andrea from morning till night with her bitter
+tongue. She did not love him in the least, but only what his money
+could buy for her, for she was extravagant, and drove the sensitive
+artist to his grave while she outlived him forty years.
+
+About the time of the artist's marriage he painted one fresco, "The
+Procession of the Magi," in which he placed a very splendid substitute
+for his wife, namely himself. Afterward he painted the Dead Christ
+which found its way to France and it laid the foundation for Andrea's
+wrongdoing. This picture was greatly admired by the King of France who
+above all else was a lover of art. Francis I. asked Andrea to go to
+his court, as he had commissions for him. He made Andrea a money offer
+and to court he went.
+
+He took a pupil with him, but he left his wife at home. At the court
+of Francis I. he was received with great honours, and amid those new
+and gracious surroundings, away from the tantalising charms of his
+wife and her shrewish tongue, he began to have an honest ambition to
+do great things. His work for France was undertaken with enthusiasm,
+but no sooner was he settled and at peace, than the irrepressible wife
+began to torment him with letters to return. Each letter distracted
+him more and more, till he told the King in his despair, that he must
+return home, but that he would come back to France and continue his
+work, almost at once. Francis I., little suspecting the cause of
+Andrea's uneasiness, gave him permission to go, and also a large sum
+of money to spend upon certain fine works of art which he was to bring
+back to France.
+
+We can well believe that Andrea started back to his home with every
+good intention; that he meant to appease his wife and also his own
+longing to see her; to buy the King his pictures with the money
+entrusted to him, and to return to France and finish his work; but,
+alas, he no sooner got back to his wife than his virtuous purpose
+fled. She wanted this; she wanted that--and especially she wanted a
+fine house which could just about be built for the sum of money which
+the King of France had entrusted to Andrea.
+
+Andrea is a pitiable figure, but he was also a vagabond, if we are to
+believe Vasari. He took the King's money, built his wretched wife a
+mansion, and never again dared return to France, where his dishonesty
+made him forever despised.
+
+Afterward he was overwhelmed with despair for what he had done, and he
+tried to make his peace with Francis; but while that monarch did not
+punish him directly for his knavery; he would have no more to do with
+him, and this was the worst punishment the artist could have
+had. However, his genius was so great that other than French people
+forgot his dishonesty and he began life anew in his native place.
+
+Almost all his pictures were on sacred subjects; and finally, when
+driven from Florence to Luco by the plague, taking with him his wife
+and stepdaughter, he began a picture called the "Madonna del Sacco"
+(the Madonna of the Sack).
+
+This fresco was to adorn the convent of the Servi, and the sketches
+for it were probably made in Luco. When the plague passed and the
+artist was able to return to Florence, he began to paint it upon the
+cloister walls.
+
+Andrea, like Leonardo, painted a famous "Last Supper," although the
+two pictures cannot be compared. In Andrea's picture it is said that
+all the faces are portraits.
+
+Just before the plague sent him and his family from Florence a most
+remarkable incident took place. Raphael had painted a celebrated
+portrait of Pope Leo X. in a group, and the picture belonged to
+Ottaviano de Medici. Duke Frederick II., of Mantua, longed to own this
+picture, and at last requested the Medici to give it to him. The Duke
+could not well be refused, but Ottaviano wanted to keep so great a
+work for himself. What was to be done? He was in great trouble over
+the affair. The situation seemed hopeless. It seemed certain that he
+must part with his beloved picture to the Duke of Mantua; but one day
+Andrea del Sarto declared that he could make a copy of it that even
+Raphael himself could not tell from his original. Ottaviano could
+scarcely believe this, but he begged Andrea to set about it, hoping
+that it might be true.
+
+Going at the work in good earnest, Andrea painted a copy so exact that
+the pupil of Raphael, who had more or less to do with the original
+picture, could not tell which was which when he was asked to
+choose. This pupil, Giulio Romano, was so familiar with every stroke
+of Raphael's that if he were deceived surely any one might be; so the
+replica was given to the Duke of Mantua, who never found out the
+difference.
+
+Years afterward Giulio Romano showed the picture to Vasari, believing
+it to be the original Raphael, neither Andrea nor the Medici having
+told Romano the truth. But Vasari, who knew the whole story, declared
+to Romano that what he showed him was but a copy. Romano would not
+believe it, but Vasari told him that he would find upon the canvas a
+certain mark, known to be Andrea's. Romano looked, and behold, the
+original Raphael became a del Sarto! The original picture hangs in the
+Pitti Palace, while the copy made by Andrea is in the Naples Gallery.
+
+The introduction of Andrea to Vasari was one of the few gracious
+things, that Michael Angelo ever did. About Andrea he said to Raphael
+at the time: "There is a little fellow in Florence who will bring
+sweat to your brows if ever he is engaged in great works." Raphael,
+would certainly have agreed, with him had he known what was to happen
+in regard to the Leo X. picture.
+
+Notwithstanding Andrea's unfortunate temperament, which caused him to
+be guided mostly by circumstances instead of guiding them, he was said
+to be improving all the time in his art. He had a great many pupils,
+but none of them could tolerate his wife for long, so they were always
+changing.
+
+Throughout his life the artist longed for tenderness and encouragement
+from his wife, and finally, without ever receiving it, he died in a
+desolate way, untended even by her. After the siege of Florence there
+came a pestilence, and Andrea was overtaken by it. His wife, afraid
+that she too would become ill, would have nothing to do with him. She
+kept away and he died quite alone, few caring that he was dead and no
+one taking the trouble to follow him to his grave. Thus one of the
+greatest of Florentine painters lived and died. Years after his death,
+the artist Jacopo da Empoli, was copying Andrea's "Birth of the
+Virgin" when an old woman of about eighty years on her way to mass
+stopped to speak with him. She pointed to the beautiful Virgin's face
+in the picture and said: "I am that woman." And so she was--the widow
+of the great Andrea. Though she had treated him so cruelly, she was
+glad to have it known that she was the widow of the dead genius.
+
+  PLATE--THE MADONNA DEL SACCO
+  _(Madonna of the Sack)_
+
+This picture is a fresco in the cloister of the Annunziata at
+Florence, and it is called "of the sack" because Joseph is posed
+leaning against a sack, a book open upon his knees.
+
+Doubtless the model for this Madonna is Andrea del Sarto's abominable
+wife, but she looks very sweet and simple in the picture. The folds of
+Mary's garments are beautifully painted, so is the poise of her head,
+and all the details of the picture except the figure of the
+child. There is a line of stiffness there and it lacks the softness of
+many other pictures of the Infant Jesus.
+
+  PLATE--THE HOLY FAMILY
+
+In this picture in the Pitti Palace, Florence, Andrea del Sarto
+represents all the characters in a serious mood. There are St. John
+and Elizabeth, Mary and the Infant Jesus, and there is no touch of
+playfulness such as may be found in similar groups by other artists of
+the time. Attention is concentrated upon Jesus who seems to be
+learning from his young cousin. The left hand, resting upon Mary's arm
+is badly drawn and in character does not seem to belong to the figure
+of the child. A full, overhanging upper lip is a dominant feature in
+each face.
+
+Other works of Andrea del Sarto are "Charity," which is in the Louvre;
+"Madonna dell' Arpie," "A Head of Christ," "The Dead Christ," "Four
+Saints," "Joseph in Egypt," his own portrait, and "Joseph's Dream."
+
+
+
+
+
+II
+
+MICHAEL ANGELO (BUONARROTI)
+
+
+  (Pronounced Meek-el-ahn-jel-o (Bwone-ar-ro'tee))
+  _Florentine School_
+  1475-1564
+  _Pupil of Ghirlandajo_
+
+This wonderful man did more kinds of things, at a time when almost all
+artists were versatile, than any other but one. Probably Leonardo da
+Vinci was gifted in as many different ways as Michael Angelo, and in
+his own lines was as powerful. This Florentine's life was as tragic as
+it was restless.
+
+There is a tablet in a room of a castle which stands high upon a rocky
+mount, near the village of Caprese, which tells that Michael Angelo
+was born in that place. The great castle is now in ruins, and more
+than four hundred years of fame have passed since the little child was
+born therein.
+
+The unhappy existence of the artist seems to have been foreshadowed by
+an accident which happened to his mother before he was born. She was
+on horseback, riding with her husband to his official post at Chiusi,
+for he was governor of Chiusi and Caprese. Her horse stumbled, fell,
+and badly hurt her. This was two months before Michael Angelo was
+born, and misfortune ever pursued him.
+
+The father of Angelo was descended from an aristocratic house--the
+Counts of Canossa were his ancestors--and in that day the profession
+of an artist was not thought to be dignified. Hence the father had
+quite different plans for the boy; but the son persisted and at last
+had his way. When he was still a little child his father finished his
+work as an official at Caprese and returned to Florence; but he left
+the little Angelo behind with his nurse. That nurse was the wife of a
+stonemason, and almost as soon as the boy could toddle he used to
+wander about the quarries where the stonecutters worked, and doubtless
+the baby joy of Angelo was to play at chiseling as it is the pleasure
+of modern babies to play at peg-top. After a time he was sent for to
+go to Florence to begin his education.
+
+In Florence he fell in with a young chap who, like himself, loved art,
+but who was fortunate enough already to be apprenticed to the great
+painter of his time--Ghirlandajo. One happy day this young Granacci
+volunteered to take Michael Angelo to his master's studio, and there
+Angelo made such an impression on Ghirlandajo that he was urged by the
+artist to become his pupil.
+
+All the world began to seem rose coloured to the ambitious boy, and he
+started his life-work with enthusiasm. At that time he was thirteen
+years old, full of hope and of love for his kind; but his good fortune
+did not last long. He had hardly settled to work in Ghirlandajo's
+studio than his genius, which should have made him beloved, made him
+hated by his master. Angelo drew superior designs, created new
+art-ideas, was more clever in all his undertakings than any other
+pupil--even ahead of his master; and almost at once Ghirlandajo became
+furiously jealous. This enmity between pupil and master was the
+beginning of Angelo's many misfortunes.
+
+One day he got into a dispute with a fellow student, Torregiano, who
+broke his nose. This deformity alone was a tragedy to one like Michael
+Angelo who loved everything beautiful, yet must go through life
+knowing himself to be ill-favoured.
+
+In height he was a little man, topped by an abnormally large head
+which was part of the penalty he had to pay for his talents. He had a
+great, broad forehead, and an eye that did not gleam nor express the
+beauty of his creative mind, but was dull, and lustreless, matching
+his broken, flattened nose. Indeed he was a tragedy to himself. In the
+"History of Painting" Muther describes his unhappy disposition:
+
+"In his youthful years he never learned what love meant. 'If thou
+wishest to conquer me,' in old age he addresses love, 'give me back my
+features, from which nature has removed all beauty.' Whenever in his
+sonnets he speaks of passion, it is always of pain and tears, of
+sadness and unrequited longing, never of the fulfilment of his
+wishes."
+
+Then, too, Michael Angelo had a quarrelsome disposition, and he was
+harsh in his criticism of others. He hated Leonardo da Vinci more for
+his great physical beauty than for his genius. He quarreled with most
+of his contemporaries, never joined the assemblies of his brother
+artists, but dwelt altogether apart. His was a gloomy and melancholy
+disposition and he never found relief outside his work.
+
+He was all kinds of an artist--poet, sculptor, architect, painter--and
+although he worked with the irregularity of true genius, he worked
+indefatigably when once he began. It is said that when he was making
+his "David" he never removed his clothing the whole time he was
+employed upon the work, but dropped down when too exhausted to work
+more, and slept wherever he fell.
+
+His first flight from the workshop of Ghirlandajo was to the gardens
+of the great Florentine prince, Lorenzo de' Medici, who had sent to
+Ghirlandajo for two of his best pupils. He wished them to come to his
+gardens and study the beautiful Greek statues which ornamented
+them. The choice fell to Angelo and Granacci. Probably those statues
+in Lorenzo's garden were the first glimpses of really great art that
+Michael Angelo ever had. Certain it is that he was overwhelmed with
+happiness when he was given permission to copy what he would, and at
+once he fell to work with his chisel. His first work in that garden
+was upon the head of an old faun; and Lorenzo, walking by, curious to
+know to what use the lad was putting his opportunity, made a
+criticism:
+
+"You have made your faun old," he said, "yet you have left all the
+teeth; at such an age, generally the teeth are wanting."
+
+Angelo had nothing to say and the prince walked on, but when next he
+came that way, he found that Angelo had broken off two of the faun's
+teeth; and this recognition of his criticism pleased Lorenzo so much
+that he invited Angelo to live with him. At first his father
+objected. He felt himself to be an aristocrat, and sculpture and
+painting were indeed low occupations for his son, who he had resolved
+should be nothing less than a silk merchant. Nevertheless, the
+prince's command, united with the son's pleading, compelled the father
+to give up his cherished dream of making a merchant of him, and Angelo
+went to live in the palace.
+
+Then indeed what seemed a beautiful life opened out. He was dressed in
+fine clothing, dined with princes, and possibly he was grateful to his
+patron. Some historians say so, and add that when Lorenzo died Angelo
+wept, and returned sadly to his father's house to mourn, but this tale
+seems at odds with what else we know of Angelo's unangelic, envious
+and bitter disposition. It is quite certain, however, that with the
+death of Lorenzo, Angelo's, fortunes became greatly changed. Another
+prince followed in line--Pietro de' Medici--but he was a poor thing,
+who brought little good to anybody. He had small use for Michael
+Angelo's genius, but it is said that he did give him one
+commission. After a great storm one day, he asked him to make a
+snow-man for him, and Angelo obligingly complied. It was doubtless a
+very beautiful snow-man, but although it was Angelo's it melted in the
+night, even as if it had been Johnny's or Tommy's snow-man, and left
+no trace behind.
+
+In Rome there was a high and haughty pope on the throne--Julius
+II.--who had probably not his match for obstinacy and haughtiness,
+excepting in the great painter and sculptor. When Angelo went to Rome,
+he was bound to come in conflict with Julius for it was popes and
+princes who gave art any reason for being in those days, and the
+Church prescribed what kind of art should be cultivated. Michael was
+to come directly under the command of the pope and such a combination
+promised trouble. Kings themselves had to remove their crowns and hats
+to Julius, and why not Michael Angelo? Yet there he stood, covered,
+before the pope, opposing his greatness to that of the pope. Soderini
+says that Angelo treated the pope as the king of France never would
+have dared treat him; but Angelo may have known that kings of France
+might be born and die, times without number, while there would never
+be born another Michael Angelo. There could be nothing but antagonism
+between Angelo and Julius, and soon after the artist returned to
+Florence; but the necessity for following his profession enabled
+Julius to tame him after all, and it is said that the pope led him
+back to Rome, later, "with a halter about his neck." This must have
+been agony to Angelo.
+
+Back in Rome, he was commissioned to make a tomb for the pope. He had
+no sooner set about the preliminaries--the getting of suitable marble
+for his work--than he began to quarrel with the men who were to hew
+it. When that difficulty was settled, and the marble was got out, he
+had a set-to with the shipowners who were to transport the stone, and
+that row became so serious that the sculptor was besieged in his own
+house.
+
+At another and later time, when he was engaged upon the frescoes of
+the Sistine Chapel, he was made to work by force. He accused the man
+who had built the scaffolding upon which he must stand, or lie, to
+paint, of planning his destruction. He suspected the very assistants
+whom he, himself, had chosen to go from Florence, of having designs
+upon his life. He locked the chapel against them, and they had to turn
+away when they went to begin work. Because of his insane suspicion he
+did alone the enormous work of the frescoes. Doubtless he was half
+mad, just as he was wholly a genius.
+
+By the time he had finished those frescoes he was so exhausted and
+overworked that he wrote piteously to his people at home, "I have not
+a friend in Rome, neither do I wish nor have use for any." This of
+course was not true; or he would not have made the statement. "I
+hardly find time to take nourishment. Not an ounce more can I bear
+than already rests upon my shoulders." Even when the work was done he
+felt no happiness because of it, but complained about everything and
+everybody.
+
+If Angelo thought this an unhappy day, worse was in store for
+him. Julius II. died and in his place there came to reign upon the
+papal throne, Leo X. If Michael Angelo had been restricted in his work
+before, he was almost jailed under Leo X. Julius had been a virile,
+forceful man, and Michael Angelo was the same. Since he must be
+restrained and dictated to, it was possible for the artist to listen
+to a man who was in certain respects strong like himself, but to be
+under the thumb of a weak, effeminate person like Leo, was the tragedy
+of tragedies to Angelo. That was a marvellous time in Rome. All its
+citizens had become so pleasure-loving that the world, stood still to
+wonder. When the pope banqueted, he had the golden plates from which
+fair women had eaten hurled into the Tiber, that they might never be
+profaned by a less noble use than they had known. From all this riot
+and madness of pleasure, Michael Angelo stood aside with frowning brow
+and scornful mien. He approved of nothing and of nobody--despising
+even Raphael, the gentle and loving man whom the pleasure-crazed
+people of Rome paused to smile upon and love. The pope said that
+Angelo was "terrible," and that he filled everybody with fear.
+
+Finally, Rome so resented his frowning looks and his surly ways that
+work was provided for him at a distance. He was sent to Florence again
+to build a facade. While there, the city was conquered, and Angelo was
+one who fought for its freedom, but even so, he fled just at the
+crisis. Thus he ever did the wrong thing--excepting when he worked. In
+Florence he had planned to do mighty things, but he never accomplished
+any one of them. He planned to make a wonderful colossal statue on a
+cliff near Carrara, and also he resolved to make the tomb of Julius
+the nucleus of a "forest of statues."
+
+Michael Angelo never married, but he was burdened with a family and
+all its cares. He supported his brothers and even his nephews, and
+took care of his father. All of those people came to him with their
+difficulties and with their demands for money. He chided, quarreled,
+repelled, yet met every obligation. He would sit beside the sick-bed
+of a servant the night through, but growl at the demands of his near
+relatives--and it is not unlikely that he had good reason.
+
+At last he withdrew himself from all human society but that of little
+children, whom he cared to speak with and to please. He would have
+naught to do with men of genius like himself; and when he fell from a
+scaffolding and injured himself, the physician had to force his way
+through a barred window, in order to get into the sick man's presence
+to serve him.
+
+An illustration of his determined solitude is given in the "Young
+People's Story of Art:"
+
+"There had long been lying idle in Florence an immense block of
+marble. One hundred years before a sculptor had tried to carve
+something from it, but had failed. This was now given to Michael
+Angelo. He was to be paid twelve dollars a month, and to be allowed
+two years in which to carve a statue. He made his design in wax; and
+then built a tower around the block, so that he might work inside
+without being seen."
+
+Everything Angelo undertook bore the marks of gigantic
+enterprise. Although he never succeeded in making the tomb of Julius
+II. the central piece in his forest of statues, the undertaking was
+marvellous enough. His original plan was to make the tomb three
+stories high and to ornament it with forty statues, and if St. Peter's
+Church was large enough to hold it, the work was to be placed therein;
+but if not, a church was to be built specially to hold the tomb. When
+at last, in spite of his difficulties with workmen and shipowners, the
+marbles were deposited in the great square before St. Peter's, they
+filled the whole place; and the pope, wishing to watch the progress of
+the work and not himself to be observed, had a covered way built from
+the Vatican to the workshop of Angelo in the square, by which he might
+come and go as he chose, while an order was issued that the sculptor
+was to be admitted at all times to the Vatican. No sooner was this
+arrangement completed than Angelo's enemies frightened the pope by
+telling him there was danger in making his tomb before his death; and
+with these superstitions haunting him Julius II. stopped the work,
+leaving Angelo without the means to pay for his marbles. With the
+doors of the Vatican closed to him, Angelo withdrew, post haste to
+Florence--and who can blame him? Nevertheless, the work was resumed
+after infinite trouble on the pope's part. He had to send again and
+again for Angelo and after forty years, the work was finished. There
+the sequel of the sculptor's forty-years war with self and the world
+stands to-day in "Moses," the wonderful, commanding central figure
+which seems to reflect all the fierce power which Angelo had to keep
+in check during a life-time.
+
+The command of Julius that he should paint the ceiling of the Sistine
+Chapel aroused all his fierce resistance. He did it under protest, all
+the while accusing those about him of having designs upon his life.
+
+"I am not a painter, but a sculptor," he said.
+
+"Such a man as thou is everything that he wishes to be," the pope
+replied.
+
+"But this is an affair of Raphael. Give him this room to paint and let
+me carve a mountain!" But no, he must paint the ceiling; but to render
+it easier for him the pope told him he might fill in the spaces with
+saints, and charge a certain amount for each. This Angelo, who was
+first of all an artist, refused to do. He would do the work rightly or
+not at all. So he made his own plans and cut himself a cardboard
+helmet, into the front of which he thrust a candle, as if it were a
+Davy lamp, and he lay upon his back to work day and night at the hated
+task. During those months he was compelled to look up so continually,
+that never afterward was he able to look down without difficulty. When
+he had finished the work Julius had some criticisms to make.
+
+"Those dresses on your saints are such poor things," he said. "Not
+rich enough--such very poor things!"
+
+"Well, they were poor things," was Angelo's answer. "The saints did
+not wear golden ornaments, nor gold on their garments."
+
+After Julius II. and Leo X. came Pope Paul III., and he, like the
+other two, determined to have Angelo for his workman. Indeed all his
+life, Michael Angelo's gifts were commanded by the Church of Rome. It
+was for Paul III. he painted the "Last Judgment." His former work upon
+the Sistine Chapel had been the story of the creation. All his work
+was of a mighty and allegorical nature; tremendous shoulders, mighty
+limbs, herculean muscles that seemed fit to support the
+universe. These allegories are made of hundreds of figures. To-day
+they are still there, though dimmed by the smoke of centuries of
+incense, and dismembered by the cracking of plaster and disintegration
+of materials.
+
+Angelo's methods of work, as well as their results, were
+oppressive. In his youth, while trying to perfect himself in his study
+of the human form, he drew or modelled, from nude corpses. He had
+these conveyed by stealth from the hospital into the convent of Santo
+Spirito, where he had a cell and there he worked, alone.
+
+He was concentrated, mentally and emotionally, upon himself. The only
+remark he made after the blow from Torregiano was, "You will be
+remembered only as the man who broke my nose!" This proved nearly
+true, since Torregiano was banished, and murdered by the Spanish
+Inquisition.
+
+All sorts of anecdotes have floated through the centuries concerning
+this man and his work. For example, he made a statue of a sleeping
+cupid, which was buried in the ground for a time that it might assume
+the appearance of age, and pass for an antique. Afterward it was sold
+to the Cardinal San Giorgio for two hundred ducats, though Michael
+Angelo received only thirty. Nevertheless, he died a rich man, after
+having cared for a numerous family, while he himself lived like a man
+without means. All the tranquillity he ever knew he enjoyed in his old
+age.
+
+It was characteristic of his perversity that he left his name upon
+nothing that he made, with one exception. Vasari relates the story of
+that exception:
+
+"The love and care which Michael Angelo had given to this group, 'In
+Paradise,' were such that he there left his name--a thing he never did
+again for any work--on the cincture which girdles the robe of Our
+Lady; for it happened one day that Michael Angelo, entering the place
+where it was erected, found a large assemblage of strangers from
+Lombardy there, who were praising it highly; one of them asking who
+had done it, was told, 'our Hunchback of Milan'; hearing which Michael
+Angelo remained silent, although surprised that his work should be
+attributed to another. But one night he repaired to St. Peter's with a
+light and his chisels, to engrave his name on the figure, which seems
+to breathe a spirit as perfect as her form and countenance."
+
+If his youth had been given to sculpture, his maturity to the painting
+of wondrous frescoes, so his old age was devoted to architecture, and
+as architect he rebuilt the decaying St. Peter's. In this work he felt
+that he partly realised his ideal. Sculpture meant more to him, "did
+more for the glory of God," than any other form of art. When he had
+finished his work on St. Peter's, he is said to have looked upon it
+and exclaimed: "I have hung the Pantheon in the air!"
+
+This colossal genius died in Rome, and was carried by the light of
+torches from that city back to his better loved Florence, where he was
+buried. His tomb was made in the Santa Croce, and upon it are three
+female figures representing Michael Angelo's three wonderful arts:
+Architecture, sculpture and painting. No artist was greater than he.
+
+His will committed "his soul to God, his body to the earth, and his
+property to his nearest relatives."
+
+  PLATE--DANIEL
+
+This wonderful painting is a part of the decoration of the Sistine
+Chapel in Rome. The picture of the prophet tells so much in itself,
+that a description seems absurd. It is enough to call attention to the
+powerful muscles in the arm, the fall of the hand, and then to speak
+of the main characteristics of the artist's pictures.
+
+It is extraordinary that there is no blade of grass to be found in any
+painting by Michael Angelo. He loved to paint but one thing, and that
+was the naked man, the powerful muscles, or the twisted limbs of those
+in great agony. He loved only to work upon vast spaces of ceiling or
+wall. Look at this picture of Daniel and see how like sculpture the
+pose and modelling appear to be. First of all, Michael Angelo was a
+sculptor, and most of the painting which fate forced him to do has the
+characteristics of sculpture.
+
+One critic has remarked that he loves to think of this strange man
+sitting before the marble quarry of Pietra Santa and thinking upon all
+the beings hidden in the cliff--beings which he should fashion from
+the marble.
+
+It was said that in Michael Angelo's hands the Holy Family became a
+race of Titans, and where others would have put plants or foliage,
+Angelo placed men and naked limbs to fill the space. When his subject
+made some sort of herbage necessary, he invented a kind of mediaeval
+fern in place of grass and familiar leaves. Everything appears brazen
+and hard and mighty, suggestive of Angelo's own throbbing spirit and
+maddened soul. Most of his work, when illustrated, must be shown not
+as a whole but in sections, but one can best mention them as entire
+picture themes. On the ceiling of the Sistine Chapel are nine frescoes
+describing "The Creation of The World," "The Fall of Man" and "The
+Deluge." "The Last Judgment" occupies the entire altar wall in the
+same chapel of the Vatican. "The Holy Family" is in the Uffizi
+Gallery, Florence.
+
+
+
+
+III
+
+ARNOLD BOeCKLIN
+
+
+  (Pronounced Bek'-lin)
+  _Modern German School (Duesseldorf)_
+  1827-1901
+
+This splendid artist is so lately dead that it does not seem proper
+yet to discuss his personal history, but we can speak understandingly
+of his art, for we already know it to be great art, which will stand
+the test of time. His imagination turned toward subjects of solemn
+grandeur and his work is very impressive and beautiful.
+
+He was born in Basel, "one of the most prosaic towns in Europe." His
+father was a Swiss merchant, and not poor; thus the son had ordinarily
+good chances to make an artist of himself. He was born at a time when
+to be an artist had long ceased to be a reproach, and men no longer
+discouraged their sons who felt themselves inspired to paint great
+pictures.
+
+When Boecklin was nineteen years old he took himself to Duesseldorf,
+with his merchant father's permission, and settled down to learn his
+art, but in that city he found mostly "sentimental and anecdotal"
+pictures being painted, which did not suit him at all. Then he took
+himself off to Brussels, where again he was not satisfied, and so went
+to Paris. But while in Brussels he had copied many old masters, and
+had advanced himself very much, so that he did not present himself in
+Paris raw and untried in art.
+
+At first he studied in the Louvre, then went to Rome, seeking ever the
+best, and being hard to satisfy. He found rest and tranquillity in
+Zuerich, a city in his native country, but it was Italy that had most
+influenced his work.
+
+He loved the Campagna of Rome with its ruins and the sad grandeur of
+the crumbling tombs lining its way, and therefore a certain
+mysterious, grand, and solemn character made his pictures unlike those
+of any other artist. He loved to paint in vertical (up-and-down)
+fines, rather than with the conventional horizontal outlines that we
+find in most paintings. This method gives his pictures a different
+quality from any others in the world.
+
+He loved best of all to paint landscape, and it is said of him that
+"as the Greeks peopled their streams and woods and waves with
+creatures of their imagination, so Boecklin makes the waterfall take
+shape as a nymph, or the mists which rise above the water source
+wreathe into forms of merry children; or in some wild spot hurls
+centaurs together in fierce combat, or makes the slippery, moving wave
+give birth to Nereids and Tritons."
+
+Muther, art-critic and biographer, calls our attention to the
+similarity between Wagner's music and Boecklin's painting. While Wagner
+was "luring the colours of sound from music," Boecklin's "symphonies of
+colour streamed forth like a crashing orchestra," and he calls him the
+greatest colour-poet of the time.
+
+In appearance Boecklin was fine of form, healthy and wholesome in all
+his thoughts and way of living. In 1848 he took part in revolutionary
+politics and later this did him great harm. Only the influence of his
+friends kept him from ruin. After the Franco-Prussian war he was made
+Minister of Fine Arts. In this office he rendered great service; but
+because he had to witness the wrecking of the Column Vendome in order
+to save the Louvre and the Luxembourg from the mob, he was censured;
+indeed so heavy a fine was imposed that it took his whole fortune to
+pay it; and he was banished into the bargain. From 1892 to 1901 he
+lived in or near Florence, and he died at Fiesole, January 16th, 1901.
+
+  PLATE--THE ISLE OF THE DEAD
+
+This picture is perhaps the greatest of the many great Arnold Boecklin
+paintings, and it is both fascinating and awe-inspiring.
+
+It best shows his liking for vertical lines in art. The Isle of the
+Dead is of a rocky, shaft-like formation in which we may see hewn-out
+tombs; and there, tall cypress trees are growing.
+
+The traces of man's work in the midst of this sombre, ideal, and
+mystic scene add to the impressiveness of the picture. The isle stands
+high and lonely in the midst of a sea.
+
+The water seems silently to lap the base of the rocks and the trees
+are in black shadow, massed in the centre. It looks very mysterious
+and still. There is a stone gateway touched with the light of a dying
+day. It is sunset and the dead is being brought to its resting place
+in a tiny boat, all the smaller for its relation to the gloomy
+grandeur of the isle which it is approaching. One figure is standing
+in the boat, facing the island, and the sunlight falls full upon his
+back and touches the boat, making that spot stand out brilliantly from
+all the rest of the picture.
+
+Among Boecklin's paintings are "Naiads at Play," which hangs in the
+Museum at Basel, "A Villa by the Sea," "The Sport of the Waves,"
+"Regions of Joy," "Flora," and "Venus Dispatching Cupid."
+
+
+
+
+IV
+
+MARIE-ROSA BONHEUR
+
+
+  (Pronounced Rosa Bon-er)
+  _French School_
+  1822-1895
+  _Pupil of Raymond B. Bonheur_
+
+Rosa Bonheur, Landseer, and Murillo maybe called "Children's Painters"
+in this book because they painted things that children, as well as
+grown-ups, certainly can enjoy. To be sure, Murillo was a very
+different sort of artist from Rosa Bonheur or Landseer, but if the two
+latter painted the most beautiful, animals--dogs, sheep, and
+horses--Murillo painted the loveliest little children.
+
+Rosa was the best pupil of her father; Raymond B. Bonheur. In Bordeaux
+they lived together the peaceful life of artists, the father being
+already a well known painter when his daughter was born. She became,
+as Mr. Hamerton, who knew her, said, "the most accomplished female
+painter who ever lived ... a pure, generous woman as well and can
+hardly be too much admired ... as a woman or an artist. She is simple
+in her tastes and habits of life and many stories are told of her
+generosity to others."
+
+After a time the Bonheurs moved to Paris where young Rosa could have
+better opportunities; and there she put on man's clothing, which she
+wore all her life thereafter. She wore a workingman's blouse and
+trousers, and tramped about looking more like a man than a woman with
+her short hair. This, made everybody stare at her and think her very
+queer, but people no longer believe that she dressed herself thus in
+order to advertise herself and attract attention; but because it was
+the most convenient costume for her to get about in. She went to all
+sorts of places; the stockyards, slaughter houses, all about the
+streets of Paris, to learn of things and people, especially of
+animals, which she wished most to paint. She could hardly have gone
+about thus if she had worn women's clothing.
+
+Rosa Bonheur exhibited her first painting at the _Salon_ in 1841, and
+this was twelve years before her beloved father died; thus he had the
+happiness of knowing that the daughter whom he had taught so lovingly
+was on the road to success and fortune. He knew that when fortune
+should come to her she would use it well. The year that she exhibited
+her work in the _Salon_ she painted only two little pictures--one of
+rabbits, the other of sheep and goats--but they were so splendidly
+done that all the critics knew a great woman artist had arrived.
+
+It was then that her enemies, those who were becoming jealous of her
+work, said that she was wearing men's clothing in order to attract
+attention to herself.
+
+Soon her work began to be bought by the French Government, which was a
+sure sign of her power. She was already much beloved by the people. In
+the meantime we in America and others in England had heard of
+Mademoiselle Bonheur, but we heard far less about her painting than we
+did about her masculine garb. We thought of her mostly as an eccentric
+woman; but one day came "The Horse Fair," and all the world heard of
+that, so the artist was to be no longer judged by the clothes she wore
+but by her art. Finally, she received the cross of the Legion of
+Honour, and also was made a member of the Institute of Antwerp.
+
+She lived near Fontainebleau; her studio a peaceful retired home, till
+the Franco-Prussian war came about. Then she and others began to fear
+that her studio and pictures would be destroyed, so the artist was
+forced to stop her work and prepared to go elsewhere. But the Crown
+Prince of Prussia himself ordered that Mademoiselle Bonheur should not
+even be disturbed. Her work had made her belong to all the world and
+all the world was to protect her if need be.
+
+Rosa Bonheur had a brother who, some critics said, was the better
+artist, but if that were true it is likely that his popularity would
+in some degree have approached that of his sister. Rosa Bonheur did
+not paint many large canvases, but mostly small ones, or only
+moderately large; but when she painted sheep it seems that one might
+shear the wool, it stands so fleecy and full; while her horses rampage
+and curvet, showing themselves off as if they were alive.
+
+  PLATE--THE HORSE FAIR
+
+This picture was exhibited all over the world very nearly. It was
+carried to England and to America, and won admiration wherever it was
+seen. Finally it was sold in America. It was first exhibited in 1853,
+the year in which the artist's father died. Mr. Ernest Gambart was the
+first who bought the picture, and he wrote of it to his friend,
+Mr. S.P. Avery: "I will give you the real history of 'The Horse Fair,'
+now in New York. It was painted in 1852, by Rosa Bonheur, then in her
+thirtieth year, and exhibited in the next _Salon_. Though much admired
+it did not find a purchaser. It was soon after exhibited in Ghent,
+meeting again with much appreciation, but was not sold, as art did not
+flourish at the time. In 1855 the picture was sent by Rosa Bonheur to
+her native town of Bordeaux and exhibited there. She offered to sell
+it to the town at the very low price 12,000 francs ($2,400). While
+there, I asked her if she would sell it to me, and allow me to take it
+to England and have it engraved. She said: 'I wish to have my picture
+remain in France. I will once more impress on my countrymen, my wish
+to sell it to them for 12,000 francs. If they refuse, you can have it,
+but if you take it abroad, you must pay me 40,000 francs.' The town
+failing to make the purchase, I at once accepted these terms, and Rosa
+Bonheur then placed the picture at my disposal. I tendered her the
+40,000 francs and she said: 'I am much gratified at your giving me
+such a noble price, but I do not like to feel that I have taken
+advantage of your liberality; let us see how we can combine in the
+matter. You will not be able to have an engraving made from so large a
+canvas. Suppose I paint you a small one from the same subject, of
+which I will make you a present.' Of course I accepted the gift, and
+thus it happened that the large work went travelling over the kingdom
+on exhibition, while Thomas Landseer was making an engraving from the
+quarter-size replica.
+
+"After some time (in 1857 I think), I sold the original picture to
+Mr. William P. Wright, New York (whose picture gallery and residence
+were at Weehawken, N.J.), for the sum of 30,000 francs, but later I
+understood that Mr. Stewart paid a much larger price for it on the
+breaking up of Mr. Wright's gallery. The quarter size replica, from
+which the engraving was made, I finally sold to Mr. Jacob Bell, who
+gave it in 1859 to the nation, and it is now in the National Gallery,
+London. A second, still smaller replica, was painted a few years
+later, and was resold some time ago in London for L4,000
+($20,000). There is also a smaller water-colour drawing which was sold
+to Mr. Bolckow for 2,500 guineas ($12,000), and is now an heirloom
+belonging to the town of Middlesbrough. That is the whole history of
+this grand work. The Stewart canvas is the real and true original, and
+only large size 'Horse-Fair.'
+
+"Once in Mr. Stewart's collection, it never left his gallery until the
+auction sale of his collection, March 25th, 1887, when it was
+purchased by Mr. Cornelius Vanderbilt for the sum of $55,000, and
+presented to the Metropolitan Museum of Art."
+
+And thus we have the whole story of the "Horse-Fair." The picture is
+93-1/2 inches high, and 197 inches wide, and it contains a great
+number of horses, some of which are ridden, while others are led, and
+all are crowding with wild gaiety toward the fair where it is quite
+plain they know they are about to be admired and their beauty shown to
+the best advantage. Other well-known Rosa Bonheurs are "Ploughing,"
+"Shepherd Guarding Sheep," "Highland Sheep," "Scotch Deer," "American
+Mustangs," and "The Study of a Lioness."
+
+
+
+
+V
+
+ALESSANDRO BOTTICELLI
+
+
+  (Pronounced Ah-lays-sahn'dro Bo't-te-chel'lee)
+  _Florentine School,_
+  1447-1510 (Vasari's dates)
+  _Pupil of Filippo Lippi and Verrocchio_
+
+Botticelli took his name from his first master, as was the fashion in
+those days. The relation of master and apprentice was very close, not
+at all like the relation of pupil and teacher to-day.
+
+Botticelli's father was a Florentine citizen, Mariano Filipepi, and he
+wished his son to become a goldsmith; hence the lad was soon
+apprenticed to Botticelli, the goldsmith. As a scholar, the little
+goldsmith had not distinguished himself. Indeed it is said that as a
+boy he would not "take to any sort of schooling in reading, writing,
+or arithmetic." It cannot be said that this failure distinguished him
+as a genius, or the world would be full of genius-boys; but the result
+was that he early began to learn his trade.
+
+Fortunately for him and us, Botticelli, the smith, was a man of some
+wisdom and when he saw that the lad originated beautiful designs and
+had creative genius he did not treat the matter with scorn, as the
+master of Andrea del Sarto had done, but sent him instead to Fra
+Filippo (Lippo Lippi) to be taught the art of painting. So kind a deed
+might well establish a feeling of devotion on little Alessandro's part
+and make him wish to take his master's name.
+
+Fra Filippo was a Carmelite monk, merry and kindly; simple, good, and
+gifted, but his temperament did not seem to influence his young
+pupil. Of all unhappy, morbid men, Botticelli seems to have been the
+most so, unless we are to except Michael Angelo.
+
+After studying with the monk, Botticelli was summoned by Pope Sixtus
+IV. to Rome to decorate a new chapel in the Vatican. Before that time
+his whole life had been greatly influenced by the teachings of
+Savonarola who had preached both passionately and learnedly in
+Florence, advocating liberty. From the time he fell under Savonarola's
+wonderful power, the artist grew more and more mystic and morbid. In
+Rome it was the custom to have the portraits of conspirators, or
+persons of high degree who were revolutionary or otherwise
+objectionable to the state, hung outside the Public Palace, and in
+Botticelli's time there was a famous disturbance among the aristocrats
+of the state. In 1478 the powerful Pazzi family conspired against the
+Medici family, which then actually had control. It was Botticelli who
+was engaged to paint the portraits of the Pazzi family, which to their
+shame and humiliation were to be displayed upon the palace walls.
+
+One peculiarity of this artist's pictures was that he used actual
+goldleaf to make the high lights upon hair, leaves, and draperies. The
+effect of the use of this gold was very beautiful, if unusual, and it
+may have been that his apprenticeship as a goldsmith suggested to him
+such a device.
+
+Also it was he who created certain characteristics of painting that
+have since been thought original with Burne-Jones. This was the use of
+long stiff lily-stalks or other upright details in his compositions.
+Examples of this idea, which produced so weird an effect, will be
+found in his allegory of "Spring," where stiff tree-trunks form a part
+of the background. In the "Madonna of the Palms" upright lily-stalks
+are held in pale and trembling hands. Like Michael Angelo, who came
+years afterward, Botticelli was a guest of the great Lorenzo the
+"Magnificent," in Florence. It was by Botticelli's hand that the
+greater painter sent a letter to Lorenzo from a duchess friend who was
+also his patron. This was in Angelo's youth; in Botticelli's old age.
+
+All his life was a drama of morbid seeking after the unattainable, and
+finally he became so poor and helpless that in his old age he would
+have starved had Lorenzo de' Medici not taken care of him. Lorenzo and
+other friends who in spite of his gloominess admired his real piety,
+gathered about him and kept him from starvation.
+
+On his "Nativity," Botticelli wrote: "This picture I, Alessandro,
+painted at the end of the year 1500 in the troubles of Italy, in the
+halftime after the time, during the fulfilment of the eleventh of
+John, in the second woe of the Apocalypse, in the loosing the devil
+for three and a half years. Afterward he shall be chained according to
+the twelfth of John, and see him trodden down as in this picture." All
+of this is interesting because Botticelli himself wrote it, but it is
+not very easily understood by any child, nor by many grown people.
+
+Botticelli did some very extraordinary things, but whether they are
+beautiful or not one must decide for himself. They are paintings so
+characteristic that one must think them very beautiful or else not at
+all so.
+
+  PLATE--LA PRIMAVERA
+  _(Spring)_
+
+In this picture we have the forerunner of a modern painter, because we
+see in it certain, qualities that we find in Boecklin. Look at the
+effect of vertical lines; the tree trunks, and the poses of the
+slender women. Over all hovers a cupid who is sending love-shafts into
+the hearts of all in springtime.
+
+Notice the lacy effect of the flowers that bestar the wind-blown gown
+of "La Primavera," the fern-like leaves that fleck the background; the
+draperies that do not conceal the forms of the nymphs of the lovely
+springtime.
+
+The very spirit of spring is seen in all the half-floating,
+half-dancing, gliding, diaphanous figures of the forest. The flowers
+of "La Primavera's" crown are blue and white cornflowers and
+primroses. She scatters over the earth tulips, anemones, and
+narcissus. The painting is allegorical and unique. Never were such
+fluttering odds and ends of draperies painted before, nor such
+fascinating effects had from canvas, paint, or brush. The picture
+hangs in Florence in the Uffizi Gallery. A German critic tells us that
+the "Realm of Venus," is a better title for this picture, and that it
+was painted after a poem of that name.
+
+Other pictures by this artist are: "The Birth of Venus," "Pallas,"
+"Judith," "Holofernes," "St. Augustine," "Adoration of the Magi," and
+"St. Sebastian."
+
+
+
+
+VI
+
+WILLIAM ADOLPHE BOUGUEREAU
+
+
+  (Pronounced W. A'dolf Bou-gair-roh)
+  _French (Genre) School_
+  1825-1905
+  _Pupil of Picot and the Ecole des Beaux-Arts_
+
+Bouguereau's business-like father meant his son also to be
+business-like, but he made the mistake of permitting him to go to a
+drawing school in Bordeaux and there, to his father's chagrin, the
+youngster took the annual prize. After that there seemed nothing for
+the father to do but grin and bear it, because the son decided to be
+an artist and had fairly won his right to be one.
+
+Young Bouguereau had no money, and therefore he went to live with an
+uncle at Saintonge, a priest, who had much sympathy with the boy's
+wish to paint, and he left him free to do the best he could for
+himself in art. He got a chance to paint some portraits, and when he
+and his uncle talked the matter over It was decided that he should
+take the money got for them, and go to Paris. It was there that he
+sought Picot, his first truly helpful teacher; and there, for the
+first time he learned more than he already knew about art.
+
+All Bouguereau's opportunities in life were made by himself, by his
+own genius. No one gave him anything; he earned all. He longed to go
+to Italy, and in the Ecole des Beaux-Arts he won the Prix de Rome,
+which made possible a journey to the land of great artists. The French
+Government began to buy his work, and he began to receive commissions
+to decorate walls in great buildings; thus, gradually, he made for
+himself fame and fortune.
+
+When this artist undertook to paint sacred subjects, of great dignity,
+he was not at his best; but when he chose children and mothers and
+everyday folk engaged about their everyday business, he painted
+beautifully. Americans have bought many of his pictures and he has had
+more popularity in this country than anywhere outside of France.
+
+Some authorities give the birthplace of Bouguereau as La Rochelle; at
+any rate he died there at midnight, on the nineteenth of August, 1905.
+
+  PLATE--THE VIRGIN AS CONSOLER
+
+The main distinction about this artist's pictured faces is the
+peculiarly earnest expression he has given to the eyes. In this
+picture of the Virgin there is great genius in the pose and death-look
+of the little child whose mother has flung herself across the lap of
+Mary, abandoned to her agony. This painting is hung in the
+Luxembourg. Others by the same master are called "Psyche and Cupid"
+"Birth of Venus," "Innocence," and "At the Well."
+
+
+
+
+VII
+
+SIR EDWARD BURNE-JONES
+
+
+  _English (Pre-Raphaelite) School_
+  1833-1898
+  _Pupil of Rossetti_
+
+This artist has been called the most original of all contemporaneous
+artists. He has also been called the "lyric painter"; meaning that he
+is to painting what the lyric poet is to literature. His work once
+known can almost always be recognised wherever seen afterward. He did
+not slavishly follow the Pre-Raphaelite school, yet he drew most of
+his ideas from its methods. He was, in the use of stiff lines, a
+follower of Botticelli, and not original in that detail, as some have
+seemed to think.
+
+  PLATE--CHANT D'AMOUR
+  _(The Love-Song)_
+
+This is a picture in the true Burne-Jones style: a beautiful woman in
+billowy draperies, playing upon a harp forms the central figure of the
+group of three--a listener on either side of her. There is the
+attractiveness of the Burne-Jones method about this picture, but after
+all there seems to be no very good reason for its having been
+painted. The subject thus treated has only a negative value, and
+little suggestion of thought or dramatic idea.
+
+Another picture of this artist, in which his use of stiff draperies is
+specially shown, is that of the women at the tomb of Christ, when they
+find the stone rolled away and, looking around, see the Saviour's
+figure before them. The scene is low and cavern-like, with a brilliant
+light surrounding the tomb. This artist also painted "The Vestal
+Virgin," "King Cophetua and the Beggar Maid," "Pan and Psyche," "The
+Golden Stairs," and "Love Among the Ruins."
+
+
+
+
+VIII
+
+JOHN CONSTABLE
+
+
+  _English School_
+  1776-1837
+  _Pupil of the Royal Academy_
+
+John Constable was the son of a "yeoman farmer" who meant to make him
+also a yeoman farmer. Mostly we find that the fathers of our artists
+had no higher expectations for their sons than to have them take up
+their own business; to begin as they had, and to end as they expected
+to. But in John Constable's case, as with all the others, the father's
+methods of living did not at all please the son, and having most of
+all a liking for picture-making; young John set himself to planning
+his own affairs.
+
+Nevertheless, the foundation of John's art was laid right there in the
+Suffolk farmer's home and conditions. He was born in East Bergholt,
+and the father seems to have believed in windmills, for early in life
+the signs of wind and weather became a part of the son's education. He
+learned a deal more of atmospheric conditions there on his father's
+windmill planted farm than he could possibly have learned shut up in a
+studio, French fashion. As a little boy he came to know all the signs
+of the heavens; the clouds gathering for storm or shine; the bending
+of the trees in the blast; all of these he loved, and later on made
+the principal subjects of his art. He learned to observe these things
+as a matter of business and at his father's command; thus we may say
+that he studied his life-work from his very infancy. All about him
+were beautiful hedgerows, picturesque cottages with high pitched roofs
+covered with thatch, and it was these beauties which bred one other
+great landscape painter besides Constable, of whom we shall presently
+speak, Gainsborough.
+
+At last, graduating from windmills, John went to London. He had a
+vacation from the work set him by his father, and for two years he
+painted "cottages, studied anatomy," and did the drudgery of his art;
+but there was little money in it for him, and soon he had to go into
+his father's counting house, for windmills seemed to have paid the
+elder Constable, considerably better than painting promised to pay
+young John.
+
+John doubtless liked counting-house work even less than he had done
+the study of windmills and weather in his father's fields. He was a
+most persistent fellow, however, and finally he returned to London, to
+study again the art he loved, this time in the Royal Academy, which
+meant that he had made some progress.
+
+His father gave him very little aid to do the things he longed to do,
+but after his father's death he found that a little money was coming
+to him from the estate--L4,000. He had already triumphed over his
+difficulties by painting his first fine pictures; he now knew that he
+was to become a successful artist, and be able to take care of himself
+and a wife. Though in love, he had hitherto been too poor to
+marry. His first splendid work was "Dedham Vale."
+
+Though things were going very well with him, it was not until Paris
+discovered him that he achieved great success. In 1824 he painted two
+large pictures which he took to Paris, and there he found fame. The
+best landscape painting in France dates from the time when Constable's
+works were hung in the Louvre, to become the delight of all
+art-lovers.
+
+He received a gold medal from Charles X., and became more honoured
+abroad than he had ever been at home.
+
+Constable had many enemies, and made many more after he became an
+Academician. Some artists, who would have liked that honour and who
+could not gain it for themselves, declared that Constable painted
+"with a palette knife," though it certainly would not have mattered if
+he had, since he made great pictures.
+
+He painted things exactly as he saw them, and was not a popular
+artist. Most of all, he loved to paint the scenes that he had known so
+well in his youth, and he did them over and over again, as if the
+subject was one in which he wished to reach perfection.
+
+When he died he left a picture, "Arundel Castle and Mill," standing
+with its paint wet upon his easel for he passed away very suddenly, on
+April 1st, leaving behind him many unsold paintings.
+
+He was a sensitive chap, and throughout his youth was greatly
+distressed by the differences of opinion between himself and his
+father. He was torn asunder between a sense of duty and his own wish
+to be an artist; and his greatest consolation in this situation was in
+the friendship he had formed for a plumber, who, like himself, dearly
+loved art. The plumber's name was John Dunthorne, and the two men
+wandered about the country, when not employed at their regular work,
+and together, by streams and in fields, painted the same scenes. At
+one time they hired a little room in the neighbouring village which
+they made into a studio. Constable was a handsome fellow in his youth
+and was known to all as the "handsome miller." His father, the yeoman
+farmer with the windmills, was also a miller.
+
+In London he became acquainted with one John Smith, known as
+"Antiquity Smith," who taught him something of etching. After he was
+recalled to his father's business, his mother wrote to "Antiquity
+Smith," that she hoped John "would now attend to business, by which he
+will please me and his father, and ensure his own respectability and
+comfort"--a complete expression of the middle-class British mind. Her
+satisfaction was short-lived, for her son soon returned to London.
+
+When his first pictures were rejected by the Royal Academy he showed
+one of them to Sir Benjamin West, who said hopefully: "Don't be
+disheartened, young man, we shall hear of you again; you must have
+loved nature very much before you could have painted this."
+
+About that time he tried to paint many kinds of pictures, such as
+portraits and sacred subjects, but he did not seem to succeed in
+anything except the scenes of his boyhood, which he truly loved. Hence
+he gave up attempting that which he could do only passably, and kept
+to what he could do supremely well.
+
+When his friends wished him to continue portrait painting, the only
+thing that was well paid at that time, Constable wrote: "You know I
+have always succeeded best with my native scenes. They have always
+charmed me, and I hope they always will. I have now a path marked out
+very distinctly for myself, and I am desirous of pursuing it
+uninterruptedly."
+
+About the time he fell in love and before his father's death, his
+health began to fail, and the young woman's mother would have none of
+him. Her father was in favour of Constable, but he could not hold out
+against the chance of his daughter losing her grandfather's fortune by
+marrying the wrong man.
+
+The lady was not so distractingly in love as young Constable was, and
+she did not entirely like the idea of poverty, even with John, so she
+held off, and with so much anxiety Constable became downright ill. For
+five years the pair lived apart, and then the artist and the young
+woman, whose name was Maria Bicknell, lost their mothers about the
+same time, This drew them very closely together; and to help the
+matter on, John's attendance upon his father in his last illness
+brought him to the same town as Miss Bicknell. After his father's
+death, he urged the young lady so strongly to be his wife that she
+consented They were married and her father soon forgave her, but not
+so her grandfather, who declared that he never would forgive her, but
+he really must have done so from the first, for when he died it was
+found that he had left her a little fortune of L4,000. This was about
+the same amount the artist had received from his father, so that they
+were able to get on very well.
+
+After Constable's marriage he went on a visit to Sir George Beaumont,
+and there an amusing incident occurred which is known to-day as the
+story of Sir George's "brown tree." It seems that Constable's ideas of
+colour for his landscapes were so true to nature that a good many
+people did not approve of them, and one day while painting, Sir George
+declared that the colour of an old Cremona fiddle was the best model
+of colour tone that a landscape could have. Constable's only answer
+was to place the fiddle on the green lawn in front of the house. At
+another time his host asked the artist, "Do you not find it very
+difficult to determine where to place your brown tree?" "Not at all,"
+was Constable's reply, "for I never put such a thing into a picture in
+my life."
+
+In painting one picture many times he declared, "Its light cannot be
+put out because it is the light of nature." A Frenchman called
+attention to one of his pictures thus: "Look at these landscapes by an
+Englishman. The ground appears to be covered with dew."
+
+Notwithstanding the little fortune of his wife and himself, Constable
+was not quite carefree, because he had to raise a good sized family of
+six children so that when his wife's father died and left his daughter
+L20,000 he said to a friend: "Now I shall stand before a six-foot
+canvas with a mind at ease, thank God!" In the very midst of this
+happiness, his beloved wife became ill with consumption, and was
+certain to die. He no longer cared very much for life and wrote very
+sadly:
+
+"I have been ill, but am endeavouring to get work again, and could I
+get afloat upon a canvas of six feet, I might have a chance of being
+carried from myself." When he became a member of the Royal Academy, he
+said: "It has been delayed until I am solitary and cannot impart it,"
+meaning that without his dear wife to share his good fortune, it
+seemed an empty honour to him.
+
+Strange things are told which show how little his work was valued by
+his countrymen. After he had become a member of the Academy one of his
+small pictures was entered but rejected; nobody knowing anything about
+it. It was put on one side among the "outsiders." Finally, one of his
+fellow members glancing at it was attracted.
+
+"Stop a bit! I rather like that. Why not say 'doubtful'?" Later
+Constable acknowledged the picture as his, and then they wished to
+hang it, but he refused to let them. Another Academy story is about
+his picture "Hadleigh Castle." On Varnishing Day, Chartney, a
+brilliant critic, told Constable that the foreground of the picture
+was "too cold," and so he undertook to "warm it," by giving it a
+strong glaze with asphaltum with Constable's brush which he snatched
+from the artist's hand. Constable gazed at him in horror. "Oh! there
+goes all my dew," he cried, and when Chartney's back was turned he
+hurriedly wiped the "warmth" all away and got back his "dew."
+
+Even the amusing things that happened to him, seem to have a little
+sadness about them. He wrote to a friend: "Beechey was here yesterday,
+and said: 'Why d--n it Constable, what a d--n fine picture you are
+making; but you look d--n ill, and you've got a d--n bad cold!' so,"
+added Constable, "you have evidence on oath of my being about a fine
+picture and that I am looking ill."
+
+An illustration of his painstaking and truthfulness to nature is that
+he once took home with him from a visit bottles of coloured sand and
+fragments of stone which he meant to introduce into a picture; and on
+passing some slimy posts near a mill, he said to his host, "I wish you
+could cut those off and send their tops to me."
+
+Constable was a loyal friend, the most persistent of men, and several
+anecdotes are told of his characteristics. His friend Fisher said to
+him:
+
+"Where real business is to be done, you are the most energetic and
+punctual of men. In smaller matters, such as putting on your breeches,
+you are apt to lose time in deciding which leg shall go in first."
+
+  PLATE--THE HAY WAIN
+
+This picture was first called "Landscape," and it was painted in
+1821. In his letters about it, however, Constable also called it
+"Noon," and others wrote of it as "Midsummer Noon." This tells us what
+a wealth of hot sunlight is suggested by the painting.
+
+It shows a little farmhouse upon the bank of a stream, a spot well
+known as "Willy Lott's Cottage." The owner had been born there and he
+died there eighty-eight years later, without ever having left his
+cottage for four whole days in all those years. Upon the tombstone of
+Lott, which is in the Bergholt burial ground, his epitaph calls the
+house "Gibeon Farm." It was a favourite scene with Constable, and he
+painted it many times from every side. It is the same house we see in
+the "Mill Stream," another Constable painting, and again in "Valley
+Farm." In this last picture he painted the side opposite to the one
+shown in the "Hay Wain."
+
+The stream near which the house stands spreads out into a ford, and in
+the picture the hay cart, with two men upon it, is passing through the
+ford. The horses are decked out with red tassels. On the right of the
+stream there is a broad meadow, golden green in the sunlight, "with
+groups of trees casting cool shadows on the grass, and backed by a
+distant belt of woodland of rich blues and greens." On the right is a
+fisherman, half hidden by a bush, standing near his punt.
+
+Constable wrote to his friend, Fisher, "My picture goes to the Academy
+on the tenth." This was written on April 1st, 1821. "It is not so
+grand as Tinney's." This shows us, that Constable had not vanity
+enough to interfere with his self-criticism. Again in a letter written
+to him by a friend: "How does the 'Hay Wain' look now it has got into
+your own room again?" adding that he wished to see it there, away from
+the Academy which to him was always "like a great pot of boiling
+varnish."
+
+Later Fisher wrote: "I have a great desire to possess your 'Wain,' but
+I cannot now reach what it is worth;" and he begged Constable not to
+sell it without giving him a chance to try once more to raise the
+money to buy it. He wrote that the picture would become of greater
+value to his children if the artist left it hanging upon the walls of
+the Academy, "till you join the society of Ruysdael, Wilson, and
+Claude. As praise and money will then be of no value to you, the world
+will liberally bestow both."
+
+Later a Frenchman wished to buy it for exhibition purposes, and when
+Constable wrote to Fisher of this, his friend replied that he had
+better sell it to the Frenchman "for the sake of the _eclat_ it may
+give you. The stupid English public, which has no judgment of its own,
+will begin to think there is something in it if the French make your
+works national property. You have long lain under a mistake; men do
+not purchase pictures because they admire them, but because others
+covet them."
+
+Finally, the "Hay Wain" was sold to the French dealer for L250, and
+Constable threw in a picture of Yarmouth for good measure. Later a
+friend declared that he had created a good deal of argument about
+landscape painting, and that there had come to be two divisions, for
+he had practically founded a new school. He received a gold medal for
+the "Hay Wain," and the French nation tried to buy it. In the Louvre
+are "The Cottage," "Weymouth Bay," and "The Glebe Farm." Elsewhere are
+"Hampstead Heath," "Salisbury Cathedral," "The Lock on the Stour,"
+"Dedham Mill," "The Valley Farm," "Gillingham Mill," "The Cornfield,"
+"Boat-Building," "Flatford Mill on the River Stour," besides many
+others.
+
+
+
+
+IX
+
+JOHN SINGLETON COPLEY
+
+
+  _English School_
+  1737-1815
+
+A little boy with a squirrel was the first picture that pointed this
+artist toward fame and that was painted in England and exhibited at
+the Society of Arts.
+
+This American-born Irishman had no family or ancestry of account, but
+he himself was to become the father of Lord Chancellor Lyndhurst, and
+he did some truly fine things in art.
+
+About the same time America had another painter, Benjamin West, marked
+out for fame, but he got his start in Europe while Copley had already
+become a successful artist before he left Boston, his native place.
+
+He liked best to paint "interiors"--rooms with fine furniture and
+curtains, women in fine clothing and men in embroidered waistcoats and
+bejewelled buckles.
+
+In 1777 he got into the Royal Academy, and on the whole had
+considerable influence on European art. If we study the portraits that
+he painted while in Boston, we can get a very complete idea of the
+surroundings of the "Royalists" at the time of our colonial history.
+
+  PLATE--THE COPLEY FAMILY GROUP
+
+In this picture there are seven figures with an open landscape forming
+the background. The baby of the family plays, with uplifted arms, upon
+grandfather's knee. The mother on the couch, surrounded by her three
+other children, is kissing one while another clings to her. Before her
+stands a prim little maid, gowned in the fashion of grown-folks of her
+day. A little lock of hair falling upon her forehead suggests that
+when she was good she was very, very good, and when she was bad she
+was horrid! She wears a little cap. At the back is the artist himself
+in a wig and other fashions of the time. A great column rises behind
+him, forming a part of the architecture or the landscape, one hardly
+knows which in so artificially constructed a picture.
+
+Copley painted also John Hancock, Judge Graham, Jeremiah Lee, and
+General Joseph Warren.
+
+
+
+
+X
+
+JEAN BAPTISTE CAMILLE COROT
+
+
+  (Pronounced Zhahn Bah-teest' Cah-mee'yel Coh'roh)
+  _Fontainebleau-Barbizon School_
+  1796-1875
+  _Pupil of Michallon_
+
+About three hundred years before Corot's time there was a
+Fontainebleau school of artists, made up of the pathetic Andrea del
+Sarto, the wonderful Leonardo da Vinci, and Cellini. These painters
+had been summoned from their Italian homes by Francis I., to decorate
+the Palace of Fontainebleau. The second great group of painters who
+had studios in the forest and beside the stream were Rousseau, Dupre,
+Diaz, and Daubigny; Troyon, Van Marcke, Jacque; then Millet, the
+painter of peasants.
+
+Corot was born in Paris and received what education the ordinary
+school at Rouen could give him. He was intended by his parents for
+something besides art, as it would seem that every artist in the world
+was intended. Corot was to grow up and become a respectable draper; at
+any rate a draper.
+
+The young chap did as his father wished, until he was twenty-six years
+old, and dreary years those must have been to him. He did not get on
+well with his master, nor did the world treat him very well. He found
+neither riches nor the fame that was his due till he was an old man of
+seventy. At that age he had become as rich a man as he might have been
+had he remained a sensible draper.
+
+Best of all, Corot loved to paint clouds and dewy nights, pale moons
+and early day, and of all amusements in the world, he preferred the
+theatre. There he would sit; gay or sad as the play might make him,
+weeping or laughing and as interested as a little child.
+
+After he had anything to give away, Corot was the most madly generous
+of men. It was he who gave a pension to the widow of his brother
+artist, Millet, on which she lived all the rest of her days. He gave
+money to his brother painters and to all who went to him for aid; and
+he always gave gaily, freely, as if giving were the greatest joy,
+outside of the theatre, a man could have. Everyone who knew him loved
+him, and there was no note of sadness in his daily life, though there
+seems to be one in his poetical pictures. Because of his generous ways
+he was known as "Pere Corot." He sang as he worked, and loved his
+fellowmen all the time; but most of all, he loved his sister.
+
+"Rousseau is an eagle," he used to say in speaking of his fellow
+artist. "As for me, I am only a lark, putting forth some little songs
+in my gray clouds."
+
+It has been noted that most great landscape painters have been
+city-bred, a remarkable fact. Constable and Gainsborough were born and
+bred in the country, but they are exceptions to the rule. Corot's
+parents were Parisians of the purest dye, having been court-dressmakers
+to Napoleon I.; and when Corot finally determined to leave the
+draper's shop and become a painter, his father said: "You shall
+have a yearly allowance of 1,200 francs, and if you can live on that,
+you can do as you please." When his son was made a member of the
+Legion of Honour, after twenty-three years of earnest work, his father
+thought the matter over, and presently doubled the allowance, "for
+Camille seems to have some talent after all," he remarked as an excuse
+for his generosity.
+
+It is told that when he first went to study in Italy, Corot longed to
+transfer the moving scenes before him to canvas; but people moved too
+quickly for him, so he methodically set about learning how to do with
+a few strokes what he would otherwise have laboured over. So he
+reduced his sketching to such a science that he became able to sketch
+a ballet in full movement; and it is remarked that this practice
+trained him for presenting the tremulousness of leaves of trees, which
+he did so exquisitely.
+
+One learns something of this painter of early dawn and soft evening
+from a letter he wrote to his friend Dupre:
+
+One gets up at three in the morning, before the sun; one goes and sits
+at the foot of a tree; one watches and waits. One sees nothing much at
+first. Nature resembles a whitish canvas on which are sketched
+scarcely the profiles of some masses; everything is perfumed, and
+shines in the fresh breath of dawn. Bing! the sun grows bright but has
+not yet torn aside the veil behind which lie concealed the meadows,
+the dale, and hills of the horizon. The vapours of night still creep,
+like silvery flakes over the numbed-green vegetation. Bing! bing!--a
+first ray of sunlight--a second ray of sunlight--the little flowers
+seem to wake up joyously. They all have their drop of dew which
+trembles--the chilly leaves are stirred with the breath of morning--in
+the foliage the birds sing unseen--all the flowers seem to be saying
+their prayers. Loves on butterfly wings frolic over the meadows and
+make the tall plants wave--one sees nothing--yet everything is
+there--the landscape is entirely behind the veil of mist, which
+mounts, mounts, sucked up by the sun; and as it rises, reveals the
+river, plated with silver, the meadow, the trees, cottages, the
+receding distance--one distinguishes at last everything that one had
+divined at first.
+
+In all the world there can hardly be a more exquisite story of
+daybreak than this; and so beautiful was the mood into which Corot
+fell at eventime, as he himself describes it, that it would be a
+mistake to leave it out. This is his story of the night:
+
+Nature drowses--the fresh air, however, sighs among the leaves--the
+dew decks the velvety grass with pearls. The nymphs fly--hide
+themselves--and desire to be seen. Bing! a star in the sky which
+pricks its image on the pool. Charming star--whose brilliance is
+increased by the quivering of the water, thou watchest me--thou
+smilest to me with half-closed eye! Bing!--a second star appears in
+the water, a second eye opens. Be the harbingers of welcome, fresh and
+charming stars. Bing! Bing! Bing!--three, six, twenty stars. All the
+stars in the sky are keeping tryst in this happy pool. Everything
+darkens, the pool alone sparkles. There is a swarm of stars--all
+yields to illusion. The sun being gone to bed, the inner sun of the
+soul, the sun of art awakens. Bon! there is my picture done!
+
+In writing those letters, Corot made literature as well as
+pictures. That little word "bing!" appears also in his paintings, as
+little leaves or bits of tree-trunk, some small detail which,
+high-lightened, accents the whole.
+
+  PLATE--DANCE OF THE NYMPHS
+
+There could hardly be a more charming painting than this which hangs
+in the Louvre. It is of a half-shut-in landscape of tall trees, their
+branches mingling; and all the atmospheric effects that belong to
+Corot's work can here be seen.
+
+On the open greensward is a group of nymphs dancing gaily, while over
+all the scene is the veil of fairy-land or of something quite
+mysterious. At the back and side, satyrs can be seen watching the
+nymphs. There is here less of the blur of leaves than that seen in
+later pictures, but the same soft effect is found, and the little
+"bings" are the accents of light placed upon a leaf, a nymph's
+shoulder, or a tree-trunk.
+
+This picture was painted in 1851, when Corot had not yet developed
+that style which was to mark all his later work.
+
+Besides this picture he painted "Paysage," "The Bathers" "Ville
+d'Arvay," "Willows near Arras," "The Bent Tree," "A Gust of Wind," and
+others.
+
+
+
+
+XI
+
+CORREGGIO (ANTONIO ALLEGRI)
+
+
+  (Pronounced Cor-rage'jyo Ahl-lay'gree)
+  _School of Parma_
+  1494(?)-1534
+  _Pupil of Mantegna_
+
+When Correggio was a little boy, he lived in the odour of spices,
+which were kept upon his father's shop-shelves. He was a highly-spiced
+little boy and man, although the most timid and shrinking. His
+imagination was the liveliest possible.
+
+The spice merchant lived in the town of Correggio, and thus the artist
+got his name. Correggio knew what should be inside the lovely flesh of
+his painted figures before he began to paint them, because he studied
+anatomy in a truly scientific manner before he studied painting.
+Probably no other artist up to that time, had ever begun with the bare
+bones of his models, but Correggio may be said to have worked from the
+inside out. He learned about the structure of the human frame from
+Dr. Giovanni Battista Lombardi, and showed his gratitude to his
+teacher by painting a picture "Il Medico del Correggio" (Correggio's
+Physician), and presenting it to Doctor Lombardi.
+
+Now Correggio's childhood, or at least his early manhood, could not
+have been spent in poverty, because it is known that he used the most
+expensive colours to paint with, painted upon the finest of canvas,
+while greater artists had often to be content with boards. He also
+painted upon copper plates, and it is said that he hired Begarelli, a
+sculptor of much fame, to make models in relief for him to copy for
+the pictures he painted on the cupolas of the churches in Parma. That
+sculptor's services must have been expensive.
+
+On the lovely island of Capri, in the Franciscan convent, will be
+found one of his first pictures, painted when Correggio was about
+nineteen years old.
+
+He was highly original in many ways. Although he had never seen the
+work of any great artist, he painted the most extraordinary
+fore-shortened pictures; and fore-shortening was a technicality in art
+then uncommon. He also was the first to paint church cupolas.
+Fore-shortening produces some peculiar as well as great results, and
+being a feature of art with which people were not then familiar,
+Correggio's work did not go uncriticised. Indeed one artist, gazing up
+into one of the cupolas where Correggio's fore-shortened figures were
+placed, remarked that to him it appeared a "hash of frogs."
+
+But when Titian saw that cupola, he said: "Reverse the cupola, fill it
+with gold, and even then that will not be its money's worth."
+
+Correggio did not receive very large sums for his work, and since he
+was married and took good care of his family, he must have had some
+source of income besides his brush. He received some interesting
+rewards for his paintings. For example, for "St. Jerome," called "Il
+Giorno," he was given "400 gold imperials, some cartloads of faggots
+and measures of wheat, and a fat pig." That picture is in the Parma
+Gallery, and all the cupolas which he painted are in Parma churches.
+
+Some of his pictures are signed; "Leito," a synonym for his name,
+"Allegri." This indicates his style of art.
+
+There is an interesting story told of how Correggio stood entranced
+before a picture of Raphael's, and after long study of it he
+exclaimed: "I too, am a painter!" showing at once his appreciation of
+Raphael's greatness and satisfaction at his own genius.
+
+Doubtless a good share of Correggio's comfortable living came from the
+lady he married, since she was considered a rich woman for those times
+and in that locality. Her name was Girolama Merlini, and she lived in
+Mantua, the place where the Montagues and Capulets lived of whom
+Shakespeare wrote the most wonderful love story ever imagined. This
+young woman was only sixteen years old when Correggio met and loved
+her, and very beautiful and later on he painted a picture,
+"Zingarella," for which his wife is said to have been the model. It
+seems to have been a stroke of economy and enterprise for painters to
+marry, since we read of so many who made fame and fortune through the
+beauty of their wives.
+
+They were very happy together, Correggio and his wife, and they had
+four children. Their happiness was not for long, because Correggio
+seems to have been but thirty-four years old when she died, nor did he
+live to be old. There is a most curious tale of his death which is
+probably not true, but it is worth telling since many have believed
+it. He is supposed to have died in Correggio, of pleurisy, but the
+story is that he had made a picture for one who had some grudge
+against him, and who in order to irritate him paid him in copper,
+fifty scudi. This was a considerable burden, and in order to save
+expense and time, it is said that Correggio undertook to carry it home
+alone. It was a very hot day, and he became so overheated and
+exhausted with his heavy load that he took ill and died, and he may be
+said literally to have been killed by "too much money," if this were
+true. Vasari, a biographer to be generally believed, says it is a
+fact.
+
+Correggio said that he always had his "thoughts at the end of his
+pencil," and there are those who impudently declare that is the only
+place he _did_ have them, but that is a carping criticism, because he
+was a very great artist, his greatest power being the presentation of
+soft blendings of light and shade. There seem to have been few unusual
+events in Correggio's life; very little that helps us to judge the
+man, but there is a general opinion that he was a kind and devoted
+father and husband, as well as a good citizen. With little demand upon
+his moral character, he did his work, did it well, and his work alone
+gave him place and fame.
+
+He became the head of a school of painting and had many imitators, but
+we hear little of his pupils, except that one of them was his own son,
+Pompino, who lived to be very old, and in his turn was successful as
+an artist.
+
+Correggio was buried with honours in the Arrivabene Chapel, in the
+Franciscan church at Correggio.
+
+  PLATE--THE HOLY NIGHT
+
+This painting is not characteristic of Correggio's work, but
+nevertheless it is very beautiful. The brilliant warm light which
+comes from the Infant Jesus in His mother's arms is reflected upon the
+faces of those gathered about, and even illuminates the angelic group
+hovering above him. The slight landscape forming the background is
+also suggestive, and the conditions of the birth are indicated by the
+ass which may be seen in the middle distance. The faces of all are
+joyous yet full of wonderment, the whole scene intimate and human.
+
+The picture is also called the "Adoration of the Shepherds," and that
+title best tells the story. See the shepherdess shading her face with
+one hand and offering two turtle-doves with the other. The ass in the
+distance is the one on which Mary rode to Bethlehem, and Joseph is
+caring for it. Even the cold light of the dawning day is softened by
+the beauty of the group below. This picture is in the Royal Gallery in
+Dresden.
+
+  PLATE--THE MYSTIC MARRIAGE OF ST. CATHERINE
+
+The Infant Jesus sits upon His mother's lap, and places the ring upon
+St. Catherine's finger, while Mary's hand helps to guide that of her
+Child. This action brings the three hands close together and adds to
+the beauty of the composition. All of the faces are full of pleasure
+and kindliness, while that of St. Sebastian fairly glows with happy
+emotion. The light is concentrated upon the body of the Child and is
+reflected upon the faces of the women. This painting hangs in the
+Louvre.
+
+Other great Correggio pictures are the "School of Cupid," which is
+more characteristic of his work; "Antiope," "Leda," "Danae," and "Ecce
+Homo."
+
+
+
+
+XII
+
+PAUL GUSTAVE DORE
+
+
+  _French School_
+  1833-1883
+
+This artist died in Paris twenty-five years ago, but there is little
+as yet to be told of his life history. He was educated in Paris at the
+Lycee Charlemagne, having gone there from Strasburg, where he was
+born.
+
+He was a painter of fantastic and grotesque subjects, and as far as we
+know, he began his career when a boy. He made sketches before his
+eighth year which attracted much attention, and he earned considerable
+money while still at school. He was at that time engaged to illustrate
+for journals, at a good round sum, and before he left the Lycee he had
+made hundreds of drawings, somewhat after the satirical fashion of
+Hogarth.
+
+His work is very characteristic and once seen is likely to be always
+recognised.
+
+He first worked for the _Journal Pour Rire_, but then he undertook to
+illustrate the work of Rabelais, the great satirist, whose text just
+suited Dore's pencil. After Rabelais he illustrated Balzac, also the
+"Wandering Jew," "Don Quixote," and Dante's "Divine Comedy."
+
+He undertook to do things which he could not do well, simply for the
+money there was in the commissions. He had but a poor idea of colour
+and his work was coarse, but it had such marked peculiarities that it
+became famous. He did a little sculpture as well, and even that showed
+his eccentricities of thought.
+
+  PLATE--MOSES BREAKING THE TABLETS OF THE LAW
+
+This is one of the illustrations of the Dore Bible, published in
+1865-66. The story is well known of how Moses went up into the Mount
+of the Lord to receive the laws for the Israelites, which were written
+upon tables of stone. Upon his descent from the Mount he found that
+his followers had set up a golden calf, which they were worshipping;
+and in his wrath Moses broke the tablets on which the Law was
+inscribed. The power shown in his attitude, the affrighted faces of
+the cowering Jews, the thunder and lightning as an expression of the
+wrath of the Almighty are all painted in Dore's best manner.
+
+
+
+
+XIII
+
+ALBRECHT DUeRER
+
+
+  (Pronounced Dooer-rer')
+  _Nuremberg School_
+  1471-1528
+  _Pupil of Wolgemuth and Schongauer_
+
+Albrecht Duerer by nationality was a Hungarian, but he was born in the
+city of Nuremberg. His father had come from the little Hungarian town
+of Eytas to Nuremberg that he might practise the craft of a
+goldsmith. Notwithstanding his Hungarian origin, the name is German
+and the family "bearing," or sign, is the open door. This device
+suggests that the name was first formed from "Thurer," which means
+"carpenter," maker of doors.
+
+The father became the goldworker for a master goldsmith of Nuremberg
+named Hieronymus Holper, and very soon the new employee had fallen in
+love with his master's daughter. The daughter was very young and very
+beautiful; her name was Barbara, and as Herr Duerer was quite forty
+years of age, while she was but fifteen, the match seemed most
+unlikely, but they married and had eighteen children! The great
+painter was one of them.
+
+Albrecht loved his parents most tenderly, and from first to last we
+hear no word of disagreement among any members of that immense
+household. Young Albrecht was especially the companion of his father,
+being brilliant, generous, and hard-working in a family where everyone
+needed to do his best to help along. This love and companionship never
+ceased until death, and after his parents died Albrecht wrote in a
+touching manner of their death, describing his love for them, and
+their many virtues. He was an author and a poet as well as a painter,
+and only Leonardo da Vinci matched him for greatness and
+versatility. We may know what Duerer's father looked like, since the
+son made two portraits of him; one is to be seen in the Uffizi Gallery
+at Florence and the other belongs to the Duke of Northumberland's
+collection. The latter portrait has been reproduced in an engraving,
+so that it is familiar to most people.
+
+In the days when the great artist was growing up, Nuremberg was the
+centre of all intellectuality and art in the North. The city of
+Augsburg also followed art fashions, but it was far less important
+than Nuremberg, because in the latter city every sort of art-craft was
+followed in sincerity and with great originality.
+
+In those days, the craft of the goldsmith was closely allied with the
+profession of the painter, because the smith had to create his own
+designs, and that called for much talent. Thus it was but a step from
+designing in precious metals to the use of colour, and to
+engraving. In making wood engravings, however, the drudgery of it was
+left almost entirely to workmen, not artists. Nuremberg was also the
+seat of musical learning. Wagner makes this fact pathetic, comical,
+and altogether charming in his "Mastersingers of Nuremberg."
+
+Till Duerer's time, however, there had been little painting that could
+be regarded as art, and when he came to study it there was but little
+opportunity in his own land, but Duerer was destined to bring art to
+Nuremberg. If he went elsewhere to study, it was only for a little
+time, because he was above all things patriotic and dearly loved his
+home.
+
+With seventeen brothers and sisters, young Duerer's problem was a
+serious one. His father not only meant him to become a goldsmith like
+himself--a craft in which there was much money to be made at a time
+when people dressed with great ornamentation and used gold to decorate
+with--it was highly necessary with so large a family that he should
+learn to do that which could make him helpful to his father. Hence the
+young boy entered his father's shop. If he had not been handicapped
+with so many to help to maintain, he would have laid up a considerable
+fortune, because from the very beginning he was master of all that he
+undertook; doing the least thing better than any other did it, putting
+conscience and painstaking into all.
+
+"My father took special delight in me," the son said, "seeing that I
+was industrious in working and learning, he put me to school; and when
+I had learned to read and write, he took me home from my school and
+taught me the goldsmith's trade."
+
+The family were good and kind; excellent neighbours, deeply religious,
+and little Albrecht certainly was comely. He was beautiful as a little
+child, and as a man was very handsome, with long light hair sweeping
+his shoulders, and gentle eyes. He was very tall, stately, and full of
+dignity.
+
+In his father's shop he made little clay figures which were afterward
+moulded in metal; also he learned to carve wood and ivory, and he
+added the touch of originality to all that he did. He was the Leonardo
+da Vinci of Germany, an intellectual man, a poet, painter, sculptor,
+engraver, and engineer. He approached everything that he did from an
+intellectual point of view, looking for the reasons of things.
+
+After a while in his father's shop, he found mere craftsmanship
+irksome, and he begged to be allowed to enter a studio. This was a
+great disappointment to the father, even a distress, because he could
+see no very quick nor large returns in money for an artist, and he
+sorely needed the help of his son; but being kind and reasonable, he
+consented Albrecht was apprenticed to the only artist of any repute
+then in Nuremberg, Wolgemuth.
+
+To his studio Albrecht went, at the age of fifteen, and if he did not
+learn much more of painting, under that artist's direction, than his
+own genius had already taught him, he learned the drudgery of his
+work; how to grind colours and to mix them, and he studied wood
+engraving also.
+
+In Wolgemuth's studio he remained for the three years of his
+apprenticeship, and then he fled to better things. For a time he
+followed the methods of another German artist, Schongauer, but finally
+he went forth to try his luck alone. He wandered from place to place,
+practising all his trades, goldsmithing, engraving, whatever would
+support him, yet always and everywhere painting.
+
+It is thought that he may have gone as far as Italy, but it is not
+certain whether he went there in his first wanderings or later
+on. However, he was soon recalled home, for his father had found a
+suitable wife for him. She was the daughter of a rich citizen and her
+name was Agnes Frey. She was pretty as well as rich, but had she been
+neither Albrecht would have returned at his father's bidding. There
+was never any resistance to the fine and proper things of life on
+Albrecht Duerer's part. He was the well balanced, reasonable man from
+youth up.
+
+There have been extraordinary tales told of the artist's wife. She has
+been called hateful and spiteful as Xantippe, the wife of Socrates,
+but we think this is calumny. The stories came about in this way:
+Duerer had a life-long friend, Wilibald Pirkheimer, who in his old age
+became the most malicious and quarrelsome of old fellows. He lived
+longer than Duerer did, and Duerer's wife also outlived her
+husband. Pirkheimer wanted a set of antlers which had belonged to
+Duerer and which he thought the wife should give him after Duerer was
+dead, but Agnes thought otherwise and would not give them up. Then,
+full of rage, the old man wrote the most outrageous letters about poor
+Agnes, saying that she was a shrew and had compelled Duerer to work
+himself to death; that she was a miser and had led the artist an awful
+dance through life. This is the only evidence against her, and that so
+sane and sensible a man as the artist lived with her all his life and
+cherished her, is evidence enough that Pirkheimer didn't tell the
+truth. When Duerer died he was in good circumstances and instead of
+being overworked, he for many years had done no "pot-boiling," but had
+followed investigations along lines that pleased him. After his death,
+the widow treated his brothers and sisters generously, giving them
+properties of Duerer's and being of much help to them. During the
+artist's life he and she had travelled everywhere together and had
+appeared to love each other tenderly; hence we may conclude that the
+old Pirkheimer was simply a disgruntled, gouty old man without a good
+word for anybody.
+
+If Duerer's father and mother had eighteen children, Albrecht and Agnes
+struck a balance, for they had none. Whether or not Duerer went to
+Italy before his marriage in 1494, certain it is that he was in
+Venice, the home of Titian, in 1506. Titian was six years younger than
+Duerer, who was then about thirty-five years old. It is said that he
+started for Italy in 1505 and that he went the whole of the way, over
+the Alps, through forests and streams, on horseback. Who knows but it
+was during that very journey, while travelling alone, often finding
+himself in lonely ways, and full of the speculative thoughts that were
+characteristic of him, that he did not think first of his subject,
+"Knight, Death, and the Devil," which helped make his fame. In that
+picture we have a knight, helmeted, carrying his lance, mounted upon
+his horse, riding in a lonely forest, with death upon a "pale horse"
+by his side, holding an hour glass to remind the knight of the
+fleeting of time. Behind comes the devil, with trident and horn,
+represented as a frightful and disgusting beast, which follows
+hot-foot after the lonely knight, who looks neither to right nor left,
+but persistently goes his way.
+
+Titian's teacher, Bellini, was still living, and he was one of Duerer's
+greatest admirers. Especially did he believe that he could paint the
+finest hair of any artist in the world. One day, while studying
+Duerer's work, and being especially fascinated by the hair of one of
+his figures, the old man took Duerer's brush and tried to reproduce as
+beautiful a tress. Presently he put down the brush in despair, but the
+younger artist took it up, still wet with the same colours, and in a
+few brilliant strokes produced a lovely lock of woman's hair.
+
+While luxuriating in Venetian heat, Duerer wrote home to his friend
+Pirkheimer: "Oh, how I shall freeze after this sunshine!" He was a
+lover of warm, beautiful colour, gay and tender life. Most of all he
+loved the fatherland, and all the honours paid him and all the
+invitations pressed upon him could not keep him long from
+Nuremberg. The journey homeward was not uneventful because he was
+taken ill, and had to stop at a house on his way, where he was cared
+for till he was strong enough to proceed. Before he went his way he
+painted upon the wall of that house a fine picture, to show his
+gratitude for the kind treatment he had received. Imagine a people so
+settled in their homes that it would be worth while for an artist who
+came along to leave a picture upon the walls to-day--we should have
+moved to a new house or a new flat almost before Duerer could have
+washed his brushes and turned the corner.
+
+Back in Nuremberg, he settled down into the life of a responsible
+citizen, lived in a fine new house, in time became a member of the
+council, and his studio was a veritable workshop. Studios were quite
+different from those of to-day. Then the pupils turned to and ground
+colours, did much of their own manufacturing, engaged at first in such
+commonplace occupations, which were nevertheless teaching them the
+foundation of their art, while they watched the work of the
+master. Such a studio as Duerer's must have been full of young men
+coming and going, not all working at the art of painting, but
+engraving, preparing materials for such work, designing, and executing
+many other details of art work.
+
+After this time Duerer made his smallest picture, which is hardly more
+than an inch in diameter. On that tiny surface he painted the whole
+story of the crucifixion, and it is now in the Dresden Gallery. To
+those of us who see little mentality in the faces of the Italian
+subjects, the German art of Duerer, often ugly in the choice of models,
+and so exact as to bring out unpleasing details, is nevertheless the
+greater; because in all cases, the faces have sincere expressions. They
+exhibit human purposes and emotions which we can understand, and
+despise or love as the case may be.
+
+They say that his Madonna is generally a "much-dressed round-faced
+German mother, holding a merry little German boy." That may be true;
+but at any rate, she is every inch a mother and he a well-beloved
+little boy, which is considerably more than can be said of some
+Italian performances.
+
+Duerer made a painting of "Praying Hands," a queer subject for a
+picture, but those hands are nothing _but_ praying hands. The story of
+them is touching. It is said that for several years Duerer had won a
+prize for which a friend of his had also competed, and upon losing the
+prize the last time he tried for it, the friend raised his hands and
+prayed for the power to accept his failure with resignation and
+humility. Duerer, looking at him, was impressed with the eloquence of
+the gesture; thus the "Praying Hands" was conceived.
+
+Duerer was also called the _Father of Picture Books_, because he
+designed so many woodcuts that he first made possible the illustration
+of stories.
+
+He printed his own illustrations in his own house, and was well paid
+for it. The Emperor Maximillian visited Nuremberg, and wishing to
+honour Duerer, commanded him to make a triumphal arch.
+
+"It was not to be fashioned in stone like the arches given to the
+victorious Roman Emperors; but instead it was to be composed of
+engravings. Duerer made for this purpose ninety-two separate blocks of
+woodcuts. On these were represented Maximillian's genealogical tree
+and the principal events of his life. All these were arranged in the
+form of an arch, 9 feet wide and 10-1/2 feet high. It took Duerer three
+years to do this work, and he was never well paid," so says one who
+has compiled many incidents of his life.
+
+"While the artist worked, the Emperor often visited his studio; and as
+Duerer's pet cats often visited it at the same time, the expression
+arose, 'a cat may look at a King!'"
+
+On the occasion of one of these kingly visits, Maximillian tried to do
+a little art-work on his own account. Taking a piece of charcoal he
+tried to sketch, but the charcoal kept breaking and he asked Duerer why
+it did so.
+
+"That is my sceptre; your Majesty has other and greater work to do,"
+was the tactful reply. It is a question with us to-day whether the
+King ever did a greater work than Albrecht Duerer, king of painters,
+was doing.
+
+After this, Maximillian gave Duerer a pension, but when the Emperor
+died the artist found it necessary to apply to the monarch who came
+after him, in order to have the gift confirmed. This was the occasion
+for his journey to the Low Countries, and he took his wife Agnes with
+him. In the Netherlands he was received with much honour and was
+invited to become court painter; and what was more, his pension was
+fixed upon him for life. The great work of his life was his
+illustration of the Apocalypse. For this he made sixteen extraordinary
+woodcuts, of great size.
+
+On his journey to see Charles V., Maximillian's successor, Duerer kept
+a diary in which he noted the minutest details of all that happened to
+him. He told of the coronation of Charles; of hearing about a whale
+that had been cast upon the shore; of his disappointment that it had
+been removed before he had reached the place. He wrote with great
+indignation about the supposed kidnapping of Martin Luther, while he
+was on his way home from the Diet of Worms.
+
+While Duerer was in the Low Countries, a fever came upon him, and when
+he returned home, it still followed him. Indeed, although he lived for
+seven years after his return, he was never well again. Among his
+effects there was a sketch made to indicate to his physician the seat
+of his illness.
+
+Duerer did not paint great frescoes upon walls as did Raphael, Michael
+Angelo, and all great Italian artists; but instead he painted on wood,
+canvas, and in oils.
+
+In all the civilised world Duerer was honoured equally with the great
+Italian painters of his time. He was a man of much conscientiousness,
+dignity, and tenderness. He was devoted to his home and country, and
+regarded the problems of life intellectually. When he came to die, his
+end was so unexpected that those dearest to him could not reach his
+bedside. He was buried in St. John's cemetery in Nuremberg. After his
+death, Martin Luther wrote as follows to their mutual friend, Eoban
+Hesse:
+
+"As for Duerer; assuredly affection bids us mourn for one who was the
+best of men, yet you may well hold him happy that he has made so good
+an end, and that Christ has taken him from the midst of this time of
+troubles, and from yet greater troubles in store, lest he, that
+deserved to behold nothing but the best, should be compelled to behold
+the worst. Therefore may he rest in peace with his fathers, Amen."
+
+  PLATE--THE NATIVITY
+
+Our description of this painting calls attention to the fact that the
+columns and arches of the picturesque ruin belong to a much later
+period in history than the birth of Christ. Duerer was not acquainted
+with any earlier style of architecture than the Romanesque and
+therefore he used it here. "The ruin serves as a stable. A roof of
+board is built out in front of the side-room which shelters the ox and
+ass, and under this lean-to lies the new born babe surrounded by
+angels who express their childish joy. Mary kneels and contemplates
+her child with glad emotion. Joseph, also deeply moved, kneels down on
+the other side of the child, outside the shelter of the roof. Some
+shepherds to whom the angel, who is still seen hovering in the air,
+has announced the tidings, are already entering from without the
+walls." (Knackfuss). The picture is the central panel of an
+altar-piece now in the Old Pinakothek at Munich. Duerer's oil painting
+of the four apostles--John, Peter, Mark, and Paul--is in the same
+gallery. Other Duerer pictures are: "The Knight, Death and the Devil,"
+"The Adoration of the Magi," "Melancholy," and portraits of himself.
+
+
+
+
+XIV
+
+MARIANO FORTUNY
+
+
+  (Pronounced Mah-ree-ah-no' For-tu'ne)
+  _Spanish School_
+  1838-1874
+  _Pupil of Claudio Lorenzalez_
+
+Fortuny won his own opportunities. He took a prize, while still very
+young, which made it possible for him to go to Rome where he wished to
+study art. He did not spend his time studying and copying the old
+masters as did most artists who went there, but, instead, he studied
+the life of the Roman streets.
+
+He had already been at the Academy of Barcelona, but he did not follow
+his first master; instead, he struck out a line of art for
+himself. After a year in Rome the artist went to war; but he did not
+go to fight men, he was still fighting fate, and his weapon was his
+sketch book. He went with General Prim, and he filled his book with
+warlike scenes and the brilliant skies of Morocco. From that time his
+work was inspired by his Moorish experiences.
+
+After going to war without becoming a soldier, Fortuny returned to
+Paris and there he became fast friends with Meissonier, so that a good
+deal of his work was influenced by that artist's genius. After a time
+Fortuny's paintings came into great vogue and far-off Americans began
+buying them, as well as Europeans. There was a certain rich dry-goods
+merchant in the United States who had made a large fortune for those
+days, and while he knew nothing about art, he wanted to spend his
+money for fine things. So he employed people who did understand the
+matter to buy for him many pictures whose excellence he, himself,
+could not understand, but which were to become a fine possession for
+succeeding generations. This was about 1860, and this man,
+A.T. Stewart, bought two of Fortuny's pictures at high prices. "The
+Serpent Charmer," and "A Fantasy of Morocco."
+
+When Fortuny was thirty years old he married the daughter of a
+Spaniard called Madrazo, director of the Royal Museum. His wife's
+family had several well known artists in it, and the marriage was a
+very happy one. Because of this, Fortuny was inspired to paint one of
+the greatest of his pictures, "The Spanish Marriage." In it are to be
+seen the portraits of his wife and his friend Regnault. After a time
+he went to live in Granada; but he could never forget the beautiful,
+barbaric scenes in Morocco, and so he returned there. Afterward he
+went with his wife to live in Rome, and there they had a fine home and
+everything exquisite about them, while fortune and favour showered
+upon them; but he fell ill with Roman fever, because of working in the
+open air, and he died while he was comparatively a young man.
+
+  PLATE--THE SPANISH MARRIAGE
+
+Fortuny is said to "split the light into a thousand particles, till
+his pictures sparkle like jewels and are as brilliant as a
+kaleidoscope.... He set the fashion for a class of pictures, filled
+with silks and satins, bric-a-brac and elegant trifling."
+
+Look at the brilliant scene in this picture! The priest rising from
+his chair and leaning over the table is watching the bridegroom sign
+his name. This chap is an old fop, bedecked in lilac satin, while the
+bride is a dainty young woman, without much interest in her husband,
+for she is fingering her beautiful fan and gossiping with one of her
+girl friends. She wears orange-blossoms in her black hair and is in
+full bridal array. One couple, two men, sit on an elegantly carved
+seat and are looking at the goings-on with amusement, while an old
+gentleman sits quite apart, disgusted with the whole unimpressive
+scene. Everybody is trifling, and no one is serious for the
+occasion. The furnishings of the room are beautiful, delicate, almost
+frivolous. People are strewn about like flowers, and the whole effect
+is airy and inconsequent. Fortuny painted also "The Praying Arab," "A
+Fantasy of Morocco," "Snake Charmers," "Camels at Rest," etc.
+
+
+
+
+XV
+
+THOMAS GAINSBOROUGH
+
+
+  _English School_
+  1727-1788
+  _Pupil of Gravelot and of Hayman_
+
+There seems to have been no artist, with the extraordinary exceptions
+of Duerer and Leonardo, who learned his lessons while at school. Little
+painters have uniformly begun as bad spellers.
+
+Gainsborough's father was in the business of woolen-crape making,
+while his mother painted flowers, very nicely, and it was she who
+taught the small Thomas. There were nine little Gainsboroughs and,
+shocking to relate, the artist of the family was so ready with his
+pencil that when he was ten years old he forged his father's name to a
+note which he took to the schoolmaster, and thereby gained himself a
+holiday. There is no account of any other wicked use to which he put
+his talent. It is said that he could copy any writing that he saw, and
+his ready pencil covered all his copy-books with sketches of his
+schoolmasters. It was thought better for him finally to follow his own
+ideas of education, namely, to roam the woodlands and make beautiful
+pictures.
+
+His father's heart was not softened till one day little Gainsborough
+brought home a sketch of the orchard into which the head of a man had
+thrust itself, painted with great ability. This man was a poacher, and
+father Gainsborough recognised him by the portrait. There seemed to be
+utility in art of this kind, and before long the boy found himself
+apprenticed to a silversmith.
+
+Through the silversmith the artist got admission to an art school and
+began his studies; but his master was a dissolute fellow, and before
+long the pupil left him.
+
+Gainsborough was born in the town of Sudbury on the River Stour, the
+same which inspired another great painter half a century
+later. Gainsborough is best known by his portraits, in particular as
+the inventor of "the Gainsborough hat," but he was first of all a
+truly great landscape painter, and learned his art as Constable did
+after him, along the beautiful shores of the river that flowed past
+his native town.
+
+The old Black Horse Inn is still to be seen, and it was in the orchard
+behind it that he studied nature, the same in which he made the first
+of his famous portraits, that of the poacher. It is known to this day
+as the portrait of "Tom Pear-tree." That picture was copied on a piece
+of wood cut into the shape of a man, and it is in the possession of
+Mr. Jackson, who lent it for the exhibition of Gainsborough's work
+held at the Grosvenor Gallery, in 1885.
+
+While Thomas was with his first master, by no means a good companion
+for a lad of fifteen, he lived a busy, self-respecting life, since he
+was devoted to his home and to his parents. Only three years after he
+set out to learn his art he married a young lady of Sudbury. The pair
+were by no means rich, Gainsborough having only eighteen years of
+experience in this world, besides his brush, and a maker of
+woolen-crape shrouds for a father--who was not over pleased to have an
+artist for a son. The lady had two hundred pounds but this did not
+promise a very luxurious living, so they took a house for six pounds a
+year, at Ipswich. Thus the two young lovers began their life
+together. There was a good deal of romance in the story of his wife,
+whose name was supposed to be Margaret Burr. The two hundred pounds
+that helped to pay the Ipswich rent did not come from the man accepted
+as her father, but from her real father, who was either the Duke of
+Bedford, or an exiled prince. This would seem to be just the sort of
+story that should surround a great painter and his affairs.
+
+While he lived at Ipswich Gainsborough used to say of himself that he
+was "chiefly in the face-way" meaning that for the most part he made
+portraits. He loved best to paint the scenes of his boyhood, as
+Constable afterward did, but he soon found there was more money in
+portraits, and so he decided to go to live in Bath, the fashionable
+resort of English people in that day, where he was likely to find rich
+folk who wanted to see themselves on canvas. He settled down there
+with his wife, whom he loved dearly, and his two daughters and at once
+began to make money. It is said he painted five hours a day and all
+the rest of the time studied music. As the theatre was Corot's
+greatest happiness, so did music most delight Gainsborough, and he
+could play well on nearly every known instrument; he became so
+excellent a musician that he even gave concerts. He had the most
+delightful people about him, people who loved art and who appreciated
+him, and then there were the other people who paid for having
+themselves painted. Altogether it was an ideal situation.
+
+His studio was in the place known as the "Circus" at Bath, and people
+came and went all day, for it became the fashionable resort for all
+the fine folks.
+
+From five guineas for half length portraits, he soon raised his price
+to forty; he had charged eight for full length portraits, but now they
+went for one hundred. He painted some famous men of the time. The very
+thought is inspiring of such a company of geniuses with Gainsborough
+in the centre of the group. He painted Laurence Sterne, who wrote "The
+Sentimental Journey," and a few other delightful things; also Garrick,
+the renowned actor.
+
+Even the encyclopaedia reads thrillingly upon this subject and one can
+afford to quote it, with the feeling that the quotation will be read:
+"His house harboured Italian, German, French and English musicians. He
+haunted the green room of Palmer's Theatre, and painted gratuitously
+the portraits of many of the actors. He gave away his sketches and
+landscapes to any one who had taste or assurance enough to ask for
+them." This sounds royal and exciting.
+
+After that Gainsborough went up to London with plenty of money and
+plenty of confidence and instead of six pounds a year for his house,
+he paid three hundred pounds, which suggests much more comfort.
+
+There were two other great painters of the time in London, Sir
+Benjamin West--an American, by the way--and Sir Joshua Reynolds. West
+was court favourite, but Gainsborough too was called upon to paint
+royalty, and share West's honours. Reynolds was the favourite of the
+town, but he too had to divide honours with Gainsborough when the
+latter painted Richard Brinsley Sheridan, Edmund Burke and Sir William
+Blackstone.
+
+Notwithstanding, his landscapes, for which he should have been most
+famous, did not sell. Everybody approved of them, but it is said they
+were returned to him till they "stood ranged in long lines from his
+hall to his painting room" Gainsborough was a member of the Royal
+Academy and also a true Bohemian. He cared little for elegant society,
+but made his friends among men of genius of all sorts. He was very
+handsome and impulsive, tall and fair, and generous in his ways; but
+he had much sorrow on account of one of his daughters, Mary, who
+married Fischer, a hautboy player, against her father's wishes. The
+girl became demented--at least she had spells of madness.
+
+When Mary Gainsborough married, her father wrote the following letter
+to his sister, which shows that he was a man of tender feeling for
+those whom he truly loved:
+
+" ... I had not the least suspicion of the attachment being so long
+and deeply seated; and as it was too late for me to alter anything
+without being the cause of total unhappiness on both sides, my
+consent ... I needs must give ... and accordingly they were married
+last Monday and settled for the present in a ready-furnished little
+house in Curzon Street, Mayfair ... I can't say I have any reason to
+doubt the man's honesty or goodness of heart, as I never heard anyone
+speak anything amiss of him, and as to his oddities and temper, she
+must learn to like them as she likes his person ... Peggy has been
+very unhappy about it, but I endeavour to comfort her." Peggy was his
+wife.
+
+The abominable Fischer died twenty-years before Mary did--she lived to
+be an old, old woman.
+
+Among those whom Gainsborough loved best was the man called Wiltshire
+who carried his pictures to and from London. He was a public "carrier"
+but would never take any money for his services to the artist, because
+he loved his work. All he asked was "a little picture"--and he got so
+many of these, given in purest affection, that he might have gone out
+of business as a carrier, had he chosen to sell them. Four of those
+little pictures are now very great ones worth thousands of pounds and
+known everywhere to fame. They are "The Parish Clerk," "Portrait of
+Quin," "A Landscape with Cattle," and "The Harvest Waggon."
+
+We have a good many stories of Gainsborough's bad manners. The artists
+of his day tried to treat him with every consideration, but in return
+he treated them very badly, especially Sir Joshua Reynolds. Reynolds,
+who was then President of the Academy greatly admired Gainsborough but
+the latter would not return Sir Joshua's call, and when Reynolds asked
+him to paint his portrait for him, Gainsborough undertook it
+thanklessly. Sir Joshua left town for Bath for a time, and when he
+returned he tried to learn how soon the portrait would be finished,
+but Gainsborough would not even reply to his inquiry. There seems to
+have been no reason for this behaviour unless it was jealousy, but it
+made a most uncomfortable situation between fellow artists.
+
+Gainsborough has told some not very pleasing stories about himself,
+but one of them shows us what a knack he had for seeing the comic side
+of things, and perhaps for seeing comedy where it never existed. Upon
+one occasion he was invited to a friend's house where the family were
+in the habit of assembling for prayers, and he had no sooner got
+inside, than he began to fear he should laugh, when prayer time came,
+at the chaplain. In a rush of shyness he fled, leaving his host to
+look for him, till he stumbled over a servant who said that
+Mr. Gainsborough had charged him to say he had gone to breakfast at
+Salisbury. Even respect for the customs of others could not make him
+control himself.
+
+It was through his intimacy with King George's family that his quarrel
+with the Royal Academy came about. He had painted the three
+princesses--the Princess Royal, Princesses Augusta and Elizabeth, and
+these were to be hung at a certain height in Carlton House, but when
+he sent the first to the Academy he asked it to be specially hung and
+his request was refused. Then he sent a note as follows:
+
+"He begs pardon for giving them so much trouble, but he has painted
+the picture of the princesses in so tender a light that,
+notwithstanding he approves very much of the established line for
+strong effects, he cannot possibly consent to have it placed higher
+than eight feet and a half, because the likeness and the work of the
+picture will not be seen any higher, therefore at a word he will not
+trouble the gentlemen against their inclination, but will beg the best
+of his pictures back again." Immediately, the Academy returned his
+pictures, although it would seem that they might better have
+accommodated Gainsborough than have lost such a fine exhibition. He
+never again would send anything to them.
+
+He was inclined to be irritated by inartistic points in his sitters,
+and is said to have muttered when he was painting the portrait of
+Mrs. Siddons, the great actress: "Damn your nose madam; there is no
+end to it." The nose in question must have been an "eyesore" to more
+than Gainsborough, for a famous critic is said to have declared that
+"Mrs. Siddons, with all her beauty was a kind of female Johnson ...
+her nose was not too long for nothing."
+
+Notwithstanding that his landscapes were not popular, he used to go
+off into the country to indulge his taste for painting them, and once
+he wrote to a friend that he meant to mount "all the Lakes at the next
+Exhibition in the great style, and you know, if people don't like
+them, it's only jumping into one of the deepest of them from off a
+wooded island and my reputation will be fixed forever." An old lady,
+whose guest he was, down in the country, told how he was "gay, very
+gay, and good looking, creating a great sensation, in a rich suit of
+drab with laced ruffles and cocked hat."
+
+One of the boys he saw in the country he delighted to paint, and he
+also grew so much attached to him that he took him to London and kept
+him with him as his own son. That boy's name was Jack Hill and he did
+not care for city life, nor maybe for Gainsborough's eccentricities,
+so he ran away. He was found again and again, till one day he got away
+for good, and never came back.
+
+All his later life Gainsborough was happy. His daughter, who had
+married Fischer, the hautboy-player, came back home to live, and her
+disorder was not bad enough to prevent her being a cause of great
+happiness to her father. The other daughter never married.
+Gainsborough says that he spent a thousand pounds a year, but he also
+gave to everybody who asked of him, and to many who asked nothing, so
+that he must have made a great deal of money during his lifetime, by
+his art. It is said that the "Boy at the Stile" was bestowed on
+Colonel Hamilton for his fine playing of a solo on the violin. A lady
+who had done the artist some trifling service received twenty drawings
+as a reward, which she pasted on the walls of her rooms without the
+slightest idea of their value.
+
+Gainsborough got up early in the morning, but did not work more than
+five hours. He liked his friends, his music, and his wife, and spent
+much time with them. He was witty, and while he sketched pictures in
+the evening, with his wife and daughters at his side, he kept them
+laughing with his droll sayings.
+
+The last days of Gainsborough showed him to be a hero. He died of
+cancer, and some time before he knew what his disease was he must have
+suffered a great deal. There is a story that is very pathetic of a
+dinner with his friends, Beaumont and Sheridan. Usually, he was the
+gayest of the gay, but of late all his friends had noticed that gaiety
+came to him with effort. Upon the night of this dinner, Sheridan had
+been his wittiest, and had tried his hardest to make Gainsborough
+cheer up, till finally, the artist, finding it impossible to get out
+of his sad mood, asked Sheridan if he would leave the table and speak
+with him alone. The two friends went out together. "Now don't laugh,
+but listen," Gainsborough said; "I shall soon die. I know it; I feel
+it. I have less time to live than my looks infer, but I do not fear
+death. What oppresses my mind is this: I have many acquaintances, few
+friends; and as I wish to have one worthy man to accompany me to the
+grave, I am desirous of bespeaking you. Will you come? Aye or no!" At
+that Sheridan, who was greatly shocked, tried to cheer him, but
+Gainsborough would not return to the table, till he got the promise,
+which of course Sheridan made.
+
+It was not very long after this that a famous trial took place--that
+of Warren Hastings. It was in Westminster Hall, and Gainsborough went
+to listen several times. On the last occasion, he became so interested
+in what was happening that he did not notice a window open at his
+back. After a little he said to a friend that he "felt something
+inexpressibly cold" touch his neck. On his return home he told of the
+strange feeling to his wife. Then he sent for a doctor, and there was
+found a little swelling. The doctor said it was not serious and that
+when the weather grew warmer it would disappear; but all the while
+Gainsborough felt certain that it would mean his death. A short time
+after that he told his sister that he knew himself to have a cancer,
+and that was true.
+
+When he felt that he must die, he fell to thinking of many things in
+the past, and wished to right certain mistakes of his behaviour as far
+as possible.
+
+He sent to Sir Joshua Reynolds and asked him to come and see him,
+since he could not go to see Sir Joshua. Reynolds went and then
+Gainsborough told him of his regret that he had shown so much ill-will
+and jealousy toward so great and worthy a rival. Reynolds was very
+generous and tried to make Gainsborough understand that all was
+forgiven and forgotten. He left his brother artist much relieved and
+happier, and he afterward said: "The impression on my mind was that
+his regret at losing life was principally the regret of leaving his
+art." As Reynolds left the dying man's room, Gainsborough called after
+him: "We are all going to heaven--and Van Dyck is of the company."
+
+He was buried in Kew Churchyard and the ceremonies were followed by
+Reynolds and five of the Royal Academicians, who forgot all
+Gainsborough's eccentricities of conduct toward them in their honest
+grief over his death. He was one of the first three dozen original
+members of the Royal Academy.
+
+  PLATE--PORTRAIT OF MRS. RICHARD BRINSLEY SHERIDAN
+
+This picture is now in the collection of Lord Rothschild,
+London. Mrs. Sheridan was the loveliest lady of her time. She was the
+daughter of Thomas Linley, and a singer.
+
+She came from a home which was called "a nest of nightingales,"
+because all in it were musicians. The father had a large family and
+made up his mind to become the best musician of his time in his
+locality in order to support them. He was successful, and in turn most
+of his children became musicians. His lovely daughter, Eliza
+(Mrs. Sheridan), he bound to himself as an apprentice and taught her
+till she was twenty-one, insisting that she "serve out her time" to
+him, that she might become a perfect singer. The story of this
+beautiful lady seems to belong to the story of Gainsborough's portrait
+and shall be told here.
+
+When she was a very little girl, no more than eight years old, she was
+so beautiful that as she stood at the door of the pump room in Bath to
+sell tickets for her father's concerts, everyone bought them from
+her. When she was a very young woman her father engaged her to marry a
+Mr. Long, sixty years old. She did not seem to mind what arrangements
+her father made for her, but continued to sing and attend to her
+business, till after the wedding gowns were all made and everything
+ready for the marriage, when she happened to meet the brilliant
+Richard Brinsley Sheridan, whose plays were so fashionable, and she
+fell deeply in love with him. She told Mr. Long she would not marry
+him, and without much objection he gave her up, but her father was
+very angry and he threatened to sue Mr. Long for letting his daughter
+go. Then the beautiful lady ran away to Calais and married
+Mr. Sheridan without her father's permission; but she came home again
+and said nothing of what she had done, kept on singing and helping her
+father earn money for his family. One day, Mr. Sheridan was wounded in
+a duel which he had fought with one of his wife's admirers, and when
+she heard the news she screamed, "my husband, my husband," so that
+everybody knew she was married to the fascinating playwright. Sheridan
+for some reason did not at once come and get her, nor arrange for them
+to have a home together. For a good while she continued to sing; and
+once hearing her in oratorio, Sheridan fell in love with his wife all
+over again. He took her from her home and would never let her sing
+again in public. They remarried publicly and went to live in
+London. He was not at all a rich and famous man at that time--only a
+poor law-student--but he would not let his wife make the fortune she
+might easily have made, by singing.
+
+This must have made his beautiful wife very sad, but she made no
+complaint at giving up her music and letting him silence her lovely
+voice, but turned all her attention to advancing his fortunes. She
+worked for him even harder than she had for her father, and that was
+saying a great deal. When he became a great writer of plays his wife
+took charge of all the accounts of his Drury Lane Theatre, and when he
+was in the House of Commons she acted as his secretary. Sheridan died
+in great poverty and wretchedness, and it is believed had his
+self-sacrificing wife not died before him she would have looked after
+his affairs so well that he would not have lost his fortune.
+Gainsborough painted the portraits of Sheridan's father-in-law, and of
+Samuel Linley; and it was said that this last portrait was painted in
+forty-eight minutes. Among his other portraits are: eight of George
+III., Sir John Skynner, Admiral Hood, Colonel St. Leger, and "The Blue
+Boy"; but he was first and last a landscape painter of highest genius.
+
+
+
+
+XVI
+
+JEAN LEON GEROME
+
+
+  (Pronounced Zhahn Lay'on Zhay-rome)
+  _French, Semi-classical School_
+  1824-1904
+  _Pupil of Delaroche_
+
+One cannot write much more than the date of birth and death of a man
+who lived until three or four years of the time of writing, so we may
+only say that Gerome was one of the most brilliant of modern French
+painters. He was born at Vesoul and his father was a goldsmith. Thus
+he probably had no very great difficulty in getting a start in his
+work. The prejudice against having an artist in the family was dying
+out, and as a prosperous goldsmith we may believe that his father had
+means enough to give his son good opportunities.
+
+Gerome, like Millet, studied under Delaroche, but became no such
+characteristic painter as he. While studying with Delaroche he also
+was taking the course in l'Ecole des Beaux-Arts.
+
+His first exhibited picture was "The Cock Fight," and he won a third
+class medal by it.
+
+Almost always this painter has chosen his subjects from ancient or
+classic life, and his pictures are not always decent, but he painted
+with much care, the details of his work are very finely done and their
+vivid colour is fascinating.
+
+  PLATE--THE SWORD DANCE
+
+This painting may be seen in the Metropolitan Museum of Art in New
+York City. The scene is full of action and interest, but perhaps the
+details of dress, mosaic decoration upon the walls, patterns of the
+rugs, the coloured and jewelled lamps and windows are the most
+splendidly painted of all.
+
+The central figure is a dancing girl, only partly draped, balancing a
+sword on her head, while a brilliant green veil flies from head and
+face. Other Oriental women squat upon the floor watching her with a
+half indolent expression, while their Oriental masters and their
+friends sit in pomp at one side, absorbed in the dance and in the
+girl. The expressions upon all the faces are excellent and, the
+jewelled light that falls upon the group, the rich clothing, the grace
+of the dancer--all make a fascinating picture of a genre type. Other
+Geromes are "Daphnis and Chloe," "Leda," and "The Duel after the
+Masked Ball."
+
+
+
+
+XVII
+
+GHIRLANDAJO
+
+
+  (Pronounced Geer-lan-da'yo)
+  _Florentine School_
+  1449-1494
+  _Pupil of Fra Bartolommeo_
+
+It is a good deal of a name--Domenico di Tommaso di Currado
+Bigordi--and it would appear that the child who bore it was under
+obligation to become a good deal of a something before he died.
+
+Italian and Spanish painters generally had large names to live up to,
+and the one known as Ghirlandajo did nobly.
+
+His father was a goldsmith and a popular part of his work was the
+making of golden garlands for the hair of rich Italian ladies. His
+work was so beautiful that it gained for him the name of Ghirlandajo,
+meaning the garland-twiner, a name that lived after him, in the great
+art of his son. Domenico began as a worker in mosaic, a maker of
+pictures or designs with many coloured pieces of glass or stone.
+
+Ghirlandajo's art was no improvement on that of his teacher, but he in
+turn became the teacher of Michael Angelo.
+
+The Florentine school of painting, to which Ghirlandajo belonged, was
+not so famous for colour as the Venetian school, but it had many other
+elements to commend it. One cannot expect Ghirlandajo to rank with
+Titian, Rubens, or other "colourists" of his own and later periods,
+but he did the very best work of his day and school. He attained to
+fame through his choice of types of faces for his models, and by his
+excellent grouping of figures.
+
+Until his day, the faces introduced into paintings were likely to be
+unattractive, but he chose pleasing ones, and he painted the folds of
+garments beautifully. He was not entirely original in his ideas, but
+he carried out those which others had thus far failed to make
+interesting.
+
+Often, in his wish to paint exactly what he saw, he softened nothing
+and therefore his figures were repulsive, but Fra Bartolommeo's pupil
+gave promise of what Michael Angelo was to fulfill.
+
+Ghirlandajo and Michael Angelo were a good deal alike in their
+emotional natures. Both sought great spaces in which to paint, and
+both chose to paint great frescoes. Indeed Ghirlandajo had the
+extraordinary ambition to put frescoes on all the fortification walls
+about Florence. It certainly would have made the city a great picture
+gallery to have had its walls forever hung with the pictures of one
+master. Had he painted them, inside and out, when such an enemy as
+Napoleon came along, with his love of art, and his fashion of taking
+all that he saw to Paris, he would likely enough have camped outside
+the walls while he decided what part of the gallery he would transfer
+to the Louvre.
+
+One of the reasons that Ghirlandajo is famous is that he often chose
+well known personages for his models, and as he painted just what he
+saw, did not idealise his subject, he gave to the world amazing
+portraits, as well as fine paintings. The same thing was done by
+painters of a far different school, at another period. The Dutch and
+Flemish painters were in the habit of using their neighbours as
+models.
+
+Ghirlandajo is classed among religious painters, but let us compare
+some of his "religious" paintings with those of Raphael or Murillo,
+and see the result.
+
+He painted seven frescos on the walls of the Santa Maria Novella in
+Florence, all scenes of Biblical history, as Ghirlandajo imagined
+them. They show him to have been a fine artist, but to have had not
+much idea of history, and to have had little sense of fitness.
+
+Ghirlandajo's seven subjects are taken from legends of the Virgin, and
+the greatest represents Mary's visit to Elizabeth; it is called "The
+Visitation," and it is a fresco about eighteen feet long painted on
+the choir wall.
+
+Let us imagine the possible scene. The Virgin Mary came from Cana, a
+little town in Galilee placed in the hills about nine miles from
+Nazareth, the home of the lowliest and the poorest, of a kindly
+pastoral people living in the open air, needing and wanting very
+little, simple in their habits. Elizabeth, Mary's old cousin, lived in
+Judea, and St. Luke writes thus: "Mary arose in those days and went
+into the hill country with haste, into a city of Judea; and entered
+into the house of Zacharias" (Elizabeth's husband) "and saluted
+Elizabeth."
+
+This record had been made at least eleven hundred years before
+Ghirlandajo painted in the Santa Maria Novella, and from it one cannot
+imagine that Mary made any preparation for her journey, nor does it
+suggest that Elizabeth had any chance to arrange a reception for
+her. Even had she done so, it must have been of the simplest
+description, at that time among those people. One can imagine a lowly
+home; an aged woman coming out to meet her young relative either at
+her door or in the high road.
+
+There may have been surroundings of fruit and flowers, a stretch of
+highroad or a hospitable doorway; but the wildest imagination could
+not picture what Ghirlandajo did.
+
+He paints Elizabeth flanked with handmaidens, as if she were some
+royal personage, instead of a priest's wife in fairly comfortable
+circumstances where comfort was easily obtained. Mary appears to be
+escorted by ladies-in-waiting, hardly a likely circumstance since she
+was affianced to no richer or more important person than a carpenter
+of Galilee. Possibly the three ladies that stand behind Mary in, the
+picture are merely lookers-on, but in that case the visit of Mary
+would seem to have been of public importance, especially as there are
+youths near by who are also much interested in one woman's hasty visit
+to another. The rich brocades worn by Elizabeth's waiting ladies are
+splendid indeed and the landscape is fine--a rich Italian landscape
+with architecture of the most up-to-date sort--showing, in short, that
+the artist lacked historical imagination. He found some models, made a
+purely decorative painting with an Italian setting and called it "The
+Visitation." The doorway on the right is distinctly renaissance.
+
+Such a painting as this is not "religious," nor is it historic, nor
+does it suggest a subject; it is merely a fine picture better coloured
+than most of those of the Florentine school. There is another painting
+of this same subject by Ghirlandajo in the Louvre, but it is no nearer
+truth than the one in the Santa Maria.
+
+Ghirlandajo painted other than religious subjects, and one of them, at
+least, is quite repulsive. It is the picture of an old man, with a
+beautiful little child embracing him. The old man may have tenderness
+and love in his face, but his heavy features, his warty nose, do not
+make one think of pleasant things and one does not care to imagine the
+dear little child kissing the grotesque old fellow.
+
+It was before Ghirlandajo's time that another painter had discovered
+the use of oil in mixing paints. Previously colours had been mixed in
+water with some gelatinous substance, such as the white and yolk of an
+egg, to give the paint a proper texture or consistency. This
+preparation was called "distemper," and frescoes were made by using
+this upon plaster while it was still wet. Plaster and colours dried
+together, and the painting became a part of the wall, not to be
+removed except by taking the plaster with it.
+
+The different gluey substances used had often the effect of making the
+colours lose their tone and they presented a glazed surface when used
+upon wood, a favourite material with artists.
+
+There are numberless anecdotes written of this artist and his brother,
+and one of these shows he had a temper. The brothers were engaged in a
+monastery at Passignano painting a picture of the "Last Supper." While
+at work upon it, they lived in the house. The coarse fare did not suit
+Ghirlandajo, and one night he could endure it no longer. Springing
+from his seat in the refectory he flung the soup all over the monk who
+had served it, and taking a great loaf of bread he beat him with it so
+hard that the poor monk was carried to his cell, nearly dead. The
+abbot had gone to bed, but hearing the rumpus he thought it was
+nothing less than the roof falling in, and he hurried to the room
+where he found the brothers still raging over their dinner. David
+shouted out to him, when the abbot tried to reprove the artist, that
+his brother was worth more than any "pig of an abbot who ever lived!"
+
+It is recorded in the documents found in the Confraternity of St. Paul
+that:
+
+Domenico de Ghurrado Bighordi, painter, called del Grillandaio, died
+on Saturday morning, on the 11th day of January, 1493 (o.s.), of a
+pestilential fever, and the overseers allowed no one to see the dead
+man, and would not have him buried by day. So he was buried, in Santa
+Maria Novella, on Saturday night after sunset, and may God forgive
+him! This was a very great loss for he was highly esteemed for his
+many qualities, and is universally lamented.
+
+The artist left nine children behind him.
+
+Ghirlandajo's pictures may be found in the Louvre, the Berlin Museum,
+the Dresden, Munich, and London galleries. Most children will find it
+hard to see their beauty.
+
+Great men are likely to come in groups, and with Ghirlandajo there are
+associated Botticelli and Fra Filippo Lippi.
+
+  PLATE--PORTRAIT OF GIOVANNA DEGLI ALBIZI
+
+This lovely lady was the wife of one of the painter's patrons,
+Giovanni Tornabuoni, through whom he received the commission for a
+series of frescoes in the choir of the Santa Maria Novella,
+Florence. The subjects chosen were sacred, but since Ghirlandajo, no
+more than his neighbours, knew what the Virgin or her contemporaries
+looked like, he saw no reason why he should not compliment some of the
+great ones of his own city and his own time by painting them in to
+represent the different characters of Holy Writ. So, as one of the
+ladies attendant upon Elizabeth when Mary comes to visit her, we have
+this signora of the fifteenth century. The artist made another picture
+of her, the one here shown, but in the same dress and posed the same
+as she had been for the church fresco. This accounts for its dignity
+and simplicity. It would seem like a bas-relief cut out of marble were
+it not for its wonderful colouring. It is in the Rudolf Kann
+Collection, Paris. This artist's other pictures are "Adoration of the
+Shepherds," "Adoration of the Magi," "Madonna and Child with Saints,"
+"Three Saints and God the Father," "Coronation of the Virgin," and
+"Portrait of Old Man and Boy."
+
+
+
+
+XVIII
+
+GIOTTO (DI BORDONE)
+
+
+  (Pronounced Jot-to)
+  _Florentine School_
+  1276-1337
+  _Pupil of Cimabue_
+
+Giotto painted upon wood, and in "distemper"--the mixture of colour
+with egg or some other jelly-like substance. We know nothing of his
+childhood except that he was a shepherd, as we learn from a story told
+of him and his teacher, Cimabue.
+
+The story runs that one day while Giotto was watching his sheep, high
+up on a mountain, Cimabue was walking abroad to study nature, and he
+ran across a shepherd boy who was drawing the figure of a sheep, with
+a piece of slate upon a stone. In those days we can imagine how rare
+it was to find one who could draw anything, ever so rudely.
+Immediately Cimabue saw a chance to make an artist and he asked the
+little shepherd if he would like to be taught art in his studio.
+Giotto was overjoyed at the opportunity, and at once he left the
+mountains for the town, the shepherd's crook for the brush.
+
+In those days the studio of one like Cimabue was really a workshop.
+Artists had to grind their own colours, prepare their own panels upon
+which to paint, and do a hundred other things of a workman rather than
+an artist kind in connection with their painting. Such a studio was
+crowded with apprentices--boys who did these jobs while learning from
+the master. Their teaching consisted in watching the artist and now
+and then receiving advice from him.
+
+It was into such a shop as this, in Florence, that Giotto went, and
+soon he was to become greater than his master. Even so, we cannot
+think him great, excepting for his time, because his pictures,
+compared with later art, are crude, stiff, and strange.
+
+No pupil was permitted to use a brush till he had learned all the
+craft of colour grinding and the like, and this was supposed to take
+about six years. These workshops were likely to be dull, gloomy
+places, and only a strong desire to do such things as they saw their
+master doing, would induce a boy to persevere through the first
+drudgery of the work. Giotto persevered, and not only became an
+original painter, at a time when even Cimabue hardly made figures
+appear human in outline, but he designed the great Campanile in
+Florence, and he saw it partly finished before he died. The Campanile
+is a wonder of architecture, but Giotto's Madonnas had to be improved
+upon, as certainly as he had improved upon those of Cimabue.
+
+There are many amusing stories of Giotto, mainly telling of his good
+nature, and his ugly appearance, which everyone forgot in appreciation
+of his truly kind heart. Once a visit was made to his studio by the
+King of Naples, after the artist had become famous. Giotto was
+painting busily, though the day was very hot. The King entered, and
+bade Giotto not to be disturbed but to continue his work, adding:
+"Still, if I were you, I should not paint in such hot weather." Giotto
+looked up with a laugh in his eye: "Neither would I--if I were you,
+Sire!" he answered.
+
+There is a famous saying: "As round as Giotto's "O," and this is how
+it came about. The pope wanted the best of the Florentine artists to
+do some work in Rome for him and he sent out to them for examples of
+their work. When the pope's messenger came to Giotto the artist was
+very busy. When asked for some of his work to show the pope, he
+paused, snatched a piece of paper and with the brush he had been
+using, which was full of red paint, he hurriedly drew a circle and
+gave it to the messenger who stared at him.
+
+"But--is this _all_?" he asked.
+
+"All--yes--and too much. Put it with the others." This perfect circle
+and the account the messenger gave of his visit so delighted the pope
+that Giotto was chosen from all the Florentine artists to decorate the
+Roman buildings.
+
+Thus Giotto worked till he was fifty-seven or eight years old when he
+put aside his brush and turned to sculpture and architecture. Meantime
+he had far outstripped his master in art. The arrangement of the
+groups is about the same, but the figures look human and the draperies
+are more natural, while he gives the appearance of length, breadth,
+and thickness to his thrones and enclosures. We shall not choose a
+Madonna for illustration, but another of Giotto's masterpieces,
+remembering that good as he was in his time, he seems amazingly bad
+compared with those who came after him.
+
+  PLATE--THE MEETING OF ST. JOHN AND ST. ANNA AT JERUSALEM.
+
+In 1303 a certain Enrico Scrovegno had a private chapel built in the
+Arena at Padua and he sent for Giotto to come there and adorn the
+whole of its walls and ceiling with frescoes. These remain, though the
+chapel is now emptied of all else, and they suffice to bring scores of
+art-lovers to Padua. The picture here reproduced represents the
+meeting and reconciliation between the father and mother of the Virgin
+before her birth. The peculiarly shaped eyes and eyebrows that Giotto
+gives to all his characters are specially noteworthy here as in every
+one of the thirty-eight frescoes. There are three rows of pictures,
+one above the other and in them are portrayed the principal scenes in
+the lives of Christ and the Virgin. The painter here reached his
+high-water mark, showed the very best he could produce in sincere,
+restrained art.
+
+
+
+
+XIX
+
+FRANZ HALS
+
+
+  _Dutch School_
+  1580-04-1666
+  _Pupil of Karel Van Mander_
+
+Franz Hals belonged to a family which for two hundred years had been
+highly respected in Haarlem in the Netherlands. The father of the
+painter left that town for political reasons in 1579, and it was at
+Antwerp that Franz was born sometime between that date and 1585. His
+parents took him back to Haarlem as an infant, and that is the town
+with which his name and fame are most closely associated.
+
+Little is known of his early life except that he began his studies
+with Karel Van Mander and Cornelis Cornelissen. What we know of his
+family life is not to his credit. In the parish register of 1611 is
+recorded the birth of a son to Franz Hals and five years later he is
+on the public records for abusing his wife, who died shortly
+afterward. He married again within a year and the second wife bore him
+many children and survived him ten years. Five of his seven sons
+became painters.
+
+Franz Hals drank too much and mixed too freely with the kind of
+disreputable people he loved to paint, but he never became so degraded
+that his hand lost its cunning, or his eye its keen vision for that
+which he wished to portray. In 1644, he was made a director of the
+Guild of St. Lucas, an institution for the protection of arts and
+crafts in Haarlem, but from that time onward he sank in popular
+esteem, deservedly. He fell into debt, then into pauperism, and when
+he died, about the age of eighty-six, he was buried at public expense
+in the choir of St. Bavon Church in Haarlem.
+
+It was in the year 1616 that Hals first became known as a master of
+his art by the painting of the St. Jovis Shooting Company, one of the
+clubs composed of volunteers banded together for the defence of the
+town should occasion arise. Such guilds were common throughout
+Holland, and they became a favourite subject with Hals, as with other
+painters of the time, who vied with one another in portraiture of the
+different members. These groups were hung upon the walls of the
+chambers where meetings were held for social purposes in times of
+peace. The men of highest rank are always given the most conspicuous
+places in the pictures. The flag is generally the one bit of gorgeous
+colour in the scene; but Franz Hals seized the opportunity to show his
+wonderful skill in detail while painting the cuffs and ruffs worn by
+these grandees. In all his work there is an impression of strength
+rather than of beauty; it is the charm of expressiveness he is aiming
+at, rather than the charm of grace and colour to which the Italian
+school was devoted. He differed from that school, also, in his choice
+of subjects, for he was distinctly and almost entirely a portrait
+painter, and within his own limited range he is unsurpassed. A
+wonderful collection of his works is to be seen in the Haarlem Town
+Hall.
+
+  PLATE--THE NURSE AND THE CHILD
+
+Considering the woeful life that Franz Hals led, it is amazing to
+think that he of all artists is the best painter of good humour. He
+puts a smile on the face of nearly every one of his "leading
+characters," whether it be a modest young girl, a hideous old woman, a
+strolling musician, or a riotous soldier, and in every case the laugh
+suits the subject. It may have been his own easygoing shiftlessness,
+his way of casting care aside with a jest that enabled him to live so
+long and to accomplish so much in spite of his poverty and other
+misfortunes.
+
+The roguish look upon the face of this baby of the house of Ilpenstein
+makes it appear older than the pleasant faced nurse. The dress of the
+child is such as Hals delighted to spend his talents upon. The picture
+is in the Berlin Gallery.
+
+Among his best known paintings are "The Laughing Cavalier," "The
+Fool," "The Man with the Sword," and "Hille Bobbe. the Witch of
+Haarlem."
+
+
+
+
+XX
+
+MEYNDERT HOBBEMA
+
+
+  _Dutch School_
+  1637-1709
+  _Pupil of Jacob van Ruisdael_
+
+When a man becomes famous many people claim his acquaintance, and
+often many places his birthplace. In Hobbema's case it has never been
+decided whether he was born in the little town of Koeverdam, or in the
+city of Haarlem or in Amsterdam. Nor is it quite certain when he was
+born; but what he did afterward, we are all acquainted with.
+
+No one knows much about the life of this artist, but his master was
+doubtless his uncle, van Ruisdael. Hobbema was dead a hundred years
+before the world acknowledged his genius, thus he reaped no reward for
+hard work and ambition. He, like Rembrandt, died in great poverty, and
+with nearly the same surroundings. Rembrandt died forsaken in
+Roosegraft Street, Amsterdam, and Hobbema died in the same
+locality. We must speak chiefly about his work, since we know little
+of his personality or affairs.
+
+If Boecklin's pictures seem to be composed of vertical lines, Hobbema's
+are as startling in their positive vertical and horizontal lines
+combined. We are not likely to find elevations or gentle, gradual
+depressions in his landscapes, but straight horizons, long trunked,
+straight limbed trees; and the landscape seems to be punctured here
+and there by an upright house or a spire. It is startlingly beautiful,
+and so characteristic that after seeing one or two of Hobbema's
+pictures we are likely to know his work again wherever we may find it.
+
+Hobbema got at the soul of a landscape. It was as if one painted a
+face that was dear to one, and not only made it a good likeness but
+also painted the person as one felt him to be--all the tenderness, or
+maybe all the sternness.
+
+It may be that Hobbema's failure to get money and honours, or at the
+very least, kind recognition as a great artist, while he lived,
+influenced his painting, and made him see mostly the sad side of
+beauty, nor it is certain that his landscapes give one a strange
+feeling of sadness and desolation, even when he paints a scene of
+plenty and fulness.
+
+The French have made a phrase for his kind of work, _paysage
+intime_--meaning the beloved country--the one best known. It is a fine
+phrase, and it was first used to describe Rousseau's and Corot's work;
+but it especially applies to Hobbema's.
+
+While this artist was not yet recognised, his uncle van Ruisdael was
+known as a great artist. The family must have been rich in spirit that
+gave so much genius to the world. Hobbema certainly loved his art
+above all things, for he had no return during his lifetime, save what
+was given by the joy of work. There are those who complain that
+Hobbema was a poor colourist. True, he used little besides grays and a
+peculiar green, which seemed especially to please him; but since that
+colouring belonged to the subjects he chose, one cannot complain on
+the ground that what he did was unsatisfying. For lack of knowledge
+about him we can think of him as a man of moods, sad, desolate ones at
+that; because his work is too extreme and uniform in its character for
+us to believe his method was affected.
+
+  PLATE--THE AVENUE, MIDDELHARNIS, HOLLAND
+
+This perhaps is one of the most characteristic of Hobbema's
+pictures. Note a strange hopelessness in the scene, as well as
+beauty. The tall and solemn trees, the high light upon the road,
+suggesting to us all sorts of joys struggling through the
+cheerlessness of life. What other artist would have chosen such a
+corner of nature for a subject to paint? To quote a fine description:
+
+"He loved the country-side, studied it as a lover, and has depicted it
+with such intimacy of truth that the road to Middelharnis seems as
+real to-day as it did over a hundred years ago to the artist. We see
+the poplars, with their lopped stems, lifting their bushy tops against
+that wide, high sky which floats over a flat country, full of billowy
+clouds as the sky near the North Sea is apt to be. Deep ditches skirt
+the road, which drain and collect the water for purposes of
+irrigation, and later on will join some deeper, wider canal, for
+purposes of navigation. We get a glimpse on the right, of patient
+perfection of gardening, where a man is pruning his grafted fruit
+trees; farther on a group of substantial farm buildings. On the
+opposite side of the road stretches a long, flat meadow, or "polder,"
+up to the little village which nestles so snugly around its tall
+church tower; the latter fulfilling also the purpose of a beacon, lit
+by night, to guide the wayfarer on sea and land; scene of tireless
+industry, comfortable prosperity, and smiling peace. ... Pride and
+love of country breathe through the whole scene. To many of us the
+picture smiles less than it thrills with sadness. Perhaps it speaks
+thus only to those who find a kind of hurt in the revival of the
+spring, which promises so much and may fulfill so little."
+
+Hobbema's "Watermill" is very well-known and so are his "Wooded
+Landscape," and "Haarlem's Little Forest."
+
+
+
+
+XXI
+
+WILLIAM HOGARTH
+
+
+  _School of Hogarth (English)_
+  1697-1764
+
+William Hogarth, like Watteau, originated his own school; in short
+there never was anybody like him. He was an editorial writer in
+charcoal and paint, or in other words he had a story to tell every
+time he made a picture, and there was an argument in it, a right and a
+wrong, and he presented his point of view by making pictures.
+
+English artists in literature and in painting have done some great
+reformatory work. Charles Dickens overthrew some dreadful abuses by
+writing certain novels. The one which has most interest for children
+is the awful story of Dotheboys' Hall, which exposed the ill treatment
+of pupils in a certain class of English schools. What Dickens and
+Charles Reade did in literature, Hogarth undertook to do in
+painting. He described social shams; painted things as they were, thus
+making many people ashamed and possibly better.
+
+Italians had always painted saints and Madonnas, but Hogarth pretended
+to despise that sort of work, and painted only human beings. He did
+not really despise Raphael, Titian, and their brother artists, but he
+was so disgusted with the use that had been made of them and their
+schools of art, to the entire exclusion of more familiar subjects,
+that he turned satirist and ridiculed everything.
+
+First of all, Hogarth was an engraver. He was born in London on the
+10th December, 1697, and eighteen days later was baptised in the
+church of St. Bartholemew the Great. His father was a school teacher
+and a "literary hack," which means that in literature he did whatever
+he could find to do, reporting, editing, and so on.
+
+Hogarth must early have known something of vagabond life, for his
+father's life during his own youth must have brought him into
+association with all sorts of people. He knew how madhouses were run,
+how kings dined, how beggars slept in goods boxes, and many other
+useful items.
+
+Hogarth said of himself: "Shows of all sorts gave me uncommon pleasure
+when an infant, and mimicry, common to all children, was remarkable in
+me.... My exercises, when at school, were more remarkable for the
+ornaments which adorned them, than for the exercises themselves." He
+became an engraver or silver-plater, being apprenticed to Mr. Ellis
+Gamble, at the sign of the "Golden Angel," Cranbourne Alley, Leicester
+Fields.
+
+Engraving on silver plate was all well enough, but Hogarth aspired to
+become an engraver on copper, and he has said that this was about the
+highest ambition he had while he was in Cranbourne Alley.
+
+The shop-card which he engraved for Mr. Ellis Gamble may have been the
+first significant piece of work he undertook. The card is still among
+the Hogarth relics. He set up as an engraver on his own account,
+though he did study a little in Sir James Thornhill's art school; but
+whatever he learned he turned to characteristic account.
+
+He continued to make shop-cards, shop-bills, and book-plates. Finally,
+in 1727, a maker of tapestry engaged Hogarth to sketch him a design
+end he set to work ambitiously He worked throughout that year upon the
+design, but when he took it to the man it was refused. The truth was
+that the man who had commissioned the work had heard that Hogarth was
+"an engraver and no painter," and he had so little intelligence that
+he did not intend to accept his design, however much it might have
+pleased him. Hogarth sued the man for his refusal and he won the
+suit. He next began to make what he called "conversation pieces,"
+little paintings about a foot high of groups of people, the figures
+being all portraits. These were very fashionable for a time and made
+some money for the artist. Both he and Watteau were fond of the stage,
+and both painted scenes from operas and plays.
+
+In time he moved into lodgings at the "Golden Head," in Leicester
+Fields, and there he made his home. He had already begun the great
+paintings which were to make him famous among artists. These were a
+series of pictures, telling stories of fashionable and other life. His
+own story of how he came to think of the picture series was that he
+had always wished to present dramatic stories--present them in scenes
+as he saw them on the stage.
+
+He had married the daughter of Sir James Thornhill, and had never been
+thought of kindly by his father-in-law till he made so much stir with
+his first series. Then Sir James approved of him, and Hogarth found
+life more pleasing.
+
+There are very few anecdotes to tell of the artist's life, and the
+story of his pictures is much more amusing. One of his first satires
+was made into a pantomime by Theophilus Gibber, and another person
+made it into an opera. Many pamphlets and poems were written about it,
+and finally china was painted with its scenes and figures. There was
+as much to cry as to laugh over in Hogarth's pieces and that is what
+made them so truly great. One of his great picture series was called
+the "Rake's Progress" and it was a warning to all young men against
+leading too gay a life. It showed the "Rake" at the beginning of his
+misfortunes, gambling, and in the last reaping the reward of his
+follies in a debtor's prison and the madhouse. There are eight
+pictures in that set.
+
+In this series, especially in the fifth picture, there are
+extraordinary proofs of Hogarth's completeness of ideas. Upon the wall
+in the room wherein the "Rake" marries an old woman for her money, the
+Ten Commandments are hung, all cracked, and the Creed also is cracked
+and nearly smudged out; while the poor-box is covered with
+cobwebs. The eight pictures brought to Hogarth only seventy guineas.
+
+One of his pictures was suggested to him by an incident which greatly
+angered him. He had started for France on some errand of his own, and
+was in the very act of sketching the old gate at Calais, when he was
+arrested as a spy. Now Hogarth was a hard-headed Englishman, and when
+he was hustled back to England without being given time for argument,
+he was so enraged that he made his picture as grotesque as possible,
+to the lasting chagrin of France. He painted the French soldiers as
+the most absurd, thin little fellows imaginable, and that picture has
+largely influenced people's idea of the French soldier all over the
+English-speaking world.
+
+As Hogarth grew old he grew also a little bitter and revengeful toward
+his enemies, often taking his revenge in the ordinary way of
+belittling the people he disliked, in his paintings.
+
+Hogarth came before Reynolds or Gainsborough; in short, was the first
+great English artist, and his chief power lay in being able instantly
+to catch a fleeting expression, and to interpret it. An incident of
+Hogarth's youth illustrates this. He had got into a row in a pot-house
+with one of the hangers-on, and when someone struck the brawler over
+the head with a pewter pot, there, in the midst of excitement and
+rioting, Hogarth whipped out his pencil and hastily sketched the
+expression of the chap who had been hit.
+
+Hogarth was friends with most of the theatre managers, and one of his
+souvenirs was a gold pass given him by Tyers, the director of Vauxhall
+Gardens, which entitled Hogarth and his family to entrance during
+their lives. This was in return for some "passes," which Hogarth had
+engraved for Tyer.
+
+Upon one occasion Hogarth set off with some companions for a trip to
+the Isle of Sheppey. Incidentally Forest wrote a sketch of their
+journey and Hogarth illustrated it. That work is to be found,
+carefully preserved, in the British Museum. The repeated copying and
+reproduction for sale of his pictures brought about the first effort
+to protect his works of art by copyright. But it was not till he had
+done the "Rake's Progress" that he was able to protect himself at all,
+and even then not completely.
+
+Just before his death he was staying at Chiswick, but the day before
+he died he was removed to his house in Leicester Fields. He was buried
+in the Chiswick churchyard; and in that suburb of London may still be
+seen his old house and a mulberry tree where he often sat amusing
+children for whom he cared very much. Garrick wrote the following
+epitaph for his tomb:
+
+  If Genius fire thee, Reader, stay;
+  If Nature touch thee, drop a tear;
+  If neither move thee, turn away,
+  For Hogarth's honour'd dust lies here.
+
+  Farewell, great Painter of Mankind!
+  Who reached the noblest point of art,
+  Whose pictured Morals charm the Mind
+  And through the Eye correct the Heart.
+
+  PLATE--THE MARRIAGE CONTRACT
+
+The picture used in illustration here is part of probably the very
+greatest art-sermon ever painted, called "Marriage a la Mode." The
+story of it is worth telling:
+
+"The first act is laid in the drawing-room of the Viscount
+Squanderfield"--is not that a fine name for the character? "On the
+left, his lordship is seated, pointing with complacent pride to his
+family tree, which has its roots in William the Conqueror. But his
+rent roll had been squandered, the gouty foot suggesting whither some
+of it has gone; and to restore his fortunes he is about to marry his
+heir to the daughter of a rich alderman. The latter is seated
+awkwardly at the table, holding the marriage contract duly sealed,
+signed and delivered; the price paid for it, being shown by the pile
+of money on the table and the bunch of cancelled mortgages which the
+lawyer is presenting to the nobleman, who refuses to soil his elegant
+fingers with them. Over on the left is his weakling son, helping
+himself at this critical turn of his affairs, to a pinch of snuff
+while he gazes admiringly at his own figure in the mirror. The lady is
+equally indifferent; she has strung the ring on to her finger and is
+toying with it, while she listens to the compliments being paid to her
+by Counsellor Silver-tongue. Through an open window another lawyer is
+comparing his lordship's new house, that is in the course of building,
+with the plan in his hand. A marriage so begun could only end in
+misery." This is the first act, and the pictures that follow show all
+the steps of unhappiness which the couple take. There are five more
+acts to that painted drama, which is in the National Gallery, London.
+
+
+
+
+XXII
+
+HANS HOLBEIN, THE YOUNGER
+
+
+  (Pronounced Hahntz Hol'bine)
+  _German School_
+  1497-1543
+  _Pupil of Holbein, the Elder_
+
+There were three generations of painters in the Holbein family, and
+the Hans of whom we speak was of the third. His grandfather was called
+"old Holbein," and when more painters of the same name and family came
+along it became necessary to distinguish them from each other thus:
+"old Holbein," the "elder Holbein," and "young Holbein." The first one
+was not much of an artist; still, in a locality where at best there
+was not much art he was good enough to be remembered.
+
+"Young Holbein" was born in Augsburg, which is in Swabia, in southern
+Germany; "elder Holbein" and his father, Michael, "old Holbein," had
+moved there from Schonenfeld, a neighbouring village, about forty
+three years before little Hans was born, the old Michael bringing his
+family to the larger town where it was easier to make a living.
+
+The "elder Holbein" was a really good artist and well thought of in
+Augsburg, and when little Hans's turn came he had no teacher but his
+father, unless indeed we were to call him also a pupil of his elder
+brother, Ambrosius. His uncle Sigismund, too, taught him something of
+art, for the whole Holbein family seem to have been artists. Young
+Holbein was never regularly apprenticed to any outsider.
+
+Art was not then taught as it is now. The work of a beginner was often
+to paint for his master certain details which it was thought that he
+might handle properly, while the master occupied himself with what he
+thought to be some more important part of the picture. It is said that
+Hans often painted the draperies of his father's figures when his
+father was engaged upon the altar pieces so fashionable at the
+time. The Holbeins one and all must have been bad managers or
+improvident; at any rate, Hans did not turn out well as a man and we
+read that his father was always in debt and difficulty although he
+received much money for his work and was not handicapped, like Duerer's
+father, by a family of eighteen children.
+
+The story of the Holbeins is quite unlike that of the Duerers, and not
+nearly so attractive.
+
+Some time before Hans was twenty years of age, the entire family had
+packed up and gone to live in Lucerne, while Hans and his brother,
+Ambrosius, went travelling together, as most young Germans went at
+that time before they settled down to the serious work of life. The
+last we hear of Ambrosius he had joined the painters' guild in Basel,
+and probably he died not long afterward, or at any rate while he was
+still young. There was in Basel a certain Hans Bar, for whose wedding
+occasion Hans Holbein designed a table, on which he pictured an
+allegory of "St. Nobody." This was very likely such work as our
+cartoonists do to-day, but being the work of Holbein, it had great
+artistic value. Besides that, he painted a schoolmaster's sign to be
+hung outside the door.
+
+As an illustrator, Holbein made the acquaintance of several authors
+about that time and started on the high road to fame. He was a man of
+very little conscience or fine feeling, and there could hardly be a
+greater contrast than that between the clean sweet life of Duerer and
+the brawling, unfeeling one that Hans Holbein led.
+
+Duerer married, had no children, but tenderly loved and cared for his
+wife, taking her with him upon his journeys and making her happy.
+
+Holbein married and beat his wife; had several children and took care
+of none of them. His wife grew to look old and worn while he remained
+a gay looking sport, quite tired of one whom he had had on his hands
+for ten years. He wandered everywhere and left his family to shift for
+itself. One writer in speaking of the two men says:
+
+"Duerer would never have deserted his wife whom he took with him even
+on his journey to the Netherlands; and he was bound by the same
+tenderness to his native town. However much he rejoiced to receive a
+visit from Bellini at Venice, or when at Antwerp, the artists
+instituted, a torch-light procession in his honour, nothing could have
+moved him to leave Nuremberg." Duerer loved his home; Holbein hated
+his.
+
+Holbein had a cold, light-blue eye; Duerer a soft and tender
+glance. While Duerer lived he was the mainstay of his family--father
+and brothers. Holbein's father died in misery and his brother's life
+was disastrous, Hans doing nothing to serve them and looking on at
+their sufferings indifferently.
+
+There is a court document in existence which tells the particulars of
+Hans Holbein's arrest for getting into a brawl with a lot of
+goldsmiths' apprentices during a night of carousal. The court warned
+him that he would be more severely punished if he did not cease his
+lawless life and he was made to promise not to "jostle, pinch, nor
+beat his lawful spouse." When he died he made no provision in his will
+for his family. There is a picture of his wife, Elizabeth Schmidt, to
+be seen in his "Madonna" at Solothurn Holbein used her for the
+model. She then was young and blooming and the model for the child was
+his own baby; at that time he found them useful.
+
+His life of folly can hardly be excused by impulsiveness or emotion,
+for his pictures show little of either. He was best at portrait
+painting. At that time guilds and town councils wanted the portraits
+of their members preserved in some way, and it was the habit of
+painters like Holbein to form picturesque groups and give to such
+dramatic groupings the features of townsmen. Rembrandt did this much
+later than Holbein, when he painted the "Night Watch," or as it is
+more properly called, "The Sortie."
+
+Probably Holbein's first important work was to make title pages for
+the second edition of Martin Luther's translation of the New
+Testament. This MS. was made about the time that Holbein's work began
+to be of interest to the public, and so the commission was given to
+him.
+
+After a time this artist went to England with letters of introduction
+to Sir Thomas More, Chancellor to King Henry VIII. Sir Thomas treated
+him very kindly and set him to work making portraits of his own
+family. During the time he was living at More's home in Chelsea, the
+King himself, used frequently to visit there, and on one occasion he
+saw the brilliant portraits of the More family and inquired about the
+artist. Sir Thomas offered the King any of the pictures he liked, but
+Henry VIII. asked to see the artist. When brought before him,
+Holbein's fortune seemed to be made for the King asked him to go to
+court and paint for him, remarking that "now he had the artist he did
+not care about the pictures."
+
+Holbein seems to have been a favourite with Henry and many anecdotes
+are told of his life at Whitehall, where he went to live. Once while
+Holbein was engaged upon a portrait, a nobleman insisted upon entering
+his studio, after the artist had told him that he was painting the
+portrait of a lady, by order of the King. The nobleman insisted upon
+seeing it, but Holbein seized him and threw him down the Stairs; then
+he rushed to the King and told what had happened. He had no sooner
+finished than the nobleman appeared and told his story. The King
+blamed the nobleman for his rudeness.
+
+"You have not to do with Holbein," he said, "but with me. I tell you,
+of seven peasants I can make seven lords, but of seven lords I cannot
+make one Holbein. Begone! and remember that if you ever attempt to
+avenge yourself, I shall look upon any injury offered to the painter
+as done to myself."
+
+It was Holbein who, visiting a brother artist and finding a picture on
+the easel, painted a fly upon it. When the artist returned he tried to
+brush the fly off, then set about looking for the one who had deceived
+him.
+
+His portrait painting was so superb that he received many commissions.
+
+Meantime, Sir Thomas More had fallen into disfavour with the King and
+was to lose his head, but it is written that the artist's portraits
+"betray nothing of this tragedy." He was as ready to climb to fame by
+the favour of his generous patron's enemies as he had been to accept
+the offices of Sir Thomas More. He painted the portraits of several of
+the wives of Henry VIII., and it may be said that there was a good
+deal of that monarch's temperament to be found in Holbein
+himself. Take him all in all, Hans was as detestable as a man as he
+was excellent as a painter.
+
+In his adopted home in Lucerne, Holbein had painted frescoes, both on
+the inside and the outside of a citizen's house, and this house stood
+until 1824, when it was torn down to make way for street improvements,
+but several artists hastily copied the frescoes so that they are not
+entirely lost.
+
+Before he left Germany for England, Holbein had been commissioned to
+decorate the town hall in Basel, and a certain amount of money was
+voted for the work, but after he had finished three walls, he decided
+that the money was only enough to pay him for what he had already
+done. The councillors agreed with him, but as money was a little
+"close" in Basel at that time, they felt unable to give him more, and
+so voted to "let the back wall alone, till further notice."
+
+He painted one Madonna whom he surrounded with the entire family of
+Burgomaster Meyer, including even the burgomaster's first wife, who
+was dead. This work is called the "Meyer Madonna."
+
+It is said that after Holbein's return to Basel he, with others, was
+persecuted for his "religious principles," but if this were true, his
+persecutors went to considerable pains for nothing, because Holbein
+was never known to have any sort of principles, religious or
+otherwise. He was neither a Protestant, nor a Catholic but a painter,
+a man without convictions and without thought. He did not care for
+family, country, friends, politics, religion, nor for anything else,
+so far as any one knows.
+
+When he was asked why he had not partaken of the Sacrament, he
+answered that he wanted to understand the matter better before he did
+so. Thus he escaped punishment, and when matters were explained to
+him, he did whatever seemed safest and most convenient under the
+circumstances.
+
+On his return to England, he settled among the colony of German and
+Netherland merchants, who were in the habit of meeting at a place
+called "The Steelyard," as their home and warehouses were grouped in
+that locality, with a guild hall and a wineshop they alone patronised.
+
+While associated with his compatriots Holbein made portraits of many
+of them, and these are magnificent works of art. He painted them
+separately or in groups; in their offices and in their guild hall, as
+the case might be. The men whom he thus painted were: Gorg Gisze, Hans
+of Antwerp, Derich Berck, Geryck Tybis, Ambrose Fallen, and many
+others. He designed the arch which the guild erected upon the occasion
+of Anne Boleyn's coronation, and he painted Henry's next Queen, Jane
+Seymour.
+
+Holbein painted many portraits of Henry VIII. and probably all those
+dated after 1537 were either copies or founded upon the portrait which
+Holbein made and which was destroyed with Whitehall.
+
+While he painted for Henry, Holbein received a sort of retainer's fee
+of thirty pounds a year, but he may have received sums for outside
+commissions which he undertook. On one occasion, when he took a
+journey to Upper Burgundy to paint a portrait of the Duchess whom
+Henry contemplated making his next wife, the King gave him ten pounds
+out of his own purse. We have no record of vast sums such as Raphael
+received.
+
+Henry did not succeed in making the Duchess his wife, so Holbein was
+sent to paint another--Anne of Cleves--that Henry might see what he
+thought of her before he undertook to make her his queen. Holbein did
+a disastrous deed, for he made Anne a very acceptable looking woman,
+(the portrait hangs in the Louvre) and Henry negotiated for her on the
+strength of that portrait. Later, when he saw her, he was utterly
+disgusted and disappointed.
+
+Holbein, notwithstanding this trick, was employed to paint the next
+wife of Henry, and doubtless he also made the miniature of Catherine
+Howard which is in Windsor Castle. Holbein finally died of the plague
+and no one knows where he was buried. His wife died later, and it was
+left for his son, Philip, who was said to be "a good well-behaved
+lad," to bring honours to the family. He was apprenticed in Paris,
+and, settling later in Augsburg, he founded a branch of the Holbein
+family on which the Emperor Matthias conferred a patent of nobility,
+making them the Holbeins of Holbeinsberg.
+
+  PLATE--ROBERT CHESEMAN WITH HIS FALCON
+
+This is one of the best of the many splendid portraits Holbein
+painted. It hangs in The Hague gallery. The gentleman was forty-eight
+years old and in the portrait he wears a purplish-red doublet of silk
+and a black overcoat, which was the fashion of the day, all trimmed
+with fur. He has curly hair, just turning gray. His left hand is
+gloved and on it he holds his falcon, while with the other hand he
+strokes its feathers.
+
+Of all sports at that time, falconry was the most fashionable and
+every fine gentleman had his sporting birds. Robert Cheseman lived in
+Essex. He was rich and a leader in English politics. His father was
+"keeper of the wardrobe to Henry VIII." and he himself served in many
+public offices. He was one of the gentleman chosen to welcome Anne of
+Cleves when she landed on English soil to marry Henry VIII. These
+details were first published by Mr. Arthur Chamberlain and are taken
+from his sketch of Holbein and his works.
+
+Among Holbein's other famous pictures are: "The Ambassadors," "Hans of
+Antwerp," "Christina of Denmark," "Jane Seymour," "Anne of Cleves,"
+and "St. George and the Dragon."
+
+
+
+
+
+XXIII
+
+WILLIAM HOLMAN HUNT
+
+
+  _English (Pre-Raphaelite) School_
+  1827--
+  _Pupil of Academy School_
+
+The story of the Pre-Raphaelites is all by itself a story of
+art. Holman Hunt was one of three who formed this "brotherhood"; and
+he, with one other, are the only ones whom some of us think worthy of
+giving a place in art. This is to be the story of the brotherhood
+rather than a story of one man.
+
+The last great artist England had had before this extraordinary group,
+was J. M. W. Turner, truly a wonderful man, but after him England's
+painters became more and more commonplace, drawing further and further
+away from truth, There was one, J. F. Lewis, who went away to Syria
+and lived a lonely and studious life, trying to paint with fidelity
+sacred scenes, but he was not great enough to do what his conscience
+and desires demanded of him; and, finally, Constable declared that the
+end of art in England had come. But it had not, for up in London, in
+the very heart of the city, in Cheapside (Wood Street) there was born,
+in April, 1827, a child destined to be a brilliant and wonderful man,
+who was actually to rescue English art from death. Many do not think
+thus, but enough of us do to warrant the statement.
+
+The new artist was Holman Hunt. He was the son of a London
+warehouseman, with no inclination whatever for learning, so that it
+seemed simply a waste of time to send him to school. This continually
+repeated history of artists who seem to know nothing outside their
+brushes and colours, is astonishing, but it is true that artists for
+the most part must be regarded as artists, pure and simple, and not as
+men of even reasonably good intellectual attainments, and more or less
+this accounts for their low estate centuries ago. One does not
+associate "learning" and the artist. When we have such splendid
+examples as Duerer and two or three others we discuss their
+intellectuality because they are so unusual.
+
+Holman Hunt was like most of his brother artists in all but his
+art. He hated school and at twelve years of age was taken from it. His
+father wanted him to become a warehouse merchant like himself, and he
+began life as clerk or apprentice to an auctioneer. He next went into
+the employment of some calico-printers of Manchester. The designing of
+calicoes can hardly be called art, even if the department of design
+had fallen to Holman Hunt's lot and we have no evidence that it did,
+but he started to be an artist nevertheless, there in the
+print-shop. He found in his new place another clerk who cared for art;
+and this sympathy encouraged him to fix his mind upon painting more
+than ever. He used to draw such natural flies upon the window panes
+that his employer tried one day to "shoo away a whole colony of flies
+that seemed miraculously to have settled." This gave the clerks much
+amusement, and also attracted attention to Holman Hunt's genius.
+
+His very small salary was spent, not on his support, but in lessons
+from a portrait painter of the city. His parents did not like this,
+but they could not help themselves, and thus this greatest of the
+Pre-Raphaelites began his work.
+
+The Pre-Raphaelites were a little group of men who believed that
+artists were drawing too much on their imaginations, not painting
+things as they saw them, and that the painter had become incapable of
+close observation. He worked in his studio, did not get near enough to
+nature, and instead of trying to follow along this line, this group of
+men, with their new and partly correct ideas, meant to go back further
+than the great masters themselves and present an elemental art. This
+was a part of their scheme and partly it was justified, but of all the
+men who undertook to make a new school, Holman Hunt was the only one
+who remained, and will remain forever, a representative. He alone
+stuck to the original purpose of the group and developed it into a
+truly great school; so that it is he alone we need to know.
+
+After he began to take lessons of the portrait painter in London, he
+developed so quickly that he found by painting portraits three days a
+week, he could pay his own expenses, and the rest of the time he
+devoted to study. He tried to be admitted to the Academy schools twice
+and was twice refused before they would receive him.
+
+It was there in the Academy the three original Pre-Raphaelites met for
+the first time; they were Holman Hunt, Dante Gabriel Rossetti, and
+Millais. After entering the school Hunt painted and sold four
+excellent pictures, but they all seem to have been lost; nobody can
+trace them. He was not yet a "Pre-Raphaelite."
+
+All this time Hunt was half ill because he knew that he was grieving
+his father of whom he was devotedly fond, and the strain of trying to
+work while he was unhappy nearly destroyed him. The pictures that he
+exhibited at the Royal Academy were so poor that the commission
+declared they should not only be removed but that Hunt ought really to
+be forbidden to exhibit any more. This must have been a great blow to
+the young and struggling artist, and to add to this trouble, his
+father was being jeered at for having such a good-for-nothing
+son. Hunt's pictures in the Academy were so much despised that his
+father was told his son was a disgrace to him, and we may be sure that
+did not help the young fellow, who meantime was earning a living, not
+by painting pictures, but by cleaning up those of another man. Dyce,
+who had painted on the walls of Trinity House, engaged him to clean
+and restore those paintings, and Hunt was doing this for his bread and
+butter.
+
+At that time he became so downhearted and discouraged that he almost
+decided to leave England altogether and go to live in Canada away from
+his friends who jeered, and his family who reproached him; but just
+then Millais, one of the successful painters whom he had met in the
+Academy school, who could afford to be generous, came to Hunt's aid
+and gave him the means of living while he painted "The Hireling
+Shepherd." This was destined to be the turning point in Hunt's luck,
+for that painting was properly hung at the exhibition, and it received
+recognition. After that he painted a picture which he sold on the
+installment plan--being paid by the purchaser so much a month.
+
+Meantime he owed his landlady a large sum, and he says himself that he
+"suffered almost unbearable pain at passing her and her husband week
+after week without being able to even talk of annulling his debts." In
+time he not only settled that bill which distressed him, but paid back
+his friend Millais the money loaned by him.
+
+Hunt rarely took a commission, because to do so meant that he must
+paint a picture after the manner his employer wished, and Hunt had
+certain ideas of art in which he believed and therefore would not bind
+himself to depart from them; but after a little success, which enabled
+him to pay his bills, he did undertake a commission from Sir Thomas
+Fairbairn, and it was called "The Awakened Conscience." He finished
+this picture on a January day late in the afternoon, and that very
+night he left England, setting out upon a longed-for journey to the
+Holy Land, where he meant to study the country and people till he
+believed himself able to paint a truthful picture of sacred scenes. He
+refused to paint pictures of Eastern Jews who should look like
+Parisians, with Venetian backgrounds. He meant to paint Oriental
+scenes as nearly as he could, as they might have taken place.
+
+He came back to his English home just two years and one month from the
+time he had left it, and he brought back a picture of the goat upon
+which the Jews loaded their sins and then turned loose in waste-places
+to wander and die. "The Scapegoat" was a great picture, but before he
+left England he had painted a greater--the one we see here--"The Light
+of the World."
+
+He had depended upon the sale of the "Scapegoat" to pay his way for a
+time after his return home, and alas, it did not sell. More than that,
+his beloved father died and this added to his sense of desolation, for
+he had not been sufficiently successful before his death to justify
+himself in his father's eyes. These things so overwhelmed his
+sensitive mind with trouble, that his condition became very serious,
+and if certain good friends had not stood by him loyally, he would
+probably never have painted again.
+
+He began at last another ambitious picture--"Finding of Christ in the
+Temple"--but while he was engaged upon this, he had to paint mere
+pot-boilers also in order to get on at all, and he says that half the
+time the great picture "stood with its face to the wall" while he was
+trying merely to earn bread and butter. The wonderful Louis Blanc
+tried once to plan a way by which all deserving people should have in
+this world equal opportunity to try. This has never been "worked out."
+It never will be, but Holman Hunt reminds us how much the world loses
+by not providing that "equal opportunity." No one deserves more than
+his chance; but such struggles of genius tell us that all is not fair.
+
+Hunt persevered with this Christ in the Temple and when finished he
+sold it for 5,500 guineas--a larger sum than he had ever before been
+given for a painting.
+
+He no sooner received his money for this great picture than off he
+went once more to the Holy Land. He was conscientious in everything he
+did, and never before had an artist painted scenes of Christ that
+carried such a sense of truth with them. The set haloes seen about the
+heads of the saints and of holy people even in Raphael's pictures and
+in those of the very greatest artists of his time, disappeared with
+Holman Hunt's coming. In the "Light of the World," the halo is an
+accident--the great white moon, happening to rise behind the Christ's
+head--and there we have the halo, simple, natural, only suggestive,
+not artificial. Then, too, in the "Shadow of Death," there is a
+menacing shadow of the cross--made upon the wall by Christ's body, as
+he naturally stretches out his arms, after his work in the carpenter
+shop.
+
+There is not one false note that shocks us, or makes us feel that
+after all the story itself is affected and artificial. Everything that
+is symbolical is brought about naturally. They are sincere, truthful
+pictures that speak to the mind as well as to the eye.
+
+Hunt's colouring and many other technical matters are often far from
+perfect, but there is something besides technicality to be considered
+in judging a picture.
+
+For a time, while the three men, Hunt, Rossetti, and Millais, kept
+together, their pictures were signed P. R. B., as a sign of their
+league; but this did not last very long, and afterward Hunt signed his
+pictures independently.
+
+After the "Brotherhood" had worked against the greatest
+discouragements for a long time, and felt nearly hopeless of success,
+John Ruskin, one of the greatest of critics and most fearless of men,
+who was so much respected that his words had great influence, suddenly
+published a defence of these Pre-Raphaelites. He declared that they
+were the greatest artists of the time, and while scorning their
+critics he applauded those three young men, till he turned the tide,
+and everybody began to know what truly brilliant work they were
+doing. Ruskin's words came, Hunt said, "as thunder out of a clear
+sky."
+
+When the "Brotherhood" was formed the three young men thought they
+should have a paper--a periodical of some sort, in which they might
+tell of their purposes and express their ideas; and so Rossetti, who
+wrote as well as painted, proposed that they print such a periodical
+once a month, and call it the _Germ_; and the P. R. B's. were to be
+joint proprietors. Rossetti had first thought of a different title,
+_Thoughts Toward Nature_, and his brother, W. M. Rossetti, who was
+going to take charge of the monthly, thought that expressed the
+Pre-Raphaelites' idea; but it was finally agreed to call it the
+_Germ_. Only two numbers could be published by the Pre-Raphaelites,
+because nobody bought it and the young men's money gave out, but the
+printers came to the rescue, and put up the money to issue two or
+three more _Germs_.
+
+Although that journal failed utterly, its four numbers were worth
+publishing, and are to-day worth reading. They were truly valuable,
+for they contained a story and poem by Dante Gabriel Rossetti, besides
+work of the other P. R. B's.
+
+Above all things Hunt was conscientious in his work, trying with all
+his might to represent things as be believed them to be. When he made
+his "Scapegoat," he went to the shores of the Dead Sea to paint,
+accompanied only by Arab guides, and there he found the desolate, hard
+landscape for his picture. The hardships he experienced were very
+many. The wretched goat he took with him died in the desert of that
+dreary place after it had been no more than sketched in, but back in
+Jerusalem Hunt finished the goat. Ruskin's description of the picture
+helps one to feel all the desolation of the subject: "The salt sand of
+the wilderness of Ziph, where the weary goat is dying. The
+neighbourhood is stagnant and pestiferous, polluted by the decaying
+vegetables brought down by the Jordan in its floods, and the bones of
+the beasts of burden that have died by the way of the sea, lie like
+wrecks upon its edge, bared by the vultures and bleached by the salt
+ooze."
+
+Even the superstitious Arabs would not go near the spot which Hunt
+chose as the scene of his picture, but Hunt endured all things,
+believing it due to his art.
+
+When he painted "Christ in the Temple," he needed Jewish models, and
+it was almost impossible for him to get them. He could not let them
+know what they were to represent, or they would not have sat for him
+at all but he succeeded in painting the "first Semitic presentment of
+the Semitic Scriptures." In Jerusalem the Jews heard that he had come
+"to traffic with the souls of the faithful," and they forbade him to
+have any Jews come into his studio; so that he could not finish the
+picture there. Back in London he had to find his models in the Jewish
+school. He left the figures of Christ and the Virgin till the last and
+then painted them "from a lady of the ancient race, distinguished
+alike for her amiability and beauty, and a lad in one of the Jewish
+schools, to which the husband of the lady furnished a friendly
+introduction."
+
+Thus, step by step, through the greatest difficulties, Holman Hunt
+established a new school of painting--allegory with a modern treatment
+which all could understand.
+
+  PLATE--THE LIGHT OF THE WORLD
+
+This is the most popular picture of a sacred subject, ever painted;
+and John Ruskin's description of it, here quoted, is the best ever
+written or that can be written. "On the left of the picture is seen
+the door of the human soul. It is fast barred, its bars and nails are
+rusty; it is knitted and bound to its stanchions by creeping tendrils
+of ivy, showing that it has never been opened. A bat hovers over it;
+its threshold is overgrown with brambles, nettles and fruitless
+corn.... Christ approaches in the night time, ... he wears the white
+robe, representing the power of the Spirit upon Him; the jewelled robe
+and breastplate, representing the sacredotal investitude; the rayed
+crown of gold, interwoven with the crown of thorns; not dead thorns,
+but now bearing soft leaves, for the healing of the nations.... The
+lantern carried in Christ's left hand is the light of conscience....
+Its fire is red and fierce; it falls only on the closed door, on the
+weeds that encumber it, and on an apple shaken from one of the trees
+of the orchard, thus marking that the entire awakening of the
+conscience is not to one's own guilt alone, but to the guilt of the
+world, or, 'hereditary guilt.'...
+
+"This light is suspended by a chain, wrapt around the wrist of the
+figure, showing that the light which reveals sin to the sinner appears
+also to chain the hand of Christ. The light which proceeds from the
+head of the figure--is that of the hope of salvation; it springs from
+the crown of thorns, and, though itself sad, subdued and full of
+softness, is yet so powerful, that it entirely melts into the glow of
+it the forms of the leaves and boughs which it crosses, showing that
+every earthly object must be hidden by this light, where its sphere
+extends."
+
+If you will study every detail of this reproduction, finding all the
+objects--the apple, the rusty bolts--noting how the full risen moon
+has formed a natural nimbus for the sacred head, and then re-read what
+Ruskin has said, you will discover the rarest truths in Holman Hunt's
+picture. The several pictures which he painted, but which cannot now
+be found are: "Hark!" which was first exhibited in the Royal Academy;
+"Scene from Woodstock," "The Eve of St. Agnes," "Jerusalem by
+Moonlight," "The King of Hearts," "Moonlight at Salerno," "Interior of
+the Mosque of Omar," "The Pathless Water," "Winter," "Afternoon,"
+"Sussex Downs," "Penzance," "The Archipelago," "Will-o'-the-Wisp,"
+"Ivybridge," "The Foal of an Ass," "Road over the Downs," "The Haunt
+of the Gazelle," "'Oh, Pearl,' Quoth I," "Miss Flamborough," "The
+School-girl's Hymn." Portraits: Mr. Martineau; Mr. J. B. Brice. Small
+sketch of the "Scapegoat," "Sunset on the Sea," "Morning Prayer,"
+"Bianca," "Past and Present," and "Dead Mallard."
+
+Should you ever find one of these pictures bearing the initials
+P. R. B. or those of Holman Hunt, you will have made an interesting
+discovery and should make it known to others.
+
+
+
+
+XXIV
+
+GEORGE INNESS
+
+
+  _American_
+  1825-1897
+  _Pupil of Regis Gignoux_
+
+George Inness was destined to keep a grocery store as his father had
+kept one before him, and had grown rich in it. When George was a young
+man he was given a grocery store in Newark, New Jersey, a very small
+store indeed, and it is not surprising that the young man preferred
+art to butter and eggs. The Inness family had just moved from Newburg,
+probably the elder Innes seeking in Newark a good location for his
+son's beginning.
+
+The first art-work Inness did was engraving; as he had been
+apprenticed to that business, but afterward he studied with Gignoux, a
+pupil of Delaroche.
+
+At that time there was what is known as the Hudson River School. Its
+ideas were set and formal, and not very inspiring, aside from the
+subjects treated. Church was then a young man like Inness, and he was
+studying in the Hudson River School, but the young grocer struck out a
+line for himself.
+
+He was forty years old before he got to Paris, but once there, he
+turned to the men at Barbizon--Rousseau, Millet, Corot, and the
+rest--for inspiration, and began to do beautiful things
+indeed. Rousseau became his friend, and the art of Inness grew large
+and rich through such influences.
+
+Inness had inherited much religious feeling from his Scotch ancestors,
+and all his work was conscientious, very carefully done.
+
+When Inness returned from Paris he was not yet well known. He went to
+Montclair, New Jersey, to live and it was there that he did his best
+work. Finally, after he was fifty years old, he became known as a
+truly splendid painter. He loved best to paint quiet scenes of
+morning, evening sunset, and the like. His pictures began to gain
+value, and one that he had sold for three hundred dollars jumped in
+price to ten thousand and more. His work is not equally good, because
+his moods greatly influenced him.
+
+  PLATE--BERKSHIRE HILLS
+
+This picture in the George A. Hearn collection is full of the sense of
+restfulness that the works of this artist always convey. The trees are
+as motionless as the distant hills, and if the oxen are moving at all
+it is but slowly.
+
+Some other Inness paintings are the "Georgia Pines," "Sunset on the
+Passaic," "The Wood Gatherers" and "After a Summer Shower."
+
+
+
+
+XXV
+
+SIR EDWIN HENRY LANDSEER
+
+
+  _English School_
+  1802-1873
+  _Pupil of his father, John Landseer_
+
+It is pleasant to speak of one artist whose good work began in the
+companionship of his father; the case of Edwin Landseer is most
+unusual.
+
+His father was a skilful engraver who loved art, and encouraged the
+cultivation of it in his son, as other fathers of painters encouraged
+them to become priests or haberdashers or bakers, as the case might
+be. Little Landseer's beginning has been described by his father as he
+and a friend stood looking upon one of the scenes of his childhood:
+
+"These two fields were Edwin's first studio. Many a time have I lifted
+him over this very stile. I then lived in Foley Street, and nearly all
+the way between Marylebone and Hampstead was open fields. It was a
+favourite walk with my boys; and one day when I had accompanied them,
+Edwin stopped by this stile to admire some sheep and cows which were
+quietly grazing. At his request I lifted him over, and finding a scrap
+of paper and a pencil in my pocket, I made him sketch the cow. He was
+very young indeed, then--not more than six or seven years old.
+
+"After this we came on several occasions, and as he grew older this
+was one of his favourite spots for sketching. He would start off
+alone, or with John (Thomas?) or Charles, and remain till I fetched
+him in the afternoon. I would then criticise his work, and make him
+correct defects before we left the spot. Sometimes he would sketch in
+one field, sometimes in the other, but generally in the one beyond the
+old oak we see there, as it was more pleasant and sunny."
+
+All the Landseer men were gifted, and the mother was the beautiful
+woman whom Reynolds painted as a gleaner, carrying a bundle of wheat
+upon her head.
+
+There were seven little Landseers, the oldest of them being Thomas,
+the famous engraver, whose reproduction of his brother's works will
+preserve them to us always, even after the originals are gone. The
+first of Edwin's drawings which seemed to his family worthy of
+publishing was a great St. Bernard dog, such a wonderful performance
+for a little fellow of thirteen that Thomas engraved it and
+distributed it all over England. Little Edwin had seen this beautiful
+dog one day in the streets of London in a servant's charge, and he was
+so delighted with its beauty, that he followed the two home and asked
+the dog's owner if he might sketch him. The St. Bernard was six feet
+four inches long "and at the middle of his back, stood two feet seven
+inches in height." A great critic said that this drawing was one of
+the very finest that any master of art had ever made, though it was
+done by a little child of thirteen years and it is also said that
+Landseer himself never did anything better than that little-boy
+work. A live dog who was let into the room with it--as critic,
+maybe--proved to be the most flattering of such, because he bristled
+instantly for a fight.
+
+While the boy was still thirteen--which seems to have been a magic and
+not a tragic number to him--he exhibited pictures in the Royal
+Academy. These were a mule, and a dog with a puppy. In the stories of
+"Famous Artists" we are told that he was a fine, manly little chap
+with light curly hair and very well behaved. When he became a student
+of the Academy the keeper, Fuseli, used to look about among the
+students and cry: "Where is my little dog boy?" if Landseer was not in
+his place. The little chap's favourite dog was his own Brutus, which
+he painted lying at full length; and though the picture was small, it
+sold for seventy guineas. This means an earning capacity indeed, for a
+small boy.
+
+When he was but seven years old he had made pictures of lions and
+tigers, each with a different expression from the other and each with
+a character of its own. Critics spoke specially of the tiger's
+whiskers as "admirable in the rendering of foreshortened curves."
+Tigers' whiskers were thought to be most difficult things to make, but
+in Landseer's pictures, they were as "natural as life." The great
+success of the artist's animal pictures was that he made them seem to
+have human intelligence, and it was also said that if one only saw the
+dog's collar, as Landseer painted it, he would know it to be the work
+of a great artist, that a great dog-picture must be attached to it.
+
+At least one of his pictures had a remarkable history. He had been
+commissioned by the Hon. H. Pierrpont to paint a "white horse in a
+stable." After the painting was ready for delivery it disappeared, and
+for twenty-four years it could not be found. At last it was discovered
+in a hay-loft! It had been stolen by a servant and hidden there. In
+spite of the long years that had passed, Landseer sent it at once to
+the man for whom it had been made, with the message that he had not
+retouched it nor changed it in the least, "because," said he, "I
+thought it better not to mingle the style of my youth with that of my
+old age."
+
+One of Landseer's early advisers had told him he must dissect animals
+to get the proper effects in painting them, as it was necessary for
+him to understand their construction. So, one time, when a famous old
+lion died in the Exeter Exchange menagerie Landseer got its body and
+dissected it, and immediately afterward he painted three great lion
+pictures: "The Lion Disturbed at His Repast," "A Lion Enjoying His
+Repast," and "A Prowling Lion."
+
+Sir Walter Scott became so enchanted with Landseer's pictures that the
+great novelist came to London to take the young artist to his home at
+Abbotsford. "His dogs are the most magnificent things I ever saw,"
+said Scott, "leaping and bounding and grinning all over the canvas."
+
+Landseer lived in the centre of London till he was more than thirty
+years old, and then, looking for more quiet and space he bought a very
+small house and garden at No. 1, St. John's Wood. There was not much
+room in the house but it had a stable attached which made a fine
+studio, and there Landseer lived with a sister of his, for nearly
+fifty years. When he first wished to rent the house, the landlord
+asked him a hundred pounds premium which Landseer felt that he could
+not pay and he was about to give it up, when a friend declared that if
+the matter of money was all that prevented him, he was to rent it
+immediately, and he could repay him as he chose. Landseer then took
+the house, his friend paying down the premium, and Landseer returned
+the money twenty-pounds at a time, till all the debt was paid.
+
+Landseer made this a famous and hospitable house, and it is said that
+more great people gathered under his roof than had ever gathered about
+any other artist with the exception of Sir Joshua Reynolds. That was
+the house in which Landseer's loving old father spent his last days
+and finally died. A story is told of the witty D'Orsay, who would call
+out at the door, when he went to visit the artist: "Landseer, keep de
+dogs off me, I want to come in and some of dem will bite me--and dat
+fellow in de corner is growling furiously."
+
+On one of his several visits to Abbotsford, where he went many times
+after his first invitation, to enjoy Scott's delightful hospitality,
+he painted a famous dog of Sir Walter's called Maida, which died six
+weeks afterward.
+
+There are several such stories about dogs who died rather tragically
+and were also painted by Landseer. The two King Charles spaniels which
+he painted both died soon after sitting to the great painter. They had
+been pets of Mr. Vernon, who commissioned the painting, and the white
+Blenheim spaniel fell from a table and was killed, while the King
+Charles fell through the railings of a staircase and was picked up
+dead. The great bloodhound, Countess, belonging to Mr. Bell who gave
+her picture to the Academy, was watching for her master's return one
+dark night and when she heard the wheels of his carriage, then his
+voice, she leaped from the balcony, but missed her footing and fell
+nearly dead at Mr. Bell's feet. That gentleman loved the dog so much
+that he was distracted, and taking her into his gig, knowing that she
+must die, he raced in to London again that same night, and rousing Sir
+Edwin, begged him to paint the dog before it was too late. Then and
+there was the sketch of the dying animal made.
+
+Sir Edwin Landseer was the most versatile and entertaining of
+artists. He was a wit, and could also perform all sorts of sleight of
+hand tricks, besides being so quick with his pencil that his doings
+seemed miraculous. One evening, during a conversation with many
+friends, someone declared that in point of time Sir Edwin could do a
+record-sketch. One young woman spoke up and said: "There is one thing
+that even he cannot do--he cannot make two different pictures at the
+same time."
+
+"Think not?" cried Sir Edwin. "Let us see!" Gaily taking two pencils,
+he rapidly drew a stag's head with one hand and a horse's head with
+the other.
+
+Landseer became the guest of royalty, a favourite of Queen Victoria,
+whose dog Dash was one of the many famous dogs painted by him. Dash
+was the favourite spaniel of the Duchess of Kent, Victoria's mother;
+and the Queen's biographer says that she too loved him very much. On
+Coronation Day she had been away from him longer than usual, and when
+the great state coach rolled up to the palace steps she could hear
+Dash barking for her in the hall. "Oh," she exclaimed, "there's Dash,"
+and throwing aside the ball and sceptre which she carried, she hurried
+to change her fine robes, in order to wash the dog. This is a very
+homelike and picturesque story, but it is possibly not true. Doubtless
+the little Queen heard the dog bark--and was glad to see him.
+
+At Windsor Landseer painted another royal dog, Islay, the pet terrier
+of Victoria; also Dandie Dinmont, belonging to the Princess Alice;
+then Eos, who was Prince Albert's--King Edward's--dog. All the last
+years of Sir Edwin Landseer' life, the royal family were his devoted
+and comforting friends. The painter suffered much and during his
+visits to Balmoral he wrote to his sister how the Queen used to go
+several times a day to his room, to look after his comfort and to
+inquire about his condition. He wrote:
+
+"The Queen kindly commands me to get well here. She has to-day been
+twice to my room to show additions recently added to her already rich
+collection of photographs. Why, I know not, but since I have been in
+the High lands I have for the first time felt wretchedly weak, without
+appetite. The easterly winds, and now again the unceasing cold rain,
+may possibly account for my condition, but I can't get out. Drawing
+tires me; however, I have done a little better to-day. The doctor
+residing in the castle has taken me in hand, and gives me leave to
+dine to-day with the Queen and the rest of the royal family....
+Flogging would be mild compared with my sufferings. No sleep, fearful
+cramp at night, accompanied by a feeling of faintness and distressful
+feebleness."
+
+When he was well, he was gay and cheerful; and Dickens, Thackeray, and
+many other noted men were his friends. We are told that above all
+things. Sir Edwin was a great mimic and that one night at dinner he
+threw everybody into fits of laughter by imitating his friend the
+sculptor Sir Francis Chantry. It was at the sculptor's table, where a
+large party was assembled. Chantry called Sir Edwin's attention, when
+the cloth was removed, to the reflection of light in the highly
+polished table.
+
+"Come here and sit in my place," said Chantry, "and see the
+perspective you can get." Then he went and stood by the fire, while
+Landseer sat in his place. Seated then in Chantry's chair, Landseer
+called out in perfect imitation of his host: "Come, young man, you
+think yourself ornamental; now make yourself useful, and ring the
+bell." Chantry did so, and when the butler came in he was confused and
+amazed to hear his master's voice from where Landseer sat in Chantry's
+place at the table. The voice of his master from the head of the table
+ordered claret, while his master really stood before the fire with his
+hands under his coat-tails.
+
+We are told that Landseer stood his pictures on their heads, or upon
+one corner or looked at them from between his legs, any way, every
+way, to get a complete view of them from all quarters. He went to bed
+very late and got up very late, but in the mornings, while lying in
+bed he mostly thought out the subjects of his pictures.
+
+He was not much of a sportsman, preferring to paint animals rather
+than to kill them, and one day when hunting, he saw a fine stag before
+him. Instead of firing at it, he thrust his gun into a gillie's hands,
+crying: "Hold that! hold that!" and whipping out his pencil and pad he
+began to sketch the stag. Whereupon the gillies were disgusted that he
+should miss so fine a shot, and they said something to each other in
+Gaelic, which Sir Edwin must have understood, for he became very
+angry.
+
+"It was a pity," wrote one who knew all his qualities, "that Landseer,
+who might have done so much for the good of the animal kind, never
+wrote on the subject of their treatment. He had a strong feeling
+against the way some dogs are tied up, only allowed their freedom now
+and then. He used to say a man would fare better tied up than a dog,
+because the former can take his coat off, but a dog lives in his
+forever. He declared a tied-up dog, without daily exercise, goes mad,
+or dies, in three years."
+
+He had a wonderful power over dogs, and he told one lady it was
+because he had "peeped into their hearts." A great mastiff rushed
+delightedly upon him one day and someone remarked how the dog loved
+him. "I never saw the dog before in my life," the artist said.
+
+While teaching some horses tricks for Astley's, he showed his friends
+some sugar in his hand and said: "Here is my whip." His studio was
+full of pets, and one dog used as a model used to bring the master's
+hat and lay it at his feet when he got tired of posing.
+
+This charming man suffered a great deal before his death, and had
+dreadful fits of depression. During one of these he wrote: "I have got
+trouble enough; ten or twelve pictures about which I am tortured, and
+a large national monument to complete." That monument was the one in
+Trafalgar Square, for which he designed the lions at the base. "If I
+am bothered about anything and everything, no matter what, I know my
+head will not stand it much longer." Later he wrote: "My health (or
+rather condition), is a mystery beyond human intelligence. I sleep
+seven hours, and awake tired and jaded, and do not rally till after
+luncheon. J. L. came down yesterday and did her best to cheer me... I
+return to my own home in spite of kind invitations from Mr. and
+Mrs. Gladstone to meet Princess Louise at breakfast." Of the many
+anecdotes told of this great man, his introduction to the King of
+Portugal furnishes the most amusing. "I am delighted to make your
+acquaintance," the King said, "I am so fond of beasts."
+
+Before he died he had made a large fortune from his work, and during
+his illness he was tended most lovingly by his friends and sister. One
+day, walking in his garden, much depressed, he said sadly: "I shall
+never see the green leaves again," but he did live through other
+seasons. He wished to die in his studio, and at one time when he was
+much distracted the Queen wrote him not to fear, but to trust those
+who were doing all they could for him, that her confidence in his
+physicians and nurses was complete. At last with brother, sister,
+friends and fortune about him the great animal painter died, and on
+October 11, 1873, and was buried with great honours in St. Paul's
+Cathedral.
+
+  PLATE--THE OLD SHEPHERD'S CHIEF MOURNER
+
+Of all the dogs Landseer loved to paint, the sheep collie has the most
+character; and here he shows us one expressing in every line of his
+face and form the most profound grief. The Glengarry bonnet on the
+floor beside the shepherd's staff, the spectacles lying on the Bible,
+the ram's horn, the vacant chair, the black and white shawl known as a
+"Shepherd's plaid"--all these things have failed to comfort this
+humble follower. We can imagine him, not bounding ahead with a joyous
+bark, but walking staidly behind the coffin when it is borne away and
+laying himself down upon his master's grave, perhaps to die of
+starvation, as some of his kind have been known to do. The painting is
+one of the Sheepshanks Collection in the South Kensington Museum.
+
+Among Landseer's other famous dog pictures are "Low Life and High
+Life," "Dignity and Impudence" and "The Sleeping Bloodhound," all in
+the National Gallery.
+
+
+
+
+XXVI
+
+CLAUDE LORRAIN (GELLEE)
+
+
+  _Classical French School_
+  1600-1689
+  _Pupil of Godfrey Wals_
+
+Of all the contrasts between the early and later lives of great
+artists, Claude Lorrain gives us the most complete.
+
+He was born to make pastry. His family may have been all pastry cooks,
+because people of Lorrain were famous for that work; anyway as a
+little chap he was apprenticed to one. His parents were poor, lived in
+the Duchy of Lorrain and from that political division the Artist was
+named.
+
+The town in which he was born was Chamagne, and his real name was
+Gellee. As a pastry cook's apprentice he served his time, and then,
+without any thought of becoming anything else in the world, he set off
+with several other pastry cooks to go to Rome, where their talents
+were to be well rewarded.
+
+But how strangely things fall out! In Rome he was engaged to make
+tarts for Agostine Tassi, a landscape painter. His work was not simply
+to furnish his master with desserts, but to do general housekeeping,
+and it fell to his lot to clean Tassi's paint brushes. So far as we
+know, this was the first introduction of Claude Lorrain to art other
+than culinary.
+
+From cleaning brushes it was but a step to trying to use them upon
+canvas, and Tassi being a good-natured man, began to give Lorrain
+instruction, till the pastry cook became his master's assistant in the
+studio. This led to a larger and larger life for the young Frenchman,
+and he copied great masters, did original things, and finally in his
+twenty-fifth year returned to France a full-fledged artist. He
+remained there two years, and then went back to Italy, where he lived
+till he died. The visit to France turned out fortunately because on
+his way back he fell in with one of the original twelve members of the
+French Academy, Charles Errard, who became the first director of the
+Academy in Rome. A warm friendship sprang up between the men, and
+Errard was very helpful to the young artist.
+
+Nevertheless, Lorrain did not gain much fame till about his fortieth
+year, when he was noticed by Cardinal Bentivoglio, and was given
+certain commissions by him. He grew in Bentivoglio's favour so much
+that the Cardinal introduced him to the pope. The Catholic Church set
+the fashions in art, politics, and history of all sorts at that time,
+so that Lorrain could not have had better luck than to become its
+favourite. The pope was Urban VIII., whose main business was to hold
+the power of the Church and make it stronger if he could, so that he
+was continually building fortresses and other fortifications, and he
+had use for artists and decorators. Lorrain's fame outlasted the life
+of Urban VIII., and he became a favourite in turn with each of the
+three succeeding popes. All this time he was doing fine work in Italy
+and for Italy, besides receiving orders for pictures from France,
+Holland, Germany, Spain, and England, for his fame had reached
+throughout the world.
+
+Besides leaving many paintings behind him when he died, he left half a
+hundred etchings; also a more precise record of his work than most
+artists have left. He executed two hundred sketches in pen or pencil,
+washed in with brown or India ink, the high lights being brought out
+with touches of white. On the backs of them the artist noted the date
+on which the sketch was developed into a picture, and for whom the
+latter was intended. The story is that his popularity produced many
+imitators, and that he adopted this means to establish the identity of
+his own work and distinguish it from the many copies made.
+
+These sketches were collected in a volume by Lorrain and called "Liber
+Veritatis," and for more than a hundred years the Dukes of Westminster
+have owned this.
+
+  PLATE--ACIS AND GALATEA
+
+This picture in the Dresden Gallery is a scene from the mythical story
+of a goddess who fell in love with the youthful son of a faun and a
+naiad. Thus she excited the jealous fury of the cyclops, Polythemus,
+who is seen in the picture herding his flock of sheep upon the high
+cliff at the right. Soon he will rise and hurl a rock upon Acis,
+crushing the life out of him, so that there will be nothing left for
+Galatea to do but to turn him into the River Acis, but meanwhile the
+lovers are unconscious and happy. Venus is reposing near them on the
+waves and Cupid is closer still, while the sea in the background seems
+to be stirred with a fresh morning breeze.
+
+Some of the famous Lorrains in the Louvre are: "Seaport at Sunset,"
+"Cleopatra Landing at Tarsus," and "The Village Festival."
+
+
+
+
+XXVII
+
+MASACCIO (TOMMASO GUIDI)
+
+
+  (Pronounced Tome-mah'so Mah'sahch'cheeo)
+  _Florentine School_
+  1401-1428
+  _Pupil of Ghibertio, Donatello, and Brunellesco_
+
+This artist, who lived and died within the century that witnessed the
+discovery of America, was famous for more than his painting. He was
+the original inventor who first learned and taught the mixing of
+colours with oils, thus making the peculiar "distemper" unnecessary.
+
+The story of Italian artists includes a history of their names, for
+the Italians seem to have had most remarkable reasons for naming
+children. For example, this artist, Masaccio, was born on St. Thomas's
+day, hence, his name of Tommaso. Presently, for short, or for love, he
+was called Maso, and to cap all, being a careless lad, his friends
+added the derogatory "accio," and there we have the artist completely
+named. He owed nothing of this to his father, who was plain, or
+ornamentally, Ser Giovanni di Simone Guidi, of Castello San Giovanni,
+in the Valdamo.
+
+As a very little boy, it was plain to be seen that slovenly Thomas was
+going to be a great artist, and no time was lost in putting him to
+work with the best of masters.
+
+He was a veritable inventive genius. Until his time difficulties in
+drawing had been overcome mostly by ignoring them. Since no artist had
+been able to draw a foreshortened foot, it had been the fashion in art
+to paint people standing upon their tiptoes, to make it possible for
+an artist to paint the foot. The enterprising Thomas came along and he
+decided that feet must be painted both flat and crossed, on tiptoe or
+otherwise; in short he did not mean to lose by a foot.
+
+He worked at this problem day and night, till at last the naturally
+poised foot came into existence for the artist. Never after Masaccio's
+time did an artist paint the foot stretched upon the toes. Moreover,
+until his time flesh had never been painted of a remotely natural
+colour, so Masaccio set about combining colours till he made one that
+had the tint of real flesh. Thus he was the first to overcome the
+difficulties of drawing and the first to discover a mixture that would
+not leave a glazed, hard, unnatural appearance and be likely to crack
+and destroy the finest effort of an artist.
+
+He worked during his youth in Pisa, where the "leaning tower" stands;
+then he worked in Florence, finally in Rome, but those early pictures
+are long since gone. It was a century of adventure and discovery as
+well as of art, and with so much change, so many wars and rumours of
+wars, many great art works were lost. Besides, the horrible plague
+swept Italy east, west, north, and south. Who was to concern himself
+with saving works of art, when human life was going out wholesale all
+over the land?
+
+Masaccio was certainly very poor most of his life. He lived with his
+mother and his brother Giovanni, an artist like himself, but not
+nearly so brilliant. Masaccio could not spend his life in painting but
+had to eke out the family fortunes by keeping a little shop near the
+old Badia, and being pestered day and night by his creditors he was
+forced again and again to go to the pawn shop.
+
+Somewhere about 1422, careless Thomas painted his greatest picture
+which was doomed to destruction too early for us to know much about
+it; but it was named "San Paolo" and it was painted in the bell-room
+of the Church of the Carmine in Florence. The figure for his model was
+an illustrious personage, Bartoli d'Angiolini, who had held many
+honourable offices in Florence for many years. A critic and friend of
+artists tells us that the portrait was so great it lacked only the
+power of speech.
+
+In this picture Masaccio made his first great triumph in the
+foreshortening of feet.
+
+He undertook to celebrate the consecration Of the Church of the
+Carmine, and for this he made many frescoes, among which was a correct
+painting of the procession as it entered from the cloisters of the
+church. "Among the citizens who followed in its wake, portraits are
+introduced of Brunellesco, Donatello, Masolino, Felice Brancacci (the
+founder of the chapel) Giovanni di Bicci de' Medici, and others,
+including the porter of the convent with the key of the door in his
+hand."
+
+This work was thought to be very wonderful because the figures grew
+smaller in the distance, thereby giving "perspective" for the first
+time. Imagine how crude a thing was painting in the day of careless
+Thomas.
+
+That fresco is long since gone, but drawings of it still exist which
+tell us something of the people of Christopher Columbus's
+day--previous to their appearance, and their conditions.
+
+After Masaccio had finished the procession he went back to his
+painting of the chapel and in the end covered three of its four walls
+with his works. Many of those paintings are scenes from the life of
+St. Peter, and several were worked at by other artists than Masaccio.
+
+Masaccio was greater than Raphael, greater than Michael Angelo in so
+far as he pointed the way that they were to go, having solved for them
+all the problems that had kept artists from being great before
+him. Sir Joshua Reynolds says that "he appeared to be the first who
+discovered the path that leads to every excellence to which the art
+afterward arrived; and may therefore be justly considered one of the
+great fathers of modern art."
+
+The artist lived but a little time, and was most likely
+poisoned. Nobody knows, but it is said that other painters were so
+wildly jealous of his original genius that they wished him out of the
+way, and his death was at least mysterious. He drew very rapidly and
+let the details go, caring only to represent motion and
+action. Because he painted so many portraits into his pictures there
+was great life and animation in them, and people said of him that he
+painted not only the body but the soul.
+
+  PLATE--ARTIST'S PORTRAIT [Footnote: Many artists have left us
+  portraits of themselves, painted, no doubt, with the aid of a
+  mirror, in a group or alone. This one of Masaccio in the Naples
+  Museum, shows him to have been a picturesque model.]
+
+Some of his known pictures are the frescoes in the church of
+St. Clemente in Rome; the frescoes in the Brancacci Chapel in the
+Church of the Carmine, "St. Peter Baptising" and the "Madonna and
+Child, with St. Anne," which is in the Accademia at Florence.
+
+
+
+
+XXVIII
+
+JEAN LOUIS ERNEST MEISSONIER
+
+
+  (Pronounced May-sohn-yay)
+  _French School_
+  1815-1891
+  _Pupil of Leon Cogniet_
+
+This artist was born at Lyons. His father was a salesman and an
+art-training seemed impossible for the young man because the
+Meissoniers were poor people. Nevertheless, he was so persevering that
+while still a young man he got to Paris and began to paint in the
+Louvre. He was but nineteen at that time, and his fate seemed so hard
+and bitter that later in life he refused to talk of those days.
+
+He sat for many days in the Louvre, by Daubigny's side, painting
+pictures for which we are told he received a dollar a yard. We can
+think of nothing more discouraging to a genius than having to paint by
+the yard. It is said that his poverty permitted him to sleep only
+every other night, because he must work unceasingly, and someone
+declares that he lived at one time on ten cents a week. This is a
+frightful picture of poverty and distress.
+
+Meissonier's first paying enterprise was the painting of bon-bon boxes
+and the decorating of fans, and he tried to sell illustrations for
+children's stories, but for these he found no market. A brilliant
+compiler of Meissonier's life has written that "his first
+illustrations in some unknown journal were scenes from the life of
+'The Old Bachelor.' In the first picture he is represented making his
+toilet before the mirror, his wig spread out on the table; in the
+second, dining with two friends; in the third, on his death-bed,
+surrounded by greedy relations and in the fifth, the servants
+ransacking the death chamber for the property." This was very likely a
+vision of his own possible fate, for Meissonier must have been at that
+time a lonely and unhappy man.
+
+There are many stories of his first exhibited work, which Caffin
+declares was the "Visit to the Burgomaster," but Mrs. Bolton, who is
+almost always correct in her statements, tells us that it was called
+"The Visitor," and that it sold for twenty dollars. At the end of a
+six years struggle in Paris, his pictures were selling for no more.
+
+Until this artist's time people had been used only to great canvases,
+and had grown to look for fine work, only in much space, but here was
+an artist who could paint exquisitely a whole interior on a space said
+to be no "larger than his thumb nail." His work was called
+"microscopic," which meant that he gave great attention to details,
+painting very slowly.
+
+During the Italian war of 1859, and in the German war of 1870, this
+wonderful artist was on the staff of Napoleon III. During the siege of
+Paris he held the rank of colonel, and he lost no chance to learn
+details of battles which he might use later, in making great
+pictures. Thus he gained the knowledge and inspiration to paint his
+picture "Friedland," which was bought by A. T. Stewart and is now in
+the Metropolitan Museum. He, himself, wrote of that picture: "I did
+not intend to paint a battle--I wanted to paint Napoleon at the zenith
+of his glory; I wanted to paint the love, the adoration of the
+soldiers for the great captain in whom they had faith, and for whom
+they were ready to die.... It seemed to me I did not have colours
+sufficiently dazzling. No shade should be on the imperial face.... The
+battle already commenced, was necessary to add to the enthusiasm of
+the soldiers, and make the subject stand forth, but not to diminish it
+by saddening details. All such shadows I have avoided, and presented
+nothing but a dismounted cannon, and some growing wheat which should
+never ripen.
+
+"This was enough.
+
+"The men and the Emperor are in the presence of each other. The
+soldiers cry to him that they are his, and the impressive chief, whose
+imperial will directs the masses that move around, salutes his devoted
+army. He and they plainly comprehend each other and absolute
+confidence is expressed in every face."
+
+This great work was sold at auction for $66,000 and given to the
+Metropolitan Museum.
+
+It is said that when he painted the "Retreat from Russia," Meissonier
+obtained the coat which Napoleon had worn at the time, and had it
+copied, "crease for crease and button for button." He painted the
+picture mostly out of doors in midwinter when the ground was covered
+with snow, and he writes: "Sometimes I sat at my easel for five or six
+hours together, endeavouring to seize the exact aspect of the winter
+atmosphere. My servant placed a hot foot-stove under my feet, which he
+renewed from time to time, but I used to get half-frozen and terribly
+tired."
+
+So attentive was he to truthfulness in detail that he had a wooden
+horse made in imitation of the white charger of the Emperor; and
+seating himself on this, he studied his own figure in a mirror.
+
+At last this conscientious man was made an officer of the Legion of
+Honour, having already become President of the Academy. Edmund About
+writes that "to cover M. Meissonier's pictures with gold pieces simply
+would be to buy them for nothing; and the practice has now been
+established of covering them with bank-notes."
+
+Meissonier seldom painted the figure of a woman in his pictures, but
+all of his subjects were wholesome and fine.
+
+One time an admirer said to him "I envy you; you can afford to own as
+many Meissonier pictures as you please!"
+
+"Oh no, I can't," the distinguished artist replied. "That would ruin
+me. They are a good deal too dear for me."
+
+In his maturity he became very rich, and his homes were dreams of
+beauty, filled with rare possessions such as bridles of black leather
+once owned by Murat, rare silver designed by the artist himself, great
+pictures, and flowers of the rarest description besides valuable dogs
+and horses. Yet it was said that "this man who lives in a palace is as
+moderate as a soldier on the march. This artist, whose canvases are
+valued by the half-million, is as generous as a nabob. He will give to
+a charity sale a picture worth the price of a house. Praised as he is
+by all he has less conceit in his nature than a wholesale painter."
+
+On the 31st of January in his country house at Poissy, this great man,
+whose life reads like a romance, died, after a short illness. His
+funeral services were held in the Madeleine, and he was buried at
+Poissy, near Versailles, a great military procession following him to
+the grave.
+
+  PLATE--RETREAT FROM MOSCOW
+
+In the painting of this picture we have already told how every detail
+was mastered by actual experience of most of them. Meissonier made
+dozens of studies for it--"a horse's head, an uplifted leg, cuirasses,
+helmets, models of horses in red wax, etc. He also prepared a
+miniature landscape, strewn with white powder resembling snow, with
+models of heavy wheels running through it, that he might study the
+furrow made in that terrible march home from burning Moscow. All this
+work--hard, patient, exacting work."
+
+Some of his other pictures are "The Emperor at Solferino," "Moreau and
+His Staff before Hohenlinden," "A Reading at Diderot's" and the "Chess
+Players."
+
+
+
+
+XXIX
+
+JEAN FRANCOIS MILLET
+
+
+  _Fontainebleau-Barbizon School_
+  1814-1875
+  _Pupil of Delaroche_
+
+Two great artists painted peasants and little else. One was the artist
+of whom we shall speak, and the other was Jules Breton. One was
+realistic, the other idealistic. Both did wonderful work, but Millet
+painted the peasant, worn, patient steadfast, overwhelmed with toil;
+Breton, a peasant full of energy, grace, vitality, and joy.
+
+Millet painted peasants as he knew them, and hardly any one could have
+known them better, for he was himself peasant-born. His youth was
+hard, and the scenes of his childhood were such as in after life he
+became famous by painting. Millet lived in the department of Manche,
+in the village of Gruchy, near Cherbourg. Manche juts into the sea, at
+the English Channel, and whichever way Millet looked he must have seen
+the sea. His old grandmother looked after the household affairs, while
+his father and mother worked in the fields and Millet must have seen
+them hundreds of times, standing at evening, with bowed heads,
+listening to the Angelus bell. He toiled, too, as did other lads in
+his position. His grandmother was a religious old woman, and nearly
+all the pictures he ever saw in his boyhood were those in the Bible,
+which he copied again and again, drawing them upon the stone walls in
+white chalk.
+
+The old grandmother watched him, never doubting that her boy would
+become an artist. It was she who had named him--Francois, after her
+favourite saint, Francis, and it was she, who, beside the evening
+fire, would tell him legends of St. Francis. It was she alone who had
+time and strength left, after the day's work, to teach him the little
+he learned as a boy and to fix in his mind pictures of home. His
+father and mother were worn, like pack-horses, after their day in the
+fields. The mother very likely had to hitch herself up with the
+donkey, or the big dog, after the fashion of these people, as she
+helped draw loads about the field. Who can look for Breton's ideal
+stage peasants from Millet who knew the truth as he saw it every day?
+
+Many years after his life in the Gruchy home, Millet painted the
+portrait of the grandmother whom he had loved so much that he cried
+out: "I wish to paint her soul!" No one could desire a better reward
+than such a tribute.
+
+Millet had an uncle who was a priest and he did what he could to give
+the boy a start in learning. He taught him to read Virgil and the
+Latin Testament; and all his life those two books were Millet's
+favourites. Besides drawing pictures on the walls of his home, he drew
+them on his sabots. Pity some one did not preserve those old wooden
+shoes! He did his share of the farm work, doing his drawing on rainy
+days.
+
+When he was about eighteen years old, coming from mass one day, he was
+impressed with the figure of an old man going along the road, and
+taking some charcoal from his pocket he drew the picture of him on a
+stone wall. The villagers passing, at once knew the likeness; they
+were pleased and told Millet so. Old Millet, the father, also was
+delighted for he, too, had wished to be an artist, but fate had been
+against him. Seeing the wonderful things his son could do, he decided
+that he should become what he himself had wished to be, and that he
+should go to Cherbourg to study.
+
+Francois set off with his father, carrying a lot of sketches to show,
+and upon telling the master in Cherbourg what he wanted and showing
+the sketches, he was encouraged to stay and begin study in earnest. So
+back the old father went, with the news to the mother and grandmother
+and the priest uncle, that Francois had begun his career. He stayed in
+Cherbourg studying till his father died, when he thought it right to
+go home and do the work his father had always done. He returned, but
+the women-folk would not agree to him staying. "You go back at once,"
+said the grandmother, "and stick to your art. We shall manage the
+farm." She sewed up in his belt all the money she had saved, and
+started him off again, for he had then been studying only two
+months. Now he remained till he was twenty-three, a fine, strapping,
+broad-shouldered country fellow. He had long fair hair and piercing
+dark blue eyes. All the time he was with Delaroche he was dissatisfied
+with his work--and with his master's, which seemed to Millet
+artificial, untrue. He knew nothing of the classical figures the
+master painted and wished him to paint, for his heart and mind were
+back in Gruchy among the scenes that bore a meaning for him. He wished
+to study elsewhere, and by this time he had done so well that one of
+the artists with whom he had studied went to the mayor of Millet's
+home town, and begged him to furnish through the town-council money
+enough to send Millet to Paris. This was done, and Millet began to
+hope.
+
+He was very shy and afraid of seeming awkward and out of place. The
+night he got to Paris was snowy, full of confusion and strange things
+to him, and an awful loneliness overwhelmed him. The next morning he
+set out to find the Louvre, but would not ask his way for fear of
+seeming absurd to some one, so that he rambled about alone, looking
+for the great gallery till he found it unaided. He spent most of the
+days that followed gazing in ecstasy at the pictures.
+
+He liked Angelo, Titian, and Rubens best. He had come to Paris to
+enter a studio, but he put off his entrance from day to day, for his
+shyness was painful and he feared above all things to be laughed at by
+city students. At last one day, he got up enough courage to apply to
+Delaroche, whose studio he had decided to enter if he could, as he
+liked his work best. The students in that studio were full of
+curiosity about the new chap, with his peasant air, his bushy hair and
+great frame, so sturdy and awkward. They at once nicknamed him "the
+man of the woods," and they nagged at him and laughed at the idea that
+he could learn to paint, till one day, exasperated nearly to death, he
+shook his fist at them. From that moment he heard no more from them,
+for they were certain that if he could not paint he could use his
+fists a good deal better than any of them. Delaroche liked the peasant
+but did not understand him very well, and Millet was not too fond of
+his painting, so after two years he and a friend withdrew from that
+studio and set up one for themselves. Thus eight years passed, the
+friends living from hand to mouth, doing all sorts of things:
+sign-painting, advertisements, and the like; and Millet, in the midst
+of his poverty, got married.
+
+He went home, returning to Paris with his wife, and after starving
+regularly, he became desperate enough to paint a single picture as he
+wished. It seemed at the time the maddest kind of thing to do. Who
+would see ugly, toil-worn peasants upon his _salon_ walls? Paris
+wanted dainty, aesthetic art, and an Academy artist would have scoffed
+at the idea; but the Millets were starving anyway, so why not starve
+doing at least what one chose. So Millet painted his first wonderful
+peasant picture "The Winnower," and just as the family were starving
+he sold it--for $100. He had done at last the right thing, in doing as
+he pleased. This was a sign to him that there was after all a place
+for truth and emotion in art. But the Millets must change their place
+of living, and go to some place where the money made would not at once
+be eaten up. Jacque--the friend with whom Millet had set up shop, and
+who also became famous, later--advised them to go to a little place he
+knew about, which had a name ending in "zon." It was near the forest
+of Fontainebleau, he said and they could live there very cheaply, and
+it was quiet and decent. The Millets got into a rumbling old cart and
+started in search of the place which ended in "zon" near the forest of
+Fontainebleau. Jacque had also decided to take his family there and
+they all went together. When they got to Fontainebleau they got down
+from the car and went a-foot through the forest.
+
+They arrived tired and hungry toward evening, and went to Ganne's Inn,
+where there were Rousseau, Diaz, and other artists who like themselves
+had come in search of a nice, clean, picturesque place in which to
+starve, if they had to. Those who were just sitting down to supper
+welcomed the newcomers, for they had been there long enough to form a
+colony and fraternity ways. One of these was to take a certain great
+pipe from the wall, and ask the newcomer to smoke; and according to
+the way he blew his "rings" he was pronounced a "colourist" or
+"classicist." The two friends blew the smoke, and at once the other
+artists were able to place Jacque. He was a colourist; but what were
+they to say about Millet who blew rings after his own fashion.
+
+"Oh, well!" he cried. "Don't trouble about it. Just put me down in a
+class of my own!"
+
+"A good answer!" Diaz answered. "And he looks strong and big enough to
+hold his own in it!" Thus the newcomers took their places in the life
+of Barbizon--the place whose name ended in "zon," and Millet's real
+work began. His first wife lived only two years, but he married
+again. All this time he was following his conscience in the matter of
+his work, and selling almost nothing. In a letter to a friend he tells
+how dreadfully poor they are, although his new wife was the most
+devoted helpful woman imaginable, known far and near as "Mere Millet."
+The artist wrote to Sensier, his friend, who aided him: "I have
+received the hundred francs. They came just at the right time. Neither
+my wife nor I had tasted food in twenty-four hours. It is a blessing
+that the little ones, at any rate, have not been in want."
+
+The revolution of 1848 had come before Millet went to Barbizon, and he
+like other men had to go to war. Then the cholera appeared, and these
+things interrupted his work; and after such troubles people did not
+begin buying pictures at once. Rousseau was famous now, but Millet
+lived by the hardest toil until one day he sold the "Woodcutter" to
+Rousseau himself, for four hundred francs. Rousseau had been very
+poor, and it grieved him to see the trials and want of his friend, so
+he pretended that he was buying the picture for an American. That
+picture was later sold at the Hartmann sale for 133,000 francs. Millet
+was now forty years old, and had not yet been recognised as a
+wonderful man by any but his brother artists. He was truly "in a class
+of his own." He had learned to love Barbizon, and cried: "Better a
+thatched cottage here than a palace in Paris!" and we have the picture
+in our minds of Millet followed patiently and lovingly by "Mere
+Millet" in the peasant dress which she always wore, that she might be
+ready at a moment's notice to pose for his figures. Then there were
+his little children and his sunny, simple, fraternal surroundings,
+which make his life the most picturesque of all artists.
+
+His paintings had the simplest stories with seldom more than two or
+three figures in them. It was said that he needed only a field and a
+peasant to make a great picture. When he painted the "Man with the
+Hoe," he did it so truthfully, in a way to make the story so well
+understood by all who looked upon it, that he was called a
+socialist. No one was so much surprised as Millet by that name. "I
+never dreamed of being a leader in any cause," he said. "I am a
+peasant--only a peasant."
+
+Of his picture "The Reaper" a critic wrote, "He might have reaped the
+whole earth." All his pictures were sermons, he called them "epics of
+the fields." He pretended to nothing except to present things just as
+they were, as he writes in a letter to a friend about "The Water
+Carrier:"
+
+In the woman coming from drawing water I have endeavoured that she
+shall be neither a water-carrier nor a servant, but the woman who has
+just drawn water for the house, the water for her husband's and her
+children's soup; that she shall seem to be carrying neither more nor
+less than the weight of the full buckets; that beneath the sort of
+grimace which is natural on account of the strain on her arms, and the
+blinking of her eyes caused by the light, one may see a look of rustic
+kindliness on her face. I have always shunned with a kind of horror
+everything approaching the sentimental. I have desired on the other
+hand, that this woman should perform simply and good-naturedly,
+without regarding it as irksome, an act which, like her other
+household duties, is one she is accustomed to perform every day of her
+life. Also I wanted to make people imagine the freshness of the
+fountain, and that its antiquated appearance should make it clear that
+many before her had come to draw water from it.
+
+At forty he was in about the same condition as he had been on that
+evening ten or twelve years before, when he had entered Barbizon
+carrying his two little daughters upon his shoulders, his wife
+following with the servant and a basket of food, to settle themselves
+down to hardship made sweet by kind comradeship and hope. Now a change
+came. Millet painted "The Angelus." He was dreadfully poor at that
+time and sold the picture cheaply, but it laid the foundation of his
+fame and fortune. He had worked upon the canvas till he said he could
+hear the sound of the bell. Although its first purchaser paid very
+little for it, it has since been sold for one hundred and fifty
+thousand dollars.
+
+At last, having struggled through his worst days, without recognition,
+and with nine little children to feed and clothe, he was given the
+white cross of the Legion of Honour; and as if to make up for the days
+of his starvation, he was nearly feasted to death in Paris. He was
+placed upon the hanging committee of the _Salon_, and took a dignified
+place among artists. He and Mere Millet travelled a little, but always
+he returned to Barbizon, till the war came and he had to move to
+Normandy to work. Afterward he returned to Barbizon, to the scenes and
+the old friends he loved so well, and there he died. He had come back
+ill and tired with the long struggle, and he instructed his friends to
+give him a simple funeral. This was done. They carried his coffin,
+while his wife and children walked beside him to the cemetery, and he
+was buried near the little church of Chailly, whose spire is seen in
+"The Angelas," and where Rousseau, whom he loved, had already been
+laid.
+
+There in Barbizon, to-day, may be seen Rousseau's cottage and Millet's
+studio. "The peasants sow and reap and glean as in the days of Millet;
+Troyon's oxen and sheep are still standing in the meadow; Jacque's
+poultry are feeding in the barnyard. The leaves on Rousseau's grand
+old trees are trembling in the forest; Corot's misty morning is as
+fresh and soft as ever; while Diaz's ruddy sunsets still penetrate the
+branches; and the peasant pauses daily as the Angelus from the Chailly
+church calls him to silent prayer."
+
+  PLATE--THE ANGELUS
+
+In "The Angelus" you may see far-off the spire of the church at
+Chailly, from which the bell sounds. The day's work is drawing to a
+close. The peasant man and woman have been digging potatoes--the man
+uncovering them, while his wife has been putting them in the
+basket. As the Angelus floats across the fields, the two pause and bow
+their heads in prayer. The man has dropped his fork and uncovered his
+head, and his wife has clasped her hands devoutly before her.
+
+All the air seems still and full of tender sound and colour, and we,
+like Millet, seem "to hear the bell." This is the only picture he
+painted which is full of the sentimentality he so much disliked. It is
+a great picture, but we need to know the title in order to interpret
+it.
+
+Besides this one, Millet painted "The Gleaners," "The Woodcutters,"
+"The Sower," "The Man with the Hoe;" "The Water Carrier," "The
+Reaper," and many other stories of the peasant poor.
+
+
+
+
+XXX
+
+CLAUDE MONET
+
+
+  (_Pronounced Claude Mo-nay_)
+  _Impressionist School of France_
+  1840--
+
+Another--Manet--was the founder of this school among modern painters,
+but Monet is always considered his most conspicuous follower.
+
+Monet's remarkable method of putting his colours upon canvas does not
+mean impressionism. He is an impressionist but also _Monet_--an artist
+with a method entirely different from that of any other. He belongs to
+what in France is called the _pointillistes_. The word means nothing
+more nor less than an effort to accomplish the impossible. If you
+stand a little way from a very hot stove you may be able to see a kind
+of movement in the air, a quivering of particles or molecular motion,
+and this is what the _pointillistes_ try to show in their
+paintings--Monet most of all.
+
+The theory is that by putting little dabs of primitive colours, close
+together upon canvas, without mixing them, just separate dabs of red,
+yellow, blue, etc., the effect of movement is produced. Needless to
+say, none of them ever have produced such an effect, but they have
+made such grotesque, ugly pictures that they have attracted attention
+even as a humpbacked person does.
+
+The first who painted thus was a Frenchman named Seurat, who tried it
+after closely studying experiments made in light and colour by
+Professor Rood, of Columbia University. After him came Pissarro, and
+then Monet. America also has such a painter, Childe Hassam, but nobody
+is so grotesque as Monet.
+
+He was born in Paris but spent most of his youth in Havre, where he
+met a painter of harbours and shipping scenes called Boudin. Through
+his influence Monet studied out-of-door effects, and was beginning to
+do fairly good work, when he was drawn as a conscript and sent to
+Algeria. It is written that Monet discovered that "green, seen under
+strong sunshine is not green, but yellow; that the shadows cast by
+sunlight upon snow or upon brightly lighted surfaces are not black,
+but blue; and that a white dress, seen under the shade of trees on a
+bright day, has violet or lilac tones." This only means that these
+things have been scientifically determined, not that the naked eye
+ever perceives them, and it is for the natural, unscientific eye that
+art exists. None of us see the separate colours of the spectrum, as we
+look about in every-day fashion upon every-day objects.
+
+Professor Rood managed to produce an intelligent effect by putting
+separate colours on discs and whirling these round so that the colours
+mingled. Monet tried to do the same by dotting his original colours
+close together, and leaving the picture to its own destruction. It
+ought to revolve, if the scientific idea is to be carried out.
+
+Nothing desirable can be made out of his pictures even when viewed
+from far off, while at close range they are simply grotesque, and
+photographs of them give the impression that the entire landscape is
+wabbling to the ground.
+
+I wonder if anyone, small or grown up, can understand this: "It was
+indeed a higher kind of impressionism that Monet originated, one that
+reveals a vivid rendering, not of the natural and concrete facts, but
+of their influence upon the spirit when they are wrapped in the
+infinite diversities of that impalpable, immaterial, universal medium
+which we call light, when the concrete loses itself in the abstract,
+and what is of time and matter impinges on the eternal and the
+universal." Monet's pictures look just as that explanation of them
+sounds!
+
+The same writer says that Monet was greater than Corot because he was
+more sensitive to colour; but if Monet had been as sensitive to colour
+as Corot, he could not have lived and looked at his own pictures.
+
+  PLATE--HAYSTACK IN SUNSHINE
+
+The main feature of this picture is such a hay stack as never existed
+anywhere, of indescribable lurid colour, against a background of blue
+such as never was seen. All about there are violet and rose-coloured
+trees, and it is a picture that every child should know, because he is
+likely never to have another such opportunity.
+
+Monet has made two interesting pictures of churches, one at Vernon,
+the other at Varangeville.
+
+
+
+
+XXXI
+
+MURILLO (BARTOLOME ESTEBAN)
+
+
+  (Pronounced Moo-reel'oh Bar-tol-o-may' A-stay'bahn)
+  _Andalusian School_
+  1617-1682
+  _Pupil of Juan del Castillo_
+
+The story of Murillo has been delightfully told by Mrs. Sarah Bolton.
+
+Like Velasquez, he was born in Seville, a city called "the glory of
+the Spanish realms," and was baptised on New Year's day, 1618, in the
+Church of the Magdalen.
+
+Murillo's father paid his rent in work, instead of in money. He made a
+bargain with the convent who owned his house that he would keep it in
+repair if he might have it free of rent, so there Gaspar Esteban and
+his wife, Maria Perez, settled. "Perez" was the family name of
+Murillo's mother, who had very good connections; one of her brothers,
+Juan del Castillo, being a man who encouraged all art and had an art
+school of his own. Little Murillo therefore had encouragement from the
+start, an unusual circumstance at a time when parents rarely wished to
+think of their sons as painters. As a matter of fact, his mother would
+have preferred that he should become a priest, but she was kind and
+sensible, and put no difficulties in the way of the little Murillo
+doing as he wished.
+
+The story goes that the Perez family had been very rich, but, however
+it may have been, that was not the case when the artist was born. One
+day after his mother had gone to church, Murillo being left at home
+alone, retouched a picture that hung upon the wall. It was a picture
+of sacred subject--"Jesus and the Lamb." He thought he could make some
+improvements in it, so he painted his own hat upon the head of Jesus
+and changed the lamb into a little dog. His mother was a good deal
+shocked at what seemed to her an irreligious act, though it showed the
+family genius. After that the boy was found to be painting upon the
+walls of his schoolroom, and making sketches upon the margins of his
+books, though he did little else at school.
+
+He had one sister, Therese, and they were left without father or
+mother before the artist was eleven years old.
+
+It was at that time that he received the name of "Murillo" by which he
+is known.
+
+It came about thus: After the death of his parents he went to live
+with his mother's sister, the Dona Anna Murillo, who had married a
+surgeon called Juan Agustin Lagares, and since the little artist was
+to live with his aunt, he soon became known by her family name. There,
+in her home, he and his sister Therese, were brought up, but he was
+not to become a surgeon like his uncle-in-law, but an artist like his
+uncle Juan, the teacher in Seville. That uncle took him in hand,
+taught the boy to draw, to mix colours, to stretch his canvas, and
+soon Murillo's genius won the love of master and pupils.
+
+In peace and reasonable comfort he served a nine years apprenticeship,
+and painted his first important, if not especially great,
+pictures. These were two Madonnas, one of them "The Story of the
+Rosary." St. Dominic had instituted the rosary; using fifteen large
+and one hundred and fifty small beads upon which to keep record of the
+number of prayers he had said; the large beads representing the
+_Paternosters and Glorias_ and the small ones, the _Aves_. This
+practical way of indicating duties helped the heedless to concentrate
+their attention, and did much to increase the number of prayers
+offered. Indeed, it is said that "by this single expedient Dominic did
+more to excite the devotion of the lower orders, especially of the
+women, and made more converts, than by all his orthodoxy, learning,
+arguments, and eloquence." It was this incident in the history of the
+Catholic Church that Murillo commemorated.
+
+When the artist was twenty-two years old, his uncle, Juan del
+Castillo, broke up his home and went elsewhere to live, leaving the
+artist without home or means, and with his little sister to take care
+of. Without vanity or ambition, but with only the wish to care for his
+sister and to get food, the marvellous painter took himself to the
+market place, and there, wedged in between stalls, old clothes,
+vegetables, all sorts of wares, like a wanderer and a gypsy, he began
+his career.
+
+At the weekly market--the _Feria_ or fair, opposite the Church of All
+Saints--his brotherly, kindly feeling for the vagabonds he daily met
+is shown in the treatment he gives them in his wonderful
+pictures. During the two years that he worked in that open-air studio
+he had flower-girls, muleteers, hucksters all about him, and he
+painted dozens of rough pictures which found quick sale among the
+patrons of the market. What Velasquez was doing in the court of
+Madrid, Murillo was doing in the streets of Seville; the one painting
+cardinals, kings, and courtiers; the other painting beggars, _gamins_,
+and waifs. Between the two, the world has been shown the social
+history of Spain as it then existed.
+
+Through a peculiar happening, the American Indian saw the beauties of
+Murillo's work before Europe was even conscious there was such a
+man. In his old home, his uncle's studio, Murillo had had a dear
+comrade, Moya. They had not met for two years or more, and when they
+did come together again Moya told Murillo he had been travelling, that
+he had been to Flanders with the Spanish army, and thence to London,
+in both places seeing gorgeous paintings and other inspiring
+things. He opened the eyes of Murillo to the splendours the world
+contained, and the artist became wild with desire to go and see them
+for himself, but he had no money. He was painting pictures in the
+market place of Seville and getting so little for his hasty work that
+he could barely support himself and little Therese. What must he do in
+order to get to London and see the world?
+
+What he did do was to buy a piece of linen, cut it into six pieces and
+hide himself long enough to paint upon them "saints, flowers, fruit
+and landscapes," and then he went forth to sell them.
+
+He actually sold those pictures to a ship-owner who was sending his
+ship to the West Indies. Eventually they were hung upon the walls of a
+mission in wild, far off America. It is said that after this Murillo
+made no little money by painting such pictures, destined to give the
+American savage an idea of the Christian religion. One cannot but
+wonder if there may not be, all unknown to us, Murillo pictures, made
+in the market-place of Seville nearly three hundred years ago, hidden
+away in the remains of those old Spanish missions, even to-day. Such a
+picture would be more rare than the greatest that he ever painted.
+
+After selling his six pictures Murillo started a-foot, not to London
+but on a terrible journey across the Sierra Mountains, to Madrid--the
+home of Velasquez. Murillo knew that this native of Seville had become
+a famous artist. He was powerful and rich and at the court of Philip
+II., while Murillo had no place to lay his head, and besides he had
+left Therese behind in Seville in the care of friends. He had no claim
+upon the kindness of Velasquez but he determined to see him; to
+introduce himself and possibly to gain a friend. It was under these
+forlorn circumstances he made himself known to the great Spanish court
+painter.
+
+The story of their meeting is a fine one. For Murillo Velasquez had a
+warm embrace, a kind and hospitable word. The stranger told Velasquez
+how he had crossed the mountains on foot, was penniless, but could use
+his brush. Instead of jealousy and suspicion, the young man met with
+nothing but the most cheerful encouragement, found the Velasquez home
+open to him, took up his lodging there and established his workshop
+with nothing around him but friendship and the sympathy his nature
+craved.
+
+From the market-place to the home of Velasquez and the Palace of
+Philip II.! It was a beautiful dream to Murillo.
+
+With what splendour of colour and mastery of design he illuminated the
+annals of the poor! Coming forth from some dim chancel or palace-hall
+in which he had been working on a majestic Madonna picture, he would
+sketch in, with the brush still loaded with the colours of celestial
+glory, the lineaments of the beggar crouching by the wall, or the
+gypsy calmly reposing in the black shadow of an archway. Such
+versatility had never before been seen west of the Mediterranean, and
+it commanded the admiration of his countrymen.
+
+All his beggarly little children, neglected and houseless, appeared
+only to be full of cheer and merriment, with soft eyes and contented
+faces. It was a happy, care-free, gay, and kindly beggardom that he
+painted, with nothing in it to sadden the heart.
+
+Thus he lived for three years; working in the galleries of the king,
+making friends at court, painting beautiful women, gallant cavaliers
+and fascinating little beggars.
+
+In the course of time, however, he grew restless, and Velasquez wished
+to give him letters of introduction to Roman artists and people of
+quality, advising him to go to Rome to study the greatest art in the
+world. This was an alluring plan to Murillo, but after all he longed
+for his own home and chose to return there rather than go to
+Rome. Besides, his sister Therese was still in Seville.
+
+Once more in his home, at one stroke of his magic brush Murillo raised
+himself and a monastic order from obscurity to greatness. In his
+native city was the order of San Francisco. The monks had long wished
+to have their convent decorated in a worthy manner by some artist of
+repute; but they were poor and had never been able to engage such a
+painter. When Murillo got back home, he was as badly in need of work
+as the Franciscans were in want of an artist. The monks held a council
+and finally agreed upon a price which they could pay and which Murillo
+could live upon. Then he began a wonderful set of eleven large
+paintings. Among them were many saints, dark and rich in colouring,
+and no sooner was it known that the paintings were being made than all
+the rich and powerful people of Seville flocked to the convent to see
+the work. They gathered about the young artist, overwhelmed him with
+honours and praise, and the monastery was crowded from morning till
+night with those who wished to study his work. From that moment
+Murillo's fame, if not his fortune, was made.
+
+He married a rich and noble lady with the tremendous name of Dona
+Beatriz de Cabrera y Sotomayer. He had fallen in love with her while
+painting her as an angel.
+
+About that time he formed a strange partnership with a landscape
+painter, who agreed to supply the backgrounds that his pictures
+needed, if Murillo would paint figures into his landscapes. This plan
+did very well for a little time, but it did not last long.
+
+Murillo painted in three distinct styles, and these have come to be
+known as the "warm," the "cold," and the "vaporous." He painted
+pictures in the great cathedral of the Escorial and the "Guardian
+Angel" was one of them. Also, he painted "St. Anthony of Padua," and
+of this picture there is one of those absurd stories meant to
+illustrate the perfection of art. It is said that the lilies in it are
+so natural that the birds flew down the cathedral aisles to pluck at
+them. Many artists have painted this saint, but Murillo's is the best
+picture of all.
+
+When the nephew of his first master, Murillo's cousin, saw that work
+he said: "It is all over with Castillo! Is it possible that Murillo,
+that servile imitator of my uncle, can be the author of all this grace
+and beauty of colouring?"
+
+The Duke of Wellington offered for this picture as many gold pieces
+"as would cover its surface of fifteen square feet." This would have
+been about two hundred and forty thousand dollars; but we need not
+imagine that Murillo received any such sum for the work. This picture
+has a further interesting history. The canvas was cut from the frame
+by thieves in 1874, and later it was sold to Mr. Schaus, the
+connoisseur and picture dealer of New York. He paid $250 for it, and
+at once put it into the hands of the Spanish consul, who restored it
+to the cathedral.
+
+The story of the saint whom Murillo painted is as interesting as
+Murillo's own. Among the many wonderful things said to have happened
+to him was that a congregation of fishes hearing his voice as he
+preached beside the sea, came to the top and lifted up their heads to
+listen.
+
+While Murillo was doing his work, he was living a happy, domestic
+life. He had three children, and doubtless he used them as models for
+his lively cherubs, as he used his wife's face for madonnas and
+angels.
