file which includes the original illustrations4 ,see #bdgbf-;h4htm or #bdgbf-;h4zip3 7https3_/_/www4gutenberg4org_/dirs_/#b_/ d_/g_/b_/bdgbf_/bdgbf-;h_/#bdgbf-;h4htm7 or 7https3_/_/www4gutenberg4org_/dirs_/#b_/ d_/g_/b_/bdgbf_/bdgbf-;h4zip7 ,a ,,history ,,of ,,art ,,for ,,beginners ,,and ,,students ,painting--,sculpture--,architecture ,with ,complete ,indexes and ,numerous ,illustrations by ,,clara ,,erskine ,,clement ,author of ,handbook of ,legendary and ,mythological ,art1 ,painters1 ,sculptors1 ,engravers1 ,architects and ,their ,works1 ,artists of the ,nineteenth ,century1 ,etc4 ,illustration ,new ,york ,frederick ,a4 ,stokes ,company ,,mdcccxci ,copyright1 #ahhg1 by ,frederick ,a4 ,stokes1 ,successor to ,white1 ,stokes1 ,allen4 ,,contents4 ,,chapter ,i4 ,,page ,,ancient ,,painting1 ,,from ,,the ,,earliest ,,times ,,to ,,the ,,christian ,,era1 #a ,,egypt1 #c ,,assyria1 #i ,,babylon1 #aa ,,ancient ,,greece ,,and ,,italy1 #ac ,,mosaics1 #cd ,,paintings ,,on ,,stone1 #cf ,,vase-,,painting1 #cf ,,chapter ,,ii4 ,,medi,,val ,,painting1 ,,from ,,the ,,beginning ,,of ,,the ,,christian ,,era ,,to ,,the ,,renaissance1 #da ,,the ,,early ,,period1 #db ,,the ,,central1 ,,or ,,romanesque ,,period1 #ej ,,the ,,final1 ,,or ,,gothic ,,period1 #ed ,,chapter ,,iii4 ,,painting ,,in ,,italy1 ,,from ,,the ,,beginning ,,of ,,the ,,renaissance ,,to ,,the ,,present ,,century1 #gb ,,chapter ,,iv4 ,,painting ,,in ,,flanders1 ,,holland1 ,,and ,,germany1 #aee ,,chapter ,v4 ,,painting ,,in ,,spain1 #bjg ,,chapter ,,vi4 ,,painting ,,in ,,france1 #bcd ,,chapter ,,vii4 ,,painting ,,in ,,england1 #bdi ,,index1 #cje ,,list ,,of ,,illustrations4 ,,page ,harp-player 7from an ,egyptian painting71 #c ,king ,ramesses ,,ii4 and his ,sons ,storming a ,fortress 7from ,abousimbel71 #e ,fragment of an ,assyrian ,tile-painting1 #aj ,sacrifice of ,iphigenia 7from a ,pompeian wall-painting71 #af ,etruscan ,wall-painting1 #bb ,human ,sacrifice ,offered by ,achilles to the ,shade of ,patroklos 7from an ,etruscan wall-painting71 #bd ,the ,aldobrandini ,marriage 7from a wall-painting in the ,vatican71 #bf ,landscape ,illustration to the ,odyssey 7from a wall-painting discovered on the ,esquiline at ,rome71 #bh ,the ,flight of neas 7from a wall-painting71 #cj ,demeter ,enthroned 7from a ,pompeian wall-painting71 #ca ,pompeian ,wall-painting1 #cb ,nest of ,cupids 7from a ,pompeian wall-painting71 #cc ,doves ,seated on a ,bowl 7from a mosaic picture in the ,capitol1 ,rome71 #ce ,niobe 7from a picture on a slab of granite at ,pompeii71 #cg ,the ,dodwell ,vase1 #ch ,scene in the ,lower ,world 7from a vase of the style of ,lower ,italy71 #ci ,moses 7from a painting in the ,catacomb of ,s4 ,agnes71 #dc ,decoration of a ,roof 7,catacomb of ,s4 ,domitilla71 #dd ,justinian1 ,theodora1 and ,attendants 7from a mosaic picture at ,s4 ,vitalis1 ,ravenna71 #df ,the ,discovery of the ,herb ,mandragora 7from a ,,ms4 of ,dioskorides1 at ,vienna71 #dh ,king ,david 7from a window in ,augsburg ,cathedral71 #ea ,window 7from the ,cathedral of ,st4 ,denis71 #eb ,figure of ,henry ,i4 in west window of ,strasbourg ,cathedral1 #ee ,birth of the ,virgin 7from the ,grandes ,heures of the ,duc de ,berri71 #eg ,the ,annunciation 7from the ,mariale of ,archbishop ,arnestus of ,prague71 #ei ,painted ,window at ,konigsfelden1 #fj ,portrait of ,cimabue1 #fa ,the ,madonna of the ,church of ,santa ,maria ,novella1 #fc ,portrait of ,dante1 painted by ,giotto1 #fe ,giotto's ,campanile and the ,duomo 7,florence71 #fg ,fra ,angelico 7from the representation of him in the fresco of the ,last ,judgment by ,fra ,bartolommeo71 #gd ,an ,angel 7,fra ,angelico71 #gg ,christ 7,gio4 ,bellini71 #ha ,madonna 7,perugino71 #hc ,leonardo da ,vinci1 #he ,the ,last ,supper 7,da ,vinci71 #hh ,mona ,lisa 7,da ,vinci71 #ia ,portrait of ,michael ,angelo1 #ie ,the ,prophet ,jeremiah 7,michael ,angelo71 #aja ,statue of ,moses 7,michael ,angelo71 #ajb ,the ,madonna del ,sacco 7,sarto71 #ajf ,portrait of ,raphael1 painted by himself1 #aji ,the ,sistine ,madonna 7,raphael71 #aac ,st4 ,cecilia ,listening to the ,singing of ,angels 7,raphael71 #aag ,portrait of ,titian 7,caracci71 #abb ,portrait of ,lavinia 7,titian71 #abe ,portrait of ,correggio1 #acc ,upper ,part of a ,fresco by ,correggio1 #acf ,lower ,part of a ,fresco by ,correggio1 #ach ,communion of ,st4 ,jerome 7,domenichino71 #adb ,aurora 7,guido ,reni71 #add ,beatrice ,cenci 7,guido ,reni71 #adf ,the ,anchorites 7,van ,eyck71 #aeg ,the ,sibyl and the ,emperor ,augustus 7,van der ,weyden71 #aei ,rubens and his ,second ,wife1 #afc ,the ,return from ,egypt 7,rubens71 #aff ,portrait of an ,officer 7,hals71 #agh ,one of ,rembrandt's ,portraits of ,himself1 #ahb ,the ,lecture on ,anatomy 7,rembrandt71 #ahc ,burgomaster ,meier ,madonna 7,holbein71 #aia ,from ,holbein's ,dance of ,death1 #aic ,a ,scene from ,drer's ,wood ,engravings of the ,life of the ,virgin ,mary1 #aif ,the ,four ,apostles 7,drer71 #bjj ,laughing ,peasant 7,velasquez71 #bag ,the ,topers 7,velasquez71 #bai ,the ,immaculate ,conception 7,murillo71 #bbf ,arcadian ,shepherds 7,poussin71 #bce ,the ,sabine ,women 7,david71 #bda ,death of the ,duke of ,guise 7,delaroche71 #bdc ,sir ,joshua ,reynolds1 #bej ,the ,marriage ,contract 7,hogarth71 #bec ,muscipula 7,reynolds71 #bef ,portrait of ,turner1 #bgb ,nantes 7,turner71 #bgf ,illustration from ,rogers's ,poems1 #bhe ,the ,slave ,ship 7,turner71 #bhi ,the ,eagle and ,dead ,stag 7,landseer71 #big ,,painting4 ,,chapter ,i4 ,,ancient ,,painting1 ,,from ,,the ,,earliest ,,times ,,to ,,the ,,christian ,,era4 ,in speaking of art we often contrast the useful or mechanical arts with the ,fine ,arts2 by these terms we denote the difference between the arts which are used in making such things as are necessary and useful in civilized life1 and the arts by which ornamental and beautiful things are made4 ,the fine arts are ,architecture1 ,sculpture1 ,painting1 ,poetry1 and ,music1 and though we could live if none of these existed1 yet life would be far from the pleasant experience that it is often made to be through the enjoyment of these arts4 ,in speaking of ,painting1 just here ,i wish to include the more general idea of pictures of various sorts1 and it seems to me that while picture-making belongs to the fine or beautiful arts1 it is now made a very useful art in many ways4 ,for example1 when a school-book is illustrated1 how much more easily we understand the subject we are studying through the help we get from pictures of objects or places that we have not seen1 and yet wish to know about4 ,pictures of natural scenery bring all countries before our eyes in such a way that by looking at them1 while reading books of travel1 we may know a great deal more about lands we have never seen1 and may never be able to visit4 ,who does not love pictures8 and what a pleasure it is to open a magazine or book filled with fine illustrations4 ,st4 ,augustine1 who wrote in the fourth century after ,christ1 said that pictures are the books of the simple or unlearned2 this is just as true now as then1 and we should regard pictures as one of the most agreeable means of education4 ,thus one of the uses of pictures is that they give us a clear idea of what we have not seen2 a second use is that they excite our imaginations1 and often help us to forget disagreeable circumstances and unpleasant surroundings4 ,the cultivation of the imagination is very important1 because in this way we can add much to our individual happiness4 ,through this power1 if we are in a dark1 narrow street1 in a house which is not to our liking1 or in the midst of any unpleasant happenings1 we are able to fix our thoughts upon a photograph or picture that may be there1 and by studying it we are able to imagine ourselves far1 far away1 in some spot where nature makes everything pleasant and soothes us into forgetfulness of all that can disturb our happiness4 ,many an invalid--many an unfortunate one is thus made content by pictures during hours that would otherwise be wretched4 ,this is the result of cultivating the perceptive and imaginative faculties1 and when once this is done1 we have a source of pleasure within ourselves and not dependent on others which can never be taken from us4 ,illustration3 ,,fig4 #a4--;,,harp-,,player4 ,from an ,egyptian painting4 ,it often happens that we see two persons who do the same work and are situated in the same way in the world who are very different in their manner2 one is light-hearted and happy1 the other heavy and sad4 ,if you can find out the truth1 it will result that the sad one is matter-of-fact1 and has no imagination--he can only think of his work and what concerns him personally2 but the merry one would surprise you if you could read his thoughts--if you could know the distances they have passed over1 and what a vast difference there is between his thought and his work4 ,so while it is natural for almost every one to exclaim joyfully at the beauty of pictures1 and to enjoy looking at them simply1 ,i wish my readers to think of their uses also1 and understand the benefits that may be derived from them4 ,i have only hinted at a few of these uses1 but many others will occur to you4 ,when pictures are composed of beautiful colors1 such as we usually think of when we speak of the art of painting1 the greatest charm of pictures is reached1 and all civilized people have admired and encouraged this art4 ,it is true that the remains of ancient art now existing are principally those of architecture or sculpture1 yet there are a sufficient number of pictures in color to prove how old the art of painting is4 ,,egypt4 ,egyptian painting is principally found on the walls of temples and tombs1 upon columns and cornices1 and on small articles found in burial places4 ,there is no doubt that it was used as a decoration2 but it was also intended to be useful1 and was so employed as to tell the history of the country2--its wars1 with their conquests and triumphs1 and the lives of the kings1 and many other stories1 are just as distinctly told by pictures as by the hieroglyphics or ,egyptian writings4 ,we can scarcely say that ,egyptian painting is beautiful2 but it certainly is very interesting4 ,illustration3 ,,fig4 #b4--,,king ,,ramesses ,,ii4 ,,and ,,his ,,sons ,,storming ,a ,,fortress4 ,from ,abousimbel4 ,the ,egyptians had three kinds of painting3 one on flat surfaces1 a second on bas-reliefs1 or designs a little raised and then colored1 and a third on designs in intaglio1 or hollowed out from the flat surface and the colors applied to the figures thus cut out4 ,they had no knowledge of what we call perspective1 that is1 the art of representing a variety of objects on one flat surface1 and making them appear to be at different distances from us--and you will see from the illustrations given here that their drawing and their manner of expressing the meaning of what they painted were very crude4 ,as far as the pictorial effect is concerned1 there is very little difference between the three modes of ,egyptian painting2 their general appearance is very nearly the same4 ,the ,egyptian artist sacrificed everything to the one consideration of telling his story clearly2 the way in which he did this was sometimes very amusing1 such as the making one man twice as tall as another in order to signify that he was of high position1 such as a king or an officer of high rank4 ,when figures are represented as following each other1 those that are behind are frequently taller than those in front1 and sometimes those that are farthest back are ranged in rows1 with the feet of one row entirely above the heads of the others4 ,this illustration of the storming of a fort by a king and his sons will show you what ,i mean4 ,the sons are intended to be represented as following the father1 and are in a row1 one above the other 7,fig4 #b74 ,for the representation of water1 a strip of blue filled in with perpendicular zigzag black lines was used4 ,from these few facts you can understand how unformed and awkward ,egyptian pictures seem if we compare them with the existing idea of what is beautiful4 ,there appear to have been certain fixed rules for the use of colors1 and certain objects were always painted in the colors prescribed for them4 ,the background of a picture was always of a single1 solid color2 ,egyptian men were painted in a reddish brown1 and horses were of the same shade2 women were generally yellow1 sometimes a lighter brown than the men2 negroes were black1 the ,asiatic races yellow1 and but one instance is known of a white skin1 blue eyes1 and yellow hair4 ,the draperies about the figures were painted in pleasing colors1 and were sometimes transparent1 so that the figures could be seen through them4 ,the execution of ,egyptian paintings was very mechanical4 ,one set of workmen prepared the plaster on the wall for the reception of the colors2 another set drew all the outlines in red2 then1 if chiselling was to be done1 another class performed this labor2 and1 finally1 still others put on the colors4 ,of course nothing could be more matter-of-fact than such painting as this1 and under such rules an artist of the most lofty genius and imagination would find it impossible to express his conceptions in his work4 ,we know all this because some of these pictures exist in an unfinished condition1 and are left in the various stages of execution2 then1 too1 there are other pictures of the painters at their work1 and all these different processes are shown in them4 ,the outline drawing is the best part of ,egyptian painting1 and this is frequently very cleverly done4 ,as ,i have intimated1 the greatest value of ,egyptian painting is that it gives us a clear record of the habits and customs of a very ancient people--of a civilization which has long since passed away1 and of which we should have a comparatively vague and unsatisfactory notion but for this picture-history of it4 ,the religion1 the political history1 and the domestic life of the ancient ,egyptians are all placed before us in these paintings4 ,through a study of them we know just how they hunted and fished1 gathered their fruits1 tilled the soil1 and cooked the food1 played games1 danced1 and practised gymnastics1 conducted their scenes of festivity and mourning--in short1 how they lived under all circumstances4 ,thus you see that ,egyptian painting is a very important example of the way in which pictures can teach us2 you will also notice that it is not even necessary that they should be pretty in order that we may learn from them4 ,another use made of ,egyptian painting was the illustration of the papyrus rolls upon which historical and other documents were written4 ,these rolls1 found in the tombs1 are now placed in museums and collections of curious things2 the paintings upon them may be called the oldest book illustrations in the world4 ,sometimes a single color is used1 such as red or black2 but others are in a variety of colors which have been put on with a brush4 ,indeed1 some rolls exist which have pictures only1 and are entirely without hieroglyphics or writing characters2 one such is more than twenty yards long1 and contains nothing but pictures of funeral ceremonies4 ,the ancient ,egyptians were so serious a people that it is a pleasant surprise to find that some of these pictures are intended for jokes and satires1 somewhat like those of the comic papers of to-day2 for example1 there is one in the ,british ,museum1 ,london1 representing cats and rats fighting1 which is intended to ridicule the soldiers and heroes of the ,egyptian army4 ,one cannot study ,egyptian painting without feeling sorry for the painters2 for in all the enormous amount of work done by them no one man was recognized--no one is now remembered4 ,we know some of the names of great ,egyptian architects which are written in the historical rolls2 but no painter's name has been thus preserved4 ,the fact that no greater progress was made is a proof of the discouraging influences that must have been around these artists1 for it is not possible that none of them had imagination or originality3 there must have been some whose souls were filled with poetic visions1 for some of the ,egyptian writings show that poetry existed in ancient ,egypt4 ,but of what use could imagination be to artists who were governed by the laws of a narrow priesthood1 and hedged about by a superstitious religion which even laid down rules for art8 ,for these reasons we know something of ,egyptian art and nothing of ,egyptian artists1 and from all these influences it follows that ,egyptian painting is little more than an illuminated alphabet or a child's picture-history4 ,in the hieroglyphics1 or writing characters of ,egypt1 it often occurs that small pictures of certain animals or other objects stand for whole words1 and it appears that this idea was carried into ,egyptian painting1 which by this means became simply a picture chronicle1 and never reached a point where it could be called truly artistic or a high art4 ,,assyria4 ,the remains of ,assyrian painting are so few that they scarcely serve any other purpose than to prove that the ,assyrians were accustomed to decorate their walls with pictures4 ,sometimes the walls were prepared with plaster1 and the designs were painted on that2 in other cases the painting was done upon the brick itself4 ,the paintings on plaster were usually on the inner walls1 and many of these which have been discovered during the excavations have disappeared when exposed to the air after their long burial from the sight and knowledge of the world4 ,speaking of these pictures1 the writer on art1 ,j4 ,oppert1 says that some paintings were found in the ,palace of ,sargon2 they represented gods1 lions1 rosettes1 and various other designs2 but when he reached ,nineveh1 one year after these discoveries1 the pictures had all disappeared--the colors which had been buried twenty-five hundred years lasted but a few days after they were uncovered4 ,illustration3 ,,fig4 #c4--;,,fragment ,,of ,,an ,,assyrian ,,tile-,,painting4 ,assyrian tile-painting was more durable than the wall-painting2 but in all the excavations that have been made these have been found only in fragments1 and from these fragments no complete picture has been put together4 ,the largest one was found at ,nimrud1 and our illustration is taken from it4 ,it represents a king1 as we know by the tiara he wears1 and two servants who follow him4 ,the pictures to which the existing fragments belong could not have been large3 the figures in our picture are but nine inches high4 ,a few pieces have been found which must have belonged to larger pictures1 and there is one which shows a part of a face belonging to a figure at least three feet high2 but this is very unusual4 ,the ,assyrian paintings have a broad outline which is of a lighter color than the rest of the picture2 it is generally white or yellow4 ,there are very few colors used in them4 ,this does not accord with our notions of the dresses and stuffs of the ,assyrians1 for we suppose that they were rich and varied in color--probably they had so few pigments that they could not represent in their paintings all the colors they knew4 ,no one can give a very satisfactory account of ,assyrian painting2 but1 judging from the little of it which remains1 and from the immense number of ,assyrian sculptures which exist1 we may conclude that the chief aim of ,assyrian artists was to represent each object they saw with absolute realism4 ,the ,dutch painters were remarkable for this trait and for the patient attention which they gave to the details of their work1 and for this reason ,oppert has called the ,assyrians the ,dutchmen of antiquity4 ,,babylon4 ,in ,babylon1 in the sixth century ,b4,c41 under the reign of ,nebuchadnezzar1 the art of tile-painting reached a high state of perfection4 ,the ,babylonians had no such splendid alabaster as had the ,assyrians1 neither had they lime-stone2 so they could not make fine sculptured slabs1 such as are found at ,nineveh and in other ,assyrian ruins4 ,but the ,babylonians had a fine clay1 and they learned how to use it to the best advantage4 ,the city of ,babylon shone with richly colored tiles1 and one traveller writes3 ,by the side of ,assyria1 her colder and severer sister of the ,north1 ,babylon showed herself a true child of the ,south1--rich1 glowing1 careless of the rules of taste1 only desiring to awaken admiration by the dazzling brilliance of her appearance4 ,many of the ,babylonish tiles are in regular1 set patterns in rich tints2 some are simply in solid colors4 ,these last are found in the famous terrace-temple of ,borsipp1 near ,babylon4 ,we know from ancient writings that there were decorative paintings in ,babylon which represented hunting scenes and like subjects1 and1 according to the prophet ,ezekiel1 chap4 xxiii41 verse #ad1 there were men portrayed upon the wall1 the images of the ,chaldeans portrayed with vermilion1 girded with girdles upon their loins1 exceeding in dyed attire upon their heads1 all of them princes to look to1 after the manner of the ,babylonians of ,chaldea1 the land of their nativity4 ,some writers assume that this must have been a description of tapestries2 but most authorities believe them to have been glazed tile-paintings4 ,a whole cargo of fragments of ,babylonish tile-paintings was once collected for the gallery of the ,louvre at ,paris1 and1 when on board a ship and ready to be sent away1 by some accident the whole was sunk4 ,from the descriptions of them which were written1 we find that there were portions of pictures of human faces and other parts of the body1 of animals1 mountains1 and forests1 of water1 walls1 and trees4 ,judging from what still remains1 the art of painting was far less important and much less advanced among the ,eastern or ,oriental nations than were those of architecture and sculpture4 ,it is very strange that these peoples1 who seem to have observed nature closely1 and to have mastered the mathematical sciences1 made no steps toward the discovery of the laws of perspective2 neither did they know how to give any expression of thought or feeling to the human face4 ,in truth1 their pictures were a mere repetition of set figures1 and were only valuable as pieces of colored decorations for walls1 adding a pleasing richness and variety by their different tints1 but almost worthless as works of art4 ,,ancient ,,greece ,,and ,,italy4 ,the painting of ,greece and that of ancient ,italy are so much the same that it is almost impossible to speak of them separately2 the art of painting was carried from ,greece to ,italy by the ,etruscans1 and the art of ancient ,rome was simply that of ,greece transplanted4 ,if ,greek artists were employed by ,romans1 certainly their works were ,greek2 and if ,romans painted they aimed to imitate the ,greeks exactly1 so that ,italian painting before the time of the ,christian era must be considered together with that of ,greece4 ,in architecture and sculpture the ancient ,greeks accepted what had been done by the ,egyptians and ,assyrians as a foundation1 and went on to perfect the work of the older nations through the aid of poetic and artistic imaginations4 ,but in painting the ,greeks followed nothing that had preceded them4 ,they were the first to make pictures which were a life-like reproduction of what they saw about them3 they were the first to separate painting from sculpture1 and to give it such importance as would permit it to have its own place1 quite free from the influence of any other art1 and in its own way as grand and as beautiful as its sister arts4 ,there are writers who trace the origin and progress of ,greek painting from the very earliest times2 but ,i shall begin with ,apollodorus1 who is spoken of as the first ,greek painter worthy of fame1 because he was the first one who knew how to make his pictures appear to be real1 and to follow the rules of perspective so as to have a background from which his figures stood out1 and to shade his colors and soften his outlines4 ,he was very famous1 and was called skiagraphos1 which means shadow painter4 ,apollodorus was an ,athenian1 and lived at about the close of the fifth century ,b4,c4 ,although he was a remarkable artist then1 we must not fancy that his pictures would have satisfied our idea of the beautiful--in fact1 ,pliny1 the historian1 who saw his pictures six hundred years later1 at ,pergamos1 says that ,apollodorus was but the gatekeeper who threw open the gates of painting to the famous artists who lived after him4 ,zeuxis was a pupil of ,apollodorus1 and a great artist also4 ,he was born at ,heraclea1 probably in ,lower ,italy4 ,when young he led a wandering life2 he studied at ,athens under ,apollodorus1 and settled in ,ephesus4 ,he was in the habit of putting his pictures on exhibition1 and charging an admittance fee1 just as artists do now3 he called himself the unsurpassable1 and said and did many vain and foolish things4 ,near the end of his life he considered his pictures as beyond any price1 and so gave them away4 ,upon one of his works he wrote1 ,easier to carp at than to copy4 ,it is said that he actually laughed himself to death from amusement at one of his own pictures1 which represented an old woman4 ,zeuxis had a rival in the painter ,parrhasius1 and their names are often associated4 ,on one occasion they made trial of their artistic skill4 ,zeuxis painted a bunch of grapes so naturally that the birds came to peck at them4 ,then ,parrhasius painted a hanging curtain1 and when his picture was exposed to the public ,zeuxis asked him to draw aside his curtain1 fully believing it to be of cloth and concealing a picture behind it4 ,thus it was judged that ,parrhasius was the best artist1 for he had deceived ,zeuxis1 while the latter had only deceived the birds4 ,from these stories it appears that these artists tried to imitate objects with great exactness4 ,parrhasius1 too1 was a vain man1 and went about in a purple robe with a gold wreath about his head and gold clasps on his sandals2 he painted his own portrait1 and called it the god ,hermes1 or ,mercury2 he wrote praises of himself in which he called himself by many high-sounding names1 for all of which he was much ridiculed by others4 ,however1 both these artists were surpassed by ,timanthes1 according to the ancient writers1 who relate that he engaged in a trial of skill with ,parrhasius1 and came off the victor in it4 ,the fame of his picture of the ,sacrifice of ,iphigenia was very great1 and its one excellence seems to have been in the varied expression of its faces4 ,the descriptions of this great work lead to the belief that this ,pompeian wall-painting1 from which we give a cut1 closely resembles that of ,timanthes1 which no longer exists4 ,the story of ,iphigenia says that when her father1 ,king ,agamemnon1 killed a hart which was sacred to ,diana1 or ,artemis1 that goddess becalmed his fleet so that he could not sail to ,troy4 ,then the seer1 ,calchas1 advised the king to sacrifice his daughter in order to appease the wrath of ,diana4 ,agamemnon consented2 but it is said that the goddess was so sorry for the maiden that she bore her away to ,tauris1 and made her a priestess1 and left a hart to be sacrificed instead of ,iphigenia4 ,in our cut you see ,calchas on the right2 two men are bearing the maiden to her doom1 while her father stands on the left with his head veiled from sight 7,fig4 #d74 ,illustration3 ,,fig4 #d4--,,sacrifice ,,of ,,iphigenia4 ,from a ,pompeian wall-painting4 ,zeuxis1 ,parrhasius1 and ,timanthes belonged to the ,ionian school of painting1 which flourished during the ,peloponnesian war4 ,this school was excelled by that of ,sikyon1 which reached its highest prosperity between the end of the ,peloponnesian war and the death of ,alexander the ,great4 ,the chief reason why this ,dorian school at ,sikyon was so fine was that here1 for the first time1 the pupils followed a regular course of study1 and were trained in drawing and mathematics1 and taught to observe nature