+
+He founded an academy of painting in Seville, for the entrance to
+which a student could not qualify unless he made the following
+declaration: "Praised be the most Holy Sacrament and the pure
+conception of Our Lady."
+
+The most delightful stories are told of Murillo's kindness and
+sweetness of disposition. He had a slave who loved him and who, one
+day while Murillo was gone from the studio, painted in the head of the
+Virgin which the master had left incomplete. When Murillo returned and
+saw the excellent work he cried: "I am fortunate, Sebastian"--the
+slave's name--"For I have not created only pictures but an artist!"
+This slave was set free by Murillo and in the course of time he
+painted many splendid pictures which are to-day highly prized in
+Seville.
+
+This is a description of Murillo's house which is still to be seen
+near the Church of Santa Cruz: "The courtyard contains a marble
+fountain, amidst flowering shrubs, and is surrounded on three sides by
+an arcade upheld by marble pillars. At the rear is a pretty garden,
+shaded by cypress and citron trees, and terminated by a wall whereon
+are the remains of ancient frescoes which have been attributed to the
+master himself. The studio is on the upper floor, and overlooks the
+Moorish battlements, commanding a beautiful view to the eastward, over
+orange groves and rich corn-lands, out to the gray highlands about
+Alcala."
+
+Murillo's fame brought fortune to his little sister, Therese. She
+married a nobleman of Burgos, a knight of Santiago and judge of the
+royal colonial court. He became the chief secretary of state for
+Madrid.
+
+Murillo made money, but gave almost all that he made to the poor,
+though he did not make money in the service of the Church, as
+Velasquez made it in the service of the king.
+
+His work of more than twenty pictures in the Capuchin Church of
+Seville occupied him for three years, and in that time he did not
+leave the convent for a single day.
+
+Of all the charming stories told of this glorious artist, one which is
+connected with his work in that church is the most picturesque. It
+seems that every one within the walls loved him, and among others a
+lay brother who was cook. This man begged for some little personal
+token from Murillo and since there was no canvas at hand, the artist
+bade the cook leave the napkin which he had brought to cover his food,
+and during the day he painted upon it a Madonna and child, so natural
+that one of his biographers declares the child seems about to spring
+from Mary's arms. This souvenir made for the cook of the Capuchin,
+convent has been reproduced again and again, as one of the artist's
+greatest performances.
+
+Toward the close of his happy life, he became more and more devout,
+spending many hours before an altar-piece in the Church of Santa Cruz
+where was a picture of "The Descent from the Cross," by Pedro
+Campana. "Why do you always tarry before 'The Descent from the
+Cross?'" the sacristan once asked of him.
+
+"I am waiting till those men have brought the body of our blessed Lord
+down the ladder." Murillo answered. His wife had died, his daughter
+had become a nun, and all that was left to him was his dear son
+Gaspar, when in his sixty-third year he began his last work, "The
+Marriage of St. Catherine." He had not finished this when he fell from
+the scaffolding upon which he was working, and fatally hurt
+himself. He died, with his son beside him. He was a much loved man,
+and when he was buried, his bier was carried by "two marquises and
+four knights and followed by a great concourse of people." He chose to
+be buried beneath the picture he loved so much--"The Descent from the
+Cross," and upon his grave was laid a stone carved with his name, a
+skeleton and an inscription in Latin which means "Live as one who is
+about to die."
+
+The church has since been destroyed, and on its site is the Plaza
+Santa Cruz, but Murillo's grave is marked by a tablet.
+
+Each country seems to have had at least one man of beautiful heart and
+mind, to represent its art. Raphael in Italy, Murillo in Spain, were
+types of gentle and greatly beloved men. Leonardo in Italy and Duerer
+in Nuremberg, were types of forceful, intellectual men, highly
+respected and of great benefit to the world.
+
+Of all the painters who ever lived, Murillo was the one who painted
+little children with the most loving and fascinating touch.
+
+  PLATE--THE IMMACULATE CONCEPTION
+
+Besides the little angels in this picture, we have a bewildering
+choice among many other beauties.
+
+Many pictures of this subject have been painted, and many were painted
+by Murillo, but the one presented here is the greatest of all. It
+hangs in the Louvre, Salle VI. Mary seems to be suspended in the
+heavens, not standing upon clouds. Under the hem of her garments is
+the circle of the moon, while there is the effect of hundreds of
+little cherub children massed about her feet, in a little swarm at the
+right, where the shadow falls heaviest, and still others, half lost in
+the vapoury background at the left, where the heavenly light streams
+upon them, and brilliantly lights up the Virgin's gown. In this
+picture are all Murillo's beloved child figures, some carrying little
+streamers, their tiny wings a-flutter and all crowding lovingly about
+Mary. Far below this gorgeous group we can imagine the dark and weary
+earth lost in shadow.
+
+Among Murillo's most famous paintings are: "The Birth of the Virgin,"
+"Two Beggar Boys," "The Madonna of the Rosary," "The Annunciation,"
+"Adoration of the Shepherds," "Holy Family," "Education of Mary," "The
+Dice Players," and "The Vision of St. Anthony."
+
+
+
+
+XXXII
+
+RAPHAEL (SANZIO)
+
+
+  (Pronounced Rah'fay-el (Sahnt'syoh))
+  1483-1590
+  _Umbrian, Florentine, and Roman Schools_
+  _Pupil of Perugino_
+
+It was said of Raphael that "every evil humour vanished when his
+comrades saw him, every low thought fled from their minds"; and this
+was because they felt themselves vanquished by his pleasant ways and
+sweet nature.
+
+Imagine his beautiful face, with its sunny eyes, reflecting no shadow
+of sadness or pain. Such a one was sure to be beloved by all.
+
+The father of Raphael was Giovanni Santi, himself an able artist. Both
+he and Raphael studied in many schools and took the best from
+each. The son was brought up in an Italian court, that of Guidobaldo
+of Urbino, where the father was a favourite poet and painter, so that
+he had at least one generation of art-lovers behind him, at a time
+when learning and art were much prized. Nothing ever entered into his
+life that was sad or sorrowful; his whole existence was a triumph of
+beautiful achievements. There were three great artists of that time,
+the other two being Michael Angelo and Leonardo da Vinci, both of whom
+were absolutely unlike Raphael in their art and in their characters.
+
+Raphael was born on April 6th at Contrada del Monte in the ducal city
+of Urbino. His mother's name was Magia Ciarla, and she was the
+daughter of an Urbino merchant. She had three children besides the
+great painter, all of whom died young, and when Raphael was but eight
+years old his mother died also. It is said that it was from her
+Raphael inherited his beauty, goodness, mildness, and genius. His
+father's patron, the Duke of Urbino, was a fine soldier, but he also
+cherished scholarship and art, and kept at his court not less than
+twenty or thirty persons at work copying Greek and Latin manuscript
+which he wished to add to his library.
+
+Raphael had a stepmother, Bernardina, the daughter of a goldsmith, a
+good and forceful woman, but not gentle like the first wife; and when
+Raphael was eleven years of age his father, too, died. By his father's
+will Raphael became the charge of his uncle Bartolommeo, a priest, but
+the property was left to the stepmother so long as she remained
+unmarried. Almost at once the priest and the stepmother fell to
+quarreling over the spoils, and thus Raphael was left pretty much to
+his own devices, but just when life began to look dark and sad for
+him, his mother's brother took a hand in the situation. He settled the
+dispute between the priest and the second wife, and arranged that
+Raphael should be placed in the studio of some great painter, for the
+loving lad had already worked in his father's studio, and had given
+promise of his wonderful gifts. So he became the pupil of Perugino, a
+painter noted for his fine colouring and sympathetic handling of his
+subjects. At that time, Italian schools were less wonderful in
+colouring than in other matters of technique.
+
+"Let him become my pupil," said Perugino, when Raphael was brought to
+him and some of his work was exhibited; "soon he will be my master." A
+very different attitude from that of Ghirlandajo toward Michael
+Angelo.
+
+Raphael and his master became friends and worked together for nine
+years.
+
+His first work was not conceived until Raphael was seventeen. It was
+to be a surprise to his master who had gone to Florence. A banner was
+wanted for the Church of S. Trinita at Citta di Castello, and Raphael
+undertook it, painting the "Trinity," on one canvas and the "Creation
+of Man" on another. Then he painted the "Crucifixion," which was
+bought by Cardinal Fesch, who lived in Rome. That painting is now in a
+collection of the Earl of Dudley. It was sold away from Rome in 1845,
+for twelve thousand dollars--or a little more. No one will deny that
+this is an unusual sum for an artist's first work, but about the same
+time he did a much more wonderful thing.
+
+He painted a little picture, six and three-quarter inches square. It
+was of the Virgin walking in the springtime, before the leaves had
+appeared upon the trees, and with snow-capped mountains behind
+her. She holds the infant Jesus in her arms while she reads from a
+small book, and the little child looks upon the page with her. This
+six inches of beauty sold to the Emperor of Russia, in 1871, for sixty
+thousand dollars.
+
+Before Raphael was twenty-one, he had left his master's studio and had
+gone into the splendid world of Rome, where Angelo was straining at
+his bonds. But how differently each accepted his life! The gentle
+Raphael, who took the best of the ideas of all great painters, and
+gave to them his own exquisite characteristics, was beloved of all,
+shed light upon art and friends alike. To such a one all life was
+joyous. Michael Angelo, trying ever to do the impossible, betraying
+his hatred of limitations in all that he did, doing always that which
+aroused horror, distress, longing, elemental feelings, in those who
+studied his wonderful work, and giving hope and satisfaction and peace
+to none--to such as he life must ever have been hateful and
+painful. These men lived at the same time, among the same people.
+
+One of Raphael's greatest pictures came into the possession of a poor
+widow, who being hard pressed by poverty, sold it to a bookseller for
+twelve scudi. In time it was bought from the bookseller by Grand Duke
+Ferdinand III. of Tuscany, who prayed before it night and morning,
+taking it with him on his travels. That picture is now in the Pitti
+Palace at Florence and it is called the "Madonna del Granduca." The
+Berlin Museum purchased a Raphael Madonna for $34,000 which was
+painted about the same time as these others, but after a little the
+artist left Florence where he had been studying the methods of
+Leonardo and Angelo and returned to Urbino, the home he loved, where
+his conduct was such that all the world seems to have become his
+lover. It is written that he was "the only very distinguished man of
+whom we read, who lived and died without an enemy or detractor!" No
+better can ever be said of any one.
+
+While he dwelt in Perugia and Urbino he had painted the "Ansidei
+Madonna," so called because that was the name of the family for which
+it was painted. That Madonna was sold in 1884 to the National Gallery,
+by the Duke of Marlborough for $350,000. A Madonna on a round
+plaque-like canvas, 42-3/4 inches in diameter, was bought by the Duke
+of Bridgewater for $60,000. It is the "Holy Family under a Palm Tree,"
+painted originally for a friend, Taddeo Taddei, who was a Florentine
+scholar. Many of the pictures which after many vicissitudes have
+landed far from home and been bought for fabulous sums were painted
+for love of some friend, or were paid for by modest sums at the time
+the artist received the commissions. Lord Ellesmere in London now owns
+the "Holy Family under a Palm Tree."
+
+It is said of Raphael that whenever another painter, known to him or
+not, requested any design or assistance of any kind at his hands, he
+would invariably leave his work to perform the service. He continually
+kept a large number of artists employed, all of whom he assisted and
+instructed with an affection which was rather that of a father to his
+children than merely of an artist to artists. From this it followed
+that he was never seen to go to court, except surrounded and
+accompanied, as he left his house, by some fifty painters, all men of
+ability and distinction, who attended him, thus to give evidence of
+the honour in which they held him. He did not, in short, live the life
+of a painter, but that of a prince.
+
+There is something wonderfully inspiring about such a life. We read of
+emperors and the homage paid to them; of the esteem in which men who
+accomplish deeds of universal value are held, but nowhere do we behold
+the power of a beautiful and exquisite personality and character,
+allied with a single art, so impressively exhibited.
+
+He urged nothing, yet won all things by the force of his loving and
+sympathetic mind. "How is it, dear Cesare that we live in such good
+friendship, but that in the art of painting we show no deference to
+each other?" he asked of Cesare da Sesto, who was Da Vinci's greatest
+pupil.
+
+In discussing the great ones of the earth, Herman Grimm, son of the
+collector of fairy tales, says: "Can we mention a violent act of
+Raphael's, Goethe's or Shakespeare's? No, it is restful only to recall
+these wonderful men."
+
+One of Raphael's most beautiful Virgins was modeled from a beautiful
+flower-girl whom he loved, "La Belle Jardiniere."
+
+Raphael as well as Michael Angelo was summoned by Pope Julius II., but
+how different were the two occasions! Michael Angelo had stood with
+dogged, gloomy self-assertiveness before the pope, head covered, knee
+unbent. Uncompromising, while yet no injury had been done him,
+resentful before he had received a single cause for resentment, the
+attitude was typical of his art and his unhappy life.
+
+When Raphael appeared, his bent knee, his "chestnut locks falling upon
+his shoulders, the pope exclaimed: 'He is an innocent angel. I will
+give him Cardinal Bembo for a teacher, and he shall fill my walls with
+historical pictures.'" The artist's behaviour was no sign of
+servility, but the simple recognition of forms and customs which the
+people themselves had made and by which they had decided they should
+graciously be bound. The attitude of Angelo was not heroic but vulgar;
+that of Raphael not servile, but in good taste, showing a reasonable
+mind.
+
+Pope Julius had summoned Raphael for a special reason. Alexander VI.,
+his predecessor in the Vatican, had been a depraved man. The fair and
+virile Julius had a healthy sentiment against occupying rooms which
+must continually remind him of the notorious Alexander's mode of
+life. Some one suggested that he have all the portraits of the former
+pope removed, but Julius declared: "Even if the portraits were
+destroyed, the walls themselves would remind me of that Simoniac, that
+Jew!" The word 'Jew' was then execrated by all Christians, for the
+world was not yet Christian enough to know better.
+
+Raphael was summoned to decorate the Vatican, that Julius might have a
+place which reminded him not at all of Alexander. It is said that when
+Raphael had completed one of his masterpieces the pope threw himself
+upon the ground and cried, "I thank Thee, God, that Thou hast sent me
+so great a painter!"
+
+While at work upon his first fresco at the Vatican--"La Disputa," the
+dispute over the Holy Sacrament--Raphael met a woman with whom he fell
+deeply in love. Her father was a soda manufacturer and her name was
+Margherita. Missirini relates this incident in Raphael's career.
+
+"She lived on the other side of the Tiber. A small house, No. 20, in
+the street of Santa Dorothea, the windows of which are decorated with
+a pretty frame work of earthenware, is pointed out as the house where
+she was born.
+
+"The beautiful girl was very frequently in a little garden adjoining
+the house, where, the wall not being very high, it was easy to see her
+from the outside. So the young men, especially artists--always
+passionate admirers of beauty--did not fail to come and look at her,
+by climbing up above the wall.
+
+"Raphael is said to have seen her for the first time as she was
+bathing her pretty feet in a little fountain in the garden. Struck by
+her perfect beauty, he fell deeply in love with her, and after having
+made acquaintance with her, and discovered that her mind was as
+beautiful as her body, he became so much attached as to be unable to
+live without her."
+
+She is spoken of to-day as the "Fornarina," because at first she was
+supposed to have been the daughter of a baker (_fornajo_).
+
+Raphael made many rough studies for his picture "La Disputa," and upon
+them he left three sonnets, written to the woman so dear to him. These
+sonnets have been translated by the librarian of l'Ecole Nationale des
+Beaux-Arts, as follows: "Love, thou hast bound me with the light of
+two eyes which torment me, with a face like snow and roses, with sweet
+words and tender manners. So great is my ardour that no river or sea
+could extinguish my fire. But I do not complain, for my ardour makes
+me happy.... How sweet was the chain, how light the yoke of her white
+arms about my neck. When these bonds were loosed, I felt a mortal
+grief. I will say no more; a great joy kills, and, though my thoughts
+turn to thee, I will keep silence."
+
+Although he had been a man of many loves, Raphael must have found in
+the manufacturer's daughter his best love, because he remained
+faithful and devoted to her for the twelve years of life that were
+left to him. It was said some years later, while he was engaged upon a
+commission for a rich banker, that "Raphael was so much occupied with
+the love that he bore to the lady of his choice that he could not give
+sufficient attention to his work. Agostino (the banker) therefore,
+falling at length into despair of seeing it finished, made so many
+efforts by means of friends and by his own care that after much
+difficulty he at length prevailed on the lady to take up her abode in
+his house, where she was accordingly installed, in apartments near
+those which Raphael was painting; In this manner the work was
+ultimately brought to a conclusion."
+
+Raphael painted this beautiful lady-love many times, and in a picture
+in which she wears a bracelet he has placed his name upon the
+ornament.
+
+After this time he painted the "Madonna della Casa d'Alba," which the
+Duchess d'Alba gave to her physician for curing her of a grave
+disorder. She died soon afterward, and the physician was arrested on
+the charge of having poisoned her. In course of time the picture was
+purchased for $70,000 by the Russian Emperor, and it is now in "The
+Hermitage," St. Petersburg.
+
+A writer telling of that time, relates the following anecdote:
+"Raphael of Urbino had painted for Agostino Chigi (the rich banker
+already mentioned) at Santa Maria della Pace, some prophets and
+sibyls, on which he had received an advance of five hundred scudi. One
+day he demanded of Agostino's cashier (Giulio Borghesi) the remainder
+of the sum at which he estimated his work. The cashier, being
+astounded at this demand, and thinking that the sum already paid was
+sufficient, did not reply. 'Cause the work to be estimated by a judge
+of painting,' replied Raphael, 'and you will see how moderate my
+demand is.'
+
+"Giulio Borghesi thought of Michael Angelo for this valuation, and
+begged him to go to the church and estimate the figures of
+Raphael. Possibly he imagined that self-love, rivalry, and jealousy
+would lead the Florentine to lower the price of the pictures.
+
+"Michael Angelo went, accompanied by the cashier, to Santa Maria della
+Pace, and, as he was contemplating the fresco without uttering a word,
+Borghesi questioned him. 'That head,' replied Michael Angelo, pointing
+to one of the sibyls, 'that head is worth a hundred scudi.' ... 'and
+the others?' asked the cashier. 'The others are not less.'
+
+"Someone who witnessed this scene related it to Chigi. He heard every
+particular and, offering in addition to the five hundred scudi for
+five heads a hundred scudi to be paid for each of the others, he said
+to his cashier, 'go and give that to Raphael in payment for his heads,
+and behave very politely to him, so that he may be satisfied; for if
+he insists on my paying also for the drapery, we should probably be
+ruined!'"
+
+By the time Raphael was thirty-one he was a rich man, and had built
+himself a beautiful house near the Vatican, on the Via di Borgo
+Nuova. Naught remains of that dwelling except an angle of the right
+basement, which has been made a part of the Accoramboni Palace. His
+friends wished him above all things to marry, but he was still true to
+Margherita though he had become engaged to the daughter of his
+nephew. He put the marriage off year after year, till finally the lady
+he was to have married died, and was buried in Raphael's chapel in the
+Pantheon.
+
+Margherita was with him when he died, and it was to her that he left
+much of his wealth.
+
+In the time of Raphael excavations were being made about Rome, and
+many beautiful statues uncovered, and he was charged with the
+supervision of this work in order that no art treasure should be lost
+or overlooked. The pope decreed that if the excavators failed to
+acquaint Raphael with every stone and tablet that should he unearthed,
+they should be fined from one to three hundred gold crowns.
+
+Raphael had his many paintings copied under his own eye and engraved,
+and then distributed broadcast, so that not only men of great wealth
+but the common people might study them.
+
+Henry VIII. invited him to visit England, and become court painter,
+and Francis I. wished him to become the court painter of France.
+
+He loved history, and wished to write certain historical works. He
+loved poetry and wrote it. He loved philosophy and lived it--the
+philosophy of generous feeling and kindly thought for all the
+world. He kept poor artists in his own home and provided for them.
+
+Raphael died on Good Friday night, April 6th, in his thirty-seventh
+year, and all Rome wept. He lay in state in his beautiful home, with
+his unfinished picture of the "Transfiguration," as background for his
+catafalque. That painting with its colours still wet, was carried in
+the procession to his burial place in the Pantheon. When his death was
+announced, the pope, Leo X., wept and cried _"Ora pro nobis!"_ while
+the Ambassador from Mantua wrote home that "nothing is talked of here
+but the loss of the man who at the close of his six-and-thirtieth year
+has now ended his first life; his second, that of his posthumous fame,
+independent of death and transitory things, through his works, and in
+what the learned will write in his praise, must continue forever."
+
+Raphael painted two hundred and eighty-seven pictures in his
+thirty-seven years of life.
+
+  PLATE--THE SISTINE MADONNA
+
+It is said that the "Sistine Madonna," while painted from an Italian
+model--doubtless the lady whom Raphael so dearly loved--has universal
+characteristics, so that she may "be understood by everyone."
+
+He lived only three years after painting this picture and it was the
+last "Holy Family" painted by him. The Madonna stands upon a curve of
+the earth, which is scarcely to be seen, and looming mistily in front
+of her is a mass of white vaporous clouds. On either side are figures,
+St. Sixtus (for whom the picture was named) and St. Barbara. Beside
+St. Sixtus we see a crown or tiara; and the little tower at
+St. Barbara's side is a part of her story.
+
+Barbara was the daughter of an Eastern nobleman who feared that her
+great beauty might lead to her being carried off; therefore he caused
+her to be shut up in a great tower. While thus imprisoned Barbara
+became a Christian through the influence of a holy man, and she begged
+her father to make three windows in her gloomy tower: one, to let the
+light of the Father stream upon her, another to admit the light of the
+Son, and the third that she might bathe in the light of the Holy
+Ghost. Both St. Barbara and St. Sixtus were martyrs for their faith.
+
+This Madonna is painted as if enclosed by green velvet curtains, which
+have been drawn aside, letting the golden light of the picture blaze
+upon the one who looks; then upon a little ledge below, looking out
+from the heavens, are two little cherubs--known to all the world. They
+look wistful, wise, roguish, and beautiful, with fat little arms
+resting comfortably upon the ledge. Raphael is said to have found his
+models for these little angels in the street, leaning wistfully upon
+the ledge of a baker's window, looking at the good things to eat,
+which were within. Raphael took them, put wings to them, placed them
+at the feet of Mary, and made two little images which have brought
+smiles and tears to a multitude of people. The "Sistine Madonna" hangs
+alone in a room in the Dresden Gallery.
+
+Among Raphael's greatest works are: The "Madonna della Sedia" (of the
+chair), "La Belle Jardiniere," "The School of Athens," "Saint Cecilia,"
+"The Transfiguration," "Death of Ananias" (a cartoon for a series of
+tapestries), "Madonna del Pesce," "La Disputa," "The Marriage of Mary
+and Joseph," "St. George Slaying the Dragon," "St. Michael Attacking
+Satan" and the "Coronation of the Virgin."
+
+
+
+
+XXXIII
+
+REMBRANDT (VAN RIJN)
+
+
+  _Dutch School_
+  1606-1669
+  _Pupil of Van Swanenburch_
+
+Here are a few of the titles that have been given to the greatest
+Dutch painter that ever lived: The Shakespeare of Painting; the Prince
+of Etchers; the King of Shadows; the Painter of Painters. Muther calls
+him a "hero from cloudland," and not only does he alone wear these
+titles of greatness, but he alone in his family had the name of
+Rembrandt.
+
+One writer has said that the great painter was born "in a windmill,"
+but this is not true. He was born in Leyden for certain, though not a
+great deal is known about his youth; and his father was a miller, his
+mother a baker's daughter.
+
+When the Pilgrim Fathers, who had sought safety in Leyden, were
+starting for America, where they were going to oppress others as they
+had been oppressed, Rembrandt was just beginning his apprenticeship in
+art.
+
+He was born at No. 3, Weddesteg, a house on the rampart looking out
+upon the Rhine whose two arms meet there. In front of it whirled the
+great arms of his father's windmill, though he was not born in it; and
+of all the women Rembrandt ever knew, it is not likely that he ever
+admired or loved one as passionately as he admired and loved his
+mother. He painted and etched her again and again, with a touch so
+tender that his deepest emotion is placed before us.
+
+Rembrandt had brothers and sisters--five: Adriaen, Gerrit, Machteld,
+Cornelis, and Willem. Of these, Adriaen became a miller like his
+father, and presumably the old historic windmill fell to him; Willem
+became a baker, but Rembrandt, the fourth child, it was determined
+should be a learned man, and belong to one of the honoured
+professions, such as the law. So he was sent to the Leyden Academy,
+but here again we have an artist who decided he knew enough of all
+else but art before he was twelve years old. He found himself at that
+age in the studio of his first art-master, Jacob van Swanenburch, a
+relative, who had studied art in Italy, and was a good master for the
+lad; but Rembrandt became so brilliant a painter in three years' time,
+that he was sent to Amsterdam to learn of abler men.
+
+The lad could not in those days get far from his adored mother; so he
+stayed only a little time, before he went back to Leyden where she
+was. There was his heart, and, painting or no painting, he must be
+near it.
+
+Until the past thirty years no one has seemed to know a great deal of
+Rembrandt's early history, but much was written of him as a boorish,
+gross, vulgar fellow. Those stories were false. He was a devoted son,
+handsome, studious in art, and earnest in all that he did, and after
+he had made his first notable painting he was compelled by the demands
+of his work to move to Amsterdam for good. He hired an apartment over
+a shop on the Quay Bloemgracht; it is probable that his sister went
+with him to keep his house, and that it is her face repeated so
+frequently in the many pictures which he painted at that time. This
+does not suggest coarse doings or a careless life, but permits us to
+imagine a quiet, sober, unselfish existence for the young bachelor at
+that time.
+
+Soon, however, he fell in love. He saw one other woman to place in his
+heart and memory beside his mother. His wife was Saskia van Ulenburg,
+the daughter of an aristocrat, refined and rich. He met her through
+her cousin, an art dealer, who had ordered Rembrandt to paint a
+portrait of his dainty cousin. Rembrandt could have been nothing but
+what was delightful and good, since he was loved by so charming a girl
+as Saskia.
+
+He painted her sitting upon his knee, and used her as model in many
+pictures. First, last, and always he loved her tenderly.
+
+In one portrait she is dressed in "red and gold-embroidered velvets";
+the mantle she wore he had brought from Leyden. In another picture she
+is at her toilet, having her hair arranged; again she is painted in a
+great red velvet hat, and then as a Jewish bride, wearing pearls, and
+holding a shepherd's staff in her hand. Again, Rembrandt painted
+himself as a giant at the feet of a dainty woman, and in every way his
+work showed his love for her. After he married her, in June 1634, he
+painted the picture, "Samson's Wedding," "Saskia, dainty and serene,
+sitting like a princess in a circle of her relatives, he himself
+appearing as a crude plebeian, whose strange jokes frighten more than
+they amuse the distinguished company. ... The early years of his
+marriage were spent in joy and revelry. Surrounded by calculating
+business men who kept a tight grasp on their money bags, he assumed
+the role of an artist scattering money with a free hand; surrounded by
+small townsmen most proper in demeanour, he revealed himself as the
+bold lasquenet, frightening them by his cavalier manners. He brought
+together all manner of Oriental arms, ancient fabrics, and gleaming
+jewellery; and his house became one of the sights of Amsterdam." His
+existence reads like a fairy tale.
+
+It is said that Saskia strutted about decked in gold and diamonds,
+till her relatives "shook their heads" in alarm and amazement at such
+wild goings on.
+
+Before he married Saskia he had painted a remarkable picture, named
+the "School of Anatomy." It represents a great anatomist, the friend
+of Rembrandt--Nicholaus Tulp,--and a group of physicians who were
+members of the Guild of Surgeons of Amsterdam. It is so wonderful a
+picture that even the dead man, who is being used as a subject by the
+anatomist, does not too greatly disturb us as we look upon him. The
+thoughtful, interested faces of the surgeons are so strong that we
+half lose ourselves in their feeling, and forget to start in repulsion
+at sight of the dead body. A fine description of this painting can be
+found in Sarah K. Bolton's book "Famous Artists" and it includes the
+description given by another excellent authority.
+
+The artist was twenty-six years old when he painted the "School of
+Anatomy." This picture is now at The Hague and two hundred years after
+it was painted the Dutch Government gave 30,000 florins for it.
+
+Rembrandt painted a good many "Samsons" first and last--himself
+evidently being the strong man; and the pictures beyond doubt express
+his own mood and his idea of his relation to things. After a little
+son was born to the artist, he painted still another Samson--this time
+menacing his father-in-law but as the artist had named his son after
+his father-in-law,--Rombertus--we cannot believe that there was any
+menace in the heart of Rembrandt--Samson. Soon his son died, and
+Rembrandt thought he should never again know happiness, or that the
+world could hold a greater grief, but one day he was to learn
+otherwise. A little girl was born to the artist, named Cornelia, after
+Rembrandt's mother, and he was again very happy.
+
+Meantime his brothers and sisters had died, and there came some
+trouble over Rembrandt's inheritance, but what angered him most of
+all, was that Saskia's relatives said she "had squandered her heritage
+in ornaments and ostentation." This made Rembrandt wild with rage, and
+he sued her slanderers, for he himself had done the squandering,
+buying every beautiful thing he could find or pay for, to deck Saskia
+in, and he meant to go on doing so.
+
+At this time he painted a picture of "The Feast of Ahasuerus" (or the
+"Wedding of Samson") and he placed Saskia in the middle of the table
+to represent Esther or Delilah as the case might be, dressed in a way
+to horrify her critical relatives, for she looked like a veritable
+princess laden with gorgeous jewels.
+
+One of his pictures he wished to have hung in a strong light, for he
+said: "Pictures are not made to be smelt. The odour of the colours is
+unhealthy."
+
+The first baby girl died and on the birth of another daughter she too
+was named Cornelia, but that baby girl also died, and next came a son,
+Titus, named for Saskia's sister, Titia, and then Saskia died. Thus
+Rembrandt knew the deepest sorrow of his life.
+
+He painted her portrait once again from memory, and that picture is
+quite unlike the others for it is no longer full of glowing life, but
+daintier, suggestive of a more spiritual life, as if she were growing
+fragile.
+
+It is written that "from this time, while he did much remarkable work,
+he seemed like a man on a mountain top, looking on one side to sweet
+meadows filled with flowers and sunlight, and on the other to a
+desolate landscape over which a clouded sun is setting." With Saskia
+died the best of Rembrandt. He made only one more portrait of
+himself--before this he had made many; and in it he makes himself
+appear a stern and fateful man. It was after Saskia's death that he
+painted the "Night Watch," or more properly, "The Sortie."
+
+Rembrandt's home, where he and Saskia were so happy, is still to be
+seen on a quay of the River Amstel. It is a house of brick and cut
+stone, four stories high. The vestibule used to have a flag-stone
+pavement covered with fir-wood. There were also "black-cushioned,
+Spanish chairs for those who wait," and all about were twenty-four
+busts and paintings. There was an ante-chamber, very large, with seven
+Spanish chairs covered with green velvet, and a walnut table covered
+with "a Tournay cloth"; there was a mirror with an ebony frame, and
+near by a marble wine-cooler. Upon the wall of this _salon_ were
+thirty-nine pictures and most of them had beautiful frames. "There
+were religious scenes, landscapes, architectural sketches, works of
+Pinas, Brouwer, Lucas van Leyden, and other Dutch masters; sixteen
+pictures by Rembrandt; and costly paintings by Palma Vecchio, Bassano,
+and Raphael."
+
+In the next room was a real art museum, containing splendid pictures,
+an oaken press and other things which suggest that this was the
+workroom where Rembrandt's etchings were made and printed.
+
+In the drawing-room was a huge mirror, a great oaken table covered
+with a rich embroidered cloth, "six chairs with blue coverings, a bed
+with blue hangings, a cedar wardrobe, and a chest of the same wood."
+The walls were literally covered with pictures, among which was a
+Raphael.
+
+Above was a sort of museum and Rembrandt's studio. There was rare
+glass from Venice, busts, sketches, paintings, cloths, weapons,
+armour, plants, stuffed birds and shells, fans, and books and
+globes. In short, this was a most wonderful house and no other
+interior can we reconstruct as we can this, because no other such
+detailed inventory can be found of a great man's effects as that from
+which these notes are taken: a legal inventory made in 1656, long
+after Saskia had died and possibly at a time when Rembrandt wished to
+close his doors forever and forget the scenes in which he had been so
+happy.
+
+Holland being truly a Protestant country, its artists have given us no
+great Madonna pictures, although they painted loving, happy Dutch
+mothers and little babes, but on the whole their subjects are quite
+different from those of the painters of Italy, France, and Spain.
+
+Rembrandt's studio was different from any other. When he first began
+to work independently and to have pupils, he fitted it up with many
+little cells, properly lighted, so that each student might work alone,
+as he knew far better work could be done in that way. It is said that
+his pictures of beggars would, by themselves, fill a gallery. He had a
+kindly sympathy for the poor and unfortunate, and tramps knew this, so
+that they swarmed about his studio doors, trying to get sittings.
+
+There is a story which doubtless had for its germ a joke regarding the
+slowness of an errand boy in a friend's household, but which at the
+same time shows us how rapidly Rembrandt worked. The artist had been
+carried off to the country to lunch with his friend Jan Six, and as
+they sat down at the table, Six discovered there was no mustard. He
+sent his boy, Hans, for it, and as the boy went out, Rembrandt wagered
+that he could make an etching before the boy got back. Six took the
+wager, and the artist pulled a copper plate from his pocket--he always
+carried one--and on its waxed surface began to etch the landscape
+before him. Just as Hans returned, Rembrandt gleefully handed Six the
+completed picture.
+
+He was a great portrait painter, but he loved certain effects of
+shadow so well that he often sacrificed his subject's good looks to
+his artistic purpose, and very naturally his sitters became
+displeased, so that in time he had fewer commissions than if he had
+been entirely accommodating.
+
+His meals in working time were very simple, often just bread and
+cheese, eaten while sitting at his easel, and after Saskia died he
+became more and more careless of all domestic details.
+
+Rembrandt finally married again, the second time choosing his
+housekeeper, a good and helpful woman, who was properly bringing up
+his little son, and making life better ordered for the artist, but he
+had grown poor by this time for he was never a very good business
+man. His beautiful house was at last sold to a rich shoemaker. Every
+picture latterly reflected his condition and mood. He chose subjects
+in which he imagined himself always to be the actor, and when his
+second wife died he painted a picture of "Youth Surprised by Death";
+he had not long to live. He became more and more melancholy; and
+sleeping by day, would wander about the country at night, disconsolate
+and sad. Finally, when he died, an inventory of his effects, showed
+him to be possessed of only a few old woollen clothes and his brushes
+The miracle in Rembrandt's painting is the deep, impenetrable shadow,
+in which nevertheless one can see form and outline, punctuated with
+wonderful explosions of light. Nothing like it has ever been seen. It
+is the most dramatic work in the world, and the most powerful in its
+effect. Other men have painted light and colour; Rembrandt makes gloom
+and shadow living things.
+
+This miracle-worker's funeral cost ten dollars; he died in Amsterdam
+and was buried in the Wester Kirk.
+
+  PLATE--THE SORTIE
+
+This picture is generally known as "The Night Watch," but it is really
+"The Sortie" of a company of musketeers under the command of a
+standard bearer. Captain Frans Banning-Cock and all his company were
+to pay Rembrandt for painting their portraits in a group and in
+action, and they expected to see themselves in heroic and picturesque
+dress, in the full blaze of day, but Rembrandt had found a magnificent
+subject for his wonderful shadows, and the artist was not going to
+sacrifice it to the vanity of the archers.
+
+This picture was called the "Patrouille de Nuit," by the French and
+the "Night Watch," by Sir Joshua Reynolds because upon its discovery
+the picture was so dimmed and defaced by time that it was almost
+indistinguishable and it looked quite like a night scene. After it was
+cleaned up, it was discovered to represent broad day--a party of
+archers stepping from a gloomy courtyard into the blinding
+sunlight. "How this different light is painted, which encircles the
+figures, here sunny, there gloomy!... Rembrandt runs through the
+entire range of his colours, from the lightest yellow through all
+shades of light and dark red to the gloomiest black." One writer
+describes it thus: "It is more than a picture; it is a spectacle, and
+an amazing one... A great crowd of human figures, a great light, a
+great darkness--at the first glance this is what strikes you, and for
+a moment you know not where to fix your eyes in order to comprehend
+that grand and splendid confusion... There are officers, halberdiers,
+boys running, arquebusiers loading and firing, youths beating drums,
+people bowing talking, calling out, gesticulating--all dressed in
+different costumes, with round hats, plumes, casques, morions, iron
+corgets, linen collars, doublets embroidered with gold, great boots,
+stockings of all colours, arms of every form; and all this tumultuous
+and glittering throng start out from the dark background of the
+picture and advance toward the spectator. The two first personages are
+Frans Banning-Cock, Lord of Furmerland and Ilpendam, captain of the
+company, and his lieutenant, Willem van Ruijtenberg, Lord of
+Vlaardingen, the two marching side by side. The only figures that are
+in full light are this lieutenant, dressed in a doublet of
+buffalo-hide, with gold ornaments, scarf, gorget, and white plume,
+with high boots, and a girl who comes behind, with blond hair
+ornamented with pearls, and a yellow satin dress; all the other
+figures are in deep shadow, excepting the heads, which are
+illuminated. By what light? Here is the enigma. Is it the light of the
+sun? or of the moon? or of the torches? There are gleams of gold and
+silver, moonlight coloured reflections, fiery lights; personages
+which, like the girl with blond tresses, seem to shine by a light of
+their own.... The more you look at it, the more it is alive and
+glowing; and, even seen only at a glance, it remains forever in the
+memory, with all its mystery and splendour, like a stupendous vision."
+Charles Blanc has said: "To tell the truth, this is only a dream of
+night, and no one can decide what the light is that falls on the
+groups of figures. It is neither the light of the sun or of the moon,
+nor does it come from the torches; it is rather the light from the
+genius of Rembrandt."
+
+This wonderful picture was painted in 1642 and many of the archer's
+guild who gave Rembrandt the commission would not pay their share
+because their faces were not plainly seen. This picture which alone
+was enough to make him immortal, was the very last commission that any
+of the guilds were willing to give the artist, because he would not
+make their portraits beautiful or fine looking to the disadvantage of
+the whole picture. This work hangs in the Rijks Museum in
+Amsterdam. He painted more than six hundred and twenty-five pictures
+and some of them are: "The Anatomy Lesson," "The Syndics of the Cloth
+Hall," "The Descent from the Cross," "Samson Threatening His Step
+Father," "The Money Changer," "Holy Family," "The Presentation of
+Christ in the Temple," "The Marriage of Samson," "The Rape of
+Ganymede," "Susanna and the Elders," "Manoah's Sacrifice," "The
+Storm," "The Good Samaritan," "Pilate Washing His Hands," "Ecce Home,"
+and pictures of his wife, Saskia.
+
+
+
+
+XXXIV
+
+SIR JOSHUA REYNOLDS
+
+
+  _English School_
+  1723-1792
+  _Pupil of Thomas Hudson_
+
+When Reynolds was "little Josh," instead of "Sir Joshua" he grew tired
+in church one day, and sketched upon the nail of his thumb the
+portrait of the Rev. Mr. Smart who was preaching. After service he ran
+to a boat-house near, and with ship's paint, upon an old piece of
+sail, he painted in full and flowing colours that reverend gentleman's
+portrait. After that there was not the least possible excuse for his
+father to deny him the right to become an artist.
+
+The father himself was a clergyman with a good education, and he had
+meant that his son should also be well educated and become a
+physician; but a lad who at eight years of age can draw the Plympton
+school house--he was born at Plympton Earl, in Devonshire--has a right
+to choose his own profession.
+
+At twenty-three years of age Sir Joshua was painting the portraits of
+great folk, and being well paid for it, as well as lavishly
+praised. His first real sorrow came at a Christmas time when he was
+summoned home from London where he was working, to his father's
+deathbed.
+
+After that the artist turned his thoughts toward Italy, but where was
+the money to come from? Earning a living did not include travelling
+expenses, but a good friend, Captain Keppel, was going out to treat
+with the Dey of Algiers about his piracies, and learning that the
+artist wished to go to Italy he invited him to go with him on his own
+ship, the _Centurion._ So while the captain was discussing pirates
+with the dey, Sir Joshua stopped with the Governor of Minorca and
+painted many of the people of that locality. Thence on to Rome!
+
+Strange to say, Raphael's pictures disappointed the English artist,
+and he said so; but Michael Angelo was to Reynolds the most wonderful
+of painters, and he said that his pictures influenced him all the rest
+of his life. He wished his name to be the last upon his lips, and
+while that was not so, yet it was the last he pronounced to his fellow
+Academicians in his final address.
+
+It was in Italy that a distressing misfortune came upon Sir Joshua. He
+meant to learn all that a man could learn in a given time of the art
+treasures there, and while he was working in a draughty corridor of
+the Vatican, he caught a severe cold which rendered him deaf. He
+continued deaf till the end of his life and had to use an ear-trumpet
+when people talked with him.
+
+When he got back to England, Hudson, his old master, said
+discouragingly: "Reynolds, you don't paint as well as when you left
+England." On the whole his reception at home, after his long absence,
+was not all that he could have wished, but he took a place in
+Leicester Square, settled down to live there for the rest of his life,
+and went at painting in earnest.
+
+Although artists criticised him more or less after his return, the
+public appreciated him and very soon orders for portraits began to
+pour in upon him, and the flow of wealth never ceased so long as he
+lived. It was said that all the fashionables came to him that did not
+go to Gainsborough, but those who were partial to Sir Joshua declared
+that all who could not go to him went to Gainsborough. The two great
+artists controlled the art world in their time, dividing honours about
+equally. It was said that all those women and men sat to Sir Joshua
+for portraits "who wished to be transmitted as angels... and who
+wished to appear as heroes or philosophers."
+
+Sir Joshua was a charming man, generous in feeling--as Gainsborough
+was not--and his closest friend was Dr. Johnson, the most different
+man from the artist imaginable, but Reynolds's art and Johnson's
+philosophy made a fine combination, each giving the other great
+pleasure. Besides Johnson, his friends were Goldsmith, Garrick, Bishop
+Percy, and other famous men of the time. These and others formed the
+"Literary Club" at Sir Joshua's suggestion. About that time there was
+the first public exhibition of the work of English artists, and Sir
+Benjamin West and Sir Joshua Reynolds built the Royal Academy for that
+first exhibition, with the help of King George's patronage. Joshua
+Reynolds was knighted when he was made the first president of that
+great body.
+
+Soon after the Academy was established, Reynolds began a series of
+"discourses," which in time became famous for their splendid literary
+quality, and some people, knowing his close friendship with Burke and
+Dr. Johnson, declared that the artist got one of them to write his
+"discourses" for him. This threw Johnson and Burke into a fury of
+resentment for their friend, and the doctor declared indignantly that
+"Sir Joshua would as soon get me to paint for him as to write for
+him!" Burke denied the story no less emphatically. Besides these
+speeches, which were a great advantage to the members of the Academy,
+Sir Joshua instituted the annual banquet to the members, and King
+George--who just before had given the commission of court painter to
+one less talented than Sir Joshua--bade him paint his portrait and the
+queen's, to hang in the Academy. This was a great thing for the new
+society and advanced its fortunes very much.
+
+Barry and Gainsborough were both churlish enough to envy Sir Joshua
+and to quarrel with his good feeling for them, but both men had the
+grace to be sorry for behaviour that had no excuse, and both made
+friends with him before they died--Gainsborough on his death-bed.
+
+Toward his last days the artist was attacked with paralysis, but grew
+better and was able to paint again; then he began to go blind--he was
+already deaf--and this affliction made painting impossible. Shortly
+before his death, he undertook to raise funds for a monument to his
+dead friend, Dr. Johnson, but he grew more and more ill, "and on the
+23d February, 1792, this great artist and blameless gentleman passed
+peacefully away."
+
+That he was very painstaking in his work is shown by an anecdote about
+his infant "Hercules." "How did you paint that part of the picture?"
+some one asked him. "How can I tell! There are ten pictures below
+this, some better, some worse"--showing that in his desire for
+perfection he painted and repainted.
+
+So untiring was he in seeking out the secrets of the old masters that
+he bought works of Titian and Rubens, and scraped them, to learn their
+methods, insisting that they had some secret underlying their work. So
+anxious was he to get the most brilliant effects of colours that he
+mixed his paints with asphaltum, egg, varnish, wax, and the like, till
+one artist said: "The wonder is that the picture did not crack beneath
+the brush." Many of these great pictures did go to pieces because of
+the chances Sir Joshua took in mixing things that did not belong
+together, in order to make wonderful results.
+
+Sir George Beaumont recommended a friend to go to Reynolds for his
+portrait and the friend demurred, because "his colours fade and his
+pictures die before the man."
+
+"Never mind that!" Sir George declared; "a faded portrait by Reynolds
+is better than a fresh one by anybody else."
+
+The same tender, sensitive and devoted nature which caused Sir
+Joshua's mother to weep herself blind upon her husband's death,
+belonged to the artist. All of his life he was surrounded by loving
+friends, and his devotion to them was conspicuous. He, like Duerer and
+several other painters, was a seventh son, and his father's
+disappointment was keen when he took to art instead of to medicine. So
+little did his father realise what his future might be, that he wrote
+under the sketch of a wall with a window in it, drawn upon a Latin
+exercise book: "This is drawn by Joshua in school, out of pure
+idleness."
+
+But by the time Joshua was eight years old and had drawn a fine
+"sketch of the grammar-school with its cloister... the astonished
+father said: 'Now, this exemplifies what the author of "perspective"
+says in his preface: "that, by observing the rules laid down in this
+book, a man may do wonders"--for this is wonderful.'"
+
+Sir Joshua laid down--even wrote out--a great many rules of conduct
+for himself. Some of these were: "The great principle of being happy
+in this world is not to mind or be affected with small things." Also:
+"If you take too much care of yourself, nature will cease to take care
+of you."
+
+When Samuel Reynolds, Joshua's father, consulted with his friend
+Mr. Craunch, as to whether a boy who made wonderful paintings at
+twelve years of age, would be likely to be a successful apothecary, he
+told Craunch that Joshua himself had declared that he would rather be
+a good apothecary than a poor artist, but if he could be bound to a
+good master of painting he would prefer that above everything in the
+world. This was how he came to be apprenticed to Hudson, the
+painter. Young Reynolds's sister paid for his instruction at first--or
+for half of it, with the understanding that Reynolds was to pay her
+back when he was earning. At that time Reynolds wrote to his father:
+"While I am doing this I am the happiest creature alive."
+
+One day, while in an art store, buying something for Hudson, Reynolds
+saw Alexander Pope, the poet, come in, and every one bowed to him and
+made way for him as if for a prince. Pope shook hands with young
+Reynolds, and in writing home, describing the poet, the artist said
+that he was "about four feet six inches high; very humpbacked and
+deformed. He wore a black coat and according to the fashion of that
+time, had on a little sword. He had a large and very fine eye, and a
+long handsome nose; his mouth had those peculiar marks which are
+always found in the mouths of crooked persons, and the muscles which
+run across the cheeks were so strongly marked that they seemed like
+small cords." This is a masterly description of one famous man by
+another.
+
+He finally was dismissed from his master's studio on the ground that
+he had neglected to carry a picture to its owner at the time set by
+Hudson, but the fact was the older artist had become jealous of the
+work of his pupil, and would no longer have him in his studio.
+
+Afterwards, while he was painting down in Devonshire--thirty portraits
+of country squires for fifteen dollars apiece--he said: "Those who are
+determined to excel must go to their work whether willing or
+unwilling, morning, noon, and night, and they will find it to be no
+play, but, on the contrary, very hard labour." This shows that
+Reynolds's idea of genius was "an infinite capacity for hard work."
+
+While Reynolds was on his memorable journey to Rome, he made several
+volumes of notes about the pictures of great Italian artists--Raphael,
+Titian, etc. And one of those volumes is in the Lenox Library, New
+York City. He made a most characteristic and delightful remark in
+regard to his disappointment in Raphael's pictures. "I did not for a
+moment conceive or suppose that the name of Raphael, and those
+admirable paintings in particular, owed their reputation to the
+_ignorance_ ... of mankind; on the contrary, my not relishing them, as
+I was conscious I ought to have done was one of the most humiliating
+things that ever happened to me."
+
+He loved home and country so much that while in Venice he heard a
+familiar ballad sung in an opera, and it brought the tears to his eyes
+because of its association with "home."
+
+His young sister, was so undecided in her ways and opinions as to make
+it impossible for Reynolds long to live with her, but she undertook to
+be his housekeeper when he returned to London, and she also tried to
+copy his pictures Reynolds said the results "made other people laugh,
+but they made me cry."
+
+Reynolds painted the portraits of two Irish sisters--the Countess of
+Coventry and the Duchess of Hamilton--two of the most beautiful women
+in all the British Empire. "Seven hundred people sat up all night, in
+and about a Yorkshire inn, to see the Duchess of Hamilton get into her
+postchaise in the morning, while a Worcester shoemaker made money by
+showing the shoe he was making for the Countess of Coventry." Sir
+Joshua declared that whenever a new sitter came to him, even till the
+last years of his life, he always began his portrait with the
+determination that that one should be the best he had ever
+painted. Success was bound to attend that sort of man.
+
+He painted every picture almost as an experiment; meaning to learn
+something new with every work, and he spent more than he made in
+perfecting his art. As he said: "He would be content to ruin himself"
+in order to own one of the best works of Titian.
+
+His deeds of kindness are beyond counting. He rescued his friend
+Dr. Johnson from debt--thereby saving him from prison; and when a
+young lad, "a son of Dr. Mudge," who was very anxious to visit his
+father on the occasion of his sixteenth birthday, grew too ill to make
+the journey. Reynolds said gaily: "No matter my boy. _I_ will send you
+to your father." He painted a splendid portrait of the boy and sent it
+to Dr. Mudge. This gift of a picture, however, was very unusual with
+Reynolds, who, unlike Gainsborough who gave his by the bushel to
+everyone, declared that his pictures were not valued unless paid
+for. When Sir William Lowther, a gay and rich young man of London,
+died, he left twenty-five thousand dollars to each of thirteen
+friends, and each of the thirteen commissioned the painter to make a
+portrait of Lowther, their benefactor. His work room was of interest:
+"The chair for his sitters was raised eighteen inches from the floor,
+and turned on casters. His palettes were those which are held by a
+handle, not those held on the thumb. The stocks of his pencils were
+long, measuring about nineteen inches. He painted in that part of the
+room nearest to the window, and never sat down when he painted." The
+chariot in which he drove about had the four seasons allegorically
+painted upon its panels, and his liveries were "laced with silver";
+while the wheels of his coach were carved with foliage and gilded.
+
+Sir Joshua knew that it paid to advertise, and as he had no time to go
+about in that gorgeous chariot he made his sister go, for he declared
+that people seeing that magnificent coach would ask: "Whose chariot is
+that?" and upon being told could not fail to be impressed with his
+prestige. The comical inconsequence of this anecdote concerning a man
+so important robs it of vulgarity.
+
+The graceful anecdotes told of Reynolds are without number, but one
+and all are to his advantage and show him to have been good and
+gentle, a devoted and high-bred man.
+
+  PLATE--THE DUCHESS OF DEVONSHIRE AND HER DAUGHTER
+
+This is generally considered one of the finest of Sir Joshua's
+pictures, if not the most beautiful of all. He was such a welcome
+guest at the houses of grandees that perchance he had noticed the
+lovely duchess playing with her still more lovely baby, and thought
+what a charming picture the two would make. As a representation of the
+artist's ability to portray grace and sweetness it can hardly be
+surpassed. He painted it in 1786, half a dozen years before his death,
+and it now hangs in Chatsworth, the home of the present Duke of
+Devonshire.
+
+Other well known Reynolds paintings are "The Hon. Ann Bingham," "The
+Countess of Spencer," the "Nieces of Sir Horace Walpole," and the
+"Angels' Heads" in the National Gallery.
+
+
+
+
+XXXV
+
+PETER PAUL RUBENS.
+
+
+  _Flemish School_
+  1577-1640
+  _Pupil of Tobias Verhaecht_
+
+The story of Peter Paul Rubens, whose birthday falling upon the saint
+days of Peter and Paul gave to him his name, is hardly more
+interesting than that of his parents, although it is quite
+different. The story of Rubens's parents seems a part of the artist's
+story, because it must have had something to do with influencing his
+life, so let us begin with that.
+
+John Rubens was Peter Paul's father, and he was a learned man, a
+druggist, but he had also studied law, and had been town councillor
+and alderman in the town where he was born. Life went easily enough
+with him till the reformation wrought by Martin Luther began to change
+John Rubens's way of thinking, and he turned from Catholic to
+Lutheran.
+
+From being a good Catholic John Rubens became a rabid reformer; and
+when, under the new faith, the Antwerp churches were stripped of their
+treasures, the magistrates were called to account for it. John Rubens,
+as councillor, was among those summoned. The magistrates declared that
+they were all good Catholics, but a list of the reformers fell into
+the Duke of Alva's hands and Rubens's name was there. This meant death
+unless he should succeed in flying from the country, which he
+instantly did. That was in 1568, when he had four children, but Peter
+Paul was not one of them--since he was a seventh son.
+
+The Rubens family went to live in Cologne, where the father found his
+learning of great use to him, and he was honoured by being made legal
+adviser to Anne of Saxony who was William the Silent's second
+queen. John Rubens's behaviour was not entirely honourable and before
+long he was thrown into prison, but his good wife, Maria Pypelincx
+undertook to free him. He had treated her very badly, but her devotion
+to his cause was as great as if he had treated her well. Despite his
+wife's efforts he was kept a prisoner in the dungeon at Dillenburg for
+two years, and afterward he was removed to Siegen, the place where
+Peter Paul was born.
+
+In the sixteenth century there were no records of any sort kept in the
+town of Siegen, and so we cannot be absolutely sure that Peter Paul
+was born there, but his mother was certainly there just before and
+after the date of his birth, which was the 29th of June 1577. After
+his birth, his father was set free in Siegen and allowed to go back to
+the city in which he had misbehaved himself. In Cologne he became once
+more a Catholic, and he died in that faith. Meantime, ten years had
+passed since Peter Paul's birth, and both his father and mother were
+determined above all things their son should have a fine education,
+quite unlike other artists, for the boy seemed capable of
+learning. While he was still very small he could speak to his tutor in
+French, to his mother in Flemish, and to his father in Latin. Besides
+these languages he spoke also Italian and English. Before he was an
+artist, Rubens, like Duerer and Leonardo da Vinci, was a child of rare
+intelligence. As a little chap he went to Antwerp with his
+mother--this was after his father's death--and in Belgium he took for
+the first time the role of courtier, in which he was to become so
+successful later in life. The charming little fellow, dressed in
+velvet and lace, took his place in the household of the Countess of
+Lalaing, in Brussels.
+
+Very soon after entering that household, Rubens was permitted by his
+mother to leave it for the studio of the painter who was his first
+master, though not the one who really taught him much. Rubens did not
+stay there long, but went instead to the studio of Adam van Noort, an
+excellent painter of the time. After that he studied under another
+artist, who was both a scholar and a gentleman, Van Veen, and with him
+Peter Paul was able to speak in Latin and in his many other languages,
+while learning to paint at the same time.
+
+Thus we find Rubens's lot was always cast, not among the rich, but
+among the intelligent, the well bred, and the cultivated. This fact
+alone would prepare us to anticipate pleasant things for him and from
+him.
+
+In those days of guilds, there were many rules and regulations. Van
+Noort, Rubens's teacher, was dean of the painters' guild and through
+his influence the guild recognised Rubens as "master," which meant
+that he was qualified to take pupils; thus he was pupil and teacher at
+the same time.
+
+One is unable to think of Rubens as having low tastes, as being
+morose, erratic, or anything but a refined, gracious, and brilliant
+gentleman. He began well, lived well, and ended well.
+
+None of his teachers really impressed their style of art upon him. He
+was the model for others. Rubens became nothing but Rubens, but all
+the art world wished to become "Rubenesque."
+
+Rubens went to Mantua to see the art of Italy, and while there he met
+the Duke of Mantua who was Vincenzo Gonzaga, the richest, most
+powerful personage of that region and time. The duke engaged Rubens to
+paint the portraits of many beautiful women--just the sort of
+commission that Rubens's pupil, Van Dyck, would have loved; but
+Rubens's art was of sterner stuff, and the work by no means delighted
+him. He had great ideas, profound purposes, and wished to undertake
+them, but just then it seemed best that he perform that which the Duke
+of Mantua wanted him to do; hence he set about it.
+
+Later Rubens went to the Spanish court, not as a painter, but as a
+cavalier upon a diplomatic mission. Bearing many beautiful presents to
+King Philip III., he went to Madrid, where his elegance, manly beauty,
+dashing manner, and ability to speak several languages made him a
+wonderful success. He remained for three years at the court and
+studied the methods of Spanish painters. He also painted the members
+of the Spanish court, as Velasquez had done, but they looked like
+people of another world. The Spanish aristocracy had always been
+painted with pallid faces, languid and elegant poses; but Rubens gave
+them a touch of the life he loved--made them robust and apparently
+healthy-minded. Of all great colourists, Rubens took the lead. Titian
+with his golden hues and warm haired women was very great, but Rubens,
+"the Fleming" as he was called, revelled in richness of colouring, and
+flamed through art like a glorious comet.
+
+Rubens had long been wanted in his own country. His sovereigns, Albert
+and Isabella, wished him to return and become their painter, but they
+were unable to free him from his engagements in Italy and Spain. At
+last Rubens received word that his mother, whom he loved devotedly,
+was likely to die, and what kings could not do his love for her
+accomplished.
+
+Although his patron, the Duke of Mantua, was absent, and his consent
+could not be secured, Rubens set off post-haste to his mother's
+home. He arrived in Antwerp too late to see Maria Pypelincx, who had
+died before he reached her. Once more on his native soil, Albert and
+Isabella determined to induce him to remain. He had intended to go
+back to Mantua and continue his work under the duke, but since he was
+now in Belgium he decided to stay there, and thus he became the court
+painter in his own country, which after all he greatly preferred to
+any other.
+
+He was to have a salary of five hundred livres ($96) a year, also "the
+rights, honours, privileges, exemptions, etc." that belonged to those
+of the royal household; and he was given a gold chain. In this day of
+large doings there is something about such details that seems
+childish, but a "gold chain" was by no means a small affair at a time
+when $96 was considered an ample money-provision for an artist.
+
+That gorgeous gold chain, a mark of distinction rather than a reward,
+is to be seen in all its glory in one of Rubens's great paintings. The
+artist himself is mounted upon a horse, the chain about his neck,
+while he is surrounded by "no fewer than eight-and-twenty life-size
+figures, many in gorgeous attire, warriors in steel armour, horsemen,
+slaves, camels, etc." This picture, "The Adoration of the Magi," was
+twelve feet by seventeen, and was painted at the town's expense. It
+was later sent to Spain and placed in the Madrid Gallery.
+
+One of the greatest honours that could come to students of that day,
+was to be admitted to Rubens's studio to paint under his direction,
+and it is said that "hundreds of young men waited their turn, painting
+meanwhile in the studios of inferior artists, till they should be
+admitted to the studio of the great master."
+
+Rubens was a king among painters, as well as a painter patronised by
+kings.
+
+He had two wives, and he married the first one in 1609. Her name was
+Isabella Brant. Sir Joshua Reynolds said of her: "His wife is very
+handsome and has an agreeable countenance, but the picture is rather
+hard in manner"--by which he meant a picture which Rubens had painted
+of her. One of his greatest privileges when he was engaged at the
+court of Albert and Isabella, had been that he need obey none of the
+exactions of the Guild of St. Luke, none of their rigid rules
+concerning the employment of art students. Rubens could take into his
+service whom he pleased, whether they had been admitted as members of
+the guild or not, though to be a member of the guild was a testimony
+to their qualifications. In the end, this did a good deal of harm, for
+Rubens employed students to do the preliminary work of his pictures,
+who had not been his pupils and who were not otherwise qualified. Thus
+we read criticisms like that of Sir Joshua's; and many of Rubens's
+pictures are marred in this manner.
+
+A story is told of Van Dyck and other pupils of Rubens breaking into
+the master's studio and smudging a picture which Van Dyck afterward
+repaired by painting in the damaged portion most successfully. We are
+also told in connection with Rubens's picture, "The Descent from the
+Cross," that Van Dyck restored an arm and shoulder of Mary of Magdala,
+but certainly Van Dyck did not become a pupil of Rubens till some time
+after that picture was painted.
+
+The work of a wonderful period in Rubens's art was completely
+destroyed. In two years time he painted forty ceilings of churches in
+Antwerp, all of which were burned, but there is a record of them in
+the copies made by De Witt, in water colours from which etchings were
+afterward made. This work of Rubens was the first example of
+foreshortening done by a Flemish painter.
+
+Above all things Rubens liked to paint big pictures, on very large
+surfaces, as did Michael Angelo. "The large size of picture gives us
+painters more courage to present our ideas with the utmost freedom and
+semblance of reality. ... I confess myself to be, by a natural
+instinct, better fitted to execute works of the largest size." He
+wrote this to the English diplomat Trumbull in 1621.
+
+In the midst of Rubens's greatest success as a painter came his
+diplomatic services. It was desirable that Spain and England should be
+friends, and Rubens always moving about because of his work, and being
+so very clever, the Spanish powers thought him a good one to negotiate
+with England. While on a professional visit to Paris, the English Duke
+of Buckingham and the artist met, and this seemed to open a way for
+business. The Infanta consented to have Rubens undertake this delicate
+piece of statesmanship, but Philip of Spain did not like the idea of
+an artist--a wandering fellow, as an artist was then thought to
+be--entering into such a dignified affair. The real negotiator on the
+English side, was Gerbier, by birth also a Fleming, and strange to
+tell, he too had been an artist. The English engaged him to look after
+their interests in the affair, and as soon as Philip learned that
+their diplomat was also an artist, his prejudices against Rubens as a
+statesman, disappeared. So it was decided that the two Flemings,
+artists and diplomats, should meet in Holland to discuss
+matters. About that time Sir Dudley Carleton wrote to Lord Conway:
+"Rubens is come hither to Holland, where he now is, and Gerbier in his
+company, walking from town to town, upon their pretence of taking
+pictures, which may serve him for a few days if he dispatch and be
+gone; but yf he entertayne tyme here long, he will infallibly be layd
+hold of, or sent with disgrace out of the country ... this I have made
+known to Rubens lest he should meet with a skorne what may in some
+sort reflect upon others."
+
+The two clever men got through with their talk, nothing unfortunate
+happened, and Rubens got off to Spain where he laid the result of his
+talk with Gerbier before the Spanish powers. He was given a studio in
+Philip's palace, where he carried on his art and his diplomacy. The
+king became delighted with him as a man and an artist, and as well as
+attending to state business, he did some wonderful painting while in
+Madrid. He was there nine months or more, and then started off for
+England to tell Charles I. of Philip III.'s wishes. But upon his
+arrival he learned that a peace had just been concluded between France
+and England, and all was excitement.
+
+He was received in England as a great artist; every honour was
+showered upon him, and when he made Philip's request to Charles, that
+he should not act in a manner hostile to Spain, Charles agreed, and
+kept that agreement though France and Venice urged him to break it.
+
+Charles knighted Rubens while he was in England, and the University of
+Cambridge made him Master of Arts. The sword used by the king at the
+time he gave the accolade is still kept by Rubens's descendants.
+
+While he was in London Rubens was very nearly drowned in the Thames
+going down to Greenwich in a boat.
+
+When he first went from Italy to Spain on a mission of state, he
+carried a note or passport bearing the following lines: "With these
+presents" (he took magnificent gifts to Philip, among them a carriage
+and six Neapolitan horses) "comes Peter Paul, a Fleming. Peter Paul
+will say all that is proper, like the well informed man that he
+is. Peter Paul is very successful in painting portraits. If any ladies
+of quality wish their pictures, let them take advantage of his
+presence." When he visited England there was no longer need of such
+introduction; he went in all the magnificence that his genius had
+earned for him.
+
+Rubens was always a happy man, so far as history shows. He married the
+first time, a woman who was beautiful and who loved him, as he loved
+her. He was able to build for himself a beautiful house in Antwerp. In
+the middle of it was a great _salon_, big enough to hold all his
+collection of pictures, vases, bronzes, and beautiful jewels. There
+was also a magnificent staircase, up which his largest pictures could
+be easily carried, for it was built especially to accommodate the
+requirements of his work.
+
+Rubens's greatest picture was painted through a strange happening when
+this beautiful house was being built. The land next to his belonged to
+the Archers' Guild and when the workmen came to dig Rubens's cellar,
+they went too far and invaded the adjoining property. The archers made
+complaint, and there seemed no way to adjust the matter, till some one
+suggested that Rubens make them a picture which should be accepted as
+compensation for the harm done. This Rubens did, and the picture was
+to be St. Christopher--the archers' patron saint; but when the work
+was done "Rubens surprised them" by exhibiting a picture "of all who
+could ever have been called 'Christ-bearers.'" This was "The Descent
+from the Cross"--not a single picture but a picture within a picture,
+for there were shutters folding in front of it, and on these was
+painted the archers' patron, St. Christopher.
+
+Rubens's daily life is described thus: "His life was very
+methodical. He rose at four, attended mass, breakfasted, and painted
+for hours; then he rested, dined, worked until late afternoon; then,
+after riding for an hour or two one of his spirited horses, and later
+supping, he would spend the evening with his friends.
+
+"He was fond of books, and often a friend would read aloud to him
+while he worked." This is a pleasant picture of a reasonable and
+worthy life.
+
+It is said that once he painted eighteen pictures in eighteen days,
+and it is known that he valued his time at fifty dollars a day.
+
+His pupil, Van Dyck, being pushed for money, turned alchemist and
+tried to manufacture gold, but when Rubens was approached by a
+visionary who wanted him to lend him money by which he might pursue
+such a work, promising Rubens a fortune when he should have discovered
+how to make his gold, the artist laughed and said: "You are twenty
+years too late, friend. When I wield these," indicating his palette
+and brush, "I turn all to gold."
+
+Many are the delightful anecdotes told of Rubens. It is said that
+while he was at the English court he was painting the ceiling of the
+king's banqueting hall, and a courtier who stood watching, wished to
+say something _pour passer le temps_, so he asked: "Does the
+ambassador of his Catholic Majesty sometimes amuse himself with
+painting?"
+
+"No--but he sometimes amuses himself with being an ambassador," was
+the witty retort, which showed how he valued his two commissions.
+
+When King Charles I. knighted Rubens he gave him, beside the jewelled
+sword, a golden chain to which his miniature was attached. If Rubens
+had gone about with all the chains and decorations given him by kings
+and other great ones of the earth he would have been weighted down,
+and would have needed two pairs of shoulders on which to display them.
+
+Rubens's first wife died; and when he married again, he was as fond of
+painting pictures of the second wife as he had been of the first. The
+name of the second was Helena Fourment, and she is called by one
+author "a spicy blonde." Certainly she was very gay, big, and robust,
+and only sixteen years old when she married Rubens who was then a man
+of fifty-three. Of one picture, "The Straw Hat," for which he is
+supposed to have used his wife's sister as model, he was so fond that
+he would not sell it at any price.
+
+Rubens had a rare mother, as shown in her letters to her husband,
+John, when he was in prison for his wrongdoing. It would seem that
+such a mother must have a strong, forceful son, and Rubens is less of
+a surprise than many artists who had no such influence in their
+childhood. The history of Rubens's mother is worthy of being told even
+had she not had a famous son who painted a beautiful picture of her.
+
+Rubens's "Holy Families" are like those of no other painter. The
+Virgin, the Child, all the others in the picture, are quite different
+from the Italian figures. These are human beings, good to look upon;
+full of love and joy, softness and beauty.
+
+It was his learning that first won favour for him in Italy. The Duke
+of Mantua hearing him read from Virgil, spoke to him in Latin, and
+being answered in that tongue was so charmed that the foundation of
+their friendship and the duke's patronage was laid. In Italy he was
+called "the antiquary and Apelles of our time."
+
+His nephew-biographer writes of him: "He never gave himself the
+pastime of going to parties where there was drinking and card-playing,
+having always had a dislike for such."
+
+As Rubens grew in fame, he found that many were jealous of him, and on
+one occasion a rival proposed that he and Rubens each paint a picture
+upon a certain subject and leave it to judges to decide which work was
+the best--Rubens's or his own.
+
+"No," said Rubens. "My attempts have been subjected to the scrutiny of
+connoisseurs in Italy and Spain. They are to be found in public
+collections and private galleries in those countries; gentlemen are at
+liberty to place their works beside them, in order that comparison may
+be made." This was a dignified way of disposing of the case.
+
+Rubens loved to paint animals, and he had a great lion brought to his
+home, that he might study its poses and movements.
+
+The flesh of his figures was so lifelike that Guido declared he must
+mix blood with his paints. He was called "the painter of life."
+
+Rubens, a seventh child, had also seven children, two belonging to his
+first wife, five to the second.
+
+Many stories are told of his patience and his kindness. It is said
+that at one time his old pupil, Van Dyck, returned to Antwerp after an
+absence, greatly depressed and in need of money. Rubens bought all his
+unsold pictures, and he did this charitable act more than once, and is
+known to have done the same thing for a rival and enemy, out of sheer
+goodness of heart.
+
+Kings and queens came to the Rubens house, people of many nations did
+him honour; and toward his closing days, when gout had disabled him,
+ambassadors visited him, since he could not go to them.
+
+In a description of his death and burial which took place at Antwerp
+we read: "He was buried at night as was the custom, a great concourse
+of citizens ... and sixty orphan children with torches followed the
+body." He was placed in the vault of the Fourment family, and as he
+had requested, "The Holy Family" was hung above him. In that picture,
+we find the St. George to be Rubens himself; St. Jerome, his father;
+an angel, his youngest son, while Martha and Mary are Isabella and
+Helena, his two wives.
+
+He left many sketches "to whichever of his sons became an artist, or
+to the husband of his daughter who should marry an artist." But there
+were none such to claim the bequest.
+
+  PLATE--THE INFANT JESUS AND ST. JOHN
+
+The little girl behind Jesus is supposed to represent his future
+bride, the Christian Church. The thoughtful, far-seeing look upon the
+face of the Christ-child, though it does not clash with His youthful
+charm, is meant to suggest that He has a premonition of His work in
+the world. The other joyous little figures also demonstrate the
+artist's love for children. He brings them into his pictures, as
+cherubs, wherever he can, and they are frequently just as well painted
+and more universally appreciated than his stout women. In this picture
+he has a good opportunity to show his adorable flesh tints, combined
+with the movement and freedom naturally associated with child life.
+
+The original painting is in the Court Museum at Vienna, but it has
+always been so popular that many copies of it have been made, and one
+of these is in the Berlin Gallery.
+
+  PLATE--THE ARTIST'S TWO SONS
+  _(See Frontispiece_)
+
+This picture hangs in the Lichtenstein Gallery at Vienna; the two
+boys, eleven and seven years of age, are the sons of Rubens by his
+first wife, Isabella Brant; and Albert, the elder of the two, greatly
+resembles his mother. He is evidently a student, for he wears the
+dress of one and carries a book in one hand. The other is placed
+affectionately upon the shoulder of his little brother, Nicolas, whose
+face, figure, and attire are all much the more childish of the two.
+
+Critics consider this painting to mark the Highest point which Rubens
+reached in portraiture. It has all the colour, character, and vitality
+of his best work. Some of his other pictures are: "Coronation of Marie
+de Medicis," "The Kirmesse," "Slaughter of the Innocents," "Susanna's
+Bath," "Capture of Samson," "A Lion Hunt" and "The Rape of the
+Daughters of Leucippus."
+
+
+
+
+XXXVI
+
+JOHN SINGER SARGENT
+
+
+  _American and Foreign Schools_
+  1856-1926
+  _Pupil of Carolus Durand_
+
+This artist was born in Europe, of American parents; thus we may say
+that he was "American," though he owed nothing but dollars to the
+United States, since his instruction was obtained in Italy and France,
+and all his associations in art and friendship were there. He was
+probably the most brilliant of the artists termed American. His great
+mural work in the Boston Public Library, is hardly to be surpassed.
+
+Above all, Sargent's portraits are masterly. He was famous in that
+branch of art before he was twenty-eight years old. Among his finest
+portraits is that of "Carmencita," a Spanish dancer, who for a time
+set the world wild with pleasure. The list of his famous portraits is
+very long.
+
+Sargent's father was a Philadelphia physician; who originally came
+from New England, but the artist himself was born in Florence. He was
+given a good education and grew up with the beauties of Florence all
+about him, in a refined and charming home. He was the delight of his
+master, Carolus Durand for he was modest and refined, yet full of
+enthusiasm and energy. In his twenty-third year he painted a fine
+picture of his master. Sargent was a musician as well as a painter; a
+man of great versatility, as if the gods and all the muses had
+presided at his birth.
+
+  PLATE--CARMENCITA
+
+In this picture of the famous Spanish dancer Sargent shows all the
+life and character he can put into a portrait. The girl seems on the
+point of springing into motion. She is poised, ready for flight and
+the proud lift of her head makes one believe that she will accomplish
+the most difficult steps she attempts. The painting is in the
+Luxembourg, Paris.
+
+Other noted Sargent portraits are "Mr. Marquand" in the Metropolitan
+Museum of Art, "Lady Elcho, Mrs. Arden, Mrs. Tennant," "Mrs. Meyer and
+Children," "Homer St. Gaudens," "Henschel," and "Mr. Penrose."
+
+
+
+
+XXXVII
+
+TINTORETTO (JACOPO ROBUSTI)
+
+
+  _Venetian School_
+  1518-1594
+  _Pupil of Titian_
+
+Tintoretto was born with an ideal. As a young boy he wrote upon his
+studio wall: "The drawing of Michael Angelo, the colouring of Titian,"
+and that was the end he tried to reach. His father was a "tintore"--a
+dyer of silk, a tinter--and it was from the character of that work the
+artist took his name. He helped his father with the dyeing of silks,
+while he was still a child, and was called "II tintoretto," little
+dyer.
+
+As the little tinter showed great genius for painting, his father
+placed him in Titian's studio, but for some reason he only stayed
+there a few days, long enough, however, to permit us to call him a
+pupil of Titian; especially as he wrote that master's name upon his
+wall and determined to imitate him. After his few days with Titian,
+Tintoretto studied with Schiavone and afterward set up a studio for
+himself.
+
+As a determined lad in this studio of his, Tintoretto tried every
+means of developing his art. He studied the figures upon Medicean
+tombs made by Michael Angelo, taking plaster casts of them and copying
+them in his studio. He used to hang little clay figures up by strings
+attached to his ceiling, that he might get the effect of them high in
+air. By looking at them thus from below he gained an idea of
+foreshortening.
+
+Although this artist nearly succeeded in getting into line with
+Michael Angelo, he did not colour after the fashion of his master,
+Titian. Tintoretto was about twenty-eight years old before he got any
+very big commission, but at that age a chance came to him. In the
+church of Santa Maria del Orto were two great bare spaces, unsightly
+and vast, about fifty feet high and twenty broad. In that day anything
+and everything was decorated with masterpieces, and it was almost
+disgraceful for a church to let such a space as that go
+unfrescoed. Tintoretto saw an opportunity, and finally offered to
+paint pictures there for nothing if the church would agree to pay for
+the materials he needed. The church certainly was not going to refuse
+such an offer, even if Tintoretto was not thought to be much of an
+artist at the time. If the work was poor, one day they could choose to
+have it repainted. Thus Tintoretto got his first great opportunity. He
+painted on those walls "The Last Judgment" and "The Golden Calf." They
+made him famous, and gained him the commission to paint the picture
+which is used as an illustration here.
+
+The brothers of the Scuola di San Rocco asked him to compete with
+Veronese, in painting the ceilings after he had done four pictures for
+their walls.
+
+Tintoretto consented, and Veronese and two others who were in the
+competition set about making their sketches which they were to present
+for the brothers' consideration. Finaly the day of decision came. All
+were assembled, the artists armed with sketches of their plans.
+
+"Where are yours, Tintoretto?" the others asked. "We expect a drawing
+of your idea."
+
+"Well, there it is," the artist answered, drawing a screen from the
+ceiling. Behold! he had already painted it to suit himself. The work
+was complete.
+
+"That is the way I make my sketches," he said.
+
+Though the work was magnificent it had not been done according to the
+monks' ideas of business and order. They objected and objected.
+
+"Very well," the artist cried; "I will make the ceiling a present to
+you." As there was a rule of their order forbidding them to refuse a
+present, they had to accept Tintoretto's. This did not promise very
+good business at the time, but the work was so splendid and Tintoretto
+so reasonable that they finally agreed to give him all the work of
+their order--nearly enough to keep him employed during a
+lifetime. After that he painted sixty great pictures upon their walls.
+
+He painted so much and so fast that he did not always do good work,
+and one critic declares that "while Tintoretto was the equal of
+Titian, he was often inferior to Tintoretto"--which after all is a
+very fine compliment.
+
+His life was so tranquil and uneventful that there is little to say of
+it; but there is much to say of his art. He lived mostly in his
+studio, and when he died he was buried in the Santa Maria del
+Orto--the church in which he had done his first work.
+
+Veronese had given to Venice a brilliant, glowing, rich, ravishing
+riot of colour and figures, but Tintoretto was said to rise up
+"against the joyful Veronese as the black knight of the Middle Ages,
+the sombre priest of a gloomy art." Tintoretto was of stormy
+temperament, and upon one occasion he proved it by thrusting a pistol
+under a critic's nose, after he had invited him to his studio; it is
+this half savage spirit that may be seen in his paintings. He had
+deep-set, staring eyes, it is said, a furrowed brow and hollow cheeks,
+indicative of his passionate spirit. He painted very few female
+figures, but mostly men. When he did paint a woman, she looked mannish
+and not beautiful. When he painted gorgeous subjects, like doges and
+senators, he gave to them gloomy backgrounds, awe-inspiring poses, and
+he seldom painted a figure "full-face" but three-quarter, or half, so
+that he did not give himself a chance to present human figures in
+beautiful postures. He is said to have been the first who painted
+groups of well-known men in pictures intended for the decoration of
+public buildings. One great critic has written that "while the Dutch,
+in order to unite figures, represented them at a banquet, Tintoretto's
+_nobili_ (aristocrats) were far too proud to show themselves to the
+people" in so gay and informal a situation. With the coming of
+Tintoretto it was said "a dark cloud had overcast the bright heaven of
+Venetian art. Instead of smiling women, bloody martyrs and pale
+ascetics" were painted by him. He dissected the dead in order to learn
+the structure of the human body. In his paintings "his women,
+especially, with their pale livid features and encircled eyes,
+strangely sparkling as if from black depths, have nothing in common
+with the soft" painted flesh which he pictured in his youth while he
+was following Titian as closely as he could. As he grew older and his
+art more fixed, he followed Michael Angelo more and more. Titian's
+colouring was that of "an autumn day" but Tintoretto's that of a
+"dismal night." Yet these very qualities in Tintoretto's work made him
+great.
+
+  PLATE--THE MIRACLE OF ST. MARK
+
+This painting in the Academy at Venice tells the story of how a
+Christian slave who belonged to a pagan nobleman went to worship at
+the shrine of St. Mark. That was unlawful. The nobleman had his slave
+taken before the judge, who ordered him to be tortured. Just as the
+executioner raised the hammer with which he was finally to kill the
+slave, St. Mark himself came down from heaven, broke the weapon and
+rescued the slave.
+
+The figure of the patron saint of Venice is swooping down, head first,
+above the group, his garments flying in the air. A bright light
+touches the slave's naked body, as he lies upon his back, the
+executioner having turned away and raised his hammer aloft, while
+others have drawn back in fright at the appearance of the patron
+saint. We may imagine that Tintoretto was trying to acquire this power
+of painting wonderful figures hovering in the air when he hung his
+little clay images from the ceiling of his studio years before. Other
+pictures of his are: "The Marriage of Bacchus and Ariadne," "Martyrdom
+of St. Agnes," "St. Rocco Healing the Sick," "The Annunciation," "The
+Crucifixion," and many others.
+
+
+
+
+XXXVIII
+
+TITIAN (TIZIANO VECELLI)
+
+
+  (Pronounced Tit-zee-ah'no (Vay-chel'lee))
+  _Venetian School_
+  1477-1576
+  _Pupil of Giovanni and Gentile Bellini_
+
+Titian was a child of the Tirol Mountains, handsome, strong, full of
+health and fine purposes, even as a boy. He was born in a little
+cottage at Pieve, in the valley of Cadore, through which flows the
+River Piave; and he wandered daily beside its banks, gathering flowers
+from which he squeezed the juices to paint with. When he grew up he
+became a wonderful colourist, and from his boyhood nothing so much
+delighted him as the brilliant colours flaunted by the flowers of wood
+and field.
+
+Gathered about his good father's hearth were many children, Caterina,
+Francesco, Orsa, and the rest, living in peace and happiness, closely
+bound together by love. Titian had a gentle, loving mother named
+Lucia, while his father was a soldier and an honoured man. In the
+little town where they lived, he was councillor and also
+superintendent of the castle and inspector of mines, no light honours
+among those simple country people. Doubtless Titian inherited his
+splendid bearing and his determined character from his soldier father.
+
+Even while a little child, the man who was destined to become a great
+artist began his work with the juices of the wild-flowers, which he
+daubed upon the wall of the humble home in the Tirol valley, making a
+Madonna with angels at her feet and a little Jesus upon her knee. But
+if Titian was a great painter, he was never even a fair scholar. He
+went to school, but would not, or could not, study. His father soon
+saw that he was wasting his time and being made very unhappy through
+being forced to do that for which he had no ability; so he was soon
+released from book-learning and sent to Venice, seventy-five miles
+from home, to learn art. In Venice, the Vecelli family had an uncle,
+and it was with him that Titian lived, though he studied first with
+Sebastian Zuccato, the head of the Venetian guild of mosaic workers,
+and a pretty good teacher in his way. He was not able to teach Titian
+very much, for the boy was an inspired artist and needed a good
+master; so, after a little, the family held a consultation and it was
+decided that Titian should become the pupil of Gentile Bellini, a very
+clever artist indeed. There was an interesting story told about this
+master which made the Vecellis feel that their boy would do well to be
+under the influence of a kind-hearted man, as well as a genius. It
+seems that Bellini's fame had become so great that the Sultan had sent
+for him to paint the portraits of himself and the Sultana. Bellini
+went gladly to Turkey to do this; but he took with him certain
+pictures to show his patron. Among them was one of St. John the
+Baptist having his head cut off. The Sultan looked at it, and cutting
+heads off being a large part of his business, he saw that Bellini had
+not scientifically painted it, and in order to show him the true way
+to conduct such matters, he sent for a slave and ordered his head
+chopped off in Bellini's presence. Bellini was so terrified and
+sickened by the dreadful sight that he fled from Turkey and would not
+paint its ruler, the Sultana nor anyone else who had to do with such
+cruel things as he had witnessed.
+
+It was into this man's studio that Titian went as a young boy, but
+after a little he displeased Gentile Bellini, who complained that his
+pupil worked too fast, and therefore could not expect to do great
+work. He declared that picture painting was serious and careful work,
+and that Titian was too careless and quick. As a matter of fact,
+Titian was too wonderful for Bellini ever to do much for; and since he
+could not get on with him, he went to another master--Gentile
+Bellini's brother, Giovanni. One of Titian's chief troubles in the
+studio of Gentile had been that he was not allowed to use the gorgeous
+colouring he loved, but in the brother's studio he found to his joy
+that colour was more valued, and he was given more freedom to use
+it. Also there was a young peasant pupil with Giovanni, who, like
+Titian, loved to use beautiful colours, and he and the newcomer became
+fast friends.
+
+The other artist's name was Giorgione, and he had the most delightful
+ways about him, winning friends wherever he went, so it was no wonder
+that the warm-hearted Titian sought his companionship. One day those
+two young comrades left their master's studio, to have a good time off
+by themselves. There was a stated hour for their return; but they had
+spent all their money, and forgot that Giovanni Bellini was expecting
+them home. When they did return the door was closed and locked. What
+were they to do? They did the only thing they could. As comrades in
+misfortune they joined forces, set up a studio of their own, and went
+to work to earn their living as best they might. At first it was hard
+sledding, but in time they got a good job, namely to decorate the
+walls of a public building in Venice which was used by foreign
+merchants for the transaction of their business, a sort of "exchange,"
+as we understand it. This was the Fondaco de' Tedeschi, and it had two
+great halls, eighty rooms, and twenty-six warehouses. It was indeed a
+big undertaking for the two young men, and they divided the business
+between them. Their joy was great, their cartoons successfully made
+and the work well begun, when, alas, they fell to quarreling simply
+because someone had declared that Titian's work upon the building was
+a little better than Giorgione's.
+
+This dispute parted the two friends, who had had good times together,
+and it must have been Giorgione's fault, because Ludovico Dolce, one
+who knew Titian well, said that "he was most modest ... he never spoke
+reproachfully of other painters ... in his discourse he was ever ready
+to give honour where honour was due ... he was, moreover, an eloquent
+speaker, having an excellent wit and perfect judgment in all things;
+of a most sweet and gentle nature, affable and most courteous in
+manner; so that whoever once conversed with him could not choose but
+love him henceforth forever." That is a most loving and splendid
+tribute for one man to pay another. Not long after Giorgione died, and
+Titian took up his unfinished work, doing it as well as his own.
+
+There was a brilliant and mature artist called Palma Vecchio, in
+Venice, and Titian painted in his studio, where he saw and loved
+Vecchio's daughter, Violante. The young artist was not very well off
+financially, and therefore could not marry; hence he was not specially
+happy over his love affair. About that time he took to painting after
+the manner of Vecchio, through being so much influenced by his soft
+feelings for the older artist's daughter. He used the lovely Violante
+again and again for his model, and many of the beautiful faces which
+Titian painted at that time show the features of his lady-love. With
+his new love Titian's serious work seemed to begin, and at twenty-one
+he painted his first truly great picture, "Sacred and Profane Love."
+To day this picture hangs upon the walls of the Borghese Palace, in
+Rome.
+
+Raphael painted a great many pictures, but Titian must have painted
+more. At least one thousand have his signature.
+
+Now came wars and troubles for Venice. The Turks, French, and
+Venetians became at odds, and during the strife many fine works of art
+were lost, among them many of Titian's pictures. He had painted
+bishops, also the wicked Borgias, and many other great personages, but
+all of these are gone and to this day, no one knows what became of
+them.
+
+At last Titian began one of his greatest paintings, "The Tribute
+Money," and he set about it because he had been criticised. Some
+German travellers in Venice visited Titian's studio, and though they
+found his work very fine, one of them said that after all there was
+only one master able to finish a painting as it should be finished,
+and that was the great Duerer. The German pointed out the differences
+between Titian's method and Duerer's, and declared that Venetian
+painters never quite came up to the promise of their first
+pictures. Duerer's wonderful pictures were quite different from
+Titian's, inasmuch as his work was fuller of detail and careful
+finishing, but Titian was as great in another way. His effects were
+broader, but quite as satisfying. However, the German criticism put
+him on his mettle, and he answered that if he had thought the greatest
+value of a painting lay in its fiddling little details of finishing,
+he too would have painted them. To show that he could paint after
+Duerer's fashion, as well as his own, he undertook the "Tribute Money,"
+and the result was a wonderful picture.
+
+Soon Rome sent for Titian. The Florentines, Raphael and Michael
+Angelo, were already there doing marvellous things, but the pope
+wished to add the genius of Titian to theirs and made him a great
+offer to go and live in Rome and do his future work for that
+city. This was an honour, but amid all his fame and the homage paid
+him, Titian had remembered the old home in the vale of Cadore. It was
+there his heart was, and he determined to return to the home of his
+boyhood to do his best work. So he sent his thanks and refusal to the
+pope, and he wrote as follows to his home folks, through the council
+of his town:
+
+"I, Titian of Cadore, having studied painting from childhood upward,
+and desirous of fame rather than profit, wish to serve the doge and
+signorini, rather than his highness the pope and other signori, who in
+past days, and even now, have urgently asked to employ me. I am
+therefore anxious, if it should appear feasible to paint the hall of
+council, beginning, if it pleases their sublimity, with the canvas of
+the battle on the side toward the Piazza, which is so difficult that
+no one as yet has had the courage to attempt it."
+
+Then in stating his terms he asked for a very moderate sum of money
+and a "brokerage" for life. The Government did not have to think over
+the matter long. Titian's father had been honoured among them,
+Titian's genius was well known, and the commission was gladly given
+him. As soon as he got this business affair settled he moved into the
+palace of the Duke of Milan "at San Samuele; on the Grand Canal, where
+he remained for sixteen years," so says his biographer.
+
+Titian's affairs were not yet entirely smooth, because both of the
+Bellinis having painted for his patrons, they naturally considered
+Titian an intruder, and thought that the work should have been given
+to them. They did all they could to make trouble for the younger
+artist, but after a time Titian came into his rights, receiving his
+"brokerage" which gave to him a yearly sum of money 120 crowns,
+$126.04. His taxes were taken off for the future, provided he would
+agree to paint all the doges that should rule during his lifetime.
+
+Titian undertook to do this, but he did not keep his word, for he
+painted only five doges, though many more followed. He had no sooner
+received his commission from the council of his native place than he
+began to neglect it, and to paint for the husband of the wicked
+poisoner--Lucretia Borgia--whose name was Alfonso d'Este, the Duke of
+Ferrara. It was for him he painted the "Venus Worship," now in the
+Museum of Madrid, also "The Three Ages," which belongs to Lord
+Ellesmere, and the "Virgin's Rest near Bethlehem," now in the National
+Gallery. Afterward he painted "Noli Me Tangere," which is in the same
+London Gallery.
+
+There is a picture of great size in the Academy of Arts in Venice,
+which was first seen on a public holiday nearly four hundred years
+ago. It is the "Assumption of the Virgin," first shown on
+St. Bernardino's day, when all the public offices were closed by order
+of the Senate, and the whole city had a gay time. This occasion made
+Titian the most honoured artist of his time, but still the Venetians
+had cause to complain; because now their painter took so much work in
+hand that he nearly ceased doing the work on the council hall. The
+council sent him word that unless he attended to business the
+paintings should be finished by some one else and he would have to pay
+the new artist out of his own pocket; but in waywardness he paid no
+attention to this summons. Lucretia Borgia died, and her husband
+having never loved her, fell at once in love with a girl of a lower
+class, who was very good and worthy to be loved. The duke wanted
+Titian to paint them both, and so once more the great painter
+neglected his contract with the council. The girl's name was Laura,
+and Titian painted her and the duke in one picture, which now hangs in
+the Louvre.
+
+At last, after seven years of his neglecting to do his promised work
+the council became enraged and threatened to take the artist's
+property away from him. That frightened Titian very much, and he began
+frantically to work on the battle piece on the hall wall. It was about
+this time that he married. He had probably forgotten Violante in the
+passing of so many years; at any rate it was not she whom he married,
+but a lady whose first name was Cecilia. Soon he had a little family
+of children, but one of them was destined to make Titian very
+unhappy. This was Pomponic who became a priest, but he was also a
+wicked spendthrift, and kept his father forever in trouble, trying to
+pay his debts and keep him out of scrapes. Another son became an
+artist; not great like his father, but very helpful and a comfort to
+him. Then his wife died, and Titian had loved her so dearly that for a
+long time he had not the heart to paint much. His sister, Orsa, came
+to live at his home and take care of his motherless children.
+
+He left the palace on the Grand Canal and bought a home north of
+Venice, with beautiful gardens attached, and there he lived and
+worked, entertaining the most illustrious men. Titian's house and
+gardens became the show place of the country, so many geniuses and
+famous people visited there. It was there that he painted "The
+Martyrdom of Saint Peter," and the picture was so loved by the
+Venetians that the signori threatened with death any one who should
+take the picture from the chapel where it hung. In spite of this
+caution the picture was burned in the fire that destroyed the chapel
+in 1867.
+
+Titian was now getting to be old, but he was yet to do great work and
+to have kingly patrons. Charles V. visited Bologna, and, seeing
+Titian's great work, wanted him to paint his portrait. So the artist
+went to Bologna and painted the portrait of the king, clothed in
+armour, but without any head-covering, making Charles V. look so fine
+a personage, that he was delighted. Charles said he had always been
+painted to look so much uglier than he really was that when people who
+had seen his portraits, actually saw himself they were pleasantly
+disappointed. While Titian was painting his picture, Lombardi, the
+sculptor, wished above all things to see Charles, so Titian said: "You
+come with me to the sittings, and act as if you were some apprentice,
+carrying my colours and brushes, and then you can watch the king as
+easily as possible." Lombardi did as Titian suggested, but he hid in
+his big and baggy sleeve a tablet of wax, on which to make a relief
+picture of Charles. One day the king surprised the sculptor and
+demanded to be shown what he was doing. Thereupon he was so much
+pleased that he commissioned Lombardi to make the model in
+marble. While the king was sitting for two portraits to Titian, the
+artist one day dropped his brush. The king looked at the courtiers who
+were lounging about watching the work, but none of them picked it up,
+so the king himself did so. Titian was distressed over this and
+apologised to the king. "There may be many kings," said Charles, "but
+there will never be more than one Titian--and he deserves to be served
+by Caesar himself." After that he would allow no other artist to paint
+his portrait, declaring that Titian alone could do it properly, and
+for the two pictures Titian received two thousand scudi in gold, was
+made a Count of the Lateran Palace, of the Aulic Council and of the
+Consistory; with the title of Count Palatine and all the advantages
+attached to those dignities. His children were thereby raised to the
+rank of nobles of the empire, with all the honours appertaining to
+families with four generations of ancestors. He was also made Knight
+of the Golden Spur, with the right of entrance to court. This was
+great return for two portraits of a king, but it shows what a king
+could do if he chose.
+
+Titian had a brother who also became an artist, less famous than
+himself, and it was that brother, who, when their father died in the
+Cadore home, went back to care for the old place and to keep it in
+readiness so that the famous Titian might return to it for rest and
+peace. Foreign sovereigns had invited Titian to end his days with
+them, but they could not tempt him from that vale of Cadore nor his
+country home in Venice.
+
+All this time he had been neglecting the work upon the hall of
+council, and at last, the councillors gave the work to another, took
+away Titian's "brokerage" and told him he must return to Venice all
+the moneys they had given him for twenty years back. This finally
+cured him of his neglect, and he went to work in earnest painting so
+rapidly that he finished the work in two years.
+
+Before he died Titian went to Rome, where he painted Pope Paul's
+portrait, and the story is told that when the portrait was set to dry
+upon the terrace--which it probably was not,--the people who passed
+took off their hats to it, thinking it was the pope himself.
+
+Besides his bad son and his good one, Titian had a beautiful daughter
+whom he painted again and again. He went to Augsburg once more to
+paint King Charles, who for that work added a pension of five hundred
+scudi to what he had already done for him. This made the artist "as
+rich as a prince, instead of poor as a painter." King Philip II. loved
+art as his father had, and he took a painting of Titian's with him to
+the convent of Yuste, where he went to die, wishing to have it near to
+console him. In those days art had become a religion for high and
+low. Great personages still went to Casa Grande, Titian's Venetian
+home, where he entertained like a prince. No one knew better than he
+how princes behaved, and when a cardinal came to dine with him, he
+threw his purse to his servant, crying: "Prepare a feast, for all the
+world is dining with me!" Henry III. of France visited Titian and
+ordered sent to him every picture of which he had asked the price.
+
+His friends stood by him all his life, but in his old age his
+beautiful daughter, Lavinia, died, leaving behind her six children for
+him to love as his own. The brother had died before that, in the old
+home at Cadore, and at more than eighty years of age Titian was still
+painting from morning till night. About this time he sent to King
+Philip "The Last Supper," which was to be hung in the Escorial. The
+monks found it too high to fill the space, and though the artist in
+charge, Navarrette, begged them to let it be, they cut a piece off the
+top, that it might be hung where they wanted it. Titian had so far had
+to pay no taxes, but at that time an account of his property was
+demanded and this is what he owned: "Several houses, pieces of land,
+sawmills, and the like," and he was blamed because he did not state
+the full value of his possessions. At ninety-one he painted a picture
+which became the guide of Rubens and his brother artists, so wonderful
+was it. Again, at ninety-nine he began a picture, which was to be
+given to the monks of the Frari in return for a burial place for the
+artist within the convent walls, but he never finished it. He died
+during the time of the plague, but of old age alone, though his son,
+Orzio, died of the disease. The alarm of the people was so great that
+a law had been passed to bury all who died at that time, instantly and
+without ceremony, but that law was waived for the painter. Titian, in
+the midst of a nation's tragedy was borne to the convent of the Frari,
+with honours. Two centuries later the Austrian Emperor commanded the
+great sculptor, Canova, to make a mausoleum above the tomb.
+
+It was said that shortly before he died Titian began to be less sure
+in his use of colours, and would often daub on great masses, but his
+students came in the night and rubbed them off, so that the master
+never felt his failing.
+
+As King Charles had said, there was never but one such artist in the
+world.
+
+Titian prepared his canvas by painting upon it a solid colour to serve
+for the bed upon which the picture itself was to be painted. To quote
+more exactly from a good description--some of these foundation colours
+were laid on with resolute strokes of his brush which was heavily
+laden with colour, while the half-tints were made with pure red earth,
+the lights with pure white, softened into the rest of the foundation
+painting with touches of the same brush dipped into red, black, and
+yellow. In this way he could give the "promise" of a figure in four
+strokes. After laying this foundation, he turned his picture toward
+the wall and left it there for months at a time, frequently turning it
+around that he might criticise it. If, during this time of waiting, he
+thought any part of the work already done was poor, he made it right,
+changing the shape of an arm, adding flesh where he thought it was
+needed, reducing flesh where it seemed to him out of proportion, and
+then he would again turn the canvas face to the wall. After months of
+self-criticism and retouching he would have the first layer of flesh
+painted upon his figures, and a good beginning made. "It was contrary
+to his habit to finish at one painting, and he used to say that a poet
+who improvises cannot hope to form pure verses." He would often
+produce a half-light with a rub of his finger, "or with a touch of the
+thumb he would dab a spot of dark pigment into some corner to
+strengthen it; or throw in a reddish stroke--a tear of blood so to
+speak--to break the parts ... in fact when finishing he painted more
+with his fingers than with his brush." He used to say, "White, red,
+and black, these are all the colours that a painter needs, but one
+must know how to use them."
+
+  PLATE--THE ARTIST'S DAUGHTER, LAVINIA.
+
+Previous to the time of Titian, it had been the custom to paint
+portraits of beautiful ladies merely to their waists, just far enough
+to show their hands. He went further, and produced "knee portraits,"
+which gave him an opportunity to paint their gorgeous gowns as
+well. He has done so in making this picture of his daughter Lavinia,
+probably just before her marriage to Cornelio Sarcinelli which took
+place in 1555. She is attired in gold-coloured brocade with pearls
+about her neck. Her dress, combined with the dish of fruit she holds
+so high, gives Titian the colour effects he always sought. A yellow
+lemon is specially striking, and the red curtain to the left
+harmonises with the whole. The uplift of the arms and the turn of the
+head give the desired amount of action. It is not Titian's customary
+style of work; he seldom did anything so intimate and personal, and
+the picture is the more interesting on that account. It is in the
+Berlin Gallery.
+
+Some of Titian's famous pictures are: his own portrait; "Flora," "Holy
+Family and St. Bridget," "The Last Judgment," "The Entombment," "The
+Magdalene," "Bacchanal," "St. Sebastian," "Bacchus and Ariadne," and
+"The Sleeping Venus."
+
+
+
+
+XXXIX
+
+JOSEPH MALLORD WILLIAM TURNER
+
+
+  _English_
+  1775-1851
+  _Pupil of the Royal Academy_
+
+If the occupation of a shepherd produced a poet, no less did an artist
+of the first water come out of a barber shop. Turner's father was a
+jolly little fellow who dressed hair for English dandies and did all
+of those things which in those days fell to men of his profession. It
+was in this little shop that the great artist grew up. Father Turner
+was ambitious for his son, who was anxious to study art. The less said
+of the artist's mother the better, for she was a termagant and finally
+went crazy, so that the father and his little boy were soon left
+alone, to plan and work and strive to make each other happy. The pair
+were never apart.
+
+Turner's art beginning was at six years of age, on the occasion of a
+visit his father paid to a goldsmith of whose hair curling and
+peruquing he had charge. Perched upon a chair too high for a little
+boy's comfort, and feeling that it took his father very long indeed to
+satisfy the customer, Joseph's eye lighted upon a silver lion which
+ornamented a silver tray. He studied every detail of that lion while
+waiting for his father, and finally when they got home, he sat down
+and drew it from memory. By tea time he had a lion in full action upon
+the paper. This delighted his father above everything, and it was
+settled then and there that the little fellow should have a chance to
+learn art.
+
+The father could not give much time to his upbringing, but he taught
+him to be honest and kind-hearted and to save his money. His
+playground was generally the bank of the Thames, and under London
+Bridge where, roving with the sailors, he learned to love the ships,
+the setting-suns and evening waters from a daily study of them.
+
+He did not do much at school, because the other pupils at New
+Brentford, learning that he could draw wonderful things upon the
+schoolroom walls, used to do his "sums" for him, while he sketched for
+them. After a while father Turner began to hang up some of his son's
+sketches upon the walls of the barber shop, among the wigs and curls
+and _toupees_, and he put little tags upon them, telling the
+price. The extraordinary work of his little boy began to attract the
+attention of the jolly barber's patrons, and by the time he was twelve
+years old the child had a picture upon the walls of the Royal
+Academy--a far-cry from barber shop to Academy!
+
+One authority says that this first exhibition occurred in his
+fourteenth year, but by that time he was a pupil of the Academy, and
+it is not unlikely that he had shown his mettle before.
+
+He now began to earn his own living, but he still dwelt in the barber
+shop with his father. While in the Academy he coloured prints, made
+backgrounds for other painters, drew architect's plans, and in that
+way made money. He had been sent to a drawing master to study "the art
+of perspective," but having no mathematical knowledge he had been
+unable to learn it, and the teacher had advised his father to put
+little Turner to cobbling or making clothes. However, William was to
+learn perspective, and even to be made master of that branch of art in
+the Academy itself.
+
+In after years, when he had become a great artist, someone spoke
+pityingly of the drudgery he had had to do to make money as a young
+boy--referring to his painting of backgrounds and the like. "Well! and
+what could be better practice?" Turner answered cheerfully.
+
+He used to go to the house of Dr. Munro, who lived in fine style on
+the Strand. This gentleman owned Rembrandts, Rubenses, Titians, and
+other great masterpieces, and in that house the "little barber" had a
+chance to see the best of art, and also to copy it. This was a great
+opportunity for him and he made the most of it. Besides the chance for
+study, he earned about half a crown an evening and his supper, for his
+copying.
+
+Turner was the first painter to make "warm moonlight." All other
+artists had given cold, silvery effects to a moonlit atmosphere, but
+Turner had seen a mellow, sympathetic moon, and he first showed it to
+others. About this time he went travelling; for an engraver of the
+_Copper Plate Magazine_ had engaged the young boy to go into Wales and
+make sketches for his work. Turner set off on a pony which a friend
+had lent him, with his baggage done up in a bundle--it did not make a
+very big one--and thus he voyaged. It was a fine experience, and he
+came home with many beautiful scenes on paper, which he in after years
+made into complete pictures. Next he made the acquaintance of Thomas
+Girtin, the first in his country of a fine school of water-colour
+painters, and this acquaintance grew into a close friendship. The two
+were devoted to each other and worked together at any sort of
+mechanical art work that would bring them a living. When Girtin died
+Turner said: "Had Tim Girtin lived, I should have starved," showing
+how highly he valued Girtin's work.
+
+Turner is said to have been "a stout, clumsy little fellow, who never
+cared how he looked. He wore an ill-fitting suit, and his luggage tied
+up in a handkerchief was slung over his shoulder on a cane. Sometimes
+he carried a small valise and an old umbrella, the handle of which he
+converted into a fishing rod, for Turner dearly loved both hunting and
+fishing."
+
+The hero travelled a great deal, because above every thing he loved
+the fields and streams, and to tramp alone. It is said that it was his
+habit to walk twenty-five miles a day, seeing everything on the way,
+letting no peculiarity of nature escape him. His sketchbook was a
+curiosity, because he not only made sketches in it, but jotted down
+his travelling expenses, what he thought about things that he saw, and
+all the gossip he heard in the towns through which he passed. Because
+he liked best to travel alone he was called "the Great Hermit of
+Nature."
+
+One memorable day--of which he thought but little at the time--he
+stopped on the road to make a sketch of Norham Castle. Later he
+completed the picture, and it became famous, so successful that from
+that hour he had all the work he could do. Years afterward, when
+passing that way again in company with a friend, he was seen to take
+off his hat to the castle.
+
+"Why are you doing that?" his friend asked, in amazement.
+
+"Well, that castle laid the foundation of my success," he answered,
+"and I am pleased to salute it."
+
+During his young manhood Turner had fallen in love with a girl, and
+planned to marry, but after he returned from one of his country trips
+he found she had married another, and from that moment the artist was
+a changed man. He had been generous and gay before, now he began to
+save his money, so that people thought him miserly--but he was
+forgiven when it became known what he finally did with his
+fortune. After the young woman deserted him he wandered more than
+ever, and one of his fancies was to keep boys from robbing birds'
+nests. He looked after the little birds so carefully that the boys
+named him "old Blackbirdy." He had already begun those wonderful
+pictures of ships and seas, and his house was ornamented with
+full-rigged little ships and water plants, which he carefully raised
+to put into his pictures. By that time he had bought a home of his own
+in the country, and his father the barber went to live with him. The
+old man's trade had fallen off, because the fashions had changed, wigs
+were less worn, and hair was not so elaborately dressed. In the
+country home the old man took charge of all the household affairs,
+prepared his son's canvases for him, and after the pictures were
+painted it was the ex-barber who varnished them, so that Turner said,
+"Father begins and finishes all my pictures." There the father and son
+lived, in perfect peace and affection, till Turner decided to sell the
+place and move into town, "because," said he, "Dad is always working
+in the garden and catching cold."
+
+Meanwhile he had been made master of perspective in the Academy, and
+it was expected that he would lecture to the students, but he was not
+cut out for a lecturer. He was not elegant in his manners, nor
+impressive in his speech. On one occasion, when he had risen to
+deliver a speech, he looked helplessly about him and finally blurted
+out: "Gentlemen! I've been and left my lecture in the hackney coach!"
+
+During these years he had tried to establish a studio like other
+masters and to have pupils and apprentices about him; but the stupid
+ones he could not endure, having no patience with them, and he treated
+all the fashionable ones so bluntly they would not stay; so the idea
+had to be given up.
+
+He became a visitor at Farnley Hall in Yorkshire, where a friend,
+Mr. Hawksworth Fawkes lived, and in the course of his lifetime Fawkes
+put fifty thousand dollars worth of Turner's pictures upon his
+walls. The Fawkes family described Turner as a most delightful man:
+"The fun, frolic, and shooting we enjoyed together, and which,
+whatever may be said by others of his temper and disposition, have
+proved to me that he was, in his hours of distraction from his
+professional labours as kindly hearted a man and as capable of
+enjoyment and fun of all kinds as any I ever knew."
+
+Another friend writes: "Of all light-hearted, merry creatures I ever
+knew, Turner was the most so; and the laughter and fun that abounded
+when he was an inmate of our cottage was inconceivable, particularly
+with the juvenile members of our family."
+
+The story of his disappointment in marriage is an interesting one. It
+is said that the young lady whom he loved was the sister of a
+schoolmate. They had been engaged for some time, but while he was on
+one of his travels his letters were stolen and kept from the young
+woman. She believed he had forgotten her, and her stepmother, who had
+taken the letters, persuaded the girl to engage herself to
+another. Turner returned just a week before her marriage and tried to
+win her back, but although she loved him, she felt herself then bound
+to her new suitor and therefore married him. Her marriage was very
+unhappy and her misery, as well as his own, distressed the artist till
+his death. Almost all his life, in spite of his seeming gaiety, he
+worked like a slave, rising at four o'clock in the morning and working
+while light lasted. When remonstrated with about this he would sadly
+say: "There are no holidays for me."
+
+All his ways were honest and simple, and his election to the Academy
+was very exceptional in the way it came about. Most Academicians had
+graces and airs and good fellowship to commend them, as well as their
+works, but Turner had none of these things. He had given no dinners,
+nor played a social part in order to get the membership. When the news
+was brought him that he was elected, some one advised him to go and
+thank his fellow Academicians for the honour, as that was the custom;
+but Turner saw no reason in it. "Since I am elected, it must have been
+because they thought my pictures made me worthy. Why, then should I
+thank them? Why thank a man for performing a simple duty." In half a
+century Turner was absent only three times from the Academy
+exhibitions, and his membership was of very great value to him.
+
+At this time Turner had an idea for an art publication to be called
+_Liber Studiorum_. He meant to issue this in dark blue covers and to
+include in each number five plates. There was to be a series of five
+hundred plates altogether, and these were to be divided, according to
+subject, into historical, landscape, pastoral, mountainous, marine,
+and architectural studies. After seventy plates had been, published,
+the enterprise fell through, because no one bought the periodical, and
+there was no money to keep it going. The engraver of the plates,
+Charles Turner, became so disgusted with the failure that he even used
+the proofs of these wonderful studies to kindle the fire with. Many
+years later, a great print-dealer, Colnaghi, made Turner, the
+engraver, hunt up all the proofs that he had not used for kindling
+paper, and these he bought for L1,500.
+
+"Good God!" cried Charles Turner, "I have been burning banknotes all
+my life."
+
+Some years later still L3,000 was paid for a single copy of the _Liber
+Studiorum_.
+
+Turner was a most conscientious man, and many stories are told of his
+manner of teaching. He could not talk eloquently nor give very clear
+instructions, talking not being his forte, but he would lean over a
+student's shoulder, point out the defects in his work, and then on a
+paper beside him make a few marks to illustrate what he had said. If
+the artist had genius enough then to imitate him, well and good; if
+not, Turner simply went away and left him. His own ways of working
+were remarkable. He often painted with a sponge and used his thumbnail
+to "tear up a sea." It mattered little to him how he produced his
+effects so long as he did it. His impressionistic style confused many
+of his critics, and it is told how a fine lord once looked at a
+picture be had made, and snorted: "Nothing but daubs, nothing but
+daubs!" Then catching the inspiration, he leaned close to the canvas,
+and said: "No! Painting! so it is!"
+
+"I find, Mr. Turner," said a lady, "that in copying your pictures,
+touches of red, blue and yellow appear all through the work."
+
+"Well, madam, don't you see that yourself, in nature? Because if you
+don't, heaven help you!" was the reply.
+
+"Once, after painting a summer evening, he thought that the picture
+needed a dark spot in front by way of contrast; so he cut out a dog
+from black paper and stuck it on. That dog still appears in the
+picture."
+
+Another time he painted "A Snow-storm at Sea," which some critics
+called "Soap-suds and Whitewash." Turner, who had been for hours
+lashed to the mast of a ship in order to catch the proper effect, was
+naturally much hurt by the criticism. "What would they have!" he
+exclaimed. "I wonder what they think a storm is like. I wish they'd
+been in it."
+
+Turner was conscientiously fond of his work, and when he sold a
+picture he said that he had lost one of his children.
+
+He grew rich, but he never was knighted, because his manners were not
+fine enough to suit the king. He wished to become President of the
+Royal Academy, but that was impossible because he was not polished
+enough to carry the honour gracefully.
+
+After selling his place in the country Turner bought a house in Harley
+Street, where he lived a strange and lonely life. A gentleman has
+written about this incident, which shows us his manner of living:
+
+"Two ladies called upon Turner while he lived in Harley Street. On
+sending in their names, after having ascertained that he was at home,
+they were politely requested to walk in, and were shown into a large
+sitting-room without a fire. This was in the depth of winter; and
+lying about in various places were several cats without tails. In a
+short time our talented friend made his appearance, asking the ladies
+if they felt cold. The youngest replied in the negative; her
+companion, more curious, wished she had stated otherwise, as she hoped
+they might have been shown into his sanctum or studio. After a little
+conversation he offered them biscuits, which they partook of for the
+novelty--such an event being almost unprecedented in his house. One of
+the ladies bestowing some notice upon the cats, he was induced to
+remark that he had seven, and that they came from the Isle of Man."
+
+Thus we learn that Turner's desolate house was full of Manx cats, and
+of many other pets. When he had moved elsewhere--to 47 Queen Anne
+Street--one of the pictures he cared most for, "Bligh Shore," was put
+up as a covering to the window and a cat wishing to come in, scratched
+it hopelessly. The housekeeper started to punish it for this but
+Turner said indulgently, "Oh, never mind!" and saved the cat from
+chastisement.
+
+The place he lived in, where his "dad was always working in the garden
+and catching cold," he called Solus Lodge, because he wished his
+acquaintances to understand that he wanted to be alone. One picture
+painted by him to order, was to have brought him $2,500; but when it
+was finished the man was disappointed with it and would not take
+it. Later, Turner was offered $8,000 for it, but would not sell it.
+
+Turner again fell in love, but his bashfulness ruined his chances. He
+wrote to the brother of the lady. "If she would only waive her
+bashfulness, or, in other words, make an offer instead of expecting
+one, the same (Solus Lodge) might change occupiers." Faint heart
+certainly did not win fair lady in this case, for she married
+another. Before he died Turner was offered $25,000 for two pictures
+which he would not sell. "No" he said. "I have willed them and cannot
+sell them." He disposed of several great works as legacies. One
+picture of which he was very fond, "Carthage," was the occasion of an
+amusing anecdote. "Chantry," he said to his friend the sculptor, "I
+want you to promise that when I am dead you will see me rolled in that
+canvas when I'm buried."
+
+"All right," said Chantry, "I'll do it, but I'll promise to have you
+taken up and unrolled, also."
+
+A remarkable incident of generosity is told of Turner. In 1826 he hung
+two exquisite pictures in the Academy. One, "Cologne," having a most
+beautiful, golden effect. This was hung between two portraits by Sir
+Thomas Lawrence. The golden colouring of Turner's picture entirely
+destroyed the effect of the Lawrence pictures, and without a word,
+Turner washed his lovely picture over with lampblack. This gave the
+Lawrence, pictures their full colour value. A friend who had been
+enthusiastic about the "Cologne" was provoked with Turner. "What in
+the world did you do that for?" he demanded. "Well, poor Lawrence was
+so unhappy. It will all wash off after the exhibition." Turner had his
+reward in cash, for the picture sold for 2,000 guineas.
+
+Above all things Turner hated engravings, or any process that
+cheapened art, and one day he stated this to his friend Lawrence. "I
+don't choose to be a basket engraver," he declared.
+
+"What do you mean by that," Sir Thomas inquired.
+
+"Why when I got off the coach t' other day at Hastings, a woman came
+up with a basket of your 'Mrs. Peel,' and offered to sell me one for a
+sixpence."
+
+Turner dearly loved his friends, and the story of Chantry's death,
+illustrates it. He was in his room when the sculptor breathed his
+last, and just as he died, the artist turned to another friend, George
+Jones, and with tears streaming down his face, wrung Jones's hand and
+rushed from the room, unable to speak.
+
+Again, when William Frederick Wells, another friend, died, Turner
+rushed to the house of Clara Wells, his daughter, and cried: "Oh
+Clara, Clara! these are iron tears. I have lost the best friend I ever
+had in my life."
+
+In his old age Turner suddenly disappeared from all his haunts, and
+his friends could not find him. They were much troubled, but one day
+his old housekeeper found a note in a pocket of an old coat, which
+made her think he had gone to Chelsea. She looked there for him, and
+found him very ill, in a little cottage on the Thames River. Everybody
+about called him Admiral Booth, believing him to be a retired
+admiral. He had felt his death near and had tried to meet it quite
+alone. He died the very day after his friends found him, as he was
+being wheeled by them to the window to look out upon the river for the
+last time. He was buried in St. Paul's Cathedral between Sir Joshua
+Reynolds and James Barry. He left his drawings and pictures to a
+"Turner Gallery," and $100,000 to the Royal Academy, to be used for a
+medal to be struck every two years for the best exhibitor. The rest of
+his fortune went to care for "poor and decayed male artists born in
+England and of English parents only." This was to be known as Turner's
+Gift, and that is why he had saved money all his life.
+
+A few more of the numberless stories of his generosity should be
+told. A picture had been sent to the Academy by a painter named Bird
+It was very fine, and Turner was full of its praise, but when they
+came to hang it no place could be found.
+
+"It can't be hung," the others of the committee said.
+
+"It must be hung," returned Turner, but nothing could be done about
+it, for there was absolutely no place. Then Turner went aside with the
+picture and sat studying it a long time. Finally he got up, took down
+a picture of his own and hung Bird's in its place. "There!" he
+said. "It is hung!"
+
+Again, an old drawing-master died and Turner who had known the family
+for a long time, was aware that they were destitute, so he gave the
+widow a good sum of money with which to bury her husband and to meet
+general expenses. After some time she came to him with the money; but
+Turner put his hands in his pockets. "No," he said; "keep it. Use it
+to send the children to school and to church."
+
+On one occasion when he had irritably sent a beggar from his house, he
+ran out and called her back, thrusting a L5 note into her hand before
+letting her go.
+
+There was a man who in Turner's youth, while the little fellow was
+making pictures in the cheerless barber shop bought all of these
+drawings he could find. He often raised the price and in every way
+tried to help Turner. In after years that old patron went
+bankrupt. Turner heard that his steward had been instructed to cut
+down some fine old trees on this man's estate, and sell them. Turner,
+without letting himself be known in the matter, at once stopped the
+cutting and put into his old patron's hands about L20,000. The rescued
+man, afterward, through the same channels that he had received the
+money, paid it all back. Years passed, and the son of that same man
+got into the same difficulties, and again, without being known in the
+matter, Turner restored his fortune. That son, in his turn, honestly
+paid back the full amount. This was the miser who saved all his
+money--to do good deeds to his friends. Ruskin wrote that in all his
+life he had never heard from Turner one unkind or blameful word for
+others.
+
+  PLATE--THE FIGHTING TEMERAIRE
+
+This was the picture which Turner loved best of all, the one he would
+never sell; but at his death ho gave it to the English nation.
+
+"Many years before he painted it, he had gone down to Portsmouth one
+day to see Nelson's fleet come in after the glorious victory of
+Trafalgar. The _Temeraire_ was pointed out to him--a battle ship that
+had very proudly borne the English flag, for during the battle it had
+run in between two French frigates and captured them both.
+
+"And now between thirty and forty years later, he lingered one
+afternoon on the banks of the Thames. As he looked over the water he
+saw the grand old hulk being towed down the river by a noisy little
+tug to be broken up at Deptford. 'There's a fine subject!' he
+exclaimed as he looked at the heroic ship that had known many glorious
+years; and in his thought he compared it to 'a battle-scarred warrior
+borne to the grave.'
+
+"Then he painted the picture. The glow of the setting sun irradiates
+the scene and bids farewell to the old ship. Twilight is coming on,
+and the new moon has just risen in its pearly light. It is a pathetic
+picture," and well illustrates how truly a "master of sunsets and
+waves" the artist was.
+
+Among his other paintings are several of Venice; "The Slave Ship" and
+many other sea pieces.
+
+
+
+
+XL
+
+SIR ANTHONY VAN DYCK
+
+
+  _Flemish School_
+  1599-1641
+  _Pupil of Rubens_
+
+Anthony Van Dyke's father was neither a gentleman nor an ill-born
+person. He was "betwixt-and-between," being a silk merchant, who met
+so many fine folk that he seemed to be "fine folk" himself; and by the
+time Anthony had grown up, he actually believed himself to be one of
+them. If manners stand for fineness Sir Anthony must have been
+superfine, because he was almost overburdened with "manners."
+
+He became a wonderful, be-laced, perfumed, shiny gentleman who never
+stooped to paint anything less than royalty and its associates, nor in
+anything less than velvets and laces. Like Rembrandt and Gainsborough,
+he set a fashion--or rather the style in which he painted came to be
+known after his name. We are all familiar with the kind of
+ornamentation on clothes called Van Dyck--pointed lace, or
+trimmings--and pointed beards.
+
+As a very young lad he was almost too dainty to be liked by healthy
+boys; and the worst of it was he did not care whether healthy, robust
+chaps liked him or not; certainly he did not care for them. He liked
+to sit in his father's shop and be smiled upon by the great ladies who
+came to buy, and in turn to smile shyly at them; this tendency became
+stronger as he grew to be a man.
+
+Anthony's mother made the most exquisite embroideries, and this may
+mean that some part of his art was inherited. She handled lovely
+colours, and tried to fashion beautiful flower shapes for
+customers. She was a fragile, tender sort of woman, while the father
+was doubtless a dapper, over-nice little fellow.
+
+Anthony was born in Antwerp, and the facts concerning his education,
+as in the case of most artists, are lost to our knowledge. He probably
+had a little of some sort outside of painting, but it certainly was
+not enough to hurt him, nor to make a fine healthy man of him. He was
+very beautiful, in a lady-like, faint-coloured way, not in the least
+resembling the handsome, gorgeous, elegant, robust Rubens, a true
+cavalier, of a dashing sort.
+
+He was apprenticed to a painter when he was ten years old, and later
+on became the pupil of Rubens. He painted a whole series of Apostles'
+heads, about which a lawsuit took place. The papers relating to this
+were found about twenty years ago, though the lawsuit occurred as far
+back as 1615. Several of the Apostles' heads that brought about the
+suit are to-day to be seen in the gallery at Dresden.
+
+Everything in those days--especially in Germany and Holland--was
+represented by a "guild." In reading about the Mastersingers of
+Nuremberg we are told that on the day when the trial of singers was to
+take place, dozens of "guilds" assembled in the meadow--guilds of
+bakers, of shoemakers--of which Hans Sachs was the head--guilds of
+goldsmiths, etc. Van Dyck was a member of the painters' guild when he
+was no more than nineteen. His work at that time showed so much
+strength that there is a picture of his, an old gentleman and lady, in
+the Dresden gallery, which for a long time was supposed to have been
+painted by his master, Rubens.
+
+An intimate friend of Van Dyck, Kenelm Digby, says that Van Dyck's
+first relations with Rubens came about by Van Dyck being employed to
+make engravings for the reproduction of Rubens's great works. After
+that he studied painting with him.
+
+One of his friends of that time wrote that at twenty Van Dyck was
+nearly as great as Rubens, though this is hardly substantiated by the
+verdict of time, and that being a man with very rich family
+connections, he could hardly be expected to leave home. On every hand
+we have signs of the artist's affected feeling about himself and other
+people.
+
+However, an annual pension from the King of England seems to have made
+travelling possible to this fine gentleman of lace ruffles, pale face,
+and lady-like ways.
+
+There is an entry about him on the royal account book of "Special
+service ... performed for His Majesty." Also "Antonio Van Dyck, gent.,
+_His Majesty's servant_, is allowed to travaile 8 months, he havinge
+obtayneid his Majesty's leave in that behalf, as was signified to the
+E. of Arundel." Certainly by that time Van Dyck had become a truly
+great portrait painter; not the greatest, because every picture showed
+the same characteristics in its subject--elegance, fine clothes,
+languid manners, without force of great truth or any excellent moral
+quality to distinguish one from another. Nevertheless, the kind of
+painting that he did, he did better than anyone else had ever done, or
+probably ever will do.
+
+While in England he painted all the royalties and many aristocrats,
+and wherever he went he was always painting pictures of himself.
+
+He travelled about a good deal, always painting people of the same
+class--kings and queens and fine folk, and painting them pretty nearly
+all alike.
+
+When he went to Italy he was everywhere received as a great painter,
+but while artists agreed that his work was excellent he was not much
+liked by them, and many tales are told about that journey which are
+interesting, if not entirely true. Van Dyck was the sort of man about
+whom tales would be made up. One, however, sounds true. It is said
+that he fell in love--which of course he was always doing--with a
+beautiful country girl, and that for love of her he painted an altar
+piece into which he put himself, seated on the great gray horse which
+Rubens had given him. That picture is in St. Martin's Church at
+Saventhem, near Brussels, but although one is inclined to believe this
+story because it was quite the sort of thing which might be expected
+of Van Dyck, even this is not true, because the painting was done long
+after the artist had made his Italian journey, and it was commissioned
+by a gentleman living at Saventhem, whose daughter Van Dyck
+undoubtedly liked pretty well; but he made the picture for money, not
+for love.
+
+While he was in Italy he lived with a cardinal, and painted languid
+pictures of sacred subjects, which were far from being his best
+work. The best that he did was in portraiture. Distinguished though he
+was, he did not have a very good time in Italy, because he would not
+join the artists who worked there, nor associate with them in the
+least, and naturally this made him disliked.
+
+We see a good many portraits painted by Van Dyck, of persons mounted
+upon or standing beside the gray horse, and these were painted about
+the time of that Italian journey. He used the Rubens horse in many
+paintings.
+
+Of all the people with whom he painted, he most valued the knowledge
+he got from a blind woman painter of Sicily, called Sofonisba
+Anguisciola, and he often said that he had learned more from a blind
+woman than from all the open-eyed men he ever knew. This woman artist
+was over ninety years old at the time he learned from her.
+
+While he was in Italy the plague broke out, and Van Dyck fled for his
+life, leaving an unfinished picture behind him, one ordered by the
+English king, the subject being Rinaldo and Armida, which had gained
+for the artist his knighthood pension.
+
+It is said that during his first year in England he painted the king
+and queen twelve times. He had an extraordinary record for industry,
+and painted very quickly, as he had need to do, because it took a
+great deal of money to buy the sort of things Van Dyck liked--fine
+laces and velvets, perfumes and satins. His plan was to sketch his
+subject first on gray paper with black and white chalk, and after that
+he gave the sketch to an assistant who increased it to the size he
+wished to paint. The next step was to set his painter to work upon the
+clothing of his figures. This was painted in roughly, together with
+background and any architectural effect Van Dyck wanted. After this
+the artist himself sat down and in three or four sittings, of not more
+than an hour each, he was able to finish a picture worth to-day
+thousands of dollars.
+
+He painted hands specially well, and kept certain models for them
+alone.
+
+Van Dyck had eleven brothers and sisters, whom he always kept in
+mind. Some of his sisters had become nuns while some of his brothers
+were priests, and Van Dyck's influence got a monkish brother called to
+the Dutch court to act as chaplain to the queen.
+
+By this time every royal personage in the world, nearly, had sent for
+Van Dyck to paint his portrait, for he could make one look handsomer
+than could any other painter in existence. If the king was very ugly,
+Van Dyck painted such beautiful clothes upon him that nobody noticed
+the plainness of the features.
+
+When Van Dyck was about thirty-six years old he married a great lady,
+the Lady Mary Ruthven, granddaughter of the Earl of Gowrie, but before
+that he had had a lady-love, Margaret Lemon, whom he painted as the
+Virgin and in several other pictures. When he married Lady Mary,
+Margaret Lemon was so furiously jealous that she tried to injure Van
+Dyck's right hand so that he could paint no more.
+
+About this time Rubens died in Flanders, leaving behind him an
+unfinished series of pictures which had been commissioned by the king
+of Spain. Van Dyck was asked to finish these, but declined until he
+was asked to make an independent picture, to complete the series, and
+this he was delighted to do. Ferdinand of Austria wrote to the king of
+Spain that Van Dyck had returned in great haste to London to arrange
+for his change of home, in order to do the work. "Possibly he may
+still change his mind," he added, "for he is stark mad." This shows
+how Van Dyck's erratic ways appeared to some people.
+
+He had a sister, Justiniana, who was also something of an artist and
+she married a nobleman when she was about twelve years old.
+
+When Van Dyck died he was buried in St. Paul's, London, and Charles
+I. placed an inscription on his tomb.
+
+In the "Young People's Story of Art," is the following anecdote: "A
+visit was once paid by a courtly looking stranger passing through
+Haarlem, to Franz Hals, the distinguished Dutch painter.
+
+"Hals was not at home but he was sent for to the tavern and hastily
+returned. The stranger told him that he had heard of his
+reputation--had just two hours to spare--and wished to have his
+portrait painted. Hals, seizing canvas and brushes fell vigorously to
+work; and before the given time had elapsed, he said, 'Have the
+goodness to rise, sir, and examine your portrait!' The stranger looked
+at it, expressed his satisfaction, and then said, 'Painting seems such
+a very easy thing, suppose we change places and see what I can do!'
+
+"Hals assented, and took his position as the sitter. The unknown
+began, and as Hals watched him, he saw that he wielded the brush so
+quickly, he must be a painter. His work, too, was rapidly finished,
+and as Hals looked at it he exclaimed, 'You must be Van Dyck! No one
+else could paint such a portrait!'
+
+"No two portraits could have been more unlike. The story adds that the
+famous Dutch and Flemish masters heartily embraced each other."
+
+The stories of Van Dyck's youth are interesting, and probably true. It
+is said that he drew so well when he was a pupil of Rubens that the
+great master often allowed him to retouch his own works. Once in
+Rubens's studio, some of the students got the key and went in to see
+what the master was doing, when he was absent. Rubens had left a
+painting fresh upon the easel, and in looking about them one of the
+boys rubbed against it. This frightened them all. What should they do?
+Rubens would find his picture ruined and know that they had broken in.
+
+After consultation they decided there was no one with them who could
+repair the damage as well as Van Dyck, who set about it, and soon he
+had painted in the smudged part so perfectly that when Rubens saw it,
+he did not for some time know that anything had happened to his
+picture. Later he suspected something, and when he learned of the
+prank and its outcome, he was so delighted with Van Dyck's work that
+he praised him instead of blaming him for it.
+
+Van Dyck had a very precise method of working. When sitters came to
+him he would paint for just one hour. Then he would politely dismiss
+them, and his servant would wash his brushes, and clear the way for
+the next sitter. He dined with his sitters often that he might
+surprise in them the expression which he wanted to paint. Also, he had
+their clothing sent to his studio, that it might be exactly imitated
+by himself or by those assistants who painted in the foundation for
+his finished work.
+
+While attached to King Charles I.'s court, Van Dyck was given a fine
+house at Blackfriars, on the Thames, and he had a private landing
+place made for boats, so that the royal family might visit him at
+their convenience. Charles I. used often to go to Van Dyck's studio to
+escape his many troubles, and thus the artist's home became as
+fashionable a gathering place, as Gainsborough's studio was in
+Bath. He painted Queen Henrietta not less than twenty-five times. He
+often furnished concerts for his sitters, for he himself was
+passionately fond of music, and moreover he believed that music often
+brought to the faces of his sitters, an expression that he loved to
+paint.
+
+He painted so many pictures of a certain kind of little dog, in the
+pictures of King Charles I. that ever since that breed has been known
+as the King Charles spaniel.
+
+After a while Van Dyck got heavily into debt. King Charles himself was
+in great trouble, and he had no money with which to pay his painter's
+pension. The artist had lived so extravagantly that he did not know at
+last which way to turn, so in desperation he thought to try alchemy
+and maybe to learn the secret of making gold. He wasted much time at
+this, as cleverer men have done, but at last he became too ill for
+that or for his own proper work, and badly off though Charles was
+himself, he offered his court physician a large sum if he could cure
+his court painter. But Van Dyck had enjoyed life too well, and nothing
+could be done for him.
+
+He was the seventh child of his parents--which some have thought had
+something to do with his genius and success; he lived gaily all the
+years of his life, going restlessly from place to place, and having
+many acquaintances but probably few friends, outside of his old
+master, Rubens, who loved him for his genius.
+
+  PLATE--CHILDREN OF CHARLES THE FIRST
+
+Van Dyck painted the family of the unfortunate king of England four
+times. There are five children in the Windsor Castle picture, and this
+one, which hangs in the Turin Gallery, was probably painted before the
+birth of the fourth child in 1636. It is celebrated for its colouring
+as well as for its great artistic merit. The children are surely
+childlike enough, despite their stately attire, and they little dream
+of the sad fate awaiting the whole of the Stuart family to which they
+belong.
+
+Other Van Dycks are: "The Blessed Herman Joseph," "Lords Digby and
+Russell," "Lord Wharton," "Countess Folkestone," and "William Prince
+of Orange."
+
+
+
+
+XLI
+
+VELASQUEZ (DIEGO RODRIGUEZ DE SILVA)
+
+
+  (Pronounced Vay-lahs'keth)
+  _Castilian School_
+  1599-1669
+  _Pupil of Herrera_
+
+It is pretty difficult to find out why a man was named so-and-so in
+the days of the early Italian and Spanish painters. More likely than
+not they would be called after the master to whom they had been first
+apprenticed; or after their trade; after the town from which they
+came, and rarely because their father had had the name before them. In
+Velasquez's case, he was named after his mother.
+
+No one seemed to be certain what to call him, but he generally wrote
+his name "Diego de Silva Velasquez." His father was Rodriguez de
+Silva, a lawyer, but in calling the boy Velasquez the family followed
+a universal Spanish custom of naming children after their mothers.
+
+Little Velasquez was well taught in his childhood; he studied many
+languages and philosophy, for he was intended to be a lawyer or
+something learned, anything but a painter. The disappointment of
+parents in those days, when they found a child was likely to become an
+artist is touching.
+
+Despite his equipment for a useful life, according to the ideas of his
+parents, this little chap was bound to become nothing but a maker of
+pictures.
+
+Herrera was a bad-tempered master and little Velasquez could not get
+on with him, so after a year of harsh treatment, he went to another
+master, Pacheco, but by that time he had learned a secret that was to
+help make his work great. Herrera had taught him to use a brush with
+very long bristles, which had the effect of spreading the paint,
+making it look as if his "colours had floated upon the canvas," in a
+way that was the "despair of those who came after him."
+
+Velasquez was born in Seville at a time when about all the art of the
+world was Italian or German; thus he became the creator of a new
+school of painting.
+
+He stayed five years in Pacheco's studio and pupil and master became
+very fond of each other. Pacheco was not a great master--not so good
+as Herrera--but he was easy to get on with, and knew a good deal about
+painting, so that as Velasquez had the genius, he was as well placed
+as he needed to be.
+
+In Pacheco's studio there was a peasant boy whose face was very
+mobile, showed every passing feeling; and Velasquez used to make him
+laugh and weep, till, surprising some good expression, he would
+quickly sketch him. With this excellent model, Velasquez did a
+surprising amount of good work.
+
+Spain had just then conquered the far-off provinces of Mexico and
+Peru, and was continually receiving from its newly got lands much
+valuable merchandise. Rapidly growing rich, this Latin country loved
+art and all things beautiful, so its money was bound to be spent
+freely in such ways. Madrid had been made its capital, and at that
+time there were few fine pictures to be found there. The Moors who had
+conquered Spain had forbidden picture making, because it was contrary
+to their religion to represent the human figure, or even the figures
+of birds and beasts. Then the Inquisition had hindered art by its
+rules, one of which was that the Virgin Mary should always be painted
+with her feet covered; another, that all saints should be
+beardless. There were many more exactions.
+
+While cathedrals were being built elsewhere, the Moors had been in
+control of Spanish lands, so that no cathedral had been built there,
+and when Velasquez came upon the scene the time of great cathedral
+building was past. It had ceased to be the fashion. Although there had
+been such painters as Beneguette, Morales, Navarrette, and Ribera, all
+Spanish and of considerable genius, they had been too badly
+handicapped to make painting a great art in Spain. When Madrid became
+the capital of Spain, it had no unusual buildings, unless it was an
+old fortress of the Moors, the Alcazar, Caesar's house, but the nation
+was buying paintings from Italy, and it began to beautify Madrid,
+which had the advantage of the former Moorish luxury and art, very
+beautiful, though not pictorial.
+
+In Madrid, then, there seemed to be great opportunity for a fine
+artist like Velasquez, and his master urged him to go there and try
+his fortune. So he set out on mule-back, attended by his slave, but
+unless he could get the ear of the king, it was useless for him to
+seek advancement in Madrid. Without the king as patron at that time,
+an artist could not accomplish much. After trying again and again,
+Velasquez had to return to his old master, without having seen the
+king; but after a time a picture of his was seen by Philip IV., and he
+was so much pleased with it that he summoned the artist. Through his
+minister, Olivares, he offered him $113.40 in gold (fifty ducats) to
+pay his return expenses. The next year he gave him $680.40 to move his
+family to Madrid.
+
+At last the artist had found a place in the rich city, and he went to
+live at the court where the warmest friendship grew between him and
+the king. The latter was an author and something of a painter, so that
+they loved the same things. This friendship lasted all their lives,
+and they were together most of the time, the king always being found,
+in Velasquez's studio in the palace when his duties did not call him
+elsewhere. During the many many years--nearly thirty-seven--that
+Velasquez lived with Philip IV. he employed himself in painting the
+scenes at court. Thus he became the pictorial historian of the Spanish
+capital. He was a man of good disposition, kindly and generous in
+conduct and in feeling, so that he was always in the midst of friends
+and well-wishers.
+
+Philip IV. was indeed a noble companion, but he was not a gay one,
+being known as the king who never laughed--or at least whose laughter
+was so rare, the few times he did laugh became historic. One would
+expect this serious and depressing atmosphere to have had an effect
+upon a painter's art; but it chanced that Rubens visited Spain, and
+there, Velasquez being the one famous artist, it was natural they
+should become interested in each other. Rubens told Velasquez of the
+wonders of Italian painting, till the Spaniard could think of nothing
+else, and finally he begged Philip to let him journey to Italy that he
+might see some of those wonders for himself. The request made the king
+unhappy at first, but at last he gave his consent and Velasquez set
+out for Italy. The king gave him money and letters of introduction,
+and he went in company with the Marquis of Spinola.
+
+After Velasquez had stayed eighteen months in Italy, Philip began to
+long for his friend and sent for him to return. He came back full of
+the stories of brilliant Italy, and charmed the king completely.
+
+There is as absurd a story of Velasquez's perfection in painting as
+that of Raphael's, whose portrait of the pope, left upon the terrace
+to dry, imposed upon passers by. It is said of Velasquez's work that
+when he had painted an admiral whom the king had ordered to sea, and
+left it exposed in his studio, the king, entering, thought it was the
+admiral himself, and angrily inquired why he had not put to sea
+according to orders. On the face of them these stories are false, but
+they serve to suggest the perfection of these artists' paintings.
+
+Philip, being a melancholy man, had his court full of jesters, poor
+misshapen creatures--dwarfs and hunchbacks--who were supposed to
+appear "funny," and Velasquez, as court painter, painted those whom he
+continually saw about him, who formed the court family. Thus we have
+pictures of strange groups--dwarfs, little princesses, dressed
+precisely as the elders were dressed, favourite dogs, and Velasquez
+himself at his easel.
+
+In 1618, while still with his master, Pacheco, he had married the
+master's daughter, a big, portly woman. Before he left Seville he bad
+two daughters.
+
+These were all the children he had, although he painted a picture of
+"Velasquez's Family" which includes a great number of people. The
+figures in that painting are the children of his daughter, not his
+own; and this may account for one biographer's statement that the
+artist had "seven children." He was devoted to and happy in his family
+of children and grandchildren.
+
+He did not grow rich, but received regularly during his life in
+Madrid, twenty gold ducats ($45.36) a month to live upon, and besides
+this his medical attendance, lodging, and additional payment for every
+picture. The one which brought him this good fortune was an equestrian
+portrait of Philip; first uncovered on the steps of San
+Felipe. Everywhere the people were delighted with it, poets sung of
+it, and the king declared no other should ever paint his
+portrait. This picture has long since disappeared.
+
+In 1627 Velasquez won the prize for a picture representing the
+expulsion of the Moors from Spain and was rewarded by "being appointed
+gentleman usher. To this was shortly afterward added a daily allowance
+of twelve reals--the same amount which was allowed to court
+barbers--and ninety gold ducats ($204.12) a year for dress, which was
+also paid to the dwarfs, buffoons, and players about the king's
+person--truly a curious estimate of talent at the court of Spain."
+
+The record of Philip IV. with unpleasing, even degenerate characters,
+about him, is brightened by the thought of his loyalty to his court
+painter and life-long friend. When the king's favourites fell, those
+who had been the friends of Velasquez, the artist loyally remained
+their friend in adversity as he had been while they were
+powerful. This constancy, even to the royal enemies, was never
+resented by Philip. He honoured the faithfulness of his artist, even
+as he himself was faithful in this friendship. Philip's court was such
+that there was little to paint that was ennobling, and so Velasquez
+lacked the inspiration of such surroundings as the Italian painters
+had.
+
+Philip IV. was hail-fellow-well-met with his stablemen, his huntsmen,
+his cooks, and yet he seems to have had no sense of humour, was long
+faced and forbidding to look at, and despite his strange habits
+considered himself the most mighty and haughty man in the world. He
+felt himself free to behave as he chose, because he was Philip of
+Spain; and he chose to do a great many absurd and outrageous
+things. In all Philip's portraits, painted by Velasquez, he wears a
+stiff white linen collar of his own invention, and he was so proud of
+this that he celebrated it by a festival. He went in procession to
+church to thank God for the wonderful blessing of the _Golilla_--the
+name of his collar. This unsightly thing became the fashion, and all
+portraits of men of that time were painted with it. "In regard to the
+wonderful structure of Philip's moustaches it is said, that, to
+preserve their form they were encased during the night in perfumed
+leather covers called _bigoteras_." Such absurdities in a king, who
+had the responsibilities of a nation upon him, seem incredible.
+
+Velasquez made in all three journeys to Italy, and the last one was on
+a mission for the king, which was much to the latter's credit. Philip
+had determined to have a fine art gallery in Madrid, for Spain had by
+this time many pictures, but no statuary; so he commissioned his
+painter to buy whatever he thought well of and _could_ buy, in
+Italy. Hence the artist set off again with his slave--the same one
+with whom he had journeyed to Madrid so long before. His name was
+Pareja, and his master had already made an excellent artist of him.
+
+They went to Genoa, thence to the great art-centres of Italy, were
+received everywhere with honour, and the artist bought wisely.
+Velasquez did not care for Raphael's paintings as much as for
+Titian's, and he said so to Salvator Rosa, an honoured painter in
+Italy.
+
+While in Rome Velasquez painted the pope, also his own slave, Pareja.
+
+When he returned to Spain he took with him three hundred statues, but
+a large number of them were nude, and the Spanish court, not over
+particular about most things, was very particular about naked statues,
+so that after Philip's death, they nearly all disappeared. After his
+return, and after the queen had died and Philip had married again,
+Velasquez was made quartermaster-general, no easy post but not without
+honour, though it interfered with his picture painting a good deal. He
+had to look after the comfort of all the court, and to see that the
+apartments it occupied, at home or when it visited, were suitable.
+
+"Even the powerful king of Spain could not make his favourite a belted
+knight without a commission to inquire into the purity of his lineage
+on both sides of the house. Fortunately, the pedigree could bear
+scrutiny, as for generations the family was found free from all taint
+of heresy, from all trace of Jewish or Moorish blood, and from
+contamination from trade or commerce. The difficulty connected with
+the fact that he was a painter was got over by his being painter to
+the king and by the declaration that he did not sell his pictures."
+
+The red Cross of Santiago conferred upon him by Philip, made Velasquez
+a knight and freed him also from the rulings of the Inquisition, which
+directed so largely what artists could and could not do. Thus it is
+that we come to have certain great pictures from Velasquez's brush
+which could not otherwise have been painted.
+
+This action of the king, setting free the artist, made two schools of
+art, of which the court painter represented one; and Murillo the
+other, under the command of the Church. Although not so rich perhaps
+as Raphael, Velasquez lived and died in plenty, while Murillo, the
+artist of the Church of Rome, was a poverty-stricken man.
+
+Finally, while in the midst of honours, and fulfilling his official
+duty to the court of Spain, Velasquez contracted the disease which
+killed him. The Infanta, Maria Theresa, was to wed Louis XIV., and the
+ceremony was to take place on a swampy little island called the Island
+of Pheasants. There he went to decorate a pavilion and other places of
+display. He became ill with a fever and died soon after he returned to
+Madrid.
+
+He made his wife, his old master Pacheco's daughter, his executor, and
+was buried in the church of San Juan, in the vault of Fuensalida; but
+within a week his devoted wife was dead, and in eight days' time she
+was buried beside him.
+
+He left his affairs--accounts between him and the court--badly
+entangled, and it was many years before they were straightened
+out. His many deeds of kindness lived after him. He made of his slave
+a good artist and a devoted friend, and by his efforts the slave
+became a freedman. The story of his kindly help to Murillo when that
+exquisite painter came, unknown and friendless to Madrid, has already
+been told.
+
+The Church where Velasquez was buried was destroyed by the French in
+1811, and all trace of the resting place of the great Spanish artist
+is forever lost to us.
+
+He is called not only "painter to the king," but "king of painters."
+
+  PLATE--EQUESTRIAN PORTRAIT OF DON BALTHASAR CARLOS.
+
+Philip of Spain had long prayed for a son and when at last one was
+granted him his pride in his young heir was unbounded. The little Don
+Carlos was not unworthy, for he was a cheerful, hearty boy, trained to
+horsemanship, from his fourth year, for his father was a noted rider
+and had the best instructors for his son. The prince was a brave
+hunter too and we are told that he shot a wild boar when he was but
+nine years of age. In this portrait which is in the Museo del Prado he
+is six years old, and it was neither the first nor the last that
+Velasquez made of him. It was one of the court painter's chief duties
+to see that the heir to the throne was placed upon canvas at every
+stage of his career, and he painted him from two years of age till his
+lamented death at sixteen.
+
+The young prince wears in this picture a green velvet jacket with
+white sleeves and his scarf is crimson embroidered with gold. The
+lively pony is a light chestnut and the foreshortening of its body
+must be noticed. The steady grave eyes of the lad are gazing far ahead
+as they would naturally be if he were riding rapidly, but his princely
+dignity is shown in his firm seat in the saddle and his manner of
+holding his marshal's baton.
+
+The great art of the painter is also shown in the way he subordinates
+the landscape to the figure. He will not allow even a tree to come
+near the young horseman, but brings his young activity into vivid
+contrast with the calm peacefulness of the distant view.
+
+With the death of Don Carlos the downfall of his father's dynasty was
+assured, though for a time his little sister, the Infanta Maria
+Theresa, was upheld as the heiress. She married Louis XIV. and had a
+weary time of it in France. Velasquez painted her picture too, in the
+grown up dress of the children of that day. It is in the Vienna
+Gallery. Among his best known pictures are "The Surrender of Breda,"
+"Alessandro del Borro," and "Philip IV."
+
+
+
+
+XLII
+
+PAUL VERONESE (PAOLO CAGLIARI)
+
+
+  (Pronounced Vay-ro-nay'zay and pah'o-lah cal-ee-ah'ree)
+  _Venetian School_
+  1528-1588
+  _Pupil of Titian_
+
+"One has never done well enough, when one can do better; one never
+knows enough when he can learn more!"
+
+This was the motto of Paul Veronese. This artist was born in
+Verona--whence he took his name--and spent much of his life with the
+monks in the monastery of St. Sebastian.
+
+His father was a sculptor, and taught his son. Veronese himself was a
+lovable fellow, had a kind feeling for all, and in return received the
+good will of most people. When he first went to Venice to study he
+took letters of introduction to the monks of St. Sebastian, and
+finally went to live with them, for his uncle was prior of the
+monastery, and it was upon its walls that he did his first work in
+Venice. His subject was the story of Esther, which he illustrated
+completely.
+
+He became known in time as "the most magnificent of magnificent
+painters." He loved the gaieties of Venice; the lords and ladies; the
+exquisite colouring; the feasting and laughter, and everything he
+painted, showed this taste. When he chose great religious subjects he
+dressed all his figures in elegant Venetian costumes, in the midst of
+elegant Venetian scenes. His Virgins, or other Biblical people, were
+not Jews of Palestine, but Venetians of Venice, but so beautiful were
+they and so inspiring, that nobody cared to criticise them on that
+score. He loved to paint festival scenes such as, "The Marriage at
+Cana," "Banquet in Levi's House," or "Feast in the House of Simon." He
+painted nothing as it could possibly have been, but everything as he
+would have liked it to be.
+
+Into the "Wedding Feast at Cana," where Jesus was said to have turned
+the water into wine, he introduced a great host of his friends, people
+then living. Titian is there, and several reigning kings and queens,
+including Francis I. of France and his bride, for whom the picture was
+made. This treatment of the Bible story startles the mind, but
+delights the eye.
+
+It was said that his "red recurred like a joyful trumpet blast among
+the silver gray harmonies of his paintings."
+
+Muther, one who has written brilliantly about him, tells us that
+"Veronese seems to have come into the world to prove that the painter
+need have neither head nor heart, but only a hand, a brush, and a pot
+of paint in order to clothe all the walls of the world with oil
+paintings" and that "if he paints Mary, she is not the handmaid of the
+Lord or even the Queen of Heaven, but a woman of the world, listening
+with approving smile to the homage of a cavalier. In light red silk
+morning dress, she receives the Angel of the Annunciation and hears
+without surprise--for she has already heard it--what he has to say;
+and at the Entombment she only weeps in order to keep up appearances."
+
+Such criticism raises a smile, but it is quite just, and what is more,
+the Veronese pictures are so beautiful that one is not likely to
+quarrel with the painter for having more good feeling than
+understanding. His joyous temperament came near to doing him harm, for
+he was summoned before the Inquisition for the manner in which he had
+painted "The Last Supper."
+
+After the Esther pictures in St. Sebastian, the artist painted there
+the "Martyrdom of St. Sebastian," and there is a tradition that he did
+his work while hiding in the monastery because of some mischief of
+which he had been guilty.
+
+At that time he was not much more than twenty-six or eight, while the
+great painter Tintoretto was forty-five, yet his work in St. Sebastian
+made him as famous as the older artist.
+
+There is very little known of the private affairs of Veronese. He
+signed a contract for painting the "Marriage at Cana," for the
+refectory of the monastery of St. Giorgio Maggiore, in June 1562, and
+that picture, stupendous as it is, was finished eighteen months
+later. He received $777.60 for it, as well as his living while he was
+at work upon it, and a tun of wine. One picture he is supposed to have
+left behind him at a house where he had been entertained, as an
+acknowledgment of the courtesy shown him.
+
+Paul had a brother, Benedetto, ten years younger than himself, and it
+is said that he greatly helped Paul in his work, by designing the
+architectural backgrounds of his pictures. If that is so, Benedetto
+must have been an artist of much genius, for those backgrounds in the
+paintings are very fine.
+
+Veronese married, and had two sons; the younger being named
+Carletto. He was also the favourite, and an excellent artist, who did
+some fine painting, but he died while he was still young. Gabriele the
+elder son, also painted, but he was mainly a man of affairs, and
+attended to business rather than to art.
+
+Veronese was a loving father and brother, and beyond doubt a happy
+man. After his death both his sons and his brother worked upon his
+unfinished paintings, completing them for him. He was buried in the
+Church of St. Sebastian.
+
+  PLATE--THE MARRIAGE AT CANA
+
+This painting is most characteristic of Veronese's methods. He has no
+regard for the truth in presenting the picture story. At the marriage
+at Cana everybody must have been very simply dressed, and there could
+have been no beautiful architecture, such as we see in the picture. In
+the painting we find courtier-like men and women dressed in beautiful
+silks. Some of the costumes appear to be a little Russian in
+character, the others Venetian; and Jesus Himself wears the loose
+every-day robe of the pastoral people to whom he belonged. We think of
+luxury and rich food and a splendid house when we look at this
+painting, when as a matter of fact nothing of this sort could have
+belonged to the scene which Veronese chose to represent. Perhaps no
+painter was more lacking in imagination than was Veronese in painting
+this particular picture. He chose to place historical or legendary
+characters, in the midst of a scene which could not have existed
+co-incidently with the event.
+
+Among his other pictures are "Europa and the Bull," "Venice
+Enthroned," and the "Presentation of the Family of Darius to
+Alexander."
+
+
+
+
+XLIII
+
+LEONARDO DA VINCI
+
+
+  (Pronounced Lay-o-nar'do dah Veen'chee)
+  _Florentine School_
+  1451-1519
+  _Pupil of Verrocchio_
+
+Leonardo da Vinci was the natural son of a notary, Ser Pier, and he
+was born at the Castello of Vinci, near Empoli. From the very hour
+that he was apprenticed to his master, Verrocchio, he proved that he
+was the superior of his master in art. Da Vinci was one of the most
+remarkable men who ever lived, because he not only did an
+extraordinary number of things, but he did all of them well.
+
+He was an engineer, made bridges, fortifications, and plans which to
+this day are brilliant achievements.
+
+He was a sculptor, and as such did beautiful work.
+
+He was a naturalist, and as such was of use to the world.
+
+He was an author and left behind him books written backward, of which
+he said that only he who was willing to devote enough study to them to
+read them in that form, was able to profit by what he had written.
+
+Finally, and most wonderfully, he was a painter.
+
+He had absolute faith in himself. Before he constructed his bridge he
+said that he could build the best one in the world, and a king took
+him at his word and was not disappointed by the result.
+
+He stated that he could paint the finest picture in the world--but let
+us read what he himself said of it, in so sure and superbly confident
+a way that it robbed his statement of anything like foolish
+vanity. Such as he could afford to speak frankly of his greatness,
+without appearing absurd. He wrote:
+
+"In time of peace, I believe I can equal anyone in architecture, in
+constructing public and private buildings, and in conducting water
+from one place to another. I can execute sculpture, whether in marble,
+bronze, or terra cotta, and in painting I can do as much as any other
+man, be he who he may. Further, I could engage to execute the bronze
+horse in eternal memory of your father and the illustrious house of
+Sforza." He was writing to Ludovico Sforza whose house then ruled at
+Milan. "If any of the above-mentioned things should appear to you
+impossible or impracticable, I am ready to make trial of them in your
+park, or in any other place that may please your excellency, to whom I
+commend myself in proud humility."
+
+Leonardo's experiments with oils and the mixing of his pigments has
+nearly lost to us his most remarkable pictures. His first fourteen
+years of work as an artist were spent in Milan, where he was employed
+to paint by the Duke of Milan, and never again was his life so
+peaceful; it was ever afterward full of change. He went from Milan to
+Venice, to Rome, to Florence, and back to Milan where his greatest
+work was done.
+
+While Leonardo was a baby he lived in the Castle of Vinci. He was
+beautiful as a child and very handsome as a man. When a child he wore
+long curls reaching below his waist. He was richly clothed, and
+greatly beloved. His body seemed no less wonderful than his mind. He
+wished to learn everything, and his memory was so wonderful that he
+remembered all that he undertook to learn. His muscles were so
+powerful that he could bend iron, and all animals seemed to love
+him. It is said he could tame the wildest horses. Indeed his life and
+accomplishments read as if he were one enchanted. One writer tells us
+that "he never could bear to see any creature cruelly treated, and
+sometimes he would buy little caged birds that he might just have the
+pleasure of opening the doors of their cages, and setting them at
+liberty."
+
+The story told of his first known work is that his master, being
+hurried in finishing a picture, permitted Leonardo to paint in an
+angel's head, and that it was so much better than the rest of the
+picture, that Verrocchio burned his brushes and broke his palette,
+determined never to paint again, but probably this is a good deal of a
+fairy tale and one that is not needed to impress us with the artist's
+greatness, since there is so much to prove it without adding fable to
+fact.
+
+Leonardo was also a very far seeing inventor and most ingenious. He
+made mechanical toys that "worked" when they were wound up. He even
+devised a miniature flying machine; however, history does not tell us
+whether it flew or not. He thought out the uses of steam as a motive
+power long before Fulton's time.
+
+Leonardo haunted the public streets, sketchbook in hand, and when
+attracted by a face, would follow till he was able to transfer it to
+paper. Ida Prentice Whitcomb, who has compiled many anecdotes of da
+Vinci, says that it was also his habit to invite peasants to his
+house, and there amuse them with funny stories till he caught some
+fleeting expression of mirth which he was pleased to reproduce.
+
+As a courtier Leonardo was elegant and full of amusing devices. He
+sang, accompanying himself on a silver lute, which he had had
+fashioned in imitation of a horse's skull. After he attached himself
+to the court of the Duke of Milan, his gift of invention was
+constantly called into use, and one of the surprises he had in store
+for the Duke's guests was a great mechanical lion, which being wound
+up, would walk into the presence of the court, open its mouth and
+disclose a bunch of flowers inside.
+
+Leonardo worked very slowly upon his paintings, because he was never
+satisfied with a work, and would retouch it day after day. Then, too,
+he was a man of moods, like most geniuses, and could not work with
+regularity. The picture of the "Last Supper" was painted in Milan, by
+order of his patron, the Duke, and there are many picturesque stories
+written of its production. It was painted upon the refectory wall of a
+Dominican convent, the Santa Maria delle Grazie; and at first the work
+went off well, and the artist would remain upon his scaffolding from
+morning till night, absorbed in his painting. It is said that at such
+times he neither ate nor drank, forgetting all but his great work. He
+kept postponing the painting of two heads--Christ and Judas.
+
+He had worked painstakingly and with enthusiasm till that point, but
+deferred what he was hardly willing to trust himself to perform. He
+had certain conceptions of these features which he almost feared to
+execute, so tremendous was his purpose. He let that part of the work
+go, month after month, and having already spent two years upon the
+picture, the monks began to urge him to a finish. He was not the man
+to endure much pressure, and the more they urged the more resentful he
+became. Finally, he began to feel a bitter dislike for the prior, the
+man who annoyed him most. One day, when the prior was nagging him
+about the picture, wanting to know why he didn't get to work upon it
+again, and when would it be finished, Leonardo said suavely: "If you
+will sit for the head of Judas, I'll be able to finish the picture at
+once." The prior was enraged, as Leonardo meant he should be; but
+Leonardo is said actually to have painted him in as Judas. Afterward
+he painted in the face of Christ with haste and little care, simply
+because he despaired of ever doing the wonderful face that his art
+soul demanded Christ should wear.
+
+The one bitter moment in Leonardo's life, in all probability, was when
+he came in dire competition with Michael Angelo. When he removed to
+Florence he was required to submit sketches for the Town Hall--the
+Palazzo Vecchio--and Michael Angelo was his rival. The choice fell to
+Angelo, and after a life of supremacy Leonardo could not endure the
+humiliation with grace. Added to disappointment, someone declared that
+Leonardo's powers were waning because he was growing old. This was
+more than he could bear, and he left Italy for France, where the king
+had invited him to come and spend the remainder of his life. Francis
+I. had wished to have the picture in the Milan monastery taken to
+France, but that was not to be done.
+
+Doubtless the king expected Leonardo to do some equally great work
+after he became the nation's guest.
+
+Before leaving Italy, Leonardo had painted his one other "greatest"
+picture--"La Gioconda" (Mona Lisa)-and he took that wonderful work
+with him to France, where the King purchased it for $9,000, and to
+this day it hangs in the Louvre.
+
+But Leonardo was to do no great work in France, for in truth he was
+growing old. His health had failed, and although he was still a dandy
+and court favourite, setting the fashion in clothing and in the cut of
+hair and beard, he was no longer the brilliant, active Leonardo.
+
+Bernard Berensen, has written of him: "Painting ... was to Leonardo so
+little of a preoccupation that we must regard it as merely a mode of
+expression used at moments by a man of universal genius." By which
+Berensen means us to understand that Leonardo was so brilliant a
+student and inventor, so versatile, that art was a mere pastime. "No,
+let us not join in the reproaches made to Leonardo for having painted
+so little; because he had so much more to do than to paint, he has
+left all of us heirs to one or two of the supremest works of art ever
+created."
+
+Another author writes that "in Leonardo da Vinci every talent was
+combined in one man."
+
+Leonardo was the third person of the wonderful trinity of Florentine
+painters, Raphael and Michael Angelo being the other two.
+
+He knew so much that he never doubted his own powers, but when he
+died, after three years in France, he left little behind him, and that
+little he had ever declared to be unfinished--the "Mona Lisa" and the
+"Last Supper." He died in the Chateau de Cloux, at Amboise, and it is
+said that "sore wept the king when he heard that Leonardo was dead."
+
+In Milan, near the Cathedral, there stands a monument to his memory,
+and about it are placed the statues of his pupils. To this day he is
+wonderful among the great men of the world.
+
+  PLATE--THE LAST SUPPER
+
+This, as we have said, is in the former convent of Santa Maria delle
+Grazie, in Milan. It was the first painted story of this legendary
+event in which natural and spontaneous action on the part of all the
+company was presented.
+
+To-day the picture is nearly ruined by smoke, time, and alterations in
+the place, for a great door lintel has been cut into the
+picture. Leonardo used the words of the Christ: "Verily, I say unto
+you that one of you shall betray me," as the starting point for this
+painting. It is after the utterance of these words that we see each of
+the disciples questioning horrified, frightened, anxious, listening,
+angered--all these emotions being expressed by the face or gestures of
+the hands or pose of the figures. It is a most wonderful picture and
+it seems as if the limit of genius was to be found in it.
+
+The company is gathered in a half-dark hall, the heads outlined
+against the evening light that comes through the windows at the
+back. We look into a room and seem to behold the greatest tragedy of
+legendary history: treachery and sorrow and consternation brought to
+Jesus of Nazareth and his comrades.
+
+This great picture was painted in oil instead of in "distemper," the
+proper kind of mixture for fresco, and therefore it was bound to be
+lost in the course of time. Besides, it has known more than ordinary
+disaster. The troops of Napoleon used this room, the convent
+refectory, for a stable, and that did not do the painting any
+good. The reason we have so complete a knowledge of it, however, is
+that Leonardo's pupils made an endless number of copies of it, and
+thus it has found its way into thousands of homes. The following is
+the order in which Leonardo placed the disciples at the table: Jesus
+of Nazareth in the centre, Bartholomew the last on the left, after him
+is James, Andrew, Peter, Judas--who holds the money bag--and John. On
+the right, next to Jesus, comes Thomas, the doubting one; James the
+Greater, Philip, Matthew, Thaddeus, and Simon. Jesus has just declared
+that one of them shall betray him, and each in his own way seems to be
+asking "Lord, is it I?" In the South Kensington Museum in London will
+be found carefully preserved a description, written out fairly in
+Leonardo's own hand, to guide him in painting the Last Supper. It is
+most interesting and we shall quote it: "One, in the act of drinking
+puts down his glass and turns his head to the speaker. Another
+twisting his fingers together, turns to his companion, knitting his
+eyebrows. Another, opening his hands and turning the palm toward the
+spectator, shrugs his shoulders, his mouth expressing the liveliest
+surprise. Another whispers in the ear of a companion, who turns to
+listen, holding in one hand a knife, and in the other a loaf, which he
+has cut in two. Another, turning around with a knife in his hand,
+upsets a glass upon the table and looks; another gasps in amazement;
+another leans forward to look at the speaker, shading his eyes with
+his hand; another, drawing back behind the one who leans forward,
+looks into the space between the wall and the stooping disciple."
+
+Other paintings of Leonardo's are: "Mona Lisa," "Head of Medusa,"
+"Adoration of the Magi," and the "Madonna della Caraffa."
+
+
+
+
+XLIV
+
+JEAN ANTOINE WATTEAU
+
+
+  (Pronounced in French, Vaht-toh; English, Wot-toh)
+  _French (Genre) School_
+  1684-1721
+  _Pupil of Gillot and Audran_
+
+Watteau's father was a tiler in a Flemish town--Valenciennes. He meant
+that his son should be a carpenter, but that son tramped from
+Valenciennes to Paris with the purpose of becoming a great painter. He
+did more, he became a "school" of painting, all by himself.
+
+There is no sadder story among artists than that of this lowly born
+genius. He was not good to look upon, being the very opposite of all
+that he loved, having no grace or charm in appearance. He had a
+drooping mouth, red and bony hands, and a narrow chest with stooping
+shoulders. Because of a strange sensitiveness he lived all his life
+apart from those he would have been happy with, for he mistrusted his
+own ugliness, and thought he might be a burden to others.
+
+Such a man has painted the gayest, gladdest, most delicate and
+exquisite pictures imaginable.
+
+He entered Paris as a young man, without friends, without money or
+connections of any kind, and after wandering forlornly, about the
+great city, he found employment with a dealer who made hundreds of
+saints for out-of-town churches.
+
+It is said that for this first employer Watteau made dozens and dozens
+of pictures of St. Nicholas; and when we think of the beautiful
+figures he was going to make, pictures that should delight all the
+world, there seems something tragic in the monotony and
+common-placeness of that first work he was forced by poverty to
+do. Certainly St. Nicholas brought one man bread and butter, even if
+he forgot him at Christmas time.
+
+After that hard apprenticeship, Watteau's condition became slightly
+better. He had been employed near the Pont Notre Dame, at three francs
+a week, but now in the studio of a scene painter, Gillot, he did work
+of coarse effect, very different from that exquisite school of art
+which he was to bring into being. After Gillot's came the studio of
+Claude Audran, the conservator of the Luxembourg, and with him Watteau
+did decorative work. In reality he had no master, learned from nobody,
+grovelled in poverty, and at first, forced a living from the meanest
+sources. With this in mind, it remains a wonder that he should paint
+as no other ever could, scenes of exquisite beauty and grace; scenes
+of high life, courtiers and great ladies assembled in lovely
+landscapes, doing elegant and charming things, dressed in unrivalled
+gowns and costumes. Until Watteau went to the Luxembourg he had seen
+absolutely nothing of refined or gracious living. He had come from
+country scenes, and in Paris had lived among workmen and
+bird-fanciers, flower sellers, hucksters and the like. This is very
+likely the secret of his peculiar art.
+
+Watteau would have been a wonderful artist under any circumstances, no
+matter what sort of pictures he had painted; but circumstances gave
+his imagination a turn toward the exquisite in colourand
+composition. Doubtless when he first looked down from the palace
+windows of the Luxembourg and saw gorgeous women and handsome men
+languishing and coquetting and revelling in a life of ease and beauty,
+he was transported. He must have thought himself in fairyland, and the
+impulse to paint, to idealise the loveliness that he saw, must have
+been greater in him than it would have been in one who had lived so
+long among such scenes that they had become familiar with them.
+
+After Watteau there were artists who tried to do the kind of work he
+had done, but no one ever succeeded. Watteau clothed all his
+shepherdesses in fine silken gowns, with a plait in the back, falling
+from the shoulders, and to-day we have a fashion known as the "Watteau
+back"--gowns made with this shoulder-plait. He put filmy laces or
+softest silks upon his dairy maids, as upon his court ladies, dressing
+his figures exquisitely, and in the loveliest colours. He had suffered
+from poverty and from miserable sights, so when he came to paint
+pictures, he determined to reproduce only the loveliest objects.
+
+At that time French fashions were very unusual, and it was quite the
+thing for ladies to hold a sort of reception while at their toilet. A
+description of one of these affairs was written by Madame de Grignon
+to her daughter: "Nothing can be more delightful than to assist at the
+toilet of Madame la Duchesse (de Bourgoyne), and to watch her arrange
+her hair. I was present the other day. She rose at half past twelve,
+put on her dressing gown, and set to work to eat a _meringue_. She ate
+the powder and greased her hair. The whole formed an excellent
+breakfast and charming _coiffure_." Watteau has caught the spirit of
+this strange airy, artificial, incongruous existence. His ladies seem
+to be eating _meringues_ and powdering their hair and living on a diet
+of the combination. One hardly knows which is toilet and which is real
+life in looking at his paintings.
+
+He quarreled with Audran at the Luxembourg, and having sold his first
+picture, he went back to his Valenciennes home, to see his former
+acquaintances, no doubt being a little vain of his performance.
+
+After that he painted another picture which sold well enough to keep
+him from poverty for a time, and on his return to Paris he was warmly
+greeted by a celebrated and influential artist, Crozat. Watteau tried
+for a prize, and though his picture came second it had been seen by
+the Academy committee.
+
+His greatness was acknowledged, and he was immediately admitted to the
+Academy and granted a pension by the crown, with which he was able to
+go to Italy, the Mecca of all artists the world over.
+
+From Italy he went to London, but there the fogs and unsuitable
+climate made his disease much worse and he hurried back to France,
+where he went to live with a friend who was a picture dealer. It was
+then that he painted a sign for this friend, Gersaint, a sign so
+wonderful that it is reckoned in the history of Watteau's paintings.
+
+Soon he grew so sensitive over his illness, that he did not wish to
+remain near his dearest friends, but one of them, the Abbe Haranger,
+insisted upon looking after his welfare, and got lodgings for him at
+Nogent, where he could have country air and peace.
+
+Watteau died very soon after going to Nogent in July, 1721, and he
+left nine thousand livres to his parents, and his paintings to his
+best friends, the Abbe, Gersaint, Monsieur Henin, and Monsieur
+Julienne. He is called the "first French painter" and so he
+was--though he was Flemish, by birth.
+
+  PLATE--FETE CHAMPETRE
+
+This exquisite picture displays nearly all the characteristics of
+Watteau's painting. He was said to paint with "honey and gold," and
+his method was certainly remarkable. His clear, delicate colours were
+put upon a canvas first daubed with oil, and he never cleaned his
+palette. His "oil-pot was full of dust and dirt and mixed with the
+washings of his brush." One would think that only the most slovenly
+results could come from such habits of work, but the artist made a
+colour which no one could copy, and that was a sort of creamy,
+opalescent white. This was original with Watteau, and most beautiful.
+
+In this "Fete Champetre," which is now in the National Gallery at
+Edinburgh, he paints an elegant group of ladies and gentlemen
+indulging in an open air dance of some sort. One couple are doing
+steps facing one another, to the music of a set of pipes, while the
+rest flirt and talk, decorously, round about. There is no boisterous
+rusticity here; all is dainty and refined.
+
+The same characteristics are to be found in Watteau's other pictures
+such as, "Embarkation for the Island of Cythera," "The Judgment of
+Paris," and "Gay Company in a Park."
+
+
+
+
+XLV
+
+SIR BENJAMIN WEST
+
+
+  _American_
+  1738-1820
+  _Pupil of the Italian School_
+
+The beautiful smile of his little niece helped to make this man an
+artist. This is the story:
+
+Benjamin West was born down in Pennsylvania, at Westdale, a small
+village in the township of Springfield, of Quaker parentage. The
+family was poor perhaps, but in America at a time when everybody was
+struggling with a new civilisation it did not seem to be such binding
+poverty as the same condition in Europe would have been. Benjamin had
+a married sister whose baby he greatly loved, and he gave it devoted
+attention. One day while it was sleeping and the undiscovered artist
+was sitting beside it he saw it smile, and the beauty of the smile
+inspired him to keep it forever if he could. He got paper and pencil
+and forthwith transferred that "angel's whisper."
+
+No child of to-day can imagine the difficulties a boy must have had in
+those days in America, to get an art education, and having learned his
+art, how impossible it was to live by it. Men were busy making a new
+country and pictures do not take part in such pioneer work; they come
+later. Still, there were bound to be born artistic geniuses then, just
+as there were men for the plough and men for politics and for war. He
+who happened to be the artist was the Quaker boy, West.
+
+He took his first inspiration from the Cherokees, for it was the
+Indian in all the splendour of his strength and straightness that
+formed West's ideal of beautiful physique.
+
+When he first saw the Apollo Belvedere, he exclaimed: "A young Mohawk
+warrior!" to the disgust of every one who heard him, but he meant to
+compliment the noblest of forms. Europeans did not know how
+magnificent a figure the "young Mohawk warrior" could be; but West
+knew.
+
+After his Indian impetus toward art he went to Philadelphia, and
+settled himself in a studio, where he painted portraits. His sitters
+went to him out of curiosity as much as anything else, but at last a
+Philadelphia gentleman, who knew what art meant, recognised Benjamin
+West's talent, and made some arrangement by which the young man went
+to Italy.
+
+Life began to look beautiful and promising to the Pennsylvanian. He
+was in Italy for three years, and in that home of art the young man
+who had made the smile of his sister's sleeping baby immortal was
+given highest honours. He was elected a member of all the great art
+societies in Italy, and studied with the best artists of the time. He
+began to earn his living, we may be sure, and then he went to England,
+where, in spite of the prejudice there must have been against the
+colonists, he became at once a favourite of George III., a friend of
+Reynolds and of all the English artists of repute--unless perhaps of
+Gainsborough, who made friends with none.
+
+West was appointed "historical painter" to his Majesty, George III.,
+and he was chosen to be one of four who should draw plans for a Royal
+Academy. He was one of the first members of that great organisation,
+and when Sir Joshua Reynolds, the first president, died, West became
+president, remaining in office for twenty-eight years.
+
+About that time came the Peace of Amiens, and West was able to go to
+Paris, where he could see the greatest art treasures of Europe, which
+had been brought to France from every quarter as a consequence of the
+war. At that time, before Paris began to return these, and when she
+had just pillaged every great capital of Europe, artists need take but
+a single trip to see all the art worth seeing in the whole world.
+
+After a long service in the Academy, West quarreled with some of the
+Academicians and sent in his resignation; but his fellow artists had
+too much sense and good feeling to accept it, and begged him to
+reconsider his action. He did so, and returned to his place as
+president. When West was sixty-five years old he made a picture,
+"Christ Healing the Sick," which he meant to give to the Quakers in
+Philadelphia, who were trying to get funds with which to build a
+hospital. This picture was to be sold for the fund; but it was no
+sooner finished and exhibited in London before being sent to America,
+than it was bought for 3,000 guineas for Great Britain. West did not
+contribute this money to the hospital fund, but he made a replica for
+the Quakers, and sent that instead of the original.
+
+West was eighty-two years old when he died and he was buried in
+St. Paul's Cathedral after a distinguished and honoured life. Since
+Europe gave him his education and also supported him most of his life,
+we must consider him more English than American, his birth on American
+soil being a mere accident.
+
+  PLATE--THE DEATH OF WOLFE
+
+This death scene upon the Plains of Abraham, without the walls of
+Quebec in 1759, must not be taken as a realistic picture of an
+historic event. West drew upon his imagination and upon portraits of
+the prominent men supposed to have been grouped around the dying
+general, and he has produced a dramatic effect. One can imagine it is
+the two with fingers pointing backward who have just brought the
+memorable tidings, "They run! They run!"
+
+"Who run?" asks Wolfe, for when he had fallen the issues of the fight
+were still undecided. "The French, sir. They give way everywhere."
+"Thank God! I die in peace," replied the English hero. At a time when
+the momentous results of this battle had set the whole of Great
+Britain afire with enthusiasm it is easy to understand the popularity
+of a picture such as this. It was sold in 1791 for L28, and now
+belongs to the Duke of Westminster. There is a replica of it in the
+Queen's drawing-room at Hampton Court.
+
+Another famous historical picture by West is "The Battle of La Hogue."
+
+
+
+
+INDEX
+
+About, Edmund
+Academia, Florence
+Academy, French
+  Rome,
+  Royal, London,
+  Venice
+"Acis and Galatea"
+Adoration of the Magi
+"Adoration of the Shepherds"
+"After a Summer Shower"
+"Afternoon"
+Albert, King
+"Alessandro del Borro"
+Alexander VI.
+Alice, Princess
+Allegri, Antonio. _See_ Correggi
+Allegri, Pompino
+"Ambassadors, The"
+"American Mustangs"
+"Anatomy Lesson, The"
+Andrea del Sarto
+Angelo, Michael
+"Angels' Heads"
+"Angelas, The"
+Anguisciola, Sofonisba
+Anne of Cleves
+Anne of Saxony
+Annunciata, cloister of the
+"Annunciation, The"
+"Ansidei Madonna, The"
+"Antiope"
+Apocalypse
+Apollo Belvedere
+Apostles, the Four
+Apostles' Heads
+Appelles
+"Archipelago"
+Arena Chapel
+Arrivabene Chapel
+"Artist's Two Sons, The"
+"Arundel Castle and Mill"
+"Assumption of the Virgin"
+"At the Well"
+Audran
+Augusta, Princess
+"Avenue, Middelharnis, Holland"
+"Awakened Conscience, The"
+
+"Bacchanal"
+"Bacchus and Ariadne"
+Balzac
+"Banquet in Levi's House"
+"Baptism of Christ, The"
+Barbizon
+Barile
+Barry, James
+Bartoli d'Angiolini
+Bartolommeo, Fra
+Bassano
+"Bathers"
+"Battle of La Hogue"
+Beaumont, Sir George
+Beaux-Arts, l'Ecole des
+Begarelli
+Bellini, Gentile
+Bellini, Giovanni
+Bembo, Cardinal
+Beneguette
+"Bent Tree"
+Bentivoglio, Cardinal
+Berck, Derich
+Berensen, Bernard
+Bergholt, East
+"Berkshire Hills"
+"Bianca"
+Bicknell, Maria
+Bigio, Francia
+Bigordi. _See_ Ghirlandajo
+Bird
+"Birth of the Virgin"
+  (Andrea del Sarto)
+  (Murillo)
+"Birth of Venus"
+Blanc, Charles
+"Blessed Herman Joseph, The"
+"Bligh Shore"
+"Blue Boy, The"
+Boecklin, Arnold
+"Boat-Building"
+Boleyn, Anne
+Bolton, Mrs. Sarah K.
+Bonheur, Marie-Rosea
+Bonheur, Raymond B.
+Bordeaux
+Bordone. _See_ Giotto
+Borghese Palace
+Borgia family
+Borgia, Lucretia
+Botticelli
+Boudin
+Bouguereau, William Adolphe
+"Boy at the Stile, The"
+Brancacci Chapel
+Brant, Isabella
+Breton, Jules
+Brice, J. B.
+Brouwer
+Browning
+Brunellesco
+"Brutus"
+Buckingham, Duke of
+Buonarroti. _See_ Angelo Michael
+Burgundy, Duchess of
+Burke, Edmund
+Burne-Jones, Sir Edward
+Burr, Margaret
+
+Caffin
+Cagliari, Benedetto
+Cagliari, Carletto
+Cagliari, Gabriele
+Cagliari, Paolo. _See_ Veronese
+Cambridge, University of
+"Camels at Rest"
+Campagna
+Campana, Pedro
+Campanile, Florence
+Canova
+Caprese
+"Capture of Samson"
+Capuchin Church
+Capuchin Convent
+Carlos, Don
+"Carmencita"
+Carmine, Church of the
+"Carthage"
+Castillo, Juan del
+Cecelia, wife of Titian
+Cellini
+Centennial Exhibition
+Chamberlain, Arthur
+"Chant d'Amour"
+Chantry, Sir Francis
+"Charity"
+Charles, I.
+Charles V.
+Charles X.
+Cherokees
+"Chess Players, The"
+"Children of Charles I."
+"Christ Healing the Sick"
+"Christ in the Temple"
+"Christina of Denmark"
+Church
+Cibber, Theophilus
+Cimabue
+Claude
+"Cleopatra Landing at Tarsus"
+"Cock Fight"
+Cogniet, Leon
+Colnaghi
+"Cologne"
+Constable, John
+Copley, John Singleton
+Copper Plate Magazine
+Cornelia, Rembrandt's daughter
+Cornelissen, Cornelis
+"Cornfield"
+"Coronation of Marie de Medicis"
+"Coronation of the Virgin"
+  (Ghirlandajo)
+  (Raphael)
+Corot, Jean Baptiste Camille
+Correggio
+Cosimo, Piero di
+"Cottage, The"
+"Countess Folkstone"
+"Countess of Spencer"
+Coventry, Countess of
+"Creation of Man, The"
+"Creation of the World, The"
+Crozat
+"Crucifixion, The"
+  (Raphael)
+  (Tintoretto)
+
+"Danae"
+Dandie Dinmont
+"Daniel"
+Dante
+"Daphnis and Chloe"
+Daubigny
+"David"
+"Dead Christ, The"
+"Dead Mallard"
+"Death of Ananias, The"
+"Death of Wolfe, The"
+"Dedham Mill"
+"Dedham Vale"
+Delaroche
+"Deluge, The"
+"Descent from the Cross, The"
+  (Campana)
+  (Rembrandt)
+  (Rubens)
+De Witt
+Diaz
+"Dice Players, The"
+Dickens, Charles
+Digby, Kenelm
+"Dignity and Impudence"
+"Divine Comedy"
+Dolce, Ludovico
+Donatello
+"Don Quixote"
+Dore, Paul Gustave
+D'Orsay
+"Duchess of Devonshire and Her Daughter, The"
+"Duel After the Masked Ball"
+Dunthorne, John
+Dupre
+Durand, Carolus
+Duerer, Albrecht
+Dyce
+
+"Ecce Homo"
+"Education of Mary, The"
+Edward, King
+Egyptian art
+Elizabeth, Cousin of the Virgin
+Elizabeth, Princess
+"Embarkation for the Island of Cythera"
+"Emperor at Solferino, The"
+Engravers and engraving
+"Entombment, The"
+  (Titian)
+  (Veronese)
+Eos
+"Equestrian Portrait of Don Balthasar Carlos"
+Errard, Charles
+Escorial, the
+Esteban, Bartolome. See Murillo
+Esteban, Gaspar
+Esteban, Therese
+Etchers and etching
+"Europa and the Bull"
+"Eve of St. Agnes, The"
+
+Fallen, Ambrose
+"Fall of Man, The"
+"Fantasy of Morocco"
+Fawkes, Hawksworth
+"Feast in the House of Simon"
+"Feast of Ahasuerus"
+"Ferdinand of Austria"
+Ferdinand III., Grand Duke
+Ferrara, Duke of
+"Fete Champetre"
+"Fighting Temeraire, The"
+Filipepi, Mariano
+"Finding of Christ in the Temple, The"
+"Flamborough, Miss"
+"Flatford Mill on the River Stour"
+"Flora"
+  (Boecklin)
+  (Titian)
+"Foal of an Ass, The"
+Fondato de' Tedeschi
+Fontainebleau
+"Fool, The"
+"Fornarina, The"
+Fortuny, Mariano
+Fourment family
+Fourment, Helena
+"Four Saints"
+Francis I.
+Frari, monks of the
+Frey, Agnes
+"Friedland"
+
+Gainsborough, Mary
+Gainsborough, Thomas
+Gallery, Berlin
+  Dresden
+  Grosvenor
+  Hague, The
+  Hermitage, The
+  Lichtenstein, Vienna
+  Louvre
+  Luxembourg
+  Madrid
+  Naples
+  National, Edinburgh
+  National, London
+  Old Pinakothek, Munich
+  Parma
+  Pitti Palace
+  Uffizi
+  Vienna
+Garrick
+"Gay Company in a Park"
+Gellee. See Claude Lorrain
+George III.
+"Georgia Pines"
+Gerbier
+Germ, The
+Gerome, Jean Leon
+Gersaint
+Ghibertio
+Ghirlandajo
+"Gibeon Farm"
+Gignoux, Regis
+"Gillingham Mill"
+Gillot
+Giorgione
+Giotto
+"Giovanna degli Albizi"
+Girten, Thomas
+Gisze, Gorg
+Gladstone, Mr. and Mrs.
+"Gleaners, The"
+"Glebe Farm"
+Goethe
+"Golden Calf, The"
+"Golden Stairs, The"
+Goldsmith, craft of the
+Goldsmith, Oliver
+Gonzaga, Vincenzo
+"Good Samaritan, The"
+Graham, Judge
+Granacci
+Gravelot
+Grignon, Madame de
+Gualfonda
+"Guardian Angel, The"
+Guidi, Giovanni
+Guidi, Simone
+Guidi. Tommaso. _See_ Masaccio
+Guido
+Guidobaldo of Urbino
+Guilds
+"Gust of Wind"
+
+Haarlem Town Hall
+"Haarlem's Little Forest"
+"Hadleigh Castle"
+Hals, Franz
+Hamerton
+Hamilton, Duchess of
+"Hampstead Heath"
+Hancock, John
+"Hans of Antwerp"
+Haranger, Abbe
+"Hark!"
+"Harvest Waggon, The"
+Hassam, Childe
+Hastings, Warren
+"Haunt of the Gazelle, The"
+Hayman
+"Haystack in Sunshine"
+"Hay Wain, The"
+"Head of Christ"
+"Head of Medusa"
+Hearn, George A.
+Henin
+Henrietta, Queen
+Henry III.
+Henry VIII.
+"Henschel"
+"Hercules"
+Herrera
+"Highland Sheep"
+"Hille Bobbe, the Witch of Haarlem"
+Hill, Jack
+"Hireling Shepherd, The"
+Hobbema, Meindert
+Hogarth, William
+Holbein, Ambrosius
+Holbein, Hans, the Younger
+Holbein, Michael
+Holbein, Philip
+Holbein, Sigismund
+Holbein, the Elder
+"Holofernes"
+Holper, Barbara
+"Holy Family and St. Bridget"
+Holy Family in art, The
+"Holy Family under a Palm Tree, The"
+"Holy Night, The"
+"Homer St. Gaudens"
+"Hon. Ann Bingham, The"
+Hood, Admiral
+"Horse Fair, The"
+Howard, Catherine
+Hudson, Thomas
+Hunt, William Holman
+
+"II Giorno"
+"II Medico del Correggio"
+"Immaculate Conception, The"
+Indian pottery
+Infanta
+"Infant Jesus and St. John, The"
+Inman
+Inness
+"Innocence"
+"In Paradise"
+Inquisition, Spanish
+"Interior of the Mosque of Omar"
+Isabella, Queen
+Islay
+"Isle of the Dead, The"
+"Ivybridge"
+
+Jacopo da Empoli
+Jacque
+"Jane Seymour"
+"Jerusalem by Moonlight"
+"Jesus and the Lamb"
+Jesus in art
+Johnson, Dr.
+Jones, George
+Joseph in art
+"Joseph in Egypt"
+"Joseph's Dream"
+"Judgment of Paris, The"
+"Judith"
+Julienne
+Julius II.
+Justiniana
+
+Kann, Rudolf
+"King Cophetua and the Beggar Maid"
+"King of Hearts"
+"Kirmesse, The"
+Knackfuss
+"Knight, Death and the Devil, The"
+
+"La Belle Jardiniere"
+"La Disputa"
+"Lady Elcho, Mrs. Arden, Mrs. Tennant"
+"La Gioconda"
+"Landscape with Cattle."
+Landseer, John
+Landseer, Sir Edwin Henry
+Landseer, Thomas
+"La Primavera"
+"Last Judgment, The"
+  (Angelo)
+  (Tintoretto)
+  (Titian)
+"Last Supper, The"
+  (Andrea del Sarto)
+  (Ghirlandajo)
+  (Veronese)
+  (Leonardo da Vinci)
+"Laughing Cavalier, The"
+Laura
+Lavinia, daughter of Titian
+"Lavinia, the Artist's Daughter"
+Lawrence, Sir Thomas
+"Leda"
+  (Correggio)
+  (Gerome)
+Lee, Jeremiah
+Legion of Honour
+Lemon, Margaret
+Leonardo. See da Vinci
+Leo X.
+Lewis, J. F.
+_Liber Studiorium_
+"Liber Veritas"
+Library, Boston Public
+"Light of the World, The"
+Linley, Thomas
+Linley, Samuel
+"Lion Disturbed at His Repast"
+"Lion Enjoying His Repast"
+"Lioness, The Study off a"
+"Lion Hunt, A"
+Lippi, Fra Filippo
+"Lock on the Stour"
+Lombardi
+"Lords Digby and Russell"
+"Lord Wharton"
+Lorenzalez, Claudio
+Lorrain, Claude
+Lott, Willy
+Louis XIV.
+Louise, Princess
+"Love Among the Ruins"
+"Low Life and High Life"
+Lowther, Sir William
+Lucas van Leyden
+Lucia, mother of Titian
+Lucretia, wife of Andrea del Sarto
+Luther, Martin
+Madonna and Child
+"Madonna and Child with St. Anne"
+"Madonna and Child with Saints"
+"Madonna del'Arpie"
+"Madonna della Caraffa"
+"Madonna della Casa d'Alba"
+"Madonna della Sedia"
+"Madonna del Granduca"
+"Madonna del Pesce"
+"Madonna del Sacco"
+"Madonna of the Palms"
+"Madonna of the Rosary."
+Madrazo
+"Magdalene, The"
+Manet
+"Manoah's Sacrifice"
+Mantegna
+Mantua, Duke of
+Mantua, Duke Frederick II. of
+"Man with the Hoe, The"
+"Man with the Sword, The"
+Margherita
+Maria Theresa
+"Marriage a la Mode"
+"Marriage at Cana, The"
+"Marriage Contract, The"
+"Marriage of Bacchus and Ariadne, The"
+"Marriage of Mary and Joseph, The"
+"Marriage of St. Catherine, The"
+"Marriage of Samson, The"
+Martineau
+"Martyrdom of St. Agnes, The"
+"Martyrdom of St. Peter, The"
+"Martyrdom of St. Sebastian, The"
+Mary, the Virgin, in art
+Masaccio (Tommasco Guidi)
+Masoline
+Mastersingers, Nuremberg
+Maximillian, Emperor
+Medici family
+Medici, Giovanni di Bicci de'
+Medici, Lorenzi de'
+Medici, Ottaviano de'
+Medici, Pietro de'
+"Meeting of St. John and St. Anna at Jerusalem"
+Meissonier, Jean Louis Ernest
+"Melancholy"
+Merlini, Girolama
+"Meyer Madonna, The"
+Michallon
+"Midsummer Noon"
+Millais
+Millet, Jean Francois
+Millet, Mere
+"Mill Stream"
+"Miracle of St. Mark, The"
+Missions, Spanish
+Missirini
+"Mr. Marquand"
+"Mr. Penrose"
+"Mrs. Meyer and Children"
+"Mrs. Peel"
+Mohawk
+Mona Lisa
+Monet, Claude
+"Money Changers, The"
+"Moonlight at Salerno"
+Morales
+"Moreau and His Staff before Hohenlinden"
+More, Sir Thomas
+"Morning Prayer, The"
+"Moses"
+"Moses Breaking the Tablets of the Law"
+Mudge, Dr.
+Murat
+Murillo (Bartolome Esteban)
+Murillo, Dona Anna
+Museum of Art, Basel
+  Berlin
+  Court, Vienna
+  Madrid
+  Metropolitan, New York
+  Prado
+  Rijks, Amsterdam
+  South Kensington
+Muther
+"Mystic Marriage of St. Catherine, The"
+
+"Naiads at Play"
+Napoleon
+"Nativity, The"
+  (Botticelli)
+  (Duerer)
+Navarrette
+"Nieces of Sir Horace Walpole"
+"Night Watch, The"
+"Noli me Tangere"
+Norham Castle
+Nuremberg
+"Nurse and the Child, The"
+
+"'Oh, Pearl' Quoth I"
+"Old Bachelor, The"
+"Old Shepherd's Chief Mourner, The"
+Olivares
+
+Pacheco
+"Pallas"
+"Pan and Psyche"
+Pantheon
+Pareja
+"Parish Clerk, The"
+'Past and Present"
+Passignano
+"Pathless Water, The"
+Paul III.
+"Paysage"
+Pazzi family
+"Penzance"
+Percy, Bishop
+Perez family
+Perez, Maria
+Perugino
+Philip II.
+Philip III.
+Philip IV.
+Picot
+"Pilate Washing His Hands"
+Pinas
+Pirkneimer
+Pissaro
+"Ploughing"
+Pope, Alexander
+"Portrait of Old Man and Boy"
+Portraits of artists by themselves
+"Praying Arab"
+"Praying Hands"
+Pre-Raphaelites
+"Presentation of Christ in the Temple"
+"Presentation of the Family of Darius to Alexander"
+Prim, General
+"Procession of the Magi"
+"Prowling Lion, The"
+"Psyche and Cupid"
+Pypelincx, Maria
+
+Quakers
+"Quin, Portrait of"
+
+Rabelais
+"Rake's Progress, The"
+"Rape of Ganymede, The"
+"Rape of the Daughters of Leucippus, The"
+Raphael (Sanzio)
+Reade, Charles
+"Reading at Diderot's, A"
+"Reaper, The"
+"Regions of Joy"
+Rembrandt (van Rijn)
+"Retreat from Russia"
+Reynolds, Samuel
+Reynolds, Sir Joshua
+Ribera
+Rinaldo and Armida
+"Road over the Downs, The"
+"Robert Cheseman with his Falcon"
+Robusto, Jacopo. _See_ Tintoretto
+Romano, Guilio
+Rood, Professor
+"Rosary, Story of the"
+Rossetti, Dante Gabriel
+Rossetti, W. M.
+Rothschild, Lord
+Rousseau
+Royal Princess
+Rubens, Albert
+Rubens, John
+Rubens, Nicholas
+Rubens, Peter Paul
+Ruisdael, Jacob van
+Ruskin, John
+Ruthven, Lady Mary
+Sachs, Hans
+"Sacred and Profane Love"
+"St. Anthony of Padua"
+"St. Augustine"
+"St. Barbara"
+St. Bernard dog
+St. Bernardino
+"Saint Cecelia"
+St. Christopher
+St. Clemente
+St. Dominic
+St. George
+"St. George and the Dragon"
+"St. George Slaying the Dragon"
+St. Giorgio Maggiore
+"St. Jerome"
+St, John the Baptist
+St. Jovis Shooting Company
+St. Leger, Colonel
+St. Lucas, Guild of
+St. Luke, Guild of
+St. Mark
+St. Martin's Church
+"St. Michael Attacking Satan."
+"St. Nobody"
+St. Paul's Cathedral
+St. Peter
+"St. Peter Baptising"
+St. Peter's Church
+"St. Rocco Healing the Sick"
+"St. Sebastian."
+  (Botticelli)
+  (Correggio)
+  (Titian)
+St. Sebastian, Church of
+St. Sebastian, Monastery of
+St. Sixtus
+St. Trinita, Church of
+"Salisbury Cathedral"
+Salon
+Salvator Rosa
+"Samson"
+"Samson Threatening His Stepfather"
+"Samson's Wedding"
+San Francisco
+Santa Croce
+Santa Maria della Pace
+Santa Maria delle Grazte
+Santa Maria del Orto
+Santa Maria Novella
+Santi, Bartolommeo
+Santi Giovanni
+Santo Cruz, Church of
+Santo Spirito, Convent of
+Sanzio. _See_ Raphael
+Sarcinelli, Cornelio
+Sargent, John Singer
+Sarto, Andrea del. _See_ Andrea
+Saskia
+Savonarola
+"Scapegoat, The"
+"Scene from Woodstock"
+Schiavone
+Schmidt, Elizabeth
+Schongauer
+School Girl's Hymn
+"School of Anatomy, The"
+School of Art, Academy, London
+  American
+  Andalusian
+  Castilian
+  Duesseldorf
+  Dutch
+  English
+  Flemish
+  Florentine
+  Fontainebleau-Barbizon
+  Foreign
+  French in
+  German
+  Hudson River
+  Impressionist
+  Italian
+  Nuremberg
+  Parma
+  Roman
+  Spanish
+  Umbrian
+  Venetian
+"School, of Athens, The"
+"School, of Cupid, The"
+"Scotch Deer"
+Scott, Sir Walter
+Scrovegno, Enrico
+Scuola di San Rocco
+"Seaport at Sunset"
+Sebastian
+"Serpent Charmer, The"
+Servi, convent of the
+Sesto, Cesare de
+Seurat
+Sforza, Ludovico
+"Shadow of Death, The"
+Shakespeare
+Sheepshanks Collection
+"Shepherd Guarding Sheep"
+Sheppey, Isle of
+Sheridan, Mrs. Richard Brinsley
+Sheridan, Richard Brinsley
+Siddons, Mrs.
+Silva, Rodriguez de
+Sistine Chapel
+"Sistine Madonna, The"
+Six, Jan
+Sixtus IV.
+Skynner, Sir John
+"Slaughter of the Innocents, The"
+"Slave Ship, The"
+"Sleeping Bloodhound, The"
+"Sleeping Venus, The"
+Smith, John
+"Snake Charmers, The"
+"Snow-storm at Sea, A"
+Society of Arts
+Soderini
+Solus Lodge
+"Sortie, The"
+  _See also_ Night Watch
+Sotomayer, Dona Beatriz de
+  Cabrera y
+"Sower, The"
+Spaniel, King Charles
+"Spanish Marriage, The"
+Spinola, Marquis of
+"Sport of the Waves"
+"Spring"
+Sterne, Lawrence
+"Storm, The"
+Stour, River
+"Straw Hat, The"
+Sudbury
+Sully
+Sultan of Turkey
+"Sunset on the Passaic"
+"Sunset on the Sea"
+"Surrender of Breda"
+"Susanna and the Elders"
+"Susanna's Bath"
+"Sussex Downs"
+Swanenburch, Jacob van
+"Sword-Dance, The"
+"Syndics of the Cloth Hall"
+
+Taddei, Taddeo
+Tassi, Agostine
+Thackeray
+Thornhill, Sir James
+"Three Ages, The"
+"Three Saints and God the Father"
+Tintoretto (Jacopo Robusti)
+Titian (Tiziano Vecelli)
+Tornabuoni, Giovanni
+Torregiano
+Trafalgar Square
+"Transfiguration, The"
+"Tribute Money, The"
+"Trinity"
+Troyon
+Trumbull, American painter
+Trumbull, English diplomat
+Tulp, Nicholaus
+Turner, Charles
+Turner, Joseph Mallord William
+"Two Beggar Boys"
+Tybis, Geryck
+
+Ulenberg, Saskia van
+Urban VIII.
+Urbino, Duke of
+
+"Valley Farm, The"
+Van Dyck, Sir Anthony
+Van Mander, Karel
+Van Marcke
+Van Noort, Adam
+Van Rijn. _See_ Rembrandt
+Van Veen
+Varangeville
+Vasari
+Vatican
+Vecchio, Palazzo
+Vecchio, Palma
+Vecelli family
+Vecelli, Orsa
+Vecelli, Orzio
+Vecelli, Pompino
+Vecelli, Tiziano. _See_ Titian
+Velasquez (Diego Rodriguez de Silva)
+"Venice Enthroned"
+"Venus Dispatching Cupid"
+"Venus Worship"
+Verhaecht, Tobias
+Vernon
+Veronese, Paul (Paolo Cagliari)
+Verrocchio
+"Vestal Virgin, The"
+Victoria, Queen
+"Villa by the Sea"
+"Village Festival, The"
+"Ville d'Avray"
+Vinci, Leonardo da
+Violante
+"Virgin as Consoler, The"
+"Virgin's Rest Near Bethlehem"
+"Vision of St. Anthony, The"
+"Visitation, The"
+"Visitor, The"
+"Visit to the Burgomaster"
+
+Warren, General Joseph
+"Water Carrier, The"
+"Watermill, The"
+Watteau, Jean Antoine
+"Wedding Feast at Cana, The"
+Wells, Frederick
+West, Sir Benjamin
+"Weymouth Bay"
+Whitcomb, Ida Prentice
+"William, Prince of Orange"
+William the Silent
+"Will-o'-the-Wisp"
+"Willows near Arras"
+Wilson
+"Winnower, The"
+"Winter"
+Wolgemuth
+"Woodcutters, The"
+"Wooded Landscape"
+"Wood Gatherers, The"
+
+Yarmouth
+"Young People's Story of Art"
+"Youth Surprised by Death"
+
+"Zingarella"
+Zuccato, Sebastian
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Pictures Every Child Should Know, by Dolores Bacon
+
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+The Project Gutenberg EBook of Pictures Every Child Should Know, by Dolores Bacon
+
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+Title: Pictures Every Child Should Know
+
+Author: Dolores Bacon
+
+Release Date: November, 2004  [EBook #6932]
+[This file was first posted on February 12, 2003]
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+Character set encoding: ASCII
+
+*** START OF THE PROJECT GUTENBERG EBOOK, PICTURES EVERY CHILD SHOULD KNOW ***
+
+
+
+
+Arno Peters, Branko Collin, Tiffany Vergon, Charles Aldarondo, Charles
+
+Franks,  and the Online Distributed Proofreading Team
+
+
+
+PICTURES EVERY CHILD SHOULD KNOW
+
+
+A SELECTION OF THE WORLD'S ART MASTERPIECES FOR YOUNG PEOPLE
+
+
+BY DOLORES BACON
+
+Illustrated from Great Paintings
+
+
+
+ACKNOWLEDGMENTS
+
+
+Besides making acknowledgments to the many authoritative writers upon
+artists and pictures, here quoted, thanks are due to such excellent
+compilers of books on art subjects as Sadakichi Hartmann, Muther,
+C. H. Caffin, Ida Prentice Whitcomb, Russell Sturgis and others.
+
+
+
+INTRODUCTION
+
+
+Man's inclination to decorate his belongings has always been one of
+the earliest signs of civilisation. Art had its beginning in the lines
+indented in clay, perhaps, or hollowed in the wood of family utensils;
+after that came crude colouring and drawing.
+
+Among the first serious efforts to draw were the Egyptian square and
+pointed things, animals and men. The most that artists of that day
+succeeded in doing was to preserve the fashions of the time. Their
+drawings tell us that men wore their beards in bags. They show us,
+also, many peculiar head-dresses and strange agricultural
+implements. Artists of that day put down what they saw, and they saw
+with an untrained eye and made the record with an untrained hand; but
+they did not put in false details for the sake of glorifying the
+subject. One can distinguish a man from a mountain in their work, but
+the arms and legs embroidered upon Mathilde's tapestry, or the figures
+representing family history on an Oriental rug, are quite as correct
+in drawing and as little of a puzzle. As men became more intelligent,
+hence spiritualised, they began to express themselves in ideal ways;
+to glorify the commonplace; and thus they passed from Egyptian
+geometry to gracious lines and beautiful colouring.
+
+Indian pottery was the first development of art in America and it led
+to the working of metals, followed by drawing and portraiture. Among
+the Americans, as soon as that term ceased to mean Indians, art took a
+most distracting turn. Europe was old in pictures, great and
+beautiful, when America was worshipping at the shrine of the chromo;
+but the chromo served a good turn, bad as it was. It was a link
+between the black and white of the admirable wood-cut and the true
+colour picture.
+
+Some of the Colonists brought over here the portraits of their
+ancestors, but those paintings could not be considered "American" art,
+nor were those early settlers Americans; but the generation that
+followed gave to the world Benjamin West. He left his Mother Country
+for England, where he found a knighthood and honours of every kind
+awaiting him.
+
+The earliest artists of America had to go away to do their work,
+because there was no place here for any men but those engaged in
+clearing land, planting corn, and fighting Indians. Sir Benjamin West
+was President of the Royal Academy while America was still revelling
+in chromos. The artists who remained chose such objects as Davy
+Crockett in the trackless forest, or made pictures of the Continental
+Congress.
+
+After the chromo in America came the picture known as the "buckeye,"
+painted by relays of artists. Great canvases were stretched and
+blocked off into lengths. The scene was drawn in by one man, who was
+followed by "artists," each in turn painting sky, water, foliage,
+figures, according to his specialty. Thus whole yards of canvas could
+be painted in a day, with more artists to the square inch than are now
+employed to paint advertisements on a barn.
+
+The Centennial Exhibition of 1876 came as a glorious flashlight. For
+the first time real art was seen by a large part of our nation. Every
+farmer took home with him a new idea of the possibilities of drawing
+and colour. The change that instantly followed could have occurred in
+no other country than the United States, because no other people would
+have travelled from the four points of the compass to see such an
+exhibition. Thus it was the American's _penchant_ for travel which
+first opened to him the art world, for he was conscious even then of
+the educational advantages to be found somewhere, although there
+seemed to be few of them in the United States.
+
+After the Centennial arose a taste for the painting of "plaques," upon
+which were the heads of ladies with strange-coloured hair; of
+leather-covered flatirons bearing flowers of unnatural colour, or of
+shovels decorated with "snow scenes." The whole nation began to revel
+in "art." It was a low variety, yet it started toward a goal which
+left the chromo at the rear end of the course, and it was a better
+effort than the mottoes worked in worsted, which had till then been
+the chief decoration in most homes. If the "buckeye" was
+hand-painting, this was "single-hand" painting, and it did not take a
+generation to bring the change about, only a season. After the
+Philadelphia exhibition the daughter of the household "painted a
+little" just as she played the piano "a little." To-day, much less
+than a man's lifetime since then, there is in America a universal love
+for refined art and a fair technical appreciation of pictures, while
+already the nation has worthily contributed to the world of
+artists. Sir Benjamin West, Sully, and Sargent are ours: Inness,
+Inman, and Trumbull.
+
+The curator of the Metropolitan Museum in New York has declared that
+portrait-painting must be the means which shall save the modern
+artists from their sins. To quote him: "An artist may paint a bright
+green cow, if he is so minded: the cow has no redress, the cow must
+suffer and be silent; but human beings who sit for portraits seem to
+lean toward portraits in which they can recognise their own features
+when they have commissioned an artist to paint them. A man _will_
+insist upon even the most brilliant artist painting him in trousers,
+for instance, instead of in petticoats, however the artist-whim may
+direct otherwise; and a woman is likely to insist that the artist who
+paints her portrait shall maintain some recognised shade of brown or
+blue or gray when he paints her eye, instead of indulging in a burnt
+orange or maybe pink! These personal preferences certainly put a limit
+to an artist's genius and keep him from writing himself down a
+madman. Thus, in portrait-painting, with the exactions of truth upon
+it, lies the hope of art-lovers!"
+
+It is the same authority who calls attention to the danger that lies
+in extremes; either in finding no value in art outside the "old
+masters," or in admiring pictures so impressionistic that the objects
+in them need to be labelled before they can be recognised.
+
+The true art-lover has a catholic taste, is interested in all forms of
+art; but he finds beauty where it truly exists and does not allow the
+nightmare of imagination to mislead him. That which is not beautiful
+from one point of view or another is not art, but decadence. That
+which is technical to the exclusion of other elements remains
+technique pure and simple, workmanship--the bare bones of art. A thing
+is not art simply because it is fantastic. It may be interesting as
+showing to what degree some imaginations can become diseased, but it
+is not pleasing nor is it art. There are fully a thousand pictures
+that every child should know, since he can hardly know too much of a
+good thing; but there is room in this volume only to acquaint him with
+forty-eight and possibly inspire him with the wish to look up the
+neglected nine hundred and fifty-two.
+
+
+
+CONTENTS
+
+
+INTRODUCTION
+
+I. Andrea del Sarto, Florentine School, 1486-1531
+
+II. Michael Angelo (Buonarroti), Florentine School, 1475-1564
+
+III. Arnold Bocklin, Modern German School, 1827-1901
+
+IV. Marie-Rosa Bonheur, French School, 1822-1899
+
+V. Alessandro Botticelli, Florentine School, 1447-1510
+
+VI. William Adolphe Bouguereau, French (Genre) School 1825-1905
+
+VII. Sir Edward Burne-Jones, English (Pre-Raphaelite) School, 1833-1898
+
+VIII. John Constable, English School, 1776-1837
+
+IX. John Singleton Copley, English School, 1737-1815
+
+X. Jean Baptiste Camille Corot, Fontainebleau-Barbizon School, 1796-1875
+
+XI. Correggio (Antonio Allegri), School of Parma, 1494(?)--1534
+
+XII. Paul Gustave Dore, French School, 1833-1883
+
+XIII. Albrecht Durer, Nuremberg School, 1471-1528
+
+XIV. Mariano Fortuny, Spanish School, 1838-1874
+
+XV. Thomas Gainsborough, English School, 1727-1788
+
+XVI. Jean Leon Gerome, French Semi-classical School, 1824-1904
+
+XVII. Ghirlandajo, Florentine School, 1449-1494
+
+XVIII. Giotto (di Bordone), Florentine School, 1276-1337
+
+XIX. Franz Hals, Dutch School, 1580-84-1666
+
+XX. Meyndert Hobbema, Dutch School, 1637-1709
+
+XXI. William Hogarth, School of Hogarth (English), 1697-1764
+
+XXII. Hans Holbein, the Younger, German School, 1497-1543
+
+XXIII. William Holman Hunt, English (Pre-Raphaelite) School, 1827-
+
+XXIV. George Inness, American, 1825-1897
+
+XXV. Sir Edwin Henry Landseer, English School, 1802-1873
+
+XXVI. Claude Lorrain (Gellee), Classical French School, 1600-1682
+
+XXVII. Masaccio (Tommaso Guidi), Florentine School, 1401-1428
+
+XXVIII. Jean Louis Ernest Meissonier, French School, 1815-1891
+
+XXIX. Jean Francois Millet, Fontainebleau-Barbizon School, 1814-1875
+
+XXX. Claude Monet, Impressionist School of France, 1840-
+
+XXXI. Murillo (Bartolome Esteban), Andalusian School, 1617-1682
+
+XXXII. Raphael (Sanzio), Umbrian, Florentine, and Roman Schools,
+1483-1520
+
+XXXIII. Rembrandt (Van Rijn), Dutch School, 1606-1669
+
+XXXIV. Sir Joshua Reynolds, English School, 1723-1792
+
+XXXV. Peter Paul Rubens, Flemish School, 1577-1640
+
+XXXVI. John Singer Sargent, American and Foreign Schools, 1856-
+
+XXXVII. Tintoretto (Jacopo Robusti), Venetian School, 1518-1594
+
+XXXVIII. Titian (Tiziano Vecelli), Venetian School, 1489-1576
+
+XXXIX. Joseph Mallord William Turner, English, 1775-1831
+
+XL. Sir Anthony Van Dyck, Flemish School, 1599-1641
+
+XLI. Velasquez (Diego Rodriguez de Silva), Castilian School, 1599-1660
+
+XLII. Paul Veronese (Paolo Cagliari), Venetian School, 1528-1588.
+
+XLIII. Leonardo da Vinci, Florentine School, 1452-1519.
+
+XLIV. Jean Antoine Watteau, French (Genre) School, 1684-1721
+
+XLV. Sir Benjamin West, American, 1738-1820
+
+Index
+
+
+
+ILLUSTRATIONS
+
+
+FRONTISPIECE
+
+The Avenue, Middleharnis, Holland--_Hobbema_
+
+Madonna of the Sack--_Andrea del Sarto_
+
+Daniel--_Michael Angelo (Buonarroti)_
+
+The Isle of the Dead--_Arnold Bocklin_
+
+The Horse Fair--_Rosa Bonheur_
+
+Spring--_Alessandro Botticelli_
+
+The Hay Wain--_John Constable_
+
+A Family Picture--_John Singleton Copley_
+
+The Holy Night--_Correggio (Antonio Allegri)_
+
+Dance of the Nymphs--_Jean Baptiste Camille Corot_
+
+The Virgin as Consoler--_Wm. Adolphe Bouguereau_
+
+The Love Song--_Sir Edward Burne-Jones_
+
+The Mystic Marriage of St. Catherine--_Correggio_
+
+Moses Breaking the Tablets of the Law--_Paul Gustave Dore_
+
+The Nativity--_Albrecht Durer_
+
+The Spanish Marriage--_Mariana Fortuny_
+
+Mrs. Richard Brinsley Sheridan--_Thomas Gainsborough_
+
+The Sword Dance--_Jean Leon Gerome_
+
+Portrait of Giovanna degli Albizi--_Ghirlandajo (Domenico Bigordi)_
+
+The Nurse and the Child--_Franz Hals_
+
+The Meeting of St. John and St. Anna at Jerusalem--_Giotto (Di
+Bordone)_
+
+The Avenue--_Meyndert Hobbema_
+
+The Marriage Contract--_Wm. Hogarth_
+
+The Light of the World--_William Holman Hunt_
+
+Robert Cheseman with his Falcon--_Hans Holbein, the Younger_
+
+The Berkshire Hills--_George Inness_
+
+The Old Shepherd's Chief Mourner--_Sir Edwin Henry Landseer_
+
+The Artist's Portrait--_Tommaso Masaccio_
+
+Acis and Galatea--_Claude Lorrain_
+
+Retreat from Moscow--_Jean Louis Ernest Meissonier_
+
+The Angelus--_Jean Francois Millet_
+
+The Immaculate Conception--_Murillo (Bartolome Esteban)_
+
+Haystack in Sunshine--_Claude Monet_
+
+The Sistine Madonna--_Raphael (Sanzio)_
+
+The Night Watch--_Rembrandt (Van Rijn)_
+
+The Duchess of Devonshire and Her Daughter--_Sir Joshua Reynolds_
+
+The Infant Jesus and St. John--_Peter Paul Rubens_
+
+Carmencita--_John Singer Sargent_
+
+The Miracle of St. Mark--_Tintoretto (Jacopo Robusti)_
+
+The Artist's Daughter, Lavinia--_Titian (Tiziano Vecelli)_
+
+The Fighting Temeraire--_Joseph Mallord William Turner_
+
+The Children of Charles the First--_Sir Anthony Van Dyck_
+
+Equestrian Portrait of Don Balthasar Carlos--_Velasquez (Diego
+Rodriguez de Silva)_
+
+The Marriage at Cana--_Paul Veronese_
+
+The Death of Wolfe--_Sir Benjamin West_
+
+The Artist's Two Sons--_Peter Paul Rubens_
+
+The Last Supper--_Leonardo da Vinci_
+
+Fete Champetre--_Jean Antoine Watteau_
+
+
+
+I
+
+ANDREA DEL SARTO
+
+
+  (Pronounced Ahn'dray-ah del Sar'to)
+  _Florentine School_
+  1486-1531
+  _Pupil of Piero di Cosimo_
+
+Italian painters received their names in peculiar ways. This man's
+father was a tailor; and the artist was named after his father's
+profession. He was in fact "the Tailor's Andrea," and his father's
+name was Angelo.
+
+One story of this brilliant painter which reads from first to last
+like a romance has been told by the poet, Browning, who dresses up
+fact so as to smother it a little, but there is truth at the bottom.
+
+Andrea married a wife whom he loved tenderly. She had a beautiful face
+that seemed full of spirituality and feeling, and Andrea painted it
+over and over again. The artist loved his work and dreamed always of
+the great things that he should do; but he was so much in love with
+his wife that he was dependent on her smile for all that he did which
+was well done, and her frown plunged him into despair.
+
+Andrea's wife cared nothing for his genius, painting did not interest
+her, and she had no worthy ambition for her husband, but she loved
+fine clothes and good living, and so encouraged him enough to keep him
+earning these things for her. As soon as some money was made she would
+persuade him to work no more till it was spent; and even when he had
+made agreements to paint certain pictures for which he was paid in
+advance she would torment him till he gave all of his time to her
+whims, neglected his duty and spent the money for which he had
+rendered no service. Thus in time he became actually dishonest, as we
+shall see. It is a sad sort of story to tell of so brilliant a young
+man.
+
+Andrea was born in the Gualfonda quarter of Florence, and there is
+some record of his ancestors for a hundred years before that, although
+their lives were quite unimportant. Andrea was one of four children,
+and as usual with Italians of artistic temperament, he was set to work
+under the eye of a goldsmith. This craftsmanship of a fine order was
+as near to art as a man could get with any certainty of making his
+living. It was a time when the Italian world bedecked itself with rare
+golden trinkets, wreaths for women's hair, girdles, brooches, and the
+like, and the finest skill was needed to satisfy the taste. Thus it
+required talent of no mean order for a man to become a successful
+goldsmith.
+
+Andrea did not like the work, and instead of fashioning ornaments from
+his master's models he made original drawings which did not do at all
+in a shop where an apprentice was expected to earn his salt. Certain
+fashions had to be followed and people did not welcome fantastic or
+new designs. Because of this, Andrea was early put out of his master's
+shop and set to learn the only business that he could be got to learn,
+painting. This meant for him a very different teacher from the
+goldsmith.
+
+The artist may be said to have been his own master, because, even when
+he was apprenticed to a painter he was taught less than he already
+knew.
+
+That first teacher was Barile, a coarse and unpleasing man, as well as
+an incapable one; but he was fair minded, after a fashion, and put
+Andrea into the way of finding better help. After a few years under
+the direction of Piero di Cosimo, Andrea and a friend, Francia Bigio,
+decided to set up shop for themselves.
+
+The two devoted friends pitched their tent in the Piazza del Grano,
+and made a meagre beginning out of which great things were to
+grow. They began a series of pictures which was to lead at least one
+of them to fame. It was in the little Piazza, del Grano studio that
+the "Baptism of Christ" was painted, a partnership work that had been
+planned in the Campagnia dello Scalzo.
+
+"The Baptism" was not much of a picture as great pictures go, but it
+was a beginning and it was looked at and talked about, which was
+something at a time when Titian and Leonardo had set the standard of
+great work. In the Piazza del Grano, Andrea and his friend lived in
+the stables of the Tuscan Grand Dukes, with a host of other fine
+artists, and they had gay times together.
+
+Andrea was a shy youth, a little timid, and by no means vain of his
+own work, but he painted with surprising swiftness and sureness, and
+had a very brilliant imagination. Its was his main trouble that he had
+more imagination than true manhood; he sacrificed everything good to
+his imagination.
+
+After the partnership with his friend, he undertook to paint some
+frescoes independently, and that work earned for him the name of
+"Andrea senza Errori"--Andrea the Unerring. Then, as now, each artist
+had his own way of working, and Andrea's was perhaps the most
+difficult of all, yet the most genius-like. There were those, Michael
+Angelo for example, who laid in backgrounds for their paintings; but
+Andrea painted his subject upon the wet plaster, precisely as he meant
+it to be when finished.
+
+He was unlike the moody Michael Angelo; unlike the gentle Raphael;
+unlike the fastidious Van Dyck who came long afterward; he was
+hail-fellow-well-met among his associates, though often given over to
+dreaminess. He belonged to a jolly club named the "Kettle Club,"
+literally, the Company of the Kettle; and to another called "The
+Trowel," both suggesting an all around good time and much good
+fellowship The members of these clubs were expected to contribute to
+their wonderful suppers, and Andrea on one occasion made a great
+temple, in imitation of the Baptistry, of jelly with columns of
+sausages, white birds and pigeons represented the choir and
+priests. Besides being "Andrew the Unerring," and a "Merry Andrew," he
+was also the "Tailor's Andrew," a man in short upon whom a nickname
+sat comfortably. He helped to make the history of the "Company of the
+Kettle," for he recited and probably composed a touching ballad called
+"The Battle of the Mice and the Frogs," which doubtless had its origin
+in a poem of Homer's. But all at once, in the midst of his gay
+careless life came his tragedy; he fell in love with a hatter's
+wife. This was quite bad enough, but worse was to come, for the hatter
+shortly died, and the widow was free to marry Andrea.
+
+After his marriage Andrea began painting a series of Madonnas,
+seemingly for no better purpose than to exhibit his wife's beauty over
+and over again. He lost his ambition and forgot everything but his
+love for this unworthy woman. She was entirely commonplace, incapable
+of inspiring true genius or honesty of purpose.
+
+A great art critic, Vasari, who was Andrea's pupil during this time,
+has written that the wife, Lucretia, was abominable in every way. A
+vixen, she tormented Andrea from morning till night with her bitter
+tongue. She did not love him in the least, but only what his money
+could buy for her, for she was extravagant, and drove the sensitive
+artist to his grave while she outlived him forty years.
+
+About the time of the artist's marriage he painted one fresco, "The
+Procession of the Magi," in which he placed a very splendid substitute
+for his wife, namely himself. Afterward he painted the Dead Christ
+which found its way to France and it laid the foundation for Andrea's
+wrongdoing. This picture was greatly admired by the King of France who
+above all else was a lover of art. Francis I. asked Andrea to go to
+his court, as he had commissions for him. He made Andrea a money offer
+and to court he went.
+
+He took a pupil with him, but he left his wife at home. At the court
+of Francis I. he was received with great honours, and amid those new
+and gracious surroundings, away from the tantalising charms of his
+wife and her shrewish tongue, he began to have an honest ambition to
+do great things. His work for France was undertaken with enthusiasm,
+but no sooner was he settled and at peace, than the irrepressible wife
+began to torment him with letters to return. Each letter distracted
+him more and more, till he told the King in his despair, that he must
+return home, but that he would come back to France and continue his
+work, almost at once. Francis I., little suspecting the cause of
+Andrea's uneasiness, gave him permission to go, and also a large sum
+of money to spend upon certain fine works of art which he was to bring
+back to France.
+
+We can well believe that Andrea started back to his home with every
+good intention; that he meant to appease his wife and also his own
+longing to see her; to buy the King his pictures with the money
+entrusted to him, and to return to France and finish his work; but,
+alas, he no sooner got back to his wife than his virtuous purpose
+fled. She wanted this; she wanted that--and especially she wanted a
+fine house which could just about be built for the sum of money which
+the King of France had entrusted to Andrea.
+
+Andrea is a pitiable figure, but he was also a vagabond, if we are to
+believe Vasari. He took the King's money, built his wretched wife a
+mansion, and never again dared return to France, where his dishonesty
+made him forever despised.
+
+Afterward he was overwhelmed with despair for what he had done, and he
+tried to make his peace with Francis; but while that monarch did not
+punish him directly for his knavery; he would have no more to do with
+him, and this was the worst punishment the artist could have
+had. However, his genius was so great that other than French people
+forgot his dishonesty and he began life anew in his native place.
+
+Almost all his pictures were on sacred subjects; and finally, when
+driven from Florence to Luco by the plague, taking with him his wife
+and stepdaughter, he began a picture called the "Madonna del Sacco"
+(the Madonna of the Sack).
+
+This fresco was to adorn the convent of the Servi, and the sketches
+for it were probably made in Luco. When the plague passed and the
+artist was able to return to Florence, he began to paint it upon the
+cloister walls.
+
+Andrea, like Leonardo, painted a famous "Last Supper," although the
+two pictures cannot be compared. In Andrea's picture it is said that
+all the faces are portraits.
+
+Just before the plague sent him and his family from Florence a most
+remarkable incident took place. Raphael had painted a celebrated
+portrait of Pope Leo X. in a group, and the picture belonged to
+Ottaviano de Medici. Duke Frederick II., of Mantua, longed to own this
+picture, and at last requested the Medici to give it to him. The Duke
+could not well be refused, but Ottaviano wanted to keep so great a
+work for himself. What was to be done? He was in great trouble over
+the affair. The situation seemed hopeless. It seemed certain that he
+must part with his beloved picture to the Duke of Mantua; but one day
+Andrea del Sarto declared that he could make a copy of it that even
+Raphael himself could not tell from his original. Ottaviano could
+scarcely believe this, but he begged Andrea to set about it, hoping
+that it might be true.
+
+Going at the work in good earnest, Andrea painted a copy so exact that
+the pupil of Raphael, who had more or less to do with the original
+picture, could not tell which was which when he was asked to
+choose. This pupil, Giulio Romano, was so familiar with every stroke
+of Raphael's that if he were deceived surely any one might be; so the
+replica was given to the Duke of Mantua, who never found out the
+difference.
+
+Years afterward Giulio Romano showed the picture to Vasari, believing
+it to be the original Raphael, neither Andrea nor the Medici having
+told Romano the truth. But Vasari, who knew the whole story, declared
+to Romano that what he showed him was but a copy. Romano would not
+believe it, but Vasari told him that he would find upon the canvas a
+certain mark, known to be Andrea's. Romano looked, and behold, the
+original Raphael became a del Sarto! The original picture hangs in the
+Pitti Palace, while the copy made by Andrea is in the Naples Gallery.
+
+The introduction of Andrea to Vasari was one of the few gracious
+things, that Michael Angelo ever did. About Andrea he said to Raphael
+at the time: "There is a little fellow in Florence who will bring
+sweat to your brows if ever he is engaged in great works." Raphael,
+would certainly have agreed, with him had he known what was to happen
+in regard to the Leo X. picture.
+
+Notwithstanding Andrea's unfortunate temperament, which caused him to
+be guided mostly by circumstances instead of guiding them, he was said
+to be improving all the time in his art. He had a great many pupils,
+but none of them could tolerate his wife for long, so they were always
+changing.
+
+Throughout his life the artist longed for tenderness and encouragement
+from his wife, and finally, without ever receiving it, he died in a
+desolate way, untended even by her. After the siege of Florence there
+came a pestilence, and Andrea was overtaken by it. His wife, afraid
+that she too would become ill, would have nothing to do with him. She
+kept away and he died quite alone, few caring that he was dead and no
+one taking the trouble to follow him to his grave. Thus one of the
+greatest of Florentine painters lived and died. Years after his death,
+the artist Jacopo da Empoli, was copying Andrea's "Birth of the
+Virgin" when an old woman of about eighty years on her way to mass
+stopped to speak with him. She pointed to the beautiful Virgin's face
+in the picture and said: "I am that woman." And so she was--the widow
+of the great Andrea. Though she had treated him so cruelly, she was
+glad to have it known that she was the widow of the dead genius.
+
+  PLATE--THE MADONNA DEL SACCO
+  _(Madonna of the Sack)_
+
+This picture is a fresco in the cloister of the Annunziata at
+Florence, and it is called "of the sack" because Joseph is posed
+leaning against a sack, a book open upon his knees.
+
+Doubtless the model for this Madonna is Andrea del Sarto's abominable
+wife, but she looks very sweet and simple in the picture. The folds of
+Mary's garments are beautifully painted, so is the poise of her head,
+and all the details of the picture except the figure of the
+child. There is a line of stiffness there and it lacks the softness of
+many other pictures of the Infant Jesus.
+
+  PLATE--THE HOLY FAMILY
+
+In this picture in the Pitti Palace, Florence, Andrea del Sarto
+represents all the characters in a serious mood. There are St. John
+and Elizabeth, Mary and the Infant Jesus, and there is no touch of
+playfulness such as may be found in similar groups by other artists of
+the time. Attention is concentrated upon Jesus who seems to be
+learning from his young cousin. The left hand, resting upon Mary's arm
+is badly drawn and in character does not seem to belong to the figure
+of the child. A full, overhanging upper lip is a dominant feature in
+each face.
+
+Other works of Andrea del Sarto are "Charity," which is in the Louvre;
+"Madonna dell' Arpie," "A Head of Christ," "The Dead Christ," "Four
+Saints," "Joseph in Egypt," his own portrait, and "Joseph's Dream."
+
+
+
+
+
+II
+
+MICHAEL ANGELO (BUONARROTI)
+
+
+  (Pronounced Meek-el-ahn-jel-o (Bwone-ar-ro'tee))
+  _Florentine School_
+  1475-1564
+  _Pupil of Ghirlandajo_
+
+This wonderful man did more kinds of things, at a time when almost all
+artists were versatile, than any other but one. Probably Leonardo da
+Vinci was gifted in as many different ways as Michael Angelo, and in
+his own lines was as powerful. This Florentine's life was as tragic as
+it was restless.
+
+There is a tablet in a room of a castle which stands high upon a rocky
+mount, near the village of Caprese, which tells that Michael Angelo
+was born in that place. The great castle is now in ruins, and more
+than four hundred years of fame have passed since the little child was
+born therein.
+
+The unhappy existence of the artist seems to have been foreshadowed by
+an accident which happened to his mother before he was born. She was
+on horseback, riding with her husband to his official post at Chiusi,
+for he was governor of Chiusi and Caprese. Her horse stumbled, fell,
+and badly hurt her. This was two months before Michael Angelo was
+born, and misfortune ever pursued him.
+
+The father of Angelo was descended from an aristocratic house--the
+Counts of Canossa were his ancestors--and in that day the profession
+of an artist was not thought to be dignified. Hence the father had
+quite different plans for the boy; but the son persisted and at last
+had his way. When he was still a little child his father finished his
+work as an official at Caprese and returned to Florence; but he left
+the little Angelo behind with his nurse. That nurse was the wife of a
+stonemason, and almost as soon as the boy could toddle he used to
+wander about the quarries where the stonecutters worked, and doubtless
+the baby joy of Angelo was to play at chiseling as it is the pleasure
+of modern babies to play at peg-top. After a time he was sent for to
+go to Florence to begin his education.
+
+In Florence he fell in with a young chap who, like himself, loved art,
+but who was fortunate enough already to be apprenticed to the great
+painter of his time--Ghirlandajo. One happy day this young Granacci
+volunteered to take Michael Angelo to his master's studio, and there
+Angelo made such an impression on Ghirlandajo that he was urged by the
+artist to become his pupil.
+
+All the world began to seem rose coloured to the ambitious boy, and he
+started his life-work with enthusiasm. At that time he was thirteen
+years old, full of hope and of love for his kind; but his good fortune
+did not last long. He had hardly settled to work in Ghirlandajo's
+studio than his genius, which should have made him beloved, made him
+hated by his master. Angelo drew superior designs, created new
+art-ideas, was more clever in all his undertakings than any other
+pupil--even ahead of his master; and almost at once Ghirlandajo became
+furiously jealous. This enmity between pupil and master was the
+beginning of Angelo's many misfortunes.
+
+One day he got into a dispute with a fellow student, Torregiano, who
+broke his nose. This deformity alone was a tragedy to one like Michael
+Angelo who loved everything beautiful, yet must go through life
+knowing himself to be ill-favoured.
+
+In height he was a little man, topped by an abnormally large head
+which was part of the penalty he had to pay for his talents. He had a
+great, broad forehead, and an eye that did not gleam nor express the
+beauty of his creative mind, but was dull, and lustreless, matching
+his broken, flattened nose. Indeed he was a tragedy to himself. In the
+"History of Painting" Muther describes his unhappy disposition:
+
+"In his youthful years he never learned what love meant. 'If thou
+wishest to conquer me,' in old age he addresses love, 'give me back my
+features, from which nature has removed all beauty.' Whenever in his
+sonnets he speaks of passion, it is always of pain and tears, of
+sadness and unrequited longing, never of the fulfilment of his
+wishes."
+
+Then, too, Michael Angelo had a quarrelsome disposition, and he was
+harsh in his criticism of others. He hated Leonardo da Vinci more for
+his great physical beauty than for his genius. He quarreled with most
+of his contemporaries, never joined the assemblies of his brother
+artists, but dwelt altogether apart. His was a gloomy and melancholy
+disposition and he never found relief outside his work.
+
+He was all kinds of an artist--poet, sculptor, architect, painter--and
+although he worked with the irregularity of true genius, he worked
+indefatigably when once he began. It is said that when he was making
+his "David" he never removed his clothing the whole time he was
+employed upon the work, but dropped down when too exhausted to work
+more, and slept wherever he fell.
+
+His first flight from the workshop of Ghirlandajo was to the gardens
+of the great Florentine prince, Lorenzo de' Medici, who had sent to
+Ghirlandajo for two of his best pupils. He wished them to come to his
+gardens and study the beautiful Greek statues which ornamented
+them. The choice fell to Angelo and Granacci. Probably those statues
+in Lorenzo's garden were the first glimpses of really great art that
+Michael Angelo ever had. Certain it is that he was overwhelmed with
+happiness when he was given permission to copy what he would, and at
+once he fell to work with his chisel. His first work in that garden
+was upon the head of an old faun; and Lorenzo, walking by, curious to
+know to what use the lad was putting his opportunity, made a
+criticism:
+
+"You have made your faun old," he said, "yet you have left all the
+teeth; at such an age, generally the teeth are wanting."
+
+Angelo had nothing to say and the prince walked on, but when next he
+came that way, he found that Angelo had broken off two of the faun's
+teeth; and this recognition of his criticism pleased Lorenzo so much
+that he invited Angelo to live with him. At first his father
+objected. He felt himself to be an aristocrat, and sculpture and
+painting were indeed low occupations for his son, who he had resolved
+should be nothing less than a silk merchant. Nevertheless, the
+prince's command, united with the son's pleading, compelled the father
+to give up his cherished dream of making a merchant of him, and Angelo
+went to live in the palace.
+
+Then indeed what seemed a beautiful life opened out. He was dressed in
+fine clothing, dined with princes, and possibly he was grateful to his
+patron. Some historians say so, and add that when Lorenzo died Angelo
+wept, and returned sadly to his father's house to mourn, but this tale
+seems at odds with what else we know of Angelo's unangelic, envious
+and bitter disposition. It is quite certain, however, that with the
+death of Lorenzo, Angelo's, fortunes became greatly changed. Another
+prince followed in line--Pietro de' Medici--but he was a poor thing,
+who brought little good to anybody. He had small use for Michael
+Angelo's genius, but it is said that he did give him one
+commission. After a great storm one day, he asked him to make a
+snow-man for him, and Angelo obligingly complied. It was doubtless a
+very beautiful snow-man, but although it was Angelo's it melted in the
+night, even as if it had been Johnny's or Tommy's snow-man, and left
+no trace behind.
+
+In Rome there was a high and haughty pope on the throne--Julius
+II.--who had probably not his match for obstinacy and haughtiness,
+excepting in the great painter and sculptor. When Angelo went to Rome,
+he was bound to come in conflict with Julius for it was popes and
+princes who gave art any reason for being in those days, and the
+Church prescribed what kind of art should be cultivated. Michael was
+to come directly under the command of the pope and such a combination
+promised trouble. Kings themselves had to remove their crowns and hats
+to Julius, and why not Michael Angelo? Yet there he stood, covered,
+before the pope, opposing his greatness to that of the pope. Soderini
+says that Angelo treated the pope as the king of France never would
+have dared treat him; but Angelo may have known that kings of France
+might be born and die, times without number, while there would never
+be born another Michael Angelo. There could be nothing but antagonism
+between Angelo and Julius, and soon after the artist returned to
+Florence; but the necessity for following his profession enabled
+Julius to tame him after all, and it is said that the pope led him
+back to Rome, later, "with a halter about his neck." This must have
+been agony to Angelo.
+
+Back in Rome, he was commissioned to make a tomb for the pope. He had
+no sooner set about the preliminaries--the getting of suitable marble
+for his work--than he began to quarrel with the men who were to hew
+it. When that difficulty was settled, and the marble was got out, he
+had a set-to with the shipowners who were to transport the stone, and
+that row became so serious that the sculptor was besieged in his own
+house.
+
+At another and later time, when he was engaged upon the frescoes of
+the Sistine Chapel, he was made to work by force. He accused the man
+who had built the scaffolding upon which he must stand, or lie, to
+paint, of planning his destruction. He suspected the very assistants
+whom he, himself, had chosen to go from Florence, of having designs
+upon his life. He locked the chapel against them, and they had to turn
+away when they went to begin work. Because of his insane suspicion he
+did alone the enormous work of the frescoes. Doubtless he was half
+mad, just as he was wholly a genius.
+
+By the time he had finished those frescoes he was so exhausted and
+overworked that he wrote piteously to his people at home, "I have not
+a friend in Rome, neither do I wish nor have use for any." This of
+course was not true; or he would not have made the statement. "I
+hardly find time to take nourishment. Not an ounce more can I bear
+than already rests upon my shoulders." Even when the work was done he
+felt no happiness because of it, but complained about everything and
+everybody.
+
+If Angelo thought this an unhappy day, worse was in store for
+him. Julius II. died and in his place there came to reign upon the
+papal throne, Leo X. If Michael Angelo had been restricted in his work
+before, he was almost jailed under Leo X. Julius had been a virile,
+forceful man, and Michael Angelo was the same. Since he must be
+restrained and dictated to, it was possible for the artist to listen
+to a man who was in certain respects strong like himself, but to be
+under the thumb of a weak, effeminate person like Leo, was the tragedy
+of tragedies to Angelo. That was a marvellous time in Rome. All its
+citizens had become so pleasure-loving that the world, stood still to
+wonder. When the pope banqueted, he had the golden plates from which
+fair women had eaten hurled into the Tiber, that they might never be
+profaned by a less noble use than they had known. From all this riot
+and madness of pleasure, Michael Angelo stood aside with frowning brow
+and scornful mien. He approved of nothing and of nobody--despising
+even Raphael, the gentle and loving man whom the pleasure-crazed
+people of Rome paused to smile upon and love. The pope said that
+Angelo was "terrible," and that he filled everybody with fear.
+
+Finally, Rome so resented his frowning looks and his surly ways that
+work was provided for him at a distance. He was sent to Florence again
+to build a facade. While there, the city was conquered, and Angelo was
+one who fought for its freedom, but even so, he fled just at the
+crisis. Thus he ever did the wrong thing--excepting when he worked. In
+Florence he had planned to do mighty things, but he never accomplished
+any one of them. He planned to make a wonderful colossal statue on a
+cliff near Carrara, and also he resolved to make the tomb of Julius
+the nucleus of a "forest of statues."
+
+Michael Angelo never married, but he was burdened with a family and
+all its cares. He supported his brothers and even his nephews, and
+took care of his father. All of those people came to him with their
+difficulties and with their demands for money. He chided, quarreled,
+repelled, yet met every obligation. He would sit beside the sick-bed
+of a servant the night through, but growl at the demands of his near
+relatives--and it is not unlikely that he had good reason.
+
+At last he withdrew himself from all human society but that of little
+children, whom he cared to speak with and to please. He would have
+naught to do with men of genius like himself; and when he fell from a
+scaffolding and injured himself, the physician had to force his way
+through a barred window, in order to get into the sick man's presence
+to serve him.
+
+An illustration of his determined solitude is given in the "Young
+People's Story of Art:"
+
+"There had long been lying idle in Florence an immense block of
+marble. One hundred years before a sculptor had tried to carve
+something from it, but had failed. This was now given to Michael
+Angelo. He was to be paid twelve dollars a month, and to be allowed
+two years in which to carve a statue. He made his design in wax; and
+then built a tower around the block, so that he might work inside
+without being seen."
+
+Everything Angelo undertook bore the marks of gigantic
+enterprise. Although he never succeeded in making the tomb of Julius
+II. the central piece in his forest of statues, the undertaking was
+marvellous enough. His original plan was to make the tomb three
+stories high and to ornament it with forty statues, and if St. Peter's
+Church was large enough to hold it, the work was to be placed therein;
+but if not, a church was to be built specially to hold the tomb. When
+at last, in spite of his difficulties with workmen and shipowners, the
+marbles were deposited in the great square before St. Peter's, they
+filled the whole place; and the pope, wishing to watch the progress of
+the work and not himself to be observed, had a covered way built from
+the Vatican to the workshop of Angelo in the square, by which he might
+come and go as he chose, while an order was issued that the sculptor
+was to be admitted at all times to the Vatican. No sooner was this
+arrangement completed than Angelo's enemies frightened the pope by
+telling him there was danger in making his tomb before his death; and
+with these superstitions haunting him Julius II. stopped the work,
+leaving Angelo without the means to pay for his marbles. With the
+doors of the Vatican closed to him, Angelo withdrew, post haste to
+Florence--and who can blame him? Nevertheless, the work was resumed
+after infinite trouble on the pope's part. He had to send again and
+again for Angelo and after forty years, the work was finished. There
+the sequel of the sculptor's forty-years war with self and the world
+stands to-day in "Moses," the wonderful, commanding central figure
+which seems to reflect all the fierce power which Angelo had to keep
+in check during a life-time.
+
+The command of Julius that he should paint the ceiling of the Sistine
+Chapel aroused all his fierce resistance. He did it under protest, all
+the while accusing those about him of having designs upon his life.
+
+"I am not a painter, but a sculptor," he said.
+
+"Such a man as thou is everything that he wishes to be," the pope
+replied.
+
+"But this is an affair of Raphael. Give him this room to paint and let
+me carve a mountain!" But no, he must paint the ceiling; but to render
+it easier for him the pope told him he might fill in the spaces with
+saints, and charge a certain amount for each. This Angelo, who was
+first of all an artist, refused to do. He would do the work rightly or
+not at all. So he made his own plans and cut himself a cardboard
+helmet, into the front of which he thrust a candle, as if it were a
+Davy lamp, and he lay upon his back to work day and night at the hated
+task. During those months he was compelled to look up so continually,
+that never afterward was he able to look down without difficulty. When
+he had finished the work Julius had some criticisms to make.
+
+"Those dresses on your saints are such poor things," he said. "Not
+rich enough--such very poor things!"
+
+"Well, they were poor things," was Angelo's answer. "The saints did
+not wear golden ornaments, nor gold on their garments."
+
+After Julius II. and Leo X. came Pope Paul III., and he, like the
+other two, determined to have Angelo for his workman. Indeed all his
+life, Michael Angelo's gifts were commanded by the Church of Rome. It
+was for Paul III. he painted the "Last Judgment." His former work upon
+the Sistine Chapel had been the story of the creation. All his work
+was of a mighty and allegorical nature; tremendous shoulders, mighty
+limbs, herculean muscles that seemed fit to support the
+universe. These allegories are made of hundreds of figures. To-day
+they are still there, though dimmed by the smoke of centuries of
+incense, and dismembered by the cracking of plaster and disintegration
+of materials.
+
+Angelo's methods of work, as well as their results, were
+oppressive. In his youth, while trying to perfect himself in his study
+of the human form, he drew or modelled, from nude corpses. He had
+these conveyed by stealth from the hospital into the convent of Santo
+Spirito, where he had a cell and there he worked, alone.
+
+He was concentrated, mentally and emotionally, upon himself. The only
+remark he made after the blow from Torregiano was, "You will be
+remembered only as the man who broke my nose!" This proved nearly
+true, since Torregiano was banished, and murdered by the Spanish
+Inquisition.
+
+All sorts of anecdotes have floated through the centuries concerning
+this man and his work. For example, he made a statue of a sleeping
+cupid, which was buried in the ground for a time that it might assume
+the appearance of age, and pass for an antique. Afterward it was sold
+to the Cardinal San Giorgio for two hundred ducats, though Michael
+Angelo received only thirty. Nevertheless, he died a rich man, after
+having cared for a numerous family, while he himself lived like a man
+without means. All the tranquillity he ever knew he enjoyed in his old
+age.
+
+It was characteristic of his perversity that he left his name upon
+nothing that he made, with one exception. Vasari relates the story of
+that exception:
+
+"The love and care which Michael Angelo had given to this group, 'In
+Paradise,' were such that he there left his name--a thing he never did
+again for any work--on the cincture which girdles the robe of Our
+Lady; for it happened one day that Michael Angelo, entering the place
+where it was erected, found a large assemblage of strangers from
+Lombardy there, who were praising it highly; one of them asking who
+had done it, was told, 'our Hunchback of Milan'; hearing which Michael
+Angelo remained silent, although surprised that his work should be
+attributed to another. But one night he repaired to St. Peter's with a
+light and his chisels, to engrave his name on the figure, which seems
+to breathe a spirit as perfect as her form and countenance."
+
+If his youth had been given to sculpture, his maturity to the painting
+of wondrous frescoes, so his old age was devoted to architecture, and
+as architect he rebuilt the decaying St. Peter's. In this work he felt
+that he partly realised his ideal. Sculpture meant more to him, "did
+more for the glory of God," than any other form of art. When he had
+finished his work on St. Peter's, he is said to have looked upon it
+and exclaimed: "I have hung the Pantheon in the air!"
+
+This colossal genius died in Rome, and was carried by the light of
+torches from that city back to his better loved Florence, where he was
+buried. His tomb was made in the Santa Croce, and upon it are three
+female figures representing Michael Angelo's three wonderful arts:
+Architecture, sculpture and painting. No artist was greater than he.
+
+His will committed "his soul to God, his body to the earth, and his
+property to his nearest relatives."
+
+  PLATE--DANIEL
+
+This wonderful painting is a part of the decoration of the Sistine
+Chapel in Rome. The picture of the prophet tells so much in itself,
+that a description seems absurd. It is enough to call attention to the
+powerful muscles in the arm, the fall of the hand, and then to speak
+of the main characteristics of the artist's pictures.
+
+It is extraordinary that there is no blade of grass to be found in any
+painting by Michael Angelo. He loved to paint but one thing, and that
+was the naked man, the powerful muscles, or the twisted limbs of those
+in great agony. He loved only to work upon vast spaces of ceiling or
+wall. Look at this picture of Daniel and see how like sculpture the
+pose and modelling appear to be. First of all, Michael Angelo was a
+sculptor, and most of the painting which fate forced him to do has the
+characteristics of sculpture.
+
+One critic has remarked that he loves to think of this strange man
+sitting before the marble quarry of Pietra Santa and thinking upon all
+the beings hidden in the cliff--beings which he should fashion from
+the marble.
+
+It was said that in Michael Angelo's hands the Holy Family became a
+race of Titans, and where others would have put plants or foliage,
+Angelo placed men and naked limbs to fill the space. When his subject
+made some sort of herbage necessary, he invented a kind of mediaeval
+fern in place of grass and familiar leaves. Everything appears brazen
+and hard and mighty, suggestive of Angelo's own throbbing spirit and
+maddened soul. Most of his work, when illustrated, must be shown not
+as a whole but in sections, but one can best mention them as entire
+picture themes. On the ceiling of the Sistine Chapel are nine frescoes
+describing "The Creation of The World," "The Fall of Man" and "The
+Deluge." "The Last Judgment" occupies the entire altar wall in the
+same chapel of the Vatican. "The Holy Family" is in the Uffizi
+Gallery, Florence.
+
+
+
+
+III
+
+ARNOLD BOCKLIN
+
+
+  (Pronounced Bek'-lin)
+  _Modern German School (Dusseldorf)_
+  1827-1901
+
+This splendid artist is so lately dead that it does not seem proper
+yet to discuss his personal history, but we can speak understandingly
+of his art, for we already know it to be great art, which will stand
+the test of time. His imagination turned toward subjects of solemn
+grandeur and his work is very impressive and beautiful.
+
+He was born in Basel, "one of the most prosaic towns in Europe." His
+father was a Swiss merchant, and not poor; thus the son had ordinarily
+good chances to make an artist of himself. He was born at a time when
+to be an artist had long ceased to be a reproach, and men no longer
+discouraged their sons who felt themselves inspired to paint great
+pictures.
+
+When Bocklin was nineteen years old he took himself to Dusseldorf,
+with his merchant father's permission, and settled down to learn his
+art, but in that city he found mostly "sentimental and anecdotal"
+pictures being painted, which did not suit him at all. Then he took
+himself off to Brussels, where again he was not satisfied, and so went
+to Paris. But while in Brussels he had copied many old masters, and
+had advanced himself very much, so that he did not present himself in
+Paris raw and untried in art.
+
+At first he studied in the Louvre, then went to Rome, seeking ever the
+best, and being hard to satisfy. He found rest and tranquillity in
+Zurich, a city in his native country, but it was Italy that had most
+influenced his work.
+
+He loved the Campagna of Rome with its ruins and the sad grandeur of
+the crumbling tombs lining its way, and therefore a certain
+mysterious, grand, and solemn character made his pictures unlike those
+of any other artist. He loved to paint in vertical (up-and-down)
+fines, rather than with the conventional horizontal outlines that we
+find in most paintings. This method gives his pictures a different
+quality from any others in the world.
+
+He loved best of all to paint landscape, and it is said of him that
+"as the Greeks peopled their streams and woods and waves with
+creatures of their imagination, so Bocklin makes the waterfall take
+shape as a nymph, or the mists which rise above the water source
+wreathe into forms of merry children; or in some wild spot hurls
+centaurs together in fierce combat, or makes the slippery, moving wave
+give birth to Nereids and Tritons."
+
+Muther, art-critic and biographer, calls our attention to the
+similarity between Wagner's music and Bocklin's painting. While Wagner
+was "luring the colours of sound from music," Bocklin's "symphonies of
+colour streamed forth like a crashing orchestra," and he calls him the
+greatest colour-poet of the time.
+
+In appearance Bocklin was fine of form, healthy and wholesome in all
+his thoughts and way of living. In 1848 he took part in revolutionary
+politics and later this did him great harm. Only the influence of his
+friends kept him from ruin. After the Franco-Prussian war he was made
+Minister of Fine Arts. In this office he rendered great service; but
+because he had to witness the wrecking of the Column Vendome in order
+to save the Louvre and the Luxembourg from the mob, he was censured;
+indeed so heavy a fine was imposed that it took his whole fortune to
+pay it; and he was banished into the bargain. From 1892 to 1901 he
+lived in or near Florence, and he died at Fiesole, January 16th, 1901.
+
+  PLATE--THE ISLE OF THE DEAD
+
+This picture is perhaps the greatest of the many great Arnold Bocklin
+paintings, and it is both fascinating and awe-inspiring.
+
+It best shows his liking for vertical lines in art. The Isle of the
+Dead is of a rocky, shaft-like formation in which we may see hewn-out
+tombs; and there, tall cypress trees are growing.
+
+The traces of man's work in the midst of this sombre, ideal, and
+mystic scene add to the impressiveness of the picture. The isle stands
+high and lonely in the midst of a sea.
+
+The water seems silently to lap the base of the rocks and the trees
+are in black shadow, massed in the centre. It looks very mysterious
+and still. There is a stone gateway touched with the light of a dying
+day. It is sunset and the dead is being brought to its resting place
+in a tiny boat, all the smaller for its relation to the gloomy
+grandeur of the isle which it is approaching. One figure is standing
+in the boat, facing the island, and the sunlight falls full upon his
+back and touches the boat, making that spot stand out brilliantly from
+all the rest of the picture.
+
+Among Bocklin's paintings are "Naiads at Play," which hangs in the
+Museum at Basel, "A Villa by the Sea," "The Sport of the Waves,"
+"Regions of Joy," "Flora," and "Venus Dispatching Cupid."
+
+
+
+
+IV
+
+MARIE-ROSA BONHEUR
+
+
+  (Pronounced Rosa Bon-er)
+  _French School_
+  1822-1895
+  _Pupil of Raymond B. Bonheur_
+
+Rosa Bonheur, Landseer, and Murillo maybe called "Children's Painters"
+in this book because they painted things that children, as well as
+grown-ups, certainly can enjoy. To be sure, Murillo was a very
+different sort of artist from Rosa Bonheur or Landseer, but if the two
+latter painted the most beautiful, animals--dogs, sheep, and
+horses--Murillo painted the loveliest little children.
+
+Rosa was the best pupil of her father; Raymond B. Bonheur. In Bordeaux
+they lived together the peaceful life of artists, the father being
+already a well known painter when his daughter was born. She became,
+as Mr. Hamerton, who knew her, said, "the most accomplished female
+painter who ever lived ... a pure, generous woman as well and can
+hardly be too much admired ... as a woman or an artist. She is simple
+in her tastes and habits of life and many stories are told of her
+generosity to others."
+
+After a time the Bonheurs moved to Paris where young Rosa could have
+better opportunities; and there she put on man's clothing, which she
+wore all her life thereafter. She wore a workingman's blouse and
+trousers, and tramped about looking more like a man than a woman with
+her short hair. This, made everybody stare at her and think her very
+queer, but people no longer believe that she dressed herself thus in
+order to advertise herself and attract attention; but because it was
+the most convenient costume for her to get about in. She went to all
+sorts of places; the stockyards, slaughter houses, all about the
+streets of Paris, to learn of things and people, especially of
+animals, which she wished most to paint. She could hardly have gone
+about thus if she had worn women's clothing.
+
+Rosa Bonheur exhibited her first painting at the _Salon_ in 1841, and
+this was twelve years before her beloved father died; thus he had the
+happiness of knowing that the daughter whom he had taught so lovingly
+was on the road to success and fortune. He knew that when fortune
+should come to her she would use it well. The year that she exhibited
+her work in the _Salon_ she painted only two little pictures--one of
+rabbits, the other of sheep and goats--but they were so splendidly
+done that all the critics knew a great woman artist had arrived.
+
+It was then that her enemies, those who were becoming jealous of her
+work, said that she was wearing men's clothing in order to attract
+attention to herself.
+
+Soon her work began to be bought by the French Government, which was a
+sure sign of her power. She was already much beloved by the people. In
+the meantime we in America and others in England had heard of
+Mademoiselle Bonheur, but we heard far less about her painting than we
+did about her masculine garb. We thought of her mostly as an eccentric
+woman; but one day came "The Horse Fair," and all the world heard of
+that, so the artist was to be no longer judged by the clothes she wore
+but by her art. Finally, she received the cross of the Legion of
+Honour, and also was made a member of the Institute of Antwerp.
+
+She lived near Fontainebleau; her studio a peaceful retired home, till
+the Franco-Prussian war came about. Then she and others began to fear
+that her studio and pictures would be destroyed, so the artist was
+forced to stop her work and prepared to go elsewhere. But the Crown
+Prince of Prussia himself ordered that Mademoiselle Bonheur should not
+even be disturbed. Her work had made her belong to all the world and
+all the world was to protect her if need be.
+
+Rosa Bonheur had a brother who, some critics said, was the better
+artist, but if that were true it is likely that his popularity would
+in some degree have approached that of his sister. Rosa Bonheur did
+not paint many large canvases, but mostly small ones, or only
+moderately large; but when she painted sheep it seems that one might
+shear the wool, it stands so fleecy and full; while her horses rampage
+and curvet, showing themselves off as if they were alive.
+
+  PLATE--THE HORSE FAIR
+
+This picture was exhibited all over the world very nearly. It was
+carried to England and to America, and won admiration wherever it was
+seen. Finally it was sold in America. It was first exhibited in 1853,
+the year in which the artist's father died. Mr. Ernest Gambart was the
+first who bought the picture, and he wrote of it to his friend,
+Mr. S.P. Avery: "I will give you the real history of 'The Horse Fair,'
+now in New York. It was painted in 1852, by Rosa Bonheur, then in her
+thirtieth year, and exhibited in the next _Salon_. Though much admired
+it did not find a purchaser. It was soon after exhibited in Ghent,
+meeting again with much appreciation, but was not sold, as art did not
+flourish at the time. In 1855 the picture was sent by Rosa Bonheur to
+her native town of Bordeaux and exhibited there. She offered to sell
+it to the town at the very low price 12,000 francs ($2,400). While
+there, I asked her if she would sell it to me, and allow me to take it
+to England and have it engraved. She said: 'I wish to have my picture
+remain in France. I will once more impress on my countrymen, my wish
+to sell it to them for 12,000 francs. If they refuse, you can have it,
+but if you take it abroad, you must pay me 40,000 francs.' The town
+failing to make the purchase, I at once accepted these terms, and Rosa
+Bonheur then placed the picture at my disposal. I tendered her the
+40,000 francs and she said: 'I am much gratified at your giving me
+such a noble price, but I do not like to feel that I have taken
+advantage of your liberality; let us see how we can combine in the
+matter. You will not be able to have an engraving made from so large a
+canvas. Suppose I paint you a small one from the same subject, of
+which I will make you a present.' Of course I accepted the gift, and
+thus it happened that the large work went travelling over the kingdom
+on exhibition, while Thomas Landseer was making an engraving from the
+quarter-size replica.
+
+"After some time (in 1857 I think), I sold the original picture to
+Mr. William P. Wright, New York (whose picture gallery and residence
+were at Weehawken, N.J.), for the sum of 30,000 francs, but later I
+understood that Mr. Stewart paid a much larger price for it on the
+breaking up of Mr. Wright's gallery. The quarter size replica, from
+which the engraving was made, I finally sold to Mr. Jacob Bell, who
+gave it in 1859 to the nation, and it is now in the National Gallery,
+London. A second, still smaller replica, was painted a few years
+later, and was resold some time ago in London for oe4,000
+($20,000). There is also a smaller water-colour drawing which was sold
+to Mr. Bolckow for 2,500 guineas ($12,000), and is now an heirloom
+belonging to the town of Middlesbrough. That is the whole history of
+this grand work. The Stewart canvas is the real and true original, and
+only large size 'Horse-Fair.'
+
+"Once in Mr. Stewart's collection, it never left his gallery until the
+auction sale of his collection, March 25th, 1887, when it was
+purchased by Mr. Cornelius Vanderbilt for the sum of $55,000, and
+presented to the Metropolitan Museum of Art."
+
+And thus we have the whole story of the "Horse-Fair." The picture is
+93-1/2 inches high, and 197 inches wide, and it contains a great
+number of horses, some of which are ridden, while others are led, and
+all are crowding with wild gaiety toward the fair where it is quite
+plain they know they are about to be admired and their beauty shown to
+the best advantage. Other well-known Rosa Bonheurs are "Ploughing,"
+"Shepherd Guarding Sheep," "Highland Sheep," "Scotch Deer," "American
+Mustangs," and "The Study of a Lioness."
+
+
+
+
+V
+
+ALESSANDRO BOTTICELLI
+
+
+  (Pronounced Ah-lays-sahn'dro Bo't-te-chel'lee)
+  _Florentine School,_
+  1447-1510 (Vasari's dates)
+  _Pupil of Filippo Lippi and Verrocchio_
+
+Botticelli took his name from his first master, as was the fashion in
+those days. The relation of master and apprentice was very close, not
+at all like the relation of pupil and teacher to-day.
+
+Botticelli's father was a Florentine citizen, Mariano Filipepi, and he
+wished his son to become a goldsmith; hence the lad was soon
+apprenticed to Botticelli, the goldsmith. As a scholar, the little
+goldsmith had not distinguished himself. Indeed it is said that as a
+boy he would not "take to any sort of schooling in reading, writing,
+or arithmetic." It cannot be said that this failure distinguished him
+as a genius, or the world would be full of genius-boys; but the result
+was that he early began to learn his trade.
+
+Fortunately for him and us, Botticelli, the smith, was a man of some
+wisdom and when he saw that the lad originated beautiful designs and
+had creative genius he did not treat the matter with scorn, as the
+master of Andrea del Sarto had done, but sent him instead to Fra
+Filippo (Lippo Lippi) to be taught the art of painting. So kind a deed
+might well establish a feeling of devotion on little Alessandro's part
+and make him wish to take his master's name.
+
+Fra Filippo was a Carmelite monk, merry and kindly; simple, good, and
+gifted, but his temperament did not seem to influence his young
+pupil. Of all unhappy, morbid men, Botticelli seems to have been the
+most so, unless we are to except Michael Angelo.
+
+After studying with the monk, Botticelli was summoned by Pope Sixtus
+IV. to Rome to decorate a new chapel in the Vatican. Before that time
+his whole life had been greatly influenced by the teachings of
+Savonarola who had preached both passionately and learnedly in
+Florence, advocating liberty. From the time he fell under Savonarola's
+wonderful power, the artist grew more and more mystic and morbid. In
+Rome it was the custom to have the portraits of conspirators, or
+persons of high degree who were revolutionary or otherwise
+objectionable to the state, hung outside the Public Palace, and in
+Botticelli's time there was a famous disturbance among the aristocrats
+of the state. In 1478 the powerful Pazzi family conspired against the
+Medici family, which then actually had control. It was Botticelli who
+was engaged to paint the portraits of the Pazzi family, which to their
+shame and humiliation were to be displayed upon the palace walls.
+
+One peculiarity of this artist's pictures was that he used actual
+goldleaf to make the high lights upon hair, leaves, and draperies. The
+effect of the use of this gold was very beautiful, if unusual, and it
+may have been that his apprenticeship as a goldsmith suggested to him
+such a device.
+
+Also it was he who created certain characteristics of painting that
+have since been thought original with Burne-Jones. This was the use of
+long stiff lily-stalks or other upright details in his compositions.
+Examples of this idea, which produced so weird an effect, will be
+found in his allegory of "Spring," where stiff tree-trunks form a part
+of the background. In the "Madonna of the Palms" upright lily-stalks
+are held in pale and trembling hands. Like Michael Angelo, who came
+years afterward, Botticelli was a guest of the great Lorenzo the
+"Magnificent," in Florence. It was by Botticelli's hand that the
+greater painter sent a letter to Lorenzo from a duchess friend who was
+also his patron. This was in Angelo's youth; in Botticelli's old age.
+
+All his life was a drama of morbid seeking after the unattainable, and
+finally he became so poor and helpless that in his old age he would
+have starved had Lorenzo de' Medici not taken care of him. Lorenzo and
+other friends who in spite of his gloominess admired his real piety,
+gathered about him and kept him from starvation.
+
+On his "Nativity," Botticelli wrote: "This picture I, Alessandro,
+painted at the end of the year 1500 in the troubles of Italy, in the
+halftime after the time, during the fulfilment of the eleventh of
+John, in the second woe of the Apocalypse, in the loosing the devil
+for three and a half years. Afterward he shall be chained according to
+the twelfth of John, and see him trodden down as in this picture." All
+of this is interesting because Botticelli himself wrote it, but it is
+not very easily understood by any child, nor by many grown people.
+
+Botticelli did some very extraordinary things, but whether they are
+beautiful or not one must decide for himself. They are paintings so
+characteristic that one must think them very beautiful or else not at
+all so.
+
+  PLATE--LA PRIMAVERA
+  _(Spring)_
+
+In this picture we have the forerunner of a modern painter, because we
+see in it certain, qualities that we find in Bocklin. Look at the
+effect of vertical lines; the tree trunks, and the poses of the
+slender women. Over all hovers a cupid who is sending love-shafts into
+the hearts of all in springtime.
+
+Notice the lacy effect of the flowers that bestar the wind-blown gown
+of "La Primavera," the fern-like leaves that fleck the background; the
+draperies that do not conceal the forms of the nymphs of the lovely
+springtime.
+
+The very spirit of spring is seen in all the half-floating,
+half-dancing, gliding, diaphanous figures of the forest. The flowers
+of "La Primavera's" crown are blue and white cornflowers and
+primroses. She scatters over the earth tulips, anemones, and
+narcissus. The painting is allegorical and unique. Never were such
+fluttering odds and ends of draperies painted before, nor such
+fascinating effects had from canvas, paint, or brush. The picture
+hangs in Florence in the Uffizi Gallery. A German critic tells us that
+the "Realm of Venus," is a better title for this picture, and that it
+was painted after a poem of that name.
+
+Other pictures by this artist are: "The Birth of Venus," "Pallas,"
+"Judith," "Holofernes," "St. Augustine," "Adoration of the Magi," and
+"St. Sebastian."
+
+
+
+
+VI
+
+WILLIAM ADOLPHE BOUGUEREAU
+
+
+  (Pronounced W. A'dolf Bou-gair-roh)
+  _French (Genre) School_
+  1825-1905
+  _Pupil of Picot and the Ecole des Beaux-Arts_
+
+Bouguereau's business-like father meant his son also to be
+business-like, but he made the mistake of permitting him to go to a
+drawing school in Bordeaux and there, to his father's chagrin, the
+youngster took the annual prize. After that there seemed nothing for
+the father to do but grin and bear it, because the son decided to be
+an artist and had fairly won his right to be one.
+
+Young Bouguereau had no money, and therefore he went to live with an
+uncle at Saintonge, a priest, who had much sympathy with the boy's
+wish to paint, and he left him free to do the best he could for
+himself in art. He got a chance to paint some portraits, and when he
+and his uncle talked the matter over It was decided that he should
+take the money got for them, and go to Paris. It was there that he
+sought Picot, his first truly helpful teacher; and there, for the
+first time he learned more than he already knew about art.
+
+All Bouguereau's opportunities in life were made by himself, by his
+own genius. No one gave him anything; he earned all. He longed to go
+to Italy, and in the Ecole des Beaux-Arts he won the Prix de Rome,
+which made possible a journey to the land of great artists. The French
+Government began to buy his work, and he began to receive commissions
+to decorate walls in great buildings; thus, gradually, he made for
+himself fame and fortune.
+
+When this artist undertook to paint sacred subjects, of great dignity,
+he was not at his best; but when he chose children and mothers and
+everyday folk engaged about their everyday business, he painted
+beautifully. Americans have bought many of his pictures and he has had
+more popularity in this country than anywhere outside of France.
+
+Some authorities give the birthplace of Bouguereau as La Rochelle; at
+any rate he died there at midnight, on the nineteenth of August, 1905.
+
+  PLATE--THE VIRGIN AS CONSOLER
+
+The main distinction about this artist's pictured faces is the
+peculiarly earnest expression he has given to the eyes. In this
+picture of the Virgin there is great genius in the pose and death-look
+of the little child whose mother has flung herself across the lap of
+Mary, abandoned to her agony. This painting is hung in the
+Luxembourg. Others by the same master are called "Psyche and Cupid"
+"Birth of Venus," "Innocence," and "At the Well."
+
+
+
+
+VII
+
+SIR EDWARD BURNE-JONES
+
+
+  _English (Pre-Raphaelite) School_
+  1833-1898
+  _Pupil of Rossetti_
+
+This artist has been called the most original of all contemporaneous
+artists. He has also been called the "lyric painter"; meaning that he
+is to painting what the lyric poet is to literature. His work once
+known can almost always be recognised wherever seen afterward. He did
+not slavishly follow the Pre-Raphaelite school, yet he drew most of
+his ideas from its methods. He was, in the use of stiff lines, a
+follower of Botticelli, and not original in that detail, as some have
+seemed to think.
+
+  PLATE--CHANT D'AMOUR
+  _(The Love-Song)_
+
+This is a picture in the true Burne-Jones style: a beautiful woman in
+billowy draperies, playing upon a harp forms the central figure of the
+group of three--a listener on either side of her. There is the
+attractiveness of the Burne-Jones method about this picture, but after
+all there seems to be no very good reason for its having been
+painted. The subject thus treated has only a negative value, and
+little suggestion of thought or dramatic idea.
+
+Another picture of this artist, in which his use of stiff draperies is
+specially shown, is that of the women at the tomb of Christ, when they
+find the stone rolled away and, looking around, see the Saviour's
+figure before them. The scene is low and cavern-like, with a brilliant
+light surrounding the tomb. This artist also painted "The Vestal
+Virgin," "King Cophetua and the Beggar Maid," "Pan and Psyche," "The
+Golden Stairs," and "Love Among the Ruins."
+
+
+
+
+VIII
+
+JOHN CONSTABLE
+
+
+  _English School_
+  1776-1837
+  _Pupil of the Royal Academy_
+
+John Constable was the son of a "yeoman farmer" who meant to make him
+also a yeoman farmer. Mostly we find that the fathers of our artists
+had no higher expectations for their sons than to have them take up
+their own business; to begin as they had, and to end as they expected
+to. But in John Constable's case, as with all the others, the father's
+methods of living did not at all please the son, and having most of
+all a liking for picture-making; young John set himself to planning
+his own affairs.
+
+Nevertheless, the foundation of John's art was laid right there in the
+Suffolk farmer's home and conditions. He was born in East Bergholt,
+and the father seems to have believed in windmills, for early in life
+the signs of wind and weather became a part of the son's education. He
+learned a deal more of atmospheric conditions there on his father's
+windmill planted farm than he could possibly have learned shut up in a
+studio, French fashion. As a little boy he came to know all the signs
+of the heavens; the clouds gathering for storm or shine; the bending
+of the trees in the blast; all of these he loved, and later on made
+the principal subjects of his art. He learned to observe these things
+as a matter of business and at his father's command; thus we may say
+that he studied his life-work from his very infancy. All about him
+were beautiful hedgerows, picturesque cottages with high pitched roofs
+covered with thatch, and it was these beauties which bred one other
+great landscape painter besides Constable, of whom we shall presently
+speak, Gainsborough.
+
+At last, graduating from windmills, John went to London. He had a
+vacation from the work set him by his father, and for two years he
+painted "cottages, studied anatomy," and did the drudgery of his art;
+but there was little money in it for him, and soon he had to go into
+his father's counting house, for windmills seemed to have paid the
+elder Constable, considerably better than painting promised to pay
+young John.
+
+John doubtless liked counting-house work even less than he had done
+the study of windmills and weather in his father's fields. He was a
+most persistent fellow, however, and finally he returned to London, to
+study again the art he loved, this time in the Royal Academy, which
+meant that he had made some progress.
+
+His father gave him very little aid to do the things he longed to do,
+but after his father's death he found that a little money was coming
+to him from the estate--oe4,000. He had already triumphed over his
+difficulties by painting his first fine pictures; he now knew that he
+was to become a successful artist, and be able to take care of himself
+and a wife. Though in love, he had hitherto been too poor to
+marry. His first splendid work was "Dedham Vale."
+
+Though things were going very well with him, it was not until Paris
+discovered him that he achieved great success. In 1824 he painted two
+large pictures which he took to Paris, and there he found fame. The
+best landscape painting in France dates from the time when Constable's
+works were hung in the Louvre, to become the delight of all
+art-lovers.
+
+He received a gold medal from Charles X., and became more honoured
+abroad than he had ever been at home.
+
+Constable had many enemies, and made many more after he became an
+Academician. Some artists, who would have liked that honour and who
+could not gain it for themselves, declared that Constable painted
+"with a palette knife," though it certainly would not have mattered if
+he had, since he made great pictures.
+
+He painted things exactly as he saw them, and was not a popular
+artist. Most of all, he loved to paint the scenes that he had known so
+well in his youth, and he did them over and over again, as if the
+subject was one in which he wished to reach perfection.
+
+When he died he left a picture, "Arundel Castle and Mill," standing
+with its paint wet upon his easel for he passed away very suddenly, on
+April 1st, leaving behind him many unsold paintings.
+
+He was a sensitive chap, and throughout his youth was greatly
+distressed by the differences of opinion between himself and his
+father. He was torn asunder between a sense of duty and his own wish
+to be an artist; and his greatest consolation in this situation was in
+the friendship he had formed for a plumber, who, like himself, dearly
+loved art. The plumber's name was John Dunthorne, and the two men
+wandered about the country, when not employed at their regular work,
+and together, by streams and in fields, painted the same scenes. At
+one time they hired a little room in the neighbouring village which
+they made into a studio. Constable was a handsome fellow in his youth
+and was known to all as the "handsome miller." His father, the yeoman
+farmer with the windmills, was also a miller.
+
+In London he became acquainted with one John Smith, known as
+"Antiquity Smith," who taught him something of etching. After he was
+recalled to his father's business, his mother wrote to "Antiquity
+Smith," that she hoped John "would now attend to business, by which he
+will please me and his father, and ensure his own respectability and
+comfort"--a complete expression of the middle-class British mind. Her
+satisfaction was short-lived, for her son soon returned to London.
+
+When his first pictures were rejected by the Royal Academy he showed
+one of them to Sir Benjamin West, who said hopefully: "Don't be
+disheartened, young man, we shall hear of you again; you must have
+loved nature very much before you could have painted this."
+
+About that time he tried to paint many kinds of pictures, such as
+portraits and sacred subjects, but he did not seem to succeed in
+anything except the scenes of his boyhood, which he truly loved. Hence
+he gave up attempting that which he could do only passably, and kept
+to what he could do supremely well.
+
+When his friends wished him to continue portrait painting, the only
+thing that was well paid at that time, Constable wrote: "You know I
+have always succeeded best with my native scenes. They have always
+charmed me, and I hope they always will. I have now a path marked out
+very distinctly for myself, and I am desirous of pursuing it
+uninterruptedly."
+
+About the time he fell in love and before his father's death, his
+health began to fail, and the young woman's mother would have none of
+him. Her father was in favour of Constable, but he could not hold out
+against the chance of his daughter losing her grandfather's fortune by
+marrying the wrong man.
+
+The lady was not so distractingly in love as young Constable was, and
+she did not entirely like the idea of poverty, even with John, so she
+held off, and with so much anxiety Constable became downright ill. For
+five years the pair lived apart, and then the artist and the young
+woman, whose name was Maria Bicknell, lost their mothers about the
+same time, This drew them very closely together; and to help the
+matter on, John's attendance upon his father in his last illness
+brought him to the same town as Miss Bicknell. After his father's
+death, he urged the young lady so strongly to be his wife that she
+consented They were married and her father soon forgave her, but not
+so her grandfather, who declared that he never would forgive her, but
+he really must have done so from the first, for when he died it was
+found that he had left her a little fortune of oe4,000. This was about
+the same amount the artist had received from his father, so that they
+were able to get on very well.
+
+After Constable's marriage he went on a visit to Sir George Beaumont,
+and there an amusing incident occurred which is known to-day as the
+story of Sir George's "brown tree." It seems that Constable's ideas of
+colour for his landscapes were so true to nature that a good many
+people did not approve of them, and one day while painting, Sir George
+declared that the colour of an old Cremona fiddle was the best model
+of colour tone that a landscape could have. Constable's only answer
+was to place the fiddle on the green lawn in front of the house. At
+another time his host asked the artist, "Do you not find it very
+difficult to determine where to place your brown tree?" "Not at all,"
+was Constable's reply, "for I never put such a thing into a picture in
+my life."
+
+In painting one picture many times he declared, "Its light cannot be
+put out because it is the light of nature." A Frenchman called
+attention to one of his pictures thus: "Look at these landscapes by an
+Englishman. The ground appears to be covered with dew."
+
+Notwithstanding the little fortune of his wife and himself, Constable
+was not quite carefree, because he had to raise a good sized family of
+six children so that when his wife's father died and left his daughter
+oe20,000 he said to a friend: "Now I shall stand before a six-foot
+canvas with a mind at ease, thank God!" In the very midst of this
+happiness, his beloved wife became ill with consumption, and was
+certain to die. He no longer cared very much for life and wrote very
+sadly:
+
+"I have been ill, but am endeavouring to get work again, and could I
+get afloat upon a canvas of six feet, I might have a chance of being
+carried from myself." When he became a member of the Royal Academy, he
+said: "It has been delayed until I am solitary and cannot impart it,"
+meaning that without his dear wife to share his good fortune, it
+seemed an empty honour to him.
+
+Strange things are told which show how little his work was valued by
+his countrymen. After he had become a member of the Academy one of his
+small pictures was entered but rejected; nobody knowing anything about
+it. It was put on one side among the "outsiders." Finally, one of his
+fellow members glancing at it was attracted.
+
+"Stop a bit! I rather like that. Why not say 'doubtful'?" Later
+Constable acknowledged the picture as his, and then they wished to
+hang it, but he refused to let them. Another Academy story is about
+his picture "Hadleigh Castle." On Varnishing Day, Chartney, a
+brilliant critic, told Constable that the foreground of the picture
+was "too cold," and so he undertook to "warm it," by giving it a
+strong glaze with asphaltum with Constable's brush which he snatched
+from the artist's hand. Constable gazed at him in horror. "Oh! there
+goes all my dew," he cried, and when Chartney's back was turned he
+hurriedly wiped the "warmth" all away and got back his "dew."
+
+Even the amusing things that happened to him, seem to have a little
+sadness about them. He wrote to a friend: "Beechey was here yesterday,
+and said: 'Why d--n it Constable, what a d--n fine picture you are
+making; but you look d--n ill, and you've got a d--n bad cold!' so,"
+added Constable, "you have evidence on oath of my being about a fine
+picture and that I am looking ill."
+
+An illustration of his painstaking and truthfulness to nature is that
+he once took home with him from a visit bottles of coloured sand and
+fragments of stone which he meant to introduce into a picture; and on
+passing some slimy posts near a mill, he said to his host, "I wish you
+could cut those off and send their tops to me."
+
+Constable was a loyal friend, the most persistent of men, and several
+anecdotes are told of his characteristics. His friend Fisher said to
+him:
+
+"Where real business is to be done, you are the most energetic and
+punctual of men. In smaller matters, such as putting on your breeches,
+you are apt to lose time in deciding which leg shall go in first."
+
+  PLATE--THE HAY WAIN
+
+This picture was first called "Landscape," and it was painted in
+1821. In his letters about it, however, Constable also called it
+"Noon," and others wrote of it as "Midsummer Noon." This tells us what
+a wealth of hot sunlight is suggested by the painting.
+
+It shows a little farmhouse upon the bank of a stream, a spot well
+known as "Willy Lott's Cottage." The owner had been born there and he
+died there eighty-eight years later, without ever having left his
+cottage for four whole days in all those years. Upon the tombstone of
+Lott, which is in the Bergholt burial ground, his epitaph calls the
+house "Gibeon Farm." It was a favourite scene with Constable, and he
+painted it many times from every side. It is the same house we see in
+the "Mill Stream," another Constable painting, and again in "Valley
+Farm." In this last picture he painted the side opposite to the one
+shown in the "Hay Wain."
+
+The stream near which the house stands spreads out into a ford, and in
+the picture the hay cart, with two men upon it, is passing through the
+ford. The horses are decked out with red tassels. On the right of the
+stream there is a broad meadow, golden green in the sunlight, "with
+groups of trees casting cool shadows on the grass, and backed by a
+distant belt of woodland of rich blues and greens." On the right is a
+fisherman, half hidden by a bush, standing near his punt.
+
+Constable wrote to his friend, Fisher, "My picture goes to the Academy
+on the tenth." This was written on April 1st, 1821. "It is not so
+grand as Tinney's." This shows us, that Constable had not vanity
+enough to interfere with his self-criticism. Again in a letter written
+to him by a friend: "How does the 'Hay Wain' look now it has got into
+your own room again?" adding that he wished to see it there, away from
+the Academy which to him was always "like a great pot of boiling
+varnish."
+
+Later Fisher wrote: "I have a great desire to possess your 'Wain,' but
+I cannot now reach what it is worth;" and he begged Constable not to
+sell it without giving him a chance to try once more to raise the
+money to buy it. He wrote that the picture would become of greater
+value to his children if the artist left it hanging upon the walls of
+the Academy, "till you join the society of Ruysdael, Wilson, and
+Claude. As praise and money will then be of no value to you, the world
+will liberally bestow both."
+
+Later a Frenchman wished to buy it for exhibition purposes, and when
+Constable wrote to Fisher of this, his friend replied that he had
+better sell it to the Frenchman "for the sake of the _eclat_ it may
+give you. The stupid English public, which has no judgment of its own,
+will begin to think there is something in it if the French make your
+works national property. You have long lain under a mistake; men do
+not purchase pictures because they admire them, but because others
+covet them."
+
+Finally, the "Hay Wain" was sold to the French dealer for oe250, and
+Constable threw in a picture of Yarmouth for good measure. Later a
+friend declared that he had created a good deal of argument about
+landscape painting, and that there had come to be two divisions, for
+he had practically founded a new school. He received a gold medal for
+the "Hay Wain," and the French nation tried to buy it. In the Louvre
+are "The Cottage," "Weymouth Bay," and "The Glebe Farm." Elsewhere are
+"Hampstead Heath," "Salisbury Cathedral," "The Lock on the Stour,"
+"Dedham Mill," "The Valley Farm," "Gillingham Mill," "The Cornfield,"
+"Boat-Building," "Flatford Mill on the River Stour," besides many
+others.
+
+
+
+
+IX
+
+JOHN SINGLETON COPLEY
+
+
+  _English School_
+  1737-1815
+
+A little boy with a squirrel was the first picture that pointed this
+artist toward fame and that was painted in England and exhibited at
+the Society of Arts.
+
+This American-born Irishman had no family or ancestry of account, but
+he himself was to become the father of Lord Chancellor Lyndhurst, and
+he did some truly fine things in art.
+
+About the same time America had another painter, Benjamin West, marked
+out for fame, but he got his start in Europe while Copley had already
+become a successful artist before he left Boston, his native place.
+
+He liked best to paint "interiors"--rooms with fine furniture and
+curtains, women in fine clothing and men in embroidered waistcoats and
+bejewelled buckles.
+
+In 1777 he got into the Royal Academy, and on the whole had
+considerable influence on European art. If we study the portraits that
+he painted while in Boston, we can get a very complete idea of the
+surroundings of the "Royalists" at the time of our colonial history.
+
+  PLATE--THE COPLEY FAMILY GROUP
+
+In this picture there are seven figures with an open landscape forming
+the background. The baby of the family plays, with uplifted arms, upon
+grandfather's knee. The mother on the couch, surrounded by her three
+other children, is kissing one while another clings to her. Before her
+stands a prim little maid, gowned in the fashion of grown-folks of her
+day. A little lock of hair falling upon her forehead suggests that
+when she was good she was very, very good, and when she was bad she
+was horrid! She wears a little cap. At the back is the artist himself
+in a wig and other fashions of the time. A great column rises behind
+him, forming a part of the architecture or the landscape, one hardly
+knows which in so artificially constructed a picture.
+
+Copley painted also John Hancock, Judge Graham, Jeremiah Lee, and
+General Joseph Warren.
+
+
+
+
+X
+
+JEAN BAPTISTE CAMILLE COROT
+
+
+  (Pronounced Zhahn Bah-teest' Cah-mee'yel Coh'roh)
+  _Fontainebleau-Barbizon School_
+  1796-1875
+  _Pupil of Michallon_
+
+About three hundred years before Corot's time there was a
+Fontainebleau school of artists, made up of the pathetic Andrea del
+Sarto, the wonderful Leonardo da Vinci, and Cellini. These painters
+had been summoned from their Italian homes by Francis I., to decorate
+the Palace of Fontainebleau. The second great group of painters who
+had studios in the forest and beside the stream were Rousseau, Dupre,
+Diaz, and Daubigny; Troyon, Van Marcke, Jacque; then Millet, the
+painter of peasants.
+
+Corot was born in Paris and received what education the ordinary
+school at Rouen could give him. He was intended by his parents for
+something besides art, as it would seem that every artist in the world
+was intended. Corot was to grow up and become a respectable draper; at
+any rate a draper.
+
+The young chap did as his father wished, until he was twenty-six years
+old, and dreary years those must have been to him. He did not get on
+well with his master, nor did the world treat him very well. He found
+neither riches nor the fame that was his due till he was an old man of
+seventy. At that age he had become as rich a man as he might have been
+had he remained a sensible draper.
+
+Best of all, Corot loved to paint clouds and dewy nights, pale moons
+and early day, and of all amusements in the world, he preferred the
+theatre. There he would sit; gay or sad as the play might make him,
+weeping or laughing and as interested as a little child.
+
+After he had anything to give away, Corot was the most madly generous
+of men. It was he who gave a pension to the widow of his brother
+artist, Millet, on which she lived all the rest of her days. He gave
+money to his brother painters and to all who went to him for aid; and
+he always gave gaily, freely, as if giving were the greatest joy,
+outside of the theatre, a man could have. Everyone who knew him loved
+him, and there was no note of sadness in his daily life, though there
+seems to be one in his poetical pictures. Because of his generous ways
+he was known as "Pere Corot." He sang as he worked, and loved his
+fellowmen all the time; but most of all, he loved his sister.
+
+"Rousseau is an eagle," he used to say in speaking of his fellow
+artist. "As for me, I am only a lark, putting forth some little songs
+in my gray clouds."
+
+It has been noted that most great landscape painters have been
+city-bred, a remarkable fact. Constable and Gainsborough were born and
+bred in the country, but they are exceptions to the rule. Corot's
+parents were Parisians of the purest dye, having been court-dressmakers
+to Napoleon I.; and when Corot finally determined to leave the
+draper's shop and become a painter, his father said: "You shall
+have a yearly allowance of 1,200 francs, and if you can live on that,
+you can do as you please." When his son was made a member of the
+Legion of Honour, after twenty-three years of earnest work, his father
+thought the matter over, and presently doubled the allowance, "for
+Camille seems to have some talent after all," he remarked as an excuse
+for his generosity.
+
+It is told that when he first went to study in Italy, Corot longed to
+transfer the moving scenes before him to canvas; but people moved too
+quickly for him, so he methodically set about learning how to do with
+a few strokes what he would otherwise have laboured over. So he
+reduced his sketching to such a science that he became able to sketch
+a ballet in full movement; and it is remarked that this practice
+trained him for presenting the tremulousness of leaves of trees, which
+he did so exquisitely.
+
+One learns something of this painter of early dawn and soft evening
+from a letter he wrote to his friend Dupre:
+
+One gets up at three in the morning, before the sun; one goes and sits
+at the foot of a tree; one watches and waits. One sees nothing much at
+first. Nature resembles a whitish canvas on which are sketched
+scarcely the profiles of some masses; everything is perfumed, and
+shines in the fresh breath of dawn. Bing! the sun grows bright but has
+not yet torn aside the veil behind which lie concealed the meadows,
+the dale, and hills of the horizon. The vapours of night still creep,
+like silvery flakes over the numbed-green vegetation. Bing! bing!--a
+first ray of sunlight--a second ray of sunlight--the little flowers
+seem to wake up joyously. They all have their drop of dew which
+trembles--the chilly leaves are stirred with the breath of morning--in
+the foliage the birds sing unseen--all the flowers seem to be saying
+their prayers. Loves on butterfly wings frolic over the meadows and
+make the tall plants wave--one sees nothing--yet everything is
+there--the landscape is entirely behind the veil of mist, which
+mounts, mounts, sucked up by the sun; and as it rises, reveals the
+river, plated with silver, the meadow, the trees, cottages, the
+receding distance--one distinguishes at last everything that one had
+divined at first.
+
+In all the world there can hardly be a more exquisite story of
+daybreak than this; and so beautiful was the mood into which Corot
+fell at eventime, as he himself describes it, that it would be a
+mistake to leave it out. This is his story of the night:
+
+Nature drowses--the fresh air, however, sighs among the leaves--the
+dew decks the velvety grass with pearls. The nymphs fly--hide
+themselves--and desire to be seen. Bing! a star in the sky which
+pricks its image on the pool. Charming star--whose brilliance is
+increased by the quivering of the water, thou watchest me--thou
+smilest to me with half-closed eye! Bing!--a second star appears in
+the water, a second eye opens. Be the harbingers of welcome, fresh and
+charming stars. Bing! Bing! Bing!--three, six, twenty stars. All the
+stars in the sky are keeping tryst in this happy pool. Everything
+darkens, the pool alone sparkles. There is a swarm of stars--all
+yields to illusion. The sun being gone to bed, the inner sun of the
+soul, the sun of art awakens. Bon! there is my picture done!
+
+In writing those letters, Corot made literature as well as
+pictures. That little word "bing!" appears also in his paintings, as
+little leaves or bits of tree-trunk, some small detail which,
+high-lightened, accents the whole.
+
+  PLATE--DANCE OF THE NYMPHS
+
+There could hardly be a more charming painting than this which hangs
+in the Louvre. It is of a half-shut-in landscape of tall trees, their
+branches mingling; and all the atmospheric effects that belong to
+Corot's work can here be seen.
+
+On the open greensward is a group of nymphs dancing gaily, while over
+all the scene is the veil of fairy-land or of something quite
+mysterious. At the back and side, satyrs can be seen watching the
+nymphs. There is here less of the blur of leaves than that seen in
+later pictures, but the same soft effect is found, and the little
+"bings" are the accents of light placed upon a leaf, a nymph's
+shoulder, or a tree-trunk.
+
+This picture was painted in 1851, when Corot had not yet developed
+that style which was to mark all his later work.
+
+Besides this picture he painted "Paysage," "The Bathers" "Ville
+d'Arvay," "Willows near Arras," "The Bent Tree," "A Gust of Wind," and
+others.
+
+
+
+
+XI
+
+CORREGGIO (ANTONIO ALLEGRI)
+
+
+  (Pronounced Cor-rage'jyo Ahl-lay'gree)
+  _School of Parma_
+  1494(?)-1534
+  _Pupil of Mantegna_
+
+When Correggio was a little boy, he lived in the odour of spices,
+which were kept upon his father's shop-shelves. He was a highly-spiced
+little boy and man, although the most timid and shrinking. His
+imagination was the liveliest possible.
+
+The spice merchant lived in the town of Correggio, and thus the artist
+got his name. Correggio knew what should be inside the lovely flesh of
+his painted figures before he began to paint them, because he studied
+anatomy in a truly scientific manner before he studied painting.
+Probably no other artist up to that time, had ever begun with the bare
+bones of his models, but Correggio may be said to have worked from the
+inside out. He learned about the structure of the human frame from
+Dr. Giovanni Battista Lombardi, and showed his gratitude to his
+teacher by painting a picture "Il Medico del Correggio" (Correggio's
+Physician), and presenting it to Doctor Lombardi.
+
+Now Correggio's childhood, or at least his early manhood, could not
+have been spent in poverty, because it is known that he used the most
+expensive colours to paint with, painted upon the finest of canvas,
+while greater artists had often to be content with boards. He also
+painted upon copper plates, and it is said that he hired Begarelli, a
+sculptor of much fame, to make models in relief for him to copy for
+the pictures he painted on the cupolas of the churches in Parma. That
+sculptor's services must have been expensive.
+
+On the lovely island of Capri, in the Franciscan convent, will be
+found one of his first pictures, painted when Correggio was about
+nineteen years old.
+
+He was highly original in many ways. Although he had never seen the
+work of any great artist, he painted the most extraordinary
+fore-shortened pictures; and fore-shortening was a technicality in art
+then uncommon. He also was the first to paint church cupolas.
+Fore-shortening produces some peculiar as well as great results, and
+being a feature of art with which people were not then familiar,
+Correggio's work did not go uncriticised. Indeed one artist, gazing up
+into one of the cupolas where Correggio's fore-shortened figures were
+placed, remarked that to him it appeared a "hash of frogs."
+
+But when Titian saw that cupola, he said: "Reverse the cupola, fill it
+with gold, and even then that will not be its money's worth."
+
+Correggio did not receive very large sums for his work, and since he
+was married and took good care of his family, he must have had some
+source of income besides his brush. He received some interesting
+rewards for his paintings. For example, for "St. Jerome," called "Il
+Giorno," he was given "400 gold imperials, some cartloads of faggots
+and measures of wheat, and a fat pig." That picture is in the Parma
+Gallery, and all the cupolas which he painted are in Parma churches.
+
+Some of his pictures are signed; "Leito," a synonym for his name,
+"Allegri." This indicates his style of art.
+
+There is an interesting story told of how Correggio stood entranced
+before a picture of Raphael's, and after long study of it he
+exclaimed: "I too, am a painter!" showing at once his appreciation of
+Raphael's greatness and satisfaction at his own genius.
+
+Doubtless a good share of Correggio's comfortable living came from the
+lady he married, since she was considered a rich woman for those times
+and in that locality. Her name was Girolama Merlini, and she lived in
+Mantua, the place where the Montagues and Capulets lived of whom
+Shakespeare wrote the most wonderful love story ever imagined. This
+young woman was only sixteen years old when Correggio met and loved
+her, and very beautiful and later on he painted a picture,
+"Zingarella," for which his wife is said to have been the model. It
+seems to have been a stroke of economy and enterprise for painters to
+marry, since we read of so many who made fame and fortune through the
+beauty of their wives.
+
+They were very happy together, Correggio and his wife, and they had
+four children. Their happiness was not for long, because Correggio
+seems to have been but thirty-four years old when she died, nor did he
+live to be old. There is a most curious tale of his death which is
+probably not true, but it is worth telling since many have believed
+it. He is supposed to have died in Correggio, of pleurisy, but the
+story is that he had made a picture for one who had some grudge
+against him, and who in order to irritate him paid him in copper,
+fifty scudi. This was a considerable burden, and in order to save
+expense and time, it is said that Correggio undertook to carry it home
+alone. It was a very hot day, and he became so overheated and
+exhausted with his heavy load that he took ill and died, and he may be
+said literally to have been killed by "too much money," if this were
+true. Vasari, a biographer to be generally believed, says it is a
+fact.
+
+Correggio said that he always had his "thoughts at the end of his
+pencil," and there are those who impudently declare that is the only
+place he _did_ have them, but that is a carping criticism, because he
+was a very great artist, his greatest power being the presentation of
+soft blendings of light and shade. There seem to have been few unusual
+events in Correggio's life; very little that helps us to judge the
+man, but there is a general opinion that he was a kind and devoted
+father and husband, as well as a good citizen. With little demand upon
+his moral character, he did his work, did it well, and his work alone
+gave him place and fame.
+
+He became the head of a school of painting and had many imitators, but
+we hear little of his pupils, except that one of them was his own son,
+Pompino, who lived to be very old, and in his turn was successful as
+an artist.
+
+Correggio was buried with honours in the Arrivabene Chapel, in the
+Franciscan church at Correggio.
+
+  PLATE--THE HOLY NIGHT
+
+This painting is not characteristic of Correggio's work, but
+nevertheless it is very beautiful. The brilliant warm light which
+comes from the Infant Jesus in His mother's arms is reflected upon the
+faces of those gathered about, and even illuminates the angelic group
+hovering above him. The slight landscape forming the background is
+also suggestive, and the conditions of the birth are indicated by the
+ass which may be seen in the middle distance. The faces of all are
+joyous yet full of wonderment, the whole scene intimate and human.
+
+The picture is also called the "Adoration of the Shepherds," and that
+title best tells the story. See the shepherdess shading her face with
+one hand and offering two turtle-doves with the other. The ass in the
+distance is the one on which Mary rode to Bethlehem, and Joseph is
+caring for it. Even the cold light of the dawning day is softened by
+the beauty of the group below. This picture is in the Royal Gallery in
+Dresden.
+
+  PLATE--THE MYSTIC MARRIAGE OF ST. CATHERINE
+
+The Infant Jesus sits upon His mother's lap, and places the ring upon
+St. Catherine's finger, while Mary's hand helps to guide that of her
+Child. This action brings the three hands close together and adds to
+the beauty of the composition. All of the faces are full of pleasure
+and kindliness, while that of St. Sebastian fairly glows with happy
+emotion. The light is concentrated upon the body of the Child and is
+reflected upon the faces of the women. This painting hangs in the
+Louvre.
+
+Other great Correggio pictures are the "School of Cupid," which is
+more characteristic of his work; "Antiope," "Leda," "Danae," and "Ecce
+Homo."
+
+
+
+
+XII
+
+PAUL GUSTAVE DORE
+
+
+  _French School_
+  1833-1883
+
+This artist died in Paris twenty-five years ago, but there is little
+as yet to be told of his life history. He was educated in Paris at the
+Lycee Charlemagne, having gone there from Strasburg, where he was
+born.
+
+He was a painter of fantastic and grotesque subjects, and as far as we
+know, he began his career when a boy. He made sketches before his
+eighth year which attracted much attention, and he earned considerable
+money while still at school. He was at that time engaged to illustrate
+for journals, at a good round sum, and before he left the Lycee he had
+made hundreds of drawings, somewhat after the satirical fashion of
+Hogarth.
+
+His work is very characteristic and once seen is likely to be always
+recognised.
+
+He first worked for the _Journal Pour Rire_, but then he undertook to
+illustrate the work of Rabelais, the great satirist, whose text just
+suited Dore's pencil. After Rabelais he illustrated Balzac, also the
+"Wandering Jew," "Don Quixote," and Dante's "Divine Comedy."
+
+He undertook to do things which he could not do well, simply for the
+money there was in the commissions. He had but a poor idea of colour
+and his work was coarse, but it had such marked peculiarities that it
+became famous. He did a little sculpture as well, and even that showed
+his eccentricities of thought.
+
+  PLATE--MOSES BREAKING THE TABLETS OF THE LAW
+
+This is one of the illustrations of the Dore Bible, published in
+1865-66. The story is well known of how Moses went up into the Mount
+of the Lord to receive the laws for the Israelites, which were written
+upon tables of stone. Upon his descent from the Mount he found that
+his followers had set up a golden calf, which they were worshipping;
+and in his wrath Moses broke the tablets on which the Law was
+inscribed. The power shown in his attitude, the affrighted faces of
+the cowering Jews, the thunder and lightning as an expression of the
+wrath of the Almighty are all painted in Dore's best manner.
+
+
+
+
+XIII
+
+ALBRECHT DURER
+
+
+  (Pronounced Dooer-rer')
+  _Nuremberg School_
+  1471-1528
+  _Pupil of Wolgemuth and Schongauer_
+
+Albrecht Durer by nationality was a Hungarian, but he was born in the
+city of Nuremberg. His father had come from the little Hungarian town
+of Eytas to Nuremberg that he might practise the craft of a
+goldsmith. Notwithstanding his Hungarian origin, the name is German
+and the family "bearing," or sign, is the open door. This device
+suggests that the name was first formed from "Thurer," which means
+"carpenter," maker of doors.
+
+The father became the goldworker for a master goldsmith of Nuremberg
+named Hieronymus Holper, and very soon the new employee had fallen in
+love with his master's daughter. The daughter was very young and very
+beautiful; her name was Barbara, and as Herr Durer was quite forty
+years of age, while she was but fifteen, the match seemed most
+unlikely, but they married and had eighteen children! The great
+painter was one of them.
+
+Albrecht loved his parents most tenderly, and from first to last we
+hear no word of disagreement among any members of that immense
+household. Young Albrecht was especially the companion of his father,
+being brilliant, generous, and hard-working in a family where everyone
+needed to do his best to help along. This love and companionship never
+ceased until death, and after his parents died Albrecht wrote in a
+touching manner of their death, describing his love for them, and
+their many virtues. He was an author and a poet as well as a painter,
+and only Leonardo da Vinci matched him for greatness and
+versatility. We may know what Durer's father looked like, since the
+son made two portraits of him; one is to be seen in the Uffizi Gallery
+at Florence and the other belongs to the Duke of Northumberland's
+collection. The latter portrait has been reproduced in an engraving,
+so that it is familiar to most people.
+
+In the days when the great artist was growing up, Nuremberg was the
+centre of all intellectuality and art in the North. The city of
+Augsburg also followed art fashions, but it was far less important
+than Nuremberg, because in the latter city every sort of art-craft was
+followed in sincerity and with great originality.
+
+In those days, the craft of the goldsmith was closely allied with the
+profession of the painter, because the smith had to create his own
+designs, and that called for much talent. Thus it was but a step from
+designing in precious metals to the use of colour, and to
+engraving. In making wood engravings, however, the drudgery of it was
+left almost entirely to workmen, not artists. Nuremberg was also the
+seat of musical learning. Wagner makes this fact pathetic, comical,
+and altogether charming in his "Mastersingers of Nuremberg."
+
+Till Durer's time, however, there had been little painting that could
+be regarded as art, and when he came to study it there was but little
+opportunity in his own land, but Durer was destined to bring art to
+Nuremberg. If he went elsewhere to study, it was only for a little
+time, because he was above all things patriotic and dearly loved his
+home.
+
+With seventeen brothers and sisters, young Durer's problem was a
+serious one. His father not only meant him to become a goldsmith like
+himself--a craft in which there was much money to be made at a time
+when people dressed with great ornamentation and used gold to decorate
+with--it was highly necessary with so large a family that he should
+learn to do that which could make him helpful to his father. Hence the
+young boy entered his father's shop. If he had not been handicapped
+with so many to help to maintain, he would have laid up a considerable
+fortune, because from the very beginning he was master of all that he
+undertook; doing the least thing better than any other did it, putting
+conscience and painstaking into all.
+
+"My father took special delight in me," the son said, "seeing that I
+was industrious in working and learning, he put me to school; and when
+I had learned to read and write, he took me home from my school and
+taught me the goldsmith's trade."
+
+The family were good and kind; excellent neighbours, deeply religious,
+and little Albrecht certainly was comely. He was beautiful as a little
+child, and as a man was very handsome, with long light hair sweeping
+his shoulders, and gentle eyes. He was very tall, stately, and full of
+dignity.
+
+In his father's shop he made little clay figures which were afterward
+moulded in metal; also he learned to carve wood and ivory, and he
+added the touch of originality to all that he did. He was the Leonardo
+da Vinci of Germany, an intellectual man, a poet, painter, sculptor,
+engraver, and engineer. He approached everything that he did from an
+intellectual point of view, looking for the reasons of things.
+
+After a while in his father's shop, he found mere craftsmanship
+irksome, and he begged to be allowed to enter a studio. This was a
+great disappointment to the father, even a distress, because he could
+see no very quick nor large returns in money for an artist, and he
+sorely needed the help of his son; but being kind and reasonable, he
+consented Albrecht was apprenticed to the only artist of any repute
+then in Nuremberg, Wolgemuth.
+
+To his studio Albrecht went, at the age of fifteen, and if he did not
+learn much more of painting, under that artist's direction, than his
+own genius had already taught him, he learned the drudgery of his
+work; how to grind colours and to mix them, and he studied wood
+engraving also.
+
+In Wolgemuth's studio he remained for the three years of his
+apprenticeship, and then he fled to better things. For a time he
+followed the methods of another German artist, Schongauer, but finally
+he went forth to try his luck alone. He wandered from place to place,
+practising all his trades, goldsmithing, engraving, whatever would
+support him, yet always and everywhere painting.
+
+It is thought that he may have gone as far as Italy, but it is not
+certain whether he went there in his first wanderings or later
+on. However, he was soon recalled home, for his father had found a
+suitable wife for him. She was the daughter of a rich citizen and her
+name was Agnes Frey. She was pretty as well as rich, but had she been
+neither Albrecht would have returned at his father's bidding. There
+was never any resistance to the fine and proper things of life on
+Albrecht Durer's part. He was the well balanced, reasonable man from
+youth up.
+
+There have been extraordinary tales told of the artist's wife. She has
+been called hateful and spiteful as Xantippe, the wife of Socrates,
+but we think this is calumny. The stories came about in this way:
+Durer had a life-long friend, Wilibald Pirkheimer, who in his old age
+became the most malicious and quarrelsome of old fellows. He lived
+longer than Durer did, and Durer's wife also outlived her
+husband. Pirkheimer wanted a set of antlers which had belonged to
+Durer and which he thought the wife should give him after Durer was
+dead, but Agnes thought otherwise and would not give them up. Then,
+full of rage, the old man wrote the most outrageous letters about poor
+Agnes, saying that she was a shrew and had compelled Durer to work
+himself to death; that she was a miser and had led the artist an awful
+dance through life. This is the only evidence against her, and that so
+sane and sensible a man as the artist lived with her all his life and
+cherished her, is evidence enough that Pirkheimer didn't tell the
+truth. When Durer died he was in good circumstances and instead of
+being overworked, he for many years had done no "pot-boiling," but had
+followed investigations along lines that pleased him. After his death,
+the widow treated his brothers and sisters generously, giving them
+properties of Durer's and being of much help to them. During the
+artist's life he and she had travelled everywhere together and had
+appeared to love each other tenderly; hence we may conclude that the
+old Pirkheimer was simply a disgruntled, gouty old man without a good
+word for anybody.
+
+If Durer's father and mother had eighteen children, Albrecht and Agnes
+struck a balance, for they had none. Whether or not Durer went to
+Italy before his marriage in 1494, certain it is that he was in
+Venice, the home of Titian, in 1506. Titian was six years younger than
+Durer, who was then about thirty-five years old. It is said that he
+started for Italy in 1505 and that he went the whole of the way, over
+the Alps, through forests and streams, on horseback. Who knows but it
+was during that very journey, while travelling alone, often finding
+himself in lonely ways, and full of the speculative thoughts that were
+characteristic of him, that he did not think first of his subject,
+"Knight, Death, and the Devil," which helped make his fame. In that
+picture we have a knight, helmeted, carrying his lance, mounted upon
+his horse, riding in a lonely forest, with death upon a "pale horse"
+by his side, holding an hour glass to remind the knight of the
+fleeting of time. Behind comes the devil, with trident and horn,
+represented as a frightful and disgusting beast, which follows
+hot-foot after the lonely knight, who looks neither to right nor left,
+but persistently goes his way.
+
+Titian's teacher, Bellini, was still living, and he was one of Durer's
+greatest admirers. Especially did he believe that he could paint the
+finest hair of any artist in the world. One day, while studying
+Durer's work, and being especially fascinated by the hair of one of
+his figures, the old man took Durer's brush and tried to reproduce as
+beautiful a tress. Presently he put down the brush in despair, but the
+younger artist took it up, still wet with the same colours, and in a
+few brilliant strokes produced a lovely lock of woman's hair.
+
+While luxuriating in Venetian heat, Durer wrote home to his friend
+Pirkheimer: "Oh, how I shall freeze after this sunshine!" He was a
+lover of warm, beautiful colour, gay and tender life. Most of all he
+loved the fatherland, and all the honours paid him and all the
+invitations pressed upon him could not keep him long from
+Nuremberg. The journey homeward was not uneventful because he was
+taken ill, and had to stop at a house on his way, where he was cared
+for till he was strong enough to proceed. Before he went his way he
+painted upon the wall of that house a fine picture, to show his
+gratitude for the kind treatment he had received. Imagine a people so
+settled in their homes that it would be worth while for an artist who
+came along to leave a picture upon the walls to-day--we should have
+moved to a new house or a new flat almost before Durer could have
+washed his brushes and turned the corner.
+
+Back in Nuremberg, he settled down into the life of a responsible
+citizen, lived in a fine new house, in time became a member of the
+council, and his studio was a veritable workshop. Studios were quite
+different from those of to-day. Then the pupils turned to and ground
+colours, did much of their own manufacturing, engaged at first in such
+commonplace occupations, which were nevertheless teaching them the
+foundation of their art, while they watched the work of the
+master. Such a studio as Durer's must have been full of young men
+coming and going, not all working at the art of painting, but
+engraving, preparing materials for such work, designing, and executing
+many other details of art work.
+
+After this time Durer made his smallest picture, which is hardly more
+than an inch in diameter. On that tiny surface he painted the whole
+story of the crucifixion, and it is now in the Dresden Gallery. To
+those of us who see little mentality in the faces of the Italian
+subjects, the German art of Durer, often ugly in the choice of models,
+and so exact as to bring out unpleasing details, is nevertheless the
+greater; because in all cases, the faces have sincere expressions. They
+exhibit human purposes and emotions which we can understand, and
+despise or love as the case may be.
+
+They say that his Madonna is generally a "much-dressed round-faced
+German mother, holding a merry little German boy." That may be true;
+but at any rate, she is every inch a mother and he a well-beloved
+little boy, which is considerably more than can be said of some
+Italian performances.
+
+Durer made a painting of "Praying Hands," a queer subject for a
+picture, but those hands are nothing _but_ praying hands. The story of
+them is touching. It is said that for several years Durer had won a
+prize for which a friend of his had also competed, and upon losing the
+prize the last time he tried for it, the friend raised his hands and
+prayed for the power to accept his failure with resignation and
+humility. Durer, looking at him, was impressed with the eloquence of
+the gesture; thus the "Praying Hands" was conceived.
+
+Durer was also called the _Father of Picture Books_, because he
+designed so many woodcuts that he first made possible the illustration
+of stories.
+
+He printed his own illustrations in his own house, and was well paid
+for it. The Emperor Maximillian visited Nuremberg, and wishing to
+honour Durer, commanded him to make a triumphal arch.
+
+"It was not to be fashioned in stone like the arches given to the
+victorious Roman Emperors; but instead it was to be composed of
+engravings. Durer made for this purpose ninety-two separate blocks of
+woodcuts. On these were represented Maximillian's genealogical tree
+and the principal events of his life. All these were arranged in the
+form of an arch, 9 feet wide and 10-1/2 feet high. It took Durer three
+years to do this work, and he was never well paid," so says one who
+has compiled many incidents of his life.
+
+"While the artist worked, the Emperor often visited his studio; and as
+Durer's pet cats often visited it at the same time, the expression
+arose, 'a cat may look at a King!'"
+
+On the occasion of one of these kingly visits, Maximillian tried to do
+a little art-work on his own account. Taking a piece of charcoal he
+tried to sketch, but the charcoal kept breaking and he asked Durer why
+it did so.
+
+"That is my sceptre; your Majesty has other and greater work to do,"
+was the tactful reply. It is a question with us to-day whether the
+King ever did a greater work than Albrecht Durer, king of painters,
+was doing.
+
+After this, Maximillian gave Durer a pension, but when the Emperor
+died the artist found it necessary to apply to the monarch who came
+after him, in order to have the gift confirmed. This was the occasion
+for his journey to the Low Countries, and he took his wife Agnes with
+him. In the Netherlands he was received with much honour and was
+invited to become court painter; and what was more, his pension was
+fixed upon him for life. The great work of his life was his
+illustration of the Apocalypse. For this he made sixteen extraordinary
+woodcuts, of great size.
+
+On his journey to see Charles V., Maximillian's successor, Durer kept
+a diary in which he noted the minutest details of all that happened to
+him. He told of the coronation of Charles; of hearing about a whale
+that had been cast upon the shore; of his disappointment that it had
+been removed before he had reached the place. He wrote with great
+indignation about the supposed kidnapping of Martin Luther, while he
+was on his way home from the Diet of Worms.
+
+While Durer was in the Low Countries, a fever came upon him, and when
+he returned home, it still followed him. Indeed, although he lived for
+seven years after his return, he was never well again. Among his
+effects there was a sketch made to indicate to his physician the seat
+of his illness.
+
+Durer did not paint great frescoes upon walls as did Raphael, Michael
+Angelo, and all great Italian artists; but instead he painted on wood,
+canvas, and in oils.
+
+In all the civilised world Durer was honoured equally with the great
+Italian painters of his time. He was a man of much conscientiousness,
+dignity, and tenderness. He was devoted to his home and country, and
+regarded the problems of life intellectually. When he came to die, his
+end was so unexpected that those dearest to him could not reach his
+bedside. He was buried in St. John's cemetery in Nuremberg. After his
+death, Martin Luther wrote as follows to their mutual friend, Eoban
+Hesse:
+
+"As for Durer; assuredly affection bids us mourn for one who was the
+best of men, yet you may well hold him happy that he has made so good
+an end, and that Christ has taken him from the midst of this time of
+troubles, and from yet greater troubles in store, lest he, that
+deserved to behold nothing but the best, should be compelled to behold
+the worst. Therefore may he rest in peace with his fathers, Amen."
+
+  PLATE--THE NATIVITY
+
+Our description of this painting calls attention to the fact that the
+columns and arches of the picturesque ruin belong to a much later
+period in history than the birth of Christ. Durer was not acquainted
+with any earlier style of architecture than the Romanesque and
+therefore he used it here. "The ruin serves as a stable. A roof of
+board is built out in front of the side-room which shelters the ox and
+ass, and under this lean-to lies the new born babe surrounded by
+angels who express their childish joy. Mary kneels and contemplates
+her child with glad emotion. Joseph, also deeply moved, kneels down on
+the other side of the child, outside the shelter of the roof. Some
+shepherds to whom the angel, who is still seen hovering in the air,
+has announced the tidings, are already entering from without the
+walls." (Knackfuss). The picture is the central panel of an
+altar-piece now in the Old Pinakothek at Munich. Durer's oil painting
+of the four apostles--John, Peter, Mark, and Paul--is in the same
+gallery. Other Durer pictures are: "The Knight, Death and the Devil,"
+"The Adoration of the Magi," "Melancholy," and portraits of himself.
+
+
+
+
+XIV
+
+MARIANO FORTUNY
+
+
+  (Pronounced Mah-ree-ah-no' For-tu'ne)
+  _Spanish School_
+  1838-1874
+  _Pupil of Claudio Lorenzalez_
+
+Fortuny won his own opportunities. He took a prize, while still very
+young, which made it possible for him to go to Rome where he wished to
+study art. He did not spend his time studying and copying the old
+masters as did most artists who went there, but, instead, he studied
+the life of the Roman streets.
+
+He had already been at the Academy of Barcelona, but he did not follow
+his first master; instead, he struck out a line of art for
+himself. After a year in Rome the artist went to war; but he did not
+go to fight men, he was still fighting fate, and his weapon was his
+sketch book. He went with General Prim, and he filled his book with
+warlike scenes and the brilliant skies of Morocco. From that time his
+work was inspired by his Moorish experiences.
+
+After going to war without becoming a soldier, Fortuny returned to
+Paris and there he became fast friends with Meissonier, so that a good
+deal of his work was influenced by that artist's genius. After a time
+Fortuny's paintings came into great vogue and far-off Americans began
+buying them, as well as Europeans. There was a certain rich dry-goods
+merchant in the United States who had made a large fortune for those
+days, and while he knew nothing about art, he wanted to spend his
+money for fine things. So he employed people who did understand the
+matter to buy for him many pictures whose excellence he, himself,
+could not understand, but which were to become a fine possession for
+succeeding generations. This was about 1860, and this man,
+A.T. Stewart, bought two of Fortuny's pictures at high prices. "The
+Serpent Charmer," and "A Fantasy of Morocco."
+
+When Fortuny was thirty years old he married the daughter of a
+Spaniard called Madrazo, director of the Royal Museum. His wife's
+family had several well known artists in it, and the marriage was a
+very happy one. Because of this, Fortuny was inspired to paint one of
+the greatest of his pictures, "The Spanish Marriage." In it are to be
+seen the portraits of his wife and his friend Regnault. After a time
+he went to live in Granada; but he could never forget the beautiful,
+barbaric scenes in Morocco, and so he returned there. Afterward he
+went with his wife to live in Rome, and there they had a fine home and
+everything exquisite about them, while fortune and favour showered
+upon them; but he fell ill with Roman fever, because of working in the
+open air, and he died while he was comparatively a young man.
+
+  PLATE--THE SPANISH MARRIAGE
+
+Fortuny is said to "split the light into a thousand particles, till
+his pictures sparkle like jewels and are as brilliant as a
+kaleidoscope.... He set the fashion for a class of pictures, filled
+with silks and satins, bric-a-brac and elegant trifling."
+
+Look at the brilliant scene in this picture! The priest rising from
+his chair and leaning over the table is watching the bridegroom sign
+his name. This chap is an old fop, bedecked in lilac satin, while the
+bride is a dainty young woman, without much interest in her husband,
+for she is fingering her beautiful fan and gossiping with one of her
+girl friends. She wears orange-blossoms in her black hair and is in
+full bridal array. One couple, two men, sit on an elegantly carved
+seat and are looking at the goings-on with amusement, while an old
+gentleman sits quite apart, disgusted with the whole unimpressive
+scene. Everybody is trifling, and no one is serious for the
+occasion. The furnishings of the room are beautiful, delicate, almost
+frivolous. People are strewn about like flowers, and the whole effect
+is airy and inconsequent. Fortuny painted also "The Praying Arab," "A
+Fantasy of Morocco," "Snake Charmers," "Camels at Rest," etc.
+
+
+
+
+XV
+
+THOMAS GAINSBOROUGH
+
+
+  _English School_
+  1727-1788
+  _Pupil of Gravelot and of Hayman_
+
+There seems to have been no artist, with the extraordinary exceptions
+of Durer and Leonardo, who learned his lessons while at school. Little
+painters have uniformly begun as bad spellers.
+
+Gainsborough's father was in the business of woolen-crape making,
+while his mother painted flowers, very nicely, and it was she who
+taught the small Thomas. There were nine little Gainsboroughs and,
+shocking to relate, the artist of the family was so ready with his
+pencil that when he was ten years old he forged his father's name to a
+note which he took to the schoolmaster, and thereby gained himself a
+holiday. There is no account of any other wicked use to which he put
+his talent. It is said that he could copy any writing that he saw, and
+his ready pencil covered all his copy-books with sketches of his
+schoolmasters. It was thought better for him finally to follow his own
+ideas of education, namely, to roam the woodlands and make beautiful
+pictures.
+
+His father's heart was not softened till one day little Gainsborough
+brought home a sketch of the orchard into which the head of a man had
+thrust itself, painted with great ability. This man was a poacher, and
+father Gainsborough recognised him by the portrait. There seemed to be
+utility in art of this kind, and before long the boy found himself
+apprenticed to a silversmith.
+
+Through the silversmith the artist got admission to an art school and
+began his studies; but his master was a dissolute fellow, and before
+long the pupil left him.
+
+Gainsborough was born in the town of Sudbury on the River Stour, the
+same which inspired another great painter half a century
+later. Gainsborough is best known by his portraits, in particular as
+the inventor of "the Gainsborough hat," but he was first of all a
+truly great landscape painter, and learned his art as Constable did
+after him, along the beautiful shores of the river that flowed past
+his native town.
+
+The old Black Horse Inn is still to be seen, and it was in the orchard
+behind it that he studied nature, the same in which he made the first
+of his famous portraits, that of the poacher. It is known to this day
+as the portrait of "Tom Pear-tree." That picture was copied on a piece
+of wood cut into the shape of a man, and it is in the possession of
+Mr. Jackson, who lent it for the exhibition of Gainsborough's work
+held at the Grosvenor Gallery, in 1885.
+
+While Thomas was with his first master, by no means a good companion
+for a lad of fifteen, he lived a busy, self-respecting life, since he
+was devoted to his home and to his parents. Only three years after he
+set out to learn his art he married a young lady of Sudbury. The pair
+were by no means rich, Gainsborough having only eighteen years of
+experience in this world, besides his brush, and a maker of
+woolen-crape shrouds for a father--who was not over pleased to have an
+artist for a son. The lady had two hundred pounds but this did not
+promise a very luxurious living, so they took a house for six pounds a
+year, at Ipswich. Thus the two young lovers began their life
+together. There was a good deal of romance in the story of his wife,
+whose name was supposed to be Margaret Burr. The two hundred pounds
+that helped to pay the Ipswich rent did not come from the man accepted
+as her father, but from her real father, who was either the Duke of
+Bedford, or an exiled prince. This would seem to be just the sort of
+story that should surround a great painter and his affairs.
+
+While he lived at Ipswich Gainsborough used to say of himself that he
+was "chiefly in the face-way" meaning that for the most part he made
+portraits. He loved best to paint the scenes of his boyhood, as
+Constable afterward did, but he soon found there was more money in
+portraits, and so he decided to go to live in Bath, the fashionable
+resort of English people in that day, where he was likely to find rich
+folk who wanted to see themselves on canvas. He settled down there
+with his wife, whom he loved dearly, and his two daughters and at once
+began to make money. It is said he painted five hours a day and all
+the rest of the time studied music. As the theatre was Corot's
+greatest happiness, so did music most delight Gainsborough, and he
+could play well on nearly every known instrument; he became so
+excellent a musician that he even gave concerts. He had the most
+delightful people about him, people who loved art and who appreciated
+him, and then there were the other people who paid for having
+themselves painted. Altogether it was an ideal situation.
+
+His studio was in the place known as the "Circus" at Bath, and people
+came and went all day, for it became the fashionable resort for all
+the fine folks.
+
+From five guineas for half length portraits, he soon raised his price
+to forty; he had charged eight for full length portraits, but now they
+went for one hundred. He painted some famous men of the time. The very
+thought is inspiring of such a company of geniuses with Gainsborough
+in the centre of the group. He painted Laurence Sterne, who wrote "The
+Sentimental Journey," and a few other delightful things; also Garrick,
+the renowned actor.
+
+Even the encyclopaedia reads thrillingly upon this subject and one can
+afford to quote it, with the feeling that the quotation will be read:
+"His house harboured Italian, German, French and English musicians. He
+haunted the green room of Palmer's Theatre, and painted gratuitously
+the portraits of many of the actors. He gave away his sketches and
+landscapes to any one who had taste or assurance enough to ask for
+them." This sounds royal and exciting.
+
+After that Gainsborough went up to London with plenty of money and
+plenty of confidence and instead of six pounds a year for his house,
+he paid three hundred pounds, which suggests much more comfort.
+
+There were two other great painters of the time in London, Sir
+Benjamin West--an American, by the way--and Sir Joshua Reynolds. West
+was court favourite, but Gainsborough too was called upon to paint
+royalty, and share West's honours. Reynolds was the favourite of the
+town, but he too had to divide honours with Gainsborough when the
+latter painted Richard Brinsley Sheridan, Edmund Burke and Sir William
+Blackstone.
+
+Notwithstanding, his landscapes, for which he should have been most
+famous, did not sell. Everybody approved of them, but it is said they
+were returned to him till they "stood ranged in long lines from his
+hall to his painting room" Gainsborough was a member of the Royal
+Academy and also a true Bohemian. He cared little for elegant society,
+but made his friends among men of genius of all sorts. He was very
+handsome and impulsive, tall and fair, and generous in his ways; but
+he had much sorrow on account of one of his daughters, Mary, who
+married Fischer, a hautboy player, against her father's wishes. The
+girl became demented--at least she had spells of madness.
+
+When Mary Gainsborough married, her father wrote the following letter
+to his sister, which shows that he was a man of tender feeling for
+those whom he truly loved:
+
+" ... I had not the least suspicion of the attachment being so long
+and deeply seated; and as it was too late for me to alter anything
+without being the cause of total unhappiness on both sides, my
+consent ... I needs must give ... and accordingly they were married
+last Monday and settled for the present in a ready-furnished little
+house in Curzon Street, Mayfair ... I can't say I have any reason to
+doubt the man's honesty or goodness of heart, as I never heard anyone
+speak anything amiss of him, and as to his oddities and temper, she
+must learn to like them as she likes his person ... Peggy has been
+very unhappy about it, but I endeavour to comfort her." Peggy was his
+wife.
+
+The abominable Fischer died twenty-years before Mary did--she lived to
+be an old, old woman.
+
+Among those whom Gainsborough loved best was the man called Wiltshire
+who carried his pictures to and from London. He was a public "carrier"
+but would never take any money for his services to the artist, because
+he loved his work. All he asked was "a little picture"--and he got so
+many of these, given in purest affection, that he might have gone out
+of business as a carrier, had he chosen to sell them. Four of those
+little pictures are now very great ones worth thousands of pounds and
+known everywhere to fame. They are "The Parish Clerk," "Portrait of
+Quin," "A Landscape with Cattle," and "The Harvest Waggon."
+
+We have a good many stories of Gainsborough's bad manners. The artists
+of his day tried to treat him with every consideration, but in return
+he treated them very badly, especially Sir Joshua Reynolds. Reynolds,
+who was then President of the Academy greatly admired Gainsborough but
+the latter would not return Sir Joshua's call, and when Reynolds asked
+him to paint his portrait for him, Gainsborough undertook it
+thanklessly. Sir Joshua left town for Bath for a time, and when he
+returned he tried to learn how soon the portrait would be finished,
+but Gainsborough would not even reply to his inquiry. There seems to
+have been no reason for this behaviour unless it was jealousy, but it
+made a most uncomfortable situation between fellow artists.
+
+Gainsborough has told some not very pleasing stories about himself,
+but one of them shows us what a knack he had for seeing the comic side
+of things, and perhaps for seeing comedy where it never existed. Upon
+one occasion he was invited to a friend's house where the family were
+in the habit of assembling for prayers, and he had no sooner got
+inside, than he began to fear he should laugh, when prayer time came,
+at the chaplain. In a rush of shyness he fled, leaving his host to
+look for him, till he stumbled over a servant who said that
+Mr. Gainsborough had charged him to say he had gone to breakfast at
+Salisbury. Even respect for the customs of others could not make him
+control himself.
+
+It was through his intimacy with King George's family that his quarrel
+with the Royal Academy came about. He had painted the three
+princesses--the Princess Royal, Princesses Augusta and Elizabeth, and
+these were to be hung at a certain height in Carlton House, but when
+he sent the first to the Academy he asked it to be specially hung and
+his request was refused. Then he sent a note as follows:
+
+"He begs pardon for giving them so much trouble, but he has painted
+the picture of the princesses in so tender a light that,
+notwithstanding he approves very much of the established line for
+strong effects, he cannot possibly consent to have it placed higher
+than eight feet and a half, because the likeness and the work of the
+picture will not be seen any higher, therefore at a word he will not
+trouble the gentlemen against their inclination, but will beg the best
+of his pictures back again." Immediately, the Academy returned his
+pictures, although it would seem that they might better have
+accommodated Gainsborough than have lost such a fine exhibition. He
+never again would send anything to them.
+
+He was inclined to be irritated by inartistic points in his sitters,
+and is said to have muttered when he was painting the portrait of
+Mrs. Siddons, the great actress: "Damn your nose madam; there is no
+end to it." The nose in question must have been an "eyesore" to more
+than Gainsborough, for a famous critic is said to have declared that
+"Mrs. Siddons, with all her beauty was a kind of female Johnson ...
+her nose was not too long for nothing."
+
+Notwithstanding that his landscapes were not popular, he used to go
+off into the country to indulge his taste for painting them, and once
+he wrote to a friend that he meant to mount "all the Lakes at the next
+Exhibition in the great style, and you know, if people don't like
+them, it's only jumping into one of the deepest of them from off a
+wooded island and my reputation will be fixed forever." An old lady,
+whose guest he was, down in the country, told how he was "gay, very
+gay, and good looking, creating a great sensation, in a rich suit of
+drab with laced ruffles and cocked hat."
+
+One of the boys he saw in the country he delighted to paint, and he
+also grew so much attached to him that he took him to London and kept
+him with him as his own son. That boy's name was Jack Hill and he did
+not care for city life, nor maybe for Gainsborough's eccentricities,
+so he ran away. He was found again and again, till one day he got away
+for good, and never came back.
+
+All his later life Gainsborough was happy. His daughter, who had
+married Fischer, the hautboy-player, came back home to live, and her
+disorder was not bad enough to prevent her being a cause of great
+happiness to her father. The other daughter never married.
+Gainsborough says that he spent a thousand pounds a year, but he also
+gave to everybody who asked of him, and to many who asked nothing, so
+that he must have made a great deal of money during his lifetime, by
+his art. It is said that the "Boy at the Stile" was bestowed on
+Colonel Hamilton for his fine playing of a solo on the violin. A lady
+who had done the artist some trifling service received twenty drawings
+as a reward, which she pasted on the walls of her rooms without the
+slightest idea of their value.
+
+Gainsborough got up early in the morning, but did not work more than
+five hours. He liked his friends, his music, and his wife, and spent
+much time with them. He was witty, and while he sketched pictures in
+the evening, with his wife and daughters at his side, he kept them
+laughing with his droll sayings.
+
+The last days of Gainsborough showed him to be a hero. He died of
+cancer, and some time before he knew what his disease was he must have
+suffered a great deal. There is a story that is very pathetic of a
+dinner with his friends, Beaumont and Sheridan. Usually, he was the
+gayest of the gay, but of late all his friends had noticed that gaiety
+came to him with effort. Upon the night of this dinner, Sheridan had
+been his wittiest, and had tried his hardest to make Gainsborough
+cheer up, till finally, the artist, finding it impossible to get out
+of his sad mood, asked Sheridan if he would leave the table and speak
+with him alone. The two friends went out together. "Now don't laugh,
+but listen," Gainsborough said; "I shall soon die. I know it; I feel
+it. I have less time to live than my looks infer, but I do not fear
+death. What oppresses my mind is this: I have many acquaintances, few
+friends; and as I wish to have one worthy man to accompany me to the
+grave, I am desirous of bespeaking you. Will you come? Aye or no!" At
+that Sheridan, who was greatly shocked, tried to cheer him, but
+Gainsborough would not return to the table, till he got the promise,
+which of course Sheridan made.
+
+It was not very long after this that a famous trial took place--that
+of Warren Hastings. It was in Westminster Hall, and Gainsborough went
+to listen several times. On the last occasion, he became so interested
+in what was happening that he did not notice a window open at his
+back. After a little he said to a friend that he "felt something
+inexpressibly cold" touch his neck. On his return home he told of the
+strange feeling to his wife. Then he sent for a doctor, and there was
+found a little swelling. The doctor said it was not serious and that
+when the weather grew warmer it would disappear; but all the while
+Gainsborough felt certain that it would mean his death. A short time
+after that he told his sister that he knew himself to have a cancer,
+and that was true.
+
+When he felt that he must die, he fell to thinking of many things in
+the past, and wished to right certain mistakes of his behaviour as far
+as possible.
+
+He sent to Sir Joshua Reynolds and asked him to come and see him,
+since he could not go to see Sir Joshua. Reynolds went and then
+Gainsborough told him of his regret that he had shown so much ill-will
+and jealousy toward so great and worthy a rival. Reynolds was very
+generous and tried to make Gainsborough understand that all was
+forgiven and forgotten. He left his brother artist much relieved and
+happier, and he afterward said: "The impression on my mind was that
+his regret at losing life was principally the regret of leaving his
+art." As Reynolds left the dying man's room, Gainsborough called after
+him: "We are all going to heaven--and Van Dyck is of the company."
+
+He was buried in Kew Churchyard and the ceremonies were followed by
+Reynolds and five of the Royal Academicians, who forgot all
+Gainsborough's eccentricities of conduct toward them in their honest
+grief over his death. He was one of the first three dozen original
+members of the Royal Academy.
+
+  PLATE--PORTRAIT OF MRS. RICHARD BRINSLEY SHERIDAN
+
+This picture is now in the collection of Lord Rothschild,
+London. Mrs. Sheridan was the loveliest lady of her time. She was the
+daughter of Thomas Linley, and a singer.
+
+She came from a home which was called "a nest of nightingales,"
+because all in it were musicians. The father had a large family and
+made up his mind to become the best musician of his time in his
+locality in order to support them. He was successful, and in turn most
+of his children became musicians. His lovely daughter, Eliza
+(Mrs. Sheridan), he bound to himself as an apprentice and taught her
+till she was twenty-one, insisting that she "serve out her time" to
+him, that she might become a perfect singer. The story of this
+beautiful lady seems to belong to the story of Gainsborough's portrait
+and shall be told here.
+
+When she was a very little girl, no more than eight years old, she was
+so beautiful that as she stood at the door of the pump room in Bath to
+sell tickets for her father's concerts, everyone bought them from
+her. When she was a very young woman her father engaged her to marry a
+Mr. Long, sixty years old. She did not seem to mind what arrangements
+her father made for her, but continued to sing and attend to her
+business, till after the wedding gowns were all made and everything
+ready for the marriage, when she happened to meet the brilliant
+Richard Brinsley Sheridan, whose plays were so fashionable, and she
+fell deeply in love with him. She told Mr. Long she would not marry
+him, and without much objection he gave her up, but her father was
+very angry and he threatened to sue Mr. Long for letting his daughter
+go. Then the beautiful lady ran away to Calais and married
+Mr. Sheridan without her father's permission; but she came home again
+and said nothing of what she had done, kept on singing and helping her
+father earn money for his family. One day, Mr. Sheridan was wounded in
+a duel which he had fought with one of his wife's admirers, and when
+she heard the news she screamed, "my husband, my husband," so that
+everybody knew she was married to the fascinating playwright. Sheridan
+for some reason did not at once come and get her, nor arrange for them
+to have a home together. For a good while she continued to sing; and
+once hearing her in oratorio, Sheridan fell in love with his wife all
+over again. He took her from her home and would never let her sing
+again in public. They remarried publicly and went to live in
+London. He was not at all a rich and famous man at that time--only a
+poor law-student--but he would not let his wife make the fortune she
+might easily have made, by singing.
+
+This must have made his beautiful wife very sad, but she made no
+complaint at giving up her music and letting him silence her lovely
+voice, but turned all her attention to advancing his fortunes. She
+worked for him even harder than she had for her father, and that was
+saying a great deal. When he became a great writer of plays his wife
+took charge of all the accounts of his Drury Lane Theatre, and when he
+was in the House of Commons she acted as his secretary. Sheridan died
+in great poverty and wretchedness, and it is believed had his
+self-sacrificing wife not died before him she would have looked after
+his affairs so well that he would not have lost his fortune.
+Gainsborough painted the portraits of Sheridan's father-in-law, and of
+Samuel Linley; and it was said that this last portrait was painted in
+forty-eight minutes. Among his other portraits are: eight of George
+III., Sir John Skynner, Admiral Hood, Colonel St. Leger, and "The Blue
+Boy"; but he was first and last a landscape painter of highest genius.
+
+
+
+
+XVI
+
+JEAN LEON GEROME
+
+
+  (Pronounced Zhahn Lay'on Zhay-rome)
+  _French, Semi-classical School_
+  1824-1904
+  _Pupil of Delaroche_
+
+One cannot write much more than the date of birth and death of a man
+who lived until three or four years of the time of writing, so we may
+only say that Gerome was one of the most brilliant of modern French
+painters. He was born at Vesoul and his father was a goldsmith. Thus
+he probably had no very great difficulty in getting a start in his
+work. The prejudice against having an artist in the family was dying
+out, and as a prosperous goldsmith we may believe that his father had
+means enough to give his son good opportunities.
+
+Gerome, like Millet, studied under Delaroche, but became no such
+characteristic painter as he. While studying with Delaroche he also
+was taking the course in l'Ecole des Beaux-Arts.
+
+His first exhibited picture was "The Cock Fight," and he won a third
+class medal by it.
+
+Almost always this painter has chosen his subjects from ancient or
+classic life, and his pictures are not always decent, but he painted
+with much care, the details of his work are very finely done and their
+vivid colour is fascinating.
+
+  PLATE--THE SWORD DANCE
+
+This painting may be seen in the Metropolitan Museum of Art in New
+York City. The scene is full of action and interest, but perhaps the
+details of dress, mosaic decoration upon the walls, patterns of the
+rugs, the coloured and jewelled lamps and windows are the most
+splendidly painted of all.
+
+The central figure is a dancing girl, only partly draped, balancing a
+sword on her head, while a brilliant green veil flies from head and
+face. Other Oriental women squat upon the floor watching her with a
+half indolent expression, while their Oriental masters and their
+friends sit in pomp at one side, absorbed in the dance and in the
+girl. The expressions upon all the faces are excellent and, the
+jewelled light that falls upon the group, the rich clothing, the grace
+of the dancer--all make a fascinating picture of a genre type. Other
+Geromes are "Daphnis and Chloe," "Leda," and "The Duel after the
+Masked Ball."
+
+
+
+
+XVII
+
+GHIRLANDAJO
+
+
+  (Pronounced Geer-lan-da'yo)
+  _Florentine School_
+  1449-1494
+  _Pupil of Fra Bartolommeo_
+
+It is a good deal of a name--Domenico di Tommaso di Currado
+Bigordi--and it would appear that the child who bore it was under
+obligation to become a good deal of a something before he died.
+
+Italian and Spanish painters generally had large names to live up to,
+and the one known as Ghirlandajo did nobly.
+
+His father was a goldsmith and a popular part of his work was the
+making of golden garlands for the hair of rich Italian ladies. His
+work was so beautiful that it gained for him the name of Ghirlandajo,
+meaning the garland-twiner, a name that lived after him, in the great
+art of his son. Domenico began as a worker in mosaic, a maker of
+pictures or designs with many coloured pieces of glass or stone.
+
+Ghirlandajo's art was no improvement on that of his teacher, but he in
+turn became the teacher of Michael Angelo.
+
+The Florentine school of painting, to which Ghirlandajo belonged, was
+not so famous for colour as the Venetian school, but it had many other
+elements to commend it. One cannot expect Ghirlandajo to rank with
+Titian, Rubens, or other "colourists" of his own and later periods,
+but he did the very best work of his day and school. He attained to
+fame through his choice of types of faces for his models, and by his
+excellent grouping of figures.
+
+Until his day, the faces introduced into paintings were likely to be
+unattractive, but he chose pleasing ones, and he painted the folds of
+garments beautifully. He was not entirely original in his ideas, but
+he carried out those which others had thus far failed to make
+interesting.
+
+Often, in his wish to paint exactly what he saw, he softened nothing
+and therefore his figures were repulsive, but Fra Bartolommeo's pupil
+gave promise of what Michael Angelo was to fulfill.
+
+Ghirlandajo and Michael Angelo were a good deal alike in their
+emotional natures. Both sought great spaces in which to paint, and
+both chose to paint great frescoes. Indeed Ghirlandajo had the
+extraordinary ambition to put frescoes on all the fortification walls
+about Florence. It certainly would have made the city a great picture
+gallery to have had its walls forever hung with the pictures of one
+master. Had he painted them, inside and out, when such an enemy as
+Napoleon came along, with his love of art, and his fashion of taking
+all that he saw to Paris, he would likely enough have camped outside
+the walls while he decided what part of the gallery he would transfer
+to the Louvre.
+
+One of the reasons that Ghirlandajo is famous is that he often chose
+well known personages for his models, and as he painted just what he
+saw, did not idealise his subject, he gave to the world amazing
+portraits, as well as fine paintings. The same thing was done by
+painters of a far different school, at another period. The Dutch and
+Flemish painters were in the habit of using their neighbours as
+models.
+
+Ghirlandajo is classed among religious painters, but let us compare
+some of his "religious" paintings with those of Raphael or Murillo,
+and see the result.
+
+He painted seven frescos on the walls of the Santa Maria Novella in
+Florence, all scenes of Biblical history, as Ghirlandajo imagined
+them. They show him to have been a fine artist, but to have had not
+much idea of history, and to have had little sense of fitness.
+
+Ghirlandajo's seven subjects are taken from legends of the Virgin, and
+the greatest represents Mary's visit to Elizabeth; it is called "The
+Visitation," and it is a fresco about eighteen feet long painted on
+the choir wall.
+
+Let us imagine the possible scene. The Virgin Mary came from Cana, a
+little town in Galilee placed in the hills about nine miles from
+Nazareth, the home of the lowliest and the poorest, of a kindly
+pastoral people living in the open air, needing and wanting very
+little, simple in their habits. Elizabeth, Mary's old cousin, lived in
+Judea, and St. Luke writes thus: "Mary arose in those days and went
+into the hill country with haste, into a city of Judea; and entered
+into the house of Zacharias" (Elizabeth's husband) "and saluted
+Elizabeth."
+
+This record had been made at least eleven hundred years before
+Ghirlandajo painted in the Santa Maria Novella, and from it one cannot
+imagine that Mary made any preparation for her journey, nor does it
+suggest that Elizabeth had any chance to arrange a reception for
+her. Even had she done so, it must have been of the simplest
+description, at that time among those people. One can imagine a lowly
+home; an aged woman coming out to meet her young relative either at
+her door or in the high road.
+
+There may have been surroundings of fruit and flowers, a stretch of
+highroad or a hospitable doorway; but the wildest imagination could
+not picture what Ghirlandajo did.
+
+He paints Elizabeth flanked with handmaidens, as if she were some
+royal personage, instead of a priest's wife in fairly comfortable
+circumstances where comfort was easily obtained. Mary appears to be
+escorted by ladies-in-waiting, hardly a likely circumstance since she
+was affianced to no richer or more important person than a carpenter
+of Galilee. Possibly the three ladies that stand behind Mary in, the
+picture are merely lookers-on, but in that case the visit of Mary
+would seem to have been of public importance, especially as there are
+youths near by who are also much interested in one woman's hasty visit
+to another. The rich brocades worn by Elizabeth's waiting ladies are
+splendid indeed and the landscape is fine--a rich Italian landscape
+with architecture of the most up-to-date sort--showing, in short, that
+the artist lacked historical imagination. He found some models, made a
+purely decorative painting with an Italian setting and called it "The
+Visitation." The doorway on the right is distinctly renaissance.
+
+Such a painting as this is not "religious," nor is it historic, nor
+does it suggest a subject; it is merely a fine picture better coloured
+than most of those of the Florentine school. There is another painting
+of this same subject by Ghirlandajo in the Louvre, but it is no nearer
+truth than the one in the Santa Maria.
+
+Ghirlandajo painted other than religious subjects, and one of them, at
+least, is quite repulsive. It is the picture of an old man, with a
+beautiful little child embracing him. The old man may have tenderness
+and love in his face, but his heavy features, his warty nose, do not
+make one think of pleasant things and one does not care to imagine the
+dear little child kissing the grotesque old fellow.
+
+It was before Ghirlandajo's time that another painter had discovered
+the use of oil in mixing paints. Previously colours had been mixed in
+water with some gelatinous substance, such as the white and yolk of an
+egg, to give the paint a proper texture or consistency. This
+preparation was called "distemper," and frescoes were made by using
+this upon plaster while it was still wet. Plaster and colours dried
+together, and the painting became a part of the wall, not to be
+removed except by taking the plaster with it.
+
+The different gluey substances used had often the effect of making the
+colours lose their tone and they presented a glazed surface when used
+upon wood, a favourite material with artists.
+
+There are numberless anecdotes written of this artist and his brother,
+and one of these shows he had a temper. The brothers were engaged in a
+monastery at Passignano painting a picture of the "Last Supper." While
+at work upon it, they lived in the house. The coarse fare did not suit
+Ghirlandajo, and one night he could endure it no longer. Springing
+from his seat in the refectory he flung the soup all over the monk who
+had served it, and taking a great loaf of bread he beat him with it so
+hard that the poor monk was carried to his cell, nearly dead. The
+abbot had gone to bed, but hearing the rumpus he thought it was
+nothing less than the roof falling in, and he hurried to the room
+where he found the brothers still raging over their dinner. David
+shouted out to him, when the abbot tried to reprove the artist, that
+his brother was worth more than any "pig of an abbot who ever lived!"
+
+It is recorded in the documents found in the Confraternity of St. Paul
+that:
+
+Domenico de Ghurrado Bighordi, painter, called del Grillandaio, died
+on Saturday morning, on the 11th day of January, 1493 (o.s.), of a
+pestilential fever, and the overseers allowed no one to see the dead
+man, and would not have him buried by day. So he was buried, in Santa
+Maria Novella, on Saturday night after sunset, and may God forgive
+him! This was a very great loss for he was highly esteemed for his
+many qualities, and is universally lamented.
+
+The artist left nine children behind him.
+
+Ghirlandajo's pictures may be found in the Louvre, the Berlin Museum,
+the Dresden, Munich, and London galleries. Most children will find it
+hard to see their beauty.
+
+Great men are likely to come in groups, and with Ghirlandajo there are
+associated Botticelli and Fra Filippo Lippi.
+
+  PLATE--PORTRAIT OF GIOVANNA DEGLI ALBIZI
+
+This lovely lady was the wife of one of the painter's patrons,
+Giovanni Tornabuoni, through whom he received the commission for a
+series of frescoes in the choir of the Santa Maria Novella,
+Florence. The subjects chosen were sacred, but since Ghirlandajo, no
+more than his neighbours, knew what the Virgin or her contemporaries
+looked like, he saw no reason why he should not compliment some of the
+great ones of his own city and his own time by painting them in to
+represent the different characters of Holy Writ. So, as one of the
+ladies attendant upon Elizabeth when Mary comes to visit her, we have
+this signora of the fifteenth century. The artist made another picture
+of her, the one here shown, but in the same dress and posed the same
+as she had been for the church fresco. This accounts for its dignity
+and simplicity. It would seem like a bas-relief cut out of marble were
+it not for its wonderful colouring. It is in the Rudolf Kann
+Collection, Paris. This artist's other pictures are "Adoration of the
+Shepherds," "Adoration of the Magi," "Madonna and Child with Saints,"
+"Three Saints and God the Father," "Coronation of the Virgin," and
+"Portrait of Old Man and Boy."
+
+
+
+
+XVIII
+
+GIOTTO (DI BORDONE)
+
+
+  (Pronounced Jot-to)
+  _Florentine School_
+  1276-1337
+  _Pupil of Cimabue_
+
+Giotto painted upon wood, and in "distemper"--the mixture of colour
+with egg or some other jelly-like substance. We know nothing of his
+childhood except that he was a shepherd, as we learn from a story told
+of him and his teacher, Cimabue.
+
+The story runs that one day while Giotto was watching his sheep, high
+up on a mountain, Cimabue was walking abroad to study nature, and he
+ran across a shepherd boy who was drawing the figure of a sheep, with
+a piece of slate upon a stone. In those days we can imagine how rare
+it was to find one who could draw anything, ever so rudely.
+Immediately Cimabue saw a chance to make an artist and he asked the
+little shepherd if he would like to be taught art in his studio.
+Giotto was overjoyed at the opportunity, and at once he left the
+mountains for the town, the shepherd's crook for the brush.
+
+In those days the studio of one like Cimabue was really a workshop.
+Artists had to grind their own colours, prepare their own panels upon
+which to paint, and do a hundred other things of a workman rather than
+an artist kind in connection with their painting. Such a studio was
+crowded with apprentices--boys who did these jobs while learning from
+the master. Their teaching consisted in watching the artist and now
+and then receiving advice from him.
+
+It was into such a shop as this, in Florence, that Giotto went, and
+soon he was to become greater than his master. Even so, we cannot
+think him great, excepting for his time, because his pictures,
+compared with later art, are crude, stiff, and strange.
+
+No pupil was permitted to use a brush till he had learned all the
+craft of colour grinding and the like, and this was supposed to take
+about six years. These workshops were likely to be dull, gloomy
+places, and only a strong desire to do such things as they saw their
+master doing, would induce a boy to persevere through the first
+drudgery of the work. Giotto persevered, and not only became an
+original painter, at a time when even Cimabue hardly made figures
+appear human in outline, but he designed the great Campanile in
+Florence, and he saw it partly finished before he died. The Campanile
+is a wonder of architecture, but Giotto's Madonnas had to be improved
+upon, as certainly as he had improved upon those of Cimabue.
+
+There are many amusing stories of Giotto, mainly telling of his good
+nature, and his ugly appearance, which everyone forgot in appreciation
+of his truly kind heart. Once a visit was made to his studio by the
+King of Naples, after the artist had become famous. Giotto was
+painting busily, though the day was very hot. The King entered, and
+bade Giotto not to be disturbed but to continue his work, adding:
+"Still, if I were you, I should not paint in such hot weather." Giotto
+looked up with a laugh in his eye: "Neither would I--if I were you,
+Sire!" he answered.
+
+There is a famous saying: "As round as Giotto's "O," and this is how
+it came about. The pope wanted the best of the Florentine artists to
+do some work in Rome for him and he sent out to them for examples of
+their work. When the pope's messenger came to Giotto the artist was
+very busy. When asked for some of his work to show the pope, he
+paused, snatched a piece of paper and with the brush he had been
+using, which was full of red paint, he hurriedly drew a circle and
+gave it to the messenger who stared at him.
+
+"But--is this _all_?" he asked.
+
+"All--yes--and too much. Put it with the others." This perfect circle
+and the account the messenger gave of his visit so delighted the pope
+that Giotto was chosen from all the Florentine artists to decorate the
+Roman buildings.
+
+Thus Giotto worked till he was fifty-seven or eight years old when he
+put aside his brush and turned to sculpture and architecture. Meantime
+he had far outstripped his master in art. The arrangement of the
+groups is about the same, but the figures look human and the draperies
+are more natural, while he gives the appearance of length, breadth,
+and thickness to his thrones and enclosures. We shall not choose a
+Madonna for illustration, but another of Giotto's masterpieces,
+remembering that good as he was in his time, he seems amazingly bad
+compared with those who came after him.
+
+  PLATE--THE MEETING OF ST. JOHN AND ST. ANNA AT JERUSALEM.
+
+In 1303 a certain Enrico Scrovegno had a private chapel built in the
+Arena at Padua and he sent for Giotto to come there and adorn the
+whole of its walls and ceiling with frescoes. These remain, though the
+chapel is now emptied of all else, and they suffice to bring scores of
+art-lovers to Padua. The picture here reproduced represents the
+meeting and reconciliation between the father and mother of the Virgin
+before her birth. The peculiarly shaped eyes and eyebrows that Giotto
+gives to all his characters are specially noteworthy here as in every
+one of the thirty-eight frescoes. There are three rows of pictures,
+one above the other and in them are portrayed the principal scenes in
+the lives of Christ and the Virgin. The painter here reached his
+high-water mark, showed the very best he could produce in sincere,
+restrained art.
+
+
+
+
+XIX
+
+FRANZ HALS
+
+
+  _Dutch School_
+  1580-04-1666
+  _Pupil of Karel Van Mander_
+
+Franz Hals belonged to a family which for two hundred years had been
+highly respected in Haarlem in the Netherlands. The father of the
+painter left that town for political reasons in 1579, and it was at
+Antwerp that Franz was born sometime between that date and 1585. His
+parents took him back to Haarlem as an infant, and that is the town
+with which his name and fame are most closely associated.
+
+Little is known of his early life except that he began his studies
+with Karel Van Mander and Cornelis Cornelissen. What we know of his
+family life is not to his credit. In the parish register of 1611 is
+recorded the birth of a son to Franz Hals and five years later he is
+on the public records for abusing his wife, who died shortly
+afterward. He married again within a year and the second wife bore him
+many children and survived him ten years. Five of his seven sons
+became painters.
+
+Franz Hals drank too much and mixed too freely with the kind of
+disreputable people he loved to paint, but he never became so degraded
+that his hand lost its cunning, or his eye its keen vision for that
+which he wished to portray. In 1644, he was made a director of the
+Guild of St. Lucas, an institution for the protection of arts and
+crafts in Haarlem, but from that time onward he sank in popular
+esteem, deservedly. He fell into debt, then into pauperism, and when
+he died, about the age of eighty-six, he was buried at public expense
+in the choir of St. Bavon Church in Haarlem.
+
+It was in the year 1616 that Hals first became known as a master of
+his art by the painting of the St. Jovis Shooting Company, one of the
+clubs composed of volunteers banded together for the defence of the
+town should occasion arise. Such guilds were common throughout
+Holland, and they became a favourite subject with Hals, as with other
+painters of the time, who vied with one another in portraiture of the
+different members. These groups were hung upon the walls of the
+chambers where meetings were held for social purposes in times of
+peace. The men of highest rank are always given the most conspicuous
+places in the pictures. The flag is generally the one bit of gorgeous
+colour in the scene; but Franz Hals seized the opportunity to show his
+wonderful skill in detail while painting the cuffs and ruffs worn by
+these grandees. In all his work there is an impression of strength
+rather than of beauty; it is the charm of expressiveness he is aiming
+at, rather than the charm of grace and colour to which the Italian
+school was devoted. He differed from that school, also, in his choice
+of subjects, for he was distinctly and almost entirely a portrait
+painter, and within his own limited range he is unsurpassed. A
+wonderful collection of his works is to be seen in the Haarlem Town
+Hall.
+
+  PLATE--THE NURSE AND THE CHILD
+
+Considering the woeful life that Franz Hals led, it is amazing to
+think that he of all artists is the best painter of good humour. He
+puts a smile on the face of nearly every one of his "leading
+characters," whether it be a modest young girl, a hideous old woman, a
+strolling musician, or a riotous soldier, and in every case the laugh
+suits the subject. It may have been his own easygoing shiftlessness,
+his way of casting care aside with a jest that enabled him to live so
+long and to accomplish so much in spite of his poverty and other
+misfortunes.
+
+The roguish look upon the face of this baby of the house of Ilpenstein
+makes it appear older than the pleasant faced nurse. The dress of the
+child is such as Hals delighted to spend his talents upon. The picture
+is in the Berlin Gallery.
+
+Among his best known paintings are "The Laughing Cavalier," "The
+Fool," "The Man with the Sword," and "Hille Bobbe. the Witch of
+Haarlem."
+
+
+
+
+XX
+
+MEYNDERT HOBBEMA
+
+
+  _Dutch School_
+  1637-1709
+  _Pupil of Jacob van Ruisdael_
+
+When a man becomes famous many people claim his acquaintance, and
+often many places his birthplace. In Hobbema's case it has never been
+decided whether he was born in the little town of Koeverdam, or in the
+city of Haarlem or in Amsterdam. Nor is it quite certain when he was
+born; but what he did afterward, we are all acquainted with.
+
+No one knows much about the life of this artist, but his master was
+doubtless his uncle, van Ruisdael. Hobbema was dead a hundred years
+before the world acknowledged his genius, thus he reaped no reward for
+hard work and ambition. He, like Rembrandt, died in great poverty, and
+with nearly the same surroundings. Rembrandt died forsaken in
+Roosegraft Street, Amsterdam, and Hobbema died in the same
+locality. We must speak chiefly about his work, since we know little
+of his personality or affairs.
+
+If Bocklin's pictures seem to be composed of vertical lines, Hobbema's
+are as startling in their positive vertical and horizontal lines
+combined. We are not likely to find elevations or gentle, gradual
+depressions in his landscapes, but straight horizons, long trunked,
+straight limbed trees; and the landscape seems to be punctured here
+and there by an upright house or a spire. It is startlingly beautiful,
+and so characteristic that after seeing one or two of Hobbema's
+pictures we are likely to know his work again wherever we may find it.
+
+Hobbema got at the soul of a landscape. It was as if one painted a
+face that was dear to one, and not only made it a good likeness but
+also painted the person as one felt him to be--all the tenderness, or
+maybe all the sternness.
+
+It may be that Hobbema's failure to get money and honours, or at the
+very least, kind recognition as a great artist, while he lived,
+influenced his painting, and made him see mostly the sad side of
+beauty, nor it is certain that his landscapes give one a strange
+feeling of sadness and desolation, even when he paints a scene of
+plenty and fulness.
+
+The French have made a phrase for his kind of work, _paysage
+intime_--meaning the beloved country--the one best known. It is a fine
+phrase, and it was first used to describe Rousseau's and Corot's work;
+but it especially applies to Hobbema's.
+
+While this artist was not yet recognised, his uncle van Ruisdael was
+known as a great artist. The family must have been rich in spirit that
+gave so much genius to the world. Hobbema certainly loved his art
+above all things, for he had no return during his lifetime, save what
+was given by the joy of work. There are those who complain that
+Hobbema was a poor colourist. True, he used little besides grays and a
+peculiar green, which seemed especially to please him; but since that
+colouring belonged to the subjects he chose, one cannot complain on
+the ground that what he did was unsatisfying. For lack of knowledge
+about him we can think of him as a man of moods, sad, desolate ones at
+that; because his work is too extreme and uniform in its character for
+us to believe his method was affected.
+
+  PLATE--THE AVENUE, MIDDELHARNIS, HOLLAND
+
+This perhaps is one of the most characteristic of Hobbema's
+pictures. Note a strange hopelessness in the scene, as well as
+beauty. The tall and solemn trees, the high light upon the road,
+suggesting to us all sorts of joys struggling through the
+cheerlessness of life. What other artist would have chosen such a
+corner of nature for a subject to paint? To quote a fine description:
+
+"He loved the country-side, studied it as a lover, and has depicted it
+with such intimacy of truth that the road to Middelharnis seems as
+real to-day as it did over a hundred years ago to the artist. We see
+the poplars, with their lopped stems, lifting their bushy tops against
+that wide, high sky which floats over a flat country, full of billowy
+clouds as the sky near the North Sea is apt to be. Deep ditches skirt
+the road, which drain and collect the water for purposes of
+irrigation, and later on will join some deeper, wider canal, for
+purposes of navigation. We get a glimpse on the right, of patient
+perfection of gardening, where a man is pruning his grafted fruit
+trees; farther on a group of substantial farm buildings. On the
+opposite side of the road stretches a long, flat meadow, or "polder,"
+up to the little village which nestles so snugly around its tall
+church tower; the latter fulfilling also the purpose of a beacon, lit
+by night, to guide the wayfarer on sea and land; scene of tireless
+industry, comfortable prosperity, and smiling peace. ... Pride and
+love of country breathe through the whole scene. To many of us the
+picture smiles less than it thrills with sadness. Perhaps it speaks
+thus only to those who find a kind of hurt in the revival of the
+spring, which promises so much and may fulfill so little."
+
+Hobbema's "Watermill" is very well-known and so are his "Wooded
+Landscape," and "Haarlem's Little Forest."
+
+
+
+
+XXI
+
+WILLIAM HOGARTH
+
+
+  _School of Hogarth (English)_
+  1697-1764
+
+William Hogarth, like Watteau, originated his own school; in short
+there never was anybody like him. He was an editorial writer in
+charcoal and paint, or in other words he had a story to tell every
+time he made a picture, and there was an argument in it, a right and a
+wrong, and he presented his point of view by making pictures.
+
+English artists in literature and in painting have done some great
+reformatory work. Charles Dickens overthrew some dreadful abuses by
+writing certain novels. The one which has most interest for children
+is the awful story of Dotheboys' Hall, which exposed the ill treatment
+of pupils in a certain class of English schools. What Dickens and
+Charles Reade did in literature, Hogarth undertook to do in
+painting. He described social shams; painted things as they were, thus
+making many people ashamed and possibly better.
+
+Italians had always painted saints and Madonnas, but Hogarth pretended
+to despise that sort of work, and painted only human beings. He did
+not really despise Raphael, Titian, and their brother artists, but he
+was so disgusted with the use that had been made of them and their
+schools of art, to the entire exclusion of more familiar subjects,
+that he turned satirist and ridiculed everything.
+
+First of all, Hogarth was an engraver. He was born in London on the
+10th December, 1697, and eighteen days later was baptised in the
+church of St. Bartholemew the Great. His father was a school teacher
+and a "literary hack," which means that in literature he did whatever
+he could find to do, reporting, editing, and so on.
+
+Hogarth must early have known something of vagabond life, for his
+father's life during his own youth must have brought him into
+association with all sorts of people. He knew how madhouses were run,
+how kings dined, how beggars slept in goods boxes, and many other
+useful items.
+
+Hogarth said of himself: "Shows of all sorts gave me uncommon pleasure
+when an infant, and mimicry, common to all children, was remarkable in
+me.... My exercises, when at school, were more remarkable for the
+ornaments which adorned them, than for the exercises themselves." He
+became an engraver or silver-plater, being apprenticed to Mr. Ellis
+Gamble, at the sign of the "Golden Angel," Cranbourne Alley, Leicester
+Fields.
+
+Engraving on silver plate was all well enough, but Hogarth aspired to
+become an engraver on copper, and he has said that this was about the
+highest ambition he had while he was in Cranbourne Alley.
+
+The shop-card which he engraved for Mr. Ellis Gamble may have been the
+first significant piece of work he undertook. The card is still among
+the Hogarth relics. He set up as an engraver on his own account,
+though he did study a little in Sir James Thornhill's art school; but
+whatever he learned he turned to characteristic account.
+
+He continued to make shop-cards, shop-bills, and book-plates. Finally,
+in 1727, a maker of tapestry engaged Hogarth to sketch him a design
+end he set to work ambitiously He worked throughout that year upon the
+design, but when he took it to the man it was refused. The truth was
+that the man who had commissioned the work had heard that Hogarth was
+"an engraver and no painter," and he had so little intelligence that
+he did not intend to accept his design, however much it might have
+pleased him. Hogarth sued the man for his refusal and he won the
+suit. He next began to make what he called "conversation pieces,"
+little paintings about a foot high of groups of people, the figures
+being all portraits. These were very fashionable for a time and made
+some money for the artist. Both he and Watteau were fond of the stage,
+and both painted scenes from operas and plays.
+
+In time he moved into lodgings at the "Golden Head," in Leicester
+Fields, and there he made his home. He had already begun the great
+paintings which were to make him famous among artists. These were a
+series of pictures, telling stories of fashionable and other life. His
+own story of how he came to think of the picture series was that he
+had always wished to present dramatic stories--present them in scenes
+as he saw them on the stage.
+
+He had married the daughter of Sir James Thornhill, and had never been
+thought of kindly by his father-in-law till he made so much stir with
+his first series. Then Sir James approved of him, and Hogarth found
+life more pleasing.
+
+There are very few anecdotes to tell of the artist's life, and the
+story of his pictures is much more amusing. One of his first satires
+was made into a pantomime by Theophilus Gibber, and another person
+made it into an opera. Many pamphlets and poems were written about it,
+and finally china was painted with its scenes and figures. There was
+as much to cry as to laugh over in Hogarth's pieces and that is what
+made them so truly great. One of his great picture series was called
+the "Rake's Progress" and it was a warning to all young men against
+leading too gay a life. It showed the "Rake" at the beginning of his
+misfortunes, gambling, and in the last reaping the reward of his
+follies in a debtor's prison and the madhouse. There are eight
+pictures in that set.
+
+In this series, especially in the fifth picture, there are
+extraordinary proofs of Hogarth's completeness of ideas. Upon the wall
+in the room wherein the "Rake" marries an old woman for her money, the
+Ten Commandments are hung, all cracked, and the Creed also is cracked
+and nearly smudged out; while the poor-box is covered with
+cobwebs. The eight pictures brought to Hogarth only seventy guineas.
+
+One of his pictures was suggested to him by an incident which greatly
+angered him. He had started for France on some errand of his own, and
+was in the very act of sketching the old gate at Calais, when he was
+arrested as a spy. Now Hogarth was a hard-headed Englishman, and when
+he was hustled back to England without being given time for argument,
+he was so enraged that he made his picture as grotesque as possible,
+to the lasting chagrin of France. He painted the French soldiers as
+the most absurd, thin little fellows imaginable, and that picture has
+largely influenced people's idea of the French soldier all over the
+English-speaking world.
+
+As Hogarth grew old he grew also a little bitter and revengeful toward
+his enemies, often taking his revenge in the ordinary way of
+belittling the people he disliked, in his paintings.
+
+Hogarth came before Reynolds or Gainsborough; in short, was the first
+great English artist, and his chief power lay in being able instantly
+to catch a fleeting expression, and to interpret it. An incident of
+Hogarth's youth illustrates this. He had got into a row in a pot-house
+with one of the hangers-on, and when someone struck the brawler over
+the head with a pewter pot, there, in the midst of excitement and
+rioting, Hogarth whipped out his pencil and hastily sketched the
+expression of the chap who had been hit.
+
+Hogarth was friends with most of the theatre managers, and one of his
+souvenirs was a gold pass given him by Tyers, the director of Vauxhall
+Gardens, which entitled Hogarth and his family to entrance during
+their lives. This was in return for some "passes," which Hogarth had
+engraved for Tyer.
+
+Upon one occasion Hogarth set off with some companions for a trip to
+the Isle of Sheppey. Incidentally Forest wrote a sketch of their
+journey and Hogarth illustrated it. That work is to be found,
+carefully preserved, in the British Museum. The repeated copying and
+reproduction for sale of his pictures brought about the first effort
+to protect his works of art by copyright. But it was not till he had
+done the "Rake's Progress" that he was able to protect himself at all,
+and even then not completely.
+
+Just before his death he was staying at Chiswick, but the day before
+he died he was removed to his house in Leicester Fields. He was buried
+in the Chiswick churchyard; and in that suburb of London may still be
+seen his old house and a mulberry tree where he often sat amusing
+children for whom he cared very much. Garrick wrote the following
+epitaph for his tomb:
+
+  If Genius fire thee, Reader, stay;
+  If Nature touch thee, drop a tear;
+  If neither move thee, turn away,
+  For Hogarth's honour'd dust lies here.
+
+  Farewell, great Painter of Mankind!
+  Who reached the noblest point of art,
+  Whose pictured Morals charm the Mind
+  And through the Eye correct the Heart.
+
+  PLATE--THE MARRIAGE CONTRACT
+
+The picture used in illustration here is part of probably the very
+greatest art-sermon ever painted, called "Marriage a la Mode." The
+story of it is worth telling:
+
+"The first act is laid in the drawing-room of the Viscount
+Squanderfield"--is not that a fine name for the character? "On the
+left, his lordship is seated, pointing with complacent pride to his
+family tree, which has its roots in William the Conqueror. But his
+rent roll had been squandered, the gouty foot suggesting whither some
+of it has gone; and to restore his fortunes he is about to marry his
+heir to the daughter of a rich alderman. The latter is seated
+awkwardly at the table, holding the marriage contract duly sealed,
+signed and delivered; the price paid for it, being shown by the pile
+of money on the table and the bunch of cancelled mortgages which the
+lawyer is presenting to the nobleman, who refuses to soil his elegant
+fingers with them. Over on the left is his weakling son, helping
+himself at this critical turn of his affairs, to a pinch of snuff
+while he gazes admiringly at his own figure in the mirror. The lady is
+equally indifferent; she has strung the ring on to her finger and is
+toying with it, while she listens to the compliments being paid to her
+by Counsellor Silver-tongue. Through an open window another lawyer is
+comparing his lordship's new house, that is in the course of building,
+with the plan in his hand. A marriage so begun could only end in
+misery." This is the first act, and the pictures that follow show all
+the steps of unhappiness which the couple take. There are five more
+acts to that painted drama, which is in the National Gallery, London.
+
+
+
+
+XXII
+
+HANS HOLBEIN, THE YOUNGER
+
+
+  (Pronounced Hahntz Hol'bine)
+  _German School_
+  1497-1543
+  _Pupil of Holbein, the Elder_
+
+There were three generations of painters in the Holbein family, and
+the Hans of whom we speak was of the third. His grandfather was called
+"old Holbein," and when more painters of the same name and family came
+along it became necessary to distinguish them from each other thus:
+"old Holbein," the "elder Holbein," and "young Holbein." The first one
+was not much of an artist; still, in a locality where at best there
+was not much art he was good enough to be remembered.
+
+"Young Holbein" was born in Augsburg, which is in Swabia, in southern
+Germany; "elder Holbein" and his father, Michael, "old Holbein," had
+moved there from Schonenfeld, a neighbouring village, about forty
+three years before little Hans was born, the old Michael bringing his
+family to the larger town where it was easier to make a living.
+
+The "elder Holbein" was a really good artist and well thought of in
+Augsburg, and when little Hans's turn came he had no teacher but his
+father, unless indeed we were to call him also a pupil of his elder
+brother, Ambrosius. His uncle Sigismund, too, taught him something of
+art, for the whole Holbein family seem to have been artists. Young
+Holbein was never regularly apprenticed to any outsider.
+
+Art was not then taught as it is now. The work of a beginner was often
+to paint for his master certain details which it was thought that he
+might handle properly, while the master occupied himself with what he
+thought to be some more important part of the picture. It is said that
+Hans often painted the draperies of his father's figures when his
+father was engaged upon the altar pieces so fashionable at the
+time. The Holbeins one and all must have been bad managers or
+improvident; at any rate, Hans did not turn out well as a man and we
+read that his father was always in debt and difficulty although he
+received much money for his work and was not handicapped, like Durer's
+father, by a family of eighteen children.
+
+The story of the Holbeins is quite unlike that of the Durers, and not
+nearly so attractive.
+
+Some time before Hans was twenty years of age, the entire family had
+packed up and gone to live in Lucerne, while Hans and his brother,
+Ambrosius, went travelling together, as most young Germans went at
+that time before they settled down to the serious work of life. The
+last we hear of Ambrosius he had joined the painters' guild in Basel,
+and probably he died not long afterward, or at any rate while he was
+still young. There was in Basel a certain Hans Bar, for whose wedding
+occasion Hans Holbein designed a table, on which he pictured an
+allegory of "St. Nobody." This was very likely such work as our
+cartoonists do to-day, but being the work of Holbein, it had great
+artistic value. Besides that, he painted a schoolmaster's sign to be
+hung outside the door.
+
+As an illustrator, Holbein made the acquaintance of several authors
+about that time and started on the high road to fame. He was a man of
+very little conscience or fine feeling, and there could hardly be a
+greater contrast than that between the clean sweet life of Durer and
+the brawling, unfeeling one that Hans Holbein led.
+
+Durer married, had no children, but tenderly loved and cared for his
+wife, taking her with him upon his journeys and making her happy.
+
+Holbein married and beat his wife; had several children and took care
+of none of them. His wife grew to look old and worn while he remained
+a gay looking sport, quite tired of one whom he had had on his hands
+for ten years. He wandered everywhere and left his family to shift for
+itself. One writer in speaking of the two men says:
+
+"Durer would never have deserted his wife whom he took with him even
+on his journey to the Netherlands; and he was bound by the same
+tenderness to his native town. However much he rejoiced to receive a
+visit from Bellini at Venice, or when at Antwerp, the artists
+instituted, a torch-light procession in his honour, nothing could have
+moved him to leave Nuremberg." Durer loved his home; Holbein hated
+his.
+
+Holbein had a cold, light-blue eye; Durer a soft and tender
+glance. While Durer lived he was the mainstay of his family--father
+and brothers. Holbein's father died in misery and his brother's life
+was disastrous, Hans doing nothing to serve them and looking on at
+their sufferings indifferently.
+
+There is a court document in existence which tells the particulars of
+Hans Holbein's arrest for getting into a brawl with a lot of
+goldsmiths' apprentices during a night of carousal. The court warned
+him that he would be more severely punished if he did not cease his
+lawless life and he was made to promise not to "jostle, pinch, nor
+beat his lawful spouse." When he died he made no provision in his will
+for his family. There is a picture of his wife, Elizabeth Schmidt, to
+be seen in his "Madonna" at Solothurn Holbein used her for the
+model. She then was young and blooming and the model for the child was
+his own baby; at that time he found them useful.
+
+His life of folly can hardly be excused by impulsiveness or emotion,
+for his pictures show little of either. He was best at portrait
+painting. At that time guilds and town councils wanted the portraits
+of their members preserved in some way, and it was the habit of
+painters like Holbein to form picturesque groups and give to such
+dramatic groupings the features of townsmen. Rembrandt did this much
+later than Holbein, when he painted the "Night Watch," or as it is
+more properly called, "The Sortie."
+
+Probably Holbein's first important work was to make title pages for
+the second edition of Martin Luther's translation of the New
+Testament. This MS. was made about the time that Holbein's work began
+to be of interest to the public, and so the commission was given to
+him.
+
+After a time this artist went to England with letters of introduction
+to Sir Thomas More, Chancellor to King Henry VIII. Sir Thomas treated
+him very kindly and set him to work making portraits of his own
+family. During the time he was living at More's home in Chelsea, the
+King himself, used frequently to visit there, and on one occasion he
+saw the brilliant portraits of the More family and inquired about the
+artist. Sir Thomas offered the King any of the pictures he liked, but
+Henry VIII. asked to see the artist. When brought before him,
+Holbein's fortune seemed to be made for the King asked him to go to
+court and paint for him, remarking that "now he had the artist he did
+not care about the pictures."
+
+Holbein seems to have been a favourite with Henry and many anecdotes
+are told of his life at Whitehall, where he went to live. Once while
+Holbein was engaged upon a portrait, a nobleman insisted upon entering
+his studio, after the artist had told him that he was painting the
+portrait of a lady, by order of the King. The nobleman insisted upon
+seeing it, but Holbein seized him and threw him down the Stairs; then
+he rushed to the King and told what had happened. He had no sooner
+finished than the nobleman appeared and told his story. The King
+blamed the nobleman for his rudeness.
+
+"You have not to do with Holbein," he said, "but with me. I tell you,
+of seven peasants I can make seven lords, but of seven lords I cannot
+make one Holbein. Begone! and remember that if you ever attempt to
+avenge yourself, I shall look upon any injury offered to the painter
+as done to myself."
+
+It was Holbein who, visiting a brother artist and finding a picture on
+the easel, painted a fly upon it. When the artist returned he tried to
+brush the fly off, then set about looking for the one who had deceived
+him.
+
+His portrait painting was so superb that he received many commissions.
+
+Meantime, Sir Thomas More had fallen into disfavour with the King and
+was to lose his head, but it is written that the artist's portraits
+"betray nothing of this tragedy." He was as ready to climb to fame by
+the favour of his generous patron's enemies as he had been to accept
+the offices of Sir Thomas More. He painted the portraits of several of
+the wives of Henry VIII., and it may be said that there was a good
+deal of that monarch's temperament to be found in Holbein
+himself. Take him all in all, Hans was as detestable as a man as he
+was excellent as a painter.
+
+In his adopted home in Lucerne, Holbein had painted frescoes, both on
+the inside and the outside of a citizen's house, and this house stood
+until 1824, when it was torn down to make way for street improvements,
+but several artists hastily copied the frescoes so that they are not
+entirely lost.
+
+Before he left Germany for England, Holbein had been commissioned to
+decorate the town hall in Basel, and a certain amount of money was
+voted for the work, but after he had finished three walls, he decided
+that the money was only enough to pay him for what he had already
+done. The councillors agreed with him, but as money was a little
+"close" in Basel at that time, they felt unable to give him more, and
+so voted to "let the back wall alone, till further notice."
+
+He painted one Madonna whom he surrounded with the entire family of
+Burgomaster Meyer, including even the burgomaster's first wife, who
+was dead. This work is called the "Meyer Madonna."
+
+It is said that after Holbein's return to Basel he, with others, was
+persecuted for his "religious principles," but if this were true, his
+persecutors went to considerable pains for nothing, because Holbein
+was never known to have any sort of principles, religious or
+otherwise. He was neither a Protestant, nor a Catholic but a painter,
+a man without convictions and without thought. He did not care for
+family, country, friends, politics, religion, nor for anything else,
+so far as any one knows.
+
+When he was asked why he had not partaken of the Sacrament, he
+answered that he wanted to understand the matter better before he did
+so. Thus he escaped punishment, and when matters were explained to
+him, he did whatever seemed safest and most convenient under the
+circumstances.
+
+On his return to England, he settled among the colony of German and
+Netherland merchants, who were in the habit of meeting at a place
+called "The Steelyard," as their home and warehouses were grouped in
+that locality, with a guild hall and a wineshop they alone patronised.
+
+While associated with his compatriots Holbein made portraits of many
+of them, and these are magnificent works of art. He painted them
+separately or in groups; in their offices and in their guild hall, as
+the case might be. The men whom he thus painted were: Gorg Gisze, Hans
+of Antwerp, Derich Berck, Geryck Tybis, Ambrose Fallen, and many
+others. He designed the arch which the guild erected upon the occasion
+of Anne Boleyn's coronation, and he painted Henry's next Queen, Jane
+Seymour.
+
+Holbein painted many portraits of Henry VIII. and probably all those
+dated after 1537 were either copies or founded upon the portrait which
+Holbein made and which was destroyed with Whitehall.
+
+While he painted for Henry, Holbein received a sort of retainer's fee
+of thirty pounds a year, but he may have received sums for outside
+commissions which he undertook. On one occasion, when he took a
+journey to Upper Burgundy to paint a portrait of the Duchess whom
+Henry contemplated making his next wife, the King gave him ten pounds
+out of his own purse. We have no record of vast sums such as Raphael
+received.
+
+Henry did not succeed in making the Duchess his wife, so Holbein was
+sent to paint another--Anne of Cleves--that Henry might see what he
+thought of her before he undertook to make her his queen. Holbein did
+a disastrous deed, for he made Anne a very acceptable looking woman,
+(the portrait hangs in the Louvre) and Henry negotiated for her on the
+strength of that portrait. Later, when he saw her, he was utterly
+disgusted and disappointed.
+
+Holbein, notwithstanding this trick, was employed to paint the next
+wife of Henry, and doubtless he also made the miniature of Catherine
+Howard which is in Windsor Castle. Holbein finally died of the plague
+and no one knows where he was buried. His wife died later, and it was
+left for his son, Philip, who was said to be "a good well-behaved
+lad," to bring honours to the family. He was apprenticed in Paris,
+and, settling later in Augsburg, he founded a branch of the Holbein
+family on which the Emperor Matthias conferred a patent of nobility,
+making them the Holbeins of Holbeinsberg.
+
+  PLATE--ROBERT CHESEMAN WITH HIS FALCON
+
+This is one of the best of the many splendid portraits Holbein
+painted. It hangs in The Hague gallery. The gentleman was forty-eight
+years old and in the portrait he wears a purplish-red doublet of silk
+and a black overcoat, which was the fashion of the day, all trimmed
+with fur. He has curly hair, just turning gray. His left hand is
+gloved and on it he holds his falcon, while with the other hand he
+strokes its feathers.
+
+Of all sports at that time, falconry was the most fashionable and
+every fine gentleman had his sporting birds. Robert Cheseman lived in
+Essex. He was rich and a leader in English politics. His father was
+"keeper of the wardrobe to Henry VIII." and he himself served in many
+public offices. He was one of the gentleman chosen to welcome Anne of
+Cleves when she landed on English soil to marry Henry VIII. These
+details were first published by Mr. Arthur Chamberlain and are taken
+from his sketch of Holbein and his works.
+
+Among Holbein's other famous pictures are: "The Ambassadors," "Hans of
+Antwerp," "Christina of Denmark," "Jane Seymour," "Anne of Cleves,"
+and "St. George and the Dragon."
+
+
+
+
+
+XXIII
+
+WILLIAM HOLMAN HUNT
+
+
+  _English (Pre-Raphaelite) School_
+  1827--
+  _Pupil of Academy School_
+
+The story of the Pre-Raphaelites is all by itself a story of
+art. Holman Hunt was one of three who formed this "brotherhood"; and
+he, with one other, are the only ones whom some of us think worthy of
+giving a place in art. This is to be the story of the brotherhood
+rather than a story of one man.
+
+The last great artist England had had before this extraordinary group,
+was J. M. W. Turner, truly a wonderful man, but after him England's
+painters became more and more commonplace, drawing further and further
+away from truth, There was one, J. F. Lewis, who went away to Syria
+and lived a lonely and studious life, trying to paint with fidelity
+sacred scenes, but he was not great enough to do what his conscience
+and desires demanded of him; and, finally, Constable declared that the
+end of art in England had come. But it had not, for up in London, in
+the very heart of the city, in Cheapside (Wood Street) there was born,
+in April, 1827, a child destined to be a brilliant and wonderful man,
+who was actually to rescue English art from death. Many do not think
+thus, but enough of us do to warrant the statement.
+
+The new artist was Holman Hunt. He was the son of a London
+warehouseman, with no inclination whatever for learning, so that it
+seemed simply a waste of time to send him to school. This continually
+repeated history of artists who seem to know nothing outside their
+brushes and colours, is astonishing, but it is true that artists for
+the most part must be regarded as artists, pure and simple, and not as
+men of even reasonably good intellectual attainments, and more or less
+this accounts for their low estate centuries ago. One does not
+associate "learning" and the artist. When we have such splendid
+examples as Durer and two or three others we discuss their
+intellectuality because they are so unusual.
+
+Holman Hunt was like most of his brother artists in all but his
+art. He hated school and at twelve years of age was taken from it. His
+father wanted him to become a warehouse merchant like himself, and he
+began life as clerk or apprentice to an auctioneer. He next went into
+the employment of some calico-printers of Manchester. The designing of
+calicoes can hardly be called art, even if the department of design
+had fallen to Holman Hunt's lot and we have no evidence that it did,
+but he started to be an artist nevertheless, there in the
+print-shop. He found in his new place another clerk who cared for art;
+and this sympathy encouraged him to fix his mind upon painting more
+than ever. He used to draw such natural flies upon the window panes
+that his employer tried one day to "shoo away a whole colony of flies
+that seemed miraculously to have settled." This gave the clerks much
+amusement, and also attracted attention to Holman Hunt's genius.
+
+His very small salary was spent, not on his support, but in lessons
+from a portrait painter of the city. His parents did not like this,
+but they could not help themselves, and thus this greatest of the
+Pre-Raphaelites began his work.
+
+The Pre-Raphaelites were a little group of men who believed that
+artists were drawing too much on their imaginations, not painting
+things as they saw them, and that the painter had become incapable of
+close observation. He worked in his studio, did not get near enough to
+nature, and instead of trying to follow along this line, this group of
+men, with their new and partly correct ideas, meant to go back further
+than the great masters themselves and present an elemental art. This
+was a part of their scheme and partly it was justified, but of all the
+men who undertook to make a new school, Holman Hunt was the only one
+who remained, and will remain forever, a representative. He alone
+stuck to the original purpose of the group and developed it into a
+truly great school; so that it is he alone we need to know.
+
+After he began to take lessons of the portrait painter in London, he
+developed so quickly that he found by painting portraits three days a
+week, he could pay his own expenses, and the rest of the time he
+devoted to study. He tried to be admitted to the Academy schools twice
+and was twice refused before they would receive him.
+
+It was there in the Academy the three original Pre-Raphaelites met for
+the first time; they were Holman Hunt, Dante Gabriel Rossetti, and
+Millais. After entering the school Hunt painted and sold four
+excellent pictures, but they all seem to have been lost; nobody can
+trace them. He was not yet a "Pre-Raphaelite."
+
+All this time Hunt was half ill because he knew that he was grieving
+his father of whom he was devotedly fond, and the strain of trying to
+work while he was unhappy nearly destroyed him. The pictures that he
+exhibited at the Royal Academy were so poor that the commission
+declared they should not only be removed but that Hunt ought really to
+be forbidden to exhibit any more. This must have been a great blow to
+the young and struggling artist, and to add to this trouble, his
+father was being jeered at for having such a good-for-nothing
+son. Hunt's pictures in the Academy were so much despised that his
+father was told his son was a disgrace to him, and we may be sure that
+did not help the young fellow, who meantime was earning a living, not
+by painting pictures, but by cleaning up those of another man. Dyce,
+who had painted on the walls of Trinity House, engaged him to clean
+and restore those paintings, and Hunt was doing this for his bread and
+butter.
+
+At that time he became so downhearted and discouraged that he almost
+decided to leave England altogether and go to live in Canada away from
+his friends who jeered, and his family who reproached him; but just
+then Millais, one of the successful painters whom he had met in the
+Academy school, who could afford to be generous, came to Hunt's aid
+and gave him the means of living while he painted "The Hireling
+Shepherd." This was destined to be the turning point in Hunt's luck,
+for that painting was properly hung at the exhibition, and it received
+recognition. After that he painted a picture which he sold on the
+installment plan--being paid by the purchaser so much a month.
+
+Meantime he owed his landlady a large sum, and he says himself that he
+"suffered almost unbearable pain at passing her and her husband week
+after week without being able to even talk of annulling his debts." In
+time he not only settled that bill which distressed him, but paid back
+his friend Millais the money loaned by him.
+
+Hunt rarely took a commission, because to do so meant that he must
+paint a picture after the manner his employer wished, and Hunt had
+certain ideas of art in which he believed and therefore would not bind
+himself to depart from them; but after a little success, which enabled
+him to pay his bills, he did undertake a commission from Sir Thomas
+Fairbairn, and it was called "The Awakened Conscience." He finished
+this picture on a January day late in the afternoon, and that very
+night he left England, setting out upon a longed-for journey to the
+Holy Land, where he meant to study the country and people till he
+believed himself able to paint a truthful picture of sacred scenes. He
+refused to paint pictures of Eastern Jews who should look like
+Parisians, with Venetian backgrounds. He meant to paint Oriental
+scenes as nearly as he could, as they might have taken place.
+
+He came back to his English home just two years and one month from the
+time he had left it, and he brought back a picture of the goat upon
+which the Jews loaded their sins and then turned loose in waste-places
+to wander and die. "The Scapegoat" was a great picture, but before he
+left England he had painted a greater--the one we see here--"The Light
+of the World."
+
+He had depended upon the sale of the "Scapegoat" to pay his way for a
+time after his return home, and alas, it did not sell. More than that,
+his beloved father died and this added to his sense of desolation, for
+he had not been sufficiently successful before his death to justify
+himself in his father's eyes. These things so overwhelmed his
+sensitive mind with trouble, that his condition became very serious,
+and if certain good friends had not stood by him loyally, he would
+probably never have painted again.
+
+He began at last another ambitious picture--"Finding of Christ in the
+Temple"--but while he was engaged upon this, he had to paint mere
+pot-boilers also in order to get on at all, and he says that half the
+time the great picture "stood with its face to the wall" while he was
+trying merely to earn bread and butter. The wonderful Louis Blanc
+tried once to plan a way by which all deserving people should have in
+this world equal opportunity to try. This has never been "worked out."
+It never will be, but Holman Hunt reminds us how much the world loses
+by not providing that "equal opportunity." No one deserves more than
+his chance; but such struggles of genius tell us that all is not fair.
+
+Hunt persevered with this Christ in the Temple and when finished he
+sold it for 5,500 guineas--a larger sum than he had ever before been
+given for a painting.
+
+He no sooner received his money for this great picture than off he
+went once more to the Holy Land. He was conscientious in everything he
+did, and never before had an artist painted scenes of Christ that
+carried such a sense of truth with them. The set haloes seen about the
+heads of the saints and of holy people even in Raphael's pictures and
+in those of the very greatest artists of his time, disappeared with
+Holman Hunt's coming. In the "Light of the World," the halo is an
+accident--the great white moon, happening to rise behind the Christ's
+head--and there we have the halo, simple, natural, only suggestive,
+not artificial. Then, too, in the "Shadow of Death," there is a
+menacing shadow of the cross--made upon the wall by Christ's body, as
+he naturally stretches out his arms, after his work in the carpenter
+shop.
+
+There is not one false note that shocks us, or makes us feel that
+after all the story itself is affected and artificial. Everything that
+is symbolical is brought about naturally. They are sincere, truthful
+pictures that speak to the mind as well as to the eye.
+
+Hunt's colouring and many other technical matters are often far from
+perfect, but there is something besides technicality to be considered
+in judging a picture.
+
+For a time, while the three men, Hunt, Rossetti, and Millais, kept
+together, their pictures were signed P. R. B., as a sign of their
+league; but this did not last very long, and afterward Hunt signed his
+pictures independently.
+
+After the "Brotherhood" had worked against the greatest
+discouragements for a long time, and felt nearly hopeless of success,
+John Ruskin, one of the greatest of critics and most fearless of men,
+who was so much respected that his words had great influence, suddenly
+published a defence of these Pre-Raphaelites. He declared that they
+were the greatest artists of the time, and while scorning their
+critics he applauded those three young men, till he turned the tide,
+and everybody began to know what truly brilliant work they were
+doing. Ruskin's words came, Hunt said, "as thunder out of a clear
+sky."
+
+When the "Brotherhood" was formed the three young men thought they
+should have a paper--a periodical of some sort, in which they might
+tell of their purposes and express their ideas; and so Rossetti, who
+wrote as well as painted, proposed that they print such a periodical
+once a month, and call it the _Germ_; and the P. R. B's. were to be
+joint proprietors. Rossetti had first thought of a different title,
+_Thoughts Toward Nature_, and his brother, W. M. Rossetti, who was
+going to take charge of the monthly, thought that expressed the
+Pre-Raphaelites' idea; but it was finally agreed to call it the
+_Germ_. Only two numbers could be published by the Pre-Raphaelites,
+because nobody bought it and the young men's money gave out, but the
+printers came to the rescue, and put up the money to issue two or
+three more _Germs_.
+
+Although that journal failed utterly, its four numbers were worth
+publishing, and are to-day worth reading. They were truly valuable,
+for they contained a story and poem by Dante Gabriel Rossetti, besides
+work of the other P. R. B's.
+
+Above all things Hunt was conscientious in his work, trying with all
+his might to represent things as be believed them to be. When he made
+his "Scapegoat," he went to the shores of the Dead Sea to paint,
+accompanied only by Arab guides, and there he found the desolate, hard
+landscape for his picture. The hardships he experienced were very
+many. The wretched goat he took with him died in the desert of that
+dreary place after it had been no more than sketched in, but back in
+Jerusalem Hunt finished the goat. Ruskin's description of the picture
+helps one to feel all the desolation of the subject: "The salt sand of
+the wilderness of Ziph, where the weary goat is dying. The
+neighbourhood is stagnant and pestiferous, polluted by the decaying
+vegetables brought down by the Jordan in its floods, and the bones of
+the beasts of burden that have died by the way of the sea, lie like
+wrecks upon its edge, bared by the vultures and bleached by the salt
+ooze."
+
+Even the superstitious Arabs would not go near the spot which Hunt
+chose as the scene of his picture, but Hunt endured all things,
+believing it due to his art.
+
+When he painted "Christ in the Temple," he needed Jewish models, and
+it was almost impossible for him to get them. He could not let them
+know what they were to represent, or they would not have sat for him
+at all but he succeeded in painting the "first Semitic presentment of
+the Semitic Scriptures." In Jerusalem the Jews heard that he had come
+"to traffic with the souls of the faithful," and they forbade him to
+have any Jews come into his studio; so that he could not finish the
+picture there. Back in London he had to find his models in the Jewish
+school. He left the figures of Christ and the Virgin till the last and
+then painted them "from a lady of the ancient race, distinguished
+alike for her amiability and beauty, and a lad in one of the Jewish
+schools, to which the husband of the lady furnished a friendly
+introduction."
+
+Thus, step by step, through the greatest difficulties, Holman Hunt
+established a new school of painting--allegory with a modern treatment
+which all could understand.
+
+  PLATE--THE LIGHT OF THE WORLD
+
+This is the most popular picture of a sacred subject, ever painted;
+and John Ruskin's description of it, here quoted, is the best ever
+written or that can be written. "On the left of the picture is seen
+the door of the human soul. It is fast barred, its bars and nails are
+rusty; it is knitted and bound to its stanchions by creeping tendrils
+of ivy, showing that it has never been opened. A bat hovers over it;
+its threshold is overgrown with brambles, nettles and fruitless
+corn.... Christ approaches in the night time, ... he wears the white
+robe, representing the power of the Spirit upon Him; the jewelled robe
+and breastplate, representing the sacredotal investitude; the rayed
+crown of gold, interwoven with the crown of thorns; not dead thorns,
+but now bearing soft leaves, for the healing of the nations.... The
+lantern carried in Christ's left hand is the light of conscience....
+Its fire is red and fierce; it falls only on the closed door, on the
+weeds that encumber it, and on an apple shaken from one of the trees
+of the orchard, thus marking that the entire awakening of the
+conscience is not to one's own guilt alone, but to the guilt of the
+world, or, 'hereditary guilt.'...
+
+"This light is suspended by a chain, wrapt around the wrist of the
+figure, showing that the light which reveals sin to the sinner appears
+also to chain the hand of Christ. The light which proceeds from the
+head of the figure--is that of the hope of salvation; it springs from
+the crown of thorns, and, though itself sad, subdued and full of
+softness, is yet so powerful, that it entirely melts into the glow of
+it the forms of the leaves and boughs which it crosses, showing that
+every earthly object must be hidden by this light, where its sphere
+extends."
+
+If you will study every detail of this reproduction, finding all the
+objects--the apple, the rusty bolts--noting how the full risen moon
+has formed a natural nimbus for the sacred head, and then re-read what
+Ruskin has said, you will discover the rarest truths in Holman Hunt's
+picture. The several pictures which he painted, but which cannot now
+be found are: "Hark!" which was first exhibited in the Royal Academy;
+"Scene from Woodstock," "The Eve of St. Agnes," "Jerusalem by
+Moonlight," "The King of Hearts," "Moonlight at Salerno," "Interior of
+the Mosque of Omar," "The Pathless Water," "Winter," "Afternoon,"
+"Sussex Downs," "Penzance," "The Archipelago," "Will-o'-the-Wisp,"
+"Ivybridge," "The Foal of an Ass," "Road over the Downs," "The Haunt
+of the Gazelle," "'Oh, Pearl,' Quoth I," "Miss Flamborough," "The
+School-girl's Hymn." Portraits: Mr. Martineau; Mr. J. B. Brice. Small
+sketch of the "Scapegoat," "Sunset on the Sea," "Morning Prayer,"
+"Bianca," "Past and Present," and "Dead Mallard."
+
+Should you ever find one of these pictures bearing the initials
+P. R. B. or those of Holman Hunt, you will have made an interesting
+discovery and should make it known to others.
+
+
+
+
+XXIV
+
+GEORGE INNESS
+
+
+  _American_
+  1825-1897
+  _Pupil of Regis Gignoux_
+
+George Inness was destined to keep a grocery store as his father had
+kept one before him, and had grown rich in it. When George was a young
+man he was given a grocery store in Newark, New Jersey, a very small
+store indeed, and it is not surprising that the young man preferred
+art to butter and eggs. The Inness family had just moved from Newburg,
+probably the elder Innes seeking in Newark a good location for his
+son's beginning.
+
+The first art-work Inness did was engraving; as he had been
+apprenticed to that business, but afterward he studied with Gignoux, a
+pupil of Delaroche.
+
+At that time there was what is known as the Hudson River School. Its
+ideas were set and formal, and not very inspiring, aside from the
+subjects treated. Church was then a young man like Inness, and he was
+studying in the Hudson River School, but the young grocer struck out a
+line for himself.
+
+He was forty years old before he got to Paris, but once there, he
+turned to the men at Barbizon--Rousseau, Millet, Corot, and the
+rest--for inspiration, and began to do beautiful things
+indeed. Rousseau became his friend, and the art of Inness grew large
+and rich through such influences.
+
+Inness had inherited much religious feeling from his Scotch ancestors,
+and all his work was conscientious, very carefully done.
+
+When Inness returned from Paris he was not yet well known. He went to
+Montclair, New Jersey, to live and it was there that he did his best
+work. Finally, after he was fifty years old, he became known as a
+truly splendid painter. He loved best to paint quiet scenes of
+morning, evening sunset, and the like. His pictures began to gain
+value, and one that he had sold for three hundred dollars jumped in
+price to ten thousand and more. His work is not equally good, because
+his moods greatly influenced him.
+
+  PLATE--BERKSHIRE HILLS
+
+This picture in the George A. Hearn collection is full of the sense of
+restfulness that the works of this artist always convey. The trees are
+as motionless as the distant hills, and if the oxen are moving at all
+it is but slowly.
+
+Some other Inness paintings are the "Georgia Pines," "Sunset on the
+Passaic," "The Wood Gatherers" and "After a Summer Shower."
+
+
+
+
+XXV
+
+SIR EDWIN HENRY LANDSEER
+
+
+  _English School_
+  1802-1873
+  _Pupil of his father, John Landseer_
+
+It is pleasant to speak of one artist whose good work began in the
+companionship of his father; the case of Edwin Landseer is most
+unusual.
+
+His father was a skilful engraver who loved art, and encouraged the
+cultivation of it in his son, as other fathers of painters encouraged
+them to become priests or haberdashers or bakers, as the case might
+be. Little Landseer's beginning has been described by his father as he
+and a friend stood looking upon one of the scenes of his childhood:
+
+"These two fields were Edwin's first studio. Many a time have I lifted
+him over this very stile. I then lived in Foley Street, and nearly all
+the way between Marylebone and Hampstead was open fields. It was a
+favourite walk with my boys; and one day when I had accompanied them,
+Edwin stopped by this stile to admire some sheep and cows which were
+quietly grazing. At his request I lifted him over, and finding a scrap
+of paper and a pencil in my pocket, I made him sketch the cow. He was
+very young indeed, then--not more than six or seven years old.
+
+"After this we came on several occasions, and as he grew older this
+was one of his favourite spots for sketching. He would start off
+alone, or with John (Thomas?) or Charles, and remain till I fetched
+him in the afternoon. I would then criticise his work, and make him
+correct defects before we left the spot. Sometimes he would sketch in
+one field, sometimes in the other, but generally in the one beyond the
+old oak we see there, as it was more pleasant and sunny."
+
+All the Landseer men were gifted, and the mother was the beautiful
+woman whom Reynolds painted as a gleaner, carrying a bundle of wheat
+upon her head.
+
+There were seven little Landseers, the oldest of them being Thomas,
+the famous engraver, whose reproduction of his brother's works will
+preserve them to us always, even after the originals are gone. The
+first of Edwin's drawings which seemed to his family worthy of
+publishing was a great St. Bernard dog, such a wonderful performance
+for a little fellow of thirteen that Thomas engraved it and
+distributed it all over England. Little Edwin had seen this beautiful
+dog one day in the streets of London in a servant's charge, and he was
+so delighted with its beauty, that he followed the two home and asked
+the dog's owner if he might sketch him. The St. Bernard was six feet
+four inches long "and at the middle of his back, stood two feet seven
+inches in height." A great critic said that this drawing was one of
+the very finest that any master of art had ever made, though it was
+done by a little child of thirteen years and it is also said that
+Landseer himself never did anything better than that little-boy
+work. A live dog who was let into the room with it--as critic,
+maybe--proved to be the most flattering of such, because he bristled
+instantly for a fight.
+
+While the boy was still thirteen--which seems to have been a magic and
+not a tragic number to him--he exhibited pictures in the Royal
+Academy. These were a mule, and a dog with a puppy. In the stories of
+"Famous Artists" we are told that he was a fine, manly little chap
+with light curly hair and very well behaved. When he became a student
+of the Academy the keeper, Fuseli, used to look about among the
+students and cry: "Where is my little dog boy?" if Landseer was not in
+his place. The little chap's favourite dog was his own Brutus, which
+he painted lying at full length; and though the picture was small, it
+sold for seventy guineas. This means an earning capacity indeed, for a
+small boy.
+
+When he was but seven years old he had made pictures of lions and
+tigers, each with a different expression from the other and each with
+a character of its own. Critics spoke specially of the tiger's
+whiskers as "admirable in the rendering of foreshortened curves."
+Tigers' whiskers were thought to be most difficult things to make, but
+in Landseer's pictures, they were as "natural as life." The great
+success of the artist's animal pictures was that he made them seem to
+have human intelligence, and it was also said that if one only saw the
+dog's collar, as Landseer painted it, he would know it to be the work
+of a great artist, that a great dog-picture must be attached to it.
+
+At least one of his pictures had a remarkable history. He had been
+commissioned by the Hon. H. Pierrpont to paint a "white horse in a
+stable." After the painting was ready for delivery it disappeared, and
+for twenty-four years it could not be found. At last it was discovered
+in a hay-loft! It had been stolen by a servant and hidden there. In
+spite of the long years that had passed, Landseer sent it at once to
+the man for whom it had been made, with the message that he had not
+retouched it nor changed it in the least, "because," said he, "I
+thought it better not to mingle the style of my youth with that of my
+old age."
+
+One of Landseer's early advisers had told him he must dissect animals
+to get the proper effects in painting them, as it was necessary for
+him to understand their construction. So, one time, when a famous old
+lion died in the Exeter Exchange menagerie Landseer got its body and
+dissected it, and immediately afterward he painted three great lion
+pictures: "The Lion Disturbed at His Repast," "A Lion Enjoying His
+Repast," and "A Prowling Lion."
+
+Sir Walter Scott became so enchanted with Landseer's pictures that the
+great novelist came to London to take the young artist to his home at
+Abbotsford. "His dogs are the most magnificent things I ever saw,"
+said Scott, "leaping and bounding and grinning all over the canvas."
+
+Landseer lived in the centre of London till he was more than thirty
+years old, and then, looking for more quiet and space he bought a very
+small house and garden at No. 1, St. John's Wood. There was not much
+room in the house but it had a stable attached which made a fine
+studio, and there Landseer lived with a sister of his, for nearly
+fifty years. When he first wished to rent the house, the landlord
+asked him a hundred pounds premium which Landseer felt that he could
+not pay and he was about to give it up, when a friend declared that if
+the matter of money was all that prevented him, he was to rent it
+immediately, and he could repay him as he chose. Landseer then took
+the house, his friend paying down the premium, and Landseer returned
+the money twenty-pounds at a time, till all the debt was paid.
+
+Landseer made this a famous and hospitable house, and it is said that
+more great people gathered under his roof than had ever gathered about
+any other artist with the exception of Sir Joshua Reynolds. That was
+the house in which Landseer's loving old father spent his last days
+and finally died. A story is told of the witty D'Orsay, who would call
+out at the door, when he went to visit the artist: "Landseer, keep de
+dogs off me, I want to come in and some of dem will bite me--and dat
+fellow in de corner is growling furiously."
+
+On one of his several visits to Abbotsford, where he went many times
+after his first invitation, to enjoy Scott's delightful hospitality,
+he painted a famous dog of Sir Walter's called Maida, which died six
+weeks afterward.
+
+There are several such stories about dogs who died rather tragically
+and were also painted by Landseer. The two King Charles spaniels which
+he painted both died soon after sitting to the great painter. They had
+been pets of Mr. Vernon, who commissioned the painting, and the white
+Blenheim spaniel fell from a table and was killed, while the King
+Charles fell through the railings of a staircase and was picked up
+dead. The great bloodhound, Countess, belonging to Mr. Bell who gave
+her picture to the Academy, was watching for her master's return one
+dark night and when she heard the wheels of his carriage, then his
+voice, she leaped from the balcony, but missed her footing and fell
+nearly dead at Mr. Bell's feet. That gentleman loved the dog so much
+that he was distracted, and taking her into his gig, knowing that she
+must die, he raced in to London again that same night, and rousing Sir
+Edwin, begged him to paint the dog before it was too late. Then and
+there was the sketch of the dying animal made.
+
+Sir Edwin Landseer was the most versatile and entertaining of
+artists. He was a wit, and could also perform all sorts of sleight of
+hand tricks, besides being so quick with his pencil that his doings
+seemed miraculous. One evening, during a conversation with many
+friends, someone declared that in point of time Sir Edwin could do a
+record-sketch. One young woman spoke up and said: "There is one thing
+that even he cannot do--he cannot make two different pictures at the
+same time."
+
+"Think not?" cried Sir Edwin. "Let us see!" Gaily taking two pencils,
+he rapidly drew a stag's head with one hand and a horse's head with
+the other.
+
+Landseer became the guest of royalty, a favourite of Queen Victoria,
+whose dog Dash was one of the many famous dogs painted by him. Dash
+was the favourite spaniel of the Duchess of Kent, Victoria's mother;
+and the Queen's biographer says that she too loved him very much. On
+Coronation Day she had been away from him longer than usual, and when
+the great state coach rolled up to the palace steps she could hear
+Dash barking for her in the hall. "Oh," she exclaimed, "there's Dash,"
+and throwing aside the ball and sceptre which she carried, she hurried
+to change her fine robes, in order to wash the dog. This is a very
+homelike and picturesque story, but it is possibly not true. Doubtless
+the little Queen heard the dog bark--and was glad to see him.
+
+At Windsor Landseer painted another royal dog, Islay, the pet terrier
+of Victoria; also Dandie Dinmont, belonging to the Princess Alice;
+then Eos, who was Prince Albert's--King Edward's--dog. All the last
+years of Sir Edwin Landseer' life, the royal family were his devoted
+and comforting friends. The painter suffered much and during his
+visits to Balmoral he wrote to his sister how the Queen used to go
+several times a day to his room, to look after his comfort and to
+inquire about his condition. He wrote:
+
+"The Queen kindly commands me to get well here. She has to-day been
+twice to my room to show additions recently added to her already rich
+collection of photographs. Why, I know not, but since I have been in
+the High lands I have for the first time felt wretchedly weak, without
+appetite. The easterly winds, and now again the unceasing cold rain,
+may possibly account for my condition, but I can't get out. Drawing
+tires me; however, I have done a little better to-day. The doctor
+residing in the castle has taken me in hand, and gives me leave to
+dine to-day with the Queen and the rest of the royal family....
+Flogging would be mild compared with my sufferings. No sleep, fearful
+cramp at night, accompanied by a feeling of faintness and distressful
+feebleness."
+
+When he was well, he was gay and cheerful; and Dickens, Thackeray, and
+many other noted men were his friends. We are told that above all
+things. Sir Edwin was a great mimic and that one night at dinner he
+threw everybody into fits of laughter by imitating his friend the
+sculptor Sir Francis Chantry. It was at the sculptor's table, where a
+large party was assembled. Chantry called Sir Edwin's attention, when
+the cloth was removed, to the reflection of light in the highly
+polished table.
+
+"Come here and sit in my place," said Chantry, "and see the
+perspective you can get." Then he went and stood by the fire, while
+Landseer sat in his place. Seated then in Chantry's chair, Landseer
+called out in perfect imitation of his host: "Come, young man, you
+think yourself ornamental; now make yourself useful, and ring the
+bell." Chantry did so, and when the butler came in he was confused and
+amazed to hear his master's voice from where Landseer sat in Chantry's
+place at the table. The voice of his master from the head of the table
+ordered claret, while his master really stood before the fire with his
+hands under his coat-tails.
+
+We are told that Landseer stood his pictures on their heads, or upon
+one corner or looked at them from between his legs, any way, every
+way, to get a complete view of them from all quarters. He went to bed
+very late and got up very late, but in the mornings, while lying in
+bed he mostly thought out the subjects of his pictures.
+
+He was not much of a sportsman, preferring to paint animals rather
+than to kill them, and one day when hunting, he saw a fine stag before
+him. Instead of firing at it, he thrust his gun into a gillie's hands,
+crying: "Hold that! hold that!" and whipping out his pencil and pad he
+began to sketch the stag. Whereupon the gillies were disgusted that he
+should miss so fine a shot, and they said something to each other in
+Gaelic, which Sir Edwin must have understood, for he became very
+angry.
+
+"It was a pity," wrote one who knew all his qualities, "that Landseer,
+who might have done so much for the good of the animal kind, never
+wrote on the subject of their treatment. He had a strong feeling
+against the way some dogs are tied up, only allowed their freedom now
+and then. He used to say a man would fare better tied up than a dog,
+because the former can take his coat off, but a dog lives in his
+forever. He declared a tied-up dog, without daily exercise, goes mad,
+or dies, in three years."
+
+He had a wonderful power over dogs, and he told one lady it was
+because he had "peeped into their hearts." A great mastiff rushed
+delightedly upon him one day and someone remarked how the dog loved
+him. "I never saw the dog before in my life," the artist said.
+
+While teaching some horses tricks for Astley's, he showed his friends
+some sugar in his hand and said: "Here is my whip." His studio was
+full of pets, and one dog used as a model used to bring the master's
+hat and lay it at his feet when he got tired of posing.
+
+This charming man suffered a great deal before his death, and had
+dreadful fits of depression. During one of these he wrote: "I have got
+trouble enough; ten or twelve pictures about which I am tortured, and
+a large national monument to complete." That monument was the one in
+Trafalgar Square, for which he designed the lions at the base. "If I
+am bothered about anything and everything, no matter what, I know my
+head will not stand it much longer." Later he wrote: "My health (or
+rather condition), is a mystery beyond human intelligence. I sleep
+seven hours, and awake tired and jaded, and do not rally till after
+luncheon. J. L. came down yesterday and did her best to cheer me... I
+return to my own home in spite of kind invitations from Mr. and
+Mrs. Gladstone to meet Princess Louise at breakfast." Of the many
+anecdotes told of this great man, his introduction to the King of
+Portugal furnishes the most amusing. "I am delighted to make your
+acquaintance," the King said, "I am so fond of beasts."
+
+Before he died he had made a large fortune from his work, and during
+his illness he was tended most lovingly by his friends and sister. One
+day, walking in his garden, much depressed, he said sadly: "I shall
+never see the green leaves again," but he did live through other
+seasons. He wished to die in his studio, and at one time when he was
+much distracted the Queen wrote him not to fear, but to trust those
+who were doing all they could for him, that her confidence in his
+physicians and nurses was complete. At last with brother, sister,
+friends and fortune about him the great animal painter died, and on
+October 11, 1873, and was buried with great honours in St. Paul's
+Cathedral.
+
+  PLATE--THE OLD SHEPHERD'S CHIEF MOURNER
+
+Of all the dogs Landseer loved to paint, the sheep collie has the most
+character; and here he shows us one expressing in every line of his
+face and form the most profound grief. The Glengarry bonnet on the
+floor beside the shepherd's staff, the spectacles lying on the Bible,
+the ram's horn, the vacant chair, the black and white shawl known as a
+"Shepherd's plaid"--all these things have failed to comfort this
+humble follower. We can imagine him, not bounding ahead with a joyous
+bark, but walking staidly behind the coffin when it is borne away and
+laying himself down upon his master's grave, perhaps to die of
+starvation, as some of his kind have been known to do. The painting is
+one of the Sheepshanks Collection in the South Kensington Museum.
+
+Among Landseer's other famous dog pictures are "Low Life and High
+Life," "Dignity and Impudence" and "The Sleeping Bloodhound," all in
+the National Gallery.
+
+
+
+
+XXVI
+
+CLAUDE LORRAIN (GELLEE)
+
+
+  _Classical French School_
+  1600-1689
+  _Pupil of Godfrey Wals_
+
+Of all the contrasts between the early and later lives of great
+artists, Claude Lorrain gives us the most complete.
+
+He was born to make pastry. His family may have been all pastry cooks,
+because people of Lorrain were famous for that work; anyway as a
+little chap he was apprenticed to one. His parents were poor, lived in
+the Duchy of Lorrain and from that political division the Artist was
+named.
+
+The town in which he was born was Chamagne, and his real name was
+Gellee. As a pastry cook's apprentice he served his time, and then,
+without any thought of becoming anything else in the world, he set off
+with several other pastry cooks to go to Rome, where their talents
+were to be well rewarded.
+
+But how strangely things fall out! In Rome he was engaged to make
+tarts for Agostine Tassi, a landscape painter. His work was not simply
+to furnish his master with desserts, but to do general housekeeping,
+and it fell to his lot to clean Tassi's paint brushes. So far as we
+know, this was the first introduction of Claude Lorrain to art other
+than culinary.
+
+From cleaning brushes it was but a step to trying to use them upon
+canvas, and Tassi being a good-natured man, began to give Lorrain
+instruction, till the pastry cook became his master's assistant in the
+studio. This led to a larger and larger life for the young Frenchman,
+and he copied great masters, did original things, and finally in his
+twenty-fifth year returned to France a full-fledged artist. He
+remained there two years, and then went back to Italy, where he lived
+till he died. The visit to France turned out fortunately because on
+his way back he fell in with one of the original twelve members of the
+French Academy, Charles Errard, who became the first director of the
+Academy in Rome. A warm friendship sprang up between the men, and
+Errard was very helpful to the young artist.
+
+Nevertheless, Lorrain did not gain much fame till about his fortieth
+year, when he was noticed by Cardinal Bentivoglio, and was given
+certain commissions by him. He grew in Bentivoglio's favour so much
+that the Cardinal introduced him to the pope. The Catholic Church set
+the fashions in art, politics, and history of all sorts at that time,
+so that Lorrain could not have had better luck than to become its
+favourite. The pope was Urban VIII., whose main business was to hold
+the power of the Church and make it stronger if he could, so that he
+was continually building fortresses and other fortifications, and he
+had use for artists and decorators. Lorrain's fame outlasted the life
+of Urban VIII., and he became a favourite in turn with each of the
+three succeeding popes. All this time he was doing fine work in Italy
+and for Italy, besides receiving orders for pictures from France,
+Holland, Germany, Spain, and England, for his fame had reached
+throughout the world.
+
+Besides leaving many paintings behind him when he died, he left half a
+hundred etchings; also a more precise record of his work than most
+artists have left. He executed two hundred sketches in pen or pencil,
+washed in with brown or India ink, the high lights being brought out
+with touches of white. On the backs of them the artist noted the date
+on which the sketch was developed into a picture, and for whom the
+latter was intended. The story is that his popularity produced many
+imitators, and that he adopted this means to establish the identity of
+his own work and distinguish it from the many copies made.
+
+These sketches were collected in a volume by Lorrain and called "Liber
+Veritatis," and for more than a hundred years the Dukes of Westminster
+have owned this.
+
+  PLATE--ACIS AND GALATEA
+
+This picture in the Dresden Gallery is a scene from the mythical story
+of a goddess who fell in love with the youthful son of a faun and a
+naiad. Thus she excited the jealous fury of the cyclops, Polythemus,
+who is seen in the picture herding his flock of sheep upon the high
+cliff at the right. Soon he will rise and hurl a rock upon Acis,
+crushing the life out of him, so that there will be nothing left for
+Galatea to do but to turn him into the River Acis, but meanwhile the
+lovers are unconscious and happy. Venus is reposing near them on the
+waves and Cupid is closer still, while the sea in the background seems
+to be stirred with a fresh morning breeze.
+
+Some of the famous Lorrains in the Louvre are: "Seaport at Sunset,"
+"Cleopatra Landing at Tarsus," and "The Village Festival."
+
+
+
+
+XXVII
+
+MASACCIO (TOMMASO GUIDI)
+
+
+  (Pronounced Tome-mah'so Mah'sahch'cheeo)
+  _Florentine School_
+  1401-1428
+  _Pupil of Ghibertio, Donatello, and Brunellesco_
+
+This artist, who lived and died within the century that witnessed the
+discovery of America, was famous for more than his painting. He was
+the original inventor who first learned and taught the mixing of
+colours with oils, thus making the peculiar "distemper" unnecessary.
+
+The story of Italian artists includes a history of their names, for
+the Italians seem to have had most remarkable reasons for naming
+children. For example, this artist, Masaccio, was born on St. Thomas's
+day, hence, his name of Tommaso. Presently, for short, or for love, he
+was called Maso, and to cap all, being a careless lad, his friends
+added the derogatory "accio," and there we have the artist completely
+named. He owed nothing of this to his father, who was plain, or
+ornamentally, Ser Giovanni di Simone Guidi, of Castello San Giovanni,
+in the Valdamo.
+
+As a very little boy, it was plain to be seen that slovenly Thomas was
+going to be a great artist, and no time was lost in putting him to
+work with the best of masters.
+
+He was a veritable inventive genius. Until his time difficulties in
+drawing had been overcome mostly by ignoring them. Since no artist had
+been able to draw a foreshortened foot, it had been the fashion in art
+to paint people standing upon their tiptoes, to make it possible for
+an artist to paint the foot. The enterprising Thomas came along and he
+decided that feet must be painted both flat and crossed, on tiptoe or
+otherwise; in short he did not mean to lose by a foot.
+
+He worked at this problem day and night, till at last the naturally
+poised foot came into existence for the artist. Never after Masaccio's
+time did an artist paint the foot stretched upon the toes. Moreover,
+until his time flesh had never been painted of a remotely natural
+colour, so Masaccio set about combining colours till he made one that
+had the tint of real flesh. Thus he was the first to overcome the
+difficulties of drawing and the first to discover a mixture that would
+not leave a glazed, hard, unnatural appearance and be likely to crack
+and destroy the finest effort of an artist.
+
+He worked during his youth in Pisa, where the "leaning tower" stands;
+then he worked in Florence, finally in Rome, but those early pictures
+are long since gone. It was a century of adventure and discovery as
+well as of art, and with so much change, so many wars and rumours of
+wars, many great art works were lost. Besides, the horrible plague
+swept Italy east, west, north, and south. Who was to concern himself
+with saving works of art, when human life was going out wholesale all
+over the land?
+
+Masaccio was certainly very poor most of his life. He lived with his
+mother and his brother Giovanni, an artist like himself, but not
+nearly so brilliant. Masaccio could not spend his life in painting but
+had to eke out the family fortunes by keeping a little shop near the
+old Badia, and being pestered day and night by his creditors he was
+forced again and again to go to the pawn shop.
+
+Somewhere about 1422, careless Thomas painted his greatest picture
+which was doomed to destruction too early for us to know much about
+it; but it was named "San Paolo" and it was painted in the bell-room
+of the Church of the Carmine in Florence. The figure for his model was
+an illustrious personage, Bartoli d'Angiolini, who had held many
+honourable offices in Florence for many years. A critic and friend of
+artists tells us that the portrait was so great it lacked only the
+power of speech.
+
+In this picture Masaccio made his first great triumph in the
+foreshortening of feet.
+
+He undertook to celebrate the consecration Of the Church of the
+Carmine, and for this he made many frescoes, among which was a correct
+painting of the procession as it entered from the cloisters of the
+church. "Among the citizens who followed in its wake, portraits are
+introduced of Brunellesco, Donatello, Masolino, Felice Brancacci (the
+founder of the chapel) Giovanni di Bicci de' Medici, and others,
+including the porter of the convent with the key of the door in his
+hand."
+
+This work was thought to be very wonderful because the figures grew
+smaller in the distance, thereby giving "perspective" for the first
+time. Imagine how crude a thing was painting in the day of careless
+Thomas.
+
+That fresco is long since gone, but drawings of it still exist which
+tell us something of the people of Christopher Columbus's
+day--previous to their appearance, and their conditions.
+
+After Masaccio had finished the procession he went back to his
+painting of the chapel and in the end covered three of its four walls
+with his works. Many of those paintings are scenes from the life of
+St. Peter, and several were worked at by other artists than Masaccio.
+
+Masaccio was greater than Raphael, greater than Michael Angelo in so
+far as he pointed the way that they were to go, having solved for them
+all the problems that had kept artists from being great before
+him. Sir Joshua Reynolds says that "he appeared to be the first who
+discovered the path that leads to every excellence to which the art
+afterward arrived; and may therefore be justly considered one of the
+great fathers of modern art."
+
+The artist lived but a little time, and was most likely
+poisoned. Nobody knows, but it is said that other painters were so
+wildly jealous of his original genius that they wished him out of the
+way, and his death was at least mysterious. He drew very rapidly and
+let the details go, caring only to represent motion and
+action. Because he painted so many portraits into his pictures there
+was great life and animation in them, and people said of him that he
+painted not only the body but the soul.
+
+  PLATE--ARTIST'S PORTRAIT [Footnote: Many artists have left us
+  portraits of themselves, painted, no doubt, with the aid of a
+  mirror, in a group or alone. This one of Masaccio in the Naples
+  Museum, shows him to have been a picturesque model.]
+
+Some of his known pictures are the frescoes in the church of
+St. Clemente in Rome; the frescoes in the Brancacci Chapel in the
+Church of the Carmine, "St. Peter Baptising" and the "Madonna and
+Child, with St. Anne," which is in the Accademia at Florence.
+
+
+
+
+XXVIII
+
+JEAN LOUIS ERNEST MEISSONIER
+
+
+  (Pronounced May-sohn-yay)
+  _French School_
+  1815-1891
+  _Pupil of Leon Cogniet_
+
+This artist was born at Lyons. His father was a salesman and an
+art-training seemed impossible for the young man because the
+Meissoniers were poor people. Nevertheless, he was so persevering that
+while still a young man he got to Paris and began to paint in the
+Louvre. He was but nineteen at that time, and his fate seemed so hard
+and bitter that later in life he refused to talk of those days.
+
+He sat for many days in the Louvre, by Daubigny's side, painting
+pictures for which we are told he received a dollar a yard. We can
+think of nothing more discouraging to a genius than having to paint by
+the yard. It is said that his poverty permitted him to sleep only
+every other night, because he must work unceasingly, and someone
+declares that he lived at one time on ten cents a week. This is a
+frightful picture of poverty and distress.
+
+Meissonier's first paying enterprise was the painting of bon-bon boxes
+and the decorating of fans, and he tried to sell illustrations for
+children's stories, but for these he found no market. A brilliant
+compiler of Meissonier's life has written that "his first
+illustrations in some unknown journal were scenes from the life of
+'The Old Bachelor.' In the first picture he is represented making his
+toilet before the mirror, his wig spread out on the table; in the
+second, dining with two friends; in the third, on his death-bed,
+surrounded by greedy relations and in the fifth, the servants
+ransacking the death chamber for the property." This was very likely a
+vision of his own possible fate, for Meissonier must have been at that
+time a lonely and unhappy man.
+
+There are many stories of his first exhibited work, which Caffin
+declares was the "Visit to the Burgomaster," but Mrs. Bolton, who is
+almost always correct in her statements, tells us that it was called
+"The Visitor," and that it sold for twenty dollars. At the end of a
+six years struggle in Paris, his pictures were selling for no more.
+
+Until this artist's time people had been used only to great canvases,
+and had grown to look for fine work, only in much space, but here was
+an artist who could paint exquisitely a whole interior on a space said
+to be no "larger than his thumb nail." His work was called
+"microscopic," which meant that he gave great attention to details,
+painting very slowly.
+
+During the Italian war of 1859, and in the German war of 1870, this
+wonderful artist was on the staff of Napoleon III. During the siege of
+Paris he held the rank of colonel, and he lost no chance to learn
+details of battles which he might use later, in making great
+pictures. Thus he gained the knowledge and inspiration to paint his
+picture "Friedland," which was bought by A. T. Stewart and is now in
+the Metropolitan Museum. He, himself, wrote of that picture: "I did
+not intend to paint a battle--I wanted to paint Napoleon at the zenith
+of his glory; I wanted to paint the love, the adoration of the
+soldiers for the great captain in whom they had faith, and for whom
+they were ready to die.... It seemed to me I did not have colours
+sufficiently dazzling. No shade should be on the imperial face.... The
+battle already commenced, was necessary to add to the enthusiasm of
+the soldiers, and make the subject stand forth, but not to diminish it
+by saddening details. All such shadows I have avoided, and presented
+nothing but a dismounted cannon, and some growing wheat which should
+never ripen.
+
+"This was enough.
+
+"The men and the Emperor are in the presence of each other. The
+soldiers cry to him that they are his, and the impressive chief, whose
+imperial will directs the masses that move around, salutes his devoted
+army. He and they plainly comprehend each other and absolute
+confidence is expressed in every face."
+
+This great work was sold at auction for $66,000 and given to the
+Metropolitan Museum.
+
+It is said that when he painted the "Retreat from Russia," Meissonier
+obtained the coat which Napoleon had worn at the time, and had it
+copied, "crease for crease and button for button." He painted the
+picture mostly out of doors in midwinter when the ground was covered
+with snow, and he writes: "Sometimes I sat at my easel for five or six
+hours together, endeavouring to seize the exact aspect of the winter
+atmosphere. My servant placed a hot foot-stove under my feet, which he
+renewed from time to time, but I used to get half-frozen and terribly
+tired."
+
+So attentive was he to truthfulness in detail that he had a wooden
+horse made in imitation of the white charger of the Emperor; and
+seating himself on this, he studied his own figure in a mirror.
+
+At last this conscientious man was made an officer of the Legion of
+Honour, having already become President of the Academy. Edmund About
+writes that "to cover M. Meissonier's pictures with gold pieces simply
+would be to buy them for nothing; and the practice has now been
+established of covering them with bank-notes."
+
+Meissonier seldom painted the figure of a woman in his pictures, but
+all of his subjects were wholesome and fine.
+
+One time an admirer said to him "I envy you; you can afford to own as
+many Meissonier pictures as you please!"
+
+"Oh no, I can't," the distinguished artist replied. "That would ruin
+me. They are a good deal too dear for me."
+
+In his maturity he became very rich, and his homes were dreams of
+beauty, filled with rare possessions such as bridles of black leather
+once owned by Murat, rare silver designed by the artist himself, great
+pictures, and flowers of the rarest description besides valuable dogs
+and horses. Yet it was said that "this man who lives in a palace is as
+moderate as a soldier on the march. This artist, whose canvases are
+valued by the half-million, is as generous as a nabob. He will give to
+a charity sale a picture worth the price of a house. Praised as he is
+by all he has less conceit in his nature than a wholesale painter."
+
+On the 31st of January in his country house at Poissy, this great man,
+whose life reads like a romance, died, after a short illness. His
+funeral services were held in the Madeleine, and he was buried at
+Poissy, near Versailles, a great military procession following him to
+the grave.
+
+  PLATE--RETREAT FROM MOSCOW
+
+In the painting of this picture we have already told how every detail
+was mastered by actual experience of most of them. Meissonier made
+dozens of studies for it--"a horse's head, an uplifted leg, cuirasses,
+helmets, models of horses in red wax, etc. He also prepared a
+miniature landscape, strewn with white powder resembling snow, with
+models of heavy wheels running through it, that he might study the
+furrow made in that terrible march home from burning Moscow. All this
+work--hard, patient, exacting work."
+
+Some of his other pictures are "The Emperor at Solferino," "Moreau and
+His Staff before Hohenlinden," "A Reading at Diderot's" and the "Chess
+Players."
+
+
+
+
+XXIX
+
+JEAN FRANCOIS MILLET
+
+
+  _Fontainebleau-Barbizon School_
+  1814-1875
+  _Pupil of Delaroche_
+
+Two great artists painted peasants and little else. One was the artist
+of whom we shall speak, and the other was Jules Breton. One was
+realistic, the other idealistic. Both did wonderful work, but Millet
+painted the peasant, worn, patient steadfast, overwhelmed with toil;
+Breton, a peasant full of energy, grace, vitality, and joy.
+
+Millet painted peasants as he knew them, and hardly any one could have
+known them better, for he was himself peasant-born. His youth was
+hard, and the scenes of his childhood were such as in after life he
+became famous by painting. Millet lived in the department of Manche,
+in the village of Gruchy, near Cherbourg. Manche juts into the sea, at
+the English Channel, and whichever way Millet looked he must have seen
+the sea. His old grandmother looked after the household affairs, while
+his father and mother worked in the fields and Millet must have seen
+them hundreds of times, standing at evening, with bowed heads,
+listening to the Angelus bell. He toiled, too, as did other lads in
+his position. His grandmother was a religious old woman, and nearly
+all the pictures he ever saw in his boyhood were those in the Bible,
+which he copied again and again, drawing them upon the stone walls in
+white chalk.
+
+The old grandmother watched him, never doubting that her boy would
+become an artist. It was she who had named him--Francois, after her
+favourite saint, Francis, and it was she, who, beside the evening
+fire, would tell him legends of St. Francis. It was she alone who had
+time and strength left, after the day's work, to teach him the little
+he learned as a boy and to fix in his mind pictures of home. His
+father and mother were worn, like pack-horses, after their day in the
+fields. The mother very likely had to hitch herself up with the
+donkey, or the big dog, after the fashion of these people, as she
+helped draw loads about the field. Who can look for Breton's ideal
+stage peasants from Millet who knew the truth as he saw it every day?
+
+Many years after his life in the Gruchy home, Millet painted the
+portrait of the grandmother whom he had loved so much that he cried
+out: "I wish to paint her soul!" No one could desire a better reward
+than such a tribute.
+
+Millet had an uncle who was a priest and he did what he could to give
+the boy a start in learning. He taught him to read Virgil and the
+Latin Testament; and all his life those two books were Millet's
+favourites. Besides drawing pictures on the walls of his home, he drew
+them on his sabots. Pity some one did not preserve those old wooden
+shoes! He did his share of the farm work, doing his drawing on rainy
+days.
+
+When he was about eighteen years old, coming from mass one day, he was
+impressed with the figure of an old man going along the road, and
+taking some charcoal from his pocket he drew the picture of him on a
+stone wall. The villagers passing, at once knew the likeness; they
+were pleased and told Millet so. Old Millet, the father, also was
+delighted for he, too, had wished to be an artist, but fate had been
+against him. Seeing the wonderful things his son could do, he decided
+that he should become what he himself had wished to be, and that he
+should go to Cherbourg to study.
+
+Francois set off with his father, carrying a lot of sketches to show,
+and upon telling the master in Cherbourg what he wanted and showing
+the sketches, he was encouraged to stay and begin study in earnest. So
+back the old father went, with the news to the mother and grandmother
+and the priest uncle, that Francois had begun his career. He stayed in
+Cherbourg studying till his father died, when he thought it right to
+go home and do the work his father had always done. He returned, but
+the women-folk would not agree to him staying. "You go back at once,"
+said the grandmother, "and stick to your art. We shall manage the
+farm." She sewed up in his belt all the money she had saved, and
+started him off again, for he had then been studying only two
+months. Now he remained till he was twenty-three, a fine, strapping,
+broad-shouldered country fellow. He had long fair hair and piercing
+dark blue eyes. All the time he was with Delaroche he was dissatisfied
+with his work--and with his master's, which seemed to Millet
+artificial, untrue. He knew nothing of the classical figures the
+master painted and wished him to paint, for his heart and mind were
+back in Gruchy among the scenes that bore a meaning for him. He wished
+to study elsewhere, and by this time he had done so well that one of
+the artists with whom he had studied went to the mayor of Millet's
+home town, and begged him to furnish through the town-council money
+enough to send Millet to Paris. This was done, and Millet began to
+hope.
+
+He was very shy and afraid of seeming awkward and out of place. The
+night he got to Paris was snowy, full of confusion and strange things
+to him, and an awful loneliness overwhelmed him. The next morning he
+set out to find the Louvre, but would not ask his way for fear of
+seeming absurd to some one, so that he rambled about alone, looking
+for the great gallery till he found it unaided. He spent most of the
+days that followed gazing in ecstasy at the pictures.
+
+He liked Angelo, Titian, and Rubens best. He had come to Paris to
+enter a studio, but he put off his entrance from day to day, for his
+shyness was painful and he feared above all things to be laughed at by
+city students. At last one day, he got up enough courage to apply to
+Delaroche, whose studio he had decided to enter if he could, as he
+liked his work best. The students in that studio were full of
+curiosity about the new chap, with his peasant air, his bushy hair and
+great frame, so sturdy and awkward. They at once nicknamed him "the
+man of the woods," and they nagged at him and laughed at the idea that
+he could learn to paint, till one day, exasperated nearly to death, he
+shook his fist at them. From that moment he heard no more from them,
+for they were certain that if he could not paint he could use his
+fists a good deal better than any of them. Delaroche liked the peasant
+but did not understand him very well, and Millet was not too fond of
+his painting, so after two years he and a friend withdrew from that
+studio and set up one for themselves. Thus eight years passed, the
+friends living from hand to mouth, doing all sorts of things:
+sign-painting, advertisements, and the like; and Millet, in the midst
+of his poverty, got married.
+
+He went home, returning to Paris with his wife, and after starving
+regularly, he became desperate enough to paint a single picture as he
+wished. It seemed at the time the maddest kind of thing to do. Who
+would see ugly, toil-worn peasants upon his _salon_ walls? Paris
+wanted dainty, aesthetic art, and an Academy artist would have scoffed
+at the idea; but the Millets were starving anyway, so why not starve
+doing at least what one chose. So Millet painted his first wonderful
+peasant picture "The Winnower," and just as the family were starving
+he sold it--for $100. He had done at last the right thing, in doing as
+he pleased. This was a sign to him that there was after all a place
+for truth and emotion in art. But the Millets must change their place
+of living, and go to some place where the money made would not at once
+be eaten up. Jacque--the friend with whom Millet had set up shop, and
+who also became famous, later--advised them to go to a little place he
+knew about, which had a name ending in "zon." It was near the forest
+of Fontainebleau, he said and they could live there very cheaply, and
+it was quiet and decent. The Millets got into a rumbling old cart and
+started in search of the place which ended in "zon" near the forest of
+Fontainebleau. Jacque had also decided to take his family there and
+they all went together. When they got to Fontainebleau they got down
+from the car and went a-foot through the forest.
+
+They arrived tired and hungry toward evening, and went to Ganne's Inn,
+where there were Rousseau, Diaz, and other artists who like themselves
+had come in search of a nice, clean, picturesque place in which to
+starve, if they had to. Those who were just sitting down to supper
+welcomed the newcomers, for they had been there long enough to form a
+colony and fraternity ways. One of these was to take a certain great
+pipe from the wall, and ask the newcomer to smoke; and according to
+the way he blew his "rings" he was pronounced a "colourist" or
+"classicist." The two friends blew the smoke, and at once the other
+artists were able to place Jacque. He was a colourist; but what were
+they to say about Millet who blew rings after his own fashion.
+
+"Oh, well!" he cried. "Don't trouble about it. Just put me down in a
+class of my own!"
+
+"A good answer!" Diaz answered. "And he looks strong and big enough to
+hold his own in it!" Thus the newcomers took their places in the life
+of Barbizon--the place whose name ended in "zon," and Millet's real
+work began. His first wife lived only two years, but he married
+again. All this time he was following his conscience in the matter of
+his work, and selling almost nothing. In a letter to a friend he tells
+how dreadfully poor they are, although his new wife was the most
+devoted helpful woman imaginable, known far and near as "Mere Millet."
+The artist wrote to Sensier, his friend, who aided him: "I have
+received the hundred francs. They came just at the right time. Neither
+my wife nor I had tasted food in twenty-four hours. It is a blessing
+that the little ones, at any rate, have not been in want."
+
+The revolution of 1848 had come before Millet went to Barbizon, and he
+like other men had to go to war. Then the cholera appeared, and these
+things interrupted his work; and after such troubles people did not
+begin buying pictures at once. Rousseau was famous now, but Millet
+lived by the hardest toil until one day he sold the "Woodcutter" to
+Rousseau himself, for four hundred francs. Rousseau had been very
+poor, and it grieved him to see the trials and want of his friend, so
+he pretended that he was buying the picture for an American. That
+picture was later sold at the Hartmann sale for 133,000 francs. Millet
+was now forty years old, and had not yet been recognised as a
+wonderful man by any but his brother artists. He was truly "in a class
+of his own." He had learned to love Barbizon, and cried: "Better a
+thatched cottage here than a palace in Paris!" and we have the picture
+in our minds of Millet followed patiently and lovingly by "Mere
+Millet" in the peasant dress which she always wore, that she might be
+ready at a moment's notice to pose for his figures. Then there were
+his little children and his sunny, simple, fraternal surroundings,
+which make his life the most picturesque of all artists.
+
+His paintings had the simplest stories with seldom more than two or
+three figures in them. It was said that he needed only a field and a
+peasant to make a great picture. When he painted the "Man with the
+Hoe," he did it so truthfully, in a way to make the story so well
+understood by all who looked upon it, that he was called a
+socialist. No one was so much surprised as Millet by that name. "I
+never dreamed of being a leader in any cause," he said. "I am a
+peasant--only a peasant."
+
+Of his picture "The Reaper" a critic wrote, "He might have reaped the
+whole earth." All his pictures were sermons, he called them "epics of
+the fields." He pretended to nothing except to present things just as
+they were, as he writes in a letter to a friend about "The Water
+Carrier:"
+
+In the woman coming from drawing water I have endeavoured that she
+shall be neither a water-carrier nor a servant, but the woman who has
+just drawn water for the house, the water for her husband's and her
+children's soup; that she shall seem to be carrying neither more nor
+less than the weight of the full buckets; that beneath the sort of
+grimace which is natural on account of the strain on her arms, and the
+blinking of her eyes caused by the light, one may see a look of rustic
+kindliness on her face. I have always shunned with a kind of horror
+everything approaching the sentimental. I have desired on the other
+hand, that this woman should perform simply and good-naturedly,
+without regarding it as irksome, an act which, like her other
+household duties, is one she is accustomed to perform every day of her
+life. Also I wanted to make people imagine the freshness of the
+fountain, and that its antiquated appearance should make it clear that
+many before her had come to draw water from it.
+
+At forty he was in about the same condition as he had been on that
+evening ten or twelve years before, when he had entered Barbizon
+carrying his two little daughters upon his shoulders, his wife
+following with the servant and a basket of food, to settle themselves
+down to hardship made sweet by kind comradeship and hope. Now a change
+came. Millet painted "The Angelus." He was dreadfully poor at that
+time and sold the picture cheaply, but it laid the foundation of his
+fame and fortune. He had worked upon the canvas till he said he could
+hear the sound of the bell. Although its first purchaser paid very
+little for it, it has since been sold for one hundred and fifty
+thousand dollars.
+
+At last, having struggled through his worst days, without recognition,
+and with nine little children to feed and clothe, he was given the
+white cross of the Legion of Honour; and as if to make up for the days
+of his starvation, he was nearly feasted to death in Paris. He was
+placed upon the hanging committee of the _Salon_, and took a dignified
+place among artists. He and Mere Millet travelled a little, but always
+he returned to Barbizon, till the war came and he had to move to
+Normandy to work. Afterward he returned to Barbizon, to the scenes and
+the old friends he loved so well, and there he died. He had come back
+ill and tired with the long struggle, and he instructed his friends to
+give him a simple funeral. This was done. They carried his coffin,
+while his wife and children walked beside him to the cemetery, and he
+was buried near the little church of Chailly, whose spire is seen in
+"The Angelas," and where Rousseau, whom he loved, had already been
+laid.
+
+There in Barbizon, to-day, may be seen Rousseau's cottage and Millet's
+studio. "The peasants sow and reap and glean as in the days of Millet;
+Troyon's oxen and sheep are still standing in the meadow; Jacque's
+poultry are feeding in the barnyard. The leaves on Rousseau's grand
+old trees are trembling in the forest; Corot's misty morning is as
+fresh and soft as ever; while Diaz's ruddy sunsets still penetrate the
+branches; and the peasant pauses daily as the Angelus from the Chailly
+church calls him to silent prayer."
+
+  PLATE--THE ANGELUS
+
+In "The Angelus" you may see far-off the spire of the church at
+Chailly, from which the bell sounds. The day's work is drawing to a
+close. The peasant man and woman have been digging potatoes--the man
+uncovering them, while his wife has been putting them in the
+basket. As the Angelus floats across the fields, the two pause and bow
+their heads in prayer. The man has dropped his fork and uncovered his
+head, and his wife has clasped her hands devoutly before her.
+
+All the air seems still and full of tender sound and colour, and we,
+like Millet, seem "to hear the bell." This is the only picture he
+painted which is full of the sentimentality he so much disliked. It is
+a great picture, but we need to know the title in order to interpret
+it.
+
+Besides this one, Millet painted "The Gleaners," "The Woodcutters,"
+"The Sower," "The Man with the Hoe;" "The Water Carrier," "The
+Reaper," and many other stories of the peasant poor.
+
+
+
+
+XXX
+
+CLAUDE MONET
+
+
+  (_Pronounced Claude Mo-nay_)
+  _Impressionist School of France_
+  1840--
+
+Another--Manet--was the founder of this school among modern painters,
+but Monet is always considered his most conspicuous follower.
+
+Monet's remarkable method of putting his colours upon canvas does not
+mean impressionism. He is an impressionist but also _Monet_--an artist
+with a method entirely different from that of any other. He belongs to
+what in France is called the _pointillistes_. The word means nothing
+more nor less than an effort to accomplish the impossible. If you
+stand a little way from a very hot stove you may be able to see a kind
+of movement in the air, a quivering of particles or molecular motion,
+and this is what the _pointillistes_ try to show in their
+paintings--Monet most of all.
+
+The theory is that by putting little dabs of primitive colours, close
+together upon canvas, without mixing them, just separate dabs of red,
+yellow, blue, etc., the effect of movement is produced. Needless to
+say, none of them ever have produced such an effect, but they have
+made such grotesque, ugly pictures that they have attracted attention
+even as a humpbacked person does.
+
+The first who painted thus was a Frenchman named Seurat, who tried it
+after closely studying experiments made in light and colour by
+Professor Rood, of Columbia University. After him came Pissarro, and
+then Monet. America also has such a painter, Childe Hassam, but nobody
+is so grotesque as Monet.
+
+He was born in Paris but spent most of his youth in Havre, where he
+met a painter of harbours and shipping scenes called Boudin. Through
+his influence Monet studied out-of-door effects, and was beginning to
+do fairly good work, when he was drawn as a conscript and sent to
+Algeria. It is written that Monet discovered that "green, seen under
+strong sunshine is not green, but yellow; that the shadows cast by
+sunlight upon snow or upon brightly lighted surfaces are not black,
+but blue; and that a white dress, seen under the shade of trees on a
+bright day, has violet or lilac tones." This only means that these
+things have been scientifically determined, not that the naked eye
+ever perceives them, and it is for the natural, unscientific eye that
+art exists. None of us see the separate colours of the spectrum, as we
+look about in every-day fashion upon every-day objects.
+
+Professor Rood managed to produce an intelligent effect by putting
+separate colours on discs and whirling these round so that the colours
+mingled. Monet tried to do the same by dotting his original colours
+close together, and leaving the picture to its own destruction. It
+ought to revolve, if the scientific idea is to be carried out.
+
+Nothing desirable can be made out of his pictures even when viewed
+from far off, while at close range they are simply grotesque, and
+photographs of them give the impression that the entire landscape is
+wabbling to the ground.
+
+I wonder if anyone, small or grown up, can understand this: "It was
+indeed a higher kind of impressionism that Monet originated, one that
+reveals a vivid rendering, not of the natural and concrete facts, but
+of their influence upon the spirit when they are wrapped in the
+infinite diversities of that impalpable, immaterial, universal medium
+which we call light, when the concrete loses itself in the abstract,
+and what is of time and matter impinges on the eternal and the
+universal." Monet's pictures look just as that explanation of them
+sounds!
+
+The same writer says that Monet was greater than Corot because he was
+more sensitive to colour; but if Monet had been as sensitive to colour
+as Corot, he could not have lived and looked at his own pictures.
+
+  PLATE--HAYSTACK IN SUNSHINE
+
+The main feature of this picture is such a hay stack as never existed
+anywhere, of indescribable lurid colour, against a background of blue
+such as never was seen. All about there are violet and rose-coloured
+trees, and it is a picture that every child should know, because he is
+likely never to have another such opportunity.
+
+Monet has made two interesting pictures of churches, one at Vernon,
+the other at Varangeville.
+
+
+
+
+XXXI
+
+MURILLO (BARTOLOME ESTEBAN)
+
+
+  (Pronounced Moo-reel'oh Bar-tol-o-may' A-stay'bahn)
+  _Andalusian School_
+  1617-1682
+  _Pupil of Juan del Castillo_
+
+The story of Murillo has been delightfully told by Mrs. Sarah Bolton.
+
+Like Velasquez, he was born in Seville, a city called "the glory of
+the Spanish realms," and was baptised on New Year's day, 1618, in the
+Church of the Magdalen.
+
+Murillo's father paid his rent in work, instead of in money. He made a
+bargain with the convent who owned his house that he would keep it in
+repair if he might have it free of rent, so there Gaspar Esteban and
+his wife, Maria Perez, settled. "Perez" was the family name of
+Murillo's mother, who had very good connections; one of her brothers,
+Juan del Castillo, being a man who encouraged all art and had an art
+school of his own. Little Murillo therefore had encouragement from the
+start, an unusual circumstance at a time when parents rarely wished to
+think of their sons as painters. As a matter of fact, his mother would
+have preferred that he should become a priest, but she was kind and
+sensible, and put no difficulties in the way of the little Murillo
+doing as he wished.
+
+The story goes that the Perez family had been very rich, but, however
+it may have been, that was not the case when the artist was born. One
+day after his mother had gone to church, Murillo being left at home
+alone, retouched a picture that hung upon the wall. It was a picture
+of sacred subject--"Jesus and the Lamb." He thought he could make some
+improvements in it, so he painted his own hat upon the head of Jesus
+and changed the lamb into a little dog. His mother was a good deal
+shocked at what seemed to her an irreligious act, though it showed the
+family genius. After that the boy was found to be painting upon the
+walls of his schoolroom, and making sketches upon the margins of his
+books, though he did little else at school.
+
+He had one sister, Therese, and they were left without father or
+mother before the artist was eleven years old.
+
+It was at that time that he received the name of "Murillo" by which he
+is known.
+
+It came about thus: After the death of his parents he went to live
+with his mother's sister, the Dona Anna Murillo, who had married a
+surgeon called Juan Agustin Lagares, and since the little artist was
+to live with his aunt, he soon became known by her family name. There,
+in her home, he and his sister Therese, were brought up, but he was
+not to become a surgeon like his uncle-in-law, but an artist like his
+uncle Juan, the teacher in Seville. That uncle took him in hand,
+taught the boy to draw, to mix colours, to stretch his canvas, and
+soon Murillo's genius won the love of master and pupils.
+
+In peace and reasonable comfort he served a nine years apprenticeship,
+and painted his first important, if not especially great,
+pictures. These were two Madonnas, one of them "The Story of the
+Rosary." St. Dominic had instituted the rosary; using fifteen large
+and one hundred and fifty small beads upon which to keep record of the
+number of prayers he had said; the large beads representing the
+_Paternosters and Glorias_ and the small ones, the _Aves_. This
+practical way of indicating duties helped the heedless to concentrate
+their attention, and did much to increase the number of prayers
+offered. Indeed, it is said that "by this single expedient Dominic did
+more to excite the devotion of the lower orders, especially of the
+women, and made more converts, than by all his orthodoxy, learning,
+arguments, and eloquence." It was this incident in the history of the
+Catholic Church that Murillo commemorated.
+
+When the artist was twenty-two years old, his uncle, Juan del
+Castillo, broke up his home and went elsewhere to live, leaving the
+artist without home or means, and with his little sister to take care
+of. Without vanity or ambition, but with only the wish to care for his
+sister and to get food, the marvellous painter took himself to the
+market place, and there, wedged in between stalls, old clothes,
+vegetables, all sorts of wares, like a wanderer and a gypsy, he began
+his career.
+
+At the weekly market--the _Feria_ or fair, opposite the Church of All
+Saints--his brotherly, kindly feeling for the vagabonds he daily met
+is shown in the treatment he gives them in his wonderful
+pictures. During the two years that he worked in that open-air studio
+he had flower-girls, muleteers, hucksters all about him, and he
+painted dozens of rough pictures which found quick sale among the
+patrons of the market. What Velasquez was doing in the court of
+Madrid, Murillo was doing in the streets of Seville; the one painting
+cardinals, kings, and courtiers; the other painting beggars, _gamins_,
+and waifs. Between the two, the world has been shown the social
+history of Spain as it then existed.
+
+Through a peculiar happening, the American Indian saw the beauties of
+Murillo's work before Europe was even conscious there was such a
+man. In his old home, his uncle's studio, Murillo had had a dear
+comrade, Moya. They had not met for two years or more, and when they
+did come together again Moya told Murillo he had been travelling, that
+he had been to Flanders with the Spanish army, and thence to London,
+in both places seeing gorgeous paintings and other inspiring
+things. He opened the eyes of Murillo to the splendours the world
+contained, and the artist became wild with desire to go and see them
+for himself, but he had no money. He was painting pictures in the
+market place of Seville and getting so little for his hasty work that
+he could barely support himself and little Therese. What must he do in
+order to get to London and see the world?
+
+What he did do was to buy a piece of linen, cut it into six pieces and
+hide himself long enough to paint upon them "saints, flowers, fruit
+and landscapes," and then he went forth to sell them.
+
+He actually sold those pictures to a ship-owner who was sending his
+ship to the West Indies. Eventually they were hung upon the walls of a
+mission in wild, far off America. It is said that after this Murillo
+made no little money by painting such pictures, destined to give the
+American savage an idea of the Christian religion. One cannot but
+wonder if there may not be, all unknown to us, Murillo pictures, made
+in the market-place of Seville nearly three hundred years ago, hidden
+away in the remains of those old Spanish missions, even to-day. Such a
+picture would be more rare than the greatest that he ever painted.
+
+After selling his six pictures Murillo started a-foot, not to London
+but on a terrible journey across the Sierra Mountains, to Madrid--the
+home of Velasquez. Murillo knew that this native of Seville had become
+a famous artist. He was powerful and rich and at the court of Philip
+II., while Murillo had no place to lay his head, and besides he had
+left Therese behind in Seville in the care of friends. He had no claim
+upon the kindness of Velasquez but he determined to see him; to
+introduce himself and possibly to gain a friend. It was under these
+forlorn circumstances he made himself known to the great Spanish court
+painter.
+
+The story of their meeting is a fine one. For Murillo Velasquez had a
+warm embrace, a kind and hospitable word. The stranger told Velasquez
+how he had crossed the mountains on foot, was penniless, but could use
+his brush. Instead of jealousy and suspicion, the young man met with
+nothing but the most cheerful encouragement, found the Velasquez home
+open to him, took up his lodging there and established his workshop
+with nothing around him but friendship and the sympathy his nature
+craved.
+
+From the market-place to the home of Velasquez and the Palace of
+Philip II.! It was a beautiful dream to Murillo.
+
+With what splendour of colour and mastery of design he illuminated the
+annals of the poor! Coming forth from some dim chancel or palace-hall
+in which he had been working on a majestic Madonna picture, he would
+sketch in, with the brush still loaded with the colours of celestial
+glory, the lineaments of the beggar crouching by the wall, or the
+gypsy calmly reposing in the black shadow of an archway. Such
+versatility had never before been seen west of the Mediterranean, and
+it commanded the admiration of his countrymen.
+
+All his beggarly little children, neglected and houseless, appeared
+only to be full of cheer and merriment, with soft eyes and contented
+faces. It was a happy, care-free, gay, and kindly beggardom that he
+painted, with nothing in it to sadden the heart.
+
+Thus he lived for three years; working in the galleries of the king,
+making friends at court, painting beautiful women, gallant cavaliers
+and fascinating little beggars.
+
+In the course of time, however, he grew restless, and Velasquez wished
+to give him letters of introduction to Roman artists and people of
+quality, advising him to go to Rome to study the greatest art in the
+world. This was an alluring plan to Murillo, but after all he longed
+for his own home and chose to return there rather than go to
+Rome. Besides, his sister Therese was still in Seville.
+
+Once more in his home, at one stroke of his magic brush Murillo raised
+himself and a monastic order from obscurity to greatness. In his
+native city was the order of San Francisco. The monks had long wished
+to have their convent decorated in a worthy manner by some artist of
+repute; but they were poor and had never been able to engage such a
+painter. When Murillo got back home, he was as badly in need of work
+as the Franciscans were in want of an artist. The monks held a council
+and finally agreed upon a price which they could pay and which Murillo
+could live upon. Then he began a wonderful set of eleven large
+paintings. Among them were many saints, dark and rich in colouring,
+and no sooner was it known that the paintings were being made than all
+the rich and powerful people of Seville flocked to the convent to see
+the work. They gathered about the young artist, overwhelmed him with
+honours and praise, and the monastery was crowded from morning till
+night with those who wished to study his work. From that moment
+Murillo's fame, if not his fortune, was made.
+
+He married a rich and noble lady with the tremendous name of Dona
+Beatriz de Cabrera y Sotomayer. He had fallen in love with her while
+painting her as an angel.
+
+About that time he formed a strange partnership with a landscape
+painter, who agreed to supply the backgrounds that his pictures
+needed, if Murillo would paint figures into his landscapes. This plan
+did very well for a little time, but it did not last long.
+
+Murillo painted in three distinct styles, and these have come to be
+known as the "warm," the "cold," and the "vaporous." He painted
+pictures in the great cathedral of the Escorial and the "Guardian
+Angel" was one of them. Also, he painted "St. Anthony of Padua," and
+of this picture there is one of those absurd stories meant to
+illustrate the perfection of art. It is said that the lilies in it are
+so natural that the birds flew down the cathedral aisles to pluck at
+them. Many artists have painted this saint, but Murillo's is the best
+picture of all.
+
+When the nephew of his first master, Murillo's cousin, saw that work
+he said: "It is all over with Castillo! Is it possible that Murillo,
+that servile imitator of my uncle, can be the author of all this grace
+and beauty of colouring?"
+
+The Duke of Wellington offered for this picture as many gold pieces
+"as would cover its surface of fifteen square feet." This would have
+been about two hundred and forty thousand dollars; but we need not
+imagine that Murillo received any such sum for the work. This picture
+has a further interesting history. The canvas was cut from the frame
+by thieves in 1874, and later it was sold to Mr. Schaus, the
+connoisseur and picture dealer of New York. He paid $250 for it, and
+at once put it into the hands of the Spanish consul, who restored it
+to the cathedral.
+
+The story of the saint whom Murillo painted is as interesting as
+Murillo's own. Among the many wonderful things said to have happened
+to him was that a congregation of fishes hearing his voice as he
+preached beside the sea, came to the top and lifted up their heads to
+listen.
+
+While Murillo was doing his work, he was living a happy, domestic
+life. He had three children, and doubtless he used them as models for
+his lively cherubs, as he used his wife's face for madonnas and
+angels.
+
+He founded an academy of painting in Seville, for the entrance to
+which a student could not qualify unless he made the following
+declaration: "Praised be the most Holy Sacrament and the pure
+conception of Our Lady."
+
+The most delightful stories are told of Murillo's kindness and
+sweetness of disposition. He had a slave who loved him and who, one
+day while Murillo was gone from the studio, painted in the head of the
+Virgin which the master had left incomplete. When Murillo returned and
+saw the excellent work he cried: "I am fortunate, Sebastian"--the
+slave's name--"For I have not created only pictures but an artist!"
+This slave was set free by Murillo and in the course of time he
+painted many splendid pictures which are to-day highly prized in
+Seville.
+
+This is a description of Murillo's house which is still to be seen
+near the Church of Santa Cruz: "The courtyard contains a marble
+fountain, amidst flowering shrubs, and is surrounded on three sides by
+an arcade upheld by marble pillars. At the rear is a pretty garden,
+shaded by cypress and citron trees, and terminated by a wall whereon
+are the remains of ancient frescoes which have been attributed to the
+master himself. The studio is on the upper floor, and overlooks the
+Moorish battlements, commanding a beautiful view to the eastward, over
+orange groves and rich corn-lands, out to the gray highlands about
+Alcala."
+
+Murillo's fame brought fortune to his little sister, Therese. She
+married a nobleman of Burgos, a knight of Santiago and judge of the
+royal colonial court. He became the chief secretary of state for
+Madrid.
+
+Murillo made money, but gave almost all that he made to the poor,
+though he did not make money in the service of the Church, as
+Velasquez made it in the service of the king.
+
+His work of more than twenty pictures in the Capuchin Church of
+Seville occupied him for three years, and in that time he did not
+leave the convent for a single day.
+
+Of all the charming stories told of this glorious artist, one which is
+connected with his work in that church is the most picturesque. It
+seems that every one within the walls loved him, and among others a
+lay brother who was cook. This man begged for some little personal
+token from Murillo and since there was no canvas at hand, the artist
+bade the cook leave the napkin which he had brought to cover his food,
+and during the day he painted upon it a Madonna and child, so natural
+that one of his biographers declares the child seems about to spring
+from Mary's arms. This souvenir made for the cook of the Capuchin,
+convent has been reproduced again and again, as one of the artist's
+greatest performances.
+
+Toward the close of his happy life, he became more and more devout,
+spending many hours before an altar-piece in the Church of Santa Cruz
+where was a picture of "The Descent from the Cross," by Pedro
+Campana. "Why do you always tarry before 'The Descent from the
+Cross?'" the sacristan once asked of him.
+
+"I am waiting till those men have brought the body of our blessed Lord
+down the ladder." Murillo answered. His wife had died, his daughter
+had become a nun, and all that was left to him was his dear son
+Gaspar, when in his sixty-third year he began his last work, "The
+Marriage of St. Catherine." He had not finished this when he fell from
+the scaffolding upon which he was working, and fatally hurt
+himself. He died, with his son beside him. He was a much loved man,
+and when he was buried, his bier was carried by "two marquises and
+four knights and followed by a great concourse of people." He chose to
+be buried beneath the picture he loved so much--"The Descent from the
+Cross," and upon his grave was laid a stone carved with his name, a
+skeleton and an inscription in Latin which means "Live as one who is
+about to die."
+
+The church has since been destroyed, and on its site is the Plaza
+Santa Cruz, but Murillo's grave is marked by a tablet.
+
+Each country seems to have had at least one man of beautiful heart and
+mind, to represent its art. Raphael in Italy, Murillo in Spain, were
+types of gentle and greatly beloved men. Leonardo in Italy and Durer
+in Nuremberg, were types of forceful, intellectual men, highly
+respected and of great benefit to the world.
+
+Of all the painters who ever lived, Murillo was the one who painted
+little children with the most loving and fascinating touch.
+
+  PLATE--THE IMMACULATE CONCEPTION
+
+Besides the little angels in this picture, we have a bewildering
+choice among many other beauties.
+
+Many pictures of this subject have been painted, and many were painted
+by Murillo, but the one presented here is the greatest of all. It
+hangs in the Louvre, Salle VI. Mary seems to be suspended in the
+heavens, not standing upon clouds. Under the hem of her garments is
+the circle of the moon, while there is the effect of hundreds of
+little cherub children massed about her feet, in a little swarm at the
+right, where the shadow falls heaviest, and still others, half lost in
+the vapoury background at the left, where the heavenly light streams
+upon them, and brilliantly lights up the Virgin's gown. In this
+picture are all Murillo's beloved child figures, some carrying little
+streamers, their tiny wings a-flutter and all crowding lovingly about
+Mary. Far below this gorgeous group we can imagine the dark and weary
+earth lost in shadow.
+
+Among Murillo's most famous paintings are: "The Birth of the Virgin,"
+"Two Beggar Boys," "The Madonna of the Rosary," "The Annunciation,"
+"Adoration of the Shepherds," "Holy Family," "Education of Mary," "The
+Dice Players," and "The Vision of St. Anthony."
+
+
+
+
+XXXII
+
+RAPHAEL (SANZIO)
+
+
+  (Pronounced Rah'fay-el (Sahnt'syoh))
+  1483-1590
+  _Umbrian, Florentine, and Roman Schools_
+  _Pupil of Perugino_
+
+It was said of Raphael that "every evil humour vanished when his
+comrades saw him, every low thought fled from their minds"; and this
+was because they felt themselves vanquished by his pleasant ways and
+sweet nature.
+
+Imagine his beautiful face, with its sunny eyes, reflecting no shadow
+of sadness or pain. Such a one was sure to be beloved by all.
+
+The father of Raphael was Giovanni Santi, himself an able artist. Both
+he and Raphael studied in many schools and took the best from
+each. The son was brought up in an Italian court, that of Guidobaldo
+of Urbino, where the father was a favourite poet and painter, so that
+he had at least one generation of art-lovers behind him, at a time
+when learning and art were much prized. Nothing ever entered into his
+life that was sad or sorrowful; his whole existence was a triumph of
+beautiful achievements. There were three great artists of that time,
+the other two being Michael Angelo and Leonardo da Vinci, both of whom
+were absolutely unlike Raphael in their art and in their characters.
+
+Raphael was born on April 6th at Contrada del Monte in the ducal city
+of Urbino. His mother's name was Magia Ciarla, and she was the
+daughter of an Urbino merchant. She had three children besides the
+great painter, all of whom died young, and when Raphael was but eight
+years old his mother died also. It is said that it was from her
+Raphael inherited his beauty, goodness, mildness, and genius. His
+father's patron, the Duke of Urbino, was a fine soldier, but he also
+cherished scholarship and art, and kept at his court not less than
+twenty or thirty persons at work copying Greek and Latin manuscript
+which he wished to add to his library.
+
+Raphael had a stepmother, Bernardina, the daughter of a goldsmith, a
+good and forceful woman, but not gentle like the first wife; and when
+Raphael was eleven years of age his father, too, died. By his father's
+will Raphael became the charge of his uncle Bartolommeo, a priest, but
+the property was left to the stepmother so long as she remained
+unmarried. Almost at once the priest and the stepmother fell to
+quarreling over the spoils, and thus Raphael was left pretty much to
+his own devices, but just when life began to look dark and sad for
+him, his mother's brother took a hand in the situation. He settled the
+dispute between the priest and the second wife, and arranged that
+Raphael should be placed in the studio of some great painter, for the
+loving lad had already worked in his father's studio, and had given
+promise of his wonderful gifts. So he became the pupil of Perugino, a
+painter noted for his fine colouring and sympathetic handling of his
+subjects. At that time, Italian schools were less wonderful in
+colouring than in other matters of technique.
+
+"Let him become my pupil," said Perugino, when Raphael was brought to
+him and some of his work was exhibited; "soon he will be my master." A
+very different attitude from that of Ghirlandajo toward Michael
+Angelo.
+
+Raphael and his master became friends and worked together for nine
+years.
+
+His first work was not conceived until Raphael was seventeen. It was
+to be a surprise to his master who had gone to Florence. A banner was
+wanted for the Church of S. Trinita at Citta di Castello, and Raphael
+undertook it, painting the "Trinity," on one canvas and the "Creation
+of Man" on another. Then he painted the "Crucifixion," which was
+bought by Cardinal Fesch, who lived in Rome. That painting is now in a
+collection of the Earl of Dudley. It was sold away from Rome in 1845,
+for twelve thousand dollars--or a little more. No one will deny that
+this is an unusual sum for an artist's first work, but about the same
+time he did a much more wonderful thing.
+
+He painted a little picture, six and three-quarter inches square. It
+was of the Virgin walking in the springtime, before the leaves had
+appeared upon the trees, and with snow-capped mountains behind
+her. She holds the infant Jesus in her arms while she reads from a
+small book, and the little child looks upon the page with her. This
+six inches of beauty sold to the Emperor of Russia, in 1871, for sixty
+thousand dollars.
+
+Before Raphael was twenty-one, he had left his master's studio and had
+gone into the splendid world of Rome, where Angelo was straining at
+his bonds. But how differently each accepted his life! The gentle
+Raphael, who took the best of the ideas of all great painters, and
+gave to them his own exquisite characteristics, was beloved of all,
+shed light upon art and friends alike. To such a one all life was
+joyous. Michael Angelo, trying ever to do the impossible, betraying
+his hatred of limitations in all that he did, doing always that which
+aroused horror, distress, longing, elemental feelings, in those who
+studied his wonderful work, and giving hope and satisfaction and peace
+to none--to such as he life must ever have been hateful and
+painful. These men lived at the same time, among the same people.
+
+One of Raphael's greatest pictures came into the possession of a poor
+widow, who being hard pressed by poverty, sold it to a bookseller for
+twelve scudi. In time it was bought from the bookseller by Grand Duke
+Ferdinand III. of Tuscany, who prayed before it night and morning,
+taking it with him on his travels. That picture is now in the Pitti
+Palace at Florence and it is called the "Madonna del Granduca." The
+Berlin Museum purchased a Raphael Madonna for $34,000 which was
+painted about the same time as these others, but after a little the
+artist left Florence where he had been studying the methods of
+Leonardo and Angelo and returned to Urbino, the home he loved, where
+his conduct was such that all the world seems to have become his
+lover. It is written that he was "the only very distinguished man of
+whom we read, who lived and died without an enemy or detractor!" No
+better can ever be said of any one.
+
+While he dwelt in Perugia and Urbino he had painted the "Ansidei
+Madonna," so called because that was the name of the family for which
+it was painted. That Madonna was sold in 1884 to the National Gallery,
+by the Duke of Marlborough for $350,000. A Madonna on a round
+plaque-like canvas, 42-3/4 inches in diameter, was bought by the Duke
+of Bridgewater for $60,000. It is the "Holy Family under a Palm Tree,"
+painted originally for a friend, Taddeo Taddei, who was a Florentine
+scholar. Many of the pictures which after many vicissitudes have
+landed far from home and been bought for fabulous sums were painted
+for love of some friend, or were paid for by modest sums at the time
+the artist received the commissions. Lord Ellesmere in London now owns
+the "Holy Family under a Palm Tree."