with the strictest attention4 ,the most famous master of this school was ,pausias2 some of his works were carried to ,rome1 where they were much admired4 ,his picture of the garland-weaver1 ,glykera1 gained him a great name1 and by it he earned the earliest reputation as a flower-painter that is known in the history of art4 ,nikomachos1 who lived at ,thebes about #cfj ,b4,c41 was famous for the rapidity with which he painted pictures that were excellent in their completeness and beauty4 ,aristides1 the son or brother of ,nikomachos1 was so good an artist that ,attalus1 king of ,pergamos1 offered more than twenty thousand pounds1 or about one hundred thousand dollars1 for his picture of ,dionysus1 or ,bacchus4 ,this wonderful picture was carried to ,rome1 and preserved in the temple of ,ceres2 but it no longer exists4 ,euphranor was another great painter1 and was distinguished for his power to give great expression to the faces and a manly force to the figures which he painted4 ,nikias1 the ,athenian1 is said to have been so devoted to his art that he could think of nothing else3 he would ask his servants if he had bathed or eaten1 not being able to remember for himself4 ,he was very rich1 and when ,king ,ptolemy of ,egypt offered him more than sixty thousand dollars for his picture of ,ulysses in the under-world1 he refused this great sum1 and gave the painting to his native city4 ,nikias seems to have greatly exalted and respected his art1 for he contended that painters should not fritter away time and talent on insignificant subjects1 but ought rather to choose some grand event1 such as a battle or a sea-fight4 ,his figures of women and his pictures of animals1 especially those of dogs1 were much praised4 ,some of his paintings were encaustic1 that is to say1 the colors were burned in2 thus they must have been made on plaster or pottery of some sort4 ,nikias outlived ,alexander the ,great1 and saw the beginning of the school of painters to which the great ,apelles belonged--that which is called the ,hellenic school1 in which ,greek art reached its highest point4 ,apelles was the greatest of all ,greek painters4 ,he was born at ,kolophon2 but as he made his first studies at ,ephesus he has been called an ,ephesian3 later he studied in the school of ,sikyon1 but even when a pupil there he was said to be the equal of all his instructors4 ,philip of ,macedon heard of his fame1 and persuaded ,apelles to remove to his capital city1 which was called ,pella4 ,while there ,apelles became the friend of the young ,alexander1 and when the latter came to the throne he made ,apelles his court-painter1 and is said to have issued an edict forbidding all other artists from painting his portrait4 ,later on ,apelles removed to ,ephesus4 ,during the early part of his artistic life ,apelles did little else than paint such pictures as exalted the fame of ,philip1 and afterward that of ,alexander4 ,he painted many portraits of both these great men2 for one of ,alexander he received nearly twenty-five thousand dollars2 in it the monarch was represented as grasping the thunderbolt1 as ,jupiter might have done1 and the hand appeared to be stretched out from the picture4 ,this portrait was in the splendid temple of ,diana1 or ,artemis1 at ,ephesus4 ,alexander was accustomed to say of it1 ,there are two ,alexanders1 one invincible1 the living son of ,philip--the other immutable1 the picture of ,apelles4 ,later in his life ,apelles painted many pictures of mythological subjects4 ,he visited ,alexandria1 in ,egypt2 he did not win the favor of ,king ,ptolemy1 and his enemies in the ,egyptian court played cruel practical jokes upon him4 ,on one occasion he received an invitation to a feast at which the king had not desired his presence4 ,the monarch was angry2 but ,apelles told him the truth1 and appeased his wrath by sketching on the wall the exact likeness of the servant who had carried the invitation to him4 ,however1 ,ptolemy remained unfavorable to him1 and ,apelles painted a great picture1 called ,calumny1 in which he represented those who had been his enemies1 and thus held them up to the scorn of the world4 ,apelles visited ,rhodes and ,athens1 but is thought to have died in the island of ,kos1 where he had painted two very beautiful pictures of the goddess ,venus4 ,one of these is called the ,venus ,anadyomene1 or ,venus rising from the sea4 ,the emperor ,augustus carried this picture to ,rome1 and placed so high a value on it that he lessened the tribute-money of the people of ,kos a hundred talents on account of it4 ,this sum was about equal to one hundred thousand dollars of our money4 ,the art of ,apelles was full of grace and sweetness1 and the finish of his pictures was exquisite4 ,the saying1 leave off in time1 originated in his criticism of ,protogenes1 of whom he said that he was his superior except that he did not know when to leave off1 and by too much finishing lessened the effect of his work4 ,apelles was modest and generous3 he was the first to praise ,protogenes1 and conferred a great benefit upon the latter by buying up his pictures1 and giving out word that he was going to sell them as his own4 ,apelles was never afraid to correct those who were ignorant1 and was equally ready to learn from any one who could teach him anything4 ,it is said that on one occasion1 when ,alexander was in his studio1 and talked of art1 ,apelles advised him to be silent lest his color-grinder should laugh at him4 ,again1 when he had painted a picture1 and exposed it to public view1 a cobbler pointed out a defect in the shoe-latchet2 ,apelles changed it1 but when the man next proceeded to criticise the leg of the figure1 ,apelles replied1 ,cobbler1 stick to your last4 ,these sayings have descended to our own day1 and have become classical4 ,all these anecdotes from so remote a time are in a sense doubtful2 but they are very interesting--young people ought to be familiar with them1 but it is also right to say that they are not known to be positively true4 ,protogenes of ,rhodes1 to whom ,apelles was so friendly1 came to be thought a great painter4 ,it is said that when ,demetrius made war against ,rhodes the artist did not trouble himself to leave his house1 which was in the very midst of the enemy's camp4 ,when questioned as to his fearlessness he replied1 ,demetrius makes war against the ,rhodians1 and not against the ,arts4 ,it is also said that after hearing of this reply ,demetrius refrained from burning the town1 in order to preserve the pictures of ,protogenes4 ,the ancient writers mention many other ,greek painters1 but none as important as those of whom we have spoken4 ,greek painting never reached a higher point than it had gained at the beginning of the ,hellenistic age4 ,every kind of painting except landscape-painting had been practised by ,greek artists2 but that received no attention until figure-painting had declined4 ,vitruvius mentions that the ancients had some very important wall-paintings consisting of simple landscapes1 and that others had landscape backgrounds with figures illustrating scenes from the poems of ,homer4 ,but we have no reason to believe that ,greek landscape-painting was ever more than scenic or decorative work1 and thus fell far short of what is now the standard for such painting4 ,the painting of the early ,romans was principally derived from or through the early ,etruscans1 and the ,etruscans are believed to have first learned their art from ,greek artists1 who introduced plastic art into ,italy as early as ,b4,c4 #fee1 when ,demaratus was expelled from ,corinth--and later1 ,etruscan art was influenced by the ,greek colonies of ,magna ,grcia4 ,so it is fair to say that ,etruscan art and early ,roman art were essentially ,greek art4 ,the earliest artists who are known to have painted in ,rome had ,greek names1 such as ,ekphantos1 ,damophilos1 and ,gargasos4 ,later on in history there are painters mentioned with ,latin names1 but there is little of interest related concerning them2 in truth1 ,ludius 7who is also called by various authors ,tadius and ,studius7 is the only really interesting ancient ,roman painter of whom we know4 ,he lived in the time of ,augustus1 and ,pliny said of him3 ,ludius1 too1 who lived in the age of the divine ,augustus1 must not be cheated of his fame4 ,he was the first to bring in a singularly delightful fashion of wall-painting--villas1 colonnades1 examples of landscape-gardening1 woods and sacred groves1 reservoirs1 straits1 rivers1 coasts1 all according to the heart's desire--and amidst them passengers of all kinds on foot1 in boats1 driving in carriages1 or riding on asses to visit their country properties2 furthermore fishermen1 bird-catchers1 hunters1 vintagers2 or1 again1 he exhibits stately villas1 to which the approach is through a swamp1 with men staggering under the weight of the frightened women whom they have bargained to carry on their shoulders2 and many another excellent and entertaining device of the same kind4 ,the same artist also set the fashion of painting views--and that wonderfully cheap--of seaside towns in broad daylight4 ,we cannot think that ,ludius was the first painter1 though he may have been the first ,roman painter1 who made this sort of pictures1 and he probably is the only one of whose work any part remains4 ,brunn and other good authorities believe that the wall-painting of ,prima ,porta1 in ,rome1 was executed by ,ludius4 ,it represents a garden1 and covers the four walls of a room4 ,it is of the decorative order of painting1 as ,pliny well understood1 for he speaks of the difference between the work of ,ludius and that of the true artists who painted panel pictures and not wall-paintings4 ,after the time of ,ludius we can give no trustworthy account of any fine1 ,roman painter4 ,illustration3 ,,fig4 #e4--;,,etruscan ,,wall-,,painting4 ,the works of the ancient painters which still remain in various countries are wall-paintings1 paintings on vases1 mosaics1 paintings on stone1 and certain so-called miniatures2 and besides these principal works there are many small articles1 such as mirrors1 toilet-cases1 and other useful objects1 which are decorated in colors4 ,we will first speak of the mural1 or wall-paintings1 as they are the most important and interesting remains of ancient painting4 ,we shall only consider such as have been found in ,italy1 as those of other countries are few and unimportant4 ,the ,etruscan tombs which have been opened contain many beautiful objects of various kinds1 and were frequently decorated with mural pictures4 ,they often consist of several rooms1 and have the appearance of being prepared as a home for the living rather than for the dead4 ,i shall give you no long or wordy description of them2 because if what ,i tell you leads you to wish to know more about them1 there are many excellent books describing them which you can read4 ,so ,i will simply give you two cuts from these ,etruscan paintings1 and tell you about them4 ,fig4 #e is in a tomb known as the ,grotta della ,querciola4 ,the upper part represents a feast1 and the lower portion a boar-hunt in a wood1 which is indicated by the few trees and the little twigs which are intended to represent the underbrush of the forest4 ,if we compare these pictures with the works of the best ,italian masters1 they seem very crude and almost childish in their simplicity2 but1 if we contrast them with the paintings of the ,egyptians and ,assyrians1 we see that a great advance has been made since the earliest paintings of which we know were done4 ,the pose and action of the figures and their grace of movement1 as well as the folding of the draperies1 are far better than anything earlier than the ,greek painting of which there is any knowledge2 for1 as we have said1 these ,etruscan works are essentially ,greek4 ,illustration3 ,,fig4 #f4--;,,human ,,sacrifice ,,offered ,,by ,,achilles ,,to ,,the ,,shade ,,of ,,patroklos4 ,from an ,etruscan wall-painting4 ,fig4 #f belongs to a later period than the other1 and is taken from a tomb at ,vulci which was opened in #aheg by ,franois4 ,this tomb has seven different chambers1 several of which are decorated with wall-paintings of mythological subjects4 ,a square chamber at the end of the tomb has the most important pictures4 ,on one side the human sacrifices which were customary at ,etruscan funerals are represented3 the pictures are very painful1 and the terror and agony of the poor victims who are being put to death make them really repulsive to see4 ,on an opposite wall is the painting from which our cut is taken4 ,this represents the sacrifices made before ,troy by ,achilles1 on account of the death of his dear friend ,patroklos4 ,the figure with the hammer is ,charon1 who stands ready to receive the sacrifice which is intended to win his favor4 ,your mythology will tell you the story1 which is too long to be given here4 ,the realism of this picture is shocking in its effect1 and yet there is something about the manner of the drawing and the arrangement of the whole design that fixes our attention even while it makes us shudder4 ,the ancient wall-paintings which have been found in ,rome are far more varied than are those of ,etruria2 for1 while some of the ,roman pictures are found in tombs1 others are taken from baths1 palaces1 and villas4 ,they generally belong to one period1 and that is about the close of the ,republic and the beginning of the ,empire4 ,modern excavations have revealed many of these ancient paintings2 but so many of them crumble and fade away so soon after they are exposed to the air1 that few remain in a condition to afford any satisfaction in seeing them4 ,but fortunately drawings have been made of nearly all these pictures before they fell into decay4 ,illustration3 ,,fig4 #g4--,,the ,,aldobrandini ,,marriage4 ,from a wall-painting in the ,vatican4 ,some of the ancient paintings have been carefully removed from the walls where they were found1 and placed in museums and other collections4 ,one of the finest of these is in the ,vatican1 and is called the ,aldobrandini ,marriage4 ,it received this name from the fact that ,cardinal ,aldobrandini was its first possessor after its discovery1 near the ,arch of ,gallienus1 in #afjf4 ,as you will see from ,fig4 #g1 from it1 there are three distinct groups represented4 ,in the centre the bride veiled1 with her head modestly bowed down1 is seated on a couch with a woman beside her who seems to be arranging some part of her toilet1 while another stands near holding ointment and a bowl4 ,at the head of the couch the bridegroom is seated on a threshold4 ,the upper part of his figure is bare1 and he has a garland upon his head4 ,on the right of the picture an ante-room is represented in which are three women with musical instruments1 singing sacrificial songs4 ,to the left1 in another apartment1 three other women are preparing a bath4 ,this is charming on account of the sweet1 serious way in which the whole story is placed before us2 but as a painting it is an inferior work of art--not in the least above the style which we should call house decoration4 ,although ancient writers had spoken of landscape paintings1 it was not until #ahdh-ahej1 when a series of them was discovered on the ,esquiline in ,rome1 that any very satisfactory specimens could be shown4 ,these pictures number eight3 six are complete1 of the seventh but half remains1 and the eighth is in a very imperfect state4 ,they may be called historical landscapes1 because each one has a complete landscape as well as figures which tell a story4 ,they illustrate certain passages from the ,odyssey of ,homer4 ,the one from which our cut is taken shows the visit of ,ulysses to the lower world4 ,when on the wall the pictures were divided by pilasters1 and finished at the top by a border or frieze4 ,the pilasters are bright red1 and the chief colors in the picture are a yellowish brown and a greenish blue4 ,in this scene the way in which the light streams through the entrance to the lower world is very striking1 and shows the many figures there with the best possible effect4 ,even those in the far distance on the right are distinctly seen4 ,this collection of ,esquiline wall-paintings is now in the ,vatican ,library4 ,illustration3 ,,fig4 #h4--,,landscape ,,illustration ,,to ,,the ,,odyssey4 ,from a wall-painting discovered on the ,esquiline at ,rome4 ,besides the ancient mural paintings which have been placed in the museums of ,rome1 there are others which still remain where they were painted1 in palaces1 villas1 and tombs4 ,perhaps those in the house of ,livia are the most interesting2 they represent mythological stories1 and one frieze has different scenes of street life in an ancient town4 ,though these decorations are done in a mechanical sort of painting1 such as is practised by the ordinary fresco painters of our own time1 yet there was sufficient artistic feeling in their authors to prevent their repeating any one design4 ,one circumstance proves that this class of picture was not thought very important when it was made1 which is that the name of the artist is rarely found upon his work3 in but one instance either in ,rome or ,pompeii has this occurred1 namely1 in a chamber which was excavated in the gardens of the ,farnesina ,palace at ,rome1 and the name is ,seleucus4 ,we have not space to speak of all the ,italian cities in which these remains are discovered1 and1 as ,pompeii is the one most frequently visited and that in which a very large proportion of the ancient pictures have been found1 ,i will give a few illustrations from them1 and leave the subject of ancient1 mural paintings there4 ,many of the ,pompeian pictures have been removed to the ,museum of ,naples1 though many still remain where they were first painted4 ,the variety of subjects at ,pompeii is large3 there are landscapes1 hunting scenes1 mythological subjects1 numerous kinds of single figures1 such as dancing girls1 the hours1 or seasons1 graces1 satyrs1 and many others2 devotional pictures1 such as representations of the ancient divinities1 lares1 penates1 and genii2 pictures of tavern scenes1 of mechanics at their work2 rope-dancers and representations of various games1 gladiatorial contests1 genre scenes from the lives of children1 youths1 and women1 festival ceremonies1 actors1 poets1 and stage scenes1 and last1 but not least1 many caricatures1 of which ,i here give you an example 7,fig4 #i74 ,illustration3 ,,fig4 #i4--,,the ,,flight ,,of ,,neas4 ,from a wall-painting4 ,the largest dog is neas1 who leads the little ,ascanius by the hand and carries his father1 ,anchises1 on his shoulder4 ,frequently in the ancient caricatures monkeys are made to take the part of historical and imaginary heroes4 ,illustration3 ,,fig4 #aj4--;,,demeter ,,enthroned4 ,from a ,pompeian wall-painting4 ,illustration3 ,,fig4 #aa4--,,pompeian ,,wall-,,painting4 ,fig4 #aa shows you how these painted walls were sometimes divided2 the principal subjects were surrounded by ornamental borders1 and the spaces between filled in with all sorts of little compartments4 ,the small spaces in this picture are quite regular in form2 but frequently they are of varied shapes1 and give a very decorative effect to the whole work4 ,the colors used upon these different panels1 as they may be called1 were usually red1 yellow1 black1 and white--more rarely blue and green4 ,sometimes the entire decoration consisted of these small1 variously colored spaces1 divided by some graceful little border1 with a very small figure1 plant1 or other object in the centre of each space4 ,illustration3 ,,fig4 #ab4--,,nest ,,of ,,cupids4 ,from a ,pompeian wall-painting4 ,fig4 #aj1 of ,demeter1 or ,ceres1 enthroned is an example of such devotional paintings as were placed above the altars and shrines for private worship in the houses of ,pompeii1 or at the street corners1 just as we now see pictures and sacred figures in street shrines in ,roman ,catholic countries4 ,in ancient days1 as now1 these pictures were often done in a coarse and careless manner1 as if religious use1 and not art1 was the object in the mind of the artist4 ,fig4 #ab1 of a ,nest of ,cupids is a very interesting example of ,pompeian painting1 and to my mind it more nearly resembles pictures of later times than does any other ancient painting of which ,i know4 ,,mosaics4 ,the pictures known as mosaics are made by fitting together bits of marble1 stone1 or glass of different colors and so arranging them as to represent figures and objects of various kinds1 so that at a distance they have much the same effect as that of pictures painted with brush and colors4 ,the art of making mosaics is very ancient1 and was probably invented in the ,east1 where it was used for borders and other decorations in regular set patterns4 ,it was not until after the time of ,alexander the ,great that the ,greeks used this process for making pictures4 ,at first1 too1 mosaics were used for floors or pavements only1 and the designs in them were somewhat like those of the tile pavements of our own time4 ,this picture of doves will give you a good idea of a mosaic2 this subject is a very interesting one1 because it is said to have been first made by ,sosos in ,pergamos4 ,it was often repeated in later days1 and that from which our cut is taken was found in the ruins of ,hadrian's villa at ,tivoli1 near ,rome2 it is known as the ,capitoline ,doves1 from the fact that it is now in the ,capitoline ,museum in ,rome4 ,few works of ancient art are more admired and as frequently copied as this mosaic3 it is not unusual to see ladies wear brooches with this design in fine mosaic work4 ,illustration3 ,,fig4 #ac4--;,,doves ,,seated ,,on ,a ,,bowl4 ,from a mosaic picture in the ,capitol1 ,rome4 ,a few examples of ancient mosaics which were used for wall decorations have been found2 they may almost be said not to exceed a dozen2 but pavement mosaics are very numerous1 and are still seen in the places for which they were designed and where they have been during many centuries1 as well as in museums to which they have been removed4 ,they are so hard in outline and so mechanical in every way that they are not very attractive if we think of them as pictures1 and their chief interest is in the skill and patience with which mosaic workers combine the numberless particles of one substance and another which go to make up the whole4 ,mosaic pictures1 as a rule1 are not large2 but one found at ,palestrina1 which is called the ,nile mosaic1 is six by five metres inside4 ,its subject is the inundation of a village on the river ,nile4 ,there are an immense number of figures and a variety of scenes in it2 there are ,egyptians hunting the ,nile horse1 a party of revellers in a bower draped with vines1 bands of warriors and other groups of men occupied in different pursuits1 and all represented at the season when the ,nile overflows its banks4 ,this is a very remarkable work1 and it has been proved that a portion of the original is in the ,berlin ,museum1 and has been replaced by a copy at ,palestrina4 ,,paintings ,,on ,,stone4 ,it is well known that much of the decoration of ,greek edifices was in colors4 ,of course these paintings were put upon the marble and stone of which the structures were made4 ,the ,greeks also made small pictures and painted them on stone1 just as canvas and panels of wood are now used4 ,such painted slabs have been found in ,herculaneum1 in ,corneto1 and in different ,etruscan tombs2 but the most important and satisfactory one was found at ,pompeii in #ahgb4 ,since then the colors have almost vanished2 but ,fig4 #ad1 from it1 will show you how it appeared when found4 ,it represents the mythological story of the punishment of ,niobe1 and is very beautiful in its design4 ,,vase-,,painting4 ,vase-painting was another art very much practised by the ancients4 ,so much can be said of it that it would require more space than we can give for its history even in outline4 ,so ,i shall only say that it fills an important place in historic art1 because from the thousands of ancient vases that have been found in one country and another1 much has been learned concerning the history of these lands and the manners and customs of their people2 occasionally inscriptions are found upon decorated vases which are of great value to scholars who study the history of the past4 ,illustration3 ,,fig4 #ad4--,,niobe4 ,from a picture on a slab of granite at ,pompeii4 ,illustration3 ,,fig4 #ae4--,,the ,,dodwell ,,vase4 ,at ,munich4 ,the ,dodwell vase shows you the more simple style of decoration which was used in the earlier times4 ,gradually the designs came to be more and more elaborate1 until whole stories were as distinctly told by the pictures on vases as if they had been written out in books4 ,the next cut1 which is made from a vase-painting1 will show what ,i mean4 ,the subject of ,fig4 #af is connected with the service of the dead1 and shows a scene in the under world1 such as accorded with ancient religious notions4 ,in the upper portion the friends of the deceased are grouped around a little temple4 ,scholars trace the manufacture of these vases back to very ancient days1 and down to its decline1 about two centuries before ,christ4 ,i do not mean that vase-painting ceased then1 for its latest traces come down to #fe ,b4,c42 but like all other ancient arts1 it was then in a state of decadence4 ,though vase-painting was one of the lesser arts1 its importance can scarcely be overestimated1 and it fully merits the devoted study and admiration which it receives from those who are learned in its history4 ,illustration3 ,,fig4 #af4--,,scene ,,in ,,the ,,lower ,,world4 ,from a vase of the style of ,lower ,italy4 ,from what we know of ancient ,greek painting we may believe that this art first reached perfection in ,greece4 ,if we could see the best works of ,apelles1 who reached the highest excellence of any ,greek painter1 we might find some lack of the truest science of the art when judged by more modern standards2 but the ,greeks must still be credited with having been the first to create a true art of painting4 ,after the decline of ,greek art fifteen centuries elapsed before painting was again raised to the rank which the ,greeks had given it1 and if1 according to our ideas1 the later ,italian painting is in any sense superior to the ,greek1 we must at least admit that the study of the works of antiquity which still remained in ,italy1 excited the great masters of the ,renaissance to the splendid achievements which they attained4 ,,chapter ,,ii4 ,,medi,,val ,,painting1 ,,from ,,the ,,beginning ,,of ,,the ,,christian ,,era ,,to ,,the ,,renaissance4 ,the ,middle ,ages extend from the latter part of the fifth century to the time of the ,renaissance1 or about the fifteenth century4 ,the painting of this period has little to attract attention if regarded only from an artistic stand-point1 for we may truly say that1 comparing it with the ,greek art which had preceded it1 or with the ,italian art which followed it1 that of the ,middle ,ages had no claim to the beautiful4 ,on the other hand1 it is full of interest to students1 because it has its part in the history of art2 therefore ,i shall give a mere outline of it1 so that this link in the chain which unites ancient and modern painting may not be entirely wanting in our book4 ,early medival painting1 down to about ,a4,d4 #iej1 consists principally of paintings in burial-places1 mosaics 7usually in churches71 and of miniatures1 or the illustration and illumination of ,,mss41 which were the books of that time1 and were almost without exception religious writings4 ,this period is called the ,early ,period of the ,middle ,ages1 and the pictures are often called the works of ,early ,christian ,art4 ,about #ajej a revival of intellectual pursuits began in some parts of ,europe1 and from that time it may be said that the ,renaissance1 or new birth of art and letters1 was in its ,a ,b ,cs1 or very smallest beginnings4 ,the period between #iej and #abej