+
+It is said of Raphael that whenever another painter, known to him or
+not, requested any design or assistance of any kind at his hands, he
+would invariably leave his work to perform the service. He continually
+kept a large number of artists employed, all of whom he assisted and
+instructed with an affection which was rather that of a father to his
+children than merely of an artist to artists. From this it followed
+that he was never seen to go to court, except surrounded and
+accompanied, as he left his house, by some fifty painters, all men of
+ability and distinction, who attended him, thus to give evidence of
+the honour in which they held him. He did not, in short, live the life
+of a painter, but that of a prince.
+
+There is something wonderfully inspiring about such a life. We read of
+emperors and the homage paid to them; of the esteem in which men who
+accomplish deeds of universal value are held, but nowhere do we behold
+the power of a beautiful and exquisite personality and character,
+allied with a single art, so impressively exhibited.
+
+He urged nothing, yet won all things by the force of his loving and
+sympathetic mind. "How is it, dear Cesare that we live in such good
+friendship, but that in the art of painting we show no deference to
+each other?" he asked of Cesare da Sesto, who was Da Vinci's greatest
+pupil.
+
+In discussing the great ones of the earth, Herman Grimm, son of the
+collector of fairy tales, says: "Can we mention a violent act of
+Raphael's, Goethe's or Shakespeare's? No, it is restful only to recall
+these wonderful men."
+
+One of Raphael's most beautiful Virgins was modeled from a beautiful
+flower-girl whom he loved, "La Belle Jardiniere."
+
+Raphael as well as Michael Angelo was summoned by Pope Julius II., but
+how different were the two occasions! Michael Angelo had stood with
+dogged, gloomy self-assertiveness before the pope, head covered, knee
+unbent. Uncompromising, while yet no injury had been done him,
+resentful before he had received a single cause for resentment, the
+attitude was typical of his art and his unhappy life.
+
+When Raphael appeared, his bent knee, his "chestnut locks falling upon
+his shoulders, the pope exclaimed: 'He is an innocent angel. I will
+give him Cardinal Bembo for a teacher, and he shall fill my walls with
+historical pictures.'" The artist's behaviour was no sign of
+servility, but the simple recognition of forms and customs which the
+people themselves had made and by which they had decided they should
+graciously be bound. The attitude of Angelo was not heroic but vulgar;
+that of Raphael not servile, but in good taste, showing a reasonable
+mind.
+
+Pope Julius had summoned Raphael for a special reason. Alexander VI.,
+his predecessor in the Vatican, had been a depraved man. The fair and
+virile Julius had a healthy sentiment against occupying rooms which
+must continually remind him of the notorious Alexander's mode of
+life. Some one suggested that he have all the portraits of the former
+pope removed, but Julius declared: "Even if the portraits were
+destroyed, the walls themselves would remind me of that Simoniac, that
+Jew!" The word 'Jew' was then execrated by all Christians, for the
+world was not yet Christian enough to know better.
+
+Raphael was summoned to decorate the Vatican, that Julius might have a
+place which reminded him not at all of Alexander. It is said that when
+Raphael had completed one of his masterpieces the pope threw himself
+upon the ground and cried, "I thank Thee, God, that Thou hast sent me
+so great a painter!"
+
+While at work upon his first fresco at the Vatican--"La Disputa," the
+dispute over the Holy Sacrament--Raphael met a woman with whom he fell
+deeply in love. Her father was a soda manufacturer and her name was
+Margherita. Missirini relates this incident in Raphael's career.
+
+"She lived on the other side of the Tiber. A small house, No. 20, in
+the street of Santa Dorothea, the windows of which are decorated with
+a pretty frame work of earthenware, is pointed out as the house where
+she was born.
+
+"The beautiful girl was very frequently in a little garden adjoining
+the house, where, the wall not being very high, it was easy to see her
+from the outside. So the young men, especially artists--always
+passionate admirers of beauty--did not fail to come and look at her,
+by climbing up above the wall.
+
+"Raphael is said to have seen her for the first time as she was
+bathing her pretty feet in a little fountain in the garden. Struck by
+her perfect beauty, he fell deeply in love with her, and after having
+made acquaintance with her, and discovered that her mind was as
+beautiful as her body, he became so much attached as to be unable to
+live without her."
+
+She is spoken of to-day as the "Fornarina," because at first she was
+supposed to have been the daughter of a baker (_fornajo_).
+
+Raphael made many rough studies for his picture "La Disputa," and upon
+them he left three sonnets, written to the woman so dear to him. These
+sonnets have been translated by the librarian of l'Ecole Nationale des
+Beaux-Arts, as follows: "Love, thou hast bound me with the light of
+two eyes which torment me, with a face like snow and roses, with sweet
+words and tender manners. So great is my ardour that no river or sea
+could extinguish my fire. But I do not complain, for my ardour makes
+me happy.... How sweet was the chain, how light the yoke of her white
+arms about my neck. When these bonds were loosed, I felt a mortal
+grief. I will say no more; a great joy kills, and, though my thoughts
+turn to thee, I will keep silence."
+
+Although he had been a man of many loves, Raphael must have found in
+the manufacturer's daughter his best love, because he remained
+faithful and devoted to her for the twelve years of life that were
+left to him. It was said some years later, while he was engaged upon a
+commission for a rich banker, that "Raphael was so much occupied with
+the love that he bore to the lady of his choice that he could not give
+sufficient attention to his work. Agostino (the banker) therefore,
+falling at length into despair of seeing it finished, made so many
+efforts by means of friends and by his own care that after much
+difficulty he at length prevailed on the lady to take up her abode in
+his house, where she was accordingly installed, in apartments near
+those which Raphael was painting; In this manner the work was
+ultimately brought to a conclusion."
+
+Raphael painted this beautiful lady-love many times, and in a picture
+in which she wears a bracelet he has placed his name upon the
+ornament.
+
+After this time he painted the "Madonna della Casa d'Alba," which the
+Duchess d'Alba gave to her physician for curing her of a grave
+disorder. She died soon afterward, and the physician was arrested on
+the charge of having poisoned her. In course of time the picture was
+purchased for $70,000 by the Russian Emperor, and it is now in "The
+Hermitage," St. Petersburg.
+
+A writer telling of that time, relates the following anecdote:
+"Raphael of Urbino had painted for Agostino Chigi (the rich banker
+already mentioned) at Santa Maria della Pace, some prophets and
+sibyls, on which he had received an advance of five hundred scudi. One
+day he demanded of Agostino's cashier (Giulio Borghesi) the remainder
+of the sum at which he estimated his work. The cashier, being
+astounded at this demand, and thinking that the sum already paid was
+sufficient, did not reply. 'Cause the work to be estimated by a judge
+of painting,' replied Raphael, 'and you will see how moderate my
+demand is.'
+
+"Giulio Borghesi thought of Michael Angelo for this valuation, and
+begged him to go to the church and estimate the figures of
+Raphael. Possibly he imagined that self-love, rivalry, and jealousy
+would lead the Florentine to lower the price of the pictures.
+
+"Michael Angelo went, accompanied by the cashier, to Santa Maria della
+Pace, and, as he was contemplating the fresco without uttering a word,
+Borghesi questioned him. 'That head,' replied Michael Angelo, pointing
+to one of the sibyls, 'that head is worth a hundred scudi.' ... 'and
+the others?' asked the cashier. 'The others are not less.'
+
+"Someone who witnessed this scene related it to Chigi. He heard every
+particular and, offering in addition to the five hundred scudi for
+five heads a hundred scudi to be paid for each of the others, he said
+to his cashier, 'go and give that to Raphael in payment for his heads,
+and behave very politely to him, so that he may be satisfied; for if
+he insists on my paying also for the drapery, we should probably be
+ruined!'"
+
+By the time Raphael was thirty-one he was a rich man, and had built
+himself a beautiful house near the Vatican, on the Via di Borgo
+Nuova. Naught remains of that dwelling except an angle of the right
+basement, which has been made a part of the Accoramboni Palace. His
+friends wished him above all things to marry, but he was still true to
+Margherita though he had become engaged to the daughter of his
+nephew. He put the marriage off year after year, till finally the lady
+he was to have married died, and was buried in Raphael's chapel in the
+Pantheon.
+
+Margherita was with him when he died, and it was to her that he left
+much of his wealth.
+
+In the time of Raphael excavations were being made about Rome, and
+many beautiful statues uncovered, and he was charged with the
+supervision of this work in order that no art treasure should be lost
+or overlooked. The pope decreed that if the excavators failed to
+acquaint Raphael with every stone and tablet that should he unearthed,
+they should be fined from one to three hundred gold crowns.
+
+Raphael had his many paintings copied under his own eye and engraved,
+and then distributed broadcast, so that not only men of great wealth
+but the common people might study them.
+
+Henry VIII. invited him to visit England, and become court painter,
+and Francis I. wished him to become the court painter of France.
+
+He loved history, and wished to write certain historical works. He
+loved poetry and wrote it. He loved philosophy and lived it--the
+philosophy of generous feeling and kindly thought for all the
+world. He kept poor artists in his own home and provided for them.
+
+Raphael died on Good Friday night, April 6th, in his thirty-seventh
+year, and all Rome wept. He lay in state in his beautiful home, with
+his unfinished picture of the "Transfiguration," as background for his
+catafalque. That painting with its colours still wet, was carried in
+the procession to his burial place in the Pantheon. When his death was
+announced, the pope, Leo X., wept and cried _"Ora pro nobis!"_ while
+the Ambassador from Mantua wrote home that "nothing is talked of here
+but the loss of the man who at the close of his six-and-thirtieth year
+has now ended his first life; his second, that of his posthumous fame,
+independent of death and transitory things, through his works, and in
+what the learned will write in his praise, must continue forever."
+
+Raphael painted two hundred and eighty-seven pictures in his
+thirty-seven years of life.
+
+  PLATE--THE SISTINE MADONNA
+
+It is said that the "Sistine Madonna," while painted from an Italian
+model--doubtless the lady whom Raphael so dearly loved--has universal
+characteristics, so that she may "be understood by everyone."
+
+He lived only three years after painting this picture and it was the
+last "Holy Family" painted by him. The Madonna stands upon a curve of
+the earth, which is scarcely to be seen, and looming mistily in front
+of her is a mass of white vaporous clouds. On either side are figures,
+St. Sixtus (for whom the picture was named) and St. Barbara. Beside
+St. Sixtus we see a crown or tiara; and the little tower at
+St. Barbara's side is a part of her story.
+
+Barbara was the daughter of an Eastern nobleman who feared that her
+great beauty might lead to her being carried off; therefore he caused
+her to be shut up in a great tower. While thus imprisoned Barbara
+became a Christian through the influence of a holy man, and she begged
+her father to make three windows in her gloomy tower: one, to let the
+light of the Father stream upon her, another to admit the light of the
+Son, and the third that she might bathe in the light of the Holy
+Ghost. Both St. Barbara and St. Sixtus were martyrs for their faith.
+
+This Madonna is painted as if enclosed by green velvet curtains, which
+have been drawn aside, letting the golden light of the picture blaze
+upon the one who looks; then upon a little ledge below, looking out
+from the heavens, are two little cherubs--known to all the world. They
+look wistful, wise, roguish, and beautiful, with fat little arms
+resting comfortably upon the ledge. Raphael is said to have found his
+models for these little angels in the street, leaning wistfully upon
+the ledge of a baker's window, looking at the good things to eat,
+which were within. Raphael took them, put wings to them, placed them
+at the feet of Mary, and made two little images which have brought
+smiles and tears to a multitude of people. The "Sistine Madonna" hangs
+alone in a room in the Dresden Gallery.
+
+Among Raphael's greatest works are: The "Madonna della Sedia" (of the
+chair), "La Belle Jardiniere," "The School of Athens," "Saint Cecilia,"
+"The Transfiguration," "Death of Ananias" (a cartoon for a series of
+tapestries), "Madonna del Pesce," "La Disputa," "The Marriage of Mary
+and Joseph," "St. George Slaying the Dragon," "St. Michael Attacking
+Satan" and the "Coronation of the Virgin."
+
+
+
+
+XXXIII
+
+REMBRANDT (VAN RIJN)
+
+
+  _Dutch School_
+  1606-1669
+  _Pupil of Van Swanenburch_
+
+Here are a few of the titles that have been given to the greatest
+Dutch painter that ever lived: The Shakespeare of Painting; the Prince
+of Etchers; the King of Shadows; the Painter of Painters. Muther calls
+him a "hero from cloudland," and not only does he alone wear these
+titles of greatness, but he alone in his family had the name of
+Rembrandt.
+
+One writer has said that the great painter was born "in a windmill,"
+but this is not true. He was born in Leyden for certain, though not a
+great deal is known about his youth; and his father was a miller, his
+mother a baker's daughter.
+
+When the Pilgrim Fathers, who had sought safety in Leyden, were
+starting for America, where they were going to oppress others as they
+had been oppressed, Rembrandt was just beginning his apprenticeship in
+art.
+
+He was born at No. 3, Weddesteg, a house on the rampart looking out
+upon the Rhine whose two arms meet there. In front of it whirled the
+great arms of his father's windmill, though he was not born in it; and
+of all the women Rembrandt ever knew, it is not likely that he ever
+admired or loved one as passionately as he admired and loved his
+mother. He painted and etched her again and again, with a touch so
+tender that his deepest emotion is placed before us.
+
+Rembrandt had brothers and sisters--five: Adriaen, Gerrit, Machteld,
+Cornelis, and Willem. Of these, Adriaen became a miller like his
+father, and presumably the old historic windmill fell to him; Willem
+became a baker, but Rembrandt, the fourth child, it was determined
+should be a learned man, and belong to one of the honoured
+professions, such as the law. So he was sent to the Leyden Academy,
+but here again we have an artist who decided he knew enough of all
+else but art before he was twelve years old. He found himself at that
+age in the studio of his first art-master, Jacob van Swanenburch, a
+relative, who had studied art in Italy, and was a good master for the
+lad; but Rembrandt became so brilliant a painter in three years' time,
+that he was sent to Amsterdam to learn of abler men.
+
+The lad could not in those days get far from his adored mother; so he
+stayed only a little time, before he went back to Leyden where she
+was. There was his heart, and, painting or no painting, he must be
+near it.
+
+Until the past thirty years no one has seemed to know a great deal of
+Rembrandt's early history, but much was written of him as a boorish,
+gross, vulgar fellow. Those stories were false. He was a devoted son,
+handsome, studious in art, and earnest in all that he did, and after
+he had made his first notable painting he was compelled by the demands
+of his work to move to Amsterdam for good. He hired an apartment over
+a shop on the Quay Bloemgracht; it is probable that his sister went
+with him to keep his house, and that it is her face repeated so
+frequently in the many pictures which he painted at that time. This
+does not suggest coarse doings or a careless life, but permits us to
+imagine a quiet, sober, unselfish existence for the young bachelor at
+that time.
+
+Soon, however, he fell in love. He saw one other woman to place in his
+heart and memory beside his mother. His wife was Saskia van Ulenburg,
+the daughter of an aristocrat, refined and rich. He met her through
+her cousin, an art dealer, who had ordered Rembrandt to paint a
+portrait of his dainty cousin. Rembrandt could have been nothing but
+what was delightful and good, since he was loved by so charming a girl
+as Saskia.
+
+He painted her sitting upon his knee, and used her as model in many
+pictures. First, last, and always he loved her tenderly.
+
+In one portrait she is dressed in "red and gold-embroidered velvets";
+the mantle she wore he had brought from Leyden. In another picture she
+is at her toilet, having her hair arranged; again she is painted in a
+great red velvet hat, and then as a Jewish bride, wearing pearls, and
+holding a shepherd's staff in her hand. Again, Rembrandt painted
+himself as a giant at the feet of a dainty woman, and in every way his
+work showed his love for her. After he married her, in June 1634, he
+painted the picture, "Samson's Wedding," "Saskia, dainty and serene,
+sitting like a princess in a circle of her relatives, he himself
+appearing as a crude plebeian, whose strange jokes frighten more than
+they amuse the distinguished company. ... The early years of his
+marriage were spent in joy and revelry. Surrounded by calculating
+business men who kept a tight grasp on their money bags, he assumed
+the role of an artist scattering money with a free hand; surrounded by
+small townsmen most proper in demeanour, he revealed himself as the
+bold lasquenet, frightening them by his cavalier manners. He brought
+together all manner of Oriental arms, ancient fabrics, and gleaming
+jewellery; and his house became one of the sights of Amsterdam." His
+existence reads like a fairy tale.
+
+It is said that Saskia strutted about decked in gold and diamonds,
+till her relatives "shook their heads" in alarm and amazement at such
+wild goings on.
+
+Before he married Saskia he had painted a remarkable picture, named
+the "School of Anatomy." It represents a great anatomist, the friend
+of Rembrandt--Nicholaus Tulp,--and a group of physicians who were
+members of the Guild of Surgeons of Amsterdam. It is so wonderful a
+picture that even the dead man, who is being used as a subject by the
+anatomist, does not too greatly disturb us as we look upon him. The
+thoughtful, interested faces of the surgeons are so strong that we
+half lose ourselves in their feeling, and forget to start in repulsion
+at sight of the dead body. A fine description of this painting can be
+found in Sarah K. Bolton's book "Famous Artists" and it includes the
+description given by another excellent authority.
+
+The artist was twenty-six years old when he painted the "School of
+Anatomy." This picture is now at The Hague and two hundred years after
+it was painted the Dutch Government gave 30,000 florins for it.
+
+Rembrandt painted a good many "Samsons" first and last--himself
+evidently being the strong man; and the pictures beyond doubt express
+his own mood and his idea of his relation to things. After a little
+son was born to the artist, he painted still another Samson--this time
+menacing his father-in-law but as the artist had named his son after
+his father-in-law,--Rombertus--we cannot believe that there was any
+menace in the heart of Rembrandt--Samson. Soon his son died, and
+Rembrandt thought he should never again know happiness, or that the
+world could hold a greater grief, but one day he was to learn
+otherwise. A little girl was born to the artist, named Cornelia, after
+Rembrandt's mother, and he was again very happy.
+
+Meantime his brothers and sisters had died, and there came some
+trouble over Rembrandt's inheritance, but what angered him most of
+all, was that Saskia's relatives said she "had squandered her heritage
+in ornaments and ostentation." This made Rembrandt wild with rage, and
+he sued her slanderers, for he himself had done the squandering,
+buying every beautiful thing he could find or pay for, to deck Saskia
+in, and he meant to go on doing so.
+
+At this time he painted a picture of "The Feast of Ahasuerus" (or the
+"Wedding of Samson") and he placed Saskia in the middle of the table
+to represent Esther or Delilah as the case might be, dressed in a way
+to horrify her critical relatives, for she looked like a veritable
+princess laden with gorgeous jewels.
+
+One of his pictures he wished to have hung in a strong light, for he
+said: "Pictures are not made to be smelt. The odour of the colours is
+unhealthy."
+
+The first baby girl died and on the birth of another daughter she too
+was named Cornelia, but that baby girl also died, and next came a son,
+Titus, named for Saskia's sister, Titia, and then Saskia died. Thus
+Rembrandt knew the deepest sorrow of his life.
+
+He painted her portrait once again from memory, and that picture is
+quite unlike the others for it is no longer full of glowing life, but
+daintier, suggestive of a more spiritual life, as if she were growing
+fragile.
+
+It is written that "from this time, while he did much remarkable work,
+he seemed like a man on a mountain top, looking on one side to sweet
+meadows filled with flowers and sunlight, and on the other to a
+desolate landscape over which a clouded sun is setting." With Saskia
+died the best of Rembrandt. He made only one more portrait of
+himself--before this he had made many; and in it he makes himself
+appear a stern and fateful man. It was after Saskia's death that he
+painted the "Night Watch," or more properly, "The Sortie."
+
+Rembrandt's home, where he and Saskia were so happy, is still to be
+seen on a quay of the River Amstel. It is a house of brick and cut
+stone, four stories high. The vestibule used to have a flag-stone
+pavement covered with fir-wood. There were also "black-cushioned,
+Spanish chairs for those who wait," and all about were twenty-four
+busts and paintings. There was an ante-chamber, very large, with seven
+Spanish chairs covered with green velvet, and a walnut table covered
+with "a Tournay cloth"; there was a mirror with an ebony frame, and
+near by a marble wine-cooler. Upon the wall of this _salon_ were
+thirty-nine pictures and most of them had beautiful frames. "There
+were religious scenes, landscapes, architectural sketches, works of
+Pinas, Brouwer, Lucas van Leyden, and other Dutch masters; sixteen
+pictures by Rembrandt; and costly paintings by Palma Vecchio, Bassano,
+and Raphael."
+
+In the next room was a real art museum, containing splendid pictures,
+an oaken press and other things which suggest that this was the
+workroom where Rembrandt's etchings were made and printed.
+
+In the drawing-room was a huge mirror, a great oaken table covered
+with a rich embroidered cloth, "six chairs with blue coverings, a bed
+with blue hangings, a cedar wardrobe, and a chest of the same wood."
+The walls were literally covered with pictures, among which was a
+Raphael.
+
+Above was a sort of museum and Rembrandt's studio. There was rare
+glass from Venice, busts, sketches, paintings, cloths, weapons,
+armour, plants, stuffed birds and shells, fans, and books and
+globes. In short, this was a most wonderful house and no other
+interior can we reconstruct as we can this, because no other such
+detailed inventory can be found of a great man's effects as that from
+which these notes are taken: a legal inventory made in 1656, long
+after Saskia had died and possibly at a time when Rembrandt wished to
+close his doors forever and forget the scenes in which he had been so
+happy.
+
+Holland being truly a Protestant country, its artists have given us no
+great Madonna pictures, although they painted loving, happy Dutch
+mothers and little babes, but on the whole their subjects are quite
+different from those of the painters of Italy, France, and Spain.
+
+Rembrandt's studio was different from any other. When he first began
+to work independently and to have pupils, he fitted it up with many
+little cells, properly lighted, so that each student might work alone,
+as he knew far better work could be done in that way. It is said that
+his pictures of beggars would, by themselves, fill a gallery. He had a
+kindly sympathy for the poor and unfortunate, and tramps knew this, so
+that they swarmed about his studio doors, trying to get sittings.
+
+There is a story which doubtless had for its germ a joke regarding the
+slowness of an errand boy in a friend's household, but which at the
+same time shows us how rapidly Rembrandt worked. The artist had been
+carried off to the country to lunch with his friend Jan Six, and as
+they sat down at the table, Six discovered there was no mustard. He
+sent his boy, Hans, for it, and as the boy went out, Rembrandt wagered
+that he could make an etching before the boy got back. Six took the
+wager, and the artist pulled a copper plate from his pocket--he always
+carried one--and on its waxed surface began to etch the landscape
+before him. Just as Hans returned, Rembrandt gleefully handed Six the
+completed picture.
+
+He was a great portrait painter, but he loved certain effects of
+shadow so well that he often sacrificed his subject's good looks to
+his artistic purpose, and very naturally his sitters became
+displeased, so that in time he had fewer commissions than if he had
+been entirely accommodating.
+
+His meals in working time were very simple, often just bread and
+cheese, eaten while sitting at his easel, and after Saskia died he
+became more and more careless of all domestic details.
+
+Rembrandt finally married again, the second time choosing his
+housekeeper, a good and helpful woman, who was properly bringing up
+his little son, and making life better ordered for the artist, but he
+had grown poor by this time for he was never a very good business
+man. His beautiful house was at last sold to a rich shoemaker. Every
+picture latterly reflected his condition and mood. He chose subjects
+in which he imagined himself always to be the actor, and when his
+second wife died he painted a picture of "Youth Surprised by Death";
+he had not long to live. He became more and more melancholy; and
+sleeping by day, would wander about the country at night, disconsolate
+and sad. Finally, when he died, an inventory of his effects, showed
+him to be possessed of only a few old woollen clothes and his brushes
+The miracle in Rembrandt's painting is the deep, impenetrable shadow,
+in which nevertheless one can see form and outline, punctuated with
+wonderful explosions of light. Nothing like it has ever been seen. It
+is the most dramatic work in the world, and the most powerful in its
+effect. Other men have painted light and colour; Rembrandt makes gloom
+and shadow living things.
+
+This miracle-worker's funeral cost ten dollars; he died in Amsterdam
+and was buried in the Wester Kirk.
+
+  PLATE--THE SORTIE
+
+This picture is generally known as "The Night Watch," but it is really
+"The Sortie" of a company of musketeers under the command of a
+standard bearer. Captain Frans Banning-Cock and all his company were
+to pay Rembrandt for painting their portraits in a group and in
+action, and they expected to see themselves in heroic and picturesque
+dress, in the full blaze of day, but Rembrandt had found a magnificent
+subject for his wonderful shadows, and the artist was not going to
+sacrifice it to the vanity of the archers.
+
+This picture was called the "Patrouille de Nuit," by the French and
+the "Night Watch," by Sir Joshua Reynolds because upon its discovery
+the picture was so dimmed and defaced by time that it was almost
+indistinguishable and it looked quite like a night scene. After it was
+cleaned up, it was discovered to represent broad day--a party of
+archers stepping from a gloomy courtyard into the blinding
+sunlight. "How this different light is painted, which encircles the
+figures, here sunny, there gloomy!... Rembrandt runs through the
+entire range of his colours, from the lightest yellow through all
+shades of light and dark red to the gloomiest black." One writer
+describes it thus: "It is more than a picture; it is a spectacle, and
+an amazing one... A great crowd of human figures, a great light, a
+great darkness--at the first glance this is what strikes you, and for
+a moment you know not where to fix your eyes in order to comprehend
+that grand and splendid confusion... There are officers, halberdiers,
+boys running, arquebusiers loading and firing, youths beating drums,
+people bowing talking, calling out, gesticulating--all dressed in
+different costumes, with round hats, plumes, casques, morions, iron
+corgets, linen collars, doublets embroidered with gold, great boots,
+stockings of all colours, arms of every form; and all this tumultuous
+and glittering throng start out from the dark background of the
+picture and advance toward the spectator. The two first personages are
+Frans Banning-Cock, Lord of Furmerland and Ilpendam, captain of the
+company, and his lieutenant, Willem van Ruijtenberg, Lord of
+Vlaardingen, the two marching side by side. The only figures that are
+in full light are this lieutenant, dressed in a doublet of
+buffalo-hide, with gold ornaments, scarf, gorget, and white plume,
+with high boots, and a girl who comes behind, with blond hair
+ornamented with pearls, and a yellow satin dress; all the other
+figures are in deep shadow, excepting the heads, which are
+illuminated. By what light? Here is the enigma. Is it the light of the
+sun? or of the moon? or of the torches? There are gleams of gold and
+silver, moonlight coloured reflections, fiery lights; personages
+which, like the girl with blond tresses, seem to shine by a light of
+their own.... The more you look at it, the more it is alive and
+glowing; and, even seen only at a glance, it remains forever in the
+memory, with all its mystery and splendour, like a stupendous vision."
+Charles Blanc has said: "To tell the truth, this is only a dream of
+night, and no one can decide what the light is that falls on the
+groups of figures. It is neither the light of the sun or of the moon,
+nor does it come from the torches; it is rather the light from the
+genius of Rembrandt."
+
+This wonderful picture was painted in 1642 and many of the archer's
+guild who gave Rembrandt the commission would not pay their share
+because their faces were not plainly seen. This picture which alone
+was enough to make him immortal, was the very last commission that any
+of the guilds were willing to give the artist, because he would not
+make their portraits beautiful or fine looking to the disadvantage of
+the whole picture. This work hangs in the Rijks Museum in
+Amsterdam. He painted more than six hundred and twenty-five pictures
+and some of them are: "The Anatomy Lesson," "The Syndics of the Cloth
+Hall," "The Descent from the Cross," "Samson Threatening His Step
+Father," "The Money Changer," "Holy Family," "The Presentation of
+Christ in the Temple," "The Marriage of Samson," "The Rape of
+Ganymede," "Susanna and the Elders," "Manoah's Sacrifice," "The
+Storm," "The Good Samaritan," "Pilate Washing His Hands," "Ecce Home,"
+and pictures of his wife, Saskia.
+
+
+
+
+XXXIV
+
+SIR JOSHUA REYNOLDS
+
+
+  _English School_
+  1723-1792
+  _Pupil of Thomas Hudson_
+
+When Reynolds was "little Josh," instead of "Sir Joshua" he grew tired
+in church one day, and sketched upon the nail of his thumb the
+portrait of the Rev. Mr. Smart who was preaching. After service he ran
+to a boat-house near, and with ship's paint, upon an old piece of
+sail, he painted in full and flowing colours that reverend gentleman's
+portrait. After that there was not the least possible excuse for his
+father to deny him the right to become an artist.
+
+The father himself was a clergyman with a good education, and he had
+meant that his son should also be well educated and become a
+physician; but a lad who at eight years of age can draw the Plympton
+school house--he was born at Plympton Earl, in Devonshire--has a right
+to choose his own profession.
+
+At twenty-three years of age Sir Joshua was painting the portraits of
+great folk, and being well paid for it, as well as lavishly
+praised. His first real sorrow came at a Christmas time when he was
+summoned home from London where he was working, to his father's
+deathbed.
+
+After that the artist turned his thoughts toward Italy, but where was
+the money to come from? Earning a living did not include travelling
+expenses, but a good friend, Captain Keppel, was going out to treat
+with the Dey of Algiers about his piracies, and learning that the
+artist wished to go to Italy he invited him to go with him on his own
+ship, the _Centurion._ So while the captain was discussing pirates
+with the dey, Sir Joshua stopped with the Governor of Minorca and
+painted many of the people of that locality. Thence on to Rome!
+
+Strange to say, Raphael's pictures disappointed the English artist,
+and he said so; but Michael Angelo was to Reynolds the most wonderful
+of painters, and he said that his pictures influenced him all the rest
+of his life. He wished his name to be the last upon his lips, and
+while that was not so, yet it was the last he pronounced to his fellow
+Academicians in his final address.
+
+It was in Italy that a distressing misfortune came upon Sir Joshua. He
+meant to learn all that a man could learn in a given time of the art
+treasures there, and while he was working in a draughty corridor of
+the Vatican, he caught a severe cold which rendered him deaf. He
+continued deaf till the end of his life and had to use an ear-trumpet
+when people talked with him.
+
+When he got back to England, Hudson, his old master, said
+discouragingly: "Reynolds, you don't paint as well as when you left
+England." On the whole his reception at home, after his long absence,
+was not all that he could have wished, but he took a place in
+Leicester Square, settled down to live there for the rest of his life,
+and went at painting in earnest.
+
+Although artists criticised him more or less after his return, the
+public appreciated him and very soon orders for portraits began to
+pour in upon him, and the flow of wealth never ceased so long as he
+lived. It was said that all the fashionables came to him that did not
+go to Gainsborough, but those who were partial to Sir Joshua declared
+that all who could not go to him went to Gainsborough. The two great
+artists controlled the art world in their time, dividing honours about
+equally. It was said that all those women and men sat to Sir Joshua
+for portraits "who wished to be transmitted as angels... and who
+wished to appear as heroes or philosophers."
+
+Sir Joshua was a charming man, generous in feeling--as Gainsborough
+was not--and his closest friend was Dr. Johnson, the most different
+man from the artist imaginable, but Reynolds's art and Johnson's
+philosophy made a fine combination, each giving the other great
+pleasure. Besides Johnson, his friends were Goldsmith, Garrick, Bishop
+Percy, and other famous men of the time. These and others formed the
+"Literary Club" at Sir Joshua's suggestion. About that time there was
+the first public exhibition of the work of English artists, and Sir
+Benjamin West and Sir Joshua Reynolds built the Royal Academy for that
+first exhibition, with the help of King George's patronage. Joshua
+Reynolds was knighted when he was made the first president of that
+great body.
+
+Soon after the Academy was established, Reynolds began a series of
+"discourses," which in time became famous for their splendid literary
+quality, and some people, knowing his close friendship with Burke and
+Dr. Johnson, declared that the artist got one of them to write his
+"discourses" for him. This threw Johnson and Burke into a fury of
+resentment for their friend, and the doctor declared indignantly that
+"Sir Joshua would as soon get me to paint for him as to write for
+him!" Burke denied the story no less emphatically. Besides these
+speeches, which were a great advantage to the members of the Academy,
+Sir Joshua instituted the annual banquet to the members, and King
+George--who just before had given the commission of court painter to
+one less talented than Sir Joshua--bade him paint his portrait and the
+queen's, to hang in the Academy. This was a great thing for the new
+society and advanced its fortunes very much.
+
+Barry and Gainsborough were both churlish enough to envy Sir Joshua
+and to quarrel with his good feeling for them, but both men had the
+grace to be sorry for behaviour that had no excuse, and both made
+friends with him before they died--Gainsborough on his death-bed.
+
+Toward his last days the artist was attacked with paralysis, but grew
+better and was able to paint again; then he began to go blind--he was
+already deaf--and this affliction made painting impossible. Shortly
+before his death, he undertook to raise funds for a monument to his
+dead friend, Dr. Johnson, but he grew more and more ill, "and on the
+23d February, 1792, this great artist and blameless gentleman passed
+peacefully away."
+
+That he was very painstaking in his work is shown by an anecdote about
+his infant "Hercules." "How did you paint that part of the picture?"
+some one asked him. "How can I tell! There are ten pictures below
+this, some better, some worse"--showing that in his desire for
+perfection he painted and repainted.
+
+So untiring was he in seeking out the secrets of the old masters that
+he bought works of Titian and Rubens, and scraped them, to learn their
+methods, insisting that they had some secret underlying their work. So
+anxious was he to get the most brilliant effects of colours that he
+mixed his paints with asphaltum, egg, varnish, wax, and the like, till
+one artist said: "The wonder is that the picture did not crack beneath
+the brush." Many of these great pictures did go to pieces because of
+the chances Sir Joshua took in mixing things that did not belong
+together, in order to make wonderful results.
+
+Sir George Beaumont recommended a friend to go to Reynolds for his
+portrait and the friend demurred, because "his colours fade and his
+pictures die before the man."
+
+"Never mind that!" Sir George declared; "a faded portrait by Reynolds
+is better than a fresh one by anybody else."
+
+The same tender, sensitive and devoted nature which caused Sir
+Joshua's mother to weep herself blind upon her husband's death,
+belonged to the artist. All of his life he was surrounded by loving
+friends, and his devotion to them was conspicuous. He, like Durer and
+several other painters, was a seventh son, and his father's
+disappointment was keen when he took to art instead of to medicine. So
+little did his father realise what his future might be, that he wrote
+under the sketch of a wall with a window in it, drawn upon a Latin
+exercise book: "This is drawn by Joshua in school, out of pure
+idleness."
+
+But by the time Joshua was eight years old and had drawn a fine
+"sketch of the grammar-school with its cloister... the astonished
+father said: 'Now, this exemplifies what the author of "perspective"
+says in his preface: "that, by observing the rules laid down in this
+book, a man may do wonders"--for this is wonderful.'"
+
+Sir Joshua laid down--even wrote out--a great many rules of conduct
+for himself. Some of these were: "The great principle of being happy
+in this world is not to mind or be affected with small things." Also:
+"If you take too much care of yourself, nature will cease to take care
+of you."
+
+When Samuel Reynolds, Joshua's father, consulted with his friend
+Mr. Craunch, as to whether a boy who made wonderful paintings at
+twelve years of age, would be likely to be a successful apothecary, he
+told Craunch that Joshua himself had declared that he would rather be
+a good apothecary than a poor artist, but if he could be bound to a
+good master of painting he would prefer that above everything in the
+world. This was how he came to be apprenticed to Hudson, the
+painter. Young Reynolds's sister paid for his instruction at first--or
+for half of it, with the understanding that Reynolds was to pay her
+back when he was earning. At that time Reynolds wrote to his father:
+"While I am doing this I am the happiest creature alive."
+
+One day, while in an art store, buying something for Hudson, Reynolds
+saw Alexander Pope, the poet, come in, and every one bowed to him and
+made way for him as if for a prince. Pope shook hands with young
+Reynolds, and in writing home, describing the poet, the artist said
+that he was "about four feet six inches high; very humpbacked and
+deformed. He wore a black coat and according to the fashion of that
+time, had on a little sword. He had a large and very fine eye, and a
+long handsome nose; his mouth had those peculiar marks which are
+always found in the mouths of crooked persons, and the muscles which
+run across the cheeks were so strongly marked that they seemed like
+small cords." This is a masterly description of one famous man by
+another.
+
+He finally was dismissed from his master's studio on the ground that
+he had neglected to carry a picture to its owner at the time set by
+Hudson, but the fact was the older artist had become jealous of the
+work of his pupil, and would no longer have him in his studio.
+
+Afterwards, while he was painting down in Devonshire--thirty portraits
+of country squires for fifteen dollars apiece--he said: "Those who are
+determined to excel must go to their work whether willing or
+unwilling, morning, noon, and night, and they will find it to be no
+play, but, on the contrary, very hard labour." This shows that
+Reynolds's idea of genius was "an infinite capacity for hard work."
+
+While Reynolds was on his memorable journey to Rome, he made several
+volumes of notes about the pictures of great Italian artists--Raphael,
+Titian, etc. And one of those volumes is in the Lenox Library, New
+York City. He made a most characteristic and delightful remark in
+regard to his disappointment in Raphael's pictures. "I did not for a
+moment conceive or suppose that the name of Raphael, and those
+admirable paintings in particular, owed their reputation to the
+_ignorance_ ... of mankind; on the contrary, my not relishing them, as
+I was conscious I ought to have done was one of the most humiliating
+things that ever happened to me."
+
+He loved home and country so much that while in Venice he heard a
+familiar ballad sung in an opera, and it brought the tears to his eyes
+because of its association with "home."
+
+His young sister, was so undecided in her ways and opinions as to make
+it impossible for Reynolds long to live with her, but she undertook to
+be his housekeeper when he returned to London, and she also tried to
+copy his pictures Reynolds said the results "made other people laugh,
+but they made me cry."
+
+Reynolds painted the portraits of two Irish sisters--the Countess of
+Coventry and the Duchess of Hamilton--two of the most beautiful women
+in all the British Empire. "Seven hundred people sat up all night, in
+and about a Yorkshire inn, to see the Duchess of Hamilton get into her
+postchaise in the morning, while a Worcester shoemaker made money by
+showing the shoe he was making for the Countess of Coventry." Sir
+Joshua declared that whenever a new sitter came to him, even till the
+last years of his life, he always began his portrait with the
+determination that that one should be the best he had ever
+painted. Success was bound to attend that sort of man.
+
+He painted every picture almost as an experiment; meaning to learn
+something new with every work, and he spent more than he made in
+perfecting his art. As he said: "He would be content to ruin himself"
+in order to own one of the best works of Titian.
+
+His deeds of kindness are beyond counting. He rescued his friend
+Dr. Johnson from debt--thereby saving him from prison; and when a
+young lad, "a son of Dr. Mudge," who was very anxious to visit his
+father on the occasion of his sixteenth birthday, grew too ill to make
+the journey. Reynolds said gaily: "No matter my boy. _I_ will send you
+to your father." He painted a splendid portrait of the boy and sent it
+to Dr. Mudge. This gift of a picture, however, was very unusual with
+Reynolds, who, unlike Gainsborough who gave his by the bushel to
+everyone, declared that his pictures were not valued unless paid
+for. When Sir William Lowther, a gay and rich young man of London,
+died, he left twenty-five thousand dollars to each of thirteen
+friends, and each of the thirteen commissioned the painter to make a
+portrait of Lowther, their benefactor. His work room was of interest:
+"The chair for his sitters was raised eighteen inches from the floor,
+and turned on casters. His palettes were those which are held by a
+handle, not those held on the thumb. The stocks of his pencils were
+long, measuring about nineteen inches. He painted in that part of the
+room nearest to the window, and never sat down when he painted." The
+chariot in which he drove about had the four seasons allegorically
+painted upon its panels, and his liveries were "laced with silver";
+while the wheels of his coach were carved with foliage and gilded.
+
+Sir Joshua knew that it paid to advertise, and as he had no time to go
+about in that gorgeous chariot he made his sister go, for he declared
+that people seeing that magnificent coach would ask: "Whose chariot is
+that?" and upon being told could not fail to be impressed with his
+prestige. The comical inconsequence of this anecdote concerning a man
+so important robs it of vulgarity.
+
+The graceful anecdotes told of Reynolds are without number, but one
+and all are to his advantage and show him to have been good and
+gentle, a devoted and high-bred man.
+
+  PLATE--THE DUCHESS OF DEVONSHIRE AND HER DAUGHTER
+
+This is generally considered one of the finest of Sir Joshua's
+pictures, if not the most beautiful of all. He was such a welcome
+guest at the houses of grandees that perchance he had noticed the
+lovely duchess playing with her still more lovely baby, and thought
+what a charming picture the two would make. As a representation of the
+artist's ability to portray grace and sweetness it can hardly be
+surpassed. He painted it in 1786, half a dozen years before his death,
+and it now hangs in Chatsworth, the home of the present Duke of
+Devonshire.
+
+Other well known Reynolds paintings are "The Hon. Ann Bingham," "The
+Countess of Spencer," the "Nieces of Sir Horace Walpole," and the
+"Angels' Heads" in the National Gallery.
+
+
+
+
+XXXV
+
+PETER PAUL RUBENS.
+
+
+  _Flemish School_
+  1577-1640
+  _Pupil of Tobias Verhaecht_
+
+The story of Peter Paul Rubens, whose birthday falling upon the saint
+days of Peter and Paul gave to him his name, is hardly more
+interesting than that of his parents, although it is quite
+different. The story of Rubens's parents seems a part of the artist's
+story, because it must have had something to do with influencing his
+life, so let us begin with that.
+
+John Rubens was Peter Paul's father, and he was a learned man, a
+druggist, but he had also studied law, and had been town councillor
+and alderman in the town where he was born. Life went easily enough
+with him till the reformation wrought by Martin Luther began to change
+John Rubens's way of thinking, and he turned from Catholic to
+Lutheran.
+
+From being a good Catholic John Rubens became a rabid reformer; and
+when, under the new faith, the Antwerp churches were stripped of their
+treasures, the magistrates were called to account for it. John Rubens,
+as councillor, was among those summoned. The magistrates declared that
+they were all good Catholics, but a list of the reformers fell into
+the Duke of Alva's hands and Rubens's name was there. This meant death
+unless he should succeed in flying from the country, which he
+instantly did. That was in 1568, when he had four children, but Peter
+Paul was not one of them--since he was a seventh son.
+
+The Rubens family went to live in Cologne, where the father found his
+learning of great use to him, and he was honoured by being made legal
+adviser to Anne of Saxony who was William the Silent's second
+queen. John Rubens's behaviour was not entirely honourable and before
+long he was thrown into prison, but his good wife, Maria Pypelincx
+undertook to free him. He had treated her very badly, but her devotion
+to his cause was as great as if he had treated her well. Despite his
+wife's efforts he was kept a prisoner in the dungeon at Dillenburg for
+two years, and afterward he was removed to Siegen, the place where
+Peter Paul was born.
+
+In the sixteenth century there were no records of any sort kept in the
+town of Siegen, and so we cannot be absolutely sure that Peter Paul
+was born there, but his mother was certainly there just before and
+after the date of his birth, which was the 29th of June 1577. After
+his birth, his father was set free in Siegen and allowed to go back to
+the city in which he had misbehaved himself. In Cologne he became once
+more a Catholic, and he died in that faith. Meantime, ten years had
+passed since Peter Paul's birth, and both his father and mother were
+determined above all things their son should have a fine education,
+quite unlike other artists, for the boy seemed capable of
+learning. While he was still very small he could speak to his tutor in
+French, to his mother in Flemish, and to his father in Latin. Besides
+these languages he spoke also Italian and English. Before he was an
+artist, Rubens, like Durer and Leonardo da Vinci, was a child of rare
+intelligence. As a little chap he went to Antwerp with his
+mother--this was after his father's death--and in Belgium he took for
+the first time the role of courtier, in which he was to become so
+successful later in life. The charming little fellow, dressed in
+velvet and lace, took his place in the household of the Countess of
+Lalaing, in Brussels.
+
+Very soon after entering that household, Rubens was permitted by his
+mother to leave it for the studio of the painter who was his first
+master, though not the one who really taught him much. Rubens did not
+stay there long, but went instead to the studio of Adam van Noort, an
+excellent painter of the time. After that he studied under another
+artist, who was both a scholar and a gentleman, Van Veen, and with him
+Peter Paul was able to speak in Latin and in his many other languages,
+while learning to paint at the same time.
+
+Thus we find Rubens's lot was always cast, not among the rich, but
+among the intelligent, the well bred, and the cultivated. This fact
+alone would prepare us to anticipate pleasant things for him and from
+him.
+
+In those days of guilds, there were many rules and regulations. Van
+Noort, Rubens's teacher, was dean of the painters' guild and through
+his influence the guild recognised Rubens as "master," which meant
+that he was qualified to take pupils; thus he was pupil and teacher at
+the same time.
+
+One is unable to think of Rubens as having low tastes, as being
+morose, erratic, or anything but a refined, gracious, and brilliant
+gentleman. He began well, lived well, and ended well.
+
+None of his teachers really impressed their style of art upon him. He
+was the model for others. Rubens became nothing but Rubens, but all
+the art world wished to become "Rubenesque."
+
+Rubens went to Mantua to see the art of Italy, and while there he met
+the Duke of Mantua who was Vincenzo Gonzaga, the richest, most
+powerful personage of that region and time. The duke engaged Rubens to
+paint the portraits of many beautiful women--just the sort of
+commission that Rubens's pupil, Van Dyck, would have loved; but
+Rubens's art was of sterner stuff, and the work by no means delighted
+him. He had great ideas, profound purposes, and wished to undertake
+them, but just then it seemed best that he perform that which the Duke
+of Mantua wanted him to do; hence he set about it.
+
+Later Rubens went to the Spanish court, not as a painter, but as a
+cavalier upon a diplomatic mission. Bearing many beautiful presents to
+King Philip III., he went to Madrid, where his elegance, manly beauty,
+dashing manner, and ability to speak several languages made him a
+wonderful success. He remained for three years at the court and
+studied the methods of Spanish painters. He also painted the members
+of the Spanish court, as Velasquez had done, but they looked like
+people of another world. The Spanish aristocracy had always been
+painted with pallid faces, languid and elegant poses; but Rubens gave
+them a touch of the life he loved--made them robust and apparently
+healthy-minded. Of all great colourists, Rubens took the lead. Titian
+with his golden hues and warm haired women was very great, but Rubens,
+"the Fleming" as he was called, revelled in richness of colouring, and
+flamed through art like a glorious comet.
+
+Rubens had long been wanted in his own country. His sovereigns, Albert
+and Isabella, wished him to return and become their painter, but they
+were unable to free him from his engagements in Italy and Spain. At
+last Rubens received word that his mother, whom he loved devotedly,
+was likely to die, and what kings could not do his love for her
+accomplished.
+
+Although his patron, the Duke of Mantua, was absent, and his consent
+could not be secured, Rubens set off post-haste to his mother's
+home. He arrived in Antwerp too late to see Maria Pypelincx, who had
+died before he reached her. Once more on his native soil, Albert and
+Isabella determined to induce him to remain. He had intended to go
+back to Mantua and continue his work under the duke, but since he was
+now in Belgium he decided to stay there, and thus he became the court
+painter in his own country, which after all he greatly preferred to
+any other.
+
+He was to have a salary of five hundred livres ($96) a year, also "the
+rights, honours, privileges, exemptions, etc." that belonged to those
+of the royal household; and he was given a gold chain. In this day of
+large doings there is something about such details that seems
+childish, but a "gold chain" was by no means a small affair at a time
+when $96 was considered an ample money-provision for an artist.
+
+That gorgeous gold chain, a mark of distinction rather than a reward,
+is to be seen in all its glory in one of Rubens's great paintings. The
+artist himself is mounted upon a horse, the chain about his neck,
+while he is surrounded by "no fewer than eight-and-twenty life-size
+figures, many in gorgeous attire, warriors in steel armour, horsemen,
+slaves, camels, etc." This picture, "The Adoration of the Magi," was
+twelve feet by seventeen, and was painted at the town's expense. It
+was later sent to Spain and placed in the Madrid Gallery.
+
+One of the greatest honours that could come to students of that day,
+was to be admitted to Rubens's studio to paint under his direction,
+and it is said that "hundreds of young men waited their turn, painting
+meanwhile in the studios of inferior artists, till they should be
+admitted to the studio of the great master."
+
+Rubens was a king among painters, as well as a painter patronised by
+kings.
+
+He had two wives, and he married the first one in 1609. Her name was
+Isabella Brant. Sir Joshua Reynolds said of her: "His wife is very
+handsome and has an agreeable countenance, but the picture is rather
+hard in manner"--by which he meant a picture which Rubens had painted
+of her. One of his greatest privileges when he was engaged at the
+court of Albert and Isabella, had been that he need obey none of the
+exactions of the Guild of St. Luke, none of their rigid rules
+concerning the employment of art students. Rubens could take into his
+service whom he pleased, whether they had been admitted as members of
+the guild or not, though to be a member of the guild was a testimony
+to their qualifications. In the end, this did a good deal of harm, for
+Rubens employed students to do the preliminary work of his pictures,
+who had not been his pupils and who were not otherwise qualified. Thus
+we read criticisms like that of Sir Joshua's; and many of Rubens's
+pictures are marred in this manner.
+
+A story is told of Van Dyck and other pupils of Rubens breaking into
+the master's studio and smudging a picture which Van Dyck afterward
+repaired by painting in the damaged portion most successfully. We are
+also told in connection with Rubens's picture, "The Descent from the
+Cross," that Van Dyck restored an arm and shoulder of Mary of Magdala,
+but certainly Van Dyck did not become a pupil of Rubens till some time
+after that picture was painted.
+
+The work of a wonderful period in Rubens's art was completely
+destroyed. In two years time he painted forty ceilings of churches in
+Antwerp, all of which were burned, but there is a record of them in
+the copies made by De Witt, in water colours from which etchings were
+afterward made. This work of Rubens was the first example of
+foreshortening done by a Flemish painter.
+
+Above all things Rubens liked to paint big pictures, on very large
+surfaces, as did Michael Angelo. "The large size of picture gives us
+painters more courage to present our ideas with the utmost freedom and
+semblance of reality. ... I confess myself to be, by a natural
+instinct, better fitted to execute works of the largest size." He
+wrote this to the English diplomat Trumbull in 1621.
+
+In the midst of Rubens's greatest success as a painter came his
+diplomatic services. It was desirable that Spain and England should be
+friends, and Rubens always moving about because of his work, and being
+so very clever, the Spanish powers thought him a good one to negotiate
+with England. While on a professional visit to Paris, the English Duke
+of Buckingham and the artist met, and this seemed to open a way for
+business. The Infanta consented to have Rubens undertake this delicate
+piece of statesmanship, but Philip of Spain did not like the idea of
+an artist--a wandering fellow, as an artist was then thought to
+be--entering into such a dignified affair. The real negotiator on the
+English side, was Gerbier, by birth also a Fleming, and strange to
+tell, he too had been an artist. The English engaged him to look after
+their interests in the affair, and as soon as Philip learned that
+their diplomat was also an artist, his prejudices against Rubens as a
+statesman, disappeared. So it was decided that the two Flemings,
+artists and diplomats, should meet in Holland to discuss
+matters. About that time Sir Dudley Carleton wrote to Lord Conway:
+"Rubens is come hither to Holland, where he now is, and Gerbier in his
+company, walking from town to town, upon their pretence of taking
+pictures, which may serve him for a few days if he dispatch and be
+gone; but yf he entertayne tyme here long, he will infallibly be layd
+hold of, or sent with disgrace out of the country ... this I have made
+known to Rubens lest he should meet with a skorne what may in some
+sort reflect upon others."
+
+The two clever men got through with their talk, nothing unfortunate
+happened, and Rubens got off to Spain where he laid the result of his
+talk with Gerbier before the Spanish powers. He was given a studio in
+Philip's palace, where he carried on his art and his diplomacy. The
+king became delighted with him as a man and an artist, and as well as
+attending to state business, he did some wonderful painting while in
+Madrid. He was there nine months or more, and then started off for
+England to tell Charles I. of Philip III.'s wishes. But upon his
+arrival he learned that a peace had just been concluded between France
+and England, and all was excitement.
+
+He was received in England as a great artist; every honour was
+showered upon him, and when he made Philip's request to Charles, that
+he should not act in a manner hostile to Spain, Charles agreed, and
+kept that agreement though France and Venice urged him to break it.
+
+Charles knighted Rubens while he was in England, and the University of
+Cambridge made him Master of Arts. The sword used by the king at the
+time he gave the accolade is still kept by Rubens's descendants.
+
+While he was in London Rubens was very nearly drowned in the Thames
+going down to Greenwich in a boat.
+
+When he first went from Italy to Spain on a mission of state, he
+carried a note or passport bearing the following lines: "With these
+presents" (he took magnificent gifts to Philip, among them a carriage
+and six Neapolitan horses) "comes Peter Paul, a Fleming. Peter Paul
+will say all that is proper, like the well informed man that he
+is. Peter Paul is very successful in painting portraits. If any ladies
+of quality wish their pictures, let them take advantage of his
+presence." When he visited England there was no longer need of such
+introduction; he went in all the magnificence that his genius had
+earned for him.
+
+Rubens was always a happy man, so far as history shows. He married the
+first time, a woman who was beautiful and who loved him, as he loved
+her. He was able to build for himself a beautiful house in Antwerp. In
+the middle of it was a great _salon_, big enough to hold all his
+collection of pictures, vases, bronzes, and beautiful jewels. There
+was also a magnificent staircase, up which his largest pictures could
+be easily carried, for it was built especially to accommodate the
+requirements of his work.
+
+Rubens's greatest picture was painted through a strange happening when
+this beautiful house was being built. The land next to his belonged to
+the Archers' Guild and when the workmen came to dig Rubens's cellar,
+they went too far and invaded the adjoining property. The archers made
+complaint, and there seemed no way to adjust the matter, till some one
+suggested that Rubens make them a picture which should be accepted as
+compensation for the harm done. This Rubens did, and the picture was
+to be St. Christopher--the archers' patron saint; but when the work
+was done "Rubens surprised them" by exhibiting a picture "of all who
+could ever have been called 'Christ-bearers.'" This was "The Descent
+from the Cross"--not a single picture but a picture within a picture,
+for there were shutters folding in front of it, and on these was
+painted the archers' patron, St. Christopher.
+
+Rubens's daily life is described thus: "His life was very
+methodical. He rose at four, attended mass, breakfasted, and painted
+for hours; then he rested, dined, worked until late afternoon; then,
+after riding for an hour or two one of his spirited horses, and later
+supping, he would spend the evening with his friends.
+
+"He was fond of books, and often a friend would read aloud to him
+while he worked." This is a pleasant picture of a reasonable and
+worthy life.
+
+It is said that once he painted eighteen pictures in eighteen days,
+and it is known that he valued his time at fifty dollars a day.
+
+His pupil, Van Dyck, being pushed for money, turned alchemist and
+tried to manufacture gold, but when Rubens was approached by a
+visionary who wanted him to lend him money by which he might pursue
+such a work, promising Rubens a fortune when he should have discovered
+how to make his gold, the artist laughed and said: "You are twenty
+years too late, friend. When I wield these," indicating his palette
+and brush, "I turn all to gold."
+
+Many are the delightful anecdotes told of Rubens. It is said that
+while he was at the English court he was painting the ceiling of the
+king's banqueting hall, and a courtier who stood watching, wished to
+say something _pour passer le temps_, so he asked: "Does the
+ambassador of his Catholic Majesty sometimes amuse himself with
+painting?"
+
+"No--but he sometimes amuses himself with being an ambassador," was
+the witty retort, which showed how he valued his two commissions.
+
+When King Charles I. knighted Rubens he gave him, beside the jewelled
+sword, a golden chain to which his miniature was attached. If Rubens
+had gone about with all the chains and decorations given him by kings
+and other great ones of the earth he would have been weighted down,
+and would have needed two pairs of shoulders on which to display them.
+
+Rubens's first wife died; and when he married again, he was as fond of
+painting pictures of the second wife as he had been of the first. The
+name of the second was Helena Fourment, and she is called by one
+author "a spicy blonde." Certainly she was very gay, big, and robust,
+and only sixteen years old when she married Rubens who was then a man
+of fifty-three. Of one picture, "The Straw Hat," for which he is
+supposed to have used his wife's sister as model, he was so fond that
+he would not sell it at any price.
+
+Rubens had a rare mother, as shown in her letters to her husband,
+John, when he was in prison for his wrongdoing. It would seem that
+such a mother must have a strong, forceful son, and Rubens is less of
+a surprise than many artists who had no such influence in their
+childhood. The history of Rubens's mother is worthy of being told even
+had she not had a famous son who painted a beautiful picture of her.
+
+Rubens's "Holy Families" are like those of no other painter. The
+Virgin, the Child, all the others in the picture, are quite different
+from the Italian figures. These are human beings, good to look upon;
+full of love and joy, softness and beauty.
+
+It was his learning that first won favour for him in Italy. The Duke
+of Mantua hearing him read from Virgil, spoke to him in Latin, and
+being answered in that tongue was so charmed that the foundation of
+their friendship and the duke's patronage was laid. In Italy he was
+called "the antiquary and Apelles of our time."
+
+His nephew-biographer writes of him: "He never gave himself the
+pastime of going to parties where there was drinking and card-playing,
+having always had a dislike for such."
+
+As Rubens grew in fame, he found that many were jealous of him, and on
+one occasion a rival proposed that he and Rubens each paint a picture
+upon a certain subject and leave it to judges to decide which work was
+the best--Rubens's or his own.
+
+"No," said Rubens. "My attempts have been subjected to the scrutiny of
+connoisseurs in Italy and Spain. They are to be found in public
+collections and private galleries in those countries; gentlemen are at
+liberty to place their works beside them, in order that comparison may
+be made." This was a dignified way of disposing of the case.
+
+Rubens loved to paint animals, and he had a great lion brought to his
+home, that he might study its poses and movements.
+
+The flesh of his figures was so lifelike that Guido declared he must
+mix blood with his paints. He was called "the painter of life."
+
+Rubens, a seventh child, had also seven children, two belonging to his
+first wife, five to the second.
+
+Many stories are told of his patience and his kindness. It is said
+that at one time his old pupil, Van Dyck, returned to Antwerp after an
+absence, greatly depressed and in need of money. Rubens bought all his
+unsold pictures, and he did this charitable act more than once, and is
+known to have done the same thing for a rival and enemy, out of sheer
+goodness of heart.
+
+Kings and queens came to the Rubens house, people of many nations did
+him honour; and toward his closing days, when gout had disabled him,
+ambassadors visited him, since he could not go to them.
+
+In a description of his death and burial which took place at Antwerp
+we read: "He was buried at night as was the custom, a great concourse
+of citizens ... and sixty orphan children with torches followed the
+body." He was placed in the vault of the Fourment family, and as he
+had requested, "The Holy Family" was hung above him. In that picture,
+we find the St. George to be Rubens himself; St. Jerome, his father;
+an angel, his youngest son, while Martha and Mary are Isabella and
+Helena, his two wives.
+
+He left many sketches "to whichever of his sons became an artist, or
+to the husband of his daughter who should marry an artist." But there
+were none such to claim the bequest.
+
+  PLATE--THE INFANT JESUS AND ST. JOHN
+
+The little girl behind Jesus is supposed to represent his future
+bride, the Christian Church. The thoughtful, far-seeing look upon the
+face of the Christ-child, though it does not clash with His youthful
+charm, is meant to suggest that He has a premonition of His work in
+the world. The other joyous little figures also demonstrate the
+artist's love for children. He brings them into his pictures, as
+cherubs, wherever he can, and they are frequently just as well painted
+and more universally appreciated than his stout women. In this picture
+he has a good opportunity to show his adorable flesh tints, combined
+with the movement and freedom naturally associated with child life.
+
+The original painting is in the Court Museum at Vienna, but it has
+always been so popular that many copies of it have been made, and one
+of these is in the Berlin Gallery.
+
+  PLATE--THE ARTIST'S TWO SONS
+  _(See Frontispiece_)
+
+This picture hangs in the Lichtenstein Gallery at Vienna; the two
+boys, eleven and seven years of age, are the sons of Rubens by his
+first wife, Isabella Brant; and Albert, the elder of the two, greatly
+resembles his mother. He is evidently a student, for he wears the
+dress of one and carries a book in one hand. The other is placed
+affectionately upon the shoulder of his little brother, Nicolas, whose
+face, figure, and attire are all much the more childish of the two.
+
+Critics consider this painting to mark the Highest point which Rubens
+reached in portraiture. It has all the colour, character, and vitality
+of his best work. Some of his other pictures are: "Coronation of Marie
+de Medicis," "The Kirmesse," "Slaughter of the Innocents," "Susanna's
+Bath," "Capture of Samson," "A Lion Hunt" and "The Rape of the
+Daughters of Leucippus."
+
+
+
+
+XXXVI
+
+JOHN SINGER SARGENT
+
+
+  _American and Foreign Schools_
+  1856-1926
+  _Pupil of Carolus Durand_
+
+This artist was born in Europe, of American parents; thus we may say
+that he was "American," though he owed nothing but dollars to the
+United States, since his instruction was obtained in Italy and France,
+and all his associations in art and friendship were there. He was
+probably the most brilliant of the artists termed American. His great
+mural work in the Boston Public Library, is hardly to be surpassed.
+
+Above all, Sargent's portraits are masterly. He was famous in that
+branch of art before he was twenty-eight years old. Among his finest
+portraits is that of "Carmencita," a Spanish dancer, who for a time
+set the world wild with pleasure. The list of his famous portraits is
+very long.
+
+Sargent's father was a Philadelphia physician; who originally came
+from New England, but the artist himself was born in Florence. He was
+given a good education and grew up with the beauties of Florence all
+about him, in a refined and charming home. He was the delight of his
+master, Carolus Durand for he was modest and refined, yet full of
+enthusiasm and energy. In his twenty-third year he painted a fine
+picture of his master. Sargent was a musician as well as a painter; a
+man of great versatility, as if the gods and all the muses had
+presided at his birth.
+
+  PLATE--CARMENCITA
+
+In this picture of the famous Spanish dancer Sargent shows all the
+life and character he can put into a portrait. The girl seems on the
+point of springing into motion. She is poised, ready for flight and
+the proud lift of her head makes one believe that she will accomplish
+the most difficult steps she attempts. The painting is in the
+Luxembourg, Paris.
+
+Other noted Sargent portraits are "Mr. Marquand" in the Metropolitan
+Museum of Art, "Lady Elcho, Mrs. Arden, Mrs. Tennant," "Mrs. Meyer and
+Children," "Homer St. Gaudens," "Henschel," and "Mr. Penrose."
+
+
+
+
+XXXVII
+
+TINTORETTO (JACOPO ROBUSTI)
+
+
+  _Venetian School_
+  1518-1594
+  _Pupil of Titian_
+
+Tintoretto was born with an ideal. As a young boy he wrote upon his
+studio wall: "The drawing of Michael Angelo, the colouring of Titian,"
+and that was the end he tried to reach. His father was a "tintore"--a
+dyer of silk, a tinter--and it was from the character of that work the
+artist took his name. He helped his father with the dyeing of silks,
+while he was still a child, and was called "II tintoretto," little
+dyer.
+
+As the little tinter showed great genius for painting, his father
+placed him in Titian's studio, but for some reason he only stayed
+there a few days, long enough, however, to permit us to call him a
+pupil of Titian; especially as he wrote that master's name upon his
+wall and determined to imitate him. After his few days with Titian,
+Tintoretto studied with Schiavone and afterward set up a studio for
+himself.
+
+As a determined lad in this studio of his, Tintoretto tried every
+means of developing his art. He studied the figures upon Medicean
+tombs made by Michael Angelo, taking plaster casts of them and copying
+them in his studio. He used to hang little clay figures up by strings
+attached to his ceiling, that he might get the effect of them high in
+air. By looking at them thus from below he gained an idea of
+foreshortening.
+
+Although this artist nearly succeeded in getting into line with
+Michael Angelo, he did not colour after the fashion of his master,
+Titian. Tintoretto was about twenty-eight years old before he got any
+very big commission, but at that age a chance came to him. In the
+church of Santa Maria del Orto were two great bare spaces, unsightly
+and vast, about fifty feet high and twenty broad. In that day anything
+and everything was decorated with masterpieces, and it was almost
+disgraceful for a church to let such a space as that go
+unfrescoed. Tintoretto saw an opportunity, and finally offered to
+paint pictures there for nothing if the church would agree to pay for
+the materials he needed. The church certainly was not going to refuse
+such an offer, even if Tintoretto was not thought to be much of an
+artist at the time. If the work was poor, one day they could choose to
+have it repainted. Thus Tintoretto got his first great opportunity. He
+painted on those walls "The Last Judgment" and "The Golden Calf." They
+made him famous, and gained him the commission to paint the picture
+which is used as an illustration here.
+
+The brothers of the Scuola di San Rocco asked him to compete with
+Veronese, in painting the ceilings after he had done four pictures for
+their walls.
+
+Tintoretto consented, and Veronese and two others who were in the
+competition set about making their sketches which they were to present
+for the brothers' consideration. Finaly the day of decision came. All
+were assembled, the artists armed with sketches of their plans.
+
+"Where are yours, Tintoretto?" the others asked. "We expect a drawing
+of your idea."
+
+"Well, there it is," the artist answered, drawing a screen from the
+ceiling. Behold! he had already painted it to suit himself. The work
+was complete.
+
+"That is the way I make my sketches," he said.
+
+Though the work was magnificent it had not been done according to the
+monks' ideas of business and order. They objected and objected.
+
+"Very well," the artist cried; "I will make the ceiling a present to
+you." As there was a rule of their order forbidding them to refuse a
+present, they had to accept Tintoretto's. This did not promise very
+good business at the time, but the work was so splendid and Tintoretto
+so reasonable that they finally agreed to give him all the work of
+their order--nearly enough to keep him employed during a
+lifetime. After that he painted sixty great pictures upon their walls.
+
+He painted so much and so fast that he did not always do good work,
+and one critic declares that "while Tintoretto was the equal of
+Titian, he was often inferior to Tintoretto"--which after all is a
+very fine compliment.
+
+His life was so tranquil and uneventful that there is little to say of
+it; but there is much to say of his art. He lived mostly in his
+studio, and when he died he was buried in the Santa Maria del
+Orto--the church in which he had done his first work.
+
+Veronese had given to Venice a brilliant, glowing, rich, ravishing
+riot of colour and figures, but Tintoretto was said to rise up
+"against the joyful Veronese as the black knight of the Middle Ages,
+the sombre priest of a gloomy art." Tintoretto was of stormy
+temperament, and upon one occasion he proved it by thrusting a pistol
+under a critic's nose, after he had invited him to his studio; it is
+this half savage spirit that may be seen in his paintings. He had
+deep-set, staring eyes, it is said, a furrowed brow and hollow cheeks,
+indicative of his passionate spirit. He painted very few female
+figures, but mostly men. When he did paint a woman, she looked mannish
+and not beautiful. When he painted gorgeous subjects, like doges and
+senators, he gave to them gloomy backgrounds, awe-inspiring poses, and
+he seldom painted a figure "full-face" but three-quarter, or half, so
+that he did not give himself a chance to present human figures in
+beautiful postures. He is said to have been the first who painted
+groups of well-known men in pictures intended for the decoration of
+public buildings. One great critic has written that "while the Dutch,
+in order to unite figures, represented them at a banquet, Tintoretto's
+_nobili_ (aristocrats) were far too proud to show themselves to the
+people" in so gay and informal a situation. With the coming of
+Tintoretto it was said "a dark cloud had overcast the bright heaven of
+Venetian art. Instead of smiling women, bloody martyrs and pale
+ascetics" were painted by him. He dissected the dead in order to learn
+the structure of the human body. In his paintings "his women,
+especially, with their pale livid features and encircled eyes,
+strangely sparkling as if from black depths, have nothing in common
+with the soft" painted flesh which he pictured in his youth while he
+was following Titian as closely as he could. As he grew older and his
+art more fixed, he followed Michael Angelo more and more. Titian's
+colouring was that of "an autumn day" but Tintoretto's that of a
+"dismal night." Yet these very qualities in Tintoretto's work made him
+great.
+
+  PLATE--THE MIRACLE OF ST. MARK
+
+This painting in the Academy at Venice tells the story of how a
+Christian slave who belonged to a pagan nobleman went to worship at
+the shrine of St. Mark. That was unlawful. The nobleman had his slave
+taken before the judge, who ordered him to be tortured. Just as the
+executioner raised the hammer with which he was finally to kill the
+slave, St. Mark himself came down from heaven, broke the weapon and
+rescued the slave.
+
+The figure of the patron saint of Venice is swooping down, head first,
+above the group, his garments flying in the air. A bright light
+touches the slave's naked body, as he lies upon his back, the
+executioner having turned away and raised his hammer aloft, while
+others have drawn back in fright at the appearance of the patron
+saint. We may imagine that Tintoretto was trying to acquire this power
+of painting wonderful figures hovering in the air when he hung his
+little clay images from the ceiling of his studio years before. Other
+pictures of his are: "The Marriage of Bacchus and Ariadne," "Martyrdom
+of St. Agnes," "St. Rocco Healing the Sick," "The Annunciation," "The
+Crucifixion," and many others.
+
+
+
+
+XXXVIII
+
+TITIAN (TIZIANO VECELLI)
+
+
+  (Pronounced Tit-zee-ah'no (Vay-chel'lee))
+  _Venetian School_
+  1477-1576
+  _Pupil of Giovanni and Gentile Bellini_
+
+Titian was a child of the Tirol Mountains, handsome, strong, full of
+health and fine purposes, even as a boy. He was born in a little
+cottage at Pieve, in the valley of Cadore, through which flows the
+River Piave; and he wandered daily beside its banks, gathering flowers
+from which he squeezed the juices to paint with. When he grew up he
+became a wonderful colourist, and from his boyhood nothing so much
+delighted him as the brilliant colours flaunted by the flowers of wood
+and field.
+
+Gathered about his good father's hearth were many children, Caterina,
+Francesco, Orsa, and the rest, living in peace and happiness, closely
+bound together by love. Titian had a gentle, loving mother named
+Lucia, while his father was a soldier and an honoured man. In the
+little town where they lived, he was councillor and also
+superintendent of the castle and inspector of mines, no light honours
+among those simple country people. Doubtless Titian inherited his
+splendid bearing and his determined character from his soldier father.
+
+Even while a little child, the man who was destined to become a great
+artist began his work with the juices of the wild-flowers, which he
+daubed upon the wall of the humble home in the Tirol valley, making a
+Madonna with angels at her feet and a little Jesus upon her knee. But
+if Titian was a great painter, he was never even a fair scholar. He
+went to school, but would not, or could not, study. His father soon
+saw that he was wasting his time and being made very unhappy through
+being forced to do that for which he had no ability; so he was soon
+released from book-learning and sent to Venice, seventy-five miles
+from home, to learn art. In Venice, the Vecelli family had an uncle,
+and it was with him that Titian lived, though he studied first with
+Sebastian Zuccato, the head of the Venetian guild of mosaic workers,
+and a pretty good teacher in his way. He was not able to teach Titian
+very much, for the boy was an inspired artist and needed a good
+master; so, after a little, the family held a consultation and it was
+decided that Titian should become the pupil of Gentile Bellini, a very
+clever artist indeed. There was an interesting story told about this
+master which made the Vecellis feel that their boy would do well to be
+under the influence of a kind-hearted man, as well as a genius. It
+seems that Bellini's fame had become so great that the Sultan had sent
+for him to paint the portraits of himself and the Sultana. Bellini
+went gladly to Turkey to do this; but he took with him certain
+pictures to show his patron. Among them was one of St. John the
+Baptist having his head cut off. The Sultan looked at it, and cutting
+heads off being a large part of his business, he saw that Bellini had
+not scientifically painted it, and in order to show him the true way
+to conduct such matters, he sent for a slave and ordered his head
+chopped off in Bellini's presence. Bellini was so terrified and
+sickened by the dreadful sight that he fled from Turkey and would not
+paint its ruler, the Sultana nor anyone else who had to do with such
+cruel things as he had witnessed.
+
+It was into this man's studio that Titian went as a young boy, but
+after a little he displeased Gentile Bellini, who complained that his
+pupil worked too fast, and therefore could not expect to do great
+work. He declared that picture painting was serious and careful work,
+and that Titian was too careless and quick. As a matter of fact,
+Titian was too wonderful for Bellini ever to do much for; and since he
+could not get on with him, he went to another master--Gentile
+Bellini's brother, Giovanni. One of Titian's chief troubles in the
+studio of Gentile had been that he was not allowed to use the gorgeous
+colouring he loved, but in the brother's studio he found to his joy
+that colour was more valued, and he was given more freedom to use
+it. Also there was a young peasant pupil with Giovanni, who, like
+Titian, loved to use beautiful colours, and he and the newcomer became
+fast friends.
+
+The other artist's name was Giorgione, and he had the most delightful
+ways about him, winning friends wherever he went, so it was no wonder
+that the warm-hearted Titian sought his companionship. One day those
+two young comrades left their master's studio, to have a good time off
+by themselves. There was a stated hour for their return; but they had
+spent all their money, and forgot that Giovanni Bellini was expecting
+them home. When they did return the door was closed and locked. What
+were they to do? They did the only thing they could. As comrades in
+misfortune they joined forces, set up a studio of their own, and went
+to work to earn their living as best they might. At first it was hard
+sledding, but in time they got a good job, namely to decorate the
+walls of a public building in Venice which was used by foreign
+merchants for the transaction of their business, a sort of "exchange,"
+as we understand it. This was the Fondaco de' Tedeschi, and it had two
+great halls, eighty rooms, and twenty-six warehouses. It was indeed a
+big undertaking for the two young men, and they divided the business
+between them. Their joy was great, their cartoons successfully made
+and the work well begun, when, alas, they fell to quarreling simply
+because someone had declared that Titian's work upon the building was
+a little better than Giorgione's.
+
+This dispute parted the two friends, who had had good times together,
+and it must have been Giorgione's fault, because Ludovico Dolce, one
+who knew Titian well, said that "he was most modest ... he never spoke
+reproachfully of other painters ... in his discourse he was ever ready
+to give honour where honour was due ... he was, moreover, an eloquent
+speaker, having an excellent wit and perfect judgment in all things;
+of a most sweet and gentle nature, affable and most courteous in
+manner; so that whoever once conversed with him could not choose but
+love him henceforth forever." That is a most loving and splendid
+tribute for one man to pay another. Not long after Giorgione died, and
+Titian took up his unfinished work, doing it as well as his own.
+
+There was a brilliant and mature artist called Palma Vecchio, in
+Venice, and Titian painted in his studio, where he saw and loved
+Vecchio's daughter, Violante. The young artist was not very well off
+financially, and therefore could not marry; hence he was not specially
+happy over his love affair. About that time he took to painting after
+the manner of Vecchio, through being so much influenced by his soft
+feelings for the older artist's daughter. He used the lovely Violante
+again and again for his model, and many of the beautiful faces which
+Titian painted at that time show the features of his lady-love. With
+his new love Titian's serious work seemed to begin, and at twenty-one
+he painted his first truly great picture, "Sacred and Profane Love."
+To day this picture hangs upon the walls of the Borghese Palace, in
+Rome.
+
+Raphael painted a great many pictures, but Titian must have painted
+more. At least one thousand have his signature.
+
+Now came wars and troubles for Venice. The Turks, French, and
+Venetians became at odds, and during the strife many fine works of art
+were lost, among them many of Titian's pictures. He had painted
+bishops, also the wicked Borgias, and many other great personages, but
+all of these are gone and to this day, no one knows what became of
+them.
+
+At last Titian began one of his greatest paintings, "The Tribute
+Money," and he set about it because he had been criticised. Some
+German travellers in Venice visited Titian's studio, and though they
+found his work very fine, one of them said that after all there was
+only one master able to finish a painting as it should be finished,
+and that was the great Durer. The German pointed out the differences
+between Titian's method and Durer's, and declared that Venetian
+painters never quite came up to the promise of their first
+pictures. Durer's wonderful pictures were quite different from
+Titian's, inasmuch as his work was fuller of detail and careful
+finishing, but Titian was as great in another way. His effects were
+broader, but quite as satisfying. However, the German criticism put
+him on his mettle, and he answered that if he had thought the greatest
+value of a painting lay in its fiddling little details of finishing,
+he too would have painted them. To show that he could paint after
+Durer's fashion, as well as his own, he undertook the "Tribute Money,"
+and the result was a wonderful picture.
+
+Soon Rome sent for Titian. The Florentines, Raphael and Michael
+Angelo, were already there doing marvellous things, but the pope
+wished to add the genius of Titian to theirs and made him a great
+offer to go and live in Rome and do his future work for that
+city. This was an honour, but amid all his fame and the homage paid
+him, Titian had remembered the old home in the vale of Cadore. It was
+there his heart was, and he determined to return to the home of his
+boyhood to do his best work. So he sent his thanks and refusal to the
+pope, and he wrote as follows to his home folks, through the council
+of his town:
+
+"I, Titian of Cadore, having studied painting from childhood upward,
+and desirous of fame rather than profit, wish to serve the doge and
+signorini, rather than his highness the pope and other signori, who in
+past days, and even now, have urgently asked to employ me. I am
+therefore anxious, if it should appear feasible to paint the hall of
+council, beginning, if it pleases their sublimity, with the canvas of
+the battle on the side toward the Piazza, which is so difficult that
+no one as yet has had the courage to attempt it."
+
+Then in stating his terms he asked for a very moderate sum of money
+and a "brokerage" for life. The Government did not have to think over
+the matter long. Titian's father had been honoured among them,
+Titian's genius was well known, and the commission was gladly given
+him. As soon as he got this business affair settled he moved into the
+palace of the Duke of Milan "at San Samuele; on the Grand Canal, where
+he remained for sixteen years," so says his biographer.
+
+Titian's affairs were not yet entirely smooth, because both of the
+Bellinis having painted for his patrons, they naturally considered
+Titian an intruder, and thought that the work should have been given
+to them. They did all they could to make trouble for the younger
+artist, but after a time Titian came into his rights, receiving his
+"brokerage" which gave to him a yearly sum of money 120 crowns,
+$126.04. His taxes were taken off for the future, provided he would
+agree to paint all the doges that should rule during his lifetime.
+
+Titian undertook to do this, but he did not keep his word, for he
+painted only five doges, though many more followed. He had no sooner
+received his commission from the council of his native place than he
+began to neglect it, and to paint for the husband of the wicked
+poisoner--Lucretia Borgia--whose name was Alfonso d'Este, the Duke of
+Ferrara. It was for him he painted the "Venus Worship," now in the
+Museum of Madrid, also "The Three Ages," which belongs to Lord
+Ellesmere, and the "Virgin's Rest near Bethlehem," now in the National
+Gallery. Afterward he painted "Noli Me Tangere," which is in the same
+London Gallery.
+
+There is a picture of great size in the Academy of Arts in Venice,
+which was first seen on a public holiday nearly four hundred years
+ago. It is the "Assumption of the Virgin," first shown on
+St. Bernardino's day, when all the public offices were closed by order
+of the Senate, and the whole city had a gay time. This occasion made
+Titian the most honoured artist of his time, but still the Venetians
+had cause to complain; because now their painter took so much work in
+hand that he nearly ceased doing the work on the council hall. The
+council sent him word that unless he attended to business the
+paintings should be finished by some one else and he would have to pay
+the new artist out of his own pocket; but in waywardness he paid no
+attention to this summons. Lucretia Borgia died, and her husband
+having never loved her, fell at once in love with a girl of a lower
+class, who was very good and worthy to be loved. The duke wanted
+Titian to paint them both, and so once more the great painter
+neglected his contract with the council. The girl's name was Laura,
+and Titian painted her and the duke in one picture, which now hangs in
+the Louvre.
+
+At last, after seven years of his neglecting to do his promised work
+the council became enraged and threatened to take the artist's
+property away from him. That frightened Titian very much, and he began
+frantically to work on the battle piece on the hall wall. It was about
+this time that he married. He had probably forgotten Violante in the
+passing of so many years; at any rate it was not she whom he married,
+but a lady whose first name was Cecilia. Soon he had a little family
+of children, but one of them was destined to make Titian very
+unhappy. This was Pomponic who became a priest, but he was also a
+wicked spendthrift, and kept his father forever in trouble, trying to
+pay his debts and keep him out of scrapes. Another son became an
+artist; not great like his father, but very helpful and a comfort to
+him. Then his wife died, and Titian had loved her so dearly that for a
+long time he had not the heart to paint much. His sister, Orsa, came
+to live at his home and take care of his motherless children.
+
+He left the palace on the Grand Canal and bought a home north of
+Venice, with beautiful gardens attached, and there he lived and
+worked, entertaining the most illustrious men. Titian's house and
+gardens became the show place of the country, so many geniuses and
+famous people visited there. It was there that he painted "The
+Martyrdom of Saint Peter," and the picture was so loved by the
+Venetians that the signori threatened with death any one who should
+take the picture from the chapel where it hung. In spite of this
+caution the picture was burned in the fire that destroyed the chapel
+in 1867.
+
+Titian was now getting to be old, but he was yet to do great work and
+to have kingly patrons. Charles V. visited Bologna, and, seeing
+Titian's great work, wanted him to paint his portrait. So the artist
+went to Bologna and painted the portrait of the king, clothed in
+armour, but without any head-covering, making Charles V. look so fine
+a personage, that he was delighted. Charles said he had always been
+painted to look so much uglier than he really was that when people who
+had seen his portraits, actually saw himself they were pleasantly
+disappointed. While Titian was painting his picture, Lombardi, the
+sculptor, wished above all things to see Charles, so Titian said: "You
+come with me to the sittings, and act as if you were some apprentice,
+carrying my colours and brushes, and then you can watch the king as
+easily as possible." Lombardi did as Titian suggested, but he hid in
+his big and baggy sleeve a tablet of wax, on which to make a relief
+picture of Charles. One day the king surprised the sculptor and
+demanded to be shown what he was doing. Thereupon he was so much
+pleased that he commissioned Lombardi to make the model in
+marble. While the king was sitting for two portraits to Titian, the
+artist one day dropped his brush. The king looked at the courtiers who
+were lounging about watching the work, but none of them picked it up,
+so the king himself did so. Titian was distressed over this and
+apologised to the king. "There may be many kings," said Charles, "but
+there will never be more than one Titian--and he deserves to be served
+by Caesar himself." After that he would allow no other artist to paint
+his portrait, declaring that Titian alone could do it properly, and
+for the two pictures Titian received two thousand scudi in gold, was
+made a Count of the Lateran Palace, of the Aulic Council and of the
+Consistory; with the title of Count Palatine and all the advantages
+attached to those dignities. His children were thereby raised to the
+rank of nobles of the empire, with all the honours appertaining to
+families with four generations of ancestors. He was also made Knight
+of the Golden Spur, with the right of entrance to court. This was
+great return for two portraits of a king, but it shows what a king
+could do if he chose.
+
+Titian had a brother who also became an artist, less famous than
+himself, and it was that brother, who, when their father died in the
+Cadore home, went back to care for the old place and to keep it in
+readiness so that the famous Titian might return to it for rest and
+peace. Foreign sovereigns had invited Titian to end his days with
+them, but they could not tempt him from that vale of Cadore nor his
+country home in Venice.
+
+All this time he had been neglecting the work upon the hall of
+council, and at last, the councillors gave the work to another, took
+away Titian's "brokerage" and told him he must return to Venice all
+the moneys they had given him for twenty years back. This finally
+cured him of his neglect, and he went to work in earnest painting so
+rapidly that he finished the work in two years.
+
+Before he died Titian went to Rome, where he painted Pope Paul's
+portrait, and the story is told that when the portrait was set to dry
+upon the terrace--which it probably was not,--the people who passed
+took off their hats to it, thinking it was the pope himself.
+
+Besides his bad son and his good one, Titian had a beautiful daughter
+whom he painted again and again. He went to Augsburg once more to
+paint King Charles, who for that work added a pension of five hundred
+scudi to what he had already done for him. This made the artist "as
+rich as a prince, instead of poor as a painter." King Philip II. loved
+art as his father had, and he took a painting of Titian's with him to
+the convent of Yuste, where he went to die, wishing to have it near to
+console him. In those days art had become a religion for high and
+low. Great personages still went to Casa Grande, Titian's Venetian
+home, where he entertained like a prince. No one knew better than he
+how princes behaved, and when a cardinal came to dine with him, he
+threw his purse to his servant, crying: "Prepare a feast, for all the
+world is dining with me!" Henry III. of France visited Titian and
+ordered sent to him every picture of which he had asked the price.
+
+His friends stood by him all his life, but in his old age his
+beautiful daughter, Lavinia, died, leaving behind her six children for
+him to love as his own. The brother had died before that, in the old
+home at Cadore, and at more than eighty years of age Titian was still
+painting from morning till night. About this time he sent to King
+Philip "The Last Supper," which was to be hung in the Escorial. The
+monks found it too high to fill the space, and though the artist in
+charge, Navarrette, begged them to let it be, they cut a piece off the
+top, that it might be hung where they wanted it. Titian had so far had
+to pay no taxes, but at that time an account of his property was
+demanded and this is what he owned: "Several houses, pieces of land,
+sawmills, and the like," and he was blamed because he did not state
+the full value of his possessions. At ninety-one he painted a picture
+which became the guide of Rubens and his brother artists, so wonderful
+was it. Again, at ninety-nine he began a picture, which was to be
+given to the monks of the Frari in return for a burial place for the
+artist within the convent walls, but he never finished it. He died
+during the time of the plague, but of old age alone, though his son,
+Orzio, died of the disease. The alarm of the people was so great that
+a law had been passed to bury all who died at that time, instantly and
+without ceremony, but that law was waived for the painter. Titian, in
+the midst of a nation's tragedy was borne to the convent of the Frari,
+with honours. Two centuries later the Austrian Emperor commanded the
+great sculptor, Canova, to make a mausoleum above the tomb.
+
+It was said that shortly before he died Titian began to be less sure
+in his use of colours, and would often daub on great masses, but his
+students came in the night and rubbed them off, so that the master
+never felt his failing.
+
+As King Charles had said, there was never but one such artist in the
+world.
+
+Titian prepared his canvas by painting upon it a solid colour to serve
+for the bed upon which the picture itself was to be painted. To quote
+more exactly from a good description--some of these foundation colours
+were laid on with resolute strokes of his brush which was heavily
+laden with colour, while the half-tints were made with pure red earth,
+the lights with pure white, softened into the rest of the foundation
+painting with touches of the same brush dipped into red, black, and
+yellow. In this way he could give the "promise" of a figure in four
+strokes. After laying this foundation, he turned his picture toward
+the wall and left it there for months at a time, frequently turning it
+around that he might criticise it. If, during this time of waiting, he
+thought any part of the work already done was poor, he made it right,
+changing the shape of an arm, adding flesh where he thought it was
+needed, reducing flesh where it seemed to him out of proportion, and
+then he would again turn the canvas face to the wall. After months of
+self-criticism and retouching he would have the first layer of flesh
+painted upon his figures, and a good beginning made. "It was contrary
+to his habit to finish at one painting, and he used to say that a poet
+who improvises cannot hope to form pure verses." He would often
+produce a half-light with a rub of his finger, "or with a touch of the
+thumb he would dab a spot of dark pigment into some corner to
+strengthen it; or throw in a reddish stroke--a tear of blood so to
+speak--to break the parts ... in fact when finishing he painted more
+with his fingers than with his brush." He used to say, "White, red,
+and black, these are all the colours that a painter needs, but one
+must know how to use them."
+
+  PLATE--THE ARTIST'S DAUGHTER, LAVINIA.
+
+Previous to the time of Titian, it had been the custom to paint
+portraits of beautiful ladies merely to their waists, just far enough
+to show their hands. He went further, and produced "knee portraits,"
+which gave him an opportunity to paint their gorgeous gowns as
+well. He has done so in making this picture of his daughter Lavinia,
+probably just before her marriage to Cornelio Sarcinelli which took
+place in 1555. She is attired in gold-coloured brocade with pearls
+about her neck. Her dress, combined with the dish of fruit she holds
+so high, gives Titian the colour effects he always sought. A yellow
+lemon is specially striking, and the red curtain to the left
+harmonises with the whole. The uplift of the arms and the turn of the
+head give the desired amount of action. It is not Titian's customary
+style of work; he seldom did anything so intimate and personal, and
+the picture is the more interesting on that account. It is in the
+Berlin Gallery.
+
+Some of Titian's famous pictures are: his own portrait; "Flora," "Holy
+Family and St. Bridget," "The Last Judgment," "The Entombment," "The
+Magdalene," "Bacchanal," "St. Sebastian," "Bacchus and Ariadne," and
+"The Sleeping Venus."
+
+
+
+
+XXXIX
+
+JOSEPH MALLORD WILLIAM TURNER
+
+
+  _English_
+  1775-1851
+  _Pupil of the Royal Academy_
+
+If the occupation of a shepherd produced a poet, no less did an artist
+of the first water come out of a barber shop. Turner's father was a
+jolly little fellow who dressed hair for English dandies and did all
+of those things which in those days fell to men of his profession. It
+was in this little shop that the great artist grew up. Father Turner
+was ambitious for his son, who was anxious to study art. The less said
+of the artist's mother the better, for she was a termagant and finally
+went crazy, so that the father and his little boy were soon left
+alone, to plan and work and strive to make each other happy. The pair
+were never apart.
+
+Turner's art beginning was at six years of age, on the occasion of a
+visit his father paid to a goldsmith of whose hair curling and
+peruquing he had charge. Perched upon a chair too high for a little
+boy's comfort, and feeling that it took his father very long indeed to
+satisfy the customer, Joseph's eye lighted upon a silver lion which
+ornamented a silver tray. He studied every detail of that lion while
+waiting for his father, and finally when they got home, he sat down
+and drew it from memory. By tea time he had a lion in full action upon
+the paper. This delighted his father above everything, and it was
+settled then and there that the little fellow should have a chance to
+learn art.
+
+The father could not give much time to his upbringing, but he taught
+him to be honest and kind-hearted and to save his money. His
+playground was generally the bank of the Thames, and under London
+Bridge where, roving with the sailors, he learned to love the ships,
+the setting-suns and evening waters from a daily study of them.
+
+He did not do much at school, because the other pupils at New
+Brentford, learning that he could draw wonderful things upon the
+schoolroom walls, used to do his "sums" for him, while he sketched for
+them. After a while father Turner began to hang up some of his son's
+sketches upon the walls of the barber shop, among the wigs and curls
+and _toupees_, and he put little tags upon them, telling the
+price. The extraordinary work of his little boy began to attract the
+attention of the jolly barber's patrons, and by the time he was twelve
+years old the child had a picture upon the walls of the Royal
+Academy--a far-cry from barber shop to Academy!
+
+One authority says that this first exhibition occurred in his
+fourteenth year, but by that time he was a pupil of the Academy, and
+it is not unlikely that he had shown his mettle before.
+
+He now began to earn his own living, but he still dwelt in the barber
+shop with his father. While in the Academy he coloured prints, made
+backgrounds for other painters, drew architect's plans, and in that
+way made money. He had been sent to a drawing master to study "the art
+of perspective," but having no mathematical knowledge he had been
+unable to learn it, and the teacher had advised his father to put
+little Turner to cobbling or making clothes. However, William was to
+learn perspective, and even to be made master of that branch of art in
+the Academy itself.
+
+In after years, when he had become a great artist, someone spoke
+pityingly of the drudgery he had had to do to make money as a young
+boy--referring to his painting of backgrounds and the like. "Well! and
+what could be better practice?" Turner answered cheerfully.
+
+He used to go to the house of Dr. Munro, who lived in fine style on
+the Strand. This gentleman owned Rembrandts, Rubenses, Titians, and
+other great masterpieces, and in that house the "little barber" had a
+chance to see the best of art, and also to copy it. This was a great
+opportunity for him and he made the most of it. Besides the chance for
+study, he earned about half a crown an evening and his supper, for his
+copying.
+
+Turner was the first painter to make "warm moonlight." All other
+artists had given cold, silvery effects to a moonlit atmosphere, but
+Turner had seen a mellow, sympathetic moon, and he first showed it to
+others. About this time he went travelling; for an engraver of the
+_Copper Plate Magazine_ had engaged the young boy to go into Wales and
+make sketches for his work. Turner set off on a pony which a friend
+had lent him, with his baggage done up in a bundle--it did not make a
+very big one--and thus he voyaged. It was a fine experience, and he
+came home with many beautiful scenes on paper, which he in after years
+made into complete pictures. Next he made the acquaintance of Thomas
+Girtin, the first in his country of a fine school of water-colour
+painters, and this acquaintance grew into a close friendship. The two
+were devoted to each other and worked together at any sort of
+mechanical art work that would bring them a living. When Girtin died
+Turner said: "Had Tim Girtin lived, I should have starved," showing
+how highly he valued Girtin's work.
+
+Turner is said to have been "a stout, clumsy little fellow, who never
+cared how he looked. He wore an ill-fitting suit, and his luggage tied
+up in a handkerchief was slung over his shoulder on a cane. Sometimes
+he carried a small valise and an old umbrella, the handle of which he
+converted into a fishing rod, for Turner dearly loved both hunting and
+fishing."
+
+The hero travelled a great deal, because above every thing he loved
+the fields and streams, and to tramp alone. It is said that it was his
+habit to walk twenty-five miles a day, seeing everything on the way,
+letting no peculiarity of nature escape him. His sketchbook was a
+curiosity, because he not only made sketches in it, but jotted down
+his travelling expenses, what he thought about things that he saw, and
+all the gossip he heard in the towns through which he passed. Because
+he liked best to travel alone he was called "the Great Hermit of
+Nature."
+
+One memorable day--of which he thought but little at the time--he
+stopped on the road to make a sketch of Norham Castle. Later he
+completed the picture, and it became famous, so successful that from
+that hour he had all the work he could do. Years afterward, when
+passing that way again in company with a friend, he was seen to take
+off his hat to the castle.
+
+"Why are you doing that?" his friend asked, in amazement.
+
+"Well, that castle laid the foundation of my success," he answered,
+"and I am pleased to salute it."
+
+During his young manhood Turner had fallen in love with a girl, and
+planned to marry, but after he returned from one of his country trips
+he found she had married another, and from that moment the artist was
+a changed man. He had been generous and gay before, now he began to
+save his money, so that people thought him miserly--but he was
+forgiven when it became known what he finally did with his
+fortune. After the young woman deserted him he wandered more than
+ever, and one of his fancies was to keep boys from robbing birds'
+nests. He looked after the little birds so carefully that the boys
+named him "old Blackbirdy." He had already begun those wonderful
+pictures of ships and seas, and his house was ornamented with
+full-rigged little ships and water plants, which he carefully raised
+to put into his pictures. By that time he had bought a home of his own
+in the country, and his father the barber went to live with him. The
+old man's trade had fallen off, because the fashions had changed, wigs
+were less worn, and hair was not so elaborately dressed. In the
+country home the old man took charge of all the household affairs,
+prepared his son's canvases for him, and after the pictures were
+painted it was the ex-barber who varnished them, so that Turner said,
+"Father begins and finishes all my pictures." There the father and son
+lived, in perfect peace and affection, till Turner decided to sell the
+place and move into town, "because," said he, "Dad is always working
+in the garden and catching cold."
+
+Meanwhile he had been made master of perspective in the Academy, and
+it was expected that he would lecture to the students, but he was not
+cut out for a lecturer. He was not elegant in his manners, nor
+impressive in his speech. On one occasion, when he had risen to
+deliver a speech, he looked helplessly about him and finally blurted
+out: "Gentlemen! I've been and left my lecture in the hackney coach!"
+
+During these years he had tried to establish a studio like other
+masters and to have pupils and apprentices about him; but the stupid
+ones he could not endure, having no patience with them, and he treated
+all the fashionable ones so bluntly they would not stay; so the idea
+had to be given up.
+
+He became a visitor at Farnley Hall in Yorkshire, where a friend,
+Mr. Hawksworth Fawkes lived, and in the course of his lifetime Fawkes
+put fifty thousand dollars worth of Turner's pictures upon his
+walls. The Fawkes family described Turner as a most delightful man:
+"The fun, frolic, and shooting we enjoyed together, and which,
+whatever may be said by others of his temper and disposition, have
+proved to me that he was, in his hours of distraction from his
+professional labours as kindly hearted a man and as capable of
+enjoyment and fun of all kinds as any I ever knew."
+
+Another friend writes: "Of all light-hearted, merry creatures I ever
+knew, Turner was the most so; and the laughter and fun that abounded
+when he was an inmate of our cottage was inconceivable, particularly
+with the juvenile members of our family."
+
+The story of his disappointment in marriage is an interesting one. It
+is said that the young lady whom he loved was the sister of a
+schoolmate. They had been engaged for some time, but while he was on
+one of his travels his letters were stolen and kept from the young
+woman. She believed he had forgotten her, and her stepmother, who had
+taken the letters, persuaded the girl to engage herself to
+another. Turner returned just a week before her marriage and tried to
+win her back, but although she loved him, she felt herself then bound
+to her new suitor and therefore married him. Her marriage was very
+unhappy and her misery, as well as his own, distressed the artist till
+his death. Almost all his life, in spite of his seeming gaiety, he
+worked like a slave, rising at four o'clock in the morning and working
+while light lasted. When remonstrated with about this he would sadly
+say: "There are no holidays for me."
+
+All his ways were honest and simple, and his election to the Academy
+was very exceptional in the way it came about. Most Academicians had
+graces and airs and good fellowship to commend them, as well as their
+works, but Turner had none of these things. He had given no dinners,
+nor played a social part in order to get the membership. When the news
+was brought him that he was elected, some one advised him to go and
+thank his fellow Academicians for the honour, as that was the custom;
+but Turner saw no reason in it. "Since I am elected, it must have been
+because they thought my pictures made me worthy. Why, then should I
+thank them? Why thank a man for performing a simple duty." In half a
+century Turner was absent only three times from the Academy
+exhibitions, and his membership was of very great value to him.
+
+At this time Turner had an idea for an art publication to be called
+_Liber Studiorum_. He meant to issue this in dark blue covers and to
+include in each number five plates. There was to be a series of five
+hundred plates altogether, and these were to be divided, according to
+subject, into historical, landscape, pastoral, mountainous, marine,
+and architectural studies. After seventy plates had been, published,
+the enterprise fell through, because no one bought the periodical, and
+there was no money to keep it going. The engraver of the plates,
+Charles Turner, became so disgusted with the failure that he even used
+the proofs of these wonderful studies to kindle the fire with. Many
+years later, a great print-dealer, Colnaghi, made Turner, the
+engraver, hunt up all the proofs that he had not used for kindling
+paper, and these he bought for oe1,500.
+
+"Good God!" cried Charles Turner, "I have been burning banknotes all
+my life."
+
+Some years later still oe3,000 was paid for a single copy of the _Liber
+Studiorum_.
+
+Turner was a most conscientious man, and many stories are told of his
+manner of teaching. He could not talk eloquently nor give very clear
+instructions, talking not being his forte, but he would lean over a
+student's shoulder, point out the defects in his work, and then on a
+paper beside him make a few marks to illustrate what he had said. If
+the artist had genius enough then to imitate him, well and good; if
+not, Turner simply went away and left him. His own ways of working
+were remarkable. He often painted with a sponge and used his thumbnail
+to "tear up a sea." It mattered little to him how he produced his
+effects so long as he did it. His impressionistic style confused many
+of his critics, and it is told how a fine lord once looked at a
+picture be had made, and snorted: "Nothing but daubs, nothing but
+daubs!" Then catching the inspiration, he leaned close to the canvas,
+and said: "No! Painting! so it is!"
+
+"I find, Mr. Turner," said a lady, "that in copying your pictures,
+touches of red, blue and yellow appear all through the work."
+
+"Well, madam, don't you see that yourself, in nature? Because if you
+don't, heaven help you!" was the reply.
+
+"Once, after painting a summer evening, he thought that the picture
+needed a dark spot in front by way of contrast; so he cut out a dog
+from black paper and stuck it on. That dog still appears in the
+picture."
+
+Another time he painted "A Snow-storm at Sea," which some critics
+called "Soap-suds and Whitewash." Turner, who had been for hours
+lashed to the mast of a ship in order to catch the proper effect, was
+naturally much hurt by the criticism. "What would they have!" he
+exclaimed. "I wonder what they think a storm is like. I wish they'd
+been in it."
+
+Turner was conscientiously fond of his work, and when he sold a
+picture he said that he had lost one of his children.
+
+He grew rich, but he never was knighted, because his manners were not
+fine enough to suit the king. He wished to become President of the
+Royal Academy, but that was impossible because he was not polished
+enough to carry the honour gracefully.
+
+After selling his place in the country Turner bought a house in Harley
+Street, where he lived a strange and lonely life. A gentleman has
+written about this incident, which shows us his manner of living:
+
+"Two ladies called upon Turner while he lived in Harley Street. On
+sending in their names, after having ascertained that he was at home,
+they were politely requested to walk in, and were shown into a large
+sitting-room without a fire. This was in the depth of winter; and
+lying about in various places were several cats without tails. In a
+short time our talented friend made his appearance, asking the ladies
+if they felt cold. The youngest replied in the negative; her
+companion, more curious, wished she had stated otherwise, as she hoped
+they might have been shown into his sanctum or studio. After a little
+conversation he offered them biscuits, which they partook of for the
+novelty--such an event being almost unprecedented in his house. One of
+the ladies bestowing some notice upon the cats, he was induced to
+remark that he had seven, and that they came from the Isle of Man."
+
+Thus we learn that Turner's desolate house was full of Manx cats, and
+of many other pets. When he had moved elsewhere--to 47 Queen Anne
+Street--one of the pictures he cared most for, "Bligh Shore," was put
+up as a covering to the window and a cat wishing to come in, scratched
+it hopelessly. The housekeeper started to punish it for this but
+Turner said indulgently, "Oh, never mind!" and saved the cat from
+chastisement.
+
+The place he lived in, where his "dad was always working in the garden
+and catching cold," he called Solus Lodge, because he wished his
+acquaintances to understand that he wanted to be alone. One picture
+painted by him to order, was to have brought him $2,500; but when it
+was finished the man was disappointed with it and would not take
+it. Later, Turner was offered $8,000 for it, but would not sell it.
+
+Turner again fell in love, but his bashfulness ruined his chances. He
+wrote to the brother of the lady. "If she would only waive her
+bashfulness, or, in other words, make an offer instead of expecting
+one, the same (Solus Lodge) might change occupiers." Faint heart
+certainly did not win fair lady in this case, for she married
+another. Before he died Turner was offered $25,000 for two pictures
+which he would not sell. "No" he said. "I have willed them and cannot
+sell them." He disposed of several great works as legacies. One
+picture of which he was very fond, "Carthage," was the occasion of an
+amusing anecdote. "Chantry," he said to his friend the sculptor, "I
+want you to promise that when I am dead you will see me rolled in that
+canvas when I'm buried."
+
+"All right," said Chantry, "I'll do it, but I'll promise to have you
+taken up and unrolled, also."
+
+A remarkable incident of generosity is told of Turner. In 1826 he hung
+two exquisite pictures in the Academy. One, "Cologne," having a most
+beautiful, golden effect. This was hung between two portraits by Sir
+Thomas Lawrence. The golden colouring of Turner's picture entirely
+destroyed the effect of the Lawrence pictures, and without a word,
+Turner washed his lovely picture over with lampblack. This gave the
+Lawrence, pictures their full colour value. A friend who had been
+enthusiastic about the "Cologne" was provoked with Turner. "What in
+the world did you do that for?" he demanded. "Well, poor Lawrence was
+so unhappy. It will all wash off after the exhibition." Turner had his
+reward in cash, for the picture sold for 2,000 guineas.
+
+Above all things Turner hated engravings, or any process that
+cheapened art, and one day he stated this to his friend Lawrence. "I
+don't choose to be a basket engraver," he declared.
+
+"What do you mean by that," Sir Thomas inquired.
+
+"Why when I got off the coach t' other day at Hastings, a woman came
+up with a basket of your 'Mrs. Peel,' and offered to sell me one for a
+sixpence."
+
+Turner dearly loved his friends, and the story of Chantry's death,
+illustrates it. He was in his room when the sculptor breathed his
+last, and just as he died, the artist turned to another friend, George
+Jones, and with tears streaming down his face, wrung Jones's hand and
+rushed from the room, unable to speak.
+
+Again, when William Frederick Wells, another friend, died, Turner
+rushed to the house of Clara Wells, his daughter, and cried: "Oh
+Clara, Clara! these are iron tears. I have lost the best friend I ever
+had in my life."
+
+In his old age Turner suddenly disappeared from all his haunts, and
+his friends could not find him. They were much troubled, but one day
+his old housekeeper found a note in a pocket of an old coat, which
+made her think he had gone to Chelsea. She looked there for him, and
+found him very ill, in a little cottage on the Thames River. Everybody
+about called him Admiral Booth, believing him to be a retired
+admiral. He had felt his death near and had tried to meet it quite
+alone. He died the very day after his friends found him, as he was
+being wheeled by them to the window to look out upon the river for the
+last time. He was buried in St. Paul's Cathedral between Sir Joshua
+Reynolds and James Barry. He left his drawings and pictures to a
+"Turner Gallery," and $100,000 to the Royal Academy, to be used for a
+medal to be struck every two years for the best exhibitor. The rest of
+his fortune went to care for "poor and decayed male artists born in
+England and of English parents only." This was to be known as Turner's
+Gift, and that is why he had saved money all his life.
+
+A few more of the numberless stories of his generosity should be
+told. A picture had been sent to the Academy by a painter named Bird
+It was very fine, and Turner was full of its praise, but when they
+came to hang it no place could be found.
+
+"It can't be hung," the others of the committee said.
+
+"It must be hung," returned Turner, but nothing could be done about
+it, for there was absolutely no place. Then Turner went aside with the
+picture and sat studying it a long time. Finally he got up, took down
+a picture of his own and hung Bird's in its place. "There!" he
+said. "It is hung!"
+
+Again, an old drawing-master died and Turner who had known the family
+for a long time, was aware that they were destitute, so he gave the
+widow a good sum of money with which to bury her husband and to meet
+general expenses. After some time she came to him with the money; but
+Turner put his hands in his pockets. "No," he said; "keep it. Use it
+to send the children to school and to church."
+
+On one occasion when he had irritably sent a beggar from his house, he
+ran out and called her back, thrusting a oe5 note into her hand before
+letting her go.
+
+There was a man who in Turner's youth, while the little fellow was
+making pictures in the cheerless barber shop bought all of these
+drawings he could find. He often raised the price and in every way
+tried to help Turner. In after years that old patron went
+bankrupt. Turner heard that his steward had been instructed to cut
+down some fine old trees on this man's estate, and sell them. Turner,
+without letting himself be known in the matter, at once stopped the
+cutting and put into his old patron's hands about oe20,000. The rescued
+man, afterward, through the same channels that he had received the
+money, paid it all back. Years passed, and the son of that same man
+got into the same difficulties, and again, without being known in the
+matter, Turner restored his fortune. That son, in his turn, honestly
+paid back the full amount. This was the miser who saved all his
+money--to do good deeds to his friends. Ruskin wrote that in all his
+life he had never heard from Turner one unkind or blameful word for
+others.
+
+  PLATE--THE FIGHTING TEMERAIRE
+
+This was the picture which Turner loved best of all, the one he would
+never sell; but at his death ho gave it to the English nation.
+
+"Many years before he painted it, he had gone down to Portsmouth one
+day to see Nelson's fleet come in after the glorious victory of
+Trafalgar. The _Temeraire_ was pointed out to him--a battle ship that
+had very proudly borne the English flag, for during the battle it had
+run in between two French frigates and captured them both.
+
+"And now between thirty and forty years later, he lingered one
+afternoon on the banks of the Thames. As he looked over the water he
+saw the grand old hulk being towed down the river by a noisy little
+tug to be broken up at Deptford. 'There's a fine subject!' he
+exclaimed as he looked at the heroic ship that had known many glorious
+years; and in his thought he compared it to 'a battle-scarred warrior
+borne to the grave.'
+
+"Then he painted the picture. The glow of the setting sun irradiates
+the scene and bids farewell to the old ship. Twilight is coming on,
+and the new moon has just risen in its pearly light. It is a pathetic
+picture," and well illustrates how truly a "master of sunsets and
+waves" the artist was.
+
+Among his other paintings are several of Venice; "The Slave Ship" and
+many other sea pieces.
+
+
+
+
+XL
+
+SIR ANTHONY VAN DYCK
+
+
+  _Flemish School_
+  1599-1641
+  _Pupil of Rubens_
+
+Anthony Van Dyke's father was neither a gentleman nor an ill-born
+person. He was "betwixt-and-between," being a silk merchant, who met
+so many fine folk that he seemed to be "fine folk" himself; and by the
+time Anthony had grown up, he actually believed himself to be one of
+them. If manners stand for fineness Sir Anthony must have been
+superfine, because he was almost overburdened with "manners."
+
+He became a wonderful, be-laced, perfumed, shiny gentleman who never
+stooped to paint anything less than royalty and its associates, nor in
+anything less than velvets and laces. Like Rembrandt and Gainsborough,
+he set a fashion--or rather the style in which he painted came to be
+known after his name. We are all familiar with the kind of
+ornamentation on clothes called Van Dyck--pointed lace, or
+trimmings--and pointed beards.
+
+As a very young lad he was almost too dainty to be liked by healthy
+boys; and the worst of it was he did not care whether healthy, robust
+chaps liked him or not; certainly he did not care for them. He liked
+to sit in his father's shop and be smiled upon by the great ladies who
+came to buy, and in turn to smile shyly at them; this tendency became
+stronger as he grew to be a man.
+
+Anthony's mother made the most exquisite embroideries, and this may
+mean that some part of his art was inherited. She handled lovely
+colours, and tried to fashion beautiful flower shapes for
+customers. She was a fragile, tender sort of woman, while the father
+was doubtless a dapper, over-nice little fellow.
+
+Anthony was born in Antwerp, and the facts concerning his education,
+as in the case of most artists, are lost to our knowledge. He probably
+had a little of some sort outside of painting, but it certainly was
+not enough to hurt him, nor to make a fine healthy man of him. He was
+very beautiful, in a lady-like, faint-coloured way, not in the least
+resembling the handsome, gorgeous, elegant, robust Rubens, a true
+cavalier, of a dashing sort.
+
+He was apprenticed to a painter when he was ten years old, and later
+on became the pupil of Rubens. He painted a whole series of Apostles'
+heads, about which a lawsuit took place. The papers relating to this
+were found about twenty years ago, though the lawsuit occurred as far
+back as 1615. Several of the Apostles' heads that brought about the
+suit are to-day to be seen in the gallery at Dresden.
+
+Everything in those days--especially in Germany and Holland--was
+represented by a "guild." In reading about the Mastersingers of
+Nuremberg we are told that on the day when the trial of singers was to
+take place, dozens of "guilds" assembled in the meadow--guilds of
+bakers, of shoemakers--of which Hans Sachs was the head--guilds of
+goldsmiths, etc. Van Dyck was a member of the painters' guild when he
+was no more than nineteen. His work at that time showed so much
+strength that there is a picture of his, an old gentleman and lady, in
+the Dresden gallery, which for a long time was supposed to have been
+painted by his master, Rubens.
+
+An intimate friend of Van Dyck, Kenelm Digby, says that Van Dyck's
+first relations with Rubens came about by Van Dyck being employed to
+make engravings for the reproduction of Rubens's great works. After
+that he studied painting with him.
+
+One of his friends of that time wrote that at twenty Van Dyck was
+nearly as great as Rubens, though this is hardly substantiated by the
+verdict of time, and that being a man with very rich family
+connections, he could hardly be expected to leave home. On every hand
+we have signs of the artist's affected feeling about himself and other
+people.
+
+However, an annual pension from the King of England seems to have made
+travelling possible to this fine gentleman of lace ruffles, pale face,
+and lady-like ways.
+
+There is an entry about him on the royal account book of "Special
+service ... performed for His Majesty." Also "Antonio Van Dyck, gent.,
+_His Majesty's servant_, is allowed to travaile 8 months, he havinge
+obtayneid his Majesty's leave in that behalf, as was signified to the
+E. of Arundel." Certainly by that time Van Dyck had become a truly
+great portrait painter; not the greatest, because every picture showed
+the same characteristics in its subject--elegance, fine clothes,
+languid manners, without force of great truth or any excellent moral
+quality to distinguish one from another. Nevertheless, the kind of
+painting that he did, he did better than anyone else had ever done, or
+probably ever will do.
+
+While in England he painted all the royalties and many aristocrats,
+and wherever he went he was always painting pictures of himself.
+
+He travelled about a good deal, always painting people of the same
+class--kings and queens and fine folk, and painting them pretty nearly
+all alike.
+
+When he went to Italy he was everywhere received as a great painter,
+but while artists agreed that his work was excellent he was not much
+liked by them, and many tales are told about that journey which are
+interesting, if not entirely true. Van Dyck was the sort of man about
+whom tales would be made up. One, however, sounds true. It is said
+that he fell in love--which of course he was always doing--with a
+beautiful country girl, and that for love of her he painted an altar
+piece into which he put himself, seated on the great gray horse which
+Rubens had given him. That picture is in St. Martin's Church at
+Saventhem, near Brussels, but although one is inclined to believe this
+story because it was quite the sort of thing which might be expected
+of Van Dyck, even this is not true, because the painting was done long
+after the artist had made his Italian journey, and it was commissioned
+by a gentleman living at Saventhem, whose daughter Van Dyck
+undoubtedly liked pretty well; but he made the picture for money, not
+for love.
+
+While he was in Italy he lived with a cardinal, and painted languid
+pictures of sacred subjects, which were far from being his best
+work. The best that he did was in portraiture. Distinguished though he
+was, he did not have a very good time in Italy, because he would not
+join the artists who worked there, nor associate with them in the
+least, and naturally this made him disliked.
+
+We see a good many portraits painted by Van Dyck, of persons mounted
+upon or standing beside the gray horse, and these were painted about
+the time of that Italian journey. He used the Rubens horse in many
+paintings.
+
+Of all the people with whom he painted, he most valued the knowledge
+he got from a blind woman painter of Sicily, called Sofonisba
+Anguisciola, and he often said that he had learned more from a blind
+woman than from all the open-eyed men he ever knew. This woman artist
+was over ninety years old at the time he learned from her.
+
+While he was in Italy the plague broke out, and Van Dyck fled for his
+life, leaving an unfinished picture behind him, one ordered by the
+English king, the subject being Rinaldo and Armida, which had gained
+for the artist his knighthood pension.
+
+It is said that during his first year in England he painted the king
+and queen twelve times. He had an extraordinary record for industry,
+and painted very quickly, as he had need to do, because it took a
+great deal of money to buy the sort of things Van Dyck liked--fine
+laces and velvets, perfumes and satins. His plan was to sketch his
+subject first on gray paper with black and white chalk, and after that
+he gave the sketch to an assistant who increased it to the size he
+wished to paint. The next step was to set his painter to work upon the
+clothing of his figures. This was painted in roughly, together with
+background and any architectural effect Van Dyck wanted. After this
+the artist himself sat down and in three or four sittings, of not more
+than an hour each, he was able to finish a picture worth to-day
+thousands of dollars.
+
+He painted hands specially well, and kept certain models for them
+alone.
+
+Van Dyck had eleven brothers and sisters, whom he always kept in
+mind. Some of his sisters had become nuns while some of his brothers
+were priests, and Van Dyck's influence got a monkish brother called to
+the Dutch court to act as chaplain to the queen.
+
+By this time every royal personage in the world, nearly, had sent for
+Van Dyck to paint his portrait, for he could make one look handsomer
+than could any other painter in existence. If the king was very ugly,
+Van Dyck painted such beautiful clothes upon him that nobody noticed
+the plainness of the features.
+
+When Van Dyck was about thirty-six years old he married a great lady,
+the Lady Mary Ruthven, granddaughter of the Earl of Gowrie, but before
+that he had had a lady-love, Margaret Lemon, whom he painted as the
+Virgin and in several other pictures. When he married Lady Mary,
+Margaret Lemon was so furiously jealous that she tried to injure Van
+Dyck's right hand so that he could paint no more.
+
+About this time Rubens died in Flanders, leaving behind him an
+unfinished series of pictures which had been commissioned by the king
+of Spain. Van Dyck was asked to finish these, but declined until he
+was asked to make an independent picture, to complete the series, and
+this he was delighted to do. Ferdinand of Austria wrote to the king of
+Spain that Van Dyck had returned in great haste to London to arrange
+for his change of home, in order to do the work. "Possibly he may
+still change his mind," he added, "for he is stark mad." This shows
+how Van Dyck's erratic ways appeared to some people.
+
+He had a sister, Justiniana, who was also something of an artist and
+she married a nobleman when she was about twelve years old.
+
+When Van Dyck died he was buried in St. Paul's, London, and Charles
+I. placed an inscription on his tomb.
+
+In the "Young People's Story of Art," is the following anecdote: "A
+visit was once paid by a courtly looking stranger passing through
+Haarlem, to Franz Hals, the distinguished Dutch painter.
+
+"Hals was not at home but he was sent for to the tavern and hastily
+returned. The stranger told him that he had heard of his
+reputation--had just two hours to spare--and wished to have his
+portrait painted. Hals, seizing canvas and brushes fell vigorously to
+work; and before the given time had elapsed, he said, 'Have the
+goodness to rise, sir, and examine your portrait!' The stranger looked
+at it, expressed his satisfaction, and then said, 'Painting seems such
+a very easy thing, suppose we change places and see what I can do!'
+
+"Hals assented, and took his position as the sitter. The unknown
+began, and as Hals watched him, he saw that he wielded the brush so
+quickly, he must be a painter. His work, too, was rapidly finished,
+and as Hals looked at it he exclaimed, 'You must be Van Dyck! No one
+else could paint such a portrait!'
+
+"No two portraits could have been more unlike. The story adds that the
+famous Dutch and Flemish masters heartily embraced each other."
+
+The stories of Van Dyck's youth are interesting, and probably true. It
+is said that he drew so well when he was a pupil of Rubens that the
+great master often allowed him to retouch his own works. Once in
+Rubens's studio, some of the students got the key and went in to see
+what the master was doing, when he was absent. Rubens had left a
+painting fresh upon the easel, and in looking about them one of the
+boys rubbed against it. This frightened them all. What should they do?
+Rubens would find his picture ruined and know that they had broken in.
+
+After consultation they decided there was no one with them who could
+repair the damage as well as Van Dyck, who set about it, and soon he
+had painted in the smudged part so perfectly that when Rubens saw it,
+he did not for some time know that anything had happened to his
+picture. Later he suspected something, and when he learned of the
+prank and its outcome, he was so delighted with Van Dyck's work that
+he praised him instead of blaming him for it.
+
+Van Dyck had a very precise method of working. When sitters came to
+him he would paint for just one hour. Then he would politely dismiss
+them, and his servant would wash his brushes, and clear the way for
+the next sitter. He dined with his sitters often that he might
+surprise in them the expression which he wanted to paint. Also, he had
+their clothing sent to his studio, that it might be exactly imitated
+by himself or by those assistants who painted in the foundation for
+his finished work.
+
+While attached to King Charles I.'s court, Van Dyck was given a fine
+house at Blackfriars, on the Thames, and he had a private landing
+place made for boats, so that the royal family might visit him at
+their convenience. Charles I. used often to go to Van Dyck's studio to
+escape his many troubles, and thus the artist's home became as
+fashionable a gathering place, as Gainsborough's studio was in
+Bath. He painted Queen Henrietta not less than twenty-five times. He
+often furnished concerts for his sitters, for he himself was
+passionately fond of music, and moreover he believed that music often
+brought to the faces of his sitters, an expression that he loved to
+paint.
+
+He painted so many pictures of a certain kind of little dog, in the
+pictures of King Charles I. that ever since that breed has been known
+as the King Charles spaniel.
+
+After a while Van Dyck got heavily into debt. King Charles himself was
+in great trouble, and he had no money with which to pay his painter's
+pension. The artist had lived so extravagantly that he did not know at
+last which way to turn, so in desperation he thought to try alchemy
+and maybe to learn the secret of making gold. He wasted much time at
+this, as cleverer men have done, but at last he became too ill for
+that or for his own proper work, and badly off though Charles was
+himself, he offered his court physician a large sum if he could cure
+his court painter. But Van Dyck had enjoyed life too well, and nothing
+could be done for him.
+
+He was the seventh child of his parents--which some have thought had
+something to do with his genius and success; he lived gaily all the
+years of his life, going restlessly from place to place, and having
+many acquaintances but probably few friends, outside of his old
+master, Rubens, who loved him for his genius.
+
+  PLATE--CHILDREN OF CHARLES THE FIRST
+
+Van Dyck painted the family of the unfortunate king of England four
+times. There are five children in the Windsor Castle picture, and this
+one, which hangs in the Turin Gallery, was probably painted before the
+birth of the fourth child in 1636. It is celebrated for its colouring
+as well as for its great artistic merit. The children are surely
+childlike enough, despite their stately attire, and they little dream
+of the sad fate awaiting the whole of the Stuart family to which they
+belong.
+
+Other Van Dycks are: "The Blessed Herman Joseph," "Lords Digby and
+Russell," "Lord Wharton," "Countess Folkestone," and "William Prince
+of Orange."
+
+
+
+
+XLI
+
+VELASQUEZ (DIEGO RODRIGUEZ DE SILVA)
+
+
+  (Pronounced Vay-lahs'keth)
+  _Castilian School_
+  1599-1669
+  _Pupil of Herrera_
+
+It is pretty difficult to find out why a man was named so-and-so in
+the days of the early Italian and Spanish painters. More likely than
+not they would be called after the master to whom they had been first
+apprenticed; or after their trade; after the town from which they
+came, and rarely because their father had had the name before them. In
+Velasquez's case, he was named after his mother.
+
+No one seemed to be certain what to call him, but he generally wrote
+his name "Diego de Silva Velasquez." His father was Rodriguez de
+Silva, a lawyer, but in calling the boy Velasquez the family followed
+a universal Spanish custom of naming children after their mothers.
+
+Little Velasquez was well taught in his childhood; he studied many
+languages and philosophy, for he was intended to be a lawyer or
+something learned, anything but a painter. The disappointment of
+parents in those days, when they found a child was likely to become an
+artist is touching.
+
+Despite his equipment for a useful life, according to the ideas of his
+parents, this little chap was bound to become nothing but a maker of
+pictures.
+
+Herrera was a bad-tempered master and little Velasquez could not get
+on with him, so after a year of harsh treatment, he went to another
+master, Pacheco, but by that time he had learned a secret that was to
+help make his work great. Herrera had taught him to use a brush with
+very long bristles, which had the effect of spreading the paint,
+making it look as if his "colours had floated upon the canvas," in a
+way that was the "despair of those who came after him."
+
+Velasquez was born in Seville at a time when about all the art of the
+world was Italian or German; thus he became the creator of a new
+school of painting.
+
+He stayed five years in Pacheco's studio and pupil and master became
+very fond of each other. Pacheco was not a great master--not so good
+as Herrera--but he was easy to get on with, and knew a good deal about
+painting, so that as Velasquez had the genius, he was as well placed
+as he needed to be.
+
+In Pacheco's studio there was a peasant boy whose face was very
+mobile, showed every passing feeling; and Velasquez used to make him
+laugh and weep, till, surprising some good expression, he would
+quickly sketch him. With this excellent model, Velasquez did a
+surprising amount of good work.
+
+Spain had just then conquered the far-off provinces of Mexico and
+Peru, and was continually receiving from its newly got lands much
+valuable merchandise. Rapidly growing rich, this Latin country loved
+art and all things beautiful, so its money was bound to be spent
+freely in such ways. Madrid had been made its capital, and at that
+time there were few fine pictures to be found there. The Moors who had
+conquered Spain had forbidden picture making, because it was contrary
+to their religion to represent the human figure, or even the figures
+of birds and beasts. Then the Inquisition had hindered art by its
+rules, one of which was that the Virgin Mary should always be painted
+with her feet covered; another, that all saints should be
+beardless. There were many more exactions.
+
+While cathedrals were being built elsewhere, the Moors had been in
+control of Spanish lands, so that no cathedral had been built there,
+and when Velasquez came upon the scene the time of great cathedral
+building was past. It had ceased to be the fashion. Although there had
+been such painters as Beneguette, Morales, Navarrette, and Ribera, all
+Spanish and of considerable genius, they had been too badly
+handicapped to make painting a great art in Spain. When Madrid became
+the capital of Spain, it had no unusual buildings, unless it was an
+old fortress of the Moors, the Alcazar, Caesar's house, but the nation
+was buying paintings from Italy, and it began to beautify Madrid,
+which had the advantage of the former Moorish luxury and art, very
+beautiful, though not pictorial.
+
+In Madrid, then, there seemed to be great opportunity for a fine
+artist like Velasquez, and his master urged him to go there and try
+his fortune. So he set out on mule-back, attended by his slave, but
+unless he could get the ear of the king, it was useless for him to
+seek advancement in Madrid. Without the king as patron at that time,
+an artist could not accomplish much. After trying again and again,
+Velasquez had to return to his old master, without having seen the
+king; but after a time a picture of his was seen by Philip IV., and he
+was so much pleased with it that he summoned the artist. Through his
+minister, Olivares, he offered him $113.40 in gold (fifty ducats) to
+pay his return expenses. The next year he gave him $680.40 to move his
+family to Madrid.
+
+At last the artist had found a place in the rich city, and he went to
+live at the court where the warmest friendship grew between him and
+the king. The latter was an author and something of a painter, so that
+they loved the same things. This friendship lasted all their lives,
+and they were together most of the time, the king always being found,
+in Velasquez's studio in the palace when his duties did not call him
+elsewhere. During the many many years--nearly thirty-seven--that
+Velasquez lived with Philip IV. he employed himself in painting the
+scenes at court. Thus he became the pictorial historian of the Spanish
+capital. He was a man of good disposition, kindly and generous in
+conduct and in feeling, so that he was always in the midst of friends
+and well-wishers.
+
+Philip IV. was indeed a noble companion, but he was not a gay one,
+being known as the king who never laughed--or at least whose laughter
+was so rare, the few times he did laugh became historic. One would
+expect this serious and depressing atmosphere to have had an effect
+upon a painter's art; but it chanced that Rubens visited Spain, and
+there, Velasquez being the one famous artist, it was natural they
+should become interested in each other. Rubens told Velasquez of the
+wonders of Italian painting, till the Spaniard could think of nothing
+else, and finally he begged Philip to let him journey to Italy that he
+might see some of those wonders for himself. The request made the king
+unhappy at first, but at last he gave his consent and Velasquez set
+out for Italy. The king gave him money and letters of introduction,
+and he went in company with the Marquis of Spinola.
+
+After Velasquez had stayed eighteen months in Italy, Philip began to
+long for his friend and sent for him to return. He came back full of
+the stories of brilliant Italy, and charmed the king completely.
+
+There is as absurd a story of Velasquez's perfection in painting as
+that of Raphael's, whose portrait of the pope, left upon the terrace
+to dry, imposed upon passers by. It is said of Velasquez's work that
+when he had painted an admiral whom the king had ordered to sea, and
+left it exposed in his studio, the king, entering, thought it was the
+admiral himself, and angrily inquired why he had not put to sea
+according to orders. On the face of them these stories are false, but
+they serve to suggest the perfection of these artists' paintings.
+
+Philip, being a melancholy man, had his court full of jesters, poor
+misshapen creatures--dwarfs and hunchbacks--who were supposed to
+appear "funny," and Velasquez, as court painter, painted those whom he
+continually saw about him, who formed the court family. Thus we have
+pictures of strange groups--dwarfs, little princesses, dressed
+precisely as the elders were dressed, favourite dogs, and Velasquez
+himself at his easel.
+
+In 1618, while still with his master, Pacheco, he had married the
+master's daughter, a big, portly woman. Before he left Seville he bad
+two daughters.
+
+These were all the children he had, although he painted a picture of
+"Velasquez's Family" which includes a great number of people. The
+figures in that painting are the children of his daughter, not his
+own; and this may account for one biographer's statement that the
+artist had "seven children." He was devoted to and happy in his family
+of children and grandchildren.
+
+He did not grow rich, but received regularly during his life in
+Madrid, twenty gold ducats ($45.36) a month to live upon, and besides
+this his medical attendance, lodging, and additional payment for every
+picture. The one which brought him this good fortune was an equestrian
+portrait of Philip; first uncovered on the steps of San
+Felipe. Everywhere the people were delighted with it, poets sung of
+it, and the king declared no other should ever paint his
+portrait. This picture has long since disappeared.
+
+In 1627 Velasquez won the prize for a picture representing the
+expulsion of the Moors from Spain and was rewarded by "being appointed
+gentleman usher. To this was shortly afterward added a daily allowance
+of twelve reals--the same amount which was allowed to court
+barbers--and ninety gold ducats ($204.12) a year for dress, which was
+also paid to the dwarfs, buffoons, and players about the king's
+person--truly a curious estimate of talent at the court of Spain."
+
+The record of Philip IV. with unpleasing, even degenerate characters,
+about him, is brightened by the thought of his loyalty to his court
+painter and life-long friend. When the king's favourites fell, those
+who had been the friends of Velasquez, the artist loyally remained
+their friend in adversity as he had been while they were
+powerful. This constancy, even to the royal enemies, was never
+resented by Philip. He honoured the faithfulness of his artist, even
+as he himself was faithful in this friendship. Philip's court was such
+that there was little to paint that was ennobling, and so Velasquez
+lacked the inspiration of such surroundings as the Italian painters
+had.
+
+Philip IV. was hail-fellow-well-met with his stablemen, his huntsmen,
+his cooks, and yet he seems to have had no sense of humour, was long
+faced and forbidding to look at, and despite his strange habits
+considered himself the most mighty and haughty man in the world. He
+felt himself free to behave as he chose, because he was Philip of
+Spain; and he chose to do a great many absurd and outrageous
+things. In all Philip's portraits, painted by Velasquez, he wears a
+stiff white linen collar of his own invention, and he was so proud of
+this that he celebrated it by a festival. He went in procession to
+church to thank God for the wonderful blessing of the _Golilla_--the
+name of his collar. This unsightly thing became the fashion, and all
+portraits of men of that time were painted with it. "In regard to the
+wonderful structure of Philip's moustaches it is said, that, to
+preserve their form they were encased during the night in perfumed
+leather covers called _bigoteras_." Such absurdities in a king, who
+had the responsibilities of a nation upon him, seem incredible.
+
+Velasquez made in all three journeys to Italy, and the last one was on
+a mission for the king, which was much to the latter's credit. Philip
+had determined to have a fine art gallery in Madrid, for Spain had by
+this time many pictures, but no statuary; so he commissioned his
+painter to buy whatever he thought well of and _could_ buy, in
+Italy. Hence the artist set off again with his slave--the same one
+with whom he had journeyed to Madrid so long before. His name was
+Pareja, and his master had already made an excellent artist of him.
+
+They went to Genoa, thence to the great art-centres of Italy, were
+received everywhere with honour, and the artist bought wisely.
+Velasquez did not care for Raphael's paintings as much as for
+Titian's, and he said so to Salvator Rosa, an honoured painter in
+Italy.
+
+While in Rome Velasquez painted the pope, also his own slave, Pareja.
+
+When he returned to Spain he took with him three hundred statues, but
+a large number of them were nude, and the Spanish court, not over
+particular about most things, was very particular about naked statues,
+so that after Philip's death, they nearly all disappeared. After his
+return, and after the queen had died and Philip had married again,
+Velasquez was made quartermaster-general, no easy post but not without
+honour, though it interfered with his picture painting a good deal. He
+had to look after the comfort of all the court, and to see that the
+apartments it occupied, at home or when it visited, were suitable.
+
+"Even the powerful king of Spain could not make his favourite a belted
+knight without a commission to inquire into the purity of his lineage
+on both sides of the house. Fortunately, the pedigree could bear
+scrutiny, as for generations the family was found free from all taint
+of heresy, from all trace of Jewish or Moorish blood, and from
+contamination from trade or commerce. The difficulty connected with
+the fact that he was a painter was got over by his being painter to
+the king and by the declaration that he did not sell his pictures."
+
+The red Cross of Santiago conferred upon him by Philip, made Velasquez
+a knight and freed him also from the rulings of the Inquisition, which
+directed so largely what artists could and could not do. Thus it is
+that we come to have certain great pictures from Velasquez's brush
+which could not otherwise have been painted.
+
+This action of the king, setting free the artist, made two schools of
+art, of which the court painter represented one; and Murillo the
+other, under the command of the Church. Although not so rich perhaps
+as Raphael, Velasquez lived and died in plenty, while Murillo, the
+artist of the Church of Rome, was a poverty-stricken man.
+
+Finally, while in the midst of honours, and fulfilling his official
+duty to the court of Spain, Velasquez contracted the disease which
+killed him. The Infanta, Maria Theresa, was to wed Louis XIV., and the
+ceremony was to take place on a swampy little island called the Island
+of Pheasants. There he went to decorate a pavilion and other places of
+display. He became ill with a fever and died soon after he returned to
+Madrid.
+
+He made his wife, his old master Pacheco's daughter, his executor, and
+was buried in the church of San Juan, in the vault of Fuensalida; but
+within a week his devoted wife was dead, and in eight days' time she
+was buried beside him.
+
+He left his affairs--accounts between him and the court--badly
+entangled, and it was many years before they were straightened
+out. His many deeds of kindness lived after him. He made of his slave
+a good artist and a devoted friend, and by his efforts the slave
+became a freedman. The story of his kindly help to Murillo when that
+exquisite painter came, unknown and friendless to Madrid, has already
+been told.
+
+The Church where Velasquez was buried was destroyed by the French in
+1811, and all trace of the resting place of the great Spanish artist
+is forever lost to us.
+
+He is called not only "painter to the king," but "king of painters."
+
+  PLATE--EQUESTRIAN PORTRAIT OF DON BALTHASAR CARLOS.
+
+Philip of Spain had long prayed for a son and when at last one was
+granted him his pride in his young heir was unbounded. The little Don
+Carlos was not unworthy, for he was a cheerful, hearty boy, trained to
+horsemanship, from his fourth year, for his father was a noted rider
+and had the best instructors for his son. The prince was a brave
+hunter too and we are told that he shot a wild boar when he was but
+nine years of age. In this portrait which is in the Museo del Prado he
+is six years old, and it was neither the first nor the last that
+Velasquez made of him. It was one of the court painter's chief duties
+to see that the heir to the throne was placed upon canvas at every
+stage of his career, and he painted him from two years of age till his
+lamented death at sixteen.
+
+The young prince wears in this picture a green velvet jacket with
+white sleeves and his scarf is crimson embroidered with gold. The
+lively pony is a light chestnut and the foreshortening of its body
+must be noticed. The steady grave eyes of the lad are gazing far ahead
+as they would naturally be if he were riding rapidly, but his princely
+dignity is shown in his firm seat in the saddle and his manner of
+holding his marshal's baton.
+
+The great art of the painter is also shown in the way he subordinates
+the landscape to the figure. He will not allow even a tree to come
+near the young horseman, but brings his young activity into vivid
+contrast with the calm peacefulness of the distant view.
+
+With the death of Don Carlos the downfall of his father's dynasty was
+assured, though for a time his little sister, the Infanta Maria
+Theresa, was upheld as the heiress. She married Louis XIV. and had a
+weary time of it in France. Velasquez painted her picture too, in the
+grown up dress of the children of that day. It is in the Vienna
+Gallery. Among his best known pictures are "The Surrender of Breda,"
+"Alessandro del Borro," and "Philip IV."
+
+
+
+
+XLII
+
+PAUL VERONESE (PAOLO CAGLIARI)
+
+
+  (Pronounced Vay-ro-nay'zay and pah'o-lah cal-ee-ah'ree)
+  _Venetian School_
+  1528-1588
+  _Pupil of Titian_
+
+"One has never done well enough, when one can do better; one never
+knows enough when he can learn more!"
+
+This was the motto of Paul Veronese. This artist was born in
+Verona--whence he took his name--and spent much of his life with the
+monks in the monastery of St. Sebastian.
+
+His father was a sculptor, and taught his son. Veronese himself was a
+lovable fellow, had a kind feeling for all, and in return received the
+good will of most people. When he first went to Venice to study he
+took letters of introduction to the monks of St. Sebastian, and
+finally went to live with them, for his uncle was prior of the
+monastery, and it was upon its walls that he did his first work in
+Venice. His subject was the story of Esther, which he illustrated
+completely.
+
+He became known in time as "the most magnificent of magnificent
+painters." He loved the gaieties of Venice; the lords and ladies; the
+exquisite colouring; the feasting and laughter, and everything he
+painted, showed this taste. When he chose great religious subjects he
+dressed all his figures in elegant Venetian costumes, in the midst of
+elegant Venetian scenes. His Virgins, or other Biblical people, were
+not Jews of Palestine, but Venetians of Venice, but so beautiful were
+they and so inspiring, that nobody cared to criticise them on that
+score. He loved to paint festival scenes such as, "The Marriage at
+Cana," "Banquet in Levi's House," or "Feast in the House of Simon." He
+painted nothing as it could possibly have been, but everything as he
+would have liked it to be.
+
+Into the "Wedding Feast at Cana," where Jesus was said to have turned
+the water into wine, he introduced a great host of his friends, people
+then living. Titian is there, and several reigning kings and queens,
+including Francis I. of France and his bride, for whom the picture was
+made. This treatment of the Bible story startles the mind, but
+delights the eye.
+
+It was said that his "red recurred like a joyful trumpet blast among
+the silver gray harmonies of his paintings."
+
+Muther, one who has written brilliantly about him, tells us that
+"Veronese seems to have come into the world to prove that the painter
+need have neither head nor heart, but only a hand, a brush, and a pot
+of paint in order to clothe all the walls of the world with oil
+paintings" and that "if he paints Mary, she is not the handmaid of the
+Lord or even the Queen of Heaven, but a woman of the world, listening
+with approving smile to the homage of a cavalier. In light red silk
+morning dress, she receives the Angel of the Annunciation and hears
+without surprise--for she has already heard it--what he has to say;
+and at the Entombment she only weeps in order to keep up appearances."
+
+Such criticism raises a smile, but it is quite just, and what is more,
+the Veronese pictures are so beautiful that one is not likely to
+quarrel with the painter for having more good feeling than
+understanding. His joyous temperament came near to doing him harm, for
+he was summoned before the Inquisition for the manner in which he had
+painted "The Last Supper."
+
+After the Esther pictures in St. Sebastian, the artist painted there
+the "Martyrdom of St. Sebastian," and there is a tradition that he did
+his work while hiding in the monastery because of some mischief of
+which he had been guilty.
+
+At that time he was not much more than twenty-six or eight, while the
+great painter Tintoretto was forty-five, yet his work in St. Sebastian
+made him as famous as the older artist.
+
+There is very little known of the private affairs of Veronese. He
+signed a contract for painting the "Marriage at Cana," for the
+refectory of the monastery of St. Giorgio Maggiore, in June 1562, and
+that picture, stupendous as it is, was finished eighteen months
+later. He received $777.60 for it, as well as his living while he was
+at work upon it, and a tun of wine. One picture he is supposed to have
+left behind him at a house where he had been entertained, as an
+acknowledgment of the courtesy shown him.
+
+Paul had a brother, Benedetto, ten years younger than himself, and it
+is said that he greatly helped Paul in his work, by designing the
+architectural backgrounds of his pictures. If that is so, Benedetto
+must have been an artist of much genius, for those backgrounds in the
+paintings are very fine.
+
+Veronese married, and had two sons; the younger being named
+Carletto. He was also the favourite, and an excellent artist, who did
+some fine painting, but he died while he was still young. Gabriele the
+elder son, also painted, but he was mainly a man of affairs, and
+attended to business rather than to art.
+
+Veronese was a loving father and brother, and beyond doubt a happy
+man. After his death both his sons and his brother worked upon his
+unfinished paintings, completing them for him. He was buried in the
+Church of St. Sebastian.
+
+  PLATE--THE MARRIAGE AT CANA
+
+This painting is most characteristic of Veronese's methods. He has no
+regard for the truth in presenting the picture story. At the marriage
+at Cana everybody must have been very simply dressed, and there could
+have been no beautiful architecture, such as we see in the picture. In
+the painting we find courtier-like men and women dressed in beautiful
+silks. Some of the costumes appear to be a little Russian in
+character, the others Venetian; and Jesus Himself wears the loose
+every-day robe of the pastoral people to whom he belonged. We think of
+luxury and rich food and a splendid house when we look at this
+painting, when as a matter of fact nothing of this sort could have
+belonged to the scene which Veronese chose to represent. Perhaps no
+painter was more lacking in imagination than was Veronese in painting
+this particular picture. He chose to place historical or legendary
+characters, in the midst of a scene which could not have existed
+co-incidently with the event.
+
+Among his other pictures are "Europa and the Bull," "Venice
+Enthroned," and the "Presentation of the Family of Darius to
+Alexander."
+
+
+
+
+XLIII
+
+LEONARDO DA VINCI
+
+
+  (Pronounced Lay-o-nar'do dah Veen'chee)
+  _Florentine School_
+  1451-1519
+  _Pupil of Verrocchio_
+
+Leonardo da Vinci was the natural son of a notary, Ser Pier, and he
+was born at the Castello of Vinci, near Empoli. From the very hour
+that he was apprenticed to his master, Verrocchio, he proved that he
+was the superior of his master in art. Da Vinci was one of the most
+remarkable men who ever lived, because he not only did an
+extraordinary number of things, but he did all of them well.
+
+He was an engineer, made bridges, fortifications, and plans which to
+this day are brilliant achievements.
+
+He was a sculptor, and as such did beautiful work.
+
+He was a naturalist, and as such was of use to the world.
+
+He was an author and left behind him books written backward, of which
+he said that only he who was willing to devote enough study to them to
+read them in that form, was able to profit by what he had written.
+
+Finally, and most wonderfully, he was a painter.
+
+He had absolute faith in himself. Before he constructed his bridge he
+said that he could build the best one in the world, and a king took
+him at his word and was not disappointed by the result.
+
+He stated that he could paint the finest picture in the world--but let
+us read what he himself said of it, in so sure and superbly confident
+a way that it robbed his statement of anything like foolish
+vanity. Such as he could afford to speak frankly of his greatness,
+without appearing absurd. He wrote:
+
+"In time of peace, I believe I can equal anyone in architecture, in
+constructing public and private buildings, and in conducting water
+from one place to another. I can execute sculpture, whether in marble,
+bronze, or terra cotta, and in painting I can do as much as any other
+man, be he who he may. Further, I could engage to execute the bronze
+horse in eternal memory of your father and the illustrious house of
+Sforza." He was writing to Ludovico Sforza whose house then ruled at
+Milan. "If any of the above-mentioned things should appear to you
+impossible or impracticable, I am ready to make trial of them in your
+park, or in any other place that may please your excellency, to whom I
+commend myself in proud humility."
+
+Leonardo's experiments with oils and the mixing of his pigments has
+nearly lost to us his most remarkable pictures. His first fourteen
+years of work as an artist were spent in Milan, where he was employed
+to paint by the Duke of Milan, and never again was his life so
+peaceful; it was ever afterward full of change. He went from Milan to
+Venice, to Rome, to Florence, and back to Milan where his greatest
+work was done.
+
+While Leonardo was a baby he lived in the Castle of Vinci. He was
+beautiful as a child and very handsome as a man. When a child he wore
+long curls reaching below his waist. He was richly clothed, and
+greatly beloved. His body seemed no less wonderful than his mind. He
+wished to learn everything, and his memory was so wonderful that he
+remembered all that he undertook to learn. His muscles were so
+powerful that he could bend iron, and all animals seemed to love
+him. It is said he could tame the wildest horses. Indeed his life and
+accomplishments read as if he were one enchanted. One writer tells us
+that "he never could bear to see any creature cruelly treated, and
+sometimes he would buy little caged birds that he might just have the
+pleasure of opening the doors of their cages, and setting them at
+liberty."
+
+The story told of his first known work is that his master, being
+hurried in finishing a picture, permitted Leonardo to paint in an
+angel's head, and that it was so much better than the rest of the
+picture, that Verrocchio burned his brushes and broke his palette,
+determined never to paint again, but probably this is a good deal of a
+fairy tale and one that is not needed to impress us with the artist's
+greatness, since there is so much to prove it without adding fable to
+fact.
+
+Leonardo was also a very far seeing inventor and most ingenious. He
+made mechanical toys that "worked" when they were wound up. He even
+devised a miniature flying machine; however, history does not tell us
+whether it flew or not. He thought out the uses of steam as a motive
+power long before Fulton's time.
+
+Leonardo haunted the public streets, sketchbook in hand, and when
+attracted by a face, would follow till he was able to transfer it to
+paper. Ida Prentice Whitcomb, who has compiled many anecdotes of da
+Vinci, says that it was also his habit to invite peasants to his
+house, and there amuse them with funny stories till he caught some
+fleeting expression of mirth which he was pleased to reproduce.
+
+As a courtier Leonardo was elegant and full of amusing devices. He
+sang, accompanying himself on a silver lute, which he had had
+fashioned in imitation of a horse's skull. After he attached himself
+to the court of the Duke of Milan, his gift of invention was
+constantly called into use, and one of the surprises he had in store
+for the Duke's guests was a great mechanical lion, which being wound
+up, would walk into the presence of the court, open its mouth and
+disclose a bunch of flowers inside.
+
+Leonardo worked very slowly upon his paintings, because he was never
+satisfied with a work, and would retouch it day after day. Then, too,
+he was a man of moods, like most geniuses, and could not work with
+regularity. The picture of the "Last Supper" was painted in Milan, by
+order of his patron, the Duke, and there are many picturesque stories
+written of its production. It was painted upon the refectory wall of a
+Dominican convent, the Santa Maria delle Grazie; and at first the work
+went off well, and the artist would remain upon his scaffolding from
+morning till night, absorbed in his painting. It is said that at such
+times he neither ate nor drank, forgetting all but his great work. He
+kept postponing the painting of two heads--Christ and Judas.
+
+He had worked painstakingly and with enthusiasm till that point, but
+deferred what he was hardly willing to trust himself to perform. He
+had certain conceptions of these features which he almost feared to
+execute, so tremendous was his purpose. He let that part of the work
+go, month after month, and having already spent two years upon the
+picture, the monks began to urge him to a finish. He was not the man
+to endure much pressure, and the more they urged the more resentful he
+became. Finally, he began to feel a bitter dislike for the prior, the
+man who annoyed him most. One day, when the prior was nagging him
+about the picture, wanting to know why he didn't get to work upon it
+again, and when would it be finished, Leonardo said suavely: "If you
+will sit for the head of Judas, I'll be able to finish the picture at
+once." The prior was enraged, as Leonardo meant he should be; but
+Leonardo is said actually to have painted him in as Judas. Afterward
+he painted in the face of Christ with haste and little care, simply
+because he despaired of ever doing the wonderful face that his art
+soul demanded Christ should wear.
+
+The one bitter moment in Leonardo's life, in all probability, was when
+he came in dire competition with Michael Angelo. When he removed to
+Florence he was required to submit sketches for the Town Hall--the
+Palazzo Vecchio--and Michael Angelo was his rival. The choice fell to
+Angelo, and after a life of supremacy Leonardo could not endure the
+humiliation with grace. Added to disappointment, someone declared that
+Leonardo's powers were waning because he was growing old. This was
+more than he could bear, and he left Italy for France, where the king
+had invited him to come and spend the remainder of his life. Francis
+I. had wished to have the picture in the Milan monastery taken to
+France, but that was not to be done.
+
+Doubtless the king expected Leonardo to do some equally great work
+after he became the nation's guest.
+
+Before leaving Italy, Leonardo had painted his one other "greatest"
+picture--"La Gioconda" (Mona Lisa)-and he took that wonderful work
+with him to France, where the King purchased it for $9,000, and to
+this day it hangs in the Louvre.
+
+But Leonardo was to do no great work in France, for in truth he was
+growing old. His health had failed, and although he was still a dandy
+and court favourite, setting the fashion in clothing and in the cut of
+hair and beard, he was no longer the brilliant, active Leonardo.
+
+Bernard Berensen, has written of him: "Painting ... was to Leonardo so
+little of a preoccupation that we must regard it as merely a mode of
+expression used at moments by a man of universal genius." By which
+Berensen means us to understand that Leonardo was so brilliant a
+student and inventor, so versatile, that art was a mere pastime. "No,
+let us not join in the reproaches made to Leonardo for having painted
+so little; because he had so much more to do than to paint, he has
+left all of us heirs to one or two of the supremest works of art ever
+created."
+
+Another author writes that "in Leonardo da Vinci every talent was
+combined in one man."
+
+Leonardo was the third person of the wonderful trinity of Florentine
+painters, Raphael and Michael Angelo being the other two.
+
+He knew so much that he never doubted his own powers, but when he
+died, after three years in France, he left little behind him, and that
+little he had ever declared to be unfinished--the "Mona Lisa" and the
+"Last Supper." He died in the Chateau de Cloux, at Amboise, and it is
+said that "sore wept the king when he heard that Leonardo was dead."
+
+In Milan, near the Cathedral, there stands a monument to his memory,
+and about it are placed the statues of his pupils. To this day he is
+wonderful among the great men of the world.
+
+  PLATE--THE LAST SUPPER
+
+This, as we have said, is in the former convent of Santa Maria delle
+Grazie, in Milan. It was the first painted story of this legendary
+event in which natural and spontaneous action on the part of all the
+company was presented.
+
+To-day the picture is nearly ruined by smoke, time, and alterations in
+the place, for a great door lintel has been cut into the
+picture. Leonardo used the words of the Christ: "Verily, I say unto
+you that one of you shall betray me," as the starting point for this
+painting. It is after the utterance of these words that we see each of
+the disciples questioning horrified, frightened, anxious, listening,
+angered--all these emotions being expressed by the face or gestures of
+the hands or pose of the figures. It is a most wonderful picture and
+it seems as if the limit of genius was to be found in it.
+
+The company is gathered in a half-dark hall, the heads outlined
+against the evening light that comes through the windows at the
+back. We look into a room and seem to behold the greatest tragedy of
+legendary history: treachery and sorrow and consternation brought to
+Jesus of Nazareth and his comrades.
+
+This great picture was painted in oil instead of in "distemper," the
+proper kind of mixture for fresco, and therefore it was bound to be
+lost in the course of time. Besides, it has known more than ordinary
+disaster. The troops of Napoleon used this room, the convent
+refectory, for a stable, and that did not do the painting any
+good. The reason we have so complete a knowledge of it, however, is
+that Leonardo's pupils made an endless number of copies of it, and
+thus it has found its way into thousands of homes. The following is
+the order in which Leonardo placed the disciples at the table: Jesus
+of Nazareth in the centre, Bartholomew the last on the left, after him
+is James, Andrew, Peter, Judas--who holds the money bag--and John. On
+the right, next to Jesus, comes Thomas, the doubting one; James the
+Greater, Philip, Matthew, Thaddeus, and Simon. Jesus has just declared
+that one of them shall betray him, and each in his own way seems to be
+asking "Lord, is it I?" In the South Kensington Museum in London will
+be found carefully preserved a description, written out fairly in
+Leonardo's own hand, to guide him in painting the Last Supper. It is
+most interesting and we shall quote it: "One, in the act of drinking
+puts down his glass and turns his head to the speaker. Another
+twisting his fingers together, turns to his companion, knitting his
+eyebrows. Another, opening his hands and turning the palm toward the
+spectator, shrugs his shoulders, his mouth expressing the liveliest
+surprise. Another whispers in the ear of a companion, who turns to
+listen, holding in one hand a knife, and in the other a loaf, which he
+has cut in two. Another, turning around with a knife in his hand,
+upsets a glass upon the table and looks; another gasps in amazement;
+another leans forward to look at the speaker, shading his eyes with
+his hand; another, drawing back behind the one who leans forward,
+looks into the space between the wall and the stooping disciple."
+
+Other paintings of Leonardo's are: "Mona Lisa," "Head of Medusa,"
+"Adoration of the Magi," and the "Madonna della Caraffa."
+
+
+
+
+XLIV
+
+JEAN ANTOINE WATTEAU
+
+
+  (Pronounced in French, Vaht-toh; English, Wot-toh)
+  _French (Genre) School_
+  1684-1721
+  _Pupil of Gillot and Audran_
+
+Watteau's father was a tiler in a Flemish town--Valenciennes. He meant
+that his son should be a carpenter, but that son tramped from
+Valenciennes to Paris with the purpose of becoming a great painter. He
+did more, he became a "school" of painting, all by himself.
+
+There is no sadder story among artists than that of this lowly born
+genius. He was not good to look upon, being the very opposite of all
+that he loved, having no grace or charm in appearance. He had a
+drooping mouth, red and bony hands, and a narrow chest with stooping
+shoulders. Because of a strange sensitiveness he lived all his life
+apart from those he would have been happy with, for he mistrusted his
+own ugliness, and thought he might be a burden to others.
+
+Such a man has painted the gayest, gladdest, most delicate and
+exquisite pictures imaginable.
+
+He entered Paris as a young man, without friends, without money or
+connections of any kind, and after wandering forlornly, about the
+great city, he found employment with a dealer who made hundreds of
+saints for out-of-town churches.
+
+It is said that for this first employer Watteau made dozens and dozens
+of pictures of St. Nicholas; and when we think of the beautiful
+figures he was going to make, pictures that should delight all the
+world, there seems something tragic in the monotony and
+common-placeness of that first work he was forced by poverty to
+do. Certainly St. Nicholas brought one man bread and butter, even if
+he forgot him at Christmas time.
+
+After that hard apprenticeship, Watteau's condition became slightly
+better. He had been employed near the Pont Notre Dame, at three francs
+a week, but now in the studio of a scene painter, Gillot, he did work
+of coarse effect, very different from that exquisite school of art
+which he was to bring into being. After Gillot's came the studio of
+Claude Audran, the conservator of the Luxembourg, and with him Watteau
+did decorative work. In reality he had no master, learned from nobody,
+grovelled in poverty, and at first, forced a living from the meanest
+sources. With this in mind, it remains a wonder that he should paint
+as no other ever could, scenes of exquisite beauty and grace; scenes
+of high life, courtiers and great ladies assembled in lovely
+landscapes, doing elegant and charming things, dressed in unrivalled
+gowns and costumes. Until Watteau went to the Luxembourg he had seen
+absolutely nothing of refined or gracious living. He had come from
+country scenes, and in Paris had lived among workmen and
+bird-fanciers, flower sellers, hucksters and the like. This is very
+likely the secret of his peculiar art.
+
+Watteau would have been a wonderful artist under any circumstances, no
+matter what sort of pictures he had painted; but circumstances gave
+his imagination a turn toward the exquisite in colourand
+composition. Doubtless when he first looked down from the palace
+windows of the Luxembourg and saw gorgeous women and handsome men
+languishing and coquetting and revelling in a life of ease and beauty,
+he was transported. He must have thought himself in fairyland, and the
+impulse to paint, to idealise the loveliness that he saw, must have
+been greater in him than it would have been in one who had lived so
+long among such scenes that they had become familiar with them.
+
+After Watteau there were artists who tried to do the kind of work he
+had done, but no one ever succeeded. Watteau clothed all his
+shepherdesses in fine silken gowns, with a plait in the back, falling
+from the shoulders, and to-day we have a fashion known as the "Watteau
+back"--gowns made with this shoulder-plait. He put filmy laces or
+softest silks upon his dairy maids, as upon his court ladies, dressing
+his figures exquisitely, and in the loveliest colours. He had suffered
+from poverty and from miserable sights, so when he came to paint
+pictures, he determined to reproduce only the loveliest objects.
+
+At that time French fashions were very unusual, and it was quite the
+thing for ladies to hold a sort of reception while at their toilet. A
+description of one of these affairs was written by Madame de Grignon
+to her daughter: "Nothing can be more delightful than to assist at the
+toilet of Madame la Duchesse (de Bourgoyne), and to watch her arrange
+her hair. I was present the other day. She rose at half past twelve,
+put on her dressing gown, and set to work to eat a _meringue_. She ate
+the powder and greased her hair. The whole formed an excellent
+breakfast and charming _coiffure_." Watteau has caught the spirit of
+this strange airy, artificial, incongruous existence. His ladies seem
+to be eating _meringues_ and powdering their hair and living on a diet
+of the combination. One hardly knows which is toilet and which is real
+life in looking at his paintings.
+
+He quarreled with Audran at the Luxembourg, and having sold his first
+picture, he went back to his Valenciennes home, to see his former
+acquaintances, no doubt being a little vain of his performance.
+
+After that he painted another picture which sold well enough to keep
+him from poverty for a time, and on his return to Paris he was warmly
+greeted by a celebrated and influential artist, Crozat. Watteau tried
+for a prize, and though his picture came second it had been seen by
+the Academy committee.
+
+His greatness was acknowledged, and he was immediately admitted to the
+Academy and granted a pension by the crown, with which he was able to
+go to Italy, the Mecca of all artists the world over.
+
+From Italy he went to London, but there the fogs and unsuitable
+climate made his disease much worse and he hurried back to France,
+where he went to live with a friend who was a picture dealer. It was
+then that he painted a sign for this friend, Gersaint, a sign so
+wonderful that it is reckoned in the history of Watteau's paintings.
+
+Soon he grew so sensitive over his illness, that he did not wish to
+remain near his dearest friends, but one of them, the Abbe Haranger,
+insisted upon looking after his welfare, and got lodgings for him at
+Nogent, where he could have country air and peace.
+
+Watteau died very soon after going to Nogent in July, 1721, and he
+left nine thousand livres to his parents, and his paintings to his
+best friends, the Abbe, Gersaint, Monsieur Henin, and Monsieur
+Julienne. He is called the "first French painter" and so he
+was--though he was Flemish, by birth.
+
+  PLATE--FATE CHAMPATRE
+
+This exquisite picture displays nearly all the characteristics of
+Watteau's painting. He was said to paint with "honey and gold," and
+his method was certainly remarkable. His clear, delicate colours were
+put upon a canvas first daubed with oil, and he never cleaned his
+palette. His "oil-pot was full of dust and dirt and mixed with the
+washings of his brush." One would think that only the most slovenly
+results could come from such habits of work, but the artist made a
+colour which no one could copy, and that was a sort of creamy,
+opalescent white. This was original with Watteau, and most beautiful.
+
+In this "Fete Champetre," which is now in the National Gallery at
+Edinburgh, he paints an elegant group of ladies and gentlemen
+indulging in an open air dance of some sort. One couple are doing
+steps facing one another, to the music of a set of pipes, while the
+rest flirt and talk, decorously, round about. There is no boisterous
+rusticity here; all is dainty and refined.
+
+The same characteristics are to be found in Watteau's other pictures
+such as, "Embarkation for the Island of Cythera," "The Judgment of
+Paris," and "Gay Company in a Park."
+
+
+
+
+XLV
+
+SIR BENJAMIN WEST
+
+
+  _American_
+  1738-1820
+  _Pupil of the Italian School_
+
+The beautiful smile of his little niece helped to make this man an
+artist. This is the story:
+
+Benjamin West was born down in Pennsylvania, at Westdale, a small
+village in the township of Springfield, of Quaker parentage. The
+family was poor perhaps, but in America at a time when everybody was
+struggling with a new civilisation it did not seem to be such binding
+poverty as the same condition in Europe would have been. Benjamin had
+a married sister whose baby he greatly loved, and he gave it devoted
+attention. One day while it was sleeping and the undiscovered artist
+was sitting beside it he saw it smile, and the beauty of the smile
+inspired him to keep it forever if he could. He got paper and pencil
+and forthwith transferred that "angel's whisper."
+
+No child of to-day can imagine the difficulties a boy must have had in
+those days in America, to get an art education, and having learned his
+art, how impossible it was to live by it. Men were busy making a new
+country and pictures do not take part in such pioneer work; they come
+later. Still, there were bound to be born artistic geniuses then, just
+as there were men for the plough and men for politics and for war. He
+who happened to be the artist was the Quaker boy, West.
+
+He took his first inspiration from the Cherokees, for it was the
+Indian in all the splendour of his strength and straightness that
+formed West's ideal of beautiful physique.
+
+When he first saw the Apollo Belvedere, he exclaimed: "A young Mohawk
+warrior!" to the disgust of every one who heard him, but he meant to
+compliment the noblest of forms. Europeans did not know how
+magnificent a figure the "young Mohawk warrior" could be; but West
+knew.
+
+After his Indian impetus toward art he went to Philadelphia, and
+settled himself in a studio, where he painted portraits. His sitters
+went to him out of curiosity as much as anything else, but at last a
+Philadelphia gentleman, who knew what art meant, recognised Benjamin
+West's talent, and made some arrangement by which the young man went
+to Italy.
+
+Life began to look beautiful and promising to the Pennsylvanian. He
+was in Italy for three years, and in that home of art the young man
+who had made the smile of his sister's sleeping baby immortal was
+given highest honours. He was elected a member of all the great art
+societies in Italy, and studied with the best artists of the time. He
+began to earn his living, we may be sure, and then he went to England,
+where, in spite of the prejudice there must have been against the
+colonists, he became at once a favourite of George III., a friend of
+Reynolds and of all the English artists of repute--unless perhaps of
+Gainsborough, who made friends with none.
+
+West was appointed "historical painter" to his Majesty, George III.,
+and he was chosen to be one of four who should draw plans for a Royal
+Academy. He was one of the first members of that great organisation,
+and when Sir Joshua Reynolds, the first president, died, West became
+president, remaining in office for twenty-eight years.
+
+About that time came the Peace of Amiens, and West was able to go to
+Paris, where he could see the greatest art treasures of Europe, which
+had been brought to France from every quarter as a consequence of the
+war. At that time, before Paris began to return these, and when she
+had just pillaged every great capital of Europe, artists need take but
+a single trip to see all the art worth seeing in the whole world.
+
+After a long service in the Academy, West quarreled with some of the
+Academicians and sent in his resignation; but his fellow artists had
+too much sense and good feeling to accept it, and begged him to
+reconsider his action. He did so, and returned to his place as
+president. When West was sixty-five years old he made a picture,
+"Christ Healing the Sick," which he meant to give to the Quakers in
+Philadelphia, who were trying to get funds with which to build a
+hospital. This picture was to be sold for the fund; but it was no
+sooner finished and exhibited in London before being sent to America,
+than it was bought for 3,000 guineas for Great Britain. West did not
+contribute this money to the hospital fund, but he made a replica for
+the Quakers, and sent that instead of the original.
+
+West was eighty-two years old when he died and he was buried in
+St. Paul's Cathedral after a distinguished and honoured life. Since
+Europe gave him his education and also supported him most of his life,
+we must consider him more English than American, his birth on American
+soil being a mere accident.
+
+  PLATE--THE DEATH OF WOLFE
+
+This death scene upon the Plains of Abraham, without the walls of
+Quebec in 1759, must not be taken as a realistic picture of an
+historic event. West drew upon his imagination and upon portraits of
+the prominent men supposed to have been grouped around the dying
+general, and he has produced a dramatic effect. One can imagine it is
+the two with fingers pointing backward who have just brought the
+memorable tidings, "They run! They run!"
+
+"Who run?" asks Wolfe, for when he had fallen the issues of the fight
+were still undecided. "The French, sir. They give way everywhere."
+"Thank God! I die in peace," replied the English hero. At a time when
+the momentous results of this battle had set the whole of Great
+Britain afire with enthusiasm it is easy to understand the popularity
+of a picture such as this. It was sold in 1791 for oe28, and now
+belongs to the Duke of Westminster. There is a replica of it in the
+Queen's drawing-room at Hampton Court.
+
+Another famous historical picture by West is "The Battle of La Hogue."
+
+
+
+
+INDEX
+
+About, Edmund
+Academia, Florence
+Academy, French
+  Rome,
+  Royal, London,
+  Venice
+"Acis and Galatea"
+Adoration of the Magi
+"Adoration of the Shepherds"
+"After a Summer Shower"
+"Afternoon"
+Albert, King
+"Alessandro del Borro"
+Alexander VI.
+Alice, Princess
+Allegri, Antonio. _See_ Correggi
+Allegri, Pompino
+"Ambassadors, The"
+"American Mustangs"
+"Anatomy Lesson, The"
+Andrea del Sarto
+Angelo, Michael
+"Angels' Heads"
+"Angelas, The"
+Anguisciola, Sofonisba
+Anne of Cleves
+Anne of Saxony
+Annunciata, cloister of the
+"Annunciation, The"
+"Ansidei Madonna, The"
+"Antiope"
+Apocalypse
+Apollo Belvedere
+Apostles, the Four
+Apostles' Heads
+Appelles
+"Archipelago"
+Arena Chapel
+Arrivabene Chapel
+"Artist's Two Sons, The"
+"Arundel Castle and Mill"
+"Assumption of the Virgin"
+"At the Well"
+Audran
+Augusta, Princess
+"Avenue, Middelharnis, Holland"
+"Awakened Conscience, The"
+
+"Bacchanal"
+"Bacchus and Ariadne"
+Balzac
+"Banquet in Levi's House"
+"Baptism of Christ, The"
+Barbizon
+Barile
+Barry, James
+Bartoli d'Angiolini
+Bartolommeo, Fra
+Bassano
+"Bathers"
+"Battle of La Hogue"
+Beaumont, Sir George
+Beaux-Arts, l'Ecole des
+Begarelli
+Bellini, Gentile
+Bellini, Giovanni
+Bembo, Cardinal
+Beneguette
+"Bent Tree"
+Bentivoglio, Cardinal
+Berck, Derich
+Berensen, Bernard
+Bergholt, East
+"Berkshire Hills"
+"Bianca"
+Bicknell, Maria
+Bigio, Francia
+Bigordi. _See_ Ghirlandajo
+Bird
+"Birth of the Virgin"
+  (Andrea del Sarto)
+  (Murillo)
+"Birth of Venus"
+Blanc, Charles
+"Blessed Herman Joseph, The"
+"Bligh Shore"
+"Blue Boy, The"
+Bocklin, Arnold
+"Boat-Building"
+Boleyn, Anne
+Bolton, Mrs. Sarah K.
+Bonheur, Marie-Rosea
+Bonheur, Raymond B.
+Bordeaux
+Bordone. _See_ Giotto
+Borghese Palace
+Borgia family
+Borgia, Lucretia
+Botticelli
+Boudin
+Bouguereau, William Adolphe
+"Boy at the Stile, The"
+Brancacci Chapel
+Brant, Isabella
+Breton, Jules
+Brice, J. B.
+Brouwer
+Browning
+Brunellesco
+"Brutus"
+Buckingham, Duke of
+Buonarroti. _See_ Angelo Michael
+Burgundy, Duchess of
+Burke, Edmund
+Burne-Jones, Sir Edward
+Burr, Margaret
+
+Caffin
+Cagliari, Benedetto
+Cagliari, Carletto
+Cagliari, Gabriele
+Cagliari, Paolo. _See_ Veronese
+Cambridge, University of
+"Camels at Rest"
+Campagna
+Campana, Pedro
+Campanile, Florence
+Canova
+Caprese
+"Capture of Samson"
+Capuchin Church
+Capuchin Convent
+Carlos, Don
+"Carmencita"
+Carmine, Church of the
+"Carthage"
+Castillo, Juan del
+Cecelia, wife of Titian
+Cellini
+Centennial Exhibition
+Chamberlain, Arthur
+"Chant d'Amour"
+Chantry, Sir Francis
+"Charity"
+Charles, I.
+Charles V.
+Charles X.
+Cherokees
+"Chess Players, The"
+"Children of Charles I."
+"Christ Healing the Sick"
+"Christ in the Temple"
+"Christina of Denmark"
+Church
+Cibber, Theophilus
+Cimabue
+Claude
+"Cleopatra Landing at Tarsus"
+"Cock Fight"
+Cogniet, Leon
+Colnaghi
+"Cologne"
+Constable, John
+Copley, John Singleton
+Copper Plate Magazine
+Cornelia, Rembrandt's daughter
+Cornelissen, Cornelis
+"Cornfield"
+"Coronation of Marie de Medicis"
+"Coronation of the Virgin"
+  (Ghirlandajo)
+  (Raphael)
+Corot, Jean Baptiste Camille
+Correggio
+Cosimo, Piero di
+"Cottage, The"
+"Countess Folkstone"
+"Countess of Spencer"
+Coventry, Countess of
+"Creation of Man, The"
+"Creation of the World, The"
+Crozat
+"Crucifixion, The"
+  (Raphael)
+  (Tintoretto)
+
+"Danae"
+Dandie Dinmont
+"Daniel"
+Dante
+"Daphnis and Chloe"
+Daubigny
+"David"
+"Dead Christ, The"
+"Dead Mallard"
+"Death of Ananias, The"
+"Death of Wolfe, The"
+"Dedham Mill"
+"Dedham Vale"
+Delaroche
+"Deluge, The"
+"Descent from the Cross, The"
+  (Campana)
+  (Rembrandt)
+  (Rubens)
+De Witt
+Diaz
+"Dice Players, The"
+Dickens, Charles
+Digby, Kenelm
+"Dignity and Impudence"
+"Divine Comedy"
+Dolce, Ludovico
+Donatello
+"Don Quixote"
+Dore, Paul Gustave
+D'Orsay
+"Duchess of Devonshire and Her Daughter, The"
+"Duel After the Masked Ball"
+Dunthorne, John
+Dupre
+Durand, Carolus
+Durer, Albrecht
+Dyce
+
+"Ecce Homo"
+"Education of Mary, The"
+Edward, King
+Egyptian art
+Elizabeth, Cousin of the Virgin
+Elizabeth, Princess
+"Embarkation for the Island of Cythera"
+"Emperor at Solferino, The"
+Engravers and engraving
+"Entombment, The"
+  (Titian)
+  (Veronese)
+Eos
+"Equestrian Portrait of Don Balthasar Carlos"
+Errard, Charles
+Escorial, the
+Esteban, Bartolome. See Murillo
+Esteban, Gaspar
+Esteban, Therese
+Etchers and etching
+"Europa and the Bull"
+"Eve of St. Agnes, The"
+
+Fallen, Ambrose
+"Fall of Man, The"
+"Fantasy of Morocco"
+Fawkes, Hawksworth
+"Feast in the House of Simon"
+"Feast of Ahasuerus"
+"Ferdinand of Austria"
+Ferdinand III., Grand Duke
+Ferrara, Duke of
+"Fete Champetre"
+"Fighting Temeraire, The"
+Filipepi, Mariano
+"Finding of Christ in the Temple, The"
+"Flamborough, Miss"
+"Flatford Mill on the River Stour"
+"Flora"
+  (Bocklin)
+  (Titian)
+"Foal of an Ass, The"
+Fondato de' Tedeschi
+Fontainebleau
+"Fool, The"
+"Fornarina, The"
+Fortuny, Mariano
+Fourment family
+Fourment, Helena
+"Four Saints"
+Francis I.
+Frari, monks of the
+Frey, Agnes
+"Friedland"
+
+Gainsborough, Mary
+Gainsborough, Thomas
+Gallery, Berlin
+  Dresden
+  Grosvenor
+  Hague, The
+  Hermitage, The
+  Lichtenstein, Vienna
+  Louvre
+  Luxembourg
+  Madrid
+  Naples
+  National, Edinburgh
+  National, London
+  Old Pinakothek, Munich
+  Parma
+  Pitti Palace
+  Uffizi
+  Vienna
+Garrick
+"Gay Company in a Park"
+Gellee. See Claude Lorrain
+George III.
+"Georgia Pines"
+Gerbier
+Germ, The
+Gerome, Jean Leon
+Gersaint
+Ghibertio
+Ghirlandajo
+"Gibeon Farm"
+Gignoux, Regis
+"Gillingham Mill"
+Gillot
+Giorgione
+Giotto
+"Giovanna degli Albizi"
+Girten, Thomas
+Gisze, Gorg
+Gladstone, Mr. and Mrs.
+"Gleaners, The"
+"Glebe Farm"
+Goethe
+"Golden Calf, The"
+"Golden Stairs, The"
+Goldsmith, craft of the
+Goldsmith, Oliver
+Gonzaga, Vincenzo
+"Good Samaritan, The"
+Graham, Judge
+Granacci
+Gravelot
+Grignon, Madame de
+Gualfonda
+"Guardian Angel, The"
+Guidi, Giovanni
+Guidi, Simone
+Guidi. Tommaso. _See_ Masaccio
+Guido
+Guidobaldo of Urbino
+Guilds
+"Gust of Wind"
+
+Haarlem Town Hall
+"Haarlem's Little Forest"
+"Hadleigh Castle"
+Hals, Franz
+Hamerton
+Hamilton, Duchess of
+"Hampstead Heath"
+Hancock, John
+"Hans of Antwerp"
+Haranger, Abbe
+"Hark!"
+"Harvest Waggon, The"
+Hassam, Childe
+Hastings, Warren
+"Haunt of the Gazelle, The"
+Hayman
+"Haystack in Sunshine"
+"Hay Wain, The"
+"Head of Christ"
+"Head of Medusa"
+Hearn, George A.
+Henin
+Henrietta, Queen
+Henry III.
+Henry VIII.
+"Henschel"
+"Hercules"
+Herrera
+"Highland Sheep"
+"Hille Bobbe, the Witch of Haarlem"
+Hill, Jack
+"Hireling Shepherd, The"
+Hobbema, Meindert
+Hogarth, William
+Holbein, Ambrosius
+Holbein, Hans, the Younger
+Holbein, Michael
+Holbein, Philip
+Holbein, Sigismund
+Holbein, the Elder
+"Holofernes"
+Holper, Barbara
+"Holy Family and St. Bridget"
+Holy Family in art, The
+"Holy Family under a Palm Tree, The"
+"Holy Night, The"
+"Homer St. Gaudens"
+"Hon. Ann Bingham, The"
+Hood, Admiral
+"Horse Fair, The"
+Howard, Catherine
+Hudson, Thomas
+Hunt, William Holman
+
+"II Giorno"
+"II Medico del Correggio"
+"Immaculate Conception, The"
+Indian pottery
+Infanta
+"Infant Jesus and St. John, The"
+Inman
+Inness
+"Innocence"
+"In Paradise"
+Inquisition, Spanish
+"Interior of the Mosque of Omar"
+Isabella, Queen
+Islay
+"Isle of the Dead, The"
+"Ivybridge"
+
+Jacopo da Empoli
+Jacque
+"Jane Seymour"
+"Jerusalem by Moonlight"
+"Jesus and the Lamb"
+Jesus in art
+Johnson, Dr.
+Jones, George
+Joseph in art
+"Joseph in Egypt"
+"Joseph's Dream"
+"Judgment of Paris, The"
+"Judith"
+Julienne
+Julius II.
+Justiniana
+
+Kann, Rudolf
+"King Cophetua and the Beggar Maid"
+"King of Hearts"
+"Kirmesse, The"
+Knackfuss
+"Knight, Death and the Devil, The"
+
+"La Belle Jardiniere"
+"La Disputa"
+"Lady Elcho, Mrs. Arden, Mrs. Tennant"
+"La Gioconda"
+"Landscape with Cattle."
+Landseer, John
+Landseer, Sir Edwin Henry
+Landseer, Thomas
+"La Primavera"
+"Last Judgment, The"
+  (Angelo)
+  (Tintoretto)
+  (Titian)
+"Last Supper, The"
+  (Andrea del Sarto)
+  (Ghirlandajo)
+  (Veronese)
+  (Leonardo da Vinci)
+"Laughing Cavalier, The"
+Laura
+Lavinia, daughter of Titian
+"Lavinia, the Artist's Daughter"
+Lawrence, Sir Thomas
+"Leda"
+  (Correggio)
+  (Gerome)
+Lee, Jeremiah
+Legion of Honour
+Lemon, Margaret
+Leonardo. See da Vinci
+Leo X.
+Lewis, J. F.
+_Liber Studiorium_
+"Liber Veritas"
+Library, Boston Public
+"Light of the World, The"
+Linley, Thomas
+Linley, Samuel
+"Lion Disturbed at His Repast"
+"Lion Enjoying His Repast"
+"Lioness, The Study off a"
+"Lion Hunt, A"
+Lippi, Fra Filippo
+"Lock on the Stour"
+Lombardi
+"Lords Digby and Russell"
+"Lord Wharton"
+Lorenzalez, Claudio
+Lorrain, Claude
+Lott, Willy
+Louis XIV.
+Louise, Princess
+"Love Among the Ruins"
+"Low Life and High Life"
+Lowther, Sir William
+Lucas van Leyden
+Lucia, mother of Titian
+Lucretia, wife of Andrea del Sarto
+Luther, Martin
+Madonna and Child
+"Madonna and Child with St. Anne"
+"Madonna and Child with Saints"
+"Madonna del'Arpie"
+"Madonna della Caraffa"
+"Madonna della Casa d'Alba"
+"Madonna della Sedia"
+"Madonna del Granduca"
+"Madonna del Pesce"
+"Madonna del Sacco"
+"Madonna of the Palms"
+"Madonna of the Rosary."
+Madrazo
+"Magdalene, The"
+Manet
+"Manoah's Sacrifice"
+Mantegna
+Mantua, Duke of
+Mantua, Duke Frederick II. of
+"Man with the Hoe, The"
+"Man with the Sword, The"
+Margherita
+Maria Theresa
+"Marriage a la Mode"
+"Marriage at Cana, The"
+"Marriage Contract, The"
+"Marriage of Bacchus and Ariadne, The"
+"Marriage of Mary and Joseph, The"
+"Marriage of St. Catherine, The"
+"Marriage of Samson, The"
+Martineau
+"Martyrdom of St. Agnes, The"
+"Martyrdom of St. Peter, The"
+"Martyrdom of St. Sebastian, The"
+Mary, the Virgin, in art
+Masaccio (Tommasco Guidi)
+Masoline
+Mastersingers, Nuremberg
+Maximillian, Emperor
+Medici family
+Medici, Giovanni di Bicci de'
+Medici, Lorenzi de'
+Medici, Ottaviano de'
+Medici, Pietro de'
+"Meeting of St. John and St. Anna at Jerusalem"
+Meissonier, Jean Louis Ernest
+"Melancholy"
+Merlini, Girolama
+"Meyer Madonna, The"
+Michallon
+"Midsummer Noon"
+Millais
+Millet, Jean Francois
+Millet, Mere
+"Mill Stream"
+"Miracle of St. Mark, The"
+Missions, Spanish
+Missirini
+"Mr. Marquand"
+"Mr. Penrose"
+"Mrs. Meyer and Children"
+"Mrs. Peel"
+Mohawk
+Mona Lisa
+Monet, Claude
+"Money Changers, The"
+"Moonlight at Salerno"
+Morales
+"Moreau and His Staff before Hohenlinden"
+More, Sir Thomas
+"Morning Prayer, The"
+"Moses"
+"Moses Breaking the Tablets of the Law"
+Mudge, Dr.
+Murat
+Murillo (Bartolome Esteban)
+Murillo, Dona Anna
+Museum of Art, Basel
+  Berlin
+  Court, Vienna
+  Madrid
+  Metropolitan, New York
+  Prado
+  Rijks, Amsterdam
+  South Kensington
+Muther
+"Mystic Marriage of St. Catherine, The"
+
+"Naiads at Play"
+Napoleon
+"Nativity, The"
+  (Botticelli)
+  (Durer)
+Navarrette
+"Nieces of Sir Horace Walpole"
+"Night Watch, The"
+"Noli me Tangere"
+Norham Castle
+Nuremberg
+"Nurse and the Child, The"
+
+"'Oh, Pearl' Quoth I"
+"Old Bachelor, The"
+"Old Shepherd's Chief Mourner, The"
+Olivares
+
+Pacheco
+"Pallas"
+"Pan and Psyche"
+Pantheon
+Pareja
+"Parish Clerk, The"
+'Past and Present"
+Passignano
+"Pathless Water, The"
+Paul III.
+"Paysage"
+Pazzi family
+"Penzance"
+Percy, Bishop
+Perez family
+Perez, Maria
+Perugino
+Philip II.
+Philip III.
+Philip IV.
+Picot
+"Pilate Washing His Hands"
+Pinas
+Pirkneimer
+Pissaro
+"Ploughing"
+Pope, Alexander
+"Portrait of Old Man and Boy"
+Portraits of artists by themselves
+"Praying Arab"
+"Praying Hands"
+Pre-Raphaelites
+"Presentation of Christ in the Temple"
+"Presentation of the Family of Darius to Alexander"
+Prim, General
+"Procession of the Magi"
+"Prowling Lion, The"
+"Psyche and Cupid"
+Pypelincx, Maria
+
+Quakers
+"Quin, Portrait of"
+
+Rabelais
+"Rake's Progress, The"
+"Rape of Ganymede, The"
+"Rape of the Daughters of Leucippus, The"
+Raphael (Sanzio)
+Reade, Charles
+"Reading at Diderot's, A"
+"Reaper, The"
+"Regions of Joy"
+Rembrandt (van Rijn)
+"Retreat from Russia"
+Reynolds, Samuel
+Reynolds, Sir Joshua
+Ribera
+Rinaldo and Armida
+"Road over the Downs, The"
+"Robert Cheseman with his Falcon"
+Robusto, Jacopo. _See_ Tintoretto
+Romano, Guilio
+Rood, Professor
+"Rosary, Story of the"
+Rossetti, Dante Gabriel
+Rossetti, W. M.
+Rothschild, Lord
+Rousseau
+Royal Princess
+Rubens, Albert
+Rubens, John
+Rubens, Nicholas
+Rubens, Peter Paul
+Ruisdael, Jacob van
+Ruskin, John
+Ruthven, Lady Mary
+Sachs, Hans
+"Sacred and Profane Love"
+"St. Anthony of Padua"
+"St. Augustine"
+"St. Barbara"
+St. Bernard dog
+St. Bernardino
+"Saint Cecelia"
+St. Christopher
+St. Clemente
+St. Dominic
+St. George
+"St. George and the Dragon"
+"St. George Slaying the Dragon"
+St. Giorgio Maggiore
+"St. Jerome"
+St, John the Baptist
+St. Jovis Shooting Company
+St. Leger, Colonel
+St. Lucas, Guild of
+St. Luke, Guild of
+St. Mark
+St. Martin's Church
+"St. Michael Attacking Satan."
+"St. Nobody"
+St. Paul's Cathedral
+St. Peter
+"St. Peter Baptising"
+St. Peter's Church
+"St. Rocco Healing the Sick"
+"St. Sebastian."
+  (Botticelli)
+  (Correggio)
+  (Titian)
+St. Sebastian, Church of
+St. Sebastian, Monastery of
+St. Sixtus
+St. Trinita, Church of
+"Salisbury Cathedral"
+Salon
+Salvator Rosa
+"Samson"
+"Samson Threatening His Stepfather"
+"Samson's Wedding"
+San Francisco
+Santa Croce
+Santa Maria della Pace
+Santa Maria delle Grazte
+Santa Maria del Orto
+Santa Maria Novella
+Santi, Bartolommeo
+Santi Giovanni
+Santo Cruz, Church of
+Santo Spirito, Convent of
+Sanzio. _See_ Raphael
+Sarcinelli, Cornelio
+Sargent, John Singer
+Sarto, Andrea del. _See_ Andrea
+Saskia
+Savonarola
+"Scapegoat, The"
+"Scene from Woodstock"
+Schiavone
+Schmidt, Elizabeth
+Schongauer
+School Girl's Hymn
+"School of Anatomy, The"
+School of Art, Academy, London
+  American
+  Andalusian
+  Castilian
+  Dusseldorf
+  Dutch
+  English
+  Flemish
+  Florentine
+  Fontainebleau-Barbizon
+  Foreign
+  French in
+  German
+  Hudson River
+  Impressionist
+  Italian
+  Nuremberg
+  Parma
+  Roman
+  Spanish
+  Umbrian
+  Venetian
+"School, of Athens, The"
+"School, of Cupid, The"
+"Scotch Deer"
+Scott, Sir Walter
+Scrovegno, Enrico
+Scuola di San Rocco
+"Seaport at Sunset"
+Sebastian
+"Serpent Charmer, The"
+Servi, convent of the
+Sesto, Cesare de
+Seurat
+Sforza, Ludovico
+"Shadow of Death, The"
+Shakespeare
+Sheepshanks Collection
+"Shepherd Guarding Sheep"
+Sheppey, Isle of
+Sheridan, Mrs. Richard Brinsley
+Sheridan, Richard Brinsley
+Siddons, Mrs.
+Silva, Rodriguez de
+Sistine Chapel
+"Sistine Madonna, The"
+Six, Jan
+Sixtus IV.
+Skynner, Sir John
+"Slaughter of the Innocents, The"
+"Slave Ship, The"
+"Sleeping Bloodhound, The"
+"Sleeping Venus, The"
+Smith, John
+"Snake Charmers, The"
+"Snow-storm at Sea, A"
+Society of Arts
+Soderini
+Solus Lodge
+"Sortie, The"
+  _See also_ Night Watch
+Sotomayer, Dona Beatriz de
+  Cabrera y
+"Sower, The"
+Spaniel, King Charles
+"Spanish Marriage, The"
+Spinola, Marquis of
+"Sport of the Waves"
+"Spring"
+Sterne, Lawrence
+"Storm, The"
+Stour, River
+"Straw Hat, The"
+Sudbury
+Sully
+Sultan of Turkey
+"Sunset on the Passaic"
+"Sunset on the Sea"
+"Surrender of Breda"
+"Susanna and the Elders"
+"Susanna's Bath"
+"Sussex Downs"
+Swanenburch, Jacob van
+"Sword-Dance, The"
+"Syndics of the Cloth Hall"
+
+Taddei, Taddeo
+Tassi, Agostine
+Thackeray
+Thornhill, Sir James
+"Three Ages, The"
+"Three Saints and God the Father"
+Tintoretto (Jacopo Robusti)
+Titian (Tiziano Vecelli)
+Tornabuoni, Giovanni
+Torregiano
+Trafalgar Square
+"Transfiguration, The"
+"Tribute Money, The"
+"Trinity"
+Troyon
+Trumbull, American painter
+Trumbull, English diplomat
+Tulp, Nicholaus
+Turner, Charles
+Turner, Joseph Mallord William
+"Two Beggar Boys"
+Tybis, Geryck
+
+Ulenberg, Saskia van
+Urban VIII.
+Urbino, Duke of
+
+"Valley Farm, The"
+Van Dyck, Sir Anthony
+Van Mander, Karel
+Van Marcke
+Van Noort, Adam
+Van Rijn. _See_ Rembrandt
+Van Veen
+Varangeville
+Vasari
+Vatican
+Vecchio, Palazzo
+Vecchio, Palma
+Vecelli family
+Vecelli, Orsa
+Vecelli, Orzio
+Vecelli, Pompino
+Vecelli, Tiziano. _See_ Titian
+Velasquez (Diego Rodriguez de Silva)
+"Venice Enthroned"
+"Venus Dispatching Cupid"
+"Venus Worship"
+Verhaecht, Tobias
+Vernon
+Veronese, Paul (Paolo Cagliari)
+Verrocchio
+"Vestal Virgin, The"
+Victoria, Queen
+"Villa by the Sea"
+"Village Festival, The"
+"Ville d'Avray"
+Vinci, Leonardo da
+Violante
+"Virgin as Consoler, The"
+"Virgin's Rest Near Bethlehem"
+"Vision of St. Anthony, The"
+"Visitation, The"
+"Visitor, The"
+"Visit to the Burgomaster"
+
+Warren, General Joseph
+"Water Carrier, The"
+"Watermill, The"
+Watteau, Jean Antoine
+"Wedding Feast at Cana, The"
+Wells, Frederick
+West, Sir Benjamin
+"Weymouth Bay"
+Whitcomb, Ida Prentice
+"William, Prince of Orange"
+William the Silent
+"Will-o'-the-Wisp"
+"Willows near Arras"
+Wilson
+"Winnower, The"
+"Winter"
+Wolgemuth
+"Woodcutters, The"
+"Wooded Landscape"
+"Wood Gatherers, The"
+
+Yarmouth
+"Young People's Story of Art"
+"Youth Surprised by Death"
+
+"Zingarella"
+Zuccato, Sebastian
+
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK, PICTURES EVERY CHILD SHOULD KNOW ***
+
+This file should be named 7pics10.txt or 7pics10.zip
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+The Project Gutenberg EBook of Pictures Every Child Should Know, by Dolores Bacon
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+Title: Pictures Every Child Should Know
+
+Author: Dolores Bacon
+
+Release Date: November, 2004  [EBook #6932]
+[This file was first posted on February 12, 2003]
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+Edition: 10
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+Language: English
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+Character set encoding: iso-8859-1
+
+*** START OF THE PROJECT GUTENBERG EBOOK, PICTURES EVERY CHILD SHOULD KNOW ***
+
+
+
+
+Arno Peters, Branko Collin, Tiffany Vergon, Charles Aldarondo, Charles
+
+Franks,  and the Online Distributed Proofreading Team
+
+
+
+PICTURES EVERY CHILD SHOULD KNOW
+
+
+A SELECTION OF THE WORLD'S ART MASTERPIECES FOR YOUNG PEOPLE
+
+
+BY DOLORES BACON
+
+Illustrated from Great Paintings
+
+
+
+ACKNOWLEDGMENTS
+
+
+Besides making acknowledgments to the many authoritative writers upon
+artists and pictures, here quoted, thanks are due to such excellent
+compilers of books on art subjects as Sadakichi Hartmann, Muther,
+C. H. Caffin, Ida Prentice Whitcomb, Russell Sturgis and others.
+
+
+
+INTRODUCTION
+
+
+Man's inclination to decorate his belongings has always been one of
+the earliest signs of civilisation. Art had its beginning in the lines
+indented in clay, perhaps, or hollowed in the wood of family utensils;
+after that came crude colouring and drawing.
+
+Among the first serious efforts to draw were the Egyptian square and
+pointed things, animals and men. The most that artists of that day
+succeeded in doing was to preserve the fashions of the time. Their
+drawings tell us that men wore their beards in bags. They show us,
+also, many peculiar head-dresses and strange agricultural
+implements. Artists of that day put down what they saw, and they saw
+with an untrained eye and made the record with an untrained hand; but
+they did not put in false details for the sake of glorifying the
+subject. One can distinguish a man from a mountain in their work, but
+the arms and legs embroidered upon Mathilde's tapestry, or the figures
+representing family history on an Oriental rug, are quite as correct
+in drawing and as little of a puzzle. As men became more intelligent,
+hence spiritualised, they began to express themselves in ideal ways;
+to glorify the commonplace; and thus they passed from Egyptian
+geometry to gracious lines and beautiful colouring.
+
+Indian pottery was the first development of art in America and it led
+to the working of metals, followed by drawing and portraiture. Among
+the Americans, as soon as that term ceased to mean Indians, art took a
+most distracting turn. Europe was old in pictures, great and
+beautiful, when America was worshipping at the shrine of the chromo;
+but the chromo served a good turn, bad as it was. It was a link
+between the black and white of the admirable wood-cut and the true
+colour picture.
+
+Some of the Colonists brought over here the portraits of their
+ancestors, but those paintings could not be considered "American" art,
+nor were those early settlers Americans; but the generation that
+followed gave to the world Benjamin West. He left his Mother Country
+for England, where he found a knighthood and honours of every kind
+awaiting him.
+
+The earliest artists of America had to go away to do their work,
+because there was no place here for any men but those engaged in
+clearing land, planting corn, and fighting Indians. Sir Benjamin West
+was President of the Royal Academy while America was still revelling
+in chromos. The artists who remained chose such objects as Davy
+Crockett in the trackless forest, or made pictures of the Continental
+Congress.
+
+After the chromo in America came the picture known as the "buckeye,"
+painted by relays of artists. Great canvases were stretched and
+blocked off into lengths. The scene was drawn in by one man, who was
+followed by "artists," each in turn painting sky, water, foliage,
+figures, according to his specialty. Thus whole yards of canvas could
+be painted in a day, with more artists to the square inch than are now
+employed to paint advertisements on a barn.
+
+The Centennial Exhibition of 1876 came as a glorious flashlight. For
+the first time real art was seen by a large part of our nation. Every
+farmer took home with him a new idea of the possibilities of drawing
+and colour. The change that instantly followed could have occurred in
+no other country than the United States, because no other people would
+have travelled from the four points of the compass to see such an
+exhibition. Thus it was the American's _penchant_ for travel which
+first opened to him the art world, for he was conscious even then of
+the educational advantages to be found somewhere, although there
+seemed to be few of them in the United States.
+
+After the Centennial arose a taste for the painting of "plaques," upon
+which were the heads of ladies with strange-coloured hair; of
+leather-covered flatirons bearing flowers of unnatural colour, or of
+shovels decorated with "snow scenes." The whole nation began to revel
+in "art." It was a low variety, yet it started toward a goal which
+left the chromo at the rear end of the course, and it was a better
+effort than the mottoes worked in worsted, which had till then been
+the chief decoration in most homes. If the "buckeye" was
+hand-painting, this was "single-hand" painting, and it did not take a
+generation to bring the change about, only a season. After the
+Philadelphia exhibition the daughter of the household "painted a
+little" just as she played the piano "a little." To-day, much less
+than a man's lifetime since then, there is in America a universal love
+for refined art and a fair technical appreciation of pictures, while
+already the nation has worthily contributed to the world of
+artists. Sir Benjamin West, Sully, and Sargent are ours: Inness,
+Inman, and Trumbull.
+
+The curator of the Metropolitan Museum in New York has declared that
+portrait-painting must be the means which shall save the modern
+artists from their sins. To quote him: "An artist may paint a bright
+green cow, if he is so minded: the cow has no redress, the cow must
+suffer and be silent; but human beings who sit for portraits seem to
+lean toward portraits in which they can recognise their own features
+when they have commissioned an artist to paint them. A man _will_
+insist upon even the most brilliant artist painting him in trousers,
+for instance, instead of in petticoats, however the artist-whim may
+direct otherwise; and a woman is likely to insist that the artist who
+paints her portrait shall maintain some recognised shade of brown or
+blue or gray when he paints her eye, instead of indulging in a burnt
+orange or maybe pink! These personal preferences certainly put a limit
+to an artist's genius and keep him from writing himself down a
+madman. Thus, in portrait-painting, with the exactions of truth upon
+it, lies the hope of art-lovers!"
+
+It is the same authority who calls attention to the danger that lies
+in extremes; either in finding no value in art outside the "old
+masters," or in admiring pictures so impressionistic that the objects
+in them need to be labelled before they can be recognised.
+
+The true art-lover has a catholic taste, is interested in all forms of
+art; but he finds beauty where it truly exists and does not allow the
+nightmare of imagination to mislead him. That which is not beautiful
+from one point of view or another is not art, but decadence. That
+which is technical to the exclusion of other elements remains
+technique pure and simple, workmanship--the bare bones of art. A thing
+is not art simply because it is fantastic. It may be interesting as
+showing to what degree some imaginations can become diseased, but it
+is not pleasing nor is it art. There are fully a thousand pictures
+that every child should know, since he can hardly know too much of a
+good thing; but there is room in this volume only to acquaint him with
+forty-eight and possibly inspire him with the wish to look up the
+neglected nine hundred and fifty-two.
+
+
+
+CONTENTS
+
+
+INTRODUCTION
+
+I. Andrea del Sarto, Florentine School, 1486-1531
+
+II. Michael Angelo (Buonarroti), Florentine School, 1475-1564
+
+III. Arnold B”cklin, Modern German School, 1827-1901
+
+IV. Marie-Rosa Bonheur, French School, 1822-1899
+
+V. Alessandro Botticelli, Florentine School, 1447-1510
+
+VI. William Adolphe Bouguereau, French (Genre) School 1825-1905
+
+VII. Sir Edward Burne-Jones, English (Pre-Raphaelite) School, 1833-1898
+
+VIII. John Constable, English School, 1776-1837
+
+IX. John Singleton Copley, English School, 1737-1815
+
+X. Jean Baptiste Camille Corot, Fontainebleau-Barbizon School, 1796-1875
+
+XI. Correggio (Antonio Allegri), School of Parma, 1494(?)--1534
+
+XII. Paul Gustave Dor‚, French School, 1833-1883
+
+XIII. Albrecht D�rer, Nuremberg School, 1471-1528
+
+XIV. Mariano Fortuny, Spanish School, 1838-1874
+
+XV. Thomas Gainsborough, English School, 1727-1788
+
+XVI. Jean L‚on G‚r“me, French Semi-classical School, 1824-1904
+
+XVII. Ghirlandajo, Florentine School, 1449-1494
+
+XVIII. Giotto (di Bordone), Florentine School, 1276-1337
+
+XIX. Franz Hals, Dutch School, 1580-84-1666
+
+XX. Meyndert Hobbema, Dutch School, 1637-1709
+
+XXI. William Hogarth, School of Hogarth (English), 1697-1764
+
+XXII. Hans Holbein, the Younger, German School, 1497-1543
+
+XXIII. William Holman Hunt, English (Pre-Raphaelite) School, 1827-
+
+XXIV. George Inness, American, 1825-1897
+
+XXV. Sir Edwin Henry Landseer, English School, 1802-1873
+
+XXVI. Claude Lorrain (Gell‚e), Classical French School, 1600-1682
+
+XXVII. Masaccio (Tommaso Guidi), Florentine School, 1401-1428
+
+XXVIII. Jean Louis Ernest Meissonier, French School, 1815-1891
+
+XXIX. Jean Fran‡ois Millet, Fontainebleau-Barbizon School, 1814-1875
+
+XXX. Claude Monet, Impressionist School of France, 1840-
+
+XXXI. Murillo (Bartolom‚ Est‚ban), Andalusian School, 1617-1682
+
+XXXII. Raphael (Sanzio), Umbrian, Florentine, and Roman Schools,
+1483-1520
+
+XXXIII. Rembrandt (Van Rijn), Dutch School, 1606-1669
+
+XXXIV. Sir Joshua Reynolds, English School, 1723-1792
+
+XXXV. Peter Paul Rubens, Flemish School, 1577-1640
+
+XXXVI. John Singer Sargent, American and Foreign Schools, 1856-
+
+XXXVII. Tintoretto (Jacopo Robusti), Venetian School, 1518-1594
+
+XXXVIII. Titian (Tiziano Vecelli), Venetian School, 1489-1576
+
+XXXIX. Joseph Mallord William Turner, English, 1775-1831
+
+XL. Sir Anthony Van Dyck, Flemish School, 1599-1641
+
+XLI. Velasquez (Diego Rodriguez de Silva), Castilian School, 1599-1660
+
+XLII. Paul Veronese (Paolo Cagliari), Venetian School, 1528-1588.
+
+XLIII. Leonardo da Vinci, Florentine School, 1452-1519.
+
+XLIV. Jean Antoine Watteau, French (Genre) School, 1684-1721
+
+XLV. Sir Benjamin West, American, 1738-1820
+
+Index
+
+
+
+ILLUSTRATIONS
+
+
+FRONTISPIECE
+
+The Avenue, Middleharnis, Holland--_Hobbema_
+
+Madonna of the Sack--_Andrea del Sarto_
+
+Daniel--_Michael Angelo (Buonarroti)_
+
+The Isle of the Dead--_Arnold B”cklin_
+
+The Horse Fair--_Rosa Bonheur_
+
+Spring--_Alessandro Botticelli_
+
+The Hay Wain--_John Constable_
+
+A Family Picture--_John Singleton Copley_
+
+The Holy Night--_Correggio (Antonio Allegri)_
+
+Dance of the Nymphs--_Jean Baptiste Camille Corot_
+
+The Virgin as Consoler--_Wm. Adolphe Bouguereau_
+
+The Love Song--_Sir Edward Burne-Jones_
+
+The Mystic Marriage of St. Catherine--_Correggio_
+
+Moses Breaking the Tablets of the Law--_Paul Gustave Dor‚_
+
+The Nativity--_Albrecht D�rer_
+
+The Spanish Marriage--_Mariana Fortuny_
+
+Mrs. Richard Brinsley Sheridan--_Thomas Gainsborough_
+
+The Sword Dance--_Jean L‚on G‚r“me_
+
+Portrait of Giovanna degli Albizi--_Ghirlandajo (Domenico Bigordi)_
+
+The Nurse and the Child--_Franz Hals_
+
+The Meeting of St. John and St. Anna at Jerusalem--_Giotto (Di
+Bordone)_
+
+The Avenue--_Meyndert Hobbema_
+
+The Marriage Contract--_Wm. Hogarth_
+
+The Light of the World--_William Holman Hunt_
+
+Robert Cheseman with his Falcon--_Hans Holbein, the Younger_
+
+The Berkshire Hills--_George Inness_
+
+The Old Shepherd's Chief Mourner--_Sir Edwin Henry Landseer_
+
+The Artist's Portrait--_Tommaso Masaccio_
+
+Acis and Galatea--_Claude Lorrain_
+
+Retreat from Moscow--_Jean Louis Ernest Meissonier_
+
+The Angelus--_Jean Fran‡ois Millet_
+
+The Immaculate Conception--_Murillo (Bartolom‚ Est‚ban)_
+
+Haystack in Sunshine--_Claude Monet_
+
+The Sistine Madonna--_Raphael (Sanzio)_
+
+The Night Watch--_Rembrandt (Van Rijn)_
+
+The Duchess of Devonshire and Her Daughter--_Sir Joshua Reynolds_
+
+The Infant Jesus and St. John--_Peter Paul Rubens_
+
+Carmencita--_John Singer Sargent_
+
+The Miracle of St. Mark--_Tintoretto (Jacopo Robusti)_
+
+The Artist's Daughter, Lavinia--_Titian (Tiziano Vecelli)_
+
+The Fighting T‚m‚raire--_Joseph Mallord William Turner_
+
+The Children of Charles the First--_Sir Anthony Van Dyck_
+
+Equestrian Portrait of Don Balthasar Carlos--_Velasquez (Diego
+Rodriguez de Silva)_
+
+The Marriage at Cana--_Paul Veronese_
+
+The Death of Wolfe--_Sir Benjamin West_
+
+The Artist's Two Sons--_Peter Paul Rubens_
+
+The Last Supper--_Leonardo da Vinci_
+
+Fˆte Champˆtre--_Jean Antoine Watteau_
+
+
+
+I
+
+ANDREA DEL SARTO
+
+
+  (Pronounced Ahn'dray-ah del Sar'to)
+  _Florentine School_
+  1486-1531
+  _Pupil of Piero di Cosimo_
+
+Italian painters received their names in peculiar ways. This man's
+father was a tailor; and the artist was named after his father's
+profession. He was in fact "the Tailor's Andrea," and his father's
+name was Angelo.
+
+One story of this brilliant painter which reads from first to last
+like a romance has been told by the poet, Browning, who dresses up
+fact so as to smother it a little, but there is truth at the bottom.
+
+Andrea married a wife whom he loved tenderly. She had a beautiful face
+that seemed full of spirituality and feeling, and Andrea painted it
+over and over again. The artist loved his work and dreamed always of
+the great things that he should do; but he was so much in love with
+his wife that he was dependent on her smile for all that he did which
+was well done, and her frown plunged him into despair.
+
+Andrea's wife cared nothing for his genius, painting did not interest
+her, and she had no worthy ambition for her husband, but she loved
+fine clothes and good living, and so encouraged him enough to keep him
+earning these things for her. As soon as some money was made she would
+persuade him to work no more till it was spent; and even when he had
+made agreements to paint certain pictures for which he was paid in
+advance she would torment him till he gave all of his time to her
+whims, neglected his duty and spent the money for which he had
+rendered no service. Thus in time he became actually dishonest, as we
+shall see. It is a sad sort of story to tell of so brilliant a young
+man.
+
+Andrea was born in the Gualfonda quarter of Florence, and there is
+some record of his ancestors for a hundred years before that, although
+their lives were quite unimportant. Andrea was one of four children,
+and as usual with Italians of artistic temperament, he was set to work
+under the eye of a goldsmith. This craftsmanship of a fine order was
+as near to art as a man could get with any certainty of making his
+living. It was a time when the Italian world bedecked itself with rare
+golden trinkets, wreaths for women's hair, girdles, brooches, and the
+like, and the finest skill was needed to satisfy the taste. Thus it
+required talent of no mean order for a man to become a successful
+goldsmith.
+
+Andrea did not like the work, and instead of fashioning ornaments from
+his master's models he made original drawings which did not do at all
+in a shop where an apprentice was expected to earn his salt. Certain
+fashions had to be followed and people did not welcome fantastic or
+new designs. Because of this, Andrea was early put out of his master's
+shop and set to learn the only business that he could be got to learn,
+painting. This meant for him a very different teacher from the
+goldsmith.
+
+The artist may be said to have been his own master, because, even when
+he was apprenticed to a painter he was taught less than he already
+knew.
+
+That first teacher was Barile, a coarse and unpleasing man, as well as
+an incapable one; but he was fair minded, after a fashion, and put
+Andrea into the way of finding better help. After a few years under
+the direction of Piero di Cosimo, Andrea and a friend, Francia Bigio,
+decided to set up shop for themselves.
+
+The two devoted friends pitched their tent in the Piazza del Grano,
+and made a meagre beginning out of which great things were to
+grow. They began a series of pictures which was to lead at least one
+of them to fame. It was in the little Piazza, del Grano studio that
+the "Baptism of Christ" was painted, a partnership work that had been
+planned in the Campagnia dello Scalzo.
+
+"The Baptism" was not much of a picture as great pictures go, but it
+was a beginning and it was looked at and talked about, which was
+something at a time when Titian and Leonardo had set the standard of
+great work. In the Piazza del Grano, Andrea and his friend lived in
+the stables of the Tuscan Grand Dukes, with a host of other fine
+artists, and they had gay times together.
+
+Andrea was a shy youth, a little timid, and by no means vain of his
+own work, but he painted with surprising swiftness and sureness, and
+had a very brilliant imagination. Its was his main trouble that he had
+more imagination than true manhood; he sacrificed everything good to
+his imagination.
+
+After the partnership with his friend, he undertook to paint some
+frescoes independently, and that work earned for him the name of
+"Andrea senza Errori"--Andrea the Unerring. Then, as now, each artist
+had his own way of working, and Andrea's was perhaps the most
+difficult of all, yet the most genius-like. There were those, Michael
+Angelo for example, who laid in backgrounds for their paintings; but
+Andrea painted his subject upon the wet plaster, precisely as he meant
+it to be when finished.
+
+He was unlike the moody Michael Angelo; unlike the gentle Raphael;
+unlike the fastidious Van Dyck who came long afterward; he was
+hail-fellow-well-met among his associates, though often given over to
+dreaminess. He belonged to a jolly club named the "Kettle Club,"
+literally, the Company of the Kettle; and to another called "The
+Trowel," both suggesting an all around good time and much good
+fellowship The members of these clubs were expected to contribute to
+their wonderful suppers, and Andrea on one occasion made a great
+temple, in imitation of the Baptistry, of jelly with columns of
+sausages, white birds and pigeons represented the choir and
+priests. Besides being "Andrew the Unerring," and a "Merry Andrew," he
+was also the "Tailor's Andrew," a man in short upon whom a nickname
+sat comfortably. He helped to make the history of the "Company of the
+Kettle," for he recited and probably composed a touching ballad called
+"The Battle of the Mice and the Frogs," which doubtless had its origin
+in a poem of Homer's. But all at once, in the midst of his gay
+careless life came his tragedy; he fell in love with a hatter's
+wife. This was quite bad enough, but worse was to come, for the hatter
+shortly died, and the widow was free to marry Andrea.
+
+After his marriage Andrea began painting a series of Madonnas,
+seemingly for no better purpose than to exhibit his wife's beauty over
+and over again. He lost his ambition and forgot everything but his
+love for this unworthy woman. She was entirely commonplace, incapable
+of inspiring true genius or honesty of purpose.
+
+A great art critic, Vasari, who was Andrea's pupil during this time,
+has written that the wife, Lucretia, was abominable in every way. A
+vixen, she tormented Andrea from morning till night with her bitter
+tongue. She did not love him in the least, but only what his money
+could buy for her, for she was extravagant, and drove the sensitive
+artist to his grave while she outlived him forty years.
+
+About the time of the artist's marriage he painted one fresco, "The
+Procession of the Magi," in which he placed a very splendid substitute
+for his wife, namely himself. Afterward he painted the Dead Christ
+which found its way to France and it laid the foundation for Andrea's
+wrongdoing. This picture was greatly admired by the King of France who
+above all else was a lover of art. Francis I. asked Andrea to go to
+his court, as he had commissions for him. He made Andrea a money offer
+and to court he went.
+
+He took a pupil with him, but he left his wife at home. At the court
+of Francis I. he was received with great honours, and amid those new
+and gracious surroundings, away from the tantalising charms of his
+wife and her shrewish tongue, he began to have an honest ambition to
+do great things. His work for France was undertaken with enthusiasm,
+but no sooner was he settled and at peace, than the irrepressible wife
+began to torment him with letters to return. Each letter distracted
+him more and more, till he told the King in his despair, that he must
+return home, but that he would come back to France and continue his
+work, almost at once. Francis I., little suspecting the cause of
+Andrea's uneasiness, gave him permission to go, and also a large sum
+of money to spend upon certain fine works of art which he was to bring
+back to France.
+
+We can well believe that Andrea started back to his home with every
+good intention; that he meant to appease his wife and also his own
+longing to see her; to buy the King his pictures with the money
+entrusted to him, and to return to France and finish his work; but,
+alas, he no sooner got back to his wife than his virtuous purpose
+fled. She wanted this; she wanted that--and especially she wanted a
+fine house which could just about be built for the sum of money which
+the King of France had entrusted to Andrea.
+
+Andrea is a pitiable figure, but he was also a vagabond, if we are to
+believe Vasari. He took the King's money, built his wretched wife a
+mansion, and never again dared return to France, where his dishonesty
+made him forever despised.
+
+Afterward he was overwhelmed with despair for what he had done, and he
+tried to make his peace with Francis; but while that monarch did not
+punish him directly for his knavery; he would have no more to do with
+him, and this was the worst punishment the artist could have
+had. However, his genius was so great that other than French people
+forgot his dishonesty and he began life anew in his native place.
+
+Almost all his pictures were on sacred subjects; and finally, when
+driven from Florence to Luco by the plague, taking with him his wife
+and stepdaughter, he began a picture called the "Madonna del Sacco"
+(the Madonna of the Sack).
+
+This fresco was to adorn the convent of the Servi, and the sketches
+for it were probably made in Luco. When the plague passed and the
+artist was able to return to Florence, he began to paint it upon the
+cloister walls.
+
+Andrea, like Leonardo, painted a famous "Last Supper," although the
+two pictures cannot be compared. In Andrea's picture it is said that
+all the faces are portraits.
+
+Just before the plague sent him and his family from Florence a most
+remarkable incident took place. Raphael had painted a celebrated
+portrait of Pope Leo X. in a group, and the picture belonged to
+Ottaviano de Medici. Duke Frederick II., of Mantua, longed to own this
+picture, and at last requested the Medici to give it to him. The Duke
+could not well be refused, but Ottaviano wanted to keep so great a
+work for himself. What was to be done? He was in great trouble over
+the affair. The situation seemed hopeless. It seemed certain that he
+must part with his beloved picture to the Duke of Mantua; but one day
+Andrea del Sarto declared that he could make a copy of it that even
+Raphael himself could not tell from his original. Ottaviano could
+scarcely believe this, but he begged Andrea to set about it, hoping
+that it might be true.
+
+Going at the work in good earnest, Andrea painted a copy so exact that
+the pupil of Raphael, who had more or less to do with the original
+picture, could not tell which was which when he was asked to
+choose. This pupil, Giulio Romano, was so familiar with every stroke
+of Raphael's that if he were deceived surely any one might be; so the
+replica was given to the Duke of Mantua, who never found out the
+difference.
+
+Years afterward Giulio Romano showed the picture to Vasari, believing
+it to be the original Raphael, neither Andrea nor the Medici having
+told Romano the truth. But Vasari, who knew the whole story, declared
+to Romano that what he showed him was but a copy. Romano would not
+believe it, but Vasari told him that he would find upon the canvas a
+certain mark, known to be Andrea's. Romano looked, and behold, the
+original Raphael became a del Sarto! The original picture hangs in the
+Pitti Palace, while the copy made by Andrea is in the Naples Gallery.
+
+The introduction of Andrea to Vasari was one of the few gracious
+things, that Michael Angelo ever did. About Andrea he said to Raphael
+at the time: "There is a little fellow in Florence who will bring
+sweat to your brows if ever he is engaged in great works." Raphael,
+would certainly have agreed, with him had he known what was to happen
+in regard to the Leo X. picture.
+
+Notwithstanding Andrea's unfortunate temperament, which caused him to
+be guided mostly by circumstances instead of guiding them, he was said
+to be improving all the time in his art. He had a great many pupils,
+but none of them could tolerate his wife for long, so they were always
+changing.
+
+Throughout his life the artist longed for tenderness and encouragement
+from his wife, and finally, without ever receiving it, he died in a
+desolate way, untended even by her. After the siege of Florence there
+came a pestilence, and Andrea was overtaken by it. His wife, afraid
+that she too would become ill, would have nothing to do with him. She
+kept away and he died quite alone, few caring that he was dead and no
+one taking the trouble to follow him to his grave. Thus one of the
+greatest of Florentine painters lived and died. Years after his death,
+the artist Jacopo da Empoli, was copying Andrea's "Birth of the
+Virgin" when an old woman of about eighty years on her way to mass
+stopped to speak with him. She pointed to the beautiful Virgin's face
+in the picture and said: "I am that woman." And so she was--the widow
+of the great Andrea. Though she had treated him so cruelly, she was
+glad to have it known that she was the widow of the dead genius.
+
+  PLATE--THE MADONNA DEL SACCO
+  _(Madonna of the Sack)_
+
+This picture is a fresco in the cloister of the Annunziata at
+Florence, and it is called "of the sack" because Joseph is posed
+leaning against a sack, a book open upon his knees.
+
+Doubtless the model for this Madonna is Andrea del Sarto's abominable
+wife, but she looks very sweet and simple in the picture. The folds of
+Mary's garments are beautifully painted, so is the poise of her head,
+and all the details of the picture except the figure of the
+child. There is a line of stiffness there and it lacks the softness of
+many other pictures of the Infant Jesus.
+
+  PLATE--THE HOLY FAMILY
+
+In this picture in the Pitti Palace, Florence, Andrea del Sarto
+represents all the characters in a serious mood. There are St. John
+and Elizabeth, Mary and the Infant Jesus, and there is no touch of
+playfulness such as may be found in similar groups by other artists of
+the time. Attention is concentrated upon Jesus who seems to be
+learning from his young cousin. The left hand, resting upon Mary's arm
+is badly drawn and in character does not seem to belong to the figure
+of the child. A full, overhanging upper lip is a dominant feature in
+each face.
+
+Other works of Andrea del Sarto are "Charity," which is in the Louvre;
+"Madonna dell' Arpie," "A Head of Christ," "The Dead Christ," "Four
+Saints," "Joseph in Egypt," his own portrait, and "Joseph's Dream."
+
+
+
+
+
+II
+
+MICHAEL ANGELO (BUONARROTI)
+
+
+  (Pronounced Meek-el-ahn-jel-o (Bwone-ar-ro'tee))
+  _Florentine School_
+  1475-1564
+  _Pupil of Ghirlandajo_
+
+This wonderful man did more kinds of things, at a time when almost all
+artists were versatile, than any other but one. Probably Leonardo da
+Vinci was gifted in as many different ways as Michael Angelo, and in
+his own lines was as powerful. This Florentine's life was as tragic as
+it was restless.
+
+There is a tablet in a room of a castle which stands high upon a rocky
+mount, near the village of Caprese, which tells that Michael Angelo
+was born in that place. The great castle is now in ruins, and more
+than four hundred years of fame have passed since the little child was
+born therein.
+
+The unhappy existence of the artist seems to have been foreshadowed by
+an accident which happened to his mother before he was born. She was
+on horseback, riding with her husband to his official post at Chiusi,
+for he was governor of Chiusi and Caprese. Her horse stumbled, fell,
+and badly hurt her. This was two months before Michael Angelo was
+born, and misfortune ever pursued him.
+
+The father of Angelo was descended from an aristocratic house--the
+Counts of Canossa were his ancestors--and in that day the profession
+of an artist was not thought to be dignified. Hence the father had
+quite different plans for the boy; but the son persisted and at last
+had his way. When he was still a little child his father finished his
+work as an official at Caprese and returned to Florence; but he left
+the little Angelo behind with his nurse. That nurse was the wife of a
+stonemason, and almost as soon as the boy could toddle he used to
+wander about the quarries where the stonecutters worked, and doubtless
+the baby joy of Angelo was to play at chiseling as it is the pleasure
+of modern babies to play at peg-top. After a time he was sent for to
+go to Florence to begin his education.
+
+In Florence he fell in with a young chap who, like himself, loved art,
+but who was fortunate enough already to be apprenticed to the great
+painter of his time--Ghirlandajo. One happy day this young Granacci
+volunteered to take Michael Angelo to his master's studio, and there
+Angelo made such an impression on Ghirlandajo that he was urged by the
+artist to become his pupil.
+
+All the world began to seem rose coloured to the ambitious boy, and he
+started his life-work with enthusiasm. At that time he was thirteen
+years old, full of hope and of love for his kind; but his good fortune
+did not last long. He had hardly settled to work in Ghirlandajo's
+studio than his genius, which should have made him beloved, made him
+hated by his master. Angelo drew superior designs, created new
+art-ideas, was more clever in all his undertakings than any other
+pupil--even ahead of his master; and almost at once Ghirlandajo became
+furiously jealous. This enmity between pupil and master was the
+beginning of Angelo's many misfortunes.
+
+One day he got into a dispute with a fellow student, Torregiano, who
+broke his nose. This deformity alone was a tragedy to one like Michael
+Angelo who loved everything beautiful, yet must go through life
+knowing himself to be ill-favoured.
+
+In height he was a little man, topped by an abnormally large head
+which was part of the penalty he had to pay for his talents. He had a
+great, broad forehead, and an eye that did not gleam nor express the
+beauty of his creative mind, but was dull, and lustreless, matching
+his broken, flattened nose. Indeed he was a tragedy to himself. In the
+"History of Painting" Muther describes his unhappy disposition:
+
+"In his youthful years he never learned what love meant. 'If thou
+wishest to conquer me,' in old age he addresses love, 'give me back my
+features, from which nature has removed all beauty.' Whenever in his
+sonnets he speaks of passion, it is always of pain and tears, of
+sadness and unrequited longing, never of the fulfilment of his
+wishes."
+
+Then, too, Michael Angelo had a quarrelsome disposition, and he was
+harsh in his criticism of others. He hated Leonardo da Vinci more for
+his great physical beauty than for his genius. He quarreled with most
+of his contemporaries, never joined the assemblies of his brother
+artists, but dwelt altogether apart. His was a gloomy and melancholy
+disposition and he never found relief outside his work.
+
+He was all kinds of an artist--poet, sculptor, architect, painter--and
+although he worked with the irregularity of true genius, he worked
+indefatigably when once he began. It is said that when he was making
+his "David" he never removed his clothing the whole time he was
+employed upon the work, but dropped down when too exhausted to work
+more, and slept wherever he fell.
+
+His first flight from the workshop of Ghirlandajo was to the gardens
+of the great Florentine prince, Lorenzo de' Medici, who had sent to
+Ghirlandajo for two of his best pupils. He wished them to come to his
+gardens and study the beautiful Greek statues which ornamented
+them. The choice fell to Angelo and Granacci. Probably those statues
+in Lorenzo's garden were the first glimpses of really great art that
+Michael Angelo ever had. Certain it is that he was overwhelmed with
+happiness when he was given permission to copy what he would, and at
+once he fell to work with his chisel. His first work in that garden
+was upon the head of an old faun; and Lorenzo, walking by, curious to
+know to what use the lad was putting his opportunity, made a
+criticism:
+
+"You have made your faun old," he said, "yet you have left all the
+teeth; at such an age, generally the teeth are wanting."
+
+Angelo had nothing to say and the prince walked on, but when next he
+came that way, he found that Angelo had broken off two of the faun's
+teeth; and this recognition of his criticism pleased Lorenzo so much
+that he invited Angelo to live with him. At first his father
+objected. He felt himself to be an aristocrat, and sculpture and
+painting were indeed low occupations for his son, who he had resolved
+should be nothing less than a silk merchant. Nevertheless, the
+prince's command, united with the son's pleading, compelled the father
+to give up his cherished dream of making a merchant of him, and Angelo
+went to live in the palace.
+
+Then indeed what seemed a beautiful life opened out. He was dressed in
+fine clothing, dined with princes, and possibly he was grateful to his
+patron. Some historians say so, and add that when Lorenzo died Angelo
+wept, and returned sadly to his father's house to mourn, but this tale
+seems at odds with what else we know of Angelo's unangelic, envious
+and bitter disposition. It is quite certain, however, that with the
+death of Lorenzo, Angelo's, fortunes became greatly changed. Another
+prince followed in line--Pietro de' Medici--but he was a poor thing,
+who brought little good to anybody. He had small use for Michael
+Angelo's genius, but it is said that he did give him one
+commission. After a great storm one day, he asked him to make a
+snow-man for him, and Angelo obligingly complied. It was doubtless a
+very beautiful snow-man, but although it was Angelo's it melted in the
+night, even as if it had been Johnny's or Tommy's snow-man, and left
+no trace behind.
+
+In Rome there was a high and haughty pope on the throne--Julius
+II.--who had probably not his match for obstinacy and haughtiness,
+excepting in the great painter and sculptor. When Angelo went to Rome,
+he was bound to come in conflict with Julius for it was popes and
+princes who gave art any reason for being in those days, and the
+Church prescribed what kind of art should be cultivated. Michael was
+to come directly under the command of the pope and such a combination
+promised trouble. Kings themselves had to remove their crowns and hats
+to Julius, and why not Michael Angelo? Yet there he stood, covered,
+before the pope, opposing his greatness to that of the pope. Soderini
+says that Angelo treated the pope as the king of France never would
+have dared treat him; but Angelo may have known that kings of France
+might be born and die, times without number, while there would never
+be born another Michael Angelo. There could be nothing but antagonism
+between Angelo and Julius, and soon after the artist returned to
+Florence; but the necessity for following his profession enabled
+Julius to tame him after all, and it is said that the pope led him
+back to Rome, later, "with a halter about his neck." This must have
+been agony to Angelo.
+
+Back in Rome, he was commissioned to make a tomb for the pope. He had
+no sooner set about the preliminaries--the getting of suitable marble
+for his work--than he began to quarrel with the men who were to hew
+it. When that difficulty was settled, and the marble was got out, he
+had a set-to with the shipowners who were to transport the stone, and
+that row became so serious that the sculptor was besieged in his own
+house.
+
+At another and later time, when he was engaged upon the frescoes of
+the Sistine Chapel, he was made to work by force. He accused the man
+who had built the scaffolding upon which he must stand, or lie, to
+paint, of planning his destruction. He suspected the very assistants
+whom he, himself, had chosen to go from Florence, of having designs
+upon his life. He locked the chapel against them, and they had to turn
+away when they went to begin work. Because of his insane suspicion he
+did alone the enormous work of the frescoes. Doubtless he was half
+mad, just as he was wholly a genius.
+
+By the time he had finished those frescoes he was so exhausted and
+overworked that he wrote piteously to his people at home, "I have not
+a friend in Rome, neither do I wish nor have use for any." This of
+course was not true; or he would not have made the statement. "I
+hardly find time to take nourishment. Not an ounce more can I bear
+than already rests upon my shoulders." Even when the work was done he
+felt no happiness because of it, but complained about everything and
+everybody.
+
+If Angelo thought this an unhappy day, worse was in store for
+him. Julius II. died and in his place there came to reign upon the
+papal throne, Leo X. If Michael Angelo had been restricted in his work
+before, he was almost jailed under Leo X. Julius had been a virile,
+forceful man, and Michael Angelo was the same. Since he must be
+restrained and dictated to, it was possible for the artist to listen
+to a man who was in certain respects strong like himself, but to be
+under the thumb of a weak, effeminate person like Leo, was the tragedy
+of tragedies to Angelo. That was a marvellous time in Rome. All its
+citizens had become so pleasure-loving that the world, stood still to
+wonder. When the pope banqueted, he had the golden plates from which
+fair women had eaten hurled into the Tiber, that they might never be
+profaned by a less noble use than they had known. From all this riot
+and madness of pleasure, Michael Angelo stood aside with frowning brow
+and scornful mien. He approved of nothing and of nobody--despising
+even Raphael, the gentle and loving man whom the pleasure-crazed
+people of Rome paused to smile upon and love. The pope said that
+Angelo was "terrible," and that he filled everybody with fear.
+
+Finally, Rome so resented his frowning looks and his surly ways that
+work was provided for him at a distance. He was sent to Florence again
+to build a facade. While there, the city was conquered, and Angelo was
+one who fought for its freedom, but even so, he fled just at the
+crisis. Thus he ever did the wrong thing--excepting when he worked. In
+Florence he had planned to do mighty things, but he never accomplished
+any one of them. He planned to make a wonderful colossal statue on a
+cliff near Carrara, and also he resolved to make the tomb of Julius
+the nucleus of a "forest of statues."
+
+Michael Angelo never married, but he was burdened with a family and
+all its cares. He supported his brothers and even his nephews, and
+took care of his father. All of those people came to him with their
+difficulties and with their demands for money. He chided, quarreled,
+repelled, yet met every obligation. He would sit beside the sick-bed
+of a servant the night through, but growl at the demands of his near
+relatives--and it is not unlikely that he had good reason.
+
+At last he withdrew himself from all human society but that of little
+children, whom he cared to speak with and to please. He would have
+naught to do with men of genius like himself; and when he fell from a
+scaffolding and injured himself, the physician had to force his way
+through a barred window, in order to get into the sick man's presence
+to serve him.
+
+An illustration of his determined solitude is given in the "Young
+People's Story of Art:"
+
+"There had long been lying idle in Florence an immense block of
+marble. One hundred years before a sculptor had tried to carve
+something from it, but had failed. This was now given to Michael
+Angelo. He was to be paid twelve dollars a month, and to be allowed
+two years in which to carve a statue. He made his design in wax; and
+then built a tower around the block, so that he might work inside
+without being seen."
+
+Everything Angelo undertook bore the marks of gigantic
+enterprise. Although he never succeeded in making the tomb of Julius
+II. the central piece in his forest of statues, the undertaking was
+marvellous enough. His original plan was to make the tomb three
+stories high and to ornament it with forty statues, and if St. Peter's
+Church was large enough to hold it, the work was to be placed therein;
+but if not, a church was to be built specially to hold the tomb. When
+at last, in spite of his difficulties with workmen and shipowners, the
+marbles were deposited in the great square before St. Peter's, they
+filled the whole place; and the pope, wishing to watch the progress of
+the work and not himself to be observed, had a covered way built from
+the Vatican to the workshop of Angelo in the square, by which he might
+come and go as he chose, while an order was issued that the sculptor
+was to be admitted at all times to the Vatican. No sooner was this
+arrangement completed than Angelo's enemies frightened the pope by
+telling him there was danger in making his tomb before his death; and
+with these superstitions haunting him Julius II. stopped the work,
+leaving Angelo without the means to pay for his marbles. With the
+doors of the Vatican closed to him, Angelo withdrew, post haste to
+Florence--and who can blame him? Nevertheless, the work was resumed
+after infinite trouble on the pope's part. He had to send again and
+again for Angelo and after forty years, the work was finished. There
+the sequel of the sculptor's forty-years war with self and the world
+stands to-day in "Moses," the wonderful, commanding central figure
+which seems to reflect all the fierce power which Angelo had to keep
+in check during a life-time.
+
+The command of Julius that he should paint the ceiling of the Sistine
+Chapel aroused all his fierce resistance. He did it under protest, all
+the while accusing those about him of having designs upon his life.
+
+"I am not a painter, but a sculptor," he said.
+
+"Such a man as thou is everything that he wishes to be," the pope
+replied.
+
+"But this is an affair of Raphael. Give him this room to paint and let
+me carve a mountain!" But no, he must paint the ceiling; but to render
+it easier for him the pope told him he might fill in the spaces with
+saints, and charge a certain amount for each. This Angelo, who was
+first of all an artist, refused to do. He would do the work rightly or
+not at all. So he made his own plans and cut himself a cardboard
+helmet, into the front of which he thrust a candle, as if it were a
+Davy lamp, and he lay upon his back to work day and night at the hated
+task. During those months he was compelled to look up so continually,
+that never afterward was he able to look down without difficulty. When
+he had finished the work Julius had some criticisms to make.
+
+"Those dresses on your saints are such poor things," he said. "Not
+rich enough--such very poor things!"
+
+"Well, they were poor things," was Angelo's answer. "The saints did
+not wear golden ornaments, nor gold on their garments."
+
+After Julius II. and Leo X. came Pope Paul III., and he, like the
+other two, determined to have Angelo for his workman. Indeed all his
+life, Michael Angelo's gifts were commanded by the Church of Rome. It
+was for Paul III. he painted the "Last Judgment." His former work upon
+the Sistine Chapel had been the story of the creation. All his work
+was of a mighty and allegorical nature; tremendous shoulders, mighty
+limbs, herculean muscles that seemed fit to support the
+universe. These allegories are made of hundreds of figures. To-day
+they are still there, though dimmed by the smoke of centuries of
+incense, and dismembered by the cracking of plaster and disintegration
+of materials.
+
+Angelo's methods of work, as well as their results, were
+oppressive. In his youth, while trying to perfect himself in his study
+of the human form, he drew or modelled, from nude corpses. He had
+these conveyed by stealth from the hospital into the convent of Santo
+Spirito, where he had a cell and there he worked, alone.
+
+He was concentrated, mentally and emotionally, upon himself. The only
+remark he made after the blow from Torregiano was, "You will be
+remembered only as the man who broke my nose!" This proved nearly
+true, since Torregiano was banished, and murdered by the Spanish
+Inquisition.
+
+All sorts of anecdotes have floated through the centuries concerning
+this man and his work. For example, he made a statue of a sleeping
+cupid, which was buried in the ground for a time that it might assume
+the appearance of age, and pass for an antique. Afterward it was sold
+to the Cardinal San Giorgio for two hundred ducats, though Michael
+Angelo received only thirty. Nevertheless, he died a rich man, after
+having cared for a numerous family, while he himself lived like a man
+without means. All the tranquillity he ever knew he enjoyed in his old
+age.
+
+It was characteristic of his perversity that he left his name upon
+nothing that he made, with one exception. Vasari relates the story of
+that exception:
+
+"The love and care which Michael Angelo had given to this group, 'In
+Paradise,' were such that he there left his name--a thing he never did
+again for any work--on the cincture which girdles the robe of Our
+Lady; for it happened one day that Michael Angelo, entering the place
+where it was erected, found a large assemblage of strangers from
+Lombardy there, who were praising it highly; one of them asking who
+had done it, was told, 'our Hunchback of Milan'; hearing which Michael
+Angelo remained silent, although surprised that his work should be
+attributed to another. But one night he repaired to St. Peter's with a
+light and his chisels, to engrave his name on the figure, which seems
+to breathe a spirit as perfect as her form and countenance."
+
+If his youth had been given to sculpture, his maturity to the painting
+of wondrous frescoes, so his old age was devoted to architecture, and
+as architect he rebuilt the decaying St. Peter's. In this work he felt
+that he partly realised his ideal. Sculpture meant more to him, "did
+more for the glory of God," than any other form of art. When he had
+finished his work on St. Peter's, he is said to have looked upon it
+and exclaimed: "I have hung the Pantheon in the air!"
+
+This colossal genius died in Rome, and was carried by the light of
+torches from that city back to his better loved Florence, where he was
+buried. His tomb was made in the Santa Croce, and upon it are three
+female figures representing Michael Angelo's three wonderful arts:
+Architecture, sculpture and painting. No artist was greater than he.
+
+His will committed "his soul to God, his body to the earth, and his
+property to his nearest relatives."
+
+  PLATE--DANIEL
+
+This wonderful painting is a part of the decoration of the Sistine
+Chapel in Rome. The picture of the prophet tells so much in itself,
+that a description seems absurd. It is enough to call attention to the
+powerful muscles in the arm, the fall of the hand, and then to speak
+of the main characteristics of the artist's pictures.
+
+It is extraordinary that there is no blade of grass to be found in any
+painting by Michael Angelo. He loved to paint but one thing, and that
+was the naked man, the powerful muscles, or the twisted limbs of those
+in great agony. He loved only to work upon vast spaces of ceiling or
+wall. Look at this picture of Daniel and see how like sculpture the
+pose and modelling appear to be. First of all, Michael Angelo was a
+sculptor, and most of the painting which fate forced him to do has the
+characteristics of sculpture.
+
+One critic has remarked that he loves to think of this strange man
+sitting before the marble quarry of Pietra Santa and thinking upon all
+the beings hidden in the cliff--beings which he should fashion from
+the marble.
+
+It was said that in Michael Angelo's hands the Holy Family became a
+race of Titans, and where others would have put plants or foliage,
+Angelo placed men and naked limbs to fill the space. When his subject
+made some sort of herbage necessary, he invented a kind of medi‘val
+fern in place of grass and familiar leaves. Everything appears brazen
+and hard and mighty, suggestive of Angelo's own throbbing spirit and
+maddened soul. Most of his work, when illustrated, must be shown not
+as a whole but in sections, but one can best mention them as entire
+picture themes. On the ceiling of the Sistine Chapel are nine frescoes
+describing "The Creation of The World," "The Fall of Man" and "The
+Deluge." "The Last Judgment" occupies the entire altar wall in the
+same chapel of the Vatican. "The Holy Family" is in the Uffizi
+Gallery, Florence.
+
+
+
+
+III
+
+ARNOLD B™CKLIN
+
+
+  (Pronounced Bek'-lin)
+  _Modern German School (D�sseldorf)_
+  1827-1901
+
+This splendid artist is so lately dead that it does not seem proper
+yet to discuss his personal history, but we can speak understandingly
+of his art, for we already know it to be great art, which will stand
+the test of time. His imagination turned toward subjects of solemn
+grandeur and his work is very impressive and beautiful.
+
+He was born in Basel, "one of the most prosaic towns in Europe." His
+father was a Swiss merchant, and not poor; thus the son had ordinarily
+good chances to make an artist of himself. He was born at a time when
+to be an artist had long ceased to be a reproach, and men no longer
+discouraged their sons who felt themselves inspired to paint great
+pictures.
+
+When B”cklin was nineteen years old he took himself to D�sseldorf,
+with his merchant father's permission, and settled down to learn his
+art, but in that city he found mostly "sentimental and anecdotal"
+pictures being painted, which did not suit him at all. Then he took
+himself off to Brussels, where again he was not satisfied, and so went
+to Paris. But while in Brussels he had copied many old masters, and
+had advanced himself very much, so that he did not present himself in
+Paris raw and untried in art.
+
+At first he studied in the Louvre, then went to Rome, seeking ever the
+best, and being hard to satisfy. He found rest and tranquillity in
+Z�rich, a city in his native country, but it was Italy that had most
+influenced his work.
+
+He loved the Campagna of Rome with its ruins and the sad grandeur of
+the crumbling tombs lining its way, and therefore a certain
+mysterious, grand, and solemn character made his pictures unlike those
+of any other artist. He loved to paint in vertical (up-and-down)
+fines, rather than with the conventional horizontal outlines that we
+find in most paintings. This method gives his pictures a different
+quality from any others in the world.
+
+He loved best of all to paint landscape, and it is said of him that
+"as the Greeks peopled their streams and woods and waves with
+creatures of their imagination, so B”cklin makes the waterfall take
+shape as a nymph, or the mists which rise above the water source
+wreathe into forms of merry children; or in some wild spot hurls
+centaurs together in fierce combat, or makes the slippery, moving wave
+give birth to Nereids and Tritons."
+
+Muther, art-critic and biographer, calls our attention to the
+similarity between Wagner's music and B”cklin's painting. While Wagner
+was "luring the colours of sound from music," B”cklin's "symphonies of
+colour streamed forth like a crashing orchestra," and he calls him the
+greatest colour-poet of the time.
+
+In appearance B”cklin was fine of form, healthy and wholesome in all
+his thoughts and way of living. In 1848 he took part in revolutionary
+politics and later this did him great harm. Only the influence of his
+friends kept him from ruin. After the Franco-Prussian war he was made
+Minister of Fine Arts. In this office he rendered great service; but
+because he had to witness the wrecking of the Column Vend“me in order
+to save the Louvre and the Luxembourg from the mob, he was censured;
+indeed so heavy a fine was imposed that it took his whole fortune to
+pay it; and he was banished into the bargain. From 1892 to 1901 he
+lived in or near Florence, and he died at Fiesole, January 16th, 1901.
+
+  PLATE--THE ISLE OF THE DEAD
+
+This picture is perhaps the greatest of the many great Arnold B”cklin
+paintings, and it is both fascinating and awe-inspiring.
+
+It best shows his liking for vertical lines in art. The Isle of the
+Dead is of a rocky, shaft-like formation in which we may see hewn-out
+tombs; and there, tall cypress trees are growing.
+
+The traces of man's work in the midst of this sombre, ideal, and
+mystic scene add to the impressiveness of the picture. The isle stands
+high and lonely in the midst of a sea.
+
+The water seems silently to lap the base of the rocks and the trees
+are in black shadow, massed in the centre. It looks very mysterious
+and still. There is a stone gateway touched with the light of a dying
+day. It is sunset and the dead is being brought to its resting place
+in a tiny boat, all the smaller for its relation to the gloomy
+grandeur of the isle which it is approaching. One figure is standing
+in the boat, facing the island, and the sunlight falls full upon his
+back and touches the boat, making that spot stand out brilliantly from
+all the rest of the picture.
+
+Among B”cklin's paintings are "Naiads at Play," which hangs in the
+Museum at Basel, "A Villa by the Sea," "The Sport of the Waves,"
+"Regions of Joy," "Flora," and "Venus Dispatching Cupid."
+
+
+
+
+IV
+
+MARIE-ROSA BONHEUR
+
+
+  (Pronounced Rosa Bon-er)
+  _French School_
+  1822-1895
+  _Pupil of Raymond B. Bonheur_
+
+Rosa Bonheur, Landseer, and Murillo maybe called "Children's Painters"
+in this book because they painted things that children, as well as
+grown-ups, certainly can enjoy. To be sure, Murillo was a very
+different sort of artist from Rosa Bonheur or Landseer, but if the two
+latter painted the most beautiful, animals--dogs, sheep, and
+horses--Murillo painted the loveliest little children.
+
+Rosa was the best pupil of her father; Raymond B. Bonheur. In Bordeaux
+they lived together the peaceful life of artists, the father being
+already a well known painter when his daughter was born. She became,
+as Mr. Hamerton, who knew her, said, "the most accomplished female
+painter who ever lived ... a pure, generous woman as well and can
+hardly be too much admired ... as a woman or an artist. She is simple
+in her tastes and habits of life and many stories are told of her
+generosity to others."
+
+After a time the Bonheurs moved to Paris where young Rosa could have
+better opportunities; and there she put on man's clothing, which she
+wore all her life thereafter. She wore a workingman's blouse and
+trousers, and tramped about looking more like a man than a woman with
+her short hair. This, made everybody stare at her and think her very
+queer, but people no longer believe that she dressed herself thus in
+order to advertise herself and attract attention; but because it was
+the most convenient costume for her to get about in. She went to all
+sorts of places; the stockyards, slaughter houses, all about the
+streets of Paris, to learn of things and people, especially of
+animals, which she wished most to paint. She could hardly have gone
+about thus if she had worn women's clothing.
+
+Rosa Bonheur exhibited her first painting at the _Salon_ in 1841, and
+this was twelve years before her beloved father died; thus he had the
+happiness of knowing that the daughter whom he had taught so lovingly
+was on the road to success and fortune. He knew that when fortune
+should come to her she would use it well. The year that she exhibited
+her work in the _Salon_ she painted only two little pictures--one of
+rabbits, the other of sheep and goats--but they were so splendidly
+done that all the critics knew a great woman artist had arrived.
+
+It was then that her enemies, those who were becoming jealous of her
+work, said that she was wearing men's clothing in order to attract
+attention to herself.
+
+Soon her work began to be bought by the French Government, which was a
+sure sign of her power. She was already much beloved by the people. In
+the meantime we in America and others in England had heard of
+Mademoiselle Bonheur, but we heard far less about her painting than we
+did about her masculine garb. We thought of her mostly as an eccentric
+woman; but one day came "The Horse Fair," and all the world heard of
+that, so the artist was to be no longer judged by the clothes she wore
+but by her art. Finally, she received the cross of the Legion of
+Honour, and also was made a member of the Institute of Antwerp.
+
+She lived near Fontainebleau; her studio a peaceful retired home, till
+the Franco-Prussian war came about. Then she and others began to fear
+that her studio and pictures would be destroyed, so the artist was
+forced to stop her work and prepared to go elsewhere. But the Crown
+Prince of Prussia himself ordered that Mademoiselle Bonheur should not
+even be disturbed. Her work had made her belong to all the world and
+all the world was to protect her if need be.
+
+Rosa Bonheur had a brother who, some critics said, was the better
+artist, but if that were true it is likely that his popularity would
+in some degree have approached that of his sister. Rosa Bonheur did
+not paint many large canvases, but mostly small ones, or only
+moderately large; but when she painted sheep it seems that one might
+shear the wool, it stands so fleecy and full; while her horses rampage
+and curvet, showing themselves off as if they were alive.
+
+  PLATE--THE HORSE FAIR
+
+This picture was exhibited all over the world very nearly. It was
+carried to England and to America, and won admiration wherever it was
+seen. Finally it was sold in America. It was first exhibited in 1853,
+the year in which the artist's father died. Mr. Ernest Gambart was the
+first who bought the picture, and he wrote of it to his friend,
+Mr. S.P. Avery: "I will give you the real history of 'The Horse Fair,'
+now in New York. It was painted in 1852, by Rosa Bonheur, then in her
+thirtieth year, and exhibited in the next _Salon_. Though much admired
+it did not find a purchaser. It was soon after exhibited in Ghent,
+meeting again with much appreciation, but was not sold, as art did not
+flourish at the time. In 1855 the picture was sent by Rosa Bonheur to
+her native town of Bordeaux and exhibited there. She offered to sell
+it to the town at the very low price 12,000 francs ($2,400). While
+there, I asked her if she would sell it to me, and allow me to take it
+to England and have it engraved. She said: 'I wish to have my picture
+remain in France. I will once more impress on my countrymen, my wish
+to sell it to them for 12,000 francs. If they refuse, you can have it,
+but if you take it abroad, you must pay me 40,000 francs.' The town
+failing to make the purchase, I at once accepted these terms, and Rosa
+Bonheur then placed the picture at my disposal. I tendered her the
+40,000 francs and she said: 'I am much gratified at your giving me
+such a noble price, but I do not like to feel that I have taken
+advantage of your liberality; let us see how we can combine in the
+matter. You will not be able to have an engraving made from so large a
+canvas. Suppose I paint you a small one from the same subject, of
+which I will make you a present.' Of course I accepted the gift, and
+thus it happened that the large work went travelling over the kingdom
+on exhibition, while Thomas Landseer was making an engraving from the
+quarter-size replica.
+
+"After some time (in 1857 I think), I sold the original picture to
+Mr. William P. Wright, New York (whose picture gallery and residence
+were at Weehawken, N.J.), for the sum of 30,000 francs, but later I
+understood that Mr. Stewart paid a much larger price for it on the
+breaking up of Mr. Wright's gallery. The quarter size replica, from
+which the engraving was made, I finally sold to Mr. Jacob Bell, who
+gave it in 1859 to the nation, and it is now in the National Gallery,
+London. A second, still smaller replica, was painted a few years
+later, and was resold some time ago in London for œ4,000
+($20,000). There is also a smaller water-colour drawing which was sold
+to Mr. Bolckow for 2,500 guineas ($12,000), and is now an heirloom
+belonging to the town of Middlesbrough. That is the whole history of
+this grand work. The Stewart canvas is the real and true original, and
+only large size 'Horse-Fair.'
+
+"Once in Mr. Stewart's collection, it never left his gallery until the
+auction sale of his collection, March 25th, 1887, when it was
+purchased by Mr. Cornelius Vanderbilt for the sum of $55,000, and
+presented to the Metropolitan Museum of Art."
+
+And thus we have the whole story of the "Horse-Fair." The picture is
+93-1/2 inches high, and 197 inches wide, and it contains a great
+number of horses, some of which are ridden, while others are led, and
+all are crowding with wild gaiety toward the fair where it is quite
+plain they know they are about to be admired and their beauty shown to
+the best advantage. Other well-known Rosa Bonheurs are "Ploughing,"
+"Shepherd Guarding Sheep," "Highland Sheep," "Scotch Deer," "American
+Mustangs," and "The Study of a Lioness."
+
+
+
+
+V
+
+ALESSANDRO BOTTICELLI
+
+
+  (Pronounced Ah-lays-sahn'dro Bo't-te-chel'lee)
+  _Florentine School,_
+  1447-1510 (Vasari's dates)
+  _Pupil of Filippo Lippi and Verrocchio_
+
+Botticelli took his name from his first master, as was the fashion in
+those days. The relation of master and apprentice was very close, not
+at all like the relation of pupil and teacher to-day.
+
+Botticelli's father was a Florentine citizen, Mariano Filipepi, and he
+wished his son to become a goldsmith; hence the lad was soon
+apprenticed to Botticelli, the goldsmith. As a scholar, the little
+goldsmith had not distinguished himself. Indeed it is said that as a
+boy he would not "take to any sort of schooling in reading, writing,
+or arithmetic." It cannot be said that this failure distinguished him
+as a genius, or the world would be full of genius-boys; but the result
+was that he early began to learn his trade.
+
+Fortunately for him and us, Botticelli, the smith, was a man of some
+wisdom and when he saw that the lad originated beautiful designs and
+had creative genius he did not treat the matter with scorn, as the
+master of Andrea del Sarto had done, but sent him instead to Fra
+Filippo (Lippo Lippi) to be taught the art of painting. So kind a deed
+might well establish a feeling of devotion on little Alessandro's part
+and make him wish to take his master's name.
+
+Fra Filippo was a Carmelite monk, merry and kindly; simple, good, and
+gifted, but his temperament did not seem to influence his young
+pupil. Of all unhappy, morbid men, Botticelli seems to have been the
+most so, unless we are to except Michael Angelo.
+
+After studying with the monk, Botticelli was summoned by Pope Sixtus
+IV. to Rome to decorate a new chapel in the Vatican. Before that time
+his whole life had been greatly influenced by the teachings of
+Savonarola who had preached both passionately and learnedly in
+Florence, advocating liberty. From the time he fell under Savonarola's
+wonderful power, the artist grew more and more mystic and morbid. In
+Rome it was the custom to have the portraits of conspirators, or
+persons of high degree who were revolutionary or otherwise
+objectionable to the state, hung outside the Public Palace, and in
+Botticelli's time there was a famous disturbance among the aristocrats
+of the state. In 1478 the powerful Pazzi family conspired against the
+Medici family, which then actually had control. It was Botticelli who
+was engaged to paint the portraits of the Pazzi family, which to their
+shame and humiliation were to be displayed upon the palace walls.
+
+One peculiarity of this artist's pictures was that he used actual
+goldleaf to make the high lights upon hair, leaves, and draperies. The
+effect of the use of this gold was very beautiful, if unusual, and it
+may have been that his apprenticeship as a goldsmith suggested to him
+such a device.
+
+Also it was he who created certain characteristics of painting that
+have since been thought original with Burne-Jones. This was the use of
+long stiff lily-stalks or other upright details in his compositions.
+Examples of this idea, which produced so weird an effect, will be
+found in his allegory of "Spring," where stiff tree-trunks form a part
+of the background. In the "Madonna of the Palms" upright lily-stalks
+are held in pale and trembling hands. Like Michael Angelo, who came
+years afterward, Botticelli was a guest of the great Lorenzo the
+"Magnificent," in Florence. It was by Botticelli's hand that the
+greater painter sent a letter to Lorenzo from a duchess friend who was
+also his patron. This was in Angelo's youth; in Botticelli's old age.
+
+All his life was a drama of morbid seeking after the unattainable, and
+finally he became so poor and helpless that in his old age he would
+have starved had Lorenzo de' Medici not taken care of him. Lorenzo and
+other friends who in spite of his gloominess admired his real piety,
+gathered about him and kept him from starvation.
+
+On his "Nativity," Botticelli wrote: "This picture I, Alessandro,
+painted at the end of the year 1500 in the troubles of Italy, in the
+halftime after the time, during the fulfilment of the eleventh of
+John, in the second woe of the Apocalypse, in the loosing the devil
+for three and a half years. Afterward he shall be chained according to
+the twelfth of John, and see him trodden down as in this picture." All
+of this is interesting because Botticelli himself wrote it, but it is
+not very easily understood by any child, nor by many grown people.
+
+Botticelli did some very extraordinary things, but whether they are
+beautiful or not one must decide for himself. They are paintings so
+characteristic that one must think them very beautiful or else not at
+all so.
+
+  PLATE--LA PRIMAVERA
+  _(Spring)_
+
+In this picture we have the forerunner of a modern painter, because we
+see in it certain, qualities that we find in B”cklin. Look at the
+effect of vertical lines; the tree trunks, and the poses of the
+slender women. Over all hovers a cupid who is sending love-shafts into
+the hearts of all in springtime.
+
+Notice the lacy effect of the flowers that bestar the wind-blown gown
+of "La Primavera," the fern-like leaves that fleck the background; the
+draperies that do not conceal the forms of the nymphs of the lovely
+springtime.
+
+The very spirit of spring is seen in all the half-floating,
+half-dancing, gliding, diaphanous figures of the forest. The flowers
+of "La Primavera's" crown are blue and white cornflowers and
+primroses. She scatters over the earth tulips, anemones, and
+narcissus. The painting is allegorical and unique. Never were such
+fluttering odds and ends of draperies painted before, nor such
+fascinating effects had from canvas, paint, or brush. The picture
+hangs in Florence in the Uffizi Gallery. A German critic tells us that
+the "Realm of Venus," is a better title for this picture, and that it
+was painted after a poem of that name.
+
+Other pictures by this artist are: "The Birth of Venus," "Pallas,"
+"Judith," "Holofernes," "St. Augustine," "Adoration of the Magi," and
+"St. Sebastian."
+
+
+
+
+VI
+
+WILLIAM ADOLPHE BOUGUEREAU
+
+
+  (Pronounced W. A'dolf Bou-gair-roh)
+  _French (Genre) School_
+  1825-1905
+  _Pupil of Picot and the Ecole des Beaux-Arts_
+
+Bouguereau's business-like father meant his son also to be
+business-like, but he made the mistake of permitting him to go to a
+drawing school in Bordeaux and there, to his father's chagrin, the
+youngster took the annual prize. After that there seemed nothing for
+the father to do but grin and bear it, because the son decided to be
+an artist and had fairly won his right to be one.
+
+Young Bouguereau had no money, and therefore he went to live with an
+uncle at Saintonge, a priest, who had much sympathy with the boy's
+wish to paint, and he left him free to do the best he could for
+himself in art. He got a chance to paint some portraits, and when he
+and his uncle talked the matter over It was decided that he should
+take the money got for them, and go to Paris. It was there that he
+sought Picot, his first truly helpful teacher; and there, for the
+first time he learned more than he already knew about art.
+
+All Bouguereau's opportunities in life were made by himself, by his
+own genius. No one gave him anything; he earned all. He longed to go
+to Italy, and in the Ecole des Beaux-Arts he won the Prix de Rome,
+which made possible a journey to the land of great artists. The French
+Government began to buy his work, and he began to receive commissions
+to decorate walls in great buildings; thus, gradually, he made for
+himself fame and fortune.
+
+When this artist undertook to paint sacred subjects, of great dignity,
+he was not at his best; but when he chose children and mothers and
+everyday folk engaged about their everyday business, he painted
+beautifully. Americans have bought many of his pictures and he has had
+more popularity in this country than anywhere outside of France.
+
+Some authorities give the birthplace of Bouguereau as La Rochelle; at
+any rate he died there at midnight, on the nineteenth of August, 1905.
+
+  PLATE--THE VIRGIN AS CONSOLER
+
+The main distinction about this artist's pictured faces is the
+peculiarly earnest expression he has given to the eyes. In this
+picture of the Virgin there is great genius in the pose and death-look
+of the little child whose mother has flung herself across the lap of
+Mary, abandoned to her agony. This painting is hung in the
+Luxembourg. Others by the same master are called "Psyche and Cupid"
+"Birth of Venus," "Innocence," and "At the Well."
+
+
+
+
+VII
+
+SIR EDWARD BURNE-JONES
+
+
+  _English (Pre-Raphaelite) School_
+  1833-1898
+  _Pupil of Rossetti_
+
+This artist has been called the most original of all contemporaneous
+artists. He has also been called the "lyric painter"; meaning that he
+is to painting what the lyric poet is to literature. His work once
+known can almost always be recognised wherever seen afterward. He did
+not slavishly follow the Pre-Raphaelite school, yet he drew most of
+his ideas from its methods. He was, in the use of stiff lines, a
+follower of Botticelli, and not original in that detail, as some have
+seemed to think.
+
+  PLATE--CHANT D'AMOUR
+  _(The Love-Song)_
+
+This is a picture in the true Burne-Jones style: a beautiful woman in
+billowy draperies, playing upon a harp forms the central figure of the
+group of three--a listener on either side of her. There is the
+attractiveness of the Burne-Jones method about this picture, but after
+all there seems to be no very good reason for its having been
+painted. The subject thus treated has only a negative value, and
+little suggestion of thought or dramatic idea.
+
+Another picture of this artist, in which his use of stiff draperies is
+specially shown, is that of the women at the tomb of Christ, when they
+find the stone rolled away and, looking around, see the Saviour's
+figure before them. The scene is low and cavern-like, with a brilliant
+light surrounding the tomb. This artist also painted "The Vestal
+Virgin," "King Cophetua and the Beggar Maid," "Pan and Psyche," "The
+Golden Stairs," and "Love Among the Ruins."
+
+
+
+
+VIII
+
+JOHN CONSTABLE
+
+
+  _English School_
+  1776-1837
+  _Pupil of the Royal Academy_
+
+John Constable was the son of a "yeoman farmer" who meant to make him
+also a yeoman farmer. Mostly we find that the fathers of our artists
+had no higher expectations for their sons than to have them take up
+their own business; to begin as they had, and to end as they expected
+to. But in John Constable's case, as with all the others, the father's
+methods of living did not at all please the son, and having most of
+all a liking for picture-making; young John set himself to planning
+his own affairs.
+
+Nevertheless, the foundation of John's art was laid right there in the
+Suffolk farmer's home and conditions. He was born in East Bergholt,
+and the father seems to have believed in windmills, for early in life
+the signs of wind and weather became a part of the son's education. He
+learned a deal more of atmospheric conditions there on his father's
+windmill planted farm than he could possibly have learned shut up in a
+studio, French fashion. As a little boy he came to know all the signs
+of the heavens; the clouds gathering for storm or shine; the bending
+of the trees in the blast; all of these he loved, and later on made
+the principal subjects of his art. He learned to observe these things
+as a matter of business and at his father's command; thus we may say
+that he studied his life-work from his very infancy. All about him
+were beautiful hedgerows, picturesque cottages with high pitched roofs
+covered with thatch, and it was these beauties which bred one other
+great landscape painter besides Constable, of whom we shall presently
+speak, Gainsborough.
+
+At last, graduating from windmills, John went to London. He had a
+vacation from the work set him by his father, and for two years he
+painted "cottages, studied anatomy," and did the drudgery of his art;
+but there was little money in it for him, and soon he had to go into
+his father's counting house, for windmills seemed to have paid the
+elder Constable, considerably better than painting promised to pay
+young John.
+
+John doubtless liked counting-house work even less than he had done
+the study of windmills and weather in his father's fields. He was a
+most persistent fellow, however, and finally he returned to London, to
+study again the art he loved, this time in the Royal Academy, which
+meant that he had made some progress.
+
+His father gave him very little aid to do the things he longed to do,
+but after his father's death he found that a little money was coming
+to him from the estate--œ4,000. He had already triumphed over his
+difficulties by painting his first fine pictures; he now knew that he
+was to become a successful artist, and be able to take care of himself
+and a wife. Though in love, he had hitherto been too poor to
+marry. His first splendid work was "Dedham Vale."
+
+Though things were going very well with him, it was not until Paris
+discovered him that he achieved great success. In 1824 he painted two
+large pictures which he took to Paris, and there he found fame. The
+best landscape painting in France dates from the time when Constable's
+works were hung in the Louvre, to become the delight of all
+art-lovers.
+
+He received a gold medal from Charles X., and became more honoured
+abroad than he had ever been at home.
+
+Constable had many enemies, and made many more after he became an
+Academician. Some artists, who would have liked that honour and who
+could not gain it for themselves, declared that Constable painted
+"with a palette knife," though it certainly would not have mattered if
+he had, since he made great pictures.
+
+He painted things exactly as he saw them, and was not a popular
+artist. Most of all, he loved to paint the scenes that he had known so
+well in his youth, and he did them over and over again, as if the
+subject was one in which he wished to reach perfection.
+
+When he died he left a picture, "Arundel Castle and Mill," standing
+with its paint wet upon his easel for he passed away very suddenly, on
+April 1st, leaving behind him many unsold paintings.
+
+He was a sensitive chap, and throughout his youth was greatly
+distressed by the differences of opinion between himself and his
+father. He was torn asunder between a sense of duty and his own wish
+to be an artist; and his greatest consolation in this situation was in
+the friendship he had formed for a plumber, who, like himself, dearly
+loved art. The plumber's name was John Dunthorne, and the two men
+wandered about the country, when not employed at their regular work,
+and together, by streams and in fields, painted the same scenes. At
+one time they hired a little room in the neighbouring village which
+they made into a studio. Constable was a handsome fellow in his youth
+and was known to all as the "handsome miller." His father, the yeoman
+farmer with the windmills, was also a miller.
+
+In London he became acquainted with one John Smith, known as
+"Antiquity Smith," who taught him something of etching. After he was
+recalled to his father's business, his mother wrote to "Antiquity
+Smith," that she hoped John "would now attend to business, by which he
+will please me and his father, and ensure his own respectability and
+comfort"--a complete expression of the middle-class British mind. Her
+satisfaction was short-lived, for her son soon returned to London.
+
+When his first pictures were rejected by the Royal Academy he showed
+one of them to Sir Benjamin West, who said hopefully: "Don't be
+disheartened, young man, we shall hear of you again; you must have
+loved nature very much before you could have painted this."
+
+About that time he tried to paint many kinds of pictures, such as
+portraits and sacred subjects, but he did not seem to succeed in
+anything except the scenes of his boyhood, which he truly loved. Hence
+he gave up attempting that which he could do only passably, and kept
+to what he could do supremely well.
+
+When his friends wished him to continue portrait painting, the only
+thing that was well paid at that time, Constable wrote: "You know I
+have always succeeded best with my native scenes. They have always
+charmed me, and I hope they always will. I have now a path marked out
+very distinctly for myself, and I am desirous of pursuing it
+uninterruptedly."
+
+About the time he fell in love and before his father's death, his
+health began to fail, and the young woman's mother would have none of
+him. Her father was in favour of Constable, but he could not hold out
+against the chance of his daughter losing her grandfather's fortune by
+marrying the wrong man.
+
+The lady was not so distractingly in love as young Constable was, and
+she did not entirely like the idea of poverty, even with John, so she
+held off, and with so much anxiety Constable became downright ill. For
+five years the pair lived apart, and then the artist and the young
+woman, whose name was Maria Bicknell, lost their mothers about the
+same time, This drew them very closely together; and to help the
+matter on, John's attendance upon his father in his last illness
+brought him to the same town as Miss Bicknell. After his father's
+death, he urged the young lady so strongly to be his wife that she
+consented They were married and her father soon forgave her, but not
+so her grandfather, who declared that he never would forgive her, but
+he really must have done so from the first, for when he died it was
+found that he had left her a little fortune of œ4,000. This was about
+the same amount the artist had received from his father, so that they
+were able to get on very well.
+
+After Constable's marriage he went on a visit to Sir George Beaumont,
+and there an amusing incident occurred which is known to-day as the
+story of Sir George's "brown tree." It seems that Constable's ideas of
+colour for his landscapes were so true to nature that a good many
+people did not approve of them, and one day while painting, Sir George
+declared that the colour of an old Cremona fiddle was the best model
+of colour tone that a landscape could have. Constable's only answer
+was to place the fiddle on the green lawn in front of the house. At
+another time his host asked the artist, "Do you not find it very
+difficult to determine where to place your brown tree?" "Not at all,"
+was Constable's reply, "for I never put such a thing into a picture in
+my life."
+
+In painting one picture many times he declared, "Its light cannot be
+put out because it is the light of nature." A Frenchman called
+attention to one of his pictures thus: "Look at these landscapes by an
+Englishman. The ground appears to be covered with dew."
+
+Notwithstanding the little fortune of his wife and himself, Constable
+was not quite carefree, because he had to raise a good sized family of
+six children so that when his wife's father died and left his daughter
+œ20,000 he said to a friend: "Now I shall stand before a six-foot
+canvas with a mind at ease, thank God!" In the very midst of this
+happiness, his beloved wife became ill with consumption, and was
+certain to die. He no longer cared very much for life and wrote very
+sadly:
+
+"I have been ill, but am endeavouring to get work again, and could I
+get afloat upon a canvas of six feet, I might have a chance of being
+carried from myself." When he became a member of the Royal Academy, he
+said: "It has been delayed until I am solitary and cannot impart it,"
+meaning that without his dear wife to share his good fortune, it
+seemed an empty honour to him.
+
+Strange things are told which show how little his work was valued by
+his countrymen. After he had become a member of the Academy one of his
+small pictures was entered but rejected; nobody knowing anything about
+it. It was put on one side among the "outsiders." Finally, one of his
+fellow members glancing at it was attracted.
+
+"Stop a bit! I rather like that. Why not say 'doubtful'?" Later
+Constable acknowledged the picture as his, and then they wished to
+hang it, but he refused to let them. Another Academy story is about
+his picture "Hadleigh Castle." On Varnishing Day, Chartney, a
+brilliant critic, told Constable that the foreground of the picture
+was "too cold," and so he undertook to "warm it," by giving it a
+strong glaze with asphaltum with Constable's brush which he snatched
+from the artist's hand. Constable gazed at him in horror. "Oh! there
+goes all my dew," he cried, and when Chartney's back was turned he
+hurriedly wiped the "warmth" all away and got back his "dew."
+
+Even the amusing things that happened to him, seem to have a little
+sadness about them. He wrote to a friend: "Beechey was here yesterday,
+and said: 'Why d--n it Constable, what a d--n fine picture you are
+making; but you look d--n ill, and you've got a d--n bad cold!' so,"
+added Constable, "you have evidence on oath of my being about a fine
+picture and that I am looking ill."
+
+An illustration of his painstaking and truthfulness to nature is that
+he once took home with him from a visit bottles of coloured sand and
+fragments of stone which he meant to introduce into a picture; and on
+passing some slimy posts near a mill, he said to his host, "I wish you
+could cut those off and send their tops to me."
+
+Constable was a loyal friend, the most persistent of men, and several
+anecdotes are told of his characteristics. His friend Fisher said to
+him:
+
+"Where real business is to be done, you are the most energetic and
+punctual of men. In smaller matters, such as putting on your breeches,
+you are apt to lose time in deciding which leg shall go in first."
+
+  PLATE--THE HAY WAIN
+
+This picture was first called "Landscape," and it was painted in
+1821. In his letters about it, however, Constable also called it
+"Noon," and others wrote of it as "Midsummer Noon." This tells us what
+a wealth of hot sunlight is suggested by the painting.
+
+It shows a little farmhouse upon the bank of a stream, a spot well
+known as "Willy Lott's Cottage." The owner had been born there and he
+died there eighty-eight years later, without ever having left his
+cottage for four whole days in all those years. Upon the tombstone of
+Lott, which is in the Bergholt burial ground, his epitaph calls the
+house "Gibeon Farm." It was a favourite scene with Constable, and he
+painted it many times from every side. It is the same house we see in
+the "Mill Stream," another Constable painting, and again in "Valley
+Farm." In this last picture he painted the side opposite to the one
+shown in the "Hay Wain."
+
+The stream near which the house stands spreads out into a ford, and in
+the picture the hay cart, with two men upon it, is passing through the
+ford. The horses are decked out with red tassels. On the right of the
+stream there is a broad meadow, golden green in the sunlight, "with
+groups of trees casting cool shadows on the grass, and backed by a
+distant belt of woodland of rich blues and greens." On the right is a
+fisherman, half hidden by a bush, standing near his punt.
+
+Constable wrote to his friend, Fisher, "My picture goes to the Academy
+on the tenth." This was written on April 1st, 1821. "It is not so
+grand as Tinney's." This shows us, that Constable had not vanity
+enough to interfere with his self-criticism. Again in a letter written
+to him by a friend: "How does the 'Hay Wain' look now it has got into
+your own room again?" adding that he wished to see it there, away from
+the Academy which to him was always "like a great pot of boiling
+varnish."
+
+Later Fisher wrote: "I have a great desire to possess your 'Wain,' but
+I cannot now reach what it is worth;" and he begged Constable not to
+sell it without giving him a chance to try once more to raise the
+money to buy it. He wrote that the picture would become of greater
+value to his children if the artist left it hanging upon the walls of
+the Academy, "till you join the society of Ruysdael, Wilson, and
+Claude. As praise and money will then be of no value to you, the world
+will liberally bestow both."
+
+Later a Frenchman wished to buy it for exhibition purposes, and when
+Constable wrote to Fisher of this, his friend replied that he had
+better sell it to the Frenchman "for the sake of the _‚clat_ it may
+give you. The stupid English public, which has no judgment of its own,
+will begin to think there is something in it if the French make your
+works national property. You have long lain under a mistake; men do
+not purchase pictures because they admire them, but because others
+covet them."
+
+Finally, the "Hay Wain" was sold to the French dealer for œ250, and
+Constable threw in a picture of Yarmouth for good measure. Later a
+friend declared that he had created a good deal of argument about
+landscape painting, and that there had come to be two divisions, for
+he had practically founded a new school. He received a gold medal for
+the "Hay Wain," and the French nation tried to buy it. In the Louvre
+are "The Cottage," "Weymouth Bay," and "The Glebe Farm." Elsewhere are
+"Hampstead Heath," "Salisbury Cathedral," "The Lock on the Stour,"
+"Dedham Mill," "The Valley Farm," "Gillingham Mill," "The Cornfield,"
+"Boat-Building," "Flatford Mill on the River Stour," besides many
+others.
+
+
+
+
+IX
+
+JOHN SINGLETON COPLEY
+
+
+  _English School_
+  1737-1815
+
+A little boy with a squirrel was the first picture that pointed this
+artist toward fame and that was painted in England and exhibited at
+the Society of Arts.
+
+This American-born Irishman had no family or ancestry of account, but
+he himself was to become the father of Lord Chancellor Lyndhurst, and
+he did some truly fine things in art.
+
+About the same time America had another painter, Benjamin West, marked
+out for fame, but he got his start in Europe while Copley had already
+become a successful artist before he left Boston, his native place.
+
+He liked best to paint "interiors"--rooms with fine furniture and
+curtains, women in fine clothing and men in embroidered waistcoats and
+bejewelled buckles.
+
+In 1777 he got into the Royal Academy, and on the whole had
+considerable influence on European art. If we study the portraits that
+he painted while in Boston, we can get a very complete idea of the
+surroundings of the "Royalists" at the time of our colonial history.
+
+  PLATE--THE COPLEY FAMILY GROUP
+
+In this picture there are seven figures with an open landscape forming
+the background. The baby of the family plays, with uplifted arms, upon
+grandfather's knee. The mother on the couch, surrounded by her three
+other children, is kissing one while another clings to her. Before her
+stands a prim little maid, gowned in the fashion of grown-folks of her
+day. A little lock of hair falling upon her forehead suggests that
+when she was good she was very, very good, and when she was bad she
+was horrid! She wears a little cap. At the back is the artist himself
+in a wig and other fashions of the time. A great column rises behind
+him, forming a part of the architecture or the landscape, one hardly
+knows which in so artificially constructed a picture.
+
+Copley painted also John Hancock, Judge Graham, Jeremiah Lee, and
+General Joseph Warren.
+
+
+
+
+X
+
+JEAN BAPTISTE CAMILLE COROT
+
+
+  (Pronounced Zhahn Bah-teest' Cah-mee'yel Coh'roh)
+  _Fontainebleau-Barbizon School_
+  1796-1875
+  _Pupil of Michallon_
+
+About three hundred years before Corot's time there was a
+Fontainebleau school of artists, made up of the pathetic Andrea del
+Sarto, the wonderful Leonardo da Vinci, and Cellini. These painters
+had been summoned from their Italian homes by Francis I., to decorate
+the Palace of Fontainebleau. The second great group of painters who
+had studios in the forest and beside the stream were Rousseau, Dupr‚,
+Diaz, and Daubigny; Troyon, Van Marcke, Jacque; then Millet, the
+painter of peasants.
+
+Corot was born in Paris and received what education the ordinary
+school at Rouen could give him. He was intended by his parents for
+something besides art, as it would seem that every artist in the world
+was intended. Corot was to grow up and become a respectable draper; at
+any rate a draper.
+
+The young chap did as his father wished, until he was twenty-six years
+old, and dreary years those must have been to him. He did not get on
+well with his master, nor did the world treat him very well. He found
+neither riches nor the fame that was his due till he was an old man of
+seventy. At that age he had become as rich a man as he might have been
+had he remained a sensible draper.
+
+Best of all, Corot loved to paint clouds and dewy nights, pale moons
+and early day, and of all amusements in the world, he preferred the
+theatre. There he would sit; gay or sad as the play might make him,
+weeping or laughing and as interested as a little child.
+
+After he had anything to give away, Corot was the most madly generous
+of men. It was he who gave a pension to the widow of his brother
+artist, Millet, on which she lived all the rest of her days. He gave
+money to his brother painters and to all who went to him for aid; and
+he always gave gaily, freely, as if giving were the greatest joy,
+outside of the theatre, a man could have. Everyone who knew him loved
+him, and there was no note of sadness in his daily life, though there
+seems to be one in his poetical pictures. Because of his generous ways
+he was known as "Pere Corot." He sang as he worked, and loved his
+fellowmen all the time; but most of all, he loved his sister.
+
+"Rousseau is an eagle," he used to say in speaking of his fellow
+artist. "As for me, I am only a lark, putting forth some little songs
+in my gray clouds."
+
+It has been noted that most great landscape painters have been
+city-bred, a remarkable fact. Constable and Gainsborough were born and
+bred in the country, but they are exceptions to the rule. Corot's
+parents were Parisians of the purest dye, having been court-dressmakers
+to Napoleon I.; and when Corot finally determined to leave the
+draper's shop and become a painter, his father said: "You shall
+have a yearly allowance of 1,200 francs, and if you can live on that,
+you can do as you please." When his son was made a member of the
+Legion of Honour, after twenty-three years of earnest work, his father
+thought the matter over, and presently doubled the allowance, "for
+Camille seems to have some talent after all," he remarked as an excuse
+for his generosity.
+
+It is told that when he first went to study in Italy, Corot longed to
+transfer the moving scenes before him to canvas; but people moved too
+quickly for him, so he methodically set about learning how to do with
+a few strokes what he would otherwise have laboured over. So he
+reduced his sketching to such a science that he became able to sketch
+a ballet in full movement; and it is remarked that this practice
+trained him for presenting the tremulousness of leaves of trees, which
+he did so exquisitely.
+
+One learns something of this painter of early dawn and soft evening
+from a letter he wrote to his friend Dupr‚:
+
+One gets up at three in the morning, before the sun; one goes and sits
+at the foot of a tree; one watches and waits. One sees nothing much at
+first. Nature resembles a whitish canvas on which are sketched
+scarcely the profiles of some masses; everything is perfumed, and
+shines in the fresh breath of dawn. Bing! the sun grows bright but has
+not yet torn aside the veil behind which lie concealed the meadows,
+the dale, and hills of the horizon. The vapours of night still creep,
+like silvery flakes over the numbed-green vegetation. Bing! bing!--a
+first ray of sunlight--a second ray of sunlight--the little flowers
+seem to wake up joyously. They all have their drop of dew which
+trembles--the chilly leaves are stirred with the breath of morning--in
+the foliage the birds sing unseen--all the flowers seem to be saying
+their prayers. Loves on butterfly wings frolic over the meadows and
+make the tall plants wave--one sees nothing--yet everything is
+there--the landscape is entirely behind the veil of mist, which
+mounts, mounts, sucked up by the sun; and as it rises, reveals the
+river, plated with silver, the meadow, the trees, cottages, the
+receding distance--one distinguishes at last everything that one had
+divined at first.
+
+In all the world there can hardly be a more exquisite story of
+daybreak than this; and so beautiful was the mood into which Corot
+fell at eventime, as he himself describes it, that it would be a
+mistake to leave it out. This is his story of the night:
+
+Nature drowses--the fresh air, however, sighs among the leaves--the
+dew decks the velvety grass with pearls. The nymphs fly--hide
+themselves--and desire to be seen. Bing! a star in the sky which
+pricks its image on the pool. Charming star--whose brilliance is
+increased by the quivering of the water, thou watchest me--thou
+smilest to me with half-closed eye! Bing!--a second star appears in
+the water, a second eye opens. Be the harbingers of welcome, fresh and
+charming stars. Bing! Bing! Bing!--three, six, twenty stars. All the
+stars in the sky are keeping tryst in this happy pool. Everything
+darkens, the pool alone sparkles. There is a swarm of stars--all
+yields to illusion. The sun being gone to bed, the inner sun of the
+soul, the sun of art awakens. Bon! there is my picture done!
+
+In writing those letters, Corot made literature as well as
+pictures. That little word "bing!" appears also in his paintings, as
+little leaves or bits of tree-trunk, some small detail which,
+high-lightened, accents the whole.
+
+  PLATE--DANCE OF THE NYMPHS
+
+There could hardly be a more charming painting than this which hangs
+in the Louvre. It is of a half-shut-in landscape of tall trees, their
+branches mingling; and all the atmospheric effects that belong to
+Corot's work can here be seen.
+
+On the open greensward is a group of nymphs dancing gaily, while over
+all the scene is the veil of fairy-land or of something quite
+mysterious. At the back and side, satyrs can be seen watching the
+nymphs. There is here less of the blur of leaves than that seen in
+later pictures, but the same soft effect is found, and the little
+"bings" are the accents of light placed upon a leaf, a nymph's
+shoulder, or a tree-trunk.
+
+This picture was painted in 1851, when Corot had not yet developed
+that style which was to mark all his later work.
+
+Besides this picture he painted "Paysage," "The Bathers" "Ville
+d'Arvay," "Willows near Arras," "The Bent Tree," "A Gust of Wind," and
+others.
+
+
+
+
+XI
+
+CORREGGIO (ANTONIO ALLEGRI)
+
+
+  (Pronounced Cor-rage'jyo Ahl-lay'gree)
+  _School of Parma_
+  1494(?)-1534
+  _Pupil of Mantegna_
+
+When Correggio was a little boy, he lived in the odour of spices,
+which were kept upon his father's shop-shelves. He was a highly-spiced
+little boy and man, although the most timid and shrinking. His
+imagination was the liveliest possible.
+
+The spice merchant lived in the town of Correggio, and thus the artist
+got his name. Correggio knew what should be inside the lovely flesh of
+his painted figures before he began to paint them, because he studied
+anatomy in a truly scientific manner before he studied painting.
+Probably no other artist up to that time, had ever begun with the bare
+bones of his models, but Correggio may be said to have worked from the
+inside out. He learned about the structure of the human frame from
+Dr. Giovanni Battista Lombardi, and showed his gratitude to his
+teacher by painting a picture "Il Medico del Correggio" (Correggio's
+Physician), and presenting it to Doctor Lombardi.
+
+Now Correggio's childhood, or at least his early manhood, could not
+have been spent in poverty, because it is known that he used the most
+expensive colours to paint with, painted upon the finest of canvas,
+while greater artists had often to be content with boards. He also
+painted upon copper plates, and it is said that he hired Begarelli, a
+sculptor of much fame, to make models in relief for him to copy for
+the pictures he painted on the cupolas of the churches in Parma. That
+sculptor's services must have been expensive.
+
+On the lovely island of Capri, in the Franciscan convent, will be
+found one of his first pictures, painted when Correggio was about
+nineteen years old.
+
+He was highly original in many ways. Although he had never seen the
+work of any great artist, he painted the most extraordinary
+fore-shortened pictures; and fore-shortening was a technicality in art
+then uncommon. He also was the first to paint church cupolas.
+Fore-shortening produces some peculiar as well as great results, and
+being a feature of art with which people were not then familiar,
+Correggio's work did not go uncriticised. Indeed one artist, gazing up
+into one of the cupolas where Correggio's fore-shortened figures were
+placed, remarked that to him it appeared a "hash of frogs."
+
+But when Titian saw that cupola, he said: "Reverse the cupola, fill it
+with gold, and even then that will not be its money's worth."
+
+Correggio did not receive very large sums for his work, and since he
+was married and took good care of his family, he must have had some
+source of income besides his brush. He received some interesting
+rewards for his paintings. For example, for "St. Jerome," called "Il
+Giorno," he was given "400 gold imperials, some cartloads of faggots
+and measures of wheat, and a fat pig." That picture is in the Parma
+Gallery, and all the cupolas which he painted are in Parma churches.
+
+Some of his pictures are signed; "Leito," a synonym for his name,
+"Allegri." This indicates his style of art.
+
+There is an interesting story told of how Correggio stood entranced
+before a picture of Raphael's, and after long study of it he
+exclaimed: "I too, am a painter!" showing at once his appreciation of
+Raphael's greatness and satisfaction at his own genius.
+
+Doubtless a good share of Correggio's comfortable living came from the
+lady he married, since she was considered a rich woman for those times
+and in that locality. Her name was Girolama Merlini, and she lived in
+Mantua, the place where the Montagues and Capulets lived of whom
+Shakespeare wrote the most wonderful love story ever imagined. This
+young woman was only sixteen years old when Correggio met and loved
+her, and very beautiful and later on he painted a picture,
+"Zingarella," for which his wife is said to have been the model. It
+seems to have been a stroke of economy and enterprise for painters to
+marry, since we read of so many who made fame and fortune through the
+beauty of their wives.
+
+They were very happy together, Correggio and his wife, and they had
+four children. Their happiness was not for long, because Correggio
+seems to have been but thirty-four years old when she died, nor did he
+live to be old. There is a most curious tale of his death which is
+probably not true, but it is worth telling since many have believed
+it. He is supposed to have died in Correggio, of pleurisy, but the
+story is that he had made a picture for one who had some grudge
+against him, and who in order to irritate him paid him in copper,
+fifty scudi. This was a considerable burden, and in order to save
+expense and time, it is said that Correggio undertook to carry it home
+alone. It was a very hot day, and he became so overheated and
+exhausted with his heavy load that he took ill and died, and he may be
+said literally to have been killed by "too much money," if this were
+true. Vasari, a biographer to be generally believed, says it is a
+fact.
+
+Correggio said that he always had his "thoughts at the end of his
+pencil," and there are those who impudently declare that is the only
+place he _did_ have them, but that is a carping criticism, because he
+was a very great artist, his greatest power being the presentation of
+soft blendings of light and shade. There seem to have been few unusual
+events in Correggio's life; very little that helps us to judge the
+man, but there is a general opinion that he was a kind and devoted
+father and husband, as well as a good citizen. With little demand upon
+his moral character, he did his work, did it well, and his work alone
+gave him place and fame.
+
+He became the head of a school of painting and had many imitators, but
+we hear little of his pupils, except that one of them was his own son,
+Pompino, who lived to be very old, and in his turn was successful as
+an artist.
+
+Correggio was buried with honours in the Arrivabene Chapel, in the
+Franciscan church at Correggio.
+
+  PLATE--THE HOLY NIGHT
+
+This painting is not characteristic of Correggio's work, but
+nevertheless it is very beautiful. The brilliant warm light which
+comes from the Infant Jesus in His mother's arms is reflected upon the
+faces of those gathered about, and even illuminates the angelic group
+hovering above him. The slight landscape forming the background is
+also suggestive, and the conditions of the birth are indicated by the
+ass which may be seen in the middle distance. The faces of all are
+joyous yet full of wonderment, the whole scene intimate and human.
+
+The picture is also called the "Adoration of the Shepherds," and that
+title best tells the story. See the shepherdess shading her face with
+one hand and offering two turtle-doves with the other. The ass in the
+distance is the one on which Mary rode to Bethlehem, and Joseph is
+caring for it. Even the cold light of the dawning day is softened by
+the beauty of the group below. This picture is in the Royal Gallery in
+Dresden.
+
+  PLATE--THE MYSTIC MARRIAGE OF ST. CATHERINE
+
+The Infant Jesus sits upon His mother's lap, and places the ring upon
+St. Catherine's finger, while Mary's hand helps to guide that of her
+Child. This action brings the three hands close together and adds to
+the beauty of the composition. All of the faces are full of pleasure
+and kindliness, while that of St. Sebastian fairly glows with happy
+emotion. The light is concentrated upon the body of the Child and is
+reflected upon the faces of the women. This painting hangs in the
+Louvre.
+
+Other great Correggio pictures are the "School of Cupid," which is
+more characteristic of his work; "Antiope," "Leda," "Danae," and "Ecce
+Homo."
+
+
+
+
+XII
+
+PAUL GUSTAVE DOR�
+
+
+  _French School_
+  1833-1883
+
+This artist died in Paris twenty-five years ago, but there is little
+as yet to be told of his life history. He was educated in Paris at the
+Lyc‚e Charlemagne, having gone there from Strasburg, where he was
+born.
+
+He was a painter of fantastic and grotesque subjects, and as far as we
+know, he began his career when a boy. He made sketches before his
+eighth year which attracted much attention, and he earned considerable
+money while still at school. He was at that time engaged to illustrate
+for journals, at a good round sum, and before he left the Lyc‚e he had
+made hundreds of drawings, somewhat after the satirical fashion of
+Hogarth.
+
+His work is very characteristic and once seen is likely to be always
+recognised.
+
+He first worked for the _Journal Pour Rire_, but then he undertook to
+illustrate the work of Rabelais, the great satirist, whose text just
+suited Dor‚'s pencil. After Rabelais he illustrated Balzac, also the
+"Wandering Jew," "Don Quixote," and Dante's "Divine Comedy."
+
+He undertook to do things which he could not do well, simply for the
+money there was in the commissions. He had but a poor idea of colour
+and his work was coarse, but it had such marked peculiarities that it
+became famous. He did a little sculpture as well, and even that showed
+his eccentricities of thought.
+
+  PLATE--MOSES BREAKING THE TABLETS OF THE LAW
+
+This is one of the illustrations of the Dor‚ Bible, published in
+1865-66. The story is well known of how Moses went up into the Mount
+of the Lord to receive the laws for the Israelites, which were written
+upon tables of stone. Upon his descent from the Mount he found that
+his followers had set up a golden calf, which they were worshipping;
+and in his wrath Moses broke the tablets on which the Law was
+inscribed. The power shown in his attitude, the affrighted faces of
+the cowering Jews, the thunder and lightning as an expression of the
+wrath of the Almighty are all painted in Dor‚'s best manner.
+
+
+
+
+XIII
+
+ALBRECHT DšRER
+
+
+  (Pronounced Dooer-rer')
+  _Nuremberg School_
+  1471-1528
+  _Pupil of Wolgemuth and Schongauer_
+
+Albrecht D�rer by nationality was a Hungarian, but he was born in the
+city of Nuremberg. His father had come from the little Hungarian town
+of Eytas to Nuremberg that he might practise the craft of a
+goldsmith. Notwithstanding his Hungarian origin, the name is German
+and the family "bearing," or sign, is the open door. This device
+suggests that the name was first formed from "Thurer," which means
+"carpenter," maker of doors.
+
+The father became the goldworker for a master goldsmith of Nuremberg
+named Hieronymus Holper, and very soon the new employee had fallen in
+love with his master's daughter. The daughter was very young and very
+beautiful; her name was Barbara, and as Herr D�rer was quite forty
+years of age, while she was but fifteen, the match seemed most
+unlikely, but they married and had eighteen children! The great
+painter was one of them.
+
+Albrecht loved his parents most tenderly, and from first to last we
+hear no word of disagreement among any members of that immense
+household. Young Albrecht was especially the companion of his father,
+being brilliant, generous, and hard-working in a family where everyone
+needed to do his best to help along. This love and companionship never
+ceased until death, and after his parents died Albrecht wrote in a
+touching manner of their death, describing his love for them, and
+their many virtues. He was an author and a poet as well as a painter,
+and only Leonardo da Vinci matched him for greatness and
+versatility. We may know what D�rer's father looked like, since the
+son made two portraits of him; one is to be seen in the Uffizi Gallery
+at Florence and the other belongs to the Duke of Northumberland's
+collection. The latter portrait has been reproduced in an engraving,
+so that it is familiar to most people.
+
+In the days when the great artist was growing up, Nuremberg was the
+centre of all intellectuality and art in the North. The city of
+Augsburg also followed art fashions, but it was far less important
+than Nuremberg, because in the latter city every sort of art-craft was
+followed in sincerity and with great originality.
+
+In those days, the craft of the goldsmith was closely allied with the
+profession of the painter, because the smith had to create his own
+designs, and that called for much talent. Thus it was but a step from
+designing in precious metals to the use of colour, and to
+engraving. In making wood engravings, however, the drudgery of it was
+left almost entirely to workmen, not artists. Nuremberg was also the
+seat of musical learning. Wagner makes this fact pathetic, comical,
+and altogether charming in his "Mastersingers of Nuremberg."
+
+Till D�rer's time, however, there had been little painting that could
+be regarded as art, and when he came to study it there was but little
+opportunity in his own land, but D�rer was destined to bring art to
+Nuremberg. If he went elsewhere to study, it was only for a little
+time, because he was above all things patriotic and dearly loved his
+home.
+
+With seventeen brothers and sisters, young D�rer's problem was a
+serious one. His father not only meant him to become a goldsmith like
+himself--a craft in which there was much money to be made at a time
+when people dressed with great ornamentation and used gold to decorate
+with--it was highly necessary with so large a family that he should
+learn to do that which could make him helpful to his father. Hence the
+young boy entered his father's shop. If he had not been handicapped
+with so many to help to maintain, he would have laid up a considerable
+fortune, because from the very beginning he was master of all that he
+undertook; doing the least thing better than any other did it, putting
+conscience and painstaking into all.
+
+"My father took special delight in me," the son said, "seeing that I
+was industrious in working and learning, he put me to school; and when
+I had learned to read and write, he took me home from my school and
+taught me the goldsmith's trade."
+
+The family were good and kind; excellent neighbours, deeply religious,
+and little Albrecht certainly was comely. He was beautiful as a little
+child, and as a man was very handsome, with long light hair sweeping
+his shoulders, and gentle eyes. He was very tall, stately, and full of
+dignity.
+
+In his father's shop he made little clay figures which were afterward
+moulded in metal; also he learned to carve wood and ivory, and he
+added the touch of originality to all that he did. He was the Leonardo
+da Vinci of Germany, an intellectual man, a poet, painter, sculptor,
+engraver, and engineer. He approached everything that he did from an
+intellectual point of view, looking for the reasons of things.
+
+After a while in his father's shop, he found mere craftsmanship
+irksome, and he begged to be allowed to enter a studio. This was a
+great disappointment to the father, even a distress, because he could
+see no very quick nor large returns in money for an artist, and he
+sorely needed the help of his son; but being kind and reasonable, he
+consented Albrecht was apprenticed to the only artist of any repute
+then in Nuremberg, Wolgemuth.
+
+To his studio Albrecht went, at the age of fifteen, and if he did not
+learn much more of painting, under that artist's direction, than his
+own genius had already taught him, he learned the drudgery of his
+work; how to grind colours and to mix them, and he studied wood
+engraving also.
+
+In Wolgemuth's studio he remained for the three years of his
+apprenticeship, and then he fled to better things. For a time he
+followed the methods of another German artist, Schongauer, but finally
+he went forth to try his luck alone. He wandered from place to place,
+practising all his trades, goldsmithing, engraving, whatever would
+support him, yet always and everywhere painting.
+
+It is thought that he may have gone as far as Italy, but it is not
+certain whether he went there in his first wanderings or later
+on. However, he was soon recalled home, for his father had found a
+suitable wife for him. She was the daughter of a rich citizen and her
+name was Agnes Frey. She was pretty as well as rich, but had she been
+neither Albrecht would have returned at his father's bidding. There
+was never any resistance to the fine and proper things of life on
+Albrecht D�rer's part. He was the well balanced, reasonable man from
+youth up.
+
+There have been extraordinary tales told of the artist's wife. She has
+been called hateful and spiteful as Xantippe, the wife of Socrates,
+but we think this is calumny. The stories came about in this way:
+D�rer had a life-long friend, Wilibald Pirkheimer, who in his old age
+became the most malicious and quarrelsome of old fellows. He lived
+longer than D�rer did, and D�rer's wife also outlived her
+husband. Pirkheimer wanted a set of antlers which had belonged to
+D�rer and which he thought the wife should give him after D�rer was
+dead, but Agnes thought otherwise and would not give them up. Then,
+full of rage, the old man wrote the most outrageous letters about poor
+Agnes, saying that she was a shrew and had compelled D�rer to work
+himself to death; that she was a miser and had led the artist an awful
+dance through life. This is the only evidence against her, and that so
+sane and sensible a man as the artist lived with her all his life and
+cherished her, is evidence enough that Pirkheimer didn't tell the
+truth. When D�rer died he was in good circumstances and instead of
+being overworked, he for many years had done no "pot-boiling," but had
+followed investigations along lines that pleased him. After his death,
+the widow treated his brothers and sisters generously, giving them
+properties of D�rer's and being of much help to them. During the
+artist's life he and she had travelled everywhere together and had
+appeared to love each other tenderly; hence we may conclude that the
+old Pirkheimer was simply a disgruntled, gouty old man without a good
+word for anybody.
+
+If D�rer's father and mother had eighteen children, Albrecht and Agnes
+struck a balance, for they had none. Whether or not D�rer went to
+Italy before his marriage in 1494, certain it is that he was in
+Venice, the home of Titian, in 1506. Titian was six years younger than
+D�rer, who was then about thirty-five years old. It is said that he
+started for Italy in 1505 and that he went the whole of the way, over
+the Alps, through forests and streams, on horseback. Who knows but it
+was during that very journey, while travelling alone, often finding
+himself in lonely ways, and full of the speculative thoughts that were
+characteristic of him, that he did not think first of his subject,
+"Knight, Death, and the Devil," which helped make his fame. In that
+picture we have a knight, helmeted, carrying his lance, mounted upon
+his horse, riding in a lonely forest, with death upon a "pale horse"
+by his side, holding an hour glass to remind the knight of the
+fleeting of time. Behind comes the devil, with trident and horn,
+represented as a frightful and disgusting beast, which follows
+hot-foot after the lonely knight, who looks neither to right nor left,
+but persistently goes his way.
+
+Titian's teacher, Bellini, was still living, and he was one of D�rer's
+greatest admirers. Especially did he believe that he could paint the
+finest hair of any artist in the world. One day, while studying
+D�rer's work, and being especially fascinated by the hair of one of
+his figures, the old man took D�rer's brush and tried to reproduce as
+beautiful a tress. Presently he put down the brush in despair, but the
+younger artist took it up, still wet with the same colours, and in a
+few brilliant strokes produced a lovely lock of woman's hair.
+
+While luxuriating in Venetian heat, D�rer wrote home to his friend
+Pirkheimer: "Oh, how I shall freeze after this sunshine!" He was a
+lover of warm, beautiful colour, gay and tender life. Most of all he
+loved the fatherland, and all the honours paid him and all the
+invitations pressed upon him could not keep him long from
+Nuremberg. The journey homeward was not uneventful because he was
+taken ill, and had to stop at a house on his way, where he was cared
+for till he was strong enough to proceed. Before he went his way he
+painted upon the wall of that house a fine picture, to show his
+gratitude for the kind treatment he had received. Imagine a people so
+settled in their homes that it would be worth while for an artist who
+came along to leave a picture upon the walls to-day--we should have
+moved to a new house or a new flat almost before D�rer could have
+washed his brushes and turned the corner.
+
+Back in Nuremberg, he settled down into the life of a responsible
+citizen, lived in a fine new house, in time became a member of the
+council, and his studio was a veritable workshop. Studios were quite
+different from those of to-day. Then the pupils turned to and ground
+colours, did much of their own manufacturing, engaged at first in such
+commonplace occupations, which were nevertheless teaching them the
+foundation of their art, while they watched the work of the
+master. Such a studio as D�rer's must have been full of young men
+coming and going, not all working at the art of painting, but
+engraving, preparing materials for such work, designing, and executing
+many other details of art work.
+
+After this time D�rer made his smallest picture, which is hardly more
+than an inch in diameter. On that tiny surface he painted the whole
+story of the crucifixion, and it is now in the Dresden Gallery. To
+those of us who see little mentality in the faces of the Italian
+subjects, the German art of D�rer, often ugly in the choice of models,
+and so exact as to bring out unpleasing details, is nevertheless the
+greater; because in all cases, the faces have sincere expressions. They
+exhibit human purposes and emotions which we can understand, and
+despise or love as the case may be.
+
+They say that his Madonna is generally a "much-dressed round-faced
+German mother, holding a merry little German boy." That may be true;
+but at any rate, she is every inch a mother and he a well-beloved
+little boy, which is considerably more than can be said of some
+Italian performances.
+
+D�rer made a painting of "Praying Hands," a queer subject for a
+picture, but those hands are nothing _but_ praying hands. The story of
+them is touching. It is said that for several years D�rer had won a
+prize for which a friend of his had also competed, and upon losing the
+prize the last time he tried for it, the friend raised his hands and
+prayed for the power to accept his failure with resignation and
+humility. D�rer, looking at him, was impressed with the eloquence of
+the gesture; thus the "Praying Hands" was conceived.
+
+D�rer was also called the _Father of Picture Books_, because he
+designed so many woodcuts that he first made possible the illustration
+of stories.
+
+He printed his own illustrations in his own house, and was well paid
+for it. The Emperor Maximillian visited Nuremberg, and wishing to
+honour D�rer, commanded him to make a triumphal arch.
+
+"It was not to be fashioned in stone like the arches given to the
+victorious Roman Emperors; but instead it was to be composed of
+engravings. D�rer made for this purpose ninety-two separate blocks of
+woodcuts. On these were represented Maximillian's genealogical tree
+and the principal events of his life. All these were arranged in the
+form of an arch, 9 feet wide and 10-1/2 feet high. It took D�rer three
+years to do this work, and he was never well paid," so says one who
+has compiled many incidents of his life.
+
+"While the artist worked, the Emperor often visited his studio; and as
+D�rer's pet cats often visited it at the same time, the expression
+arose, 'a cat may look at a King!'"
+
+On the occasion of one of these kingly visits, Maximillian tried to do
+a little art-work on his own account. Taking a piece of charcoal he
+tried to sketch, but the charcoal kept breaking and he asked D�rer why
+it did so.
+
+"That is my sceptre; your Majesty has other and greater work to do,"
+was the tactful reply. It is a question with us to-day whether the
+King ever did a greater work than Albrecht D�rer, king of painters,
+was doing.
+
+After this, Maximillian gave D�rer a pension, but when the Emperor
+died the artist found it necessary to apply to the monarch who came
+after him, in order to have the gift confirmed. This was the occasion
+for his journey to the Low Countries, and he took his wife Agnes with
+him. In the Netherlands he was received with much honour and was
+invited to become court painter; and what was more, his pension was
+fixed upon him for life. The great work of his life was his
+illustration of the Apocalypse. For this he made sixteen extraordinary
+woodcuts, of great size.
+
+On his journey to see Charles V., Maximillian's successor, D�rer kept
+a diary in which he noted the minutest details of all that happened to
+him. He told of the coronation of Charles; of hearing about a whale
+that had been cast upon the shore; of his disappointment that it had
+been removed before he had reached the place. He wrote with great
+indignation about the supposed kidnapping of Martin Luther, while he
+was on his way home from the Diet of Worms.
+
+While D�rer was in the Low Countries, a fever came upon him, and when
+he returned home, it still followed him. Indeed, although he lived for
+seven years after his return, he was never well again. Among his
+effects there was a sketch made to indicate to his physician the seat
+of his illness.
+
+D�rer did not paint great frescoes upon walls as did Raphael, Michael
+Angelo, and all great Italian artists; but instead he painted on wood,
+canvas, and in oils.
+
+In all the civilised world D�rer was honoured equally with the great
+Italian painters of his time. He was a man of much conscientiousness,
+dignity, and tenderness. He was devoted to his home and country, and
+regarded the problems of life intellectually. When he came to die, his
+end was so unexpected that those dearest to him could not reach his
+bedside. He was buried in St. John's cemetery in Nuremberg. After his
+death, Martin Luther wrote as follows to their mutual friend, Eoban
+Hesse:
+
+"As for D�rer; assuredly affection bids us mourn for one who was the
+best of men, yet you may well hold him happy that he has made so good
+an end, and that Christ has taken him from the midst of this time of
+troubles, and from yet greater troubles in store, lest he, that
+deserved to behold nothing but the best, should be compelled to behold
+the worst. Therefore may he rest in peace with his fathers, Amen."
+
+  PLATE--THE NATIVITY
+
+Our description of this painting calls attention to the fact that the
+columns and arches of the picturesque ruin belong to a much later
+period in history than the birth of Christ. D�rer was not acquainted
+with any earlier style of architecture than the Romanesque and
+therefore he used it here. "The ruin serves as a stable. A roof of
+board is built out in front of the side-room which shelters the ox and
+ass, and under this lean-to lies the new born babe surrounded by
+angels who express their childish joy. Mary kneels and contemplates
+her child with glad emotion. Joseph, also deeply moved, kneels down on
+the other side of the child, outside the shelter of the roof. Some
+shepherds to whom the angel, who is still seen hovering in the air,
+has announced the tidings, are already entering from without the
+walls." (Knackfuss). The picture is the central panel of an
+altar-piece now in the Old Pinakothek at Munich. D�rer's oil painting
+of the four apostles--John, Peter, Mark, and Paul--is in the same
+gallery. Other D�rer pictures are: "The Knight, Death and the Devil,"
+"The Adoration of the Magi," "Melancholy," and portraits of himself.
+
+
+
+
+XIV
+
+MARIANO FORTUNY
+
+
+  (Pronounced Mah-ree-ah-no' For-tu'ne)
+  _Spanish School_
+  1838-1874
+  _Pupil of Claudio Lorenzalez_
+
+Fortuny won his own opportunities. He took a prize, while still very
+young, which made it possible for him to go to Rome where he wished to
+study art. He did not spend his time studying and copying the old
+masters as did most artists who went there, but, instead, he studied
+the life of the Roman streets.
+
+He had already been at the Academy of Barcelona, but he did not follow
+his first master; instead, he struck out a line of art for
+himself. After a year in Rome the artist went to war; but he did not
+go to fight men, he was still fighting fate, and his weapon was his
+sketch book. He went with General Prim, and he filled his book with
+warlike scenes and the brilliant skies of Morocco. From that time his
+work was inspired by his Moorish experiences.
+
+After going to war without becoming a soldier, Fortuny returned to
+Paris and there he became fast friends with Meissonier, so that a good
+deal of his work was influenced by that artist's genius. After a time
+Fortuny's paintings came into great vogue and far-off Americans began
+buying them, as well as Europeans. There was a certain rich dry-goods
+merchant in the United States who had made a large fortune for those
+days, and while he knew nothing about art, he wanted to spend his
+money for fine things. So he employed people who did understand the
+matter to buy for him many pictures whose excellence he, himself,
+could not understand, but which were to become a fine possession for
+succeeding generations. This was about 1860, and this man,
+A.T. Stewart, bought two of Fortuny's pictures at high prices. "The
+Serpent Charmer," and "A Fantasy of Morocco."
+
+When Fortuny was thirty years old he married the daughter of a
+Spaniard called Madrazo, director of the Royal Museum. His wife's
+family had several well known artists in it, and the marriage was a
+very happy one. Because of this, Fortuny was inspired to paint one of
+the greatest of his pictures, "The Spanish Marriage." In it are to be
+seen the portraits of his wife and his friend Regnault. After a time
+he went to live in Granada; but he could never forget the beautiful,
+barbaric scenes in Morocco, and so he returned there. Afterward he
+went with his wife to live in Rome, and there they had a fine home and
+everything exquisite about them, while fortune and favour showered
+upon them; but he fell ill with Roman fever, because of working in the
+open air, and he died while he was comparatively a young man.
+
+  PLATE--THE SPANISH MARRIAGE
+
+Fortuny is said to "split the light into a thousand particles, till
+his pictures sparkle like jewels and are as brilliant as a
+kaleidoscope.... He set the fashion for a class of pictures, filled
+with silks and satins, bric-…-brac and elegant trifling."
+
+Look at the brilliant scene in this picture! The priest rising from
+his chair and leaning over the table is watching the bridegroom sign
+his name. This chap is an old fop, bedecked in lilac satin, while the
+bride is a dainty young woman, without much interest in her husband,
+for she is fingering her beautiful fan and gossiping with one of her
+girl friends. She wears orange-blossoms in her black hair and is in
+full bridal array. One couple, two men, sit on an elegantly carved
+seat and are looking at the goings-on with amusement, while an old
+gentleman sits quite apart, disgusted with the whole unimpressive
+scene. Everybody is trifling, and no one is serious for the
+occasion. The furnishings of the room are beautiful, delicate, almost
+frivolous. People are strewn about like flowers, and the whole effect
+is airy and inconsequent. Fortuny painted also "The Praying Arab," "A
+Fantasy of Morocco," "Snake Charmers," "Camels at Rest," etc.
+
+
+
+
+XV
+
+THOMAS GAINSBOROUGH
+
+
+  _English School_
+  1727-1788
+  _Pupil of Gravelot and of Hayman_
+
+There seems to have been no artist, with the extraordinary exceptions
+of D�rer and Leonardo, who learned his lessons while at school. Little
+painters have uniformly begun as bad spellers.
+
+Gainsborough's father was in the business of woolen-crape making,
+while his mother painted flowers, very nicely, and it was she who
+taught the small Thomas. There were nine little Gainsboroughs and,
+shocking to relate, the artist of the family was so ready with his
+pencil that when he was ten years old he forged his father's name to a
+note which he took to the schoolmaster, and thereby gained himself a
+holiday. There is no account of any other wicked use to which he put
+his talent. It is said that he could copy any writing that he saw, and
+his ready pencil covered all his copy-books with sketches of his
+schoolmasters. It was thought better for him finally to follow his own
+ideas of education, namely, to roam the woodlands and make beautiful
+pictures.
+
+His father's heart was not softened till one day little Gainsborough
+brought home a sketch of the orchard into which the head of a man had
+thrust itself, painted with great ability. This man was a poacher, and
+father Gainsborough recognised him by the portrait. There seemed to be
+utility in art of this kind, and before long the boy found himself
+apprenticed to a silversmith.
+
+Through the silversmith the artist got admission to an art school and
+began his studies; but his master was a dissolute fellow, and before
+long the pupil left him.
+
+Gainsborough was born in the town of Sudbury on the River Stour, the
+same which inspired another great painter half a century
+later. Gainsborough is best known by his portraits, in particular as
+the inventor of "the Gainsborough hat," but he was first of all a
+truly great landscape painter, and learned his art as Constable did
+after him, along the beautiful shores of the river that flowed past
+his native town.
+
+The old Black Horse Inn is still to be seen, and it was in the orchard
+behind it that he studied nature, the same in which he made the first
+of his famous portraits, that of the poacher. It is known to this day
+as the portrait of "Tom Pear-tree." That picture was copied on a piece
+of wood cut into the shape of a man, and it is in the possession of
+Mr. Jackson, who lent it for the exhibition of Gainsborough's work
+held at the Grosvenor Gallery, in 1885.
+
+While Thomas was with his first master, by no means a good companion
+for a lad of fifteen, he lived a busy, self-respecting life, since he
+was devoted to his home and to his parents. Only three years after he
+set out to learn his art he married a young lady of Sudbury. The pair
+were by no means rich, Gainsborough having only eighteen years of
+experience in this world, besides his brush, and a maker of
+woolen-crape shrouds for a father--who was not over pleased to have an
+artist for a son. The lady had two hundred pounds but this did not
+promise a very luxurious living, so they took a house for six pounds a
+year, at Ipswich. Thus the two young lovers began their life
+together. There was a good deal of romance in the story of his wife,
+whose name was supposed to be Margaret Burr. The two hundred pounds
+that helped to pay the Ipswich rent did not come from the man accepted
+as her father, but from her real father, who was either the Duke of
+Bedford, or an exiled prince. This would seem to be just the sort of
+story that should surround a great painter and his affairs.
+
+While he lived at Ipswich Gainsborough used to say of himself that he
+was "chiefly in the face-way" meaning that for the most part he made
+portraits. He loved best to paint the scenes of his boyhood, as
+Constable afterward did, but he soon found there was more money in
+portraits, and so he decided to go to live in Bath, the fashionable
+resort of English people in that day, where he was likely to find rich
+folk who wanted to see themselves on canvas. He settled down there
+with his wife, whom he loved dearly, and his two daughters and at once
+began to make money. It is said he painted five hours a day and all
+the rest of the time studied music. As the theatre was Corot's
+greatest happiness, so did music most delight Gainsborough, and he
+could play well on nearly every known instrument; he became so
+excellent a musician that he even gave concerts. He had the most
+delightful people about him, people who loved art and who appreciated
+him, and then there were the other people who paid for having
+themselves painted. Altogether it was an ideal situation.
+
+His studio was in the place known as the "Circus" at Bath, and people
+came and went all day, for it became the fashionable resort for all
+the fine folks.
+
+From five guineas for half length portraits, he soon raised his price
+to forty; he had charged eight for full length portraits, but now they
+went for one hundred. He painted some famous men of the time. The very
+thought is inspiring of such a company of geniuses with Gainsborough
+in the centre of the group. He painted Laurence Sterne, who wrote "The
+Sentimental Journey," and a few other delightful things; also Garrick,
+the renowned actor.
+
+Even the encyclop‘dia reads thrillingly upon this subject and one can
+afford to quote it, with the feeling that the quotation will be read:
+"His house harboured Italian, German, French and English musicians. He
+haunted the green room of Palmer's Theatre, and painted gratuitously
+the portraits of many of the actors. He gave away his sketches and
+landscapes to any one who had taste or assurance enough to ask for
+them." This sounds royal and exciting.
+
+After that Gainsborough went up to London with plenty of money and
+plenty of confidence and instead of six pounds a year for his house,
+he paid three hundred pounds, which suggests much more comfort.
+
+There were two other great painters of the time in London, Sir
+Benjamin West--an American, by the way--and Sir Joshua Reynolds. West
+was court favourite, but Gainsborough too was called upon to paint
+royalty, and share West's honours. Reynolds was the favourite of the
+town, but he too had to divide honours with Gainsborough when the
+latter painted Richard Brinsley Sheridan, Edmund Burke and Sir William
+Blackstone.
+
+Notwithstanding, his landscapes, for which he should have been most
+famous, did not sell. Everybody approved of them, but it is said they
+were returned to him till they "stood ranged in long lines from his
+hall to his painting room" Gainsborough was a member of the Royal
+Academy and also a true Bohemian. He cared little for elegant society,
+but made his friends among men of genius of all sorts. He was very
+handsome and impulsive, tall and fair, and generous in his ways; but
+he had much sorrow on account of one of his daughters, Mary, who
+married Fischer, a hautboy player, against her father's wishes. The
+girl became demented--at least she had spells of madness.
+
+When Mary Gainsborough married, her father wrote the following letter
+to his sister, which shows that he was a man of tender feeling for
+those whom he truly loved:
+
+" ... I had not the least suspicion of the attachment being so long
+and deeply seated; and as it was too late for me to alter anything
+without being the cause of total unhappiness on both sides, my
+consent ... I needs must give ... and accordingly they were married
+last Monday and settled for the present in a ready-furnished little
+house in Curzon Street, Mayfair ... I can't say I have any reason to
+doubt the man's honesty or goodness of heart, as I never heard anyone
+speak anything amiss of him, and as to his oddities and temper, she
+must learn to like them as she likes his person ... Peggy has been
+very unhappy about it, but I endeavour to comfort her." Peggy was his
+wife.
+
+The abominable Fischer died twenty-years before Mary did--she lived to
+be an old, old woman.
+
+Among those whom Gainsborough loved best was the man called Wiltshire
+who carried his pictures to and from London. He was a public "carrier"
+but would never take any money for his services to the artist, because
+he loved his work. All he asked was "a little picture"--and he got so
+many of these, given in purest affection, that he might have gone out
+of business as a carrier, had he chosen to sell them. Four of those
+little pictures are now very great ones worth thousands of pounds and
+known everywhere to fame. They are "The Parish Clerk," "Portrait of
+Quin," "A Landscape with Cattle," and "The Harvest Waggon."
+
+We have a good many stories of Gainsborough's bad manners. The artists
+of his day tried to treat him with every consideration, but in return
+he treated them very badly, especially Sir Joshua Reynolds. Reynolds,
+who was then President of the Academy greatly admired Gainsborough but
+the latter would not return Sir Joshua's call, and when Reynolds asked
+him to paint his portrait for him, Gainsborough undertook it
+thanklessly. Sir Joshua left town for Bath for a time, and when he
+returned he tried to learn how soon the portrait would be finished,
+but Gainsborough would not even reply to his inquiry. There seems to
+have been no reason for this behaviour unless it was jealousy, but it
+made a most uncomfortable situation between fellow artists.
+
+Gainsborough has told some not very pleasing stories about himself,
+but one of them shows us what a knack he had for seeing the comic side
+of things, and perhaps for seeing comedy where it never existed. Upon
+one occasion he was invited to a friend's house where the family were
+in the habit of assembling for prayers, and he had no sooner got
+inside, than he began to fear he should laugh, when prayer time came,
+at the chaplain. In a rush of shyness he fled, leaving his host to
+look for him, till he stumbled over a servant who said that
+Mr. Gainsborough had charged him to say he had gone to breakfast at
+Salisbury. Even respect for the customs of others could not make him
+control himself.
+
+It was through his intimacy with King George's family that his quarrel
+with the Royal Academy came about. He had painted the three
+princesses--the Princess Royal, Princesses Augusta and Elizabeth, and
+these were to be hung at a certain height in Carlton House, but when
+he sent the first to the Academy he asked it to be specially hung and
+his request was refused. Then he sent a note as follows:
+
+"He begs pardon for giving them so much trouble, but he has painted
+the picture of the princesses in so tender a light that,
+notwithstanding he approves very much of the established line for
+strong effects, he cannot possibly consent to have it placed higher
+than eight feet and a half, because the likeness and the work of the
+picture will not be seen any higher, therefore at a word he will not
+trouble the gentlemen against their inclination, but will beg the best
+of his pictures back again." Immediately, the Academy returned his
+pictures, although it would seem that they might better have
+accommodated Gainsborough than have lost such a fine exhibition. He
+never again would send anything to them.
+
+He was inclined to be irritated by inartistic points in his sitters,
+and is said to have muttered when he was painting the portrait of
+Mrs. Siddons, the great actress: "Damn your nose madam; there is no
+end to it." The nose in question must have been an "eyesore" to more
+than Gainsborough, for a famous critic is said to have declared that
+"Mrs. Siddons, with all her beauty was a kind of female Johnson ...
+her nose was not too long for nothing."
+
+Notwithstanding that his landscapes were not popular, he used to go
+off into the country to indulge his taste for painting them, and once
+he wrote to a friend that he meant to mount "all the Lakes at the next
+Exhibition in the great style, and you know, if people don't like
+them, it's only jumping into one of the deepest of them from off a
+wooded island and my reputation will be fixed forever." An old lady,
+whose guest he was, down in the country, told how he was "gay, very
+gay, and good looking, creating a great sensation, in a rich suit of
+drab with laced ruffles and cocked hat."
+
+One of the boys he saw in the country he delighted to paint, and he
+also grew so much attached to him that he took him to London and kept
+him with him as his own son. That boy's name was Jack Hill and he did
+not care for city life, nor maybe for Gainsborough's eccentricities,
+so he ran away. He was found again and again, till one day he got away
+for good, and never came back.
+
+All his later life Gainsborough was happy. His daughter, who had
+married Fischer, the hautboy-player, came back home to live, and her
+disorder was not bad enough to prevent her being a cause of great
+happiness to her father. The other daughter never married.
+Gainsborough says that he spent a thousand pounds a year, but he also
+gave to everybody who asked of him, and to many who asked nothing, so
+that he must have made a great deal of money during his lifetime, by
+his art. It is said that the "Boy at the Stile" was bestowed on
+Colonel Hamilton for his fine playing of a solo on the violin. A lady
+who had done the artist some trifling service received twenty drawings
+as a reward, which she pasted on the walls of her rooms without the
+slightest idea of their value.
+
+Gainsborough got up early in the morning, but did not work more than
+five hours. He liked his friends, his music, and his wife, and spent
+much time with them. He was witty, and while he sketched pictures in
+the evening, with his wife and daughters at his side, he kept them
+laughing with his droll sayings.
+
+The last days of Gainsborough showed him to be a hero. He died of
+cancer, and some time before he knew what his disease was he must have
+suffered a great deal. There is a story that is very pathetic of a
+dinner with his friends, Beaumont and Sheridan. Usually, he was the
+gayest of the gay, but of late all his friends had noticed that gaiety
+came to him with effort. Upon the night of this dinner, Sheridan had
+been his wittiest, and had tried his hardest to make Gainsborough
+cheer up, till finally, the artist, finding it impossible to get out
+of his sad mood, asked Sheridan if he would leave the table and speak
+with him alone. The two friends went out together. "Now don't laugh,
+but listen," Gainsborough said; "I shall soon die. I know it; I feel
+it. I have less time to live than my looks infer, but I do not fear
+death. What oppresses my mind is this: I have many acquaintances, few
+friends; and as I wish to have one worthy man to accompany me to the
+grave, I am desirous of bespeaking you. Will you come? Aye or no!" At
+that Sheridan, who was greatly shocked, tried to cheer him, but
+Gainsborough would not return to the table, till he got the promise,
+which of course Sheridan made.
+
+It was not very long after this that a famous trial took place--that
+of Warren Hastings. It was in Westminster Hall, and Gainsborough went
+to listen several times. On the last occasion, he became so interested
+in what was happening that he did not notice a window open at his
+back. After a little he said to a friend that he "felt something
+inexpressibly cold" touch his neck. On his return home he told of the
+strange feeling to his wife. Then he sent for a doctor, and there was
+found a little swelling. The doctor said it was not serious and that
+when the weather grew warmer it would disappear; but all the while
+Gainsborough felt certain that it would mean his death. A short time
+after that he told his sister that he knew himself to have a cancer,
+and that was true.
+
+When he felt that he must die, he fell to thinking of many things in
+the past, and wished to right certain mistakes of his behaviour as far
+as possible.
+
+He sent to Sir Joshua Reynolds and asked him to come and see him,
+since he could not go to see Sir Joshua. Reynolds went and then
+Gainsborough told him of his regret that he had shown so much ill-will
+and jealousy toward so great and worthy a rival. Reynolds was very
+generous and tried to make Gainsborough understand that all was
+forgiven and forgotten. He left his brother artist much relieved and
+happier, and he afterward said: "The impression on my mind was that
+his regret at losing life was principally the regret of leaving his
+art." As Reynolds left the dying man's room, Gainsborough called after
+him: "We are all going to heaven--and Van Dyck is of the company."
+
+He was buried in Kew Churchyard and the ceremonies were followed by
+Reynolds and five of the Royal Academicians, who forgot all
+Gainsborough's eccentricities of conduct toward them in their honest
+grief over his death. He was one of the first three dozen original
+members of the Royal Academy.
+
+  PLATE--PORTRAIT OF MRS. RICHARD BRINSLEY SHERIDAN
+
+This picture is now in the collection of Lord Rothschild,
+London. Mrs. Sheridan was the loveliest lady of her time. She was the
+daughter of Thomas Linley, and a singer.
+
+She came from a home which was called "a nest of nightingales,"
+because all in it were musicians. The father had a large family and
+made up his mind to become the best musician of his time in his
+locality in order to support them. He was successful, and in turn most
+of his children became musicians. His lovely daughter, Eliza
+(Mrs. Sheridan), he bound to himself as an apprentice and taught her
+till she was twenty-one, insisting that she "serve out her time" to
+him, that she might become a perfect singer. The story of this
+beautiful lady seems to belong to the story of Gainsborough's portrait
+and shall be told here.
+
+When she was a very little girl, no more than eight years old, she was
+so beautiful that as she stood at the door of the pump room in Bath to
+sell tickets for her father's concerts, everyone bought them from
+her. When she was a very young woman her father engaged her to marry a
+Mr. Long, sixty years old. She did not seem to mind what arrangements
+her father made for her, but continued to sing and attend to her
+business, till after the wedding gowns were all made and everything
+ready for the marriage, when she happened to meet the brilliant
+Richard Brinsley Sheridan, whose plays were so fashionable, and she
+fell deeply in love with him. She told Mr. Long she would not marry
+him, and without much objection he gave her up, but her father was
+very angry and he threatened to sue Mr. Long for letting his daughter
+go. Then the beautiful lady ran away to Calais and married
+Mr. Sheridan without her father's permission; but she came home again
+and said nothing of what she had done, kept on singing and helping her
+father earn money for his family. One day, Mr. Sheridan was wounded in
+a duel which he had fought with one of his wife's admirers, and when
+she heard the news she screamed, "my husband, my husband," so that
+everybody knew she was married to the fascinating playwright. Sheridan
+for some reason did not at once come and get her, nor arrange for them
+to have a home together. For a good while she continued to sing; and
+once hearing her in oratorio, Sheridan fell in love with his wife all
+over again. He took her from her home and would never let her sing
+again in public. They remarried publicly and went to live in
+London. He was not at all a rich and famous man at that time--only a
+poor law-student--but he would not let his wife make the fortune she
+might easily have made, by singing.
+
+This must have made his beautiful wife very sad, but she made no
+complaint at giving up her music and letting him silence her lovely
+voice, but turned all her attention to advancing his fortunes. She
+worked for him even harder than she had for her father, and that was
+saying a great deal. When he became a great writer of plays his wife
+took charge of all the accounts of his Drury Lane Theatre, and when he
+was in the House of Commons she acted as his secretary. Sheridan died
+in great poverty and wretchedness, and it is believed had his
+self-sacrificing wife not died before him she would have looked after
+his affairs so well that he would not have lost his fortune.
+Gainsborough painted the portraits of Sheridan's father-in-law, and of
+Samuel Linley; and it was said that this last portrait was painted in
+forty-eight minutes. Among his other portraits are: eight of George
+III., Sir John Skynner, Admiral Hood, Colonel St. Leger, and "The Blue
+Boy"; but he was first and last a landscape painter of highest genius.
+
+
+
+
+XVI
+
+JEAN LEON GEROME
+
+
+  (Pronounced Zhahn Lay'on Zhay-rome)
+  _French, Semi-classical School_
+  1824-1904
+  _Pupil of Delaroche_
+
+One cannot write much more than the date of birth and death of a man
+who lived until three or four years of the time of writing, so we may
+only say that G‚r“me was one of the most brilliant of modern French
+painters. He was born at Vesoul and his father was a goldsmith. Thus
+he probably had no very great difficulty in getting a start in his
+work. The prejudice against having an artist in the family was dying
+out, and as a prosperous goldsmith we may believe that his father had
+means enough to give his son good opportunities.
+
+G‚r“me, like Millet, studied under Delaroche, but became no such
+characteristic painter as he. While studying with Delaroche he also
+was taking the course in l'Ecole des Beaux-Arts.
+
+His first exhibited picture was "The Cock Fight," and he won a third
+class medal by it.
+
+Almost always this painter has chosen his subjects from ancient or
+classic life, and his pictures are not always decent, but he painted
+with much care, the details of his work are very finely done and their
+vivid colour is fascinating.
+
+  PLATE--THE SWORD DANCE
+
+This painting may be seen in the Metropolitan Museum of Art in New
+York City. The scene is full of action and interest, but perhaps the
+details of dress, mosaic decoration upon the walls, patterns of the
+rugs, the coloured and jewelled lamps and windows are the most
+splendidly painted of all.
+
+The central figure is a dancing girl, only partly draped, balancing a
+sword on her head, while a brilliant green veil flies from head and
+face. Other Oriental women squat upon the floor watching her with a
+half indolent expression, while their Oriental masters and their
+friends sit in pomp at one side, absorbed in the dance and in the
+girl. The expressions upon all the faces are excellent and, the
+jewelled light that falls upon the group, the rich clothing, the grace
+of the dancer--all make a fascinating picture of a genre type. Other
+G‚r“mes are "Daphnis and Chloe," "Leda," and "The Duel after the
+Masked Ball."
+
+
+
+
+XVII
+
+GHIRLANDAJO
+
+
+  (Pronounced Geer-lan-da'yo)
+  _Florentine School_
+  1449-1494
+  _Pupil of Fra Bartolommeo_
+
+It is a good deal of a name--Domenico di Tommaso di Currado
+Bigordi--and it would appear that the child who bore it was under
+obligation to become a good deal of a something before he died.
+
+Italian and Spanish painters generally had large names to live up to,
+and the one known as Ghirlandajo did nobly.
+
+His father was a goldsmith and a popular part of his work was the
+making of golden garlands for the hair of rich Italian ladies. His
+work was so beautiful that it gained for him the name of Ghirlandajo,
+meaning the garland-twiner, a name that lived after him, in the great
+art of his son. Domenico began as a worker in mosaic, a maker of
+pictures or designs with many coloured pieces of glass or stone.
+
+Ghirlandajo's art was no improvement on that of his teacher, but he in
+turn became the teacher of Michael Angelo.
+
+The Florentine school of painting, to which Ghirlandajo belonged, was
+not so famous for colour as the Venetian school, but it had many other
+elements to commend it. One cannot expect Ghirlandajo to rank with
+Titian, Rubens, or other "colourists" of his own and later periods,
+but he did the very best work of his day and school. He attained to
+fame through his choice of types of faces for his models, and by his
+excellent grouping of figures.
+
+Until his day, the faces introduced into paintings were likely to be
+unattractive, but he chose pleasing ones, and he painted the folds of
+garments beautifully. He was not entirely original in his ideas, but
+he carried out those which others had thus far failed to make
+interesting.
+
+Often, in his wish to paint exactly what he saw, he softened nothing
+and therefore his figures were repulsive, but Fra Bartolommeo's pupil
+gave promise of what Michael Angelo was to fulfill.
+
+Ghirlandajo and Michael Angelo were a good deal alike in their
+emotional natures. Both sought great spaces in which to paint, and
+both chose to paint great frescoes. Indeed Ghirlandajo had the
+extraordinary ambition to put frescoes on all the fortification walls
+about Florence. It certainly would have made the city a great picture
+gallery to have had its walls forever hung with the pictures of one
+master. Had he painted them, inside and out, when such an enemy as
+Napoleon came along, with his love of art, and his fashion of taking
+all that he saw to Paris, he would likely enough have camped outside
+the walls while he decided what part of the gallery he would transfer
+to the Louvre.
+
+One of the reasons that Ghirlandajo is famous is that he often chose
+well known personages for his models, and as he painted just what he
+saw, did not idealise his subject, he gave to the world amazing
+portraits, as well as fine paintings. The same thing was done by
+painters of a far different school, at another period. The Dutch and
+Flemish painters were in the habit of using their neighbours as
+models.
+
+Ghirlandajo is classed among religious painters, but let us compare
+some of his "religious" paintings with those of Raphael or Murillo,
+and see the result.
+
+He painted seven frescos on the walls of the Santa Maria Novella in
+Florence, all scenes of Biblical history, as Ghirlandajo imagined
+them. They show him to have been a fine artist, but to have had not
+much idea of history, and to have had little sense of fitness.
+
+Ghirlandajo's seven subjects are taken from legends of the Virgin, and
+the greatest represents Mary's visit to Elizabeth; it is called "The
+Visitation," and it is a fresco about eighteen feet long painted on
+the choir wall.
+
+Let us imagine the possible scene. The Virgin Mary came from Cana, a
+little town in Galilee placed in the hills about nine miles from
+Nazareth, the home of the lowliest and the poorest, of a kindly
+pastoral people living in the open air, needing and wanting very
+little, simple in their habits. Elizabeth, Mary's old cousin, lived in
+Judea, and St. Luke writes thus: "Mary arose in those days and went
+into the hill country with haste, into a city of Judea; and entered
+into the house of Zacharias" (Elizabeth's husband) "and saluted
+Elizabeth."
+
+This record had been made at least eleven hundred years before
+Ghirlandajo painted in the Santa Maria Novella, and from it one cannot
+imagine that Mary made any preparation for her journey, nor does it
+suggest that Elizabeth had any chance to arrange a reception for
+her. Even had she done so, it must have been of the simplest
+description, at that time among those people. One can imagine a lowly
+home; an aged woman coming out to meet her young relative either at
+her door or in the high road.
+
+There may have been surroundings of fruit and flowers, a stretch of
+highroad or a hospitable doorway; but the wildest imagination could
+not picture what Ghirlandajo did.
+
+He paints Elizabeth flanked with handmaidens, as if she were some
+royal personage, instead of a priest's wife in fairly comfortable
+circumstances where comfort was easily obtained. Mary appears to be
+escorted by ladies-in-waiting, hardly a likely circumstance since she
+was affianced to no richer or more important person than a carpenter
+of Galilee. Possibly the three ladies that stand behind Mary in, the
+picture are merely lookers-on, but in that case the visit of Mary
+would seem to have been of public importance, especially as there are
+youths near by who are also much interested in one woman's hasty visit
+to another. The rich brocades worn by Elizabeth's waiting ladies are
+splendid indeed and the landscape is fine--a rich Italian landscape
+with architecture of the most up-to-date sort--showing, in short, that
+the artist lacked historical imagination. He found some models, made a
+purely decorative painting with an Italian setting and called it "The
+Visitation." The doorway on the right is distinctly renaissance.
+
+Such a painting as this is not "religious," nor is it historic, nor
+does it suggest a subject; it is merely a fine picture better coloured
+than most of those of the Florentine school. There is another painting
+of this same subject by Ghirlandajo in the Louvre, but it is no nearer
+truth than the one in the Santa Maria.
+
+Ghirlandajo painted other than religious subjects, and one of them, at
+least, is quite repulsive. It is the picture of an old man, with a
+beautiful little child embracing him. The old man may have tenderness
+and love in his face, but his heavy features, his warty nose, do not
+make one think of pleasant things and one does not care to imagine the
+dear little child kissing the grotesque old fellow.
+
+It was before Ghirlandajo's time that another painter had discovered
+the use of oil in mixing paints. Previously colours had been mixed in
+water with some gelatinous substance, such as the white and yolk of an
+egg, to give the paint a proper texture or consistency. This
+preparation was called "distemper," and frescoes were made by using
+this upon plaster while it was still wet. Plaster and colours dried
+together, and the painting became a part of the wall, not to be
+removed except by taking the plaster with it.
+
+The different gluey substances used had often the effect of making the
+colours lose their tone and they presented a glazed surface when used
+upon wood, a favourite material with artists.
+
+There are numberless anecdotes written of this artist and his brother,
+and one of these shows he had a temper. The brothers were engaged in a
+monastery at Passignano painting a picture of the "Last Supper." While
+at work upon it, they lived in the house. The coarse fare did not suit
+Ghirlandajo, and one night he could endure it no longer. Springing
+from his seat in the refectory he flung the soup all over the monk who
+had served it, and taking a great loaf of bread he beat him with it so
+hard that the poor monk was carried to his cell, nearly dead. The
+abbot had gone to bed, but hearing the rumpus he thought it was
+nothing less than the roof falling in, and he hurried to the room
+where he found the brothers still raging over their dinner. David
+shouted out to him, when the abbot tried to reprove the artist, that
+his brother was worth more than any "pig of an abbot who ever lived!"
+
+It is recorded in the documents found in the Confraternity of St. Paul
+that:
+
+Domenico de Ghurrado Bighordi, painter, called del Grillandaio, died
+on Saturday morning, on the 11th day of January, 1493 (o.s.), of a
+pestilential fever, and the overseers allowed no one to see the dead
+man, and would not have him buried by day. So he was buried, in Santa
+Maria Novella, on Saturday night after sunset, and may God forgive
+him! This was a very great loss for he was highly esteemed for his
+many qualities, and is universally lamented.
+
+The artist left nine children behind him.
+
+Ghirlandajo's pictures may be found in the Louvre, the Berlin Museum,
+the Dresden, Munich, and London galleries. Most children will find it
+hard to see their beauty.
+
+Great men are likely to come in groups, and with Ghirlandajo there are
+associated Botticelli and Fra Filippo Lippi.
+
+  PLATE--PORTRAIT OF GIOVANNA DEGLI ALBIZI
+
+This lovely lady was the wife of one of the painter's patrons,
+Giovanni Tornabuoni, through whom he received the commission for a
+series of frescoes in the choir of the Santa Maria Novella,
+Florence. The subjects chosen were sacred, but since Ghirlandajo, no
+more than his neighbours, knew what the Virgin or her contemporaries
+looked like, he saw no reason why he should not compliment some of the
+great ones of his own city and his own time by painting them in to
+represent the different characters of Holy Writ. So, as one of the
+ladies attendant upon Elizabeth when Mary comes to visit her, we have
+this signora of the fifteenth century. The artist made another picture
+of her, the one here shown, but in the same dress and posed the same
+as she had been for the church fresco. This accounts for its dignity
+and simplicity. It would seem like a bas-relief cut out of marble were
+it not for its wonderful colouring. It is in the Rudolf Kann
+Collection, Paris. This artist's other pictures are "Adoration of the
+Shepherds," "Adoration of the Magi," "Madonna and Child with Saints,"
+"Three Saints and God the Father," "Coronation of the Virgin," and
+"Portrait of Old Man and Boy."
+
+
+
+
+XVIII
+
+GIOTTO (DI BORDONE)
+
+
+  (Pronounced Jot-to)
+  _Florentine School_
+  1276-1337
+  _Pupil of Cimabue_
+
+Giotto painted upon wood, and in "distemper"--the mixture of colour
+with egg or some other jelly-like substance. We know nothing of his
+childhood except that he was a shepherd, as we learn from a story told
+of him and his teacher, Cimabue.
+
+The story runs that one day while Giotto was watching his sheep, high
+up on a mountain, Cimabue was walking abroad to study nature, and he
+ran across a shepherd boy who was drawing the figure of a sheep, with
+a piece of slate upon a stone. In those days we can imagine how rare
+it was to find one who could draw anything, ever so rudely.
+Immediately Cimabue saw a chance to make an artist and he asked the
+little shepherd if he would like to be taught art in his studio.
+Giotto was overjoyed at the opportunity, and at once he left the
+mountains for the town, the shepherd's crook for the brush.
+
+In those days the studio of one like Cimabue was really a workshop.
+Artists had to grind their own colours, prepare their own panels upon
+which to paint, and do a hundred other things of a workman rather than
+an artist kind in connection with their painting. Such a studio was
+crowded with apprentices--boys who did these jobs while learning from
+the master. Their teaching consisted in watching the artist and now
+and then receiving advice from him.
+
+It was into such a shop as this, in Florence, that Giotto went, and
+soon he was to become greater than his master. Even so, we cannot
+think him great, excepting for his time, because his pictures,
+compared with later art, are crude, stiff, and strange.
+
+No pupil was permitted to use a brush till he had learned all the
+craft of colour grinding and the like, and this was supposed to take
+about six years. These workshops were likely to be dull, gloomy
+places, and only a strong desire to do such things as they saw their
+master doing, would induce a boy to persevere through the first
+drudgery of the work. Giotto persevered, and not only became an
+original painter, at a time when even Cimabue hardly made figures
+appear human in outline, but he designed the great Campanile in
+Florence, and he saw it partly finished before he died. The Campanile
+is a wonder of architecture, but Giotto's Madonnas had to be improved
+upon, as certainly as he had improved upon those of Cimabue.
+
+There are many amusing stories of Giotto, mainly telling of his good
+nature, and his ugly appearance, which everyone forgot in appreciation
+of his truly kind heart. Once a visit was made to his studio by the
+King of Naples, after the artist had become famous. Giotto was
+painting busily, though the day was very hot. The King entered, and
+bade Giotto not to be disturbed but to continue his work, adding:
+"Still, if I were you, I should not paint in such hot weather." Giotto
+looked up with a laugh in his eye: "Neither would I--if I were you,
+Sire!" he answered.
+
+There is a famous saying: "As round as Giotto's "O," and this is how
+it came about. The pope wanted the best of the Florentine artists to
+do some work in Rome for him and he sent out to them for examples of
+their work. When the pope's messenger came to Giotto the artist was
+very busy. When asked for some of his work to show the pope, he
+paused, snatched a piece of paper and with the brush he had been
+using, which was full of red paint, he hurriedly drew a circle and
+gave it to the messenger who stared at him.
+
+"But--is this _all_?" he asked.
+
+"All--yes--and too much. Put it with the others." This perfect circle
+and the account the messenger gave of his visit so delighted the pope
+that Giotto was chosen from all the Florentine artists to decorate the
+Roman buildings.
+
+Thus Giotto worked till he was fifty-seven or eight years old when he
+put aside his brush and turned to sculpture and architecture. Meantime
+he had far outstripped his master in art. The arrangement of the
+groups is about the same, but the figures look human and the draperies
+are more natural, while he gives the appearance of length, breadth,
+and thickness to his thrones and enclosures. We shall not choose a
+Madonna for illustration, but another of Giotto's masterpieces,
+remembering that good as he was in his time, he seems amazingly bad
+compared with those who came after him.
+
+  PLATE--THE MEETING OF ST. JOHN AND ST. ANNA AT JERUSALEM.
+
+In 1303 a certain Enrico Scrovegno had a private chapel built in the
+Arena at Padua and he sent for Giotto to come there and adorn the
+whole of its walls and ceiling with frescoes. These remain, though the
+chapel is now emptied of all else, and they suffice to bring scores of
+art-lovers to Padua. The picture here reproduced represents the
+meeting and reconciliation between the father and mother of the Virgin
+before her birth. The peculiarly shaped eyes and eyebrows that Giotto
+gives to all his characters are specially noteworthy here as in every
+one of the thirty-eight frescoes. There are three rows of pictures,
+one above the other and in them are portrayed the principal scenes in
+the lives of Christ and the Virgin. The painter here reached his
+high-water mark, showed the very best he could produce in sincere,
+restrained art.
+
+
+
+
+XIX
+
+FRANZ HALS
+
+
+  _Dutch School_
+  1580-04-1666
+  _Pupil of Karel Van Mander_
+
+Franz Hals belonged to a family which for two hundred years had been
+highly respected in Haarlem in the Netherlands. The father of the
+painter left that town for political reasons in 1579, and it was at
+Antwerp that Franz was born sometime between that date and 1585. His
+parents took him back to Haarlem as an infant, and that is the town
+with which his name and fame are most closely associated.
+
+Little is known of his early life except that he began his studies
+with Karel Van Mander and Cornelis Cornelissen. What we know of his
+family life is not to his credit. In the parish register of 1611 is
+recorded the birth of a son to Franz Hals and five years later he is
+on the public records for abusing his wife, who died shortly
+afterward. He married again within a year and the second wife bore him
+many children and survived him ten years. Five of his seven sons
+became painters.
+
+Franz Hals drank too much and mixed too freely with the kind of
+disreputable people he loved to paint, but he never became so degraded
+that his hand lost its cunning, or his eye its keen vision for that
+which he wished to portray. In 1644, he was made a director of the
+Guild of St. Lucas, an institution for the protection of arts and
+crafts in Haarlem, but from that time onward he sank in popular
+esteem, deservedly. He fell into debt, then into pauperism, and when
+he died, about the age of eighty-six, he was buried at public expense
+in the choir of St. Bavon Church in Haarlem.
+
+It was in the year 1616 that Hals first became known as a master of
+his art by the painting of the St. Jovis Shooting Company, one of the
+clubs composed of volunteers banded together for the defence of the
+town should occasion arise. Such guilds were common throughout
+Holland, and they became a favourite subject with Hals, as with other
+painters of the time, who vied with one another in portraiture of the
+different members. These groups were hung upon the walls of the
+chambers where meetings were held for social purposes in times of
+peace. The men of highest rank are always given the most conspicuous
+places in the pictures. The flag is generally the one bit of gorgeous
+colour in the scene; but Franz Hals seized the opportunity to show his
+wonderful skill in detail while painting the cuffs and ruffs worn by
+these grandees. In all his work there is an impression of strength
+rather than of beauty; it is the charm of expressiveness he is aiming
+at, rather than the charm of grace and colour to which the Italian
+school was devoted. He differed from that school, also, in his choice
+of subjects, for he was distinctly and almost entirely a portrait
+painter, and within his own limited range he is unsurpassed. A
+wonderful collection of his works is to be seen in the Haarlem Town
+Hall.
+
+  PLATE--THE NURSE AND THE CHILD
+
+Considering the woeful life that Franz Hals led, it is amazing to
+think that he of all artists is the best painter of good humour. He
+puts a smile on the face of nearly every one of his "leading
+characters," whether it be a modest young girl, a hideous old woman, a
+strolling musician, or a riotous soldier, and in every case the laugh
+suits the subject. It may have been his own easygoing shiftlessness,
+his way of casting care aside with a jest that enabled him to live so
+long and to accomplish so much in spite of his poverty and other
+misfortunes.
+
+The roguish look upon the face of this baby of the house of Ilpenstein
+makes it appear older than the pleasant faced nurse. The dress of the
+child is such as Hals delighted to spend his talents upon. The picture
+is in the Berlin Gallery.
+
+Among his best known paintings are "The Laughing Cavalier," "The
+Fool," "The Man with the Sword," and "Hille Bobbe. the Witch of
+Haarlem."
+
+
+
+
+XX
+
+MEYNDERT HOBBEMA
+
+
+  _Dutch School_
+  1637-1709
+  _Pupil of Jacob van Ruisdael_
+
+When a man becomes famous many people claim his acquaintance, and
+often many places his birthplace. In Hobbema's case it has never been
+decided whether he was born in the little town of Koeverdam, or in the
+city of Haarlem or in Amsterdam. Nor is it quite certain when he was
+born; but what he did afterward, we are all acquainted with.
+
+No one knows much about the life of this artist, but his master was
+doubtless his uncle, van Ruisdael. Hobbema was dead a hundred years
+before the world acknowledged his genius, thus he reaped no reward for
+hard work and ambition. He, like Rembrandt, died in great poverty, and
+with nearly the same surroundings. Rembrandt died forsaken in
+Roosegraft Street, Amsterdam, and Hobbema died in the same
+locality. We must speak chiefly about his work, since we know little
+of his personality or affairs.
+
+If B”cklin's pictures seem to be composed of vertical lines, Hobbema's
+are as startling in their positive vertical and horizontal lines
+combined. We are not likely to find elevations or gentle, gradual
+depressions in his landscapes, but straight horizons, long trunked,
+straight limbed trees; and the landscape seems to be punctured here
+and there by an upright house or a spire. It is startlingly beautiful,
+and so characteristic that after seeing one or two of Hobbema's
+pictures we are likely to know his work again wherever we may find it.
+
+Hobbema got at the soul of a landscape. It was as if one painted a
+face that was dear to one, and not only made it a good likeness but
+also painted the person as one felt him to be--all the tenderness, or
+maybe all the sternness.
+
+It may be that Hobbema's failure to get money and honours, or at the
+very least, kind recognition as a great artist, while he lived,
+influenced his painting, and made him see mostly the sad side of
+beauty, nor it is certain that his landscapes give one a strange
+feeling of sadness and desolation, even when he paints a scene of
+plenty and fulness.
+
+The French have made a phrase for his kind of work, _paysage
+intime_--meaning the beloved country--the one best known. It is a fine
+phrase, and it was first used to describe Rousseau's and Corot's work;
+but it especially applies to Hobbema's.
+
+While this artist was not yet recognised, his uncle van Ruisdael was
+known as a great artist. The family must have been rich in spirit that
+gave so much genius to the world. Hobbema certainly loved his art
+above all things, for he had no return during his lifetime, save what
+was given by the joy of work. There are those who complain that
+Hobbema was a poor colourist. True, he used little besides grays and a
+peculiar green, which seemed especially to please him; but since that
+colouring belonged to the subjects he chose, one cannot complain on
+the ground that what he did was unsatisfying. For lack of knowledge
+about him we can think of him as a man of moods, sad, desolate ones at
+that; because his work is too extreme and uniform in its character for
+us to believe his method was affected.
+
+  PLATE--THE AVENUE, MIDDELHARNIS, HOLLAND
+
+This perhaps is one of the most characteristic of Hobbema's
+pictures. Note a strange hopelessness in the scene, as well as
+beauty. The tall and solemn trees, the high light upon the road,
+suggesting to us all sorts of joys struggling through the
+cheerlessness of life. What other artist would have chosen such a
+corner of nature for a subject to paint? To quote a fine description:
+
+"He loved the country-side, studied it as a lover, and has depicted it
+with such intimacy of truth that the road to Middelharnis seems as
+real to-day as it did over a hundred years ago to the artist. We see
+the poplars, with their lopped stems, lifting their bushy tops against
+that wide, high sky which floats over a flat country, full of billowy
+clouds as the sky near the North Sea is apt to be. Deep ditches skirt
+the road, which drain and collect the water for purposes of
+irrigation, and later on will join some deeper, wider canal, for
+purposes of navigation. We get a glimpse on the right, of patient
+perfection of gardening, where a man is pruning his grafted fruit
+trees; farther on a group of substantial farm buildings. On the
+opposite side of the road stretches a long, flat meadow, or "polder,"
+up to the little village which nestles so snugly around its tall
+church tower; the latter fulfilling also the purpose of a beacon, lit
+by night, to guide the wayfarer on sea and land; scene of tireless
+industry, comfortable prosperity, and smiling peace. ... Pride and
+love of country breathe through the whole scene. To many of us the
+picture smiles less than it thrills with sadness. Perhaps it speaks
+thus only to those who find a kind of hurt in the revival of the
+spring, which promises so much and may fulfill so little."
+
+Hobbema's "Watermill" is very well-known and so are his "Wooded
+Landscape," and "Haarlem's Little Forest."
+
+
+
+
+XXI
+
+WILLIAM HOGARTH
+
+
+  _School of Hogarth (English)_
+  1697-1764
+
+William Hogarth, like Watteau, originated his own school; in short
+there never was anybody like him. He was an editorial writer in
+charcoal and paint, or in other words he had a story to tell every
+time he made a picture, and there was an argument in it, a right and a
+wrong, and he presented his point of view by making pictures.
+
+English artists in literature and in painting have done some great
+reformatory work. Charles Dickens overthrew some dreadful abuses by
+writing certain novels. The one which has most interest for children
+is the awful story of Dotheboys' Hall, which exposed the ill treatment
+of pupils in a certain class of English schools. What Dickens and
+Charles Reade did in literature, Hogarth undertook to do in
+painting. He described social shams; painted things as they were, thus
+making many people ashamed and possibly better.
+
+Italians had always painted saints and Madonnas, but Hogarth pretended
+to despise that sort of work, and painted only human beings. He did
+not really despise Raphael, Titian, and their brother artists, but he
+was so disgusted with the use that had been made of them and their
+schools of art, to the entire exclusion of more familiar subjects,
+that he turned satirist and ridiculed everything.
+
+First of all, Hogarth was an engraver. He was born in London on the
+10th December, 1697, and eighteen days later was baptised in the
+church of St. Bartholemew the Great. His father was a school teacher
+and a "literary hack," which means that in literature he did whatever
+he could find to do, reporting, editing, and so on.
+
+Hogarth must early have known something of vagabond life, for his
+father's life during his own youth must have brought him into
+association with all sorts of people. He knew how madhouses were run,
+how kings dined, how beggars slept in goods boxes, and many other
+useful items.
+
+Hogarth said of himself: "Shows of all sorts gave me uncommon pleasure
+when an infant, and mimicry, common to all children, was remarkable in
+me.... My exercises, when at school, were more remarkable for the
+ornaments which adorned them, than for the exercises themselves." He
+became an engraver or silver-plater, being apprenticed to Mr. Ellis
+Gamble, at the sign of the "Golden Angel," Cranbourne Alley, Leicester
+Fields.
+
+Engraving on silver plate was all well enough, but Hogarth aspired to
+become an engraver on copper, and he has said that this was about the
+highest ambition he had while he was in Cranbourne Alley.
+
+The shop-card which he engraved for Mr. Ellis Gamble may have been the
+first significant piece of work he undertook. The card is still among
+the Hogarth relics. He set up as an engraver on his own account,
+though he did study a little in Sir James Thornhill's art school; but
+whatever he learned he turned to characteristic account.
+
+He continued to make shop-cards, shop-bills, and book-plates. Finally,
+in 1727, a maker of tapestry engaged Hogarth to sketch him a design
+end he set to work ambitiously He worked throughout that year upon the
+design, but when he took it to the man it was refused. The truth was
+that the man who had commissioned the work had heard that Hogarth was
+"an engraver and no painter," and he had so little intelligence that
+he did not intend to accept his design, however much it might have
+pleased him. Hogarth sued the man for his refusal and he won the
+suit. He next began to make what he called "conversation pieces,"
+little paintings about a foot high of groups of people, the figures
+being all portraits. These were very fashionable for a time and made
+some money for the artist. Both he and Watteau were fond of the stage,
+and both painted scenes from operas and plays.
+
+In time he moved into lodgings at the "Golden Head," in Leicester
+Fields, and there he made his home. He had already begun the great
+paintings which were to make him famous among artists. These were a
+series of pictures, telling stories of fashionable and other life. His
+own story of how he came to think of the picture series was that he
+had always wished to present dramatic stories--present them in scenes
+as he saw them on the stage.
+
+He had married the daughter of Sir James Thornhill, and had never been
+thought of kindly by his father-in-law till he made so much stir with
+his first series. Then Sir James approved of him, and Hogarth found
+life more pleasing.
+
+There are very few anecdotes to tell of the artist's life, and the
+story of his pictures is much more amusing. One of his first satires
+was made into a pantomime by Theophilus Gibber, and another person
+made it into an opera. Many pamphlets and poems were written about it,
+and finally china was painted with its scenes and figures. There was
+as much to cry as to laugh over in Hogarth's pieces and that is what
+made them so truly great. One of his great picture series was called
+the "Rake's Progress" and it was a warning to all young men against
+leading too gay a life. It showed the "Rake" at the beginning of his
+misfortunes, gambling, and in the last reaping the reward of his
+follies in a debtor's prison and the madhouse. There are eight
+pictures in that set.
+
+In this series, especially in the fifth picture, there are
+extraordinary proofs of Hogarth's completeness of ideas. Upon the wall
+in the room wherein the "Rake" marries an old woman for her money, the
+Ten Commandments are hung, all cracked, and the Creed also is cracked
+and nearly smudged out; while the poor-box is covered with
+cobwebs. The eight pictures brought to Hogarth only seventy guineas.
+
+One of his pictures was suggested to him by an incident which greatly
+angered him. He had started for France on some errand of his own, and
+was in the very act of sketching the old gate at Calais, when he was
+arrested as a spy. Now Hogarth was a hard-headed Englishman, and when
+he was hustled back to England without being given time for argument,
+he was so enraged that he made his picture as grotesque as possible,
+to the lasting chagrin of France. He painted the French soldiers as
+the most absurd, thin little fellows imaginable, and that picture has
+largely influenced people's idea of the French soldier all over the
+English-speaking world.
+
+As Hogarth grew old he grew also a little bitter and revengeful toward
+his enemies, often taking his revenge in the ordinary way of
+belittling the people he disliked, in his paintings.
+
+Hogarth came before Reynolds or Gainsborough; in short, was the first
+great English artist, and his chief power lay in being able instantly
+to catch a fleeting expression, and to interpret it. An incident of
+Hogarth's youth illustrates this. He had got into a row in a pot-house
+with one of the hangers-on, and when someone struck the brawler over
+the head with a pewter pot, there, in the midst of excitement and
+rioting, Hogarth whipped out his pencil and hastily sketched the
+expression of the chap who had been hit.
+
+Hogarth was friends with most of the theatre managers, and one of his
+souvenirs was a gold pass given him by Tyers, the director of Vauxhall
+Gardens, which entitled Hogarth and his family to entrance during
+their lives. This was in return for some "passes," which Hogarth had
+engraved for Tyer.
+
+Upon one occasion Hogarth set off with some companions for a trip to
+the Isle of Sheppey. Incidentally Forest wrote a sketch of their
+journey and Hogarth illustrated it. That work is to be found,
+carefully preserved, in the British Museum. The repeated copying and
+reproduction for sale of his pictures brought about the first effort
+to protect his works of art by copyright. But it was not till he had
+done the "Rake's Progress" that he was able to protect himself at all,
+and even then not completely.
+
+Just before his death he was staying at Chiswick, but the day before
+he died he was removed to his house in Leicester Fields. He was buried
+in the Chiswick churchyard; and in that suburb of London may still be
+seen his old house and a mulberry tree where he often sat amusing
+children for whom he cared very much. Garrick wrote the following
+epitaph for his tomb:
+
+  If Genius fire thee, Reader, stay;
+  If Nature touch thee, drop a tear;
+  If neither move thee, turn away,
+  For Hogarth's honour'd dust lies here.
+
+  Farewell, great Painter of Mankind!
+  Who reached the noblest point of art,
+  Whose pictured Morals charm the Mind
+  And through the Eye correct the Heart.
+
+  PLATE--THE MARRIAGE CONTRACT
+
+The picture used in illustration here is part of probably the very
+greatest art-sermon ever painted, called "Marriage … la Mode." The
+story of it is worth telling:
+
+"The first act is laid in the drawing-room of the Viscount
+Squanderfield"--is not that a fine name for the character? "On the
+left, his lordship is seated, pointing with complacent pride to his
+family tree, which has its roots in William the Conqueror. But his
+rent roll had been squandered, the gouty foot suggesting whither some
+of it has gone; and to restore his fortunes he is about to marry his
+heir to the daughter of a rich alderman. The latter is seated
+awkwardly at the table, holding the marriage contract duly sealed,
+signed and delivered; the price paid for it, being shown by the pile
+of money on the table and the bunch of cancelled mortgages which the
+lawyer is presenting to the nobleman, who refuses to soil his elegant
+fingers with them. Over on the left is his weakling son, helping
+himself at this critical turn of his affairs, to a pinch of snuff
+while he gazes admiringly at his own figure in the mirror. The lady is
+equally indifferent; she has strung the ring on to her finger and is
+toying with it, while she listens to the compliments being paid to her
+by Counsellor Silver-tongue. Through an open window another lawyer is
+comparing his lordship's new house, that is in the course of building,
+with the plan in his hand. A marriage so begun could only end in
+misery." This is the first act, and the pictures that follow show all
+the steps of unhappiness which the couple take. There are five more
+acts to that painted drama, which is in the National Gallery, London.
+
+
+
+
+XXII
+
+HANS HOLBEIN, THE YOUNGER
+
+
+  (Pronounced Hahntz Hol'bine)
+  _German School_
+  1497-1543
+  _Pupil of Holbein, the Elder_
+
+There were three generations of painters in the Holbein family, and
+the Hans of whom we speak was of the third. His grandfather was called
+"old Holbein," and when more painters of the same name and family came
+along it became necessary to distinguish them from each other thus:
+"old Holbein," the "elder Holbein," and "young Holbein." The first one
+was not much of an artist; still, in a locality where at best there
+was not much art he was good enough to be remembered.
+
+"Young Holbein" was born in Augsburg, which is in Swabia, in southern
+Germany; "elder Holbein" and his father, Michael, "old Holbein," had
+moved there from Schonenfeld, a neighbouring village, about forty
+three years before little Hans was born, the old Michael bringing his
+family to the larger town where it was easier to make a living.
+
+The "elder Holbein" was a really good artist and well thought of in
+Augsburg, and when little Hans's turn came he had no teacher but his
+father, unless indeed we were to call him also a pupil of his elder
+brother, Ambrosius. His uncle Sigismund, too, taught him something of
+art, for the whole Holbein family seem to have been artists. Young
+Holbein was never regularly apprenticed to any outsider.
+
+Art was not then taught as it is now. The work of a beginner was often
+to paint for his master certain details which it was thought that he
+might handle properly, while the master occupied himself with what he
+thought to be some more important part of the picture. It is said that
+Hans often painted the draperies of his father's figures when his
+father was engaged upon the altar pieces so fashionable at the
+time. The Holbeins one and all must have been bad managers or
+improvident; at any rate, Hans did not turn out well as a man and we
+read that his father was always in debt and difficulty although he
+received much money for his work and was not handicapped, like D�rer's
+father, by a family of eighteen children.
+
+The story of the Holbeins is quite unlike that of the D�rers, and not
+nearly so attractive.
+
+Some time before Hans was twenty years of age, the entire family had
+packed up and gone to live in Lucerne, while Hans and his brother,
+Ambrosius, went travelling together, as most young Germans went at
+that time before they settled down to the serious work of life. The
+last we hear of Ambrosius he had joined the painters' guild in Basel,
+and probably he died not long afterward, or at any rate while he was
+still young. There was in Basel a certain Hans Bar, for whose wedding
+occasion Hans Holbein designed a table, on which he pictured an
+allegory of "St. Nobody." This was very likely such work as our
+cartoonists do to-day, but being the work of Holbein, it had great
+artistic value. Besides that, he painted a schoolmaster's sign to be
+hung outside the door.
+
+As an illustrator, Holbein made the acquaintance of several authors
+about that time and started on the high road to fame. He was a man of
+very little conscience or fine feeling, and there could hardly be a
+greater contrast than that between the clean sweet life of D�rer and
+the brawling, unfeeling one that Hans Holbein led.
+
+D�rer married, had no children, but tenderly loved and cared for his
+wife, taking her with him upon his journeys and making her happy.
+
+Holbein married and beat his wife; had several children and took care
+of none of them. His wife grew to look old and worn while he remained
+a gay looking sport, quite tired of one whom he had had on his hands
+for ten years. He wandered everywhere and left his family to shift for
+itself. One writer in speaking of the two men says:
+
+"D�rer would never have deserted his wife whom he took with him even
+on his journey to the Netherlands; and he was bound by the same
+tenderness to his native town. However much he rejoiced to receive a
+visit from Bellini at Venice, or when at Antwerp, the artists
+instituted, a torch-light procession in his honour, nothing could have
+moved him to leave Nuremberg." D�rer loved his home; Holbein hated
+his.
+
+Holbein had a cold, light-blue eye; D�rer a soft and tender
+glance. While D�rer lived he was the mainstay of his family--father
+and brothers. Holbein's father died in misery and his brother's life
+was disastrous, Hans doing nothing to serve them and looking on at
+their sufferings indifferently.
+
+There is a court document in existence which tells the particulars of
+Hans Holbein's arrest for getting into a brawl with a lot of
+goldsmiths' apprentices during a night of carousal. The court warned
+him that he would be more severely punished if he did not cease his
+lawless life and he was made to promise not to "jostle, pinch, nor
+beat his lawful spouse." When he died he made no provision in his will
+for his family. There is a picture of his wife, Elizabeth Schmidt, to
+be seen in his "Madonna" at Solothurn Holbein used her for the
+model. She then was young and blooming and the model for the child was
+his own baby; at that time he found them useful.
+
+His life of folly can hardly be excused by impulsiveness or emotion,
+for his pictures show little of either. He was best at portrait
+painting. At that time guilds and town councils wanted the portraits
+of their members preserved in some way, and it was the habit of
+painters like Holbein to form picturesque groups and give to such
+dramatic groupings the features of townsmen. Rembrandt did this much
+later than Holbein, when he painted the "Night Watch," or as it is
+more properly called, "The Sortie."
+
+Probably Holbein's first important work was to make title pages for
+the second edition of Martin Luther's translation of the New
+Testament. This MS. was made about the time that Holbein's work began
+to be of interest to the public, and so the commission was given to
+him.
+
+After a time this artist went to England with letters of introduction
+to Sir Thomas More, Chancellor to King Henry VIII. Sir Thomas treated
+him very kindly and set him to work making portraits of his own
+family. During the time he was living at More's home in Chelsea, the
+King himself, used frequently to visit there, and on one occasion he
+saw the brilliant portraits of the More family and inquired about the
+artist. Sir Thomas offered the King any of the pictures he liked, but
+Henry VIII. asked to see the artist. When brought before him,
+Holbein's fortune seemed to be made for the King asked him to go to
+court and paint for him, remarking that "now he had the artist he did
+not care about the pictures."
+
+Holbein seems to have been a favourite with Henry and many anecdotes
+are told of his life at Whitehall, where he went to live. Once while
+Holbein was engaged upon a portrait, a nobleman insisted upon entering
+his studio, after the artist had told him that he was painting the
+portrait of a lady, by order of the King. The nobleman insisted upon
+seeing it, but Holbein seized him and threw him down the Stairs; then
+he rushed to the King and told what had happened. He had no sooner
+finished than the nobleman appeared and told his story. The King
+blamed the nobleman for his rudeness.
+
+"You have not to do with Holbein," he said, "but with me. I tell you,
+of seven peasants I can make seven lords, but of seven lords I cannot
+make one Holbein. Begone! and remember that if you ever attempt to
+avenge yourself, I shall look upon any injury offered to the painter
+as done to myself."
+
+It was Holbein who, visiting a brother artist and finding a picture on
+the easel, painted a fly upon it. When the artist returned he tried to
+brush the fly off, then set about looking for the one who had deceived
+him.
+
+His portrait painting was so superb that he received many commissions.
+
+Meantime, Sir Thomas More had fallen into disfavour with the King and
+was to lose his head, but it is written that the artist's portraits
+"betray nothing of this tragedy." He was as ready to climb to fame by
+the favour of his generous patron's enemies as he had been to accept
+the offices of Sir Thomas More. He painted the portraits of several of
+the wives of Henry VIII., and it may be said that there was a good
+deal of that monarch's temperament to be found in Holbein
+himself. Take him all in all, Hans was as detestable as a man as he
+was excellent as a painter.
+
+In his adopted home in Lucerne, Holbein had painted frescoes, both on
+the inside and the outside of a citizen's house, and this house stood
+until 1824, when it was torn down to make way for street improvements,
+but several artists hastily copied the frescoes so that they are not
+entirely lost.
+
+Before he left Germany for England, Holbein had been commissioned to
+decorate the town hall in Basel, and a certain amount of money was
+voted for the work, but after he had finished three walls, he decided
+that the money was only enough to pay him for what he had already
+done. The councillors agreed with him, but as money was a little
+"close" in Basel at that time, they felt unable to give him more, and
+so voted to "let the back wall alone, till further notice."
+
+He painted one Madonna whom he surrounded with the entire family of
+Burgomaster Meyer, including even the burgomaster's first wife, who
+was dead. This work is called the "Meyer Madonna."
+
+It is said that after Holbein's return to Basel he, with others, was
+persecuted for his "religious principles," but if this were true, his
+persecutors went to considerable pains for nothing, because Holbein
+was never known to have any sort of principles, religious or
+otherwise. He was neither a Protestant, nor a Catholic but a painter,
+a man without convictions and without thought. He did not care for
+family, country, friends, politics, religion, nor for anything else,
+so far as any one knows.
+
+When he was asked why he had not partaken of the Sacrament, he
+answered that he wanted to understand the matter better before he did
+so. Thus he escaped punishment, and when matters were explained to
+him, he did whatever seemed safest and most convenient under the
+circumstances.
+
+On his return to England, he settled among the colony of German and
+Netherland merchants, who were in the habit of meeting at a place
+called "The Steelyard," as their home and warehouses were grouped in
+that locality, with a guild hall and a wineshop they alone patronised.
+
+While associated with his compatriots Holbein made portraits of many
+of them, and these are magnificent works of art. He painted them
+separately or in groups; in their offices and in their guild hall, as
+the case might be. The men whom he thus painted were: Gorg Gisze, Hans
+of Antwerp, Derich Berck, Geryck Tybis, Ambrose Fallen, and many
+others. He designed the arch which the guild erected upon the occasion
+of Anne Boleyn's coronation, and he painted Henry's next Queen, Jane
+Seymour.
+
+Holbein painted many portraits of Henry VIII. and probably all those
+dated after 1537 were either copies or founded upon the portrait which
+Holbein made and which was destroyed with Whitehall.
+
+While he painted for Henry, Holbein received a sort of retainer's fee
+of thirty pounds a year, but he may have received sums for outside
+commissions which he undertook. On one occasion, when he took a
+journey to Upper Burgundy to paint a portrait of the Duchess whom
+Henry contemplated making his next wife, the King gave him ten pounds
+out of his own purse. We have no record of vast sums such as Raphael
+received.
+
+Henry did not succeed in making the Duchess his wife, so Holbein was
+sent to paint another--Anne of Cleves--that Henry might see what he
+thought of her before he undertook to make her his queen. Holbein did
+a disastrous deed, for he made Anne a very acceptable looking woman,
+(the portrait hangs in the Louvre) and Henry negotiated for her on the
+strength of that portrait. Later, when he saw her, he was utterly
+disgusted and disappointed.
+
+Holbein, notwithstanding this trick, was employed to paint the next
+wife of Henry, and doubtless he also made the miniature of Catherine
+Howard which is in Windsor Castle. Holbein finally died of the plague
+and no one knows where he was buried. His wife died later, and it was
+left for his son, Philip, who was said to be "a good well-behaved
+lad," to bring honours to the family. He was apprenticed in Paris,
+and, settling later in Augsburg, he founded a branch of the Holbein
+family on which the Emperor Matthias conferred a patent of nobility,
+making them the Holbeins of Holbeinsberg.
+
+  PLATE--ROBERT CHESEMAN WITH HIS FALCON
+
+This is one of the best of the many splendid portraits Holbein
+painted. It hangs in The Hague gallery. The gentleman was forty-eight
+years old and in the portrait he wears a purplish-red doublet of silk
+and a black overcoat, which was the fashion of the day, all trimmed
+with fur. He has curly hair, just turning gray. His left hand is
+gloved and on it he holds his falcon, while with the other hand he
+strokes its feathers.
+
+Of all sports at that time, falconry was the most fashionable and
+every fine gentleman had his sporting birds. Robert Cheseman lived in
+Essex. He was rich and a leader in English politics. His father was
+"keeper of the wardrobe to Henry VIII." and he himself served in many
+public offices. He was one of the gentleman chosen to welcome Anne of
+Cleves when she landed on English soil to marry Henry VIII. These
+details were first published by Mr. Arthur Chamberlain and are taken
+from his sketch of Holbein and his works.
+
+Among Holbein's other famous pictures are: "The Ambassadors," "Hans of
+Antwerp," "Christina of Denmark," "Jane Seymour," "Anne of Cleves,"
+and "St. George and the Dragon."
+
+
+
+
+
+XXIII
+
+WILLIAM HOLMAN HUNT
+
+
+  _English (Pre-Raphaelite) School_
+  1827--
+  _Pupil of Academy School_
+
+The story of the Pre-Raphaelites is all by itself a story of
+art. Holman Hunt was one of three who formed this "brotherhood"; and
+he, with one other, are the only ones whom some of us think worthy of
+giving a place in art. This is to be the story of the brotherhood
+rather than a story of one man.
+
+The last great artist England had had before this extraordinary group,
+was J. M. W. Turner, truly a wonderful man, but after him England's
+painters became more and more commonplace, drawing further and further
+away from truth, There was one, J. F. Lewis, who went away to Syria
+and lived a lonely and studious life, trying to paint with fidelity
+sacred scenes, but he was not great enough to do what his conscience
+and desires demanded of him; and, finally, Constable declared that the
+end of art in England had come. But it had not, for up in London, in
+the very heart of the city, in Cheapside (Wood Street) there was born,
+in April, 1827, a child destined to be a brilliant and wonderful man,
+who was actually to rescue English art from death. Many do not think
+thus, but enough of us do to warrant the statement.
+
+The new artist was Holman Hunt. He was the son of a London
+warehouseman, with no inclination whatever for learning, so that it
+seemed simply a waste of time to send him to school. This continually
+repeated history of artists who seem to know nothing outside their
+brushes and colours, is astonishing, but it is true that artists for
+the most part must be regarded as artists, pure and simple, and not as
+men of even reasonably good intellectual attainments, and more or less
+this accounts for their low estate centuries ago. One does not
+associate "learning" and the artist. When we have such splendid
+examples as D�rer and two or three others we discuss their
+intellectuality because they are so unusual.
+
+Holman Hunt was like most of his brother artists in all but his
+art. He hated school and at twelve years of age was taken from it. His
+father wanted him to become a warehouse merchant like himself, and he
+began life as clerk or apprentice to an auctioneer. He next went into
+the employment of some calico-printers of Manchester. The designing of
+calicoes can hardly be called art, even if the department of design
+had fallen to Holman Hunt's lot and we have no evidence that it did,
+but he started to be an artist nevertheless, there in the
+print-shop. He found in his new place another clerk who cared for art;
+and this sympathy encouraged him to fix his mind upon painting more
+than ever. He used to draw such natural flies upon the window panes
+that his employer tried one day to "shoo away a whole colony of flies
+that seemed miraculously to have settled." This gave the clerks much
+amusement, and also attracted attention to Holman Hunt's genius.
+
+His very small salary was spent, not on his support, but in lessons
+from a portrait painter of the city. His parents did not like this,
+but they could not help themselves, and thus this greatest of the
+Pre-Raphaelites began his work.
+
+The Pre-Raphaelites were a little group of men who believed that
+artists were drawing too much on their imaginations, not painting
+things as they saw them, and that the painter had become incapable of
+close observation. He worked in his studio, did not get near enough to
+nature, and instead of trying to follow along this line, this group of
+men, with their new and partly correct ideas, meant to go back further
+than the great masters themselves and present an elemental art. This
+was a part of their scheme and partly it was justified, but of all the
+men who undertook to make a new school, Holman Hunt was the only one
+who remained, and will remain forever, a representative. He alone
+stuck to the original purpose of the group and developed it into a
+truly great school; so that it is he alone we need to know.
+
+After he began to take lessons of the portrait painter in London, he
+developed so quickly that he found by painting portraits three days a
+week, he could pay his own expenses, and the rest of the time he
+devoted to study. He tried to be admitted to the Academy schools twice
+and was twice refused before they would receive him.
+
+It was there in the Academy the three original Pre-Raphaelites met for
+the first time; they were Holman Hunt, Dante Gabriel Rossetti, and
+Millais. After entering the school Hunt painted and sold four
+excellent pictures, but they all seem to have been lost; nobody can
+trace them. He was not yet a "Pre-Raphaelite."
+
+All this time Hunt was half ill because he knew that he was grieving
+his father of whom he was devotedly fond, and the strain of trying to
+work while he was unhappy nearly destroyed him. The pictures that he
+exhibited at the Royal Academy were so poor that the commission
+declared they should not only be removed but that Hunt ought really to
+be forbidden to exhibit any more. This must have been a great blow to
+the young and struggling artist, and to add to this trouble, his
+father was being jeered at for having such a good-for-nothing
+son. Hunt's pictures in the Academy were so much despised that his
+father was told his son was a disgrace to him, and we may be sure that
+did not help the young fellow, who meantime was earning a living, not
+by painting pictures, but by cleaning up those of another man. Dyce,
+who had painted on the walls of Trinity House, engaged him to clean
+and restore those paintings, and Hunt was doing this for his bread and
+butter.
+
+At that time he became so downhearted and discouraged that he almost
+decided to leave England altogether and go to live in Canada away from
+his friends who jeered, and his family who reproached him; but just
+then Millais, one of the successful painters whom he had met in the
+Academy school, who could afford to be generous, came to Hunt's aid
+and gave him the means of living while he painted "The Hireling
+Shepherd." This was destined to be the turning point in Hunt's luck,
+for that painting was properly hung at the exhibition, and it received
+recognition. After that he painted a picture which he sold on the
+installment plan--being paid by the purchaser so much a month.
+
+Meantime he owed his landlady a large sum, and he says himself that he
+"suffered almost unbearable pain at passing her and her husband week
+after week without being able to even talk of annulling his debts." In
+time he not only settled that bill which distressed him, but paid back
+his friend Millais the money loaned by him.
+
+Hunt rarely took a commission, because to do so meant that he must
+paint a picture after the manner his employer wished, and Hunt had
+certain ideas of art in which he believed and therefore would not bind
+himself to depart from them; but after a little success, which enabled
+him to pay his bills, he did undertake a commission from Sir Thomas
+Fairbairn, and it was called "The Awakened Conscience." He finished
+this picture on a January day late in the afternoon, and that very
+night he left England, setting out upon a longed-for journey to the
+Holy Land, where he meant to study the country and people till he
+believed himself able to paint a truthful picture of sacred scenes. He
+refused to paint pictures of Eastern Jews who should look like
+Parisians, with Venetian backgrounds. He meant to paint Oriental
+scenes as nearly as he could, as they might have taken place.
+
+He came back to his English home just two years and one month from the
+time he had left it, and he brought back a picture of the goat upon
+which the Jews loaded their sins and then turned loose in waste-places
+to wander and die. "The Scapegoat" was a great picture, but before he
+left England he had painted a greater--the one we see here--"The Light
+of the World."
+
+He had depended upon the sale of the "Scapegoat" to pay his way for a
+time after his return home, and alas, it did not sell. More than that,
+his beloved father died and this added to his sense of desolation, for
+he had not been sufficiently successful before his death to justify
+himself in his father's eyes. These things so overwhelmed his
+sensitive mind with trouble, that his condition became very serious,
+and if certain good friends had not stood by him loyally, he would
+probably never have painted again.
+
+He began at last another ambitious picture--"Finding of Christ in the
+Temple"--but while he was engaged upon this, he had to paint mere
+pot-boilers also in order to get on at all, and he says that half the
+time the great picture "stood with its face to the wall" while he was
+trying merely to earn bread and butter. The wonderful Louis Blanc
+tried once to plan a way by which all deserving people should have in
+this world equal opportunity to try. This has never been "worked out."
+It never will be, but Holman Hunt reminds us how much the world loses
+by not providing that "equal opportunity." No one deserves more than
+his chance; but such struggles of genius tell us that all is not fair.
+
+Hunt persevered with this Christ in the Temple and when finished he
+sold it for 5,500 guineas--a larger sum than he had ever before been
+given for a painting.
+
+He no sooner received his money for this great picture than off he
+went once more to the Holy Land. He was conscientious in everything he
+did, and never before had an artist painted scenes of Christ that
+carried such a sense of truth with them. The set haloes seen about the
+heads of the saints and of holy people even in Raphael's pictures and
+in those of the very greatest artists of his time, disappeared with
+Holman Hunt's coming. In the "Light of the World," the halo is an
+accident--the great white moon, happening to rise behind the Christ's
+head--and there we have the halo, simple, natural, only suggestive,
+not artificial. Then, too, in the "Shadow of Death," there is a
+menacing shadow of the cross--made upon the wall by Christ's body, as
+he naturally stretches out his arms, after his work in the carpenter
+shop.
+
+There is not one false note that shocks us, or makes us feel that
+after all the story itself is affected and artificial. Everything that
+is symbolical is brought about naturally. They are sincere, truthful
+pictures that speak to the mind as well as to the eye.
+
+Hunt's colouring and many other technical matters are often far from
+perfect, but there is something besides technicality to be considered
+in judging a picture.
+
+For a time, while the three men, Hunt, Rossetti, and Millais, kept
+together, their pictures were signed P. R. B., as a sign of their
+league; but this did not last very long, and afterward Hunt signed his
+pictures independently.
+
+After the "Brotherhood" had worked against the greatest
+discouragements for a long time, and felt nearly hopeless of success,
+John Ruskin, one of the greatest of critics and most fearless of men,
+who was so much respected that his words had great influence, suddenly
+published a defence of these Pre-Raphaelites. He declared that they
+were the greatest artists of the time, and while scorning their
+critics he applauded those three young men, till he turned the tide,
+and everybody began to know what truly brilliant work they were
+doing. Ruskin's words came, Hunt said, "as thunder out of a clear
+sky."
+
+When the "Brotherhood" was formed the three young men thought they
+should have a paper--a periodical of some sort, in which they might
+tell of their purposes and express their ideas; and so Rossetti, who
+wrote as well as painted, proposed that they print such a periodical
+once a month, and call it the _Germ_; and the P. R. B's. were to be
+joint proprietors. Rossetti had first thought of a different title,
+_Thoughts Toward Nature_, and his brother, W. M. Rossetti, who was
+going to take charge of the monthly, thought that expressed the
+Pre-Raphaelites' idea; but it was finally agreed to call it the
+_Germ_. Only two numbers could be published by the Pre-Raphaelites,
+because nobody bought it and the young men's money gave out, but the
+printers came to the rescue, and put up the money to issue two or
+three more _Germs_.
+
+Although that journal failed utterly, its four numbers were worth
+publishing, and are to-day worth reading. They were truly valuable,
+for they contained a story and poem by Dante Gabriel Rossetti, besides
+work of the other P. R. B's.
+
+Above all things Hunt was conscientious in his work, trying with all
+his might to represent things as be believed them to be. When he made
+his "Scapegoat," he went to the shores of the Dead Sea to paint,
+accompanied only by Arab guides, and there he found the desolate, hard
+landscape for his picture. The hardships he experienced were very
+many. The wretched goat he took with him died in the desert of that
+dreary place after it had been no more than sketched in, but back in
+Jerusalem Hunt finished the goat. Ruskin's description of the picture
+helps one to feel all the desolation of the subject: "The salt sand of
+the wilderness of Ziph, where the weary goat is dying. The
+neighbourhood is stagnant and pestiferous, polluted by the decaying
+vegetables brought down by the Jordan in its floods, and the bones of
+the beasts of burden that have died by the way of the sea, lie like
+wrecks upon its edge, bared by the vultures and bleached by the salt
+ooze."
+
+Even the superstitious Arabs would not go near the spot which Hunt
+chose as the scene of his picture, but Hunt endured all things,
+believing it due to his art.
+
+When he painted "Christ in the Temple," he needed Jewish models, and
+it was almost impossible for him to get them. He could not let them
+know what they were to represent, or they would not have sat for him
+at all but he succeeded in painting the "first Semitic presentment of
+the Semitic Scriptures." In Jerusalem the Jews heard that he had come
+"to traffic with the souls of the faithful," and they forbade him to
+have any Jews come into his studio; so that he could not finish the
+picture there. Back in London he had to find his models in the Jewish
+school. He left the figures of Christ and the Virgin till the last and
+then painted them "from a lady of the ancient race, distinguished
+alike for her amiability and beauty, and a lad in one of the Jewish
+schools, to which the husband of the lady furnished a friendly
+introduction."
+
+Thus, step by step, through the greatest difficulties, Holman Hunt
+established a new school of painting--allegory with a modern treatment
+which all could understand.
+
+  PLATE--THE LIGHT OF THE WORLD
+
+This is the most popular picture of a sacred subject, ever painted;
+and John Ruskin's description of it, here quoted, is the best ever
+written or that can be written. "On the left of the picture is seen
+the door of the human soul. It is fast barred, its bars and nails are
+rusty; it is knitted and bound to its stanchions by creeping tendrils
+of ivy, showing that it has never been opened. A bat hovers over it;
+its threshold is overgrown with brambles, nettles and fruitless
+corn.... Christ approaches in the night time, ... he wears the white
+robe, representing the power of the Spirit upon Him; the jewelled robe
+and breastplate, representing the sacredotal investitude; the rayed
+crown of gold, interwoven with the crown of thorns; not dead thorns,
+but now bearing soft leaves, for the healing of the nations.... The
+lantern carried in Christ's left hand is the light of conscience....
+Its fire is red and fierce; it falls only on the closed door, on the
+weeds that encumber it, and on an apple shaken from one of the trees
+of the orchard, thus marking that the entire awakening of the
+conscience is not to one's own guilt alone, but to the guilt of the
+world, or, 'hereditary guilt.'...
+
+"This light is suspended by a chain, wrapt around the wrist of the
+figure, showing that the light which reveals sin to the sinner appears
+also to chain the hand of Christ. The light which proceeds from the
+head of the figure--is that of the hope of salvation; it springs from
+the crown of thorns, and, though itself sad, subdued and full of
+softness, is yet so powerful, that it entirely melts into the glow of
+it the forms of the leaves and boughs which it crosses, showing that
+every earthly object must be hidden by this light, where its sphere
+extends."
+
+If you will study every detail of this reproduction, finding all the
+objects--the apple, the rusty bolts--noting how the full risen moon
+has formed a natural nimbus for the sacred head, and then re-read what
+Ruskin has said, you will discover the rarest truths in Holman Hunt's
+picture. The several pictures which he painted, but which cannot now
+be found are: "Hark!" which was first exhibited in the Royal Academy;
+"Scene from Woodstock," "The Eve of St. Agnes," "Jerusalem by
+Moonlight," "The King of Hearts," "Moonlight at Salerno," "Interior of
+the Mosque of Omar," "The Pathless Water," "Winter," "Afternoon,"
+"Sussex Downs," "Penzance," "The Archipelago," "Will-o'-the-Wisp,"
+"Ivybridge," "The Foal of an Ass," "Road over the Downs," "The Haunt
+of the Gazelle," "'Oh, Pearl,' Quoth I," "Miss Flamborough," "The
+School-girl's Hymn." Portraits: Mr. Martineau; Mr. J. B. Brice. Small
+sketch of the "Scapegoat," "Sunset on the Sea," "Morning Prayer,"
+"Bianca," "Past and Present," and "Dead Mallard."
+
+Should you ever find one of these pictures bearing the initials
+P. R. B. or those of Holman Hunt, you will have made an interesting
+discovery and should make it known to others.
+
+
+
+
+XXIV
+
+GEORGE INNESS
+
+
+  _American_
+  1825-1897
+  _Pupil of Regis Gignoux_
+
+George Inness was destined to keep a grocery store as his father had
+kept one before him, and had grown rich in it. When George was a young
+man he was given a grocery store in Newark, New Jersey, a very small
+store indeed, and it is not surprising that the young man preferred
+art to butter and eggs. The Inness family had just moved from Newburg,
+probably the elder Innes seeking in Newark a good location for his
+son's beginning.
+
+The first art-work Inness did was engraving; as he had been
+apprenticed to that business, but afterward he studied with Gignoux, a
+pupil of Delaroche.
+
+At that time there was what is known as the Hudson River School. Its
+ideas were set and formal, and not very inspiring, aside from the
+subjects treated. Church was then a young man like Inness, and he was
+studying in the Hudson River School, but the young grocer struck out a
+line for himself.
+
+He was forty years old before he got to Paris, but once there, he
+turned to the men at Barbizon--Rousseau, Millet, Corot, and the
+rest--for inspiration, and began to do beautiful things
+indeed. Rousseau became his friend, and the art of Inness grew large
+and rich through such influences.
+
+Inness had inherited much religious feeling from his Scotch ancestors,
+and all his work was conscientious, very carefully done.
+
+When Inness returned from Paris he was not yet well known. He went to
+Montclair, New Jersey, to live and it was there that he did his best
+work. Finally, after he was fifty years old, he became known as a
+truly splendid painter. He loved best to paint quiet scenes of
+morning, evening sunset, and the like. His pictures began to gain
+value, and one that he had sold for three hundred dollars jumped in
+price to ten thousand and more. His work is not equally good, because
+his moods greatly influenced him.
+
+  PLATE--BERKSHIRE HILLS
+
+This picture in the George A. Hearn collection is full of the sense of
+restfulness that the works of this artist always convey. The trees are
+as motionless as the distant hills, and if the oxen are moving at all
+it is but slowly.
+
+Some other Inness paintings are the "Georgia Pines," "Sunset on the
+Passaic," "The Wood Gatherers" and "After a Summer Shower."
+
+
+
+
+XXV
+
+SIR EDWIN HENRY LANDSEER
+
+
+  _English School_
+  1802-1873
+  _Pupil of his father, John Landseer_
+
+It is pleasant to speak of one artist whose good work began in the
+companionship of his father; the case of Edwin Landseer is most
+unusual.
+
+His father was a skilful engraver who loved art, and encouraged the
+cultivation of it in his son, as other fathers of painters encouraged
+them to become priests or haberdashers or bakers, as the case might
+be. Little Landseer's beginning has been described by his father as he
+and a friend stood looking upon one of the scenes of his childhood:
+
+"These two fields were Edwin's first studio. Many a time have I lifted
+him over this very stile. I then lived in Foley Street, and nearly all
+the way between Marylebone and Hampstead was open fields. It was a
+favourite walk with my boys; and one day when I had accompanied them,
+Edwin stopped by this stile to admire some sheep and cows which were
+quietly grazing. At his request I lifted him over, and finding a scrap
+of paper and a pencil in my pocket, I made him sketch the cow. He was
+very young indeed, then--not more than six or seven years old.
+
+"After this we came on several occasions, and as he grew older this
+was one of his favourite spots for sketching. He would start off
+alone, or with John (Thomas?) or Charles, and remain till I fetched
+him in the afternoon. I would then criticise his work, and make him
+correct defects before we left the spot. Sometimes he would sketch in
+one field, sometimes in the other, but generally in the one beyond the
+old oak we see there, as it was more pleasant and sunny."
+
+All the Landseer men were gifted, and the mother was the beautiful
+woman whom Reynolds painted as a gleaner, carrying a bundle of wheat
+upon her head.
+
+There were seven little Landseers, the oldest of them being Thomas,
+the famous engraver, whose reproduction of his brother's works will
+preserve them to us always, even after the originals are gone. The
+first of Edwin's drawings which seemed to his family worthy of
+publishing was a great St. Bernard dog, such a wonderful performance
+for a little fellow of thirteen that Thomas engraved it and
+distributed it all over England. Little Edwin had seen this beautiful
+dog one day in the streets of London in a servant's charge, and he was
+so delighted with its beauty, that he followed the two home and asked
+the dog's owner if he might sketch him. The St. Bernard was six feet
+four inches long "and at the middle of his back, stood two feet seven
+inches in height." A great critic said that this drawing was one of
+the very finest that any master of art had ever made, though it was
+done by a little child of thirteen years and it is also said that
+Landseer himself never did anything better than that little-boy
+work. A live dog who was let into the room with it--as critic,
+maybe--proved to be the most flattering of such, because he bristled
+instantly for a fight.
+
+While the boy was still thirteen--which seems to have been a magic and
+not a tragic number to him--he exhibited pictures in the Royal
+Academy. These were a mule, and a dog with a puppy. In the stories of
+"Famous Artists" we are told that he was a fine, manly little chap
+with light curly hair and very well behaved. When he became a student
+of the Academy the keeper, Fuseli, used to look about among the
+students and cry: "Where is my little dog boy?" if Landseer was not in
+his place. The little chap's favourite dog was his own Brutus, which
+he painted lying at full length; and though the picture was small, it
+sold for seventy guineas. This means an earning capacity indeed, for a
+small boy.
+
+When he was but seven years old he had made pictures of lions and
+tigers, each with a different expression from the other and each with
+a character of its own. Critics spoke specially of the tiger's
+whiskers as "admirable in the rendering of foreshortened curves."
+Tigers' whiskers were thought to be most difficult things to make, but
+in Landseer's pictures, they were as "natural as life." The great
+success of the artist's animal pictures was that he made them seem to
+have human intelligence, and it was also said that if one only saw the
+dog's collar, as Landseer painted it, he would know it to be the work
+of a great artist, that a great dog-picture must be attached to it.
+
+At least one of his pictures had a remarkable history. He had been
+commissioned by the Hon. H. Pierrpont to paint a "white horse in a
+stable." After the painting was ready for delivery it disappeared, and
+for twenty-four years it could not be found. At last it was discovered
+in a hay-loft! It had been stolen by a servant and hidden there. In
+spite of the long years that had passed, Landseer sent it at once to
+the man for whom it had been made, with the message that he had not
+retouched it nor changed it in the least, "because," said he, "I
+thought it better not to mingle the style of my youth with that of my
+old age."
+
+One of Landseer's early advisers had told him he must dissect animals
+to get the proper effects in painting them, as it was necessary for
+him to understand their construction. So, one time, when a famous old
+lion died in the Exeter Exchange menagerie Landseer got its body and
+dissected it, and immediately afterward he painted three great lion
+pictures: "The Lion Disturbed at His Repast," "A Lion Enjoying His
+Repast," and "A Prowling Lion."
+
+Sir Walter Scott became so enchanted with Landseer's pictures that the
+great novelist came to London to take the young artist to his home at
+Abbotsford. "His dogs are the most magnificent things I ever saw,"
+said Scott, "leaping and bounding and grinning all over the canvas."
+
+Landseer lived in the centre of London till he was more than thirty
+years old, and then, looking for more quiet and space he bought a very
+small house and garden at No. 1, St. John's Wood. There was not much
+room in the house but it had a stable attached which made a fine
+studio, and there Landseer lived with a sister of his, for nearly
+fifty years. When he first wished to rent the house, the landlord
+asked him a hundred pounds premium which Landseer felt that he could
+not pay and he was about to give it up, when a friend declared that if
+the matter of money was all that prevented him, he was to rent it
+immediately, and he could repay him as he chose. Landseer then took
+the house, his friend paying down the premium, and Landseer returned
+the money twenty-pounds at a time, till all the debt was paid.
+
+Landseer made this a famous and hospitable house, and it is said that
+more great people gathered under his roof than had ever gathered about
+any other artist with the exception of Sir Joshua Reynolds. That was
+the house in which Landseer's loving old father spent his last days
+and finally died. A story is told of the witty D'Orsay, who would call
+out at the door, when he went to visit the artist: "Landseer, keep de
+dogs off me, I want to come in and some of dem will bite me--and dat
+fellow in de corner is growling furiously."
+
+On one of his several visits to Abbotsford, where he went many times
+after his first invitation, to enjoy Scott's delightful hospitality,
+he painted a famous dog of Sir Walter's called Maida, which died six
+weeks afterward.
+
+There are several such stories about dogs who died rather tragically
+and were also painted by Landseer. The two King Charles spaniels which
+he painted both died soon after sitting to the great painter. They had
+been pets of Mr. Vernon, who commissioned the painting, and the white
+Blenheim spaniel fell from a table and was killed, while the King
+Charles fell through the railings of a staircase and was picked up
+dead. The great bloodhound, Countess, belonging to Mr. Bell who gave
+her picture to the Academy, was watching for her master's return one
+dark night and when she heard the wheels of his carriage, then his
+voice, she leaped from the balcony, but missed her footing and fell
+nearly dead at Mr. Bell's feet. That gentleman loved the dog so much
+that he was distracted, and taking her into his gig, knowing that she
+must die, he raced in to London again that same night, and rousing Sir
+Edwin, begged him to paint the dog before it was too late. Then and
+there was the sketch of the dying animal made.
+
+Sir Edwin Landseer was the most versatile and entertaining of
+artists. He was a wit, and could also perform all sorts of sleight of
+hand tricks, besides being so quick with his pencil that his doings
+seemed miraculous. One evening, during a conversation with many
+friends, someone declared that in point of time Sir Edwin could do a
+record-sketch. One young woman spoke up and said: "There is one thing
+that even he cannot do--he cannot make two different pictures at the
+same time."
+
+"Think not?" cried Sir Edwin. "Let us see!" Gaily taking two pencils,
+he rapidly drew a stag's head with one hand and a horse's head with
+the other.
+
+Landseer became the guest of royalty, a favourite of Queen Victoria,
+whose dog Dash was one of the many famous dogs painted by him. Dash
+was the favourite spaniel of the Duchess of Kent, Victoria's mother;
+and the Queen's biographer says that she too loved him very much. On
+Coronation Day she had been away from him longer than usual, and when
+the great state coach rolled up to the palace steps she could hear
+Dash barking for her in the hall. "Oh," she exclaimed, "there's Dash,"
+and throwing aside the ball and sceptre which she carried, she hurried
+to change her fine robes, in order to wash the dog. This is a very
+homelike and picturesque story, but it is possibly not true. Doubtless
+the little Queen heard the dog bark--and was glad to see him.
+
+At Windsor Landseer painted another royal dog, Islay, the pet terrier
+of Victoria; also Dandie Dinmont, belonging to the Princess Alice;
+then Eos, who was Prince Albert's--King Edward's--dog. All the last
+years of Sir Edwin Landseer' life, the royal family were his devoted
+and comforting friends. The painter suffered much and during his
+visits to Balmoral he wrote to his sister how the Queen used to go
+several times a day to his room, to look after his comfort and to
+inquire about his condition. He wrote:
+
+"The Queen kindly commands me to get well here. She has to-day been
+twice to my room to show additions recently added to her already rich
+collection of photographs. Why, I know not, but since I have been in
+the High lands I have for the first time felt wretchedly weak, without
+appetite. The easterly winds, and now again the unceasing cold rain,
+may possibly account for my condition, but I can't get out. Drawing
+tires me; however, I have done a little better to-day. The doctor
+residing in the castle has taken me in hand, and gives me leave to
+dine to-day with the Queen and the rest of the royal family....
+Flogging would be mild compared with my sufferings. No sleep, fearful
+cramp at night, accompanied by a feeling of faintness and distressful
+feebleness."
+
+When he was well, he was gay and cheerful; and Dickens, Thackeray, and
+many other noted men were his friends. We are told that above all
+things. Sir Edwin was a great mimic and that one night at dinner he
+threw everybody into fits of laughter by imitating his friend the
+sculptor Sir Francis Chantry. It was at the sculptor's table, where a
+large party was assembled. Chantry called Sir Edwin's attention, when
+the cloth was removed, to the reflection of light in the highly
+polished table.
+
+"Come here and sit in my place," said Chantry, "and see the
+perspective you can get." Then he went and stood by the fire, while
+Landseer sat in his place. Seated then in Chantry's chair, Landseer
+called out in perfect imitation of his host: "Come, young man, you
+think yourself ornamental; now make yourself useful, and ring the
+bell." Chantry did so, and when the butler came in he was confused and
+amazed to hear his master's voice from where Landseer sat in Chantry's
+place at the table. The voice of his master from the head of the table
+ordered claret, while his master really stood before the fire with his
+hands under his coat-tails.
+
+We are told that Landseer stood his pictures on their heads, or upon
+one corner or looked at them from between his legs, any way, every
+way, to get a complete view of them from all quarters. He went to bed
+very late and got up very late, but in the mornings, while lying in
+bed he mostly thought out the subjects of his pictures.
+
+He was not much of a sportsman, preferring to paint animals rather
+than to kill them, and one day when hunting, he saw a fine stag before
+him. Instead of firing at it, he thrust his gun into a gillie's hands,
+crying: "Hold that! hold that!" and whipping out his pencil and pad he
+began to sketch the stag. Whereupon the gillies were disgusted that he
+should miss so fine a shot, and they said something to each other in
+Gaelic, which Sir Edwin must have understood, for he became very
+angry.
+
+"It was a pity," wrote one who knew all his qualities, "that Landseer,
+who might have done so much for the good of the animal kind, never
+wrote on the subject of their treatment. He had a strong feeling
+against the way some dogs are tied up, only allowed their freedom now
+and then. He used to say a man would fare better tied up than a dog,
+because the former can take his coat off, but a dog lives in his
+forever. He declared a tied-up dog, without daily exercise, goes mad,
+or dies, in three years."
+
+He had a wonderful power over dogs, and he told one lady it was
+because he had "peeped into their hearts." A great mastiff rushed
+delightedly upon him one day and someone remarked how the dog loved
+him. "I never saw the dog before in my life," the artist said.
+
+While teaching some horses tricks for Astley's, he showed his friends
+some sugar in his hand and said: "Here is my whip." His studio was
+full of pets, and one dog used as a model used to bring the master's
+hat and lay it at his feet when he got tired of posing.
+
+This charming man suffered a great deal before his death, and had
+dreadful fits of depression. During one of these he wrote: "I have got
+trouble enough; ten or twelve pictures about which I am tortured, and
+a large national monument to complete." That monument was the one in
+Trafalgar Square, for which he designed the lions at the base. "If I
+am bothered about anything and everything, no matter what, I know my
+head will not stand it much longer." Later he wrote: "My health (or
+rather condition), is a mystery beyond human intelligence. I sleep
+seven hours, and awake tired and jaded, and do not rally till after
+luncheon. J. L. came down yesterday and did her best to cheer me... I
+return to my own home in spite of kind invitations from Mr. and
+Mrs. Gladstone to meet Princess Louise at breakfast." Of the many
+anecdotes told of this great man, his introduction to the King of
+Portugal furnishes the most amusing. "I am delighted to make your
+acquaintance," the King said, "I am so fond of beasts."
+
+Before he died he had made a large fortune from his work, and during
+his illness he was tended most lovingly by his friends and sister. One
+day, walking in his garden, much depressed, he said sadly: "I shall
+never see the green leaves again," but he did live through other
+seasons. He wished to die in his studio, and at one time when he was
+much distracted the Queen wrote him not to fear, but to trust those
+who were doing all they could for him, that her confidence in his
+physicians and nurses was complete. At last with brother, sister,
+friends and fortune about him the great animal painter died, and on
+October 11, 1873, and was buried with great honours in St. Paul's
+Cathedral.
+
+  PLATE--THE OLD SHEPHERD'S CHIEF MOURNER
+
+Of all the dogs Landseer loved to paint, the sheep collie has the most
+character; and here he shows us one expressing in every line of his
+face and form the most profound grief. The Glengarry bonnet on the
+floor beside the shepherd's staff, the spectacles lying on the Bible,
+the ram's horn, the vacant chair, the black and white shawl known as a
+"Shepherd's plaid"--all these things have failed to comfort this
+humble follower. We can imagine him, not bounding ahead with a joyous
+bark, but walking staidly behind the coffin when it is borne away and
+laying himself down upon his master's grave, perhaps to die of
+starvation, as some of his kind have been known to do. The painting is
+one of the Sheepshanks Collection in the South Kensington Museum.
+
+Among Landseer's other famous dog pictures are "Low Life and High
+Life," "Dignity and Impudence" and "The Sleeping Bloodhound," all in
+the National Gallery.
+
+
+
+
+XXVI
+
+CLAUDE LORRAIN (GELLEE)
+
+
+  _Classical French School_
+  1600-1689
+  _Pupil of Godfrey Wals_
+
+Of all the contrasts between the early and later lives of great
+artists, Claude Lorrain gives us the most complete.
+
+He was born to make pastry. His family may have been all pastry cooks,
+because people of Lorrain were famous for that work; anyway as a
+little chap he was apprenticed to one. His parents were poor, lived in
+the Duchy of Lorrain and from that political division the Artist was
+named.
+
+The town in which he was born was Chamagne, and his real name was
+Gell‚e. As a pastry cook's apprentice he served his time, and then,
+without any thought of becoming anything else in the world, he set off
+with several other pastry cooks to go to Rome, where their talents
+were to be well rewarded.
+
+But how strangely things fall out! In Rome he was engaged to make
+tarts for Agostine Tassi, a landscape painter. His work was not simply
+to furnish his master with desserts, but to do general housekeeping,
+and it fell to his lot to clean Tassi's paint brushes. So far as we
+know, this was the first introduction of Claude Lorrain to art other
+than culinary.
+
+From cleaning brushes it was but a step to trying to use them upon
+canvas, and Tassi being a good-natured man, began to give Lorrain
+instruction, till the pastry cook became his master's assistant in the
+studio. This led to a larger and larger life for the young Frenchman,
+and he copied great masters, did original things, and finally in his
+twenty-fifth year returned to France a full-fledged artist. He
+remained there two years, and then went back to Italy, where he lived
+till he died. The visit to France turned out fortunately because on
+his way back he fell in with one of the original twelve members of the
+French Academy, Charles Errard, who became the first director of the
+Academy in Rome. A warm friendship sprang up between the men, and
+Errard was very helpful to the young artist.
+
+Nevertheless, Lorrain did not gain much fame till about his fortieth
+year, when he was noticed by Cardinal Bentivoglio, and was given
+certain commissions by him. He grew in Bentivoglio's favour so much
+that the Cardinal introduced him to the pope. The Catholic Church set
+the fashions in art, politics, and history of all sorts at that time,
+so that Lorrain could not have had better luck than to become its
+favourite. The pope was Urban VIII., whose main business was to hold
+the power of the Church and make it stronger if he could, so that he
+was continually building fortresses and other fortifications, and he
+had use for artists and decorators. Lorrain's fame outlasted the life
+of Urban VIII., and he became a favourite in turn with each of the
+three succeeding popes. All this time he was doing fine work in Italy
+and for Italy, besides receiving orders for pictures from France,
+Holland, Germany, Spain, and England, for his fame had reached
+throughout the world.
+
+Besides leaving many paintings behind him when he died, he left half a
+hundred etchings; also a more precise record of his work than most
+artists have left. He executed two hundred sketches in pen or pencil,
+washed in with brown or India ink, the high lights being brought out
+with touches of white. On the backs of them the artist noted the date
+on which the sketch was developed into a picture, and for whom the
+latter was intended. The story is that his popularity produced many
+imitators, and that he adopted this means to establish the identity of
+his own work and distinguish it from the many copies made.
+
+These sketches were collected in a volume by Lorrain and called "Liber
+Veritatis," and for more than a hundred years the Dukes of Westminster
+have owned this.
+
+  PLATE--ACIS AND GALATEA
+
+This picture in the Dresden Gallery is a scene from the mythical story
+of a goddess who fell in love with the youthful son of a faun and a
+naiad. Thus she excited the jealous fury of the cyclops, Polythemus,
+who is seen in the picture herding his flock of sheep upon the high
+cliff at the right. Soon he will rise and hurl a rock upon Acis,
+crushing the life out of him, so that there will be nothing left for
+Galatea to do but to turn him into the River Acis, but meanwhile the
+lovers are unconscious and happy. Venus is reposing near them on the
+waves and Cupid is closer still, while the sea in the background seems
+to be stirred with a fresh morning breeze.
+
+Some of the famous Lorrains in the Louvre are: "Seaport at Sunset,"
+"Cleopatra Landing at Tarsus," and "The Village Festival."
+
+
+
+
+XXVII
+
+MASACCIO (TOMMASO GUIDI)
+
+
+  (Pronounced Tome-mah'so Mah'sahch'cheeo)
+  _Florentine School_
+  1401-1428
+  _Pupil of Ghibertio, Donatello, and Brunellesco_
+
+This artist, who lived and died within the century that witnessed the
+discovery of America, was famous for more than his painting. He was
+the original inventor who first learned and taught the mixing of
+colours with oils, thus making the peculiar "distemper" unnecessary.
+
+The story of Italian artists includes a history of their names, for
+the Italians seem to have had most remarkable reasons for naming
+children. For example, this artist, Masaccio, was born on St. Thomas's
+day, hence, his name of Tommaso. Presently, for short, or for love, he
+was called Maso, and to cap all, being a careless lad, his friends
+added the derogatory "accio," and there we have the artist completely
+named. He owed nothing of this to his father, who was plain, or
+ornamentally, Ser Giovanni di Simone Guidi, of Castello San Giovanni,
+in the Valdamo.
+
+As a very little boy, it was plain to be seen that slovenly Thomas was
+going to be a great artist, and no time was lost in putting him to
+work with the best of masters.
+
+He was a veritable inventive genius. Until his time difficulties in
+drawing had been overcome mostly by ignoring them. Since no artist had
+been able to draw a foreshortened foot, it had been the fashion in art
+to paint people standing upon their tiptoes, to make it possible for
+an artist to paint the foot. The enterprising Thomas came along and he
+decided that feet must be painted both flat and crossed, on tiptoe or
+otherwise; in short he did not mean to lose by a foot.
+
+He worked at this problem day and night, till at last the naturally
+poised foot came into existence for the artist. Never after Masaccio's
+time did an artist paint the foot stretched upon the toes. Moreover,
+until his time flesh had never been painted of a remotely natural
+colour, so Masaccio set about combining colours till he made one that
+had the tint of real flesh. Thus he was the first to overcome the
+difficulties of drawing and the first to discover a mixture that would
+not leave a glazed, hard, unnatural appearance and be likely to crack
+and destroy the finest effort of an artist.
+
+He worked during his youth in Pisa, where the "leaning tower" stands;
+then he worked in Florence, finally in Rome, but those early pictures
+are long since gone. It was a century of adventure and discovery as
+well as of art, and with so much change, so many wars and rumours of
+wars, many great art works were lost. Besides, the horrible plague
+swept Italy east, west, north, and south. Who was to concern himself
+with saving works of art, when human life was going out wholesale all
+over the land?
+
+Masaccio was certainly very poor most of his life. He lived with his
+mother and his brother Giovanni, an artist like himself, but not
+nearly so brilliant. Masaccio could not spend his life in painting but
+had to eke out the family fortunes by keeping a little shop near the
+old Badia, and being pestered day and night by his creditors he was
+forced again and again to go to the pawn shop.
+
+Somewhere about 1422, careless Thomas painted his greatest picture
+which was doomed to destruction too early for us to know much about
+it; but it was named "San Paolo" and it was painted in the bell-room
+of the Church of the Carmine in Florence. The figure for his model was
+an illustrious personage, Bartoli d'Angiolini, who had held many
+honourable offices in Florence for many years. A critic and friend of
+artists tells us that the portrait was so great it lacked only the
+power of speech.
+
+In this picture Masaccio made his first great triumph in the
+foreshortening of feet.
+
+He undertook to celebrate the consecration Of the Church of the
+Carmine, and for this he made many frescoes, among which was a correct
+painting of the procession as it entered from the cloisters of the
+church. "Among the citizens who followed in its wake, portraits are
+introduced of Brunellesco, Donatello, Masolino, Felice Brancacci (the
+founder of the chapel) Giovanni di Bicci de' Medici, and others,
+including the porter of the convent with the key of the door in his
+hand."
+
+This work was thought to be very wonderful because the figures grew
+smaller in the distance, thereby giving "perspective" for the first
+time. Imagine how crude a thing was painting in the day of careless
+Thomas.
+
+That fresco is long since gone, but drawings of it still exist which
+tell us something of the people of Christopher Columbus's
+day--previous to their appearance, and their conditions.
+
+After Masaccio had finished the procession he went back to his
+painting of the chapel and in the end covered three of its four walls
+with his works. Many of those paintings are scenes from the life of
+St. Peter, and several were worked at by other artists than Masaccio.
+
+Masaccio was greater than Raphael, greater than Michael Angelo in so
+far as he pointed the way that they were to go, having solved for them
+all the problems that had kept artists from being great before
+him. Sir Joshua Reynolds says that "he appeared to be the first who
+discovered the path that leads to every excellence to which the art
+afterward arrived; and may therefore be justly considered one of the
+great fathers of modern art."
+
+The artist lived but a little time, and was most likely
+poisoned. Nobody knows, but it is said that other painters were so
+wildly jealous of his original genius that they wished him out of the
+way, and his death was at least mysterious. He drew very rapidly and
+let the details go, caring only to represent motion and
+action. Because he painted so many portraits into his pictures there
+was great life and animation in them, and people said of him that he
+painted not only the body but the soul.
+
+  PLATE--ARTIST'S PORTRAIT [Footnote: Many artists have left us
+  portraits of themselves, painted, no doubt, with the aid of a
+  mirror, in a group or alone. This one of Masaccio in the Naples
+  Museum, shows him to have been a picturesque model.]
+
+Some of his known pictures are the frescoes in the church of
+St. Clemente in Rome; the frescoes in the Brancacci Chapel in the
+Church of the Carmine, "St. Peter Baptising" and the "Madonna and
+Child, with St. Anne," which is in the Accademia at Florence.
+
+
+
+
+XXVIII
+
+JEAN LOUIS ERNEST MEISSONIER
+
+
+  (Pronounced May-sohn-yay)
+  _French School_
+  1815-1891
+  _Pupil of L‚on Cogniet_
+
+This artist was born at Lyons. His father was a salesman and an
+art-training seemed impossible for the young man because the
+Meissoniers were poor people. Nevertheless, he was so persevering that
+while still a young man he got to Paris and began to paint in the
+Louvre. He was but nineteen at that time, and his fate seemed so hard
+and bitter that later in life he refused to talk of those days.
+
+He sat for many days in the Louvre, by Daubigny's side, painting
+pictures for which we are told he received a dollar a yard. We can
+think of nothing more discouraging to a genius than having to paint by
+the yard. It is said that his poverty permitted him to sleep only
+every other night, because he must work unceasingly, and someone
+declares that he lived at one time on ten cents a week. This is a
+frightful picture of poverty and distress.
+
+Meissonier's first paying enterprise was the painting of bon-bon boxes
+and the decorating of fans, and he tried to sell illustrations for
+children's stories, but for these he found no market. A brilliant
+compiler of Meissonier's life has written that "his first
+illustrations in some unknown journal were scenes from the life of
+'The Old Bachelor.' In the first picture he is represented making his
+toilet before the mirror, his wig spread out on the table; in the
+second, dining with two friends; in the third, on his death-bed,
+surrounded by greedy relations and in the fifth, the servants
+ransacking the death chamber for the property." This was very likely a
+vision of his own possible fate, for Meissonier must have been at that
+time a lonely and unhappy man.
+
+There are many stories of his first exhibited work, which Caffin
+declares was the "Visit to the Burgomaster," but Mrs. Bolton, who is
+almost always correct in her statements, tells us that it was called
+"The Visitor," and that it sold for twenty dollars. At the end of a
+six years struggle in Paris, his pictures were selling for no more.
+
+Until this artist's time people had been used only to great canvases,
+and had grown to look for fine work, only in much space, but here was
+an artist who could paint exquisitely a whole interior on a space said
+to be no "larger than his thumb nail." His work was called
+"microscopic," which meant that he gave great attention to details,
+painting very slowly.
+
+During the Italian war of 1859, and in the German war of 1870, this
+wonderful artist was on the staff of Napoleon III. During the siege of
+Paris he held the rank of colonel, and he lost no chance to learn
+details of battles which he might use later, in making great
+pictures. Thus he gained the knowledge and inspiration to paint his
+picture "Friedland," which was bought by A. T. Stewart and is now in
+the Metropolitan Museum. He, himself, wrote of that picture: "I did
+not intend to paint a battle--I wanted to paint Napoleon at the zenith
+of his glory; I wanted to paint the love, the adoration of the
+soldiers for the great captain in whom they had faith, and for whom
+they were ready to die.... It seemed to me I did not have colours
+sufficiently dazzling. No shade should be on the imperial face.... The
+battle already commenced, was necessary to add to the enthusiasm of
+the soldiers, and make the subject stand forth, but not to diminish it
+by saddening details. All such shadows I have avoided, and presented
+nothing but a dismounted cannon, and some growing wheat which should
+never ripen.
+
+"This was enough.
+
+"The men and the Emperor are in the presence of each other. The
+soldiers cry to him that they are his, and the impressive chief, whose
+imperial will directs the masses that move around, salutes his devoted
+army. He and they plainly comprehend each other and absolute
+confidence is expressed in every face."
+
+This great work was sold at auction for $66,000 and given to the
+Metropolitan Museum.
+
+It is said that when he painted the "Retreat from Russia," Meissonier
+obtained the coat which Napoleon had worn at the time, and had it
+copied, "crease for crease and button for button." He painted the
+picture mostly out of doors in midwinter when the ground was covered
+with snow, and he writes: "Sometimes I sat at my easel for five or six
+hours together, endeavouring to seize the exact aspect of the winter
+atmosphere. My servant placed a hot foot-stove under my feet, which he
+renewed from time to time, but I used to get half-frozen and terribly
+tired."
+
+So attentive was he to truthfulness in detail that he had a wooden
+horse made in imitation of the white charger of the Emperor; and
+seating himself on this, he studied his own figure in a mirror.
+
+At last this conscientious man was made an officer of the Legion of
+Honour, having already become President of the Academy. Edmund About
+writes that "to cover M. Meissonier's pictures with gold pieces simply
+would be to buy them for nothing; and the practice has now been
+established of covering them with bank-notes."
+
+Meissonier seldom painted the figure of a woman in his pictures, but
+all of his subjects were wholesome and fine.
+
+One time an admirer said to him "I envy you; you can afford to own as
+many Meissonier pictures as you please!"
+
+"Oh no, I can't," the distinguished artist replied. "That would ruin
+me. They are a good deal too dear for me."
+
+In his maturity he became very rich, and his homes were dreams of
+beauty, filled with rare possessions such as bridles of black leather
+once owned by Murat, rare silver designed by the artist himself, great
+pictures, and flowers of the rarest description besides valuable dogs
+and horses. Yet it was said that "this man who lives in a palace is as
+moderate as a soldier on the march. This artist, whose canvases are
+valued by the half-million, is as generous as a nabob. He will give to
+a charity sale a picture worth the price of a house. Praised as he is
+by all he has less conceit in his nature than a wholesale painter."
+
+On the 31st of January in his country house at Poissy, this great man,
+whose life reads like a romance, died, after a short illness. His
+funeral services were held in the Madeleine, and he was buried at
+Poissy, near Versailles, a great military procession following him to
+the grave.
+
+  PLATE--RETREAT FROM MOSCOW
+
+In the painting of this picture we have already told how every detail
+was mastered by actual experience of most of them. Meissonier made
+dozens of studies for it--"a horse's head, an uplifted leg, cuirasses,
+helmets, models of horses in red wax, etc. He also prepared a
+miniature landscape, strewn with white powder resembling snow, with
+models of heavy wheels running through it, that he might study the
+furrow made in that terrible march home from burning Moscow. All this
+work--hard, patient, exacting work."
+
+Some of his other pictures are "The Emperor at Solferino," "Moreau and
+His Staff before Hohenlinden," "A Reading at Diderot's" and the "Chess
+Players."
+
+
+
+
+XXIX
+
+JEAN FRAN€OIS MILLET
+
+
+  _Fontainebleau-Barbizon School_
+  1814-1875
+  _Pupil of Delaroche_
+
+Two great artists painted peasants and little else. One was the artist
+of whom we shall speak, and the other was Jules Breton. One was
+realistic, the other idealistic. Both did wonderful work, but Millet
+painted the peasant, worn, patient steadfast, overwhelmed with toil;
+Breton, a peasant full of energy, grace, vitality, and joy.
+
+Millet painted peasants as he knew them, and hardly any one could have
+known them better, for he was himself peasant-born. His youth was
+hard, and the scenes of his childhood were such as in after life he
+became famous by painting. Millet lived in the department of Manche,
+in the village of Gruchy, near Cherbourg. Manche juts into the sea, at
+the English Channel, and whichever way Millet looked he must have seen
+the sea. His old grandmother looked after the household affairs, while
+his father and mother worked in the fields and Millet must have seen
+them hundreds of times, standing at evening, with bowed heads,
+listening to the Angelus bell. He toiled, too, as did other lads in
+his position. His grandmother was a religious old woman, and nearly
+all the pictures he ever saw in his boyhood were those in the Bible,
+which he copied again and again, drawing them upon the stone walls in
+white chalk.
+
+The old grandmother watched him, never doubting that her boy would
+become an artist. It was she who had named him--Fran‡ois, after her
+favourite saint, Francis, and it was she, who, beside the evening
+fire, would tell him legends of St. Francis. It was she alone who had
+time and strength left, after the day's work, to teach him the little
+he learned as a boy and to fix in his mind pictures of home. His
+father and mother were worn, like pack-horses, after their day in the
+fields. The mother very likely had to hitch herself up with the
+donkey, or the big dog, after the fashion of these people, as she
+helped draw loads about the field. Who can look for Breton's ideal
+stage peasants from Millet who knew the truth as he saw it every day?
+
+Many years after his life in the Gruchy home, Millet painted the
+portrait of the grandmother whom he had loved so much that he cried
+out: "I wish to paint her soul!" No one could desire a better reward
+than such a tribute.
+
+Millet had an uncle who was a priest and he did what he could to give
+the boy a start in learning. He taught him to read Virgil and the
+Latin Testament; and all his life those two books were Millet's
+favourites. Besides drawing pictures on the walls of his home, he drew
+them on his sabots. Pity some one did not preserve those old wooden
+shoes! He did his share of the farm work, doing his drawing on rainy
+days.
+
+When he was about eighteen years old, coming from mass one day, he was
+impressed with the figure of an old man going along the road, and
+taking some charcoal from his pocket he drew the picture of him on a
+stone wall. The villagers passing, at once knew the likeness; they
+were pleased and told Millet so. Old Millet, the father, also was
+delighted for he, too, had wished to be an artist, but fate had been
+against him. Seeing the wonderful things his son could do, he decided
+that he should become what he himself had wished to be, and that he
+should go to Cherbourg to study.
+
+Fran‡ois set off with his father, carrying a lot of sketches to show,
+and upon telling the master in Cherbourg what he wanted and showing
+the sketches, he was encouraged to stay and begin study in earnest. So
+back the old father went, with the news to the mother and grandmother
+and the priest uncle, that Fran‡ois had begun his career. He stayed in
+Cherbourg studying till his father died, when he thought it right to
+go home and do the work his father had always done. He returned, but
+the women-folk would not agree to him staying. "You go back at once,"
+said the grandmother, "and stick to your art. We shall manage the
+farm." She sewed up in his belt all the money she had saved, and
+started him off again, for he had then been studying only two
+months. Now he remained till he was twenty-three, a fine, strapping,
+broad-shouldered country fellow. He had long fair hair and piercing
+dark blue eyes. All the time he was with Delaroche he was dissatisfied
+with his work--and with his master's, which seemed to Millet
+artificial, untrue. He knew nothing of the classical figures the
+master painted and wished him to paint, for his heart and mind were
+back in Gruchy among the scenes that bore a meaning for him. He wished
+to study elsewhere, and by this time he had done so well that one of
+the artists with whom he had studied went to the mayor of Millet's
+home town, and begged him to furnish through the town-council money
+enough to send Millet to Paris. This was done, and Millet began to
+hope.
+
+He was very shy and afraid of seeming awkward and out of place. The
+night he got to Paris was snowy, full of confusion and strange things
+to him, and an awful loneliness overwhelmed him. The next morning he
+set out to find the Louvre, but would not ask his way for fear of
+seeming absurd to some one, so that he rambled about alone, looking
+for the great gallery till he found it unaided. He spent most of the
+days that followed gazing in ecstasy at the pictures.
+
+He liked Angelo, Titian, and Rubens best. He had come to Paris to
+enter a studio, but he put off his entrance from day to day, for his
+shyness was painful and he feared above all things to be laughed at by
+city students. At last one day, he got up enough courage to apply to
+Delaroche, whose studio he had decided to enter if he could, as he
+liked his work best. The students in that studio were full of
+curiosity about the new chap, with his peasant air, his bushy hair and
+great frame, so sturdy and awkward. They at once nicknamed him "the
+man of the woods," and they nagged at him and laughed at the idea that
+he could learn to paint, till one day, exasperated nearly to death, he
+shook his fist at them. From that moment he heard no more from them,
+for they were certain that if he could not paint he could use his
+fists a good deal better than any of them. Delaroche liked the peasant
+but did not understand him very well, and Millet was not too fond of
+his painting, so after two years he and a friend withdrew from that
+studio and set up one for themselves. Thus eight years passed, the
+friends living from hand to mouth, doing all sorts of things:
+sign-painting, advertisements, and the like; and Millet, in the midst
+of his poverty, got married.
+
+He went home, returning to Paris with his wife, and after starving
+regularly, he became desperate enough to paint a single picture as he
+wished. It seemed at the time the maddest kind of thing to do. Who
+would see ugly, toil-worn peasants upon his _salon_ walls? Paris
+wanted dainty, aesthetic art, and an Academy artist would have scoffed
+at the idea; but the Millets were starving anyway, so why not starve
+doing at least what one chose. So Millet painted his first wonderful
+peasant picture "The Winnower," and just as the family were starving
+he sold it--for $100. He had done at last the right thing, in doing as
+he pleased. This was a sign to him that there was after all a place
+for truth and emotion in art. But the Millets must change their place
+of living, and go to some place where the money made would not at once
+be eaten up. Jacque--the friend with whom Millet had set up shop, and
+who also became famous, later--advised them to go to a little place he
+knew about, which had a name ending in "zon." It was near the forest
+of Fontainebleau, he said and they could live there very cheaply, and
+it was quiet and decent. The Millets got into a rumbling old cart and
+started in search of the place which ended in "zon" near the forest of
+Fontainebleau. Jacque had also decided to take his family there and
+they all went together. When they got to Fontainebleau they got down
+from the car and went a-foot through the forest.
+
+They arrived tired and hungry toward evening, and went to Ganne's Inn,
+where there were Rousseau, Diaz, and other artists who like themselves
+had come in search of a nice, clean, picturesque place in which to
+starve, if they had to. Those who were just sitting down to supper
+welcomed the newcomers, for they had been there long enough to form a
+colony and fraternity ways. One of these was to take a certain great
+pipe from the wall, and ask the newcomer to smoke; and according to
+the way he blew his "rings" he was pronounced a "colourist" or
+"classicist." The two friends blew the smoke, and at once the other
+artists were able to place Jacque. He was a colourist; but what were
+they to say about Millet who blew rings after his own fashion.
+
+"Oh, well!" he cried. "Don't trouble about it. Just put me down in a
+class of my own!"
+
+"A good answer!" Diaz answered. "And he looks strong and big enough to
+hold his own in it!" Thus the newcomers took their places in the life
+of Barbizon--the place whose name ended in "zon," and Millet's real
+work began. His first wife lived only two years, but he married
+again. All this time he was following his conscience in the matter of
+his work, and selling almost nothing. In a letter to a friend he tells
+how dreadfully poor they are, although his new wife was the most
+devoted helpful woman imaginable, known far and near as "MŠre Millet."
+The artist wrote to Sensier, his friend, who aided him: "I have
+received the hundred francs. They came just at the right time. Neither
+my wife nor I had tasted food in twenty-four hours. It is a blessing
+that the little ones, at any rate, have not been in want."
+
+The revolution of 1848 had come before Millet went to Barbizon, and he
+like other men had to go to war. Then the cholera appeared, and these
+things interrupted his work; and after such troubles people did not
+begin buying pictures at once. Rousseau was famous now, but Millet
+lived by the hardest toil until one day he sold the "Woodcutter" to
+Rousseau himself, for four hundred francs. Rousseau had been very
+poor, and it grieved him to see the trials and want of his friend, so
+he pretended that he was buying the picture for an American. That
+picture was later sold at the Hartmann sale for 133,000 francs. Millet
+was now forty years old, and had not yet been recognised as a
+wonderful man by any but his brother artists. He was truly "in a class
+of his own." He had learned to love Barbizon, and cried: "Better a
+thatched cottage here than a palace in Paris!" and we have the picture
+in our minds of Millet followed patiently and lovingly by "MŠre
+Millet" in the peasant dress which she always wore, that she might be
+ready at a moment's notice to pose for his figures. Then there were
+his little children and his sunny, simple, fraternal surroundings,
+which make his life the most picturesque of all artists.
+
+His paintings had the simplest stories with seldom more than two or
+three figures in them. It was said that he needed only a field and a
+peasant to make a great picture. When he painted the "Man with the
+Hoe," he did it so truthfully, in a way to make the story so well
+understood by all who looked upon it, that he was called a
+socialist. No one was so much surprised as Millet by that name. "I
+never dreamed of being a leader in any cause," he said. "I am a
+peasant--only a peasant."
+
+Of his picture "The Reaper" a critic wrote, "He might have reaped the
+whole earth." All his pictures were sermons, he called them "epics of
+the fields." He pretended to nothing except to present things just as
+they were, as he writes in a letter to a friend about "The Water
+Carrier:"
+
+In the woman coming from drawing water I have endeavoured that she
+shall be neither a water-carrier nor a servant, but the woman who has
+just drawn water for the house, the water for her husband's and her
+children's soup; that she shall seem to be carrying neither more nor
+less than the weight of the full buckets; that beneath the sort of
+grimace which is natural on account of the strain on her arms, and the
+blinking of her eyes caused by the light, one may see a look of rustic
+kindliness on her face. I have always shunned with a kind of horror
+everything approaching the sentimental. I have desired on the other
+hand, that this woman should perform simply and good-naturedly,
+without regarding it as irksome, an act which, like her other
+household duties, is one she is accustomed to perform every day of her
+life. Also I wanted to make people imagine the freshness of the
+fountain, and that its antiquated appearance should make it clear that
+many before her had come to draw water from it.
+
+At forty he was in about the same condition as he had been on that
+evening ten or twelve years before, when he had entered Barbizon
+carrying his two little daughters upon his shoulders, his wife
+following with the servant and a basket of food, to settle themselves
+down to hardship made sweet by kind comradeship and hope. Now a change
+came. Millet painted "The Angelus." He was dreadfully poor at that
+time and sold the picture cheaply, but it laid the foundation of his
+fame and fortune. He had worked upon the canvas till he said he could
+hear the sound of the bell. Although its first purchaser paid very
+little for it, it has since been sold for one hundred and fifty
+thousand dollars.
+
+At last, having struggled through his worst days, without recognition,
+and with nine little children to feed and clothe, he was given the
+white cross of the Legion of Honour; and as if to make up for the days
+of his starvation, he was nearly feasted to death in Paris. He was
+placed upon the hanging committee of the _Salon_, and took a dignified
+place among artists. He and MŠre Millet travelled a little, but always
+he returned to Barbizon, till the war came and he had to move to
+Normandy to work. Afterward he returned to Barbizon, to the scenes and
+the old friends he loved so well, and there he died. He had come back
+ill and tired with the long struggle, and he instructed his friends to
+give him a simple funeral. This was done. They carried his coffin,
+while his wife and children walked beside him to the cemetery, and he
+was buried near the little church of Chailly, whose spire is seen in
+"The Angelas," and where Rousseau, whom he loved, had already been
+laid.
+
+There in Barbizon, to-day, may be seen Rousseau's cottage and Millet's
+studio. "The peasants sow and reap and glean as in the days of Millet;
+Troyon's oxen and sheep are still standing in the meadow; Jacque's
+poultry are feeding in the barnyard. The leaves on Rousseau's grand
+old trees are trembling in the forest; Corot's misty morning is as
+fresh and soft as ever; while Diaz's ruddy sunsets still penetrate the
+branches; and the peasant pauses daily as the Angelus from the Chailly
+church calls him to silent prayer."
+
+  PLATE--THE ANGELUS
+
+In "The Angelus" you may see far-off the spire of the church at
+Chailly, from which the bell sounds. The day's work is drawing to a
+close. The peasant man and woman have been digging potatoes--the man
+uncovering them, while his wife has been putting them in the
+basket. As the Angelus floats across the fields, the two pause and bow
+their heads in prayer. The man has dropped his fork and uncovered his
+head, and his wife has clasped her hands devoutly before her.
+
+All the air seems still and full of tender sound and colour, and we,
+like Millet, seem "to hear the bell." This is the only picture he
+painted which is full of the sentimentality he so much disliked. It is
+a great picture, but we need to know the title in order to interpret
+it.
+
+Besides this one, Millet painted "The Gleaners," "The Woodcutters,"
+"The Sower," "The Man with the Hoe;" "The Water Carrier," "The
+Reaper," and many other stories of the peasant poor.
+
+
+
+
+XXX
+
+CLAUDE MONET
+
+
+  (_Pronounced Claude Mo-nay_)
+  _Impressionist School of France_
+  1840--
+
+Another--Manet--was the founder of this school among modern painters,
+but Monet is always considered his most conspicuous follower.
+
+Monet's remarkable method of putting his colours upon canvas does not
+mean impressionism. He is an impressionist but also _Monet_--an artist
+with a method entirely different from that of any other. He belongs to
+what in France is called the _pointillistes_. The word means nothing
+more nor less than an effort to accomplish the impossible. If you
+stand a little way from a very hot stove you may be able to see a kind
+of movement in the air, a quivering of particles or molecular motion,
+and this is what the _pointillistes_ try to show in their
+paintings--Monet most of all.
+
+The theory is that by putting little dabs of primitive colours, close
+together upon canvas, without mixing them, just separate dabs of red,
+yellow, blue, etc., the effect of movement is produced. Needless to
+say, none of them ever have produced such an effect, but they have
+made such grotesque, ugly pictures that they have attracted attention
+even as a humpbacked person does.
+
+The first who painted thus was a Frenchman named Seurat, who tried it
+after closely studying experiments made in light and colour by
+Professor Rood, of Columbia University. After him came Pissarro, and
+then Monet. America also has such a painter, Childe Hassam, but nobody
+is so grotesque as Monet.
+
+He was born in Paris but spent most of his youth in Havre, where he
+met a painter of harbours and shipping scenes called Boudin. Through
+his influence Monet studied out-of-door effects, and was beginning to
+do fairly good work, when he was drawn as a conscript and sent to
+Algeria. It is written that Monet discovered that "green, seen under
+strong sunshine is not green, but yellow; that the shadows cast by
+sunlight upon snow or upon brightly lighted surfaces are not black,
+but blue; and that a white dress, seen under the shade of trees on a
+bright day, has violet or lilac tones." This only means that these
+things have been scientifically determined, not that the naked eye
+ever perceives them, and it is for the natural, unscientific eye that
+art exists. None of us see the separate colours of the spectrum, as we
+look about in every-day fashion upon every-day objects.
+
+Professor Rood managed to produce an intelligent effect by putting
+separate colours on discs and whirling these round so that the colours
+mingled. Monet tried to do the same by dotting his original colours
+close together, and leaving the picture to its own destruction. It
+ought to revolve, if the scientific idea is to be carried out.
+
+Nothing desirable can be made out of his pictures even when viewed
+from far off, while at close range they are simply grotesque, and
+photographs of them give the impression that the entire landscape is
+wabbling to the ground.
+
+I wonder if anyone, small or grown up, can understand this: "It was
+indeed a higher kind of impressionism that Monet originated, one that
+reveals a vivid rendering, not of the natural and concrete facts, but
+of their influence upon the spirit when they are wrapped in the
+infinite diversities of that impalpable, immaterial, universal medium
+which we call light, when the concrete loses itself in the abstract,
+and what is of time and matter impinges on the eternal and the
+universal." Monet's pictures look just as that explanation of them
+sounds!
+
+The same writer says that Monet was greater than Corot because he was
+more sensitive to colour; but if Monet had been as sensitive to colour
+as Corot, he could not have lived and looked at his own pictures.
+
+  PLATE--HAYSTACK IN SUNSHINE
+
+The main feature of this picture is such a hay stack as never existed
+anywhere, of indescribable lurid colour, against a background of blue
+such as never was seen. All about there are violet and rose-coloured
+trees, and it is a picture that every child should know, because he is
+likely never to have another such opportunity.
+
+Monet has made two interesting pictures of churches, one at Vernon,
+the other at Varangeville.
+
+
+
+
+XXXI
+
+MURILLO (BARTOLOME ESTEBAN)
+
+
+  (Pronounced Moo-reel'oh Bar-tol-o-may' A-stay'bahn)
+  _Andalusian School_
+  1617-1682
+  _Pupil of Juan del Castillo_
+
+The story of Murillo has been delightfully told by Mrs. Sarah Bolton.
+
+Like Velasquez, he was born in Seville, a city called "the glory of
+the Spanish realms," and was baptised on New Year's day, 1618, in the
+Church of the Magdalen.
+
+Murillo's father paid his rent in work, instead of in money. He made a
+bargain with the convent who owned his house that he would keep it in
+repair if he might have it free of rent, so there Gaspar Est‚ban and
+his wife, Maria Perez, settled. "Perez" was the family name of
+Murillo's mother, who had very good connections; one of her brothers,
+Juan del Castillo, being a man who encouraged all art and had an art
+school of his own. Little Murillo therefore had encouragement from the
+start, an unusual circumstance at a time when parents rarely wished to
+think of their sons as painters. As a matter of fact, his mother would
+have preferred that he should become a priest, but she was kind and
+sensible, and put no difficulties in the way of the little Murillo
+doing as he wished.
+
+The story goes that the Perez family had been very rich, but, however
+it may have been, that was not the case when the artist was born. One
+day after his mother had gone to church, Murillo being left at home
+alone, retouched a picture that hung upon the wall. It was a picture
+of sacred subject--"Jesus and the Lamb." He thought he could make some
+improvements in it, so he painted his own hat upon the head of Jesus
+and changed the lamb into a little dog. His mother was a good deal
+shocked at what seemed to her an irreligious act, though it showed the
+family genius. After that the boy was found to be painting upon the
+walls of his schoolroom, and making sketches upon the margins of his
+books, though he did little else at school.
+
+He had one sister, Therese, and they were left without father or
+mother before the artist was eleven years old.
+
+It was at that time that he received the name of "Murillo" by which he
+is known.
+
+It came about thus: After the death of his parents he went to live
+with his mother's sister, the Do¤a Anna Murillo, who had married a
+surgeon called Juan Agustin Lagares, and since the little artist was
+to live with his aunt, he soon became known by her family name. There,
+in her home, he and his sister Therese, were brought up, but he was
+not to become a surgeon like his uncle-in-law, but an artist like his
+uncle Juan, the teacher in Seville. That uncle took him in hand,
+taught the boy to draw, to mix colours, to stretch his canvas, and
+soon Murillo's genius won the love of master and pupils.
+
+In peace and reasonable comfort he served a nine years apprenticeship,
+and painted his first important, if not especially great,
+pictures. These were two Madonnas, one of them "The Story of the
+Rosary." St. Dominic had instituted the rosary; using fifteen large
+and one hundred and fifty small beads upon which to keep record of the
+number of prayers he had said; the large beads representing the
+_Paternosters and Glorias_ and the small ones, the _Aves_. This
+practical way of indicating duties helped the heedless to concentrate
+their attention, and did much to increase the number of prayers
+offered. Indeed, it is said that "by this single expedient Dominic did
+more to excite the devotion of the lower orders, especially of the
+women, and made more converts, than by all his orthodoxy, learning,
+arguments, and eloquence." It was this incident in the history of the
+Catholic Church that Murillo commemorated.
+
+When the artist was twenty-two years old, his uncle, Juan del
+Castillo, broke up his home and went elsewhere to live, leaving the
+artist without home or means, and with his little sister to take care
+of. Without vanity or ambition, but with only the wish to care for his
+sister and to get food, the marvellous painter took himself to the
+market place, and there, wedged in between stalls, old clothes,
+vegetables, all sorts of wares, like a wanderer and a gypsy, he began
+his career.
+
+At the weekly market--the _Feria_ or fair, opposite the Church of All
+Saints--his brotherly, kindly feeling for the vagabonds he daily met
+is shown in the treatment he gives them in his wonderful
+pictures. During the two years that he worked in that open-air studio
+he had flower-girls, muleteers, hucksters all about him, and he
+painted dozens of rough pictures which found quick sale among the
+patrons of the market. What Velasquez was doing in the court of
+Madrid, Murillo was doing in the streets of Seville; the one painting
+cardinals, kings, and courtiers; the other painting beggars, _gamins_,
+and waifs. Between the two, the world has been shown the social
+history of Spain as it then existed.
+
+Through a peculiar happening, the American Indian saw the beauties of
+Murillo's work before Europe was even conscious there was such a
+man. In his old home, his uncle's studio, Murillo had had a dear
+comrade, Moya. They had not met for two years or more, and when they
+did come together again Moya told Murillo he had been travelling, that
+he had been to Flanders with the Spanish army, and thence to London,
+in both places seeing gorgeous paintings and other inspiring
+things. He opened the eyes of Murillo to the splendours the world
+contained, and the artist became wild with desire to go and see them
+for himself, but he had no money. He was painting pictures in the
+market place of Seville and getting so little for his hasty work that
+he could barely support himself and little Therese. What must he do in
+order to get to London and see the world?
+
+What he did do was to buy a piece of linen, cut it into six pieces and
+hide himself long enough to paint upon them "saints, flowers, fruit
+and landscapes," and then he went forth to sell them.
+
+He actually sold those pictures to a ship-owner who was sending his
+ship to the West Indies. Eventually they were hung upon the walls of a
+mission in wild, far off America. It is said that after this Murillo
+made no little money by painting such pictures, destined to give the
+American savage an idea of the Christian religion. One cannot but
+wonder if there may not be, all unknown to us, Murillo pictures, made
+in the market-place of Seville nearly three hundred years ago, hidden
+away in the remains of those old Spanish missions, even to-day. Such a
+picture would be more rare than the greatest that he ever painted.
+
+After selling his six pictures Murillo started a-foot, not to London
+but on a terrible journey across the Sierra Mountains, to Madrid--the
+home of Velasquez. Murillo knew that this native of Seville had become
+a famous artist. He was powerful and rich and at the court of Philip
+II., while Murillo had no place to lay his head, and besides he had
+left Therese behind in Seville in the care of friends. He had no claim
+upon the kindness of Velasquez but he determined to see him; to
+introduce himself and possibly to gain a friend. It was under these
+forlorn circumstances he made himself known to the great Spanish court
+painter.
+
+The story of their meeting is a fine one. For Murillo Velasquez had a
+warm embrace, a kind and hospitable word. The stranger told Velasquez
+how he had crossed the mountains on foot, was penniless, but could use
+his brush. Instead of jealousy and suspicion, the young man met with
+nothing but the most cheerful encouragement, found the Velasquez home
+open to him, took up his lodging there and established his workshop
+with nothing around him but friendship and the sympathy his nature
+craved.
+
+From the market-place to the home of Velasquez and the Palace of
+Philip II.! It was a beautiful dream to Murillo.
+
+With what splendour of colour and mastery of design he illuminated the
+annals of the poor! Coming forth from some dim chancel or palace-hall
+in which he had been working on a majestic Madonna picture, he would
+sketch in, with the brush still loaded with the colours of celestial
+glory, the lineaments of the beggar crouching by the wall, or the
+gypsy calmly reposing in the black shadow of an archway. Such
+versatility had never before been seen west of the Mediterranean, and
+it commanded the admiration of his countrymen.
+
+All his beggarly little children, neglected and houseless, appeared
+only to be full of cheer and merriment, with soft eyes and contented
+faces. It was a happy, care-free, gay, and kindly beggardom that he
+painted, with nothing in it to sadden the heart.
+
+Thus he lived for three years; working in the galleries of the king,
+making friends at court, painting beautiful women, gallant cavaliers
+and fascinating little beggars.
+
+In the course of time, however, he grew restless, and Velasquez wished
+to give him letters of introduction to Roman artists and people of
+quality, advising him to go to Rome to study the greatest art in the
+world. This was an alluring plan to Murillo, but after all he longed
+for his own home and chose to return there rather than go to
+Rome. Besides, his sister Therese was still in Seville.
+
+Once more in his home, at one stroke of his magic brush Murillo raised
+himself and a monastic order from obscurity to greatness. In his
+native city was the order of San Francisco. The monks had long wished
+to have their convent decorated in a worthy manner by some artist of
+repute; but they were poor and had never been able to engage such a
+painter. When Murillo got back home, he was as badly in need of work
+as the Franciscans were in want of an artist. The monks held a council
+and finally agreed upon a price which they could pay and which Murillo
+could live upon. Then he began a wonderful set of eleven large
+paintings. Among them were many saints, dark and rich in colouring,
+and no sooner was it known that the paintings were being made than all
+the rich and powerful people of Seville flocked to the convent to see
+the work. They gathered about the young artist, overwhelmed him with
+honours and praise, and the monastery was crowded from morning till
+night with those who wished to study his work. From that moment
+Murillo's fame, if not his fortune, was made.
+
+He married a rich and noble lady with the tremendous name of Do¤a
+Beatriz de Cabrera y Sotomayer. He had fallen in love with her while
+painting her as an angel.
+
+About that time he formed a strange partnership with a landscape
+painter, who agreed to supply the backgrounds that his pictures
+needed, if Murillo would paint figures into his landscapes. This plan
+did very well for a little time, but it did not last long.
+
+Murillo painted in three distinct styles, and these have come to be
+known as the "warm," the "cold," and the "vaporous." He painted
+pictures in the great cathedral of the Escorial and the "Guardian
+Angel" was one of them. Also, he painted "St. Anthony of Padua," and
+of this picture there is one of those absurd stories meant to
+illustrate the perfection of art. It is said that the lilies in it are
+so natural that the birds flew down the cathedral aisles to pluck at
+them. Many artists have painted this saint, but Murillo's is the best
+picture of all.
+
+When the nephew of his first master, Murillo's cousin, saw that work
+he said: "It is all over with Castillo! Is it possible that Murillo,
+that servile imitator of my uncle, can be the author of all this grace
+and beauty of colouring?"
+
+The Duke of Wellington offered for this picture as many gold pieces
+"as would cover its surface of fifteen square feet." This would have
+been about two hundred and forty thousand dollars; but we need not
+imagine that Murillo received any such sum for the work. This picture
+has a further interesting history. The canvas was cut from the frame
+by thieves in 1874, and later it was sold to Mr. Schaus, the
+connoisseur and picture dealer of New York. He paid $250 for it, and
+at once put it into the hands of the Spanish consul, who restored it
+to the cathedral.
+
+The story of the saint whom Murillo painted is as interesting as
+Murillo's own. Among the many wonderful things said to have happened
+to him was that a congregation of fishes hearing his voice as he
+preached beside the sea, came to the top and lifted up their heads to
+listen.
+
+While Murillo was doing his work, he was living a happy, domestic
+life. He had three children, and doubtless he used them as models for
+his lively cherubs, as he used his wife's face for madonnas and
+angels.
+
+He founded an academy of painting in Seville, for the entrance to
+which a student could not qualify unless he made the following
+declaration: "Praised be the most Holy Sacrament and the pure
+conception of Our Lady."
+
+The most delightful stories are told of Murillo's kindness and
+sweetness of disposition. He had a slave who loved him and who, one
+day while Murillo was gone from the studio, painted in the head of the
+Virgin which the master had left incomplete. When Murillo returned and
+saw the excellent work he cried: "I am fortunate, Sebastian"--the
+slave's name--"For I have not created only pictures but an artist!"
+This slave was set free by Murillo and in the course of time he
+painted many splendid pictures which are to-day highly prized in
+Seville.
+
+This is a description of Murillo's house which is still to be seen
+near the Church of Santa Cruz: "The courtyard contains a marble
+fountain, amidst flowering shrubs, and is surrounded on three sides by
+an arcade upheld by marble pillars. At the rear is a pretty garden,
+shaded by cypress and citron trees, and terminated by a wall whereon
+are the remains of ancient frescoes which have been attributed to the
+master himself. The studio is on the upper floor, and overlooks the
+Moorish battlements, commanding a beautiful view to the eastward, over
+orange groves and rich corn-lands, out to the gray highlands about
+Alcala."
+
+Murillo's fame brought fortune to his little sister, Therese. She
+married a nobleman of Burgos, a knight of Santiago and judge of the
+royal colonial court. He became the chief secretary of state for
+Madrid.
+
+Murillo made money, but gave almost all that he made to the poor,
+though he did not make money in the service of the Church, as
+Velasquez made it in the service of the king.
+
+His work of more than twenty pictures in the Capuchin Church of
+Seville occupied him for three years, and in that time he did not
+leave the convent for a single day.
+
+Of all the charming stories told of this glorious artist, one which is
+connected with his work in that church is the most picturesque. It
+seems that every one within the walls loved him, and among others a
+lay brother who was cook. This man begged for some little personal
+token from Murillo and since there was no canvas at hand, the artist
+bade the cook leave the napkin which he had brought to cover his food,
+and during the day he painted upon it a Madonna and child, so natural
+that one of his biographers declares the child seems about to spring
+from Mary's arms. This souvenir made for the cook of the Capuchin,
+convent has been reproduced again and again, as one of the artist's
+greatest performances.
+
+Toward the close of his happy life, he became more and more devout,
+spending many hours before an altar-piece in the Church of Santa Cruz
+where was a picture of "The Descent from the Cross," by Pedro
+Campana. "Why do you always tarry before 'The Descent from the
+Cross?'" the sacristan once asked of him.
+
+"I am waiting till those men have brought the body of our blessed Lord
+down the ladder." Murillo answered. His wife had died, his daughter
+had become a nun, and all that was left to him was his dear son
+Gaspar, when in his sixty-third year he began his last work, "The
+Marriage of St. Catherine." He had not finished this when he fell from
+the scaffolding upon which he was working, and fatally hurt
+himself. He died, with his son beside him. He was a much loved man,
+and when he was buried, his bier was carried by "two marquises and
+four knights and followed by a great concourse of people." He chose to
+be buried beneath the picture he loved so much--"The Descent from the
+Cross," and upon his grave was laid a stone carved with his name, a
+skeleton and an inscription in Latin which means "Live as one who is
+about to die."
+
+The church has since been destroyed, and on its site is the Plaza
+Santa Cruz, but Murillo's grave is marked by a tablet.
+
+Each country seems to have had at least one man of beautiful heart and
+mind, to represent its art. Raphael in Italy, Murillo in Spain, were
+types of gentle and greatly beloved men. Leonardo in Italy and D�rer
+in Nuremberg, were types of forceful, intellectual men, highly
+respected and of great benefit to the world.
+
+Of all the painters who ever lived, Murillo was the one who painted
+little children with the most loving and fascinating touch.
+
+  PLATE--THE IMMACULATE CONCEPTION
+
+Besides the little angels in this picture, we have a bewildering
+choice among many other beauties.
+
+Many pictures of this subject have been painted, and many were painted
+by Murillo, but the one presented here is the greatest of all. It
+hangs in the Louvre, Salle VI. Mary seems to be suspended in the
+heavens, not standing upon clouds. Under the hem of her garments is
+the circle of the moon, while there is the effect of hundreds of
+little cherub children massed about her feet, in a little swarm at the
+right, where the shadow falls heaviest, and still others, half lost in
+the vapoury background at the left, where the heavenly light streams
+upon them, and brilliantly lights up the Virgin's gown. In this
+picture are all Murillo's beloved child figures, some carrying little
+streamers, their tiny wings a-flutter and all crowding lovingly about
+Mary. Far below this gorgeous group we can imagine the dark and weary
+earth lost in shadow.
+
+Among Murillo's most famous paintings are: "The Birth of the Virgin,"
+"Two Beggar Boys," "The Madonna of the Rosary," "The Annunciation,"
+"Adoration of the Shepherds," "Holy Family," "Education of Mary," "The
+Dice Players," and "The Vision of St. Anthony."
+
+
+
+
+XXXII
+
+RAPHAEL (SANZIO)
+
+
+  (Pronounced Rah'fay-el (Sahnt'syoh))
+  1483-1590
+  _Umbrian, Florentine, and Roman Schools_
+  _Pupil of Perugino_
+
+It was said of Raphael that "every evil humour vanished when his
+comrades saw him, every low thought fled from their minds"; and this
+was because they felt themselves vanquished by his pleasant ways and
+sweet nature.
+
+Imagine his beautiful face, with its sunny eyes, reflecting no shadow
+of sadness or pain. Such a one was sure to be beloved by all.
+
+The father of Raphael was Giovanni Santi, himself an able artist. Both
+he and Raphael studied in many schools and took the best from
+each. The son was brought up in an Italian court, that of Guidobaldo
+of Urbino, where the father was a favourite poet and painter, so that
+he had at least one generation of art-lovers behind him, at a time
+when learning and art were much prized. Nothing ever entered into his
+life that was sad or sorrowful; his whole existence was a triumph of
+beautiful achievements. There were three great artists of that time,
+the other two being Michael Angelo and Leonardo da Vinci, both of whom
+were absolutely unlike Raphael in their art and in their characters.
+
+Raphael was born on April 6th at Contrada del Monte in the ducal city
+of Urbino. His mother's name was Magia Ciarla, and she was the
+daughter of an Urbino merchant. She had three children besides the
+great painter, all of whom died young, and when Raphael was but eight
+years old his mother died also. It is said that it was from her
+Raphael inherited his beauty, goodness, mildness, and genius. His
+father's patron, the Duke of Urbino, was a fine soldier, but he also
+cherished scholarship and art, and kept at his court not less than
+twenty or thirty persons at work copying Greek and Latin manuscript
+which he wished to add to his library.
+
+Raphael had a stepmother, Bernardina, the daughter of a goldsmith, a
+good and forceful woman, but not gentle like the first wife; and when
+Raphael was eleven years of age his father, too, died. By his father's
+will Raphael became the charge of his uncle Bartolommeo, a priest, but
+the property was left to the stepmother so long as she remained
+unmarried. Almost at once the priest and the stepmother fell to
+quarreling over the spoils, and thus Raphael was left pretty much to
+his own devices, but just when life began to look dark and sad for
+him, his mother's brother took a hand in the situation. He settled the
+dispute between the priest and the second wife, and arranged that
+Raphael should be placed in the studio of some great painter, for the
+loving lad had already worked in his father's studio, and had given
+promise of his wonderful gifts. So he became the pupil of Perugino, a
+painter noted for his fine colouring and sympathetic handling of his
+subjects. At that time, Italian schools were less wonderful in
+colouring than in other matters of technique.
+
+"Let him become my pupil," said Perugino, when Raphael was brought to
+him and some of his work was exhibited; "soon he will be my master." A
+very different attitude from that of Ghirlandajo toward Michael
+Angelo.
+
+Raphael and his master became friends and worked together for nine
+years.
+
+His first work was not conceived until Raphael was seventeen. It was
+to be a surprise to his master who had gone to Florence. A banner was
+wanted for the Church of S. Trinita at Citta di Castello, and Raphael
+undertook it, painting the "Trinity," on one canvas and the "Creation
+of Man" on another. Then he painted the "Crucifixion," which was
+bought by Cardinal Fesch, who lived in Rome. That painting is now in a
+collection of the Earl of Dudley. It was sold away from Rome in 1845,
+for twelve thousand dollars--or a little more. No one will deny that
+this is an unusual sum for an artist's first work, but about the same
+time he did a much more wonderful thing.
+
+He painted a little picture, six and three-quarter inches square. It
+was of the Virgin walking in the springtime, before the leaves had
+appeared upon the trees, and with snow-capped mountains behind
+her. She holds the infant Jesus in her arms while she reads from a
+small book, and the little child looks upon the page with her. This
+six inches of beauty sold to the Emperor of Russia, in 1871, for sixty
+thousand dollars.
+
+Before Raphael was twenty-one, he had left his master's studio and had
+gone into the splendid world of Rome, where Angelo was straining at
+his bonds. But how differently each accepted his life! The gentle
+Raphael, who took the best of the ideas of all great painters, and
+gave to them his own exquisite characteristics, was beloved of all,
+shed light upon art and friends alike. To such a one all life was
+joyous. Michael Angelo, trying ever to do the impossible, betraying
+his hatred of limitations in all that he did, doing always that which
+aroused horror, distress, longing, elemental feelings, in those who
+studied his wonderful work, and giving hope and satisfaction and peace
+to none--to such as he life must ever have been hateful and
+painful. These men lived at the same time, among the same people.
+
+One of Raphael's greatest pictures came into the possession of a poor
+widow, who being hard pressed by poverty, sold it to a bookseller for
+twelve scudi. In time it was bought from the bookseller by Grand Duke
+Ferdinand III. of Tuscany, who prayed before it night and morning,
+taking it with him on his travels. That picture is now in the Pitti
+Palace at Florence and it is called the "Madonna del Granduca." The
+Berlin Museum purchased a Raphael Madonna for $34,000 which was
+painted about the same time as these others, but after a little the
+artist left Florence where he had been studying the methods of
+Leonardo and Angelo and returned to Urbino, the home he loved, where
+his conduct was such that all the world seems to have become his
+lover. It is written that he was "the only very distinguished man of
+whom we read, who lived and died without an enemy or detractor!" No
+better can ever be said of any one.
+
+While he dwelt in Perugia and Urbino he had painted the "Ansidei
+Madonna," so called because that was the name of the family for which
+it was painted. That Madonna was sold in 1884 to the National Gallery,
+by the Duke of Marlborough for $350,000. A Madonna on a round
+plaque-like canvas, 42-3/4 inches in diameter, was bought by the Duke
+of Bridgewater for $60,000. It is the "Holy Family under a Palm Tree,"
+painted originally for a friend, Taddeo Taddei, who was a Florentine
+scholar. Many of the pictures which after many vicissitudes have
+landed far from home and been bought for fabulous sums were painted
+for love of some friend, or were paid for by modest sums at the time
+the artist received the commissions. Lord Ellesmere in London now owns
+the "Holy Family under a Palm Tree."
+
+It is said of Raphael that whenever another painter, known to him or
+not, requested any design or assistance of any kind at his hands, he
+would invariably leave his work to perform the service. He continually
+kept a large number of artists employed, all of whom he assisted and
+instructed with an affection which was rather that of a father to his
+children than merely of an artist to artists. From this it followed
+that he was never seen to go to court, except surrounded and
+accompanied, as he left his house, by some fifty painters, all men of
+ability and distinction, who attended him, thus to give evidence of
+the honour in which they held him. He did not, in short, live the life
+of a painter, but that of a prince.
+
+There is something wonderfully inspiring about such a life. We read of
+emperors and the homage paid to them; of the esteem in which men who
+accomplish deeds of universal value are held, but nowhere do we behold
+the power of a beautiful and exquisite personality and character,
+allied with a single art, so impressively exhibited.
+
+He urged nothing, yet won all things by the force of his loving and
+sympathetic mind. "How is it, dear Cesare that we live in such good
+friendship, but that in the art of painting we show no deference to
+each other?" he asked of Cesare da Sesto, who was Da Vinci's greatest
+pupil.
+
+In discussing the great ones of the earth, Herman Grimm, son of the
+collector of fairy tales, says: "Can we mention a violent act of
+Raphael's, Goethe's or Shakespeare's? No, it is restful only to recall
+these wonderful men."
+
+One of Raphael's most beautiful Virgins was modeled from a beautiful
+flower-girl whom he loved, "La Belle JardiniŠre."
+
+Raphael as well as Michael Angelo was summoned by Pope Julius II., but
+how different were the two occasions! Michael Angelo had stood with
+dogged, gloomy self-assertiveness before the pope, head covered, knee
+unbent. Uncompromising, while yet no injury had been done him,
+resentful before he had received a single cause for resentment, the
+attitude was typical of his art and his unhappy life.
+
+When Raphael appeared, his bent knee, his "chestnut locks falling upon
+his shoulders, the pope exclaimed: 'He is an innocent angel. I will
+give him Cardinal Bembo for a teacher, and he shall fill my walls with
+historical pictures.'" The artist's behaviour was no sign of
+servility, but the simple recognition of forms and customs which the
+people themselves had made and by which they had decided they should
+graciously be bound. The attitude of Angelo was not heroic but vulgar;
+that of Raphael not servile, but in good taste, showing a reasonable
+mind.
+
+Pope Julius had summoned Raphael for a special reason. Alexander VI.,
+his predecessor in the Vatican, had been a depraved man. The fair and
+virile Julius had a healthy sentiment against occupying rooms which
+must continually remind him of the notorious Alexander's mode of
+life. Some one suggested that he have all the portraits of the former
+pope removed, but Julius declared: "Even if the portraits were
+destroyed, the walls themselves would remind me of that Simoniac, that
+Jew!" The word 'Jew' was then execrated by all Christians, for the
+world was not yet Christian enough to know better.
+
+Raphael was summoned to decorate the Vatican, that Julius might have a
+place which reminded him not at all of Alexander. It is said that when
+Raphael had completed one of his masterpieces the pope threw himself
+upon the ground and cried, "I thank Thee, God, that Thou hast sent me
+so great a painter!"
+
+While at work upon his first fresco at the Vatican--"La Disputa," the
+dispute over the Holy Sacrament--Raphael met a woman with whom he fell
+deeply in love. Her father was a soda manufacturer and her name was
+Margherita. Missirini relates this incident in Raphael's career.
+
+"She lived on the other side of the Tiber. A small house, No. 20, in
+the street of Santa Dorothea, the windows of which are decorated with
+a pretty frame work of earthenware, is pointed out as the house where
+she was born.
+
+"The beautiful girl was very frequently in a little garden adjoining
+the house, where, the wall not being very high, it was easy to see her
+from the outside. So the young men, especially artists--always
+passionate admirers of beauty--did not fail to come and look at her,
+by climbing up above the wall.
+
+"Raphael is said to have seen her for the first time as she was
+bathing her pretty feet in a little fountain in the garden. Struck by
+her perfect beauty, he fell deeply in love with her, and after having
+made acquaintance with her, and discovered that her mind was as
+beautiful as her body, he became so much attached as to be unable to
+live without her."
+
+She is spoken of to-day as the "Fornarina," because at first she was
+supposed to have been the daughter of a baker (_fornajo_).
+
+Raphael made many rough studies for his picture "La Disputa," and upon
+them he left three sonnets, written to the woman so dear to him. These
+sonnets have been translated by the librarian of l'Ecole Nationale des
+Beaux-Arts, as follows: "Love, thou hast bound me with the light of
+two eyes which torment me, with a face like snow and roses, with sweet
+words and tender manners. So great is my ardour that no river or sea
+could extinguish my fire. But I do not complain, for my ardour makes
+me happy.... How sweet was the chain, how light the yoke of her white
+arms about my neck. When these bonds were loosed, I felt a mortal
+grief. I will say no more; a great joy kills, and, though my thoughts
+turn to thee, I will keep silence."
+
+Although he had been a man of many loves, Raphael must have found in
+the manufacturer's daughter his best love, because he remained
+faithful and devoted to her for the twelve years of life that were
+left to him. It was said some years later, while he was engaged upon a
+commission for a rich banker, that "Raphael was so much occupied with
+the love that he bore to the lady of his choice that he could not give
+sufficient attention to his work. Agostino (the banker) therefore,
+falling at length into despair of seeing it finished, made so many
+efforts by means of friends and by his own care that after much
+difficulty he at length prevailed on the lady to take up her abode in
+his house, where she was accordingly installed, in apartments near
+those which Raphael was painting; In this manner the work was
+ultimately brought to a conclusion."
+
+Raphael painted this beautiful lady-love many times, and in a picture
+in which she wears a bracelet he has placed his name upon the
+ornament.
+
+After this time he painted the "Madonna della Casa d'Alba," which the
+Duchess d'Alba gave to her physician for curing her of a grave
+disorder. She died soon afterward, and the physician was arrested on
+the charge of having poisoned her. In course of time the picture was
+purchased for $70,000 by the Russian Emperor, and it is now in "The
+Hermitage," St. Petersburg.
+
+A writer telling of that time, relates the following anecdote:
+"Raphael of Urbino had painted for Agostino Chigi (the rich banker
+already mentioned) at Santa Maria della Pace, some prophets and
+sibyls, on which he had received an advance of five hundred scudi. One
+day he demanded of Agostino's cashier (Giulio Borghesi) the remainder
+of the sum at which he estimated his work. The cashier, being
+astounded at this demand, and thinking that the sum already paid was
+sufficient, did not reply. 'Cause the work to be estimated by a judge
+of painting,' replied Raphael, 'and you will see how moderate my
+demand is.'
+
+"Giulio Borghesi thought of Michael Angelo for this valuation, and
+begged him to go to the church and estimate the figures of
+Raphael. Possibly he imagined that self-love, rivalry, and jealousy
+would lead the Florentine to lower the price of the pictures.
+
+"Michael Angelo went, accompanied by the cashier, to Santa Maria della
+Pace, and, as he was contemplating the fresco without uttering a word,
+Borghesi questioned him. 'That head,' replied Michael Angelo, pointing
+to one of the sibyls, 'that head is worth a hundred scudi.' ... 'and
+the others?' asked the cashier. 'The others are not less.'
+
+"Someone who witnessed this scene related it to Chigi. He heard every
+particular and, offering in addition to the five hundred scudi for
+five heads a hundred scudi to be paid for each of the others, he said
+to his cashier, 'go and give that to Raphael in payment for his heads,
+and behave very politely to him, so that he may be satisfied; for if
+he insists on my paying also for the drapery, we should probably be
+ruined!'"
+
+By the time Raphael was thirty-one he was a rich man, and had built
+himself a beautiful house near the Vatican, on the Via di Borgo
+Nuova. Naught remains of that dwelling except an angle of the right
+basement, which has been made a part of the Accoramboni Palace. His
+friends wished him above all things to marry, but he was still true to
+Margherita though he had become engaged to the daughter of his
+nephew. He put the marriage off year after year, till finally the lady
+he was to have married died, and was buried in Raphael's chapel in the
+Pantheon.
+
+Margherita was with him when he died, and it was to her that he left
+much of his wealth.
+
+In the time of Raphael excavations were being made about Rome, and
+many beautiful statues uncovered, and he was charged with the
+supervision of this work in order that no art treasure should be lost
+or overlooked. The pope decreed that if the excavators failed to
+acquaint Raphael with every stone and tablet that should he unearthed,
+they should be fined from one to three hundred gold crowns.
+
+Raphael had his many paintings copied under his own eye and engraved,
+and then distributed broadcast, so that not only men of great wealth
+but the common people might study them.
+
+Henry VIII. invited him to visit England, and become court painter,
+and Francis I. wished him to become the court painter of France.
+
+He loved history, and wished to write certain historical works. He
+loved poetry and wrote it. He loved philosophy and lived it--the
+philosophy of generous feeling and kindly thought for all the
+world. He kept poor artists in his own home and provided for them.
+
+Raphael died on Good Friday night, April 6th, in his thirty-seventh
+year, and all Rome wept. He lay in state in his beautiful home, with
+his unfinished picture of the "Transfiguration," as background for his
+catafalque. That painting with its colours still wet, was carried in
+the procession to his burial place in the Pantheon. When his death was
+announced, the pope, Leo X., wept and cried _"Ora pro nobis!"_ while
+the Ambassador from Mantua wrote home that "nothing is talked of here
+but the loss of the man who at the close of his six-and-thirtieth year
+has now ended his first life; his second, that of his posthumous fame,
+independent of death and transitory things, through his works, and in
+what the learned will write in his praise, must continue forever."
+
+Raphael painted two hundred and eighty-seven pictures in his
+thirty-seven years of life.
+
+  PLATE--THE SISTINE MADONNA
+
+It is said that the "Sistine Madonna," while painted from an Italian
+model--doubtless the lady whom Raphael so dearly loved--has universal
+characteristics, so that she may "be understood by everyone."
+
+He lived only three years after painting this picture and it was the
+last "Holy Family" painted by him. The Madonna stands upon a curve of
+the earth, which is scarcely to be seen, and looming mistily in front
+of her is a mass of white vaporous clouds. On either side are figures,
+St. Sixtus (for whom the picture was named) and St. Barbara. Beside
+St. Sixtus we see a crown or tiara; and the little tower at
+St. Barbara's side is a part of her story.
+
+Barbara was the daughter of an Eastern nobleman who feared that her
+great beauty might lead to her being carried off; therefore he caused
+her to be shut up in a great tower. While thus imprisoned Barbara
+became a Christian through the influence of a holy man, and she begged
+her father to make three windows in her gloomy tower: one, to let the
+light of the Father stream upon her, another to admit the light of the
+Son, and the third that she might bathe in the light of the Holy
+Ghost. Both St. Barbara and St. Sixtus were martyrs for their faith.