is often called the ,central or ,romanesque ,period of the ,middle ,ages1 and it was during this time that glass-painting originated2 it is one of the most interesting features of art in medival times4 ,from #abej to #adjj comes the ,final or ,gothic ,period of the ,middle ,ages1 and this has some very interesting features which foretell the coming glory of the great ,renaissance4 ,,the ,,early ,,period4 ,the paintings of the catacombs date from the third and fourth centuries after ,christ4 ,the catacombs1 or burial-places of the early ,christians1 consist of long1 narrow1 subterranean passages1 cut with regularity1 and crossing each other like streets in a city4 ,the graves are in the sides of these passages1 and there are some larger rooms or chambers into which the narrow passages run4 ,there are about sixty of the catacombs in and near ,rome2 they are generally called by the name of some saint who is buried in them4 ,the paintings are in the chambers1 of which there are sometimes several quite near each other4 ,the reason for their being in these underground places was that ,christians were so persecuted under the ,romans1 that they were obliged to do secretly all that they did as ,christians1 so that no attention should be attracted to them4 ,the principal characteristics of these pictures are a simple majesty and earnestness of effect2 perhaps spirituality is the word to use1 for by these paintings the early ,christians desired to express their belief in the religion of ,christ1 and especially in the immortality of the soul1 which was a very precious doctrine to them4 ,the catacombs of ,rome were more numerous and important than those of any other city4 ,many of the paintings in the catacombs had a symbolic meaning1 beyond the plainer intention which appeared at the first sight of them3 you will know what ,i mean when ,i say that not only was this picture of ,moses striking the rock intended to represent an historical fact in the life of ,moses1 but the flowing water was also regarded as a type of the blessing of ,christian baptism4 ,illustration3 ,,fig4 #ag4--,,moses4 ,from a painting in the ,catacomb of ,s4 ,agnes4 ,illustration3 ,,fig4 #ah4--;,,decoration ,,of ,a ,,roof4 ,catacomb of ,s4 ,domitilla4 ,the walls of the chambers of the catacombs are laid out in such a manner as to have the effect of decorated apartments1 just as was done in the pagan tombs1 and sometimes the pictures were a strange union of pagan and ,christian devices4 ,the above cut1 from the ,catacomb of ,s4 ,domitilla1 has in the centre the pagan god ,orpheus playing his lyre1 while in the alternate compartments of the border are the following ,christian subjects3 #a1 ,david with the ,sling2 #b1 ,moses ,striking the ,rock2 #c1 ,daniel in the ,lion's ,den2 #d1 ,the ,raising of ,lazarus4 ,the other small divisions have pictures of sacrificial animals4 ,these two cuts will give you an idea of the catacomb wall-paintings4 ,the mosaics of the ,middle ,ages were of a purely ornamental character down to the time of ,constantine4 ,then1 when the protection of a ,christian emperor enabled the ,christians to express themselves without fear1 the doctrines of the church and the stories of the life of ,christ and the histories of the saints1 as well as many other instructive religious subjects1 were made in mosaics1 and placed in prominent places in churches and basilicas4 ,mosaics are very durable1 and many belonging to the early ,christian era still remain4 ,the mosaics at ,ravenna form the most connected series1 and are the best preserved of those that still exist4 ,while it is true in a certain sense that ,rome was always the art centre of ,italy1 it is also true that at ,ravenna the works of art have not suffered from devastation and restoration as have those of ,rome4 ,after the invasion of the ,visigoths in ,a4,d4 #djd1 ,honorius transferred the imperial court to ,ravenna1 and that city then became distinguished for its learning and art4 ,the ,ravenna mosaics are so numerous that ,i shall only speak of one series1 from which ,i give an illustration 7,fig4 #ai74 ,this mosaic is in the church of ,s4 ,vitalis1 which was built between ,a4,d4 #ebf and #edg4 ,in the dome of the church there is a grand representation of ,christ enthroned2 below ,him are the sacred rivers of ,paradise2 near ,him are two angels and ,s4 ,vitalis1 to whom the ,saviour is presenting a crown2 ,bishop ,ecclesius1 the founder of the church1 is also represented near by with a model of the church in his hand4 ,on a lower wall there are two pictures in which the ,emperor ,justinian and the ,empress ,theodosia are represented3 our cut is from one of these1 and shows the emperor and empress in magnificent costumes1 each followed by a train of attendants4 ,this emperor never visited ,ravenna2 but he sent such rich gifts to this church that he and his wife are represented as its donors4 ,illustration3 ,,fig4 #ai4--;,,justinian1 ,,theodora1 ,,and ,,attendants4 ,from a mosaic picture at ,s4 ,vitalis1 ,ravenna4 ,after the time of ,justinian 7,a4,d4 #ebg-efe7 mosaics began to be less artistic1 and those of the later time degenerated1 as did everything else during the ,middle or ,dark ,ages1 and at last all works of art show less and less of the ,greek or ,classic influence4 ,when we use the word miniature as an art term1 it does not mean simply a small picture as it does in ordinary conversation2 it means the pictures executed by the hand of an illuminator or miniator of manuscripts1 and he is so called from the minium or cinnabar which he used in making colors4 ,in the days of antiquity1 as ,i have told you in speaking of ,egypt1 it was customary to illustrate manuscripts1 and during the ,middle ,ages this art was very extensively practised4 ,many monks spent their whole lives in illuminating religious books1 and in ,constantinople and other eastern cities this art reached a high degree of perfection4 ,some manuscripts have simple borders and colored initial letters only2 sometimes but a single color is used1 and is generally red1 from which comes our word rubric1 which means any writing or printing in red ink1 and is derived from the ,latin rubrum1 or red4 ,this was the origin of illumination or miniature-painting1 which went on from one step to another until1 at its highest state1 most beautiful pictures were painted in manuscripts in which rich colors were used on gold or silver backgrounds1 and the effect of the whole was as rich and ornamental as it is possible to imagine4 ,many of these old manuscripts are seen in museums1 libraries1 and various collections2 they are very precious and costly1 as well as interesting2 their study is fascinating1 for almost every one of the numberless designs that are used in them has its own symbolic meaning4 ,the most ancient1 artistic miniatures of which we know are those on a manuscript of a part of the book of ,genesis2 it is in the ,imperial ,library at ,vienna1 and was made at the end of the fifth century4 ,in the same collection there is a very extraordinary manuscript1 from which ,i give an illustration4 ,this manuscript is a treatise on botany1 and was written by ,dioskorides for his pupil1 the ,princess ,juliana ,anicia1 a granddaughter of the ,emperor ,valentine ,,iii4 ,as this princess died at ,constantinople ,a4,d4 #ebg1 this manuscript dates from the beginning of the sixth century4 ,this picture from it represents ,dioskorides dressed in white robes and seated in a chair of gold2 before him stands a woman in a gold tunic and scarlet mantle1 who represents the genius of discovery2 she presents the legendary mandrake root1 or mandragora1 to the learned man1 while between them is the dog that has pulled the root1 and falls dead1 according to the fabulous story4 ,this manuscript was painted by a masterly hand1 and is curious and interesting2 the plants1 snakes1 birds1 and insects must have been painted from nature1 and the whole is most skilfully done4 ,illustration3 ,,fig4 #bj4--,,the ,,discovery ,,of ,,the ,,herb ,,mandragora4 ,from a ,,ms4 of ,dioskorides1 at ,vienna4 ,during the ,middle ,ages the arts as practised in ,rome were carried into all the different countries in which the ,romans made conquests or sent their monks and missionaries to establish churches1 convents1 and schools4 ,thus the medival arts were practised in ,gaul1 ,spain1 ,germany1 and ,great ,britain4 ,no wall-paintings or mosaics remain from the early ,german or ,celtic peoples2 but their illuminated manuscripts are very numerous3 miniature-painting was extensively done in ,ireland1 and many ,irish manuscripts remain in the collections of ,great ,britain4 ,when ,charlemagne became the king of the ,franks in #gfh1 there was little knowledge of any art among his northern subjects2 in #hjj he made himself emperor of the ,romans1 also1 and when the ,franks saw all the splendor of ,rome and other parts of ,italy1 it was not difficult for the great emperor to introduce the arts into the ,frankish portion of his empire4 ,all sorts of beautiful objects were carried from ,italy by the ,franks1 and great workshops were established at ,aix-la-,chapelle1 the capital1 and were placed under the care of ,eginhard1 who was skilled in bronze-casting1 modelling1 and other arts2 he was called ,bezaleel1 after the builder of the ,tabernacle4 ,we have many accounts of the wall-paintings and mosaics of the ,franks2 but there are no remains of them that can be identified with positive accuracy4 ,miniature-painting flourished under the rule of ,charlemagne and his family1 and reached a point of great magnificence in effect1 though it was never as artistic as the work of the ,italian miniators2 and1 indeed1 gradually everything connected with art was declining in all parts of the world2 and as we study its history1 we can understand why the terms ,dark ,ages and ,middle ,ages are used to denote the same epoch1 remarkable as it is for the decay and extinction of so many beautiful things4 ,,the ,,central1 ,,or ,,romanesque ,,period4 ,during the ,romanesque ,period 7#iej-abej7 architecture was pursued according to laws which had grown out of the achievements and experiences of earlier ages1 and had reached such a perfection as entitled it to the rank of a noble art4 ,but this was not true of painting1 which was then but little more than the painting of the ,egyptians had been1 that is1 a sort of picture-writing1 which was principally used to illustrate the doctrines of religion1 and by this means to teach them to peoples who had no books1 and could not have read them had they existed4 ,during all this time the art of painting was largely under the control of the priests4 ,some artists were priests themselves1 and those who were not were under the direction of some church dignitary4 ,popes1 bishops1 abbots1 and so on1 were the principal patrons of art1 and they suggested to the artists the subjects to be painted1 and then the pictures were used for the decoration of churches and other buildings used by the religious orders4 ,the monks were largely occupied in miniature-painting2 artists frequented the monasteries1 and1 indeed1 when they were engaged upon religious subjects1 they were frequently under the same discipline as that of the monks themselves4 ,next to the influence of the church came that of the court2 but in a way it was much the same1 for the clergy had great influence at court1 and1 although painting was used to serve the luxury of sovereigns and nobles1 it was also true that these high personages often employed artists to decorate chapels and to paint altar-pieces for churches at their expense1 for during the ,romanesque period there was some painting on panels4 ,at first these panel-pictures were placed on the front of the altar where draperies had formerly been used3 later they were raised above the altar1 and also put in various parts of the church4 ,the painting of the ,romanesque period was merely a decline1 and there can be little more said of it than is told by that one word4 ,illustration3 ,,fig4 #ba4--,,king ,,david4 ,from a window in ,augsburg ,cathedral4 ,glass-painting dates from this time4 ,the very earliest specimens of which we know are from the eleventh century4 ,before that time there had been transparent mosaics made by putting together bits of colored glass1 and arranging them in simple1 set and ornamental patterns4 ,such mosaics date from the earliest days of ,christianity1 and were in use as soon as glass was used for windows4 ,from ancient writings we know that some windows were made with pictures upon them as long ago as ,a4,d4 #ihi2 but nothing now remains from that remote date4 ,there is a doubt as to whether glass-painting originated in ,france or ,germany4 ,some ,french authors ascribe its invention to ,germany1 while some ,german writers accord the same honor to ,france4 ,remains of glass-painting of the eleventh century have been found in both these countries2 but it is probable that five windows in the ,cathedral of ,augsburg date from #ajfe1 and are a little older than any others of which we know4 ,this picture of ,david is from one of them1 and is probably as old as any painted window in existence4 ,illustration3 ,,fig4 #bb4--,,window4 ,from the ,cathedral of ,st4 ,denis4 ,the oldest glass-painting in ,france is probably a single fragment in the ,cathedral of ,le ,mans4 ,this cathedral was completed in #ajic1 but was badly burned in #aacf1 so that but a single piece of its windows remains2 this has been inserted in a new window in the choir1 and is thus preserved4 ,with the beginning of the twelfth century1 glass-painting became more frequent in ,europe1 and near the end of this century it was introduced into ,england1 together with the ,gothic style of architecture4 ,very soon a highly decorative effect was given to glass-painting1 and the designs upon many windows were very much like those used in the miniatures of the same time4 ,the stained glass in the ,cathedral of ,st4 ,denis1 near ,paris1 is very important4 ,it dates from about #aadj-aaea1 and was executed under the care of the famous ,abbot ,suger4 ,he employed both ,french and ,german workmen1 and decorated the entire length of the walls with painted windows4 ,st4 ,denis was the first ,french cathedral in the full ,gothic style of architecture4 ,the present windows in ,st4 ,denis can scarcely be said to be the original ones1 as the cathedral has suffered much from revolutions2 but some of them have been restored as nearly as possible1 and our illustration 7,fig4 #bb7 will give you a good idea of what its windows were4 ,the stripes which run across the ground in this window are red and blue1 and the leaf border is in a light tone of color4 ,there are nine medallions2 the three upper ones have simply ornamental designs upon them1 and the six lower ones have pictures of sacred subjects4 ,the one given here is an ,annunciation1 in which the ,abbot ,suger kneels at the feet of the ,virgin ,mary4 ,his figure interferes with the border of the medallion in a very unusual manner4 ,perhaps the most important ancient glass-painting remaining in ,france is that of the west front of the ,cathedral of ,chartres4 ,it dates from about #aabe1 when this front was begun2 there are three windows1 and their color is far superior to the glass of a later period1 which is in the same cathedral4 ,the earliest painted glass in ,england dates from about #aahj4 ,some of the windows in ,canterbury ,cathedral correspond to those in the ,cathedral of ,st4 ,denis4 ,in the ,strasbourg ,cathedral there are some splendid remains of painted glass of the ,romanesque period1 although they were much injured by the bombardment of #ahgj4 ,fig4 #bc is from one of the west windows1 and represents ,king ,henry ,i4 ,this is an unusually fine example of the style of the period before the more elaborate ,gothic manner had arisen2 the quiet regularity of the drapery and the dignified air of the whole figure is very impressive4 ,an entirely different sort of colored windows was used in the churches and edifices which belonged to the ,cistercian order of monks4 ,the rule of this order was severe1 and while they wished to soften the light within their churches1 they believed it to be wrong to use anything which denoted pomp or splendor in the decoration of the house of ,god4 ,for these reasons they invented what is called the grisaille glass3 it is painted in regular patterns in gray tones of color4 ,sometimes these windows are varied by a leaf pattern in shades of green and brown1 with occasional touches of bright color2 but this is used very sparingly4 ,some of these grisaille windows are seen in ,france2 but the finest are in ,germany in the ,cathedral of ,heiligenkreuz3 they date from the first half of the thirteenth century4 ,,the ,,final1 ,,or ,,gothic ,,period4 ,the ,gothic order of architecture1 which was perfected during this period1 had a decided influence upon the painting and sculpture of the time2 but this influence was not felt until ,gothic architecture had reached a high point in its development4 ,france was now the leading country of the world1 and ,paris came to be the most important of all cities3 it was the centre from which went forth edicts as to the customs of society1 the laws of dress and conduct1 and even of the art of love4 ,from ,france came the codes of chivalry1 and the crusades1 which spread to other lands1 originated there4 ,thus1 for the time1 ,paris overshadowed ,rome and the older centres of art1 industry1 and science1 with a world-wide influence4 ,illustration3 ,,fig4 #bc4--;,,figure ,,of ,,henry ,i4 ,,in ,,west ,,window ,,of ,,strasbourg ,,cathedral4 ,although the painting of this period had largely the same characteristics as that of the ,romanesque period1 it had a different spirit1 and it was no longer under the control of the clergy4 ,before this time1 too1 painters had frequently been skilled in other arts2 now it became the custom for them to be painters only1 and besides this they were divided into certain classes of painters1 and were then associated with other craftsmen who were engaged in the trade which was connected with their art4 ,that is1 the glass-painters painted glass only1 and were associated with the glass-blowers2 those who decorated shields1 with the shield or scutcheon makers1 and so on2 while the painters1 pure and simple1 worked at wall-painting1 and a little later at panel-painting also4 ,from this association of artists and tradesmen there grew up brotherhoods which supported their members in all difficulties1 and stood by each other like friends4 ,each brotherhood had its altar in some church2 they had their funerals and festivals in common1 and from these brotherhoods grew up the more powerful societies which were called guilds4 ,these guilds became powerful organizations2 they had definite rights and duties1 and even judicial authority as to such matters as belonged to their special trades4 ,all this led to much greater individuality among artists than had ever existed before3 it came to be understood that a painter could1 and had a right to1 paint a picture as he wished1 and was not governed by any priestly law4 ,religious subjects were still painted more frequently than others1 and the decoration of religious edifices was the chief employment of the artists2 but they worked with more independence of thought and spirit4 ,the painters studied more from nature1 and though the change was very slow1 it is still true that a certain softness of effect1 an easy flow of drapery1 and a new grace of pose did appear1 and about ,a4,d4 #acej a new idea of the uses and aims of painting influenced artists everywhere4 ,illustration3 ,,fig4 #bd4--;,,birth ,,of ,,the ,,virgin4 ,from the ,grandes ,heures of the ,duc de ,berri4 ,about that time they attempted to represent distances1 and to create different planes in their works2 to reproduce such things as they represented far more exactly than they had done before1 and to put them in just relations to surrounding places and objects2 in a word1 they seemed to awake to an appreciation of the true office of painting and to its infinite possibilities4 ,during this ,gothic period some of the most exquisite manuscripts were made in ,france and ,germany1 and they are now the choicest treasures of their kind in various ,european collections4 ,fig4 #bd1 of the birth of the ,virgin ,mary1 is from one of the most splendid books of the time which was painted for the ,duke de ,berry and called the ,great ,book of the ,hours4 ,the wealth of ornament in the border is a characteristic of the ,french miniatures of the time4 ,the ,germans used a simpler style1 as you will see by ,fig4 #be1 of the ,annunciation4 ,the influence of the ,gothic order of architecture upon glass-painting was very pronounced4 ,under this order the windows became much more important than they had been1 and it was not unusual to see a series of windows painted in such pictures as illustrated the whole teaching of the doctrines of the church4 ,it was at this time that the custom arose of donating memorial windows to religious edifices4 ,sometimes they were the gift of a person or a family1 and the portraits of the donors were painted in the lower part of the window1 and usually in a kneeling posture2 at other times windows were given by guilds1 and it is very odd to see craftsmen of various sorts at work in a cathedral window3 such pictures exist at ,chartres1 ,bourges1 ,amiens1 and other places4 ,illustration3 ,,fig4 #be4--,,the ,,annunciation4 ,from the ,mariale of ,archbishop ,arnestus of ,prague4 ,about ,a4,d4 #acjj it began to be the custom to represent architectural effects upon colored windows4 ,our cut is from a window at ,konigsfelden1 and will show exactly what ,i mean 7,fig4 #bf74 ,this style of decoration was not as effective as the earlier ones had been1 and1 indeed1 from about this time glass-painting became less satisfactory than before1 from the fact that it had more resemblance to panel-painting1 and so lost a part of the individuality which had belonged to it4 ,illustration3 ,,fig4 #bf4--,,painted ,,window ,,at ,,konigsfelden4 ,wall-paintings were rare in the ,gothic period1 for its architecture left no good spaces where the pictures could be placed1 and so the interior painting of the churches was almost entirely confined to borders and decorative patterns scattered here and there and used with great effect4 ,in ,germany and ,england wall-painting was more used for the decoration of castles1 halls1 chambers1 and chapels2 but as a whole mural painting was of little importance at this time in comparison with its earlier days4 ,about ,a4,d4 #acej panel pictures began to be more numerous1 and from this time there are vague accounts of schools of painting at ,prague and ,cologne1 and a few remnants exist which prove that such works were executed in ,france and ,flanders2 but ,i shall pass over what is often called the ,transitional ,period1 by which we mean the time in which new influences were beginning to act1 and hereafter ,i will tell our story by giving accounts of the lives of separate painters2 for from about the middle of the thirteenth century it is possible to trace the history of painting through the study of individual artists4 ,illustration3 ,,fig4 #bg4--,,portrait ,,of ,,cimabue4 ,,giovanni ,,cimabue1 the first painter of whom ,i shall tell you1 was born in ,florence in #abdj4 ,he is sometimes called the ,father of ,modern ,painting1 because he was the first who restored that art to any degree of the beauty to which it had attained before the ,dark ,ages4 ,the ,cimabui were a noble family1 and ,giovanni was allowed to follow his own taste1 and became a painter2 he was also skilled in mosaic work1 and during the last years of his life held the office of master of the mosaic workers in the ,cathedral of ,pisa1 where some of his own mosaics still remain4 ,of his wall-paintings ,i shall say nothing except to tell you that the finest are in the ,upper ,church at ,assisi1 where one sees the first step in the development of the art of ,tuscany4 ,but ,i wish to tell the story of one of his panel pictures1 which is very interesting4 ,it is now in the ,rucellai ,chapel of the ,church of ,santa ,maria ,novella1 in ,florence1 and it is only just in me to say that if one of my readers walked through that church and did not know about this picture1 it is doubtful if he would stop to look at it--certainly he would not admire it4 ,the story is that when ,cimabue was about thirty years old he was busy in painting this picture of the ,madonna ,enthroned1 and he would not allow any one to see what he was doing4 ,it happened1 however1 that ,charles of ,anjou1 being on his way to ,naples1 stopped in ,florence1 where the nobles did everything in their power for his entertainment4 ,among other places they took him to the studio of ,cimabue1 who uncovered his picture for the first time4 ,many persons then flocked to see it1 and were so loud in their joyful expressions of admiration for it that the part of the city in which the studio was has since been called the ,borgo ,allegri1 or the joyous quarter4 ,when the picture was completed the day was celebrated as a festival2 a procession was formed2 bands of music played joyful airs2 the magistrates of ,florence honored the occasion with their presence2 and the picture was borne in triumph to the church4 ,cimabue must have been very happy at this great appreciation of his art1 and from that time he was famous in all ,italy4 ,illustration3 ,,fig4 #bh4--,,the ,,madonna ,,of ,,the ,,church ,,of ,,santa ,,maria ,,novella4 ,another madonna by this master is in the ,academy of ,florence1 and one attributed to him is in the ,louvre1 in ,paris4 ,cimabue died about #acjb1 and was buried in the ,church of ,santa ,maria del ,fiore1 or the ,cathedral of ,florence4 ,above his tomb these words were inscribed3 ,cimabue thought himself master of the field of painting4 ,while living1 he was so4 ,now he holds his place among the stars of heaven4 ,other artists who were important in this early time of the revival of painting were ,,andrea ,,tafi1 a mosaist of ,florence1 ,,margaritone ,,of ,,arezzo1 ,,guido ,,of ,,siena1 and of the same city ,,duccio1 the son of ,buoninsegna4 ,this last painter flourished from #abhb to #acbj2 his altar-piece for the ,cathedral of ,siena was also carried to its place in solemn procession1 with the sound of trumpet1 drum1 and bell4 ,,giotto ,,di ,,bondone was the next artist in whom we have an unusual interest4 ,he was born at ,del ,colle1 in the commune of ,vespignano1 probably about #abff1 though the date is usually given ten years later4 ,one of the best reasons for calling ,cimabue the ,father of ,painting is that he acted the part of a father to ,giotto1 who proved to be so great an artist that from his time painting made a rapid advance4 ,the story is that one day when ,cimabue rode in the valley of ,vespignano he saw a shepherd-boy who was drawing a portrait of one of his sheep on a flat rock1 by means of a pointed bit of slate for a pencil4 ,the sketch was so good that ,cimabue offered to take the boy to ,florence1 and teach him to paint4 ,the boy's father consented1 and henceforth the little ,giotto lived with ,cimabue1 who instructed him in painting1 and put him to study letters under ,brunetto ,latini1 who was also the teacher of the great poet1 ,dante4 ,illustration3 ,,fig4 #bi4--,,portrait ,,of ,,dante1 ,,painted ,,by ,,giotto4 ,the picture which we give here is from the earliest work by ,giotto of which we have any knowledge4 ,in it were the portraits of ,dante1 ,latini1 and several others4 ,this picture was painted on a wall of the ,podest at ,florence1 and when ,dante was exiled from that city his portrait was covered with whitewash2 in #ahda it was restored to the light1 having been hidden for centuries4 ,it is a precious memento of the friendship between the great artist and the divine poet1 who expressed his admiration of ,giotto in these lines3-- ,in painting ,cimabue fain had thought ,to lord the field2 now ,giotto has the cry1 ,so that the other's fame in shade is brought4 ,giotto did much work in ,florence2 he also1 about #acjj1 executed frescoes in the ,lower ,church at ,assisi2 from #acjc-acjf he painted his beautiful pictures in the ,cappella dell' ,arena1 at ,padua1 by which the genius of ,giotto is now most fully shown4 ,he worked at ,rimini also1 and about #accj was employed by ,king ,robert of ,naples1 who conferred many honors upon him1 and made him a member of his own household4 ,in #accd ,giotto was made the chief master of the cathedral works in ,florence1 as well as of the city fortifications and all architectural undertakings by the city authorities4 ,he held this high position but three years1 as he died on ,january #h1 #accg4 ,giotto was also a great architect1 as is well known from his tower in ,florence1 for which he made all the designs and a part of the working models1 while some of the sculptures and reliefs upon it prove that he was skilled in modelling and carving4 ,he worked in mosaics also1 and the famous ,navicella1 in the vestibule of ,st4 ,peter's at ,rome1 was originally made by him1 but has now been so much restored that it is doubtful if any part of what remains was done by ,giotto's hands4 ,illustration3 ,,fig4 #cj4--;,,giotto',s ,,campanile ,,and ,,the ,,duomo4 ,florence4 ,the works of ,giotto are too numerous to be mentioned here1 and his merits as an artist too important to be discussed in our limits2 but his advance in painting was so great that he deserved the great compliment of ,cennino1 who said that ,giotto had done or translated the art of painting from ,greek into ,latin4 ,i shall1 however1 tell you of one excellent thing that he did1 which was to make the representation of the crucifix far more refined and ,christ-like than it had ever been4 ,before his time every effort had been made to picture physical agony alone4 ,giotto gave a gentle face1 full of suffering1 it is true1 but also expressive of tenderness and resignation1 and it would not be easy to paint a better crucifix than those of this master4 ,in person ,giotto was so ugly that his admirers made jokes about it2 but he was witty and attractive in conversation1 and so modest that his friends were always glad to praise him while he lived1 and since his death his fame has been cherished by all who have written of him4 ,there are many anecdotes told of ,giotto4 ,one is that on a very hot day in ,naples1 ,king ,robert said to the painter1 ,giotto1 if ,i were you1 ,i would leave work1 and rest4 ,giotto quickly replied1 ,so would ,i1 sire1 if ,i were you4 ,when the same king asked him to paint a picture which would represent his kingdom1 ,giotto drew an ass bearing a saddle on which were a crown and sceptre1 while at the feet of the ass there was a new saddle with a shining new crown and sceptre1 at which the ass was eagerly smelling4 ,by this he intended to show that the ,neapolitans were so fickle that they were always looking for a new king4 ,there is a story which has been often repeated which says1 that in order to paint his crucifixes so well1 he persuaded a man to be bound to a cross for an hour as a model2 and when he had him there he stabbed him1 in order to see such agony as he wished to paint4 ,when the ,pope saw the picture he was so pleased with it that he wished to have it for his own chapel2 then ,giotto confessed what he had done1 and showed the body of the dead man4 ,the ,pope was so angry that he threatened the painter with the same death1 upon which ,giotto brushed the picture over so that it seemed to be destroyed4 ,then the ,pope so regretted the loss of the crucifix that he promised to pardon ,giotto if he would paint him another as good4 ,giotto exacted the promise in writing1 and then1 with a wet sponge1 removed the wash he had used1 and the picture was as good as before4 ,according to tradition all famous crucifixes were drawn from this picture ever after4 ,when ,boniface ,,viii4 sent a messenger to invite ,giotto to ,rome1 the messenger asked ,giotto to show him something of the art which had made him so famous4 ,giotto1 with a pencil1 by a single motion drew so perfect a circle that it was thought to be a miracle1 and this gave rise to a proverb still much used in ,italy3--,piu tondo che l',o di ,giotto1 or1 ,rounder than the ,o of ,giotto4 ,giotto had a wife and eight children1 of whom nothing is known but that his son ,francesco became a painter4 ,giotto died in #accg1 and was buried with great honors in the ,church of ,santa ,maria del ,fiore4 ,lorenzo de ,medici erected a monument to his memory4 ,the pupils and followers of ,giotto were very numerous1 and were called ,giotteschi2 among these ,,taddeo ,,gaddi1 and his son ,,agnolo1 are most famous3 others were ,,maso and ,,bernardo ,,di ,,daddo2 but ,i shall not speak in detail of these artists4 ,while ,giotto was making the art of ,florence famous1 there was an artist in ,siena who raised the school of that city to a place of great honor4 ,this was ,,simone ,,martini1 who lived from #abhc to #acdd1 and is often called ,,simone ,,memmi because he married a sister of another painter1 ,,lippo ,,memmi4 ,the most important works of ,simone which remain are at ,siena in the ,palazzo ,pubblico and in the ,lower ,church at ,assisi4 ,there is one beautiful work of his in the ,royal ,institution1 at ,liverpool1 which illustrates the text1 ,behold1 thy father and ,i have sought ,thee1 sorrowing4 ,while the ,papal court was at ,avignon1 in #acch1 ,simone removed to that city4 ,here he became the friend of ,petrarch and of ,laura1 and has been praised by this poet as ,giotto was by ,dante4 ,another eminent ,florentine artist was ,,andrea ,,orcagna1 as he is called1 though his real name was ,,andrea ,,arcagnuolo ,,di ,,cione4 ,he was born about #acbi1 and died about #acfh4 ,it has long been the custom to attribute to ,orcagna some of the most important frescoes in the ,campo ,santo at ,pisa2 but it is so doubtful whether he worked there that ,i shall not speak of them4 ,his father was a goldsmith1 and ,orcagna first studied his father's craft2 he was also an architect1 sculptor1 mosaist1 and poet1 as well as a painter4 ,he made an advance in color and in the painting of atmosphere that gives him high rank as a painter2 as a sculptor1 his tabernacle in the ,church of ,or ,san ,michele speaks his praise4 ,mr4 ,c4 ,c4 ,perkins thus describes it3 ,built of white marble in the ,gothic style1 enriched with every kind of ornament1 and storied with bas-reliefs illustrative of the ,madonna's history from her birth to her death1 it rises in stately beauty toward the roof of the church1 and1 whether considered from an architectural1 sculptural1 or symbolic point of view1 must excite the warmest admiration in all who can appreciate the perfect unity of conception through which its bas-reliefs1 statuettes1 busts1 intaglios1 mosaics1 and incrustations of pietre dure1 gilded glass1 and enamels are welded into a unique whole4 ,but perhaps it is as an architect that ,orcagna is most interesting to us1 for he it was who made the designs for the ,loggia de ,lanzi in ,florence4 ,this was built as a place for public assembly1 and the discussion of the topics of the day in rainy weather2 it received its name on account of its nearness to the ,german guard-house which was called that of the ,landsknechts 7in ,german71 or ,lanzi1 as it was given in ,italian4 ,orcagna probably died before the ,loggia was completed1 and his brother ,bernardo succeeded him as architect of the commune4 ,this ,loggia is one of the most interesting places in ,florence1 fully in sight of the ,palazzo ,signoria1 near the gallery of the ,uffizi1 and itself the storehouse of precious works of sculpture4 ,there were also in these early days of the fourteenth century schools of art at ,bologna and ,modena2 but we know so little of them in detail that ,i shall not attempt to give any account of them here1 but will pass to the early artists who may be said to belong to the true ,renaissance in ,italy4 ,,chapter ,,iii4 ,,painting ,,in ,,italy1 ,,from ,,the ,,beginning ,,of ,,the ,,renaissance ,,to ,,the ,,present ,,century4 ,the reawakening of ,art in ,italy which followed the darkness of the ,middle ,ages1 dates from about the beginning of the fifteenth century and is called the ,renaissance4 ,the ,italians have a method of reckoning the centuries which differs from ours4 ,thus we call #ahjj the first year of the nineteenth century1 but they call it the first of the eighteenth2 so the painters of what was to us the fifteenth century are called by ,italians the quattrocentisti1 or men of the fourteenth century1 and while to us the term cinquecento means the style of the sixteenth century1 to the ,italians the same century1 which begins with #aejj1 is the fifteenth century4 ,i shall use our own method of reckoning in my writing2 but this fact should be known to all who read or study art4 ,the first painter of whom ,i shall now speak is known to us as ,,fra ,,angelico4 ,his name was ,guido1 the son of ,pietro1 and he was born at ,vicchio in the province of ,mugello1 in the year #achg4 ,we know that his family was in such circumstances that the young ,guido could have led a life of ease2 but he early determined to become a preaching friar4 ,meantime1 even as a boy1 he showed his taste for art1 and there are six years in his life1 from the age of fourteen to twenty1 of which no one can tell the story4 ,however1 from what followed it is plain that during this time he must somewhere have devoted himself to the study of painting and to preparation for his life as a monk4 ,before he was fully twenty years old1 he entered the convent at ,fiesole1 and took the name of ,fra1 or ,brother ,giovanni2 soon after1 his elder brother joined him there1 and became ,fra ,benedetto4 ,later on our artist was called ,fra ,angelico1 and again ,il ,beato ,angelico1 and then1 according to ,italian custom1 the name of the town from which he came was added1 so that he was at last called ,il ,beato ,giovanni1 detto ,angelico1 da ,fiesole1 which means1 ,the ,blessed ,john1 called the ,angelic1 of ,fiesole4 ,the title ,il ,beato is usually conferred by the church1 but it was given to ,fra ,angelico by the people1 because of his saintly character and works4 ,it was in #adjg that ,fra ,angelico was admitted to the convent in ,fiesole1 and after seven years of peaceful life there he was obliged to flee with his companions to ,foligno4 ,it was at the time when three different popes claimed the authority over the ,church of ,rome1 and the city of ,florence declared itself in favor of ,alexander ,v42 but the monks of ,fiesole adhered to ,gregory ,,xii41 and for this reason were driven from their convent4 ,six years they dwelt at ,foligno2 then the plague broke out in the country about them1 and again they fled to ,cortona4 ,pictures painted by ,fra ,angelico at this time still remain in the churches of ,cortona4 ,after an absence of ten years the monks returned to ,fiesole1 where our artist passed the next eighteen years4 ,this was the richest period of his life3 his energy was untiring1 and his zeal both as an artist and as a priest burned with a steady fire4 ,his works were sought for far and wide1 and most of his easel-pictures were painted during this time4 ,fra ,angelico would never accept the money which was paid for his work2 it was given into the treasury of his convent2 neither did he accept any commission without the consent of the prior4 ,naturally1 the monk-artist executed works for the adornment of his own convent4 ,some of these have been sold and carried to other cities and countries1 and those which remain have been too much injured and too much restored to be considered important now4 ,illustration3 ,,fig4 #ca4--;,,fra ,,angelico4 ,from the representation of him in the fresco of the ,last ,judgment1 by ,fra ,bartolommeo1 in ,santa ,maria ,nuova1 ,florence4 ,he painted so many pictures during this second residence at ,fiesole1 not only for public places1 but for private citizens1 that ,vasari wrote3 ,this ,father painted so many pictures1 which are dispersed through the houses of the ,florentines1 that sometimes ,i am lost in wonder when ,i think how works so good and so many could1 though in the course of many years1 have been brought to perfection by one man alone4 ,in #adcf the great ,cosimo de ,medici insisted that the monks of ,fiesole should again leave their convent1 and remove to that of ,san ,marco1 in ,florence4 ,most unwillingly the brethren submitted1 and immediately ,cosimo set architects and builders to work to erect a new convent1 for the old one was in a ruinous state4 ,the new cloisters offered a noble field to the genius of ,fra ,angelico1 and he labored for their decoration with his whole soul2 though the rule of the order was so strict that the pictures in the cells could be seen only by the monks1 he put all his skill into them1 and labored as devotedly as if the whole world could see and praise them1 as indeed has since been done4 ,his pictures in this convent are so numerous that we must not describe them1 but will say that the ,crucifixion in the chapter-room is usually called his masterpiece4 ,it is nearly twenty-five feet square1 and1 besides the usual figures in this subject1 the ,saviour and the thieves1 with the executioners1 there are holy women1 the founders of various orders1 the patrons of the convent1 and companies of saints4 ,in the frame there are medallions with several saints and a ,sibyl1 each bearing an inscription from the prophecies relating to ,christ's death2 while below all1 ,st4 ,dominic1 the founder of the artist's order1 bears a genealogical tree with many portraits of those who had been eminent among his followers4 ,for this reason this picture has great historic value4 ,at last1 in #adde1 ,pope ,eugenius ,,iv41 who had dedicated the new convent of ,san ,marco and seen the works of ,angelico1 summoned him to ,rome4 ,it is said that the ,pope not only wished for some of his paintings1 but he also desired to honor ,angelico by giving him the archbishopric of ,florence2 but when this high position was offered him1 ,fra ,angelico would not accept of it3 he declared himself unequal to its duties1 and begged the ,pope to appoint ,fra ,antonino in his stead4 ,this request was granted1 and ,angelico went on with his work as before1 in all humility fulfilling his heaven-born mission to lead men to better lives through the sweet influence of his divine art4 ,the honor which had been tendered him was great--one which the noblest men were striving for--but if he realized this he did not regret his decision1 neither was he made bold or vain by the royal tribute which the ,pope had paid him4 ,from this time the most important works of ,fra ,angelico were done in the chapel of ,pope ,nicholas ,v41 in the ,vatican1 and in the chapel which he decorated in the ,cathedral of ,orvieto4 ,he worked there one summer1 and the work was continued by ,luca ,signorelli4 ,the remainder of his life was passed so quietly that little can be told of it4 ,it is not even known with certainty whether he ever returned to ,florence1 and by some strange fate the key to the chapel which he painted in the ,vatican was lost during two centuries1 and the pictures could only be seen by entering through a window4 ,thus it would seem that his last years were passed in the quiet work which he best loved4 ,illustration3 ,,fig4 #cb4--;,,an ,,angel4 ,in the ,uffizi1 ,florence4 ,by ,fra ,angelico4 ,when his final illness was upon him1 the brethren of ,santa ,maria ,sopra ,minerva1 where he resided1 gathered about him1 and chanted the ,salve ,regina4 ,he died on the #ahth of ,february1 #adee1 when sixty-seven years old4 ,his tombstone is in the church of ,santa ,maria ,sopra ,minerva1 in ,rome2 on it lies the figure of a ,dominican monk in marble4 ,pope ,nicholas ,v4 wrote his epitaph in ,latin4 ,the following translation is by ,professor ,norton3 ,not mine be the praise that ,i was a second ,apelles1 ,but that ,i gave all my gains to thine1 ,o ,christ6 ,one work is for the earth1 another for heaven4 ,the city1 the ,flower of ,tuscany1 bore me--,john4 ,in the ,convent of ,san ,marco in ,florence there are twenty-five pictures by this master2 in the ,academy of ,florence there are about sixty2 there are eleven in the chapel of ,nicholas ,v41 and still others in the ,vatican gallery4 ,the ,church of ,santa ,maria ,novella1 ,florence1 the ,cathedral of ,orvieto1 the ,church of ,st4 ,domenico in ,perugia1 and that of ,cortona1 are all rich in his works4 ,besides these a few exist in some of the principal ,european galleries2 but ,i love best to see them in ,san ,marco1 where he painted them for his brethren1 and where they seem most at home4 ,the chief merit of the pictures of ,fra ,angelico is the sweet and tender expression of the faces of his angels and saints1 or any beings who are holy and good2 he never succeeded in painting evil and sin in such a way as to terrify one2 his gentle nature did not permit him to represent that which it could not comprehend1 and the very spirit of purity seems to breathe through every picture4 ,two other ,florentine artists of the same era with ,fra ,angelico were ,,masolino1 whose real name was ,,panicale1 and ,,tommaso ,,guidi1 called ,,masaccio on account of his want of neatness4 ,the style of these two masters was much the same1 but ,masaccio became so much the greater that little is said of ,masolino4 ,the principal works of ,masaccio are a series of frescoes in the ,brancacci ,chapel in ,florence4 ,they represent ,the ,expulsion from ,paradise1 ,the ,tribute ,money1 ,peter ,baptizing1 ,peter ,curing the ,blind and ,lame1 ,the ,death of ,ananias1 ,simon ,magus1 and the ,resuscitation of the ,king's ,son4 ,there is a fresco by ,masolino in the same chapel2 it is ,the ,preaching of ,peter4 ,masaccio was in fact a remarkable painter4 ,some one has said that he seemed to hold ,giotto by one hand1 and reach forward to ,raphael with the other2 and considering the pictures which were painted before his time1 his works are as wonderful as ,raphael's are beautiful4 ,he died in #adbi4 ,,paolo ,,uccello 7#acif-adgi7 and ,,filippo ,,lippi 7#adab-adfi7 were also good painters1 and ,,sandro ,,botticelli 7#addg-aeae71 a pupil of ,filippo1 was called the best ,florentine painter of his time4 ,,fillipino ,,lippi 7#adfj-aeje7 was a pupil of ,botticelli and a very important artist4 ,,andrea ,,verrocchio1 ,,lorenzo ,,di ,,credi1 and ,,antonio ,,pollajuolo were all good painters of the ,florentine school of the last half of the fifteenth century4 ,of the same period was ,,domenico ,,ghirlandajo 7#addi-adid71 who ranks very high on account of his skill in the composition of his works and as a colorist4 ,he made his pictures very interesting also to those of his own time1 and to those of later days1 by introducing portraits of certain citizens of ,florence into pictures which he painted in the ,church of ,santa ,maria ,novella and other public places in the city4 ,he did not usually make them actors in the scene he represented1 but placed them in detached groups as if they were looking at the picture themselves4 ,while his scenes were laid in the streets known to us1 and his architecture was familiar1 he did not run into the fantastic or lose the picturesque effect which is always pleasing4 ,without being one of the greatest of the ,italian masters ,ghirlandajo was a very important painter4 ,he was also a teacher of the great ,michael ,angelo4 ,other prominent ,florentine painters of the close of the fifteenth century were ,,francisco ,,granacci 7#adgg-aedc71 ,,luca ,,signorelli 7#adda-aeba71 ,,benozzo ,,gozzoli 7#adbd-adhe71 and ,,cosimo ,,rosselli 7#adci-aejf74 ,some good painters worked in ,venice from the last half of the fourteenth century2 but ,i shall begin to speak of the ,venetian school with some account of the ,bellini4 ,the father of this family was ,,jacopo ,,bellini 7#acie-adgj71 and his sons were ,,gentile ,,bellini 7#adba-aejg7 and ,,giovanni ,,bellini 7#adbf-aeaf74 ,the sketch-book of the father is one of the treasures of the ,british ,museum4 ,it has #ii pages1 #ag by #ac inches in size1 and contains sketches of almost everything--still and animal life1 nature1 ancient sculpture1 buildings and human figures1 stories of the ,scriptures1 of mythology1 and of the lives of the saints are all illustrated in its sketches1 as well as hawking parties1 village scenes1 apes1 eagles1 dogs1 and cats4 ,in this book the excellence of his drawing is seen2 but so few of his works remain that we cannot judge of him as a colorist4 ,it is certain that he laid the foundation of the excellence of the ,venetian school1 which his son ,giovanni and the great ,titian carried to perfection4 ,the elder son1 ,gentile1 was a good artist1 and gained such a reputation by his pictures in the great council-chamber of ,venice1 that when1 in #adgi1 ,sultan ,mehemet1 the conqueror of ,constantinople1 sent to ,venice for a good painter1 the ,doge sent to him ,gentile ,bellini4 ,with him he sent two assistants1 and gave him honorable conduct in galleys belonging to the ,state4 ,in ,constantinople ,gentile was much honored1 and he painted the portraits of many remarkable people4 ,at length it happened that when he had finished a picture of the head of ,john the ,baptist in a charger1 and showed it to the ,sultan1 that ruler said that the neck was not well painted1 and when he saw that ,gentile did not agree with him he called a slave and had his head instantly struck off1 to prove to the artist what would be the true action of the muscles under such circumstances4 ,this act made ,gentile unwilling to remain near the ,sultan1 and after a year in his service he returned home4 ,mehemet1 at parting1 gave him many gifts1 and begged him to ask for whatever would best please him4 ,gentile asked but for a letter of praise to the ,doge and ,signoria of ,venice4 ,after his return to ,venice he worked much in company with his brother4 ,it is said that ,titian studied with ,gentile3 it is certain that he was always occupied with important commissions1 and worked until the day of his death1 when he was more than eighty years old4 ,illustration3 ,,fig4 #cc4--;,,christ4 ,by ,gio4 ,bellini4 ,but ,giovanni ,bellini was the greatest of his family1 and must stand as the founder of true ,venetian painting4 ,his works may be divided into two periods1 those that were done before1 and those after he learned the use of oil colors4 ,his masterpieces1 which can still be seen in the ,academy and the churches of ,venice1 were painted after he was sixty-five years old4 ,the works of ,giovanni ,bellini are numerous in ,venice1 and are also seen in the principal galleries of ,europe4 ,he did not paint a great variety of subjects1 neither was his imagination very poetical1 but there was a moral beauty in his figures2 he seems to have made humanity as elevated as it can be1 and to have stopped just on the line which separates earthly excellence from the heavenly4 ,he often painted the single figure of ,christ1 of which ,lbke says3 ,by grand nobleness of expression1 solemn bearing1 and an excellent arrangement of the drapery1 he reached a dignity which has rarely been surpassed4 ,near the close of his life he painted a few subjects which represent gay and festive scenes1 and are more youthful in spirit than the works of his earlier years4 ,the two brothers were buried side by side1 in the ,church of ,,ss4 ,giovanni e ,paolo1 in ,venice4 ,there were also good painters in ,padua1 ,ferrara1 and ,verona in the fifteenth century4 ,,andrea ,,mantegna1 of ,padua 7#adcj-aejf71 was a very important artist4 ,he spent the best part of his life in the service of the ,duke of ,mantua2 but his influence was felt in all ,italy1 for his marriage with the daughter of ,jacopo ,bellini brought him into relations with many artists4 ,his services were sought by various sovereigns1 whose offers he refused until ,pope ,innocent ,,viii4 summoned him to ,rome to paint a chapel in the ,vatican4 ,after two years there he returned to ,mantua1 where he died4 ,his pictures are in all large collections2 his finest works are madonnas at the ,louvre1 ,paris1 and in the ,church of ,st4 ,zeno at ,verona4 ,mantegna was a fine engraver also1 and his plates are now very valuable4 ,in the ,umbrian school ,pietro ,perugino 7#addf-aebd7 was a notable painter2 he was important on account of his own work1 and because he was the master of the great ,raphael4 ,his pictures were simple and devout in their spirit1 and brilliant in color2 in fact1 he is considered as the founder of the style which ,raphael perfected4 ,his works are in the principal galleries of ,europe1 and he had many followers of whom we have not space to speak4 ,,francisco ,,francia 7#adej-aeah7 was the founder of the school of ,bologna4 ,his true name was ,francisco di ,marco ,raibolini1 and he was a goldsmith of repute before he was a painter4 ,he was also master of the mint to the ,bentivoglio and to ,pope ,julius ,,ii4 at ,bologna4 ,it is not possible to say when he began to paint2 but his earliest known work is dated #adij or #adid1 and is in the ,gallery of ,bologna4 ,his pictures resemble those of ,perugino and ,raphael1 and it is said that he died of sorrow because he felt himself so inferior to the great painter of ,urbino4 ,raphael sent his ,st4 ,cecilia to ,francia1 and asked him to care for it and see it hung in its place2 he did so1 but did not live long after this4 ,it is well known that these two masters were good friends and corresponded1 but it is not certain that they ever met4 ,francia's pictures are numerous2 his portraits are excellent4 ,many of his works are still in ,bologna4 ,illustration3 ,,fig4 #cd4--,,madonna4 ,by ,perugino4 ,in the ,pitti ,gallery1 ,florence4 ,we come now to one of the most celebrated masters of ,italy1 ,,leonardo ,,da ,,vinci 7#adeb-aeai71 the head of the ,lombard or ,milanese school4 ,he was not the equal of the great masters1 ,michael ,angelo1 ,raphael1 and ,titian2 but he stands between them and the painters who preceded him or those of his own day4 ,in some respects1 however1 he was the most extraordinary man of his time4 ,his talents were many-sided2 for he was not only a great artist1 but also a fine scholar in mathematics and mechanics2 he wrote poetry and composed music1 and was with all this so attractive personally1 and so brilliant in his manner1 that he was a favorite wherever he went4 ,it is probable that this versatility prevented his being very great in any one thing1 while he was remarkable in many things4 ,when still very young ,leonardo showed his artistic talent4 ,the paper upon which he worked out his sums was frequently bordered with little pictures which he drew while thinking on his lessons1 and these sketches at last attracted his father's attention1 and he showed them to his friend ,andrea ,verrocchio1 an artist of ,florence1 who advised that the boy should become a painter4 ,accordingly1 in #adgj1 when eighteen years old1 ,leonardo was placed under the care of ,verrocchio1 who was like a kind father to his pupils3 he was not only a painter1 but also an architect and sculptor1 a musician and a geometer1 and he especially excelled in making exquisite cups of gold and silver1 crucifixes and statuettes such as were in great demand for the use of the priesthood in those days4 ,illustration3 ,,fig4 #ce4--,,leonardo ,,da ,,vinci4 ,from a drawing in red chalk by himself4 ,in the ,royal ,library1 ,turin4 ,pietro ,perugino was a fellow-pupil with ,leonardo1 and they two soon surpassed their master in painting1 and at last1 when ,verrocchio was painting a picture for the monks of ,vallambrosa1 and desired ,leonardo to execute an angel in it1 the work of his pupil was so much better than his own that the old painter desired to throw his brush aside forever4 ,the picture is now in the ,academy of ,florence1 and represents ,the ,baptism of ,christ4 ,with all his refinement