+
+This Madonna is painted as if enclosed by green velvet curtains, which
+have been drawn aside, letting the golden light of the picture blaze
+upon the one who looks; then upon a little ledge below, looking out
+from the heavens, are two little cherubs--known to all the world. They
+look wistful, wise, roguish, and beautiful, with fat little arms
+resting comfortably upon the ledge. Raphael is said to have found his
+models for these little angels in the street, leaning wistfully upon
+the ledge of a baker's window, looking at the good things to eat,
+which were within. Raphael took them, put wings to them, placed them
+at the feet of Mary, and made two little images which have brought
+smiles and tears to a multitude of people. The "Sistine Madonna" hangs
+alone in a room in the Dresden Gallery.
+
+Among Raphael's greatest works are: The "Madonna della Sedia" (of the
+chair), "La Belle JardiniŠre," "The School of Athens," "Saint Cecilia,"
+"The Transfiguration," "Death of Ananias" (a cartoon for a series of
+tapestries), "Madonna del Pesce," "La Disputa," "The Marriage of Mary
+and Joseph," "St. George Slaying the Dragon," "St. Michael Attacking
+Satan" and the "Coronation of the Virgin."
+
+
+
+
+XXXIII
+
+REMBRANDT (VAN RIJN)
+
+
+  _Dutch School_
+  1606-1669
+  _Pupil of Van Swanenburch_
+
+Here are a few of the titles that have been given to the greatest
+Dutch painter that ever lived: The Shakespeare of Painting; the Prince
+of Etchers; the King of Shadows; the Painter of Painters. Muther calls
+him a "hero from cloudland," and not only does he alone wear these
+titles of greatness, but he alone in his family had the name of
+Rembrandt.
+
+One writer has said that the great painter was born "in a windmill,"
+but this is not true. He was born in Leyden for certain, though not a
+great deal is known about his youth; and his father was a miller, his
+mother a baker's daughter.
+
+When the Pilgrim Fathers, who had sought safety in Leyden, were
+starting for America, where they were going to oppress others as they
+had been oppressed, Rembrandt was just beginning his apprenticeship in
+art.
+
+He was born at No. 3, Weddesteg, a house on the rampart looking out
+upon the Rhine whose two arms meet there. In front of it whirled the
+great arms of his father's windmill, though he was not born in it; and
+of all the women Rembrandt ever knew, it is not likely that he ever
+admired or loved one as passionately as he admired and loved his
+mother. He painted and etched her again and again, with a touch so
+tender that his deepest emotion is placed before us.
+
+Rembrandt had brothers and sisters--five: Adriaen, Gerrit, Machteld,
+Cornelis, and Willem. Of these, Adriaen became a miller like his
+father, and presumably the old historic windmill fell to him; Willem
+became a baker, but Rembrandt, the fourth child, it was determined
+should be a learned man, and belong to one of the honoured
+professions, such as the law. So he was sent to the Leyden Academy,
+but here again we have an artist who decided he knew enough of all
+else but art before he was twelve years old. He found himself at that
+age in the studio of his first art-master, Jacob van Swanenburch, a
+relative, who had studied art in Italy, and was a good master for the
+lad; but Rembrandt became so brilliant a painter in three years' time,
+that he was sent to Amsterdam to learn of abler men.
+
+The lad could not in those days get far from his adored mother; so he
+stayed only a little time, before he went back to Leyden where she
+was. There was his heart, and, painting or no painting, he must be
+near it.
+
+Until the past thirty years no one has seemed to know a great deal of
+Rembrandt's early history, but much was written of him as a boorish,
+gross, vulgar fellow. Those stories were false. He was a devoted son,
+handsome, studious in art, and earnest in all that he did, and after
+he had made his first notable painting he was compelled by the demands
+of his work to move to Amsterdam for good. He hired an apartment over
+a shop on the Quay Bloemgracht; it is probable that his sister went
+with him to keep his house, and that it is her face repeated so
+frequently in the many pictures which he painted at that time. This
+does not suggest coarse doings or a careless life, but permits us to
+imagine a quiet, sober, unselfish existence for the young bachelor at
+that time.
+
+Soon, however, he fell in love. He saw one other woman to place in his
+heart and memory beside his mother. His wife was Saskia van Ulenburg,
+the daughter of an aristocrat, refined and rich. He met her through
+her cousin, an art dealer, who had ordered Rembrandt to paint a
+portrait of his dainty cousin. Rembrandt could have been nothing but
+what was delightful and good, since he was loved by so charming a girl
+as Saskia.
+
+He painted her sitting upon his knee, and used her as model in many
+pictures. First, last, and always he loved her tenderly.
+
+In one portrait she is dressed in "red and gold-embroidered velvets";
+the mantle she wore he had brought from Leyden. In another picture she
+is at her toilet, having her hair arranged; again she is painted in a
+great red velvet hat, and then as a Jewish bride, wearing pearls, and
+holding a shepherd's staff in her hand. Again, Rembrandt painted
+himself as a giant at the feet of a dainty woman, and in every way his
+work showed his love for her. After he married her, in June 1634, he
+painted the picture, "Samson's Wedding," "Saskia, dainty and serene,
+sitting like a princess in a circle of her relatives, he himself
+appearing as a crude plebeian, whose strange jokes frighten more than
+they amuse the distinguished company. ... The early years of his
+marriage were spent in joy and revelry. Surrounded by calculating
+business men who kept a tight grasp on their money bags, he assumed
+the r“le of an artist scattering money with a free hand; surrounded by
+small townsmen most proper in demeanour, he revealed himself as the
+bold lasquenet, frightening them by his cavalier manners. He brought
+together all manner of Oriental arms, ancient fabrics, and gleaming
+jewellery; and his house became one of the sights of Amsterdam." His
+existence reads like a fairy tale.
+
+It is said that Saskia strutted about decked in gold and diamonds,
+till her relatives "shook their heads" in alarm and amazement at such
+wild goings on.
+
+Before he married Saskia he had painted a remarkable picture, named
+the "School of Anatomy." It represents a great anatomist, the friend
+of Rembrandt--Nicholaus Tulp,--and a group of physicians who were
+members of the Guild of Surgeons of Amsterdam. It is so wonderful a
+picture that even the dead man, who is being used as a subject by the
+anatomist, does not too greatly disturb us as we look upon him. The
+thoughtful, interested faces of the surgeons are so strong that we
+half lose ourselves in their feeling, and forget to start in repulsion
+at sight of the dead body. A fine description of this painting can be
+found in Sarah K. Bolton's book "Famous Artists" and it includes the
+description given by another excellent authority.
+
+The artist was twenty-six years old when he painted the "School of
+Anatomy." This picture is now at The Hague and two hundred years after
+it was painted the Dutch Government gave 30,000 florins for it.
+
+Rembrandt painted a good many "Samsons" first and last--himself
+evidently being the strong man; and the pictures beyond doubt express
+his own mood and his idea of his relation to things. After a little
+son was born to the artist, he painted still another Samson--this time
+menacing his father-in-law but as the artist had named his son after
+his father-in-law,--Rombertus--we cannot believe that there was any
+menace in the heart of Rembrandt--Samson. Soon his son died, and
+Rembrandt thought he should never again know happiness, or that the
+world could hold a greater grief, but one day he was to learn
+otherwise. A little girl was born to the artist, named Cornelia, after
+Rembrandt's mother, and he was again very happy.
+
+Meantime his brothers and sisters had died, and there came some
+trouble over Rembrandt's inheritance, but what angered him most of
+all, was that Saskia's relatives said she "had squandered her heritage
+in ornaments and ostentation." This made Rembrandt wild with rage, and
+he sued her slanderers, for he himself had done the squandering,
+buying every beautiful thing he could find or pay for, to deck Saskia
+in, and he meant to go on doing so.
+
+At this time he painted a picture of "The Feast of Ahasuerus" (or the
+"Wedding of Samson") and he placed Saskia in the middle of the table
+to represent Esther or Delilah as the case might be, dressed in a way
+to horrify her critical relatives, for she looked like a veritable
+princess laden with gorgeous jewels.
+
+One of his pictures he wished to have hung in a strong light, for he
+said: "Pictures are not made to be smelt. The odour of the colours is
+unhealthy."
+
+The first baby girl died and on the birth of another daughter she too
+was named Cornelia, but that baby girl also died, and next came a son,
+Titus, named for Saskia's sister, Titia, and then Saskia died. Thus
+Rembrandt knew the deepest sorrow of his life.
+
+He painted her portrait once again from memory, and that picture is
+quite unlike the others for it is no longer full of glowing life, but
+daintier, suggestive of a more spiritual life, as if she were growing
+fragile.
+
+It is written that "from this time, while he did much remarkable work,
+he seemed like a man on a mountain top, looking on one side to sweet
+meadows filled with flowers and sunlight, and on the other to a
+desolate landscape over which a clouded sun is setting." With Saskia
+died the best of Rembrandt. He made only one more portrait of
+himself--before this he had made many; and in it he makes himself
+appear a stern and fateful man. It was after Saskia's death that he
+painted the "Night Watch," or more properly, "The Sortie."
+
+Rembrandt's home, where he and Saskia were so happy, is still to be
+seen on a quay of the River Amstel. It is a house of brick and cut
+stone, four stories high. The vestibule used to have a flag-stone
+pavement covered with fir-wood. There were also "black-cushioned,
+Spanish chairs for those who wait," and all about were twenty-four
+busts and paintings. There was an ante-chamber, very large, with seven
+Spanish chairs covered with green velvet, and a walnut table covered
+with "a Tournay cloth"; there was a mirror with an ebony frame, and
+near by a marble wine-cooler. Upon the wall of this _salon_ were
+thirty-nine pictures and most of them had beautiful frames. "There
+were religious scenes, landscapes, architectural sketches, works of
+Pinas, Brouwer, Lucas van Leyden, and other Dutch masters; sixteen
+pictures by Rembrandt; and costly paintings by Palma Vecchio, Bassano,
+and Raphael."
+
+In the next room was a real art museum, containing splendid pictures,
+an oaken press and other things which suggest that this was the
+workroom where Rembrandt's etchings were made and printed.
+
+In the drawing-room was a huge mirror, a great oaken table covered
+with a rich embroidered cloth, "six chairs with blue coverings, a bed
+with blue hangings, a cedar wardrobe, and a chest of the same wood."
+The walls were literally covered with pictures, among which was a
+Raphael.
+
+Above was a sort of museum and Rembrandt's studio. There was rare
+glass from Venice, busts, sketches, paintings, cloths, weapons,
+armour, plants, stuffed birds and shells, fans, and books and
+globes. In short, this was a most wonderful house and no other
+interior can we reconstruct as we can this, because no other such
+detailed inventory can be found of a great man's effects as that from
+which these notes are taken: a legal inventory made in 1656, long
+after Saskia had died and possibly at a time when Rembrandt wished to
+close his doors forever and forget the scenes in which he had been so
+happy.
+
+Holland being truly a Protestant country, its artists have given us no
+great Madonna pictures, although they painted loving, happy Dutch
+mothers and little babes, but on the whole their subjects are quite
+different from those of the painters of Italy, France, and Spain.
+
+Rembrandt's studio was different from any other. When he first began
+to work independently and to have pupils, he fitted it up with many
+little cells, properly lighted, so that each student might work alone,
+as he knew far better work could be done in that way. It is said that
+his pictures of beggars would, by themselves, fill a gallery. He had a
+kindly sympathy for the poor and unfortunate, and tramps knew this, so
+that they swarmed about his studio doors, trying to get sittings.
+
+There is a story which doubtless had for its germ a joke regarding the
+slowness of an errand boy in a friend's household, but which at the
+same time shows us how rapidly Rembrandt worked. The artist had been
+carried off to the country to lunch with his friend Jan Six, and as
+they sat down at the table, Six discovered there was no mustard. He
+sent his boy, Hans, for it, and as the boy went out, Rembrandt wagered
+that he could make an etching before the boy got back. Six took the
+wager, and the artist pulled a copper plate from his pocket--he always
+carried one--and on its waxed surface began to etch the landscape
+before him. Just as Hans returned, Rembrandt gleefully handed Six the
+completed picture.
+
+He was a great portrait painter, but he loved certain effects of
+shadow so well that he often sacrificed his subject's good looks to
+his artistic purpose, and very naturally his sitters became
+displeased, so that in time he had fewer commissions than if he had
+been entirely accommodating.
+
+His meals in working time were very simple, often just bread and
+cheese, eaten while sitting at his easel, and after Saskia died he
+became more and more careless of all domestic details.
+
+Rembrandt finally married again, the second time choosing his
+housekeeper, a good and helpful woman, who was properly bringing up
+his little son, and making life better ordered for the artist, but he
+had grown poor by this time for he was never a very good business
+man. His beautiful house was at last sold to a rich shoemaker. Every
+picture latterly reflected his condition and mood. He chose subjects
+in which he imagined himself always to be the actor, and when his
+second wife died he painted a picture of "Youth Surprised by Death";
+he had not long to live. He became more and more melancholy; and
+sleeping by day, would wander about the country at night, disconsolate
+and sad. Finally, when he died, an inventory of his effects, showed
+him to be possessed of only a few old woollen clothes and his brushes
+The miracle in Rembrandt's painting is the deep, impenetrable shadow,
+in which nevertheless one can see form and outline, punctuated with
+wonderful explosions of light. Nothing like it has ever been seen. It
+is the most dramatic work in the world, and the most powerful in its
+effect. Other men have painted light and colour; Rembrandt makes gloom
+and shadow living things.
+
+This miracle-worker's funeral cost ten dollars; he died in Amsterdam
+and was buried in the Wester Kirk.
+
+  PLATE--THE SORTIE
+
+This picture is generally known as "The Night Watch," but it is really
+"The Sortie" of a company of musketeers under the command of a
+standard bearer. Captain Frans Banning-Cock and all his company were
+to pay Rembrandt for painting their portraits in a group and in
+action, and they expected to see themselves in heroic and picturesque
+dress, in the full blaze of day, but Rembrandt had found a magnificent
+subject for his wonderful shadows, and the artist was not going to
+sacrifice it to the vanity of the archers.
+
+This picture was called the "Patrouille de Nuit," by the French and
+the "Night Watch," by Sir Joshua Reynolds because upon its discovery
+the picture was so dimmed and defaced by time that it was almost
+indistinguishable and it looked quite like a night scene. After it was
+cleaned up, it was discovered to represent broad day--a party of
+archers stepping from a gloomy courtyard into the blinding
+sunlight. "How this different light is painted, which encircles the
+figures, here sunny, there gloomy!... Rembrandt runs through the
+entire range of his colours, from the lightest yellow through all
+shades of light and dark red to the gloomiest black." One writer
+describes it thus: "It is more than a picture; it is a spectacle, and
+an amazing one... A great crowd of human figures, a great light, a
+great darkness--at the first glance this is what strikes you, and for
+a moment you know not where to fix your eyes in order to comprehend
+that grand and splendid confusion... There are officers, halberdiers,
+boys running, arquebusiers loading and firing, youths beating drums,
+people bowing talking, calling out, gesticulating--all dressed in
+different costumes, with round hats, plumes, casques, morions, iron
+corgets, linen collars, doublets embroidered with gold, great boots,
+stockings of all colours, arms of every form; and all this tumultuous
+and glittering throng start out from the dark background of the
+picture and advance toward the spectator. The two first personages are
+Frans Banning-Cock, Lord of Furmerland and Ilpendam, captain of the
+company, and his lieutenant, Willem van Ruijtenberg, Lord of
+Vlaardingen, the two marching side by side. The only figures that are
+in full light are this lieutenant, dressed in a doublet of
+buffalo-hide, with gold ornaments, scarf, gorget, and white plume,
+with high boots, and a girl who comes behind, with blond hair
+ornamented with pearls, and a yellow satin dress; all the other
+figures are in deep shadow, excepting the heads, which are
+illuminated. By what light? Here is the enigma. Is it the light of the
+sun? or of the moon? or of the torches? There are gleams of gold and
+silver, moonlight coloured reflections, fiery lights; personages
+which, like the girl with blond tresses, seem to shine by a light of
+their own.... The more you look at it, the more it is alive and
+glowing; and, even seen only at a glance, it remains forever in the
+memory, with all its mystery and splendour, like a stupendous vision."
+Charles Blanc has said: "To tell the truth, this is only a dream of
+night, and no one can decide what the light is that falls on the
+groups of figures. It is neither the light of the sun or of the moon,
+nor does it come from the torches; it is rather the light from the
+genius of Rembrandt."
+
+This wonderful picture was painted in 1642 and many of the archer's
+guild who gave Rembrandt the commission would not pay their share
+because their faces were not plainly seen. This picture which alone
+was enough to make him immortal, was the very last commission that any
+of the guilds were willing to give the artist, because he would not
+make their portraits beautiful or fine looking to the disadvantage of
+the whole picture. This work hangs in the Rijks Museum in
+Amsterdam. He painted more than six hundred and twenty-five pictures
+and some of them are: "The Anatomy Lesson," "The Syndics of the Cloth
+Hall," "The Descent from the Cross," "Samson Threatening His Step
+Father," "The Money Changer," "Holy Family," "The Presentation of
+Christ in the Temple," "The Marriage of Samson," "The Rape of
+Ganymede," "Susanna and the Elders," "Manoah's Sacrifice," "The
+Storm," "The Good Samaritan," "Pilate Washing His Hands," "Ecce Home,"
+and pictures of his wife, Saskia.
+
+
+
+
+XXXIV
+
+SIR JOSHUA REYNOLDS
+
+
+  _English School_
+  1723-1792
+  _Pupil of Thomas Hudson_
+
+When Reynolds was "little Josh," instead of "Sir Joshua" he grew tired
+in church one day, and sketched upon the nail of his thumb the
+portrait of the Rev. Mr. Smart who was preaching. After service he ran
+to a boat-house near, and with ship's paint, upon an old piece of
+sail, he painted in full and flowing colours that reverend gentleman's
+portrait. After that there was not the least possible excuse for his
+father to deny him the right to become an artist.
+
+The father himself was a clergyman with a good education, and he had
+meant that his son should also be well educated and become a
+physician; but a lad who at eight years of age can draw the Plympton
+school house--he was born at Plympton Earl, in Devonshire--has a right
+to choose his own profession.
+
+At twenty-three years of age Sir Joshua was painting the portraits of
+great folk, and being well paid for it, as well as lavishly
+praised. His first real sorrow came at a Christmas time when he was
+summoned home from London where he was working, to his father's
+deathbed.
+
+After that the artist turned his thoughts toward Italy, but where was
+the money to come from? Earning a living did not include travelling
+expenses, but a good friend, Captain Keppel, was going out to treat
+with the Dey of Algiers about his piracies, and learning that the
+artist wished to go to Italy he invited him to go with him on his own
+ship, the _Centurion._ So while the captain was discussing pirates
+with the dey, Sir Joshua stopped with the Governor of Minorca and
+painted many of the people of that locality. Thence on to Rome!
+
+Strange to say, Raphael's pictures disappointed the English artist,
+and he said so; but Michael Angelo was to Reynolds the most wonderful
+of painters, and he said that his pictures influenced him all the rest
+of his life. He wished his name to be the last upon his lips, and
+while that was not so, yet it was the last he pronounced to his fellow
+Academicians in his final address.
+
+It was in Italy that a distressing misfortune came upon Sir Joshua. He
+meant to learn all that a man could learn in a given time of the art
+treasures there, and while he was working in a draughty corridor of
+the Vatican, he caught a severe cold which rendered him deaf. He
+continued deaf till the end of his life and had to use an ear-trumpet
+when people talked with him.
+
+When he got back to England, Hudson, his old master, said
+discouragingly: "Reynolds, you don't paint as well as when you left
+England." On the whole his reception at home, after his long absence,
+was not all that he could have wished, but he took a place in
+Leicester Square, settled down to live there for the rest of his life,
+and went at painting in earnest.
+
+Although artists criticised him more or less after his return, the
+public appreciated him and very soon orders for portraits began to
+pour in upon him, and the flow of wealth never ceased so long as he
+lived. It was said that all the fashionables came to him that did not
+go to Gainsborough, but those who were partial to Sir Joshua declared
+that all who could not go to him went to Gainsborough. The two great
+artists controlled the art world in their time, dividing honours about
+equally. It was said that all those women and men sat to Sir Joshua
+for portraits "who wished to be transmitted as angels... and who
+wished to appear as heroes or philosophers."
+
+Sir Joshua was a charming man, generous in feeling--as Gainsborough
+was not--and his closest friend was Dr. Johnson, the most different
+man from the artist imaginable, but Reynolds's art and Johnson's
+philosophy made a fine combination, each giving the other great
+pleasure. Besides Johnson, his friends were Goldsmith, Garrick, Bishop
+Percy, and other famous men of the time. These and others formed the
+"Literary Club" at Sir Joshua's suggestion. About that time there was
+the first public exhibition of the work of English artists, and Sir
+Benjamin West and Sir Joshua Reynolds built the Royal Academy for that
+first exhibition, with the help of King George's patronage. Joshua
+Reynolds was knighted when he was made the first president of that
+great body.
+
+Soon after the Academy was established, Reynolds began a series of
+"discourses," which in time became famous for their splendid literary
+quality, and some people, knowing his close friendship with Burke and
+Dr. Johnson, declared that the artist got one of them to write his
+"discourses" for him. This threw Johnson and Burke into a fury of
+resentment for their friend, and the doctor declared indignantly that
+"Sir Joshua would as soon get me to paint for him as to write for
+him!" Burke denied the story no less emphatically. Besides these
+speeches, which were a great advantage to the members of the Academy,
+Sir Joshua instituted the annual banquet to the members, and King
+George--who just before had given the commission of court painter to
+one less talented than Sir Joshua--bade him paint his portrait and the
+queen's, to hang in the Academy. This was a great thing for the new
+society and advanced its fortunes very much.
+
+Barry and Gainsborough were both churlish enough to envy Sir Joshua
+and to quarrel with his good feeling for them, but both men had the
+grace to be sorry for behaviour that had no excuse, and both made
+friends with him before they died--Gainsborough on his death-bed.
+
+Toward his last days the artist was attacked with paralysis, but grew
+better and was able to paint again; then he began to go blind--he was
+already deaf--and this affliction made painting impossible. Shortly
+before his death, he undertook to raise funds for a monument to his
+dead friend, Dr. Johnson, but he grew more and more ill, "and on the
+23d February, 1792, this great artist and blameless gentleman passed
+peacefully away."
+
+That he was very painstaking in his work is shown by an anecdote about
+his infant "Hercules." "How did you paint that part of the picture?"
+some one asked him. "How can I tell! There are ten pictures below
+this, some better, some worse"--showing that in his desire for
+perfection he painted and repainted.
+
+So untiring was he in seeking out the secrets of the old masters that
+he bought works of Titian and Rubens, and scraped them, to learn their
+methods, insisting that they had some secret underlying their work. So
+anxious was he to get the most brilliant effects of colours that he
+mixed his paints with asphaltum, egg, varnish, wax, and the like, till
+one artist said: "The wonder is that the picture did not crack beneath
+the brush." Many of these great pictures did go to pieces because of
+the chances Sir Joshua took in mixing things that did not belong
+together, in order to make wonderful results.
+
+Sir George Beaumont recommended a friend to go to Reynolds for his
+portrait and the friend demurred, because "his colours fade and his
+pictures die before the man."
+
+"Never mind that!" Sir George declared; "a faded portrait by Reynolds
+is better than a fresh one by anybody else."
+
+The same tender, sensitive and devoted nature which caused Sir
+Joshua's mother to weep herself blind upon her husband's death,
+belonged to the artist. All of his life he was surrounded by loving
+friends, and his devotion to them was conspicuous. He, like D�rer and
+several other painters, was a seventh son, and his father's
+disappointment was keen when he took to art instead of to medicine. So
+little did his father realise what his future might be, that he wrote
+under the sketch of a wall with a window in it, drawn upon a Latin
+exercise book: "This is drawn by Joshua in school, out of pure
+idleness."
+
+But by the time Joshua was eight years old and had drawn a fine
+"sketch of the grammar-school with its cloister... the astonished
+father said: 'Now, this exemplifies what the author of "perspective"
+says in his preface: "that, by observing the rules laid down in this
+book, a man may do wonders"--for this is wonderful.'"
+
+Sir Joshua laid down--even wrote out--a great many rules of conduct
+for himself. Some of these were: "The great principle of being happy
+in this world is not to mind or be affected with small things." Also:
+"If you take too much care of yourself, nature will cease to take care
+of you."
+
+When Samuel Reynolds, Joshua's father, consulted with his friend
+Mr. Craunch, as to whether a boy who made wonderful paintings at
+twelve years of age, would be likely to be a successful apothecary, he
+told Craunch that Joshua himself had declared that he would rather be
+a good apothecary than a poor artist, but if he could be bound to a
+good master of painting he would prefer that above everything in the
+world. This was how he came to be apprenticed to Hudson, the
+painter. Young Reynolds's sister paid for his instruction at first--or
+for half of it, with the understanding that Reynolds was to pay her
+back when he was earning. At that time Reynolds wrote to his father:
+"While I am doing this I am the happiest creature alive."
+
+One day, while in an art store, buying something for Hudson, Reynolds
+saw Alexander Pope, the poet, come in, and every one bowed to him and
+made way for him as if for a prince. Pope shook hands with young
+Reynolds, and in writing home, describing the poet, the artist said
+that he was "about four feet six inches high; very humpbacked and
+deformed. He wore a black coat and according to the fashion of that
+time, had on a little sword. He had a large and very fine eye, and a
+long handsome nose; his mouth had those peculiar marks which are
+always found in the mouths of crooked persons, and the muscles which
+run across the cheeks were so strongly marked that they seemed like
+small cords." This is a masterly description of one famous man by
+another.
+
+He finally was dismissed from his master's studio on the ground that
+he had neglected to carry a picture to its owner at the time set by
+Hudson, but the fact was the older artist had become jealous of the
+work of his pupil, and would no longer have him in his studio.
+
+Afterwards, while he was painting down in Devonshire--thirty portraits
+of country squires for fifteen dollars apiece--he said: "Those who are
+determined to excel must go to their work whether willing or
+unwilling, morning, noon, and night, and they will find it to be no
+play, but, on the contrary, very hard labour." This shows that
+Reynolds's idea of genius was "an infinite capacity for hard work."
+
+While Reynolds was on his memorable journey to Rome, he made several
+volumes of notes about the pictures of great Italian artists--Raphael,
+Titian, etc. And one of those volumes is in the Lenox Library, New
+York City. He made a most characteristic and delightful remark in
+regard to his disappointment in Raphael's pictures. "I did not for a
+moment conceive or suppose that the name of Raphael, and those
+admirable paintings in particular, owed their reputation to the
+_ignorance_ ... of mankind; on the contrary, my not relishing them, as
+I was conscious I ought to have done was one of the most humiliating
+things that ever happened to me."
+
+He loved home and country so much that while in Venice he heard a
+familiar ballad sung in an opera, and it brought the tears to his eyes
+because of its association with "home."
+
+His young sister, was so undecided in her ways and opinions as to make
+it impossible for Reynolds long to live with her, but she undertook to
+be his housekeeper when he returned to London, and she also tried to
+copy his pictures Reynolds said the results "made other people laugh,
+but they made me cry."
+
+Reynolds painted the portraits of two Irish sisters--the Countess of
+Coventry and the Duchess of Hamilton--two of the most beautiful women
+in all the British Empire. "Seven hundred people sat up all night, in
+and about a Yorkshire inn, to see the Duchess of Hamilton get into her
+postchaise in the morning, while a Worcester shoemaker made money by
+showing the shoe he was making for the Countess of Coventry." Sir
+Joshua declared that whenever a new sitter came to him, even till the
+last years of his life, he always began his portrait with the
+determination that that one should be the best he had ever
+painted. Success was bound to attend that sort of man.
+
+He painted every picture almost as an experiment; meaning to learn
+something new with every work, and he spent more than he made in
+perfecting his art. As he said: "He would be content to ruin himself"
+in order to own one of the best works of Titian.
+
+His deeds of kindness are beyond counting. He rescued his friend
+Dr. Johnson from debt--thereby saving him from prison; and when a
+young lad, "a son of Dr. Mudge," who was very anxious to visit his
+father on the occasion of his sixteenth birthday, grew too ill to make
+the journey. Reynolds said gaily: "No matter my boy. _I_ will send you
+to your father." He painted a splendid portrait of the boy and sent it
+to Dr. Mudge. This gift of a picture, however, was very unusual with
+Reynolds, who, unlike Gainsborough who gave his by the bushel to
+everyone, declared that his pictures were not valued unless paid
+for. When Sir William Lowther, a gay and rich young man of London,
+died, he left twenty-five thousand dollars to each of thirteen
+friends, and each of the thirteen commissioned the painter to make a
+portrait of Lowther, their benefactor. His work room was of interest:
+"The chair for his sitters was raised eighteen inches from the floor,
+and turned on casters. His palettes were those which are held by a
+handle, not those held on the thumb. The stocks of his pencils were
+long, measuring about nineteen inches. He painted in that part of the
+room nearest to the window, and never sat down when he painted." The
+chariot in which he drove about had the four seasons allegorically
+painted upon its panels, and his liveries were "laced with silver";
+while the wheels of his coach were carved with foliage and gilded.
+
+Sir Joshua knew that it paid to advertise, and as he had no time to go
+about in that gorgeous chariot he made his sister go, for he declared
+that people seeing that magnificent coach would ask: "Whose chariot is
+that?" and upon being told could not fail to be impressed with his
+prestige. The comical inconsequence of this anecdote concerning a man
+so important robs it of vulgarity.
+
+The graceful anecdotes told of Reynolds are without number, but one
+and all are to his advantage and show him to have been good and
+gentle, a devoted and high-bred man.
+
+  PLATE--THE DUCHESS OF DEVONSHIRE AND HER DAUGHTER
+
+This is generally considered one of the finest of Sir Joshua's
+pictures, if not the most beautiful of all. He was such a welcome
+guest at the houses of grandees that perchance he had noticed the
+lovely duchess playing with her still more lovely baby, and thought
+what a charming picture the two would make. As a representation of the
+artist's ability to portray grace and sweetness it can hardly be
+surpassed. He painted it in 1786, half a dozen years before his death,
+and it now hangs in Chatsworth, the home of the present Duke of
+Devonshire.
+
+Other well known Reynolds paintings are "The Hon. Ann Bingham," "The
+Countess of Spencer," the "Nieces of Sir Horace Walpole," and the
+"Angels' Heads" in the National Gallery.
+
+
+
+
+XXXV
+
+PETER PAUL RUBENS.
+
+
+  _Flemish School_
+  1577-1640
+  _Pupil of Tobias Verhaecht_
+
+The story of Peter Paul Rubens, whose birthday falling upon the saint
+days of Peter and Paul gave to him his name, is hardly more
+interesting than that of his parents, although it is quite
+different. The story of Rubens's parents seems a part of the artist's
+story, because it must have had something to do with influencing his
+life, so let us begin with that.
+
+John Rubens was Peter Paul's father, and he was a learned man, a
+druggist, but he had also studied law, and had been town councillor
+and alderman in the town where he was born. Life went easily enough
+with him till the reformation wrought by Martin Luther began to change
+John Rubens's way of thinking, and he turned from Catholic to
+Lutheran.
+
+From being a good Catholic John Rubens became a rabid reformer; and
+when, under the new faith, the Antwerp churches were stripped of their
+treasures, the magistrates were called to account for it. John Rubens,
+as councillor, was among those summoned. The magistrates declared that
+they were all good Catholics, but a list of the reformers fell into
+the Duke of Alva's hands and Rubens's name was there. This meant death
+unless he should succeed in flying from the country, which he
+instantly did. That was in 1568, when he had four children, but Peter
+Paul was not one of them--since he was a seventh son.
+
+The Rubens family went to live in Cologne, where the father found his
+learning of great use to him, and he was honoured by being made legal
+adviser to Anne of Saxony who was William the Silent's second
+queen. John Rubens's behaviour was not entirely honourable and before
+long he was thrown into prison, but his good wife, Maria Pypelincx
+undertook to free him. He had treated her very badly, but her devotion
+to his cause was as great as if he had treated her well. Despite his
+wife's efforts he was kept a prisoner in the dungeon at Dillenburg for
+two years, and afterward he was removed to Siegen, the place where
+Peter Paul was born.
+
+In the sixteenth century there were no records of any sort kept in the
+town of Siegen, and so we cannot be absolutely sure that Peter Paul
+was born there, but his mother was certainly there just before and
+after the date of his birth, which was the 29th of June 1577. After
+his birth, his father was set free in Siegen and allowed to go back to
+the city in which he had misbehaved himself. In Cologne he became once
+more a Catholic, and he died in that faith. Meantime, ten years had
+passed since Peter Paul's birth, and both his father and mother were
+determined above all things their son should have a fine education,
+quite unlike other artists, for the boy seemed capable of
+learning. While he was still very small he could speak to his tutor in
+French, to his mother in Flemish, and to his father in Latin. Besides
+these languages he spoke also Italian and English. Before he was an
+artist, Rubens, like D�rer and Leonardo da Vinci, was a child of rare
+intelligence. As a little chap he went to Antwerp with his
+mother--this was after his father's death--and in Belgium he took for
+the first time the r“le of courtier, in which he was to become so
+successful later in life. The charming little fellow, dressed in
+velvet and lace, took his place in the household of the Countess of
+Lalaing, in Brussels.
+
+Very soon after entering that household, Rubens was permitted by his
+mother to leave it for the studio of the painter who was his first
+master, though not the one who really taught him much. Rubens did not
+stay there long, but went instead to the studio of Adam van Noort, an
+excellent painter of the time. After that he studied under another
+artist, who was both a scholar and a gentleman, Van Veen, and with him
+Peter Paul was able to speak in Latin and in his many other languages,
+while learning to paint at the same time.
+
+Thus we find Rubens's lot was always cast, not among the rich, but
+among the intelligent, the well bred, and the cultivated. This fact
+alone would prepare us to anticipate pleasant things for him and from
+him.
+
+In those days of guilds, there were many rules and regulations. Van
+Noort, Rubens's teacher, was dean of the painters' guild and through
+his influence the guild recognised Rubens as "master," which meant
+that he was qualified to take pupils; thus he was pupil and teacher at
+the same time.
+
+One is unable to think of Rubens as having low tastes, as being
+morose, erratic, or anything but a refined, gracious, and brilliant
+gentleman. He began well, lived well, and ended well.
+
+None of his teachers really impressed their style of art upon him. He
+was the model for others. Rubens became nothing but Rubens, but all
+the art world wished to become "Rubenesque."
+
+Rubens went to Mantua to see the art of Italy, and while there he met
+the Duke of Mantua who was Vincenzo Gonzaga, the richest, most
+powerful personage of that region and time. The duke engaged Rubens to
+paint the portraits of many beautiful women--just the sort of
+commission that Rubens's pupil, Van Dyck, would have loved; but
+Rubens's art was of sterner stuff, and the work by no means delighted
+him. He had great ideas, profound purposes, and wished to undertake
+them, but just then it seemed best that he perform that which the Duke
+of Mantua wanted him to do; hence he set about it.
+
+Later Rubens went to the Spanish court, not as a painter, but as a
+cavalier upon a diplomatic mission. Bearing many beautiful presents to
+King Philip III., he went to Madrid, where his elegance, manly beauty,
+dashing manner, and ability to speak several languages made him a
+wonderful success. He remained for three years at the court and
+studied the methods of Spanish painters. He also painted the members
+of the Spanish court, as Velasquez had done, but they looked like
+people of another world. The Spanish aristocracy had always been
+painted with pallid faces, languid and elegant poses; but Rubens gave
+them a touch of the life he loved--made them robust and apparently
+healthy-minded. Of all great colourists, Rubens took the lead. Titian
+with his golden hues and warm haired women was very great, but Rubens,
+"the Fleming" as he was called, revelled in richness of colouring, and
+flamed through art like a glorious comet.
+
+Rubens had long been wanted in his own country. His sovereigns, Albert
+and Isabella, wished him to return and become their painter, but they
+were unable to free him from his engagements in Italy and Spain. At
+last Rubens received word that his mother, whom he loved devotedly,
+was likely to die, and what kings could not do his love for her
+accomplished.
+
+Although his patron, the Duke of Mantua, was absent, and his consent
+could not be secured, Rubens set off post-haste to his mother's
+home. He arrived in Antwerp too late to see Maria Pypelincx, who had
+died before he reached her. Once more on his native soil, Albert and
+Isabella determined to induce him to remain. He had intended to go
+back to Mantua and continue his work under the duke, but since he was
+now in Belgium he decided to stay there, and thus he became the court
+painter in his own country, which after all he greatly preferred to
+any other.
+
+He was to have a salary of five hundred livres ($96) a year, also "the
+rights, honours, privileges, exemptions, etc." that belonged to those
+of the royal household; and he was given a gold chain. In this day of
+large doings there is something about such details that seems
+childish, but a "gold chain" was by no means a small affair at a time
+when $96 was considered an ample money-provision for an artist.
+
+That gorgeous gold chain, a mark of distinction rather than a reward,
+is to be seen in all its glory in one of Rubens's great paintings. The
+artist himself is mounted upon a horse, the chain about his neck,
+while he is surrounded by "no fewer than eight-and-twenty life-size
+figures, many in gorgeous attire, warriors in steel armour, horsemen,
+slaves, camels, etc." This picture, "The Adoration of the Magi," was
+twelve feet by seventeen, and was painted at the town's expense. It
+was later sent to Spain and placed in the Madrid Gallery.
+
+One of the greatest honours that could come to students of that day,
+was to be admitted to Rubens's studio to paint under his direction,
+and it is said that "hundreds of young men waited their turn, painting
+meanwhile in the studios of inferior artists, till they should be
+admitted to the studio of the great master."
+
+Rubens was a king among painters, as well as a painter patronised by
+kings.
+
+He had two wives, and he married the first one in 1609. Her name was
+Isabella Brant. Sir Joshua Reynolds said of her: "His wife is very
+handsome and has an agreeable countenance, but the picture is rather
+hard in manner"--by which he meant a picture which Rubens had painted
+of her. One of his greatest privileges when he was engaged at the
+court of Albert and Isabella, had been that he need obey none of the
+exactions of the Guild of St. Luke, none of their rigid rules
+concerning the employment of art students. Rubens could take into his
+service whom he pleased, whether they had been admitted as members of
+the guild or not, though to be a member of the guild was a testimony
+to their qualifications. In the end, this did a good deal of harm, for
+Rubens employed students to do the preliminary work of his pictures,
+who had not been his pupils and who were not otherwise qualified. Thus
+we read criticisms like that of Sir Joshua's; and many of Rubens's
+pictures are marred in this manner.
+
+A story is told of Van Dyck and other pupils of Rubens breaking into
+the master's studio and smudging a picture which Van Dyck afterward
+repaired by painting in the damaged portion most successfully. We are
+also told in connection with Rubens's picture, "The Descent from the
+Cross," that Van Dyck restored an arm and shoulder of Mary of Magdala,
+but certainly Van Dyck did not become a pupil of Rubens till some time
+after that picture was painted.
+
+The work of a wonderful period in Rubens's art was completely
+destroyed. In two years time he painted forty ceilings of churches in
+Antwerp, all of which were burned, but there is a record of them in
+the copies made by De Witt, in water colours from which etchings were
+afterward made. This work of Rubens was the first example of
+foreshortening done by a Flemish painter.
+
+Above all things Rubens liked to paint big pictures, on very large
+surfaces, as did Michael Angelo. "The large size of picture gives us
+painters more courage to present our ideas with the utmost freedom and
+semblance of reality. ... I confess myself to be, by a natural
+instinct, better fitted to execute works of the largest size." He
+wrote this to the English diplomat Trumbull in 1621.
+
+In the midst of Rubens's greatest success as a painter came his
+diplomatic services. It was desirable that Spain and England should be
+friends, and Rubens always moving about because of his work, and being
+so very clever, the Spanish powers thought him a good one to negotiate
+with England. While on a professional visit to Paris, the English Duke
+of Buckingham and the artist met, and this seemed to open a way for
+business. The Infanta consented to have Rubens undertake this delicate
+piece of statesmanship, but Philip of Spain did not like the idea of
+an artist--a wandering fellow, as an artist was then thought to
+be--entering into such a dignified affair. The real negotiator on the
+English side, was Gerbier, by birth also a Fleming, and strange to
+tell, he too had been an artist. The English engaged him to look after
+their interests in the affair, and as soon as Philip learned that
+their diplomat was also an artist, his prejudices against Rubens as a
+statesman, disappeared. So it was decided that the two Flemings,
+artists and diplomats, should meet in Holland to discuss
+matters. About that time Sir Dudley Carleton wrote to Lord Conway:
+"Rubens is come hither to Holland, where he now is, and Gerbier in his
+company, walking from town to town, upon their pretence of taking
+pictures, which may serve him for a few days if he dispatch and be
+gone; but yf he entertayne tyme here long, he will infallibly be layd
+hold of, or sent with disgrace out of the country ... this I have made
+known to Rubens lest he should meet with a skorne what may in some
+sort reflect upon others."
+
+The two clever men got through with their talk, nothing unfortunate
+happened, and Rubens got off to Spain where he laid the result of his
+talk with Gerbier before the Spanish powers. He was given a studio in
+Philip's palace, where he carried on his art and his diplomacy. The
+king became delighted with him as a man and an artist, and as well as
+attending to state business, he did some wonderful painting while in
+Madrid. He was there nine months or more, and then started off for
+England to tell Charles I. of Philip III.'s wishes. But upon his
+arrival he learned that a peace had just been concluded between France
+and England, and all was excitement.
+
+He was received in England as a great artist; every honour was
+showered upon him, and when he made Philip's request to Charles, that
+he should not act in a manner hostile to Spain, Charles agreed, and
+kept that agreement though France and Venice urged him to break it.
+
+Charles knighted Rubens while he was in England, and the University of
+Cambridge made him Master of Arts. The sword used by the king at the
+time he gave the accolade is still kept by Rubens's descendants.
+
+While he was in London Rubens was very nearly drowned in the Thames
+going down to Greenwich in a boat.
+
+When he first went from Italy to Spain on a mission of state, he
+carried a note or passport bearing the following lines: "With these
+presents" (he took magnificent gifts to Philip, among them a carriage
+and six Neapolitan horses) "comes Peter Paul, a Fleming. Peter Paul
+will say all that is proper, like the well informed man that he
+is. Peter Paul is very successful in painting portraits. If any ladies
+of quality wish their pictures, let them take advantage of his
+presence." When he visited England there was no longer need of such
+introduction; he went in all the magnificence that his genius had
+earned for him.
+
+Rubens was always a happy man, so far as history shows. He married the
+first time, a woman who was beautiful and who loved him, as he loved
+her. He was able to build for himself a beautiful house in Antwerp. In
+the middle of it was a great _salon_, big enough to hold all his
+collection of pictures, vases, bronzes, and beautiful jewels. There
+was also a magnificent staircase, up which his largest pictures could
+be easily carried, for it was built especially to accommodate the
+requirements of his work.
+
+Rubens's greatest picture was painted through a strange happening when
+this beautiful house was being built. The land next to his belonged to
+the Archers' Guild and when the workmen came to dig Rubens's cellar,
+they went too far and invaded the adjoining property. The archers made
+complaint, and there seemed no way to adjust the matter, till some one
+suggested that Rubens make them a picture which should be accepted as
+compensation for the harm done. This Rubens did, and the picture was
+to be St. Christopher--the archers' patron saint; but when the work
+was done "Rubens surprised them" by exhibiting a picture "of all who
+could ever have been called 'Christ-bearers.'" This was "The Descent
+from the Cross"--not a single picture but a picture within a picture,
+for there were shutters folding in front of it, and on these was
+painted the archers' patron, St. Christopher.
+
+Rubens's daily life is described thus: "His life was very
+methodical. He rose at four, attended mass, breakfasted, and painted
+for hours; then he rested, dined, worked until late afternoon; then,
+after riding for an hour or two one of his spirited horses, and later
+supping, he would spend the evening with his friends.
+
+"He was fond of books, and often a friend would read aloud to him
+while he worked." This is a pleasant picture of a reasonable and
+worthy life.
+
+It is said that once he painted eighteen pictures in eighteen days,
+and it is known that he valued his time at fifty dollars a day.
+
+His pupil, Van Dyck, being pushed for money, turned alchemist and
+tried to manufacture gold, but when Rubens was approached by a
+visionary who wanted him to lend him money by which he might pursue
+such a work, promising Rubens a fortune when he should have discovered
+how to make his gold, the artist laughed and said: "You are twenty
+years too late, friend. When I wield these," indicating his palette
+and brush, "I turn all to gold."
+
+Many are the delightful anecdotes told of Rubens. It is said that
+while he was at the English court he was painting the ceiling of the
+king's banqueting hall, and a courtier who stood watching, wished to
+say something _pour passer le temps_, so he asked: "Does the
+ambassador of his Catholic Majesty sometimes amuse himself with
+painting?"
+
+"No--but he sometimes amuses himself with being an ambassador," was
+the witty retort, which showed how he valued his two commissions.
+
+When King Charles I. knighted Rubens he gave him, beside the jewelled
+sword, a golden chain to which his miniature was attached. If Rubens
+had gone about with all the chains and decorations given him by kings
+and other great ones of the earth he would have been weighted down,
+and would have needed two pairs of shoulders on which to display them.
+
+Rubens's first wife died; and when he married again, he was as fond of
+painting pictures of the second wife as he had been of the first. The
+name of the second was Helena Fourment, and she is called by one
+author "a spicy blonde." Certainly she was very gay, big, and robust,
+and only sixteen years old when she married Rubens who was then a man
+of fifty-three. Of one picture, "The Straw Hat," for which he is
+supposed to have used his wife's sister as model, he was so fond that
+he would not sell it at any price.
+
+Rubens had a rare mother, as shown in her letters to her husband,
+John, when he was in prison for his wrongdoing. It would seem that
+such a mother must have a strong, forceful son, and Rubens is less of
+a surprise than many artists who had no such influence in their
+childhood. The history of Rubens's mother is worthy of being told even
+had she not had a famous son who painted a beautiful picture of her.
+
+Rubens's "Holy Families" are like those of no other painter. The
+Virgin, the Child, all the others in the picture, are quite different
+from the Italian figures. These are human beings, good to look upon;
+full of love and joy, softness and beauty.
+
+It was his learning that first won favour for him in Italy. The Duke
+of Mantua hearing him read from Virgil, spoke to him in Latin, and
+being answered in that tongue was so charmed that the foundation of
+their friendship and the duke's patronage was laid. In Italy he was
+called "the antiquary and Apelles of our time."
+
+His nephew-biographer writes of him: "He never gave himself the
+pastime of going to parties where there was drinking and card-playing,
+having always had a dislike for such."
+
+As Rubens grew in fame, he found that many were jealous of him, and on
+one occasion a rival proposed that he and Rubens each paint a picture
+upon a certain subject and leave it to judges to decide which work was
+the best--Rubens's or his own.
+
+"No," said Rubens. "My attempts have been subjected to the scrutiny of
+connoisseurs in Italy and Spain. They are to be found in public
+collections and private galleries in those countries; gentlemen are at
+liberty to place their works beside them, in order that comparison may
+be made." This was a dignified way of disposing of the case.
+
+Rubens loved to paint animals, and he had a great lion brought to his
+home, that he might study its poses and movements.
+
+The flesh of his figures was so lifelike that Guido declared he must
+mix blood with his paints. He was called "the painter of life."
+
+Rubens, a seventh child, had also seven children, two belonging to his
+first wife, five to the second.
+
+Many stories are told of his patience and his kindness. It is said
+that at one time his old pupil, Van Dyck, returned to Antwerp after an
+absence, greatly depressed and in need of money. Rubens bought all his
+unsold pictures, and he did this charitable act more than once, and is
+known to have done the same thing for a rival and enemy, out of sheer
+goodness of heart.
+
+Kings and queens came to the Rubens house, people of many nations did
+him honour; and toward his closing days, when gout had disabled him,
+ambassadors visited him, since he could not go to them.
+
+In a description of his death and burial which took place at Antwerp
+we read: "He was buried at night as was the custom, a great concourse
+of citizens ... and sixty orphan children with torches followed the
+body." He was placed in the vault of the Fourment family, and as he
+had requested, "The Holy Family" was hung above him. In that picture,
+we find the St. George to be Rubens himself; St. Jerome, his father;
+an angel, his youngest son, while Martha and Mary are Isabella and
+Helena, his two wives.
+
+He left many sketches "to whichever of his sons became an artist, or
+to the husband of his daughter who should marry an artist." But there
+were none such to claim the bequest.
+
+  PLATE--THE INFANT JESUS AND ST. JOHN
+
+The little girl behind Jesus is supposed to represent his future
+bride, the Christian Church. The thoughtful, far-seeing look upon the
+face of the Christ-child, though it does not clash with His youthful
+charm, is meant to suggest that He has a premonition of His work in
+the world. The other joyous little figures also demonstrate the
+artist's love for children. He brings them into his pictures, as
+cherubs, wherever he can, and they are frequently just as well painted
+and more universally appreciated than his stout women. In this picture
+he has a good opportunity to show his adorable flesh tints, combined
+with the movement and freedom naturally associated with child life.
+
+The original painting is in the Court Museum at Vienna, but it has
+always been so popular that many copies of it have been made, and one
+of these is in the Berlin Gallery.
+
+  PLATE--THE ARTIST'S TWO SONS
+  _(See Frontispiece_)
+
+This picture hangs in the Lichtenstein Gallery at Vienna; the two
+boys, eleven and seven years of age, are the sons of Rubens by his
+first wife, Isabella Brant; and Albert, the elder of the two, greatly
+resembles his mother. He is evidently a student, for he wears the
+dress of one and carries a book in one hand. The other is placed
+affectionately upon the shoulder of his little brother, Nicolas, whose
+face, figure, and attire are all much the more childish of the two.
+
+Critics consider this painting to mark the Highest point which Rubens
+reached in portraiture. It has all the colour, character, and vitality
+of his best work. Some of his other pictures are: "Coronation of Marie
+de Medicis," "The Kirmesse," "Slaughter of the Innocents," "Susanna's
+Bath," "Capture of Samson," "A Lion Hunt" and "The Rape of the
+Daughters of Leucippus."
+
+
+
+
+XXXVI
+
+JOHN SINGER SARGENT
+
+
+  _American and Foreign Schools_
+  1856-1926
+  _Pupil of Carolus Durand_
+
+This artist was born in Europe, of American parents; thus we may say
+that he was "American," though he owed nothing but dollars to the
+United States, since his instruction was obtained in Italy and France,
+and all his associations in art and friendship were there. He was
+probably the most brilliant of the artists termed American. His great
+mural work in the Boston Public Library, is hardly to be surpassed.
+
+Above all, Sargent's portraits are masterly. He was famous in that
+branch of art before he was twenty-eight years old. Among his finest
+portraits is that of "Carmencita," a Spanish dancer, who for a time
+set the world wild with pleasure. The list of his famous portraits is
+very long.
+
+Sargent's father was a Philadelphia physician; who originally came
+from New England, but the artist himself was born in Florence. He was
+given a good education and grew up with the beauties of Florence all
+about him, in a refined and charming home. He was the delight of his
+master, Carolus Durand for he was modest and refined, yet full of
+enthusiasm and energy. In his twenty-third year he painted a fine
+picture of his master. Sargent was a musician as well as a painter; a
+man of great versatility, as if the gods and all the muses had
+presided at his birth.
+
+  PLATE--CARMENCITA
+
+In this picture of the famous Spanish dancer Sargent shows all the
+life and character he can put into a portrait. The girl seems on the
+point of springing into motion. She is poised, ready for flight and
+the proud lift of her head makes one believe that she will accomplish
+the most difficult steps she attempts. The painting is in the
+Luxembourg, Paris.
+
+Other noted Sargent portraits are "Mr. Marquand" in the Metropolitan
+Museum of Art, "Lady Elcho, Mrs. Arden, Mrs. Tennant," "Mrs. Meyer and
+Children," "Homer St. Gaudens," "Henschel," and "Mr. Penrose."
+
+
+
+
+XXXVII
+
+TINTORETTO (JACOPO ROBUSTI)
+
+
+  _Venetian School_
+  1518-1594
+  _Pupil of Titian_
+
+Tintoretto was born with an ideal. As a young boy he wrote upon his
+studio wall: "The drawing of Michael Angelo, the colouring of Titian,"
+and that was the end he tried to reach. His father was a "tintore"--a
+dyer of silk, a tinter--and it was from the character of that work the
+artist took his name. He helped his father with the dyeing of silks,
+while he was still a child, and was called "II tintoretto," little
+dyer.
+
+As the little tinter showed great genius for painting, his father
+placed him in Titian's studio, but for some reason he only stayed
+there a few days, long enough, however, to permit us to call him a
+pupil of Titian; especially as he wrote that master's name upon his
+wall and determined to imitate him. After his few days with Titian,
+Tintoretto studied with Schiavone and afterward set up a studio for
+himself.
+
+As a determined lad in this studio of his, Tintoretto tried every
+means of developing his art. He studied the figures upon Medicean
+tombs made by Michael Angelo, taking plaster casts of them and copying
+them in his studio. He used to hang little clay figures up by strings
+attached to his ceiling, that he might get the effect of them high in
+air. By looking at them thus from below he gained an idea of
+foreshortening.
+
+Although this artist nearly succeeded in getting into line with
+Michael Angelo, he did not colour after the fashion of his master,
+Titian. Tintoretto was about twenty-eight years old before he got any
+very big commission, but at that age a chance came to him. In the
+church of Santa Maria del Orto were two great bare spaces, unsightly
+and vast, about fifty feet high and twenty broad. In that day anything
+and everything was decorated with masterpieces, and it was almost
+disgraceful for a church to let such a space as that go
+unfrescoed. Tintoretto saw an opportunity, and finally offered to
+paint pictures there for nothing if the church would agree to pay for
+the materials he needed. The church certainly was not going to refuse
+such an offer, even if Tintoretto was not thought to be much of an
+artist at the time. If the work was poor, one day they could choose to
+have it repainted. Thus Tintoretto got his first great opportunity. He
+painted on those walls "The Last Judgment" and "The Golden Calf." They
+made him famous, and gained him the commission to paint the picture
+which is used as an illustration here.
+
+The brothers of the Scuola di San Rocco asked him to compete with
+Veronese, in painting the ceilings after he had done four pictures for
+their walls.
+
+Tintoretto consented, and Veronese and two others who were in the
+competition set about making their sketches which they were to present
+for the brothers' consideration. Finaly the day of decision came. All
+were assembled, the artists armed with sketches of their plans.
+
+"Where are yours, Tintoretto?" the others asked. "We expect a drawing
+of your idea."
+
+"Well, there it is," the artist answered, drawing a screen from the
+ceiling. Behold! he had already painted it to suit himself. The work
+was complete.
+
+"That is the way I make my sketches," he said.
+
+Though the work was magnificent it had not been done according to the
+monks' ideas of business and order. They objected and objected.
+
+"Very well," the artist cried; "I will make the ceiling a present to
+you." As there was a rule of their order forbidding them to refuse a
+present, they had to accept Tintoretto's. This did not promise very
+good business at the time, but the work was so splendid and Tintoretto
+so reasonable that they finally agreed to give him all the work of
+their order--nearly enough to keep him employed during a
+lifetime. After that he painted sixty great pictures upon their walls.
+
+He painted so much and so fast that he did not always do good work,
+and one critic declares that "while Tintoretto was the equal of
+Titian, he was often inferior to Tintoretto"--which after all is a
+very fine compliment.
+
+His life was so tranquil and uneventful that there is little to say of
+it; but there is much to say of his art. He lived mostly in his
+studio, and when he died he was buried in the Santa Maria del
+Orto--the church in which he had done his first work.
+
+Veronese had given to Venice a brilliant, glowing, rich, ravishing
+riot of colour and figures, but Tintoretto was said to rise up
+"against the joyful Veronese as the black knight of the Middle Ages,
+the sombre priest of a gloomy art." Tintoretto was of stormy
+temperament, and upon one occasion he proved it by thrusting a pistol
+under a critic's nose, after he had invited him to his studio; it is
+this half savage spirit that may be seen in his paintings. He had
+deep-set, staring eyes, it is said, a furrowed brow and hollow cheeks,
+indicative of his passionate spirit. He painted very few female
+figures, but mostly men. When he did paint a woman, she looked mannish
+and not beautiful. When he painted gorgeous subjects, like doges and
+senators, he gave to them gloomy backgrounds, awe-inspiring poses, and
+he seldom painted a figure "full-face" but three-quarter, or half, so
+that he did not give himself a chance to present human figures in
+beautiful postures. He is said to have been the first who painted
+groups of well-known men in pictures intended for the decoration of
+public buildings. One great critic has written that "while the Dutch,
+in order to unite figures, represented them at a banquet, Tintoretto's
+_nobili_ (aristocrats) were far too proud to show themselves to the
+people" in so gay and informal a situation. With the coming of
+Tintoretto it was said "a dark cloud had overcast the bright heaven of
+Venetian art. Instead of smiling women, bloody martyrs and pale
+ascetics" were painted by him. He dissected the dead in order to learn
+the structure of the human body. In his paintings "his women,
+especially, with their pale livid features and encircled eyes,
+strangely sparkling as if from black depths, have nothing in common
+with the soft" painted flesh which he pictured in his youth while he
+was following Titian as closely as he could. As he grew older and his
+art more fixed, he followed Michael Angelo more and more. Titian's
+colouring was that of "an autumn day" but Tintoretto's that of a
+"dismal night." Yet these very qualities in Tintoretto's work made him
+great.
+
+  PLATE--THE MIRACLE OF ST. MARK
+
+This painting in the Academy at Venice tells the story of how a
+Christian slave who belonged to a pagan nobleman went to worship at
+the shrine of St. Mark. That was unlawful. The nobleman had his slave
+taken before the judge, who ordered him to be tortured. Just as the
+executioner raised the hammer with which he was finally to kill the
+slave, St. Mark himself came down from heaven, broke the weapon and
+rescued the slave.
+
+The figure of the patron saint of Venice is swooping down, head first,
+above the group, his garments flying in the air. A bright light
+touches the slave's naked body, as he lies upon his back, the
+executioner having turned away and raised his hammer aloft, while
+others have drawn back in fright at the appearance of the patron
+saint. We may imagine that Tintoretto was trying to acquire this power
+of painting wonderful figures hovering in the air when he hung his
+little clay images from the ceiling of his studio years before. Other
+pictures of his are: "The Marriage of Bacchus and Ariadne," "Martyrdom
+of St. Agnes," "St. Rocco Healing the Sick," "The Annunciation," "The
+Crucifixion," and many others.
+
+
+
+
+XXXVIII
+
+TITIAN (TIZIANO VECELLI)
+
+
+  (Pronounced Tit-zee-ah'no (Vay-chel'lee))
+  _Venetian School_
+  1477-1576
+  _Pupil of Giovanni and Gentile Bellini_
+
+Titian was a child of the Tirol Mountains, handsome, strong, full of
+health and fine purposes, even as a boy. He was born in a little
+cottage at Pieve, in the valley of Cadore, through which flows the
+River Piave; and he wandered daily beside its banks, gathering flowers
+from which he squeezed the juices to paint with. When he grew up he
+became a wonderful colourist, and from his boyhood nothing so much
+delighted him as the brilliant colours flaunted by the flowers of wood
+and field.
+
+Gathered about his good father's hearth were many children, Caterina,
+Francesco, Orsa, and the rest, living in peace and happiness, closely
+bound together by love. Titian had a gentle, loving mother named
+Lucia, while his father was a soldier and an honoured man. In the
+little town where they lived, he was councillor and also
+superintendent of the castle and inspector of mines, no light honours
+among those simple country people. Doubtless Titian inherited his
+splendid bearing and his determined character from his soldier father.
+
+Even while a little child, the man who was destined to become a great
+artist began his work with the juices of the wild-flowers, which he
+daubed upon the wall of the humble home in the Tirol valley, making a
+Madonna with angels at her feet and a little Jesus upon her knee. But
+if Titian was a great painter, he was never even a fair scholar. He
+went to school, but would not, or could not, study. His father soon
+saw that he was wasting his time and being made very unhappy through
+being forced to do that for which he had no ability; so he was soon
+released from book-learning and sent to Venice, seventy-five miles
+from home, to learn art. In Venice, the Vecelli family had an uncle,
+and it was with him that Titian lived, though he studied first with
+Sebastian Zuccato, the head of the Venetian guild of mosaic workers,
+and a pretty good teacher in his way. He was not able to teach Titian
+very much, for the boy was an inspired artist and needed a good
+master; so, after a little, the family held a consultation and it was
+decided that Titian should become the pupil of Gentile Bellini, a very
+clever artist indeed. There was an interesting story told about this
+master which made the Vecellis feel that their boy would do well to be
+under the influence of a kind-hearted man, as well as a genius. It
+seems that Bellini's fame had become so great that the Sultan had sent
+for him to paint the portraits of himself and the Sultana. Bellini
+went gladly to Turkey to do this; but he took with him certain
+pictures to show his patron. Among them was one of St. John the
+Baptist having his head cut off. The Sultan looked at it, and cutting
+heads off being a large part of his business, he saw that Bellini had
+not scientifically painted it, and in order to show him the true way
+to conduct such matters, he sent for a slave and ordered his head
+chopped off in Bellini's presence. Bellini was so terrified and
+sickened by the dreadful sight that he fled from Turkey and would not
+paint its ruler, the Sultana nor anyone else who had to do with such
+cruel things as he had witnessed.
+
+It was into this man's studio that Titian went as a young boy, but
+after a little he displeased Gentile Bellini, who complained that his
+pupil worked too fast, and therefore could not expect to do great
+work. He declared that picture painting was serious and careful work,
+and that Titian was too careless and quick. As a matter of fact,
+Titian was too wonderful for Bellini ever to do much for; and since he
+could not get on with him, he went to another master--Gentile
+Bellini's brother, Giovanni. One of Titian's chief troubles in the
+studio of Gentile had been that he was not allowed to use the gorgeous
+colouring he loved, but in the brother's studio he found to his joy
+that colour was more valued, and he was given more freedom to use
+it. Also there was a young peasant pupil with Giovanni, who, like
+Titian, loved to use beautiful colours, and he and the newcomer became
+fast friends.
+
+The other artist's name was Giorgione, and he had the most delightful
+ways about him, winning friends wherever he went, so it was no wonder
+that the warm-hearted Titian sought his companionship. One day those
+two young comrades left their master's studio, to have a good time off
+by themselves. There was a stated hour for their return; but they had
+spent all their money, and forgot that Giovanni Bellini was expecting
+them home. When they did return the door was closed and locked. What
+were they to do? They did the only thing they could. As comrades in
+misfortune they joined forces, set up a studio of their own, and went
+to work to earn their living as best they might. At first it was hard
+sledding, but in time they got a good job, namely to decorate the
+walls of a public building in Venice which was used by foreign
+merchants for the transaction of their business, a sort of "exchange,"
+as we understand it. This was the Fondaco de' Tedeschi, and it had two
+great halls, eighty rooms, and twenty-six warehouses. It was indeed a
+big undertaking for the two young men, and they divided the business
+between them. Their joy was great, their cartoons successfully made
+and the work well begun, when, alas, they fell to quarreling simply
+because someone had declared that Titian's work upon the building was
+a little better than Giorgione's.
+
+This dispute parted the two friends, who had had good times together,
+and it must have been Giorgione's fault, because Ludovico Dolce, one
+who knew Titian well, said that "he was most modest ... he never spoke
+reproachfully of other painters ... in his discourse he was ever ready
+to give honour where honour was due ... he was, moreover, an eloquent
+speaker, having an excellent wit and perfect judgment in all things;
+of a most sweet and gentle nature, affable and most courteous in
+manner; so that whoever once conversed with him could not choose but
+love him henceforth forever." That is a most loving and splendid
+tribute for one man to pay another. Not long after Giorgione died, and
+Titian took up his unfinished work, doing it as well as his own.
+
+There was a brilliant and mature artist called Palma Vecchio, in
+Venice, and Titian painted in his studio, where he saw and loved
+Vecchio's daughter, Violante. The young artist was not very well off
+financially, and therefore could not marry; hence he was not specially
+happy over his love affair. About that time he took to painting after
+the manner of Vecchio, through being so much influenced by his soft
+feelings for the older artist's daughter. He used the lovely Violante
+again and again for his model, and many of the beautiful faces which
+Titian painted at that time show the features of his lady-love. With
+his new love Titian's serious work seemed to begin, and at twenty-one
+he painted his first truly great picture, "Sacred and Profane Love."
+To day this picture hangs upon the walls of the Borghese Palace, in
+Rome.
+
+Raphael painted a great many pictures, but Titian must have painted
+more. At least one thousand have his signature.
+
+Now came wars and troubles for Venice. The Turks, French, and
+Venetians became at odds, and during the strife many fine works of art
+were lost, among them many of Titian's pictures. He had painted
+bishops, also the wicked Borgias, and many other great personages, but
+all of these are gone and to this day, no one knows what became of
+them.
+
+At last Titian began one of his greatest paintings, "The Tribute
+Money," and he set about it because he had been criticised. Some
+German travellers in Venice visited Titian's studio, and though they
+found his work very fine, one of them said that after all there was
+only one master able to finish a painting as it should be finished,
+and that was the great D�rer. The German pointed out the differences
+between Titian's method and D�rer's, and declared that Venetian
+painters never quite came up to the promise of their first
+pictures. D�rer's wonderful pictures were quite different from
+Titian's, inasmuch as his work was fuller of detail and careful
+finishing, but Titian was as great in another way. His effects were
+broader, but quite as satisfying. However, the German criticism put
+him on his mettle, and he answered that if he had thought the greatest
+value of a painting lay in its fiddling little details of finishing,
+he too would have painted them. To show that he could paint after
+D�rer's fashion, as well as his own, he undertook the "Tribute Money,"
+and the result was a wonderful picture.
+
+Soon Rome sent for Titian. The Florentines, Raphael and Michael
+Angelo, were already there doing marvellous things, but the pope
+wished to add the genius of Titian to theirs and made him a great
+offer to go and live in Rome and do his future work for that
+city. This was an honour, but amid all his fame and the homage paid
+him, Titian had remembered the old home in the vale of Cadore. It was
+there his heart was, and he determined to return to the home of his
+boyhood to do his best work. So he sent his thanks and refusal to the
+pope, and he wrote as follows to his home folks, through the council
+of his town:
+
+"I, Titian of Cadore, having studied painting from childhood upward,
+and desirous of fame rather than profit, wish to serve the doge and
+signorini, rather than his highness the pope and other signori, who in
+past days, and even now, have urgently asked to employ me. I am
+therefore anxious, if it should appear feasible to paint the hall of
+council, beginning, if it pleases their sublimity, with the canvas of
+the battle on the side toward the Piazza, which is so difficult that
+no one as yet has had the courage to attempt it."
+
+Then in stating his terms he asked for a very moderate sum of money
+and a "brokerage" for life. The Government did not have to think over
+the matter long. Titian's father had been honoured among them,
+Titian's genius was well known, and the commission was gladly given
+him. As soon as he got this business affair settled he moved into the
+palace of the Duke of Milan "at San Samuele; on the Grand Canal, where
+he remained for sixteen years," so says his biographer.
+
+Titian's affairs were not yet entirely smooth, because both of the
+Bellinis having painted for his patrons, they naturally considered
+Titian an intruder, and thought that the work should have been given
+to them. They did all they could to make trouble for the younger
+artist, but after a time Titian came into his rights, receiving his
+"brokerage" which gave to him a yearly sum of money 120 crowns,
+$126.04. His taxes were taken off for the future, provided he would
+agree to paint all the doges that should rule during his lifetime.
+
+Titian undertook to do this, but he did not keep his word, for he
+painted only five doges, though many more followed. He had no sooner
+received his commission from the council of his native place than he
+began to neglect it, and to paint for the husband of the wicked
+poisoner--Lucretia Borgia--whose name was Alfonso d'Este, the Duke of
+Ferrara. It was for him he painted the "Venus Worship," now in the
+Museum of Madrid, also "The Three Ages," which belongs to Lord
+Ellesmere, and the "Virgin's Rest near Bethlehem," now in the National
+Gallery. Afterward he painted "Noli Me Tangere," which is in the same
+London Gallery.
+
+There is a picture of great size in the Academy of Arts in Venice,
+which was first seen on a public holiday nearly four hundred years
+ago. It is the "Assumption of the Virgin," first shown on
+St. Bernardino's day, when all the public offices were closed by order
+of the Senate, and the whole city had a gay time. This occasion made
+Titian the most honoured artist of his time, but still the Venetians
+had cause to complain; because now their painter took so much work in
+hand that he nearly ceased doing the work on the council hall. The
+council sent him word that unless he attended to business the
+paintings should be finished by some one else and he would have to pay
+the new artist out of his own pocket; but in waywardness he paid no
+attention to this summons. Lucretia Borgia died, and her husband
+having never loved her, fell at once in love with a girl of a lower
+class, who was very good and worthy to be loved. The duke wanted
+Titian to paint them both, and so once more the great painter
+neglected his contract with the council. The girl's name was Laura,
+and Titian painted her and the duke in one picture, which now hangs in
+the Louvre.
+
+At last, after seven years of his neglecting to do his promised work
+the council became enraged and threatened to take the artist's
+property away from him. That frightened Titian very much, and he began
+frantically to work on the battle piece on the hall wall. It was about
+this time that he married. He had probably forgotten Violante in the
+passing of so many years; at any rate it was not she whom he married,
+but a lady whose first name was Cecilia. Soon he had a little family
+of children, but one of them was destined to make Titian very
+unhappy. This was Pomponic who became a priest, but he was also a
+wicked spendthrift, and kept his father forever in trouble, trying to
+pay his debts and keep him out of scrapes. Another son became an
+artist; not great like his father, but very helpful and a comfort to
+him. Then his wife died, and Titian had loved her so dearly that for a
+long time he had not the heart to paint much. His sister, Orsa, came
+to live at his home and take care of his motherless children.
+
+He left the palace on the Grand Canal and bought a home north of
+Venice, with beautiful gardens attached, and there he lived and
+worked, entertaining the most illustrious men. Titian's house and
+gardens became the show place of the country, so many geniuses and
+famous people visited there. It was there that he painted "The
+Martyrdom of Saint Peter," and the picture was so loved by the
+Venetians that the signori threatened with death any one who should
+take the picture from the chapel where it hung. In spite of this
+caution the picture was burned in the fire that destroyed the chapel
+in 1867.
+
+Titian was now getting to be old, but he was yet to do great work and
+to have kingly patrons. Charles V. visited Bologna, and, seeing
+Titian's great work, wanted him to paint his portrait. So the artist
+went to Bologna and painted the portrait of the king, clothed in
+armour, but without any head-covering, making Charles V. look so fine
+a personage, that he was delighted. Charles said he had always been
+painted to look so much uglier than he really was that when people who
+had seen his portraits, actually saw himself they were pleasantly
+disappointed. While Titian was painting his picture, Lombardi, the
+sculptor, wished above all things to see Charles, so Titian said: "You
+come with me to the sittings, and act as if you were some apprentice,
+carrying my colours and brushes, and then you can watch the king as
+easily as possible." Lombardi did as Titian suggested, but he hid in
+his big and baggy sleeve a tablet of wax, on which to make a relief
+picture of Charles. One day the king surprised the sculptor and
+demanded to be shown what he was doing. Thereupon he was so much
+pleased that he commissioned Lombardi to make the model in
+marble. While the king was sitting for two portraits to Titian, the
+artist one day dropped his brush. The king looked at the courtiers who
+were lounging about watching the work, but none of them picked it up,
+so the king himself did so. Titian was distressed over this and
+apologised to the king. "There may be many kings," said Charles, "but
+there will never be more than one Titian--and he deserves to be served
+by Caesar himself." After that he would allow no other artist to paint
+his portrait, declaring that Titian alone could do it properly, and
+for the two pictures Titian received two thousand scudi in gold, was
+made a Count of the Lateran Palace, of the Aulic Council and of the
+Consistory; with the title of Count Palatine and all the advantages
+attached to those dignities. His children were thereby raised to the
+rank of nobles of the empire, with all the honours appertaining to
+families with four generations of ancestors. He was also made Knight
+of the Golden Spur, with the right of entrance to court. This was
+great return for two portraits of a king, but it shows what a king
+could do if he chose.
+
+Titian had a brother who also became an artist, less famous than
+himself, and it was that brother, who, when their father died in the
+Cadore home, went back to care for the old place and to keep it in
+readiness so that the famous Titian might return to it for rest and
+peace. Foreign sovereigns had invited Titian to end his days with
+them, but they could not tempt him from that vale of Cadore nor his
+country home in Venice.
+
+All this time he had been neglecting the work upon the hall of
+council, and at last, the councillors gave the work to another, took
+away Titian's "brokerage" and told him he must return to Venice all
+the moneys they had given him for twenty years back. This finally
+cured him of his neglect, and he went to work in earnest painting so
+rapidly that he finished the work in two years.
+
+Before he died Titian went to Rome, where he painted Pope Paul's
+portrait, and the story is told that when the portrait was set to dry
+upon the terrace--which it probably was not,--the people who passed
+took off their hats to it, thinking it was the pope himself.
+
+Besides his bad son and his good one, Titian had a beautiful daughter
+whom he painted again and again. He went to Augsburg once more to
+paint King Charles, who for that work added a pension of five hundred
+scudi to what he had already done for him. This made the artist "as
+rich as a prince, instead of poor as a painter." King Philip II. loved
+art as his father had, and he took a painting of Titian's with him to
+the convent of Yuste, where he went to die, wishing to have it near to
+console him. In those days art had become a religion for high and
+low. Great personages still went to Casa Grande, Titian's Venetian
+home, where he entertained like a prince. No one knew better than he
+how princes behaved, and when a cardinal came to dine with him, he
+threw his purse to his servant, crying: "Prepare a feast, for all the
+world is dining with me!" Henry III. of France visited Titian and
+ordered sent to him every picture of which he had asked the price.
+
+His friends stood by him all his life, but in his old age his
+beautiful daughter, Lavinia, died, leaving behind her six children for
+him to love as his own. The brother had died before that, in the old
+home at Cadore, and at more than eighty years of age Titian was still
+painting from morning till night. About this time he sent to King
+Philip "The Last Supper," which was to be hung in the Escorial. The
+monks found it too high to fill the space, and though the artist in
+charge, Navarrette, begged them to let it be, they cut a piece off the
+top, that it might be hung where they wanted it. Titian had so far had
+to pay no taxes, but at that time an account of his property was
+demanded and this is what he owned: "Several houses, pieces of land,
+sawmills, and the like," and he was blamed because he did not state
+the full value of his possessions. At ninety-one he painted a picture
+which became the guide of Rubens and his brother artists, so wonderful
+was it. Again, at ninety-nine he began a picture, which was to be
+given to the monks of the Frari in return for a burial place for the
+artist within the convent walls, but he never finished it. He died
+during the time of the plague, but of old age alone, though his son,
+Orzio, died of the disease. The alarm of the people was so great that
+a law had been passed to bury all who died at that time, instantly and
+without ceremony, but that law was waived for the painter. Titian, in
+the midst of a nation's tragedy was borne to the convent of the Frari,
+with honours. Two centuries later the Austrian Emperor commanded the
+great sculptor, Canova, to make a mausoleum above the tomb.
+
+It was said that shortly before he died Titian began to be less sure
+in his use of colours, and would often daub on great masses, but his
+students came in the night and rubbed them off, so that the master
+never felt his failing.
+
+As King Charles had said, there was never but one such artist in the
+world.
+
+Titian prepared his canvas by painting upon it a solid colour to serve
+for the bed upon which the picture itself was to be painted. To quote
+more exactly from a good description--some of these foundation colours
+were laid on with resolute strokes of his brush which was heavily
+laden with colour, while the half-tints were made with pure red earth,
+the lights with pure white, softened into the rest of the foundation
+painting with touches of the same brush dipped into red, black, and
+yellow. In this way he could give the "promise" of a figure in four
+strokes. After laying this foundation, he turned his picture toward
+the wall and left it there for months at a time, frequently turning it
+around that he might criticise it. If, during this time of waiting, he
+thought any part of the work already done was poor, he made it right,
+changing the shape of an arm, adding flesh where he thought it was
+needed, reducing flesh where it seemed to him out of proportion, and
+then he would again turn the canvas face to the wall. After months of
+self-criticism and retouching he would have the first layer of flesh
+painted upon his figures, and a good beginning made. "It was contrary
+to his habit to finish at one painting, and he used to say that a poet
+who improvises cannot hope to form pure verses." He would often
+produce a half-light with a rub of his finger, "or with a touch of the
+thumb he would dab a spot of dark pigment into some corner to
+strengthen it; or throw in a reddish stroke--a tear of blood so to
+speak--to break the parts ... in fact when finishing he painted more
+with his fingers than with his brush." He used to say, "White, red,
+and black, these are all the colours that a painter needs, but one
+must know how to use them."
+
+  PLATE--THE ARTIST'S DAUGHTER, LAVINIA.
+
+Previous to the time of Titian, it had been the custom to paint
+portraits of beautiful ladies merely to their waists, just far enough
+to show their hands. He went further, and produced "knee portraits,"
+which gave him an opportunity to paint their gorgeous gowns as
+well. He has done so in making this picture of his daughter Lavinia,
+probably just before her marriage to Cornelio Sarcinelli which took
+place in 1555. She is attired in gold-coloured brocade with pearls
+about her neck. Her dress, combined with the dish of fruit she holds
+so high, gives Titian the colour effects he always sought. A yellow
+lemon is specially striking, and the red curtain to the left
+harmonises with the whole. The uplift of the arms and the turn of the
+head give the desired amount of action. It is not Titian's customary
+style of work; he seldom did anything so intimate and personal, and
+the picture is the more interesting on that account. It is in the
+Berlin Gallery.
+
+Some of Titian's famous pictures are: his own portrait; "Flora," "Holy
+Family and St. Bridget," "The Last Judgment," "The Entombment," "The
+Magdalene," "Bacchanal," "St. Sebastian," "Bacchus and Ariadne," and
+"The Sleeping Venus."
+
+
+
+
+XXXIX
+
+JOSEPH MALLORD WILLIAM TURNER
+
+
+  _English_
+  1775-1851
+  _Pupil of the Royal Academy_
+
+If the occupation of a shepherd produced a poet, no less did an artist
+of the first water come out of a barber shop. Turner's father was a
+jolly little fellow who dressed hair for English dandies and did all
+of those things which in those days fell to men of his profession. It
+was in this little shop that the great artist grew up. Father Turner
+was ambitious for his son, who was anxious to study art. The less said
+of the artist's mother the better, for she was a termagant and finally
+went crazy, so that the father and his little boy were soon left
+alone, to plan and work and strive to make each other happy. The pair
+were never apart.
+
+Turner's art beginning was at six years of age, on the occasion of a
+visit his father paid to a goldsmith of whose hair curling and
+peruquing he had charge. Perched upon a chair too high for a little
+boy's comfort, and feeling that it took his father very long indeed to
+satisfy the customer, Joseph's eye lighted upon a silver lion which
+ornamented a silver tray. He studied every detail of that lion while
+waiting for his father, and finally when they got home, he sat down
+and drew it from memory. By tea time he had a lion in full action upon
+the paper. This delighted his father above everything, and it was
+settled then and there that the little fellow should have a chance to
+learn art.
+
+The father could not give much time to his upbringing, but he taught
+him to be honest and kind-hearted and to save his money. His
+playground was generally the bank of the Thames, and under London
+Bridge where, roving with the sailors, he learned to love the ships,
+the setting-suns and evening waters from a daily study of them.
+
+He did not do much at school, because the other pupils at New
+Brentford, learning that he could draw wonderful things upon the
+schoolroom walls, used to do his "sums" for him, while he sketched for
+them. After a while father Turner began to hang up some of his son's
+sketches upon the walls of the barber shop, among the wigs and curls
+and _toup‚es_, and he put little tags upon them, telling the
+price. The extraordinary work of his little boy began to attract the
+attention of the jolly barber's patrons, and by the time he was twelve
+years old the child had a picture upon the walls of the Royal
+Academy--a far-cry from barber shop to Academy!
+
+One authority says that this first exhibition occurred in his
+fourteenth year, but by that time he was a pupil of the Academy, and
+it is not unlikely that he had shown his mettle before.
+
+He now began to earn his own living, but he still dwelt in the barber
+shop with his father. While in the Academy he coloured prints, made
+backgrounds for other painters, drew architect's plans, and in that
+way made money. He had been sent to a drawing master to study "the art
+of perspective," but having no mathematical knowledge he had been
+unable to learn it, and the teacher had advised his father to put
+little Turner to cobbling or making clothes. However, William was to
+learn perspective, and even to be made master of that branch of art in
+the Academy itself.
+
+In after years, when he had become a great artist, someone spoke
+pityingly of the drudgery he had had to do to make money as a young
+boy--referring to his painting of backgrounds and the like. "Well! and
+what could be better practice?" Turner answered cheerfully.
+
+He used to go to the house of Dr. Munro, who lived in fine style on
+the Strand. This gentleman owned Rembrandts, Rubenses, Titians, and
+other great masterpieces, and in that house the "little barber" had a
+chance to see the best of art, and also to copy it. This was a great
+opportunity for him and he made the most of it. Besides the chance for
+study, he earned about half a crown an evening and his supper, for his
+copying.
+
+Turner was the first painter to make "warm moonlight." All other
+artists had given cold, silvery effects to a moonlit atmosphere, but
+Turner had seen a mellow, sympathetic moon, and he first showed it to
+others. About this time he went travelling; for an engraver of the
+_Copper Plate Magazine_ had engaged the young boy to go into Wales and
+make sketches for his work. Turner set off on a pony which a friend
+had lent him, with his baggage done up in a bundle--it did not make a
+very big one--and thus he voyaged. It was a fine experience, and he
+came home with many beautiful scenes on paper, which he in after years
+made into complete pictures. Next he made the acquaintance of Thomas
+Girtin, the first in his country of a fine school of water-colour
+painters, and this acquaintance grew into a close friendship. The two
+were devoted to each other and worked together at any sort of
+mechanical art work that would bring them a living. When Girtin died
+Turner said: "Had Tim Girtin lived, I should have starved," showing
+how highly he valued Girtin's work.
+
+Turner is said to have been "a stout, clumsy little fellow, who never
+cared how he looked. He wore an ill-fitting suit, and his luggage tied
+up in a handkerchief was slung over his shoulder on a cane. Sometimes
+he carried a small valise and an old umbrella, the handle of which he
+converted into a fishing rod, for Turner dearly loved both hunting and
+fishing."
+
+The hero travelled a great deal, because above every thing he loved
+the fields and streams, and to tramp alone. It is said that it was his
+habit to walk twenty-five miles a day, seeing everything on the way,
+letting no peculiarity of nature escape him. His sketchbook was a
+curiosity, because he not only made sketches in it, but jotted down
+his travelling expenses, what he thought about things that he saw, and
+all the gossip he heard in the towns through which he passed. Because
+he liked best to travel alone he was called "the Great Hermit of
+Nature."
+
+One memorable day--of which he thought but little at the time--he
+stopped on the road to make a sketch of Norham Castle. Later he
+completed the picture, and it became famous, so successful that from
+that hour he had all the work he could do. Years afterward, when
+passing that way again in company with a friend, he was seen to take
+off his hat to the castle.
+
+"Why are you doing that?" his friend asked, in amazement.
+
+"Well, that castle laid the foundation of my success," he answered,
+"and I am pleased to salute it."
+
+During his young manhood Turner had fallen in love with a girl, and
+planned to marry, but after he returned from one of his country trips
+he found she had married another, and from that moment the artist was
+a changed man. He had been generous and gay before, now he began to
+save his money, so that people thought him miserly--but he was
+forgiven when it became known what he finally did with his
+fortune. After the young woman deserted him he wandered more than
+ever, and one of his fancies was to keep boys from robbing birds'
+nests. He looked after the little birds so carefully that the boys
+named him "old Blackbirdy." He had already begun those wonderful
+pictures of ships and seas, and his house was ornamented with
+full-rigged little ships and water plants, which he carefully raised
+to put into his pictures. By that time he had bought a home of his own
+in the country, and his father the barber went to live with him. The
+old man's trade had fallen off, because the fashions had changed, wigs
+were less worn, and hair was not so elaborately dressed. In the
+country home the old man took charge of all the household affairs,
+prepared his son's canvases for him, and after the pictures were
+painted it was the ex-barber who varnished them, so that Turner said,
+"Father begins and finishes all my pictures." There the father and son
+lived, in perfect peace and affection, till Turner decided to sell the
+place and move into town, "because," said he, "Dad is always working
+in the garden and catching cold."
+
+Meanwhile he had been made master of perspective in the Academy, and
+it was expected that he would lecture to the students, but he was not
+cut out for a lecturer. He was not elegant in his manners, nor
+impressive in his speech. On one occasion, when he had risen to
+deliver a speech, he looked helplessly about him and finally blurted
+out: "Gentlemen! I've been and left my lecture in the hackney coach!"
+
+During these years he had tried to establish a studio like other
+masters and to have pupils and apprentices about him; but the stupid
+ones he could not endure, having no patience with them, and he treated
+all the fashionable ones so bluntly they would not stay; so the idea
+had to be given up.
+
+He became a visitor at Farnley Hall in Yorkshire, where a friend,
+Mr. Hawksworth Fawkes lived, and in the course of his lifetime Fawkes
+put fifty thousand dollars worth of Turner's pictures upon his
+walls. The Fawkes family described Turner as a most delightful man:
+"The fun, frolic, and shooting we enjoyed together, and which,
+whatever may be said by others of his temper and disposition, have
+proved to me that he was, in his hours of distraction from his
+professional labours as kindly hearted a man and as capable of
+enjoyment and fun of all kinds as any I ever knew."
+
+Another friend writes: "Of all light-hearted, merry creatures I ever
+knew, Turner was the most so; and the laughter and fun that abounded
+when he was an inmate of our cottage was inconceivable, particularly
+with the juvenile members of our family."
+
+The story of his disappointment in marriage is an interesting one. It
+is said that the young lady whom he loved was the sister of a
+schoolmate. They had been engaged for some time, but while he was on
+one of his travels his letters were stolen and kept from the young
+woman. She believed he had forgotten her, and her stepmother, who had
+taken the letters, persuaded the girl to engage herself to
+another. Turner returned just a week before her marriage and tried to
+win her back, but although she loved him, she felt herself then bound
+to her new suitor and therefore married him. Her marriage was very
+unhappy and her misery, as well as his own, distressed the artist till
+his death. Almost all his life, in spite of his seeming gaiety, he
+worked like a slave, rising at four o'clock in the morning and working
+while light lasted. When remonstrated with about this he would sadly
+say: "There are no holidays for me."
+
+All his ways were honest and simple, and his election to the Academy
+was very exceptional in the way it came about. Most Academicians had
+graces and airs and good fellowship to commend them, as well as their
+works, but Turner had none of these things. He had given no dinners,
+nor played a social part in order to get the membership. When the news
+was brought him that he was elected, some one advised him to go and
+thank his fellow Academicians for the honour, as that was the custom;
+but Turner saw no reason in it. "Since I am elected, it must have been
+because they thought my pictures made me worthy. Why, then should I
+thank them? Why thank a man for performing a simple duty." In half a
+century Turner was absent only three times from the Academy
+exhibitions, and his membership was of very great value to him.
+
+At this time Turner had an idea for an art publication to be called
+_Liber Studiorum_. He meant to issue this in dark blue covers and to
+include in each number five plates. There was to be a series of five
+hundred plates altogether, and these were to be divided, according to
+subject, into historical, landscape, pastoral, mountainous, marine,
+and architectural studies. After seventy plates had been, published,
+the enterprise fell through, because no one bought the periodical, and
+there was no money to keep it going. The engraver of the plates,
+Charles Turner, became so disgusted with the failure that he even used
+the proofs of these wonderful studies to kindle the fire with. Many
+years later, a great print-dealer, Colnaghi, made Turner, the
+engraver, hunt up all the proofs that he had not used for kindling
+paper, and these he bought for œ1,500.
+
+"Good God!" cried Charles Turner, "I have been burning banknotes all
+my life."
+
+Some years later still œ3,000 was paid for a single copy of the _Liber
+Studiorum_.
+
+Turner was a most conscientious man, and many stories are told of his
+manner of teaching. He could not talk eloquently nor give very clear
+instructions, talking not being his forte, but he would lean over a
+student's shoulder, point out the defects in his work, and then on a
+paper beside him make a few marks to illustrate what he had said. If
+the artist had genius enough then to imitate him, well and good; if
+not, Turner simply went away and left him. His own ways of working
+were remarkable. He often painted with a sponge and used his thumbnail
+to "tear up a sea." It mattered little to him how he produced his
+effects so long as he did it. His impressionistic style confused many
+of his critics, and it is told how a fine lord once looked at a
+picture be had made, and snorted: "Nothing but daubs, nothing but
+daubs!" Then catching the inspiration, he leaned close to the canvas,
+and said: "No! Painting! so it is!"
+
+"I find, Mr. Turner," said a lady, "that in copying your pictures,
+touches of red, blue and yellow appear all through the work."
+
+"Well, madam, don't you see that yourself, in nature? Because if you
+don't, heaven help you!" was the reply.
+
+"Once, after painting a summer evening, he thought that the picture
+needed a dark spot in front by way of contrast; so he cut out a dog
+from black paper and stuck it on. That dog still appears in the
+picture."
+
+Another time he painted "A Snow-storm at Sea," which some critics
+called "Soap-suds and Whitewash." Turner, who had been for hours
+lashed to the mast of a ship in order to catch the proper effect, was
+naturally much hurt by the criticism. "What would they have!" he
+exclaimed. "I wonder what they think a storm is like. I wish they'd
+been in it."
+
+Turner was conscientiously fond of his work, and when he sold a
+picture he said that he had lost one of his children.
+
+He grew rich, but he never was knighted, because his manners were not
+fine enough to suit the king. He wished to become President of the
+Royal Academy, but that was impossible because he was not polished
+enough to carry the honour gracefully.
+
+After selling his place in the country Turner bought a house in Harley
+Street, where he lived a strange and lonely life. A gentleman has
+written about this incident, which shows us his manner of living:
+
+"Two ladies called upon Turner while he lived in Harley Street. On
+sending in their names, after having ascertained that he was at home,
+they were politely requested to walk in, and were shown into a large
+sitting-room without a fire. This was in the depth of winter; and
+lying about in various places were several cats without tails. In a
+short time our talented friend made his appearance, asking the ladies
+if they felt cold. The youngest replied in the negative; her
+companion, more curious, wished she had stated otherwise, as she hoped
+they might have been shown into his sanctum or studio. After a little
+conversation he offered them biscuits, which they partook of for the
+novelty--such an event being almost unprecedented in his house. One of
+the ladies bestowing some notice upon the cats, he was induced to
+remark that he had seven, and that they came from the Isle of Man."
+
+Thus we learn that Turner's desolate house was full of Manx cats, and
+of many other pets. When he had moved elsewhere--to 47 Queen Anne
+Street--one of the pictures he cared most for, "Bligh Shore," was put
+up as a covering to the window and a cat wishing to come in, scratched
+it hopelessly. The housekeeper started to punish it for this but
+Turner said indulgently, "Oh, never mind!" and saved the cat from
+chastisement.
+
+The place he lived in, where his "dad was always working in the garden
+and catching cold," he called Solus Lodge, because he wished his
+acquaintances to understand that he wanted to be alone. One picture
+painted by him to order, was to have brought him $2,500; but when it
+was finished the man was disappointed with it and would not take
+it. Later, Turner was offered $8,000 for it, but would not sell it.
+
+Turner again fell in love, but his bashfulness ruined his chances. He
+wrote to the brother of the lady. "If she would only waive her
+bashfulness, or, in other words, make an offer instead of expecting
+one, the same (Solus Lodge) might change occupiers." Faint heart
+certainly did not win fair lady in this case, for she married
+another. Before he died Turner was offered $25,000 for two pictures
+which he would not sell. "No" he said. "I have willed them and cannot
+sell them." He disposed of several great works as legacies. One
+picture of which he was very fond, "Carthage," was the occasion of an
+amusing anecdote. "Chantry," he said to his friend the sculptor, "I
+want you to promise that when I am dead you will see me rolled in that
+canvas when I'm buried."
+
+"All right," said Chantry, "I'll do it, but I'll promise to have you
+taken up and unrolled, also."
+
+A remarkable incident of generosity is told of Turner. In 1826 he hung
+two exquisite pictures in the Academy. One, "Cologne," having a most
+beautiful, golden effect. This was hung between two portraits by Sir
+Thomas Lawrence. The golden colouring of Turner's picture entirely
+destroyed the effect of the Lawrence pictures, and without a word,
+Turner washed his lovely picture over with lampblack. This gave the
+Lawrence, pictures their full colour value. A friend who had been
+enthusiastic about the "Cologne" was provoked with Turner. "What in
+the world did you do that for?" he demanded. "Well, poor Lawrence was
+so unhappy. It will all wash off after the exhibition." Turner had his
+reward in cash, for the picture sold for 2,000 guineas.
+
+Above all things Turner hated engravings, or any process that
+cheapened art, and one day he stated this to his friend Lawrence. "I
+don't choose to be a basket engraver," he declared.
+
+"What do you mean by that," Sir Thomas inquired.
+
+"Why when I got off the coach t' other day at Hastings, a woman came
+up with a basket of your 'Mrs. Peel,' and offered to sell me one for a
+sixpence."
+
+Turner dearly loved his friends, and the story of Chantry's death,
+illustrates it. He was in his room when the sculptor breathed his
+last, and just as he died, the artist turned to another friend, George
+Jones, and with tears streaming down his face, wrung Jones's hand and
+rushed from the room, unable to speak.
+
+Again, when William Frederick Wells, another friend, died, Turner
+rushed to the house of Clara Wells, his daughter, and cried: "Oh
+Clara, Clara! these are iron tears. I have lost the best friend I ever
+had in my life."
+
+In his old age Turner suddenly disappeared from all his haunts, and
+his friends could not find him. They were much troubled, but one day
+his old housekeeper found a note in a pocket of an old coat, which
+made her think he had gone to Chelsea. She looked there for him, and
+found him very ill, in a little cottage on the Thames River. Everybody
+about called him Admiral Booth, believing him to be a retired
+admiral. He had felt his death near and had tried to meet it quite
+alone. He died the very day after his friends found him, as he was
+being wheeled by them to the window to look out upon the river for the
+last time. He was buried in St. Paul's Cathedral between Sir Joshua
+Reynolds and James Barry. He left his drawings and pictures to a
+"Turner Gallery," and $100,000 to the Royal Academy, to be used for a
+medal to be struck every two years for the best exhibitor. The rest of
+his fortune went to care for "poor and decayed male artists born in
+England and of English parents only." This was to be known as Turner's
+Gift, and that is why he had saved money all his life.
+
+A few more of the numberless stories of his generosity should be
+told. A picture had been sent to the Academy by a painter named Bird
+It was very fine, and Turner was full of its praise, but when they
+came to hang it no place could be found.
+
+"It can't be hung," the others of the committee said.
+
+"It must be hung," returned Turner, but nothing could be done about
+it, for there was absolutely no place. Then Turner went aside with the
+picture and sat studying it a long time. Finally he got up, took down
+a picture of his own and hung Bird's in its place. "There!" he
+said. "It is hung!"
+
+Again, an old drawing-master died and Turner who had known the family
+for a long time, was aware that they were destitute, so he gave the
+widow a good sum of money with which to bury her husband and to meet
+general expenses. After some time she came to him with the money; but
+Turner put his hands in his pockets. "No," he said; "keep it. Use it
+to send the children to school and to church."
+
+On one occasion when he had irritably sent a beggar from his house, he
+ran out and called her back, thrusting a œ5 note into her hand before
+letting her go.
+
+There was a man who in Turner's youth, while the little fellow was
+making pictures in the cheerless barber shop bought all of these
+drawings he could find. He often raised the price and in every way
+tried to help Turner. In after years that old patron went
+bankrupt. Turner heard that his steward had been instructed to cut
+down some fine old trees on this man's estate, and sell them. Turner,
+without letting himself be known in the matter, at once stopped the
+cutting and put into his old patron's hands about œ20,000. The rescued
+man, afterward, through the same channels that he had received the
+money, paid it all back. Years passed, and the son of that same man
+got into the same difficulties, and again, without being known in the
+matter, Turner restored his fortune. That son, in his turn, honestly
+paid back the full amount. This was the miser who saved all his
+money--to do good deeds to his friends. Ruskin wrote that in all his
+life he had never heard from Turner one unkind or blameful word for
+others.
+
+  PLATE--THE FIGHTING T�M�RAIRE
+
+This was the picture which Turner loved best of all, the one he would
+never sell; but at his death ho gave it to the English nation.
+
+"Many years before he painted it, he had gone down to Portsmouth one
+day to see Nelson's fleet come in after the glorious victory of
+Trafalgar. The _T‚m‚raire_ was pointed out to him--a battle ship that
+had very proudly borne the English flag, for during the battle it had
+run in between two French frigates and captured them both.
+
+"And now between thirty and forty years later, he lingered one
+afternoon on the banks of the Thames. As he looked over the water he
+saw the grand old hulk being towed down the river by a noisy little
+tug to be broken up at Deptford. 'There's a fine subject!' he
+exclaimed as he looked at the heroic ship that had known many glorious
+years; and in his thought he compared it to 'a battle-scarred warrior
+borne to the grave.'
+
+"Then he painted the picture. The glow of the setting sun irradiates
+the scene and bids farewell to the old ship. Twilight is coming on,
+and the new moon has just risen in its pearly light. It is a pathetic
+picture," and well illustrates how truly a "master of sunsets and
+waves" the artist was.
+
+Among his other paintings are several of Venice; "The Slave Ship" and
+many other sea pieces.
+
+
+
+
+XL
+
+SIR ANTHONY VAN DYCK
+
+
+  _Flemish School_
+  1599-1641
+  _Pupil of Rubens_
+
+Anthony Van Dyke's father was neither a gentleman nor an ill-born
+person. He was "betwixt-and-between," being a silk merchant, who met
+so many fine folk that he seemed to be "fine folk" himself; and by the
+time Anthony had grown up, he actually believed himself to be one of
+them. If manners stand for fineness Sir Anthony must have been
+superfine, because he was almost overburdened with "manners."
+
+He became a wonderful, be-laced, perfumed, shiny gentleman who never
+stooped to paint anything less than royalty and its associates, nor in
+anything less than velvets and laces. Like Rembrandt and Gainsborough,
+he set a fashion--or rather the style in which he painted came to be
+known after his name. We are all familiar with the kind of
+ornamentation on clothes called Van Dyck--pointed lace, or
+trimmings--and pointed beards.
+
+As a very young lad he was almost too dainty to be liked by healthy
+boys; and the worst of it was he did not care whether healthy, robust
+chaps liked him or not; certainly he did not care for them. He liked
+to sit in his father's shop and be smiled upon by the great ladies who
+came to buy, and in turn to smile shyly at them; this tendency became
+stronger as he grew to be a man.
+
+Anthony's mother made the most exquisite embroideries, and this may
+mean that some part of his art was inherited. She handled lovely
+colours, and tried to fashion beautiful flower shapes for
+customers. She was a fragile, tender sort of woman, while the father
+was doubtless a dapper, over-nice little fellow.
+
+Anthony was born in Antwerp, and the facts concerning his education,
+as in the case of most artists, are lost to our knowledge. He probably
+had a little of some sort outside of painting, but it certainly was
+not enough to hurt him, nor to make a fine healthy man of him. He was
+very beautiful, in a lady-like, faint-coloured way, not in the least
+resembling the handsome, gorgeous, elegant, robust Rubens, a true
+cavalier, of a dashing sort.
+
+He was apprenticed to a painter when he was ten years old, and later
+on became the pupil of Rubens. He painted a whole series of Apostles'
+heads, about which a lawsuit took place. The papers relating to this
+were found about twenty years ago, though the lawsuit occurred as far
+back as 1615. Several of the Apostles' heads that brought about the
+suit are to-day to be seen in the gallery at Dresden.
+
+Everything in those days--especially in Germany and Holland--was
+represented by a "guild." In reading about the Mastersingers of
+Nuremberg we are told that on the day when the trial of singers was to
+take place, dozens of "guilds" assembled in the meadow--guilds of
+bakers, of shoemakers--of which Hans Sachs was the head--guilds of
+goldsmiths, etc. Van Dyck was a member of the painters' guild when he
+was no more than nineteen. His work at that time showed so much
+strength that there is a picture of his, an old gentleman and lady, in
+the Dresden gallery, which for a long time was supposed to have been
+painted by his master, Rubens.
+
+An intimate friend of Van Dyck, Kenelm Digby, says that Van Dyck's
+first relations with Rubens came about by Van Dyck being employed to
+make engravings for the reproduction of Rubens's great works. After
+that he studied painting with him.
+
+One of his friends of that time wrote that at twenty Van Dyck was
+nearly as great as Rubens, though this is hardly substantiated by the
+verdict of time, and that being a man with very rich family
+connections, he could hardly be expected to leave home. On every hand
+we have signs of the artist's affected feeling about himself and other
+people.
+
+However, an annual pension from the King of England seems to have made
+travelling possible to this fine gentleman of lace ruffles, pale face,
+and lady-like ways.
+
+There is an entry about him on the royal account book of "Special
+service ... performed for His Majesty." Also "Antonio Van Dyck, gent.,
+_His Majesty's servant_, is allowed to travaile 8 months, he havinge
+obtayneid his Majesty's leave in that behalf, as was signified to the
+E. of Arundel." Certainly by that time Van Dyck had become a truly
+great portrait painter; not the greatest, because every picture showed
+the same characteristics in its subject--elegance, fine clothes,
+languid manners, without force of great truth or any excellent moral
+quality to distinguish one from another. Nevertheless, the kind of
+painting that he did, he did better than anyone else had ever done, or
+probably ever will do.
+
+While in England he painted all the royalties and many aristocrats,
+and wherever he went he was always painting pictures of himself.
+
+He travelled about a good deal, always painting people of the same
+class--kings and queens and fine folk, and painting them pretty nearly
+all alike.
+
+When he went to Italy he was everywhere received as a great painter,
+but while artists agreed that his work was excellent he was not much
+liked by them, and many tales are told about that journey which are
+interesting, if not entirely true. Van Dyck was the sort of man about
+whom tales would be made up. One, however, sounds true. It is said
+that he fell in love--which of course he was always doing--with a
+beautiful country girl, and that for love of her he painted an altar
+piece into which he put himself, seated on the great gray horse which
+Rubens had given him. That picture is in St. Martin's Church at
+Saventhem, near Brussels, but although one is inclined to believe this
+story because it was quite the sort of thing which might be expected
+of Van Dyck, even this is not true, because the painting was done long
+after the artist had made his Italian journey, and it was commissioned
+by a gentleman living at Saventhem, whose daughter Van Dyck
+undoubtedly liked pretty well; but he made the picture for money, not
+for love.
+
+While he was in Italy he lived with a cardinal, and painted languid
+pictures of sacred subjects, which were far from being his best
+work. The best that he did was in portraiture. Distinguished though he
+was, he did not have a very good time in Italy, because he would not
+join the artists who worked there, nor associate with them in the
+least, and naturally this made him disliked.
+
+We see a good many portraits painted by Van Dyck, of persons mounted
+upon or standing beside the gray horse, and these were painted about
+the time of that Italian journey. He used the Rubens horse in many
+paintings.
+
+Of all the people with whom he painted, he most valued the knowledge
+he got from a blind woman painter of Sicily, called Sofonisba
+Anguisciola, and he often said that he had learned more from a blind
+woman than from all the open-eyed men he ever knew. This woman artist
+was over ninety years old at the time he learned from her.
+
+While he was in Italy the plague broke out, and Van Dyck fled for his
+life, leaving an unfinished picture behind him, one ordered by the
+English king, the subject being Rinaldo and Armida, which had gained
+for the artist his knighthood pension.
+
+It is said that during his first year in England he painted the king
+and queen twelve times. He had an extraordinary record for industry,
+and painted very quickly, as he had need to do, because it took a
+great deal of money to buy the sort of things Van Dyck liked--fine
+laces and velvets, perfumes and satins. His plan was to sketch his
+subject first on gray paper with black and white chalk, and after that
+he gave the sketch to an assistant who increased it to the size he
+wished to paint. The next step was to set his painter to work upon the
+clothing of his figures. This was painted in roughly, together with
+background and any architectural effect Van Dyck wanted. After this
+the artist himself sat down and in three or four sittings, of not more
+than an hour each, he was able to finish a picture worth to-day
+thousands of dollars.
+
+He painted hands specially well, and kept certain models for them
+alone.
+
+Van Dyck had eleven brothers and sisters, whom he always kept in
+mind. Some of his sisters had become nuns while some of his brothers
+were priests, and Van Dyck's influence got a monkish brother called to
+the Dutch court to act as chaplain to the queen.
+
+By this time every royal personage in the world, nearly, had sent for
+Van Dyck to paint his portrait, for he could make one look handsomer
+than could any other painter in existence. If the king was very ugly,
+Van Dyck painted such beautiful clothes upon him that nobody noticed
+the plainness of the features.
+
+When Van Dyck was about thirty-six years old he married a great lady,
+the Lady Mary Ruthven, granddaughter of the Earl of Gowrie, but before
+that he had had a lady-love, Margaret Lemon, whom he painted as the
+Virgin and in several other pictures. When he married Lady Mary,
+Margaret Lemon was so furiously jealous that she tried to injure Van
+Dyck's right hand so that he could paint no more.
+
+About this time Rubens died in Flanders, leaving behind him an
+unfinished series of pictures which had been commissioned by the king
+of Spain. Van Dyck was asked to finish these, but declined until he
+was asked to make an independent picture, to complete the series, and
+this he was delighted to do. Ferdinand of Austria wrote to the king of
+Spain that Van Dyck had returned in great haste to London to arrange
+for his change of home, in order to do the work. "Possibly he may
+still change his mind," he added, "for he is stark mad." This shows
+how Van Dyck's erratic ways appeared to some people.
+
+He had a sister, Justiniana, who was also something of an artist and
+she married a nobleman when she was about twelve years old.
+
+When Van Dyck died he was buried in St. Paul's, London, and Charles
+I. placed an inscription on his tomb.
+
+In the "Young People's Story of Art," is the following anecdote: "A
+visit was once paid by a courtly looking stranger passing through
+Haarlem, to Franz Hals, the distinguished Dutch painter.
+
+"Hals was not at home but he was sent for to the tavern and hastily
+returned. The stranger told him that he had heard of his
+reputation--had just two hours to spare--and wished to have his
+portrait painted. Hals, seizing canvas and brushes fell vigorously to
+work; and before the given time had elapsed, he said, 'Have the
+goodness to rise, sir, and examine your portrait!' The stranger looked
+at it, expressed his satisfaction, and then said, 'Painting seems such
+a very easy thing, suppose we change places and see what I can do!'
+
+"Hals assented, and took his position as the sitter. The unknown
+began, and as Hals watched him, he saw that he wielded the brush so
+quickly, he must be a painter. His work, too, was rapidly finished,
+and as Hals looked at it he exclaimed, 'You must be Van Dyck! No one
+else could paint such a portrait!'
+
+"No two portraits could have been more unlike. The story adds that the
+famous Dutch and Flemish masters heartily embraced each other."
+
+The stories of Van Dyck's youth are interesting, and probably true. It
+is said that he drew so well when he was a pupil of Rubens that the
+great master often allowed him to retouch his own works. Once in
+Rubens's studio, some of the students got the key and went in to see
+what the master was doing, when he was absent. Rubens had left a
+painting fresh upon the easel, and in looking about them one of the
+boys rubbed against it. This frightened them all. What should they do?
+Rubens would find his picture ruined and know that they had broken in.
+
+After consultation they decided there was no one with them who could
+repair the damage as well as Van Dyck, who set about it, and soon he
+had painted in the smudged part so perfectly that when Rubens saw it,
+he did not for some time know that anything had happened to his
+picture. Later he suspected something, and when he learned of the
+prank and its outcome, he was so delighted with Van Dyck's work that
+he praised him instead of blaming him for it.
+
+Van Dyck had a very precise method of working. When sitters came to
+him he would paint for just one hour. Then he would politely dismiss
+them, and his servant would wash his brushes, and clear the way for
+the next sitter. He dined with his sitters often that he might
+surprise in them the expression which he wanted to paint. Also, he had
+their clothing sent to his studio, that it might be exactly imitated
+by himself or by those assistants who painted in the foundation for
+his finished work.
+
+While attached to King Charles I.'s court, Van Dyck was given a fine
+house at Blackfriars, on the Thames, and he had a private landing
+place made for boats, so that the royal family might visit him at
+their convenience. Charles I. used often to go to Van Dyck's studio to
+escape his many troubles, and thus the artist's home became as
+fashionable a gathering place, as Gainsborough's studio was in
+Bath. He painted Queen Henrietta not less than twenty-five times. He
+often furnished concerts for his sitters, for he himself was
+passionately fond of music, and moreover he believed that music often
+brought to the faces of his sitters, an expression that he loved to
+paint.
+
+He painted so many pictures of a certain kind of little dog, in the
+pictures of King Charles I. that ever since that breed has been known
+as the King Charles spaniel.
+
+After a while Van Dyck got heavily into debt. King Charles himself was
+in great trouble, and he had no money with which to pay his painter's
+pension. The artist had lived so extravagantly that he did not know at
+last which way to turn, so in desperation he thought to try alchemy
+and maybe to learn the secret of making gold. He wasted much time at
+this, as cleverer men have done, but at last he became too ill for
+that or for his own proper work, and badly off though Charles was
+himself, he offered his court physician a large sum if he could cure
+his court painter. But Van Dyck had enjoyed life too well, and nothing
+could be done for him.
+
+He was the seventh child of his parents--which some have thought had
+something to do with his genius and success; he lived gaily all the
+years of his life, going restlessly from place to place, and having
+many acquaintances but probably few friends, outside of his old
+master, Rubens, who loved him for his genius.
+
+  PLATE--CHILDREN OF CHARLES THE FIRST
+
+Van Dyck painted the family of the unfortunate king of England four
+times. There are five children in the Windsor Castle picture, and this
+one, which hangs in the Turin Gallery, was probably painted before the
+birth of the fourth child in 1636. It is celebrated for its colouring
+as well as for its great artistic merit. The children are surely
+childlike enough, despite their stately attire, and they little dream
+of the sad fate awaiting the whole of the Stuart family to which they
+belong.
+
+Other Van Dycks are: "The Blessed Herman Joseph," "Lords Digby and
+Russell," "Lord Wharton," "Countess Folkestone," and "William Prince
+of Orange."
+
+
+
+
+XLI
+
+VELASQUEZ (DIEGO RODRIGUEZ DE SILVA)
+
+
+  (Pronounced Vay-lahs'keth)
+  _Castilian School_
+  1599-1669
+  _Pupil of Herrera_
+
+It is pretty difficult to find out why a man was named so-and-so in
+the days of the early Italian and Spanish painters. More likely than
+not they would be called after the master to whom they had been first
+apprenticed; or after their trade; after the town from which they
+came, and rarely because their father had had the name before them. In
+Velasquez's case, he was named after his mother.
+
+No one seemed to be certain what to call him, but he generally wrote
+his name "Diego de Silva Velasquez." His father was Rodriguez de
+Silva, a lawyer, but in calling the boy Velasquez the family followed
+a universal Spanish custom of naming children after their mothers.
+
+Little Velasquez was well taught in his childhood; he studied many
+languages and philosophy, for he was intended to be a lawyer or
+something learned, anything but a painter. The disappointment of
+parents in those days, when they found a child was likely to become an
+artist is touching.
+
+Despite his equipment for a useful life, according to the ideas of his
+parents, this little chap was bound to become nothing but a maker of
+pictures.
+
+Herrera was a bad-tempered master and little Velasquez could not get
+on with him, so after a year of harsh treatment, he went to another
+master, Pacheco, but by that time he had learned a secret that was to
+help make his work great. Herrera had taught him to use a brush with
+very long bristles, which had the effect of spreading the paint,
+making it look as if his "colours had floated upon the canvas," in a
+way that was the "despair of those who came after him."
+
+Velasquez was born in Seville at a time when about all the art of the
+world was Italian or German; thus he became the creator of a new
+school of painting.
+
+He stayed five years in Pacheco's studio and pupil and master became
+very fond of each other. Pacheco was not a great master--not so good
+as Herrera--but he was easy to get on with, and knew a good deal about
+painting, so that as Velasquez had the genius, he was as well placed
+as he needed to be.
+
+In Pacheco's studio there was a peasant boy whose face was very
+mobile, showed every passing feeling; and Velasquez used to make him
+laugh and weep, till, surprising some good expression, he would
+quickly sketch him. With this excellent model, Velasquez did a
+surprising amount of good work.
+
+Spain had just then conquered the far-off provinces of Mexico and
+Peru, and was continually receiving from its newly got lands much
+valuable merchandise. Rapidly growing rich, this Latin country loved
+art and all things beautiful, so its money was bound to be spent
+freely in such ways. Madrid had been made its capital, and at that
+time there were few fine pictures to be found there. The Moors who had
+conquered Spain had forbidden picture making, because it was contrary
+to their religion to represent the human figure, or even the figures
+of birds and beasts. Then the Inquisition had hindered art by its
+rules, one of which was that the Virgin Mary should always be painted
+with her feet covered; another, that all saints should be
+beardless. There were many more exactions.
+
+While cathedrals were being built elsewhere, the Moors had been in
+control of Spanish lands, so that no cathedral had been built there,
+and when Velasquez came upon the scene the time of great cathedral
+building was past. It had ceased to be the fashion. Although there had
+been such painters as Beneguette, Morales, Navarrette, and Ribera, all
+Spanish and of considerable genius, they had been too badly
+handicapped to make painting a great art in Spain. When Madrid became
+the capital of Spain, it had no unusual buildings, unless it was an
+old fortress of the Moors, the Alcazar, Caesar's house, but the nation
+was buying paintings from Italy, and it began to beautify Madrid,
+which had the advantage of the former Moorish luxury and art, very
+beautiful, though not pictorial.
+
+In Madrid, then, there seemed to be great opportunity for a fine
+artist like Velasquez, and his master urged him to go there and try
+his fortune. So he set out on mule-back, attended by his slave, but
+unless he could get the ear of the king, it was useless for him to
+seek advancement in Madrid. Without the king as patron at that time,
+an artist could not accomplish much. After trying again and again,
+Velasquez had to return to his old master, without having seen the
+king; but after a time a picture of his was seen by Philip IV., and he
+was so much pleased with it that he summoned the artist. Through his
+minister, Olivares, he offered him $113.40 in gold (fifty ducats) to
+pay his return expenses. The next year he gave him $680.40 to move his
+family to Madrid.
+
+At last the artist had found a place in the rich city, and he went to
+live at the court where the warmest friendship grew between him and
+the king. The latter was an author and something of a painter, so that
+they loved the same things. This friendship lasted all their lives,
+and they were together most of the time, the king always being found,
+in Velasquez's studio in the palace when his duties did not call him
+elsewhere. During the many many years--nearly thirty-seven--that
+Velasquez lived with Philip IV. he employed himself in painting the
+scenes at court. Thus he became the pictorial historian of the Spanish
+capital. He was a man of good disposition, kindly and generous in
+conduct and in feeling, so that he was always in the midst of friends
+and well-wishers.
+
+Philip IV. was indeed a noble companion, but he was not a gay one,
+being known as the king who never laughed--or at least whose laughter
+was so rare, the few times he did laugh became historic. One would
+expect this serious and depressing atmosphere to have had an effect
+upon a painter's art; but it chanced that Rubens visited Spain, and
+there, Velasquez being the one famous artist, it was natural they
+should become interested in each other. Rubens told Velasquez of the
+wonders of Italian painting, till the Spaniard could think of nothing
+else, and finally he begged Philip to let him journey to Italy that he
+might see some of those wonders for himself. The request made the king
+unhappy at first, but at last he gave his consent and Velasquez set
+out for Italy. The king gave him money and letters of introduction,
+and he went in company with the Marquis of Spinola.
+
+After Velasquez had stayed eighteen months in Italy, Philip began to
+long for his friend and sent for him to return. He came back full of
+the stories of brilliant Italy, and charmed the king completely.
+
+There is as absurd a story of Velasquez's perfection in painting as
+that of Raphael's, whose portrait of the pope, left upon the terrace
+to dry, imposed upon passers by. It is said of Velasquez's work that
+when he had painted an admiral whom the king had ordered to sea, and
+left it exposed in his studio, the king, entering, thought it was the
+admiral himself, and angrily inquired why he had not put to sea
+according to orders. On the face of them these stories are false, but
+they serve to suggest the perfection of these artists' paintings.
+
+Philip, being a melancholy man, had his court full of jesters, poor
+misshapen creatures--dwarfs and hunchbacks--who were supposed to
+appear "funny," and Velasquez, as court painter, painted those whom he
+continually saw about him, who formed the court family. Thus we have
+pictures of strange groups--dwarfs, little princesses, dressed
+precisely as the elders were dressed, favourite dogs, and Velasquez
+himself at his easel.
+
+In 1618, while still with his master, Pacheco, he had married the
+master's daughter, a big, portly woman. Before he left Seville he bad
+two daughters.
+
+These were all the children he had, although he painted a picture of
+"Velasquez's Family" which includes a great number of people. The
+figures in that painting are the children of his daughter, not his
+own; and this may account for one biographer's statement that the
+artist had "seven children." He was devoted to and happy in his family
+of children and grandchildren.
+
+He did not grow rich, but received regularly during his life in
+Madrid, twenty gold ducats ($45.36) a month to live upon, and besides
+this his medical attendance, lodging, and additional payment for every
+picture. The one which brought him this good fortune was an equestrian
+portrait of Philip; first uncovered on the steps of San
+Felipe. Everywhere the people were delighted with it, poets sung of
+it, and the king declared no other should ever paint his
+portrait. This picture has long since disappeared.
+
+In 1627 Velasquez won the prize for a picture representing the
+expulsion of the Moors from Spain and was rewarded by "being appointed
+gentleman usher. To this was shortly afterward added a daily allowance
+of twelve reals--the same amount which was allowed to court
+barbers--and ninety gold ducats ($204.12) a year for dress, which was
+also paid to the dwarfs, buffoons, and players about the king's
+person--truly a curious estimate of talent at the court of Spain."
+
+The record of Philip IV. with unpleasing, even degenerate characters,
+about him, is brightened by the thought of his loyalty to his court
+painter and life-long friend. When the king's favourites fell, those
+who had been the friends of Velasquez, the artist loyally remained
+their friend in adversity as he had been while they were
+powerful. This constancy, even to the royal enemies, was never
+resented by Philip. He honoured the faithfulness of his artist, even
+as he himself was faithful in this friendship. Philip's court was such
+that there was little to paint that was ennobling, and so Velasquez
+lacked the inspiration of such surroundings as the Italian painters
+had.
+
+Philip IV. was hail-fellow-well-met with his stablemen, his huntsmen,
+his cooks, and yet he seems to have had no sense of humour, was long
+faced and forbidding to look at, and despite his strange habits
+considered himself the most mighty and haughty man in the world. He
+felt himself free to behave as he chose, because he was Philip of
+Spain; and he chose to do a great many absurd and outrageous
+things. In all Philip's portraits, painted by Velasquez, he wears a
+stiff white linen collar of his own invention, and he was so proud of
+this that he celebrated it by a festival. He went in procession to
+church to thank God for the wonderful blessing of the _Golilla_--the
+name of his collar. This unsightly thing became the fashion, and all
+portraits of men of that time were painted with it. "In regard to the
+wonderful structure of Philip's moustaches it is said, that, to
+preserve their form they were encased during the night in perfumed
+leather covers called _bigoteras_." Such absurdities in a king, who
+had the responsibilities of a nation upon him, seem incredible.
+
+Velasquez made in all three journeys to Italy, and the last one was on
+a mission for the king, which was much to the latter's credit. Philip
+had determined to have a fine art gallery in Madrid, for Spain had by
+this time many pictures, but no statuary; so he commissioned his
+painter to buy whatever he thought well of and _could_ buy, in
+Italy. Hence the artist set off again with his slave--the same one
+with whom he had journeyed to Madrid so long before. His name was
+Pareja, and his master had already made an excellent artist of him.
+
+They went to Genoa, thence to the great art-centres of Italy, were
+received everywhere with honour, and the artist bought wisely.
+Velasquez did not care for Raphael's paintings as much as for
+Titian's, and he said so to Salvator Rosa, an honoured painter in
+Italy.
+
+While in Rome Velasquez painted the pope, also his own slave, Pareja.
+
+When he returned to Spain he took with him three hundred statues, but
+a large number of them were nude, and the Spanish court, not over
+particular about most things, was very particular about naked statues,
+so that after Philip's death, they nearly all disappeared. After his
+return, and after the queen had died and Philip had married again,
+Velasquez was made quartermaster-general, no easy post but not without
+honour, though it interfered with his picture painting a good deal. He
+had to look after the comfort of all the court, and to see that the
+apartments it occupied, at home or when it visited, were suitable.
+
+"Even the powerful king of Spain could not make his favourite a belted
+knight without a commission to inquire into the purity of his lineage
+on both sides of the house. Fortunately, the pedigree could bear
+scrutiny, as for generations the family was found free from all taint
+of heresy, from all trace of Jewish or Moorish blood, and from
+contamination from trade or commerce. The difficulty connected with
+the fact that he was a painter was got over by his being painter to
+the king and by the declaration that he did not sell his pictures."
+
+The red Cross of Santiago conferred upon him by Philip, made Velasquez
+a knight and freed him also from the rulings of the Inquisition, which
+directed so largely what artists could and could not do. Thus it is
+that we come to have certain great pictures from Velasquez's brush
+which could not otherwise have been painted.
+
+This action of the king, setting free the artist, made two schools of
+art, of which the court painter represented one; and Murillo the
+other, under the command of the Church. Although not so rich perhaps
+as Raphael, Velasquez lived and died in plenty, while Murillo, the
+artist of the Church of Rome, was a poverty-stricken man.
+
+Finally, while in the midst of honours, and fulfilling his official
+duty to the court of Spain, Velasquez contracted the disease which
+killed him. The Infanta, Maria Theresa, was to wed Louis XIV., and the
+ceremony was to take place on a swampy little island called the Island
+of Pheasants. There he went to decorate a pavilion and other places of
+display. He became ill with a fever and died soon after he returned to
+Madrid.
+
+He made his wife, his old master Pacheco's daughter, his executor, and
+was buried in the church of San Juan, in the vault of Fuensalida; but
+within a week his devoted wife was dead, and in eight days' time she
+was buried beside him.
+
+He left his affairs--accounts between him and the court--badly
+entangled, and it was many years before they were straightened
+out. His many deeds of kindness lived after him. He made of his slave
+a good artist and a devoted friend, and by his efforts the slave
+became a freedman. The story of his kindly help to Murillo when that
+exquisite painter came, unknown and friendless to Madrid, has already
+been told.
+
+The Church where Velasquez was buried was destroyed by the French in
+1811, and all trace of the resting place of the great Spanish artist
+is forever lost to us.
+
+He is called not only "painter to the king," but "king of painters."
+
+  PLATE--EQUESTRIAN PORTRAIT OF DON BALTHASAR CARLOS.
+
+Philip of Spain had long prayed for a son and when at last one was
+granted him his pride in his young heir was unbounded. The little Don
+Carlos was not unworthy, for he was a cheerful, hearty boy, trained to
+horsemanship, from his fourth year, for his father was a noted rider
+and had the best instructors for his son. The prince was a brave
+hunter too and we are told that he shot a wild boar when he was but
+nine years of age. In this portrait which is in the Museo del Prado he
+is six years old, and it was neither the first nor the last that
+Velasquez made of him. It was one of the court painter's chief duties
+to see that the heir to the throne was placed upon canvas at every
+stage of his career, and he painted him from two years of age till his
+lamented death at sixteen.
+
+The young prince wears in this picture a green velvet jacket with
+white sleeves and his scarf is crimson embroidered with gold. The
+lively pony is a light chestnut and the foreshortening of its body
+must be noticed. The steady grave eyes of the lad are gazing far ahead
+as they would naturally be if he were riding rapidly, but his princely
+dignity is shown in his firm seat in the saddle and his manner of
+holding his marshal's bat“n.
+
+The great art of the painter is also shown in the way he subordinates
+the landscape to the figure. He will not allow even a tree to come
+near the young horseman, but brings his young activity into vivid
+contrast with the calm peacefulness of the distant view.
+
+With the death of Don Carlos the downfall of his father's dynasty was
+assured, though for a time his little sister, the Infanta Maria
+Theresa, was upheld as the heiress. She married Louis XIV. and had a
+weary time of it in France. Velasquez painted her picture too, in the
+grown up dress of the children of that day. It is in the Vienna
+Gallery. Among his best known pictures are "The Surrender of Breda,"
+"Alessandro del Borro," and "Philip IV."
+
+
+
+
+XLII
+
+PAUL VERONESE (PAOLO CAGLIARI)
+
+
+  (Pronounced Vay-ro-nay'zay and pah'o-lah cal-ee-ah'ree)
+  _Venetian School_
+  1528-1588
+  _Pupil of Titian_
+
+"One has never done well enough, when one can do better; one never
+knows enough when he can learn more!"
+
+This was the motto of Paul Veronese. This artist was born in
+Verona--whence he took his name--and spent much of his life with the
+monks in the monastery of St. Sebastian.
+
+His father was a sculptor, and taught his son. Veronese himself was a
+lovable fellow, had a kind feeling for all, and in return received the
+good will of most people. When he first went to Venice to study he
+took letters of introduction to the monks of St. Sebastian, and
+finally went to live with them, for his uncle was prior of the
+monastery, and it was upon its walls that he did his first work in
+Venice. His subject was the story of Esther, which he illustrated
+completely.
+
+He became known in time as "the most magnificent of magnificent
+painters." He loved the gaieties of Venice; the lords and ladies; the
+exquisite colouring; the feasting and laughter, and everything he
+painted, showed this taste. When he chose great religious subjects he
+dressed all his figures in elegant Venetian costumes, in the midst of
+elegant Venetian scenes. His Virgins, or other Biblical people, were
+not Jews of Palestine, but Venetians of Venice, but so beautiful were
+they and so inspiring, that nobody cared to criticise them on that
+score. He loved to paint festival scenes such as, "The Marriage at
+Cana," "Banquet in Levi's House," or "Feast in the House of Simon." He
+painted nothing as it could possibly have been, but everything as he
+would have liked it to be.
+
+Into the "Wedding Feast at Cana," where Jesus was said to have turned
+the water into wine, he introduced a great host of his friends, people
+then living. Titian is there, and several reigning kings and queens,
+including Francis I. of France and his bride, for whom the picture was
+made. This treatment of the Bible story startles the mind, but
+delights the eye.
+
+It was said that his "red recurred like a joyful trumpet blast among
+the silver gray harmonies of his paintings."
+
+Muther, one who has written brilliantly about him, tells us that
+"Veronese seems to have come into the world to prove that the painter
+need have neither head nor heart, but only a hand, a brush, and a pot
+of paint in order to clothe all the walls of the world with oil
+paintings" and that "if he paints Mary, she is not the handmaid of the
+Lord or even the Queen of Heaven, but a woman of the world, listening
+with approving smile to the homage of a cavalier. In light red silk
+morning dress, she receives the Angel of the Annunciation and hears
+without surprise--for she has already heard it--what he has to say;
+and at the Entombment she only weeps in order to keep up appearances."
+
+Such criticism raises a smile, but it is quite just, and what is more,
+the Veronese pictures are so beautiful that one is not likely to
+quarrel with the painter for having more good feeling than
+understanding. His joyous temperament came near to doing him harm, for
+he was summoned before the Inquisition for the manner in which he had
+painted "The Last Supper."
+
+After the Esther pictures in St. Sebastian, the artist painted there
+the "Martyrdom of St. Sebastian," and there is a tradition that he did
+his work while hiding in the monastery because of some mischief of
+which he had been guilty.
+
+At that time he was not much more than twenty-six or eight, while the
+great painter Tintoretto was forty-five, yet his work in St. Sebastian
+made him as famous as the older artist.
+
+There is very little known of the private affairs of Veronese. He
+signed a contract for painting the "Marriage at Cana," for the
+refectory of the monastery of St. Giorgio Maggiore, in June 1562, and
+that picture, stupendous as it is, was finished eighteen months
+later. He received $777.60 for it, as well as his living while he was
+at work upon it, and a tun of wine. One picture he is supposed to have
+left behind him at a house where he had been entertained, as an
+acknowledgment of the courtesy shown him.
+
+Paul had a brother, Benedetto, ten years younger than himself, and it
+is said that he greatly helped Paul in his work, by designing the
+architectural backgrounds of his pictures. If that is so, Benedetto
+must have been an artist of much genius, for those backgrounds in the
+paintings are very fine.
+
+Veronese married, and had two sons; the younger being named
+Carletto. He was also the favourite, and an excellent artist, who did
+some fine painting, but he died while he was still young. Gabriele the
+elder son, also painted, but he was mainly a man of affairs, and
+attended to business rather than to art.
+
+Veronese was a loving father and brother, and beyond doubt a happy
+man. After his death both his sons and his brother worked upon his
+unfinished paintings, completing them for him. He was buried in the
+Church of St. Sebastian.
+
+  PLATE--THE MARRIAGE AT CANA
+
+This painting is most characteristic of Veronese's methods. He has no
+regard for the truth in presenting the picture story. At the marriage
+at Cana everybody must have been very simply dressed, and there could
+have been no beautiful architecture, such as we see in the picture. In
+the painting we find courtier-like men and women dressed in beautiful
+silks. Some of the costumes appear to be a little Russian in
+character, the others Venetian; and Jesus Himself wears the loose
+every-day robe of the pastoral people to whom he belonged. We think of
+luxury and rich food and a splendid house when we look at this
+painting, when as a matter of fact nothing of this sort could have
+belonged to the scene which Veronese chose to represent. Perhaps no
+painter was more lacking in imagination than was Veronese in painting
+this particular picture. He chose to place historical or legendary
+characters, in the midst of a scene which could not have existed
+co-incidently with the event.
+
+Among his other pictures are "Europa and the Bull," "Venice
+Enthroned," and the "Presentation of the Family of Darius to
+Alexander."
+
+
+
+
+XLIII
+
+LEONARDO DA VINCI
+
+
+  (Pronounced Lay-o-nar'do dah Veen'chee)
+  _Florentine School_
+  1451-1519
+  _Pupil of Verrocchio_
+
+Leonardo da Vinci was the natural son of a notary, Ser Pier, and he
+was born at the Castello of Vinci, near Empoli. From the very hour
+that he was apprenticed to his master, Verrocchio, he proved that he
+was the superior of his master in art. Da Vinci was one of the most
+remarkable men who ever lived, because he not only did an
+extraordinary number of things, but he did all of them well.
+
+He was an engineer, made bridges, fortifications, and plans which to
+this day are brilliant achievements.
+
+He was a sculptor, and as such did beautiful work.
+
+He was a naturalist, and as such was of use to the world.
+
+He was an author and left behind him books written backward, of which
+he said that only he who was willing to devote enough study to them to
+read them in that form, was able to profit by what he had written.
+
+Finally, and most wonderfully, he was a painter.
+
+He had absolute faith in himself. Before he constructed his bridge he
+said that he could build the best one in the world, and a king took
+him at his word and was not disappointed by the result.
+
+He stated that he could paint the finest picture in the world--but let
+us read what he himself said of it, in so sure and superbly confident
+a way that it robbed his statement of anything like foolish
+vanity. Such as he could afford to speak frankly of his greatness,
+without appearing absurd. He wrote:
+
+"In time of peace, I believe I can equal anyone in architecture, in
+constructing public and private buildings, and in conducting water
+from one place to another. I can execute sculpture, whether in marble,
+bronze, or terra cotta, and in painting I can do as much as any other
+man, be he who he may. Further, I could engage to execute the bronze
+horse in eternal memory of your father and the illustrious house of
+Sforza." He was writing to Ludovico Sforza whose house then ruled at
+Milan. "If any of the above-mentioned things should appear to you
+impossible or impracticable, I am ready to make trial of them in your
+park, or in any other place that may please your excellency, to whom I
+commend myself in proud humility."
+
+Leonardo's experiments with oils and the mixing of his pigments has
+nearly lost to us his most remarkable pictures. His first fourteen
+years of work as an artist were spent in Milan, where he was employed
+to paint by the Duke of Milan, and never again was his life so
+peaceful; it was ever afterward full of change. He went from Milan to
+Venice, to Rome, to Florence, and back to Milan where his greatest
+work was done.
+
+While Leonardo was a baby he lived in the Castle of Vinci. He was
+beautiful as a child and very handsome as a man. When a child he wore
+long curls reaching below his waist. He was richly clothed, and
+greatly beloved. His body seemed no less wonderful than his mind. He
+wished to learn everything, and his memory was so wonderful that he
+remembered all that he undertook to learn. His muscles were so
+powerful that he could bend iron, and all animals seemed to love
+him. It is said he could tame the wildest horses. Indeed his life and
+accomplishments read as if he were one enchanted. One writer tells us
+that "he never could bear to see any creature cruelly treated, and
+sometimes he would buy little caged birds that he might just have the
+pleasure of opening the doors of their cages, and setting them at
+liberty."
+
+The story told of his first known work is that his master, being
+hurried in finishing a picture, permitted Leonardo to paint in an
+angel's head, and that it was so much better than the rest of the
+picture, that Verrocchio burned his brushes and broke his palette,
+determined never to paint again, but probably this is a good deal of a
+fairy tale and one that is not needed to impress us with the artist's
+greatness, since there is so much to prove it without adding fable to
+fact.
+
+Leonardo was also a very far seeing inventor and most ingenious. He
+made mechanical toys that "worked" when they were wound up. He even
+devised a miniature flying machine; however, history does not tell us
+whether it flew or not. He thought out the uses of steam as a motive
+power long before Fulton's time.
+
+Leonardo haunted the public streets, sketchbook in hand, and when
+attracted by a face, would follow till he was able to transfer it to
+paper. Ida Prentice Whitcomb, who has compiled many anecdotes of da
+Vinci, says that it was also his habit to invite peasants to his
+house, and there amuse them with funny stories till he caught some
+fleeting expression of mirth which he was pleased to reproduce.
+
+As a courtier Leonardo was elegant and full of amusing devices. He
+sang, accompanying himself on a silver lute, which he had had
+fashioned in imitation of a horse's skull. After he attached himself
+to the court of the Duke of Milan, his gift of invention was
+constantly called into use, and one of the surprises he had in store
+for the Duke's guests was a great mechanical lion, which being wound
+up, would walk into the presence of the court, open its mouth and
+disclose a bunch of flowers inside.
+
+Leonardo worked very slowly upon his paintings, because he was never
+satisfied with a work, and would retouch it day after day. Then, too,
+he was a man of moods, like most geniuses, and could not work with
+regularity. The picture of the "Last Supper" was painted in Milan, by
+order of his patron, the Duke, and there are many picturesque stories
+written of its production. It was painted upon the refectory wall of a
+Dominican convent, the Santa Maria delle Grazie; and at first the work
+went off well, and the artist would remain upon his scaffolding from
+morning till night, absorbed in his painting. It is said that at such
+times he neither ate nor drank, forgetting all but his great work. He
+kept postponing the painting of two heads--Christ and Judas.
+
+He had worked painstakingly and with enthusiasm till that point, but
+deferred what he was hardly willing to trust himself to perform. He
+had certain conceptions of these features which he almost feared to
+execute, so tremendous was his purpose. He let that part of the work
+go, month after month, and having already spent two years upon the
+picture, the monks began to urge him to a finish. He was not the man
+to endure much pressure, and the more they urged the more resentful he
+became. Finally, he began to feel a bitter dislike for the prior, the
+man who annoyed him most. One day, when the prior was nagging him
+about the picture, wanting to know why he didn't get to work upon it
+again, and when would it be finished, Leonardo said suavely: "If you
+will sit for the head of Judas, I'll be able to finish the picture at
+once." The prior was enraged, as Leonardo meant he should be; but
+Leonardo is said actually to have painted him in as Judas. Afterward
+he painted in the face of Christ with haste and little care, simply
+because he despaired of ever doing the wonderful face that his art
+soul demanded Christ should wear.
+
+The one bitter moment in Leonardo's life, in all probability, was when
+he came in dire competition with Michael Angelo. When he removed to
+Florence he was required to submit sketches for the Town Hall--the
+Palazzo Vecchio--and Michael Angelo was his rival. The choice fell to
+Angelo, and after a life of supremacy Leonardo could not endure the
+humiliation with grace. Added to disappointment, someone declared that
+Leonardo's powers were waning because he was growing old. This was
+more than he could bear, and he left Italy for France, where the king
+had invited him to come and spend the remainder of his life. Francis
+I. had wished to have the picture in the Milan monastery taken to
+France, but that was not to be done.
+
+Doubtless the king expected Leonardo to do some equally great work
+after he became the nation's guest.
+
+Before leaving Italy, Leonardo had painted his one other "greatest"
+picture--"La Gioconda" (Mona Lisa)-and he took that wonderful work
+with him to France, where the King purchased it for $9,000, and to
+this day it hangs in the Louvre.
+
+But Leonardo was to do no great work in France, for in truth he was
+growing old. His health had failed, and although he was still a dandy
+and court favourite, setting the fashion in clothing and in the cut of
+hair and beard, he was no longer the brilliant, active Leonardo.
+
+Bernard Berensen, has written of him: "Painting ... was to Leonardo so
+little of a preoccupation that we must regard it as merely a mode of
+expression used at moments by a man of universal genius." By which
+Berensen means us to understand that Leonardo was so brilliant a
+student and inventor, so versatile, that art was a mere pastime. "No,
+let us not join in the reproaches made to Leonardo for having painted
+so little; because he had so much more to do than to paint, he has
+left all of us heirs to one or two of the supremest works of art ever
+created."
+
+Another author writes that "in Leonardo da Vinci every talent was
+combined in one man."
+
+Leonardo was the third person of the wonderful trinity of Florentine
+painters, Raphael and Michael Angelo being the other two.
+
+He knew so much that he never doubted his own powers, but when he
+died, after three years in France, he left little behind him, and that
+little he had ever declared to be unfinished--the "Mona Lisa" and the
+"Last Supper." He died in the Chƒteau de Cloux, at Amboise, and it is
+said that "sore wept the king when he heard that Leonardo was dead."
+
+In Milan, near the Cathedral, there stands a monument to his memory,
+and about it are placed the statues of his pupils. To this day he is
+wonderful among the great men of the world.
+
+  PLATE--THE LAST SUPPER
+
+This, as we have said, is in the former convent of Santa Maria delle
+Grazie, in Milan. It was the first painted story of this legendary
+event in which natural and spontaneous action on the part of all the
+company was presented.
+
+To-day the picture is nearly ruined by smoke, time, and alterations in
+the place, for a great door lintel has been cut into the
+picture. Leonardo used the words of the Christ: "Verily, I say unto
+you that one of you shall betray me," as the starting point for this
+painting. It is after the utterance of these words that we see each of
+the disciples questioning horrified, frightened, anxious, listening,
+angered--all these emotions being expressed by the face or gestures of
+the hands or pose of the figures. It is a most wonderful picture and
+it seems as if the limit of genius was to be found in it.
+
+The company is gathered in a half-dark hall, the heads outlined
+against the evening light that comes through the windows at the
+back. We look into a room and seem to behold the greatest tragedy of
+legendary history: treachery and sorrow and consternation brought to
+Jesus of Nazareth and his comrades.
+
+This great picture was painted in oil instead of in "distemper," the
+proper kind of mixture for fresco, and therefore it was bound to be
+lost in the course of time. Besides, it has known more than ordinary
+disaster. The troops of Napoleon used this room, the convent
+refectory, for a stable, and that did not do the painting any
+good. The reason we have so complete a knowledge of it, however, is
+that Leonardo's pupils made an endless number of copies of it, and
+thus it has found its way into thousands of homes. The following is
+the order in which Leonardo placed the disciples at the table: Jesus
+of Nazareth in the centre, Bartholomew the last on the left, after him
+is James, Andrew, Peter, Judas--who holds the money bag--and John. On
+the right, next to Jesus, comes Thomas, the doubting one; James the
+Greater, Philip, Matthew, Thaddeus, and Simon. Jesus has just declared
+that one of them shall betray him, and each in his own way seems to be
+asking "Lord, is it I?" In the South Kensington Museum in London will
+be found carefully preserved a description, written out fairly in
+Leonardo's own hand, to guide him in painting the Last Supper. It is
+most interesting and we shall quote it: "One, in the act of drinking
+puts down his glass and turns his head to the speaker. Another
+twisting his fingers together, turns to his companion, knitting his
+eyebrows. Another, opening his hands and turning the palm toward the
+spectator, shrugs his shoulders, his mouth expressing the liveliest
+surprise. Another whispers in the ear of a companion, who turns to
+listen, holding in one hand a knife, and in the other a loaf, which he
+has cut in two. Another, turning around with a knife in his hand,
+upsets a glass upon the table and looks; another gasps in amazement;
+another leans forward to look at the speaker, shading his eyes with
+his hand; another, drawing back behind the one who leans forward,
+looks into the space between the wall and the stooping disciple."
+
+Other paintings of Leonardo's are: "Mona Lisa," "Head of Medusa,"
+"Adoration of the Magi," and the "Madonna della Caraffa."
+
+
+
+
+XLIV
+
+JEAN ANTOINE WATTEAU
+
+
+  (Pronounced in French, Vaht-toh; English, Wot-toh)
+  _French (Genre) School_
+  1684-1721
+  _Pupil of Gillot and Audran_
+
+Watteau's father was a tiler in a Flemish town--Valenciennes. He meant
+that his son should be a carpenter, but that son tramped from
+Valenciennes to Paris with the purpose of becoming a great painter. He
+did more, he became a "school" of painting, all by himself.
+
+There is no sadder story among artists than that of this lowly born
+genius. He was not good to look upon, being the very opposite of all
+that he loved, having no grace or charm in appearance. He had a
+drooping mouth, red and bony hands, and a narrow chest with stooping
+shoulders. Because of a strange sensitiveness he lived all his life
+apart from those he would have been happy with, for he mistrusted his
+own ugliness, and thought he might be a burden to others.
+
+Such a man has painted the gayest, gladdest, most delicate and
+exquisite pictures imaginable.
+
+He entered Paris as a young man, without friends, without money or
+connections of any kind, and after wandering forlornly, about the
+great city, he found employment with a dealer who made hundreds of
+saints for out-of-town churches.
+
+It is said that for this first employer Watteau made dozens and dozens
+of pictures of St. Nicholas; and when we think of the beautiful
+figures he was going to make, pictures that should delight all the
+world, there seems something tragic in the monotony and
+common-placeness of that first work he was forced by poverty to
+do. Certainly St. Nicholas brought one man bread and butter, even if
+he forgot him at Christmas time.
+
+After that hard apprenticeship, Watteau's condition became slightly
+better. He had been employed near the Pont Notre Dame, at three francs
+a week, but now in the studio of a scene painter, Gillot, he did work
+of coarse effect, very different from that exquisite school of art
+which he was to bring into being. After Gillot's came the studio of
+Claude Audran, the conservator of the Luxembourg, and with him Watteau
+did decorative work. In reality he had no master, learned from nobody,
+grovelled in poverty, and at first, forced a living from the meanest
+sources. With this in mind, it remains a wonder that he should paint
+as no other ever could, scenes of exquisite beauty and grace; scenes
+of high life, courtiers and great ladies assembled in lovely
+landscapes, doing elegant and charming things, dressed in unrivalled
+gowns and costumes. Until Watteau went to the Luxembourg he had seen
+absolutely nothing of refined or gracious living. He had come from
+country scenes, and in Paris had lived among workmen and
+bird-fanciers, flower sellers, hucksters and the like. This is very
+likely the secret of his peculiar art.
+
+Watteau would have been a wonderful artist under any circumstances, no
+matter what sort of pictures he had painted; but circumstances gave
+his imagination a turn toward the exquisite in colourand
+composition. Doubtless when he first looked down from the palace
+windows of the Luxembourg and saw gorgeous women and handsome men
+languishing and coquetting and revelling in a life of ease and beauty,
+he was transported. He must have thought himself in fairyland, and the
+impulse to paint, to idealise the loveliness that he saw, must have
+been greater in him than it would have been in one who had lived so
+long among such scenes that they had become familiar with them.
+
+After Watteau there were artists who tried to do the kind of work he
+had done, but no one ever succeeded. Watteau clothed all his
+shepherdesses in fine silken gowns, with a plait in the back, falling
+from the shoulders, and to-day we have a fashion known as the "Watteau
+back"--gowns made with this shoulder-plait. He put filmy laces or
+softest silks upon his dairy maids, as upon his court ladies, dressing
+his figures exquisitely, and in the loveliest colours. He had suffered
+from poverty and from miserable sights, so when he came to paint
+pictures, he determined to reproduce only the loveliest objects.
+
+At that time French fashions were very unusual, and it was quite the
+thing for ladies to hold a sort of reception while at their toilet. A
+description of one of these affairs was written by Madame de Grignon
+to her daughter: "Nothing can be more delightful than to assist at the
+toilet of Madame la Duchesse (de Bourgoyne), and to watch her arrange
+her hair. I was present the other day. She rose at half past twelve,
+put on her dressing gown, and set to work to eat a _m‚ringue_. She ate
+the powder and greased her hair. The whole formed an excellent
+breakfast and charming _coiffure_." Watteau has caught the spirit of
+this strange airy, artificial, incongruous existence. His ladies seem
+to be eating _meringues_ and powdering their hair and living on a diet
+of the combination. One hardly knows which is toilet and which is real
+life in looking at his paintings.
+
+He quarreled with Audran at the Luxembourg, and having sold his first
+picture, he went back to his Valenciennes home, to see his former
+acquaintances, no doubt being a little vain of his performance.
+
+After that he painted another picture which sold well enough to keep
+him from poverty for a time, and on his return to Paris he was warmly
+greeted by a celebrated and influential artist, Crozat. Watteau tried
+for a prize, and though his picture came second it had been seen by
+the Academy committee.
+
+His greatness was acknowledged, and he was immediately admitted to the
+Academy and granted a pension by the crown, with which he was able to
+go to Italy, the Mecca of all artists the world over.
+
+From Italy he went to London, but there the fogs and unsuitable
+climate made his disease much worse and he hurried back to France,
+where he went to live with a friend who was a picture dealer. It was
+then that he painted a sign for this friend, Gersaint, a sign so
+wonderful that it is reckoned in the history of Watteau's paintings.
+
+Soon he grew so sensitive over his illness, that he did not wish to
+remain near his dearest friends, but one of them, the Abb‚ Haranger,
+insisted upon looking after his welfare, and got lodgings for him at
+Nogent, where he could have country air and peace.
+
+Watteau died very soon after going to Nogent in July, 1721, and he
+left nine thousand livres to his parents, and his paintings to his
+best friends, the Abb‚, Gersaint, Monsieur Henin, and Monsieur
+Julienne. He is called the "first French painter" and so he
+was--though he was Flemish, by birth.
+
+  PLATE--FÅTE CHAMPÅTRE
+
+This exquisite picture displays nearly all the characteristics of
+Watteau's painting. He was said to paint with "honey and gold," and
+his method was certainly remarkable. His clear, delicate colours were
+put upon a canvas first daubed with oil, and he never cleaned his
+palette. His "oil-pot was full of dust and dirt and mixed with the
+washings of his brush." One would think that only the most slovenly
+results could come from such habits of work, but the artist made a
+colour which no one could copy, and that was a sort of creamy,
+opalescent white. This was original with Watteau, and most beautiful.
+
+In this "Fˆte Champˆtre," which is now in the National Gallery at
+Edinburgh, he paints an elegant group of ladies and gentlemen
+indulging in an open air dance of some sort. One couple are doing
+steps facing one another, to the music of a set of pipes, while the
+rest flirt and talk, decorously, round about. There is no boisterous
+rusticity here; all is dainty and refined.
+
+The same characteristics are to be found in Watteau's other pictures
+such as, "Embarkation for the Island of Cythera," "The Judgment of
+Paris," and "Gay Company in a Park."
+
+
+
+
+XLV
+
+SIR BENJAMIN WEST
+
+
+  _American_
+  1738-1820
+  _Pupil of the Italian School_
+
+The beautiful smile of his little niece helped to make this man an
+artist. This is the story:
+
+Benjamin West was born down in Pennsylvania, at Westdale, a small
+village in the township of Springfield, of Quaker parentage. The
+family was poor perhaps, but in America at a time when everybody was
+struggling with a new civilisation it did not seem to be such binding
+poverty as the same condition in Europe would have been. Benjamin had
+a married sister whose baby he greatly loved, and he gave it devoted
+attention. One day while it was sleeping and the undiscovered artist
+was sitting beside it he saw it smile, and the beauty of the smile
+inspired him to keep it forever if he could. He got paper and pencil
+and forthwith transferred that "angel's whisper."
+
+No child of to-day can imagine the difficulties a boy must have had in
+those days in America, to get an art education, and having learned his
+art, how impossible it was to live by it. Men were busy making a new
+country and pictures do not take part in such pioneer work; they come
+later. Still, there were bound to be born artistic geniuses then, just
+as there were men for the plough and men for politics and for war. He
+who happened to be the artist was the Quaker boy, West.
+
+He took his first inspiration from the Cherokees, for it was the
+Indian in all the splendour of his strength and straightness that
+formed West's ideal of beautiful physique.
+
+When he first saw the Apollo Belvedere, he exclaimed: "A young Mohawk
+warrior!" to the disgust of every one who heard him, but he meant to
+compliment the noblest of forms. Europeans did not know how
+magnificent a figure the "young Mohawk warrior" could be; but West
+knew.
+
+After his Indian impetus toward art he went to Philadelphia, and
+settled himself in a studio, where he painted portraits. His sitters
+went to him out of curiosity as much as anything else, but at last a
+Philadelphia gentleman, who knew what art meant, recognised Benjamin
+West's talent, and made some arrangement by which the young man went
+to Italy.
+
+Life began to look beautiful and promising to the Pennsylvanian. He
+was in Italy for three years, and in that home of art the young man
+who had made the smile of his sister's sleeping baby immortal was
+given highest honours. He was elected a member of all the great art
+societies in Italy, and studied with the best artists of the time. He
+began to earn his living, we may be sure, and then he went to England,
+where, in spite of the prejudice there must have been against the
+colonists, he became at once a favourite of George III., a friend of
+Reynolds and of all the English artists of repute--unless perhaps of
+Gainsborough, who made friends with none.
+
+West was appointed "historical painter" to his Majesty, George III.,
+and he was chosen to be one of four who should draw plans for a Royal
+Academy. He was one of the first members of that great organisation,
+and when Sir Joshua Reynolds, the first president, died, West became
+president, remaining in office for twenty-eight years.
+
+About that time came the Peace of Amiens, and West was able to go to
+Paris, where he could see the greatest art treasures of Europe, which
+had been brought to France from every quarter as a consequence of the
+war. At that time, before Paris began to return these, and when she
+had just pillaged every great capital of Europe, artists need take but
+a single trip to see all the art worth seeing in the whole world.
+
+After a long service in the Academy, West quarreled with some of the
+Academicians and sent in his resignation; but his fellow artists had
+too much sense and good feeling to accept it, and begged him to
+reconsider his action. He did so, and returned to his place as
+president. When West was sixty-five years old he made a picture,
+"Christ Healing the Sick," which he meant to give to the Quakers in
+Philadelphia, who were trying to get funds with which to build a
+hospital. This picture was to be sold for the fund; but it was no
+sooner finished and exhibited in London before being sent to America,
+than it was bought for 3,000 guineas for Great Britain. West did not
+contribute this money to the hospital fund, but he made a replica for
+the Quakers, and sent that instead of the original.
+
+West was eighty-two years old when he died and he was buried in
+St. Paul's Cathedral after a distinguished and honoured life. Since
+Europe gave him his education and also supported him most of his life,
+we must consider him more English than American, his birth on American
+soil being a mere accident.
+
+  PLATE--THE DEATH OF WOLFE
+
+This death scene upon the Plains of Abraham, without the walls of
+Quebec in 1759, must not be taken as a realistic picture of an
+historic event. West drew upon his imagination and upon portraits of
+the prominent men supposed to have been grouped around the dying
+general, and he has produced a dramatic effect. One can imagine it is
+the two with fingers pointing backward who have just brought the
+memorable tidings, "They run! They run!"
+
+"Who run?" asks Wolfe, for when he had fallen the issues of the fight
+were still undecided. "The French, sir. They give way everywhere."
+"Thank God! I die in peace," replied the English hero. At a time when
+the momentous results of this battle had set the whole of Great
+Britain afire with enthusiasm it is easy to understand the popularity
+of a picture such as this. It was sold in 1791 for œ28, and now
+belongs to the Duke of Westminster. There is a replica of it in the
+Queen's drawing-room at Hampton Court.
+
+Another famous historical picture by West is "The Battle of La Hogue."
+
+
+
+
+INDEX
+
+About, Edmund
+Academia, Florence
+Academy, French
+  Rome,
+  Royal, London,
+  Venice
+"Acis and Galatea"
+Adoration of the Magi
+"Adoration of the Shepherds"
+"After a Summer Shower"
+"Afternoon"
+Albert, King
+"Alessandro del Borro"
+Alexander VI.
+Alice, Princess
+Allegri, Antonio. _See_ Correggi
+Allegri, Pompino
+"Ambassadors, The"
+"American Mustangs"
+"Anatomy Lesson, The"
+Andrea del Sarto
+Angelo, Michael
+"Angels' Heads"
+"Angelas, The"
+Anguisciola, Sofonisba
+Anne of Cleves
+Anne of Saxony
+Annunciata, cloister of the
+"Annunciation, The"
+"Ansidei Madonna, The"
+"Antiope"
+Apocalypse
+Apollo Belvedere
+Apostles, the Four
+Apostles' Heads
+Appelles
+"Archipelago"
+Arena Chapel
+Arrivabene Chapel
+"Artist's Two Sons, The"
+"Arundel Castle and Mill"
+"Assumption of the Virgin"
+"At the Well"
+Audran
+Augusta, Princess
+"Avenue, Middelharnis, Holland"
+"Awakened Conscience, The"
+
+"Bacchanal"
+"Bacchus and Ariadne"
+Balzac
+"Banquet in Levi's House"
+"Baptism of Christ, The"
+Barbizon
+Barile
+Barry, James
+Bartoli d'Angiolini
+Bartolommeo, Fra
+Bassano
+"Bathers"
+"Battle of La Hogue"
+Beaumont, Sir George
+Beaux-Arts, l'Ecole des
+Begarelli
+Bellini, Gentile
+Bellini, Giovanni
+Bembo, Cardinal
+Beneguette
+"Bent Tree"
+Bentivoglio, Cardinal
+Berck, Derich
+Berensen, Bernard
+Bergholt, East
+"Berkshire Hills"
+"Bianca"
+Bicknell, Maria
+Bigio, Francia
+Bigordi. _See_ Ghirlandajo
+Bird
+"Birth of the Virgin"
+  (Andrea del Sarto)
+  (Murillo)
+"Birth of Venus"
+Blanc, Charles
+"Blessed Herman Joseph, The"
+"Bligh Shore"
+"Blue Boy, The"
+B”cklin, Arnold
+"Boat-Building"
+Boleyn, Anne
+Bolton, Mrs. Sarah K.
+Bonheur, Marie-Rosea
+Bonheur, Raymond B.
+Bordeaux
+Bordone. _See_ Giotto
+Borghese Palace
+Borgia family
+Borgia, Lucretia
+Botticelli
+Boudin
+Bouguereau, William Adolphe
+"Boy at the Stile, The"
+Brancacci Chapel
+Brant, Isabella
+Breton, Jules
+Brice, J. B.
+Brouwer
+Browning
+Brunellesco
+"Brutus"
+Buckingham, Duke of
+Buonarroti. _See_ Angelo Michael
+Burgundy, Duchess of
+Burke, Edmund
+Burne-Jones, Sir Edward
+Burr, Margaret
+
+Caffin
+Cagliari, Benedetto
+Cagliari, Carletto
+Cagliari, Gabriele
+Cagliari, Paolo. _See_ Veronese
+Cambridge, University of
+"Camels at Rest"
+Campagna
+Campana, Pedro
+Campanile, Florence
+Canova
+Caprese
+"Capture of Samson"
+Capuchin Church
+Capuchin Convent
+Carlos, Don
+"Carmencita"
+Carmine, Church of the
+"Carthage"
+Castillo, Juan del
+Cecelia, wife of Titian
+Cellini
+Centennial Exhibition
+Chamberlain, Arthur
+"Chant d'Amour"
+Chantry, Sir Francis
+"Charity"
+Charles, I.
+Charles V.
+Charles X.
+Cherokees
+"Chess Players, The"
+"Children of Charles I."
+"Christ Healing the Sick"
+"Christ in the Temple"
+"Christina of Denmark"
+Church
+Cibber, Theophilus
+Cimabue
+Claude
+"Cleopatra Landing at Tarsus"
+"Cock Fight"
+Cogniet, L‚on
+Colnaghi
+"Cologne"
+Constable, John
+Copley, John Singleton
+Copper Plate Magazine
+Cornelia, Rembrandt's daughter
+Cornelissen, Cornelis
+"Cornfield"
+"Coronation of Marie de Medicis"
+"Coronation of the Virgin"
+  (Ghirlandajo)
+  (Raphael)
+Corot, Jean Baptiste Camille
+Correggio
+Cosimo, Piero di
+"Cottage, The"
+"Countess Folkstone"
+"Countess of Spencer"
+Coventry, Countess of
+"Creation of Man, The"
+"Creation of the World, The"
+Crozat
+"Crucifixion, The"
+  (Raphael)
+  (Tintoretto)
+
+"Dana‰"
+Dandie Dinmont
+"Daniel"
+Dante
+"Daphnis and Chloe"
+Daubigny
+"David"
+"Dead Christ, The"
+"Dead Mallard"
+"Death of Ananias, The"
+"Death of Wolfe, The"
+"Dedham Mill"
+"Dedham Vale"
+Delaroche
+"Deluge, The"
+"Descent from the Cross, The"
+  (Campana)
+  (Rembrandt)
+  (Rubens)
+De Witt
+Diaz
+"Dice Players, The"
+Dickens, Charles
+Digby, Kenelm
+"Dignity and Impudence"
+"Divine Comedy"
+Dolce, Ludovico
+Donatello
+"Don Quixote"
+Dor‚, Paul Gustave
+D'Orsay
+"Duchess of Devonshire and Her Daughter, The"
+"Duel After the Masked Ball"
+Dunthorne, John
+Dupr‚
+Durand, Carolus
+D�rer, Albrecht
+Dyce
+
+"Ecce Homo"
+"Education of Mary, The"
+Edward, King
+Egyptian art
+Elizabeth, Cousin of the Virgin
+Elizabeth, Princess
+"Embarkation for the Island of Cythera"
+"Emperor at Solferino, The"
+Engravers and engraving
+"Entombment, The"
+  (Titian)
+  (Veronese)
+Eos
+"Equestrian Portrait of Don Balthasar Carlos"
+Errard, Charles
+Escorial, the
+Est‚ban, Bartolom‚. See Murillo
+Est‚ban, Gaspar
+Est‚ban, Therese
+Etchers and etching
+"Europa and the Bull"
+"Eve of St. Agnes, The"
+
+Fallen, Ambrose
+"Fall of Man, The"
+"Fantasy of Morocco"
+Fawkes, Hawksworth
+"Feast in the House of Simon"
+"Feast of Ahasuerus"
+"Ferdinand of Austria"
+Ferdinand III., Grand Duke
+Ferrara, Duke of
+"Fˆte Champˆtre"
+"Fighting T‚m‚raire, The"
+Filipepi, Mariano
+"Finding of Christ in the Temple, The"
+"Flamborough, Miss"
+"Flatford Mill on the River Stour"
+"Flora"
+  (B”cklin)
+  (Titian)
+"Foal of an Ass, The"
+Fondato de' Tedeschi
+Fontainebleau
+"Fool, The"
+"Fornarina, The"
+Fortuny, Mariano
+Fourment family
+Fourment, Helena
+"Four Saints"
+Francis I.
+Frari, monks of the
+Frey, Agnes
+"Friedland"
+
+Gainsborough, Mary
+Gainsborough, Thomas
+Gallery, Berlin
+  Dresden
+  Grosvenor
+  Hague, The
+  Hermitage, The
+  Lichtenstein, Vienna
+  Louvre
+  Luxembourg
+  Madrid
+  Naples
+  National, Edinburgh
+  National, London
+  Old Pinakothek, Munich
+  Parma
+  Pitti Palace
+  Uffizi
+  Vienna
+Garrick
+"Gay Company in a Park"
+Gell‚e. See Claude Lorrain
+George III.
+"Georgia Pines"
+Gerbier
+Germ, The
+G‚r“me, Jean L‚on
+Gersaint
+Ghibertio
+Ghirlandajo
+"Gibeon Farm"
+Gignoux, Regis
+"Gillingham Mill"
+Gillot
+Giorgione
+Giotto
+"Giovanna degli Albizi"
+Girten, Thomas
+Gisze, Gorg
+Gladstone, Mr. and Mrs.
+"Gleaners, The"
+"Glebe Farm"
+Goethe
+"Golden Calf, The"
+"Golden Stairs, The"
+Goldsmith, craft of the
+Goldsmith, Oliver
+Gonzaga, Vincenzo
+"Good Samaritan, The"
+Graham, Judge
+Granacci
+Gravelot
+Grignon, Madame de
+Gualfonda
+"Guardian Angel, The"
+Guidi, Giovanni
+Guidi, Simone
+Guidi. Tommaso. _See_ Masaccio
+Guido
+Guidobaldo of Urbino
+Guilds
+"Gust of Wind"
+
+Haarlem Town Hall
+"Haarlem's Little Forest"
+"Hadleigh Castle"
+Hals, Franz
+Hamerton
+Hamilton, Duchess of
+"Hampstead Heath"
+Hancock, John
+"Hans of Antwerp"
+Haranger, Abb‚
+"Hark!"
+"Harvest Waggon, The"
+Hassam, Childe
+Hastings, Warren
+"Haunt of the Gazelle, The"
+Hayman
+"Haystack in Sunshine"
+"Hay Wain, The"
+"Head of Christ"
+"Head of Medusa"
+Hearn, George A.
+Henin
+Henrietta, Queen
+Henry III.
+Henry VIII.
+"Henschel"
+"Hercules"
+Herrera
+"Highland Sheep"
+"Hille Bobbe, the Witch of Haarlem"
+Hill, Jack
+"Hireling Shepherd, The"
+Hobbema, Meindert
+Hogarth, William
+Holbein, Ambrosius
+Holbein, Hans, the Younger
+Holbein, Michael
+Holbein, Philip
+Holbein, Sigismund
+Holbein, the Elder
+"Holofernes"
+Holper, Barbara
+"Holy Family and St. Bridget"
+Holy Family in art, The
+"Holy Family under a Palm Tree, The"
+"Holy Night, The"
+"Homer St. Gaudens"
+"Hon. Ann Bingham, The"
+Hood, Admiral
+"Horse Fair, The"
+Howard, Catherine
+Hudson, Thomas
+Hunt, William Holman
+
+"II Giorno"
+"II Medico del Correggio"
+"Immaculate Conception, The"
+Indian pottery
+Infanta
+"Infant Jesus and St. John, The"
+Inman
+Inness
+"Innocence"
+"In Paradise"
+Inquisition, Spanish
+"Interior of the Mosque of Omar"
+Isabella, Queen
+Islay
+"Isle of the Dead, The"
+"Ivybridge"
+
+Jacopo da Empoli
+Jacque
+"Jane Seymour"
+"Jerusalem by Moonlight"
+"Jesus and the Lamb"
+Jesus in art
+Johnson, Dr.
+Jones, George
+Joseph in art
+"Joseph in Egypt"
+"Joseph's Dream"
+"Judgment of Paris, The"
+"Judith"
+Julienne
+Julius II.
+Justiniana
+
+Kann, Rudolf
+"King Cophetua and the Beggar Maid"
+"King of Hearts"
+"Kirmesse, The"
+Knackfuss
+"Knight, Death and the Devil, The"
+
+"La Belle JardiniŠre"
+"La Disputa"
+"Lady Elcho, Mrs. Arden, Mrs. Tennant"
+"La Gioconda"
+"Landscape with Cattle."
+Landseer, John
+Landseer, Sir Edwin Henry
+Landseer, Thomas
+"La Primavera"
+"Last Judgment, The"
+  (Angelo)
+  (Tintoretto)
+  (Titian)
+"Last Supper, The"
+  (Andrea del Sarto)
+  (Ghirlandajo)
+  (Veronese)
+  (Leonardo da Vinci)
+"Laughing Cavalier, The"
+Laura
+Lavinia, daughter of Titian
+"Lavinia, the Artist's Daughter"
+Lawrence, Sir Thomas
+"Leda"
+  (Correggio)
+  (G‚rome)
+Lee, Jeremiah
+Legion of Honour
+Lemon, Margaret
+Leonardo. See da Vinci
+Leo X.
+Lewis, J. F.
+_Liber Studiorium_
+"Liber Veritas"
+Library, Boston Public
+"Light of the World, The"
+Linley, Thomas
+Linley, Samuel
+"Lion Disturbed at His Repast"
+"Lion Enjoying His Repast"
+"Lioness, The Study off a"
+"Lion Hunt, A"
+Lippi, Fra Filippo
+"Lock on the Stour"
+Lombardi
+"Lords Digby and Russell"
+"Lord Wharton"
+Lorenzalez, Claudio
+Lorrain, Claude
+Lott, Willy
+Louis XIV.
+Louise, Princess
+"Love Among the Ruins"
+"Low Life and High Life"
+Lowther, Sir William
+Lucas van Leyden
+Lucia, mother of Titian
+Lucretia, wife of Andrea del Sarto
+Luther, Martin
+Madonna and Child
+"Madonna and Child with St. Anne"
+"Madonna and Child with Saints"
+"Madonna del'Arpie"
+"Madonna della Caraffa"
+"Madonna della Casa d'Alba"
+"Madonna della Sedia"
+"Madonna del Granduca"
+"Madonna del Pesce"
+"Madonna del Sacco"
+"Madonna of the Palms"
+"Madonna of the Rosary."
+Madrazo
+"Magdalene, The"
+Manet
+"Manoah's Sacrifice"
+Mantegna
+Mantua, Duke of
+Mantua, Duke Frederick II. of
+"Man with the Hoe, The"
+"Man with the Sword, The"
+Margherita
+Maria Theresa
+"Marriage … la Mode"
+"Marriage at Cana, The"
+"Marriage Contract, The"
+"Marriage of Bacchus and Ariadne, The"
+"Marriage of Mary and Joseph, The"
+"Marriage of St. Catherine, The"
+"Marriage of Samson, The"
+Martineau
+"Martyrdom of St. Agnes, The"
+"Martyrdom of St. Peter, The"
+"Martyrdom of St. Sebastian, The"
+Mary, the Virgin, in art
+Masaccio (Tommasco Guidi)
+Masoline
+Mastersingers, Nuremberg
+Maximillian, Emperor
+Medici family
+Medici, Giovanni di Bicci de'
+Medici, Lorenzi de'
+Medici, Ottaviano de'
+Medici, Pietro de'
+"Meeting of St. John and St. Anna at Jerusalem"
+Meissonier, Jean Louis Ernest
+"Melancholy"
+Merlini, Girolama
+"Meyer Madonna, The"
+Michallon
+"Midsummer Noon"
+Millais
+Millet, Jean Fran‡ois
+Millet, MŠre
+"Mill Stream"
+"Miracle of St. Mark, The"
+Missions, Spanish
+Missirini
+"Mr. Marquand"
+"Mr. Penrose"
+"Mrs. Meyer and Children"
+"Mrs. Peel"
+Mohawk
+Mona Lisa
+Monet, Claude
+"Money Changers, The"
+"Moonlight at Salerno"
+Morales
+"Moreau and His Staff before Hohenlinden"
+More, Sir Thomas
+"Morning Prayer, The"
+"Moses"
+"Moses Breaking the Tablets of the Law"
+Mudge, Dr.
+Murat
+Murillo (Bartolom‚ Est‚ban)
+Murillo, Do¤a Anna
+Museum of Art, Basel
+  Berlin
+  Court, Vienna
+  Madrid
+  Metropolitan, New York
+  Prado
+  Rijks, Amsterdam
+  South Kensington
+Muther
+"Mystic Marriage of St. Catherine, The"
+
+"Naiads at Play"
+Napoleon
+"Nativity, The"
+  (Botticelli)
+  (D�rer)
+Navarrette
+"Nieces of Sir Horace Walpole"
+"Night Watch, The"
+"Noli me Tangere"
+Norham Castle
+Nuremberg
+"Nurse and the Child, The"
+
+"'Oh, Pearl' Quoth I"
+"Old Bachelor, The"
+"Old Shepherd's Chief Mourner, The"
+Olivares
+
+Pacheco
+"Pallas"
+"Pan and Psyche"
+Pantheon
+Pareja
+"Parish Clerk, The"
+'Past and Present"
+Passignano
+"Pathless Water, The"
+Paul III.
+"Paysage"
+Pazzi family
+"Penzance"
+Percy, Bishop
+Perez family
+Perez, Maria
+Perugino
+Philip II.
+Philip III.
+Philip IV.
+Picot
+"Pilate Washing His Hands"
+Pinas
+Pirkneimer
+Pissaro
+"Ploughing"
+Pope, Alexander
+"Portrait of Old Man and Boy"
+Portraits of artists by themselves
+"Praying Arab"
+"Praying Hands"
+Pre-Raphaelites
+"Presentation of Christ in the Temple"
+"Presentation of the Family of Darius to Alexander"
+Prim, General
+"Procession of the Magi"
+"Prowling Lion, The"
+"Psyche and Cupid"
+Pypelincx, Maria
+
+Quakers
+"Quin, Portrait of"
+
+Rabelais
+"Rake's Progress, The"
+"Rape of Ganymede, The"
+"Rape of the Daughters of Leucippus, The"
+Raphael (Sanzio)
+Reade, Charles
+"Reading at Diderot's, A"
+"Reaper, The"
+"Regions of Joy"
+Rembrandt (van Rijn)
+"Retreat from Russia"
+Reynolds, Samuel
+Reynolds, Sir Joshua
+Ribera
+Rinaldo and Armida
+"Road over the Downs, The"
+"Robert Cheseman with his Falcon"
+Robusto, Jacopo. _See_ Tintoretto
+Romano, Guilio
+Rood, Professor
+"Rosary, Story of the"
+Rossetti, Dante Gabriel
+Rossetti, W. M.
+Rothschild, Lord
+Rousseau
+Royal Princess
+Rubens, Albert
+Rubens, John
+Rubens, Nicholas
+Rubens, Peter Paul
+Ruisdael, Jacob van
+Ruskin, John
+Ruthven, Lady Mary
+Sachs, Hans
+"Sacred and Profane Love"
+"St. Anthony of Padua"
+"St. Augustine"
+"St. Barbara"
+St. Bernard dog
+St. Bernardino
+"Saint Cecelia"
+St. Christopher
+St. Clemente
+St. Dominic
+St. George
+"St. George and the Dragon"
+"St. George Slaying the Dragon"
+St. Giorgio Maggiore
+"St. Jerome"
+St, John the Baptist
+St. Jovis Shooting Company
+St. Leger, Colonel
+St. Lucas, Guild of
+St. Luke, Guild of
+St. Mark
+St. Martin's Church
+"St. Michael Attacking Satan."
+"St. Nobody"
+St. Paul's Cathedral
+St. Peter
+"St. Peter Baptising"
+St. Peter's Church
+"St. Rocco Healing the Sick"
+"St. Sebastian."
+  (Botticelli)
+  (Correggio)
+  (Titian)
+St. Sebastian, Church of
+St. Sebastian, Monastery of
+St. Sixtus
+St. Trinita, Church of
+"Salisbury Cathedral"
+Salon
+Salvator Rosa
+"Samson"
+"Samson Threatening His Stepfather"
+"Samson's Wedding"
+San Francisco
+Santa Croce
+Santa Maria della Pace
+Santa Maria delle Grazte
+Santa Maria del Orto
+Santa Maria Novella
+Santi, Bartolommeo
+Santi Giovanni
+Santo Cruz, Church of
+Santo Spirito, Convent of
+Sanzio. _See_ Raphael
+Sarcinelli, Cornelio
+Sargent, John Singer
+Sarto, Andrea del. _See_ Andrea
+Saskia
+Savonarola
+"Scapegoat, The"
+"Scene from Woodstock"
+Schiavone
+Schmidt, Elizabeth
+Schongauer
+School Girl's Hymn
+"School of Anatomy, The"
+School of Art, Academy, London
+  American
+  Andalusian
+  Castilian
+  D�sseldorf
+  Dutch
+  English
+  Flemish
+  Florentine
+  Fontainebleau-Barbizon
+  Foreign
+  French in
+  German
+  Hudson River
+  Impressionist
+  Italian
+  Nuremberg
+  Parma
+  Roman
+  Spanish
+  Umbrian
+  Venetian
+"School, of Athens, The"
+"School, of Cupid, The"
+"Scotch Deer"
+Scott, Sir Walter
+Scrovegno, Enrico
+Scuola di San Rocco
+"Seaport at Sunset"
+Sebastian
+"Serpent Charmer, The"
+Servi, convent of the
+Sesto, Cesare de
+Seurat
+Sforza, Ludovico
+"Shadow of Death, The"
+Shakespeare
+Sheepshanks Collection
+"Shepherd Guarding Sheep"
+Sheppey, Isle of
+Sheridan, Mrs. Richard Brinsley
+Sheridan, Richard Brinsley
+Siddons, Mrs.
+Silva, Rodriguez de
+Sistine Chapel
+"Sistine Madonna, The"
+Six, Jan
+Sixtus IV.
+Skynner, Sir John
+"Slaughter of the Innocents, The"
+"Slave Ship, The"
+"Sleeping Bloodhound, The"
+"Sleeping Venus, The"
+Smith, John
+"Snake Charmers, The"
+"Snow-storm at Sea, A"
+Society of Arts
+Soderini
+Solus Lodge
+"Sortie, The"
+  _See also_ Night Watch
+Sotomayer, Do¤a Beatriz de
+  Cabrera y
+"Sower, The"
+Spaniel, King Charles
+"Spanish Marriage, The"
+Spinola, Marquis of
+"Sport of the Waves"
+"Spring"
+Sterne, Lawrence
+"Storm, The"
+Stour, River
+"Straw Hat, The"
+Sudbury
+Sully
+Sultan of Turkey
+"Sunset on the Passaic"
+"Sunset on the Sea"
+"Surrender of Breda"
+"Susanna and the Elders"
+"Susanna's Bath"
+"Sussex Downs"
+Swanenburch, Jacob van
+"Sword-Dance, The"
+"Syndics of the Cloth Hall"
+
+Taddei, Taddeo
+Tassi, Agostine
+Thackeray
+Thornhill, Sir James
+"Three Ages, The"
+"Three Saints and God the Father"
+Tintoretto (Jacopo Robusti)
+Titian (Tiziano Vecelli)
+Tornabuoni, Giovanni
+Torregiano
+Trafalgar Square
+"Transfiguration, The"
+"Tribute Money, The"
+"Trinity"
+Troyon
+Trumbull, American painter
+Trumbull, English diplomat
+Tulp, Nicholaus
+Turner, Charles
+Turner, Joseph Mallord William
+"Two Beggar Boys"
+Tybis, Geryck
+
+Ulenberg, Saskia van
+Urban VIII.
+Urbino, Duke of
+
+"Valley Farm, The"
+Van Dyck, Sir Anthony
+Van Mander, Karel
+Van Marcke
+Van Noort, Adam
+Van Rijn. _See_ Rembrandt
+Van Veen
+Varangeville
+Vasari
+Vatican
+Vecchio, Palazzo
+Vecchio, Palma
+Vecelli family
+Vecelli, Orsa
+Vecelli, Orzio
+Vecelli, Pompino
+Vecelli, Tiziano. _See_ Titian
+Velasquez (Diego Rodriguez de Silva)
+"Venice Enthroned"
+"Venus Dispatching Cupid"
+"Venus Worship"
+Verhaecht, Tobias
+Vernon
+Veronese, Paul (Paolo Cagliari)
+Verrocchio
+"Vestal Virgin, The"
+Victoria, Queen
+"Villa by the Sea"
+"Village Festival, The"
+"Ville d'Avray"
+Vinci, Leonardo da
+Violante
+"Virgin as Consoler, The"
+"Virgin's Rest Near Bethlehem"
+"Vision of St. Anthony, The"
+"Visitation, The"
+"Visitor, The"
+"Visit to the Burgomaster"
+
+Warren, General Joseph
+"Water Carrier, The"
+"Watermill, The"
+Watteau, Jean Antoine
+"Wedding Feast at Cana, The"
+Wells, Frederick
+West, Sir Benjamin
+"Weymouth Bay"
+Whitcomb, Ida Prentice
+"William, Prince of Orange"
+William the Silent
+"Will-o'-the-Wisp"
+"Willows near Arras"
+Wilson
+"Winnower, The"
+"Winter"
+Wolgemuth
+"Woodcutters, The"
+"Wooded Landscape"
+"Wood Gatherers, The"
+
+Yarmouth
+"Young People's Story of Art"
+"Youth Surprised by Death"
+
+"Zingarella"
+Zuccato, Sebastian
+
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK, PICTURES EVERY CHILD SHOULD KNOW ***
+
+This file should be named 8pics10.txt or 8pics10.zip
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+<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+<HTML>
+<HEAD>
+<TITLE>The Project Gutenberg eBook of Pictures Every Child Should Know, by Dolores Bacon</TITLE>
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+<H1>The Project Gutenberg eBook of Pictures Every Child Should Know, by Dolores Bacon</H1>
+
+<PRE>
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+*****These eBooks Were Prepared By Thousands of Volunteers!*****
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+Title: Pictures Every Child Should Know
+
+Author: Dolores Bacon
+
+Release Date: November, 2004  [EBook #6932]
+[This file was first posted on February 12, 2003]
+
+Edition: 10
+
+Language: English
+
+Character set encoding: iso-8859-1
+
+*** START OF THE PROJECT GUTENBERG EBOOK, PICTURES EVERY CHILD SHOULD KNOW ***
+
+
+
+
+Arno Peters, Branko Collin, Tiffany Vergon, Charles Aldarondo, Charles
+
+Franks,  and the Online Distributed Proofreading Team
+
+
+
+</PRE>
+<p><a name="001"></a>
+PICTURES
+EVERY CHILD SHOULD KNOW</p>
+
+<p>A SELECTION OF THE WORLD'S ART<br>
+MASTERPIECES FOR YOUNG PEOPLE</p>
+
+<p>BY<br>
+DOLORES BACON</p>
+
+<p>Illustrated from
+Great Paintings 
+<a name="002"></a>
+ 
+<a name="003"></a></p>
+<h1>ACKNOWLEDGMENTS</h1>
+
+<p>Besides making acknowledgments to the
+many authoritative writers upon artists and
+pictures, here quoted, thanks are due to
+such excellent compilers of books on art
+subjects as Sadakichi Hartmann, Muther,
+C. H. Caffin, Ida Prentice Whitcomb,
+Russell Sturgis and others. 
+<a name="004"></a></p>
+
+<h1>INTRODUCTION</h1>
+
+<p>Man's inclination to decorate his belongings
+has always been one of the earliest signs of
+civilisation. Art had its beginning in the lines
+indented in clay, perhaps, or hollowed in the
+wood of family utensils; after that came crude
+colouring and drawing.</p> 
+
+<p>Among the first serious efforts to draw were
+the Egyptian square and pointed things, animals
+and men. The most that artists of that
+day succeeded in doing was to preserve the
+fashions of the time. Their drawings tell us
+that men wore their beards in bags. They
+show us, also, many peculiar head-dresses and
+strange agricultural implements. Artists of
+that day put down what they saw, and they
+saw with an untrained eye and made the record
+with an untrained hand; but they did not put
+in false details for the sake of glorifying the
+subject. One can distinguish a man from a
+mountain in their work, but the arms and legs
+embroidered upon Mathilde's tapestry, or the
+figures representing family history on an Oriental
+rug, are quite as correct in drawing and as
+little of a puzzle. As men became more intelligent,
+hence spiritualised, they began to
+express themselves in ideal ways; to glorify
+the commonplace; and thus they passed from 
+<a name="005"></a>
+Egyptian geometry to gracious lines and beautiful 
+colouring.</p> 
+
+<p>Indian pottery was the first development
+of art in America and it led to the working
+of metals, followed by drawing and portraiture.
+Among the Americans, as soon as that term
+ceased to mean Indians, art took a most distracting
+turn. Europe was old in pictures,
+great and beautiful, when America was worshipping
+at the shrine of the chromo; but the
+chromo served a good turn, bad as it was. It
+was a link between the black and white of
+the admirable wood-cut and the true colour
+picture.</p> 
+
+<p>Some of the Colonists brought over here the
+portraits of their ancestors, but those paintings
+could not be considered "American" art, nor
+were those early settlers Americans; but the
+generation that followed gave to the world
+Benjamin West. He left his Mother Country
+for England, where he found a knighthood and
+honours of every kind awaiting him.</p> 
+
+<p>The earliest artists of America had to go
+away to do their work, because there was no
+place here for any men but those engaged in
+clearing land, planting corn, and fighting
+Indians. Sir Benjamin West was President of
+the Royal Academy while America was still
+revelling in chromos. The artists who remained
+chose such objects as Davy Crockett
+in the trackless forest, or made pictures of the
+Continental Congress.</p> 
+
+<p><a name="006"></a>
+After the chromo in America came the picture
+known as the "buckeye," painted by relays
+of artists. Great canvases were stretched
+and blocked off into lengths. The scene was
+drawn in by one man, who was followed by
+"artists," each in turn painting sky, water,
+foliage, figures, according to his specialty.
+Thus whole yards of canvas could be painted
+in a day, with more artists to the square inch
+than are now employed to paint advertisements
+on a barn.</p> 
+
+<p>The Centennial Exhibition of 1876 came as
+a glorious flashlight. For the first time real
+art was seen by a large part of our nation.
+Every farmer took home with him a new idea
+of the possibilities of drawing and colour.
+The change that instantly followed could
+have occurred in no other country than the
+United States, because no other people would
+have travelled from the four points of the
+compass to see such an exhibition. Thus it
+was the American's <i>penchant</i> for travel which
+first opened to him the art world, for he
+was conscious even then of the educational
+advantages to be found somewhere, although
+there seemed to be few of them in the
+United States.</p> 
+
+<p>After the Centennial arose a taste for the
+painting of "plaques," upon which were the
+heads of ladies with strange-coloured hair;
+of leather-covered flatirons bearing flowers
+of unnatural colour, or of shovels decorated 
+<a name="007"></a>
+with "snow scenes." The whole nation began
+to revel in "art." It was a low variety, yet
+it started toward a goal which left the chromo
+at the rear end of the course, and it was a better
+effort than the mottoes worked in worsted,
+which had till then been the chief decoration
+in most homes. If the "buckeye" was hand-painting,
+this was "single-hand" painting,
+and it did not take a generation to bring the
+change about, only a season. After the Philadelphia
+exhibition the daughter of the household
+"painted a little" just as she played the
+piano "a little." To-day, much less than a
+man's lifetime since then, there is in America
+a universal love for refined art and a fair technical
+appreciation of pictures, while already
+the nation has worthily contributed to the
+world of artists. Sir Benjamin West, Sully,
+and Sargent are ours: Inness, Inman, and
+Trumbull.</p> 
+
+<p>The curator of the Metropolitan Museum in
+New York has declared that portrait-painting
+must be the means which shall save the modern
+artists from their sins. To quote him: "An
+artist may paint a bright green cow, if he is so
+minded: the cow has no redress, the cow must
+suffer and be silent; but human beings who
+sit for portraits seem to lean toward portraits
+in which they can recognise their own features
+when they have commissioned an artist to
+paint them. A man <i>will</i> insist upon even the
+most brilliant artist painting him in trousers, 
+<a name="008"></a>
+for instance, instead of in petticoats, however
+the artist-whim may direct otherwise; and a
+woman is likely to insist that the artist who
+paints her portrait shall maintain some recognised
+shade of brown or blue or gray when he
+paints her eye, instead of indulging in a burnt
+orange or maybe pink! These personal preferences
+certainly put a limit to an artist's
+genius and keep him from writing himself down
+a madman. Thus, in portrait-painting, with
+the exactions of truth upon it, lies the hope
+of art-lovers!"</p>
+
+<p>It is the same authority who calls attention
+to the danger that lies in extremes; either in
+finding no value in art outside the "old masters,"
+or in admiring pictures so impressionistic
+that the objects in them need to be labelled
+before they can be recognised.</p> 
+
+<p>The true art-lover has a catholic taste, is
+interested in all forms of art; but he finds
+beauty where it truly exists and does not allow
+the nightmare of imagination to mislead him.
+That which is not beautiful from one point of
+view or another is not art, but decadence.
+That which is technical to the exclusion of
+other elements remains technique pure and
+simple, workmanship--the bare bones of art.
+A thing is not art simply because it is fantastic.
+It may be interesting as showing to what degree
+some imaginations can become diseased, but
+it is not pleasing nor is it art. There are fully
+a thousand pictures that every child should 
+<a name="009"></a>
+know, since he can hardly know too much
+of a good thing; but there is room in this
+volume only to acquaint him with forty-eight
+and possibly inspire him with the wish to
+look up the neglected nine hundred and
+fifty-two. 
+<a name="010"></a></p>
+
+<h1>CONTENTS</h1>
+
+<p>INTRODUCTION</p>
+
+<p>I. Andrea del Sarto, Florentine School, 1486-1531</p>
+
+<p>II. Michael Angelo (Buonarroti), Florentine School, 1475-1564</p>
+
+<p>III. Arnold Böcklin, Modern German School, 1827-1901</p>
+
+<p>IV. Marie-Rosa Bonheur, French School, 1822-1899</p>
+
+<p>V. Alessandro Botticelli, Florentine School, 1447-1510</p>
+
+<p>VI. William Adolphe Bouguereau, French (Genre) School 1825-1905</p>
+
+<p>VII. Sir Edward Burne-Jones, English (Pre-Raphaelite) School, 1833-1898</p>
+
+<p>VIII. John Constable, English School, 1776-1837</p>
+
+<p>IX. John Singleton Copley, English School, 1737-1815</p>
+
+<p>X. Jean Baptiste Camille Corot, Fontainebleau-Barbizon
+School, 1796-1875</p>
+
+<p>XI. Correggio (Antonio Allegri), School of Parma, 1494(?)--1534</p>
+
+<p><a name="011"></a>
+XII. Paul Gustave Doré, French 
+School, 1833-1883</p>
+
+<p>XIII. Albrecht Dürer, Nuremberg 
+School, 1471-1528</p>
+
+<p>XIV. Mariano Fortuny, Spanish 
+School, 1838-1874</p>
+
+<p>XV. Thomas Gainsborough, English
+School, 1727-1788</p>
+
+<p>XVI. Jean Léon Gérôme, French
+Semi-classical School, 1824-1904</p>
+
+<p>XVII. Ghirlandajo, Florentine 
+School, 1449-1494</p>
+
+<p>XVIII. Giotto (di Bordone), Florentine
+School, 1276-1337</p>
+
+<p>XIX. Franz Hals, Dutch School, 
+1580-84-1666</p>
+
+<p>XX. Meyndert Hobbema, Dutch 
+School, 1637-1709</p>
+
+<p>XXI. William Hogarth, School of
+Hogarth (English), 1697-1764</p>
+
+<p>XXII. Hans Holbein, the Younger, 
+German School, 1497-1543</p>
+
+<p>XXIII. William Holman Hunt,
+English (Pre-Raphaelite)
+School, 1827-</p>
+
+<p>XXIV. George Inness, American, 
+1825-1897</p>
+
+<p>XXV. Sir Edwin Henry Landseer, 
+English School, 1802-1873</p>
+
+<p>XXVI. Claude Lorrain (Gellée), Classical
+French School, 1600-1682</p>
+
+<p><a name="012"></a>
+XXVII. Masaccio (Tommaso Guidi), Florentine School, 1401-1428</p>
+
+<p>XXVIII. Jean Louis Ernest Meissonier, French School, 1815-1891</p>
+
+<p>XXIX. Jean François Millet, Fontainebleau-Barbizon School, 1814-1875</p>
+
+<p>XXX. Claude Monet, Impressionist  School of France, 1840-</p>
+
+<p>XXXI. Murillo (Bartolomé Estéban), Andalusian School, 1617-1682</p>
+
+<p>XXXII. Raphael (Sanzio), Umbrian, Florentine, and Roman 
+Schools, 1483-1520</p>
+
+<p>XXXIII. Rembrandt (Van Rijn), Dutch School, 1606-1669</p>
+
+<p>XXXIV. Sir Joshua Reynolds, English School, 1723-1792</p>
+
+<p>XXXV. Peter Paul Rubens, Flemish School, 1577-1640</p>
+
+<p>XXXVI. John Singer Sargent, American and Foreign Schools,
+1856-</p>
+
+<p>XXXVII. Tintoretto (Jacopo Robusti), Venetian School, 1518-1594</p>
+
+<p>XXXVIII. Titian (Tiziano Vecelli), Venetian School, 1489-1576</p>
+
+<p>XXXIX. Joseph Mallord William Turner, English, 1775-1831</p>
+
+<p><a name="013"></a>
+XL. Sir Anthony Van Dyck,
+Flemish School, 1599-1641</p>
+
+<p>XLI. Velasquez (Diego Rodriguez
+de Silva), Castilian School,
+1599-1660</p> 
+
+<p>XLII. Paul Veronese (Paolo Cagliari),
+Venetian School,
+1528-1588.</p> 
+
+<p>XLIII. Leonardo da Vinci, Florentine
+School, 1452-1519.</p> 
+
+<p>XLIV. Jean Antoine Watteau,
+French (Genre) School,
+1684-1721</p> 
+
+<p>XLV. Sir Benjamin West, American,
+1738-1820</p> 
+
+<p>Index 
+<a name="014"></a></p>
+
+<h1>ILLUSTRATIONS</h1>
+
+<p><a href="400.jpg"><img src="thumb_400.jpg" alt=""><br>
+FRONTISPIECE</a></p>
+
+<p><a href="401.jpg"><img src="thumb_401.jpg" alt=""><br>
+The Avenue, Middleharnis, Holland--<i>Hobbema</i></a></p>
+
+<p><a href="402.jpg"><img src="thumb_402.jpg" alt=""><br>
+Madonna of the Sack--<i>Andrea del Sarto</i></a></p>
+
+<p><a href="428.jpg"><img src="thumb_428.jpg" alt=""><br>
+Daniel--<i>Michael Angelo (Buonarroti)</i></a></p>
+
+<p><a href="427.jpg"><img src="thumb_427.jpg" alt=""><br>
+The Isle of the Dead--<i>Arnold Böcklin</i></a></p>
+
+<p><a href="429.jpg"><img src="thumb_429.jpg" alt=""><br>
+The Horse Fair--<i>Rosa Bonheur</i></a></p>
+
+<p><a href="430.jpg"><img src="thumb_430.jpg" alt=""><br>
+Spring--<i>Alessandro Botticelli</i></a></p>
+
+<p><a href="403.jpg"><img src="thumb_403.jpg" alt=""><br>
+The Hay Wain--<i>John Constable</i></a></p>
+
+<p><a href="404.jpg"><img src="thumb_404.jpg" alt=""><br>
+A Family Picture--<i>John Singleton Copley</i></a></p>
+
+<p><a href="405.jpg"><img src="thumb_405.jpg" alt=""><br>
+The Holy Night--<i>Correggio (Antonio Allegri)</i></a></p>
+
+<p><a href="406.jpg"><img src="thumb_406.jpg" alt=""><br>
+Dance of the Nymphs--<i>Jean Baptiste Camille Corot</i></a></p>
+
+<p><a href="407.jpg"><img src="thumb_407.jpg" alt=""><br>
+The Virgin as Consoler--<i>Wm. Adolphe Bouguereau</i></a></p>
+
+<p><a href="408.jpg"><img src="thumb_408.jpg" alt=""><br>
+The Love Song--<i>Sir Edward Burne-Jones</i></a></p>
+
+<p><a href="409.jpg"><img src="thumb_409.jpg" alt=""><br>
+The Mystic Marriage of St. Catherine--<i>Correggio</i></a></p>
+
+<p><a href="410.jpg"><img src="thumb_410.jpg" alt=""><br>
+Moses Breaking the Tablets of the Law--<i>Paul Gustave Doré</i></a></p>
+
+<p><a href="412.jpg"><img src="thumb_412.jpg" alt=""><br>
+The Nativity--<i>Albrecht Dürer</i></a></p>
+
+<p><a href="411.jpg"><img src="thumb_411.jpg" alt=""><br>
+The Spanish Marriage--<i>Mariana Fortuny</i></a></p>
+
+<p><a href="413.jpg"><img src="thumb_413.jpg" alt=""><br>
+Mrs. Richard Brinsley Sheridan--<i>Thomas Gainsborough</i></a></p>
+
+<p><a href="414.jpg"><img src="thumb_414.jpg" alt=""><br>
+The Sword Dance--<i>Jean Léon Gérôme</i></a></p>
+
+<p><a href="415.jpg"><img src="thumb_415.jpg" alt=""><br>
+Portrait of Giovanna degli Albizi--<i>Ghirlandajo (Domenico Bigordi)</i></a></p>
+
+<p><a href="417.jpg"><img src="thumb_417.jpg" alt=""><br>
+The Nurse and the Child--<i>Franz Hals</i></a></p>
+
+<p><a href="416.jpg"><img src="thumb_416.jpg" alt=""><br>
+The Meeting of St. John and St. Anna at Jerusalem--<i>Giotto (Di
+Bordone)</i></a></p>
+
+<p><a href="418.jpg"><img src="thumb_418.jpg" alt=""><br>
+The Avenue--<i>Meyndert Hobbema</i></a></p>
+
+<p><a href="419.jpg"><img src="thumb_419.jpg" alt=""><br>
+The Marriage Contract--<i>Wm. Hogarth</i></a></p>
+
+<p><a href="421.jpg"><img src="thumb_421.jpg" alt=""><br>
+The Light of the World--<i>William Holman Hunt</i></a></p>
+
+<p><a href="420.jpg"><img src="thumb_420.jpg" alt=""><br>
+Robert Cheseman with his Falcon--<i>Hans Holbein, the
+Younger</i></a></p>
+
+<p><a href="422.jpg"><img src="thumb_422.jpg" alt=""><br>
+The Berkshire Hills--<i>George Inness</i></a></p>
+
+<p><a href="423.jpg"><img src="thumb_423.jpg" alt=""><br>
+The Old Shepherd's Chief Mourner--<i>Sir Edwin Henry
+Landseer</i></a></p>
+
+<p><a href="425.jpg"><img src="thumb_425.jpg" alt=""><br>
+The Artist's Portrait--<i>Tommaso Masaccio</i></a></p>
+
+<p><a href="424.jpg"><img src="thumb_424.jpg" alt=""><br>
+Acis and Galatea--<i>Claude Lorrain</i></a></p>
+
+<p><a href="426.jpg"><img src="thumb_426.jpg" alt=""><br>
+Retreat from Moscow--<i>Jean Louis Ernest Meissonier</i></a></p>
+
+<p><a href="434.jpg"><img src="thumb_434.jpg" alt=""><br>
+The Angelus--<i>Jean François Millet</i></a></p>
+
+<p><a href="432.jpg"><img src="thumb_432.jpg" alt=""><br>
+The Immaculate Conception--<i>Murillo (Bartolomé Estéban)</i></a></p>
+
+<p><a name="016"></a><a href="433.jpg"><img src="thumb_433.jpg" alt=""><br>
+Haystack in Sunshine--<i>Claude Monet</i></a></p>
+
+<p><a href="431.jpg"><img src="thumb_431.jpg" alt=""><br>
+The Sistine Madonna--<i>Raphael (Sanzio)</i></a></p>
+
+<p><a href="436.jpg"><img src="thumb_436.jpg" alt=""><br>
+The Night Watch--<i>Rembrandt (Van Rijn)</i></a></p>
+
+<p><a href="435.jpg"><img src="thumb_435.jpg" alt=""><br>
+The Duchess of Devonshire and Her Daughter--<i>Sir Joshua
+Reynolds</i></a></p>
+
+<p><a href="438.jpg"><img src="thumb_438.jpg" alt=""><br>
+The Infant Jesus and St. John--<i>Peter Paul Rubens</i></a></p>
+
+<p><a href="437.jpg"><img src="thumb_437.jpg" alt=""><br>
+Carmencita--<i>John Singer Sargent</i></a></p>
+
+<p><a href="440.jpg"><img src="thumb_440.jpg" alt=""><br>
+The Miracle of St. Mark--<i>Tintoretto (Jacopo Robusti)</i></a></p>
+
+<p><a href="439.jpg"><img src="thumb_439.jpg" alt=""><br>
+The Artist's Daughter, Lavinia--<i>Titian (Tiziano
+Vecelli)</i></a></p>
+
+<p><a href="442.jpg"><img src="thumb_442.jpg" alt=""><br>
+The Fighting Téméraire--<i>Joseph Mallord William Turner</i></a></p>
+
+<p><a href="441.jpg"><img src="thumb_441.jpg" alt=""><br>
+The Children of Charles the First--<i>Sir Anthony Van Dyck</i></a></p>
+
+<p><a href="445.jpg"><img src="thumb_445.jpg" alt=""><br>
+Equestrian Portrait of Don Balthasar Carlos--<i>Velasquez (Diego
+Rodriguez de Silva)</i></a></p>
+
+<p><a href="444.jpg"><img src="thumb_444.jpg" alt=""><br>
+The Marriage at Cana--<i>Paul Veronese</i></a></p>
+
+<p><a href="443.jpg"><img src="thumb_443.jpg" alt=""><br>
+The Death of Wolfe--<i>Sir Benjamin West</i></a></p>
+
+<p><a href="446.jpg"><img src="thumb_446.jpg" alt=""><br>
+The Artist's Two Sons--<i>Peter Paul Rubens</i></a></p>
+
+<p><a href="448.jpg"><img src="thumb_448.jpg" alt=""><br>
+The Last Supper--<i>Leonardo da Vinci</i></a></p>
+
+<p><a href="447.jpg"><img src="thumb_447.jpg" alt=""><br>
+Fête Champêtre--<i>Jean Antoine Watteau</i></a></p>
+
+<p><a href="449.jpg"><img src="thumb_449.jpg" alt=""></a><a name="017"></a></p>
+
+<h1>I</h1>
+
+<h1>ANDREA DEL SARTO</h1>
+
+<center>(Pronounced Ahn'dray-ah del Sar'to)<br>
+<i>Florentine School</i><br>
+1486-1531<br>
+<i>Pupil of Piero di Cosimo</i></center>
+
+<p>Italian painters received their names in
+peculiar ways. This man's father was a
+tailor; and the artist was named after his
+father's profession. He was in fact "the
+Tailor's Andrea," and his father's name was
+Angelo.</p> 
+
+<p>One story of this brilliant painter which
+reads from first to last like a romance has been
+told by the poet, Browning, who dresses up
+fact so as to smother it a little, but there is
+truth at the bottom.</p> 
+
+<p>Andrea married a wife whom he loved
+tenderly. She had a beautiful face that
+seemed full of spirituality and feeling, and
+Andrea painted it over and over again. The
+artist loved his work and dreamed always of
+the great things that he should do; but he was
+so much in love with his wife that he was
+dependent on her smile for all that he did
+which was well done, and her frown plunged
+him into despair.</p> 
+
+<p>Andrea's wife cared nothing for his genius, 
+<a name="018"></a>
+painting did not interest her, and she had no
+worthy ambition for her husband, but she
+loved fine clothes and good living, and so
+encouraged him enough to keep him earning
+these things for her. As soon as some money
+was made she would persuade him to work no
+more till it was spent; and even when he had
+made agreements to paint certain pictures
+for which he was paid in advance she would
+torment him till he gave all of his time to her
+whims, neglected his duty and spent the
+money for which he had rendered no service.
+Thus in time he became actually dishonest, as
+we shall see. It is a sad sort of story to tell
+of so brilliant a young man.</p> 
+
+<p>Andrea was born in the Gualfonda quarter
+of Florence, and there is some record of his
+ancestors for a hundred years before that,
+although their lives were quite unimportant.
+Andrea was one of four children, and as usual
+with Italians of artistic temperament, he was
+set to work under the eye of a goldsmith. This
+craftsmanship of a fine order was as near to
+art as a man could get with any certainty of
+making his living. It was a time when the
+Italian world bedecked itself with rare golden
+trinkets, wreaths for women's hair, girdles,
+brooches, and the like, and the finest skill was
+needed to satisfy the taste. Thus it required
+talent of no mean order for a man to become a
+successful goldsmith.</p> 
+
+<p>Andrea did not like the work, and instead 
+<a name="019"></a>
+of fashioning ornaments from his master's
+models he made original drawings which did
+not do at all in a shop where an apprentice was
+expected to earn his salt. Certain fashions
+had to be followed and people did not welcome
+fantastic or new designs. Because of this,
+Andrea was early put out of his master's shop
+and set to learn the only business that he could
+be got to learn, painting. This meant for him
+a very different teacher from the goldsmith.</p> 
+
+<p>The artist may be said to have been his own
+master, because, even when he was apprenticed
+to a painter he was taught less than he already
+knew.</p> 
+
+<p>That first teacher was Barile, a coarse and
+unpleasing man, as well as an incapable one;
+but he was fair minded, after a fashion, and
+put Andrea into the way of finding better
+help. After a few years under the direction
+of Piero di Cosimo, Andrea and a friend,
+Francia Bigio, decided to set up shop for
+themselves.</p> 
+
+<p>The two devoted friends pitched their tent
+in the Piazza del Grano, and made a meagre
+beginning out of which great things were to
+grow. They began a series of pictures which
+was to lead at least one of them to fame. It
+was in the little Piazza, del Grano studio that
+the "Baptism of Christ" was painted, a partnership
+work that had been planned in the Campagnia
+dello Scalzo.</p>
+
+<p>"The Baptism" was not much of a picture 
+<a name="020"></a>
+as great pictures go, but it was a beginning and
+it was looked at and talked about, which was
+something at a time when Titian and Leonardo
+had set the standard of great work. In the
+Piazza del Grano, Andrea and his friend lived
+in the stables of the Tuscan Grand Dukes,
+with a host of other fine artists, and they had
+gay times together.</p> 
+
+<p>Andrea was a shy youth, a little timid, and
+by no means vain of his own work, but he
+painted with surprising swiftness and sureness,
+and had a very brilliant imagination. Its
+was his main trouble that he had more imagination
+than true manhood; he sacrificed everything
+good to his imagination.</p> 
+
+<p>After the partnership with his friend, he
+undertook to paint some frescoes independently,
+and that work earned for him the name of
+"Andrea senza Errori"--Andrea the Unerring.
+Then, as now, each artist had his own way of
+working, and Andrea's was perhaps the most
+difficult of all, yet the most genius-like. There
+were those, Michael Angelo for example, who
+laid in backgrounds for their paintings; but
+Andrea painted his subject upon the wet
+plaster, precisely as he meant it to be when
+finished.</p> 
+
+<p>He was unlike the moody Michael Angelo;
+unlike the gentle Raphael; unlike the fastidious
+Van Dyck who came long afterward; he was
+hail-fellow-well-met among his associates,
+though often given over to dreaminess. He 
+<a name="021"></a>
+belonged to a jolly club named the "Kettle
+Club," literally, the Company of the Kettle;
+and to another called "The Trowel," both
+suggesting an all around good time and much
+good fellowship The members of these clubs
+were expected to contribute to their wonderful
+suppers, and Andrea on one occasion made a
+great temple, in imitation of the Baptistry,
+of jelly with columns of sausages, white birds
+and pigeons represented the choir and priests.
+Besides being "Andrew the Unerring," and a
+"Merry Andrew," he was also the "Tailor's
+Andrew," a man in short upon whom a nickname
+sat comfortably. He helped to make
+the history of the "Company of the Kettle,"
+for he recited and probably composed a
+touching ballad called "The Battle of the Mice
+and the Frogs," which doubtless had its
+origin in a poem of Homer's. But all at once,
+in the midst of his gay careless life came his
+tragedy; he fell in love with a hatter's wife.
+This was quite bad enough, but worse was to
+come, for the hatter shortly died, and the
+widow was free to marry Andrea.</p> 
+
+<p>After his marriage Andrea began painting
+a series of Madonnas, seemingly for no better
+purpose than to exhibit his wife's beauty over
+and over again. He lost his ambition and
+forgot everything but his love for this unworthy
+woman. She was entirely commonplace,
+incapable of inspiring true genius or
+honesty of purpose.</p> 
+
+<p><a name="022"></a>
+A great art critic, Vasari, who was Andrea's
+pupil during this time, has written that the
+wife, Lucretia, was abominable in every way.
+A vixen, she tormented Andrea from morning
+till night with her bitter tongue. She did not
+love him in the least, but only what his money
+could buy for her, for she was extravagant,
+and drove the sensitive artist to his grave
+while she outlived him forty years.</p> 
+
+<p>About the time of the artist's marriage he
+painted one fresco, "The Procession of the
+Magi," in which he placed a very splendid
+substitute for his wife, namely himself. Afterward
+he painted the Dead Christ which found
+its way to France and it laid the foundation
+for Andrea's wrongdoing. This picture was
+greatly admired by the King of France who
+above all else was a lover of art. Francis I.
+asked Andrea to go to his court, as he had
+commissions for him. He made Andrea a
+money offer and to court he went.</p> 
+
+<p>He took a pupil with him, but he left his
+wife at home. At the court of Francis I.
+he was received with great honours, and amid
+those new and gracious surroundings, away
+from the tantalising charms of his wife and her
+shrewish tongue, he began to have an honest
+ambition to do great things. His work for
+France was undertaken with enthusiasm, but
+no sooner was he settled and at peace, than the
+irrepressible wife began to torment him with
+letters to return. Each letter distracted him 
+<a name="023"></a>
+more and more, till he told the King in his
+despair, that he must return home, but that
+he would come back to France and continue
+his work, almost at once. Francis I., little
+suspecting the cause of Andrea's uneasiness,
+gave him permission to go, and also a large
+sum of money to spend upon certain fine
+works of art which he was to bring back to
+France.</p> 
+
+<p>We can well believe that Andrea started
+back to his home with every good intention;
+that he meant to appease his wife and also
+his own longing to see her; to buy the King
+his pictures with the money entrusted to him,
+and to return to France and finish his work;
+but, alas, he no sooner got back to his wife
+than his virtuous purpose fled. She wanted
+this; she wanted that--and especially she
+wanted a fine house which could just about be
+built for the sum of money which the King of
+France had entrusted to Andrea.</p> 
+
+<p>Andrea is a pitiable figure, but he was also
+a vagabond, if we are to believe Vasari. He
+took the King's money, built his wretched
+wife a mansion, and never again dared return
+to France, where his dishonesty made him
+forever despised.</p> 
+
+<p>Afterward he was overwhelmed with despair
+for what he had done, and he tried to make
+his peace with Francis; but while that monarch
+did not punish him directly for his knavery;
+he would have no more to do with him, and 
+<a name="024"></a>
+this was the worst punishment the artist
+could have had. However, his genius was so
+great that other than French people forgot
+his dishonesty and he began life anew in his
+native place.</p> 
+
+<p>Almost all his pictures were on sacred
+subjects; and finally, when driven from
+Florence to Luco by the plague, taking with
+him his wife and stepdaughter, he began a
+picture called the "Madonna del Sacco" (the
+Madonna of the Sack).</p> 
+
+<p>This fresco was to adorn the convent of the
+Servi, and the sketches for it were probably
+made in Luco. When the plague passed and
+the artist was able to return to Florence, he
+began to paint it upon the cloister walls.</p> 
+
+<p>Andrea, like Leonardo, painted a famous
+"Last Supper," although the two pictures
+cannot be compared. In Andrea's picture it
+is said that all the faces are portraits.</p> 
+
+<p>Just before the plague sent him and his
+family from Florence a most remarkable
+incident took place. Raphael had painted a
+celebrated portrait of Pope Leo X. in a group,
+and the picture belonged to Ottaviano de
+Medici. Duke Frederick II., of Mantua, longed
+to own this picture, and at last requested the
+Medici to give it to him. The Duke could
+not well be refused, but Ottaviano wanted to
+keep so great a work for himself. What was
+to be done? He was in great trouble over the
+affair. The situation seemed hopeless. It 
+<a name="025"></a>
+seemed certain that he must part with his
+beloved picture to the Duke of Mantua; but
+one day Andrea del Sarto declared that he
+could make a copy of it that even Raphael
+himself could not tell from his original. Ottaviano
+could scarcely believe this, but he begged
+Andrea to set about it, hoping that it might be
+true.</p> 
+
+<p>Going at the work in good earnest, Andrea
+painted a copy so exact that the pupil of
+Raphael, who had more or less to do with the
+original picture, could not tell which was which
+when he was asked to choose. This pupil,
+Giulio Romano, was so familiar with every
+stroke of Raphael's that if he were deceived
+surely any one might be; so the replica was
+given to the Duke of Mantua, who never
+found out the difference.</p> 
+
+<p>Years afterward Giulio Romano showed the
+picture to Vasari, believing it to be the original
+Raphael, neither Andrea nor the Medici
+having told Romano the truth. But Vasari,
+who knew the whole story, declared to Romano
+that what he showed him was but a copy.
+Romano would not believe it, but Vasari told
+him that he would find upon the canvas a
+certain mark, known to be Andrea's. Romano
+looked, and behold, the original Raphael
+became a del Sarto! The original picture
+hangs in the Pitti Palace, while the copy
+made by Andrea is in the Naples Gallery.</p> 
+
+<p>The introduction of Andrea to Vasari was 
+<a name="026"></a>
+one of the few gracious things, that Michael
+Angelo ever did. About Andrea he said to
+Raphael at the time: "There is a little
+fellow in Florence who will bring sweat to
+your brows if ever he is engaged in great
+works." Raphael, would certainly have agreed,
+with him had he known what was to happen
+in regard to the Leo X. picture.</p> 
+
+<p>Notwithstanding Andrea's unfortunate temperament,
+which caused him to be guided
+mostly by circumstances instead of guiding
+them, he was said to be improving all the
+time in his art. He had a great many pupils,
+but none of them could tolerate his wife for
+long, so they were always changing.</p> 
+
+<p>Throughout his life the artist longed for
+tenderness and encouragement from his wife,
+and finally, without ever receiving it, he died
+in a desolate way, untended even by her.
+After the siege of Florence there came a
+pestilence, and Andrea was overtaken by it.
+His wife, afraid that she too would become ill,
+would have nothing to do with him. She kept
+away and he died quite alone, few caring that
+he was dead and no one taking the trouble to
+follow him to his grave. Thus one of the
+greatest of Florentine painters lived and died.
+Years after his death, the artist Jacopo da
+Empoli, was copying Andrea's "Birth of the
+Virgin" when an old woman of about eighty
+years on her way to mass stopped to speak with
+him. She pointed to the beautiful Virgin's 
+<a name="027"></a>
+face in the picture and said: "I am that
+woman." And so she was--the widow of
+the great Andrea. Though she had treated
+him so cruelly, she was glad to have it known
+that she was the widow of the dead genius.</p> 
+
+<center><a href="402.jpg"><img src="thumb_402.jpg" alt=""><br>
+PLATE--THE MADONNA DEL SACCO<br>
+<i>(Madonna of the Sack)</i></a></center>
+
+<p>This picture is a fresco in the cloister of the
+Annunziata at Florence, and it is called "of
+the sack" because Joseph is posed leaning
+against a sack, a book open upon his knees.</p> 
+
+<p>Doubtless the model for this Madonna is
+Andrea del Sarto's abominable wife, but she
+looks very sweet and simple in the picture.
+The folds of Mary's garments are beautifully
+painted, so is the poise of her head, and all
+the details of the picture except the figure of
+the child. There is a line of stiffness there
+and it lacks the softness of many other pictures
+of the Infant Jesus.</p> 
+
+<center>PLATE--THE HOLY FAMILY</center>
+
+<p>In this picture in the Pitti Palace, Florence,
+Andrea del Sarto represents all the characters
+in a serious mood. There are St. John and
+Elizabeth, Mary and the Infant Jesus, and
+there is no touch of playfulness such as may
+be found in similar groups by other artists
+of the time. Attention is concentrated upon
+<a name="028"></a>
+Jesus who seems to be learning from his
+young cousin. The left hand, resting upon
+Mary's arm is badly drawn and in character
+does not seem to belong to the figure of the
+child. A full, overhanging upper lip is a
+dominant feature in each face.</p> 
+
+<p>Other works of Andrea del Sarto are
+"Charity," which is in the Louvre; "Madonna
+dell' Arpie," "A Head of Christ," "The Dead
+Christ," "Four Saints," "Joseph in Egypt,"
+his own portrait, and "Joseph's Dream."</p>
+
+<p><a name="029"></a></p>
+<h1>II</h1>
+
+<h1>MICHAEL ANGELO (BUONARROTI)</h1>
+
+<center>(Pronounced Meek-el-ahn-jel-o (Bwone-ar-ro'tee))<br>
+<i>Florentine School</i><br>
+1475-1564<br>
+<i>Pupil of Ghirlandajo</i></center>
+
+<p>This wonderful man did more kinds of
+things, at a time when almost all artists
+were versatile, than any other but one. Probably
+Leonardo da Vinci was gifted in as many
+different ways as Michael Angelo, and in his
+own lines was as powerful. This Florentine's
+life was as tragic as it was restless.</p> 
+
+<p>There is a tablet in a room of a castle which
+stands high upon a rocky mount, near the
+village of Caprese, which tells that Michael
+Angelo was born in that place. The great
+castle is now in ruins, and more than four
+hundred years of fame have passed since the
+little child was born therein.</p> 
+
+<p>The unhappy existence of the artist seems
+to have been foreshadowed by an accident
+which happened to his mother before he
+was born. She was on horseback, riding
+with her husband to his official post at
+Chiusi, for he was governor of Chiusi and
+Caprese. Her horse stumbled, fell, and badly
+hurt her. This was two months before 
+<a name="030"></a>
+Michael Angelo was born, and misfortune ever
+pursued him.</p> 
+
+<p>The father of Angelo was descended from an
+aristocratic house--the Counts of Canossa
+were his ancestors--and in that day the
+profession of an artist was not thought to be
+dignified. Hence the father had quite different
+plans for the boy; but the son persisted and
+at last had his way. When he was still a little
+child his father finished his work as an official
+at Caprese and returned to Florence; but he
+left the little Angelo behind with his nurse.
+That nurse was the wife of a stonemason, and
+almost as soon as the boy could toddle he used
+to wander about the quarries where the stonecutters
+worked, and doubtless the baby joy
+of Angelo was to play at chiseling as it is the
+pleasure of modern babies to play at peg-top.
+After a time he was sent for to go to Florence
+to begin his education.</p> 
+
+<p>In Florence he fell in with a young chap
+who, like himself, loved art, but who was
+fortunate enough already to be apprenticed
+to the great painter of his time--Ghirlandajo.
+One happy day this young Granacci volunteered
+to take Michael Angelo to his master's studio,
+and there Angelo made such an impression
+on Ghirlandajo that he was urged by the
+artist to become his pupil.</p> 
+
+<p>All the world began to seem rose coloured to
+the ambitious boy, and he started his life-work
+with enthusiasm. At that time he was thirteen 
+<a name="031"></a>
+years old, full of hope and of love for his kind;
+but his good fortune did not last long.
+He had hardly settled to work in Ghirlandajo's
+studio than his genius, which should have made
+him beloved, made him hated by his master.
+Angelo drew superior designs, created new art-ideas,
+was more clever in all his undertakings
+than any other pupil--even ahead of his
+master; and almost at once Ghirlandajo became
+furiously jealous. This enmity between pupil
+and master was the beginning of Angelo's
+many misfortunes.</p> 
+
+<p>One day he got into a dispute with a
+fellow student, Torregiano, who broke his nose.
+This deformity alone was a tragedy to one
+like Michael Angelo who loved everything
+beautiful, yet must go through life knowing
+himself to be ill-favoured.</p> 
+
+<p>In height he was a little man, topped by
+an abnormally large head which was part of the
+penalty he had to pay for his talents. He
+had a great, broad forehead, and an eye that
+did not gleam nor express the beauty of his
+creative mind, but was dull, and lustreless,
+matching his broken, flattened nose. Indeed
+he was a tragedy to himself. In the "History
+of Painting" Muther describes his unhappy
+disposition:</p> 
+
+<p>"In his youthful years he never learned what
+love meant. 'If thou wishest to conquer me,'
+in old age he addresses love, 'give me back
+my features, from which nature has removed 
+<a name="032"></a>
+all beauty.' Whenever in his sonnets he
+speaks of passion, it is always of pain and tears,
+of sadness and unrequited longing, never of the
+fulfilment of his wishes."</p>
+
+<p>Then, too, Michael Angelo had a quarrelsome
+disposition, and he was harsh in his criticism
+of others. He hated Leonardo da Vinci more
+for his great physical beauty than for his
+genius. He quarreled with most of his 
+contemporaries, never joined the assemblies
+of his brother artists, but dwelt altogether
+apart. His was a gloomy and melancholy
+disposition and he never found relief outside
+his work.</p> 
+
+<p>He was all kinds of an artist--poet, sculptor,
+architect, painter--and although he worked
+with the irregularity of true genius, he worked
+indefatigably when once he began. It is said
+that when he was making his "David" he
+never removed his clothing the whole time he
+was employed upon the work, but dropped
+down when too exhausted to work more, and
+slept wherever he fell.</p> 
+
+<p>His first flight from the workshop of Ghirlandajo 
+was to the gardens of the great
+Florentine prince, Lorenzo de' Medici, who had
+sent to Ghirlandajo for two of his best pupils.
+He wished them to come to his gardens and
+study the beautiful Greek statues which
+ornamented them. The choice fell to Angelo
+and Granacci. Probably those statues in
+Lorenzo's garden were the first glimpses of 
+<a name="033"></a>
+really great art that Michael Angelo ever had.
+Certain it is that he was overwhelmed with
+happiness when he was given permission to
+copy what he would, and at once he fell to work
+with his chisel. His first work in that garden
+was upon the head of an old faun; and Lorenzo,
+walking by, curious to know to what use the
+lad was putting his opportunity, made a
+criticism:</p> 
+
+<p>"You have made your faun old," he said,
+"yet you have left all the teeth; at such an age,
+generally the teeth are wanting."</p> 
+
+<p>Angelo had nothing to say and the prince
+walked on, but when next he came that way,
+he found that Angelo had broken off two of the
+faun's teeth; and this recognition of his
+criticism pleased Lorenzo so much that he
+invited Angelo to live with him. At first his
+father objected. He felt himself to be an
+aristocrat, and sculpture and painting were
+indeed low occupations for his son, who he
+had resolved should be nothing less than a
+silk merchant. Nevertheless, the prince's
+command, united with the son's pleading,
+compelled the father to give up his cherished
+dream of making a merchant of him, and
+Angelo went to live in the palace.</p> 
+
+<p>Then indeed what seemed a beautiful life
+opened out. He was dressed in fine clothing,
+dined with princes, and possibly he was grateful
+to his patron. Some historians say so, and add
+that when Lorenzo died Angelo wept, and 
+<a name="034"></a>
+returned sadly to his father's house to mourn,
+but this tale seems at odds with what else we
+know of Angelo's unangelic, envious and
+bitter disposition. It is quite certain, however,
+that with the death of Lorenzo, Angelo's,
+fortunes became greatly changed. Another
+prince followed in line--Pietro de' Medici--but 
+he was a poor thing, who brought little
+good to anybody. He had small use for
+Michael Angelo's genius, but it is said that
+he did give him one commission. After a
+great storm one day, he asked him to make a
+snow-man for him, and Angelo obligingly
+complied. It was doubtless a very beautiful
+snow-man, but although it was Angelo's
+it melted in the night, even as if it had been
+Johnny's or Tommy's snow-man, and left no
+trace behind.</p> 
+
+<p>In Rome there was a high and haughty pope
+on the throne--Julius II.--who had probably
+not his match for obstinacy and
+haughtiness, excepting in the great painter
+and sculptor. When Angelo went to Rome,
+he was bound to come in conflict with Julius
+for it was popes and princes who gave art any
+reason for being in those days, and the Church
+prescribed what kind of art should be cultivated.
+Michael was to come directly under the
+command of the pope and such a combination
+promised trouble. Kings themselves had to
+remove their crowns and hats to Julius, and
+why not Michael Angelo? Yet there he stood, 
+<a name="035"></a>
+covered, before the pope, opposing his greatness
+to that of the pope. Soderini says that
+Angelo treated the pope as the king of France
+never would have dared treat him; but Angelo
+may have known that kings of France might
+be born and die, times without number, while
+there would never be born another Michael
+Angelo. There could be nothing but antagonism
+between Angelo and Julius, and soon after
+the artist returned to Florence; but the
+necessity for following his profession enabled
+Julius to tame him after all, and it is said that
+the pope led him back to Rome, later, "with
+a halter about his neck." This must have
+been agony to Angelo.</p> 
+
+<p>Back in Rome, he was commissioned to make
+a tomb for the pope. He had no sooner set
+about the preliminaries--the getting of suitable
+marble for his work--than he began to quarrel
+with the men who were to hew it. When that
+difficulty was settled, and the marble was got
+out, he had a set-to with the shipowners
+who were to transport the stone, and that row
+became so serious that the sculptor was
+besieged in his own house.</p> 
+
+<p>At another and later time, when he was
+engaged upon the frescoes of the Sistine
+Chapel, he was made to work by force. He
+accused the man who had built the scaffolding
+upon which he must stand, or lie, to paint, of
+planning his destruction. He suspected the
+very assistants whom he, himself, had chosen 
+<a name="036"></a>
+to go from Florence, of having designs upon his
+life. He locked the chapel against them, and
+they had to turn away when they went to
+begin work. Because of his insane suspicion
+he did alone the enormous work of the frescoes.
+Doubtless he was half mad, just as he was
+wholly a genius.</p> 
+
+<p>By the time he had finished those frescoes
+he was so exhausted and overworked that
+he wrote piteously to his people at home,
+"I have not a friend in Rome, neither do I
+wish nor have use for any." This of course
+was not true; or he would not have made the
+statement. "I hardly find time to take
+nourishment. Not an ounce more can I bear
+than already rests upon my shoulders." Even
+when the work was done he felt no happiness
+because of it, but complained about everything
+and everybody.</p> 
+
+<p>If Angelo thought this an unhappy day,
+worse was in store for him. Julius II. died
+and in his place there came to reign upon the
+papal throne, Leo X. If Michael Angelo had
+been restricted in his work before, he was
+almost jailed under Leo X. Julius had been a
+virile, forceful man, and Michael Angelo was
+the same. Since he must be restrained and
+dictated to, it was possible for the artist to
+listen to a man who was in certain respects
+strong like himself, but to be under the thumb
+of a weak, effeminate person like Leo, was the
+tragedy of tragedies to Angelo. That was a 
+<a name="037"></a>
+marvellous time in Rome. All its citizens had
+become so pleasure-loving that the world, stood
+still to wonder. When the pope banqueted,
+he had the golden plates from which fair women
+had eaten hurled into the Tiber, that they
+might never be profaned by a less noble use
+than they had known. From all this riot and
+madness of pleasure, Michael Angelo stood
+aside with frowning brow and scornful mien.
+He approved of nothing and of nobody--despising
+even Raphael, the gentle and loving
+man whom the pleasure-crazed people of Rome
+paused to smile upon and love. The pope
+said that Angelo was "terrible," and that he
+filled everybody with fear.</p> 
+
+<p>Finally, Rome so resented his frowning looks
+and his surly ways that work was provided
+for him at a distance. He was sent to Florence
+again to build a facade. While there, the city
+was conquered, and Angelo was one who fought
+for its freedom, but even so, he fled just at the
+crisis. Thus he ever did the wrong thing--excepting
+when he worked. In Florence he
+had planned to do mighty things, but he never
+accomplished any one of them. He planned
+to make a wonderful colossal statue on a cliff
+near Carrara, and also he resolved to make
+the tomb of Julius the nucleus of a "forest of
+statues."</p> 
+
+<p>Michael Angelo never married, but he was
+burdened with a family and all its cares.
+He supported his brothers and even his 
+<a name="038"></a>
+nephews, and took care of his father. All of
+those people came to him with their difficulties
+and with their demands for money. He
+chided, quarreled, repelled, yet met every
+obligation. He would sit beside the sick-bed
+of a servant the night through, but growl at the
+demands of his near relatives--and it is not
+unlikely that he had good reason.</p> 
+
+<p>At last he withdrew himself from all human
+society but that of little children, whom he
+cared to speak with and to please. He would
+have naught to do with men of genius like himself;
+and when he fell from a scaffolding and injured
+himself, the physician had to force his way
+through a barred window, in order to get into
+the sick man's presence to serve him.</p> 
+
+<p>An illustration of his determined solitude
+is given in the "Young People's Story of Art:"</p> 
+
+<p>"There had long been lying idle in Florence
+an immense block of marble. One hundred
+years before a sculptor had tried to carve
+something from it, but had failed. This was
+now given to Michael Angelo. He was to be
+paid twelve dollars a month, and to be allowed
+two years in which to carve a statue. He
+made his design in wax; and then built a
+tower around the block, so that he might
+work inside without being seen."</p> 
+
+<p>Everything Angelo undertook bore the marks
+of gigantic enterprise. Although he never
+succeeded in making the tomb of Julius II.
+the central piece in his forest of statues, the 
+<a name="039"></a>
+undertaking was marvellous enough. His
+original plan was to make the tomb three
+stories high and to ornament it with forty
+statues, and if St. Peter's Church was large
+enough to hold it, the work was to be placed
+therein; but if not, a church was to be built
+specially to hold the tomb. When at last,
+in spite of his difficulties with workmen and
+shipowners, the marbles were deposited in the
+great square before St. Peter's, they filled the
+whole place; and the pope, wishing to watch
+the progress of the work and not himself to be
+observed, had a covered way built from the
+Vatican to the workshop of Angelo in the
+square, by which he might come and go as he
+chose, while an order was issued that the
+sculptor was to be admitted at all times to
+the Vatican. No sooner was this arrangement
+completed than Angelo's enemies frightened
+the pope by telling him there was danger in
+making his tomb before his death; and with
+these superstitions haunting him Julius II.
+stopped the work, leaving Angelo without the
+means to pay for his marbles. With the doors
+of the Vatican closed to him, Angelo withdrew,
+post haste to Florence--and who can blame
+him? Nevertheless, the work was resumed
+after infinite trouble on the pope's part. He
+had to send again and again for Angelo and
+after forty years, the work was finished.
+There the sequel of the sculptor's forty-years
+war with self and the world stands to-day in 
+<a name="040"></a>
+"Moses," the wonderful, commanding central
+figure which seems to reflect all the fierce
+power which Angelo had to keep in check
+during a life-time.</p> 
+
+<p>The command of Julius that he should paint
+the ceiling of the Sistine Chapel aroused all his
+fierce resistance. He did it under protest,
+all the while accusing those about him of
+having designs upon his life.</p> 
+
+<p>"I am not a painter, but a sculptor," he said.</p> 
+
+<p>"Such a man as thou is everything that he
+wishes to be," the pope replied.</p> 
+
+<p>"But this is an affair of Raphael. Give
+him this room to paint and let me carve a
+mountain!" But no, he must paint the
+ceiling; but to render it easier for him the pope
+told him he might fill in the spaces with saints,
+and charge a certain amount for each. This
+Angelo, who was first of all an artist, refused
+to do. He would do the work rightly or not at
+all. So he made his own plans and cut himself
+a cardboard helmet, into the front of which
+he thrust a candle, as if it were a Davy lamp,
+and he lay upon his back to work day and
+night at the hated task. During those months
+he was compelled to look up so continually,
+that never afterward was he able to look down
+without difficulty. When he had finished the
+work Julius had some criticisms to make.</p> 
+
+<p>"Those dresses on your saints are such poor
+things," he said. "Not rich enough--such
+very poor things!"</p> 
+
+<p><a name="041"></a>
+"Well, they were poor things," was Angelo's
+answer. "The saints did not wear golden
+ornaments, nor gold on their garments."</p> 
+
+<p>After Julius II. and Leo X. came Pope
+Paul III., and he, like the other two, determined
+to have Angelo for his workman. Indeed all
+his life, Michael Angelo's gifts were commanded
+by the Church of Rome. It was for Paul III.
+he painted the "Last Judgment." His former
+work upon the Sistine Chapel had been the
+story of the creation. All his work was of a
+mighty and allegorical nature; tremendous
+shoulders, mighty limbs, herculean muscles
+that seemed fit to support the universe. These
+allegories are made of hundreds of figures.
+To-day they are still there, though dimmed
+by the smoke of centuries of incense, and
+dismembered by the cracking of plaster and
+disintegration of materials.</p> 
+
+<p>Angelo's methods of work, as well as their
+results, were oppressive. In his youth, while
+trying to perfect himself in his study of the
+human form, he drew or modelled, from
+nude corpses. He had these conveyed by
+stealth from the hospital into the convent of
+Santo Spirito, where he had a cell and there
+he worked, alone.</p> 
+
+<p>He was concentrated, mentally and emotionally,
+upon himself. The only remark he made
+after the blow from Torregiano was, "You will
+be remembered only as the man who broke
+my nose!" This proved nearly true, since 
+<a name="042"></a>
+Torregiano was banished, and murdered by
+the Spanish Inquisition.</p> 
+
+<p>All sorts of anecdotes have floated through
+the centuries concerning this man and his work.