and sweetness1 ,leonardo had a liking for the horrible4 ,it once happened that a countryman brought to his father a circular piece of wood cut from a fig-tree1 and desired to have it painted for a shield2 it was handed over to ,leonardo1 who collected in his room a number of lizards1 snakes1 bats1 hedgehogs1 and other frightful creatures1 and from these painted an unknown monster having certain characteristics of the horrid things he had about him4 ,the hideous creature was surrounded by fire1 and was breathing out flames4 ,when his father saw it he ran away in a fright1 and ,leonardo was greatly pleased at this4 ,the countryman received an ordinary shield1 and this ,rotello del ,fico 7or shield of fig-tree wood7 was sold to a merchant for one hundred ducats1 and again to the ,duke of ,milan for three times that sum4 ,this shield has now been lost for more than three centuries2 but another horror1 the ,medusa's ,head1 is in the ,uffizi ,gallery in ,florence1 and is a head surrounded by interlacing serpents1 the eyes being glassy and deathlike and the mouth most revolting in expression4 ,while in ,florence ,leonardo accomplished much1 but was at times diverted from his painting by his love of science1 sometimes making studies in astronomy and again in natural history and botany2 he also went much into society1 and lived extravagantly4 ,he had the power to remember faces that he had seen accidentally1 and could make fine portraits from memory2 he was also accustomed to invite to his house people from the lower classes2 he would amuse them while he sketched their faces1 making good portraits at times1 and again ridiculous caricatures4 ,he even went so far1 for the sake of his art1 as to accompany criminals to the place of execution1 in order to study their expressions4 ,after a time ,leonardo wished to secure some fixed income1 and wrote to the ,duke of ,milan1 ,ludovico ,sforza1 called ,il ,moro1 offering his services to that prince4 ,this resulted in his going to ,milan1 where he received a generous salary1 and became very popular with the ,duke and all the court1 both as a painter and as a gentleman4 ,the ,duke governed as the regent for his young nephew1 and gathered about him talented men for the benefit of the young prince4 ,he also led a gay life1 and his court was the scene of constant festivities4 ,leonardo's varied talents were very useful to the ,duke2 he could assist him in everything--by advice at his council1 by plans for adorning his city1 by music and poetry in his leisure hours1 and by painting the portraits of his favorites4 ,some of these last are now famous pictures--that of ,lucrezia ,crevelli is believed to be in the ,louvre at ,paris1 where it is called ,la ,belle ,ferronire4 ,the ,duke conferred a great honor on ,leonardo by choosing him to be the founder and director of an academy which he had long wished to establish4 ,it was called the ,academia ,leonardi ,vinci1 and had for its purpose the bringing together of distinguished artists and men of letters4 ,leonardo was appointed superintendent of all the ftes and entertainments given by the court1 and in this department he did some marvellous things4 ,he also superintended a great work in engineering which he brought to perfection1 to the wonder of all ,italy3 it was no less an undertaking than bringing the waters of the ,adda from ,mortisana to ,milan1 a distance of nearly two hundred miles4 ,in spite of all these occupations the artist found time to study anatomy and to write some valuable works4 ,at length ,il ,moro became the established duke1 and at his brilliant court ,leonardo led a most agreeable life2 but he was so occupied with many things that he painted comparatively few pictures4 ,illustration3 ,,fig4 #cf4--,,the ,,last ,,supper4 ,by ,leonardo da ,vinci4 ,at length the ,duke desired him to paint a picture of the ,last ,supper on the wall of the refectory in the ,convent of the ,madonna delle ,grazie4 ,this was his greatest work in ,milan and a wonderful masterpiece4 ,it was commenced about #adif1 and was finished in a very short time4 ,we must now judge of it from copies and engravings1 for it has been so injured as to give no satisfaction to one who sees it4 ,some good copies were made before it was thus ruined1 and numerous engravings make it familiar to all the world4 ,a copy in the ,royal ,academy1 ,london1 was made by one of ,leonardo's pupils1 and is the size of the original4 ,it is said that the prior of the convent complained to the ,duke of the length of time the artist was spending upon this picture2 when the ,duke questioned the painter he said that he was greatly troubled to find a face which pleased him for that of ,judas ,iscariot2 he added that he was willing to allow the prior to sit for this figure and thus hasten the work2 this answer pleased the ,duke and silenced the prior4 ,after a time misfortunes overtook the ,duke1 and ,leonardo was reduced to poverty2 finally ,il ,moro was imprisoned2 and in #aejj ,leonardo returned to ,florence1 where he was honorably received4 ,he was not happy here1 however1 for he was not the one important artist4 ,he had been absent nineteen years1 and great changes had taken place2 ,michael ,angelo and ,raphael were just becoming famous1 and they with other artists welcomed ,leonardo1 for his fame had reached them from ,milan4 ,however1 he painted some fine pictures at this time2 among them were the ,adoration of the ,kings1 now in the ,uffizi ,gallery1 and a portrait of ,ginevra ,benci1 also in the same gallery4 ,this lady must have been very beautiful2 ,ghirlandajo introduced her portrait into two of his frescoes4 ,but the most remarkable portrait was that known as ,mona ,lisa del ,giocondo1 which is in the ,louvre1 and is called by some critics the finest work of this master4 ,the lady was the wife of ,francesco del ,giocondo1 a lovely woman1 and some suppose that she was very dear to ,leonardo4 ,he worked upon it for four years1 and still thought it unfinished3 the face has a deep1 thoughtful expression--the eyelids are a little weary1 perhaps1 and through it all there is a suggestion of something not quite understood--a mystery3 the hands are graceful and of perfect form1 and the rocky background gives an unusual fascination to the whole picture4 ,leonardo must have loved the picture himself1 and it is not strange that he lavished more time upon it than he gave to the great picture of the ,last ,supper 7,fig4 #cg74 ,leonardo sold this picture to ,francis ,i4 for nine thousand dollars1 which was then an enormous sum1 though now one could scarcely fix a price upon it4 ,in #ahfj the ,emperor of ,russia paid twelve thousand dollars for a ,st4 ,sebastian by ,leonardo1 and in #ahfe a madonna by him was sold in ,paris for about sixteen thousand dollars4 ,of course his pictures are rarely sold2 but1 when they are1 great sums are given for them4 ,in #aejb ,csar ,borgia appointed ,leonardo his engineer and sent him to travel through ,central ,italy to inspect his fortresses2 but this usurper soon fled to ,spain1 and in #aejc our painter was again in ,florence4 ,in #aejd his father died4 ,from #aejg to #aeab ,leonardo was at the summit of his greatness4 ,louis ,,xii4 appointed him his painter1 and he labored for this monarch also to improve the water-works of ,milan4 ,for seven years he dwelt at ,milan1 making frequent journeys to ,florence4 ,but the political troubles of the time made ,lombardy an uncongenial home for any artist1 and ,leonardo1 with a few pupils1 went to ,florence and then on to ,rome4 ,pope ,leo ,x4 received him cordially enough1 and told him to work for the glory of ,god1 ,italy1 ,leo ,x41 and ,leonardo da ,vinci4 ,but ,leonardo was not happy in ,rome1 where ,michael ,angelo and ,raphael were in great favor1 and when ,francis ,i4 made his successes in ,italy in #aeae1 ,leonardo hastened to ,lombardy to meet him4 ,the new king of ,france restored him to the office to which ,louis ,,xii4 had appointed him1 and gave him an annual pension of seven hundred gold crowns4 ,illustration3 ,,fig4 #cg4--,,mona ,,lisa4--,,la ,,belle ,,joconde4 ,when ,francis returned to ,france he desired to cut out the wall on which the ,last ,supper was painted1 and carry it to his own country3 this proved to be impossible1 and it is much to be regretted1 as it is probable that if it could have been thus removed it would have been better preserved4 ,however1 not being able to take the artist's great work1 the king took ,leonardo himself1 together with his favorite pupils and friends and his devoted servant4 ,in ,france1 ,leonardo was treated with consideration4 ,he resided near ,amboise1 where he could mingle with the court4 ,it is said that1 old though he was1 he was so much admired that the courtiers imitated his dress and the cut of his beard and hair4 ,he was given the charge of all artistic matters in ,france1 and doubtless ,francis hoped that he would found an ,academy as he had done at ,milan4 ,but he seems to have left all his energy1 all desire for work1 on the ,italian side of the ,alps4 ,he made a few plans2 but he brought no great thing to pass1 and soon his health failed1 and he fell into a decline4 ,he gave great attention to religious matters1 received the sacrament1 and then made his will1 and put his worldly affairs in order4 ,the king was accustomed to visit him frequently1 and on the last day of his life1 when the sovereign entered the room1 ,leonardo desired to be raised up as a matter of respect to the king3 sitting1 he conversed of his sufferings1 and lamented that he had done so little for ,god and man4 ,just then he was seized with an attack of pain--the king rose to support him1 and thus1 in the arms of ,francis1 the great master breathed his last4 ,this has sometimes been doubted2 but the modern ,french critics agree with the ancient writers who give this account of his end4 ,he was buried in the ,church of ,st4 ,florentin at ,amboise1 and it is not known that any monument was erected over him4 ,in #ahjh the church was destroyed2 in #ahfc ,arsine ,houssaye1 with others1 made a search for the grave of ,leonardo1 and it is believed that his remains were found4 ,in #ahgc a noble monument was erected in ,milan to the memory of ,da ,vinci4 ,it is near the entrance to the ,arcade of ,victor ,emmanuel3 the statue of the master stands on a high pedestal in a thoughtful attitude1 the head bowed down and the arms crossed on the breast4 ,below are other statues and rich bas-reliefs1 and one inscription speaks of him as the ,renewer of the ,arts and ,sciences4 ,many of his writings are in the libraries of ,europe in manuscript form3 his best known work is the ,trattato della ,pittura1 and has been translated into ,english4 ,as an engineer his canal of ,mortesana was enough to give him fame2 as an artist he may be called the ,poet of ,painters1 and1 if those who followed him surpassed him1 it should be remembered that it is easier to advance in a path once opened than to discover a new path4 ,personally he was much beloved1 and1 though he lived when morals were at a low estimate1 he led a proper and reputable life4 ,his pictures were pure in their spirit1 and he seemed only to desire the progress of art and science1 and it is a pleasure to read and learn of him1 as it is to see his works4 ,other good artists of the ,lombard school in the fifteenth century were ,,bernardino ,,luini 7about #adfj-aecj71 who was the best pupil of ,leonardo1 ,,giovanni ,,antonio ,,beltraffio 7#adfg-aeaf71 ,,gaudenzio ,,farrari 7#adhd-aedi71 ,,ambrogio ,,borgognone 7works dated about #aejj71 and ,,andrea ,,solario1 whose age is not known4 ,we return now to the ,florentine school at a time when the most remarkable period of its existence was about to begin4 ,we shall speak first of ,,fra ,,bartolommeo or ,,baccio ,,della ,,porta1 also called ,,il ,,frate 7#adfi-aeag74 ,he was born at ,savignano1 and studied at ,florence under ,cosimo ,rosselli1 but was much influenced by the works of ,leonardo da ,vinci4 ,this painter became famous for the beauty of his pictures of the ,madonna1 and at the time when the great ,savonarola went to ,florence ,bartolommeo was employed in the ,convent of ,san ,marco1 where the preacher lived4 ,the artist became the devoted friend of the preacher1 and1 when the latter was seized1 tortured1 and burned1 ,bartolommeo became a friar1 and left his pictures to be finished by his pupil ,albertinelli4 ,for four years he lived the most austere life1 and did not touch his brush3 then his superior commanded him to resume his art2 but the painter had no interest in it4 ,about this time ,raphael sought him out1 and became his friend2 he also instructed the monk in perspective1 and in turn ,raphael learned from him1 for ,fra ,bartolommeo was the first artist who used lay figures in arranging his draperies2 he also told ,raphael some secrets of colors4 ,about #aeac ,bartolommeo went to ,rome1 and after his return to his convent he began what promised to be a wonderful artistic career2 but he only lived four years more1 and the amount of his work was so small that his pictures are now rare4 ,his madonnas1 saints1 and angels are holy in their effect2 his representations of architecture are grand1 and while his works are not strong or powerful1 they give much pleasure to those who see them4 ,,michael ,,angelo ,,buonarroti was born at the ,castle of ,caprese in #adge4 ,his father1 who was of a noble family of ,florence1 was then governor of ,caprese and ,chiusi1 and1 when the ,buonarroti household returned to ,florence1 the little ,angelo was left with his nurse on one of his father's estates at ,settignano4 ,the father and husband of his nurse were stone-masons1 and thus in infancy the future artist was in the midst of blocks of stone and marble and the implements which he later used with so much skill4 ,for many years rude sketches were shown upon the walls of the nurse's house made by her baby charge1 and he afterward said that he imbibed a love for marble with his earliest food4 ,illustration3 ,,fig4 #ch4--,,portrait ,,of ,,michael ,,angelo ,,buonarroti4 ,at the proper age ,angelo was taken to ,florence and placed in school2 but he spent his time mostly in drawing1 and having made the acquaintance of ,francesco ,granacci1 at that time a pupil with ,ghirlandajo1 he borrowed from him designs and materials by which to carry on his beloved pursuits4 ,michael ,angelo's desire to become an artist was violently opposed by his father and his uncles1 for they desired him to be a silk and woollen merchant1 and sustain the commercial reputation of the family4 ,but so determined was he that finally his father yielded1 and in #adhh placed him in the studio of ,ghirlandajo4 ,here the boy of thirteen worked with great diligence2 he learned how to prepare colors and to lay the groundwork of frescoes1 and he was set to copy drawings4 ,very soon he wearied of this1 and began to make original designs after his own ideas4 ,at one time he corrected a drawing of his master's3 when he saw this1 sixty years later1 he said1 ,i almost think that ,i knew more of art in my youth than ,i do in my old age4 ,when ,michael ,angelo went to ,ghirlandajo1 that master was employed on the restoration of the choir of ,santa ,maria ,novella1 so that the boy came at once into the midst of important work4 ,one day he drew a picture of the scaffolding and all that belonged to it1 with the painters at work thereon3 when his master saw it he exclaimed1 ,he already understands more than ,i do myself4 ,this excellence in the scholar roused the jealousy of the master1 as well as of his other pupils1 and it was a relief to ,michael ,angelo when1 in answer to a request from ,lorenzo de ,medici1 he and ,francesco ,granacci were named by ,ghirlandajo as his two most promising scholars1 and were then sent to the ,academy which the duke had established4 ,the art treasures which ,lorenzo gave for the use of the students were arranged in the gardens of ,san ,marco1 and here1 under the instruction of the old ,bertoldo1 ,angelo forgot painting in his enthusiasm for sculpture4 ,he first copied the face of a faun2 but he changed it somewhat1 and opened the mouth so that the teeth could be seen4 ,when ,lorenzo visited the garden he praised the work1 but said1 ,you have made your faun so old1 and yet you have left him all his teeth2 you should have known that at such an advanced age there are generally some wanting4 ,the next time he came there was a gap in the teeth1 and so well done that he was delighted4 ,this work is now in the ,uffizi ,gallery4 ,lorenzo now sent for the father of ,angelo1 and asked that the son might live in the ,medici palace under his own care4 ,somewhat reluctantly the father consented1 and the duke gave him an office in the custom-house4 ,from this time for three years1 ,angelo sat daily at the duke's table1 and was treated as one of his own family2 he was properly clothed1 and had an allowance of five ducats a month for pocket-money4 ,it was the custom with ,lorenzo to give an entertainment every day2 he took the head of the table1 and whoever came first had a seat next him4 ,it often happened that ,michael ,angelo had this place4 ,lorenzo was the head of ,florence1 and ,florence was the head of art1 poetry1 and all scholarly thought4 ,thus1 in the home of the ,medici1 the young artist heard learned talk upon all subjects of interest2 he saw there all the celebrated men who lived in the city or visited it1 and his life so near ,lorenzo1 for a thoughtful youth1 as he was1 amounted to an education4 ,the society of ,florence at this time was not of a high moral tone1 and in the year in which ,michael ,angelo entered the palace1 a monk called ,savonarola came to ,florence to preach against the customs and the crimes of the city4 ,michael ,angelo was much affected by this1 and throughout his long life remembered ,savonarola with true respect and affection1 and his brother1 ,leonardo ,buonarroti1 was so far influenced that he withdrew from the world and became a ,dominican monk4 ,michael ,angelo's diligence was great2 he not only studied sculpture1 but he found time to copy some of the fine old frescoes in the ,church of the ,carmine4 ,he gave great attention to the study of anatomy1 and he was known throughout the city for his talents1 and for his pride and bad temper4 ,he held himself aloof from his fellow-pupils1 and one day1 in a quarrel with ,pitro ,torrigiano1 the latter gave ,angelo a blow and crushed his nose so badly that he was disfigured for life4 ,torrigiano was banished for this offence and went to ,england2 he ended his life in a ,spanish prison4 ,in the spring of #adib ,lorenzo de ,medici died4 ,michael ,angelo was deeply grieved at the loss of his best friend2 he left the ,medici palace1 and opened a studio in his father's house1 where he worked diligently for two years1 making a statue of ,hercules and two madonnas4 ,after two years there came a great snow-storm1 and ,piero de ,medici sent for the artist to make a snow statue in his court-yard4 ,he also invited ,michael ,angelo to live again in the palace1 and the invitation was accepted2 but all was so changed there that he embraced the first opportunity to leave1 and during a political disturbance fled from the city with two friends1 and made his way to ,venice4 ,there he met the noble ,aldovrandi of ,bologna1 who invited the sculptor to his home1 where he remained about a year1 and then returned to his studio in ,florence4 ,soon after this he made a beautiful1 sleeping ,cupid1 and when the young ,lorenzo de ,medici saw it he advised ,michael ,angelo to bury it in the ground for a season1 and thus make it look like an antique marble2 after this was done1 ,lorenzo sent it to ,rome and sold it to the ,cardinal ,riario1 and gave the sculptor thirty ducats4 ,in some way the truth of the matter reached the ears of the ,cardinal1 who sent his agent to ,florence to find the artist4 ,when ,michael ,angelo heard that two hundred ducats had been paid for his ,cupid1 he knew that he had been deceived4 ,the ,cardinal's agent invited him to go to ,rome1 and he gladly went4 ,the oldest existing writing from the hand of ,michael ,angelo is the letter which he wrote to ,lorenzo to inform him of his arrival in ,rome4 ,he was then twenty-one years old1 and spoke with joy of all the beautiful things he had seen4 ,not long after he reached ,rome he made the statue of the ,drunken ,bacchus1 now in the ,uffizi ,gallery1 and then the ,virgin ,mary sitting near the place of the cross and holding the body of the dead ,christ4 ,the art-term for this subject is ,la ,piet4 ,from the time that ,michael ,angelo made this beautiful work he was the first sculptor of the world1 though he was but twenty-four years old4 ,the ,piet was placed in ,st4 ,peter's ,church1 where it still remains4 ,the next year he returned to ,florence4 ,he was occupied with both painting and sculpture1 and was soon employed on his ,david1 one of his greatest works4 ,this statue weighed eighteen thousand pounds1 and its removal from the studio in which it was made to the place where it was to stand1 next the gate of the ,palazzo ,vecchio1 was a difficult undertaking4 ,it was at last put in place on ,may #ah1 #aejd2 there it remained until a few years ago1 when1 on account of its crumbling from the effect of the weather1 it was removed to the ,academy of ,fine ,arts by means of a railroad built for the purpose4 ,about this time a rivalry sprang up between ,michael ,angelo and ,leonardo da ,vinci4 ,they were very unlike in their characters and mode of life4 ,michael ,angelo was bitter1 ironical1 and liked to be alone2 ,leonardo loved to be gay and to see the world2 ,michael ,angelo lived so that when he was old he said1 ,rich as ,i am1 ,i have always lived like a poor man2 ,leonardo enjoyed luxury1 and kept a fine house1 with horses and servants4 ,they had entered into a competition which was likely to result in serious trouble1 when ,pope ,julius ,,ii4 summoned ,michael ,angelo to ,rome4 ,the ,pope gave him an order to build him a splendid tomb2 but the enemies of the sculptor made trouble for him1 and one morning he was refused admission to the ,pope's palace4 ,he then left ,rome1 sending this letter to the ,pope3 ,most ,holy ,father1 ,i was this morning driven from the palace by the order of your ,holiness4 ,if you require me in future you can seek me elsewhere than at ,rome4 ,then he went to ,florence1 and the ,pope sent for him again and again2 but he did not go4 ,meantime he finished his design1 and received the commission that he and ,leonardo had striven for1 which was to decorate the hall of the ,grand ,council with pictures4 ,at last1 in #aejf1 the ,pope was in ,bologna1 and again sent for ,michael ,angelo4 ,he went1 and was forgiven for his offence1 and received an order for a colossal statue of the ,pope in bronze4 ,when this was finished in #aejh1 and put before the ,church of ,st4 ,petronio1 ,michael ,angelo returned to ,florence4 ,he had not made friends in ,bologna2 his forbidding manner did not encourage others to associate with him2 but we now know from his letters that he had great trials4 ,his family was poor1 and all relied on him2 indeed1 his life was full of care and sadness4 ,in #aejh he was again summoned to ,rome by the ,pope1 who insisted that he should paint the ceiling of the ,sistine ,chapel1 in the ,vatican4 ,michael ,angelo did not wish to do this1 as he had done no great painting4 ,it proved to be one of his most famous works2 but he had a great deal of trouble in it4 ,on one occasion the ,pope threatened to throw the artist from the scaffolding4 ,the ,pope complained also that the pictures looked poor2 to this the artist replied3 ,they are only poor people whom ,i have painted there1 and did not wear gold on their garments4 ,his subjects were from the ,bible4 ,when the artist would have a leave of absence to go to ,florence1 the ,pope got so angry that he struck him2 but1 in spite of all1 this great painting was finished in #aeab4 ,grimm1 in his life of ,michael ,angelo1 says3 ,it needed the meeting of these two men2 in the one such perseverance in requiring1 and in the other such power of fulfilling1 to produce this monument of human art4 ,illustration3 ,,fig4 #ci4--,,the ,,prophet ,,jeremiah4 ,by ,m4 ,angelo4 ,from the ,sistine ,chapel4 ,it is impossible here to follow1 step by step1 the life and works of this master4 ,among the other great things which he did are the tomb of ,julius ,,ii4 in the ,church of ,s4 ,pietro in ,vincoli1 in ,rome1 of which the famous statue of ,moses makes a part 7,fig4 #dj74 ,illustration3 ,,fig4 #dj4--,,statue ,,of ,,moses4 ,by ,m4 ,angelo4 ,he made the statues in the ,medici ,chapel in the ,church of ,san ,lorenzo1 in ,florence1 the painting of the ,last ,judgment on a wall of the ,sistine ,chapel1 and many works as an architect2 for he was called upon to attend to fortifications both in ,florence and ,rome1 and at last1 as his greatest work of this sort1 he was the architect of ,st4 ,peter's at ,rome4 ,many different artists had had a share in this work2 but as it now is ,michael ,angelo may be counted as its real architect4 ,his works are numerous and only a small part of them is here mentioned2 but ,i have spoken of those by which he is most remembered4 ,his life1 too1 was a stormy one for many reasons that we have not space to tell4 ,while he lived there were wars and great changes in ,italy2 he served also under nine popes1 and during his life thirteen men occupied the papal chair4 ,besides being great as a painter1 an architect1 and a sculptor1 he was a poet1 and wrote sonnets well worthy of such a genius as his4 ,his whole life was so serious and sad that it gives one joy to know that in his old age he formed an intimate friendship with ,vittoria ,colonna1 a wonderful woman1 who made a sweet return to him for all the tender devotion which he lavished upon her4 ,italians associate the name of ,michael ,angelo with those of the divine poet ,dante and the painter ,raphael1 and these three are spoken of as the three greatest men of their country in what are called the modern days4 ,michael ,angelo died at ,rome in #aefd1 when eighty-nine years old4 ,he desired to be buried in ,florence2 but his friends feared to let this be known lest the ,pope should forbid his removal4 ,he was therefore buried in the ,church of the ,holy ,apostles2 but his nephew1 ,leonardo ,buonarroti1 conveyed his remains to ,florence secretly1 disguised as a bale of merchandise4 ,at ,florence1 on a ,sunday night1 his body was borne to ,santa ,croce1 in a torchlight procession1 and followed by many thousands of citizens4 ,there his friends once more gazed upon the face which had not been seen in ,florence for thirty years2 he looked as if quietly sleeping4 ,some days later a splendid memorial service was held in ,san ,lorenzo1 attended by all the court1 the artists1 scholars1 and eminent men of the city4 ,an oration was pronounced2 rare statues and paintings were collected in the church2 all the shops of the city were closed2 and the squares were filled with people4 ,above his grave in ,santa ,croce1 where he lies near ,dante1 ,machiavelli1 ,galileo1 and many other great men1 the ,duke and ,leonardo ,buonarroti erected a monument4 ,it has statues of ,painting1 ,sculpture1 and ,architecture1 and a bust of the great man who sleeps beneath4 ,in the court of the ,uffizi his statue stands together with those of other great ,florentines4 ,his house in the ,ghibelline ,street now belongs to the city of ,florence1 and contains many treasured mementoes of his life and works2 it is open to all who wish to visit it4 ,in #ahge a grand festival was held in ,florence to celebrate the four hundredth anniversary of his birth4 ,the ceremonies were very impressive1 and at that time some documents which related to his life1 and had never been opened1 were1 by command of ,victor ,emmanuel1 given to proper persons to be examined4 ,thus it is that the great deeds of great men live on and on1 through all time1 and it is a joy to know that though the fourscore and nine years of the life of this artist had much of care and sorrow in them1 his name and memory are still cherished1 and must continue to be1 while from his life many lessons may be drawn to benefit and encourage others--lessons which we cannot here write out2 but they teach patience1 industry1 and faithfulness to duty1 while they also warn us to avoid the bitterness and roughness which are blemishes on the memory of this great1 good man4 ,,daniele ,,de ,,volterra 7#aeji-aeff7 was the best scholar of ,michael ,angelo4 ,his principal pictures are the ,descent from the ,cross1 in the ,church of ,trinit di ,monti1 in ,rome1 and the ,massacre of the ,innocents1 in the ,uffizi ,gallery2 both are celebrated works4 ,the next important ,florentine painter was ,,andrea ,,del ,,sarto 7#adhh-aecj74 ,his family name was ,vannucchi2 but because his father was a tailor1 the ,italian term for one of his trade1 un sarto1 came to be used for the son4 ,early in life ,andrea was a goldsmith1 as were so many artists2 but1 when he was able to study painting under ,pietro di ,cosimo1 he became devoted to it1 and soon developed his own style1 which was very soft and pleasing4 ,his pictures cannot be called great works of art1 but they are favorites with a large number of people4 ,he succeeded in fresco-painting1 and decorated several buildings in ,florence1 among them the ,scalzo1 which was a place where the ,barefooted ,friars held their meetings1 and was named from them1 as they are called ,scalzi4 ,these frescoes are now much injured2 but they are thought his best works of this kind4 ,probably ,andrea del ,sarto would have come to be a better painter if he had been a happier man4 ,his wife1 of whom he was very fond1 was a mean1 selfish woman who wished only to make a great show1 and did not value her husband's talents except for the money which they brought him4 ,she even influenced him to desert his parents1 to whom he had ever been a dutiful son4 ,about #aeah ,francis ,i41 king of ,france1 invited ,andrea to ,paris to execute some works for him4 ,the painter went1 and was well established there and very popular1 when his wife insisted that he should return to ,florence4 ,francis ,i4 was very unwilling to spare him1 but ,andrea dared not refuse to go to his wife2 so he solemnly took an oath to return to ,paris and bring his wife1 so that he could remain as long as pleased the king1 and then that sovereign consented4 ,francis also gave the artist a large sum of money to buy for him all sorts of beautiful objects4 ,when ,andrea reached ,florence his wife refused to go to ,france1 and persuaded him to give her the king's money4 ,she soon spent it1 and ,andrea1 who lived ten years more1 was very unhappy1 while the king never forgave him1 and to this day this wretched story must be told1 and continues the remembrance of his dishonesty4 ,after all he had sacrificed for his wife1 when he became very ill1 in #aecj1 of some contagious disease1 she deserted him4 ,he died alone1 and with no prayer or funeral was buried in the ,convent of the ,nunziata1 where he had painted some of his frescoes4 ,illustration3 ,,fig4 #da4--,,the ,,madonna ,,del ,,sacco4 ,by ,andrea del ,sarto4 ,his pictures are very numerous2 they are correct in drawing1 very softly finished1 and have a peculiar gray tone of color4 ,he painted a great number of ,holy ,families1 one of which is called the ,madonna del ,sacco1 because ,st4 ,joseph is leaning on a sack 7,fig4 #da74 ,this is in the convent where he is buried4 ,his best work is called the ,madonna di ,san ,francesco and hangs in the tribune of the ,uffizi ,gallery4 ,this is a most honorable place1 for near it are pictures by ,michael ,angelo1 ,raphael1 ,titian1 and other great painters1 as well as some very celebrated statues1 such as the ,venus de ,medici and the ,dancing ,faun4 ,andrea del ,sarto's pictures of the ,madonna and ,child are almost numberless2 they are sweet1 attractive works1 as are also his ,st4 ,barbara1 ,st4 ,agnes1 and others of his single figures4 ,we will now leave the ,florentine school of the sixteenth century1 and speak of the great master of the ,roman school1 ,,raphael ,,sanzio1 or ,,santi 7#adhc-aebj71 who was born at ,urbino on ,good ,friday4 ,his father was a painter1 and ,raphael showed his taste for art very early in life4 ,both his parents died while he was still a child1 and though he must have learned something from seeing his father and other painters at their work1 we say that ,perugino was his first master1 for he was but twelve years old when he entered the studio of that painter in ,perugia4 ,here he remained more than eight years1 and about the time of leaving painted the very celebrated picture called ,lo ,sposalizio1 or the ,marriage of the ,virgin1 now in the ,brera at ,milan4 ,this picture is famous the world over1 and is very important in the life of the painter1 because it shows the highest point he reached under ,perugino1 or during what is called his first manner in painting4 ,before this he had executed a large number of beautiful pictures1 among which was the so-called ,staffa ,madonna4 ,this is a circular picture and represents the ,virgin walking in a springtime landscape4 ,it remained in the ,staffa ,palace in ,perugia three hundred and sixty-eight years1 and in #ahga was sold to the ,emperor of ,russia for seventy thousand dollars4 ,in #aejd ,raphael returned to ,urbino1 where he became the favorite of the court1 and was much employed by the ducal family4 ,to this time belong the ,st4 ,george ,slaying the ,dragon and the ,st4 ,michael ,attacking ,satan1 now in the gallery of the ,louvre4 ,but the young artist soon grew weary of the narrowness of his life1 and went to ,florence1 where1 amid the treasures of art with which that city was crowded1 he felt as if he was in an enchanted land4 ,it is worth while to recount the wonderful things he saw2 they were the cathedral with the dome of ,brunelleschi1 the tower of ,giotto1 the marbles and bronzes of ,donatello1 the baptistery gates of ,ghiberti1 the pictures of ,masaccio1 ,ghirlandajo1 ,fra ,angelico1 and many other older masters1 while ,michael ,angelo and ,leonardo were surprising themselves and all others with their beautiful works4 ,at this time the second manner of ,raphael begun4 ,during his first winter here he painted the so-called ,madonna della ,gran ,duca1 now in the ,pitti ,gallery1 and thus named because the ,grand ,duke of ,tuscany1 ,ferdinand ,,iii41 carried it with him on all his journeys1 and said his prayers before it at morning and evening4 ,he made a visit to ,urbino in #aeje1 and wherever he was he worked continually1 and finished a great number of pictures1 which as yet were of religious subjects with few and unimportant exceptions4 ,illustration3 ,,fig4 #db4--,,portrait ,,of ,,raphael4 ,painted by ,himself4 ,when he returned to ,florence in #aejf1 the cartoon of ,leonardo da ,vinci's ,battle of the ,standard and ,michael ,angelo's ,bathing ,soldiers revealed a new world of art to ,raphael4 ,he saw that heroic1 exciting scenes could be represented by painting1 and that vigor and passion could speak from the canvas as powerfully as ,christian love and resignation4 ,still he did not attempt any new thing immediately4 ,in ,florence he moved in the best circles4 ,he received orders for some portraits of nobles and wealthy men1 as well as for madonnas and ,holy ,families4 ,before long he visited ,bologna1 and went again to ,urbino1 which had become a very important city under the reign of ,duke ,guidobaldo4 ,the king of ,england1 ,henry ,,viii41 had sent to this duke the decoration of the ,order of the ,garter4 ,in return for this honor1 the duke sent the king rich gifts1 among which was a picture of ,st4 ,george and the ,dragon by ,raphael4 ,while at ,urbino1 at this time1 he painted his first classic subject1 the ,three ,graces4 ,soon after1 he returned the third time to ,florence1 and now held much intercourse with ,fra ,bartolommeo1 who gave the younger artist valuable instruction as to his color and drapery4 ,in #aejh1 among a great number of pictures he painted the madonna which is called ,la ,belle ,jardinire1 and is now one of the treasures of the ,louvre4 ,the ,virgin is pictured in the midst of a flowery landscape1 and it has been said that a beautiful flower-girl to whom ,raphael was attached was his model for the picture4 ,this picture is also a landmark in the history of ,raphael1 for it shows the perfection of his second manner1 and the change that had come over him from his ,florentine experience and associations4 ,his earlier pictures had been full of a sweet1 unearthly feeling1 and a color which could be called spiritual was spread over them2 now his madonnas were like beautiful1 earthly mothers1 his colors were deep and rich1 and his landscapes were often replaced by architectural backgrounds which gave a stately air where all before had been simplicity4 ,his skill in grouping1 in color1 and in drapery was now marvellous1 and when in #aejh the ,pope1 who had seen some of his works1 summoned him to ,rome1 he went1 fully prepared for the great future which was before him1 and now began his third1 or ,roman manner of painting4 ,this pope was ,julius ,,ii41 who held a magnificent court and was ambitious for glory in every department of life--as a temporal as well as a spiritual ruler1 and as a patron of art and letters as well as in his office of the ,protector of the ,holy ,church4 ,he had vast designs for the adornment of ,rome1 and immediately employed ,raphael in the decoration of the first of the ,stanze1 or halls of the ,vatican1 four of which he ornamented with magnificent frescoes before his death4 ,he also executed wall-paintings in the ,chigi ,palace1 and in a chapel of the ,church of ,santa ,maria della ,pace4 ,with the exception of a short visit to ,florence1 ,raphael passed the remainder of his life in ,rome4 ,the amount of work which he did as an architect1 sculptor1 and painter was marvellous1 and would require the space of a volume to follow it1 and name all his achievements1 step by step1 so ,i shall only tell you of some of his best-known works and those which are most often mentioned4 ,while he was working upon the halls of the ,vatican ,julius ,,ii4 died4 ,he was succeeded by ,leo ,x41 who also was a generous patron to ,raphael1 who thus suffered no loss of occupation from the change of popes4 ,the artist became very popular and rich2 he had many pupils1 and was assisted by them in his great frescoes1 not only in the ,vatican1 but also in the ,farnesina ,villa or ,chigi ,palace4 ,raphael had the power to attach men to him with devoted affection1 and his pupils gave him personal service gladly2 he was often seen in the street with numbers of them in attendance1 just as the nobles were followed by their squires and pages4 ,he built himself a house in a quarter of the city called the ,borgo1 not far from the ,church of ,st4 ,peter's1 and during the remainder of his life was attended by prosperity and success4 ,one of the important works which he did for ,leo ,x4 was the making of cartoons1 or designs to be executed in tapestry for the decoration of the ,sistine ,chapel1 where ,michael ,angelo had painted his great frescoes4 ,the ,pope ordered these tapestries to be woven in the looms of ,flanders1 from the richest materials1 and a quantity of gold thread was used in them4 ,they were completed and sent to ,rome in #aeai1 and were exhibited to the people the day after ,christmas1 when all the city flocked to see them4 ,in #aebg1 when the ,constable de ,bourbon allowed the ,french soldiers to sack ,rome1 these tapestries were carried away4 ,in #aeec they were restored2 but one was missing1 and it is believed that it had been destroyed for the sake of the gold thread which was in it4 ,again1 in #agih1 the ,french carried them away and sold them to a ,jew in ,leghorn1 who burned one of the pieces2 but his gain in gold was so little that he preserved the others1 and ,pius ,,vii4 bought them and restored them to the ,vatican4 ,the cartoons1 however1 are far more important than the tapestries1 because they are the work of ,raphael himself4 ,the weavers at ,arras tossed them aside after using them1 and some were torn2 but a century later the artist ,rubens learned that they existed1 and advised ,king ,charles ,i4 of ,england to buy them4 ,this he did1 and thus the cartoons met with as many ups and downs as the tapestries had had4 ,when they reached ,england they were in strips2 the workmen had cut them for their convenience4 ,after the king was executed ,cromwell bought the cartoons for three hundred pounds4 ,when ,charles ,,ii4 was king and in great need of money he was sorely tempted to sell them to ,louis ,,xiv41 who coveted them1 and wished to add them to the treasures of ,france2 but ,lord ,danby persuaded ,charles to keep them4 ,in #afih they were barely saved from fire at ,whitehall1 and finally1 by command of ,william ,,iii41 they were properly repaired and a room was built at ,hampton ,court to receive them1 by the architect1 ,sir ,christopher ,wren4 ,at present they are in the ,south ,kensington ,museum1 ,london4 ,of the original eleven only seven remain4 ,illustration3 ,,fig4 #dc4--,,the ,,sistine ,,madonna4 ,both ,henry ,,viii4 and ,francis ,i4 had received presents of pictures by ,raphael3 we have told of the occasion when the ,st4 ,george was sent to ,england4 ,the ,archangel ,michael and the ,large ,holy ,family of the ,louvre were given to ,francis ,i4 by ,lorenzo de ,medici1 who sent them overland on mules to the ,palace of ,fontainebleau4 ,francis was so charmed with these works that he presented ,raphael so large a sum that he was unwilling to accept it without sending the king still other pictures2 so he sent the sovereign another painting1 and to the king's sister1 ,queen ,margaret of ,navarre1 he gave a picture of ,st4 ,margaret overcoming the dragon4 ,then ,francis gave ,raphael many thanks and another rich gift of money4 ,besides this he invited ,raphael to come to his court1 as did also the king of ,england2 but the artist preferred to remain where he was already so prosperous and happy4 ,about #aebj ,raphael painted the famous ,sistine ,madonna1 now the pride of the ,dresden ,gallery4 ,it is named from ,st4 ,sixtus1 for whose convent1 at ,piacenza1 it was painted3 the picture of this saint1 too1 is in the lower part of the picture1 with that of ,st4 ,barbara4 ,no sketch or drawing of this work was ever found1 and it is believed that the great artist1 working as if inspired1 sketched it and finished it on the canvas where it is4 ,it was originally intended for a drappellone1 or procession standard1 but the monks used it for an altar-piece 7,fig4 #dc74 ,while ,raphael accomplished so much as a painter1 he by no means gave all his time or thought to a single art4 ,he was made superintendent of the building of ,st4 ,peter's in #aead1 and made many architectural drawings for that church2 he was also much interested in the excavations of ancient ,rome1 and made immense numbers of drawings of various sorts4 ,as a sculptor he made models and designs1 and there is in the ,church of ,santa ,maria del ,popolo1 in ,rome1 a statue of ,jonah sitting on a whale1 said to have been modelled by ,raphael and put into marble by ,lorenzetto ,latti4 ,raphael was also interested in what was happening outside the world of art2 he corresponded with scholars of different countries1 and sent men to make drawings of places and objects which he could not go to see4 ,he was also generous to those less fortunate than himself1 and gave encouragement and occupation to many needy men4 ,at one time he expected to marry ,maria de ,bibiena1 a niece of ,cardinal ,bibiena2 but she died before the time for the marriage came4 ,while ,raphael was making his great successes in ,rome1 other famous artists also were there1 and there came to be much discussion as to their merits1 and especially as to the comparative worth of ,michael ,angelo and ,raphael4 ,at last1 when this feeling of rivalry was at its height1 the ,cardinal ,giulio de ,medici1 afterward ,pope ,clement ,,vii41 gave orders to ,raphael and ,sebastian del ,piombo to paint two large pictures for the ,cathedral of ,narbonne4 ,the subject of ,sebastian's picture was the ,raising of ,lazarus1 and it has always been said that ,michael ,angelo made the drawing for it4 ,raphael's picture was the ,transfiguration1 and proved to be his last work1 for before it was finished he was attacked by fever1 and died on ,good ,friday1 #afbj1 which was the thirty-seventh anniversary of his birth4 ,all ,rome mourned for him2 his body was laid in state1 and the ,transfiguration was placed near it4 ,those who had known him went to weep while they gazed upon his face for the last time4 ,he had chosen his grave in the ,pantheon1 near to that of ,maria ,bibiena1 his betrothed bride4 ,the ceremonies of his burial were magnificent1 and his body was followed by an immense throng dressed in mourning4 ,above his tomb was placed an inscription in ,latin1 written by ,pietro ,bembo1 which has for its last sentence these words3 ,this is that ,raphael by whom ,nature feared to be conquered while he lived1 and to die when he died4 ,raphael had also requested ,lorenzo ,lorenzetti to make a statue of the ,virgin to be placed above his resting-place4 ,he left a large estate1 and gave his works of art to his pupils ,giulio ,romano and ,francesco ,penni2 his house to ,cardinal ,bibiena2 a sum to buy another house1 the rent of which should pay for twelve masses to be said monthly1 for the repose of his soul1 from the altar near his grave2 this was observed until #agje1 when the income from the house was not enough to support these services4 ,for many years there was a skull at the ,academy of ,st4 ,luke1 in ,rome1 which was called that of ,raphael2 but there was no proof of this1 and in #ahcc some antiquarians received the consent of the ,pope to their searching for the bones of ,raphael in his grave in the ,pantheon4 ,after five days of careful work1 and removing the pavement in several places1 the skeleton of the great master was found1 and with it such proofs of its being his as left no room for doubt4 ,then a second great funeral service was held2 the ,pope1 ,gregory ,,xvi41 gave a marble sarcophagus in which the bones were placed1 and reverently restored to their first resting-place4 ,more than three thousand persons were present at the service1 including artists of all nations1 as well as ,romans of the highest rank4 ,they moved in procession about the church1 bearing torches in their hands1 and keeping time to beautiful chants from an invisible choir4 ,illustration3 ,,fig4 #dd4--,,saint ,,cecilia ,,listening ,,to ,,the ,,singing ,,of ,,angels4 ,by ,raphael4 ,raphael left two hundred and eighty-seven pictures and five hundred and seventy-six studies and drawings1 and all done in so short a life4 ,in considering him and the story of his life1 we find that it was not any one trait or talent that made his greatness2 but it was the rare union of gifts of genius with a personal charm that won all hearts to him4 ,his famous picture of ,st4 ,cecilia1 with its sweetness of expression and lovely color--its union of earthly beauty with spiritual feeling1 is a symbol of the harmonious and varied qualities of this prince of painters 7,fig4 #dd74 ,,giulio ,,romano 7#adib-aeef7 was the favorite pupil of ,raphael1 and the heir of a part of his estate2 but his remaining works would not repay us for a study of them4 ,of course1 the influence of so great a master as ,raphael was felt outside of his own school1 and1 in a sense1 all ,italian art of his time was modified by him4 ,his effect was very noticeable upon a ,sienese painter1 ,,bazzi1 or ,,razzi1 called ,,il ,,sodoma 7#adgg-aedi71 who went to ,rome and was under the immediate influence of ,raphael's works4 ,he was almost unrivalled in his power to represent beautiful female heads4 ,his important works were frescoes1 many of which are in the churches of ,siena4 ,doubtless ,bazzi was lost in the shadow of the great ,raphael1 and had he existed at a time a little more distant from that great man1 he would have been more famous in his life4 ,during the sixteenth century the ,venetian school reached its highest excellence4 ,the great difference between it and the school of ,florence was1 that the latter made beauty of form the one object of its art1 while the ,venetian painters combined with grace and ease the added charm of rich1 brilliant color4 ,,giorgio ,,barbarelli1 called ,,giorgione 7#adgg-aeaa71 was the first great artist of ,venice who cast off the rigid manner of the ,bellini school1 and used his brush and colors freely1 guided only by his own ideas1 and inspired by his own genius4 ,he was born at ,castelfranco1 and was early distinguished for his personal beauty4 ,giorgione means ,george the ,great1 and this title was given him on account of his noble figure4 ,he was fond of music1 played the lute well1 and composed many of the songs he sang2 he had also an intense love of beauty--in short1 his whole nature was full of sentiment and harmony1 and with all these gifts he was a man of pure life4 ,mrs4 ,jameson says of him3 ,if ,raphael be the ,shakspeare1 then ,giorgione may be styled the ,byron of painting4 ,there is little that can be told of his life4 ,he was devoted to his art1 and passionately in love with a young girl1 of whom he told one of his artist friends1 ,morto da ,feltri4 ,this last proved a traitor to ,giorgione1 for he too admired the same girl1 and induced her to forsake ,giorgione1 and go away with him4 ,the double treachery of his beloved and his friend caused the painter such grief that he could not overcome his sadness1 and when the plague visited ,venice in #aeaa1 he fell a victim to it in the very flower of his age4 ,much of the work of ,giorgione has disappeared1 for he executed frescoes which the damp atmosphere of ,venice has destroyed or so injured that they are of no value4 ,his smaller pictures were not numerous1 and there is much dispute as to the genuineness of those that are called by his name4 ,he painted very few historical subjects2 his works are principally portraits1 sibyls1 and religious pictures4 ,among the last1 the altar-piece at ,castelfranco holds the first place2 it represents the ,virgin and ,child between ,sts4 ,francis and ,liberale1 and was painted before #aejd4 ,giorgione gave an elevated tone to his heads and figures2 it seemed as if he painted only the beings of a superior race1 and as if they must all be fitted to do great deeds4 ,his fancy was very fruitful1 and in some of his works he pictured demons1 sea-monsters1 dogs1 apes1 and such creatures with great effect4 ,in clearness and warmth of color ,giorgione is at the head of the ,venetian painters2 in truth1 it seems as if the color was within them and showed itself without in a deep1 luminous glow4 ,the most important of ,giorgione's scholars was called ,,fra ,,sebastiano ,,del ,,piombo2 his real name was ,luciani1 and he was a native of ,venice 7#adhe-aedg74 ,this artist excelled in his coloring and in the effect he gave to the atmosphere of his work1 making it a broad chiaro-scuro1 or clear-obscure1 as it really means4 ,this is an art term which is frequently used1 and denotes a sort of mistiness which has some light in it1 and is gradually shaded off1 either into a full light or a deep shadow4 ,but from the earliest efforts of this artist1 it was plain that he had no gift of composition1 neither could he give his pictures an elevated tone or effect4 ,for this reason his portraits were his best works1 and these were very fine4 ,a portrait of his in the ,national ,gallery1 ,london1 and another in the ,stdel ,gallery at ,frankfort1 are both said to be of ,giulia ,gonzaga1 the most beautiful woman of her day in ,italy4 ,in #aeec1 ,ippolito de ,medici1 who was madly in love with her1 sent ,sebastian with an armed force to ,fondi to paint her portrait2 it was finished in a month1 and was said to be the best ever painted by ,sebastian4 ,it was sent to ,france as a gift to ,francis ,i41 and its present abiding-place is not known4 ,while ,raphael was at the height of his fame in ,rome1 the banker ,chigi invited ,sebastian to that city1 and in the ,farnesina he painted works which were very inferior beside ,raphael's4 ,then ,sebastian tried to improve by study under ,michael ,angelo4 ,this last great master would not compete with ,raphael himself1 but he was very jealous of the fame of the younger man1 and it is said that he aided ,sebastian1 and even made his designs for him1 in the hopes that thus he might eclipse ,raphael4 ,we have spoken of one large picture of the ,raising of ,lazarus said to have been made from ,michael ,angelo's design1 which ,sebastian colored2 it was painted in competition with ,raphael's ,transfiguration1 and even beside that most splendid work the ,lazarus was much admired4 ,this is now in the ,national ,gallery1 ,london4 ,after ,raphael's death ,sebastian was called the first painter in ,rome1 and was made a piombatore4 ,it was necessary to be an ecclesiastic to hold this office1 and it is on account of this that he gave up his real name1 and became a friar4 ,he wrote to ,michael ,angelo3 ,if you were to see me as an honorable lord1 you would laugh at me4 ,i am the finest ecclesiastic in all ,rome4 ,such a thing had never come into my mind4 ,but ,god be praised in eternity6 ,he seemed especially to have thus decreed it4 ,and1 therefore1 so be it4 ,it is not strange that he should have been so resigned to a high office and a salary of eight hundred scudi a year6 ,another ,venetian1 of the same time with ,giorgione1 was ,,jacopo ,,palma1 called ,,il ,,vecchio1 or the elder 7about #adhj-aebh74 ,he was born near ,bergamo1 but as an artist he was a ,venetian4 ,we do not know with whom he studied1 and he was not a very great man1 nor was he employed by the state--but he dwelt much in the palaces of noble families and did much work for them4 ,when he died he left forty-four unfinished paintings4 ,his female figures are his best works1 and one of his fine pictures at ,dresden1 called the ,three ,graces1 is said to represent his daughters4 ,the work which is usually called his masterpiece is an altar-piece in the ,church of ,santa ,maria ,formosa1 in ,venice2 the ,st4 ,barbara in the centre is very beautiful1 and is said to have been painted from his daughter ,violante4 ,illustration3 ,,fig4 #de4--,,portrait ,,of ,,titian4 ,from the etching by ,agostino ,caracci4 ,the greatest master of the ,venetian school is called ,,titian1 though his real name was ,,tiziano ,,vecelli1 and sometimes ,cadore is added to this1 because of his having been born in that village 7#adgg-aegf74 ,his family was noble and their castle was called ,lodore1 and was in the midst of a large estate surrounded by small houses2 in one of these last1 which is still preserved1 the painter was born4 ,as a child he was fond of drawing1 and so anxious to color his pictures that he squeezed the juices from certain flowers1 and used them as paints4 ,when but nine years old he was taken to ,venice to study1 and from this time was called a ,venetian2 he is said by some writers to be the first portrait-painter of the world4 ,he first studied under ,sebastian ,zuccato1 and then under the ,bellini1 where he was a fellow-pupil with ,giorgione1 and the two became devoted friends1 at the time when they were just coming to be men and were filled with glad hopes of future greatness4 ,after a time1 when ,titian was about thirty years old1 the two were employed on the ,fondaco dei ,tedeschi1 or the exchange for ,german merchants in ,venice4 ,here the frescoes of ,titian were more admired than those of ,giorgione1 and the latter became so jealous that they ceased to live together1 as they had done1 and there is cause for believing that they were never good friends again4 ,but after the early