+For example, he made a statue of a sleeping
+cupid, which was buried in the ground for a
+time that it might assume the appearance of
+age, and pass for an antique. Afterward it
+was sold to the Cardinal San Giorgio for two
+hundred ducats, though Michael Angelo
+received only thirty. Nevertheless, he died a
+rich man, after having cared for a numerous
+family, while he himself lived like a man
+without means. All the tranquillity he ever
+knew he enjoyed in his old age.</p> 
+
+<p>It was characteristic of his perversity that
+he left his name upon nothing that he made,
+with one exception. Vasari relates the story
+of that exception:</p> 
+
+<p>"The love and care which Michael Angelo
+had given to this group, 'In Paradise,' were
+such that he there left his name--a thing he
+never did again for any work--on the cincture
+which girdles the robe of Our Lady; for it
+happened one day that Michael Angelo, entering
+the place where it was erected, found a large
+assemblage of strangers from Lombardy there,
+who were praising it highly; one of them
+asking who had done it, was told, 'our Hunchback
+of Milan'; hearing which Michael Angelo
+remained silent, although surprised that his
+work should be attributed to another. But 
+<a name="043"></a>
+one night he repaired to St. Peter's with a light
+and his chisels, to engrave his name on the
+figure, which seems to breathe a spirit as perfect
+as her form and countenance."</p>
+
+<p>If his youth had been given to sculpture,
+his maturity to the painting of wondrous
+frescoes, so his old age was devoted to architecture,
+and as architect he rebuilt the
+decaying St. Peter's. In this work he felt
+that he partly realised his ideal. Sculpture
+meant more to him, "did more for the glory
+of God," than any other form of art. When
+he had finished his work on St. Peter's, he is said
+to have looked upon it and exclaimed: "I
+have hung the Pantheon in the air!"</p> 
+
+<p>This colossal genius died in Rome, and was
+carried by the light of torches from that city
+back to his better loved Florence, where he
+was buried. His tomb was made in the Santa
+Croce, and upon it are three female figures
+representing Michael Angelo's three wonderful
+arts: Architecture, sculpture and painting.
+No artist was greater than he.</p> 
+
+<p>His will committed "his soul to God, his
+body to the earth, and his property to his
+nearest relatives."</p> 
+
+<center>PLATE--DANIEL</center>
+
+<p>This wonderful painting is a part of the
+decoration of the Sistine Chapel in Rome.
+The picture of the prophet tells so much in 
+<a name="044"></a>
+itself, that a description seems absurd. It is
+enough to call attention to the powerful
+muscles in the arm, the fall of the hand, and
+then to speak of the main characteristics of the
+artist's pictures.</p> 
+
+<p>It is extraordinary that there is no blade of
+grass to be found in any painting by Michael
+Angelo. He loved to paint but one thing,
+and that was the naked man, the powerful
+muscles, or the twisted limbs of those in great
+agony. He loved only to work upon vast
+spaces of ceiling or wall. Look at this picture
+of Daniel and see how like sculpture the
+pose and modelling appear to be. First of all,
+Michael Angelo was a sculptor, and most of
+the painting which fate forced him to do has
+the characteristics of sculpture.</p> 
+
+<p>One critic has remarked that he loves to
+think of this strange man sitting before the
+marble quarry of Pietra Santa and thinking
+upon all the beings hidden in the cliff--beings
+which he should fashion from the marble.</p> 
+
+<p>It was said that in Michael Angelo's hands
+the Holy Family became a race of Titans, and
+where others would have put plants or foliage,
+Angelo placed men and naked limbs to fill the
+space. When his subject made some sort of
+herbage necessary, he invented a kind of
+mediæval fern in place of grass and familiar
+leaves. Everything appears brazen and hard
+and mighty, suggestive of Angelo's own
+throbbing spirit and maddened soul. Most 
+<a name="045"></a>
+of his work, when illustrated, must be shown
+not as a whole but in sections, but one can
+best mention them as entire picture themes.
+On the ceiling of the Sistine Chapel are nine
+frescoes describing "The Creation of The
+World," "The Fall of Man" and "The Deluge."
+"The Last Judgment" occupies the entire
+altar wall in the same chapel of the Vatican.
+"The Holy Family" is in the Uffizi Gallery,
+Florence.</p> 
+
+<p><a name="046"></a></p>
+<h1>III</h1>
+
+<h1>ARNOLD BÖCKLIN</h1>
+
+<center>(Pronounced Bek'-lin)<br>
+<i>Modern German School (Düsseldorf)</i><br>
+1827-1901</center>
+
+<p>This splendid artist is so lately dead that
+it does not seem proper yet to discuss
+his personal history, but we can speak understandingly
+of his art, for we already know it
+to be great art, which will stand the test of
+time. His imagination turned toward subjects
+of solemn grandeur and his work is very
+impressive and beautiful.</p> 
+
+<p>He was born in Basel, "one of the most
+prosaic towns in Europe." His father was a
+Swiss merchant, and not poor; thus the son
+had ordinarily good chances to make an artist
+of himself. He was born at a time when to be
+an artist had long ceased to be a reproach,
+and men no longer discouraged their sons
+who felt themselves inspired to paint great
+pictures.</p> 
+
+<p>When Böcklin was nineteen years old he
+took himself to Düsseldorf, with his merchant
+father's permission, and settled down to learn
+his art, but in that city he found mostly
+"sentimental and anecdotal" pictures being
+painted, which did not suit him at all. Then
+<a name="047"></a>
+he took himself off to Brussels, where again
+he was not satisfied, and so went to Paris.
+But while in Brussels he had copied many old
+masters, and had advanced himself very
+much, so that he did not present himself in
+Paris raw and untried in art.</p> 
+
+<p>At first he studied in the Louvre, then went
+to Rome, seeking ever the best, and being
+hard to satisfy. He found rest and tranquillity
+in Zürich, a city in his native country, but it
+was Italy that had most influenced his work.</p> 
+
+<p>He loved the Campagna of Rome with its
+ruins and the sad grandeur of the crumbling
+tombs lining its way, and therefore a certain
+mysterious, grand, and solemn character made
+his pictures unlike those of any other artist.
+He loved to paint in vertical (up-and-down)
+fines, rather than with the conventional horizontal
+outlines that we find in most paintings.
+This method gives his pictures a different
+quality from any others in the world.</p> 
+
+<p>He loved best of all to paint landscape,
+and it is said of him that "as the Greeks
+peopled their streams and woods and waves
+with creatures of their imagination, so Böcklin
+makes the waterfall take shape as a nymph, or
+the mists which rise above the water source
+wreathe into forms of merry children; or in
+some wild spot hurls centaurs together in
+fierce combat, or makes the slippery, moving
+wave give birth to Nereids and Tritons."</p> 
+
+<p>Muther, art-critic and biographer, calls our 
+<a name="048"></a>
+attention to the similarity between Wagner's
+music and Böcklin's painting. While Wagner
+was "luring the colours of sound from music,"
+Böcklin's "symphonies of colour streamed
+forth like a crashing orchestra," and he calls
+him the greatest colour-poet of the time.</p> 
+
+<p>In appearance Böcklin was fine of form,
+healthy and wholesome in all his thoughts and
+way of living. In 1848 he took part in
+revolutionary politics and later this did him
+great harm. Only the influence of his friends
+kept him from ruin. After the Franco-Prussian
+war he was made Minister of Fine Arts. In
+this office he rendered great service; but
+because he had to witness the wrecking of the
+Column Vendôme in order to save the Louvre
+and the Luxembourg from the mob, he was
+censured; indeed so heavy a fine was imposed
+that it took his whole fortune to pay it; and
+he was banished into the bargain. From
+1892 to 1901 he lived in or near Florence,
+and he died at Fiesole, January 16th, 1901.</p> 
+
+<center>PLATE--THE ISLE OF THE DEAD</center>
+
+<p>This picture is perhaps the greatest of the
+many great Arnold Böcklin paintings, and it is
+both fascinating and awe-inspiring.</p> 
+
+<p>It best shows his liking for vertical lines in
+art. The Isle of the Dead is of a rocky, shaft-like
+formation in which we may see hewn-out
+tombs; and there, tall cypress trees are growing.</p> 
+
+<p><a name="049"></a>
+The traces of man's work in the midst of this
+sombre, ideal, and mystic scene add to the
+impressiveness of the picture. The isle stands
+high and lonely in the midst of a sea.</p> 
+
+<p>The water seems silently to lap the base
+of the rocks and the trees are in black shadow,
+massed in the centre. It looks very mysterious
+and still. There is a stone gateway touched
+with the light of a dying day. It is sunset
+and the dead is being brought to its resting
+place in a tiny boat, all the smaller for its
+relation to the gloomy grandeur of the isle
+which it is approaching. One figure is standing
+in the boat, facing the island, and the sunlight
+falls full upon his back and touches the boat,
+making that spot stand out brilliantly from all
+the rest of the picture.</p> 
+
+<p>Among Böcklin's paintings are "Naiads at
+Play," which hangs in the Museum at Basel,
+"A Villa by the Sea," "The Sport of the
+Waves," "Regions of Joy," "Flora," and
+"Venus Dispatching Cupid."</p> 
+
+<p><a name="050"></a></p>
+<h1>IV</h1>
+
+<h1>MARIE-ROSA BONHEUR</h1>
+
+<center>(Pronounced Rosa Bon-er)<br>
+<i>French School</i><br>
+1822-1895<br>
+<i>Pupil of Raymond B. Bonheur</i></center>
+
+<p>Rosa Bonheur, Landseer, and Murillo
+maybe called "Children's Painters" in this
+book because they painted things that children,
+as well as grown-ups, certainly can enjoy.
+To be sure, Murillo was a very different sort
+of artist from Rosa Bonheur or Landseer,
+but if the two latter painted the most beautiful,
+animals--dogs, sheep, and horses--Murillo
+painted the loveliest little children.</p> 
+
+<p>Rosa was the best pupil of her father;
+Raymond B. Bonheur. In Bordeaux they
+lived together the peaceful life of artists,
+the father being already a well known painter
+when his daughter was born. She became,
+as Mr. Hamerton, who knew her, said, "the
+most accomplished female painter who ever
+lived ... a pure, generous woman as
+well and can hardly be too much admired ...
+as a woman or an artist. She is simple in her
+tastes and habits of life and many stories are
+told of her generosity to others."</p> 
+
+<p>After a time the Bonheurs moved to Paris
+<a name="051"></a>
+where young Rosa could have better opportunities;
+and there she put on man's clothing,
+which she wore all her life thereafter. She
+wore a workingman's blouse and trousers,
+and tramped about looking more like a man
+than a woman with her short hair. This,
+made everybody stare at her and think her
+very queer, but people no longer believe that
+she dressed herself thus in order to advertise
+herself and attract attention; but because it
+was the most convenient costume for her to
+get about in. She went to all sorts of places;
+the stockyards, slaughter houses, all about the
+streets of Paris, to learn of things and people,
+especially of animals, which she wished most
+to paint. She could hardly have gone about
+thus if she had worn women's clothing.</p> 
+
+<p>Rosa Bonheur exhibited her first painting
+at the <i>Salon</i> in 1841, and this was twelve years
+before her beloved father died; thus he had the
+happiness of knowing that the daughter whom
+he had taught so lovingly was on the road
+to success and fortune. He knew that when
+fortune should come to her she would use it
+well. The year that she exhibited her work
+in the <i>Salon</i> she painted only two little pictures--one 
+of rabbits, the other of sheep and
+goats--but they were so splendidly done
+that all the critics knew a great woman artist
+had arrived.</p> 
+
+<p>It was then that her enemies, those who
+were becoming jealous of her work, said that 
+<a name="052"></a>
+she was wearing men's clothing in order to
+attract attention to herself.</p> 
+
+<p>Soon her work began to be bought by the
+French Government, which was a sure sign of
+her power. She was already much beloved
+by the people. In the meantime we in America
+and others in England had heard of Mademoiselle
+Bonheur, but we heard far less about her
+painting than we did about her masculine
+garb. We thought of her mostly as an eccentric
+woman; but one day came "The Horse
+Fair," and all the world heard of that, so the
+artist was to be no longer judged by the
+clothes she wore but by her art. Finally, she
+received the cross of the Legion of Honour,
+and also was made a member of the Institute
+of Antwerp.</p> 
+
+<p>She lived near Fontainebleau; her studio
+a peaceful retired home, till the Franco-Prussian
+war came about. Then she and others began
+to fear that her studio and pictures would be
+destroyed, so the artist was forced to stop her
+work and prepared to go elsewhere. But
+the Crown Prince of Prussia himself ordered
+that Mademoiselle Bonheur should not even
+be disturbed. Her work had made her belong
+to all the world and all the world was to
+protect her if need be.</p> 
+
+<p>Rosa Bonheur had a brother who, some
+critics said, was the better artist, but if that
+were true it is likely that his popularity would
+in some degree have approached that of his 
+<a name="053"></a>
+sister. Rosa Bonheur did not paint many
+large canvases, but mostly small ones, or
+only moderately large; but when she painted
+sheep it seems that one might shear the wool,
+it stands so fleecy and full; while her horses
+rampage and curvet, showing themselves off
+as if they were alive.</p> 
+
+<center>PLATE--THE HORSE FAIR</center>
+
+<p>This picture was exhibited all over the world
+very nearly. It was carried to England and
+to America, and won admiration wherever it
+was seen. Finally it was sold in America.
+It was first exhibited in 1853, the year in
+which the artist's father died. Mr. Ernest
+Gambart was the first who bought the picture,
+and he wrote of it to his friend, Mr. S.P.
+Avery: "I will give you the real history of
+'The Horse Fair,' now in New York. It
+was painted in 1852, by Rosa Bonheur, then
+in her thirtieth year, and exhibited in the next
+<i>Salon</i>. Though much admired it did not find
+a purchaser. It was soon after exhibited in
+Ghent, meeting again with much appreciation,
+but was not sold, as art did not flourish at the
+time. In 1855 the picture was sent by Rosa
+Bonheur to her native town of Bordeaux and 
+exhibited there. She offered to sell it to
+the town at the very low price 12,000
+francs ($2,400). While there, I asked her if 
+she would sell it to me, and allow me to take 
+<a name="054"></a>
+it to England and have it engraved. She said:
+'I wish to have my picture remain in France.
+I will once more impress on my countrymen,
+my wish to sell it to them for 12,000 francs.
+If they refuse, you can have it, but if you take
+it abroad, you must pay me 40,000 francs.'
+The town failing to make the purchase, I at
+once accepted these terms, and Rosa Bonheur
+then placed the picture at my disposal. I
+tendered her the 40,000 francs and she said:
+'I am much gratified at your giving me such
+a noble price, but I do not like to feel that I
+have taken advantage of your liberality; let
+us see how we can combine in the matter. You
+will not be able to have an engraving made
+from so large a canvas. Suppose I paint you
+a small one from the same subject, of which I
+will make you a present.' Of course I accepted
+the gift, and thus it happened that the large
+work went travelling over the kingdom on
+exhibition, while Thomas Landseer was making
+an engraving from the quarter-size replica.</p> 
+
+<p>"After some time (in 1857 I think), I sold
+the original picture to Mr. William P. Wright,
+New York (whose picture gallery and residence
+were at Weehawken, N.J.), for the sum
+of 30,000 francs, but later I understood
+that Mr. Stewart paid a much larger price
+for it on the breaking up of Mr. Wright's
+gallery. The quarter size replica, from which
+the engraving was made, I finally sold to Mr.
+Jacob Bell, who gave it in 1859 to the nation,  
+<a name="055"></a>
+and it is now in the National Gallery, London.
+A second, still smaller replica, was painted a
+few years later, and was resold some time ago
+in London for £4,000 ($20,000). There
+is also a smaller water-colour drawing which
+was sold to Mr. Bolckow for 2,500 guineas
+($12,000), and is now an heirloom belonging
+to the town of Middlesbrough. That is the
+whole history of this grand work. The Stewart
+canvas is the real and true original, and only
+large size 'Horse-Fair.'</p> 
+
+<p>"Once in Mr. Stewart's collection, it never
+left his gallery until the auction sale of his
+collection, March 25th, 1887, when it was purchased
+by Mr. Cornelius Vanderbilt for the
+sum of $55,000, and presented to the Metropolitan
+Museum of Art."</p> 
+
+<p>And thus we have the whole story of the
+"Horse-Fair." The picture is 93-1/2 inches high,
+and 197 inches wide, and it contains a great
+number of horses, some of which are ridden,
+while others are led, and all are crowding with
+wild gaiety toward the fair where it is quite
+plain they know they are about to be admired
+and their beauty shown to the best advantage.
+Other well-known Rosa Bonheurs are "Ploughing,"
+"Shepherd Guarding Sheep," "Highland
+Sheep," "Scotch Deer," "American Mustangs,"
+and "The Study of a Lioness."</p> 
+
+<p><a name="056"></a></p>
+<h1>V</h1>
+
+<h1>ALESSANDRO BOTTICELLI</h1>
+
+<center>(Pronounced Ah-lays-sahn'dro Bo't-te-chel'lee)<br>
+<i>Florentine School,</i><br>
+1447-1510 (Vasari's dates)<br>
+<i>Pupil of Filippo Lippi and Verrocchio</i></center>
+
+<p>Botticelli took his name from his first
+master, as was the fashion in those days.
+The relation of master and apprentice was very
+close, not at all like the relation of pupil and
+teacher to-day.</p> 
+
+<p>Botticelli's father was a Florentine citizen,
+Mariano Filipepi, and he wished his son to
+become a goldsmith; hence the lad was soon
+apprenticed to Botticelli, the goldsmith. As a
+scholar, the little goldsmith had not distinguished
+himself. Indeed it is said that as a
+boy he would not "take to any sort of schooling
+in reading, writing, or arithmetic." It cannot
+be said that this failure distinguished him as a
+genius, or the world would be full of genius-boys;
+but the result was that he early began
+to learn his trade.</p> 
+
+<p>Fortunately for him and us, Botticelli, the
+smith, was a man of some wisdom and when he
+saw that the lad originated beautiful designs
+and had creative genius he did not treat the
+matter with scorn, as the master of Andrea del 
+<a name="057"></a>
+Sarto had done, but sent him instead to Fra
+Filippo (Lippo Lippi) to be taught the art
+of painting. So kind a deed might well
+establish a feeling of devotion on little Alessandro's
+part and make him wish to take his
+master's name.</p> 
+
+<p>Fra Filippo was a Carmelite monk, merry
+and kindly; simple, good, and gifted, but his
+temperament did not seem to influence his
+young pupil. Of all unhappy, morbid men,
+Botticelli seems to have been the most so, unless
+we are to except Michael Angelo.</p> 
+
+<p>After studying with the monk, Botticelli
+was summoned by Pope Sixtus IV. to Rome
+to decorate a new chapel in the Vatican.
+Before that time his whole life had been greatly
+influenced by the teachings of Savonarola
+who had preached both passionately and
+learnedly in Florence, advocating liberty.
+From the time he fell under Savonarola's
+wonderful power, the artist grew more and
+more mystic and morbid. In Rome it was the
+custom to have the portraits of conspirators,
+or persons of high degree who were revolutionary
+or otherwise objectionable to the state,
+hung outside the Public Palace, and in Botticelli's
+time there was a famous disturbance
+among the aristocrats of the state. In 1478
+the powerful Pazzi family conspired against
+the Medici family, which then actually had
+control. It was Botticelli who was engaged
+to paint the portraits of the Pazzi family, 
+<a name="058"></a>
+which to their shame and humiliation were
+to be displayed upon the palace walls.</p> 
+
+<p>One peculiarity of this artist's pictures was
+that he used actual goldleaf to make the high
+lights upon hair, leaves, and draperies. The
+effect of the use of this gold was very beautiful,
+if unusual, and it may have been that his
+apprenticeship as a goldsmith suggested to
+him such a device.</p> 
+
+<p>Also it was he who created certain characteristics
+of painting that have since been thought
+original with Burne-Jones. This was the use
+of long stiff lily-stalks or other upright details
+in his compositions. Examples of this idea,
+which produced so weird an effect, will be found
+in his allegory of "Spring," where stiff tree-trunks
+form a part of the background. In
+the "Madonna of the Palms" upright lily-stalks
+are held in pale and trembling hands.
+Like Michael Angelo, who came years afterward,
+Botticelli was a guest of the great Lorenzo
+the "Magnificent," in Florence. It was by
+Botticelli's hand that the greater painter sent
+a letter to Lorenzo from a duchess friend
+who was also his patron. This was in Angelo's
+youth; in Botticelli's old age.</p> 
+
+<p>All his life was a drama of morbid seeking
+after the unattainable, and finally he became
+so poor and helpless that in his old age he
+would have starved had Lorenzo de' Medici
+not taken care of him. Lorenzo and other
+friends who in spite of his gloominess admired 
+<a name="059"></a>
+his real piety, gathered about him and kept
+him from starvation.</p> 
+
+<p>On his "Nativity," Botticelli wrote: "This
+picture I, Alessandro, painted at the end of
+the year 1500 in the troubles of Italy, in the
+halftime after the time, during the fulfilment
+of the eleventh of John, in the second woe
+of the Apocalypse, in the loosing the devil
+for three and a half years. Afterward he
+shall be chained according to the twelfth of
+John, and see him trodden down as in this
+picture." All of this is interesting because
+Botticelli himself wrote it, but it is not
+very easily understood by any child, nor by
+many grown people.</p> 
+
+<p>Botticelli did some very extraordinary things,
+but whether they are beautiful or not one
+must decide for himself. They are paintings
+so characteristic that one must think them
+very beautiful or else not at all so.</p> 
+
+<center>PLATE--LA PRIMAVERA<br>
+<i>(Spring)</i></center>
+
+<p>In this picture we have the forerunner of a
+modern painter, because we see in it certain,
+qualities that we find in Böcklin. Look at
+the effect of vertical lines; the tree trunks,
+and the poses of the slender women. Over
+all hovers a cupid who is sending love-shafts
+into the hearts of all in springtime.</p> 
+
+<p>Notice the lacy effect of the flowers that 
+<a name="060"></a>
+bestar the wind-blown gown of "La Primavera,"
+the fern-like leaves that fleck the background;
+the draperies that do not conceal the forms
+of the nymphs of the lovely springtime.</p> 
+
+<p>The very spirit of spring is seen in all the
+half-floating, half-dancing, gliding, diaphanous
+figures of the forest. The flowers of "La
+Primavera's" crown are blue and white cornflowers
+and primroses. She scatters over the
+earth tulips, anemones, and narcissus. The
+painting is allegorical and unique. Never were
+such fluttering odds and ends of draperies
+painted before, nor such fascinating effects had
+from canvas, paint, or brush. The picture
+hangs in Florence in the Uffizi Gallery. A
+German critic tells us that the "Realm of
+Venus," is a better title for this picture, and
+that it was painted after a poem of that name.</p> 
+
+<p>Other pictures by this artist are: "The
+Birth of Venus," "Pallas," "Judith," "Holofernes,"
+"St. Augustine," "Adoration of the
+Magi," and "St. Sebastian."</p> 
+
+<p><a name="061"></a></p>
+<h1>VI</h1>
+
+<h1>WILLIAM ADOLPHE BOUGUEREAU</h1>
+
+<center>(Pronounced W. A'dolf Bou-gair-roh)<br>
+<i>French (Genre) School</i><br>
+1825-1905<br>
+<i>Pupil of Picot and the Ecole des Beaux-Arts</i></center>
+
+<p>Bouguereau's business-like father meant
+his son also to be business-like, but
+he made the mistake of permitting him to
+go to a drawing school in Bordeaux and there,
+to his father's chagrin, the youngster took the
+annual prize. After that there seemed nothing
+for the father to do but grin and bear it,
+because the son decided to be an artist and had
+fairly won his right to be one.</p> 
+
+<p>Young Bouguereau had no money, and
+therefore he went to live with an uncle at
+Saintonge, a priest, who had much sympathy
+with the boy's wish to paint, and he left him
+free to do the best he could for himself in art.
+He got a chance to paint some portraits, and
+when he and his uncle talked the matter over
+It was decided that he should take the money
+got for them, and go to Paris. It was there
+that he sought Picot, his first truly helpful
+teacher; and there, for the first time he learned
+more than he already knew about art.</p> 
+
+<p>All Bouguereau's opportunities in life were
+made by himself, by his own genius. No one
+<a name="062"></a>
+gave him anything; he earned all. He longed
+to go to Italy, and in the Ecole des Beaux-Arts
+he won the Prix de Rome, which made possible
+a journey to the land of great artists. The
+French Government began to buy his work,
+and he began to receive commissions to decorate
+walls in great buildings; thus, gradually, he
+made for himself fame and fortune.</p> 
+
+<p>When this artist undertook to paint sacred
+subjects, of great dignity, he was not at his
+best; but when he chose children and mothers
+and everyday folk engaged about their everyday
+business, he painted beautifully. Americans
+have bought many of his pictures and he
+has had more popularity in this country than
+anywhere outside of France.</p> 
+
+<p>Some authorities give the birthplace of Bouguereau
+as La Rochelle; at any rate he died there
+at midnight, on the nineteenth of August, 1905.</p> 
+
+<center>PLATE--THE VIRGIN AS CONSOLER</center>
+
+<p>The main distinction about this artist's
+pictured faces is the peculiarly earnest expression
+he has given to the eyes. In this picture
+of the Virgin there is great genius in the pose
+and death-look of the little child whose
+mother has flung herself across the lap of Mary,
+abandoned to her agony. This painting is
+hung in the Luxembourg. Others by the same
+master are called "Psyche and Cupid" "Birth of
+Venus," "Innocence," and "At the Well."</p>
+
+<p><a name="063"></a></p>
+<h1>VII</h1>
+
+<h1>SIR EDWARD BURNE-JONES</h1>
+
+<center><i>English (Pre-Raphaelite) School</i><br>
+1833-1898<br>
+<i>Pupil of Rossetti</i></center>
+
+<p>This artist has been called the most original
+of all contemporaneous artists. He has
+also been called the "lyric painter"; meaning
+that he is to painting what the lyric poet is
+to literature. His work once known can almost
+always be recognised wherever seen afterward.
+He did not slavishly follow the Pre-Raphaelite
+school, yet he drew most of his
+ideas from its methods. He was, in the use of
+stiff lines, a follower of Botticelli, and not
+original in that detail, as some have seemed to
+think.</p> 
+
+<center>PLATE--CHANT D'AMOUR<br>
+<i>(The Love-Song)</i></center>
+
+<p>This is a picture in the true Burne-Jones
+style: a beautiful woman in billowy draperies,
+playing upon a harp forms the central
+figure of the group of three--a listener on
+either side of her. There is the attractiveness
+of the Burne-Jones method about this picture,
+but after all there seems to be no very good
+<a name="064"></a>
+reason for its having been painted. The
+subject thus treated has only a negative value,
+and little suggestion of thought or dramatic
+idea.</p> 
+
+<p>Another picture of this artist, in which his
+use of stiff draperies is specially shown, is
+that of the women at the tomb of Christ,
+when they find the stone rolled away and,
+looking around, see the Saviour's figure before
+them. The scene is low and cavern-like, with
+a brilliant light surrounding the tomb. This
+artist also painted "The Vestal Virgin,"
+"King Cophetua and the Beggar Maid," "Pan
+and Psyche," "The Golden Stairs," and
+"Love Among the Ruins."</p> 
+
+<p><a name="065"></a></p>
+<h1>VIII</h1>
+
+<h1>JOHN CONSTABLE</h1>
+
+<center><i>English School</i><br>
+1776-1837<br>
+<i>Pupil of the Royal Academy</i></center>
+
+<p>John Constable was the son of a "yeoman
+farmer" who meant to make him also
+a yeoman farmer. Mostly we find that the
+fathers of our artists had no higher expectations
+for their sons than to have them take up their
+own business; to begin as they had, and to end
+as they expected to. But in John Constable's
+case, as with all the others, the father's methods
+of living did not at all please the son, and
+having most of all a liking for picture-making;
+young John set himself to planning his own
+affairs.</p> 
+
+<p>Nevertheless, the foundation of John's art
+was laid right there in the Suffolk farmer's
+home and conditions. He was born in East
+Bergholt, and the father seems to have believed
+in windmills, for early in life the signs of
+wind and weather became a part of the son's
+education. He learned a deal more of atmospheric
+conditions there on his father's windmill
+planted farm than he could possibly have
+learned shut up in a studio, French fashion.
+As a little boy he came to know all the signs of 
+<a name="066"></a>
+the heavens; the clouds gathering for storm or
+shine; the bending of the trees in the blast;
+all of these he loved, and later on made the
+principal subjects of his art. He learned to
+observe these things as a matter of business
+and at his father's command; thus we may say
+that he studied his life-work from his very
+infancy. All about him were beautiful hedgerows,
+picturesque cottages with high pitched
+roofs covered with thatch, and it was these
+beauties which bred one other great landscape
+painter besides Constable, of whom we shall
+presently speak, Gainsborough.</p> 
+
+<p>At last, graduating from windmills, John
+went to London. He had a vacation from
+the work set him by his father, and for two
+years he painted "cottages, studied anatomy,"
+and did the drudgery of his art; but there was
+little money in it for him, and soon he had to go
+into his father's counting house, for windmills
+seemed to have paid the elder Constable,
+considerably better than painting promised
+to pay young John.</p> 
+
+<p>John doubtless liked counting-house work
+even less than he had done the study of windmills
+and weather in his father's fields. He
+was a most persistent fellow, however, and
+finally he returned to London, to study again
+the art he loved, this time in the Royal Academy,
+which meant that he had made some
+progress.</p> 
+
+<p>His father gave him very little aid to do 
+<a name="067"></a>
+the things he longed to do, but after his father's
+death he found that a little money was coming
+to him from the estate--£4,000. He
+had already triumphed over his difficulties by
+painting his first fine pictures; he now knew
+that he was to become a successful artist,
+and be able to take care of himself and a wife.
+Though in love, he had hitherto been too poor
+to marry. His first splendid work was
+"Dedham Vale."</p> 
+
+<p>Though things were going very well with him,
+it was not until Paris discovered him that he
+achieved great success. In 1824 he painted
+two large pictures which he took to Paris,
+and there he found fame. The best landscape
+painting in France dates from the time when
+Constable's works were hung in the Louvre,
+to become the delight of all art-lovers.</p> 
+
+<p>He received a gold medal from Charles X.,
+and became more honoured abroad than he had
+ever been at home.</p> 
+
+<p>Constable had many enemies, and made
+many more after he became an Academician.
+Some artists, who would have liked that
+honour and who could not gain it for themselves,
+declared that Constable painted "with a
+palette knife," though it certainly would not
+have mattered if he had, since he made great
+pictures.</p> 
+
+<p>He painted things exactly as he saw them,
+and was not a popular artist. Most of all, he
+loved to paint the scenes that he had known so 
+<a name="068"></a>
+well in his youth, and he did them over and
+over again, as if the subject was one in which
+he wished to reach perfection.</p> 
+
+<p>When he died he left a picture, "Arundel
+Castle and Mill," standing with its paint wet
+upon his easel for he passed away very suddenly,
+on April 1st, leaving behind him many unsold
+paintings.</p> 
+
+<p>He was a sensitive chap, and throughout his
+youth was greatly distressed by the differences
+of opinion between himself and his father. He
+was torn asunder between a sense of duty and
+his own wish to be an artist; and his greatest
+consolation in this situation was in the friendship
+he had formed for a plumber, who, like
+himself, dearly loved art. The plumber's
+name was John Dunthorne, and the two men
+wandered about the country, when not
+employed at their regular work, and together,
+by streams and in fields, painted the same
+scenes. At one time they hired a little room 
+in the neighbouring village which they made
+into a studio. Constable was a handsome
+fellow in his youth and was known to all as the
+"handsome miller." His father, the yeoman
+farmer with the windmills, was also a miller.</p> 
+
+<p>In London he became acquainted with one
+John Smith, known as "Antiquity Smith,"
+who taught him something of etching. After
+he was recalled to his father's business, his
+mother wrote to "Antiquity Smith," that she
+hoped John "would now attend to business,
+<a name="069"></a>
+by which he will please me and his father,
+and ensure his own respectability and comfort"--a 
+complete expression of the middle-class
+British mind. Her satisfaction was short-lived,
+for her son soon returned to London.</p> 
+
+<p>When his first pictures were rejected by the
+Royal Academy he showed one of them to Sir
+Benjamin West, who said hopefully: "Don't
+be disheartened, young man, we shall hear of
+you again; you must have loved nature very
+much before you could have painted this."</p> 
+
+<p>About that time he tried to paint many
+kinds of pictures, such as portraits and sacred
+subjects, but he did not seem to succeed in
+anything except the scenes of his boyhood,
+which he truly loved. Hence he gave up
+attempting that which he could do only
+passably, and kept to what he could do
+supremely well.</p> 
+
+<p>When his friends wished him to continue
+portrait painting, the only thing that was well
+paid at that time, Constable wrote: "You
+know I have always succeeded best with my
+native scenes. They have always charmed
+me, and I hope they always will. I have now
+a path marked out very distinctly for myself,
+and I am desirous of pursuing it uninterruptedly."</p>
+
+<p>About the time he fell in love and before his
+father's death, his health began to fail, and the
+young woman's mother would have none of
+him. Her father was in favour of Constable, 
+<a name="070"></a>
+but he could not hold out against the chance
+of his daughter losing her grandfather's fortune
+by marrying the wrong man.</p> 
+
+<p>The lady was not so distractingly in love as
+young Constable was, and she did not entirely
+like the idea of poverty, even with John, so
+she held off, and with so much anxiety Constable
+became downright ill. For five years
+the pair lived apart, and then the artist and
+the young woman, whose name was Maria
+Bicknell, lost their mothers about the same time,
+This drew them very closely together; and to
+help the matter on, John's attendance upon
+his father in his last illness brought him to the
+same town as Miss Bicknell. After his father's
+death, he urged the young lady so strongly
+to be his wife that she consented They were
+married and her father soon forgave her,
+but not so her grandfather, who declared that
+he never would forgive her, but he really must
+have done so from the first, for when he died
+it was found that he had left her a little fortune
+of £4,000. This was about the same amount
+the artist had received from his father, so that
+they were able to get on very well.</p> 
+
+<p>After Constable's marriage he went on a visit
+to Sir George Beaumont, and there an amusing
+incident occurred which is known to-day as
+the story of Sir George's "brown tree." It
+seems that Constable's ideas of colour for his
+landscapes were so true to nature that a good
+many people did not approve of them, and one 
+<a name="071"></a>
+day while painting, Sir George declared that
+the colour of an old Cremona fiddle was the
+best model of colour tone that a landscape
+could have. Constable's only answer was to
+place the fiddle on the green lawn in front of
+the house. At another time his host asked
+the artist, "Do you not find it very difficult
+to determine where to place your brown tree?"
+"Not at all," was Constable's reply, "for I
+never put such a thing into a picture in my
+life."</p> 
+
+<p>In painting one picture many times he
+declared, "Its light cannot be put out because
+it is the light of nature." A Frenchman called
+attention to one of his pictures thus: "Look
+at these landscapes by an Englishman. The
+ground appears to be covered with dew."</p> 
+
+<p>Notwithstanding the little fortune of his
+wife and himself, Constable was not quite carefree,
+because he had to raise a good sized
+family of six children so that when his wife's
+father died and left his daughter £20,000
+he said to a friend: "Now I shall stand before
+a six-foot canvas with a mind at ease, thank
+God!" In the very midst of this happiness,
+his beloved wife became ill with consumption,
+and was certain to die. He no longer cared
+very much for life and wrote very sadly:</p> 
+
+<p>"I have been ill, but am endeavouring to
+get work again, and could I get afloat upon a
+canvas of six feet, I might have a chance of
+being carried from myself." When he became 
+<a name="072"></a>
+a member of the Royal Academy, he said:
+"It has been delayed until I am solitary and
+cannot impart it," meaning that without his
+dear wife to share his good fortune, it seemed
+an empty honour to him.</p> 
+
+<p>Strange things are told which show how little
+his work was valued by his countrymen.
+After he had become a member of the Academy
+one of his small pictures was entered but
+rejected; nobody knowing anything about it.
+It was put on one side among the "outsiders."
+Finally, one of his fellow members glancing at
+it was attracted.</p> 
+
+<p>"Stop a bit! I rather like that. Why not
+say 'doubtful'?" Later Constable acknowledged
+the picture as his, and then they wished
+to hang it, but he refused to let them. Another
+Academy story is about his picture "Hadleigh
+Castle." On Varnishing Day, Chartney, a brilliant
+critic, told Constable that the foreground
+of the picture was "too cold," and so he
+undertook to "warm it," by giving it a strong
+glaze with asphaltum with Constable's brush
+which he snatched from the artist's hand.
+Constable gazed at him in horror. "Oh!
+there goes all my dew," he cried, and when
+Chartney's back was turned he hurriedly wiped
+the "warmth" all away and got back his "dew."</p> 
+
+<p>Even the amusing things that happened to
+him, seem to have a little sadness about them.
+He wrote to a friend: "Beechey was here
+yesterday, and said: 'Why d--n it Constable, 
+<a name="073"></a>
+what a d--n fine picture you are making;
+but you look d--n ill, and you've got a d--n
+bad cold!' so," added Constable, "you have
+evidence on oath of my being about a fine
+picture and that I am looking ill."</p>
+
+<p>An illustration of his painstaking and truthfulness
+to nature is that he once took home
+with him from a visit bottles of coloured sand
+and fragments of stone which he meant to
+introduce into a picture; and on passing some
+slimy posts near a mill, he said to his host,
+"I wish you could cut those off and send
+their tops to me."</p> 
+
+<p>Constable was a loyal friend, the most
+persistent of men, and several anecdotes are
+told of his characteristics. His friend Fisher
+said to him:</p> 
+
+<p>"Where real business is to be done, you are
+the most energetic and punctual of men. In
+smaller matters, such as putting on your
+breeches, you are apt to lose time in deciding
+which leg shall go in first."</p> 
+
+<center>PLATE--THE HAY WAIN</center>
+
+<p>This picture was first called "Landscape,"
+and it was painted in 1821. In his letters
+about it, however, Constable also called it
+"Noon," and others wrote of it as "Midsummer
+Noon." This tells us what a wealth
+of hot sunlight is suggested by the painting.</p> 
+
+<p>It shows a little farmhouse upon the bank of 
+<a name="074"></a>
+a stream, a spot well known as "Willy Lott's
+Cottage." The owner had been born there
+and he died there eighty-eight years later,
+without ever having left his cottage for four
+whole days in all those years. Upon the
+tombstone of Lott, which is in the Bergholt
+burial ground, his epitaph calls the house
+"Gibeon Farm." It was a favourite scene
+with Constable, and he painted it many times
+from every side. It is the same house we see
+in the "Mill Stream," another Constable painting,
+and again in "Valley Farm." In this
+last picture he painted the side opposite to the
+one shown in the "Hay Wain."</p> 
+
+<p>The stream near which the house stands
+spreads out into a ford, and in the picture the
+hay cart, with two men upon it, is passing
+through the ford. The horses are decked out
+with red tassels. On the right of the stream
+there is a broad meadow, golden green in the
+sunlight, "with groups of trees casting cool
+shadows on the grass, and backed by a distant
+belt of woodland of rich blues and greens." On
+the right is a fisherman, half hidden by a bush,
+standing near his punt.</p> 
+
+<p>Constable wrote to his friend, Fisher, "My
+picture goes to the Academy on the tenth."
+This was written on April 1st, 1821. "It is not
+so grand as Tinney's." This shows us, that
+Constable had not vanity enough to interfere
+with his self-criticism. Again in a letter
+written to him by a friend: "How does the 
+<a name="075"></a>
+'Hay Wain' look now it has got into your
+own room again?" adding that he wished to
+see it there, away from the Academy which
+to him was always "like a great pot of boiling
+varnish."</p>
+
+<p>Later Fisher wrote: "I have a great
+desire to possess your 'Wain,' but I cannot
+now reach what it is worth;" and he begged
+Constable not to sell it without giving him a
+chance to try once more to raise the money
+to buy it. He wrote that the picture would
+become of greater value to his children if the
+artist left it hanging upon the walls of the
+Academy, "till you join the society of Ruysdael,
+Wilson, and Claude. As praise and money
+will then be of no value to you, the world will
+liberally bestow both."</p> 
+
+<p>Later a Frenchman wished to buy it for
+exhibition purposes, and when Constable wrote
+to Fisher of this, his friend replied that he had
+better sell it to the Frenchman "for the sake
+of the <i>éclat</i> it may give you. The stupid
+English public, which has no judgment of its
+own, will begin to think there is something
+in it if the French make your works national
+property. You have long lain under a mistake;
+men do not purchase pictures because they
+admire them, but because others covet them."</p> 
+
+<p>Finally, the "Hay Wain" was sold to the
+French dealer for £250, and Constable threw
+in a picture of Yarmouth for good measure.
+Later a friend declared that he had created a 
+<a name="076"></a>
+good deal of argument about landscape painting,
+and that there had come to be two divisions,
+for he had practically founded a new school.
+He received a gold medal for the "Hay Wain,"
+and the French nation tried to buy it. In
+the Louvre are "The Cottage," "Weymouth
+Bay," and "The Glebe Farm." Elsewhere are
+"Hampstead Heath," "Salisbury Cathedral,"
+"The Lock on the Stour," "Dedham Mill,"
+"The Valley Farm," "Gillingham Mill," "The
+Cornfield," "Boat-Building," "Flatford Mill
+on the River Stour," besides many others.</p> 
+
+<p><a name="077"></a></p>
+<h1>IX</h1>
+
+<h1>JOHN SINGLETON COPLEY</h1>
+
+<center><i>English School</i><br>
+1737-1815</center>
+
+<p>A little boy with a squirrel was the
+first picture that pointed this artist
+toward fame and that was painted in England
+and exhibited at the Society of Arts.</p> 
+
+<p>This American-born Irishman had no family
+or ancestry of account, but he himself was
+to become the father of Lord Chancellor
+Lyndhurst, and he did some truly fine things
+in art.</p> 
+
+<p>About the same time America had another
+painter, Benjamin West, marked out for fame,
+but he got his start in Europe while Copley
+had already become a successful artist before
+he left Boston, his native place.</p> 
+
+<p>He liked best to paint "interiors"--rooms
+with fine furniture and curtains, women in
+fine clothing and men in embroidered waistcoats
+and bejewelled buckles.</p> 
+
+<p>In 1777 he got into the Royal Academy,
+and on the whole had considerable influence on
+European art. If we study the portraits
+that he painted while in Boston, we can
+get a very complete idea of the surroundings
+<a name="078"></a>
+of the "Royalists" at the time of our
+colonial history.</p> 
+
+<center>PLATE--THE COPLEY FAMILY GROUP</center>
+
+<p>In this picture there are seven figures with
+an open landscape forming the background.
+The baby of the family plays, with uplifted
+arms, upon grandfather's knee. The mother
+on the couch, surrounded by her three other
+children, is kissing one while another clings
+to her. Before her stands a prim little
+maid, gowned in the fashion of grown-folks
+of her day. A little lock of hair falling upon
+her forehead suggests that when she was
+good she was very, very good, and when she
+was bad she was horrid! She wears a little
+cap. At the back is the artist himself in a wig
+and other fashions of the time. A great column
+rises behind him, forming a part of the
+architecture or the landscape, one hardly
+knows which in so artificially constructed a
+picture.</p> 
+
+<p>Copley painted also John Hancock, Judge
+Graham, Jeremiah Lee, and General Joseph
+Warren.</p> 
+
+<p><a name="079"></a></p>
+<h1>X</h1>
+
+<h1>JEAN BAPTISTE CAMILLE COROT</h1>
+
+<center>(Pronounced Zhahn Bah-teest' Cah-mee'yel Coh'roh)<br>
+<i>Fontainebleau-Barbizon School</i><br>
+1796-1875<br>
+<i>Pupil of Michallon</i></center>
+
+<p>About three hundred years before Corot's
+time there was a Fontainebleau school
+of artists, made up of the pathetic Andrea del
+Sarto, the wonderful Leonardo da Vinci, and
+Cellini. These painters had been summoned
+from their Italian homes by Francis I., to
+decorate the Palace of Fontainebleau. The
+second great group of painters who had studios
+in the forest and beside the stream were
+Rousseau, Dupré, Diaz, and Daubigny; Troyon,
+Van Marcke, Jacque; then Millet, the painter
+of peasants.</p> 
+
+<p>Corot was born in Paris and received what
+education the ordinary school at Rouen could
+give him. He was intended by his parents
+for something besides art, as it would seem
+that every artist in the world was intended.
+Corot was to grow up and become a respectable
+draper; at any rate a draper.</p> 
+
+<p>The young chap did as his father wished,
+until he was twenty-six years old, and dreary
+years those must have been to him. He did 
+<a name="080"></a>
+not get on well with his master, nor did the
+world treat him very well. He found neither
+riches nor the fame that was his due till he was
+an old man of seventy. At that age he had
+become as rich a man as he might have been
+had he remained a sensible draper.</p> 
+
+<p>Best of all, Corot loved to paint clouds and
+dewy nights, pale moons and early day, and of
+all amusements in the world, he preferred the
+theatre. There he would sit; gay or sad as the
+play might make him, weeping or laughing
+and as interested as a little child.</p> 
+
+<p>After he had anything to give away, Corot
+was the most madly generous of men. It was
+he who gave a pension to the widow of his
+brother artist, Millet, on which she lived all
+the rest of her days. He gave money to his
+brother painters and to all who went to him
+for aid; and he always gave gaily, freely, as if
+giving were the greatest joy, outside of the
+theatre, a man could have. Everyone who
+knew him loved him, and there was no note
+of sadness in his daily life, though there seems
+to be one in his poetical pictures. Because of
+his generous ways he was known as "Pere
+Corot." He sang as he worked, and loved his
+fellowmen all the time; but most of all, he
+loved his sister.</p> 
+
+<p>"Rousseau is an eagle," he used to say in
+speaking of his fellow artist. "As for me, I
+am only a lark, putting forth some little songs
+in my gray clouds."</p> 
+
+<p><a name="081"></a>
+It has been noted that most great landscape
+painters have been city-bred, a remarkable fact.
+Constable and Gainsborough were born and
+bred in the country, but they are exceptions
+to the rule. Corot's parents were Parisians
+of the purest dye, having been court-dressmakers
+to Napoleon I.; and when Corot finally determined 
+to leave the draper's shop and become a painter, 
+his father said: "You shall have a yearly 
+allowance of 1,200 francs, and if you can live on 
+that, you can do as you please." When his son was 
+made a member of the Legion of Honour, after 
+twenty-three years of earnest work, his father 
+thought the matter over, and presently doubled 
+the allowance, "for Camille seems to have some 
+talent after all," he remarked as an excuse for 
+his generosity.</p> 
+
+<p>It is told that when he first went to study
+in Italy, Corot longed to transfer the moving
+scenes before him to canvas; but people moved
+too quickly for him, so he methodically set
+about learning how to do with a few strokes
+what he would otherwise have laboured over.
+So he reduced his sketching to such a science
+that he became able to sketch a ballet in full
+movement; and it is remarked that this practice
+trained him for presenting the tremulousness
+of leaves of trees, which he did so exquisitely.</p> 
+
+<p>One learns something of this painter of early
+dawn and soft evening from a letter he wrote
+to his friend Dupré:</p> 
+
+<p><a name="082"></a>
+One gets up at three in the morning, before the sun;
+one goes and sits at the foot of a tree; one watches and
+waits. One sees nothing much at first. Nature resembles
+a whitish canvas on which are sketched scarcely the
+profiles of some masses; everything is perfumed, and
+shines in the fresh breath of dawn. Bing! the sun grows
+bright but has not yet torn aside the veil behind which lie
+concealed the meadows, the dale, and hills of the horizon.
+The vapours of night still creep, like silvery flakes over
+the numbed-green vegetation. Bing! bing!--a first ray
+of sunlight--a second ray of sunlight--the little flowers
+seem to wake up joyously. They all have their drop of
+dew which trembles--the chilly leaves are stirred with the
+breath of morning--in the foliage the birds sing unseen--all
+the flowers seem to be saying their prayers. Loves
+on butterfly wings frolic over the meadows and make the
+tall plants wave--one sees nothing--yet everything is
+there--the landscape is entirely behind the veil of mist,
+which mounts, mounts, sucked up by the sun; and
+as it rises, reveals the river, plated with silver, the
+meadow, the trees, cottages, the receding distance--one 
+distinguishes at last everything that one had
+divined at first.</p> 
+
+<p>In all the world there can hardly be a more
+exquisite story of daybreak than this; and so
+beautiful was the mood into which Corot
+fell at eventime, as he himself describes it,
+that it would be a mistake to leave it out.
+This is his story of the night:</p> 
+
+<p>Nature drowses--the fresh air, however, sighs among
+the leaves--the dew decks the velvety grass with pearls.
+The nymphs fly--hide themselves--and desire to be seen.
+Bing! a star in the sky which pricks its image on the pool.
+Charming star--whose brilliance is increased by the quivering
+of the water, thou watchest me--thou smilest to me
+with half-closed eye! Bing!--a second star appears in the 
+<a name="083"></a>
+water, a second eye opens. Be the harbingers of welcome,
+fresh and charming stars. Bing! Bing! Bing!--three,
+six, twenty stars. All the stars in the sky are keeping
+tryst in this happy pool. Everything darkens, the pool
+alone sparkles. There is a swarm of stars--all yields to
+illusion. The sun being gone to bed, the inner sun of
+the soul, the sun of art awakens. Bon! there is my
+picture done!</p> 
+
+<p>In writing those letters, Corot made literature
+as well as pictures. That little word "bing!"
+appears also in his paintings, as little leaves
+or bits of tree-trunk, some small detail which,
+high-lightened, accents the whole.</p> 
+
+<center>PLATE--DANCE OF THE NYMPHS</center>
+
+<p>There could hardly be a more charming
+painting than this which hangs in the Louvre.
+It is of a half-shut-in landscape of tall trees,
+their branches mingling; and all the atmospheric
+effects that belong to Corot's work can
+here be seen.</p> 
+
+<p>On the open greensward is a group of nymphs
+dancing gaily, while over all the scene is the
+veil of fairy-land or of something quite mysterious.
+At the back and side, satyrs can be seen
+watching the nymphs. There is here less of
+the blur of leaves than that seen in later
+pictures, but the same soft effect is found,
+and the little "bings" are the accents of light
+placed upon a leaf, a nymph's shoulder, or a
+tree-trunk.</p> 
+
+<p>This picture was painted in 1851, when 
+<a name="084"></a>
+Corot had not yet developed that style which
+was to mark all his later work.</p> 
+
+<p>Besides this picture he painted "Paysage,"
+"The Bathers" "Ville d'Arvay," "Willows near
+Arras," "The Bent Tree," "A Gust of Wind,"
+and others.</p> 
+
+<p><a name="085"></a></p>
+<h1>XI</h1>
+
+<h1>CORREGGIO (ANTONIO ALLEGRI)</h1>
+
+<center>(Pronounced Cor-rage'jyo Ahl-lay'gree)<br>
+<i>School of Parma</i><br>
+1494(?)-1534<br>
+<i>Pupil of Mantegna</i></center>
+
+<p>When Correggio was a little boy, he
+lived in the odour of spices, which
+were kept upon his father's shop-shelves. He
+was a highly-spiced little boy and man, although
+the most timid and shrinking. His imagination
+was the liveliest possible.</p> 
+
+<p>The spice merchant lived in the town of
+Correggio, and thus the artist got his name.
+Correggio knew what should be inside the
+lovely flesh of his painted figures before he
+began to paint them, because he studied
+anatomy in a truly scientific manner before he
+studied painting. Probably no other artist
+up to that time, had ever begun with the bare
+bones of his models, but Correggio may be said
+to have worked from the inside out. He learned
+about the structure of the human frame from
+Dr. Giovanni Battista Lombardi, and showed his
+gratitude to his teacher by painting a picture
+"Il Medico del Correggio" (Correggio's Physician),
+and presenting it to Doctor Lombardi.</p> 
+
+<p>Now Correggio's childhood, or at least his 
+<a name="086"></a>
+early manhood, could not have been spent in
+poverty, because it is known that he used
+the most expensive colours to paint with,
+painted upon the finest of canvas, while greater
+artists had often to be content with boards.
+He also painted upon copper plates, and it is
+said that he hired Begarelli, a sculptor of much
+fame, to make models in relief for him to copy
+for the pictures he painted on the cupolas of
+the churches in Parma. That sculptor's services
+must have been expensive.</p> 
+
+<p>On the lovely island of Capri, in the Franciscan
+convent, will be found one of his first
+pictures, painted when Correggio was about
+nineteen years old.</p> 
+
+<p>He was highly original in many ways.
+Although he had never seen the work of any
+great artist, he painted the most extraordinary
+fore-shortened pictures; and fore-shortening
+was a technicality in art then uncommon.
+He also was the first to paint church cupolas.
+Fore-shortening produces some peculiar as well
+as great results, and being a feature of art
+with which people were not then familiar,
+Correggio's work did not go uncriticised.
+Indeed one artist, gazing up into one of the
+cupolas where Correggio's fore-shortened
+figures were placed, remarked that to him it
+appeared a "hash of frogs."</p> 
+
+<p>But when Titian saw that cupola, he said:
+"Reverse the cupola, fill it with gold, and even
+then that will not be its money's worth."</p> 
+
+<p><a name="087"></a>
+Correggio did not receive very large sums for
+his work, and since he was married and took
+good care of his family, he must have had
+some source of income besides his brush.
+He received some interesting rewards for his
+paintings. For example, for "St. Jerome,"
+called "Il Giorno," he was given "400 gold
+imperials, some cartloads of faggots and
+measures of wheat, and a fat pig." That
+picture is in the Parma Gallery, and all the
+cupolas which he painted are in Parma churches.</p> 
+
+<p>Some of his pictures are signed; "Leito,"
+a synonym for his name, "Allegri." This
+indicates his style of art.</p> 
+
+<p>There is an interesting story told of how
+Correggio stood entranced before a picture of
+Raphael's, and after long study of it he exclaimed:
+"I too, am a painter!" showing at
+once his appreciation of Raphael's greatness
+and satisfaction at his own genius.</p> 
+
+<p>Doubtless a good share of Correggio's comfortable
+living came from the lady he married,
+since she was considered a rich woman for
+those times and in that locality. Her name
+was Girolama Merlini, and she lived in Mantua,
+the place where the Montagues and Capulets
+lived of whom Shakespeare wrote the most
+wonderful love story ever imagined. This
+young woman was only sixteen years old when
+Correggio met and loved her, and very beautiful
+and later on he painted a picture, "Zingarella,"
+for which his wife is said to have been the 
+<a name="088"></a>
+model. It seems to have been a stroke of
+economy and enterprise for painters to marry,
+since we read of so many who made fame and
+fortune through the beauty of their wives.</p> 
+
+<p>They were very happy together, Correggio
+and his wife, and they had four children.
+Their happiness was not for long, because
+Correggio seems to have been but thirty-four
+years old when she died, nor did he live to be
+old. There is a most curious tale of his death
+which is probably not true, but it is worth
+telling since many have believed it. He is
+supposed to have died in Correggio, of pleurisy,
+but the story is that he had made a picture
+for one who had some grudge against him, and
+who in order to irritate him paid him in copper,
+fifty scudi. This was a considerable burden,
+and in order to save expense and time, it is
+said that Correggio undertook to carry it home
+alone. It was a very hot day, and he became
+so overheated and exhausted with his heavy
+load that he took ill and died, and he may be
+said literally to have been killed by "too much
+money," if this were true. Vasari, a biographer
+to be generally believed, says it is a fact.</p> 
+
+<p>Correggio said that he always had his
+"thoughts at the end of his pencil," and there
+are those who impudently declare that is the
+only place he <i>did</i> have them, but that is a
+carping criticism, because he was a very great
+artist, his greatest power being the presentation
+of soft blendings of light and shade. There 
+<a name="089"></a>
+seem to have been few unusual events in
+Correggio's life; very little that helps us to
+judge the man, but there is a general opinion
+that he was a kind and devoted father and
+husband, as well as a good citizen. With
+little demand upon his moral character, he did
+his work, did it well, and his work alone gave
+him place and fame.</p> 
+
+<p>He became the head of a school of painting
+and had many imitators, but we hear little of
+his pupils, except that one of them was his own
+son, Pompino, who lived to be very old, and
+in his turn was successful as an artist.</p> 
+
+<p>Correggio was buried with honours in the
+Arrivabene Chapel, in the Franciscan church
+at Correggio.</p> 
+
+<center>PLATE--THE HOLY NIGHT</center>
+
+<p>This painting is not characteristic of Correggio's
+work, but nevertheless it is very
+beautiful. The brilliant warm light which
+comes from the Infant Jesus in His mother's
+arms is reflected upon the faces of those
+gathered about, and even illuminates the
+angelic group hovering above him. The slight
+landscape forming the background is also
+suggestive, and the conditions of the birth
+are indicated by the ass which may be seen
+in the middle distance. The faces of all are
+joyous yet full of wonderment, the whole scene
+intimate and human.</p> 
+
+<p><a name="090"></a>
+The picture is also called the "Adoration of
+the Shepherds," and that title best tells the
+story. See the shepherdess shading her face
+with one hand and offering two turtle-doves
+with the other. The ass in the distance is the
+one on which Mary rode to Bethlehem, and
+Joseph is caring for it. Even the cold light
+of the dawning day is softened by the beauty
+of the group below. This picture is in the
+Royal Gallery in Dresden.</p> 
+
+<center>PLATE--THE MYSTIC MARRIAGE OF ST. CATHERINE</center>
+
+<p>The Infant Jesus sits upon His mother's
+lap, and places the ring upon St. Catherine's
+finger, while Mary's hand helps to guide that
+of her Child. This action brings the three
+hands close together and adds to the beauty
+of the composition. All of the faces are full of
+pleasure and kindliness, while that of St.
+Sebastian fairly glows with happy emotion.
+The light is concentrated upon the body of the
+Child and is reflected upon the faces of the
+women. This painting hangs in the Louvre.</p> 
+
+<p>Other great Correggio pictures are the
+"School of Cupid," which is more characteristic
+of his work; "Antiope," "Leda," "Danae,"
+and "Ecce Homo." 
+<a name="091"></a></p>
+<h1>XII</h1>
+
+<h1>PAUL GUSTAVE DORÉ</h1>
+
+<center><i>French School</i><br>
+1833-1883</center>
+
+<p>This artist died in Paris twenty-five years
+ago, but there is little as yet to be told
+of his life history. He was educated in Paris
+at the Lycée Charlemagne, having gone there
+from Strasburg, where he was born.</p> 
+
+<p>He was a painter of fantastic and grotesque
+subjects, and as far as we know, he began his
+career when a boy. He made sketches before
+his eighth year which attracted much attention,
+and he earned considerable money while still
+at school. He was at that time engaged to
+illustrate for journals, at a good round sum,
+and before he left the Lycée he had made
+hundreds of drawings, somewhat after the
+satirical fashion of Hogarth.</p> 
+
+<p>His work is very characteristic and once seen
+is likely to be always recognised.</p> 
+
+<p>He first worked for the <i>Journal Pour Rire</i>,
+but then he undertook to illustrate the work
+of Rabelais, the great satirist, whose text just
+suited Doré's pencil. After Rabelais he illustrated
+Balzac, also the "Wandering Jew," "Don
+Quixote," and Dante's "Divine Comedy."</p> 
+
+<p>He undertook to do things which he could 
+<a name="092"></a>
+not do well, simply for the money there was in
+the commissions. He had but a poor idea of
+colour and his work was coarse, but it had
+such marked peculiarities that it became
+famous. He did a little sculpture as well,
+and even that showed his eccentricities of
+thought.</p> 
+
+<center>PLATE--MOSES BREAKING THE TABLETS
+OF THE LAW</center>
+
+<p>This is one of the illustrations of the Doré
+Bible, published in 1865-66. The story is well
+known of how Moses went up into the Mount
+of the Lord to receive the laws for the Israelites,
+which were written upon tables of stone.
+Upon his descent from the Mount he found
+that his followers had set up a golden calf,
+which they were worshipping; and in his wrath
+Moses broke the tablets on which the Law
+was inscribed. The power shown in his attitude,
+the affrighted faces of the cowering Jews,
+the thunder and lightning as an expression of
+the wrath of the Almighty are all painted in
+Doré's best manner.</p> 
+
+<p><a name="093"></a></p>
+<h1>XIII</h1>
+
+<h1>ALBRECHT DÜRER</h1>
+
+<center>(Pronounced Dooer-rer')<br>
+<i>Nuremberg School</i><br>
+1471-1528<br>
+<i>Pupil of Wolgemuth and Schongauer</i></center>
+
+<p>Albrecht Dürer by nationality was a
+Hungarian, but he was born in the city
+of Nuremberg. His father had come from
+the little Hungarian town of Eytas to Nuremberg
+that he might practise the craft of
+a goldsmith. Notwithstanding his Hungarian
+origin, the name is German and the family
+"bearing," or sign, is the open door. This
+device suggests that the name was first formed
+from "Thurer," which means "carpenter,"
+maker of doors.</p> 
+
+<p>The father became the goldworker for a
+master goldsmith of Nuremberg named Hieronymus
+Holper, and very soon the new
+employee had fallen in love with his master's
+daughter. The daughter was very young and
+very beautiful; her name was Barbara, and as
+Herr Dürer was quite forty years of age, while
+she was but fifteen, the match seemed most
+unlikely, but they married and had eighteen
+children! The great painter was one of them.</p>
+
+<p>Albrecht loved his parents most tenderly,
+<a name="094"></a>
+and from first to last we hear no word of
+disagreement among any members of that
+immense household. Young Albrecht was
+especially the companion of his father, being
+brilliant, generous, and hard-working in a
+family where everyone needed to do his best
+to help along. This love and companionship
+never ceased until death, and after his parents
+died Albrecht wrote in a touching manner of
+their death, describing his love for them,
+and their many virtues. He was an author
+and a poet as well as a painter, and only
+Leonardo da Vinci matched him for greatness
+and versatility. We may know what
+Dürer's father looked like, since the son made
+two portraits of him; one is to be seen in the
+Uffizi Gallery at Florence and the other belongs
+to the Duke of Northumberland's collection.
+The latter portrait has been reproduced in an
+engraving, so that it is familiar to most people.</p> 
+
+<p>In the days when the great artist was growing
+up, Nuremberg was the centre of all intellectuality
+and art in the North. The city of Augsburg
+also followed art fashions, but it was far
+less important than Nuremberg, because in the
+latter city every sort of art-craft was followed
+in sincerity and with great originality.</p> 
+
+<p>In those days, the craft of the goldsmith
+was closely allied with the profession of the
+painter, because the smith had to create his
+own designs, and that called for much talent.
+Thus it was but a step from designing in 
+<a name="095"></a>
+precious metals to the use of colour, and to
+engraving. In making wood engravings, however,
+the drudgery of it was left almost entirely
+to workmen, not artists. Nuremberg was also
+the seat of musical learning. Wagner makes
+this fact pathetic, comical, and altogether
+charming in his "Mastersingers of Nuremberg."</p> 
+
+<p>Till Dürer's time, however, there had been
+little painting that could be regarded as art,
+and when he came to study it there was but
+little opportunity in his own land, but Dürer
+was destined to bring art to Nuremberg. If
+he went elsewhere to study, it was only for a
+little time, because he was above all things
+patriotic and dearly loved his home.</p> 
+
+<p>With seventeen brothers and sisters, young
+Dürer's problem was a serious one. His
+father not only meant him to become a goldsmith
+like himself--a craft in which there
+was much money to be made at a time when
+people dressed with great ornamentation and
+used gold to decorate with--it was highly
+necessary with so large a family that he should
+learn to do that which could make him helpful
+to his father. Hence the young boy entered
+his father's shop. If he had not been handicapped
+with so many to help to maintain,
+he would have laid up a considerable fortune,
+because from the very beginning he was master
+of all that he undertook; doing the least thing
+better than any other did it, putting conscience
+and painstaking into all.</p> 
+
+<p><a name="096"></a>
+"My father took special delight in me,"
+the son said, "seeing that I was industrious
+in working and learning, he put me to school;
+and when I had learned to read and write, he
+took me home from my school and taught
+me the goldsmith's trade."</p> 
+
+<p>The family were good and kind; excellent
+neighbours, deeply religious, and little Albrecht
+certainly was comely. He was beautiful as a
+little child, and as a man was very handsome,
+with long light hair sweeping his shoulders,
+and gentle eyes. He was very tall, stately,
+and full of dignity.</p> 
+
+<p>In his father's shop he made little clay figures
+which were afterward moulded in metal; also
+he learned to carve wood and ivory, and he
+added the touch of originality to all that he
+did. He was the Leonardo da Vinci of Germany,
+an intellectual man, a poet, painter, sculptor,
+engraver, and engineer. He approached everything
+that he did from an intellectual point
+of view, looking for the reasons of things.</p> 
+
+<p>After a while in his father's shop, he found
+mere craftsmanship irksome, and he begged
+to be allowed to enter a studio. This was a
+great disappointment to the father, even a
+distress, because he could see no very quick
+nor large returns in money for an artist, and
+he sorely needed the help of his son; but being
+kind and reasonable, he consented Albrecht
+was apprenticed to the only artist of any
+repute then in Nuremberg, Wolgemuth.</p> 
+
+<p><a name="097"></a>
+To his studio Albrecht went, at the age of
+fifteen, and if he did not learn much more of
+painting, under that artist's direction, than
+his own genius had already taught him, he
+learned the drudgery of his work; how to grind
+colours and to mix them, and he studied wood
+engraving also.</p> 
+
+<p>In Wolgemuth's studio he remained for
+the three years of his apprenticeship, and then
+he fled to better things. For a time he followed
+the methods of another German artist, Schongauer,
+but finally he went forth to try his luck
+alone. He wandered from place to place,
+practising all his trades, goldsmithing, engraving,
+whatever would support him, yet
+always and everywhere painting.</p> 
+
+<p>It is thought that he may have gone as far
+as Italy, but it is not certain whether he went
+there in his first wanderings or later on.
+However, he was soon recalled home, for his
+father had found a suitable wife for him. She
+was the daughter of a rich citizen and her
+name was Agnes Frey. She was pretty as well
+as rich, but had she been neither Albrecht would
+have returned at his father's bidding. There was
+never any resistance to the fine and proper things
+of life on Albrecht Dürer's part. He was the
+well balanced, reasonable man from youth up.</p> 
+
+<p>There have been extraordinary tales told of
+the artist's wife. She has been called hateful
+and spiteful as Xantippe, the wife of Socrates,
+but we think this is calumny. The stories 
+<a name="098"></a>
+came about in this way: Dürer had a life-long
+friend, Wilibald Pirkheimer, who in his old
+age became the most malicious and quarrelsome
+of old fellows. He lived longer than
+Dürer did, and Dürer's wife also outlived her
+husband. Pirkheimer wanted a set of antlers
+which had belonged to Dürer and which he
+thought the wife should give him after Dürer
+was dead, but Agnes thought otherwise and
+would not give them up. Then, full of rage,
+the old man wrote the most outrageous letters
+about poor Agnes, saying that she was a shrew
+and had compelled Dürer to work himself to
+death; that she was a miser and had led the
+artist an awful dance through life. This is the
+only evidence against her, and that so sane and
+sensible a man as the artist lived with her all
+his life and cherished her, is evidence enough
+that Pirkheimer didn't tell the truth. When
+Dürer died he was in good circumstances and
+instead of being overworked, he for many
+years had done no "pot-boiling," but had
+followed investigations along lines that pleased
+him. After his death, the widow treated his
+brothers and sisters generously, giving them
+properties of Dürer's and being of much help
+to them. During the artist's life he and she
+had travelled everywhere together and had
+appeared to love each other tenderly; hence
+we may conclude that the old Pirkheimer
+was simply a disgruntled, gouty old man 
+without a good word for anybody.</p> 
+
+<p><a name="099"></a>
+If Dürer's father and mother had eighteen
+children, Albrecht and Agnes struck a balance,
+for they had none. Whether or not Dürer
+went to Italy before his marriage in 1494,
+certain it is that he was in Venice, the home of
+Titian, in 1506. Titian was six years younger
+than Dürer, who was then about thirty-five
+years old. It is said that he started for Italy
+in 1505 and that he went the whole of the way,
+over the Alps, through forests and streams,
+on horseback. Who knows but it was during
+that very journey, while travelling alone,
+often finding himself in lonely ways, and full
+of the speculative thoughts that were characteristic
+of him, that he did not think first of
+his subject, "Knight, Death, and the Devil,"
+which helped make his fame. In that picture
+we have a knight, helmeted, carrying his lance,
+mounted upon his horse, riding in a lonely
+forest, with death upon a "pale horse" by
+his side, holding an hour glass to remind the
+knight of the fleeting of time. Behind comes
+the devil, with trident and horn, represented
+as a frightful and disgusting beast, which
+follows hot-foot after the lonely knight, who
+looks neither to right nor left, but persistently
+goes his way.</p> 
+
+<p>Titian's teacher, Bellini, was still living,
+and he was one of Dürer's greatest admirers.
+Especially did he believe that he could paint
+the finest hair of any artist in the world. One
+day, while studying Dürer's work, and being 
+<a name="100"></a>
+especially fascinated by the hair of one of
+his figures, the old man took Dürer's brush
+and tried to reproduce as beautiful a
+tress. Presently he put down the brush
+in despair, but the younger artist took it up,
+still wet with the same colours, and in a
+few brilliant strokes produced a lovely lock
+of woman's hair.</p> 
+
+<p>While luxuriating in Venetian heat, Dürer
+wrote home to his friend Pirkheimer: "Oh,
+how I shall freeze after this sunshine!" He
+was a lover of warm, beautiful colour, gay
+and tender life. Most of all he loved the
+fatherland, and all the honours paid him and
+all the invitations pressed upon him could
+not keep him long from Nuremberg. The
+journey homeward was not uneventful because
+he was taken ill, and had to stop at a house
+on his way, where he was cared for till he was
+strong enough to proceed. Before he went
+his way he painted upon the wall of that house
+a fine picture, to show his gratitude for the
+kind treatment he had received. Imagine a
+people so settled in their homes that it
+would be worth while for an artist who
+came along to leave a picture upon the walls
+to-day--we should have moved to a new
+house or a new flat almost before Dürer
+could have washed his brushes and turned
+the corner.</p> 
+
+<p>Back in Nuremberg, he settled down into
+the life of a responsible citizen, lived in a fine
+<a name="101"></a>
+new house, in time became a member of the
+council, and his studio was a veritable workshop.
+Studios were quite different from those
+of to-day. Then the pupils turned to and
+ground colours, did much of their own manufacturing,
+engaged at first in such commonplace
+occupations, which were nevertheless teaching
+them the foundation of their art, while they
+watched the work of the master. Such a
+studio as Dürer's must have been full of young
+men coming and going, not all working at the
+art of painting, but engraving, preparing
+materials for such work, designing, and executing
+many other details of art work.</p> 
+
+<p>After this time Dürer made his smallest
+picture, which is hardly more than an inch in
+diameter. On that tiny surface he painted
+the whole story of the crucifixion, and it is now
+in the Dresden Gallery. To those of us who
+see little mentality in the faces of the Italian
+subjects, the German art of Dürer, often ugly
+in the choice of models, and so exact as to
+bring out unpleasing details, is nevertheless
+the greater; because in all cases, the faces have 
+sincere expressions. They exhibit human purposes 
+and emotions which we can understand, and despise 
+or love as the case may be.</p> 
+
+<p>They say that his Madonna is generally a
+"much-dressed round-faced German mother,
+holding a merry little German boy." That
+may be true; but at any rate, she is every inch 
+<a name="102"></a>
+a mother and he a well-beloved little boy,
+which is considerably more than can be said of
+some Italian performances.</p> 
+
+<p>Dürer made a painting of "Praying Hands,"
+a queer subject for a picture, but those hands
+are nothing <i>but</i> praying hands. The story of
+them is touching. It is said that for several
+years Dürer had won a prize for which a friend
+of his had also competed, and upon losing the
+prize the last time he tried for it, the friend
+raised his hands and prayed for the power to
+accept his failure with resignation and humility.
+Dürer, looking at him, was impressed with the
+eloquence of the gesture; thus the "Praying
+Hands" was conceived.</p> 
+
+<p>Dürer was also called the <i>Father of Picture
+Books</i>, because he designed so many woodcuts
+that he first made possible the illustration of
+stories.</p> 
+
+<p>He printed his own illustrations in his own
+house, and was well paid for it. The Emperor
+Maximillian visited Nuremberg, and wishing
+to honour Dürer, commanded him to make a
+triumphal arch.</p> 
+
+<p>"It was not to be fashioned in stone like
+the arches given to the victorious Roman
+Emperors; but instead it was to be composed
+of engravings. Dürer made for this purpose
+ninety-two separate blocks of woodcuts. On
+these were represented Maximillian's genealogical
+tree and the principal events of his life.
+All these were arranged in the form of an
+<a name="103"></a>
+arch, 9 feet wide and 10-1/2 feet high. It took
+Dürer three years to do this work, and he was
+never well paid," so says one who has compiled
+many incidents of his life.</p> 
+
+<p>"While the artist worked, the Emperor
+often visited his studio; and as Dürer's pet
+cats often visited it at the same time,
+the expression arose, 'a cat may look at a
+King!'"</p> 
+
+<p>On the occasion of one of these kingly visits,
+Maximillian tried to do a little art-work on his
+own account. Taking a piece of charcoal he
+tried to sketch, but the charcoal kept breaking
+and he asked Dürer why it did so.</p> 
+
+<p>"That is my sceptre; your Majesty has other
+and greater work to do," was the tactful reply.
+It is a question with us to-day whether the
+King ever did a greater work than Albrecht
+Dürer, king of painters, was doing.</p> 
+
+<p>After this, Maximillian gave Dürer a pension,
+but when the Emperor died the artist found it
+necessary to apply to the monarch who came
+after him, in order to have the gift confirmed.
+This was the occasion for his journey to the
+Low Countries, and he took his wife Agnes with
+him. In the Netherlands he was received
+with much honour and was invited to become
+court painter; and what was more, his pension
+was fixed upon him for life. The great work
+of his life was his illustration of the Apocalypse.
+For this he made sixteen extraordinary woodcuts,
+of great size.</p> 
+
+<p><a name="104"></a>
+On his journey to see Charles V., Maximillian's
+successor, Dürer kept a diary in which he
+noted the minutest details of all that happened
+to him. He told of the coronation of Charles;
+of hearing about a whale that had been cast
+upon the shore; of his disappointment that it
+had been removed before he had reached the
+place. He wrote with great indignation about
+the supposed kidnapping of Martin Luther,
+while he was on his way home from the Diet
+of Worms.</p> 
+
+<p>While Dürer was in the Low Countries, a
+fever came upon him, and when he returned
+home, it still followed him. Indeed, although
+he lived for seven years after his return, he was
+never well again. Among his effects there was
+a sketch made to indicate to his physician the
+seat of his illness.</p> 
+
+<p>Dürer did not paint great frescoes upon walls
+as did Raphael, Michael Angelo, and all great
+Italian artists; but instead he painted on wood,
+canvas, and in oils.</p> 
+
+<p>In all the civilised world Dürer was honoured
+equally with the great Italian painters of his
+time. He was a man of much conscientiousness,
+dignity, and tenderness. He was devoted
+to his home and country, and regarded the
+problems of life intellectually. When he came
+to die, his end was so unexpected that those
+dearest to him could not reach his bedside.
+He was buried in St. John's cemetery in
+Nuremberg. After his death, Martin Luther
+<a name="105"></a>
+wrote as follows to their mutual friend, Eoban
+Hesse:</p> 
+
+<p>"As for Dürer; assuredly affection bids us mourn for
+one who was the best of men, yet you may well hold him
+happy that he has made so good an end, and that Christ
+has taken him from the midst of this time of troubles, and
+from yet greater troubles in store, lest he, that deserved
+to behold nothing but the best, should be compelled to
+behold the worst. Therefore may he rest in peace with
+his fathers, Amen."</p> 
+
+<center>PLATE--THE NATIVITY</center>
+
+<p>Our description of this painting calls attention
+to the fact that the columns and arches of
+the picturesque ruin belong to a much later
+period in history than the birth of Christ.
+Dürer was not acquainted with any earlier
+style of architecture than the Romanesque and
+therefore he used it here. "The ruin serves as
+a stable. A roof of board is built out in front
+of the side-room which shelters the ox and ass,
+and under this lean-to lies the new born babe
+surrounded by angels who express their
+childish joy. Mary kneels and contemplates
+her child with glad emotion. Joseph, also
+deeply moved, kneels down on the other side of
+the child, outside the shelter of the roof. Some
+shepherds to whom the angel, who is still seen
+hovering in the air, has announced the tidings,
+are already entering from without the walls."
+(Knackfuss). The picture is the central panel
+of an altar-piece now in the Old Pinakothek at 
+<a name="106"></a>
+Munich. Dürer's oil painting of the four
+apostles--John, Peter, Mark, and Paul--is in
+the same gallery. Other Dürer pictures are:
+"The Knight, Death and the Devil," "The
+Adoration of the Magi," "Melancholy,"  and
+portraits of himself.</p> 
+
+<p><a name="107"></a></p>
+<h1>XIV</h1>
+
+<h1>MARIANO FORTUNY</h1>
+
+<center>(Pronounced Mah-ree-ah-no' For-tu'ne)<br>
+<i>Spanish School</i><br>
+1838-1874<br>
+<i>Pupil of Claudio Lorenzalez</i></center>
+
+<p>Fortuny won his own opportunities.
+He took a prize, while still very young,
+which made it possible for him to go to Rome
+where he wished to study art. He did not
+spend his time studying and copying the old
+masters as did most artists who went there, but,
+instead, he studied the life of the Roman streets.</p> 
+
+<p>He had already been at the Academy of
+Barcelona, but he did not follow his first
+master; instead, he struck out a line of art for
+himself. After a year in Rome the artist
+went to war; but he did not go to fight men,
+he was still fighting fate, and his weapon
+was his sketch book. He went with General
+Prim, and he filled his book with warlike
+scenes and the brilliant skies of Morocco.
+From that time his work was inspired by
+his Moorish experiences.</p> 
+
+<p>After going to war without becoming a
+soldier, Fortuny returned to Paris and there
+he became fast friends with Meissonier, so that
+a good deal of his work was influenced by
+that artist's genius. After a time Fortuny's 
+<a name="108"></a>
+paintings came into great vogue and far-off
+Americans began buying them, as well as
+Europeans. There was a certain rich dry-goods
+merchant in the United States who had
+made a large fortune for those days, and while
+he knew nothing about art, he wanted to spend
+his money for fine things. So he employed
+people who did understand the matter to buy
+for him many pictures whose excellence he,
+himself, could not understand, but which were
+to become a fine possession for succeeding
+generations. This was about 1860, and this
+man, A.T. Stewart, bought two of Fortuny's
+pictures at high prices. "The Serpent Charmer,"
+and "A Fantasy of Morocco."</p> 
+
+<p>When Fortuny was thirty years old he
+married the daughter of a Spaniard called
+Madrazo, director of the Royal Museum.
+His wife's family had several well known
+artists in it, and the marriage was a very
+happy one. Because of this, Fortuny was
+inspired to paint one of the greatest of his
+pictures, "The Spanish Marriage." In it are
+to be seen the portraits of his wife and his
+friend Regnault. After a time he went to
+live in Granada; but he could never forget the
+beautiful, barbaric scenes in Morocco, and so
+he returned there. Afterward he went with
+his wife to live in Rome, and there they had a
+fine home and everything exquisite about them,
+while fortune and favour showered upon them;
+but he fell ill with Roman fever, because of 
+<a name="109"></a>
+working in the open air, and he died while he
+was comparatively a young man.</p> 
+
+<center>PLATE--THE SPANISH MARRIAGE</center>
+
+<p>Fortuny is said to "split the light into a
+thousand particles, till his pictures sparkle
+like jewels and are as brilliant as a kaleidoscope....
+He set the fashion for a class
+of pictures, filled with silks and satins, bric-à-brac
+and elegant trifling."</p> 
+
+<p>Look at the brilliant scene in this picture!
+The priest rising from his chair and leaning
+over the table is watching the bridegroom
+sign his name. This chap is an old fop, bedecked
+in lilac satin, while the bride is a dainty
+young woman, without much interest in her
+husband, for she is fingering her beautiful
+fan and gossiping with one of her girl friends.
+She wears orange-blossoms in her black hair
+and is in full bridal array. One couple, two
+men, sit on an elegantly carved seat and are
+looking at the goings-on with amusement,
+while an old gentleman sits quite apart,
+disgusted with the whole unimpressive scene.
+Everybody is trifling, and no one is serious for
+the occasion. The furnishings of the room are
+beautiful, delicate, almost frivolous. People
+are strewn about like flowers, and the whole
+effect is airy and inconsequent. Fortuny painted
+also "The Praying Arab," "A Fantasy of Morocco,"
+"Snake Charmers," "Camels at Rest," etc.</p> 
+
+<p><a name="110"></a></p>
+<h1>XV</h1>
+
+<h1>THOMAS GAINSBOROUGH</h1>
+
+<center><i>English School</i><br>
+1727-1788<br>
+<i>Pupil of Gravelot and of Hayman</i> </center>
+
+<p>There seems to have been no artist, with
+the extraordinary exceptions of Dürer and
+Leonardo, who learned his lessons while at
+school. Little painters have uniformly begun
+as bad spellers.</p> 
+
+<p>Gainsborough's father was in the business
+of woolen-crape making, while his mother
+painted flowers, very nicely, and it was she
+who taught the small Thomas. There were
+nine little Gainsboroughs and, shocking to
+relate, the artist of the family was so ready
+with his pencil that when he was ten years
+old he forged his father's name to a note which
+he took to the schoolmaster, and thereby
+gained himself a holiday. There is no account
+of any other wicked use to which he put his
+talent. It is said that he could copy any
+writing that he saw, and his ready pencil
+covered all his copy-books with sketches of
+his schoolmasters. It was thought better
+for him finally to follow his own ideas of
+education, namely, to roam the woodlands
+and make beautiful pictures.</p>
+
+<p><a name="111"></a>
+His father's heart was not softened till one
+day little Gainsborough brought home a sketch
+of the orchard into which the head of a man
+had thrust itself, painted with great ability.
+This man was a poacher, and father Gainsborough
+recognised him by the portrait. There
+seemed to be utility in art of this kind, and
+before long the boy found himself apprenticed
+to a silversmith.</p> 
+
+<p>Through the silversmith the artist got
+admission to an art school and began his
+studies; but his master was a dissolute fellow,
+and before long the pupil left him.</p> 
+
+<p>Gainsborough was born in the town of
+Sudbury on the River Stour, the same which
+inspired another great painter half a century
+later. Gainsborough is best known by his
+portraits, in particular as the inventor of "the
+Gainsborough hat," but he was first of all a
+truly great landscape painter, and learned
+his art as Constable did after him, along the
+beautiful shores of the river that flowed past
+his native town.</p> 
+
+<p>The old Black Horse Inn is still to be seen,
+and it was in the orchard behind it that he
+studied nature, the same in which he made
+the first of his famous portraits, that of the
+poacher. It is known to this day as the
+portrait of "Tom Pear-tree." That picture
+was copied on a piece of wood cut into the
+shape of a man, and it is in the possession of
+Mr. Jackson, who lent it for the exhibition of 
+<a name="112"></a>
+Gainsborough's work held at the Grosvenor
+Gallery, in 1885.</p> 
+
+<p>While Thomas was with his first master,
+by no means a good companion for a lad of
+fifteen, he lived a busy, self-respecting life,
+since he was devoted to his home and to his
+parents. Only three years after he set out
+to learn his art he married a young lady of
+Sudbury. The pair were by no means rich,
+Gainsborough having only eighteen years of
+experience in this world, besides his brush,
+and a maker of woolen-crape shrouds for a
+father--who was not over pleased to have
+an artist for a son. The lady had two hundred
+pounds but this did not promise a very luxurious
+living, so they took a house for six pounds a
+year, at Ipswich. Thus the two young lovers
+began their life together. There was a good
+deal of romance in the story of his wife, whose
+name was supposed to be Margaret Burr.
+The two hundred pounds that helped to pay
+the Ipswich rent did not come from the man
+accepted as her father, but from her real
+father, who was either the Duke of Bedford, or
+an exiled prince. This would seem to be just
+the sort of story that should surround a great
+painter and his affairs.</p> 
+
+<p>While he lived at Ipswich Gainsborough
+used to say of himself that he was "chiefly
+in the face-way" meaning that for the most
+part he made portraits. He loved best to
+paint the scenes of his boyhood, as Constable
+<a name="113"></a>
+afterward did, but he soon found there was
+more money in portraits, and so he decided
+to go to live in Bath, the fashionable resort of
+English people in that day, where he was
+likely to find rich folk who wanted to see
+themselves on canvas. He settled down there
+with his wife, whom he loved dearly, and his
+two daughters and at once began to make
+money. It is said he painted five hours a day
+and all the rest of the time studied music. As
+the theatre was Corot's greatest happiness, so
+did music most delight Gainsborough, and he
+could play well on nearly every known instrument;
+he became so excellent a musician that
+he even gave concerts. He had the most
+delightful people about him, people who loved
+art and who appreciated him, and then there
+were the other people who paid for having
+themselves painted. Altogether it was an
+ideal situation.</p> 
+
+<p>His studio was in the place known as the
+"Circus" at Bath, and people came and went
+all day, for it became the fashionable resort
+for all the fine folks.</p> 
+
+<p>From five guineas for half length portraits,
+he soon raised his price to forty; he had charged
+eight for full length portraits, but now they
+went for one hundred. He painted some
+famous men of the time. The very thought
+is inspiring of such a company of geniuses
+with Gainsborough in the centre of the group.
+He painted Laurence Sterne, who wrote "The 
+<a name="114"></a>
+Sentimental Journey," and a few other delightful
+things; also Garrick, the renowned actor.</p> 
+
+<p>Even the encyclopædia reads thrillingly upon
+this subject and one can afford to quote it, with
+the feeling that the quotation will be read:
+"His house harboured Italian, German, French
+and English musicians. He haunted the green
+room of Palmer's Theatre, and painted gratuitously
+the portraits of many of the actors. He
+gave away his sketches and landscapes to any
+one who had taste or assurance enough to ask
+for them." This sounds royal and exciting.</p> 
+
+<p>After that Gainsborough went up to London
+with plenty of money and plenty of confidence
+and instead of six pounds a year for his house,
+he paid three hundred pounds, which suggests
+much more comfort.</p> 
+
+<p>There were two other great painters of the time
+in London, Sir Benjamin West--an American,
+by the way--and Sir Joshua Reynolds. West
+was court favourite, but Gainsborough too was
+called upon to paint royalty, and share West's
+honours. Reynolds was the favourite of the
+town, but he too had to divide honours with
+Gainsborough when the latter painted Richard
+Brinsley Sheridan, Edmund Burke and Sir
+William Blackstone.</p> 
+
+<p>Notwithstanding, his landscapes, for which
+he should have been most famous, did not sell.
+Everybody approved of them, but it is said they
+were returned to him till they "stood ranged in
+long lines from his hall to his painting room"
+<a name="115"></a>
+Gainsborough was a member of the Royal
+Academy and also a true Bohemian. He cared
+little for elegant society, but made his friends
+among men of genius of all sorts. He was very
+handsome and impulsive, tall and fair, and
+generous in his ways; but he had much sorrow
+on account of one of his daughters, Mary, who
+married Fischer, a hautboy player, against her
+father's wishes. The girl became demented--at 
+least she had spells of madness.</p> 
+
+<p>When Mary Gainsborough married, her father
+wrote the following letter to his sister, which
+shows that he was a man of tender feeling for
+those whom he truly loved:</p> 
+
+<p>" ... I had not the least suspicion of
+the attachment being so long and deeply seated;
+and as it was too late for me to alter anything
+without being the cause of total unhappiness on
+both sides, my consent ... I needs must
+give ... and accordingly they were married
+last Monday and settled for the present in a
+ready-furnished little house in Curzon Street,
+Mayfair ... I can't say I have any reason to
+doubt the man's honesty or goodness of heart, as
+I never heard anyone speak anything amiss of
+him, and as to his oddities and temper, she must
+learn to like them as she likes his person ...
+Peggy has been very unhappy about it, but I endeavour
+to comfort her." Peggy was his wife.</p> 
+
+<p>The abominable Fischer died twenty-years
+before Mary did--she lived to be an old, old
+woman.</p> 
+
+<p><a name="116"></a>
+Among those whom Gainsborough loved best
+was the man called Wiltshire who carried his
+pictures to and from London. He was a public
+"carrier" but would never take any money
+for his services to the artist, because he loved his
+work. All he asked was "a little picture"--and 
+he got so many of these, given in purest
+affection, that he might have gone out of business
+as a carrier, had he chosen to sell them. Four
+of those little pictures are now very great ones
+worth thousands of pounds and known everywhere
+to fame. They are "The Parish Clerk," "Portrait
+of Quin," "A Landscape with Cattle," and
+"The Harvest Waggon."</p>
+
+<p>We have a good many stories of Gainsborough's
+bad manners. The artists of his day tried to
+treat him with every consideration, but in return
+he treated them very badly, especially Sir Joshua
+Reynolds. Reynolds, who was then President of
+the Academy greatly admired Gainsborough but
+the latter would not return Sir Joshua's call, and
+when Reynolds asked him to paint his portrait
+for him, Gainsborough undertook it thanklessly.
+Sir Joshua left town for Bath for a time, and
+when he returned he tried to learn how soon the
+portrait would be finished, but Gainsborough
+would not even reply to his inquiry. There
+seems to have been no reason for this behaviour
+unless it was jealousy, but it made a most uncomfortable
+situation between fellow artists.</p>
+
+<p>Gainsborough has told some not very pleasing
+stories about himself, but one of them 
+<a name="117"></a>
+shows us what a knack he had for seeing the
+comic side of things, and perhaps for seeing
+comedy where it never existed. Upon one
+occasion he was invited to a friend's house
+where the family were in the habit of assembling
+for prayers, and he had no sooner got
+inside, than he began to fear he should laugh,
+when prayer time came, at the chaplain. In a
+rush of shyness he fled, leaving his host to look
+for him, till he stumbled over a servant who
+said that Mr. Gainsborough had charged him
+to say he had gone to breakfast at Salisbury.
+Even respect for the customs of others could
+not make him control himself.</p> 
+
+<p>It was through his intimacy with King
+George's family that his quarrel with the
+Royal Academy came about. He had painted
+the three princesses--the Princess Royal,
+Princesses Augusta and Elizabeth, and these
+were to be hung at a certain height in Carlton
+House, but when he sent the first to the
+Academy he asked it to be specially hung and
+his request was refused. Then he sent a note
+as follows:</p> 
+
+<p>"He begs pardon for giving them so much trouble, but
+he has painted the picture of the princesses in so tender a
+light that, notwithstanding he approves very much of
+the established line for strong effects, he cannot possibly
+consent to have it placed higher than eight feet and a half,
+because the likeness and the work of the picture will not
+be seen any higher, therefore at a word he will not trouble
+the gentlemen against their inclination, but will beg the
+best of his pictures back again." 
+ 
+<a name="118"></a>
+Immediately, the Academy returned his
+pictures, although it would seem that they
+might better have accommodated Gainsborough
+than have lost such a fine exhibition. He
+never again would send anything to them.</p> 
+
+<p>He was inclined to be irritated by inartistic
+points in his sitters, and is said to have muttered
+when he was painting the portrait of Mrs.
+Siddons, the great actress: "Damn your nose
+madam; there is no end to it." The nose
+in question must have been an "eyesore"
+to more than Gainsborough, for a famous
+critic is said to have declared that "Mrs.
+Siddons, with all her beauty was a kind of
+female Johnson ... her nose was not
+too long for nothing."</p> 
+
+<p>Notwithstanding that his landscapes were
+not popular, he used to go off into the country
+to indulge his taste for painting them, and
+once he wrote to a friend that he meant to
+mount "all the Lakes at the next Exhibition
+in the great style, and you know, if people
+don't like them, it's only jumping into one
+of the deepest of them from off a wooded island
+and my reputation will be fixed forever."
+An old lady, whose guest he was, down in the
+country, told how he was "gay, very gay, and
+good looking, creating a great sensation, in a rich
+suit of drab with laced ruffles and cocked hat."</p> 
+
+<p>One of the boys he saw in the country he
+delighted to paint, and he also grew so much
+attached to him that he took him to London
+<a name="119"></a>
+and kept him with him as his own son. That
+boy's name was Jack Hill and he did not care
+for city life, nor maybe for Gainsborough's
+eccentricities, so he ran away. He was found
+again and again, till one day he got away for
+good, and never came back.</p> 
+
+<p>All his later life Gainsborough was happy.
+His daughter, who had married Fischer, the
+hautboy-player, came back home to live, and
+her disorder was not bad enough to prevent
+her being a cause of great happiness to her
+father. The other daughter never married.
+Gainsborough says that he spent a thousand
+pounds a year, but he also gave to everybody
+who asked of him, and to many who asked
+nothing, so that he must have made a great
+deal of money during his lifetime, by his art.
+It is said that the "Boy at the Stile" was
+bestowed on Colonel Hamilton for his fine
+playing of a solo on the violin. A lady who
+had done the artist some trifling service
+received twenty drawings as a reward, which
+she pasted on the walls of her rooms without
+the slightest idea of their value.</p> 
+
+<p>Gainsborough got up early in the morning,
+but did not work more than five hours. He
+liked his friends, his music, and his wife, and
+spent much time with them. He was witty,
+and while he sketched pictures in the evening,
+with his wife and daughters at his side, he kept
+them laughing with his droll sayings.</p> 
+
+<p>The last days of Gainsborough showed him 
+<a name="120"></a>
+to be a hero. He died of cancer, and some
+time before he knew what his disease was he
+must have suffered a great deal. There is a
+story that is very pathetic of a dinner with his
+friends, Beaumont and Sheridan. Usually,
+he was the gayest of the gay, but of late all his
+friends had noticed that gaiety came to him
+with effort. Upon the night of this dinner,
+Sheridan had been his wittiest, and had tried
+his hardest to make Gainsborough cheer up,
+till finally, the artist, finding it impossible to
+get out of his sad mood, asked Sheridan if
+he would leave the table and speak with him
+alone. The two friends went out together.
+"Now don't laugh, but listen," Gainsborough
+said; "I shall soon die. I know it; I feel it.
+I have less time to live than my looks infer,
+but I do not fear death. What oppresses my
+mind is this: I have many acquaintances,
+few friends; and as I wish to have one worthy
+man to accompany me to the grave, I am
+desirous of bespeaking you. Will you come?
+Aye or no!" At that Sheridan, who was greatly
+shocked, tried to cheer him, but Gainsborough
+would not return to the table, till he got the
+promise, which of course Sheridan made.</p> 
+
+<p>It was not very long after this that a famous
+trial took place--that of Warren Hastings. It
+was in Westminster Hall, and Gainsborough
+went to listen several times. On the last
+occasion, he became so interested in what was
+happening that he did not notice a window
+<a name="121"></a>
+open at his back. After a little he said to a
+friend that he "felt something inexpressibly
+cold" touch his neck. On his return home he
+told of the strange feeling to his wife. Then
+he sent for a doctor, and there was found a
+little swelling. The doctor said it was not
+serious and that when the weather grew
+warmer it would disappear; but all the while
+Gainsborough felt certain that it would mean
+his death. A short time after that he told his
+sister that he knew himself to have a cancer,
+and that was true.</p> 
+
+<p>When he felt that he must die, he fell to
+thinking of many things in the past, and
+wished to right certain mistakes of his behaviour
+as far as possible.</p> 
+
+<p>He sent to Sir Joshua Reynolds and asked
+him to come and see him, since he could not
+go to see Sir Joshua. Reynolds went and then
+Gainsborough told him of his regret that he
+had shown so much ill-will and jealousy toward
+so great and worthy a rival. Reynolds was
+very generous and tried to make Gainsborough
+understand that all was forgiven and forgotten.
+He left his brother artist much relieved and
+happier, and he afterward said: "The impression
+on my mind was that his regret at
+losing life was principally the regret of leaving
+his art." As Reynolds left the dying man's
+room, Gainsborough called after him: "We
+are all going to heaven--and Van Dyck is of
+the company."</p> 
+
+<p><a name="122"></a>
+He was buried in Kew Churchyard and the
+ceremonies were followed by Reynolds and
+five of the Royal Academicians, who forgot
+all Gainsborough's eccentricities of conduct
+toward them in their honest grief over his
+death. He was one of the first three dozen
+original members of the Royal Academy.</p> 
+
+<center>PLATE--PORTRAIT OF MRS. RICHARD BRINSLEY SHERIDAN</center>
+
+<p>This picture is now in the collection of Lord
+Rothschild, London. Mrs. Sheridan was the
+loveliest lady of her time. She was the daughter
+of Thomas Linley, and a singer.</p> 
+
+<p>She came from a home which was called "a
+nest of nightingales," because all in it were
+musicians. The father had a large family and
+made up his mind to become the best musician
+of his time in his locality in order to support them.
+He was successful, and in turn most of his children
+became musicians. His lovely daughter,
+Eliza (Mrs. Sheridan), he bound to himself as an
+apprentice and taught her till she was twenty-one,
+insisting that she "serve out her time" to him,
+that she might become a perfect singer. The
+story of this beautiful lady seems to belong to
+the story of Gainsborough's portrait and shall
+be told here.</p> 
+
+<p>When she was a very little girl, no more than
+eight years old, she was so beautiful that as she
+stood at the door of the pump room in Bath to sell 
+<a name="123"></a>
+tickets for her father's concerts, everyone bought
+them from her. When she was a very young
+woman her father engaged her to marry a Mr.
+Long, sixty years old. She did not seem to mind
+what arrangements her father made for her,
+but continued to sing and attend to her business,
+till after the wedding gowns were all made and
+everything ready for the marriage, when she
+happened to meet the brilliant Richard Brinsley
+Sheridan, whose plays were so fashionable, and
+she fell deeply in love with him. She told Mr.
+Long she would not marry him, and without
+much objection he gave her up, but her father
+was very angry and he threatened to sue Mr. Long
+for letting his daughter go. Then the beautiful
+lady ran away to Calais and married Mr. Sheridan
+without her father's permission; but she came
+home again and said nothing of what she had
+done, kept on singing and helping her father
+earn money for his family. One day, Mr.
+Sheridan was wounded in a duel which he had
+fought with one of his wife's admirers, and when
+she heard the news she screamed, "my husband,
+my husband," so that everybody knew she was
+married to the fascinating playwright. Sheridan
+for some reason did not at once come and get her,
+nor arrange for them to have a home together.
+For a good while she continued to sing; and once
+hearing her in oratorio, Sheridan fell in love
+with his wife all over again. He took her from
+her home and would never let her sing again in
+public. They remarried publicly and went to 
+<a name="124"></a>
+live in London. He was not at all a rich and
+famous man at that time--only a poor law-student--but
+he would not let his wife make
+the fortune she might easily have made, by
+singing.</p> 
+
+<p>This must have made his beautiful wife very
+sad, but she made no complaint at giving up
+her music and letting him silence her lovely
+voice, but turned all her attention to advancing
+his fortunes. She worked for him even harder
+than she had for her father, and that was saying
+a great deal. When he became a great writer
+of plays his wife took charge of all the accounts
+of his Drury Lane Theatre, and when he was in
+the House of Commons she acted as his secretary.
+Sheridan died in great poverty and wretchedness,
+and it is believed had his self-sacrificing wife
+not died before him she would have looked after
+his affairs so well that he would not have lost his
+fortune. Gainsborough painted the portraits of
+Sheridan's father-in-law, and of Samuel Linley;
+and it was said that this last portrait was painted
+in forty-eight minutes. Among his other portraits
+are: eight of George III., Sir John
+Skynner, Admiral Hood, Colonel St. Leger,
+and "The Blue Boy"; but he was first and last
+a landscape painter of highest genius.</p> 
+
+<p><a name="125"></a></p>
+<h1>XVI</h1>
+
+<h1>JEAN LEON GEROME</h1>
+
+<center>(Pronounced Zhahn Lay'on Zhay-rome)<br>
+<i>French, Semi-classical School</i><br>
+1824-1904<br>
+<i>Pupil of Delaroche</i></center>
+
+<p>One cannot write much more than the date
+of birth and death of a man who lived until
+three or four years of the time of writing, so we may
+only say that Gérôme was one of the most brilliant
+of modern French painters. He was born at
+Vesoul and his father was a goldsmith. Thus
+he probably had no very great difficulty in getting
+a start in his work. The prejudice against having
+an artist in the family was dying out, and as a
+prosperous goldsmith we may believe that his
+father had means enough to give his son good
+opportunities.</p> 
+
+<p>Gérôme, like Millet, studied under Delaroche,
+but became no such characteristic painter as he.
+While studying with Delaroche he also was taking
+the course in l'Ecole des Beaux-Arts.</p> 
+
+<p>His first exhibited picture was "The Cock
+Fight," and he won a third class medal by it.</p> 
+
+<p>Almost always this painter has chosen his
+subjects from ancient or classic life, and his
+pictures are not always decent, but he painted
+with much care, the details of his work are 
+<a name="126"></a>
+very finely done and their vivid colour is
+fascinating.</p> 
+
+<center>PLATE--THE SWORD DANCE</center>
+
+<p>This painting may be seen in the Metropolitan
+Museum of Art in New York City. The scene
+is full of action and interest, but perhaps the
+details of dress, mosaic decoration upon the walls,
+patterns of the rugs, the coloured and jewelled
+lamps and windows are the most splendidly
+painted of all.</p> 
+
+<p>The central figure is a dancing girl, only partly
+draped, balancing a sword on her head, while
+a brilliant green veil flies from head and face.
+Other Oriental women squat upon the floor
+watching her with a half indolent expression,
+while their Oriental masters and their friends
+sit in pomp at one side, absorbed in the dance
+and in the girl. The expressions upon all the
+faces are excellent and, the jewelled light that
+falls upon the group, the rich clothing, the grace
+of the dancer--all make a fascinating picture
+of a genre type. Other Gérômes are "Daphnis
+and Chloe," "Leda," and "The Duel after
+the Masked Ball."</p> 
+
+<p><a name="127"></a></p>
+<h1>XVII</h1>
+
+<h1>GHIRLANDAJO</h1>
+
+<center>(Pronounced Geer-lan-da'yo)<br>
+<i>Florentine School</i><br>
+1449-1494<br>
+<i>Pupil of Fra Bartolommeo</i></center>
+
+<p>It is a good deal of a name--Domenico
+di Tommaso di Currado Bigordi--and
+it would appear that the child who bore it
+was under obligation to become a good deal
+of a something before he died.</p> 
+
+<p>Italian and Spanish painters generally had
+large names to live up to, and the one known as
+Ghirlandajo did nobly.</p> 
+
+<p>His father was a goldsmith and a popular part
+of his work was the making of golden garlands
+for the hair of rich Italian ladies. His work
+was so beautiful that it gained for him the name
+of Ghirlandajo, meaning the garland-twiner, a
+name that lived after him, in the great art of his
+son. Domenico began as a worker in mosaic,
+a maker of pictures or designs with many coloured
+pieces of glass or stone.</p> 
+
+<p>Ghirlandajo's art was no improvement on that
+of his teacher, but he in turn became the teacher
+of Michael Angelo.</p> 
+
+<p>The Florentine school of painting, to which
+Ghirlandajo belonged, was not so famous for 
+<a name="128"></a>
+colour as the Venetian school, but it had many
+other elements to commend it. One cannot
+expect Ghirlandajo to rank with Titian, Rubens,
+or other "colourists" of his own and later periods,
+but he did the very best work of his day and school.
+He attained to fame through his choice of types
+of faces for his models, and by his excellent
+grouping of figures.</p> 
+
+<p>Until his day, the faces introduced into paintings
+were likely to be unattractive, but he chose
+pleasing ones, and he painted the folds of garments
+beautifully. He was not entirely original
+in his ideas, but he carried out those which others
+had thus far failed to make interesting.</p> 
+
+<p>Often, in his wish to paint exactly what he
+saw, he softened nothing and therefore his
+figures were repulsive, but Fra Bartolommeo's
+pupil gave promise of what Michael Angelo was
+to fulfill.</p> 
+
+<p>Ghirlandajo and Michael Angelo were a good
+deal alike in their emotional natures. Both
+sought great spaces in which to paint, and both
+chose to paint great frescoes. Indeed Ghirlandajo
+had the extraordinary ambition to put
+frescoes on all the fortification walls about
+Florence. It certainly would have made the
+city a great picture gallery to have had its walls
+forever hung with the pictures of one master.
+Had he painted them, inside and out, when such
+an enemy as Napoleon came along, with his love
+of art, and his fashion of taking all that he saw
+to Paris, he would likely enough have camped 
+<a name="129"></a>
+outside the walls while he decided what part of
+the gallery he would transfer to the Louvre.</p> 
+
+<p>One of the reasons that Ghirlandajo is famous
+is that he often chose well known personages
+for his models, and as he painted just what
+he saw, did not idealise his subject, he gave
+to the world amazing portraits, as well as fine
+paintings. The same thing was done by
+painters of a far different school, at another
+period. The Dutch and Flemish painters
+were in the habit of using their neighbours
+as models.</p> 
+
+<p>Ghirlandajo is classed among religious
+painters, but let us compare some of his
+"religious" paintings with those of Raphael
+or Murillo, and see the result.</p> 
+
+<p>He painted seven frescos on the walls of the
+Santa Maria Novella in Florence, all scenes
+of Biblical history, as Ghirlandajo imagined
+them. They show him to have been a fine
+artist, but to have had not much idea of history,
+and to have had little sense of fitness.</p> 
+
+<p>Ghirlandajo's seven subjects are taken from
+legends of the Virgin, and the greatest represents
+Mary's visit to Elizabeth; it is called
+"The Visitation," and it is a fresco about
+eighteen feet long painted on the choir wall.</p> 
+
+<p>Let us imagine the possible scene. The
+Virgin Mary came from Cana, a little town in
+Galilee placed in the hills about nine miles
+from Nazareth, the home of the lowliest and
+the poorest, of a kindly pastoral people living 
+<a name="130"></a>
+in the open air, needing and wanting very
+little, simple in their habits. Elizabeth, Mary's
+old cousin, lived in Judea, and St. Luke writes
+thus: "Mary arose in those days and went
+into the hill country with haste, into a city
+of Judea; and entered into the house of Zacharias"
+(Elizabeth's husband) "and saluted
+Elizabeth."</p> 
+
+<p>This record had been made at least eleven
+hundred years before Ghirlandajo painted in the
+Santa Maria Novella, and from it one cannot
+imagine that Mary made any preparation for
+her journey, nor does it suggest that Elizabeth
+had any chance to arrange a reception for her.
+Even had she done so, it must have been of
+the simplest description, at that time among
+those people. One can imagine a lowly home;
+an aged woman coming out to meet her young
+relative either at her door or in the high road.</p> 
+
+<p>There may have been surroundings of fruit
+and flowers, a stretch of highroad or a hospitable
+doorway; but the wildest imagination
+could not picture what Ghirlandajo did.</p> 
+
+<p>He paints Elizabeth flanked with handmaidens,
+as if she were some royal personage,
+instead of a priest's wife in fairly comfortable
+circumstances where comfort was easily
+obtained. Mary appears to be escorted by
+ladies-in-waiting, hardly a likely circumstance
+since she was affianced to no richer or more
+important person than a carpenter of Galilee.
+Possibly the three ladies that stand behind 
+<a name="131"></a>
+Mary in, the picture are merely lookers-on,
+but in that case the visit of Mary would seem
+to have been of public importance, especially
+as there are youths near by who are also much
+interested in one woman's hasty visit to another.
+The rich brocades worn by Elizabeth's waiting
+ladies are splendid indeed and the landscape
+is fine--a rich Italian landscape with architecture
+of the most up-to-date sort--showing,
+in short, that the artist lacked historical
+imagination. He found some models, made a
+purely decorative painting with an Italian
+setting and called it "The Visitation." The
+doorway on the right is distinctly renaissance.</p> 
+
+<p>Such a painting as this is not "religious,"
+nor is it historic, nor does it suggest a subject;
+it is merely a fine picture better coloured than
+most of those of the Florentine school. There
+is another painting of this same subject by
+Ghirlandajo in the Louvre, but it is no nearer
+truth than the one in the Santa Maria.</p> 
+
+<p>Ghirlandajo painted other than religious
+subjects, and one of them, at least, is quite
+repulsive. It is the picture of an old man,
+with a beautiful little child embracing him.
+The old man may have tenderness and love in
+his face, but his heavy features, his warty
+nose, do not make one think of pleasant
+things and one does not care to imagine the
+dear little child kissing the grotesque old fellow.</p> 
+
+<p>It was before Ghirlandajo's time that another
+painter had discovered the use of oil in mixing 
+<a name="132"></a>
+paints. Previously colours had been mixed
+in water with some gelatinous substance, such
+as the white and yolk of an egg, to give the
+paint a proper texture or consistency. This
+preparation was called "distemper," and frescoes
+were made by using this upon plaster
+while it was still wet. Plaster and colours dried
+together, and the painting became a part of
+the wall, not to be removed except by taking
+the plaster with it.</p> 
+
+<p>The different gluey substances used had
+often the effect of making the colours lose their
+tone and they presented a glazed surface when
+used upon wood, a favourite material with
+artists.</p> 
+
+<p>There are numberless anecdotes written of this
+artist and his brother, and one of these shows
+he had a temper. The brothers were engaged in
+a monastery at Passignano painting a picture
+of the "Last Supper." While at work upon it,
+they lived in the house. The coarse fare did
+not suit Ghirlandajo, and one night he could
+endure it no longer. Springing from his seat in
+the refectory he flung the soup all over the monk
+who had served it, and taking a great loaf of
+bread he beat him with it so hard that the poor
+monk was carried to his cell, nearly dead. The
+abbot had gone to bed, but hearing the rumpus
+he thought it was nothing less than the roof
+falling in, and he hurried to the room where he
+found the brothers still raging over their dinner.
+David shouted out to him, when the abbot tried 
+<a name="133"></a>
+to reprove the artist, that his brother was worth
+more than any "pig of an abbot who ever
+lived!"</p> 
+
+<p>It is recorded in the documents found in the
+Confraternity of St. Paul that:</p> 
+
+<p>Domenico de Ghurrado Bighordi, painter, called del
+Grillandaio, died on Saturday morning, on the 11th day
+of January, 1493 (o.s.), of a pestilential fever, and the
+overseers allowed no one to see the dead man, and would
+not have him buried by day. So he was buried, in Santa
+Maria Novella, on Saturday night after sunset, and may
+God forgive him! This was a very great loss for he was
+highly esteemed for his many qualities, and is universally
+lamented.</p> 
+
+<p>The artist left nine children behind him.</p> 
+
+<p>Ghirlandajo's pictures may be found in the
+Louvre, the Berlin Museum, the Dresden,
+Munich, and London galleries. Most children
+will find it hard to see their beauty.</p> 
+
+<p>Great men are likely to come in groups, and
+with Ghirlandajo there are associated Botticelli
+and Fra Filippo Lippi.</p> 
+
+<center>PLATE--PORTRAIT OF GIOVANNA DEGLI ALBIZI</center>
+
+<p>This lovely lady was the wife of one of the
+painter's patrons, Giovanni Tornabuoni, through
+whom he received the commission for a series of
+frescoes in the choir of the Santa Maria Novella,
+Florence. The subjects chosen were sacred, but
+since Ghirlandajo, no more than his neighbours,
+knew what the Virgin or her contemporaries
+looked like, he saw no reason why he should not 
+<a name="134"></a>
+compliment some of the great ones of his own
+city and his own time by painting them in to
+represent the different characters of Holy Writ.
+So, as one of the ladies attendant upon Elizabeth
+when Mary comes to visit her, we have this
+signora of the fifteenth century. The artist made
+another picture of her, the one here shown, but
+in the same dress and posed the same as she had
+been for the church fresco. This accounts for
+its dignity and simplicity. It would seem like
+a bas-relief cut out of marble were it not for
+its wonderful colouring. It is in the Rudolf
+Kann Collection, Paris. This artist's other
+pictures are "Adoration of the Shepherds,"
+"Adoration of the Magi," "Madonna and
+Child with Saints," "Three Saints and God
+the Father," "Coronation of the Virgin," and
+"Portrait of Old Man and Boy."</p> 
+
+<p><a name="135"></a></p>
+<h1>XVIII</h1>
+
+<h1>GIOTTO (DI BORDONE)</h1>
+
+<center>(Pronounced Jot-to)<br>
+<i>Florentine School</i><br>
+1276-1337<br>
+<i>Pupil of Cimabue</i></center>
+
+<p>Giotto painted upon wood, and in "distemper"--the 
+mixture of colour with
+egg or some other jelly-like substance. We know
+nothing of his childhood except that he was a
+shepherd, as we learn from a story told of him and
+his teacher, Cimabue.</p> 
+
+<p>The story runs that one day while Giotto was
+watching his sheep, high up on a mountain,
+Cimabue was walking abroad to study nature,
+and he ran across a shepherd boy who was
+drawing the figure of a sheep, with a piece of
+slate upon a stone. In those days we can imagine
+how rare it was to find one who could draw anything,
+ever so rudely. Immediately Cimabue
+saw a chance to make an artist and he asked the
+little shepherd if he would like to be taught art
+in his studio. Giotto was overjoyed at the
+opportunity, and at once he left the mountains
+for the town, the shepherd's crook for the brush.</p> 
+
+<p>In those days the studio of one like Cimabue
+was really a workshop. Artists had to grind
+their own colours, prepare their own panels upon 
+<a name="136"></a>
+which to paint, and do a hundred other things
+of a workman rather than an artist kind in
+connection with their painting. Such a studio
+was crowded with apprentices--boys who did
+these jobs while learning from the master.
+Their teaching consisted in watching the artist
+and now and then receiving advice from him.</p> 
+
+<p>It was into such a shop as this, in Florence,
+that Giotto went, and soon he was to become
+greater than his master. Even so, we cannot
+think him great, excepting for his time, because
+his pictures, compared with later art, are crude,
+stiff, and strange.</p> 
+
+<p>No pupil was permitted to use a brush till he
+had learned all the craft of colour grinding and the
+like, and this was supposed to take about six
+years. These workshops were likely to be dull,
+gloomy places, and only a strong desire to do
+such things as they saw their master doing, would
+induce a boy to persevere through the first
+drudgery of the work. Giotto persevered, and
+not only became an original painter, at a time
+when even Cimabue hardly made figures appear
+human in outline, but he designed the great
+Campanile in Florence, and he saw it partly
+finished before he died. The Campanile is a
+wonder of architecture, but Giotto's Madonnas
+had to be improved upon, as certainly as he had
+improved upon those of Cimabue.</p> 
+
+<p>There are many amusing stories of Giotto,
+mainly telling of his good nature, and his ugly
+appearance, which everyone forgot in appreciation 
+<a name="137"></a>
+of his truly kind heart. Once a visit was made
+to his studio by the King of Naples, after the
+artist had become famous. Giotto was painting
+busily, though the day was very hot. The King
+entered, and bade Giotto not to be disturbed but
+to continue his work, adding: "Still, if I were you,
+I should not paint in such hot weather." Giotto
+looked up with a laugh in his eye: "Neither would
+I--if I were you, Sire!" he answered.</p> 
+
+<p>There is a famous saying: "As round as
+Giotto's "O," and this is how it came about.
+The pope wanted the best of the Florentine
+artists to do some work in Rome for him and he
+sent out to them for examples of their work.
+When the pope's messenger came to Giotto the
+artist was very busy. When asked for some of
+his work to show the pope, he paused, snatched
+a piece of paper and with the brush he had been
+using, which was full of red paint, he hurriedly
+drew a circle and gave it to the messenger who
+stared at him.</p> 
+
+<p>"But--is this <i>all</i>?" he asked.</p> 
+
+<p>"All--yes--and too much. Put it with
+the others." This perfect circle and the
+account the messenger gave of his visit so delighted
+the pope that Giotto was chosen from all the
+Florentine artists to decorate the Roman
+buildings.</p> 
+
+<p>Thus Giotto worked till he was fifty-seven or
+eight years old when he put aside his brush
+and turned to sculpture and architecture.
+Meantime he had far outstripped his master in 
+<a name="138"></a>
+art. The arrangement of the groups is about the
+same, but the figures look human and the
+draperies are more natural, while he gives the
+appearance of length, breadth, and thickness
+to his thrones and enclosures. We shall not
+choose a Madonna for illustration, but another
+of Giotto's masterpieces, remembering that good
+as he was in his time, he seems amazingly bad
+compared with those who came after him.</p> 
+
+<center>PLATE--THE MEETING OF ST. JOHN AND ST. ANNA
+AT JERUSALEM.</center>
+
+<p>In 1303 a certain Enrico Scrovegno had a
+private chapel built in the Arena at Padua and
+he sent for Giotto to come there and adorn the
+whole of its walls and ceiling with frescoes.
+These remain, though the chapel is now emptied
+of all else, and they suffice to bring scores of art-lovers
+to Padua. The picture here reproduced
+represents the meeting and reconciliation between
+the father and mother of the Virgin before her
+birth. The peculiarly shaped eyes and eyebrows
+that Giotto gives to all his characters are specially
+noteworthy here as in every one of the thirty-eight
+frescoes. There are three rows of pictures,
+one above the other and in them are portrayed
+the principal scenes in the lives of Christ and the
+Virgin. The painter here reached his high-water
+mark, showed the very best he could produce
+in sincere, restrained art.
+<a name="139"></a></p>
+<h1>XIX</h1>
+
+<h1>FRANZ HALS</h1>
+
+<center><i>Dutch School</i><br>
+1580-04-1666 <br>
+<i>Pupil of Karel Van Mander</i></center>
+
+<p>Franz Hals belonged to a family which
+for two hundred years had been highly
+respected in Haarlem in the Netherlands. The
+father of the painter left that town for political
+reasons in 1579, and it was at Antwerp that
+Franz was born sometime between that date
+and 1585. His parents took him back to Haarlem
+as an infant, and that is the town with which
+his name and fame are most closely associated.</p> 
+
+<p>Little is known of his early life except that he
+began his studies with Karel Van Mander and
+Cornelis Cornelissen. What we know of his
+family life is not to his credit. In the parish
+register of 1611 is recorded the birth of a son to
+Franz Hals and five years later he is on the public
+records for abusing his wife, who died shortly
+afterward. He married again within a year
+and the second wife bore him many children and
+survived him ten years. Five of his seven sons
+became painters.</p> 
+
+<p>Franz Hals drank too much and mixed too
+freely with the kind of disreputable people he
+<a name="140"></a>
+loved to paint, but he never became so degraded
+that his hand lost its cunning, or his eye its keen
+vision for that which he wished to portray. In
+1644, he was made a director of the Guild of St.
+Lucas, an institution for the protection of arts
+and crafts in Haarlem, but from that time
+onward he sank in popular esteem, deservedly.
+He fell into debt, then into pauperism, and when
+he died, about the age of eighty-six, he was buried
+at public expense in the choir of St. Bavon
+Church in Haarlem.</p> 
+
+<p>It was in the year 1616 that Hals first became
+known as a master of his art by the painting of
+the St. Jovis Shooting Company, one of the
+clubs composed of volunteers banded together
+for the defence of the town should occasion arise.
+Such guilds were common throughout Holland,
+and they became a favourite subject with Hals,
+as with other painters of the time, who vied with
+one another in portraiture of the different 
+members. These groups were hung upon the walls
+of the chambers where meetings were held for
+social purposes in times of peace. The men
+of highest rank are always given the most
+conspicuous places in the pictures. The flag
+is generally the one bit of gorgeous colour in the
+scene; but Franz Hals seized the opportunity to
+show his wonderful skill in detail while painting
+the cuffs and ruffs worn by these grandees. In
+all his work there is an impression of strength
+rather than of beauty; it is the charm of 
+expressiveness he is aiming at, rather than the charm 
+<a name="141"></a>
+of grace and colour to which the Italian school
+was devoted. He differed from that school, also,
+in his choice of subjects, for he was distinctly
+and almost entirely a portrait painter, and within
+his own limited range he is unsurpassed. A
+wonderful collection of his works is to be seen in
+the Haarlem Town Hall.</p>
+
+<center>PLATE--THE NURSE AND THE CHILD</center>
+
+<p>Considering the woeful life that Franz Hals led,
+it is amazing to think that he of all artists is the
+best painter of good humour. He puts a smile
+on the face of nearly every one of his "leading
+characters," whether it be a modest young girl,
+a hideous old woman, a strolling musician, or a
+riotous soldier, and in every case the laugh suits
+the subject. It may have been his own easygoing
+shiftlessness, his way of casting care aside
+with a jest that enabled him to live so long and
+to accomplish so much in spite of his poverty
+and other misfortunes.</p> 
+
+<p>The roguish look upon the face of this baby
+of the house of Ilpenstein makes it appear older
+than the pleasant faced nurse. The dress of the
+child is such as Hals delighted to spend his
+talents upon. The picture is in the Berlin
+Gallery.</p>
+
+<p>Among his best known paintings are "The
+Laughing Cavalier," "The Fool," "The Man
+with the Sword," and "Hille Bobbe. the Witch
+of Haarlem."
+<a name="142"></a></p>
+<h1>XX</h1>
+
+<h1>MEYNDERT HOBBEMA</h1>
+
+<center><i>Dutch School</i><br>
+1637-1709<br>
+<i>Pupil of Jacob van Ruisdael</i></center>
+
+<p>When a man becomes famous many
+people claim his acquaintance, and
+often many places his birthplace. In Hobbema's
+case it has never been decided whether
+he was born in the little town of Koeverdam,
+or in the city of Haarlem or in Amsterdam. Nor
+is it quite certain when he was born; but what
+he did afterward, we are all acquainted with.</p> 
+
+<p>No one knows much about the life of this
+artist, but his master was doubtless his uncle,
+van Ruisdael. Hobbema was dead a hundred
+years before the world acknowledged his genius,
+thus he reaped no reward for hard work and
+ambition. He, like Rembrandt, died in great
+poverty, and with nearly the same surroundings.
+Rembrandt died forsaken in Roosegraft Street,
+Amsterdam, and Hobbema died in the same
+locality. We must speak chiefly about his
+work, since we know little of his personality
+or affairs.</p> 
+
+<p>If Böcklin's pictures seem to be composed
+of vertical lines, Hobbema's are as startling
+in their positive vertical and horizontal lines
+<a name="143"></a>
+combined. We are not likely to find elevations
+or gentle, gradual depressions in his
+landscapes, but straight horizons, long trunked,
+straight limbed trees; and the landscape seems
+to be punctured here and there by an upright
+house or a spire. It is startlingly beautiful,
+and so characteristic that after seeing one or
+two of Hobbema's pictures we are likely to
+know his work again wherever we may find it.</p> 
+
+<p>Hobbema got at the soul of a landscape. It
+was as if one painted a face that was dear to
+one, and not only made it a good likeness but
+also painted the person as one felt him to be--all 
+the tenderness, or maybe all the sternness.</p> 
+
+<p>It may be that Hobbema's failure to get
+money and honours, or at the very least, kind
+recognition as a great artist, while he lived,
+influenced his painting, and made him see
+mostly the sad side of beauty, nor it is certain
+that his landscapes give one a strange feeling
+of sadness and desolation, even when he paints
+a scene of plenty and fulness.</p> 
+
+<p>The French have made a phrase for his kind
+of work, <i>paysage intime</i>--meaning the
+beloved country--the one best known. It
+is a fine phrase, and it was first used to describe
+Rousseau's and Corot's work; but it especially
+applies to Hobbema's.</p> 
+
+<p>While this artist was not yet recognised,
+his uncle van Ruisdael was known as a great
+artist. The family must have been rich in
+spirit that gave so much genius to the world.
+<a name="144"></a>
+Hobbema certainly loved his art above all
+things, for he had no return during his lifetime,
+save what was given by the joy of work. There
+are those who complain that Hobbema was a
+poor colourist. True, he used little besides grays
+and a peculiar green, which seemed especially
+to please him; but since that colouring belonged
+to the subjects he chose, one cannot complain
+on the ground that what he did was unsatisfying.
+For lack of knowledge about him we
+can think of him as a man of moods, sad,
+desolate ones at that; because his work is too
+extreme and uniform in its character for us
+to believe his method was affected.</p> 
+
+<center>PLATE--THE AVENUE, MIDDELHARNIS, HOLLAND</center>
+
+<p>This perhaps is one of the most characteristic
+of Hobbema's pictures. Note a strange hopelessness
+in the scene, as well as beauty. The
+tall and solemn trees, the high light upon the
+road, suggesting to us all sorts of joys struggling
+through the cheerlessness of life. What other
+artist would have chosen such a corner of
+nature for a subject to paint? To quote a
+fine description:</p> 
+
+<p>"He loved the country-side, studied it as a
+lover, and has depicted it with such intimacy of
+truth that the road to Middelharnis seems
+as real to-day as it did over a hundred years
+ago to the artist. We see the poplars, with
+<a name="145"></a>
+their lopped stems, lifting their bushy tops
+against that wide, high sky which floats over
+a flat country, full of billowy clouds as the sky
+near the North Sea is apt to be. Deep ditches
+skirt the road, which drain and collect the
+water for purposes of irrigation, and later on
+will join some deeper, wider canal, for purposes
+of navigation. We get a glimpse on the right,
+of patient perfection of gardening, where a
+man is pruning his grafted fruit trees; farther
+on a group of substantial farm buildings. On
+the opposite side of the road stretches a long,
+flat meadow, or "polder," up to the little
+village which nestles so snugly around its tall
+church tower; the latter fulfilling also the
+purpose of a beacon, lit by night, to guide the
+wayfarer on sea and land; scene of tireless
+industry, comfortable prosperity, and smiling
+peace. ... Pride and love of country
+breathe through the whole scene. To many
+of us the picture smiles less than it thrills
+with sadness. Perhaps it speaks thus only
+to those who find a kind of hurt in the revival
+of the spring, which promises so much and
+may fulfill so little."</p> 
+
+<p>Hobbema's "Watermill" is very well-known
+and so are his "Wooded Landscape," and
+"Haarlem's Little Forest."</p> 
+
+<p><a name="146"></a></p>
+<h1>XXI</h1>
+
+<h1>WILLIAM HOGARTH</h1>
+
+<center><i>School of Hogarth (English)</i><br>
+1697-1764 </center>
+
+<p>William Hogarth, like Watteau, originated
+his own school; in short there never
+was anybody like him. He was an editorial
+writer in charcoal and paint, or in other words
+he had a story to tell every time he made a picture,
+and there was an argument in it, a right and a
+wrong, and he presented his point of view by
+making pictures.</p> 
+
+<p>English artists in literature and in painting
+have done some great reformatory work. Charles
+Dickens overthrew some dreadful abuses by
+writing certain novels. The one which has most
+interest for children is the awful story of Dotheboys'
+Hall, which exposed the ill treatment of
+pupils in a certain class of English schools. What
+Dickens and Charles Reade did in literature,
+Hogarth undertook to do in painting. He
+described social shams; painted things as they
+were, thus making many people ashamed and
+possibly better.</p> 
+
+<p>Italians had always painted saints and 
+Madonnas, but Hogarth pretended to despise 
+that sort of work, and painted only human 
+beings. He did not really despise Raphael, 
+<a name="147"></a>
+Titian, and their brother artists, but he was so
+disgusted with the use that had been made of
+them and their schools of art, to the entire
+exclusion of more familiar subjects, that he
+turned satirist and ridiculed everything.</p> 
+
+<p>First of all, Hogarth was an engraver. He was
+born in London on the 10th December, 1697, and
+eighteen days later was baptised in the church
+of St. Bartholemew the Great. His father was
+a school teacher and a "literary hack," which
+means that in literature he did whatever he could
+find to do, reporting, editing, and so on.</p> 
+
+<p>Hogarth must early have known something
+of vagabond life, for his father's life during his
+own youth must have brought him into association
+with all sorts of people. He knew how
+madhouses were run, how kings dined, how
+beggars slept in goods boxes, and many other
+useful items.</p> 
+
+<p>Hogarth said of himself: "Shows of all sorts
+gave me uncommon pleasure when an infant,
+and mimicry, common to all children, was
+remarkable in me.... My exercises, when
+at school, were more remarkable for the ornaments
+which adorned them, than for the exercises
+themselves." He became an engraver or silver-plater,
+being apprenticed to Mr. Ellis Gamble,
+at the sign of the "Golden Angel," Cranbourne
+Alley, Leicester Fields.</p> 
+
+<p>Engraving on silver plate was all well enough,
+but Hogarth aspired to become an engraver on
+copper, and he has said that this was about the 
+<a name="148"></a>
+highest ambition he had while he was in Cranbourne
+Alley.</p> 
+
+<p>The shop-card which he engraved for Mr.
+Ellis Gamble may have been the first significant
+piece of work he undertook. The card is still
+among the Hogarth relics. He set up as an
+engraver on his own account, though he did study
+a little in Sir James Thornhill's art school;
+but whatever he learned he turned to characteristic
+account.</p> 
+
+<p>He continued to make shop-cards, shop-bills,
+and book-plates. Finally, in 1727, a maker of
+tapestry engaged Hogarth to sketch him a design
+end he set to work ambitiously He worked
+throughout that year upon the design, but when
+he took it to the man it was refused. The truth
+was that the man who had commissioned the
+work had heard that Hogarth was "an engraver
+and no painter," and he had so little intelligence
+that he did not intend to accept his design,
+however much it might have pleased him.
+Hogarth sued the man for his refusal and he won
+the suit. He next began to make what he called 
+"conversation pieces," little paintings about a
+foot high of groups of people, the figures being 
+all portraits. These were very fashionable for
+a time and made some money for the artist.
+Both he and Watteau were fond of the stage,
+and both painted scenes from operas and plays.</p>
+
+<p>In time he moved into lodgings at the "Golden
+Head," in Leicester Fields, and there he made his
+home. He had already begun the great paintings 
+<a name="149"></a>
+which were to make him famous among artists.
+These were a series of pictures, telling stories
+of fashionable and other life. His own story of
+how he came to think of the picture series was
+that he had always wished to present dramatic
+stories--present them in scenes as he saw them
+on the stage.</p> 
+
+<p>He had married the daughter of Sir James
+Thornhill, and had never been thought of kindly
+by his father-in-law till he made so much stir
+with his first series. Then Sir James approved
+of him, and Hogarth found life more pleasing.</p> 
+
+<p>There are very few anecdotes to tell of the
+artist's life, and the story of his pictures is much
+more amusing. One of his first satires was made
+into a pantomime by Theophilus Gibber, and
+another person made it into an opera. Many
+pamphlets and poems were written about it,
+and finally china was painted with its scenes and
+figures. There was as much to cry as to laugh 
+over in Hogarth's pieces and that is what made
+them so truly great. One of his great picture
+series was called the "Rake's Progress" and it was
+a warning to all young men against leading too
+gay a life. It showed the "Rake" at the beginning
+of his misfortunes, gambling, and in the last
+reaping the reward of his follies in a debtor's
+prison and the madhouse. There are eight
+pictures in that set.</p> 
+
+<p>In this series, especially in the fifth picture,
+there are extraordinary proofs of Hogarth's
+completeness of ideas. Upon the wall in the 
+<a name="150"></a>
+room wherein the "Rake" marries an old woman
+for her money, the Ten Commandments are
+hung, all cracked, and the Creed also is cracked
+and nearly smudged out; while the poor-box
+is covered with cobwebs. The eight pictures
+brought to Hogarth only seventy guineas.</p> 
+
+<p>One of his pictures was suggested to him
+by an incident which greatly angered him.
+He had started for France on some errand of
+his own, and was in the very act of sketching
+the old gate at Calais, when he was arrested
+as a spy. Now Hogarth was a hard-headed
+Englishman, and when he was hustled back
+to England without being given time for
+argument, he was so enraged that he made his
+picture as grotesque as possible, to the lasting
+chagrin of France. He painted the French
+soldiers as the most absurd, thin little fellows
+imaginable, and that picture has largely influenced
+people's idea of the French soldier
+all over the English-speaking world.</p> 
+
+<p>As Hogarth grew old he grew also a little
+bitter and revengeful toward his enemies,
+often taking his revenge in the ordinary way
+of belittling the people he disliked, in his
+paintings.</p> 
+
+<p>Hogarth came before Reynolds or Gainsborough;
+in short, was the first great English
+artist, and his chief power lay in being able
+instantly to catch a fleeting expression, and to
+interpret it. An incident of Hogarth's youth
+illustrates this. He had got into a row in a 
+<a name="151"></a>
+pot-house with one of the hangers-on, and
+when someone struck the brawler over the
+head with a pewter pot, there, in the midst of
+excitement and rioting, Hogarth whipped out
+his pencil and hastily sketched the expression
+of the chap who had been hit.</p> 
+
+<p>Hogarth was friends with most of the
+theatre managers, and one of his souvenirs
+was a gold pass given him by Tyers, the
+director of Vauxhall Gardens, which entitled
+Hogarth and his family to entrance during
+their lives. This was in return for some
+"passes," which Hogarth had engraved for
+Tyer.</p> 
+
+<p>Upon one occasion Hogarth set off with
+some companions for a trip to the Isle of
+Sheppey. Incidentally Forest wrote a sketch
+of their journey and Hogarth illustrated it.
+That work is to be found, carefully preserved,
+in the British Museum. The repeated copying
+and reproduction for sale of his pictures brought
+about the first effort to protect his
+works of art by copyright. But it was not
+till he had done the "Rake's Progress" that
+he was able to protect himself at all, and even
+then not completely.</p> 
+
+<p>Just before his death he was staying at
+Chiswick, but the day before he died he was
+removed to his house in Leicester Fields.
+He was buried in the Chiswick churchyard;
+and in that suburb of London may still be seen
+his old house and a mulberry tree where he
+<a name="152"></a>
+often sat amusing children for whom he cared
+very much. Garrick wrote the following
+epitaph for his tomb:</p> 
+
+<blockquote>
+Farewell, great Painter of Mankind!<br>
+Who reached the noblest point of art,<br>
+Whose pictured Morals charm the Mind <br>
+And through the Eye correct the Heart.<br>
+
+<p>If Genius fire thee, Reader, stay;<br>
+If Nature touch thee, drop a tear;<br>
+If neither move thee, turn away,<br>
+For Hogarth's honour'd dust lies here.</p> 
+</blockquote>
+
+<center>PLATE--THE MARRIAGE CONTRACT</center>
+
+<p>The picture used in illustration here is part
+of probably the very greatest art-sermon ever
+painted, called "Marriage à la Mode." The
+story of it is worth telling:</p> 
+
+<p>"The first act is laid in the drawing-room
+of the Viscount Squanderfield"--is not that
+a fine name for the character? "On the left,
+his lordship is seated, pointing with complacent
+pride to his family tree, which has its roots
+in William the Conqueror. But his rent roll
+had been squandered, the gouty foot suggesting
+whither some of it has gone; and to restore his
+fortunes he is about to marry his heir to the
+daughter of a rich alderman. The latter is
+seated awkwardly at the table, holding the
+marriage contract duly sealed, signed and
+delivered; the price paid for it, being shown
+by the pile of money on the table and the bunch 
+<a name="153"></a>
+of cancelled mortgages which the lawyer is
+presenting to the nobleman, who refuses
+to soil his elegant fingers with them. Over
+on the left is his weakling son, helping himself
+at this critical turn of his affairs, to a pinch
+of snuff while he gazes admiringly at his own
+figure in the mirror. The lady is equally
+indifferent; she has strung the ring on to her
+finger and is toying with it, while she listens
+to the compliments being paid to her by
+Counsellor Silver-tongue. Through an open
+window another lawyer is comparing his lordship's
+new house, that is in the course of building,
+with the plan in his hand. A marriage so
+begun could only end in misery." This is the
+first act, and the pictures that follow show all
+the steps of unhappiness which the couple
+take. There are five more acts to that painted
+drama, which is in the National Gallery,
+London.</p>
+
+<p> 
+<a name="154"></a></p>
+<h1>XXII</h1>
+
+<h1>HANS HOLBEIN, THE YOUNGER</h1>
+
+<center>(Pronounced Hahntz Hol'bine)<br>
+<i>German School</i><br>
+1497-1543<br>
+<i>Pupil of Holbein, the Elder</i> </center>
+
+<p>There were three generations of painters in
+the Holbein family, and the Hans of whom
+we speak was of the third. His grandfather
+was called "old Holbein," and when more painters
+of the same name and family came along it became
+necessary to distinguish them from each other
+thus: "old Holbein," the "elder Holbein," and
+"young Holbein." The first one was not much
+of an artist; still, in a locality where at best there
+was not much art he was good enough to be
+remembered.</p> 
+
+<p>"Young Holbein" was born in Augsburg,
+which is in Swabia, in southern Germany; "elder
+Holbein" and his father, Michael, "old Holbein,"
+had moved there from Schonenfeld, a neighbouring
+village, about forty three years before little
+Hans was born, the old Michael bringing his
+family to the larger town where it was easier to
+make a living.</p> 
+
+<p>The "elder Holbein" was a really good artist
+and well thought of in Augsburg, and when little
+Hans's turn came he had no teacher but his
+<a name="155"></a>
+father, unless indeed we were to call him also a
+pupil of his elder brother, Ambrosius. His
+uncle Sigismund, too, taught him something of
+art, for the whole Holbein family seem to have
+been artists. Young Holbein was never regularly
+apprenticed to any outsider.</p> 
+
+<p>Art was not then taught as it is now. The
+work of a beginner was often to paint for his
+master certain details which it was thought that
+he might handle properly, while the master
+occupied himself with what he thought to be
+some more important part of the picture. It is
+said that Hans often painted the draperies of his
+father's figures when his father was engaged upon
+the altar pieces so fashionable at the time.
+The Holbeins one and all must have been bad
+managers or improvident; at any rate, Hans did
+not turn out well as a man and we read that his
+father was always in debt and difficulty although
+he received much money for his work and was
+not handicapped, like Dürer's father, by a family
+of eighteen children.</p> 
+
+<p>The story of the Holbeins is quite unlike that
+of the Dürers, and not nearly so attractive.</p> 
+
+<p>Some time before Hans was twenty years of age,
+the entire family had packed up and gone to live
+in Lucerne, while Hans and his brother, Ambrosius,
+went travelling together, as most young
+Germans went at that time before they settled
+down to the serious work of life. The last we
+hear of Ambrosius he had joined the painters'
+guild in Basel, and probably he died not long 
+<a name="156"></a>
+afterward, or at any rate while he was still young.
+There was in Basel a certain Hans Bar, for whose
+wedding occasion Hans Holbein designed a table,
+on which he pictured an allegory of "St. Nobody."
+This was very likely such work as our cartoonists
+do to-day, but being the work of Holbein,
+it had great artistic value. Besides that, he
+painted a schoolmaster's sign to be hung outside
+the door.</p> 
+
+<p>As an illustrator, Holbein made the acquaintance
+of several authors about that time and
+started on the high road to fame. He was a man
+of very little conscience or fine feeling, and there
+could hardly be a greater contrast than that
+between the clean sweet life of Dürer and the
+brawling, unfeeling one that Hans Holbein led.</p> 
+
+<p>Dürer married, had no children, but tenderly
+loved and cared for his wife, taking her with him
+upon his journeys and making her happy.</p> 
+
+<p>Holbein married and beat his wife; had
+several children and took care of none of them.
+His wife grew to look old and worn while he
+remained a gay looking sport, quite tired of one
+whom he had had on his hands for ten years.
+He wandered everywhere and left his family
+to shift for itself. One writer in speaking of the
+two men says:</p> 
+
+<p>"Dürer would never have deserted his wife
+whom he took with him even on his journey
+to the Netherlands; and he was bound by the
+same tenderness to his native town. However
+much he rejoiced to receive a visit from Bellini
+<a name="157"></a>
+at Venice, or when at Antwerp, the artists instituted,
+a torch-light procession in his honour,
+nothing could have moved him to leave Nuremberg."
+Dürer loved his home; Holbein hated his.</p> 
+
+<p>Holbein had a cold, light-blue eye; Dürer a
+soft and tender glance. While Dürer lived he
+was the mainstay of his family--father and
+brothers. Holbein's father died in misery and
+his brother's life was disastrous, Hans doing
+nothing to serve them and looking on at their
+sufferings indifferently.</p> 
+
+<p>There is a court document in existence which
+tells the particulars of Hans Holbein's arrest
+for getting into a brawl with a lot of goldsmiths'
+apprentices during a night of carousal. The
+court warned him that he would be more severely
+punished if he did not cease his lawless life and
+he was made to promise not to "jostle, pinch, nor
+beat his lawful spouse." When he died he
+made no provision in his will for his family.
+There is a picture of his wife, Elizabeth Schmidt,
+to be seen in his "Madonna" at Solothurn
+Holbein used her for the model. She then was
+young and blooming and the model for the child
+was his own baby; at that time he found them
+useful.</p> 
+
+<p>His life of folly can hardly be excused by
+impulsiveness or emotion, for his pictures show
+little of either. He was best at portrait painting.
+At that time guilds and town councils
+wanted the portraits of their members preserved
+in some way, and it was the habit of
+<a name="158"></a>
+painters like Holbein to form picturesque groups
+and give to such dramatic groupings the
+features of townsmen. Rembrandt did this
+much later than Holbein, when he painted
+the "Night Watch," or as it is more properly
+called, "The Sortie."</p> 
+
+<p>Probably Holbein's first important work
+was to make title pages for the second edition
+of Martin Luther's translation of the New
+Testament. This MS. was made about the
+time that Holbein's work began to be of
+interest to the public, and so the commission
+was given to him.</p> 
+
+<p>After a time this artist went to England
+with letters of introduction to Sir Thomas
+More, Chancellor to King Henry VIII. Sir
+Thomas treated him very kindly and set him
+to work making portraits of his own family.
+During the time he was living at More's home
+in Chelsea, the King himself, used frequently
+to visit there, and on one occasion he saw the
+brilliant portraits of the More family and
+inquired about the artist. Sir Thomas offered
+the King any of the pictures he liked, but
+Henry VIII. asked to see the artist. When
+brought before him, Holbein's fortune seemed
+to be made for the King asked him to go to
+court and paint for him, remarking that "now
+he had the artist he did not care about the
+pictures."</p> 
+
+<p>Holbein seems to have been a favourite
+with Henry and many anecdotes are told of his
+<a name="159"></a>
+life at Whitehall, where he went to live. Once
+while Holbein was engaged upon a portrait, a
+nobleman insisted upon entering his studio,
+after the artist had told him that he was painting
+the portrait of a lady, by order of the King.
+The nobleman insisted upon seeing it, but
+Holbein seized him and threw him down the
+Stairs; then he rushed to the King and told
+what had happened. He had no sooner
+finished than the nobleman appeared and told
+his story. The King blamed the nobleman for
+his rudeness.</p> 
+
+<p>"You have not to do with Holbein," he said,
+"but with me. I tell you, of seven peasants
+I can make seven lords, but of seven lords I
+cannot make one Holbein. Begone! and remember
+that if you ever attempt to avenge
+yourself, I shall look upon any injury offered
+to the painter as done to myself."</p> 
+
+<p>It was Holbein who, visiting a brother
+artist and finding a picture on the easel,
+painted a fly upon it. When the artist
+returned he tried to brush the fly off, then
+set about looking for the one who had
+deceived him.</p> 
+
+<p>His portrait painting was so superb that he
+received many commissions.</p> 
+
+<p>Meantime, Sir Thomas More had fallen into
+disfavour with the King and was to lose his
+head, but it is written that the artist's portraits
+"betray nothing of this tragedy." He was
+as ready to climb to fame by the favour of 
+<a name="160"></a>
+his generous patron's enemies as he had been
+to accept the offices of Sir Thomas More. He
+painted the portraits of several of the wives
+of Henry VIII., and it may be said that there
+was a good deal of that monarch's temperament
+to be found in Holbein himself. Take
+him all in all, Hans was as detestable as a man
+as he was excellent as a painter.</p> 
+
+<p>In his adopted home in Lucerne, Holbein
+had painted frescoes, both on the inside and
+the outside of a citizen's house, and this house
+stood until 1824, when it was torn down to
+make way for street improvements, but several
+artists hastily copied the frescoes so that they
+are not entirely lost.</p> 
+
+<p>Before he left Germany for England, Holbein
+had been commissioned to decorate the town
+hall in Basel, and a certain amount of money
+was voted for the work, but after he had
+finished three walls, he decided that the money
+was only enough to pay him for what he had
+already done. The councillors agreed with
+him, but as money was a little "close" in
+Basel at that time, they felt unable to give
+him more, and so voted to "let the back wall
+alone, till further notice."</p> 
+
+<p>He painted one Madonna whom he surrounded
+with the entire family of Burgomaster Meyer,
+including even the burgomaster's first wife,
+who was dead. This work is called the
+"Meyer Madonna."</p> 
+
+<p>It is said that after Holbein's return to 
+<a name="161"></a>
+Basel he, with others, was persecuted for his
+"religious principles," but if this were true,
+his persecutors went to considerable pains
+for nothing, because Holbein was never known
+to have any sort of principles, religious or
+otherwise. He was neither a Protestant, nor
+a Catholic but a painter, a man without convictions
+and without thought. He did not care
+for family, country, friends, politics, religion,
+nor for anything else, so far as any one knows.</p> 
+
+<p>When he was asked why he had not partaken
+of the Sacrament, he answered that he wanted
+to understand the matter better before he did
+so. Thus he escaped punishment, and when
+matters were explained to him, he did whatever
+seemed safest and most convenient under
+the circumstances.</p> 
+
+<p>On his return to England, he settled among
+the colony of German and Netherland merchants,
+who were in the habit of meeting at a place
+called "The Steelyard," as their home and
+warehouses were grouped in that locality,
+with a guild hall and a wineshop they alone
+patronised.</p> 
+
+<p>While associated with his compatriots Holbein
+made portraits of many of them, and these
+are magnificent works of art. He painted them
+separately or in groups; in their offices and in
+their guild hall, as the case might be. The
+men whom he thus painted were: Gorg Gisze,
+Hans of Antwerp, Derich Berck, Geryck Tybis,
+Ambrose Fallen, and many others. He designed 
+<a name="162"></a>
+the arch which the guild erected upon the occasion
+of Anne Boleyn's coronation, and he painted
+Henry's next Queen, Jane Seymour.</p> 
+
+<p>Holbein painted many portraits of Henry VIII.
+and probably all those dated after 1537 were
+either copies or founded upon the portrait which
+Holbein made and which was destroyed with
+Whitehall.</p> 
+
+<p>While he painted for Henry, Holbein received
+a sort of retainer's fee of thirty pounds a year,
+but he may have received sums for outside
+commissions which he undertook. On one
+occasion, when he took a journey to Upper
+Burgundy to paint a portrait of the Duchess
+whom Henry contemplated making his next wife,
+the King gave him ten pounds out of his own
+purse. We have no record of vast sums such as
+Raphael received.</p> 
+
+<p>Henry did not succeed in making the Duchess
+his wife, so Holbein was sent to paint another--Anne 
+of Cleves--that Henry might see what
+he thought of her before he undertook to make
+her his queen. Holbein did a disastrous deed,
+for he made Anne a very acceptable looking
+woman, (the portrait hangs in the Louvre)
+and Henry negotiated for her on the strength of
+that portrait. Later, when he saw her, he was
+utterly disgusted and disappointed.</p> 
+
+<p>Holbein, notwithstanding this trick, was employed
+to paint the next wife of Henry, and
+doubtless he also made the miniature of Catherine
+Howard which is in Windsor Castle. 
+
+<a name="163"></a>
+Holbein finally died of the plague and no one
+knows where he was buried. His wife died later,
+and it was left for his son, Philip, who was said to
+be "a good well-behaved lad," to bring honours
+to the family. He was apprenticed in Paris, and,
+settling later in Augsburg, he founded a branch
+of the Holbein family on which the Emperor
+Matthias conferred a patent of nobility, making
+them the Holbeins of Holbeinsberg.</p> 
+
+<center>PLATE--ROBERT CHESEMAN WITH HIS FALCON</center>
+
+<p>This is one of the best of the many splendid
+portraits Holbein painted. It hangs in The
+Hague gallery. The gentleman was forty-eight
+years old and in the portrait he wears a purplish-red
+doublet of silk and a black overcoat,
+which was the fashion of the day, all trimmed
+with fur. He has curly hair, just turning gray.
+His left hand is gloved and on it he holds his
+falcon, while with the other hand he strokes its
+feathers.</p> 
+
+<p>Of all sports at that time, falconry was the
+most fashionable and every fine gentleman had
+his sporting birds. Robert Cheseman lived in
+Essex. He was rich and a leader in English
+politics. His father was "keeper of the wardrobe
+to Henry VIII." and he himself served in many
+public offices. He was one of the gentleman
+chosen to welcome Anne of Cleves when she landed
+on English soil to marry Henry VIII. These
+details were first published by Mr. Arthur 
+<a name="164"></a>
+Chamberlain and are taken from his sketch of
+Holbein and his works.</p> 
+
+<p>Among Holbein's other famous pictures are:
+"The Ambassadors," "Hans of Antwerp,"
+"Christina of Denmark," "Jane Seymour,"
+"Anne of Cleves," and "St. George and the
+Dragon."</p> 
+
+<p><a name="165"></a></p>
+<h1>XXIII</h1>
+
+<h1>WILLIAM HOLMAN HUNT</h1>
+
+<center><i>English (Pre-Raphaelite) School</i><br>
+1827--<br>
+<i>Pupil of Academy School</i></center>
+
+<p>The story of the Pre-Raphaelites is all by
+itself a story of art. Holman Hunt was
+one of three who formed this "brotherhood";
+and he, with one other, are the only ones whom
+some of us think worthy of giving a place in art.
+This is to be the story of the brotherhood
+rather than a story of one man.</p> 
+
+<p>The last great artist England had had before
+this extraordinary group, was J. M. W. Turner,
+truly a wonderful man, but after him England's
+painters became more and more commonplace,
+drawing further and further away from truth,
+There was one, J. F. Lewis, who went away to
+Syria and lived a lonely and studious life, trying
+to paint with fidelity sacred scenes, but he was
+not great enough to do what his conscience and
+desires demanded of him; and, finally, Constable
+declared that the end of art in England had come.
+But it had not, for up in London, in the very
+heart of the city, in Cheapside (Wood Street)
+there was born, in April, 1827, a child destined to
+be a brilliant and wonderful man, who was
+actually to rescue English art from death. Many 
+<a name="166"></a>
+do not think thus, but enough of us do to warrant
+the statement.</p> 
+
+<p>The new artist was Holman Hunt. He was
+the son of a London warehouseman, with no inclination
+whatever for learning, so that it
+seemed simply a waste of time to send him to
+school. This continually repeated history of
+artists who seem to know nothing outside their
+brushes and colours, is astonishing, but it is true
+that artists for the most part must be regarded
+as artists, pure and simple, and not as men of even
+reasonably good intellectual attainments, and
+more or less this accounts for their low estate
+centuries ago. One does not associate "learning"
+and the artist. When we have such splendid
+examples as Dürer and two or three others we
+discuss their intellectuality because they are so
+unusual.</p> 
+
+<p>Holman Hunt was like most of his brother
+artists in all but his art. He hated school and at
+twelve years of age was taken from it. His father
+wanted him to become a warehouse merchant
+like himself, and he began life as clerk or apprentice
+to an auctioneer. He next went into the
+employment of some calico-printers of Manchester.
+The designing of calicoes can hardly be called art,
+even if the department of design had fallen to
+Holman Hunt's lot and we have no evidence that
+it did, but he started to be an artist nevertheless,
+there in the print-shop. He found in his new
+place another clerk who cared for art; and this
+sympathy encouraged him to fix his mind upon
+<a name="167"></a>
+painting more than ever. He used to draw such
+natural flies upon the window panes that his
+employer tried one day to "shoo away a whole
+colony of flies that seemed miraculously to have
+settled." This gave the clerks much amusement,
+and also attracted attention to Holman Hunt's
+genius.</p> 
+
+<p>His very small salary was spent, not on his
+support, but in lessons from a portrait painter
+of the city. His parents did not like this, but
+they could not help themselves, and thus this
+greatest of the Pre-Raphaelites began his work.</p>
+
+<p>The Pre-Raphaelites were a little group of men
+who believed that artists were drawing too much
+on their imaginations, not painting things as
+they saw them, and that the painter had
+become incapable of close observation. He
+worked in his studio, did not get near enough to
+nature, and instead of trying to follow along this
+line, this group of men, with their new and partly
+correct ideas, meant to go back further than the
+great masters themselves and present an elemental
+art. This was a part of their scheme and partly
+it was justified, but of all the men who undertook
+to make a new school, Holman Hunt was the only
+one who remained, and will remain forever, a representative.
+He alone stuck to the original purpose
+of the group and developed it into a truly great
+school; so that it is he alone we need to know.</p> 
+
+<p>After he began to take lessons of the portrait
+painter in London, he developed so quickly that
+he found by painting portraits three days a week, 
+<a name="168"></a>
+he could pay his own expenses, and the rest of the
+time he devoted to study. He tried to be
+admitted to the Academy schools twice and was
+twice refused before they would receive him.</p> 
+
+<p>It was there in the Academy the three original
+Pre-Raphaelites met for the first time; they were
+Holman Hunt, Dante Gabriel Rossetti, and
+Millais. After entering the school Hunt painted
+and sold four excellent pictures, but they all
+seem to have been lost; nobody can trace them.
+He was not yet a "Pre-Raphaelite."</p> 
+
+<p>All this time Hunt was half ill because he knew
+that he was grieving his father of whom he was
+devotedly fond, and the strain of trying to work
+while he was unhappy nearly destroyed him.
+The pictures that he exhibited at the Royal
+Academy were so poor that the commission
+declared they should not only be removed but
+that Hunt ought really to be forbidden to exhibit
+any more. This must have been a great blow
+to the young and struggling artist, and to add to
+this trouble, his father was being jeered at for
+having such a good-for-nothing son. Hunt's
+pictures in the Academy were so much despised
+that his father was told his son was a disgrace to
+him, and we may be sure that did not help the
+young fellow, who meantime was earning a living,
+not by painting pictures, but by cleaning up those
+of another man. Dyce, who had painted on the
+walls of Trinity House, engaged him to clean and
+restore those paintings, and Hunt was doing this
+for his bread and butter.</p> 
+
+<p><a name="169"></a>
+At that time he became so downhearted
+and discouraged that he almost decided to
+leave England altogether and go to live in
+Canada away from his friends who jeered, and
+his family who reproached him; but just then
+Millais, one of the successful painters whom
+he had met in the Academy school, who could
+afford to be generous, came to Hunt's aid and
+gave him the means of living while he painted
+"The Hireling Shepherd." This was destined
+to be the turning point in Hunt's luck, for
+that painting was properly hung at the exhibition,
+and it received recognition. After that
+he painted a picture which he sold on the
+installment plan--being paid by the purchaser
+so much a month.</p> 
+
+<p>Meantime he owed his landlady a large sum,
+and he says himself that he "suffered almost
+unbearable pain at passing her and her husband
+week after week without being able to
+even talk of annulling his debts." In time he
+not only settled that bill which distressed him,
+but paid back his friend Millais the money
+loaned by him.</p> 
+
+<p>Hunt rarely took a commission, because to
+do so meant that he must paint a picture
+after the manner his employer wished, and
+Hunt had certain ideas of art in which he
+believed and therefore would not bind himself
+to depart from them; but after a little success,
+which enabled him to pay his bills, he did
+undertake a commission from Sir Thomas 
+<a name="170"></a>
+Fairbairn, and it was called "The Awakened
+Conscience." He finished this picture on a
+January day late in the afternoon, and that
+very night he left England, setting out upon a
+longed-for journey to the Holy Land, where
+he meant to study the country and people
+till he believed himself able to paint a truthful
+picture of sacred scenes. He refused to
+paint pictures of Eastern Jews who should
+look like Parisians, with Venetian backgrounds.
+He meant to paint Oriental scenes
+as nearly as he could, as they might have
+taken place.</p> 
+
+<p>He came back to his English home just two
+years and one month from the time he had
+left it, and he brought back a picture of the
+goat upon which the Jews loaded their sins and
+then turned loose in waste-places to wander
+and die. "The Scapegoat" was a great picture,
+but before he left England he had painted a
+greater--the one we see here--"The Light
+of the World."</p> 
+
+<p>He had depended upon the sale of the
+"Scapegoat" to pay his way for a time after
+his return home, and alas, it did not sell.
+More than that, his beloved father died and
+this added to his sense of desolation, for he had
+not been sufficiently successful before his
+death to justify himself in his father's eyes.
+These things so overwhelmed his sensitive
+mind with trouble, that his condition became
+very serious, and if certain good friends had 
+<a name="171"></a>
+not stood by him loyally, he would probably
+never have painted again.</p> 
+
+<p>He began at last another ambitious picture--"Finding 
+of Christ in the Temple"--but while
+he was engaged upon this, he had to paint
+mere pot-boilers also in order to get on at
+all, and he says that half the time the great
+picture "stood with its face to the wall" while
+he was trying merely to earn bread and butter.
+The wonderful Louis Blanc tried once to plan
+a way by which all deserving people should
+have in this world equal opportunity to try.
+This has never been "worked out." It never
+will be, but Holman Hunt reminds us how
+much the world loses by not providing that
+"equal opportunity." No one deserves more
+than his chance; but such struggles of genius
+tell us that all is not fair.</p> 
+
+<p>Hunt persevered with this Christ in the
+Temple and when finished he sold it for 5,500
+guineas--a larger sum than he had ever
+before been given for a painting.</p> 
+
+<p>He no sooner received his money for this
+great picture than off he went once more to
+the Holy Land. He was conscientious in
+everything he did, and never before had an
+artist painted scenes of Christ that carried
+such a sense of truth with them. The set
+haloes seen about the heads of the saints and of
+holy people even in Raphael's pictures and
+in those of the very greatest artists of his
+time, disappeared with Holman Hunt's 
+<a name="172"></a>
+coming. In the "Light of the World," the
+halo is an accident--the great white moon,
+happening to rise behind the Christ's head--and 
+there we have the halo, simple, natural,
+only suggestive, not artificial. Then, too, in
+the "Shadow of Death," there is a menacing
+shadow of the cross--made upon the wall by
+Christ's body, as he naturally stretches out
+his arms, after his work in the carpenter shop.</p> 
+
+<p>There is not one false note that shocks us,
+or makes us feel that after all the story itself
+is affected and artificial. Everything that
+is symbolical is brought about naturally.
+They are sincere, truthful pictures that speak
+to the mind as well as to the eye.</p> 
+
+<p>Hunt's colouring and many other technical
+matters are often far from perfect, but there
+is something besides technicality to be considered
+in judging a picture.</p> 
+
+<p>For a time, while the three men, Hunt,
+Rossetti, and Millais, kept together, their pictures
+were signed P. R. B., as a sign of their league;
+but this did not last very long, and afterward
+Hunt signed his pictures independently.</p> 
+
+<p>After the "Brotherhood" had worked against
+the greatest discouragements for a long time,
+and felt nearly hopeless of success, John Ruskin,
+one of the greatest of critics and most fearless
+of men, who was so much respected that his
+words had great influence, suddenly published
+a defence of these Pre-Raphaelites. He declared
+that they were the greatest artists of the time,
+<a name="173"></a>
+and while scorning their critics he applauded
+those three young men, till he turned the tide,
+and everybody began to know what truly
+brilliant work they were doing. Ruskin's words
+came, Hunt said, "as thunder out of a clear
+sky."</p> 
+
+<p>When the "Brotherhood" was formed the
+three young men thought they should have a
+paper--a periodical of some sort, in which they
+might tell of their purposes and express their
+ideas; and so Rossetti, who wrote as well as
+painted, proposed that they print such a periodical
+once a month, and call it the <i>Germ</i>; and the
+P. R. B's. were to be joint proprietors. Rossetti
+had first thought of a different title, <i>Thoughts
+Toward Nature</i>, and his brother, W. M. Rossetti,
+who was going to take charge of the monthly,
+thought that expressed the Pre-Raphaelites'
+idea; but it was finally agreed to call it the
+<i>Germ</i>. Only two numbers could be published
+by the Pre-Raphaelites, because nobody bought
+it and the young men's money gave out, but
+the printers came to the rescue, and put up the
+money to issue two or three more <i>Germs</i>.</p> 
+
+<p>Although that journal failed utterly, its four
+numbers were worth publishing, and are to-day
+worth reading. They were truly valuable, for
+they contained a story and poem by Dante
+Gabriel Rossetti, besides work of the other
+P. R. B's.</p> 
+
+<p>Above all things Hunt was conscientious in
+his work, trying with all his might to represent 
+<a name="174"></a>
+things as be believed them to be. When he
+made his "Scapegoat," he went to the shores of
+the Dead Sea to paint, accompanied only by Arab
+guides, and there he found the desolate, hard
+landscape for his picture. The hardships he
+experienced were very many. The wretched
+goat he took with him died in the desert of that
+dreary place after it had been no more than
+sketched in, but back in Jerusalem Hunt finished
+the goat. Ruskin's description of the picture
+helps one to feel all the desolation of the
+subject: "The salt sand of the wilderness of
+Ziph, where the weary goat is dying. The
+neighbourhood is stagnant and pestiferous,
+polluted by the decaying vegetables brought
+down by the Jordan in its floods, and the bones
+of the beasts of burden that have died by the way
+of the sea, lie like wrecks upon its edge, bared
+by the vultures and bleached by the salt ooze."</p> 
+
+<p>Even the superstitious Arabs would not go
+near the spot which Hunt chose as the scene
+of his picture, but Hunt endured all things,
+believing it due to his art.</p> 
+
+<p>When he painted "Christ in the Temple," he
+needed Jewish models, and it was almost impossible
+for him to get them. He could not let
+them know what they were to represent, or
+they would not have sat for him at all but he
+succeeded in painting the "first Semitic presentment
+of the Semitic Scriptures." In Jerusalem
+the Jews heard that he had come "to traffic with
+the souls of the faithful," and they forbade him 
+<a name="175"></a>
+to have any Jews come into his studio; so that
+he could not finish the picture there. Back
+in London he had to find his models in the
+Jewish school. He left the figures of Christ
+and the Virgin till the last and then painted
+them "from a lady of the ancient race, distinguished
+alike for her amiability and beauty,
+and a lad in one of the Jewish schools, to which
+the husband of the lady furnished a friendly
+introduction."</p> 
+
+<p>Thus, step by step, through the greatest
+difficulties, Holman Hunt established a new
+school of painting--allegory with a modern
+treatment which all could understand.</p> 
+
+<center>PLATE--THE LIGHT OF THE WORLD</center>
+
+<p>This is the most popular picture of a sacred
+subject, ever painted; and John Ruskin's
+description of it, here quoted, is the best ever
+written or that can be written. "On the left
+of the picture is seen the door of the human
+soul. It is fast barred, its bars and nails are
+rusty; it is knitted and bound to its stanchions
+by creeping tendrils of ivy, showing that it
+has never been opened. A bat hovers over
+it; its threshold is overgrown with brambles,
+nettles and fruitless corn.... Christ approaches
+in the night time, ... he wears
+the white robe, representing the power of the
+Spirit upon Him; the jewelled robe and breastplate,
+representing the sacredotal investitude; 
+<a name="176"></a>
+the rayed crown of gold, interwoven with the
+crown of thorns; not dead thorns, but now
+bearing soft leaves, for the healing of the
+nations.... The lantern carried in Christ's
+left hand is the light of conscience....
+Its fire is red and fierce; it falls only on the
+closed door, on the weeds that encumber
+it, and on an apple shaken from one of the
+trees of the orchard, thus marking that the
+entire awakening of the conscience is not to
+one's own guilt alone, but to the guilt of the
+world, or, 'hereditary guilt.'...</p> 
+
+<p>"This light is suspended by a chain, wrapt
+around the wrist of the figure, showing that
+the light which reveals sin to the sinner appears
+also to chain the hand of Christ. The light
+which proceeds from the head of the figure--is 
+that of the hope of salvation; it springs
+from the crown of thorns, and, though itself
+sad, subdued and full of softness, is yet so
+powerful, that it entirely melts into the glow
+of it the forms of the leaves and boughs which
+it crosses, showing that every earthly object
+must be hidden by this light, where its sphere
+extends."</p> 
+
+<p>If you will study every detail of this reproduction,
+finding all the objects--the apple, the
+rusty bolts--noting how the full risen moon
+has formed a natural nimbus for the sacred
+head, and then re-read what Ruskin has
+said, you will discover the rarest truths in
+Holman Hunt's picture. 
+<a name="177"></a>
+The several pictures which he painted, but
+which cannot now be found are: "Hark!"
+which was first exhibited in the Royal Academy;
+"Scene from Woodstock," "The Eve of St.
+Agnes," "Jerusalem by Moonlight," "The
+King of Hearts," "Moonlight at Salerno,"
+"Interior of the Mosque of Omar," "The
+Pathless Water," "Winter," "Afternoon,"
+"Sussex Downs," "Penzance," "The Archipelago," 
+"Will-o'-the-Wisp," "Ivybridge,"
+"The Foal of an Ass," "Road over the Downs,"
+"The Haunt of the Gazelle," "'Oh, Pearl,'
+Quoth I," "Miss Flamborough," "The School-girl's
+Hymn." Portraits: Mr. Martineau;
+Mr. J. B. Brice. Small sketch of the "Scapegoat,"
+"Sunset on the Sea," "Morning Prayer,"
+"Bianca," "Past and Present," and "Dead
+Mallard."</p> 
+
+<p>Should you ever find one of these pictures
+bearing the initials P. R. B. or those of Holman
+Hunt, you will have made an interesting
+discovery and should make it known to others.</p> 
+
+<p><a name="178"></a></p>
+<h1>XXIV</h1>
+
+<h1>GEORGE INNESS</h1>
+
+<center><i>American</i><br>
+1825-1897<br>
+<i>Pupil of Regis Gignoux</i></center>
+
+<p>George Inness was destined to keep a
+grocery store as his father had kept
+one before him, and had grown rich in it.
+When George was a young man he was
+given a grocery store in Newark, New Jersey,
+a very small store indeed, and it is not surprising
+that the young man preferred art to
+butter and eggs. The Inness family had
+just moved from Newburg, probably the elder
+Innes seeking in Newark a good location for
+his son's beginning.</p> 
+
+<p>The first art-work Inness did was engraving;
+as he had been apprenticed to that business,
+but afterward he studied with Gignoux, a
+pupil of Delaroche.</p> 
+
+<p>At that time there was what is known as
+the Hudson River School. Its ideas were
+set and formal, and not very inspiring, aside
+from the subjects treated. Church was then
+a young man like Inness, and he was studying
+in the Hudson River School, but the young
+grocer struck out a line for himself.</p> 
+
+<p>He was forty years old before he got to Paris,
+<a name="179"></a>
+but once there, he turned to the men at Barbizon--Rousseau, 
+Millet, Corot, and the rest--for
+inspiration, and began to do beautiful things
+indeed. Rousseau became his friend, and the
+art of Inness grew large and rich through such
+influences.</p>
+
+<p>Inness had inherited much religious feeling
+from his Scotch ancestors, and all his work
+was conscientious, very carefully done.</p> 
+
+<p>When Inness returned from Paris he was
+not yet well known. He went to Montclair,
+New Jersey, to live and it was there that he
+did his best work. Finally, after he was fifty
+years old, he became known as a truly splendid
+painter. He loved best to paint quiet scenes
+of morning, evening sunset, and the like. His
+pictures began to gain value, and one that he
+had sold for three hundred dollars jumped in
+price to ten thousand and more. His work
+is not equally good, because his moods greatly
+influenced him.</p> 
+
+<center>PLATE--BERKSHIRE HILLS</center>
+
+<p>This picture in the George A. Hearn collection
+is full of the sense of restfulness that the
+works of this artist always convey. The trees
+are as motionless as the distant hills, and if
+the oxen are moving at all it is but slowly.</p> 
+
+<p>Some other Inness paintings are the "Georgia
+Pines," "Sunset on the Passaic," "The Wood
+Gatherers" and "After a Summer Shower."</p> 
+
+<p><a name="180"></a></p>
+<h1>XXV</h1>
+
+<h1>SIR EDWIN HENRY LANDSEER</h1>
+
+<center><i>English School</i><br>
+1802-1873<br>
+<i>Pupil of his father, John Landseer</i></center>
+
+<p>
+It is pleasant to speak of one artist whose
+good work began in the companionship
+of his father; the case of Edwin Landseer is
+most unusual.</p> 
+
+<p>His father was a skilful engraver who loved
+art, and encouraged the cultivation of it in his
+son, as other fathers of painters encouraged
+them to become priests or haberdashers or
+bakers, as the case might be. Little Landseer's
+beginning has been described by his
+father as he and a friend stood looking upon
+one of the scenes of his childhood:</p> 
+
+<p>"These two fields were Edwin's first studio.
+Many a time have I lifted him over this very
+stile. I then lived in Foley Street, and nearly
+all the way between Marylebone and Hampstead
+was open fields. It was a favourite walk
+with my boys; and one day when I had
+accompanied them, Edwin stopped by this
+stile to admire some sheep and cows which
+were quietly grazing. At his request I lifted
+him over, and finding a scrap of paper and a
+pencil in my pocket, I made him sketch the
+<a name="181"></a>
+cow. He was very young indeed, then--not 
+more than six or seven years old.</p> 
+
+<p>"After this we came on several occasions,
+and as he grew older this was one of his favourite
+spots for sketching. He would start off alone,
+or with John (Thomas?) or Charles, and remain
+till I fetched him in the afternoon. I would
+then criticise his work, and make him correct
+defects before we left the spot. Sometimes
+he would sketch in one field, sometimes in the
+other, but generally in the one beyond the old
+oak we see there, as it was more pleasant and
+sunny."</p> 
+
+<p>All the Landseer men were gifted, and the
+mother was the beautiful woman whom Reynolds
+painted as a gleaner, carrying a bundle
+of wheat upon her head.</p> 
+
+<p>There were seven little Landseers, the oldest
+of them being Thomas, the famous engraver,
+whose reproduction of his brother's works
+will preserve them to us always, even after
+the originals are gone. The first of Edwin's
+drawings which seemed to his family worthy
+of publishing was a great St. Bernard dog,
+such a wonderful performance for a little
+fellow of thirteen that Thomas engraved it and
+distributed it all over England. Little Edwin
+had seen this beautiful dog one day in the
+streets of London in a servant's charge, and he
+was so delighted with its beauty, that he
+followed the two home and asked the dog's
+owner if he might sketch him. The St. 
+<a name="182"></a>
+Bernard was six feet four inches long "and
+at the middle of his back, stood two feet seven
+inches in height." A great critic said that
+this drawing was one of the very finest that
+any master of art had ever made, though it was
+done by a little child of thirteen years and it is
+also said that Landseer himself never did
+anything better than that little-boy work.
+A live dog who was let into the room with it--as 
+critic, maybe--proved to be the most
+flattering of such, because he bristled instantly
+for a fight.</p> 
+
+<p>While the boy was still thirteen--which
+seems to have been a magic and not a tragic
+number to him--he exhibited pictures in the
+Royal Academy. These were a mule, and a
+dog with a puppy. In the stories of "Famous
+Artists" we are told that he was a fine, manly
+little chap with light curly hair and very well
+behaved. When he became a student of the
+Academy the keeper, Fuseli, used to look about
+among the students and cry: "Where is my
+little dog boy?" if Landseer was not in his
+place. The little chap's favourite dog was his
+own Brutus, which he painted lying at full
+length; and though the picture was small, it
+sold for seventy guineas. This means an
+earning capacity indeed, for a small boy.</p> 
+
+<p>When he was but seven years old he had
+made pictures of lions and tigers, each with
+a different expression from the other and each
+with a character of its own. Critics spoke 
+<a name="183"></a>
+specially of the tiger's whiskers as "admirable
+in the rendering of foreshortened curves."
+Tigers' whiskers were thought to be most
+difficult things to make, but in Landseer's
+pictures, they were as "natural as life." The
+great success of the artist's animal pictures
+was that he made them seem to have human
+intelligence, and it was also said that if one
+only saw the dog's collar, as Landseer painted
+it, he would know it to be the work of a great
+artist, that a great dog-picture must be attached
+to it.</p> 
+
+<p>At least one of his pictures had a remarkable
+history. He had been commissioned by the
+Hon. H. Pierrpont to paint a "white horse in
+a stable." After the painting was ready for
+delivery it disappeared, and for twenty-four
+years it could not be found. At last it was
+discovered in a hay-loft! It had been stolen
+by a servant and hidden there. In spite of
+the long years that had passed, Landseer sent
+it at once to the man for whom it had been
+made, with the message that he had not
+retouched it nor changed it in the least,
+"because," said he, "I thought it better not
+to mingle the style of my youth with that of
+my old age."</p> 
+
+<p>One of Landseer's early advisers had told
+him he must dissect animals to get the proper
+effects in painting them, as it was necessary
+for him to understand their construction.
+So, one time, when a famous old lion died in the 
+<a name="184"></a>
+Exeter Exchange menagerie Landseer got its
+body and dissected it, and immediately afterward 
+he painted three great lion pictures:
+"The Lion Disturbed at His Repast," "A Lion
+Enjoying His Repast," and "A Prowling Lion."</p> 
+
+<p>Sir Walter Scott became so enchanted with
+Landseer's pictures that the great novelist
+came to London to take the young artist to his
+home at Abbotsford. "His dogs are the most
+magnificent things I ever saw," said Scott,
+"leaping and bounding and grinning all over
+the canvas."</p> 
+
+<p>Landseer lived in the centre of London
+till he was more than thirty years old, and then,
+looking for more quiet and space he bought a
+very small house and garden at No. 1, St. John's
+Wood. There was not much room in the house
+but it had a stable attached which made a fine
+studio, and there Landseer lived with a sister
+of his, for nearly fifty years. When he first
+wished to rent the house, the landlord asked
+him a hundred pounds premium which Landseer
+felt that he could not pay and he was
+about to give it up, when a friend declared
+that if the matter of money was all that
+prevented him, he was to rent it immediately,
+and he could repay him as he chose. Landseer
+then took the house, his friend paying down the
+premium, and Landseer returned the money
+twenty-pounds at a time, till all the debt was
+paid.</p> 
+
+<p>Landseer made this a famous and hospitable 
+<a name="185"></a>
+house, and it is said that more great people
+gathered under his roof than had ever gathered
+about any other artist with the exception of
+Sir Joshua Reynolds. That was the house in
+which Landseer's loving old father spent his
+last days and finally died. A story is told of
+the witty D'Orsay, who would call out at the
+door, when he went to visit the artist: "Landseer,
+keep de dogs off me, I want to come in
+and some of dem will bite me--and dat fellow
+in de corner is growling furiously."</p> 
+
+<p>On one of his several visits to Abbotsford,
+where he went many times after his first invitation,
+to enjoy Scott's delightful hospitality,
+he painted a famous dog of Sir Walter's called
+Maida, which died six weeks afterward.</p> 
+
+<p>There are several such stories about dogs
+who died rather tragically and were also
+painted by Landseer. The two King Charles
+spaniels which he painted both died soon
+after sitting to the great painter. They had
+been pets of Mr. Vernon, who commissioned
+the painting, and the white Blenheim spaniel
+fell from a table and was killed, while the King
+Charles fell through the railings of a staircase
+and was picked up dead. The great bloodhound,
+Countess, belonging to Mr. Bell who
+gave her picture to the Academy, was watching
+for her master's return one dark night and when
+she heard the wheels of his carriage, then his
+voice, she leaped from the balcony, but missed
+her footing and fell nearly dead at Mr. Bell's 
+<a name="186"></a>
+feet. That gentleman loved the dog so much
+that he was distracted, and taking her into his
+gig, knowing that she must die, he raced in to
+London again that same night, and rousing
+Sir Edwin, begged him to paint the dog before
+it was too late. Then and there was the sketch
+of the dying animal made.</p> 
+
+<p>Sir Edwin Landseer was the most versatile
+and entertaining of artists. He was a wit, and
+could also perform all sorts of sleight of hand
+tricks, besides being so quick with his pencil
+that his doings seemed miraculous. One
+evening, during a conversation with many
+friends, someone declared that in point of
+time Sir Edwin could do a record-sketch.
+One young woman spoke up and said: "There
+is one thing that even he cannot do--he cannot
+make two different pictures at the same time."</p> 
+
+<p>"Think not?" cried Sir Edwin. "Let us
+see!" Gaily taking two pencils, he rapidly
+drew a stag's head with one hand and a horse's
+head with the other.</p> 
+
+<p>Landseer became the guest of royalty, a
+favourite of Queen Victoria, whose dog Dash
+was one of the many famous dogs painted by
+him. Dash was the favourite spaniel of the
+Duchess of Kent, Victoria's mother; and the
+Queen's biographer says that she too loved
+him very much. On Coronation Day she had
+been away from him longer than usual, and
+when the great state coach rolled up to the
+palace steps she could hear Dash barking for
+<a name="187"></a>
+her in the hall. "Oh," she exclaimed, "there's
+Dash," and throwing aside the ball and sceptre
+which she carried, she hurried to change her
+fine robes, in order to wash the dog. This is
+a very homelike and picturesque story, but
+it is possibly not true. Doubtless the little
+Queen heard the dog bark--and was glad to
+see him.</p> 
+
+<p>At Windsor Landseer painted another royal
+dog, Islay, the pet terrier of Victoria; also
+Dandie Dinmont, belonging to the Princess
+Alice; then Eos, who was Prince Albert's--King 
+Edward's--dog. All the last years
+of Sir Edwin Landseer' life, the royal family
+were his devoted and comforting friends. The
+painter suffered much and during his visits
+to Balmoral he wrote to his sister how the
+Queen used to go several times a day to his
+room, to look after his comfort and to inquire
+about his condition. He wrote:</p> 
+
+<p>"The Queen kindly commands me to get
+well here. She has to-day been twice to my
+room to show additions recently added to her
+already rich collection of photographs. Why,
+I know not, but since I have been in the High
+lands I have for the first time felt wretchedly
+weak, without appetite. The easterly winds,
+and now again the unceasing cold rain, may
+possibly account for my condition, but I can't
+get out. Drawing tires me; however, I have
+done a little better to-day. The doctor residing
+in the castle has taken me in hand, and gives 
+<a name="188"></a>
+me leave to dine to-day with the Queen and
+the rest of the royal family.... Flogging
+would be mild compared with my sufferings.
+No sleep, fearful cramp at night, accompanied
+by a feeling of faintness and distressful
+feebleness."</p>
+
+<p>When he was well, he was gay and cheerful;
+and Dickens, Thackeray, and many other noted
+men were his friends. We are told that above
+all things. Sir Edwin was a great mimic and
+that one night at dinner he threw everybody
+into fits of laughter by imitating his friend the
+sculptor Sir Francis Chantry. It was at the
+sculptor's table, where a large party was
+assembled. Chantry called Sir Edwin's attention,
+when the cloth was removed, to the
+reflection of light in the highly polished table.</p> 
+
+<p>"Come here and sit in my place," said
+Chantry, "and see the perspective you can
+get." Then he went and stood by the fire,
+while Landseer sat in his place. Seated then
+in Chantry's chair, Landseer called out in
+perfect imitation of his host: "Come, young
+man, you think yourself ornamental; now
+make yourself useful, and ring the bell."
+Chantry did so, and when the butler came in
+he was confused and amazed to hear his
+master's voice from where Landseer sat in
+Chantry's place at the table. The voice of
+his master from the head of the table ordered
+claret, while his master really stood before
+the fire with his hands under his coat-tails.</p> 
+
+<p><a name="189"></a>
+We are told that Landseer stood his pictures
+on their heads, or upon one corner or looked
+at them from between his legs, any way, every
+way, to get a complete view of them from all
+quarters. He went to bed very late and got
+up very late, but in the mornings, while lying
+in bed he mostly thought out the subjects of
+his pictures.</p> 
+
+<p>He was not much of a sportsman, preferring
+to paint animals rather than to kill them,
+and one day when hunting, he saw a fine stag
+before him. Instead of firing at it, he thrust
+his gun into a gillie's hands, crying: "Hold
+that! hold that!" and whipping out his pencil
+and pad he began to sketch the stag. Whereupon
+the gillies were disgusted that he should
+miss so fine a shot, and they said something
+to each other in Gaelic, which Sir Edwin must
+have understood, for he became very angry.</p> 
+
+<p>"It was a pity," wrote one who knew all
+his qualities, "that Landseer, who might have
+done so much for the good of the animal kind,
+never wrote on the subject of their treatment.
+He had a strong feeling against the way some
+dogs are tied up, only allowed their freedom
+now and then. He used to say a man would
+fare better tied up than a dog, because the
+former can take his coat off, but a dog lives
+in his forever. He declared a tied-up dog,
+without daily exercise, goes mad, or dies,
+in three years."</p> 
+
+<p>He had a wonderful power over dogs, and
+<a name="190"></a>
+he told one lady it was because he had "peeped
+into their hearts." A great mastiff rushed
+delightedly upon him one day and someone
+remarked how the dog loved him. "I never
+saw the dog before in my life," the artist said.</p> 
+
+<p>While teaching some horses tricks for Astley's,
+he showed his friends some sugar in his hand
+and said: "Here is my whip." His studio
+was full of pets, and one dog used as a model
+used to bring the master's hat and lay it at his
+feet when he got tired of posing.</p>
+
+<p>This charming man suffered a great deal
+before his death, and had dreadful fits of
+depression. During one of these he wrote:
+"I have got trouble enough; ten or twelve
+pictures about which I am tortured, and a
+large national monument to complete." That
+monument was the one in Trafalgar Square,
+for which he designed the lions at the base.
+"If I am bothered about anything and everything,
+no matter what, I know my head will
+not stand it much longer." Later he wrote:
+"My health (or rather condition), is a mystery
+beyond human intelligence. I sleep seven
+hours, and awake tired and jaded, and do not
+rally till after luncheon. J. L. came down
+yesterday and did her best to cheer me...
+I return to my own home in spite of kind
+invitations from Mr. and Mrs. Gladstone to
+meet Princess Louise at breakfast." Of the
+many anecdotes told of this great man, his
+introduction to the King of Portugal furnishes 
+<a name="191"></a>
+the most amusing. "I am delighted to make
+your acquaintance," the King said, "I am
+so fond of beasts."</p> 
+
+<p>Before he died he had made a large fortune
+from his work, and during his illness he was
+tended most lovingly by his friends and sister.
+One day, walking in his garden, much depressed,
+he said sadly: "I shall never see the green
+leaves again," but he did live through other
+seasons. He wished to die in his studio, and
+at one time when he was much distracted the
+Queen wrote him not to fear, but to trust those
+who were doing all they could for him, that her
+confidence in his physicians and nurses was
+complete. At last with brother, sister, friends
+and fortune about him the great animal
+painter died, and on October 11, 1873, and
+was buried with great honours in St. Paul's
+Cathedral.</p> 
+
+<center>PLATE--THE OLD SHEPHERD'S CHIEF MOURNER</center>
+
+<p>Of all the dogs Landseer loved to paint, the
+sheep collie has the most character; and here
+he shows us one expressing in every line of
+his face and form the most profound grief.
+The Glengarry bonnet on the floor beside the
+shepherd's staff, the spectacles lying on the
+Bible, the ram's horn, the vacant chair, the
+black and white shawl known as a "Shepherd's
+plaid"--all these things have failed to comfort
+this humble follower. We can imagine him, 
+<a name="192"></a>
+not bounding ahead with a joyous bark, but
+walking staidly behind the coffin when it is
+borne away and laying himself down upon his
+master's grave, perhaps to die of starvation,
+as some of his kind have been known to do.
+The painting is one of the Sheepshanks Collection
+in the South Kensington Museum.</p> 
+
+<p>Among Landseer's other famous dog pictures
+are "Low Life and High Life," "Dignity
+and Impudence" and "The Sleeping Bloodhound,"
+all in the National Gallery. 
+<a name="193"></a></p>
+<h1>XXVI</h1>
+
+<h1>CLAUDE LORRAIN (GELLEE)</h1>
+
+<center><i>Classical French School</i><br>
+1600-1689<br>
+<i>Pupil of Godfrey Wals</i></center>
+
+<p>Of all the contrasts between the early
+and later lives of great artists, Claude
+Lorrain gives us the most complete.</p> 
+
+<p>He was born to make pastry. His family
+may have been all pastry cooks, because people
+of Lorrain were famous for that work; anyway
+as a little chap he was apprenticed to one. His
+parents were poor, lived in the Duchy of
+Lorrain and from that political division the
+Artist was named.</p> 
+
+<p>The town in which he was born was
+Chamagne, and his real name was Gellée. As
+a pastry cook's apprentice he served his time,
+and then, without any thought of becoming
+anything else in the world, he set off with
+several other pastry cooks to go to Rome,
+where their talents were to be well rewarded.</p> 
+
+<p>But how strangely things fall out! In
+Rome he was engaged to make tarts for
+Agostine Tassi, a landscape painter. His work
+was not simply to furnish his master with
+desserts, but to do general housekeeping, and
+it fell to his lot to clean Tassi's paint brushes.
+<a name="194"></a>
+So far as we know, this was the first introduction
+of Claude Lorrain to art other than culinary.</p> 
+
+<p>From cleaning brushes it was but a step
+to trying to use them upon canvas, and Tassi
+being a good-natured man, began to give
+Lorrain instruction, till the pastry cook became
+his master's assistant in the studio. This led
+to a larger and larger life for the young Frenchman,
+and he copied great masters, did original
+things, and finally in his twenty-fifth year
+returned to France a full-fledged artist. He
+remained there two years, and then went back
+to Italy, where he lived till he died. The
+visit to France turned out fortunately because
+on his way back he fell in with one of the original
+twelve members of the French Academy,
+Charles Errard, who became the first director
+of the Academy in Rome. A warm friendship
+sprang up between the men, and Errard was
+very helpful to the young artist.</p> 
+
+<p>Nevertheless, Lorrain did not gain much
+fame till about his fortieth year, when he was
+noticed by Cardinal Bentivoglio, and was given
+certain commissions by him. He grew in
+Bentivoglio's favour so much that the Cardinal
+introduced him to the pope. The Catholic
+Church set the fashions in art, politics, and
+history of all sorts at that time, so that Lorrain
+could not have had better luck than to become
+its favourite. The pope was Urban VIII.,
+whose main business was to hold the power of
+the Church and make it stronger if he could, 
+<a name="195"></a>
+so that he was continually building fortresses
+and other fortifications, and he had use for
+artists and decorators. Lorrain's fame outlasted
+the life of Urban VIII., and he
+became a favourite in turn with each of the
+three succeeding popes. All this time he
+was doing fine work in Italy and for Italy,
+besides receiving orders for pictures from
+France, Holland, Germany, Spain, and England,
+for his fame had reached throughout the world.</p> 
+
+<p>Besides leaving many paintings behind him
+when he died, he left half a hundred etchings;
+also a more precise record of his work than most
+artists have left. He executed two hundred
+sketches in pen or pencil, washed in with brown
+or India ink, the high lights being brought
+out with touches of white. On the backs of
+them the artist noted the date on which the
+sketch was developed into a picture, and for
+whom the latter was intended. The story is
+that his popularity produced many imitators,
+and that he adopted this means to establish
+the identity of his own work and distinguish
+it from the many copies made.</p> 
+
+<p>These sketches were collected in a volume
+by Lorrain and called "Liber Veritatis," and
+for more than a hundred years the Dukes of
+Westminster have owned this.</p> 
+
+<center>PLATE--ACIS AND GALATEA</center>
+
+<p>This picture in the Dresden Gallery is a scene
+from the mythical story of a goddess who 
+<a name="196"></a>
+fell in love with the youthful son of a faun and
+a naiad. Thus she excited the jealous fury
+of the cyclops, Polythemus, who is seen in the
+picture herding his flock of sheep upon the
+high cliff at the right. Soon he will rise and
+hurl a rock upon Acis, crushing the life out of
+him, so that there will be nothing left for
+Galatea to do but to turn him into the River
+Acis, but meanwhile the lovers are unconscious
+and happy. Venus is reposing near them on the
+waves and Cupid is closer still, while the sea
+in the background seems to be stirred with a
+fresh morning breeze.</p> 
+
+<p>Some of the famous Lorrains in the Louvre
+are: "Seaport at Sunset," "Cleopatra Landing 
+at Tarsus," and "The Village Festival." 
+<a name="197"></a></p>
+<h1>XXVII</h1>
+
+<h1>MASACCIO (TOMMASO GUIDI)</h1>
+
+<center>(Pronounced Tome-mah'so Mah'sahch'cheeo)<br>
+<i>Florentine School</i><br>
+1401-1428<br>
+<i>Pupil of Ghibertio, Donatello, and Brunellesco</i></center>
+
+<p>This artist, who lived and died within the
+century that witnessed the discovery
+of America, was famous for more than his
+painting. He was the original inventor who
+first learned and taught the mixing of colours
+with oils, thus making the peculiar "distemper"
+unnecessary.</p> 
+
+<p>The story of Italian artists includes a history
+of their names, for the Italians seem to have had
+most remarkable reasons for naming children.
+For example, this artist, Masaccio, was born
+on St. Thomas's day, hence, his name of
+Tommaso. Presently, for short, or for love,
+he was called Maso, and to cap all, being a
+careless lad, his friends added the derogatory
+"accio," and there we have the artist completely
+named. He owed nothing of this to his father,
+who was plain, or ornamentally, Ser Giovanni
+di Simone Guidi, of Castello San Giovanni,
+in the Valdamo.</p> 
+
+<p>As a very little boy, it was plain to be seen
+that slovenly Thomas was going to be a great 
+<a name="198"></a>
+artist, and no time was lost in putting him to
+work with the best of masters.</p> 
+
+<p>He was a veritable inventive genius. Until
+his time difficulties in drawing had been overcome
+mostly by ignoring them. Since no artist
+had been able to draw a foreshortened foot,
+it had been the fashion in art to paint people
+standing upon their tiptoes, to make it possible
+for an artist to paint the foot. The enterprising
+Thomas came along and he decided
+that feet must be painted both flat and crossed,
+on tiptoe or otherwise; in short he did not
+mean to lose by a foot.</p> 
+
+<p>He worked at this problem day and night,
+till at last the naturally poised foot came
+into existence for the artist. Never after
+Masaccio's time did an artist paint the foot
+stretched upon the toes. Moreover, until
+his time flesh had never been painted of a
+remotely natural colour, so Masaccio set about
+combining colours till he made one that had
+the tint of real flesh. Thus he was the first to
+overcome the difficulties of drawing and the
+first to discover a mixture that would not leave
+a glazed, hard, unnatural appearance and be
+likely to crack and destroy the finest effort of
+an artist.</p> 
+
+<p>He worked during his youth in Pisa, where
+the "leaning tower" stands; then he worked
+in Florence, finally in Rome, but those early
+pictures are long since gone. It was a century
+of adventure and discovery as well as of art,
+<a name="199"></a>
+and with so much change, so many wars and
+rumours of wars, many great art works were lost.
+Besides, the horrible plague swept Italy east,
+west, north, and south. Who was to concern
+himself with saving works of art, when human
+life was going out wholesale all over the land?</p> 
+
+<p>Masaccio was certainly very poor most of his
+life. He lived with his mother and his
+brother Giovanni, an artist like himself, but not
+nearly so brilliant. Masaccio could not spend
+his life in painting but had to eke out the family
+fortunes by keeping a little shop near the old
+Badia, and being pestered day and night by
+his creditors he was forced again and again to go
+to the pawn shop.</p> 
+
+<p>Somewhere about 1422, careless Thomas
+painted his greatest picture which was doomed
+to destruction too early for us to know much
+about it; but it was named "San Paolo" and
+it was painted in the bell-room of the Church
+of the Carmine in Florence. The figure for
+his model was an illustrious personage, Bartoli
+d'Angiolini, who had held many honourable
+offices in Florence for many years. A critic
+and friend of artists tells us that the portrait
+was so great it lacked only the power of speech.</p> 
+
+<p>In this picture Masaccio made his first great
+triumph in the foreshortening of feet.</p> 
+
+<p>He undertook to celebrate the consecration
+Of the Church of the Carmine, and for this he
+made many frescoes, among which was a correct
+painting of the procession as it entered from 
+<a name="200"></a>
+the cloisters of the church. "Among the
+citizens who followed in its wake, portraits
+are introduced of Brunellesco, Donatello,
+Masolino, Felice Brancacci (the founder of the
+chapel) Giovanni di Bicci de' Medici, and others,
+including the porter of the convent with the
+key of the door in his hand."</p> 
+
+<p>This work was thought to be very wonderful
+because the figures grew smaller in the distance,
+thereby giving "perspective" for the first time.
+Imagine how crude a thing was painting in the
+day of careless Thomas.</p> 
+
+<p>That fresco is long since gone, but drawings
+of it still exist which tell us something of the
+people of Christopher Columbus's day--previous
+to their appearance, and their conditions.</p> 
+
+<p>After Masaccio had finished the procession
+he went back to his painting of the chapel and
+in the end covered three of its four walls with
+his works. Many of those paintings are scenes
+from the life of St. Peter, and several were
+worked at by other artists than Masaccio.</p> 
+
+<p>Masaccio was greater than Raphael, greater
+than Michael Angelo in so far as he pointed the
+way that they were to go, having solved for them
+all the problems that had kept artists from
+being great before him. Sir Joshua Reynolds
+says that "he appeared to be the first who
+discovered the path that leads to every
+excellence to which the art afterward arrived;
+and may therefore be justly considered one of
+the great fathers of modern art."</p> 
+
+<p><a name="201"></a>
+The artist lived but a little time, and was
+most likely poisoned. Nobody knows, but it is
+said that other painters were so wildly jealous of
+his original genius that they wished him out of
+the way, and his death was at least mysterious.
+He drew very rapidly and let the details go,
+caring only to represent motion and action.
+Because he painted so many portraits into his
+pictures there was great life and animation
+in them, and people said of him that he painted
+not only the body but the soul.</p> 
+
+<center>PLATE--ARTIST'S PORTRAIT [Footnote:
+Many artists have left us portraits of themselves, painted, no doubt,
+with the aid of a mirror, in a group or alone. This one of Masaccio in
+the Naples Museum, shows him to have been a picturesque model.]</center>
+
+<p>Some of his known pictures are the frescoes
+in the church of St. Clemente in Rome; the
+frescoes in the Brancacci Chapel in the Church
+of the Carmine, "St. Peter Baptising" and the
+"Madonna and Child, with St. Anne," which is
+in the Accademia at Florence.</p> 
+
+<p>
+<a name="202"></a></p>
+<h1>XXVIII</h1>
+
+<h1>JEAN LOUIS ERNEST MEISSONIER</h1>
+
+<center>(Pronounced May-sohn-yay)<br>
+<i>French School</i><br>
+1815-1891<br>
+<i>Pupil of Léon Cogniet</i></center>
+
+<p>This artist was born at Lyons. His
+father was a salesman and an art-training
+seemed impossible for the young man
+because the Meissoniers were poor people.
+Nevertheless, he was so persevering that while
+still a young man he got to Paris and began
+to paint in the Louvre. He was but nineteen
+at that time, and his fate seemed so hard and
+bitter that later in life he refused to talk of
+those days.</p> 
+
+<p>He sat for many days in the Louvre, by
+Daubigny's side, painting pictures for which
+we are told he received a dollar a yard. We
+can think of nothing more discouraging to a
+genius than having to paint by the yard. It
+is said that his poverty permitted him to
+sleep only every other night, because he must
+work unceasingly, and someone declares that he
+lived at one time on ten cents a week. This
+is a frightful picture of poverty and distress.</p> 
+
+<p>Meissonier's first paying enterprise was the
+painting of bon-bon boxes and the decorating
+<a name="203"></a>
+of fans, and he tried to sell illustrations for
+children's stories, but for these he found no
+market. A brilliant compiler of Meissonier's
+life has written that "his first illustrations in
+some unknown journal were scenes from the
+life of 'The Old Bachelor.' In the first
+picture he is represented making his toilet
+before the mirror, his wig spread out on the
+table; in the second, dining with two friends;
+in the third, on his death-bed, surrounded by
+greedy relations and in the fifth, the servants
+ransacking the death chamber for the property."
+This was very likely a vision of his own possible
+fate, for Meissonier must have been at that
+time a lonely and unhappy man.</p> 
+
+<p>There are many stories of his first exhibited
+work, which Caffin declares was the "Visit to
+the Burgomaster," but Mrs. Bolton, who is
+almost always correct in her statements, tells
+us that it was called "The Visitor," and that it
+sold for twenty dollars. At the end of a six
+years struggle in Paris, his pictures were
+selling for no more.</p> 
+
+<p>Until this artist's time people had been
+used only to great canvases, and had grown
+to look for fine work, only in much space, but
+here was an artist who could paint exquisitely
+a whole interior on a space said to be no "larger
+than his thumb nail." His work was called
+"microscopic," which meant that he gave
+great attention to details, painting very slowly.</p> 
+
+<p>During the Italian war of 1859, and in the
+<a name="204"></a>
+German war of 1870, this wonderful artist was
+on the staff of Napoleon III. During the siege
+of Paris he held the rank of colonel, and he
+lost no chance to learn details of battles which
+he might use later, in making great pictures.
+Thus he gained the knowledge and inspiration
+to paint his picture "Friedland," which
+was bought by A. T. Stewart and is now in the
+Metropolitan Museum. He, himself, wrote of
+that picture: "I did not intend to paint a
+battle--I wanted to paint Napoleon at the
+zenith of his glory; I wanted to paint the love,
+the adoration of the soldiers for the great
+captain in whom they had faith, and for whom
+they were ready to die.... It seemed
+to me I did not have colours sufficiently dazzling.
+No shade should be on the imperial
+face.... The battle already commenced,
+was necessary to add to the enthusiasm of the
+soldiers, and make the subject stand forth, but
+not to diminish it by saddening details. All
+such shadows I have avoided, and presented
+nothing but a dismounted cannon, and some
+growing wheat which should never ripen.</p> 
+
+<p>"This was enough.</p> 
+
+<p>"The men and the Emperor are in the presence
+of each other. The soldiers cry to him that
+they are his, and the impressive chief, whose
+imperial will directs the masses that move
+around, salutes his devoted army. He and
+they plainly comprehend each other and
+absolute confidence is expressed in every face."</p>
+
+<p><a name="205"></a>
+This great work was sold at auction for
+$66,000 and given to the Metropolitan Museum.</p> 
+
+<p>It is said that when he painted the "Retreat
+from Russia," Meissonier obtained the coat
+which Napoleon had worn at the time, and had
+it copied, "crease for crease and button for
+button." He painted the picture mostly out
+of doors in midwinter when the ground was
+covered with snow, and he writes: "Sometimes
+I sat at my easel for five or six hours together,
+endeavouring to seize the exact aspect of the
+winter atmosphere. My servant placed a
+hot foot-stove under my feet, which he renewed
+from time to time, but I used to get half-frozen
+and terribly tired."</p> 
+
+<p>So attentive was he to truthfulness in detail
+that he had a wooden horse made in imitation
+of the white charger of the Emperor; and
+seating himself on this, he studied his own
+figure in a mirror.</p> 
+
+<p>At last this conscientious man was made an
+officer of the Legion of Honour, having already
+become President of the Academy. Edmund
+About writes that "to cover M. Meissonier's
+pictures with gold pieces simply would be to
+buy them for nothing; and the practice has
+now been established of covering them with
+bank-notes."</p> 
+
+<p>Meissonier seldom painted the figure of a
+woman in his pictures, but all of his subjects
+were wholesome and fine.</p> 
+
+<p>One time an admirer said to him "I envy 
+<a name="206"></a>
+you; you can afford to own as many Meissonier
+pictures as you please!"</p>
+
+<p>"Oh no, I can't," the distinguished artist
+replied. "That would ruin me. They are a
+good deal too dear for me."</p> 
+
+<p>In his maturity he became very rich, and
+his homes were dreams of beauty, filled with
+rare possessions such as bridles of black leather
+once owned by Murat, rare silver designed by
+the artist himself, great pictures, and flowers
+of the rarest description besides valuable dogs
+and horses. Yet it was said that "this man
+who lives in a palace is as moderate as a
+soldier on the march. This artist, whose
+canvases are valued by the half-million, is as
+generous as a nabob. He will give to a charity
+sale a picture worth the price of a house.
+Praised as he is by all he has less conceit in his
+nature than a wholesale painter."</p> 
+
+<p>On the 31st of January in his country house
+at Poissy, this great man, whose life reads
+like a romance, died, after a short illness. His
+funeral services were held in the Madeleine,
+and he was buried at Poissy, near Versailles,
+a great military procession following him to
+the grave.</p> 
+
+<center>PLATE--RETREAT FROM MOSCOW</center>
+
+<p>In the painting of this picture we have
+already told how every detail was mastered
+by actual experience of most of them. Meissonier
+<a name="207"></a>
+made dozens of studies for it--"a horse's
+head, an uplifted leg, cuirasses, helmets,
+models of horses in red wax, etc. He also
+prepared a miniature landscape, strewn with
+white powder resembling snow, with models
+of heavy wheels running through it, that he
+might study the furrow made in that terrible
+march home from burning Moscow. All this
+work--hard, patient, exacting work."</p> 
+
+<p>Some of his other pictures are "The Emperor
+at Solferino," "Moreau and His Staff before
+Hohenlinden," "A Reading at Diderot's" and
+the "Chess Players."</p> 
+
+<p><a name="208"></a></p>
+<h1>XXIX</h1>
+
+<h1>JEAN FRANÇOIS MILLET</h1>
+
+<center><i>Fontainebleau-Barbizon School</i><br>
+1814-1875<br>
+<i>Pupil of Delaroche</i></center>
+
+<p>Two great artists painted peasants and
+little else. One was the artist of whom
+we shall speak, and the other was Jules Breton.
+One was realistic, the other idealistic. Both
+did wonderful work, but Millet painted the
+peasant, worn, patient steadfast, overwhelmed
+with toil; Breton, a peasant full of energy,
+grace, vitality, and joy.</p> 
+
+<p>Millet painted peasants as he knew them,
+and hardly any one could have known them
+better, for he was himself peasant-born. His
+youth was hard, and the scenes of his childhood
+were such as in after life he became famous by
+painting. Millet lived in the department of
+Manche, in the village of Gruchy, near Cherbourg.
+Manche juts into the sea, at the
+English Channel, and whichever way Millet
+looked he must have seen the sea. His old
+grandmother looked after the household affairs,
+while his father and mother worked in the
+fields and Millet must have seen them hundreds
+of times, standing at evening, with bowed
+heads, listening to the Angelus bell. He
+<a name="209"></a>
+toiled, too, as did other lads in his position.
+His grandmother was a religious old woman,
+and nearly all the pictures he ever saw in his
+boyhood were those in the Bible, which he
+copied again and again, drawing them upon the
+stone walls in white chalk.</p> 
+
+<p>The old grandmother watched him, never
+doubting that her boy would become an artist.
+It was she who had named him--François,
+after her favourite saint, Francis, and it was
+she, who, beside the evening fire, would tell him
+legends of St. Francis. It was she alone who
+had time and strength left, after the day's
+work, to teach him the little he learned as a boy
+and to fix in his mind pictures of home. His
+father and mother were worn, like pack-horses,
+after their day in the fields. The mother very
+likely had to hitch herself up with the donkey,
+or the big dog, after the fashion of these people,
+as she helped draw loads about the field.
+Who can look for Breton's ideal stage peasants
+from Millet who knew the truth as he saw it
+every day?</p> 
+
+<p>Many years after his life in the Gruchy
+home, Millet painted the portrait of the grandmother
+whom he had loved so much that he
+cried out: "I wish to paint her soul!" No one
+could desire a better reward than such a
+tribute.</p> 
+
+<p>Millet had an uncle who was a priest and he
+did what he could to give the boy a start in
+learning. He taught him to read Virgil and 
+<a name="210"></a>
+the Latin Testament; and all his life those
+two books were Millet's favourites. Besides
+drawing pictures on the walls of his home,
+he drew them on his sabots. Pity some one
+did not preserve those old wooden shoes!
+He did his share of the farm work, doing his
+drawing on rainy days.</p> 
+
+<p>When he was about eighteen years old,
+coming from mass one day, he was impressed
+with the figure of an old man going along the
+road, and taking some charcoal from his
+pocket he drew the picture of him on a stone
+wall. The villagers passing, at once knew the
+likeness; they were pleased and told Millet so.
+Old Millet, the father, also was delighted for he,
+too, had wished to be an artist, but fate had
+been against him. Seeing the wonderful things
+his son could do, he decided that he should
+become what he himself had wished to be,
+and that he should go to Cherbourg to study.</p> 
+
+<p>François set off with his father, carrying a
+lot of sketches to show, and upon telling the
+master in Cherbourg what he wanted and
+showing the sketches, he was encouraged to
+stay and begin study in earnest. So back the
+old father went, with the news to the mother
+and grandmother and the priest uncle, that
+François had begun his career. He stayed in
+Cherbourg studying till his father died,
+when he thought it right to go home and do the
+work his father had always done. He returned,
+but the women-folk would not agree to him
+<a name="211"></a>
+staying. "You go back at once," said the
+grandmother, "and stick to your art. We
+shall manage the farm." She sewed up in his
+belt all the money she had saved, and started
+him off again, for he had then been studying
+only two months. Now he remained till he
+was twenty-three, a fine, strapping, broad-shouldered
+country fellow. He had long fair
+hair and piercing dark blue eyes. All the time
+he was with Delaroche he was dissatisfied with
+his work--and with his master's, which
+seemed to Millet artificial, untrue. He knew
+nothing of the classical figures the master
+painted and wished him to paint, for his heart
+and mind were back in Gruchy among the
+scenes that bore a meaning for him. He wished
+to study elsewhere, and by this time he had
+done so well that one of the artists with whom
+he had studied went to the mayor of Millet's
+home town, and begged him to furnish through
+the town-council money enough to send Millet
+to Paris. This was done, and Millet began to
+hope.</p> 
+
+<p>He was very shy and afraid of seeming
+awkward and out of place. The night he got
+to Paris was snowy, full of confusion and
+strange things to him, and an awful loneliness
+overwhelmed him. The next morning he set
+out to find the Louvre, but would not ask his
+way for fear of seeming absurd to some one,
+so that he rambled about alone, looking for the
+great gallery till he found it unaided. He 
+<a name="212"></a>
+spent most of the days that followed gazing
+in ecstasy at the pictures.</p> 
+
+<p>He liked Angelo, Titian, and Rubens best.
+He had come to Paris to enter a studio, but
+he put off his entrance from day to day, for
+his shyness was painful and he feared above all
+things to be laughed at by city students. At
+last one day, he got up enough courage to apply
+to Delaroche, whose studio he had decided
+to enter if he could, as he liked his work best.
+The students in that studio were full of
+curiosity about the new chap, with his peasant
+air, his bushy hair and great frame, so sturdy
+and awkward. They at once nicknamed him
+"the man of the woods," and they nagged
+at him and laughed at the idea that he could
+learn to paint, till one day, exasperated nearly
+to death, he shook his fist at them. From that
+moment he heard no more from them, for
+they were certain that if he could not paint he
+could use his fists a good deal better than any
+of them. Delaroche liked the peasant but
+did not understand him very well, and Millet
+was not too fond of his painting, so after two
+years he and a friend withdrew from that
+studio and set up one for themselves. Thus
+eight years passed, the friends living from
+hand to mouth, doing all sorts of things: sign-painting,
+advertisements, and the like; and
+Millet, in the midst of his poverty, got married.</p> 
+
+<p>He went home, returning to Paris with his
+wife, and after starving regularly, he became 
+<a name="213"></a>
+desperate enough to paint a single picture as
+he wished. It seemed at the time the maddest
+kind of thing to do. Who would see ugly,
+toil-worn peasants upon his <i>salon</i> walls? Paris
+wanted dainty, aesthetic art, and an Academy
+artist would have scoffed at the idea; but the
+Millets were starving anyway, so why not
+starve doing at least what one chose. So
+Millet painted his first wonderful peasant
+picture "The Winnower," and just as the
+family were starving he sold it--for $100.
+He had done at last the right thing, in doing
+as he pleased. This was a sign to him that
+there was after all a place for truth and emotion
+in art. But the Millets must change their
+place of living, and go to some place where
+the money made would not at once be eaten
+up. Jacque--the friend with whom Millet
+had set up shop, and who also became famous,
+later--advised them to go to a little place
+he knew about, which had a name ending in
+"zon." It was near the forest of Fontainebleau,
+he said and they could live there very
+cheaply, and it was quiet and decent. The
+Millets got into a rumbling old cart and started
+in search of the place which ended in "zon"
+near the forest of Fontainebleau. Jacque
+had also decided to take his family there and
+they all went together. When they got to
+Fontainebleau they got down from the car
+and went a-foot through the forest.</p> 
+
+<p>They arrived tired and hungry toward 
+<a name="214"></a>
+evening, and went to Ganne's Inn, where
+there were Rousseau, Diaz, and other artists
+who like themselves had come in search of a
+nice, clean, picturesque place in which to starve,
+if they had to. Those who were just sitting
+down to supper welcomed the newcomers, for
+they had been there long enough to form a
+colony and fraternity ways. One of these
+was to take a certain great pipe from the wall,
+and ask the newcomer to smoke; and according
+to the way he blew his "rings" he was pronounced
+a "colourist" or "classicist." The
+two friends blew the smoke, and at once the
+other artists were able to place Jacque. He
+was a colourist; but what were they to say about
+Millet who blew rings after his own fashion.</p> 
+
+<p>"Oh, well!" he cried. "Don't trouble about
+it. Just put me down in a class of my own!"</p> 
+
+<p>"A good answer!" Diaz answered. "And
+he looks strong and big enough to hold his
+own in it!" Thus the newcomers took their
+places in the life of Barbizon--the place whose
+name ended in "zon," and Millet's real work
+began. His first wife lived only two years,
+but he married again. All this time he was
+following his conscience in the matter of his
+work, and selling almost nothing. In a letter
+to a friend he tells how dreadfully poor they
+are, although his new wife was the most devoted
+helpful woman imaginable, known far and
+near as "Mère Millet." The artist wrote to
+Sensier, his friend, who aided him: "I have 
+<a name="215"></a>
+received the hundred francs. They came just
+at the right time. Neither my wife nor I had
+tasted food in twenty-four hours. It is a
+blessing that the little ones, at any rate, have
+not been in want."</p>
+
+<p>The revolution of 1848 had come before
+Millet went to Barbizon, and he like other men
+had to go to war. Then the cholera appeared,
+and these things interrupted his work; and
+after such troubles people did not begin buying
+pictures at once. Rousseau was famous now,
+but Millet lived by the hardest toil until one
+day he sold the "Woodcutter" to Rousseau
+himself, for four hundred francs. Rousseau
+had been very poor, and it grieved him to see
+the trials and want of his friend, so he pretended
+that he was buying the picture for an American.
+That picture was later sold at the Hartmann
+sale for 133,000 francs. Millet was now forty
+years old, and had not yet been recognised as
+a wonderful man by any but his brother
+artists. He was truly "in a class of his own."
+He had learned to love Barbizon, and cried:
+"Better a thatched cottage here than a palace
+in Paris!" and we have the picture in our
+minds of Millet followed patiently and lovingly
+by "Mère Millet" in the peasant dress which
+she always wore, that she might be ready at
+a moment's notice to pose for his figures. Then
+there were his little children and his sunny,
+simple, fraternal surroundings, which make his
+life the most picturesque of all artists.</p>
+
+<p><a name="216"></a>
+His paintings had the simplest stories with
+seldom more than two or three figures in them.
+It was said that he needed only a field and a
+peasant to make a great picture. When he
+painted the "Man with the Hoe," he did it so
+truthfully, in a way to make the story so
+well understood by all who looked upon it,
+that he was called a socialist. No one was
+so much surprised as Millet by that name.
+"I never dreamed of being a leader in any
+cause," he said. "I am a peasant--only a
+peasant."</p> 
+
+<p>Of his picture "The Reaper" a critic wrote,
+"He might have reaped the whole earth."
+All his pictures were sermons, he called them
+"epics of the fields." He pretended to nothing
+except to present things just as they were, as
+he writes in a letter to a friend about "The
+Water Carrier:"</p> 
+
+<p>In the woman coming from drawing water I have
+endeavoured that she shall be neither a water-carrier nor
+a servant, but the woman who has just drawn water for
+the house, the water for her husband's and her children's
+soup; that she shall seem to be carrying neither more nor
+less than the weight of the full buckets; that beneath the
+sort of grimace which is natural on account of the strain
+on her arms, and the blinking of her eyes caused by the
+light, one may see a look of rustic kindliness on her face.
+I have always shunned with a kind of horror everything
+approaching the sentimental. I have desired on the other
+hand, that this woman should perform simply and good-naturedly,
+without regarding it as irksome, an act which,
+like her other household duties, is one she is accustomed
+to perform every day of her life. Also I wanted to make 
+<a name="217"></a>
+people imagine the freshness of the fountain, and that
+its antiquated appearance should make it clear that many
+before her had come to draw water from it.</p> 
+
+<p>At forty he was in about the same condition
+as he had been on that evening ten or twelve
+years before, when he had entered Barbizon
+carrying his two little daughters upon his
+shoulders, his wife following with the servant
+and a basket of food, to settle themselves down
+to hardship made sweet by kind comradeship
+and hope. Now a change came. Millet
+painted "The Angelus." He was dreadfully
+poor at that time and sold the picture cheaply,
+but it laid the foundation of his fame and
+fortune. He had worked upon the canvas
+till he said he could hear the sound of the bell.
+Although its first purchaser paid very little
+for it, it has since been sold for one hundred
+and fifty thousand dollars.</p> 
+
+<p>At last, having struggled through his worst
+days, without recognition, and with nine little
+children to feed and clothe, he was given the
+white cross of the Legion of Honour; and as
+if to make up for the days of his starvation, he
+was nearly feasted to death in Paris. He was
+placed upon the hanging committee of the
+<i>Salon</i>, and took a dignified place among
+artists. He and Mère Millet travelled a little,
+but always he returned to Barbizon, till the
+war came and he had to move to Normandy
+to work. Afterward he returned to Barbizon,
+to the scenes and the old friends he loved so 
+<a name="218"></a>
+well, and there he died. He had come back
+ill and tired with the long struggle, and he
+instructed his friends to give him a simple
+funeral. This was done. They carried his
+coffin, while his wife and children walked
+beside him to the cemetery, and he was buried
+near the little church of Chailly, whose spire
+is seen in "The Angelas," and where Rousseau,
+whom he loved, had already been laid.</p> 
+
+<p>There in Barbizon, to-day, may be seen
+Rousseau's cottage and Millet's studio. "The
+peasants sow and reap and glean as in the days
+of Millet; Troyon's oxen and sheep are still
+standing in the meadow; Jacque's poultry are
+feeding in the barnyard. The leaves on
+Rousseau's grand old trees are trembling in the
+forest; Corot's misty morning is as fresh and
+soft as ever; while Diaz's ruddy sunsets still
+penetrate the branches; and the peasant pauses
+daily as the Angelus from the Chailly church
+calls him to silent prayer."</p> 
+
+<center>PLATE--THE ANGELUS</center>
+
+<p>In "The Angelus" you may see far-off the spire
+of the church at Chailly, from which the bell
+sounds. The day's work is drawing to a close.
+The peasant man and woman have been digging
+potatoes--the man uncovering them, while
+his wife has been putting them in the basket.
+As the Angelus floats across the fields, the two
+pause and bow their heads in prayer. The 
+<a name="219"></a>
+man has dropped his fork and uncovered his
+head, and his wife has clasped her hands
+devoutly before her.</p> 
+
+<p>All the air seems still and full of tender
+sound and colour, and we, like Millet, seem
+"to hear the bell." This is the only picture
+he painted which is full of the sentimentality
+he so much disliked. It is a great picture,
+but we need to know the title in order to
+interpret it.</p> 
+
+<p>Besides this one, Millet painted "The
+Gleaners," "The Woodcutters," "The Sower,"
+"The Man with the Hoe;" "The Water Carrier,"
+"The Reaper," and many other stories of the
+peasant poor.</p> 
+
+<p><a name="220"></a></p>
+<h1>XXX</h1>
+
+<h1>CLAUDE MONET</h1>
+
+<center>(<i>Pronounced Claude Mo-nay</i>)<br>
+<i>Impressionist School of France</i><br>
+1840--</center>
+
+<p>Another--Manet--was the founder
+of this school among modern painters,
+but Monet is always considered his most
+conspicuous follower.</p> 
+
+<p>Monet's remarkable method of putting his
+colours upon canvas does not mean impressionism.
+He is an impressionist but also
+<i>Monet</i>--an artist with a method entirely
+different from that of any other. He belongs
+to what in France is called the <i>pointillistes</i>.
+The word means nothing more nor less than
+an effort to accomplish the impossible. If you
+stand a little way from a very hot stove you
+may be able to see a kind of movement in the
+air, a quivering of particles or molecular motion,
+and this is what the <i>pointillistes</i> try to show in
+their paintings--Monet most of all.</p> 
+
+<p>The theory is that by putting little dabs of
+primitive colours, close together upon canvas,
+without mixing them, just separate dabs of
+red, yellow, blue, etc., the effect of movement
+is produced. Needless to say, none of them
+ever have produced such an effect, but they
+<a name="221"></a>
+have made such grotesque, ugly pictures that
+they have attracted attention even as a humpbacked
+person does.</p> 
+
+<p>The first who painted thus was a Frenchman
+named Seurat, who tried it after closely studying
+experiments made in light and colour by
+Professor Rood, of Columbia University.
+After him came Pissarro, and then Monet.
+America also has such a painter, Childe Hassam,
+but nobody is so grotesque as Monet.</p> 
+
+<p>He was born in Paris but spent most of his
+youth in Havre, where he met a painter of
+harbours and shipping scenes called Boudin.
+Through his influence Monet studied out-of-door
+effects, and was beginning to do fairly
+good work, when he was drawn as a conscript
+and sent to Algeria. It is written that Monet
+discovered that "green, seen under strong
+sunshine is not green, but yellow; that the
+shadows cast by sunlight upon snow or upon
+brightly lighted surfaces are not black, but
+blue; and that a white dress, seen under the
+shade of trees on a bright day, has violet or
+lilac tones." This only means that these
+things have been scientifically determined,
+not that the naked eye ever perceives them,
+and it is for the natural, unscientific eye that
+art exists. None of us see the separate colours
+of the spectrum, as we look about in every-day
+fashion upon every-day objects.</p> 
+
+<p>Professor Rood managed to produce an
+intelligent effect by putting separate colours 
+<a name="222"></a>
+on discs and whirling these round so that the
+colours mingled. Monet tried to do the same
+by dotting his original colours close together,
+and leaving the picture to its own destruction.
+It ought to revolve, if the scientific idea is to
+be carried out.</p> 
+
+<p>Nothing desirable can be made out of his
+pictures even when viewed from far off, while
+at close range they are simply grotesque, and
+photographs of them give the impression that
+the entire landscape is wabbling to the ground.</p> 
+
+<p>I wonder if anyone, small or grown up, can
+understand this: "It was indeed a higher
+kind of impressionism that Monet originated,
+one that reveals a vivid rendering, not of the
+natural and concrete facts, but of their
+influence upon the spirit when they are wrapped
+in the infinite diversities of that impalpable, immaterial,
+universal medium which we call light,
+when the concrete loses itself in the abstract,
+and what is of time and matter impinges on the
+eternal and the universal." Monet's pictures
+look just as that explanation of them sounds!</p> 
+
+<p>The same writer says that Monet was greater
+than Corot because he was more sensitive to
+colour; but if Monet had been as sensitive to
+colour as Corot, he could not have lived and
+looked at his own pictures.</p> 
+
+<center>PLATE--HAYSTACK IN SUNSHINE</center>
+
+<p>The main feature of this picture is such a
+hay stack as never existed anywhere, of 
+<a name="223"></a>
+indescribable lurid colour, against a background
+of blue such as never was seen. All
+about there are violet and rose-coloured
+trees, and it is a picture that every child should
+know, because he is likely never to have
+another such opportunity.</p> 
+
+<p>Monet has made two interesting pictures of
+churches, one at Vernon, the other at Varangeville.</p>
+
+<p><a name="224"></a></p>
+<h1>XXXI</h1>
+
+<h1>MURILLO (BARTOLOME ESTEBAN)</h1>
+
+<center>(Pronounced Moo-reel'oh Bar-tol-o-may' A-stay'bahn)<br>
+<i>Andalusian School</i><br>
+1617-1682<br>
+<i>Pupil of Juan del Castillo</i></center>
+
+<p>The story of Murillo has been delightfully
+told by Mrs. Sarah Bolton.</p> 
+
+<p>Like Velasquez, he was born in Seville, a
+city called "the glory of the Spanish realms,"
+and was baptised on New Year's day, 1618,
+in the Church of the Magdalen.</p> 
+
+<p>Murillo's father paid his rent in work,
+instead of in money. He made a bargain with
+the convent who owned his house that he
+would keep it in repair if he might have it
+free of rent, so there Gaspar Estéban and his
+wife, Maria Perez, settled. "Perez" was the
+family name of Murillo's mother, who had
+very good connections; one of her brothers,
+Juan del Castillo, being a man who encouraged
+all art and had an art school of his own. Little
+Murillo therefore had encouragement from the
+start, an unusual circumstance at a time when
+parents rarely wished to think of their sons
+as painters. As a matter of fact, his mother
+would have preferred that he should become a
+priest, but she was kind and sensible, and put
+<a name="225"></a>
+no difficulties in the way of the little Murillo
+doing as he wished.</p> 
+
+<p>The story goes that the Perez family had
+been very rich, but, however it may have been,
+that was not the case when the artist was born.
+One day after his mother had gone to church,
+Murillo being left at home alone, retouched
+a picture that hung upon the wall. It was a
+picture of sacred subject--"Jesus and the
+Lamb." He thought he could make some
+improvements in it, so he painted his own hat
+upon the head of Jesus and changed the lamb
+into a little dog. His mother was a good deal
+shocked at what seemed to her an irreligious
+act, though it showed the family genius. After
+that the boy was found to be painting upon the
+walls of his schoolroom, and making sketches
+upon the margins of his books, though he
+did little else at school.</p> 
+
+<p>He had one sister, Therese, and they were
+left without father or mother before the artist
+was eleven years old.</p> 
+
+<p>It was at that time that he received the name
+of "Murillo" by which he is known.</p> 
+
+<p>It came about thus: After the death of his
+parents he went to live with his mother's
+sister, the Doña Anna Murillo, who had
+married a surgeon called Juan Agustin Lagares,
+and since the little artist was to live with his
+aunt, he soon became known by her family
+name. There, in her home, he and his sister
+Therese, were brought up, but he was not to 
+<a name="226"></a>
+become a surgeon like his uncle-in-law, but an
+artist like his uncle Juan, the teacher in Seville.
+That uncle took him in hand, taught the boy to
+draw, to mix colours, to stretch his canvas,
+and soon Murillo's genius won the love of
+master and pupils.</p> 
+
+<p>In peace and reasonable comfort he served
+a nine years apprenticeship, and painted his
+first important, if not especially great, pictures.
+These were two Madonnas, one of them "The
+Story of the Rosary." St. Dominic had
+instituted the rosary; using fifteen large and
+one hundred and fifty small beads upon which
+to keep record of the number of prayers he
+had said; the large beads representing the
+<i>Paternosters and Glorias</i> and the small ones, the
+<i>Aves</i>. This practical way of indicating duties
+helped the heedless to concentrate their attention,
+and did much to increase the number of
+prayers offered. Indeed, it is said that "by
+this single expedient Dominic did more to
+excite the devotion of the lower orders, especially
+of the women, and made more converts,
+than by all his orthodoxy, learning, arguments,
+and eloquence." It was this incident in the
+history of the Catholic Church that Murillo
+commemorated.</p> 
+
+<p>When the artist was twenty-two years old,
+his uncle, Juan del Castillo, broke up his home
+and went elsewhere to live, leaving the artist
+without home or means, and with his little
+sister to take care of. Without vanity or 
+<a name="227"></a>
+ambition, but with only the wish to care for
+his sister and to get food, the marvellous painter
+took himself to the market place, and there,
+wedged in between stalls, old clothes, vegetables,
+all sorts of wares, like a wanderer and a gypsy,
+he began his career.</p> 
+
+<p>At the weekly market--the <i>Feria</i> or fair,
+opposite the Church of All Saints--his brotherly,
+kindly feeling for the vagabonds he daily met
+is shown in the treatment he gives them in
+his wonderful pictures. During the two years
+that he worked in that open-air studio he had
+flower-girls, muleteers, hucksters all about him,
+and he painted dozens of rough pictures which
+found quick sale among the patrons of the
+market. What Velasquez was doing in the
+court of Madrid, Murillo was doing in the
+streets of Seville; the one painting cardinals,
+kings, and courtiers; the other painting beggars,
+<i>gamins</i>, and waifs. Between the two, the
+world has been shown the social history of
+Spain as it then existed.</p> 
+
+<p>Through a peculiar happening, the American
+Indian saw the beauties of Murillo's work
+before Europe was even conscious there was
+such a man. In his old home, his uncle's
+studio, Murillo had had a dear comrade, Moya.
+They had not met for two years or more, and
+when they did come together again Moya
+told Murillo he had been travelling, that he
+had been to Flanders with the Spanish army,
+and thence to London, in both places seeing
+<a name="228"></a>
+gorgeous paintings and other inspiring things.
+He opened the eyes of Murillo to the splendours
+the world contained, and the artist became
+wild with desire to go and see them for himself,
+but he had no money. He was painting pictures
+in the market place of Seville and getting so
+little for his hasty work that he could barely
+support himself and little Therese. What must
+he do in order to get to London and see the
+world?</p> 
+
+<p>What he did do was to buy a piece of linen,
+cut it into six pieces and hide himself long
+enough to paint upon them "saints, flowers,
+fruit and landscapes," and then he went forth
+to sell them.</p> 
+
+<p>He actually sold those pictures to a ship-owner
+who was sending his ship to the West
+Indies. Eventually they were hung upon the
+walls of a mission in wild, far off America.
+It is said that after this Murillo made no little
+money by painting such pictures, destined to
+give the American savage an idea of the
+Christian religion. One cannot but wonder
+if there may not be, all unknown to us, Murillo
+pictures, made in the market-place of Seville
+nearly three hundred years ago, hidden away
+in the remains of those old Spanish missions,
+even to-day. Such a picture would be more
+rare than the greatest that he ever painted.</p> 
+
+<p>After selling his six pictures Murillo started
+a-foot, not to London but on a terrible journey
+across the Sierra Mountains, to Madrid--the 
+<a name="229"></a>
+home of Velasquez. Murillo knew that this
+native of Seville had become a famous artist.
+He was powerful and rich and at the court of
+Philip II., while Murillo had no place to lay
+his head, and besides he had left Therese behind
+in Seville in the care of friends. He had no
+claim upon the kindness of Velasquez but he
+determined to see him; to introduce himself
+and possibly to gain a friend. It was under
+these forlorn circumstances he made himself
+known to the great Spanish court painter.</p> 
+
+<p>The story of their meeting is a fine one. For
+Murillo Velasquez had a warm embrace, a kind
+and hospitable word. The stranger told Velasquez
+how he had crossed the mountains on
+foot, was penniless, but could use his brush.
+Instead of jealousy and suspicion, the young
+man met with nothing but the most cheerful
+encouragement, found the Velasquez home
+open to him, took up his lodging there and
+established his workshop with nothing around
+him but friendship and the sympathy his nature
+craved.</p> 
+
+<p>From the market-place to the home of
+Velasquez and the Palace of Philip II.! It was
+a beautiful dream to Murillo.</p> 
+
+<p>With what splendour of colour and mastery
+of design he illuminated the annals of the poor!
+Coming forth from some dim chancel or palace-hall
+in which he had been working on a majestic
+Madonna picture, he would sketch in, with
+the brush still loaded with the colours of 
+<a name="230"></a>
+celestial glory, the lineaments of the beggar
+crouching by the wall, or the gypsy calmly
+reposing in the black shadow of an archway.
+Such versatility had never before been seen
+west of the Mediterranean, and it commanded
+the admiration of his countrymen.</p> 
+
+<p>All his beggarly little children, neglected and
+houseless, appeared only to be full of cheer
+and merriment, with soft eyes and contented
+faces. It was a happy, care-free, gay, and
+kindly beggardom that he painted, with nothing
+in it to sadden the heart.</p> 
+
+<p>Thus he lived for three years; working in
+the galleries of the king, making friends at
+court, painting beautiful women, gallant
+cavaliers and fascinating little beggars.</p> 
+
+<p>In the course of time, however, he grew
+restless, and Velasquez wished to give him
+letters of introduction to Roman artists and
+people of quality, advising him to go to Rome
+to study the greatest art in the world. This
+was an alluring plan to Murillo, but after all
+he longed for his own home and chose to return
+there rather than go to Rome. Besides, his
+sister Therese was still in Seville.</p> 
+
+<p>Once more in his home, at one stroke of his
+magic brush Murillo raised himself and a
+monastic order from obscurity to greatness.
+In his native city was the order of San Francisco.
+The monks had long wished to have their
+convent decorated in a worthy manner by some
+artist of repute; but they were poor and had 
+<a name="231"></a>
+never been able to engage such a painter.