death of ,giorgione1 ,titian completed the works he had left unfinished1 and1 no doubt1 sincerely mourned for him4 ,one of the most celebrated pictures by ,titian is the ,presentation in the ,temple1 which was painted for the ,church of the ,brotherhood of ,charity1 called in ,italian ,la ,scuola della ,carit2 this church is now the ,academy of ,fine ,arts in ,venice1 where the picture still remains4 ,it represents the ,virgin ,mary when three years old entering the temple and the high priest receiving her at the entrance4 ,all around below the steps is a company of friends who have been invited by her father and mother to attend them on this important occasion4 ,the picture is full of life and action1 and is gorgeous in its coloring4 ,several of the figures are said to be portraits1 one being that of ,titian himself4 ,among his female portraits1 that of ,caterina ,cornaro1 ,queen of ,cyprus1 is celebrated2 also one called ,flora2 both of these are in the ,uffizi ,gallery1 in ,florence1 while near by1 in the ,pitti1 is ,la ,bella1 or the beautiful lady of ,titian4 ,he also made many portraits of his daughter ,lavinia1 who was very beautiful2 sometimes he represented her as a fruit or flower-girl1 again as ,herodias and in various characters 7,fig4 #df74 ,one of the finest of these is at ,berlin1 where she is in a very rich dress1 and holds up a plate of fruit2 it is one of his best works4 ,titian's fame extended throughout ,italy1 and even all over ,europe1 and the ,duke of ,ferrara invited him to his court4 ,the artist went1 and there painted two very famous mythological pictures1 besides portraits and other works4 ,one of these important subjects was ,bacchus and ,ariadne1 and it is now in the ,national ,gallery1 ,london2 the second was a ,venus1 surrounded by more than sixty children and cupids2 some are climbing trees1 others shoot arrows in the air1 while still others twine their arms around each other2 this is now in ,madrid4 ,while at ,ferrara the ,pope1 ,leo ,x41 asked ,titian to go to ,rome2 but he longed for his home--he wished for his yearly visit to ,cadore1 and he declined the honorable invitation1 and returned to ,venice4 ,in #aecj ,titian's wife died1 leaving him with two sons1 ,pomponio and ,orazio1 and his daughter1 ,lavinia4 ,in this same sad year the ,emperor ,charles ,v4 and ,pope ,clement ,,vii4 met at ,bologna4 ,all the most brilliant men of ,germany and ,italy were also there1 and ,titian was summoned to paint portraits of the two great heads of ,church and ,state1 and of many of the notable men among their followers4 ,illustration3 ,,fig4 #df4--,,portrait ,,of ,,lavinia4 ,by ,titian4 ,when the painter returned to ,venice he was loaded with honors and riches4 ,he bought a new house at ,berigrande1 opposite the island of ,murano2 it commanded fine views and its garden was beautiful4 ,the landscapes of his pictures soon grew better than they had been1 and no wonder1 when he could always see the ,friuli ,alps in the distance with their snow-capped peaks rising to the clouds2 nearer him was the ,murano1 like another city with its towers and domes1 and then the canals1 which at night were gay with lighted gondolas bearing fair ladies hither and thither4 ,here ,titian entertained many people1 and some of them were exalted in station4 ,the house was called ,casa ,grande1 and on one occasion1 when a cardinal and others invited themselves to dine with him1 ,titian flung a purse to his steward1 saying1 ,now prepare a feast1 since all the world dines with me4 ,while living at ,casa ,grande1 the artist saw the most glorious years of his life4 ,it seemed that every person of note in all ,europe1 both men and women1 desired their portraits at his hand4 ,one only1 ,cosmo ,i41 ,grand ,duke of ,florence1 refused to sit to him4 ,if these pictures could be collected together1 most of the famous persons of his time would be represented in them4 ,after he was sixty years old ,titian made a second journey to ,ferrara1 ,urbino1 and ,bologna4 ,this time he painted a portrait of ,charles ,v41 with a favorite dog by his side4 ,after this1 in #aede1 at an invitation from ,pope ,paul ,,iii41 the great master went to ,rome2 while there he painted many wonderful pictures--among them1 one of the pope with his two grandsons was very remarkable2 it is now in the ,museum of ,naples4 ,he left ,rome when he was sixty-nine years old4 ,in #aedh ,charles ,v4 summoned ,titian to ,augsburg1 and while there made him a count1 and gave him a yearly pension of two hundred gold ducats4 ,the emperor was very fond of ,titian1 and spent a good deal of time with him4 ,on one occasion the painter dropped his brush2 the emperor picked it up1 and returned it to him4 ,the etiquette of courts forbade any one to receive such a service from the sovereign1 and ,titian was much embarrassed1 when ,charles said1 ,titian is worthy to be served by ,csar1 this being one of the great ruler's titles4 ,charles continued his favors to ,titian through life1 and when he resigned his crown1 and retired to the monastery of ,yuste1 he took nine pictures by this master into his solitude4 ,one of these1 a portrait of the ,empress ,isabella1 was so hung that the emperor gazed upon it when dying2 this is now in the museum at ,madrid1 where are also many fine works by ,titian1 for ,philip ,,ii4 was his patron as his father had been4 ,when eighty-five years old he finished his wonderful picture of the ,martyrdom of ,st4 ,lawrence for the ,church of the ,jesuits in ,venice1 and his old age was one of strength and mental clearness4 ,though he had seen great prosperity and received many honors1 he had not escaped sorrow4 ,after the death of his wife1 his sister ,orsa1 who was very dear to him1 had kept his house2 she too sickened and died2 his son ,pomponio was a worthless fellow1 and caused him much grief2 ,lavinia had married1 and the old man was left with ,orazio alone1 who was a dutiful son4 ,he also was an artist1 but painted so frequently on the same canvas with his father that his works cannot be spoken of separately4 ,at length ,titian's work began to show his years1 and some one told him that his ,annunciation did not resemble his usual pictures4 ,he was very angry1 and1 seizing a pencil1 wrote upon it1 ,tizianus fecit fecit--meaning to say by this1 ,truly1 ,titian did this6 ,when he was ninety-six years old he was visited by ,henry ,,iii4 of ,france1 attended by a train of princes and nobles4 ,the aged painter appeared with such grace and dignity as to excite the admiration of all1 and when the king asked the price of some pictures1 ,titian presented them to him as one sovereign might make a gift to another who was his equal1 and no more4 ,in #aegf the plague broke out in ,venice1 and both ,titian and ,orazio fell victims to it4 ,naturally the man of ninety-eight years could not recover1 and1 though ,orazio was borne off to the hospital and cared for as well as possible1 he also died4 ,after ,titian was left alone robbers entered his house while he still lived1 and carried away jewels1 money1 and pictures4 ,he died ,august #bgth1 and all ,venice mourned for him4 ,there was a law that no person who died of the plague in ,venice should be buried within the city2 but ,titian was so much honored and beloved that exception was made1 and he was buried in the ,church of ,santa ,maria ,gloriosa de ,frari2 or as it is usually called1 the ,frari4 ,he had painted a great picture of the ,assumption for this church1 which has since been removed to the ,academy of ,venice2 but another work of his1 called the ,pesaro altar-piece1 still remains near his grave4 ,his burial-place is marked by a simple tablet1 inscribed thus3 ,here lies the great ,tiziano di ,vecelli1 rival of ,zeuxis and ,apelles4 ,a little more than two centuries after his death the citizens of ,venice determined to erect a monument to ,titian1 and ,canova made a design for it2 but political troubles interfered1 and prevented the execution of the plan4 ,in #aheb the ,emperor of ,austria1 ,ferdinand ,i41 placed a costly monument near his grave2 it consists of a ,corinthian canopy beneath which is a sitting statue of the painter1 while several other allegorical figures are added to increase its magnificence4 ,this monument was dedicated with imposing ceremonies1 and it is curious to note that not far away from it the sculptor ,canova is buried1 and his own monument is made from the design which he made for that of ,titian4 ,some writers consider the ,entombment of ,christ1 in the ,manfrini ,palace1 as the greatest work of ,titian4 ,at all events1 it is the best existing representation of this subject1 and is a picture which has had a great effect upon art2 its chief feature is the general expression of sorrow which pervades the whole work4 ,titian gave a new importance to landscape-painting by making backgrounds to his pictures from natural scenery1 and that not as if it was merely for the sake of a background1 but in a manner which showed his love for ,nature1 and1 in fact1 he often rendered it with poetical significance4 ,the works of ,titian are very seldom sold4 ,one subject which he oftentimes repeated was that of ,dane with the shower of gold falling about her2 one of these was purchased by the ,emperor of ,russia for six hundred thousand francs4 ,one of the most important of his religious pictures was that of ,st4 ,peter ,martyr2 this was burned in the ,church of ,,ss4 ,giovanni e ,paolo in ,venice in #ahfh4 ,an excellent copy of it had been for a long time in the ,museum of ,florence1 and this was presented to the ,venetians in order to repair their loss as far as possible4 ,victor ,amadeus of ,sardinia presented nine pictures by ,titian to the ,duke of ,marlborough1 and these were all destroyed in #ahfa when the chteau of ,blenheim was burned4 ,kugler says3 ,in the multifariousness of his powers ,titian takes precedence of all other painters of his school2 indeed1 there is scarcely a line of art which in his long and very active life he did not enrich4 ,his last work was not quite completed by himself1 and is now in the ,academy of ,venice4 ,it is a ,piet1 and although the hand of ninety-eight years guided the brush uncertainly1 yet it has the wonderful light this master threw around his figures1 and the whole is conceived with his accustomed animation4 ,the pupils and followers of ,titian were too numerous to be spoken of one by one1 and none of them were so great as to require their mention in detail here2 yet they were so good that1 while the other schools of ,italy were decreasing in importance during the sixteenth century1 that of ,venice was flourishing1 and some great masters still existed there4 ,among these was ,,jacopo ,,robusti 7#aeab-aeid71 who was called1 and is best known as ,tintoretto1 which name was given him because his father was a dyer4 ,he studied under ,titian for a time1 and then he attempted to follow ,michael ,angelo1 and it is said that his motto was1 ,the coloring of ,titian1 the drawing of ,michael ,angelo4 ,his best pictures are slightly treated1 and others are coarse and unfinished in the manner of painting4 ,his portraits seem to be his best works1 probably because they are more carefully finished4 ,several works of his are simply enormous2 one is seventy-four by thirty feet2 the school of ,st4 ,roch has fifty-seven large pictures by him1 in many of which the figures are of life size4 ,his two most famous works are the ,miracle of ,st4 ,mark1 in the ,academy of ,venice1 and the ,crucifixion1 in the school of ,st4 ,roch4 ,the last is1 for every reason1 his best work2 there are crowds of people in it1 on foot and on horseback1 while their faces show every possible kind of expression1 and their movements are infinitely varied4 ,the immense painting mentioned above is in the ,doge's ,palace1 and is called ,paradise4 ,his daughter1 ,,marietta ,,robusti 7#aefj-aeij71 was a pupil of her father's1 and became so good a portrait-painter that she was invited to the ,court of ,spain by ,philip ,,ii41 but her father could not consent to a separation from her4 ,some excellent pictures of hers still exist1 and her portraits of ,marco dei ,vescovi and the antiquarian ,strada were celebrated pictures4 ,when the ,emperor ,maximilian and the ,archduke ,ferdinand1 each in turn1 desired her presence at their courts1 her father hastened to marry her to ,mario ,augusti1 a wealthy ,german jeweller1 upon the condition that she should remain in her father's house4 ,she was celebrated for her beauty1 had fine musical talents1 and was sprightly and enthusiastic2 her father was so fond of having her with him that he sometimes allowed her to dress as a boy1 and go with him to study where young girls were not admitted4 ,when but thirty years old ,marietta ,robusti died2 she was buried in the ,church of ,santa ,maria dell ,orto1 where are several works by her father4 ,both he and her husband mourned for her all their remaining days4 ,many pictures of ,tintoretto painting his daughter's portrait after her death have been made by later artists4 ,,paoli ,,cagliari1 or ,,caliari1 called ,,paul ,,veronese 7#aebh-aehh71 was born at ,verona1 but as he lived mostly at ,venice1 he belongs to the school of that city4 ,he was an imitator of ,titian1 whom he did not equal2 still he was a fine painter4 ,his excellences were in his harmonious color1 his good arrangement of his figures in the foreground1 and his fine architectural backgrounds4 ,he tried to make his works magnificent1 and to do this he painted festive scenes1 with many figures in splendid costumes4 ,he is buried in the ,church of ,st4 ,sebastian1 where there are many of his works4 ,in the gallery of the ,louvre is his ,marriage at ,cana4 ,it is thirty by twenty feet in size1 and many of its figures are portraits4 ,his pictures are numerous and are seen in the ,european galleries4 ,the ,family of ,darius1 in the ,national ,gallery1 ,london1 cost that institution the enormous sum of thirteen thousand six hundred and fifty pounds2 it was formerly in the ,pisani ,palace1 ,venice1 and was said to have been left there by ,veronese as payment for his entertainment during a visit he had made in the palace4 ,in #ahfh1 at the ,demidoff sale1 a portrait of his daughter sold for two thousand five hundred and twenty-four pounds4 ,at the close of the sixteenth century a family of a father and four sons were busy painting what may rightfully be termed the earliest genre pictures of ,italy4 ,this term is used to denote pictures that stand between historical and utterly imaginary subjects2 that is to say1 the representation of something that seems real to us because it is so familiar to our imagination1 or because it is something that we know might have happened1 that it has all the naturalness of an actual reproduction of a fact4 ,there may be interior or landscape genre pictures4 ,the first represent familiar in-door scenes--the latter are landscapes with animals or figures to give a life element and to tell a story4 ,the name of the family of which ,i speak was ,da ,ponte1 but it was called ,bassano1 from the birth-place of ,,jacopo ,,da ,,ponte ,,bassano 7#aeaj-aeib71 the father1 who was the most important of the family4 ,he studied in ,venice1 but returned to his native town4 ,his portraits are fine2 among them are those of the ,doge of ,venice1 ,ariosto1 and ,tasso4 ,his works are very numerous and are seen in all galleries4 ,he introduced landscapes and animals into most of his pictures1 sometimes with great impropriety4 ,we come now to ,,antonio ,,allegri1 called ,,correggio 7#adic-aecd71 who was born at the end of the fifteenth1 but did his work in the beginning of the sixteenth century4 ,his name of ,correggio is that of his birth-place1 and as he was not born at any of the great art centres1 and did not adopt the precise manner of any school1 he1 with his followers1 stand by themselves1 and yet1 because his principal works were done at ,parma1 he is sometimes said to be of the school of ,parma4 ,when ,correggio was thirteen years old he had learned to draw well4 ,he studied under ,andrea ,mantegna and his son ,francesco ,mantegna4 ,from these masters he learned to be very skilful in drawing1 especially in foreshortening1 or in representing objects seen aslant4 ,but though he learned much of the science of art from his teachers1 his grace and movement and his exquisite light and shade are all his own1 for they did not possess these qualities4 ,illustration3 ,,fig4 #dg4--,,portrait ,,of ,,correggio4 ,foreshortening is so important that ,i must try to explain it2 and1 as ,correggio is said to be the greatest master in this art since the days of the ,greeks1 it is quite proper for me to speak of it in connection with him4 ,the art of foreshortening is that which makes different objects painted on a plane or flat surface appear as if they were at different distances from the eye of the person who is looking at the picture1 or as scenes in nature appear1 where one part is much farther off than another4 ,to produce this effect it is often necessary to make an object--let us say1 for example1 an arm or a leg1 look as if it was stretched forward1 out of the canvas1 directly toward the person who is looking at it4 ,now1 the truth is that in order to produce this effect the object is often thrown backward in the drawing2 sometimes also it is doubled up in an unnatural manner1 and occupies a small space on the canvas1 while it appears to be of life size when one looks at it4 ,a ,christ in ,glory painted by ,correggio in the cupola of the ,church of ,san ,giovanni ,evangelista1 in ,parma1 is a fine piece of foreshortening4 ,the head is so thrown back1 and the knees are so thrown forward1 that the whole figure seems to be of life size2 yet if the space from the top of the head to the soles of the feet were measured1 it would be found to be much less than the height of the same figure would be if it were drawn in an erect position4 ,i have already explained the meaning of chiaro-scuro1 and this delicate manner of passing from light to shade was another quality in the works of ,correggio4 ,it is even seen in his early works1 as1 for instance1 in the beautiful ,madonna di ,san ,francesco1 now at ,dresden1 which he painted when he was but eighteen years old4 ,when this master was twenty-six years old he married ,girolama ,nurlini1 and about the same time he was summoned to ,mantua by the ,duke ,federigo ,gonzaga4 ,during eleven years after his marriage he was occupied with works in ,mantua1 and with his great frescoes at ,parma4 ,in #aecj he returned to ,correggio1 and there passed the remainder of his life4 ,that he held a high position is proved by certain records of his life1 among which is the fact that in #aecc he was invited to be one of the witnesses of the marriage of the ,lord of ,correggio4 ,it is said that when this painter saw one of the great works of ,raphael1 he exclaimed1 enthusiastically and thankfully1 ,i1 too1 am a painter6 and no doubt he then felt himself moved to attempt such works as should make his name known to all the world through future centuries4 ,when ,titian saw ,correggio's frescoes at ,parma1 he said3 ,were ,i not ,titian1 ,i should wish to be ,correggio4 ,annibale ,caracci1 also a great artist1 said of ,correggio1 more than a hundred years after his death1 ,he was the only painter6 and declared that the children he painted seemed to breathe and smile with such grace that one was forced to smile and be happy with them4 ,in #aecd ,correggio died of a fever1 and was buried in his family tomb in the ,franciscan ,convent of his native city4 ,his grave is simply marked with his name and the date of his death4 ,some of his oil-paintings are very famous4 ,one at ,dresden1 representing the ,nativity of the ,saviour1 is called the ,notte1 or night1 because the only light on the picture comes from the halo of glory around the head of the ,holy ,child4 ,correggio's ,reading ,magdalen is in the same gallery2 probably no one picture exists which has been more universally admired than this4 ,illustration3 ,,fig4 #dh4--,,upper ,,part ,,of ,a ,,fresco ,,by ,,correggio4 ,there was a large work of his representing ,the ,shepherds ,adoring the ,infant ,saviour1 at ,seville1 in ,spain4 ,during the ,peninsular ,war 7#ahjh-ad7 the people of that city sent many valuable things to ,cadiz for safety1 and this picture1 on account of its size1 was cut in two4 ,by some accident the two parts were separated2 but both were sold1 and the purchaser of each was promised that the other portion should be given him4 ,from this much trouble arose1 because both purchasers determined to keep what they had1 and each claimed that the whole belonged to him1 and as they were equally obstinate1 the two parts of the same work have never been reunited4 ,fortunately1 each half makes a picture by itself4 ,the frescoes at ,parma are the greatest works of this master1 and it is very interesting to visit that quaint old city2 his works are in the ,cathedral1 the ,church of ,st4 ,john the ,evangelist1 and in the parlor of the ,convent of the ,benedictine ,nuns4 ,this last is a wonderful room4 ,the ceiling is arched and high1 and painted to represent an arbor of vines with sixteen oval openings1 out of which frolicsome children are peeping1 as if1 in passing around behind the vines1 they had stopped to look down into the room4 ,the pictures here will make you understand the effect 7,figs4 #dh and #di74 ,beneath each of these openings or lunettes is a half-circular picture of some mythological story or personage4 ,upon the wall of the parlor1 above the mantel1 there is a picture of ,diana1 the goddess of the moon and the protector of young animals1 which is a beautiful picture4 ,when ,correggio worked on the frescoes at the ,church of ,st4 ,john1 he lived much in the monastery connected with it4 ,the monks became very fond of him1 and made him a member of the ,congregation ,cassinensi2 the poet ,tasso also was a member of this fraternity4 ,this membership gave him the right to share in the masses1 prayers1 and alms of the community1 and after his death the same offices for the repose of his soul would be performed as if he had been a true monk4 ,illustration3 ,,fig4 #di4--,,lower ,,part ,,of ,a ,,fresco ,,by ,,correggio4 ,the works of ,correggio are very rarely sold4 ,the madonna in the ,national ,gallery1 ,london1 known as ,la ,vierge au ,panier1 was formerly in the ,royal ,gallery at ,madrid4 ,during the ,french invasion of ,spain1 ,mr4 ,wallace1 an ,english artist1 obtained it4 ,it is painted on a panel1 and is #ac inches high by #aj inches wide4 ,in #ahac it was offered for sale in ,london at twelve hundred pounds4 ,in #ahbe it was sold in ,paris for eighty thousand francs1 and soon after sold to the ,national ,gallery for thirty-eight hundred pounds1 or nearly nineteen thousand dollars4 ,a copy of the ,reading ,magdalen was sold to ,earl ,dudley for sixteen hundred pounds1 or more than seven thousand dollars4 ,correggio had but few pupils1 but he had many imitators4 ,the one most worthy of mention was ,,francesco ,,mazzuoli 7#aejc-aedj71 called ,,il ,,parmigiano1 or ,,parmigianino4 ,he was not a great painter4 ,the ,vision of ,st4 ,jerome1 in the ,national ,gallery1 ,london1 is one of his best works4 ,it is said that during the sack of ,rome1 in #aebg1 he was painting the figures of the ,virgin and ,child in this picture1 and was so engrossed by his work that the invaders entered his studio1 and surrounded him before he was aware of their approach4 ,and they1 for their part1 were so moved by what they saw that they went away1 and left him undisturbed4 ,art writers often use the term early masters4 ,this denotes ,michael ,angelo1 ,raphael1 and other men so great that they were very prominent in the history of art1 and were imitated by so many followers that they had an unusual effect upon the world4 ,titian may be called the last of these great masters of the early school1 and his life was so long that he lived to see a great decline in art4 ,the painters of the close of the sixteenth century are called ,mannerists1 which means that they adopted or imitated the manner or style of some great master who had preceded them--and this was done in so cold and spiritless a way that it may be said that true artistic inspiration was dead in ,italy4 ,no one lived who1 out of his own imagination1 could fix upon the wall or the canvas such scenes as would befit a poet's dream or serve to arouse the enthusiasm of those who saw the painted story born in the artist's brain4 ,about #afjj1 the beginning of the seventeenth century1 there arose a new movement in ,italian art1 which resulted in forming two schools between which there came to be much bitterness of feeling1 and even deadly hatred4 ,on one side there were those who wished to continue the study and imitation of the works of the old masters1 but with this they united a study of nature4 ,these men were called ,eclectics1 because they elected or chose certain parts of different systems of painting1 and from these formed a new manner of their own4 ,opposed to the ,eclectics were the ,naturalists1 who insisted that nature only should be studied1 and that everything should be represented in the most realistic way1 and made to appear in the picture exactly as it did in reality1 not being beautified or adorned by any play of fancy or imagination4 ,the chief school of the ,eclectics1 of whom ,i will first speak1 was at ,bologna1 and is known also as the school of the ,caracci1 because ,,ludovico ,,caracci 7#aeee-afai7 was at the head of a large academy there1 and was assisted by his nephews1 ,,agostino ,,caracci 7#aeeh-afja7 and ,,annibale ,,caracci 7#aefj-afji71 the latter being the greatest artist of the three4 ,the lives of the ,caracci are not of such interest as to require an account of them here1 neither are their works so interesting that we may not leave these artists by saying that they have great consideration as the heads of the ,eclectic ,academy1 and for the work they did in it at an important era in the history of ,italian art2 but the fruits of their work are shown in that of their scholars rather than in their own paintings1 and in this view their influence can scarcely be overvalued4 ,the greatest of their scholars was ,,domenico ,,zampieri 7#aeha-afda71 called ,,domenichino1 who was born at ,bologna1 and was instructed by ,denis ,calvert1 who forbade his drawing after the works of ,annibale ,caracci4 ,domenico disobeyed this command1 and was so severely treated by ,calvert that he persuaded his father to take him from that master1 and place him in the school of the ,caracci4 ,when he entered the ,academy he was so dull that his fellow-pupils nicknamed him ,the ,ox2 but ,annibale ,caracci said3 ,take care3 this ox will surpass you all by and by1 and will be an honor to his art4 ,domenichino soon began to win many prizes in the school1 and left it well trained and prepared for a brilliant career4 ,he gave much thought to his art1 shunned private society1 and if he went out at all he frequented public places where large numbers of people were gathered1 thus affording him an opportunity to study their varying expressions4 ,he also tried to feel in himself the emotions of the person he was painting4 ,for instance1 it is said that when he was painting the ,scourging of ,st4 ,andrew1 he threw himself into a passion1 and used threatening gestures and high words4 ,in the midst of this his master1 ,annibale ,caracci1 surprised him1 and was so impressed with his method that he threw his arms about his pupil's neck1 exclaiming1 ,to-day1 my ,domenichino1 thou art teaching me6 ,the most celebrated work by ,domenichino is the ,communion of ,st4 ,jerome1 in the ,vatican4 ,it is universally considered the second picture in ,rome1 the ,transfiguration1 by ,raphael1 being the only one that is placed before it4 ,the scene it represents is just before the death of the saint1 when he was borne into the chapel to receive the sacrament of the communion for the last