+When Murillo got back home, he was as badly
+in need of work as the Franciscans were in
+want of an artist. The monks held a council
+and finally agreed upon a price which they
+could pay and which Murillo could live upon.
+Then he began a wonderful set of eleven large
+paintings. Among them were many saints,
+dark and rich in colouring, and no sooner was
+it known that the paintings were being made
+than all the rich and powerful people of Seville
+flocked to the convent to see the work. They
+gathered about the young artist, overwhelmed
+him with honours and praise, and the monastery
+was crowded from morning till night with
+those who wished to study his work. From
+that moment Murillo's fame, if not his fortune,
+was made.</p> 
+
+<p>He married a rich and noble lady with the
+tremendous name of Doña Beatriz de Cabrera y
+Sotomayer. He had fallen in love with her
+while painting her as an angel.</p> 
+
+<p>About that time he formed a strange partnership
+with a landscape painter, who agreed to
+supply the backgrounds that his pictures
+needed, if Murillo would paint figures into his
+landscapes. This plan did very well for a
+little time, but it did not last long.</p> 
+
+<p>Murillo painted in three distinct styles, and
+these have come to be known as the "warm,"
+the "cold," and the "vaporous." He painted
+pictures in the great cathedral of the Escorial 
+<a name="232"></a>
+and the "Guardian Angel" was one of them.
+Also, he painted "St. Anthony of Padua,"
+and of this picture there is one of those absurd
+stories meant to illustrate the perfection of
+art. It is said that the lilies in it are so
+natural that the birds flew down the cathedral
+aisles to pluck at them. Many artists have
+painted this saint, but Murillo's is the best
+picture of all.</p> 
+
+<p>When the nephew of his first master, Murillo's
+cousin, saw that work he said: "It is all over
+with Castillo! Is it possible that Murillo,
+that servile imitator of my uncle, can be the
+author of all this grace and beauty of
+colouring?"</p> 
+
+<p>The Duke of Wellington offered for this
+picture as many gold pieces "as would cover
+its surface of fifteen square feet." This would
+have been about two hundred and forty thousand
+dollars; but we need not imagine that
+Murillo received any such sum for the work.
+This picture has a further interesting history.
+The canvas was cut from the frame by thieves
+in 1874, and later it was sold to Mr. Schaus,
+the connoisseur and picture dealer of New York.
+He paid $250 for it, and at once put it into
+the hands of the Spanish consul, who restored
+it to the cathedral.</p> 
+
+<p>The story of the saint whom Murillo painted
+is as interesting as Murillo's own. Among the
+many wonderful things said to have happened
+to him was that a congregation of fishes hearing
+<a name="233"></a>
+his voice as he preached beside the sea, came
+to the top and lifted up their heads to listen.</p> 
+
+<p>While Murillo was doing his work, he was
+living a happy, domestic life. He had three
+children, and doubtless he used them as
+models for his lively cherubs, as he used his
+wife's face for madonnas and angels.</p> 
+
+<p>He founded an academy of painting in
+Seville, for the entrance to which a student
+could not qualify unless he made the following
+declaration: "Praised be the most Holy
+Sacrament and the pure conception of Our
+Lady."</p> 
+
+<p>The most delightful stories are told of
+Murillo's kindness and sweetness of disposition.
+He had a slave who loved him and who, one
+day while Murillo was gone from the studio,
+painted in the head of the Virgin which the
+master had left incomplete. When Murillo
+returned and saw the excellent work he cried:
+"I am fortunate, Sebastian"--the slave's
+name--"For I have not created only pictures
+but an artist!" This slave was set free by
+Murillo and in the course of time he painted
+many splendid pictures which are to-day
+highly prized in Seville.</p> 
+
+<p>This is a description of Murillo's house which
+is still to be seen near the Church of Santa
+Cruz: "The courtyard contains a marble
+fountain, amidst flowering shrubs, and is
+surrounded on three sides by an arcade upheld
+by marble pillars. At the rear is a pretty 
+<a name="234"></a>
+garden, shaded by cypress and citron trees, and
+terminated by a wall whereon are the remains
+of ancient frescoes which have been attributed
+to the master himself. The studio is on the
+upper floor, and overlooks the Moorish battlements,
+commanding a beautiful view to the
+eastward, over orange groves and rich corn-lands,
+out to the gray highlands about Alcala."</p>
+
+<p>Murillo's fame brought fortune to his little
+sister, Therese. She married a nobleman of
+Burgos, a knight of Santiago and judge of the
+royal colonial court. He became the chief
+secretary of state for Madrid.</p> 
+
+<p>Murillo made money, but gave almost all
+that he made to the poor, though he did not
+make money in the service of the Church, as
+Velasquez made it in the service of the king.</p> 
+
+<p>His work of more than twenty pictures in
+the Capuchin Church of Seville occupied him
+for three years, and in that time he did not
+leave the convent for a single day.</p> 
+
+<p>Of all the charming stories told of this
+glorious artist, one which is connected with his
+work in that church is the most picturesque.
+It seems that every one within the walls loved
+him, and among others a lay brother who was
+cook. This man begged for some little personal
+token from Murillo and since there was no
+canvas at hand, the artist bade the cook leave
+the napkin which he had brought to cover
+his food, and during the day he painted upon
+it a Madonna and child, so natural that one of 
+<a name="235"></a>
+his biographers declares the child seems about
+to spring from Mary's arms. This souvenir
+made for the cook of the Capuchin, convent
+has been reproduced again and again, as one
+of the artist's greatest performances.</p> 
+
+<p>Toward the close of his happy life, he became
+more and more devout, spending many hours
+before an altar-piece in the Church of Santa
+Cruz where was a picture of "The Descent
+from the Cross," by Pedro Campana. "Why
+do you always tarry before 'The Descent from
+the Cross?'" the sacristan once asked of him.</p> 
+
+<p>"I am waiting till those men have brought
+the body of our blessed Lord down the ladder."
+Murillo answered. His wife had died, his
+daughter had become a nun, and all that was
+left to him was his dear son Gaspar, when in his
+sixty-third year he began his last work, "The
+Marriage of St. Catherine." He had not finished
+this when he fell from the scaffolding upon
+which he was working, and fatally hurt himself.
+He died, with his son beside him. He was a
+much loved man, and when he was buried, his
+bier was carried by "two marquises and four
+knights and followed by a great concourse of
+people." He chose to be buried beneath
+the picture he loved so much--"The Descent
+from the Cross," and upon his grave was laid
+a stone carved with his name, a skeleton and
+an inscription in Latin which means "Live as
+one who is about to die."</p> 
+
+<p>The church has since been destroyed, and 
+<a name="236"></a>
+on its site is the Plaza Santa Cruz, but Murillo's
+grave is marked by a tablet.</p> 
+
+<p>Each country seems to have had at least one
+man of beautiful heart and mind, to represent
+its art. Raphael in Italy, Murillo in Spain,
+were types of gentle and greatly beloved men.
+Leonardo in Italy and Dürer in Nuremberg,
+were types of forceful, intellectual men,
+highly respected and of great benefit to the
+world.</p> 
+
+<p>Of all the painters who ever lived, Murillo
+was the one who painted little children with
+the most loving and fascinating touch.</p> 
+
+<center>PLATE--THE IMMACULATE CONCEPTION</center>
+
+<p>Besides the little angels in this picture, we
+have a bewildering choice among many other
+beauties.</p> 
+
+<p>Many pictures of this subject have been
+painted, and many were painted by Murillo,
+but the one presented here is the greatest of all.
+It hangs in the Louvre, Salle VI. Mary seems
+to be suspended in the heavens, not standing
+upon clouds. Under the hem of her garments
+is the circle of the moon, while there is the effect
+of hundreds of little cherub children massed
+about her feet, in a little swarm at the right,
+where the shadow falls heaviest, and still
+others, half lost in the vapoury background
+at the left, where the heavenly light streams
+upon them, and brilliantly lights up the Virgin's
+<a name="237"></a>
+gown. In this picture are all Murillo's beloved
+child figures, some carrying little streamers,
+their tiny wings a-flutter and all crowding
+lovingly about Mary. Far below this gorgeous
+group we can imagine the dark and weary
+earth lost in shadow.</p> 
+
+<p>Among Murillo's most famous paintings are:
+"The Birth of the Virgin," "Two Beggar Boys,"
+"The Madonna of the Rosary," "The
+Annunciation," "Adoration of the Shepherds,"
+"Holy Family," "Education of Mary," "The
+Dice Players," and "The Vision of St. Anthony."
+<a name="238"></a></p>
+
+<h1>XXXII</h1>
+
+<h1>RAPHAEL (SANZIO)</h1>
+
+<center>(Pronounced Rah'fay-el (Sahnt'syoh))<br>
+1483-1590<br>
+<i>Umbrian, Florentine, and Roman Schools</i><br>
+<i>Pupil of Perugino</i></center> 
+
+<p>It was said of Raphael that "every evil
+humour vanished when his comrades saw
+him, every low thought fled from their minds";
+and this was because they felt themselves
+vanquished by his pleasant ways and sweet
+nature.</p> 
+
+<p>Imagine his beautiful face, with its sunny
+eyes, reflecting no shadow of sadness or pain.
+Such a one was sure to be beloved by all.</p> 
+
+<p>The father of Raphael was Giovanni Santi,
+himself an able artist. Both he and Raphael
+studied in many schools and took the best from
+each. The son was brought up in an Italian
+court, that of Guidobaldo of Urbino, where the
+father was a favourite poet and painter, so that
+he had at least one generation of art-lovers
+behind him, at a time when learning and art
+were much prized. Nothing ever entered
+into his life that was sad or sorrowful; his
+whole existence was a triumph of beautiful
+achievements. There were three great artists
+of that time, the other two being Michael 
+<a name="239"></a>
+Angelo and Leonardo da Vinci, both of whom
+were absolutely unlike Raphael in their art
+and in their characters.</p> 
+
+<p>Raphael was born on April 6th at Contrada
+del Monte in the ducal city of Urbino.
+His mother's name was Magia Ciarla, and
+she was the daughter of an Urbino merchant.
+She had three children besides the great painter,
+all of whom died young, and when Raphael
+was but eight years old his mother died also.
+It is said that it was from her Raphael inherited
+his beauty, goodness, mildness, and genius.
+His father's patron, the Duke of Urbino, was
+a fine soldier, but he also cherished scholarship
+and art, and kept at his court not less than
+twenty or thirty persons at work copying
+Greek and Latin manuscript which he wished
+to add to his library.</p> 
+
+<p>Raphael had a stepmother, Bernardina,
+the daughter of a goldsmith, a good and forceful
+woman, but not gentle like the first wife; and
+when Raphael was eleven years of age his
+father, too, died. By his father's will Raphael
+became the charge of his uncle Bartolommeo,
+a priest, but the property was left to the stepmother
+so long as she remained unmarried.
+Almost at once the priest and the stepmother
+fell to quarreling over the spoils, and thus
+Raphael was left pretty much to his own
+devices, but just when life began to look dark
+and sad for him, his mother's brother took a
+hand in the situation. He settled the dispute 
+<a name="240"></a>
+between the priest and the second wife, and
+arranged that Raphael should be placed in the
+studio of some great painter, for the loving
+lad had already worked in his father's studio,
+and had given promise of his wonderful gifts.
+So he became the pupil of Perugino, a painter
+noted for his fine colouring and sympathetic
+handling of his subjects. At that time, Italian
+schools were less wonderful in colouring than
+in other matters of technique.</p> 
+
+<p>"Let him become my pupil," said Perugino,
+when Raphael was brought to him and some of
+his work was exhibited; "soon he will be my
+master." A very different attitude from that
+of Ghirlandajo toward Michael Angelo.</p> 
+
+<p>Raphael and his master became friends and
+worked together for nine years.</p> 
+
+<p>His first work was not conceived until
+Raphael was seventeen. It was to be a
+surprise to his master who had gone to Florence.
+A banner was wanted for the Church of S.
+Trinita at Citta di Castello, and Raphael undertook
+it, painting the "Trinity," on one canvas
+and the "Creation of Man" on another. Then
+he painted the "Crucifixion," which was bought
+by Cardinal Fesch, who lived in Rome. That
+painting is now in a collection of the Earl of
+Dudley. It was sold away from Rome in 1845,
+for twelve thousand dollars--or a little more.
+No one will deny that this is an unusual sum
+for an artist's first work, but about the same
+time he did a much more wonderful thing.</p> 
+
+<p><a name="241"></a>
+He painted a little picture, six and three-quarter
+inches square. It was of the Virgin walking
+in the springtime, before the leaves had appeared
+upon the trees, and with snow-capped
+mountains behind her. She holds the infant
+Jesus in her arms while she reads from a small
+book, and the little child looks upon the page
+with her. This six inches of beauty sold to
+the Emperor of Russia, in 1871, for sixty
+thousand dollars.</p> 
+
+<p>Before Raphael was twenty-one, he had left
+his master's studio and had gone into the
+splendid world of Rome, where Angelo was
+straining at his bonds. But how differently
+each accepted his life! The gentle Raphael,
+who took the best of the ideas of all great
+painters, and gave to them his own exquisite
+characteristics, was beloved of all, shed light
+upon art and friends alike. To such a one all
+life was joyous. Michael Angelo, trying ever
+to do the impossible, betraying his hatred of
+limitations in all that he did, doing always
+that which aroused horror, distress, longing,
+elemental feelings, in those who studied his
+wonderful work, and giving hope and satisfaction
+and peace to none--to such as he life
+must ever have been hateful and painful.
+These men lived at the same time, among the
+same people.</p> 
+
+<p>One of Raphael's greatest pictures came
+into the possession of a poor widow, who being
+hard pressed by poverty, sold it to a bookseller 
+<a name="242"></a>
+for twelve scudi. In time it was bought from
+the bookseller by Grand Duke Ferdinand III.
+of Tuscany, who prayed before it night and
+morning, taking it with him on his travels.
+That picture is now in the Pitti Palace at
+Florence and it is called the "Madonna del
+Granduca." The Berlin Museum purchased
+a Raphael Madonna for $34,000 which was
+painted about the same time as these
+others, but after a little the artist left
+Florence where he had been studying the
+methods of Leonardo and Angelo and returned
+to Urbino, the home he loved, where his conduct
+was such that all the world seems to have
+become his lover. It is written that he was
+"the only very distinguished man of whom we
+read, who lived and died without an enemy
+or detractor!" No better can ever be said of
+any one.</p> 
+
+<p>While he dwelt in Perugia and Urbino he
+had painted the "Ansidei Madonna," so called
+because that was the name of the family for
+which it was painted. That Madonna was
+sold in 1884 to the National Gallery, by the
+Duke of Marlborough for $350,000. A Madonna
+on a round plaque-like canvas, 42-3/4 inches in
+diameter, was bought by the Duke of Bridgewater
+for $60,000. It is the "Holy Family
+under a Palm Tree," painted originally for a
+friend, Taddeo Taddei, who was a Florentine
+scholar. Many of the pictures which after many
+vicissitudes have landed far from home and been 
+<a name="243"></a>
+bought for fabulous sums were painted for love
+of some friend, or were paid for by modest sums
+at the time the artist received the commissions.
+Lord Ellesmere in London now owns the
+"Holy Family under a Palm Tree."</p> 
+
+<p>It is said of Raphael that whenever another
+painter, known to him or not, requested any
+design or assistance of any kind at his hands,
+he would invariably leave his work to perform
+the service. He continually kept a large
+number of artists employed, all of whom he
+assisted and instructed with an affection which
+was rather that of a father to his children than
+merely of an artist to artists. From this it
+followed that he was never seen to go to court,
+except surrounded and accompanied, as he
+left his house, by some fifty painters, all men
+of ability and distinction, who attended him,
+thus to give evidence of the honour in which
+they held him. He did not, in short, live the
+life of a painter, but that of a prince.</p> 
+
+<p>There is something wonderfully inspiring
+about such a life. We read of emperors and
+the homage paid to them; of the esteem in
+which men who accomplish deeds of universal
+value are held, but nowhere do we behold
+the power of a beautiful and exquisite personality
+and character, allied with a single art,
+so impressively exhibited.</p> 
+
+<p>He urged nothing, yet won all things by the
+force of his loving and sympathetic mind.
+"How is it, dear Cesare that we live in such 
+<a name="244"></a>
+good friendship, but that in the art of painting
+we show no deference to each other?" he
+asked of Cesare da Sesto, who was Da Vinci's
+greatest pupil.</p> 
+
+<p>In discussing the great ones of the earth,
+Herman Grimm, son of the collector of fairy
+tales, says: "Can we mention a violent act of
+Raphael's, Goethe's or Shakespeare's? No, it
+is restful only to recall these wonderful men."</p> 
+
+<p>One of Raphael's most beautiful Virgins was
+modeled from a beautiful flower-girl whom he
+loved, "La Belle Jardinière."</p> 
+
+<p>Raphael as well as Michael Angelo was
+summoned by Pope Julius II., but how
+different were the two occasions! Michael
+Angelo had stood with dogged, gloomy self-assertiveness
+before the pope, head covered,
+knee unbent. Uncompromising, while yet no
+injury had been done him, resentful before he
+had received a single cause for resentment,
+the attitude was typical of his art and his
+unhappy life.</p> 
+
+<p>When Raphael appeared, his bent knee, his
+"chestnut locks falling upon his shoulders,
+the pope exclaimed: ' He is an innocent
+angel. I will give him Cardinal Bembo for a
+teacher, and he shall fill my walls with historical
+pictures.'" The artist's behaviour was no
+sign of servility, but the simple recognition of
+forms and customs which the people themselves
+had made and by which they had decided they
+should graciously be bound. The attitude of 
+<a name="245"></a>
+Angelo was not heroic but vulgar; that of
+Raphael not servile, but in good taste, showing
+a reasonable mind.</p> 
+
+<p>Pope Julius had summoned Raphael for a
+special reason. Alexander VI., his predecessor
+in the Vatican, had been a depraved man.
+The fair and virile Julius had a healthy
+sentiment against occupying rooms which must
+continually remind him of the notorious
+Alexander's mode of life. Some one suggested
+that he have all the portraits of the former pope
+removed, but Julius declared: "Even if the
+portraits were destroyed, the walls themselves
+would remind me of that Simoniac, that Jew!"
+The word 'Jew' was then execrated by all
+Christians, for the world was not yet Christian
+enough to know better.</p> 
+
+<p>Raphael was summoned to decorate the
+Vatican, that Julius might have a place which
+reminded him not at all of Alexander. It is
+said that when Raphael had completed one of
+his masterpieces the pope threw himself upon
+the ground and cried, "I thank Thee, God, that
+Thou hast sent me so great a painter!"</p> 
+
+<p>While at work upon his first fresco at the
+Vatican--"La Disputa," the dispute over
+the Holy Sacrament--Raphael met a woman
+with whom he fell deeply in love. Her father
+was a soda manufacturer and her name was
+Margherita. Missirini relates this incident in
+Raphael's career.</p> 
+
+<p>"She lived on the other side of the Tiber. 
+<a name="246"></a>
+A small house, No. 20, in the street of Santa
+Dorothea, the windows of which are decorated
+with a pretty frame work of earthenware,
+is pointed out as the house where she was born.</p> 
+
+<p>"The beautiful girl was very frequently in
+a little garden adjoining the house, where,
+the wall not being very high, it was easy to see
+her from the outside. So the young men,
+especially artists--always passionate admirers
+of beauty--did not fail to come and look at
+her, by climbing up above the wall.</p> 
+
+<p>"Raphael is said to have seen her for the
+first time as she was bathing her pretty feet
+in a little fountain in the garden. Struck by
+her perfect beauty, he fell deeply in love with
+her, and after having made acquaintance with
+her, and discovered that her mind was as
+beautiful as her body, he became so much
+attached as to be unable to live without her."</p> 
+
+<p>She is spoken of to-day as the "Fornarina,"
+because at first she was supposed to have
+been the daughter of a baker (<i>fornajo</i>).</p> 
+
+<p>Raphael made many rough studies for his
+picture "La Disputa," and upon them he left
+three sonnets, written to the woman so dear to
+him. These sonnets have been translated by
+the librarian of l'Ecole Nationale des Beaux-Arts,
+as follows: "Love, thou hast bound me
+with the light of two eyes which torment me,
+with a face like snow and roses, with sweet
+words and tender manners. So great is my
+ardour that no river or sea could extinguish 
+<a name="247"></a>
+my fire. But I do not complain, for my
+ardour makes me happy.... How sweet
+was the chain, how light the yoke of her
+white arms about my neck. When these bonds
+were loosed, I felt a mortal grief. I will say
+no more; a great joy kills, and, though my
+thoughts turn to thee, I will keep silence."</p>
+
+<p>Although he had been a man of many loves,
+Raphael must have found in the manufacturer's
+daughter his best love, because he remained
+faithful and devoted to her for the twelve
+years of life that were left to him. It was said
+some years later, while he was engaged upon a
+commission for a rich banker, that "Raphael
+was so much occupied with the love that he
+bore to the lady of his choice that he could not
+give sufficient attention to his work. Agostino
+(the banker) therefore, falling at length into
+despair of seeing it finished, made so many
+efforts by means of friends and by his own care
+that after much difficulty he at length prevailed
+on the lady to take up her abode in his house,
+where she was accordingly installed, in apartments
+near those which Raphael was painting;
+In this manner the work was ultimately brought
+to a conclusion."</p> 
+
+<p>Raphael painted this beautiful lady-love
+many times, and in a picture in which she
+wears a bracelet he has placed his name upon
+the ornament.</p> 
+
+<p>After this time he painted the "Madonna
+della Casa d'Alba," which the Duchess d'Alba 
+<a name="248"></a>
+gave to her physician for curing her of a grave
+disorder. She died soon afterward, and the
+physician was arrested on the charge of having
+poisoned her. In course of time the picture
+was purchased for $70,000 by the Russian
+Emperor, and it is now in "The Hermitage,"
+St. Petersburg.</p> 
+
+<p>A writer telling of that time, relates the
+following anecdote: "Raphael of Urbino had
+painted for Agostino Chigi (the rich banker
+already mentioned) at Santa Maria della Pace,
+some prophets and sibyls, on which he had
+received an advance of five hundred scudi.
+One day he demanded of Agostino's cashier
+(Giulio Borghesi) the remainder of the sum
+at which he estimated his work. The cashier,
+being astounded at this demand, and thinking
+that the sum already paid was sufficient, did
+not reply. 'Cause the work to be estimated
+by a judge of painting,' replied Raphael, 'and
+you will see how moderate my demand is.'</p> 
+
+<p>"Giulio Borghesi thought of Michael Angelo
+for this valuation, and begged him to go to
+the church and estimate the figures of Raphael.
+Possibly he imagined that self-love, rivalry,
+and jealousy would lead the Florentine to
+lower the price of the pictures.</p> 
+
+<p>"Michael Angelo went, accompanied by the
+cashier, to Santa Maria della Pace, and, as he
+was contemplating the fresco without uttering
+a word, Borghesi questioned him. 'That
+head,' replied Michael Angelo, pointing to one 
+<a name="249"></a>
+of the sibyls, 'that head is worth a hundred
+scudi.' ... 'and the others?' asked the
+cashier. 'The others are not less.'</p> 
+
+<p>"Someone who witnessed this scene related
+it to Chigi. He heard every particular and,
+offering in addition to the five hundred scudi
+for five heads a hundred scudi to be paid for
+each of the others, he said to his cashier, 'go
+and give that to Raphael in payment for his
+heads, and behave very politely to him, so that
+he may be satisfied; for if he insists on my
+paying also for the drapery, we should probably
+be ruined!'"</p> 
+
+<p>By the time Raphael was thirty-one he was
+a rich man, and had built himself a beautiful
+house near the Vatican, on the Via di Borgo
+Nuova. Naught remains of that dwelling
+except an angle of the right basement, which
+has been made a part of the Accoramboni
+Palace. His friends wished him above all
+things to marry, but he was still true to Margherita
+though he had become engaged to
+the daughter of his nephew. He put the
+marriage off year after year, till finally the
+lady he was to have married died, and was
+buried in Raphael's chapel in the Pantheon.</p> 
+
+<p>Margherita was with him when he died, and
+it was to her that he left much of his wealth.</p> 
+
+<p>In the time of Raphael excavations were
+being made about Rome, and many beautiful
+statues uncovered, and he was charged
+with the supervision of this work in order that 
+<a name="250"></a>
+no art treasure should be lost or overlooked.
+The pope decreed that if the excavators failed
+to acquaint Raphael with every stone and
+tablet that should he unearthed, they should
+be fined from one to three hundred gold crowns.</p> 
+
+<p>Raphael had his many paintings copied under
+his own eye and engraved, and then distributed
+broadcast, so that not only men of great wealth
+but the common people might study them.</p> 
+
+<p>Henry VIII. invited him to visit England, and
+become court painter, and Francis I. wished
+him to become the court painter of France.</p> 
+
+<p>He loved history, and wished to write certain
+historical works. He loved poetry and wrote
+it. He loved philosophy and lived it--the
+philosophy of generous feeling and kindly
+thought for all the world. He kept poor
+artists in his own home and provided for them.</p> 
+
+<p>Raphael died on Good Friday night,
+April 6th, in his thirty-seventh year, and all
+Rome wept. He lay in state in his beautiful
+home, with his unfinished picture of the
+"Transfiguration," as background for his
+catafalque. That painting with its colours
+still wet, was carried in the procession to his
+burial place in the Pantheon. When his death
+was announced, the pope, Leo X., wept and
+cried <i>"Ora pro nobis!"</i> while the Ambassador
+from Mantua wrote home that "nothing is talked
+of here but the loss of the man who at the close
+of his six-and-thirtieth year has now ended
+his first life; his second, that of his posthumous 
+<a name="251"></a>
+fame, independent of death and transitory
+things, through his works, and in what the
+learned will write in his praise, must continue
+forever."</p>
+
+<p>Raphael painted two hundred and eighty-seven
+pictures in his thirty-seven years of life.</p> 
+
+<center>PLATE--THE SISTINE MADONNA</center>
+
+<p>It is said that the "Sistine Madonna," while
+painted from an Italian model--doubtless
+the lady whom Raphael so dearly loved--has
+universal characteristics, so that she may "be
+understood by everyone."</p> 
+
+<p>He lived only three years after painting this
+picture and it was the last "Holy Family"
+painted by him. The Madonna stands upon a
+curve of the earth, which is scarcely to be seen,
+and looming mistily in front of her is a mass of
+white vaporous clouds. On either side are
+figures, St. Sixtus (for whom the picture was
+named) and St. Barbara. Beside St. Sixtus
+we see a crown or tiara; and the little tower at
+St. Barbara's side is a part of her story.</p> 
+
+<p>Barbara was the daughter of an Eastern
+nobleman who feared that her great beauty
+might lead to her being carried off; therefore
+he caused her to be shut up in a great tower.
+While thus imprisoned Barbara became a
+Christian through the influence of a holy man,
+and she begged her father to make three
+windows in her gloomy tower: one, to let the 
+<a name="252"></a>
+light of the Father stream upon her, another
+to admit the light of the Son, and the third
+that she might bathe in the light of the Holy
+Ghost. Both St. Barbara and St. Sixtus were
+martyrs for their faith.</p> 
+
+<p>This Madonna is painted as if enclosed by
+green velvet curtains, which have been drawn
+aside, letting the golden light of the picture
+blaze upon the one who looks; then upon a
+little ledge below, looking out from the heavens,
+are two little cherubs--known to all the world.
+They look wistful, wise, roguish, and beautiful,
+with fat little arms resting comfortably upon
+the ledge. Raphael is said to have found his
+models for these little angels in the street,
+leaning wistfully upon the ledge of a baker's
+window, looking at the good things to eat,
+which were within. Raphael took them, put
+wings to them, placed them at the feet of
+Mary, and made two little images which have
+brought smiles and tears to a multitude of
+people. The "Sistine Madonna" hangs alone
+in a room in the Dresden Gallery.</p> 
+
+<p>Among Raphael's greatest works are: The
+"Madonna della Sedia" (of the chair), "La Belle
+Jardinière," "The School of Athens," "Saint
+Cecilia," "The Transfiguration," "Death of
+Ananias" (a cartoon for a series of tapestries),
+"Madonna del Pesce," "La Disputa," "The
+Marriage of Mary and Joseph," "St. George
+Slaying the Dragon," "St. Michael Attacking
+Satan" and the "Coronation of the Virgin."</p> 
+
+<p><a name="253"></a></p>
+<h1>XXXIII</h1>
+
+<h1>REMBRANDT (VAN RIJN)</h1>
+
+<center><i>Dutch School</i><br>
+1606-1669<br>
+<i>Pupil of Van Swanenburch</i></center>
+
+<p>Here are a few of the titles that have been
+given to the greatest Dutch painter that
+ever lived: The Shakespeare of Painting; the
+Prince of Etchers; the King of Shadows; the
+Painter of Painters. Muther calls him a "hero
+from cloudland," and not only does he alone
+wear these titles of greatness, but he alone
+in his family had the name of Rembrandt.</p> 
+
+<p>One writer has said that the great painter
+was born "in a windmill," but this is not true.
+He was born in Leyden for certain, though
+not a great deal is known about his youth; and
+his father was a miller, his mother a baker's
+daughter.</p> 
+
+<p>When the Pilgrim Fathers, who had sought
+safety in Leyden, were starting for America,
+where they were going to oppress others as
+they had been oppressed, Rembrandt was
+just beginning his apprenticeship in art.</p> 
+
+<p>He was born at No. 3, Weddesteg, a house 
+on the rampart looking out upon the Rhine 
+whose two arms meet there. In front of it 
+whirled the great arms of his father's windmill, 
+<a name="254"></a>
+though he was not born in it; and of all the
+women Rembrandt ever knew, it is not likely
+that he ever admired or loved one as passionately
+as he admired and loved his mother. He
+painted and etched her again and again, with a
+touch so tender that his deepest emotion is
+placed before us.</p> 
+
+<p>Rembrandt had brothers and sisters--five: 
+Adriaen, Gerrit, Machteld, Cornelis, and Willem.
+Of these, Adriaen became a miller like his
+father, and presumably the old historic windmill
+fell to him; Willem became a baker, but
+Rembrandt, the fourth child, it was determined
+should be a learned man, and belong to one
+of the honoured professions, such as the law.
+So he was sent to the Leyden Academy, but
+here again we have an artist who decided he
+knew enough of all else but art before he was
+twelve years old. He found himself at that age
+in the studio of his first art-master, Jacob van
+Swanenburch, a relative, who had studied art
+in Italy, and was a good master for the lad;
+but Rembrandt became so brilliant a painter
+in three years' time, that he was sent to Amsterdam
+to learn of abler men.</p> 
+
+<p>The lad could not in those days get far from
+his adored mother; so he stayed only a little
+time, before he went back to Leyden where she
+was. There was his heart, and, painting or no
+painting, he must be near it.</p> 
+
+<p>Until the past thirty years no one has
+seemed to know a great deal of Rembrandt's 
+<a name="255"></a>
+early history, but much was written of him
+as a boorish, gross, vulgar fellow. Those
+stories were false. He was a devoted son,
+handsome, studious in art, and earnest in
+all that he did, and after he had made his
+first notable painting he was compelled by the
+demands of his work to move to Amsterdam
+for good. He hired an apartment over a shop
+on the Quay Bloemgracht; it is probable
+that his sister went with him to keep his house,
+and that it is her face repeated so frequently
+in the many pictures which he painted at
+that time. This does not suggest coarse doings
+or a careless life, but permits us to imagine a
+quiet, sober, unselfish existence for the young
+bachelor at that time.</p> 
+
+<p>Soon, however, he fell in love. He saw one
+other woman to place in his heart and memory
+beside his mother. His wife was Saskia van
+Ulenburg, the daughter of an aristocrat,
+refined and rich. He met her through her
+cousin, an art dealer, who had ordered Rembrandt
+to paint a portrait of his dainty cousin.
+Rembrandt could have been nothing but what
+was delightful and good, since he was loved
+by so charming a girl as Saskia.</p> 
+
+<p>He painted her sitting upon his knee, and
+used her as model in many pictures. First,
+last, and always he loved her tenderly.</p> 
+
+<p>In one portrait she is dressed in "red and
+gold-embroidered velvets"; the mantle she wore
+he had brought from Leyden. In another 
+<a name="256"></a>
+picture she is at her toilet, having her hair
+arranged; again she is painted in a great red
+velvet hat, and then as a Jewish bride, wearing
+pearls, and holding a shepherd's staff in her
+hand. Again, Rembrandt painted himself as a
+giant at the feet of a dainty woman, and in
+every way his work showed his love for her. After
+he married her, in June 1634, he painted the
+picture, "Samson's Wedding," "Saskia, dainty
+and serene, sitting like a princess in a circle of
+her relatives, he himself appearing as a crude
+plebeian, whose strange jokes frighten more than
+they amuse the distinguished company. ...
+The early years of his marriage were spent in
+joy and revelry. Surrounded by calculating
+business men who kept a tight grasp on their
+money bags, he assumed the rôle of an artist
+scattering money with a free hand; surrounded
+by small townsmen most proper in demeanour,
+he revealed himself as the bold lasquenet,
+frightening them by his cavalier manners. He
+brought together all manner of Oriental arms,
+ancient fabrics, and gleaming jewellery; and his
+house became one of the sights of Amsterdam."
+His existence reads like a fairy tale.</p> 
+
+<p>It is said that Saskia strutted about decked
+in gold and diamonds, till her relatives "shook
+their heads" in alarm and amazement at such
+wild goings on.</p> 
+
+<p>Before he married Saskia he had painted a
+remarkable picture, named the "School of
+Anatomy." It represents a great anatomist,
+<a name="257"></a>
+the friend of Rembrandt--Nicholaus Tulp,--and 
+a group of physicians who were members
+of the Guild of Surgeons of Amsterdam. It is
+so wonderful a picture that even the dead
+man, who is being used as a subject by the
+anatomist, does not too greatly disturb us as
+we look upon him. The thoughtful, interested
+faces of the surgeons are so strong that we half
+lose ourselves in their feeling, and forget to
+start in repulsion at sight of the dead body.
+A fine description of this painting can be found
+in Sarah K. Bolton's book "Famous Artists"
+and it includes the description given by another
+excellent authority.</p> 
+
+<p>The artist was twenty-six years old when he
+painted the "School of Anatomy." This
+picture is now at The Hague and two hundred
+years after it was painted the Dutch Government
+gave 30,000 florins for it.</p> 
+
+<p>Rembrandt painted a good many "Samsons"
+first and last--himself evidently being the
+strong man; and the pictures beyond doubt
+express his own mood and his idea of his relation
+to things. After a little son was born to
+the artist, he painted still another Samson--this 
+time menacing his father-in-law but as the
+artist had named his son after his father-in-law,--Rombertus--we 
+cannot believe that there
+was any menace in the heart of Rembrandt--Samson. 
+Soon his son died, and Rembrandt
+thought he should never again know happiness,
+or that the world could hold a greater grief, 
+<a name="258"></a>
+but one day he was to learn otherwise. A
+little girl was born to the artist, named
+Cornelia, after Rembrandt's mother, and he
+was again very happy.</p> 
+
+<p>Meantime his brothers and sisters had died,
+and there came some trouble over Rembrandt's
+inheritance, but what angered him most of all,
+was that Saskia's relatives said she "had
+squandered her heritage in ornaments and
+ostentation." This made Rembrandt wild
+with rage, and he sued her slanderers, for he
+himself had done the squandering, buying every
+beautiful thing he could find or pay for, to
+deck Saskia in, and he meant to go on doing so.</p> 
+
+<p>At this time he painted a picture of "The
+Feast of Ahasuerus" (or the "Wedding of
+Samson") and he placed Saskia in the middle
+of the table to represent Esther or Delilah as
+the case might be, dressed in a way to
+horrify her critical relatives, for she looked like
+a veritable princess laden with gorgeous
+jewels.</p> 
+
+<p>One of his pictures he wished to have hung
+in a strong light, for he said: "Pictures are
+not made to be smelt. The odour of the colours
+is unhealthy."</p> 
+
+<p>The first baby girl died and on the birth
+of another daughter she too was named Cornelia,
+but that baby girl also died, and next
+came a son, Titus, named for Saskia's sister,
+Titia, and then Saskia died. Thus Rembrandt
+knew the deepest sorrow of his life.</p> 
+
+<p><a name="259"></a>
+He painted her portrait once again from
+memory, and that picture is quite unlike the
+others for it is no longer full of glowing life,
+but daintier, suggestive of a more spiritual life,
+as if she were growing fragile.</p> 
+
+<p>It is written that "from this time, while he
+did much remarkable work, he seemed like a
+man on a mountain top, looking on one side to
+sweet meadows filled with flowers and sunlight,
+and on the other to a desolate landscape over
+which a clouded sun is setting." With Saskia
+died the best of Rembrandt. He made only
+one more portrait of himself--before this he
+had made many; and in it he makes himself
+appear a stern and fateful man. It was after
+Saskia's death that he painted the "Night
+Watch," or more properly, "The Sortie."</p> 
+
+<p>Rembrandt's home, where he and Saskia
+were so happy, is still to be seen on a quay
+of the River Amstel. It is a house of brick and
+cut stone, four stories high. The vestibule
+used to have a flag-stone pavement covered
+with fir-wood. There were also "black-cushioned,
+Spanish chairs for those who wait,"
+and all about were twenty-four busts and
+paintings. There was an ante-chamber, very
+large, with seven Spanish chairs covered with
+green velvet, and a walnut table covered with
+"a Tournay cloth"; there was a mirror with
+an ebony frame, and near by a marble wine-cooler. 
+Upon the wall of this <i>salon</i> were
+thirty-nine pictures and most of them had 
+<a name="260"></a>
+beautiful frames. "There were religious
+scenes, landscapes, architectural sketches,
+works of Pinas, Brouwer, Lucas van Leyden,
+and other Dutch masters; sixteen pictures by
+Rembrandt; and costly paintings by Palma
+Vecchio, Bassano, and Raphael."</p> 
+
+<p>In the next room was a real art museum,
+containing splendid pictures, an oaken press
+and other things which suggest that this was
+the workroom where Rembrandt's etchings
+were made and printed.</p> 
+
+<p>In the drawing-room was a huge mirror, a
+great oaken table covered with a rich embroidered
+cloth, "six chairs with blue coverings, a
+bed with blue hangings, a cedar wardrobe, and a
+chest of the same wood." The walls were
+literally covered with pictures, among which
+was a Raphael.</p> 
+
+<p>Above was a sort of museum and Rembrandt's
+studio. There was rare glass from
+Venice, busts, sketches, paintings, cloths,
+weapons, armour, plants, stuffed birds and
+shells, fans, and books and globes. In short,
+this was a most wonderful house and no other
+interior can we reconstruct as we can this,
+because no other such detailed inventory can
+be found of a great man's effects as that from
+which these notes are taken: a legal inventory
+made in 1656, long after Saskia had died and
+possibly at a time when Rembrandt wished to
+close his doors forever and forget the scenes in
+which he had been so happy.</p> 
+
+<p><a name="261"></a>
+Holland being truly a Protestant country,
+its artists have given us no great Madonna
+pictures, although they painted loving, happy
+Dutch mothers and little babes, but on the
+whole their subjects are quite different from
+those of the painters of Italy, France, and
+Spain.</p> 
+
+<p>Rembrandt's studio was different from any
+other. When he first began to work independently
+and to have pupils, he fitted it up
+with many little cells, properly lighted, so that
+each student might work alone, as he knew
+far better work could be done in that way. It
+is said that his pictures of beggars would, by
+themselves, fill a gallery. He had a kindly
+sympathy for the poor and unfortunate, and
+tramps knew this, so that they swarmed about
+his studio doors, trying to get sittings.</p> 
+
+<p>There is a story which doubtless had for its
+germ a joke regarding the slowness of an errand
+boy in a friend's household, but which at the
+same time shows us how rapidly Rembrandt
+worked. The artist had been carried off to
+the country to lunch with his friend Jan Six,
+and as they sat down at the table, Six discovered
+there was no mustard. He sent his boy, Hans,
+for it, and as the boy went out, Rembrandt
+wagered that he could make an etching before
+the boy got back. Six took the wager, and
+the artist pulled a copper plate from his
+pocket--he always carried one--and on its
+waxed surface began to etch the landscape 
+<a name="262"></a>
+before him. Just as Hans returned, Rembrandt
+gleefully handed Six the completed
+picture.</p> 
+
+<p>He was a great portrait painter, but he loved
+certain effects of shadow so well that he often
+sacrificed his subject's good looks to his artistic
+purpose, and very naturally his sitters became
+displeased, so that in time he had fewer
+commissions than if he had been entirely
+accommodating.</p> 
+
+<p>His meals in working time were very simple,
+often just bread and cheese, eaten while sitting
+at his easel, and after Saskia died he became
+more and more careless of all domestic details.</p> 
+
+<p>Rembrandt finally married again, the
+second time choosing his housekeeper, a good
+and helpful woman, who was properly bringing
+up his little son, and making life better ordered
+for the artist, but he had grown poor by this
+time for he was never a very good business man.
+His beautiful house was at last sold to a rich
+shoemaker. Every picture latterly reflected
+his condition and mood. He chose subjects
+in which he imagined himself always to be the
+actor, and when his second wife died he painted
+a picture of "Youth Surprised by Death";
+he had not long to live. He became more and
+more melancholy; and sleeping by day, would
+wander about the country at night, disconsolate
+and sad. Finally, when he died, an inventory
+of his effects, showed him to be possessed of
+only a few old woollen clothes and his brushes 
+<a name="263"></a>
+The miracle in Rembrandt's painting is the
+deep, impenetrable shadow, in which nevertheless
+one can see form and outline, punctuated
+with wonderful explosions of light. Nothing
+like it has ever been seen. It is the most
+dramatic work in the world, and the most
+powerful in its effect. Other men have painted
+light and colour; Rembrandt makes gloom and
+shadow living things.</p> 
+
+<p>This miracle-worker's funeral cost ten
+dollars; he died in Amsterdam and was buried
+in the Wester Kirk.</p> 
+
+<center>PLATE--THE SORTIE</center>
+
+<p>This picture is generally known as "The
+Night Watch," but it is really "The Sortie"
+of a company of musketeers under the command
+of a standard bearer. Captain Frans Banning-Cock 
+and all his company were to pay Rembrandt
+for painting their portraits in a group
+and in action, and they expected to see
+themselves in heroic and picturesque dress, in
+the full blaze of day, but Rembrandt had
+found a magnificent subject for his wonderful
+shadows, and the artist was not going to
+sacrifice it to the vanity of the archers.</p> 
+
+<p>This picture was called the "Patrouille de
+Nuit," by the French and the "Night Watch,"
+by Sir Joshua Reynolds because upon its
+discovery the picture was so dimmed and
+defaced by time that it was almost indistinguishable
+<a name="264"></a>
+and it looked quite like a
+night scene. After it was cleaned up, it was
+discovered to represent broad day--a party
+of archers stepping from a gloomy courtyard
+into the blinding sunlight. "How this
+different light is painted, which encircles the
+figures, here sunny, there gloomy!...
+Rembrandt runs through the entire range of his
+colours, from the lightest yellow through all
+shades of light and dark red to the gloomiest
+black." One writer describes it thus: "It
+is more than a picture; it is a spectacle, and
+an amazing one... A great crowd of
+human figures, a great light, a great darkness--at 
+the first glance this is what strikes you, and
+for a moment you know not where to fix your
+eyes in order to comprehend that grand and
+splendid confusion... There are officers,
+halberdiers, boys running, arquebusiers loading
+and firing, youths beating drums, people bowing
+talking, calling out, gesticulating--all dressed
+in different costumes, with round hats, plumes,
+casques, morions, iron corgets, linen collars,
+doublets embroidered with gold, great boots,
+stockings of all colours, arms of every form;
+and all this tumultuous and glittering throng
+start out from the dark background of the
+picture and advance toward the spectator.
+The two first personages are Frans Banning-Cock, 
+Lord of Furmerland and Ilpendam,
+captain of the company, and his lieutenant,
+Willem van Ruijtenberg, Lord of Vlaardingen,
+<a name="265"></a>
+the two marching side by side. The
+only figures that are in full light are this
+lieutenant, dressed in a doublet of buffalo-hide,
+with gold ornaments, scarf, gorget, and white
+plume, with high boots, and a girl who comes
+behind, with blond hair ornamented with
+pearls, and a yellow satin dress; all the other
+figures are in deep shadow, excepting the
+heads, which are illuminated. By what
+light? Here is the enigma. Is it the light of
+the sun? or of the moon? or of the torches?
+There are gleams of gold and silver, moonlight
+coloured reflections, fiery lights; personages
+which, like the girl with blond tresses, seem to
+shine by a light of their own.... The
+more you look at it, the more it is alive and
+glowing; and, even seen only at a glance, it
+remains forever in the memory, with all its
+mystery and splendour, like a stupendous
+vision." Charles Blanc has said: "To tell
+the truth, this is only a dream of night, and
+no one can decide what the light is that falls
+on the groups of figures. It is neither the light
+of the sun or of the moon, nor does it come
+from the torches; it is rather the light from
+the genius of Rembrandt."</p>
+
+<p>This wonderful picture was painted in 1642
+and many of the archer's guild who gave
+Rembrandt the commission would not pay
+their share because their faces were not plainly
+seen. This picture which alone was enough
+to make him immortal, was the very last 
+<a name="266"></a>
+commission that any of the guilds were willing
+to give the artist, because he would not make
+their portraits beautiful or fine looking to the
+disadvantage of the whole picture. This work
+hangs in the Rijks Museum in Amsterdam.
+He painted more than six hundred and
+twenty-five pictures and some of them are:
+"The Anatomy Lesson," "The Syndics of the
+Cloth Hall," "The Descent from the Cross,"
+"Samson Threatening His Step Father," "The
+Money Changer," "Holy Family," "The
+Presentation of Christ in the Temple," "The
+Marriage of Samson," "The Rape of Ganymede,"
+"Susanna and the Elders," "Manoah's Sacrifice,"
+"The Storm," "The Good Samaritan,"
+"Pilate Washing His Hands," "Ecce Home,"
+and pictures of his wife, Saskia.</p> 
+
+<p><a name="267"></a></p>
+<h1>XXXIV</h1>
+
+<h1>SIR JOSHUA REYNOLDS</h1>
+
+<center><i>English School</i><br>
+1723-1792<br>
+<i>Pupil of Thomas Hudson</i></center>
+
+<p>When Reynolds was "little Josh," instead
+of "Sir Joshua" he grew tired in church
+one day, and sketched upon the nail of his
+thumb the portrait of the Rev. Mr. Smart who
+was preaching. After service he ran to a boat-house
+near, and with ship's paint, upon an old
+piece of sail, he painted in full and flowing
+colours that reverend gentleman's portrait.
+After that there was not the least possible
+excuse for his father to deny him the right to
+become an artist.</p> 
+
+<p>The father himself was a clergyman with a
+good education, and he had meant that his son
+should also be well educated and become a
+physician; but a lad who at eight years of age
+can draw the Plympton school house--he
+was born at Plympton Earl, in Devonshire--has 
+a right to choose his own profession.</p> 
+
+<p>At twenty-three years of age Sir Joshua was
+painting the portraits of great folk, and being
+well paid for it, as well as lavishly praised.
+His first real sorrow came at a Christmas
+time when he was summoned home from 
+<a name="268"></a>
+London where he was working, to his father's
+deathbed.</p> 
+
+<p>After that the artist turned his thoughts
+toward Italy, but where was the money to
+come from? Earning a living did not include
+travelling expenses, but a good friend, Captain
+Keppel, was going out to treat with the Dey of
+Algiers about his piracies, and learning that the
+artist wished to go to Italy he invited him to go
+with him on his own ship, the <i>Centurion.</i>
+So while the captain was discussing pirates
+with the dey, Sir Joshua stopped with the
+Governor of Minorca and painted many of the
+people of that locality. Thence on to Rome!</p> 
+
+<p>Strange to say, Raphael's pictures disappointed
+the English artist, and he said so;
+but Michael Angelo was to Reynolds the most
+wonderful of painters, and he said that his
+pictures influenced him all the rest of his life.
+He wished his name to be the last upon his
+lips, and while that was not so, yet it was
+the last he pronounced to his fellow Academicians
+in his final address.</p> 
+
+<p>It was in Italy that a distressing misfortune
+came upon Sir Joshua. He meant to learn
+all that a man could learn in a given time
+of the art treasures there, and while he was
+working in a draughty corridor of the Vatican,
+he caught a severe cold which rendered him
+deaf. He continued deaf till the end of his
+life and had to use an ear-trumpet when people
+talked with him.</p> 
+
+<p><a name="269"></a>
+When he got back to England, Hudson, his
+old master, said discouragingly: "Reynolds,
+you don't paint as well as when you left
+England." On the whole his reception at
+home, after his long absence, was not all that
+he could have wished, but he took a place in
+Leicester Square, settled down to live there for
+the rest of his life, and went at painting in
+earnest.</p> 
+
+<p>Although artists criticised him more or less
+after his return, the public appreciated him
+and very soon orders for portraits began to
+pour in upon him, and the flow of wealth never
+ceased so long as he lived. It was said that all
+the fashionables came to him that did not go to
+Gainsborough, but those who were partial to
+Sir Joshua declared that all who could not go
+to him went to Gainsborough. The two great
+artists controlled the art world in their time,
+dividing honours about equally. It was said
+that all those women and men sat to Sir Joshua
+for portraits "who wished to be transmitted
+as angels... and who wished to appear
+as heroes or philosophers."</p> 
+
+<p>Sir Joshua was a charming man, generous
+in feeling--as Gainsborough was not--and
+his closest friend was Dr. Johnson, the most
+different man from the artist imaginable, but
+Reynolds's art and Johnson's philosophy made
+a fine combination, each giving the other great
+pleasure. Besides Johnson, his friends were
+Goldsmith, Garrick, Bishop Percy, and other 
+<a name="270"></a>
+famous men of the time. These and others
+formed the "Literary Club" at Sir Joshua's
+suggestion. About that time there was the
+first public exhibition of the work of English
+artists, and Sir Benjamin West and Sir Joshua
+Reynolds built the Royal Academy for that
+first exhibition, with the help of King George's
+patronage. Joshua Reynolds was knighted
+when he was made the first president of that
+great body.</p> 
+
+<p>Soon after the Academy was established,
+Reynolds began a series of "discourses," which
+in time became famous for their splendid
+literary quality, and some people, knowing his
+close friendship with Burke and Dr. Johnson,
+declared that the artist got one of them to write
+his "discourses" for him. This threw Johnson
+and Burke into a fury of resentment for their
+friend, and the doctor declared indignantly
+that "Sir Joshua would as soon get me to
+paint for him as to write for him!"
+Burke denied the story no less emphatically.
+Besides these speeches, which were a great
+advantage to the members of the Academy,
+Sir Joshua instituted the annual banquet to
+the members, and King George--who just
+before had given the commission of court
+painter to one less talented than Sir Joshua--bade 
+him paint his portrait and the queen's,
+to hang in the Academy. This was a great
+thing for the new society and advanced its
+fortunes very much.</p> 
+
+<p><a name="271"></a>
+Barry and Gainsborough were both churlish
+enough to envy Sir Joshua and to quarrel
+with his good feeling for them, but both men
+had the grace to be sorry for behaviour that
+had no excuse, and both made friends with
+him before they died--Gainsborough on his
+death-bed.</p> 
+
+<p>Toward his last days the artist was attacked
+with paralysis, but grew better and was able
+to paint again; then he began to go blind--he
+was already deaf--and this affliction made
+painting impossible. Shortly before his death,
+he undertook to raise funds for a monument
+to his dead friend, Dr. Johnson, but he grew
+more and more ill, "and on the 23d February,
+1792, this great artist and blameless gentleman
+passed peacefully away."</p> 
+
+<p>That he was very painstaking in his work is
+shown by an anecdote about his infant
+"Hercules." "How did you paint that part
+of the picture?" some one asked him. "How
+can I tell! There are ten pictures below this,
+some better, some worse"--showing that in
+his desire for perfection he painted and
+repainted.</p> 
+
+<p>So untiring was he in seeking out the secrets
+of the old masters that he bought works of
+Titian and Rubens, and scraped them, to learn
+their methods, insisting that they had some
+secret underlying their work. So anxious
+was he to get the most brilliant effects of
+colours that he mixed his paints with asphaltum, 
+<a name="272"></a>
+egg, varnish, wax, and the like, till one artist
+said: "The wonder is that the picture did
+not crack beneath the brush." Many of
+these great pictures did go to pieces because of
+the chances Sir Joshua took in mixing things
+that did not belong together, in order to make
+wonderful results.</p> 
+
+<p>Sir George Beaumont recommended a friend
+to go to Reynolds for his portrait and the
+friend demurred, because "his colours fade
+and his pictures die before the man."</p> 
+
+<p>"Never mind that!" Sir George declared;
+"a faded portrait by Reynolds is better than
+a fresh one by anybody else."</p> 
+
+<p>The same tender, sensitive and devoted
+nature which caused Sir Joshua's mother to
+weep herself blind upon her husband's death,
+belonged to the artist. All of his life he was
+surrounded by loving friends, and his devotion
+to them was conspicuous. He, like Dürer and
+several other painters, was a seventh son, and
+his father's disappointment was keen when he
+took to art instead of to medicine. So little
+did his father realise what his future might be,
+that he wrote under the sketch of a wall with a
+window in it, drawn upon a Latin exercise
+book: "This is drawn by Joshua in school,
+out of pure idleness."</p> 
+
+<p>But by the time Joshua was eight years old
+and had drawn a fine "sketch of the grammar-school
+with its cloister... the astonished
+father said: 'Now, this exemplifies what the
+<a name="273"></a>
+author of "perspective" says in his preface:
+"that, by observing the rules laid down in this
+book, a man may do wonders"--for this is
+wonderful.'"</p>
+
+<p>Sir Joshua laid down--even wrote out--a
+great many rules of conduct for himself.
+Some of these were: "The great principle
+of being happy in this world is not to mind or
+be affected with small things." Also: "If
+you take too much care of yourself, nature
+will cease to take care of you."</p> 
+
+<p>When Samuel Reynolds, Joshua's father,
+consulted with his friend Mr. Craunch, as to
+whether a boy who made wonderful paintings
+at twelve years of age, would be likely to be a
+successful apothecary, he told Craunch that
+Joshua himself had declared that he would
+rather be a good apothecary than a poor artist,
+but if he could be bound to a good master of
+painting he would prefer that above everything
+in the world. This was how he came
+to be apprenticed to Hudson, the painter.
+Young Reynolds's sister paid for his instruction
+at first--or for half of it, with the understanding
+that Reynolds was to pay her back when he
+was earning. At that time Reynolds wrote
+to his father: "While I am doing this I am
+the happiest creature alive."</p> 
+
+<p>One day, while in an art store, buying something
+for Hudson, Reynolds saw Alexander
+Pope, the poet, come in, and every one bowed
+to him and made way for him as if for a prince.
+<a name="274"></a>
+Pope shook hands with young Reynolds, and
+in writing home, describing the poet, the
+artist said that he was "about four feet six
+inches high; very humpbacked and deformed.
+He wore a black coat and according to the
+fashion of that time, had on a little sword. He
+had a large and very fine eye, and a long handsome
+nose; his mouth had those peculiar
+marks which are always found in the mouths of
+crooked persons, and the muscles which run
+across the cheeks were so strongly marked
+that they seemed like small cords." This is a
+masterly description of one famous man by
+another.</p> 
+
+<p>He finally was dismissed from his master's
+studio on the ground that he had neglected to
+carry a picture to its owner at the time set by
+Hudson, but the fact was the older artist had
+become jealous of the work of his pupil, and
+would no longer have him in his studio.</p> 
+
+<p>Afterwards, while he was painting down in
+Devonshire--thirty portraits of country
+squires for fifteen dollars apiece--he said:
+"Those who are determined to excel must go
+to their work whether willing or unwilling,
+morning, noon, and night, and they will find
+it to be no play, but, on the contrary, very
+hard labour." This shows that Reynolds's idea
+of genius was "an infinite capacity for hard
+work."</p> 
+
+<p>While Reynolds was on his memorable
+journey to Rome, he made several volumes
+<a name="275"></a>
+of notes about the pictures of great Italian
+artists--Raphael, Titian, etc. And one of
+those volumes is in the Lenox Library, New
+York City. He made a most characteristic
+and delightful remark in regard to his disappointment
+in Raphael's pictures. "I did not
+for a moment conceive or suppose that the
+name of Raphael, and those admirable paintings
+in particular, owed their reputation to the
+<i>ignorance</i> ... of mankind; on the
+contrary, my not relishing them, as I was
+conscious I ought to have done was one of the
+most humiliating things that ever happened to
+me."</p> 
+
+<p>He loved home and country so much that
+while in Venice he heard a familiar ballad sung
+in an opera, and it brought the tears to his
+eyes because of its association with "home."</p> 
+
+<p>His young sister, was so undecided in her
+ways and opinions as to make it impossible
+for Reynolds long to live with her, but she
+undertook to be his housekeeper when he
+returned to London, and she also tried to copy
+his pictures Reynolds said the results "made
+other people laugh, but they made me cry."</p> 
+
+<p>Reynolds painted the portraits of two Irish
+sisters--the Countess of Coventry and the
+Duchess of Hamilton--two of the most beautiful
+women in all the British Empire.
+"Seven hundred people sat up all night, in and
+about a Yorkshire inn, to see the Duchess of
+Hamilton get into her postchaise in the morning, 
+<a name="276"></a>
+while a Worcester shoemaker made money by
+showing the shoe he was making for the Countess
+of Coventry." Sir Joshua declared that
+whenever a new sitter came to him, even till
+the last years of his life, he always began his
+portrait with the determination that that one
+should be the best he had ever painted. Success
+was bound to attend that sort of man.</p> 
+
+<p>He painted every picture almost as an
+experiment; meaning to learn something new
+with every work, and he spent more than he
+made in perfecting his art. As he said: "He
+would be content to ruin himself" in order to
+own one of the best works of Titian.</p> 
+
+<p>His deeds of kindness are beyond counting.
+He rescued his friend Dr. Johnson from debt--thereby 
+saving him from prison; and when a
+young lad, "a son of Dr. Mudge," who was
+very anxious to visit his father on the occasion
+of his sixteenth birthday, grew too ill to make
+the journey. Reynolds said gaily: "No matter
+my boy. <i>I</i> will send you to your father." He
+painted a splendid portrait of the boy and sent
+it to Dr. Mudge. This gift of a picture,
+however, was very unusual with Reynolds,
+who, unlike Gainsborough who gave his by
+the bushel to everyone, declared that his
+pictures were not valued unless paid for.
+When Sir William Lowther, a gay and rich
+young man of London, died, he left twenty-five
+thousand dollars to each of thirteen friends,
+and each of the thirteen commissioned the 
+<a name="277"></a>
+painter to make a portrait of Lowther, their
+benefactor. His work room was of interest:
+"The chair for his sitters was raised eighteen
+inches from the floor, and turned on casters.
+His palettes were those which are held by
+a handle, not those held on the thumb. The
+stocks of his pencils were long, measuring about
+nineteen inches. He painted in that part of
+the room nearest to the window, and never sat
+down when he painted." The chariot in which
+he drove about had the four seasons allegorically
+painted upon its panels, and his liveries were
+"laced with silver"; while the wheels of his
+coach were carved with foliage and gilded.</p> 
+
+<p>Sir Joshua knew that it paid to advertise,
+and as he had no time to go about in that
+gorgeous chariot he made his sister go, for he
+declared that people seeing that magnificent
+coach would ask: "Whose chariot is that?"
+and upon being told could not fail to be impressed
+with his prestige. The comical
+inconsequence of this anecdote concerning a
+man so important robs it of vulgarity.</p> 
+
+<p>The graceful anecdotes told of Reynolds are
+without number, but one and all are to his
+advantage and show him to have been good and
+gentle, a devoted and high-bred man.</p> 
+
+<center>PLATE--THE DUCHESS OF DEVONSHIRE AND HER DAUGHTER</center>
+
+<p>This is generally considered one of the finest
+of Sir Joshua's pictures, if not the most 
+<a name="278"></a>
+beautiful of all. He was such a welcome guest
+at the houses of grandees that perchance he had
+noticed the lovely duchess playing with her
+still more lovely baby, and thought what a
+charming picture the two would make. As a
+representation of the artist's ability to portray
+grace and sweetness it can hardly be surpassed.
+He painted it in 1786, half a dozen
+years before his death, and it now hangs in
+Chatsworth, the home of the present Duke of
+Devonshire.</p> 
+
+<p>Other well known Reynolds paintings are
+"The Hon. Ann Bingham," "The Countess of
+Spencer," the "Nieces of Sir Horace Walpole,"
+and the "Angels' Heads" in the National
+Gallery.</p> 
+
+<p><a name="279"></a></p>
+<h1>XXXV</h1>
+
+<h1>PETER PAUL RUBENS.</h1>
+
+<center><i>Flemish School</i><br>
+1577-1640<br>
+<i>Pupil of Tobias Verhaecht</i> </center>
+
+<p>The story of Peter Paul Rubens, whose
+birthday falling upon the saint days
+of Peter and Paul gave to him his name, is
+hardly more interesting than that of his parents,
+although it is quite different. The story of
+Rubens's parents seems a part of the artist's
+story, because it must have had something to
+do with influencing his life, so let us begin with
+that.</p> 
+
+<p>John Rubens was Peter Paul's father, and he
+was a learned man, a druggist, but he had also
+studied law, and had been town councillor and
+alderman in the town where he was born.
+Life went easily enough with him till the
+reformation wrought by Martin Luther began
+to change John Rubens's way of thinking, and
+he turned from Catholic to Lutheran.</p> 
+
+<p>From being a good Catholic John Rubens
+became a rabid reformer; and when, under
+the new faith, the Antwerp churches were
+stripped of their treasures, the magistrates
+were called to account for it. John Rubens,
+as councillor, was among those summoned.
+<a name="280"></a>
+The magistrates declared that they were all
+good Catholics, but a list of the reformers fell
+into the Duke of Alva's hands and Rubens's
+name was there. This meant death unless he
+should succeed in flying from the country,
+which he instantly did. That was in 1568,
+when he had four children, but Peter Paul was
+not one of them--since he was a seventh son.</p> 
+
+<p>The Rubens family went to live in Cologne,
+where the father found his learning of great
+use to him, and he was honoured by being
+made legal adviser to Anne of Saxony who
+was William the Silent's second queen. John
+Rubens's behaviour was not entirely honourable
+and before long he was thrown into prison, but
+his good wife, Maria Pypelincx undertook to
+free him. He had treated her very badly,
+but her devotion to his cause was as great as
+if he had treated her well. Despite his wife's
+efforts he was kept a prisoner in the dungeon
+at Dillenburg for two years, and afterward
+he was removed to Siegen, the place where
+Peter Paul was born.</p> 
+
+<p>In the sixteenth century there were no
+records of any sort kept in the town of Siegen,
+and so we cannot be absolutely sure that Peter
+Paul was born there, but his mother was
+certainly there just before and after the date
+of his birth, which was the 29th of June
+1577. After his birth, his father was set free
+in Siegen and allowed to go back to the city
+in which he had misbehaved himself. In 
+<a name="281"></a>
+Cologne he became once more a Catholic, and
+he died in that faith. Meantime, ten years had
+passed since Peter Paul's birth, and both his
+father and mother were determined above
+all things their son should have a fine education,
+quite unlike other artists, for the boy seemed
+capable of learning. While he was still very
+small he could speak to his tutor in French, to
+his mother in Flemish, and to his father in Latin.
+Besides these languages he spoke also Italian
+and English. Before he was an artist, Rubens,
+like Dürer and Leonardo da Vinci, was a child
+of rare intelligence. As a little chap he went
+to Antwerp with his mother--this was after
+his father's death--and in Belgium he took
+for the first time the rôle of courtier, in which
+he was to become so successful later in life.
+The charming little fellow, dressed in velvet
+and lace, took his place in the household of the
+Countess of Lalaing, in Brussels.</p> 
+
+<p>Very soon after entering that household,
+Rubens was permitted by his mother to leave
+it for the studio of the painter who was his
+first master, though not the one who really
+taught him much. Rubens did not stay there
+long, but went instead to the studio of Adam
+van Noort, an excellent painter of the time.
+After that he studied under another artist,
+who was both a scholar and a gentleman, Van
+Veen, and with him Peter Paul was able to
+speak in Latin and in his many other languages,
+while learning to paint at the same time.</p> 
+
+<p><a name="282"></a>
+Thus we find Rubens's lot was always cast, not
+among the rich, but among the intelligent, the
+well bred, and the cultivated. This fact alone
+would prepare us to anticipate pleasant things
+for him and from him.</p> 
+
+<p>In those days of guilds, there were many
+rules and regulations. Van Noort, Rubens's
+teacher, was dean of the painters' guild
+and through his influence the guild recognised
+Rubens as "master," which meant that he
+was qualified to take pupils; thus he was pupil
+and teacher at the same time.</p> 
+
+<p>One is unable to think of Rubens as having
+low tastes, as being morose, erratic, or anything
+but a refined, gracious, and brilliant gentleman.
+He began well, lived well, and ended well.</p> 
+
+<p>None of his teachers really impressed their
+style of art upon him. He was the model for
+others. Rubens became nothing but Rubens,
+but all the art world wished to become
+"Rubenesque."</p> 
+
+<p>Rubens went to Mantua to see the art of
+Italy, and while there he met the Duke of
+Mantua who was Vincenzo Gonzaga, the richest,
+most powerful personage of that region and
+time. The duke engaged Rubens to paint
+the portraits of many beautiful women--just
+the sort of commission that Rubens's pupil,
+Van Dyck, would have loved; but Rubens's
+art was of sterner stuff, and the work by no
+means delighted him. He had great ideas,
+profound purposes, and wished to undertake 
+<a name="283"></a>
+them, but just then it seemed best that he
+perform that which the Duke of Mantua wanted
+him to do; hence he set about it.</p> 
+
+<p>Later Rubens went to the Spanish court,
+not as a painter, but as a cavalier upon a
+diplomatic mission. Bearing many beautiful
+presents to King Philip III., he went to Madrid,
+where his elegance, manly beauty, dashing
+manner, and ability to speak several languages
+made him a wonderful success. He remained
+for three years at the court and studied the
+methods of Spanish painters. He also painted
+the members of the Spanish court, as Velasquez
+had done, but they looked like people of
+another world. The Spanish aristocracy had
+always been painted with pallid faces, languid
+and elegant poses; but Rubens gave them a
+touch of the life he loved--made them robust
+and apparently healthy-minded. Of all great
+colourists, Rubens took the lead. Titian with
+his golden hues and warm haired women was
+very great, but Rubens, "the Fleming" as he
+was called, revelled in richness of colouring,
+and flamed through art like a glorious comet.</p> 
+
+<p>Rubens had long been wanted in his own
+country. His sovereigns, Albert and Isabella,
+wished him to return and become their painter,
+but they were unable to free him from his
+engagements in Italy and Spain. At last Rubens
+received word that his mother, whom he loved
+devotedly, was likely to die, and what kings
+could not do his love for her accomplished.</p> 
+
+<p><a name="284"></a>
+Although his patron, the Duke of Mantua, was
+absent, and his consent could not be secured,
+Rubens set off post-haste to his mother's home.
+He arrived in Antwerp too late to see Maria
+Pypelincx, who had died before he reached her.
+Once more on his native soil, Albert and
+Isabella determined to induce him to remain.
+He had intended to go back to Mantua and
+continue his work under the duke, but since
+he was now in Belgium he decided to stay there,
+and thus he became the court painter in his
+own country, which after all he greatly preferred
+to any other.</p> 
+
+<p>He was to have a salary of five hundred
+livres ($96) a year, also "the rights, honours,
+privileges, exemptions, etc." that belonged to
+those of the royal household; and he was given
+a gold chain. In this day of large doings there
+is something about such details that seems
+childish, but a "gold chain" was by no means
+a small affair at a time when $96 was
+considered an ample money-provision for an
+artist.</p> 
+
+<p>That gorgeous gold chain, a mark of distinction
+rather than a reward, is to be seen in all its
+glory in one of Rubens's great paintings. The
+artist himself is mounted upon a horse, the
+chain about his neck, while he is surrounded by
+"no fewer than eight-and-twenty life-size
+figures, many in gorgeous attire, warriors in
+steel armour, horsemen, slaves, camels, etc."
+This picture, "The Adoration of the Magi," was 
+<a name="285"></a>
+twelve feet by seventeen, and was painted at
+the town's expense. It was later sent to Spain
+and placed in the Madrid Gallery.</p> 
+
+<p>One of the greatest honours that could come
+to students of that day, was to be admitted
+to Rubens's studio to paint under his direction,
+and it is said that "hundreds of young men
+waited their turn, painting meanwhile in the
+studios of inferior artists, till they should be
+admitted to the studio of the great master."</p> 
+
+<p>Rubens was a king among painters, as well
+as a painter patronised by kings.</p> 
+
+<p>He had two wives, and he married the first
+one in 1609. Her name was Isabella Brant.
+Sir Joshua Reynolds said of her: "His wife is
+very handsome and has an agreeable countenance,
+but the picture is rather hard in manner"--by 
+which he meant a picture which Rubens
+had painted of her. One of his greatest
+privileges when he was engaged at the court of
+Albert and Isabella, had been that he need
+obey none of the exactions of the Guild of St.
+Luke, none of their rigid rules concerning the
+employment of art students. Rubens could
+take into his service whom he pleased, whether
+they had been admitted as members of the
+guild or not, though to be a member of the
+guild was a testimony to their qualifications.
+In the end, this did a good deal of harm, for
+Rubens employed students to do the preliminary
+work of his pictures, who had not been
+his pupils and who were not otherwise qualified. 
+<a name="286"></a>
+Thus we read criticisms like that of Sir Joshua's;
+and many of Rubens's pictures are marred
+in this manner.</p> 
+
+<p>A story is told of Van Dyck and other pupils
+of Rubens breaking into the master's studio
+and smudging a picture which Van Dyck
+afterward repaired by painting in the damaged
+portion most successfully. We are also told
+in connection with Rubens's picture, "The
+Descent from the Cross," that Van Dyck
+restored an arm and shoulder of Mary of
+Magdala, but certainly Van Dyck did not
+become a pupil of Rubens till some time after
+that picture was painted.</p> 
+
+<p>The work of a wonderful period in Rubens's
+art was completely destroyed. In two years
+time he painted forty ceilings of churches in
+Antwerp, all of which were burned, but there
+is a record of them in the copies made by De
+Witt, in water colours from which etchings were
+afterward made. This work of Rubens was
+the first example of foreshortening done by a
+Flemish painter.</p> 
+
+<p>Above all things Rubens liked to paint big
+pictures, on very large surfaces, as did Michael
+Angelo. "The large size of picture gives us
+painters more courage to present our ideas
+with the utmost freedom and semblance of
+reality. ... I confess myself to be, by
+a natural instinct, better fitted to execute
+works of the largest size." He wrote this to
+the English diplomat Trumbull in 1621.</p> 
+
+<p><a name="287"></a>
+In the midst of Rubens's greatest success as a
+painter came his diplomatic services. It was
+desirable that Spain and England should be
+friends, and Rubens always moving about
+because of his work, and being so very clever,
+the Spanish powers thought him a good one to
+negotiate with England. While on a professional
+visit to Paris, the English Duke of
+Buckingham and the artist met, and this
+seemed to open a way for business. The
+Infanta consented to have Rubens undertake
+this delicate piece of statesmanship, but
+Philip of Spain did not like the idea of an artist--a 
+wandering fellow, as an artist was then
+thought to be--entering into such a dignified
+affair. The real negotiator on the English
+side, was Gerbier, by birth also a Fleming, and
+strange to tell, he too had been an artist.
+The English engaged him to look after their
+interests in the affair, and as soon as Philip
+learned that their diplomat was also an artist,
+his prejudices against Rubens as a statesman,
+disappeared. So it was decided that the two
+Flemings, artists and diplomats, should meet
+in Holland to discuss matters. About that
+time Sir Dudley Carleton wrote to Lord
+Conway: "Rubens is come hither to Holland,
+where he now is, and Gerbier in his company,
+walking from town to town, upon their pretence
+of taking pictures, which may serve him for
+a few days if he dispatch and be gone; but yf
+he entertayne tyme here long, he will infallibly 
+<a name="288"></a>
+be layd hold of, or sent with disgrace out of
+the country ... this I have made known
+to Rubens lest he should meet with a skorne
+what may in some sort reflect upon others."</p>
+
+<p>The two clever men got through with their
+talk, nothing unfortunate happened, and
+Rubens got off to Spain where he laid the result
+of his talk with Gerbier before the Spanish
+powers. He was given a studio in Philip's
+palace, where he carried on his art and his
+diplomacy. The king became delighted with
+him as a man and an artist, and as well as
+attending to state business, he did some
+wonderful painting while in Madrid. He was
+there nine months or more, and then started
+off for England to tell Charles I. of Philip III.'s
+wishes. But upon his arrival he learned that
+a peace had just been concluded between France
+and England, and all was excitement.</p> 
+
+<p>He was received in England as a great artist;
+every honour was showered upon him, and
+when he made Philip's request to Charles,
+that he should not act in a manner hostile to
+Spain, Charles agreed, and kept that agreement
+though France and Venice urged him to
+break it.</p> 
+
+<p>Charles knighted Rubens while he was in
+England, and the University of Cambridge
+made him Master of Arts. The sword used by
+the king at the time he gave the accolade is
+still kept by Rubens's descendants.</p> 
+
+<p>While he was in London Rubens was very 
+<a name="289"></a>
+nearly drowned in the Thames going down to
+Greenwich in a boat.</p> 
+
+<p>When he first went from Italy to Spain on a
+mission of state, he carried a note or passport
+bearing the following lines: "With these
+presents" (he took magnificent gifts to Philip,
+among them a carriage and six Neapolitan
+horses) "comes Peter Paul, a Fleming. Peter
+Paul will say all that is proper, like the well
+informed man that he is. Peter Paul is very
+successful in painting portraits. If any ladies
+of quality wish their pictures, let them take
+advantage of his presence." When he visited
+England there was no longer need of such
+introduction; he went in all the magnificence
+that his genius had earned for him.</p> 
+
+<p>Rubens was always a happy man, so far as
+history shows. He married the first time,
+a woman who was beautiful and who loved
+him, as he loved her. He was able to build
+for himself a beautiful house in Antwerp. In
+the middle of it was a great <i>salon</i>, big enough
+to hold all his collection of pictures, vases,
+bronzes, and beautiful jewels. There was also
+a magnificent staircase, up which his largest
+pictures could be easily carried, for it was built
+especially to accommodate the requirements
+of his work.</p> 
+
+<p>Rubens's greatest picture was painted through
+a strange happening when this beautiful house
+was being built. The land next to his belonged
+to the Archers' Guild and when the workmen 
+<a name="290"></a>
+came to dig Rubens's cellar, they went too far
+and invaded the adjoining property. The
+archers made complaint, and there seemed no
+way to adjust the matter, till some one suggested
+that Rubens make them a picture which
+should be accepted as compensation for the
+harm done. This Rubens did, and the picture
+was to be St. Christopher--the archers'
+patron saint; but when the work was done
+"Rubens surprised them" by exhibiting a
+picture "of all who could ever have been
+called 'Christ-bearers.'" This was "The
+Descent from the Cross"--not a single picture
+but a picture within a picture, for there were
+shutters folding in front of it, and on these
+was painted the archers' patron, St. Christopher.</p> 
+
+<p>Rubens's daily life is described thus: "His
+life was very methodical. He rose at four,
+attended mass, breakfasted, and painted for
+hours; then he rested, dined, worked until
+late afternoon; then, after riding for an hour
+or two one of his spirited horses, and later
+supping, he would spend the evening with his
+friends.</p> 
+
+<p>"He was fond of books, and often a friend
+would read aloud to him while he worked."
+This is a pleasant picture of a reasonable and
+worthy life.</p> 
+
+<p>It is said that once he painted eighteen
+pictures in eighteen days, and it is known
+that he valued his time at fifty dollars a day.</p> 
+
+<p>His pupil, Van Dyck, being pushed for 
+<a name="291"></a>
+money, turned alchemist and tried to manufacture 
+gold, but when Rubens was approached
+by a visionary who wanted him to lend him
+money by which he might pursue such a work,
+promising Rubens a fortune when he should
+have discovered how to make his gold, the
+artist laughed and said: "You are twenty
+years too late, friend. When I wield these,"
+indicating his palette and brush, "I turn all
+to gold."</p> 
+
+<p>Many are the delightful anecdotes told of
+Rubens. It is said that while he was at the
+English court he was painting the ceiling of
+the king's banqueting hall, and a courtier
+who stood watching, wished to say something
+<i>pour passer le temps</i>, so he asked: "Does the
+ambassador of his Catholic Majesty sometimes
+amuse himself with painting?"</p> 
+
+<p>"No--but he sometimes amuses himself
+with being an ambassador," was the witty
+retort, which showed how he valued his two
+commissions.</p> 
+
+<p>When King Charles I. knighted Rubens
+he gave him, beside the jewelled sword, a
+golden chain to which his miniature was attached.
+If Rubens had gone about with all
+the chains and decorations given him by kings
+and other great ones of the earth he would
+have been weighted down, and would have
+needed two pairs of shoulders on which to
+display them.</p> 
+
+<p>Rubens's first wife died; and when he 
+<a name="292"></a>
+married again, he was as fond of painting
+pictures of the second wife as he had been of
+the first. The name of the second was Helena
+Fourment, and she is called by one author
+"a spicy blonde." Certainly she was very gay,
+big, and robust, and only sixteen years old
+when she married Rubens who was then a man
+of fifty-three. Of one picture, "The Straw
+Hat," for which he is supposed to have used
+his wife's sister as model, he was so fond that
+he would not sell it at any price.</p> 
+
+<p>Rubens had a rare mother, as shown in her
+letters to her husband, John, when he was
+in prison for his wrongdoing. It would seem
+that such a mother must have a strong,
+forceful son, and Rubens is less of a surprise
+than many artists who had no such influence
+in their childhood. The history of Rubens's
+mother is worthy of being told even had she
+not had a famous son who painted a beautiful
+picture of her.</p> 
+
+<p>Rubens's "Holy Families" are like those of
+no other painter. The Virgin, the Child, all
+the others in the picture, are quite different
+from the Italian figures. These are human
+beings, good to look upon; full of love and joy,
+softness and beauty.</p> 
+
+<p>It was his learning that first won favour
+for him in Italy. The Duke of Mantua hearing
+him read from Virgil, spoke to him in Latin,
+and being answered in that tongue was so
+charmed that the foundation of their friendship
+<a name="293"></a>
+and the duke's patronage was laid. In
+Italy he was called "the antiquary and Apelles
+of our time."</p> 
+
+<p>His nephew-biographer writes of him: "He
+never gave himself the pastime of going to
+parties where there was drinking and card-playing,
+having always had a dislike for such."</p> 
+
+<p>As Rubens grew in fame, he found that many
+were jealous of him, and on one occasion a rival
+proposed that he and Rubens each paint a
+picture upon a certain subject and leave it to
+judges to decide which work was the best--Rubens's 
+or his own.</p> 
+
+<p>"No," said Rubens. "My attempts have
+been subjected to the scrutiny of connoisseurs
+in Italy and Spain. They are to be found in
+public collections and private galleries in those
+countries; gentlemen are at liberty to place
+their works beside them, in order that comparison
+may be made." This was a dignified
+way of disposing of the case.</p> 
+
+<p>Rubens loved to paint animals, and he had a
+great lion brought to his home, that he might
+study its poses and movements.</p> 
+
+<p>The flesh of his figures was so lifelike that
+Guido declared he must mix blood with his
+paints. He was called "the painter of life."</p> 
+
+<p>Rubens, a seventh child, had also seven
+children, two belonging to his first wife, five to
+the second.</p> 
+
+<p>Many stories are told of his patience and his
+kindness. It is said that at one time his old 
+<a name="294"></a>
+pupil, Van Dyck, returned to Antwerp after an
+absence, greatly depressed and in need of
+money. Rubens bought all his unsold pictures,
+and he did this charitable act more than once,
+and is known to have done the same thing
+for a rival and enemy, out of sheer goodness
+of heart.</p> 
+
+<p>Kings and queens came to the Rubens
+house, people of many nations did him honour;
+and toward his closing days, when gout had
+disabled him, ambassadors visited him, since
+he could not go to them.</p> 
+
+<p>In a description of his death and burial which
+took place at Antwerp we read: "He was buried
+at night as was the custom, a great concourse
+of citizens ... and sixty orphan children
+with torches followed the body." He was
+placed in the vault of the Fourment family,
+and as he had requested, "The Holy Family"
+was hung above him. In that picture, we find
+the St. George to be Rubens himself; St.
+Jerome, his father; an angel, his youngest son,
+while Martha and Mary are Isabella and
+Helena, his two wives.</p> 
+
+<p>He left many sketches "to whichever of his
+sons became an artist, or to the husband of
+his daughter who should marry an artist."
+But there were none such to claim the bequest.</p> 
+
+<center>PLATE--THE INFANT JESUS AND ST. JOHN</center>
+
+<p>The little girl behind Jesus is supposed
+to represent his future bride, the Christian 
+<a name="295"></a>
+Church. The thoughtful, far-seeing look upon
+the face of the Christ-child, though it does
+not clash with His youthful charm, is meant
+to suggest that He has a premonition of His
+work in the world. The other joyous little
+figures also demonstrate the artist's love for
+children. He brings them into his pictures, as
+cherubs, wherever he can, and they are frequently
+just as well painted and more universally
+appreciated than his stout women.
+In this picture he has a good opportunity
+to show his adorable flesh tints, combined
+with the movement and freedom naturally
+associated with child life.</p> 
+
+<p>The original painting is in the Court Museum
+at Vienna, but it has always been so popular
+that many copies of it have been made, and
+one of these is in the Berlin Gallery.</p> 
+
+<center>PLATE--THE ARTIST'S TWO SONS<br>
+<i>(See Frontispiece</i>)</center>
+
+<p>This picture hangs in the Lichtenstein
+Gallery at Vienna; the two boys, eleven and
+seven years of age, are the sons of Rubens
+by his first wife, Isabella Brant; and Albert,
+the elder of the two, greatly resembles his
+mother. He is evidently a student, for he
+wears the dress of one and carries a book in
+one hand. The other is placed affectionately
+upon the shoulder of his little brother, Nicolas,
+whose face, figure, and attire are all much the
+more childish of the two.</p> 
+
+<p><a name="296"></a>
+Critics consider this painting to mark the
+Highest point which Rubens reached in portraiture.
+It has all the colour, character, and
+vitality of his best work. Some of his other pictures
+are: "Coronation of Marie de Medicis,"
+"The Kirmesse," "Slaughter of the Innocents,"
+"Susanna's Bath," "Capture of Samson," "A
+Lion Hunt" and "The Rape of the Daughters
+of Leucippus."</p> 
+
+<p><a name="297"></a></p>
+<h1>XXXVI</h1>
+
+<h1>JOHN SINGER SARGENT</h1>
+
+<center><i>American and Foreign Schools</i><br>
+1856-1926<br>
+<i>Pupil of Carolus Durand</i></center>
+
+<p>This artist was born in Europe, of American
+parents; thus we may say that he was
+"American," though he owed nothing but
+dollars to the United States, since his instruction
+was obtained in Italy and France, and all
+his associations in art and friendship were
+there. He was probably the most brilliant of
+the artists termed American. His great mural
+work in the Boston Public Library, is hardly
+to be surpassed.</p> 
+
+<p>Above all, Sargent's portraits are masterly.
+He was famous in that branch of art before he
+was twenty-eight years old. Among his finest
+portraits is that of "Carmencita," a Spanish
+dancer, who for a time set the world wild with
+pleasure. The list of his famous portraits is
+very long.</p> 
+
+<p>Sargent's father was a Philadelphia physician;
+who originally came from New England, but
+the artist himself was born in Florence. He
+was given a good education and grew up with
+the beauties of Florence all about him, in a
+refined and charming home. He was the 
+<a name="298"></a>
+delight of his master, Carolus Durand for he
+was modest and refined, yet full of enthusiasm
+and energy. In his twenty-third year he
+painted a fine picture of his master. Sargent
+was a musician as well as a painter; a man of
+great versatility, as if the gods and all the
+muses had presided at his birth.</p> 
+
+<center>PLATE--CARMENCITA</center>
+
+<p>In this picture of the famous Spanish dancer
+Sargent shows all the life and character he can
+put into a portrait. The girl seems on the
+point of springing into motion. She is poised,
+ready for flight and the proud lift of her head
+makes one believe that she will accomplish
+the most difficult steps she attempts. The
+painting is in the Luxembourg, Paris.</p> 
+
+<p>Other noted Sargent portraits are "Mr. Marquand" 
+in the Metropolitan Museum of Art,
+"Lady Elcho, Mrs. Arden, Mrs. Tennant," "Mrs.
+Meyer and Children," "Homer St. Gaudens,"
+"Henschel," and "Mr. Penrose."</p>
+
+<p><a name="299"></a></p>
+<h1>XXXVII</h1>
+
+<h1>TINTORETTO (JACOPO ROBUSTI)</h1>
+
+<center><i>Venetian School</i><br>
+1518-1594<br>
+<i>Pupil of Titian</i></center>
+
+<p>Tintoretto was born with an ideal.
+As a young boy he wrote upon his
+studio wall: "The drawing of Michael Angelo,
+the colouring of Titian," and that was the end
+he tried to reach. His father was a "tintore"--a 
+dyer of silk, a tinter--and it was from
+the character of that work the artist took his
+name. He helped his father with the dyeing
+of silks, while he was still a child, and was
+called "II tintoretto," little dyer.</p> 
+
+<p>As the little tinter showed great genius for
+painting, his father placed him in Titian's
+studio, but for some reason he only stayed there
+a few days, long enough, however, to permit us
+to call him a pupil of Titian; especially as he
+wrote that master's name upon his wall and
+determined to imitate him. After his few days
+with Titian, Tintoretto studied with Schiavone
+and afterward set up a studio for himself.</p> 
+
+<p>As a determined lad in this studio of his, 
+Tintoretto tried every means of developing his 
+art. He studied the figures upon Medicean 
+tombs made by Michael Angelo, taking plaster 
+<a name="300"></a>
+casts of them and copying them in his studio.
+He used to hang little clay figures up by strings
+attached to his ceiling, that he might get the
+effect of them high in air. By looking at them
+thus from below he gained an idea of foreshortening.</p>
+
+<p>Although this artist nearly succeeded in
+getting into line with Michael Angelo, he did
+not colour after the fashion of his master,
+Titian. Tintoretto was about twenty-eight
+years old before he got any very big commission,
+but at that age a chance came to him. In the
+church of Santa Maria del Orto were two great
+bare spaces, unsightly and vast, about fifty
+feet high and twenty broad. In that day
+anything and everything was decorated with
+masterpieces, and it was almost disgraceful
+for a church to let such a space as that go
+unfrescoed. Tintoretto saw an opportunity,
+and finally offered to paint pictures there for
+nothing if the church would agree to pay for
+the materials he needed. The church certainly
+was not going to refuse such an offer, even if
+Tintoretto was not thought to be much of an
+artist at the time. If the work was poor, one
+day they could choose to have it repainted.
+Thus Tintoretto got his first great opportunity.
+He painted on those walls "The Last Judgment"
+and "The Golden Calf." They made him famous,
+and gained him the commission to paint the
+picture which is used as an illustration here.</p> 
+
+<p>The brothers of the Scuola di San Rocco 
+<a name="301"></a>
+asked him to compete with Veronese, in
+painting the ceilings after he had done four
+pictures for their walls.</p> 
+
+<p>Tintoretto consented, and Veronese and two
+others who were in the competition set about
+making their sketches which they were to
+present for the brothers' consideration.
+Finaly the day of decision came. All were
+assembled, the artists armed with sketches of
+their plans.</p> 
+
+<p>"Where are yours, Tintoretto?" the others
+asked. "We expect a drawing of your idea."</p> 
+
+<p>"Well, there it is," the artist answered,
+drawing a screen from the ceiling. Behold!
+he had already painted it to suit himself. The
+work was complete.</p> 
+
+<p>"That is the way I make my sketches," he
+said.</p> 
+
+<p>Though the work was magnificent it had not
+been done according to the monks' ideas of business
+and order. They objected and objected.</p> 
+
+<p>"Very well," the artist cried; "I will make
+the ceiling a present to you." As there was
+a rule of their order forbidding them to refuse a
+present, they had to accept Tintoretto's. This
+did not promise very good business at the
+time, but the work was so splendid and
+Tintoretto so reasonable that they finally
+agreed to give him all the work of their order--nearly 
+enough to keep him employed during
+a lifetime. After that he painted sixty great
+pictures upon their walls.</p> 
+
+<p><a name="302"></a>
+He painted so much and so fast that he did
+not always do good work, and one critic
+declares that "while Tintoretto was the equal
+of Titian, he was often inferior to Tintoretto"--which 
+after all is a very fine compliment.</p> 
+
+<p>His life was so tranquil and uneventful that
+there is little to say of it; but there is much to
+say of his art. He lived mostly in his studio,
+and when he died he was buried in the Santa
+Maria del Orto--the church in which he had
+done his first work.</p> 
+
+<p>Veronese had given to Venice a brilliant,
+glowing, rich, ravishing riot of colour and
+figures, but Tintoretto was said to rise up
+"against the joyful Veronese as the black
+knight of the Middle Ages, the sombre priest of
+a gloomy art." Tintoretto was of stormy
+temperament, and upon one occasion he proved
+it by thrusting a pistol under a critic's nose,
+after he had invited him to his studio; it is this
+half savage spirit that may be seen in his
+paintings. He had deep-set, staring eyes, it
+is said, a furrowed brow and hollow cheeks,
+indicative of his passionate spirit. He painted
+very few female figures, but mostly men.
+When he did paint a woman, she looked
+mannish and not beautiful. When he painted
+gorgeous subjects, like doges and senators,
+he gave to them gloomy backgrounds, awe-inspiring
+poses, and he seldom painted a figure
+"full-face" but three-quarter, or half, so that
+he did not give himself a chance to present 
+<a name="303"></a>
+human figures in beautiful postures. He is
+said to have been the first who painted groups
+of well-known men in pictures intended for the
+decoration of public buildings. One great
+critic has written that "while the Dutch, in
+order to unite figures, represented them at a
+banquet, Tintoretto's <i>nobili</i> (aristocrats) were
+far too proud to show themselves to the people"
+in so gay and informal a situation. With
+the coming of Tintoretto it was said "a dark
+cloud had overcast the bright heaven of
+Venetian art. Instead of smiling women,
+bloody martyrs and pale ascetics" were painted
+by him. He dissected the dead in order to
+learn the structure of the human body. In
+his paintings "his women, especially, with their
+pale livid features and encircled eyes, strangely
+sparkling as if from black depths, have nothing
+in common with the soft" painted flesh which
+he pictured in his youth while he was following
+Titian as closely as he could. As he grew
+older and his art more fixed, he followed
+Michael Angelo more and more. Titian's
+colouring was that of "an autumn day" but
+Tintoretto's that of a "dismal night." Yet
+these very qualities in Tintoretto's work made
+him great.</p> 
+
+<center>PLATE--THE MIRACLE OF ST. MARK</center>
+
+<p>This painting in the Academy at Venice tells
+the story of how a Christian slave who belonged 
+<a name="304"></a>
+to a pagan nobleman went to worship at the
+shrine of St. Mark. That was unlawful.
+The nobleman had his slave taken before the
+judge, who ordered him to be tortured. Just
+as the executioner raised the hammer with
+which he was finally to kill the slave, St. Mark
+himself came down from heaven, broke the
+weapon and rescued the slave.</p> 
+
+<p>The figure of the patron saint of Venice is
+swooping down, head first, above the group, his
+garments flying in the air. A bright light
+touches the slave's naked body, as he lies upon
+his back, the executioner having turned away
+and raised his hammer aloft, while others
+have drawn back in fright at the appearance
+of the patron saint. We may imagine that
+Tintoretto was trying to acquire this power of
+painting wonderful figures hovering in the air
+when he hung his little clay images from the
+ceiling of his studio years before. Other
+pictures of his are: "The Marriage of Bacchus
+and Ariadne," "Martyrdom of St. Agnes," "St.
+Rocco Healing the Sick," "The Annunciation,"
+"The Crucifixion," and many others.</p> 
+
+<p><a name="305"></a></p>
+<h1>XXXVIII</h1>
+
+<h1>TITIAN (TIZIANO VECELLI)</h1>
+
+<center>(Pronounced Tit-zee-ah'no (Vay-chel'lee))<br>
+<i>Venetian School</i><br>
+1477-1576<br>
+<i>Pupil of Giovanni and Gentile Bellini</i></center>
+
+<p>Titian was a child of the Tirol Mountains,
+handsome, strong, full of health and
+fine purposes, even as a boy. He was born in
+a little cottage at Pieve, in the valley of
+Cadore, through which flows the River Piave;
+and he wandered daily beside its banks,
+gathering flowers from which he squeezed the
+juices to paint with. When he grew up he
+became a wonderful colourist, and from his
+boyhood nothing so much delighted him as the
+brilliant colours flaunted by the flowers of wood
+and field.</p> 
+
+<p>Gathered about his good father's hearth were
+many children, Caterina, Francesco, Orsa, and
+the rest, living in peace and happiness, closely
+bound together by love. Titian had a gentle,
+loving mother named Lucia, while his father
+was a soldier and an honoured man. In the
+little town where they lived, he was councillor
+and also superintendent of the castle and
+inspector of mines, no light honours among
+those simple country people. Doubtless 
+<a name="306"></a>
+Titian inherited his splendid bearing and his
+determined character from his soldier father.</p>
+
+<p>Even while a little child, the man who was
+destined to become a great artist began his
+work with the juices of the wild-flowers,
+which he daubed upon the wall of the humble
+home in the Tirol valley, making a Madonna
+with angels at her feet and a little Jesus upon
+her knee. But if Titian was a great painter,
+he was never even a fair scholar. He went to
+school, but would not, or could not, study.
+His father soon saw that he was wasting his
+time and being made very unhappy through
+being forced to do that for which he had no
+ability; so he was soon released from book-learning
+and sent to Venice, seventy-five miles
+from home, to learn art. In Venice, the
+Vecelli family had an uncle, and it was with
+him that Titian lived, though he studied first
+with Sebastian Zuccato, the head of the Venetian
+guild of mosaic workers, and a pretty
+good teacher in his way. He was not able to
+teach Titian very much, for the boy was an
+inspired artist and needed a good master; so,
+after a little, the family held a consultation
+and it was decided that Titian should become
+the pupil of Gentile Bellini, a very clever artist
+indeed. There was an interesting story told
+about this master which made the Vecellis
+feel that their boy would do well to be under
+the influence of a kind-hearted man, as well as a
+genius. It seems that Bellini's fame had 
+<a name="307"></a>
+become so great that the Sultan had sent for him
+to paint the portraits of himself and the
+Sultana. Bellini went gladly to Turkey to do
+this; but he took with him certain pictures
+to show his patron. Among them was one of
+St. John the Baptist having his head cut off.
+The Sultan looked at it, and cutting heads off
+being a large part of his business, he saw that
+Bellini had not scientifically painted it, and in
+order to show him the true way to conduct
+such matters, he sent for a slave and ordered
+his head chopped off in Bellini's presence.
+Bellini was so terrified and sickened by the
+dreadful sight that he fled from Turkey and
+would not paint its ruler, the Sultana nor anyone
+else who had to do with such cruel things
+as he had witnessed.</p> 
+
+<p>It was into this man's studio that Titian
+went as a young boy, but after a little he
+displeased Gentile Bellini, who complained
+that his pupil worked too fast, and therefore
+could not expect to do great work. He
+declared that picture painting was serious and
+careful work, and that Titian was too careless
+and quick. As a matter of fact, Titian was
+too wonderful for Bellini ever to do much for;
+and since he could not get on with him, he
+went to another master--Gentile Bellini's
+brother, Giovanni. One of Titian's chief
+troubles in the studio of Gentile had been that
+he was not allowed to use the gorgeous colouring
+he loved, but in the brother's studio he found 
+<a name="308"></a>
+to his joy that colour was more valued, and he
+was given more freedom to use it. Also there
+was a young peasant pupil with Giovanni,
+who, like Titian, loved to use beautiful colours,
+and he and the newcomer became fast friends.</p>
+
+<p>The other artist's name was Giorgione, and
+he had the most delightful ways about him,
+winning friends wherever he went, so it was
+no wonder that the warm-hearted Titian sought
+his companionship. One day those two young
+comrades left their master's studio, to have a
+good time off by themselves. There was a
+stated hour for their return; but they had
+spent all their money, and forgot that Giovanni
+Bellini was expecting them home. When
+they did return the door was closed and locked.
+What were they to do? They did the only
+thing they could. As comrades in misfortune
+they joined forces, set up a studio of their
+own, and went to work to earn their living
+as best they might. At first it was hard
+sledding, but in time they got a good job,
+namely to decorate the walls of a public building
+in Venice which was used by foreign merchants
+for the transaction of their business, a sort of
+"exchange," as we understand it. This was
+the Fondaco de' Tedeschi, and it had two great
+halls, eighty rooms, and twenty-six warehouses.
+It was indeed a big undertaking for the two
+young men, and they divided the business
+between them. Their joy was great, their
+cartoons successfully made and the work well 
+<a name="309"></a>
+begun, when, alas, they fell to quarreling simply
+because someone had declared that Titian's
+work upon the building was a little better than
+Giorgione's.</p> 
+
+<p>This dispute parted the two friends, who
+had had good times together, and it must have
+been Giorgione's fault, because Ludovico Dolce,
+one who knew Titian well, said that "he was
+most modest ... he never spoke reproachfully
+of other painters ... in his
+discourse he was ever ready to give honour
+where honour was due ... he was, moreover,
+an eloquent speaker, having an excellent
+wit and perfect judgment in all things; of a
+most sweet and gentle nature, affable and most
+courteous in manner; so that whoever once
+conversed with him could not choose but love
+him henceforth forever." That is a most
+loving and splendid tribute for one man to pay
+another. Not long after Giorgione died, and
+Titian took up his unfinished work, doing it
+as well as his own.</p> 
+
+<p>There was a brilliant and mature artist called
+Palma Vecchio, in Venice, and Titian painted
+in his studio, where he saw and loved Vecchio's
+daughter, Violante. The young artist was not
+very well off financially, and therefore could
+not marry; hence he was not specially happy
+over his love affair. About that time he took
+to painting after the manner of Vecchio,
+through being so much influenced by his soft
+feelings for the older artist's daughter. He 
+<a name="310"></a>
+used the lovely Violante again and again for
+his model, and many of the beautiful faces
+which Titian painted at that time show the
+features of his lady-love. With his new love
+Titian's serious work seemed to begin, and at
+twenty-one he painted his first truly great
+picture, "Sacred and Profane Love." To
+day this picture hangs upon the walls of the
+Borghese Palace, in Rome.</p> 
+
+<p>Raphael painted a great many pictures, but
+Titian must have painted more. At least one
+thousand have his signature.</p> 
+
+<p>Now came wars and troubles for Venice.
+The Turks, French, and Venetians became at
+odds, and during the strife many fine works of
+art were lost, among them many of Titian's
+pictures. He had painted bishops, also the
+wicked Borgias, and many other great personages,
+but all of these are gone and to this day,
+no one knows what became of them.</p> 
+
+<p>At last Titian began one of his greatest
+paintings, "The Tribute Money," and he set
+about it because he had been criticised. Some
+German travellers in Venice visited Titian's
+studio, and though they found his work very
+fine, one of them said that after all there was
+only one master able to finish a painting as it
+should be finished, and that was the great
+Dürer. The German pointed out the differences
+between Titian's method and Dürer's,
+and declared that Venetian painters never
+quite came up to the promise of their first 
+<a name="311"></a>
+pictures. Dürer's wonderful pictures were quite
+different from Titian's, inasmuch as his work
+was fuller of detail and careful finishing, but
+Titian was as great in another way. His
+effects were broader, but quite as satisfying.
+However, the German criticism put him on
+his mettle, and he answered that if he had
+thought the greatest value of a painting lay in
+its fiddling little details of finishing, he too
+would have painted them. To show that he
+could paint after Dürer's fashion, as well as
+his own, he undertook the "Tribute Money,"
+and the result was a wonderful picture.</p> 
+
+<p>Soon Rome sent for Titian. The Florentines,
+Raphael and Michael Angelo, were already
+there doing marvellous things, but the pope
+wished to add the genius of Titian to theirs
+and made him a great offer to go and live in
+Rome and do his future work for that city.
+This was an honour, but amid all his fame
+and the homage paid him, Titian had remembered
+the old home in the vale of Cadore.
+It was there his heart was, and he determined
+to return to the home of his boyhood to do his
+best work. So he sent his thanks and refusal
+to the pope, and he wrote as follows to his
+home folks, through the council of his town:</p> 
+
+<p>"I, Titian of Cadore, having studied painting
+from childhood upward, and desirous of fame
+rather than profit, wish to serve the doge and
+signorini, rather than his highness the pope
+and other signori, who in past days, and even 
+<a name="312"></a>
+now, have urgently asked to employ me. I
+am therefore anxious, if it should appear
+feasible to paint the hall of council, beginning,
+if it pleases their sublimity, with the canvas
+of the battle on the side toward the Piazza,
+which is so difficult that no one as yet has had
+the courage to attempt it."</p>
+
+<p>Then in stating his terms he asked for a very
+moderate sum of money and a "brokerage"
+for life. The Government did not have to
+think over the matter long. Titian's father
+had been honoured among them, Titian's
+genius was well known, and the commission
+was gladly given him. As soon as he got this
+business affair settled he moved into the palace
+of the Duke of Milan "at San Samuele; on the
+Grand Canal, where he remained for sixteen
+years," so says his biographer.</p> 
+
+<p>Titian's affairs were not yet entirely smooth,
+because both of the Bellinis having painted
+for his patrons, they naturally considered
+Titian an intruder, and thought that the work
+should have been given to them. They did
+all they could to make trouble for the younger
+artist, but after a time Titian came into his
+rights, receiving his "brokerage" which gave
+to him a yearly sum of money 120 crowns,
+$126.04. His taxes were taken off for the
+future, provided he would agree to paint all
+the doges that should rule during his lifetime.</p> 
+
+<p>Titian undertook to do this, but he did not
+keep his word, for he painted only five doges, 
+<a name="313"></a>
+though many more followed. He had no
+sooner received his commission from the
+council of his native place than he began to
+neglect it, and to paint for the husband of the
+wicked poisoner--Lucretia Borgia--whose
+name was Alfonso d'Este, the Duke of Ferrara.
+It was for him he painted the "Venus Worship,"
+now in the Museum of Madrid, also "The Three
+Ages," which belongs to Lord Ellesmere, and
+the "Virgin's Rest near Bethlehem," now in
+the National Gallery. Afterward he painted
+"Noli Me Tangere," which is in the same
+London Gallery.</p> 
+
+<p>There is a picture of great size in the Academy
+of Arts in Venice, which was first seen on a
+public holiday nearly four hundred years ago.
+It is the "Assumption of the Virgin," first
+shown on St. Bernardino's day, when all the
+public offices were closed by order of the
+Senate, and the whole city had a gay time.
+This occasion made Titian the most honoured
+artist of his time, but still the Venetians had
+cause to complain; because now their painter
+took so much work in hand that he nearly
+ceased doing the work on the council hall.
+The council sent him word that unless he
+attended to business the paintings should be
+finished by some one else and he would have
+to pay the new artist out of his own pocket;
+but in waywardness he paid no attention to this
+summons. Lucretia Borgia died, and her husband
+having never loved her, fell at once in 
+<a name="314"></a>
+love with a girl of a lower class, who was very
+good and worthy to be loved. The duke
+wanted Titian to paint them both, and so once
+more the great painter neglected his contract
+with the council. The girl's name was Laura,
+and Titian painted her and the duke in one
+picture, which now hangs in the Louvre.</p> 
+
+<p>At last, after seven years of his neglecting
+to do his promised work the council became
+enraged and threatened to take the artist's
+property away from him. That frightened
+Titian very much, and he began frantically
+to work on the battle piece on the hall wall.
+It was about this time that he married. He
+had probably forgotten Violante in the passing
+of so many years; at any rate it was not she
+whom he married, but a lady whose first name
+was Cecilia. Soon he had a little family of
+children, but one of them was destined to make
+Titian very unhappy. This was Pomponic
+who became a priest, but he was also a wicked
+spendthrift, and kept his father forever in
+trouble, trying to pay his debts and keep him
+out of scrapes. Another son became an
+artist; not great like his father, but very
+helpful and a comfort to him. Then his wife
+died, and Titian had loved her so dearly that
+for a long time he had not the heart to paint
+much. His sister, Orsa, came to live at his
+home and take care of his motherless children.</p> 
+
+<p>He left the palace on the Grand Canal and
+bought a home north of Venice, with beautiful 
+<a name="315"></a>
+gardens attached, and there he lived and
+worked, entertaining the most illustrious men.
+Titian's house and gardens became the show
+place of the country, so many geniuses and
+famous people visited there. It was there
+that he painted "The Martyrdom of Saint
+Peter," and the picture was so loved by the
+Venetians that the signori threatened with
+death any one who should take the picture
+from the chapel where it hung. In spite of
+this caution the picture was burned in the fire
+that destroyed the chapel in 1867.</p> 
+
+<p>Titian was now getting to be old, but he was
+yet to do great work and to have kingly patrons.
+Charles V. visited Bologna, and, seeing
+Titian's great work, wanted him to paint his
+portrait. So the artist went to Bologna and
+painted the portrait of the king, clothed in
+armour, but without any head-covering, making
+Charles V. look so fine a personage, that he
+was delighted. Charles said he had always
+been painted to look so much uglier than he
+really was that when people who had seen
+his portraits, actually saw himself they were
+pleasantly disappointed. While Titian was
+painting his picture, Lombardi, the sculptor,
+wished above all things to see Charles, so
+Titian said: "You come with me to the
+sittings, and act as if you were some apprentice,
+carrying my colours and brushes, and then
+you can watch the king as easily as possible."
+Lombardi did as Titian suggested, but he hid
+<a name="316"></a>
+in his big and baggy sleeve a tablet of wax, on
+which to make a relief picture of Charles. One
+day the king surprised the sculptor and
+demanded to be shown what he was doing.
+Thereupon he was so much pleased that he
+commissioned Lombardi to make the model
+in marble. While the king was sitting for two
+portraits to Titian, the artist one day dropped
+his brush. The king looked at the courtiers
+who were lounging about watching the work,
+but none of them picked it up, so the king
+himself did so. Titian was distressed over
+this and apologised to the king. "There may
+be many kings," said Charles, "but there
+will never be more than one Titian--and he
+deserves to be served by Caesar himself."
+After that he would allow no other artist to
+paint his portrait, declaring that Titian alone
+could do it properly, and for the two pictures
+Titian received two thousand scudi in gold,
+was made a Count of the Lateran Palace,
+of the Aulic Council and of the Consistory;
+with the title of Count Palatine and all the
+advantages attached to those dignities. His
+children were thereby raised to the rank of
+nobles of the empire, with all the honours
+appertaining to families with four generations
+of ancestors. He was also made Knight of
+the Golden Spur, with the right of entrance to
+court. This was great return for two portraits
+of a king, but it shows what a king could
+do if he chose.</p> 
+
+<p><a name="317"></a>
+Titian had a brother who also became an
+artist, less famous than himself, and it was
+that brother, who, when their father died in
+the Cadore home, went back to care for the old
+place and to keep it in readiness so that the
+famous Titian might return to it for rest and
+peace. Foreign sovereigns had invited Titian
+to end his days with them, but they could not
+tempt him from that vale of Cadore nor his
+country home in Venice.</p> 
+
+<p>All this time he had been neglecting the
+work upon the hall of council, and at last,
+the councillors gave the work to another, took
+away Titian's "brokerage" and told him he must
+return to Venice all the moneys they had given
+him for twenty years back. This finally cured
+him of his neglect, and he went to work in
+earnest painting so rapidly that he finished the
+work in two years.</p> 
+
+<p>Before he died Titian went to Rome, where
+he painted Pope Paul's portrait, and the story
+is told that when the portrait was set to dry
+upon the terrace--which it probably was not,--the 
+people who passed took off their hats
+to it, thinking it was the pope himself.</p> 
+
+<p>Besides his bad son and his good one, Titian
+had a beautiful daughter whom he painted
+again and again. He went to Augsburg once
+more to paint King Charles, who for that work
+added a pension of five hundred scudi to what
+he had already done for him. This made
+the artist "as rich as a prince, instead of poor 
+<a name="318"></a>
+as a painter." King Philip II. loved art as
+his father had, and he took a painting of
+Titian's with him to the convent of Yuste,
+where he went to die, wishing to have it near
+to console him. In those days art had become
+a religion for high and low. Great personages
+still went to Casa Grande, Titian's Venetian
+home, where he entertained like a prince. No
+one knew better than he how princes behaved,
+and when a cardinal came to dine with him, he
+threw his purse to his servant, crying: "Prepare
+a feast, for all the world is dining with me!" 
+Henry III. of France visited Titian and ordered
+sent to him every picture of which he had
+asked the price.</p> 
+
+<p>His friends stood by him all his life, but in
+his old age his beautiful daughter, Lavinia,
+died, leaving behind her six children for him to
+love as his own. The brother had died before
+that, in the old home at Cadore, and at more
+than eighty years of age Titian was still
+painting from morning till night. About this
+time he sent to King Philip "The Last Supper,"
+which was to be hung in the Escorial. The
+monks found it too high to fill the space, and
+though the artist in charge, Navarrette, begged
+them to let it be, they cut a piece off the top,
+that it might be hung where they wanted it.
+Titian had so far had to pay no taxes, but at
+that time an account of his property was
+demanded and this is what he owned: "Several
+houses, pieces of land, sawmills, and the like," 
+<a name="319"></a>
+and he was blamed because he did not state
+the full value of his possessions. At ninety-one
+he painted a picture which became the
+guide of Rubens and his brother artists, so
+wonderful was it. Again, at ninety-nine he
+began a picture, which was to be given to the
+monks of the Frari in return for a burial place
+for the artist within the convent walls, but he
+never finished it. He died during the time of
+the plague, but of old age alone, though his
+son, Orzio, died of the disease. The alarm
+of the people was so great that a law had been
+passed to bury all who died at that time,
+instantly and without ceremony, but that law
+was waived for the painter. Titian, in the
+midst of a nation's tragedy was borne to the
+convent of the Frari, with honours. Two
+centuries later the Austrian Emperor commanded
+the great sculptor, Canova, to
+make a mausoleum above the tomb.</p> 
+
+<p>It was said that shortly before he died
+Titian began to be less sure in his use of colours,
+and would often daub on great masses, but
+his students came in the night and rubbed them
+off, so that the master never felt his failing.</p> 
+
+<p>As King Charles had said, there was never
+but one such artist in the world.</p> 
+
+<p>Titian prepared his canvas by painting upon
+it a solid colour to serve for the bed upon which
+the picture itself was to be painted. To quote
+more exactly from a good description--some 
+of these foundation colours were laid on with 
+<a name="320"></a>
+resolute strokes of his brush which was heavily
+laden with colour, while the half-tints were
+made with pure red earth, the lights with pure
+white, softened into the rest of the foundation
+painting with touches of the same brush dipped
+into red, black, and yellow. In this way he
+could give the "promise" of a figure in four
+strokes. After laying this foundation, he
+turned his picture toward the wall and left
+it there for months at a time, frequently
+turning it around that he might criticise it.
+If, during this time of waiting, he thought any
+part of the work already done was poor, he
+made it right, changing the shape of an arm,
+adding flesh where he thought it was needed,
+reducing flesh where it seemed to him out of
+proportion, and then he would again turn
+the canvas face to the wall. After months of
+self-criticism and retouching he would have
+the first layer of flesh painted upon his figures,
+and a good beginning made. "It was contrary
+to his habit to finish at one painting, and he
+used to say that a poet who improvises cannot
+hope to form pure verses." He would often
+produce a half-light with a rub of his finger,
+"or with a touch of the thumb he would dab
+a spot of dark pigment into some corner to
+strengthen it; or throw in a reddish stroke--a 
+tear of blood so to speak--to break the
+parts ... in fact when finishing he painted
+more with his fingers than with his brush."
+He used to say, "White, red, and black, these 
+<a name="321"></a>
+are all the colours that a painter needs, but
+one must know how to use them."</p>
+
+<center>PLATE--THE ARTIST'S DAUGHTER, LAVINIA.</center>
+
+<p>Previous to the time of Titian, it had been
+the custom to paint portraits of beautiful
+ladies merely to their waists, just far enough
+to show their hands. He went further, and
+produced "knee portraits," which gave him
+an opportunity to paint their gorgeous gowns
+as well. He has done so in making this
+picture of his daughter Lavinia, probably
+just before her marriage to Cornelio Sarcinelli
+which took place in 1555. She is attired in
+gold-coloured brocade with pearls about her
+neck. Her dress, combined with the dish of
+fruit she holds so high, gives Titian the colour
+effects he always sought. A yellow lemon is
+specially striking, and the red curtain to the
+left harmonises with the whole. The uplift
+of the arms and the turn of the head give the
+desired amount of action. It is not Titian's
+customary style of work; he seldom did anything
+so intimate and personal, and the picture
+is the more interesting on that account. It
+is in the Berlin Gallery.</p> 
+
+<p>Some of Titian's famous pictures are: his
+own portrait; "Flora," "Holy Family and St.
+Bridget," "The Last Judgment," "The Entombment,"
+"The Magdalene," "Bacchanal," "St.
+Sebastian," "Bacchus and Ariadne," and "The
+Sleeping Venus."</p> 
+
+<p><a name="322"></a></p>
+<h1>XXXIX</h1>
+
+<h1>JOSEPH MALLORD WILLIAM TURNER</h1>
+
+<center><i>English</i><br>
+1775-1851<br>
+<i>Pupil of the Royal Academy</i></center>
+
+<p>If the occupation of a shepherd produced
+a poet, no less did an artist of the first
+water come out of a barber shop. Turner's
+father was a jolly little fellow who dressed
+hair for English dandies and did all of those
+things which in those days fell to men of his
+profession. It was in this little shop that the
+great artist grew up. Father Turner was
+ambitious for his son, who was anxious to study
+art. The less said of the artist's mother the
+better, for she was a termagant and finally
+went crazy, so that the father and his little boy
+were soon left alone, to plan and work and strive
+to make each other happy. The pair were
+never apart.</p> 
+
+<p>Turner's art beginning was at six years of
+age, on the occasion of a visit his father paid
+to a goldsmith of whose hair curling and
+peruquing he had charge. Perched upon a
+chair too high for a little boy's comfort, and
+feeling that it took his father very long indeed
+to satisfy the customer, Joseph's eye lighted upon
+a silver lion which ornamented a silver tray.
+<a name="323"></a>
+He studied every detail of that lion while
+waiting for his father, and finally when they
+got home, he sat down and drew it from
+memory. By tea time he had a lion in full
+action upon the paper. This delighted his
+father above everything, and it was settled
+then and there that the little fellow should have
+a chance to learn art.</p> 
+
+<p>The father could not give much time to his
+upbringing, but he taught him to be honest
+and kind-hearted and to save his money.
+His playground was generally the bank of the
+Thames, and under London Bridge where,
+roving with the sailors, he learned to love the
+ships, the setting-suns and evening waters
+from a daily study of them.</p> 
+
+<p>He did not do much at school, because the
+other pupils at New Brentford, learning that
+he could draw wonderful things upon the
+schoolroom walls, used to do his "sums" for
+him, while he sketched for them. After a
+while father Turner began to hang up some
+of his son's sketches upon the walls of the
+barber shop, among the wigs and curls and
+<i>toupées</i>, and he put little tags upon them,
+telling the price. The extraordinary work
+of his little boy began to attract the attention
+of the jolly barber's patrons, and by the time
+he was twelve years old the child had a
+picture upon the walls of the Royal Academy--a 
+far-cry from barber shop to Academy!</p> 
+
+<p>One authority says that this first exhibition 
+<a name="324"></a>
+occurred in his fourteenth year, but by that
+time he was a pupil of the Academy, and it is not
+unlikely that he had shown his mettle before.</p> 
+
+<p>He now began to earn his own living, but
+he still dwelt in the barber shop with his father.
+While in the Academy he coloured prints,
+made backgrounds for other painters, drew
+architect's plans, and in that way made money.
+He had been sent to a drawing master to study
+"the art of perspective," but having no
+mathematical knowledge he had been unable
+to learn it, and the teacher had advised his
+father to put little Turner to cobbling or
+making clothes. However, William was to
+learn perspective, and even to be made master
+of that branch of art in the Academy itself.</p> 
+
+<p>In after years, when he had become a great
+artist, someone spoke pityingly of the drudgery
+he had had to do to make money as a young
+boy--referring to his painting of backgrounds
+and the like. "Well! and what could be better
+practice?" Turner answered cheerfully.</p> 
+
+<p>He used to go to the house of Dr. Munro,
+who lived in fine style on the Strand. This
+gentleman owned Rembrandts, Rubenses,
+Titians, and other great masterpieces, and
+in that house the "little barber" had a chance
+to see the best of art, and also to copy it. This
+was a great opportunity for him and he made
+the most of it. Besides the chance for study,
+he earned about half a crown an evening and
+his supper, for his copying.</p>
+
+<p><a name="325"></a>
+Turner was the first painter to make "warm
+moonlight." All other artists had given cold,
+silvery effects to a moonlit atmosphere, but
+Turner had seen a mellow, sympathetic moon,
+and he first showed it to others. About this
+time he went travelling; for an engraver of the
+<i>Copper Plate Magazine</i> had engaged the
+young boy to go into Wales and make sketches
+for his work. Turner set off on a pony which
+a friend had lent him, with his baggage done
+up in a bundle--it did not make a very big
+one--and thus he voyaged. It was a fine
+experience, and he came home with many
+beautiful scenes on paper, which he in after
+years made into complete pictures. Next
+he made the acquaintance of Thomas Girtin, the
+first in his country of a fine school of water-colour
+painters, and this acquaintance grew
+into a close friendship. The two were devoted
+to each other and worked together at any sort
+of mechanical art work that would bring them
+a living. When Girtin died Turner said:
+"Had Tim Girtin lived, I should have starved,"
+showing how highly he valued Girtin's work.</p> 
+
+<p>Turner is said to have been "a stout, clumsy
+little fellow, who never cared how he looked.
+He wore an ill-fitting suit, and his luggage tied
+up in a handkerchief was slung over his
+shoulder on a cane. Sometimes he carried a
+small valise and an old umbrella, the handle
+of which he converted into a fishing rod, for
+Turner dearly loved both hunting and fishing."</p> 
+
+<p><a name="326"></a>
+The hero travelled a great deal, because
+above every thing he loved the fields and
+streams, and to tramp alone. It is said that
+it was his habit to walk twenty-five miles a
+day, seeing everything on the way, letting no
+peculiarity of nature escape him. His sketchbook
+was a curiosity, because he not only made
+sketches in it, but jotted down his travelling
+expenses, what he thought about things that
+he saw, and all the gossip he heard in the towns
+through which he passed. Because he liked
+best to travel alone he was called "the Great
+Hermit of Nature."</p> 
+
+<p>One memorable day--of which he thought
+but little at the time--he stopped on the road
+to make a sketch of Norham Castle. Later
+he completed the picture, and it became
+famous, so successful that from that hour he
+had all the work he could do. Years afterward,
+when passing that way again in company
+with a friend, he was seen to take off his hat
+to the castle.</p> 
+
+<p>"Why are you doing that?" his friend asked,
+in amazement.</p> 
+
+<p>"Well, that castle laid the foundation of
+my success," he answered, "and I am pleased
+to salute it."</p> 
+
+<p>During his young manhood Turner had
+fallen in love with a girl, and planned to marry,
+but after he returned from one of his country
+trips he found she had married another, and
+from that moment the artist was a changed 
+<a name="327"></a>
+man. He had been generous and gay before,
+now he began to save his money, so that people
+thought him miserly--but he was forgiven
+when it became known what he finally did with
+his fortune. After the young woman deserted
+him he wandered more than ever, and one of
+his fancies was to keep boys from robbing
+birds' nests. He looked after the little birds
+so carefully that the boys named him "old
+Blackbirdy." He had already begun those
+wonderful pictures of ships and seas, and
+his house was ornamented with full-rigged
+little ships and water plants, which he carefully
+raised to put into his pictures. By that time
+he had bought a home of his own in the
+country, and his father the barber went to
+live with him. The old man's trade had fallen
+off, because the fashions had changed, wigs
+were less worn, and hair was not so elaborately
+dressed. In the country home the old man
+took charge of all the household affairs, prepared
+his son's canvases for him, and after the pictures
+were painted it was the ex-barber who varnished
+them, so that Turner said, "Father begins
+and finishes all my pictures." There the
+father and son lived, in perfect peace and
+affection, till Turner decided to sell the place
+and move into town, "because," said he,
+"Dad is always working in the garden and
+catching cold."</p> 
+
+<p>Meanwhile he had been made master of
+perspective in the Academy, and it was 
+<a name="328"></a>
+expected that he would lecture to the students,
+but he was not cut out for a lecturer. He was
+not elegant in his manners, nor impressive in
+his speech. On one occasion, when he had
+risen to deliver a speech, he looked helplessly
+about him and finally blurted out: "Gentlemen!
+I've been and left my lecture in the
+hackney coach!"</p> 
+
+<p>During these years he had tried to establish
+a studio like other masters and to have pupils
+and apprentices about him; but the stupid ones
+he could not endure, having no patience with
+them, and he treated all the fashionable ones
+so bluntly they would not stay; so the idea
+had to be given up.</p> 
+
+<p>He became a visitor at Farnley Hall in
+Yorkshire, where a friend, Mr. Hawksworth
+Fawkes lived, and in the course of his lifetime
+Fawkes put fifty thousand dollars worth of
+Turner's pictures upon his walls. The Fawkes
+family described Turner as a most delightful
+man: "The fun, frolic, and shooting we enjoyed
+together, and which, whatever may be said by
+others of his temper and disposition, have
+proved to me that he was, in his hours of
+distraction from his professional labours as
+kindly hearted a man and as capable of
+enjoyment and fun of all kinds as any I ever
+knew."</p> 
+
+<p>Another friend writes: "Of all light-hearted,
+merry creatures I ever knew, Turner was
+the most so; and the laughter and fun that 
+<a name="329"></a>
+abounded when he was an inmate of our
+cottage was inconceivable, particularly with the
+juvenile members of our family."</p>
+
+<p>The story of his disappointment in marriage
+is an interesting one. It is said that the
+young lady whom he loved was the sister of a
+schoolmate. They had been engaged for some
+time, but while he was on one of his travels his
+letters were stolen and kept from the young
+woman. She believed he had forgotten her,
+and her stepmother, who had taken the
+letters, persuaded the girl to engage herself
+to another. Turner returned just a week
+before her marriage and tried to win her back,
+but although she loved him, she felt herself
+then bound to her new suitor and therefore
+married him. Her marriage was very unhappy
+and her misery, as well as his own, distressed
+the artist till his death. Almost all his life,
+in spite of his seeming gaiety, he worked like
+a slave, rising at four o'clock in the morning
+and working while light lasted. When
+remonstrated with about this he would sadly
+say: "There are no holidays for me."</p> 
+
+<p>All his ways were honest and simple, and
+his election to the Academy was very exceptional
+in the way it came about. Most
+Academicians had graces and airs and good
+fellowship to commend them, as well as their
+works, but Turner had none of these things.
+He had given no dinners, nor played a social
+part in order to get the membership. When 
+<a name="330"></a>
+the news was brought him that he was elected,
+some one advised him to go and thank his fellow
+Academicians for the honour, as that was the
+custom; but Turner saw no reason in it.
+"Since I am elected, it must have been because
+they thought my pictures made me worthy.
+Why, then should I thank them? Why thank
+a man for performing a simple duty." In half
+a century Turner was absent only three times
+from the Academy exhibitions, and his.
+membership was of very great value to him.</p> 
+
+<p>At this time Turner had an idea for an art
+publication to be called <i>Liber Studiorum</i>.
+He meant to issue this in dark blue covers and
+to include in each number five plates. There
+was to be a series of five hundred plates
+altogether, and these were to be divided,
+according to subject, into historical, landscape,
+pastoral, mountainous, marine, and architectural
+studies. After seventy plates had been,
+published, the enterprise fell through, because
+no one bought the periodical, and there was
+no money to keep it going. The engraver
+of the plates, Charles Turner, became so
+disgusted with the failure that he even used
+the proofs of these wonderful studies to kindle
+the fire with. Many years later, a great print-dealer,
+Colnaghi, made Turner, the engraver,
+hunt up all the proofs that he had not used for
+kindling paper, and these he bought for £1,500.</p> 
+
+<p>"Good God!" cried Charles Turner, "I have
+been burning banknotes all my life."</p> 
+
+<p><a name="331"></a>
+Some years later still £3,000 was paid for
+a single copy of the <i>Liber Studiorum</i>.</p> 
+
+<p>Turner was a most conscientious man, and
+many stories are told of his manner of teaching.
+He could not talk eloquently nor give very
+clear instructions, talking not being his forte,
+but he would lean over a student's shoulder,
+point out the defects in his work, and then on
+a paper beside him make a few marks to
+illustrate what he had said. If the artist had
+genius enough then to imitate him, well and
+good; if not, Turner simply went away and
+left him. His own ways of working were
+remarkable. He often painted with a sponge
+and used his thumbnail to "tear up a sea."
+It mattered little to him how he produced his
+effects so long as he did it. His impressionistic
+style confused many of his critics, and it is
+told how a fine lord once looked at a picture
+be had made, and snorted: "Nothing but
+daubs, nothing but daubs!" Then catching
+the inspiration, he leaned close to the canvas,
+and said: "No! Painting! so it is!"</p>
+
+<p>"I find, Mr. Turner," said a lady, "that in
+copying your pictures, touches of red, blue
+and yellow appear all through the work."</p> 
+
+<p>"Well, madam, don't you see that yourself,
+in nature? Because if you don't, heaven
+help you!" was the reply.</p> 
+
+<p>"Once, after painting a summer evening,
+he thought that the picture needed a dark
+spot in front by way of contrast; so he cut out 
+<a name="332"></a>
+a dog from black paper and stuck it on. That
+dog still appears in the picture."</p>
+
+<p>Another time he painted "A Snow-storm
+at Sea," which some critics called "Soap-suds
+and Whitewash." Turner, who had been for
+hours lashed to the mast of a ship in order to
+catch the proper effect, was naturally much
+hurt by the criticism. "What would they
+have!" he exclaimed. "I wonder what they
+think a storm is like. I wish they'd been in it."</p> 
+
+<p>Turner was conscientiously fond of his work,
+and when he sold a picture he said that he
+had lost one of his children.</p> 
+
+<p>He grew rich, but he never was knighted,
+because his manners were not fine enough
+to suit the king. He wished to become
+President of the Royal Academy, but that
+was impossible because he was not polished
+enough to carry the honour gracefully.</p> 
+
+<p>After selling his place in the country Turner
+bought a house in Harley Street, where
+he lived a strange and lonely life. A gentleman
+has written about this incident, which shows
+us his manner of living:</p> 
+
+<p>"Two ladies called upon Turner while he
+lived in Harley Street. On sending in their
+names, after having ascertained that he was
+at home, they were politely requested to walk
+in, and were shown into a large sitting-room
+without a fire. This was in the depth of winter;
+and lying about in various places were several
+cats without tails. In a short time our talented 
+<a name="333"></a>
+friend made his appearance, asking the ladies
+if they felt cold. The youngest replied in the
+negative; her companion, more curious, wished
+she had stated otherwise, as she hoped they
+might have been shown into his sanctum or
+studio. After a little conversation he offered
+them biscuits, which they partook of for the
+novelty--such an event being almost
+unprecedented in his house. One of the ladies
+bestowing some notice upon the cats, he was
+induced to remark that he had seven, and that
+they came from the Isle of Man."</p>
+
+<p>Thus we learn that Turner's desolate house
+was full of Manx cats, and of many other pets.
+When he had moved elsewhere--to 47 Queen
+Anne Street--one of the pictures he cared
+most for, "Bligh Shore," was put up as a
+covering to the window and a cat wishing to
+come in, scratched it hopelessly. The housekeeper
+started to punish it for this but
+Turner said indulgently, "Oh, never mind!"
+and saved the cat from chastisement.</p> 
+
+<p>The place he lived in, where his "dad was
+always working in the garden and catching
+cold," he called Solus Lodge, because he wished
+his acquaintances to understand that he
+wanted to be alone. One picture painted by
+him to order, was to have brought him $2,500;
+but when it was finished the man was disappointed
+with it and would not take it. Later,
+Turner was offered $8,000 for it, but would not
+sell it.</p> 
+
+<p><a name="334"></a>
+Turner again fell in love, but his bashfulness
+ruined his chances. He wrote to the brother
+of the lady. "If she would only waive her
+bashfulness, or, in other words, make an offer
+instead of expecting one, the same (Solus
+Lodge) might change occupiers." Faint heart
+certainly did not win fair lady in this case,
+for she married another. Before he died
+Turner was offered $25,000 for two pictures
+which he would not sell. "No" he said.
+"I have willed them and cannot sell them."
+He disposed of several great works as
+legacies. One picture of which he was very
+fond, "Carthage," was the occasion of an
+amusing anecdote. "Chantry," he said to his
+friend the sculptor, "I want you to promise
+that when I am dead you will see me rolled
+in that canvas when I'm buried."</p> 
+
+<p>"All right," said Chantry, "I'll do it, but
+I'll promise to have you taken up and unrolled,
+also."</p> 
+
+<p>A remarkable incident of generosity is told
+of Turner. In 1826 he hung two exquisite
+pictures in the Academy. One, "Cologne,"
+having a most beautiful, golden effect. This
+was hung between two portraits by Sir Thomas
+Lawrence. The golden colouring of Turner's
+picture entirely destroyed the effect of the
+Lawrence pictures, and without a word, Turner
+washed his lovely picture over with lampblack.
+This gave the Lawrence, pictures their
+full colour value. A friend who had been 
+<a name="335"></a>
+enthusiastic about the "Cologne" was provoked
+with Turner. "What in the world did you
+do that for?" he demanded. "Well, poor
+Lawrence was so unhappy. It will all wash off
+after the exhibition." Turner had his reward
+in cash, for the picture sold for 2,000 guineas.</p> 
+
+<p>Above all things Turner hated engravings,
+or any process that cheapened art, and one
+day he stated this to his friend Lawrence.
+"I don't choose to be a basket engraver,"
+he declared.</p> 
+
+<p>"What do you mean by that," Sir Thomas
+inquired.</p> 
+
+<p>"Why when I got off the coach t' other day
+at Hastings, a woman came up with a basket
+of your 'Mrs. Peel,' and offered to sell me
+one for a sixpence."</p> 
+
+<p>Turner dearly loved his friends, and the story
+of Chantry's death, illustrates it. He was in
+his room when the sculptor breathed his last,
+and just as he died, the artist turned to another
+friend, George Jones, and with tears streaming
+down his face, wrung Jones's hand and rushed
+from the room, unable to speak.</p> 
+
+<p>Again, when William Frederick Wells,
+another friend, died, Turner rushed to the
+house of Clara Wells, his daughter, and cried:
+"Oh Clara, Clara! these are iron tears. I have
+lost the best friend I ever had in my life."</p> 
+
+<p>In his old age Turner suddenly disappeared
+from all his haunts, and his friends could not
+find him. They were much troubled, but one 
+<a name="336"></a>
+day his old housekeeper found a note in a
+pocket of an old coat, which made her think
+he had gone to Chelsea. She looked there for
+him, and found him very ill, in a little cottage
+on the Thames River. Everybody about called
+him Admiral Booth, believing him to be a
+retired admiral. He had felt his death near
+and had tried to meet it quite alone. He died
+the very day after his friends found him,
+as he was being wheeled by them to the window
+to look out upon the river for the last time.
+He was buried in St. Paul's Cathedral between
+Sir Joshua Reynolds and James Barry. He
+left his drawings and pictures to a "Turner
+Gallery," and $100,000 to the Royal Academy,
+to be used for a medal to be struck
+every two years for the best exhibitor. The
+rest of his fortune went to care for "poor
+and decayed male artists born in England
+and of English parents only." This was
+to be known as Turner's Gift, and that is
+why he had saved money all his life.</p> 
+
+<p>A few more of the numberless stories of his
+generosity should be told. A picture had been
+sent to the Academy by a painter named Bird
+It was very fine, and Turner was full of its
+praise, but when they came to hang it no place
+could be found.</p> 
+
+<p>"It can't be hung," the others of the committee
+said.</p> 
+
+<p>"It must be hung," returned Turner, but
+nothing could be done about it, for there was 
+<a name="337"></a>
+absolutely no place. Then Turner went aside
+with the picture and sat studying it a long
+time. Finally he got up, took down a picture
+of his own and hung Bird's in its place.
+"There!" he said. "It is hung!"</p> 
+
+<p>Again, an old drawing-master died and
+Turner who had known the family for a long
+time, was aware that they were destitute, so
+he gave the widow a good sum of money with
+which to bury her husband and to meet
+general expenses. After some time she came
+to him with the money; but Turner put his
+hands in his pockets. "No," he said; "keep
+it. Use it to send the children to school and
+to church."</p> 
+
+<p>On one occasion when he had irritably sent
+a beggar from his house, he ran out and called
+her back, thrusting a £5 note into her hand
+before letting her go.</p> 
+
+<p>There was a man who in Turner's youth,
+while the little fellow was making pictures in
+the cheerless barber shop bought all of these
+drawings he could find. He often raised the
+price and in every way tried to help Turner.
+In after years that old patron went bankrupt.
+Turner heard that his steward had been
+instructed to cut down some fine old trees on
+this man's estate, and sell them. Turner,
+without letting himself be known in the
+matter, at once stopped the cutting and put
+into his old patron's hands about £20,000.
+The rescued man, afterward, through the
+<a name="338"></a>
+same channels that he had received the
+money, paid it all back. Years passed, and the
+son of that same man got into the same
+difficulties, and again, without being known
+in the matter, Turner restored his fortune.
+That son, in his turn, honestly paid back the
+full amount. This was the miser who saved
+all his money--to do good deeds to his friends.
+Ruskin wrote that in all his life he had never
+heard from Turner one unkind or blameful
+word for others.</p> 
+
+<center>PLATE--THE FIGHTING TÉMÉRAIRE</center>
+
+<p>This was the picture which Turner loved
+best of all, the one he would never sell; but
+at his death ho gave it to the English nation.</p> 
+
+<p>"Many years before he painted it, he had
+gone down to Portsmouth one day to see Nelson's
+fleet come in after the glorious victory
+of Trafalgar. The <i>Téméraire</i> was pointed
+out to him--a battle ship that had very
+proudly borne the English flag, for during the
+battle it had run in between two French
+frigates and captured them both.</p> 
+
+<p>"And now between thirty and forty years
+later, he lingered one afternoon on the banks
+of the Thames. As he looked over the water
+he saw the grand old hulk being towed down
+the river by a noisy little tug to be broken
+up at Deptford. 'There's a fine subject!' he
+exclaimed as he looked at the heroic ship that 
+<a name="339"></a>
+had known many glorious years; and in his
+thought he compared it to 'a battle-scarred
+warrior borne to the grave.'</p> 
+
+<p>"Then he painted the picture. The glow
+of the setting sun irradiates the scene and bids
+farewell to the old ship. Twilight is coming
+on, and the new moon has just risen in its
+pearly light. It is a pathetic picture," and
+well illustrates how truly a "master of sunsets
+and waves" the artist was.</p> 
+
+<p>Among his other paintings are several of
+Venice; "The Slave Ship" and many other sea
+pieces.</p> 
+
+<p><a name="340"></a></p>
+<h1>XL</h1>
+
+<h1>SIR ANTHONY VAN DYCK</h1>
+
+<center><i>Flemish School</i><br>
+1599-1641<br>
+<i>Pupil of Rubens</i> </center>
+
+<p>Anthony Van Dyke's father was
+neither a gentleman nor an ill-born
+person. He was "betwixt-and-between,"
+being a silk merchant, who met so many fine
+folk that he seemed to be "fine folk" himself;
+and by the time Anthony had grown up, he actually
+believed himself to be one of them. If
+manners stand for fineness Sir Anthony must
+have been superfine, because he was almost
+overburdened with "manners."</p> 
+
+<p>He became a wonderful, be-laced, perfumed,
+shiny gentleman who never stooped to paint
+anything less than royalty and its associates,
+nor in anything less than velvets and laces.
+Like Rembrandt and Gainsborough, he set a
+fashion--or rather the style in which he painted
+came to be known after his name. We are
+all familiar with the kind of ornamentation
+on clothes called Van Dyck--pointed lace,
+or trimmings--and pointed beards.</p> 
+
+<p>As a very young lad he was almost too
+dainty to be liked by healthy boys; and the
+worst of it was he did not care whether healthy,
+<a name="341"></a>
+robust chaps liked him or not; certainly he
+did not care for them. He liked to sit in his
+father's shop and be smiled upon by the great
+ladies who came to buy, and in turn to smile
+shyly at them; this tendency became stronger
+as he grew to be a man.</p> 
+
+<p>Anthony's mother made the most exquisite
+embroideries, and this may mean that some
+part of his art was inherited. She handled
+lovely colours, and tried to fashion beautiful
+flower shapes for customers. She was a fragile,
+tender sort of woman, while the father was
+doubtless a dapper, over-nice little fellow.</p> 
+
+<p>Anthony was born in Antwerp, and the facts
+concerning his education, as in the case of most
+artists, are lost to our knowledge. He probably
+had a little of some sort outside of painting,
+but it certainly was not enough to hurt him,
+nor to make a fine healthy man of him. He
+was very beautiful, in a lady-like, faint-coloured
+way, not in the least resembling the handsome,
+gorgeous, elegant, robust Rubens, a true
+cavalier, of a dashing sort.</p> 
+
+<p>He was apprenticed to a painter when he
+was ten years old, and later on became the pupil
+of Rubens. He painted a whole series of
+Apostles' heads, about which a lawsuit took
+place. The papers relating to this were found
+about twenty years ago, though the lawsuit
+occurred as far back as 1615. Several of the
+Apostles' heads that brought about the suit
+are to-day to be seen in the gallery at Dresden.</p>
+
+<p><a name="342"></a>
+Everything in those days--especially in
+Germany and Holland--was represented by
+a "guild." In reading about the Mastersingers
+of Nuremberg we are told that on the day
+when the trial of singers was to take place,
+dozens of "guilds" assembled in the meadow--guilds 
+of bakers, of shoemakers--of which
+Hans Sachs was the head--guilds of goldsmiths,
+etc. Van Dyck was a member of
+the painters' guild when he was no more
+than nineteen. His work at that time
+showed so much strength that there is a
+picture of his, an old gentleman and lady, in
+the Dresden gallery, which for a long time
+was supposed to have been painted by his
+master, Rubens.</p> 
+
+<p>An intimate friend of Van Dyck, Kenelm
+Digby, says that Van Dyck's first relations with
+Rubens came about by Van Dyck being
+employed to make engravings for the reproduction
+of Rubens's great works. After that
+he studied painting with him.</p> 
+
+<p>One of his friends of that time wrote that
+at twenty Van Dyck was nearly as great as
+Rubens, though this is hardly substantiated by
+the verdict of time, and that being a man with
+very rich family connections, he could hardly be
+expected to leave home. On every hand we
+have signs of the artist's affected feeling about
+himself and other people.</p> 
+
+<p>However, an annual pension from the King
+of England seems to have made travelling 
+<a name="343"></a>
+possible to this fine gentleman of lace ruffles,
+pale face, and lady-like ways.</p> 
+
+<p>There is an entry about him on the royal
+account book of "Special service ... 
+performed for His Majesty." Also "Antonio
+Van Dyck, gent., <i>His Majesty's servant</i>, is
+allowed to travaile 8 months, he havinge
+obtayneid his Majesty's leave in that behalf,
+as was signified to the E. of Arundel."
+Certainly by that time Van Dyck had become
+a truly great portrait painter; not the greatest,
+because every picture showed the same
+characteristics in its subject--elegance, fine
+clothes, languid manners, without force of
+great truth or any excellent moral quality to
+distinguish one from another. Nevertheless,
+the kind of painting that he did, he did better
+than anyone else had ever done, or probably
+ever will do.</p> 
+
+<p>While in England he painted all the royalties
+and many aristocrats, and wherever he went
+he was always painting pictures of himself.</p> 
+
+<p>He travelled about a good deal, always
+painting people of the same class--kings and
+queens and fine folk, and painting them pretty
+nearly all alike.</p> 
+
+<p>When he went to Italy he was everywhere
+received as a great painter, but while artists
+agreed that his work was excellent he was not
+much liked by them, and many tales are told
+about that journey which are interesting,
+if not entirely true. Van Dyck was the sort
+<a name="344"></a>
+of man about whom tales would be made up.
+One, however, sounds true. It is said that he
+fell in love--which of course he was always
+doing--with a beautiful country girl, and that
+for love of her he painted an altar piece into
+which he put himself, seated on the great gray
+horse which Rubens had given him. That
+picture is in St. Martin's Church at Saventhem,
+near Brussels, but although one is inclined to
+believe this story because it was quite the sort
+of thing which might be expected of Van Dyck,
+even this is not true, because the painting was
+done long after the artist had made his Italian
+journey, and it was commissioned by a gentleman
+living at Saventhem, whose daughter
+Van Dyck undoubtedly liked pretty well; but
+he made the picture for money, not for love.</p> 
+
+<p>While he was in Italy he lived with a
+cardinal, and painted languid pictures of
+sacred subjects, which were far from being his
+best work. The best that he did was in
+portraiture. Distinguished though he was,
+he did not have a very good time in Italy,
+because he would not join the artists who
+worked there, nor associate with them in the
+least, and naturally this made him disliked.</p> 
+
+<p>We see a good many portraits painted by
+Van Dyck, of persons mounted upon or standing
+beside the gray horse, and these were painted
+about the time of that Italian journey. He
+used the Rubens horse in many paintings.</p> 
+
+<p>Of all the people with whom he painted,
+<a name="345"></a>
+he most valued the knowledge he got from a
+blind woman painter of Sicily, called Sofonisba
+Anguisciola, and he often said that he had
+learned more from a blind woman than from
+all the open-eyed men he ever knew. This
+woman artist was over ninety years old at the
+time he learned from her.</p> 
+
+<p>While he was in Italy the plague broke out,
+and Van Dyck fled for his life, leaving an
+unfinished picture behind him, one ordered
+by the English king, the subject being Rinaldo
+and Armida, which had gained for the artist
+his knighthood pension.</p> 
+
+<p>It is said that during his first year in England
+he painted the king and queen twelve
+times. He had an extraordinary record for
+industry, and painted very quickly, as he had
+need to do, because it took a great deal of money
+to buy the sort of things Van Dyck liked--fine 
+laces and velvets, perfumes and satins.
+His plan was to sketch his subject first on gray
+paper with black and white chalk, and after
+that he gave the sketch to an assistant who
+increased it to the size he wished to paint.
+The next step was to set his painter to work
+upon the clothing of his figures. This was
+painted in roughly, together with background
+and any architectural effect Van Dyck wanted.
+After this the artist himself sat down and in
+three or four sittings, of not more than an hour
+each, he was able to finish a picture worth to-day
+thousands of dollars.</p> 
+
+<p><a name="346"></a>
+He painted hands specially well, and kept
+certain models for them alone.</p> 
+
+<p>Van Dyck had eleven brothers and sisters,
+whom he always kept in mind. Some of his
+sisters had become nuns while some of his
+brothers were priests, and Van Dyck's influence
+got a monkish brother called to the Dutch
+court to act as chaplain to the queen.</p> 
+
+<p>By this time every royal personage in the
+world, nearly, had sent for Van Dyck to paint
+his portrait, for he could make one look handsomer
+than could any other painter in
+existence. If the king was very ugly, Van
+Dyck painted such beautiful clothes upon him
+that nobody noticed the plainness of the
+features.</p> 
+
+<p>When Van Dyck was about thirty-six years
+old he married a great lady, the Lady Mary
+Ruthven, granddaughter of the Earl of Gowrie,
+but before that he had had a lady-love,
+Margaret Lemon, whom he painted as the Virgin
+and in several other pictures. When he
+married Lady Mary, Margaret Lemon was so
+furiously jealous that she tried to injure
+Van Dyck's right hand so that he could paint
+no more.</p> 
+
+<p>About this time Rubens died in Flanders,
+leaving behind him an unfinished series of
+pictures which had been commissioned by
+the king of Spain. Van Dyck was asked to
+finish these, but declined until he was asked
+to make an independent picture, to complete 
+<a name="347"></a>
+the series, and this he was delighted to do.
+Ferdinand of Austria wrote to the king of
+Spain that Van Dyck had returned in great
+haste to London to arrange for his change of
+home, in order to do the work. "Possibly he
+may still change his mind," he added, "for he
+is stark mad." This shows how Van Dyck's
+erratic ways appeared to some people.</p> 
+
+<p>He had a sister, Justiniana, who was also
+something of an artist and she married a
+nobleman when she was about twelve years old.</p> 
+
+<p>When Van Dyck died he was buried in
+St. Paul's, London, and Charles I. placed an
+inscription on his tomb.</p> 
+
+<p>In the "Young People's Story of Art,"
+is the following anecdote: "A visit was once
+paid by a courtly looking stranger passing
+through Haarlem, to Franz Hals, the distinguished
+Dutch painter.</p> 
+
+<p>"Hals was not at home but he was sent for
+to the tavern and hastily returned. The
+stranger told him that he had heard of his
+reputation--had just two hours to spare--and 
+wished to have his portrait painted. Hals,
+seizing canvas and brushes fell vigorously to
+work; and before the given time had elapsed,
+he said, 'Have the goodness to rise, sir, and
+examine your portrait!' The stranger looked
+at it, expressed his satisfaction, and then said,
+'Painting seems such a very easy thing, suppose
+we change places and see what I can do!'</p> 
+
+<p>"Hals assented, and took his position as the 
+<a name="348"></a>
+sitter. The unknown began, and as Hals
+watched him, he saw that he wielded the brush
+so quickly, he must be a painter. His work,
+too, was rapidly finished, and as Hals looked
+at it he exclaimed, 'You must be Van Dyck!
+No one else could paint such a portrait!'</p> 
+
+<p>"No two portraits could have been more
+unlike. The story adds that the famous
+Dutch and Flemish masters heartily embraced
+each other."</p> 
+
+<p>The stories of Van Dyck's youth are interesting,
+and probably true. It is said that he
+drew so well when he was a pupil of Rubens
+that the great master often allowed him to
+retouch his own works. Once in Rubens's
+studio, some of the students got the key and
+went in to see what the master was doing,
+when he was absent. Rubens had left a
+painting fresh upon the easel, and in looking
+about them one of the boys rubbed against
+it. This frightened them all. What should
+they do? Rubens would find his picture
+ruined and know that they had broken in.</p> 
+
+<p>After consultation they decided there was
+no one with them who could repair the damage
+as well as Van Dyck, who set about it, and soon
+he had painted in the smudged part so perfectly
+that when Rubens saw it, he did not for some
+time know that anything had happened to
+his picture. Later he suspected something,
+and when he learned of the prank and its
+outcome, he was so delighted with Van Dyck's 
+<a name="349"></a>
+work that he praised him instead of blaming
+him for it.</p> 
+
+<p>Van Dyck had a very precise method of working.
+When sitters came to him he would paint for
+just one hour. Then he would politely dismiss
+them, and his servant would wash his brushes,
+and clear the way for the next sitter. He
+dined with his sitters often that he might
+surprise in them the expression which he
+wanted to paint. Also, he had their clothing
+sent to his studio, that it might be exactly
+imitated by himself or by those assistants who
+painted in the foundation for his finished work.</p> 
+
+<p>While attached to King Charles I.'s court,
+Van Dyck was given a fine house at Blackfriars,
+on the Thames, and he had a private
+landing place made for boats, so that the
+royal family might visit him at their convenience.
+Charles I. used often to go to Van
+Dyck's studio to escape his many troubles,
+and thus the artist's home became as fashionable
+a gathering place, as Gainsborough's studio
+was in Bath. He painted Queen Henrietta not
+less than twenty-five times. He often furnished
+concerts for his sitters, for he himself was passionately
+fond of music, and moreover he believed
+that music often brought to the faces of
+his sitters, an expression that he loved to paint.</p> 
+
+<p>He painted so many pictures of a certain
+kind of little dog, in the pictures of King
+Charles I. that ever since that breed has been
+known as the King Charles spaniel.</p> 
+
+<p><a name="350"></a>
+After a while Van Dyck got heavily into
+debt. King Charles himself was in great
+trouble, and he had no money with which to
+pay his painter's pension. The artist had
+lived so extravagantly that he did not know
+at last which way to turn, so in desperation
+he thought to try alchemy and maybe to learn
+the secret of making gold. He wasted much
+time at this, as cleverer men have done, but
+at last he became too ill for that or for his own
+proper work, and badly off though Charles was
+himself, he offered his court physician a large
+sum if he could cure his court painter. But
+Van Dyck had enjoyed life too well, and
+nothing could be done for him.</p> 
+
+<p>He was the seventh child of his parents--which 
+some have thought had something to do
+with his genius and success; he lived gaily
+all the years of his life, going restlessly from
+place to place, and having many acquaintances
+but probably few friends, outside of his old
+master, Rubens, who loved him for his genius.</p> 
+
+<center>PLATE--CHILDREN OF CHARLES THE FIRST</center>
+
+<p>Van Dyck painted the family of the unfortunate
+king of England four times. There
+are five children in the Windsor Castle picture,
+and this one, which hangs in the Turin
+Gallery, was probably painted before the birth
+of the fourth child in 1636. It is celebrated
+for its colouring as well as for its great
+<a name="351"></a>
+artistic merit. The children are surely childlike
+enough, despite their stately attire, and
+they little dream of the sad fate awaiting the
+whole of the Stuart family to which they
+belong.</p> 
+
+<p>Other Van Dycks are: "The Blessed Herman
+Joseph," "Lords Digby and Russell," "Lord
+Wharton," "Countess Folkestone," and
+"William Prince of Orange."</p>
+
+<p><a name="352"></a></p>
+<h1>XLI</h1>
+
+<h1>VELASQUEZ (DIEGO RODRIGUEZ DE SILVA)</h1>
+
+<center>(Pronounced Vay-lahs'keth)<br>
+<i>Castilian School</i><br>
+1599-1669<br>
+<i>Pupil of Herrera</i> </center>
+
+<p>It is pretty difficult to find out why a
+man was named so-and-so in the days
+of the early Italian and Spanish painters.
+More likely than not they would be called after
+the master to whom they had been first apprenticed;
+or after their trade; after the town from
+which they came, and rarely because their
+father had had the name before them. In
+Velasquez's case, he was named after his mother.</p> 
+
+<p>No one seemed to be certain what to call
+him, but he generally wrote his name "Diego
+de Silva Velasquez." His father was Rodriguez
+de Silva, a lawyer, but in calling the boy
+Velasquez the family followed a universal
+Spanish custom of naming children after their
+mothers.</p> 
+
+<p>Little Velasquez was well taught in his
+childhood; he studied many languages and
+philosophy, for he was intended to be a lawyer
+or something learned, anything but a painter.
+The disappointment of parents in those days, 
+<a name="353"></a>
+when they found a child was likely to become
+an artist is touching.</p> 
+
+<p>Despite his equipment for a useful life,
+according to the ideas of his parents, this little
+chap was bound to become nothing but a
+maker of pictures.</p> 
+
+<p>Herrera was a bad-tempered master and
+little Velasquez could not get on with him,
+so after a year of harsh treatment, he went to
+another master, Pacheco, but by that time
+he had learned a secret that was to help make
+his work great. Herrera had taught him to use
+a brush with very long bristles, which had the
+effect of spreading the paint, making it look
+as if his "colours had floated upon the canvas,"
+in a way that was the "despair of those who
+came after him."</p> 
+
+<p>Velasquez was born in Seville at a time when
+about all the art of the world was Italian or
+German; thus he became the creator of a new
+school of painting.</p> 
+
+<p>He stayed five years in Pacheco's studio and
+pupil and master became very fond of each
+other. Pacheco was not a great master--not 
+so good as Herrera--but he was easy to
+get on with, and knew a good deal about
+painting, so that as Velasquez had the genius,
+he was as well placed as he needed to be.</p> 
+
+<p>In Pacheco's studio there was a peasant
+boy whose face was very mobile, showed every
+passing feeling; and Velasquez used to make
+him laugh and weep, till, surprising some good 
+<a name="354"></a>
+expression, he would quickly sketch him.
+With this excellent model, Velasquez did a
+surprising amount of good work.</p> 
+
+<p>Spain had just then conquered the far-off
+provinces of Mexico and Peru, and was continually
+receiving from its newly got lands
+much valuable merchandise. Rapidly growing
+rich, this Latin country loved art and all things
+beautiful, so its money was bound to be spent
+freely in such ways. Madrid had been made its
+capital, and at that time there were few fine
+pictures to be found there. The Moors who
+had conquered Spain had forbidden picture
+making, because it was contrary to their
+religion to represent the human figure, or even
+the figures of birds and beasts. Then the
+Inquisition had hindered art by its rules,
+one of which was that the Virgin Mary should
+always be painted with her feet covered;
+another, that all saints should be beardless.
+There were many more exactions.</p> 
+
+<p>While cathedrals were being built elsewhere,
+the Moors had been in control of Spanish
+lands, so that no cathedral had been built
+there, and when Velasquez came upon the
+scene the time of great cathedral building
+was past. It had ceased to be the fashion.
+Although there had been such painters as
+Beneguette, Morales, Navarrette, and Ribera,
+all Spanish and of considerable genius, they
+had been too badly handicapped to make
+painting a great art in Spain. When Madrid 
+<a name="355"></a>
+became the capital of Spain, it had no unusual
+buildings, unless it was an old fortress of the
+Moors, the Alcazar, Caesar's house, but the
+nation was buying paintings from Italy, and
+it began to beautify Madrid, which had the
+advantage of the former Moorish luxury and
+art, very beautiful, though not pictorial.</p> 
+
+<p>In Madrid, then, there seemed to be great
+opportunity for a fine artist like Velasquez,
+and his master urged him to go there and try
+his fortune. So he set out on mule-back,
+attended by his slave, but unless he could get
+the ear of the king, it was useless for him to
+seek advancement in Madrid. Without the
+king as patron at that time, an artist could
+not accomplish much. After trying again and
+again, Velasquez had to return to his old
+master, without having seen the king; but
+after a time a picture of his was seen by Philip
+IV., and he was so much pleased with it
+that he summoned the artist. Through his
+minister, Olivares, he offered him $113.40 in
+gold (fifty ducats) to pay his return expenses.
+The next year he gave him $680.40 to move
+his family to Madrid.</p> 
+
+<p>At last the artist had found a place in the
+rich city, and he went to live at the court
+where the warmest friendship grew between
+him and the king. The latter was an author
+and something of a painter, so that they loved
+the same things. This friendship lasted all
+their lives, and they were together most of
+<a name="356"></a>
+the time, the king always being found, in
+Velasquez's studio in the palace when his
+duties did not call him elsewhere. During
+the many many years--nearly thirty-seven--that 
+Velasquez lived with Philip IV. he
+employed himself in painting the scenes at
+court. Thus he became the pictorial historian
+of the Spanish capital. He was a man of good
+disposition, kindly and generous in conduct
+and in feeling, so that he was always in the
+midst of friends and well-wishers.</p> 
+
+<p>Philip IV. was indeed a noble companion,
+but he was not a gay one, being known as the
+king who never laughed--or at least whose
+laughter was so rare, the few times he did
+laugh became historic. One would expect
+this serious and depressing atmosphere to have
+had an effect upon a painter's art; but it
+chanced that Rubens visited Spain, and there,
+Velasquez being the one famous artist, it was
+natural they should become interested in each
+other. Rubens told Velasquez of the wonders of
+Italian painting, till the Spaniard could think
+of nothing else, and finally he begged Philip
+to let him journey to Italy that he might see
+some of those wonders for himself. The
+request made the king unhappy at first, but at
+last he gave his consent and Velasquez set out
+for Italy. The king gave him money and
+letters of introduction, and he went in company
+with the Marquis of Spinola.</p> 
+
+<p>After Velasquez had stayed eighteen months 
+<a name="357"></a>
+in Italy, Philip began to long for his friend
+and sent for him to return. He came back
+full of the stories of brilliant Italy, and
+charmed the king completely.</p> 
+
+<p>There is as absurd a story of Velasquez's
+perfection in painting as that of Raphael's,
+whose portrait of the pope, left upon the
+terrace to dry, imposed upon passers by. It
+is said of Velasquez's work that when he had
+painted an admiral whom the king had
+ordered to sea, and left it exposed in his studio,
+the king, entering, thought it was the admiral
+himself, and angrily inquired why he had not
+put to sea according to orders. On the face
+of them these stories are false, but they serve
+to suggest the perfection of these artists'
+paintings.</p> 
+
+<p>Philip, being a melancholy man, had his
+court full of jesters, poor misshapen creatures--dwarfs 
+and hunchbacks--who were supposed
+to appear "funny," and Velasquez, as
+court painter, painted those whom he continually
+saw about him, who formed the court
+family. Thus we have pictures of strange
+groups--dwarfs, little princesses, dressed precisely
+as the elders were dressed, favourite
+dogs, and Velasquez himself at his easel.</p> 
+
+<p>In 1618, while still with his master, Pacheco,
+he had married the master's daughter, a big,
+portly woman. Before he left Seville he bad
+two daughters.</p> 
+
+<p>These were all the children he had, although 
+<a name="358"></a>
+he painted a picture of "Velasquez's Family"
+which includes a great number of people.
+The figures in that painting are the children of
+his daughter, not his own; and this may
+account for one biographer's statement that
+the artist had "seven children." He was
+devoted to and happy in his family of children
+and grandchildren.</p> 
+
+<p>He did not grow rich, but received regularly
+during his life in Madrid, twenty gold ducats
+($45.36) a month to live upon, and besides this
+his medical attendance, lodging, and additional
+payment for every picture. The one which
+brought him this good fortune was an equestrian
+portrait of Philip; first uncovered on
+the steps of San Felipe. Everywhere the
+people were delighted with it, poets sung of it,
+and the king declared no other should ever
+paint his portrait. This picture has long
+since disappeared.</p> 
+
+<p>In 1627 Velasquez won the prize for a picture
+representing the expulsion of the Moors from
+Spain and was rewarded by "being appointed
+gentleman usher. To this was shortly afterward
+added a daily allowance of twelve reals--the
+same amount which was allowed to court
+barbers--and ninety gold ducats ($204.12) a
+year for dress, which was also paid to the
+dwarfs, buffoons, and players about the king's
+person--truly a curious estimate of talent at
+the court of Spain."</p> 
+
+<p>The record of Philip IV. with unpleasing,
+<a name="359"></a>
+even degenerate characters, about him, is
+brightened by the thought of his loyalty to his
+court painter and life-long friend. When the
+king's favourites fell, those who had been
+the friends of Velasquez, the artist loyally
+remained their friend in adversity as he had
+been while they were powerful. This constancy,
+even to the royal enemies, was never
+resented by Philip. He honoured the faithfulness
+of his artist, even as he himself was
+faithful in this friendship. Philip's court was
+such that there was little to paint that was
+ennobling, and so Velasquez lacked the inspiration
+of such surroundings as the Italian
+painters had.</p> 
+
+<p>Philip IV. was hail-fellow-well-met with his
+stablemen, his huntsmen, his cooks, and yet
+he seems to have had no sense of humour,
+was long faced and forbidding to look at,
+and despite his strange habits considered
+himself the most mighty and haughty man in
+the world. He felt himself free to behave as
+he chose, because he was Philip of Spain; and
+he chose to do a great many absurd and outrageous
+things. In all Philip's portraits, painted
+by Velasquez, he wears a stiff white linen
+collar of his own invention, and he was so
+proud of this that he celebrated it by a festival.
+He went in procession to church to thank God
+for the wonderful blessing of the <i>Golilla</i>--the 
+name of his collar. This unsightly thing
+became the fashion, and all portraits of men of 
+<a name="360"></a>
+that time were painted with it. "In regard to
+the wonderful structure of Philip's moustaches
+it is said, that, to preserve their form they
+were encased during the night in perfumed
+leather covers called <i>bigoteras</i>." Such absurdities
+in a king, who had the responsibilities of
+a nation upon him, seem incredible.</p> 
+
+<p>Velasquez made in all three journeys to
+Italy, and the last one was on a mission for
+the king, which was much to the latter's
+credit. Philip had determined to have a fine
+art gallery in Madrid, for Spain had by this
+time many pictures, but no statuary; so he
+commissioned his painter to buy whatever he
+thought well of and <i>could</i> buy, in Italy. Hence
+the artist set off again with his slave--the
+same one with whom he had journeyed to
+Madrid so long before. His name was Pareja,
+and his master had already made an excellent
+artist of him.</p> 
+
+<p>They went to Genoa, thence to the great art-centres
+of Italy, were received everywhere
+with honour, and the artist bought wisely.
+Velasquez did not care for Raphael's paintings
+as much as for Titian's, and he said so to
+Salvator Rosa, an honoured painter in Italy.</p> 
+
+<p>While in Rome Velasquez painted the pope,
+also his own slave, Pareja.</p> 
+
+<p>When he returned to Spain he took with
+him three hundred statues, but a large number
+of them were nude, and the Spanish court, not
+over particular about most things, was very
+<a name="361"></a>
+particular about naked statues, so that after
+Philip's death, they nearly all disappeared.
+After his return, and after the queen had
+died and Philip had married again, Velasquez
+was made quartermaster-general, no easy post
+but not without honour, though it interfered
+with his picture painting a good deal. He
+had to look after the comfort of all the court,
+and to see that the apartments it occupied,
+at home or when it visited, were suitable.</p> 
+
+<p>"Even the powerful king of Spain could not
+make his favourite a belted knight without a
+commission to inquire into the purity of his
+lineage on both sides of the house. Fortunately,
+the pedigree could bear scrutiny, as for
+generations the family was found free from
+all taint of heresy, from all trace of Jewish
+or Moorish blood, and from contamination
+from trade or commerce. The difficulty
+connected with the fact that he was a painter
+was got over by his being painter to the king
+and by the declaration that he did not sell his
+pictures."</p> 
+
+<p>The red Cross of Santiago conferred upon
+him by Philip, made Velasquez a knight and
+freed him also from the rulings of the Inquisition,
+which directed so largely what artists
+could and could not do. Thus it is that we
+come to have certain great pictures from
+Velasquez's brush which could not otherwise
+have been painted.</p> 
+
+<p>This action of the king, setting free the artist, 
+<a name="362"></a>
+made two schools of art, of which the court
+painter represented one; and Murillo the other,
+under the command of the Church. Although
+not so rich perhaps as Raphael, Velasquez
+lived and died in plenty, while Murillo, the
+artist of the Church of Rome, was a poverty-stricken
+man.</p> 
+
+<p>Finally, while in the midst of honours, and
+fulfilling his official duty to the court of Spain,
+Velasquez contracted the disease which killed
+him. The Infanta, Maria Theresa, was to
+wed Louis XIV., and the ceremony was to take
+place on a swampy little island called the
+Island of Pheasants. There he went to
+decorate a pavilion and other places of display.
+He became ill with a fever and died soon after
+he returned to Madrid.</p> 
+
+<p>He made his wife, his old master Pacheco's
+daughter, his executor, and was buried in the
+church of San Juan, in the vault of Fuensalida;
+but within a week his devoted wife was dead, and
+in eight days' time she was buried beside him.</p> 
+
+<p>He left his affairs--accounts between him
+and the court--badly entangled, and it was
+many years before they were straightened out.
+His many deeds of kindness lived after him.
+He made of his slave a good artist and a
+devoted friend, and by his efforts the slave
+became a freedman. The story of his kindly
+help to Murillo when that exquisite painter
+came, unknown and friendless to Madrid, has
+already been told.</p> 
+
+<p><a name="363"></a>
+The Church where Velasquez was buried was
+destroyed by the French in 1811, and all trace
+of the resting place of the great Spanish artist
+is forever lost to us.</p> 
+
+<p>He is called not only "painter to the king,"
+but "king of painters."</p> 
+
+<center>PLATE--EQUESTRIAN PORTRAIT OF DON
+BALTHASAR CARLOS.</center>
+
+<p>Philip of Spain had long prayed for a son
+and when at last one was granted him his pride
+in his young heir was unbounded. The little
+Don Carlos was not unworthy, for he was a
+cheerful, hearty boy, trained to horsemanship,
+from his fourth year, for his father was a noted
+rider and had the best instructors for his son.
+The prince was a brave hunter too and we are
+told that he shot a wild boar when he was but
+nine years of age. In this portrait which is
+in the Museo del Prado he is six years old, and
+it was neither the first nor the last that
+Velasquez made of him. It was one of the
+court painter's chief duties to see that the heir
+to the throne was placed upon canvas at
+every stage of his career, and he painted him
+from two years of age till his lamented death
+at sixteen.</p> 
+
+<p>The young prince wears in this picture a
+green velvet jacket with white sleeves and his
+scarf is crimson embroidered with gold. The
+lively pony is a light chestnut and the foreshortening
+<a name="364"></a>
+of its body must be noticed. The
+steady grave eyes of the lad are gazing far
+ahead as they would naturally be if he were
+riding rapidly, but his princely dignity is
+shown in his firm seat in the saddle and his
+manner of holding his marshal's batôn.</p> 
+
+<p>The great art of the painter is also shown
+in the way he subordinates the landscape
+to the figure. He will not allow even a tree
+to come near the young horseman, but brings
+his young activity into vivid contrast with the
+calm peacefulness of the distant view.</p> 
+
+<p>With the death of Don Carlos the downfall
+of his father's dynasty was assured, though
+for a time his little sister, the Infanta Maria
+Theresa, was upheld as the heiress. She
+married Louis XIV. and had a weary time
+of it in France. Velasquez painted her picture
+too, in the grown up dress of the children of
+that day. It is in the Vienna Gallery. Among
+his best known pictures are "The Surrender
+of Breda," "Alessandro del Borro," and
+"Philip IV."</p> 
+
+<p><a name="365"></a></p>
+<h1>XLII</h1>
+
+<h1>PAUL VERONESE (PAOLO CAGLIARI)</h1>
+
+<center>(Pronounced Vay-ro-nay'zay and pah'o-lah cal-ee-ah'ree)<br>
+<i>Venetian School</i><br>
+1528-1588<br>
+<i>Pupil of Titian</i> </center>
+
+<p>"One has never done well enough, when
+one can do better; one never knows
+enough when he can learn more!"</p>
+
+<p>This was the motto of Paul Veronese. This
+artist was born in Verona--whence he took
+his name--and spent much of his life with the
+monks in the monastery of St. Sebastian.</p> 
+
+<p>His father was a sculptor, and taught his
+son. Veronese himself was a lovable fellow,
+had a kind feeling for all, and in return
+received the good will of most people. When
+he first went to Venice to study he took letters
+of introduction to the monks of St. Sebastian,
+and finally went to live with them, for his uncle
+was prior of the monastery, and it was upon its
+walls that he did his first work in Venice. His
+subject was the story of Esther, which he
+illustrated completely.</p> 
+
+<p>He became known in time as "the most
+magnificent of magnificent painters." He
+loved the gaieties of Venice; the lords and
+ladies; the exquisite colouring; the feasting 
+<a name="366"></a>
+and laughter, and everything he painted,
+showed this taste. When he chose great
+religious subjects he dressed all his figures in
+elegant Venetian costumes, in the midst of
+elegant Venetian scenes. His Virgins, or other
+Biblical people, were not Jews of Palestine,
+but Venetians of Venice, but so beautiful were
+they and so inspiring, that nobody cared to
+criticise them on that score. He loved to
+paint festival scenes such as, "The Marriage
+at Cana," "Banquet in Levi's House," or
+"Feast in the House of Simon." He painted
+nothing as it could possibly have been, but
+everything as he would have liked it to be.</p> 
+
+<p>Into the "Wedding Feast at Cana," where
+Jesus was said to have turned the water into
+wine, he introduced a great host of his friends,
+people then living. Titian is there, and several
+reigning kings and queens, including Francis
+I. of France and his bride, for whom the
+picture was made. This treatment of the Bible
+story startles the mind, but delights the eye.</p> 
+
+<p>It was said that his "red recurred like a
+joyful trumpet blast among the silver gray
+harmonies of his paintings."</p> 
+
+<p>Muther, one who has written brilliantly
+about him, tells us that "Veronese seems to
+have come into the world to prove that the
+painter need have neither head nor heart, but
+only a hand, a brush, and a pot of paint in
+order to clothe all the walls of the world with
+oil paintings" and that "if he paints Mary, 
+<a name="367"></a>
+she is not the handmaid of the Lord or even
+the Queen of Heaven, but a woman of the
+world, listening with approving smile to the
+homage of a cavalier. In light red silk morning
+dress, she receives the Angel of the Annunciation
+and hears without surprise--for she has
+already heard it--what he has to say; and at
+the Entombment she only weeps in order to
+keep up appearances."</p>
+
+<p>Such criticism raises a smile, but it is quite
+just, and what is more, the Veronese pictures
+are so beautiful that one is not likely to quarrel
+with the painter for having more good feeling
+than understanding. His joyous temperament
+came near to doing him harm, for he was summoned
+before the Inquisition for the manner
+in which he had painted "The Last Supper."</p> 
+
+<p>After the Esther pictures in St. Sebastian,
+the artist painted there the "Martyrdom of
+St. Sebastian," and there is a tradition that
+he did his work while hiding in the monastery
+because of some mischief of which he had been
+guilty.</p> 
+
+<p>At that time he was not much more than
+twenty-six or eight, while the great painter
+Tintoretto was forty-five, yet his work in
+St. Sebastian made him as famous as the older
+artist.</p> 
+
+<p>There is very little known of the private
+affairs of Veronese. He signed a contract
+for painting the "Marriage at Cana," for the
+refectory of the monastery of St. Giorgio
+<a name="368"></a>
+Maggiore, in June 1562, and that picture,
+stupendous as it is, was finished eighteen
+months later. He received $777.60 for it, as
+well as his living while he was at work upon it,
+and a tun of wine. One picture he is supposed
+to have left behind him at a house where he
+had been entertained, as an acknowledgment
+of the courtesy shown him.</p> 
+
+<p>Paul had a brother, Benedetto, ten years
+younger than himself, and it is said that he
+greatly helped Paul in his work, by designing
+the architectural backgrounds of his pictures.
+If that is so, Benedetto must have been an
+artist of much genius, for those backgrounds
+in the paintings are very fine.</p> 
+
+<p>Veronese married, and had two sons; the
+younger being named Carletto. He was also
+the favourite, and an excellent artist, who did
+some fine painting, but he died while he was
+still young. Gabriele the elder son, also painted,
+but he was mainly a man of affairs, and attended
+to business rather than to art.</p> 
+
+<p>Veronese was a loving father and brother,
+and beyond doubt a happy man. After his
+death both his sons and his brother worked upon
+his unfinished paintings, completing them for
+him. He was buried in the Church of St.
+Sebastian.</p> 
+
+<center>PLATE--THE MARRIAGE AT CANA</center>
+
+<p>This painting is most characteristic of
+Veronese's methods. He has no regard for 
+<a name="369"></a>
+the truth in presenting the picture story. At
+the marriage at Cana everybody must have
+been very simply dressed, and there could
+have been no beautiful architecture, such as
+we see in the picture. In the painting we
+find courtier-like men and women dressed
+in beautiful silks. Some of the costumes
+appear to be a little Russian in character, the
+others Venetian; and Jesus Himself wears
+the loose every-day robe of the pastoral people
+to whom he belonged. We think of luxury
+and rich food and a splendid house when we
+look at this painting, when as a matter of fact
+nothing of this sort could have belonged to the
+scene which Veronese chose to represent.
+Perhaps no painter was more lacking in
+imagination than was Veronese in painting
+this particular picture. He chose to place
+historical or legendary characters, in the midst
+of a scene which could not have existed
+co-incidently with the event.</p> 
+
+<p>Among his other pictures are "Europa and
+the Bull," "Venice Enthroned," and the
+"Presentation of the Family of Darius to
+Alexander."</p> 
+
+<p><a name="370"></a></p>
+<h1>XLIII</h1>
+
+<h1>LEONARDO DA VINCI</h1>
+
+<center>(Pronounced Lay-o-nar'do dah Veen'chee)<br>
+<i>Florentine School</i><br>
+1451-1519<br>
+<i>Pupil of Verrocchio</i></center>
+
+<p>Leonardo da Vinci was the natural
+son of a notary, Ser Pier, and he was
+born at the Castello of Vinci, near Empoli.
+From the very hour that he was apprenticed
+to his master, Verrocchio, he proved that he
+was the superior of his master in art. Da
+Vinci was one of the most remarkable men who
+ever lived, because he not only did an extraordinary
+number of things, but he did all of
+them well.</p> 
+
+<p>He was an engineer, made bridges, fortifications,
+and plans which to this day are
+brilliant achievements.</p> 
+
+<p>He was a sculptor, and as such did beautiful
+work.</p> 
+
+<p>He was a naturalist, and as such was of use
+to the world.</p> 
+
+<p>He was an author and left behind him books
+written backward, of which he said that only
+he who was willing to devote enough study to
+them to read them in that form, was able to
+profit by what he had written.</p>
+
+<p><a name="371"></a>
+Finally, and most wonderfully, he was a
+painter.</p> 
+
+<p>He had absolute faith in himself. Before
+he constructed his bridge he said that he
+could build the best one in the world, and a
+king took him at his word and was not
+disappointed by the result.</p> 
+
+<p>He stated that he could paint the finest
+picture in the world--but let us read what he
+himself said of it, in so sure and superbly
+confident a way that it robbed his statement
+of anything like foolish vanity. Such as he
+could afford to speak frankly of his greatness,
+without appearing absurd. He wrote:</p> 
+
+<p>"In time of peace, I believe I can equal
+anyone in architecture, in constructing public
+and private buildings, and in conducting water
+from one place to another. I can execute
+sculpture, whether in marble, bronze, or terra
+cotta, and in painting I can do as much as
+any other man, be he who he may. Further,
+I could engage to execute the bronze horse in
+eternal memory of your father and the illustrious
+house of Sforza." He was writing to Ludovico
+Sforza whose house then ruled at
+Milan. "If any of the above-mentioned
+things should appear to you impossible or
+impracticable, I am ready to make trial of
+them in your park, or in any other place that
+may please your excellency, to whom I
+commend myself in proud humility."</p> 
+
+<p>Leonardo's experiments with oils and the 
+<a name="372"></a>
+mixing of his pigments has nearly lost to us
+his most remarkable pictures. His first fourteen
+years of work as an artist were spent in
+Milan, where he was employed to paint by the
+Duke of Milan, and never again was his life
+so peaceful; it was ever afterward full of
+change. He went from Milan to Venice, to
+Rome, to Florence, and back to Milan where
+his greatest work was done.</p> 
+
+<p>While Leonardo was a baby he lived in the
+Castle of Vinci. He was beautiful as a child
+and very handsome as a man. When a child
+he wore long curls reaching below his waist.
+He was richly clothed, and greatly beloved.
+His body seemed no less wonderful than his
+mind. He wished to learn everything, and his
+memory was so wonderful that he remembered
+all that he undertook to learn. His muscles
+were so powerful that he could bend iron, and
+all animals seemed to love him. It is said he
+could tame the wildest horses. Indeed his
+life and accomplishments read as if he were one
+enchanted. One writer tells us that "he
+never could bear to see any creature cruelly
+treated, and sometimes he would buy little
+caged birds that he might just have the
+pleasure of opening the doors of their cages,
+and setting them at liberty."</p> 
+
+<p>The story told of his first known work is
+that his master, being hurried in finishing a
+picture, permitted Leonardo to paint in an
+angel's head, and that it was so much better 
+<a name="373"></a>
+than the rest of the picture, that Verrocchio
+burned his brushes and broke his palette,
+determined never to paint again, but probably
+this is a good deal of a fairy tale and one that
+is not needed to impress us with the artist's
+greatness, since there is so much to prove it
+without adding fable to fact.</p>
+
+<p>Leonardo was also a very far seeing inventor
+and most ingenious. He made
+mechanical toys that "worked" when they
+were wound up. He even devised a miniature
+flying machine; however, history does
+not tell us whether it flew or not. He
+thought out the uses of steam as a motive
+power long before Fulton's time.</p> 
+
+<p>Leonardo haunted the public streets, sketchbook
+in hand, and when attracted by a face,
+would follow till he was able to transfer it to
+paper. Ida Prentice Whitcomb, who has
+compiled many anecdotes of da Vinci, says
+that it was also his habit to invite peasants to
+his house, and there amuse them with funny
+stories till he caught some fleeting expression
+of mirth which he was pleased to reproduce.</p> 
+
+<p>As a courtier Leonardo was elegant and full
+of amusing devices. He sang, accompanying
+himself on a silver lute, which he had had
+fashioned in imitation of a horse's skull.
+After he attached himself to the court of the
+Duke of Milan, his gift of invention was
+constantly called into use, and one of the
+surprises he had in store for the Duke's guests 
+<a name="374"></a>
+was a great mechanical lion, which being wound
+up, would walk into the presence of the court,
+open its mouth and disclose a bunch of flowers
+inside.</p> 
+
+<p>Leonardo worked very slowly upon his
+paintings, because he was never satisfied with
+a work, and would retouch it day after day.
+Then, too, he was a man of moods, like most
+geniuses, and could not work with regularity.
+The picture of the "Last Supper" was painted
+in Milan, by order of his patron, the Duke,
+and there are many picturesque stories written
+of its production. It was painted upon the
+refectory wall of a Dominican convent, the
+Santa Maria delle Grazie; and at first the
+work went off well, and the artist would remain
+upon his scaffolding from morning till night,
+absorbed in his painting. It is said that at
+such times he neither ate nor drank, forgetting
+all but his great work. He kept postponing
+the painting of two heads--Christ and Judas.</p> 
+
+<p>He had worked painstakingly and with
+enthusiasm till that point, but deferred
+what he was hardly willing to trust himself
+to perform. He had certain conceptions of
+these features which he almost feared to
+execute, so tremendous was his purpose. He
+let that part of the work go, month after
+month, and having already spent two years
+upon the picture, the monks began to urge
+him to a finish. He was not the man to endure
+much pressure, and the more they urged the
+<a name="375"></a>
+more resentful he became. Finally, he began
+to feel a bitter dislike for the prior, the man
+who annoyed him most. One day, when the
+prior was nagging him about the picture,
+wanting to know why he didn't get to work
+upon it again, and when would it be finished,
+Leonardo said suavely: "If you will sit for the
+head of Judas, I'll be able to finish the picture
+at once." The prior was enraged, as Leonardo
+meant he should be; but Leonardo is said
+actually to have painted him in as Judas.
+Afterward he painted in the face of Christ
+with haste and little care, simply because he
+despaired of ever doing the wonderful face that
+his art soul demanded Christ should wear.</p> 
+
+<p>The one bitter moment in Leonardo's life,
+in all probability, was when he came in dire
+competition with Michael Angelo. When he
+removed to Florence he was required to
+submit sketches for the Town Hall--the
+Palazzo Vecchio--and Michael Angelo was
+his rival. The choice fell to Angelo, and
+after a life of supremacy Leonardo could not
+endure the humiliation with grace. Added
+to disappointment, someone declared that
+Leonardo's powers were waning because he
+was growing old. This was more than he could
+bear, and he left Italy for France, where the
+king had invited him to come and spend the
+remainder of his life. Francis I. had wished
+to have the picture in the Milan monastery
+taken to France, but that was not to be done.</p> 
+
+<p><a name="376"></a>
+Doubtless the king expected Leonardo to do
+some equally great work after he became the
+nation's guest.</p> 
+
+<p>Before leaving Italy, Leonardo had painted
+his one other "greatest" picture--"La
+Gioconda" (Mona Lisa)-and he took
+that wonderful work with him to France,
+where the King purchased it for $9,000, and
+to this day it hangs in the Louvre.</p> 
+
+<p>But Leonardo was to do no great work in
+France, for in truth he was growing old. His
+health had failed, and although he was still
+a dandy and court favourite, setting the
+fashion in clothing and in the cut of hair and
+beard, he was no longer the brilliant, active
+Leonardo.</p> 
+
+<p>Bernard Berensen, has written of him:
+"Painting ... was to Leonardo so little
+of a preoccupation that we must regard it
+as merely a mode of expression used at
+moments by a man of universal genius." By
+which Berensen means us to understand that
+Leonardo was so brilliant a student and
+inventor, so versatile, that art was a mere
+pastime. "No, let us not join in the
+reproaches made to Leonardo for having
+painted so little; because he had so much more
+to do than to paint, he has left all of us heirs
+to one or two of the supremest works of art
+ever created."</p> 
+
+<p>Another author writes that "in Leonardo da
+Vinci every talent was combined in one man."</p> 
+
+<p><a name="377"></a>
+Leonardo was the third person of the wonderful
+trinity of Florentine painters, Raphael and
+Michael Angelo being the other two.</p> 
+
+<p>He knew so much that he never doubted his
+own powers, but when he died, after three
+years in France, he left little behind him, and
+that little he had ever declared to be unfinished--the 
+"Mona Lisa" and the "Last Supper."
+He died in the Château de Cloux, at Amboise,
+and it is said that "sore wept the king when
+he heard that Leonardo was dead."</p> 
+
+<p>In Milan, near the Cathedral, there stands
+a monument to his memory, and about it are
+placed the statues of his pupils. To this day
+he is wonderful among the great men of the
+world.</p> 
+
+<center>PLATE--THE LAST SUPPER</center>
+
+<p>This, as we have said, is in the former convent
+of Santa Maria delle Grazie, in Milan. It was
+the first painted story of this legendary event
+in which natural and spontaneous action on
+the part of all the company was presented.</p> 
+
+<p>To-day the picture is nearly ruined by smoke,
+time, and alterations in the place, for a great
+door lintel has been cut into the picture.
+Leonardo used the words of the Christ: "Verily,
+I say unto you that one of you shall betray
+me," as the starting point for this painting.
+It is after the utterance of these words that
+we see each of the disciples questioning 
+<a name="378"></a>
+horrified, frightened, anxious, listening, 
+angered--all these emotions being expressed
+by the face or gestures of the hands or pose of
+the figures. It is a most wonderful picture and
+it seems as if the limit of genius was to be found
+in it.</p> 
+
+<p>The company is gathered in a half-dark hall,
+the heads outlined against the evening light
+that comes through the windows at the back.
+We look into a room and seem to behold the
+greatest tragedy of legendary history: treachery
+and sorrow and consternation brought to
+Jesus of Nazareth and his comrades.</p> 
+
+<p>This great picture was painted in oil instead
+of in "distemper," the proper kind of mixture
+for fresco, and therefore it was bound
+to be lost in the course of time. Besides, it
+has known more than ordinary disaster. The
+troops of Napoleon used this room, the convent
+refectory, for a stable, and that did not do the
+painting any good. The reason we have
+so complete a knowledge of it, however, is that
+Leonardo's pupils made an endless number
+of copies of it, and thus it has found its way
+into thousands of homes. The following is
+the order in which Leonardo placed the disciples
+at the table: Jesus of Nazareth in the
+centre, Bartholomew the last on the left,
+after him is James, Andrew, Peter, Judas--who 
+holds the money bag--and John. On
+the right, next to Jesus, comes Thomas, the
+doubting one; James the Greater, Philip,
+<a name="379"></a>
+Matthew, Thaddeus, and Simon. Jesus has
+just declared that one of them shall betray
+him, and each in his own way seems to be
+asking "Lord, is it I?" In the South Kensington
+Museum in London will be found
+carefully preserved a description, written out
+fairly in Leonardo's own hand, to guide him
+in painting the Last Supper. It is most
+interesting and we shall quote it: "One, in the
+act of drinking puts down his glass and turns
+his head to the speaker. Another twisting
+his fingers together, turns to his companion,
+knitting his eyebrows. Another, opening his
+hands and turning the palm toward the
+spectator, shrugs his shoulders, his mouth
+expressing the liveliest surprise. Another
+whispers in the ear of a companion, who turns
+to listen, holding in one hand a knife, and in
+the other a loaf, which he has cut in two.
+Another, turning around with a knife in his
+hand, upsets a glass upon the table and looks;
+another gasps in amazement; another leans
+forward to look at the speaker, shading his
+eyes with his hand; another, drawing back
+behind the one who leans forward, looks into
+the space between the wall and the stooping
+disciple."</p> 
+
+<p>Other paintings of Leonardo's are: "Mona
+Lisa," "Head of Medusa," "Adoration of the
+Magi," and the "Madonna della Caraffa."</p>
+
+<p><a name="380"></a></p>
+<h1>XLIV</h1>
+
+<h1>JEAN ANTOINE WATTEAU</h1>
+
+<center>(Pronounced in French, Vaht-toh; English, Wot-toh)<br>
+<i>French (Genre) School</i><br>
+1684-1721<br>
+<i>Pupil of Gillot and Audran</i></center>
+
+<p>Watteau's father was a tiler in a
+Flemish town--Valenciennes. He
+meant that his son should be a carpenter, but
+that son tramped from Valenciennes to Paris
+with the purpose of becoming a great painter.
+He did more, he became a "school" of painting,
+all by himself.</p> 
+
+<p>There is no sadder story among artists than
+that of this lowly born genius. He was not
+good to look upon, being the very opposite of
+all that he loved, having no grace or charm
+in appearance. He had a drooping mouth,
+red and bony hands, and a narrow chest with
+stooping shoulders. Because of a strange
+sensitiveness he lived all his life apart from
+those he would have been happy with, for
+he mistrusted his own ugliness, and thought
+he might be a burden to others.</p> 
+
+<p>Such a man has painted the gayest, gladdest,
+most delicate and exquisite pictures
+imaginable.</p> 
+
+<p>He entered Paris as a young man, without
+<a name="381"></a>
+friends, without money or connections of any
+kind, and after wandering forlornly, about the
+great city, he found employment with a dealer
+who made hundreds of saints for out-of-town
+churches.</p> 
+
+<p>It is said that for this first employer
+Watteau made dozens and dozens of pictures
+of St. Nicholas; and when we think of the
+beautiful figures he was going to make, pictures
+that should delight all the world, there seems
+something tragic in the monotony and common-placeness
+of that first work he was forced by
+poverty to do. Certainly St. Nicholas brought
+one man bread and butter, even if he forgot
+him at Christmas time.</p> 
+
+<p>After that hard apprenticeship, Watteau's
+condition became slightly better. He had
+been employed near the Pont Notre Dame, at
+three francs a week, but now in the studio
+of a scene painter, Gillot, he did work of coarse
+effect, very different from that exquisite school
+of art which he was to bring into being. After
+Gillot's came the studio of Claude Audran,
+the conservator of the Luxembourg, and with
+him Watteau did decorative work. In reality
+he had no master, learned from nobody,
+grovelled in poverty, and at first, forced a
+living from the meanest sources. With this in
+mind, it remains a wonder that he should
+paint as no other ever could, scenes of exquisite
+beauty and grace; scenes of high life,
+courtiers and great ladies assembled in lovely
+<a name="382"></a>
+landscapes, doing elegant and charming things,
+dressed in unrivalled gowns and costumes.
+Until Watteau went to the Luxembourg he
+had seen absolutely nothing of refined or
+gracious living. He had come from country
+scenes, and in Paris had lived among workmen
+and bird-fanciers, flower sellers, hucksters
+and the like. This is very likely the secret of
+his peculiar art.</p> 
+
+<p>Watteau would have been a wonderful
+artist under any circumstances, no matter what
+sort of pictures he had painted; but circumstances
+gave his imagination a turn toward
+the exquisite in colourand composition. Doubtless
+when he first looked down from the palace
+windows of the Luxembourg and saw gorgeous
+women and handsome men languishing and
+coquetting and revelling in a life of ease and
+beauty, he was transported. He must have
+thought himself in fairyland, and the impulse
+to paint, to idealise the loveliness that he saw,
+must have been greater in him than it would
+have been in one who had lived so long among
+such scenes that they had become familiar
+with them.</p> 
+
+<p>After Watteau there were artists who tried
+to do the kind of work he had done, but no
+one ever succeeded. Watteau clothed all his
+shepherdesses in fine silken gowns, with a
+plait in the back, falling from the shoulders,
+and to-day we have a fashion known as the
+"Watteau back"--gowns made with this 
+<a name="383"></a>
+shoulder-plait. He put filmy laces or softest
+silks upon his dairy maids, as upon his court
+ladies, dressing his figures exquisitely, and in
+the loveliest colours. He had suffered from
+poverty and from miserable sights, so when he
+came to paint pictures, he determined to
+reproduce only the loveliest objects.</p> 
+
+<p>At that time French fashions were very
+unusual, and it was quite the thing for ladies
+to hold a sort of reception while at their toilet.
+A description of one of these affairs was
+written by Madame de Grignon to her daughter:
+"Nothing can be more delightful than to assist
+at the toilet of Madame la Duchesse (de
+Bourgoyne), and to watch her arrange her hair.
+I was present the other day. She rose at
+half past twelve, put on her dressing gown,
+and set to work to eat a <i>méringue</i>. She ate
+the powder and greased her hair. The whole
+formed an excellent breakfast and charming
+<i>coiffure</i>." Watteau has caught the spirit
+of this strange airy, artificial, incongruous
+existence. His ladies seem to be eating
+<i>meringues</i> and powdering their hair and living
+on a diet of the combination. One hardly
+knows which is toilet and which is real life
+in looking at his paintings.</p> 
+
+<p>He quarreled with Audran at the Luxembourg,
+and having sold his first picture, he
+went back to his Valenciennes home, to see
+his former acquaintances, no doubt being a
+little vain of his performance.</p> 
+
+<p><a name="384"></a>
+After that he painted another picture
+which sold well enough to keep him from
+poverty for a time, and on his return to
+Paris he was warmly greeted by a celebrated
+and influential artist, Crozat. Watteau tried
+for a prize, and though his picture came
+second it had been seen by the Academy
+committee.</p> 
+
+<p>His greatness was acknowledged, and he
+was immediately admitted to the Academy
+and granted a pension by the crown, with
+which he was able to go to Italy, the Mecca
+of all artists the world over.</p> 
+
+<p>From Italy he went to London, but there
+the fogs and unsuitable climate made his
+disease much worse and he hurried back to
+France, where he went to live with a friend who
+was a picture dealer. It was then that he
+painted a sign for this friend, Gersaint, a sign
+so wonderful that it is reckoned in the history
+of Watteau's paintings.</p> 
+
+<p>Soon he grew so sensitive over his illness,
+that he did not wish to remain near his dearest
+friends, but one of them, the Abbé Haranger,
+insisted upon looking after his welfare, and
+got lodgings for him at Nogent, where he could
+have country air and peace.</p> 
+
+<p>Watteau died very soon after going to Nogent
+in July, 1721, and he left nine thousand livres
+to his parents, and his paintings to his best
+friends, the Abbé, Gersaint, Monsieur Henin,
+and Monsieur Julienne. He is called the "first 
+<a name="385"></a>
+French painter" and so he was--though he
+was Flemish, by birth.</p> 
+
+<center>PLATE--FÊTE CHAMPÊTRE</center>
+
+<p>This exquisite picture displays nearly all
+the characteristics of Watteau's painting. He
+was said to paint with "honey and gold," and
+his method was certainly remarkable. His
+clear, delicate colours were put upon a canvas
+first daubed with oil, and he never cleaned his
+palette. His "oil-pot was full of dust and dirt
+and mixed with the washings of his brush."
+One would think that only the most slovenly
+results could come from such habits of work,
+but the artist made a colour which no one could
+copy, and that was a sort of creamy, opalescent
+white. This was original with Watteau, and
+most beautiful.</p> 
+
+<p>In this "Fête Champêtre," which is now in
+the National Gallery at Edinburgh, he paints
+an elegant group of ladies and gentlemen
+indulging in an open air dance of some sort.
+One couple are doing steps facing one another,
+to the music of a set of pipes, while the rest
+flirt and talk, decorously, round about. There
+is no boisterous rusticity here; all is dainty and
+refined.</p> 
+
+<p>The same characteristics are to be found in
+Watteau's other pictures such as, "Embarkation
+for the Island of Cythera," "The Judgment
+of Paris," and "Gay Company in a Park."</p> 
+
+<p><a name="386"></a></p>
+<h1>XLV</h1>
+
+<h1>SIR BENJAMIN WEST</h1>
+
+<center><i>American</i><br>
+1738-1820<br>
+<i>Pupil of the Italian School</i></center>
+
+<p>The beautiful smile of his little niece
+helped to make this man an artist.
+This is the story:</p> 
+
+<p>Benjamin West was born down in Pennsylvania,
+at Westdale, a small village in the township
+of Springfield, of Quaker parentage.
+The family was poor perhaps, but in America
+at a time when everybody was struggling with
+a new civilisation it did not seem to be such
+binding poverty as the same condition in
+Europe would have been. Benjamin had a
+married sister whose baby he greatly loved,
+and he gave it devoted attention. One day
+while it was sleeping and the undiscovered
+artist was sitting beside it he saw it smile, and
+the beauty of the smile inspired him to keep it
+forever if he could. He got paper and pencil
+and forthwith transferred that "angel's
+whisper."</p> 
+
+<p>No child of to-day can imagine the difficulties 
+a boy must have had in those days in America, 
+to get an art education, and having learned 
+his art, how impossible it was to live by it. 
+<a name="387"></a>
+Men were busy making a new country and
+pictures do not take part in such pioneer work;
+they come later. Still, there were bound to be
+born artistic geniuses then, just as there were
+men for the plough and men for politics and
+for war. He who happened to be the artist
+was the Quaker boy, West.</p> 
+
+<p>He took his first inspiration from the
+Cherokees, for it was the Indian in all the
+splendour of his strength and straightness that
+formed West's ideal of beautiful physique.</p> 
+
+<p>When he first saw the Apollo Belvedere,
+he exclaimed: "A young Mohawk warrior!"
+to the disgust of every one who heard him, but
+he meant to compliment the noblest of forms.
+Europeans did not know how magnificent a
+figure the "young Mohawk warrior" could be;
+but West knew.</p> 
+
+<p>After his Indian impetus toward art he went
+to Philadelphia, and settled himself in a studio,
+where he painted portraits. His sitters went
+to him out of curiosity as much as anything
+else, but at last a Philadelphia gentleman,
+who knew what art meant, recognised Benjamin
+West's talent, and made some arrangement by
+which the young man went to Italy.</p> 
+
+<p>Life began to look beautiful and promising
+to the Pennsylvanian. He was in Italy for
+three years, and in that home of art the young
+man who had made the smile of his sister's
+sleeping baby immortal was given highest
+honours. He was elected a member of all the 
+<a name="388"></a>
+great art societies in Italy, and studied with
+the best artists of the time. He began to
+earn his living, we may be sure, and then he
+went to England, where, in spite of the prejudice
+there must have been against the colonists,
+he became at once a favourite of George III.,
+a friend of Reynolds and of all the English
+artists of repute--unless perhaps of Gainsborough,
+who made friends with none.</p> 
+
+<p>West was appointed "historical painter"
+to his Majesty, George III., and he was chosen
+to be one of four who should draw plans for
+a Royal Academy. He was one of the first
+members of that great organisation, and when
+Sir Joshua Reynolds, the first president, died,
+West became president, remaining in office
+for twenty-eight years.</p> 
+
+<p>About that time came the Peace of Amiens,
+and West was able to go to Paris, where he
+could see the greatest art treasures of Europe,
+which had been brought to France from every
+quarter as a consequence of the war. At
+that time, before Paris began to return
+these, and when she had just pillaged every
+great capital of Europe, artists need take but
+a single trip to see all the art worth seeing
+in the whole world.</p> 
+
+<p>After a long service in the Academy, West
+quarreled with some of the Academicians and
+sent in his resignation; but his fellow artists
+had too much sense and good feeling to accept
+it, and begged him to reconsider his action. 
+<a name="389"></a>
+He did so, and returned to his place as president.
+When West was sixty-five years old he made
+a picture, "Christ Healing the Sick," which
+he meant to give to the Quakers in Philadelphia,
+who were trying to get funds with which to
+build a hospital. This picture was to be sold
+for the fund; but it was no sooner finished and
+exhibited in London before being sent to
+America, than it was bought for 3,000 guineas
+for Great Britain. West did not contribute
+this money to the hospital fund, but he made
+a replica for the Quakers, and sent that instead
+of the original.</p> 
+
+<p>West was eighty-two years old when he
+died and he was buried in St. Paul's Cathedral
+after a distinguished and honoured life. Since
+Europe gave him his education and also
+supported him most of his life, we must consider
+him more English than American, his
+birth on American soil being a mere accident.</p> 
+
+<center>PLATE--THE DEATH OF WOLFE</center>
+
+<p>This death scene upon the Plains of Abraham,
+without the walls of Quebec in 1759, must not
+be taken as a realistic picture of an historic
+event. West drew upon his imagination and
+upon portraits of the prominent men supposed
+to have been grouped around the dying
+general, and he has produced a dramatic
+effect. One can imagine it is the two with
+fingers pointing backward who have just 
+<a name="390"></a>
+brought the memorable tidings, "They run!
+They run!"</p> 
+
+<p>"Who run?" asks Wolfe, for when he had
+fallen the issues of the fight were still undecided.
+"The French, sir. They give way
+everywhere." "Thank God! I die in peace,"
+replied the English hero. At a time when
+the momentous results of this battle had set
+the whole of Great Britain afire with enthusiasm
+it is easy to understand the popularity of a
+picture such as this. It was sold in 1791 for
+£28, and now belongs to the Duke of Westminster.
+There is a replica of it in the Queen's
+drawing-room at Hampton Court.</p> 
+
+<p>Another famous historical picture by West
+is "The Battle of La Hogue."</p> 
+
+<p><a name="391"></a></p>
+<h1>INDEX</h1>
+
+<p>About, Edmund<br>
+Academia, Florence<br>
+Academy, French<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Rome,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Royal, London,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Venice<br>
+"Acis and Galatea"<br>
+Adoration of the Magi<br>
+"Adoration of the Shepherds" <br>
+"After a Summer Shower"<br>
+"Afternoon"<br>
+Albert, King<br>
+"Alessandro del Borro"<br>
+Alexander VI.<br>
+Alice, Princess<br>
+Allegri, Antonio. <i>See</i> Correggi<br>
+Allegri, Pompino<br>
+"Ambassadors, The"<br>
+"American Mustangs"<br>
+"Anatomy Lesson, The"<br>
+Andrea del Sarto<br>
+Angelo, Michael<br>
+"Angels' Heads"<br>
+"Angelas, The"<br>
+Anguisciola, Sofonisba<br>
+Anne of Cleves<br>
+Anne of Saxony<br>
+Annunciata, cloister of the<br>
+"Annunciation, The"<br>
+"Ansidei Madonna, The"<br>
+"Antiope"<br>
+Apocalypse<br>
+Apollo Belvedere<br>
+Apostles, the Four<br>
+Apostles' Heads<br>
+Appelles<br>
+"Archipelago"<br>
+Arena Chapel<br>
+Arrivabene Chapel<br>
+"Artist's Two Sons, The"<br>
+"Arundel Castle and Mill"<br>
+"Assumption of the Virgin"<br>
+"At the Well"<br>
+Audran<br>
+Augusta, Princess<br>
+"Avenue, Middelharnis, Holland"<br>
+"Awakened Conscience, The"</p>
+
+<p>"Bacchanal"<br>
+"Bacchus and Ariadne"<br>
+Balzac<br>
+"Banquet in Levi's House"<br>
+"Baptism of Christ, The"<br>
+Barbizon<br>
+Barile<br>
+Barry, James<br>
+Bartoli d'Angiolini<br>
+Bartolommeo, Fra<br>
+Bassano<br>
+"Bathers"<br>
+"Battle of La Hogue"<br>
+Beaumont, Sir George<br>
+Beaux-Arts, l'Ecole des<br>
+Begarelli<br>
+Bellini, Gentile<br>
+Bellini, Giovanni<br>
+Bembo, Cardinal<br>
+Beneguette<br>
+"Bent Tree"<br>
+Bentivoglio, Cardinal<br>
+Berck, Derich<br>
+Berensen, Bernard<br>
+Bergholt, East<br>
+"Berkshire Hills"<br>
+"Bianca"<br>
+Bicknell, Maria<br>
+Bigio, Francia<br>
+Bigordi. <i>See</i> Ghirlandajo<br>
+Bird<br>
+"Birth of the Virgin"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Andrea del Sarto)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Murillo)<br>
+"Birth of Venus"<br>
+Blanc, Charles<br>
+"Blessed Herman Joseph, The"<br>
+"Bligh Shore"<br>
+"Blue Boy, The"<br>
+Böcklin, Arnold<br>
+"Boat-Building"<br>
+Boleyn, Anne<br>
+Bolton, Mrs. Sarah K.<br>
+<a name="392"></a>Bonheur, Marie-Rosea<br>
+Bonheur, Raymond B. <br>
+Bordeaux<br>
+Bordone. <i>See</i> Giotto <br>
+Borghese Palace <br>
+Borgia family<br>
+Borgia, Lucretia <br>
+Botticelli<br>
+Boudin <br>
+Bouguereau, William Adolphe<br>
+"Boy at the Stile, The"<br>
+Brancacci Chapel<br>
+Brant, Isabella<br>
+Breton, Jules<br>
+Brice, J. B.<br>
+Brouwer<br>
+Browning<br>
+Brunellesco<br>
+"Brutus"<br>
+Buckingham, Duke of<br>
+Buonarroti. <i>See</i> Angelo Michael<br>
+Burgundy, Duchess of<br>
+Burke, Edmund<br>
+Burne-Jones, Sir Edward <br>
+Burr, Margaret</p>
+
+<p>Caffin<br>
+Cagliari, Benedetto<br>
+Cagliari, Carletto <br>
+Cagliari, Gabriele <br>
+Cagliari, Paolo. <i>See</i> Veronese <br>
+Cambridge, University of <br>
+"Camels at Rest"<br>
+Campagna<br>
+Campana, Pedro <br>
+Campanile, Florence <br>
+Canova<br>
+Caprese<br>
+"Capture of Samson"<br>
+Capuchin Church<br>
+Capuchin Convent <br>
+Carlos, Don <br>
+"Carmencita"<br>
+Carmine, Church of the<br>
+"Carthage"<br>
+Castillo, Juan del <br>
+Cecelia, wife of Titian <br>
+Cellini<br>
+Centennial Exhibition<br>
+Chamberlain, Arthur <br>
+"Chant d'Amour"<br>
+Chantry, Sir Francis <br>
+"Charity"<br>
+Charles, I.<br>
+Charles V.<br>
+Charles X. <br>
+Cherokees <br>
+"Chess Players, The" <br>
+"Children of Charles I." <br>
+"Christ Healing the Sick" <br>
+"Christ in the Temple" <br>
+"Christina of Denmark"  <br>
+Church<br>
+Cibber, Theophilus<br>
+Cimabue <br>
+Claude <br>
+"Cleopatra Landing at Tarsus"<br>
+"Cock Fight"<br>
+Cogniet, Léon<br>
+Colnaghi<br>
+"Cologne"<br>
+Constable, John<br>
+Copley, John Singleton<br>
+Copper Plate Magazine<br>
+Cornelia, Rembrandt's daughter <br>
+Cornelissen, Cornelis<br>
+"Cornfield"<br>
+"Coronation of Marie de Medicis" <br>
+"Coronation of the Virgin"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Ghirlandajo)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Raphael)<br>
+Corot, Jean Baptiste Camille<br>
+Correggio<br>
+Cosimo, Piero di<br>
+"Cottage, The"<br>
+"Countess Folkstone" <br>
+"Countess of Spencer"<br>
+Coventry, Countess of<br>
+"Creation of Man, The"<br>
+"Creation of the World, The"<br>
+Crozat<br>
+"Crucifixion, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Raphael) <br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Tintoretto) </p>
+
+<p>"Danaë"  <br>
+Dandie Dinmont<br>
+"Daniel" <br>
+Dante <br>
+"Daphnis and Chloe"<br>
+Daubigny <br>
+"David"  <br>
+"Dead Christ, The" <br>
+"Dead Mallard" <br>
+"Death of Ananias, The"  <br>
+"Death of Wolfe, The" <br>
+"Dedham Mill"<br>
+"Dedham Vale"  <br>
+Delaroche <br>
+"Deluge, The"  <br>
+"Descent from the Cross, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Campana)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Rembrandt)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Rubens) <br>
+De Witt<br>
+Diaz<br>
+"Dice Players, The"<br>
+Dickens, Charles <br>
+Digby, Kenelm <br>
+"Dignity and Impudence" <br>
+"Divine Comedy"<br>
+Dolce, Ludovico <br>
+Donatello <br>
+"Don Quixote"<br>
+<a name="393"></a>Doré, Paul Gustave<br>
+D'Orsay<br>
+"Duchess of Devonshire and Her Daughter, The"<br>
+"Duel After the Masked Ball"<br>
+Dunthorne, John<br>
+Dupré <br>
+Durand, Carolus <br>
+Dürer, Albrecht<br>
+Dyce</p>
+
+<p>"Ecce Homo"<br>
+"Education of Mary, The"<br>
+Edward, King<br>
+Egyptian art<br>
+Elizabeth, Cousin of the Virgin<br>
+Elizabeth, Princess<br>
+"Embarkation for the Island of Cythera"<br>
+"Emperor at Solferino, The"<br>
+Engravers and engraving<br>
+"Entombment, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Titian)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Veronese) <br>
+Eos<br>
+"Equestrian Portrait of Don Balthasar Carlos"<br>
+Errard, Charles<br>
+Escorial, the<br>
+Estéban, Bartolomé. See Murillo<br>
+Estéban, Gaspar<br>
+Estéban, Therese<br>
+Etchers and etching <br>
+"Europa and the Bull"<br>
+"Eve of St. Agnes, The"</p>
+
+<p>Fallen, Ambrose<br>
+"Fall of Man, The"<br>
+"Fantasy of Morocco"<br>
+Fawkes, Hawksworth<br>
+"Feast in the House of Simon"<br>
+"Feast of Ahasuerus"<br>
+"Ferdinand of Austria"<br>
+Ferdinand III., Grand Duke<br>
+Ferrara, Duke of<br>
+"Fête Champêtre"<br>
+"Fighting Téméraire, The"<br>
+Filipepi, Mariano<br>
+"Finding of Christ in the Temple, The"<br>
+"Flamborough, Miss"<br>
+"Flatford Mill on the River Stour"<br>
+"Flora"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Böcklin)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Titian) <br>
+"Foal of an Ass, The"<br>
+Fondato de' Tedeschi<br>
+Fontainebleau <br>
+"Fool, The"<br>
+"Fornarina, The"<br>
+Fortuny, Mariano<br>
+Fourment family<br>
+Fourment, Helena<br>
+"Four Saints"<br>
+Francis I.<br>
+Frari, monks of the<br>
+Frey, Agnes<br>
+"Friedland"</p>
+
+<p>Gainsborough, Mary<br>
+Gainsborough, Thomas<br>
+Gallery, Berlin<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Dresden<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Grosvenor<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Hague, The<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Hermitage, The<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Lichtenstein, Vienna<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Louvre<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Luxembourg<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Madrid<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Naples<br>
+&nbsp;&nbsp;&nbsp;&nbsp;National, Edinburgh<br>
+&nbsp;&nbsp;&nbsp;&nbsp;National, London<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Old Pinakothek, Munich <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Parma<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Pitti Palace<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Uffizi<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Vienna<br>
+Garrick<br>
+"Gay Company in a Park"<br>
+Gellée. See Claude Lorrain<br>
+George III.<br>
+"Georgia Pines"<br>
+Gerbier<br>
+Germ, The<br>
+Gérôme, Jean Léon <br>
+Gersaint<br>
+Ghibertio<br>
+Ghirlandajo<br>
+"Gibeon Farm"<br>
+Gignoux, Regis<br>
+"Gillingham Mill"<br>
+Gillot<br>
+Giorgione <br>
+Giotto<br>
+"Giovanna degli Albizi"<br>
+Girten, Thomas<br>
+Gisze, Gorg<br>
+Gladstone, Mr. and Mrs.<br>
+"Gleaners, The"<br>
+"Glebe Farm"<br>
+Goethe<br>
+"Golden Calf, The"<br>
+<a name="394"></a>"Golden Stairs, The"<br>
+Goldsmith, craft of the<br>
+Goldsmith, Oliver<br>
+Gonzaga, Vincenzo<br>
+"Good Samaritan, The"<br>
+Graham, Judge<br>
+Granacci<br>
+Gravelot <br>
+Grignon, Madame de<br>
+Gualfonda<br>
+"Guardian Angel, The"<br>
+Guidi, Giovanni<br>
+Guidi, Simone<br>
+Guidi. Tommaso. <i>See</i> Masaccio<br>
+Guido<br>
+Guidobaldo of Urbino<br>
+Guilds<br>
+"Gust of Wind"</p>
+
+<p>Haarlem Town Hall<br>
+"Haarlem's Little Forest"<br>
+"Hadleigh Castle" <br>
+Hals, Franz<br>
+Hamerton<br>
+Hamilton, Duchess of <br>
+"Hampstead Heath"<br>
+Hancock, John<br>
+"Hans of Antwerp"  <br>
+Haranger, Abbé<br>
+"Hark!"<br>
+"Harvest Waggon, The"<br>
+Hassam, Childe<br>
+Hastings, Warren <br>
+"Haunt of the Gazelle, The"<br>
+Hayman <br>
+"Haystack in Sunshine"<br>
+"Hay Wain, The"<br>
+"Head of Christ" <br>
+"Head of Medusa"<br>
+Hearn, George A.<br>
+Henin <br>
+Henrietta, Queen<br>
+Henry III.<br>
+Henry VIII. <br>
+"Henschel" <br>
+"Hercules" <br>
+Herrera<br>
+"Highland Sheep"<br>
+"Hille Bobbe, the Witch of Haarlem"<br>
+Hill, Jack<br>
+"Hireling Shepherd, The"<br>
+Hobbema, Meindert<br>
+Hogarth, William<br>
+Holbein, Ambrosius<br>
+Holbein, Hans, the Younger<br>
+Holbein, Michael<br>
+Holbein, Philip<br>
+Holbein, Sigismund<br>
+Holbein, the Elder<br>
+"Holofernes" <br>
+Holper, Barbara <br>
+"Holy Family and St. Bridget"<br>
+Holy Family in art, The <br>
+"Holy Family under a Palm Tree, The"<br>
+"Holy Night, The"<br>
+"Homer St. Gaudens"<br>
+"Hon. Ann Bingham, The"<br>
+Hood, Admiral<br>
+"Horse Fair, The"<br>
+Howard, Catherine<br>
+Hudson, Thomas<br>
+Hunt, William Holman</p>
+
+<p>"II Giorno" <br>
+"II Medico del Correggio"<br>
+"Immaculate Conception, The"<br>
+Indian pottery<br>
+Infanta<br>
+"Infant Jesus and St. John, The" <br>
+Inman<br>
+Inness<br>
+"Innocence"<br>
+"In Paradise"<br>
+Inquisition, Spanish<br>
+"Interior of the Mosque of Omar"<br>
+Isabella, Queen<br>
+Islay<br>
+"Isle of the Dead, The"<br>
+"Ivybridge" </p>
+
+<p>Jacopo da Empoli<br>
+Jacque <br>
+"Jane Seymour"<br>
+"Jerusalem by Moonlight"<br>
+"Jesus and the Lamb"<br>
+Jesus in art<br>
+Johnson, Dr.<br>
+Jones, George<br>
+Joseph in art <br>
+"Joseph in Egypt"<br>
+"Joseph's Dream" <br>
+"Judgment of Paris, The" <br>
+"Judith"<br>
+Julienne<br>
+Julius II.<br>
+Justiniana</p>
+
+<p>Kann, Rudolf <br>
+"King Cophetua and the Beggar Maid"<br>
+"King of Hearts"<br>
+"Kirmesse, The"<br>
+Knackfuss<br>
+"Knight, Death and the Devil, The"</p>
+
+<p><a name="395"></a>"La Belle Jardinière" <br>
+"La Disputa" <br>
+"Lady Elcho, Mrs. Arden, Mrs. Tennant"<br>
+"La Gioconda"<br>
+"Landscape with Cattle."<br>
+Landseer, John <br>
+Landseer, Sir Edwin Henry <br>
+Landseer, Thomas <br>
+"La Primavera" <br>
+"Last Judgment, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Angelo)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Tintoretto)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Titian)<br>
+"Last Supper, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Andrea del Sarto)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Ghirlandajo)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Veronese)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Leonardo da Vinci)<br>
+"Laughing Cavalier, The" <br>
+Laura <br>
+Lavinia, daughter of Titian <br>
+"Lavinia, the Artist's Daughter" <br>
+Lawrence, Sir Thomas <br>
+"Leda"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Correggio)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Gérome)<br>
+Lee, Jeremiah<br>
+Legion of Honour <br>
+Lemon, Margaret <br>
+Leonardo. See da Vinci<br>
+Leo X. <br>
+Lewis, J. F. <br>
+<i>Liber Studiorium</i> <br>
+"Liber Veritas" <br>
+Library, Boston Public <br>
+"Light of the World, The" <br>
+Linley, Thomas <br>
+Linley, Samuel <br>
+"Lion Disturbed at His Repast" <br>
+"Lion Enjoying His Repast" <br>
+"Lioness, The Study off a"<br>
+"Lion Hunt, A"<br>
+Lippi, Fra Filippo<br>
+"Lock on the Stour"<br>
+Lombardi<br>
+"Lords Digby and Russell" <br>
+"Lord Wharton"<br>
+Lorenzalez, Claudio<br>
+Lorrain, Claude<br>
+Lott, Willy <br>
+Louis XIV.<br>
+Louise, Princess<br>
+"Love Among the Ruins"<br>
+"Low Life and High Life"<br>
+Lowther, Sir William<br>
+Lucas van Leyden<br>
+Lucia, mother of Titian<br>
+Lucretia, wife of Andrea del Sarto<br>
+Luther, Martin <br>
+Madonna and Child<br>
+"Madonna and Child with St. Anne"<br>
+"Madonna and Child with Saints"<br>
+"Madonna del'Arpie"<br>
+"Madonna della Caraffa"<br>
+"Madonna della Casa d'Alba" <br>
+"Madonna della Sedia"<br>
+"Madonna del Granduca"<br>
+"Madonna del Pesce"<br>
+"Madonna del Sacco"<br>
+"Madonna of the Palms"<br>
+"Madonna of the Rosary."<br>
+Madrazo<br>
+"Magdalene, The"<br>
+Manet<br>
+"Manoah's Sacrifice"<br>
+Mantegna<br>
+Mantua, Duke of<br>
+Mantua, Duke Frederick II. of<br>
+"Man with the Hoe, The"<br>
+"Man with the Sword, The"<br>
+Margherita<br>
+Maria Theresa <br>
+"Marriage à la Mode"<br>
+"Marriage at Cana, The" <br>
+"Marriage Contract, The"<br>
+"Marriage of Bacchus and Ariadne, The"<br>
+"Marriage of Mary and Joseph, The"<br>
+"Marriage of St. Catherine, The"<br>
+"Marriage of Samson, The"<br>
+Martineau <br>
+"Martyrdom of St. Agnes, The" <br>
+"Martyrdom of St. Peter, The" <br>
+"Martyrdom of St. Sebastian, The"<br>
+Mary, the Virgin, in art<br>
+Masaccio (Tommasco Guidi) <br>
+Masoline <br>
+Mastersingers, Nuremberg <br>
+Maximillian, Emperor <br>
+Medici family<br>
+Medici, Giovanni di Bicci de' <br>
+Medici, Lorenzi de'<br>
+Medici, Ottaviano de'<br>
+Medici, Pietro de' <br>
+"Meeting of St. John and St. Anna at Jerusalem"<br>
+Meissonier, Jean Louis Ernest<br>
+<a name="396"></a>"Melancholy"<br>
+Merlini, Girolama <br>
+"Meyer Madonna, The"<br>
+Michallon <br>
+"Midsummer Noon"<br>
+Millais<br>
+Millet, Jean François <br>
+Millet, Mère<br>
+"Mill Stream"<br>
+"Miracle of St. Mark, The"<br>
+Missions, Spanish<br>
+Missirini<br>
+"Mr. Marquand" <br>
+"Mr. Penrose"<br>
+"Mrs. Meyer and Children"<br>
+"Mrs. Peel"<br>
+Mohawk<br>
+Mona Lisa<br>
+Monet, Claude<br>
+"Money Changers, The"<br>
+"Moonlight at Salerno"<br>
+Morales<br>
+"Moreau and His Staff before Hohenlinden"<br>
+More, Sir Thomas<br>
+"Morning Prayer, The"<br>
+"Moses"<br>
+"Moses Breaking the Tablets of the Law"<br>
+Mudge, Dr.<br>
+Murat<br>
+Murillo (Bartolomé Estéban)<br>
+Murillo, Dona Anna<br>
+Museum of Art, Basel<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Berlin <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Court, Vienna <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Madrid<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Metropolitan, New York <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Prado<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Rijks, Amsterdam<br>
+&nbsp;&nbsp;&nbsp;&nbsp;South Kensington<br>
+Muther<br>
+"Mystic Marriage of St. Catherine, The"  </p>
+
+<p>"Naiads at Play"<br>
+Napoleon<br>
+"Nativity, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Botticelli) <br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Dürer) <br>
+Navarrette<br>
+"Nieces of Sir Horace Walpole" <br>
+"Night Watch, The"<br>
+"Noli me Tangere"<br>
+Norham Castle<br>
+Nuremberg <br>
+"Nurse and the Child, The"<br>
+ <br>
+"'Oh, Pearl' Quoth I"<br>
+"Old Bachelor, The" <br>
+"Old Shepherd's Chief Mourner, The"<br>
+Olivares</p>
+
+<p>Pacheco<br>
+"Pallas"<br>
+"Pan and Psyche"<br>
+Pantheon<br>
+Pareja <br>
+"Parish Clerk, The"<br>
+'Past and Present"<br>
+Passignano<br>
+"Pathless Water, The"<br>
+Paul III.<br>
+"Paysage"<br>
+Pazzi family<br>
+"Penzance"<br>
+Percy, Bishop<br>
+Perez family<br>
+Perez, Maria<br>
+Perugino<br>
+Philip II.<br>
+Philip III.<br>
+Philip IV.<br>
+Picot<br>
+"Pilate Washing His Hands"<br>
+Pinas<br>
+Pirkneimer<br>
+Pissaro<br>
+"Ploughing"<br>
+Pope, Alexander<br>
+"Portrait of Old Man and Boy"<br>
+Portraits of artists by themselves<br>
+"Praying Arab"<br>
+"Praying Hands"<br>
+Pre-Raphaelites<br>
+"Presentation of Christ in the Temple"<br>
+"Presentation of the Family of Darius to Alexander"<br>
+Prim, General<br>
+"Procession of the Magi"<br>
+"Prowling Lion, The"<br>
+"Psyche and Cupid"<br>
+Pypelincx, Maria </p>
+
+<p>Quakers<br>
+"Quin, Portrait of" </p>
+
+<p>Rabelais <br>
+"Rake's Progress, The"<br>
+"Rape of Ganymede, The"<br>
+"Rape of the Daughters of Leucippus, The"<br>
+Raphael (Sanzio)<br>
+<a name="397"></a>Reade, Charles<br>
+"Reading at Diderot's, A"<br>
+"Reaper, The"<br>
+"Regions of Joy"<br>
+Rembrandt (van Rijn)<br>
+"Retreat from Russia" <br>
+Reynolds, Samuel<br>
+Reynolds, Sir Joshua<br>
+Ribera<br>
+Rinaldo and Armida<br>
+"Road over the Downs, The" <br>
+"Robert Cheseman with his Falcon" <br>
+Robusto, Jacopo. <i>See</i> Tintoretto<br>
+Romano, Guilio<br>
+Rood, Professor<br>
+"Rosary, Story of the" <br>
+Rossetti, Dante Gabriel<br>
+Rossetti, W. M.<br>
+Rothschild, Lord<br>
+Rousseau   <br>
+Royal Princess<br>
+Rubens, Albert<br>
+Rubens, John<br>
+Rubens, Nicholas<br>
+Rubens, Peter Paul  <br>
+Ruisdael, Jacob van<br>
+Ruskin, John  <br>
+Ruthven, Lady Mary<br>
+Sachs, Hans<br>
+"Sacred and Profane Love"<br>
+"St. Anthony of Padua"<br>
+"St. Augustine"<br>
+"St. Barbara"<br>
+St. Bernard dog<br>
+St. Bernardino<br>
+"Saint Cecelia"  <br>
+St. Christopher<br>
+St. Clemente<br>
+St. Dominic<br>
+St. George<br>
+"St. George and the Dragon"<br>
+"St. George Slaying the Dragon"<br>
+St. Giorgio Maggiore<br>
+"St. Jerome"<br>
+St, John the Baptist <br>
+St. Jovis Shooting Company <br>
+St. Leger, Colonel<br>
+St. Lucas, Guild of<br>
+St. Luke, Guild of<br>
+St. Mark<br>
+St. Martin's Church<br>
+"St. Michael Attacking Satan." <br>
+"St. Nobody"  <br>
+St. Paul's Cathedral<br>
+St. Peter<br>
+"St. Peter Baptising"<br>
+St. Peter's Church<br>
+"St. Rocco Healing the Sick"  <br>
+"St. Sebastian."<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Botticelli)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Correggio)<br>
+&nbsp;&nbsp;&nbsp;&nbsp;(Titian)<br>
+St. Sebastian, Church of<br>
+St. Sebastian, Monastery of<br>
+St. Sixtus<br>
+St. Trinita, Church of<br>
+"Salisbury Cathedral"<br>
+Salon<br>
+Salvator Rosa<br>
+"Samson" <br>
+"Samson Threatening His Stepfather"<br>
+"Samson's Wedding"<br>
+San Francisco<br>
+Santa Croce<br>
+Santa Maria della Pace<br>
+Santa Maria delle Grazte <br>
+Santa Maria del Orto<br>
+Santa Maria Novella<br>
+Santi, Bartolommeo<br>
+Santi Giovanni<br>
+Santo Cruz, Church of<br>
+Santo Spirito, Convent of<br>
+Sanzio. <i>See</i> Raphael<br>
+Sarcinelli, Cornelio<br>
+Sargent, John Singer<br>
+Sarto, Andrea del. <i>See</i> Andrea<br>
+Saskia<br>
+Savonarola<br>
+"Scapegoat, The"<br>
+"Scene from Woodstock"<br>
+Schiavone<br>
+Schmidt, Elizabeth<br>
+Schongauer<br>
+School Girl's Hymn<br>
+"School of Anatomy, The"<br>
+School of Art, Academy, London<br>
+&nbsp;&nbsp;&nbsp;&nbsp;American<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Andalusian<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Castilian<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Dusseldorf<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Dutch  <br>
+&nbsp;&nbsp;&nbsp;&nbsp;English  <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Flemish <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Florentine is, xti. <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Fontainebleau-Barbizon<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Foreign <br>
+&nbsp;&nbsp;&nbsp;&nbsp;French in<br>
+&nbsp;&nbsp;&nbsp;&nbsp;German <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Hudson River <br>
+&nbsp;&nbsp;&nbsp;&nbsp;<a name="398"></a>Impressionist<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Italian<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Nuremberg<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Parma<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Roman<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Spanish<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Umbrian<br>
+&nbsp;&nbsp;&nbsp;&nbsp;Venetian<br>
+"School, of Athens, The"<br>
+"School, of Cupid, The"<br>
+"Scotch Deer"<br>
+Scott, Sir Walter<br>
+Scrovegno, Enrico<br>
+Scuola di San Rocco<br>
+"Seaport at Sunset"<br>
+Sebastian<br>
+"Serpent Charmer, The"<br>
+Servi, convent of the<br>
+Sesto, Cesare de<br>
+Seurat<br>
+Sforza, Ludovico<br>
+"Shadow of Death, The"<br>
+Shakespeare<br>
+Sheepshanks Collection<br>
+"Shepherd Guarding Sheep"<br>
+Sheppey, Isle of<br>
+Sheridan, Mrs. Richard Brinsley<br>
+Sheridan, Richard Brinsley<br>
+Siddons, Mrs.<br>
+Silva, Rodriguez de<br>
+Sistine Chapel<br>
+"Sistine Madonna, The"<br>
+Six, Jan<br>
+Sixtus IV.<br>
+Skynner, Sir John<br>
+"Slaughter of the Innocents, The"<br>
+"Slave Ship, The"<br>
+"Sleeping Bloodhound, The"<br>
+"Sleeping Venus, The"<br>
+Smith, John<br>
+"Snake Charmers, The"<br>
+"Snow-storm at Sea, A"<br>
+Society of Arts<br>
+Soderini<br>
+Solus Lodge<br>
+"Sortie, The"<br>
+&nbsp;&nbsp;&nbsp;&nbsp;<i>See also</i> Night Watch<br>
+Sotomayer, Doña Beatriz de <br>
+&nbsp;&nbsp;&nbsp;&nbsp;Cabrera y<br>
+"Sower, The"<br>
+Spaniel, King Charles<br>
+"Spanish Marriage, The"<br>
+Spinola, Marquis of<br>
+"Sport of the Waves"<br>
+"Spring"<br>
+Sterne, Lawrence<br>
+"Storm, The"<br>
+Stour, River<br>
+"Straw Hat, The"<br>
+Sudbury<br>
+Sully<br>
+Sultan of Turkey<br>
+"Sunset on the Passaic"<br>
+"Sunset on the Sea"<br>
+"Surrender of Breda"<br>
+"Susanna and the Elders"<br>
+"Susanna's Bath"<br>
+"Sussex Downs"<br>
+Swanenburch, Jacob van<br>
+"Sword-Dance, The"<br>
+"Syndics of the Cloth Hall"</p>
+
+<p>Taddei, Taddeo<br>
+Tassi, Agostine<br>
+Thackeray<br>
+Thornhill, Sir James<br>
+"Three Ages, The"<br>
+"Three Saints and God the Father"<br>
+Tintoretto (Jacopo Robusti)<br>
+Titian (Tiziano Vecelli)<br>
+Tornabuoni, Giovanni<br>
+Torregiano <br>
+Trafalgar Square<br>
+"Transfiguration, The"<br>
+"Tribute Money, The"<br>
+"Trinity"<br>
+Troyon<br>
+Trumbull, American painter<br>
+Trumbull, English diplomat<br>
+Tulp, Nicholaus<br>
+Turner, Charles<br>
+Turner, Joseph Mallord William<br>
+"Two Beggar Boys"<br>
+Tybis, Geryck</p>
+
+<p>Ulenberg, Saskia van<br>
+Urban VIII.<br>
+Urbino, Duke of</p>
+
+<p>"Valley Farm, The"<br>
+Van Dyck, Sir Anthony <br>
+Van Mander, Karel<br>
+Van Marcke<br>
+Van Noort, Adam<br>
+Van Rijn. <i>See</i> Rembrandt<br>
+Van Veen<br>
+Varangeville<br>
+Vasari<br>
+Vatican<br>
+Vecchio, Palazzo<br>
+Vecchio, Palma<br>
+Vecelli family<br>
+Vecelli, Orsa<br>
+Vecelli, Orzio<br>
+Vecelli, Pompino<br>
+Vecelli, Tiziano. <i>See</i> Titian<br>
+<a name="399"></a>Velasquez (Diego Rodriguez de Silva)<br>
+"Venice Enthroned"<br>
+"Venus Dispatching Cupid"<br>
+"Venus Worship"<br>
+Verhaecht, Tobias<br>
+Vernon<br>
+Veronese, Paul (Paolo Cagliari)<br>
+Verrocchio<br>
+"Vestal Virgin, The"<br>
+Victoria, Queen<br>
+"Villa by the Sea"<br>
+"Village Festival, The"<br>
+"Ville d'Avray"<br>
+Vinci, Leonardo da<br>
+Violante <br>
+"Virgin as Consoler, The"<br>
+"Virgin's Rest Near Bethlehem"<br>
+"Vision of St. Anthony, The"<br>
+"Visitation, The"<br>
+"Visitor, The"<br>
+"Visit to the Burgomaster"</p>
+
+<p>Warren, General Joseph<br>
+"Water Carrier, The"<br>
+"Watermill, The"<br>
+Watteau, Jean Antoine<br>
+"Wedding Feast at Cana, The" <br>
+Wells, Frederick<br>
+West, Sir Benjamin<br>
+"Weymouth Bay"<br>
+Whitcomb, Ida Prentice<br>
+"William, Prince of Orange"<br>
+William the Silent<br>
+"Will-o'-the-Wisp"<br>
+"Willows near Arras"<br>
+Wilson<br>
+"Winnower, The"<br>
+"Winter"<br>
+Wolgemuth<br>
+"Woodcutters, The"<br>
+"Wooded Landscape"<br>
+"Wood Gatherers, The"</p>
+
+<p>Yarmouth<br>
+"Young People's Story of Art" <br>
+"Youth Surprised by Death"</p>
+
+<p>"Zingarella"<br>
+Zuccato, Sebastian</p>
+<BR>
+<BR>
+<BR>
+<BR>
+<PRE>
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