time 7,fig4 #ej74 ,illustration3 ,,fig4 #ej4--;,,communion ,,of ,,st4 ,,jerome4 ,domenichino was made very unhappy in ,rome1 on account of the jealousy of other artists1 and he returned to ,bologna4 ,however1 his fame had reached the court at ,naples1 and the viceroy of that city invited the artist to decorate the ,chapel of ,st4 ,januarius4 ,there was in ,naples at that time an association of artists who had determined that no strange artist should be allowed to do work of any account in their city4 ,as soon as ,domenichino began his work1 therefore1 he received letters threatening his life4 ,his colors were spoiled by having ruinous chemicals mixed with them1 his sketches were stolen from his studio1 and all sorts of insults and indignities were heaped upon him4 ,after a time1 the painter was so disheartened that he fled to ,rome2 but the viceroy sent for him and took every precaution possible to protect him and enable him to work in peace4 ,but just as all seemed to be going well he sickened and died1 and it has always been said that he was poisoned4 ,be this as it may1 there is no doubt that the fear1 vexation1 and anxiety of his life caused his death1 and on this account his tormentors were his murderers4 ,the works of ,domenichino are not numerous1 and are not seen in as many galleries as are those of some ,italian painters2 but there are a considerable number scattered over ,europe and very beautiful ones in several galleries in ,rome4 ,the next painter of importance in the ,eclectic school was ,,guido ,,reni 7#aege-afdb71 born at ,bologna1 and the son of a professor of music4 ,his father intended that ,guido also should be a musician1 and the poor boy was much persecuted on account of his love for drawing4 ,but after many struggles the boy came into the ,caracci school1 and was soon a favorite pupil there4 ,when still young he listened with great attention to a lecture from ,annibale1 in which he laid down the rules which should govern a true painter4 ,guido resolved to follow these rules closely1 and soon he painted so well that he was accused of trying to establish a new system of painting4 ,at last ,ludovico ,caracci turned against him and dismissed him from his school4 ,illustration3 ,,fig4 #ea4--;,,aurora4 ,by ,guido ,reni4 ,the young artist went to ,rome2 but his persecutions did not cease1 and it seemed to be his fate to excite the jealousy of other painters4 ,now1 when so much time has elapsed1 we know that ,guido was not a very great master1 and had he painted in the days of ,michael ,angelo he would not have been thought so4 ,but art had lowered its standard1 and ,guido's works were suited to the taste of his time2 he had a high conception of beauty1 and he tried to reach it in his pictures4 ,in the course of his career ,guido really painted in three styles4 ,his earliest pictures are the strongest2 those of his middle period are weaker1 because he seemed only to strive to represent grace and sweetness2 his latest pictures are careless and unequal in execution1 for he grew indifferent to fame1 and became so fond of gaming that he only painted in order to get money to spend in this sinful folly4 ,his masterpiece in ,rome was the ,aurora1 on a ceiling of the ,rospigliosi ,palace2 it represents the goddess of the dawn as floating before the chariot of ,apollo1 or ,phoebus1 the god of the sun4 ,she scatters flowers upon the earth1 he holds the reins over four piebald and white horses1 while ,cupid1 with his lighted torch1 floats just above them4 ,around the chariot dance seven graceful female figures which represent the ,hours1 or ,hor4 ,i have been asked why seven was the number2 the ancients had no fixed number for the ,hours2 sometimes they were spoken of as two1 again three1 and even in some cases as ten4 ,it has always seemed to me that ten was the number chosen by ,guido1 for in that case there would naturally be three out of sight1 on the side of the chariot which is not seen 7,fig4 #ea74 ,illustration3 ,,fig4 #eb4--;,,beatrice ,,cenci4 ,the portrait of ,beatrice ,cenci is another very celebrated picture by ,guido2 it is in the gallery of the ,barberini ,palace1 in ,rome 7,fig4 #eb74 ,the interest in the portrait of this unhappy girl is world-wide4 ,she was the daughter of a wealthy ,roman noble1 who after the death of her mother married a second time1 and treated the children of his first marriage in a brutal way4 ,it is even said that he hired assassins to murder two of his sons on their return from a journey to ,spain4 ,the story also relates that his cruelty to ,beatrice was such that1 with the aid of her step-mother and her brother1 she killed him4 ,at all events1 these three were accused of this crime and were executed for it in #aeii4 ,other accounts say that he was murdered by robbers1 and his wife and children were made to appear as if guilty4 ,clement ,,vii4 was the pope at that time1 and in spite of his knowledge of the cruelty of the father he would not pardon them1 though mercy was implored of him for this lovely girl4 ,the reason given for this action of the pope's is that he wished to confiscate the ,cenci estates1 which he could do if the family suffered the death penalty4 ,so many reproductions of this sad face have been made that it is very familiar to us1 and almost seems to have been the face of some one whom we have known4 ,guido did not paint his ,st4 ,michael for the ,cappucini in ,rome until after he returned to his native city4 ,when he sent the picture to the monks1 he wrote3 ,i wish ,i had the wings of an angel to have ascended into ,paradise1 and there to have beholden the forms of those beautified spirits from which ,i might have copied my archangel2 but not being able to mount so high1 it was in vain for me to search for his resemblance here below1 so that ,i was forced to make an introspection into my own mind1 and into that idea of beauty which ,i have formed in my own imagination4 ,we are told that he always tried to paint his ideal of beauty rather than to reproduce any human beauty that he had seen4 ,he would pose his color-grinder1 and draw his outlines from him1 and then fill in with his own conceptions of what the head he was painting should be2 this accounts for the sameness in his heads and faces4 ,his passion for gaming degraded the close of his life4 ,it led him into great distresses1 and for the sake of money he painted many pictures which are not worthy of his name4 ,he had always received generous prices for his pictures1 but he left many debts as a blot upon his memory4 ,his works are seen in the galleries of ,europe1 and are always admired for their feeling1 beauty1 and grace4 ,,francesco ,,albani 7#aegh-affj71 born at ,bologna1 was another scholar of the ,caracci school1 and a friend of ,guido ,reni4 ,there are many works of his in ,rome4 ,his pictures of landscapes with figures were his best works1 and beauty was his characteristic4 ,his own home had all the advantages for painting such works as he best succeeded in1 such as ,venus and the ,loves1 maids and boys1 children and ,cupids in unending variety4 ,his villa was surrounded by charming views4 ,his wife was very handsome1 and they had twelve lovely children1 so lovely that it is said that other artists besides himself made use of them for models4 ,there were several other ,eclectics of some importance of whom we shall not speak1 but shall leave them with an account of ,,elisabetta ,,sirani 7#afdj-affe71 who also was born at ,bologna1 and is worthy of attention on account of her talents1 while the story of her life adds another interest than that which she has as an artist4 ,she was an imitator of the attractive manner of ,guido ,reni4 ,the heads of her madonnas and magdalens are charming1 and1 indeed1 all her work speaks of the innate refinement of her nature4 ,her industry was marvellous1 since she made one hundred and fifty pictures and etchings in a period of about ten years4 ,much has been said of the rapidity with which she worked1 and one story relates that on a certain day the ,duchess of ,brunswick1 the ,duchess of ,mirandola1 and the ,duke ,cosimo de ,medici1 with other persons1 met in her studio1 and she sketched and shaded drawings of subjects which they named to her1 with a skill and celerity which astonished and delighted her guests4 ,her masterpiece is a picture of ,st4 ,anthony ,adoring the ,virgin and ,child1 which is in the ,pinacoteca of ,bologna4 ,there are pictures by her in the ,belvedere and ,lichtenstein ,galleries at ,vienna1 in the ,hermitage at ,st4 ,petersburg1 and in the ,sciarra ,palace1 ,rome4 ,in person ,elisabetta ,sirani was beautiful1 and her character commanded the affection of all who knew her4 ,she was a sweet singer1 and her biographers increase her virtues by praising her taste in dress1 and even her moderation in eating6 ,she was skilful in domestic affairs1 and was in the habit of rising early to perform her share in the household duties1 never allowing her art to displace any occupation which properly made a part of her life4 ,her name has come down through more than two centuries as one whose devoted filial affection1 feminine grace1 and artless benignity of manner added a lustre to her great talents1 and completed a personality which her friends regarded as an ideal of perfection4 ,she died very suddenly1 and the cause of her death has never been known2 but the theory that she was poisoned has been generally accepted4 ,several reasons for the crime have been given2 one is that she was the victim of jealous artists1 as ,domenichino had been2 another1 that a princely lover whom she had scorned thus revenged himself4 ,a servant-girl in her family was suspected of the crime1 tried1 and banished2 but after a time she was recalled to ,bologna at the request of the father of ,elisabetta1 for he saw no proof of the girl's guilt4 ,thus the mystery was never solved1 but the whole city of ,bologna was saddened by her death4 ,the day of her burial was one of public mourning2 her funeral was attended with great pomp1 and she was buried beside ,guido ,reni in the splendid church of the ,dominicans4 ,poems and orations in her praise were numerous1 and a book was published1 called ,il ,penello ,lagrimate1 which contained these1 with odes1 anagrams1 and epitaphs1 in both ,latin and ,italian1 all setting forth her charms and virtues4 ,her portrait in the ,ercolani ,gallery at ,bologna represents her when occupied in painting her father's portrait2 according to this picture she had a tall1 elegant figure1 and a very pretty face4 ,she had two sisters1 ,barbara and ,anna ,maria1 who also were artists1 but her fame was so much greater than theirs that she quite overshadowed them4 ,the earliest master of the ,naturalists was ,,michael ,,angelo ,,amerigi1 called ,,caravaggio1 from the name of his birth-place 7#aefi-afji74 ,his life and character was not such as to make him an attractive study4 ,his subjects and his manner of representing them combined in producing what has been called the poetry of the repulsive4 ,he was wild in his nature and lived a wild life4 ,his religious subjects1 even1 were coarse1 though his color was vivid and his figures arranged with good effect4 ,his ,false ,players is one of his best works2 it represents two men playing cards1 while a third looks over the shoulder of one as if advising him what to play4 ,naturally1 his manner of painting was best suited to scenes from common life1 though he made those coarse and sometimes painful2 but when he attempted subjects of a higher order his works are positively offensive4 ,some of his sacred pictures were removed from the altars for which they were painted on account of their coarseness4 ,his most celebrated work is the ,entombment of ,christ1 at the ,vatican2 in the ,gallery of the ,capitol in ,rome there is a ,fortune ,teller1 which is also a fine work4 ,next to ,caravaggio came ,,giuseppe ,,ribera1 called ,,il ,,spagnoletto 7#aehh-afef74 ,he was a native of ,valencia1 and when very young made his way to ,rome1 so that1 although his education as an artist was wholly ,italian1 his familiar name arose from his ,spanish origin4 ,while living in miserable poverty in ,rome1 and industriously copying such frescoes as he could gain access to1 he attracted the attention of a cardinal1 who took him to his home1 and made him comfortable4 ,but the young painter soon ran away1 and returned to his street life4 ,the cardinal sought him out1 and called him an ungrateful little ,spaniard2 but ,ribera excused his conduct by saying that as soon as he was made comfortable and was well fed he lost all ambition to work1 adding that it would require the spur of poverty to make him a good painter4 ,the cardinal respected his courage1 and the story being repeated to other artists1 much interest was attracted to him4 ,later he went to ,naples1 and joined the cabal there which had agreed to persecute the strange artists who should come to work in that city4 ,if ,ribera did not actually commit many of the crimes which were done there1 he was responsible for them through his influence4 ,his works are frequently so brutal in their subjects and treatment that one feels that he who painted them must have lost all the kindliness of his nature4 ,he married the daughter of a rich picture dealer1 and became very rich himself4 ,in #afcj he was made a member of the ,academy of ,st4 ,luke1 at ,rome1 and in #afdh ,pope ,innocent ,x4 sent him the cross of the ,order of ,christ4 ,few ,italian artists were better known in their own country1 and many of his pictures were sent to ,spain4 ,his greatest excellence was in his knowledge of anatomy1 and he painted subjects that enabled him to show this4 ,among his famous works are a ,descent from the ,cross2 ,the ,flaying of ,st4 ,bartholomew2 ,ixion on the ,wheel2 and ,cato of ,utica4 ,his works are in all the famous galleries of the world4 ,ribera's greatest pupil was ,,salvator ,,rosa 7#afae-afgc71 the landscape painter1 who was a very gifted man1 being a poet and musician as well as an artist4 ,his father was an educated man1 and with his other relatives encouraged his son in his taste for art4 ,when twenty years old he went to ,rome1 and with the exception of some intervals remained there during his life4 ,it is said that as a youth he associated much with bandits1 and1 when one considers the wildness of many of his scenes and the character of the figures in their midst1 it is not difficult to believe that this may have been true4 ,it is certain that he painted the portrait of the famous ,masaniello more than once1 and he is believed to have joined the ,compagnia della ,morte1 of which ,falcone1 one of his masters1 was the captain4 ,salvator made many enemies by his independence and his inclination to satire4 ,he wrote satires on various subjects which were not published until after his death1 but it was known that he had written them4 ,he married a ,florentine woman1 who was the mother of his two sons4 ,when he died he was buried in the ,church of ,santa ,maria degli ,angeli1 where a monument is erected to his memory4 ,he painted some historical subjects and portraits in which he followed the ,naturalists1 but his principal works were landscapes4 ,jagged rocks and mountains1 wild dells and lonely defiles1 with here and there robbers1 hermits1 or soldiers1 make his most effective pictures4 ,there is a deep sense of desolation1 almost of fear1 in them which is very impressive4 ,sometimes he painted serene landscapes and poetic figures2 but his best works are not of this sort4 ,his pictures are in the principal public and in some private galleries4 ,he also left about ninety etchings which are masterly in execution and full of expression in the heads1 while the atmosphere is soft4 ,when his works are sold they bring great prices4 ,a large landscape with ,apollo and the ,sibyl in the foreground brought eight thousand five hundred dollars in ,england years ago1 and is now worth much more than that4 ,early in the eighteenth century an artist named ,,antonio ,,canale 7#afig-agfh71 called ,,canaletto1 began to make views of the city of ,venice and scenes on the canals4 ,he had two followers1 ,,bernardo ,,bellotti 7#agbj-aghj71 who was his nephew1 and ,,francesco ,,guardi 7#agab-agic71 and these three painters executed a large number of these pictures1 which are found in many ,european galleries1 and it is not always easy to distinguish their authorship4 ,there is no doubt that many which were once attributed to the first master were really painted by his pupils4 ,before the commencement of the eighteenth century the decline of the ,renaissance school in ,italy had begun2 in fact1 the painting of the seventeenth century came to be mere mechanical realism4 ,for this reason the portraits were the best pictures of the time1 as in them it was requisite to be true to the object represented4 ,late in the eighteenth century a new impulse was given to ,italian painting1 chiefly through the influence of foreign artists such as ,raphael ,mengs1 and the ,french painter ,david4 ,in the beginning of our own century ,,lorenzo ,,benvenuti 7#agfi-ahdd7 executed some excellent frescoes in ,florence1 ,siena1 and ,arezzo1 which was his native city4 ,he decorated the ceiling of the ,medici ,chapel in the ,church of ,san ,lorenzo in ,florence1 and ,leopold ,,ii41 ,grand ,duke of ,tuscany1 erected a tomb to this painter in the same church where he had spent so much time and talent4 ,his portrait1 painted by himself1 is in the gallery of the ,uffizi1 at ,florence4 ,,vincenzio ,,cammuccini 7#agge-ahdd71 too1 was a celebrated master of his time4 ,he was a ,roman by birth1 and became ,president of the ,academy of ,st4 ,luke2 he was also a member of the ,institute of ,france1 and received decorations from sovereigns of various countries4 ,he made many copies from the works of the great masters4 ,his portraits were so much admired as to be compared to those of ,rubens and ,tintoretto1 and his ceiling frescoes in the ,torlonia ,palace1 ,rome1 were among his important works1 as was a ,presentation of ,christ in the ,temple1 painted for the ,church of ,san ,giovanni in ,piacenza4 ,but there has been no true restoration of ,italian art4 ,the painting of ,italy in our time has been largely a commercial enterprise rather than an outcome from artistic genius or impulse1 and the few works which are exceptions to this rule are not sufficient to encourage the hope that this nation can again attain to her former rank or regain the fame of her past in the history of modern art4 ,,chapter ,,iv4 ,,painting ,,in ,,flanders1 ,,holland1 ,,and ,,germany4 ,flanders formerly embraced a larger part of ,belgium than is contained in the present ,belgian provinces of ,east and ,west ,flanders4 ,it also covered a portion of ,holland and some territory in the northwest of ,france4 ,the principal ,flemish towns connected with the story of ,flemish art were ,bruges1 ,tournai1 ,louvain1 ,ghent1 ,antwerp1 ,brussels1 ,mechlin1 ,liege1 and ,utrecht4 ,there are some records of ,flemish painting much earlier than the fifteenth century1 but they are so vague and uncertain that ,i shall pass them over1 and begin with the family of ,van ,eyck1 in which there were four painters--three brothers and a sister4 ,the eldest1 ,,hubert ,,van ,,eyck 7#acff-adbf71 effected a great change in the art of his time and country4 ,very little is known of him as a young man1 or indeed of his personal history at all1 except that he passed his middle life at ,bruges and his later years at ,ghent4 ,the subjects of his pictures were mostly scriptural4 ,i do not suppose that the pictures of this master would seem very beautiful to you if you saw them1 but they are of great value4 ,his greatest work was an altar-piece for ,judocus ,vyts and his wife ,lisabetta2 it was for the decoration of their funeral chapel in the ,church of ,st4 ,bavon in ,ghent4 ,it was an immense work1 with a centre-piece and wings that could be closed2 the inside was divided into twelve different pictures1 and the outside also was painted4 ,we do not know how much of this was completed when ,hubert died and left it to be finished by his brother ,john4 ,philip ,i4 of ,spain wished to buy this altar-piece1 and when he could not do so1 he employed ,michael ,coxie to copy it2 this artist spent two years on the work1 and was paid four thousand florins4 ,of the original work1 a large portion remains in the ,church of ,st4 ,bavon2 the wings1 consisting of six beautiful1 tall panels1 are in the ,berlin ,museum1 and two outer compartments are in the ,brussels ,museum4 ,the picture of holy men who have served ,god is on one of the wings of this altar-piece 7,fig4 #ec74 ,but the principal interest attached to ,hubert van ,eyck comes from the fact that he made such discoveries in the use of colors as led to what we call the ,invention of ,oil-,painting1 and this invention is always attributed to the ,van ,eycks1 for it is probable that the discoveries of ,hubert were perfected by ,,jan ,,van ,,eyck 7#acij-addj71 who became a celebrated painter4 ,oil-painting had been known1 it is true1 a long time1 but the manner of preparing the colors and the varnish used before the time of the ,van ,eycks was very unsatisfactory1 and the improvement of these substances was the work of these masters4 ,the pictures of ,hubert van ,eyck are stronger than those of ,jan1 who was really the founder of a school remarkable for delicacy and fine finish rather than for power4 ,it was after the death of ,hubert that the fame of the new colors spread abroad1 and thus it happened that it was to ,jan that other artists went to learn his secrets4 ,illustration3 ,,fig4 #ec4--,,the ,,anchorites4 ,in ,s4 ,bavon at ,ghent4 ,jan van ,eyck was something of a diplomat as well as a painter1 for when he was in the service of ,philip the ,good1 ,duke of ,burgundy1 he was sent on several secret missions1 and in #adbh he accompanied the ambassadors of the duke to ,portugal in order to paint the portrait of ,isabella of ,portugal1 who was betrothed to the duke4 ,there is a goodly number of works by ,jan van ,eyck in various galleries4 ,the portrait of himself and wife in the ,national ,gallery1 ,london1 is very interesting2 they stand hand in hand1 with a terrier dog at their feet2 their dress and all the details of their surroundings are painted with great care4 ,it is said that the ,princess ,mary1 sister of ,charles ,v41 gave a barber who owned it a position with a handsome salary in exchange for the picture4 ,jan van ,eyck1 being twenty years younger than his brother ,hubert1 naturally learned all that the elder knew1 and the story of his life gives him the appearance of being the more important artist1 though in point of highest merit he was not the superior4 ,of ,,lambert ,,van ,,eyck very little is known4 ,it is believed that he made the copy of ,hubert's great work which is in the ,antwerp ,museum2 another work called by his name is in ,louvain4 ,,margaretha ,,van ,,eyck is said to have been a skilful artist1 but no one picture can be ascribed to her2 she was buried beside her brother ,hubert in the ,cathedral of ,ghent4 ,of course the ,van ,eycks had many followers4 ,among them were ,,petrus ,,christus 7records #addd-adga71 ,,gerard ,,van ,,der ,,meire 7records #addg-adgd71 ,,hugo ,,von ,,der ,,goes 7#adje8-adhb71 and ,,justus ,,of ,,ghent 7#adfh-871 all of whom were good artists1 but ,i shall pass to a more important one1 ,,rogier ,,van ,,der ,,weyden 7#adjj-adfd71 who was himself the head of a school of as great importance as was that of the ,van ,eycks4 ,his realism was his chief characteristic1 and this was so great as to make some of his works repulsive1 especially his martyrdoms1 in which he detailed horrors with great exactness4 ,he also loved to paint pictures which illustrated the myths of the ,middle ,ages4 ,our illustration is from one of these works 7,fig4 #ed74 ,this picture is from the story that when the ,roman ,senate decreed divine honors to the ,emperor ,augustus1 he consulted the ,tiburtine ,sibyl as to whether he ought to receive them or no4 ,she replied to him that it was more becoming for him to go away silently1 and told him that a ,hebrew child should be born who should reign over the gods themselves1 or that a king should come from heaven whose power should never end4 ,another version1 which is the one this picture represents1 says that the heavens opened1 and a vision of the ,virgin with the ,saviour in her arms1 standing on an altar1 was shown the emperor4 ,he worshipped it1 and heard a voice saying1 ,haec ara filii ,dei 7,this is the altar of the ,son of ,god74 ,augustus reported this to the ,senate1 and erected an altar upon the spot in ,rome where the ,church of ,santa ,maria in ,capitolio1 or the ,ara ,coeli1 now stands4 ,illustration3 ,,fig4 #ed4--,,the ,,sibyl ,,and ,,the ,,emperor ,,augustus4 ,by ,rogier van der ,weyden4 ,in the ,berlin ,museum4 ,many pictures by ,van der ,weyden are seen in ,european galleries4 ,he was also a fine miniaturist4 ,he was official painter to the city of ,brussels1 and was buried in its cathedral4 ,his son1 ,,rogier ,,van ,,der ,,weyden the younger1 became very rich and benevolent4 ,he died at ,brussels in #aebi4 ,his works are not numerous in public galleries4 ,the elder ,van der ,weyden had a pupil1 ,,hans ,,memling 7records #adej-adii71 who became the greatest master in ,belgium4 ,i shall not give you a long account of him2 but shall tell you of his greatest work1 which was the ,shrine of ,st4 ,ursula1 at the ,hospital of ,bruges1 and is the best example of this type of early ,flemish art which still exists4 ,it is divided into six compartments1 with two ends1 and other panels on top1 all of which are finished with the greatest care1 and give the whole story of ,st4 ,ursula and her eleven thousand virgins1 which is that ,ursula was a daughter of a king of ,brittany who was a ,christian4 ,the young girl was educated with the greatest care1 and the fame of her beauty and wisdom spread all over ,europe4 ,at length the king of ,england asked for her to be the wife of his son4 ,the princess replied that she would wed him on three conditions3 first1 that he should give her ten virgins of noble blood for her companions1 then to each of these virgins and to herself he should give a thousand maidens as attendants2 second1 he should allow her three years with these companions1 with whom she should visit the shrines where the bodies of the saints repose2 and third1 the ,english king and his court should receive baptism4 ,i cannot give space for all the details of this story1 which is of great interest2 but the result was that ,ursula received all that she asked1 and started on her journey to ,rome1 in the course of which she and the eleven thousand maidens met with many adventures4 ,at last1 having reached ,cologne on their return1 they encountered an army of barbarians which was besieging the city1 and all were slain4 ,the subjects of the pictures as they were painted by ,memling were3 #a1 the first landing at ,cologne in the beginning of the journey2 #b1 the landing at ,basle2 #c1 the arrival in ,rome2 #d1 the second arrival at ,basle on her return toward home2 #e1 commencement of the martyrdom1 when ,ursula and her train are first seen by the barbarians2 #f1 death of ,ursula4 ,the works of ,memling which still remain are numerous1 and are seen in many public galleries4 ,after the death of this master the purity of ,flemish painting declined4 ,many artists visited ,italy1 and the manner of ,flemish painters was influenced by association with ,italian art and artists4 ,i shall1 therefore1 pass over a period when no very important masters appeared1 and speak next of a great man1 ,,quintin ,,matsys 7#adff-aebi71 who began life as a blacksmith4 ,he was born at ,antwerp1 and there are specimens of iron work there said to have been executed by him4 ,it is said that he fell in love with the daughter of an artist who refused to allow him to marry her because he was not a painter2 for this reason ,matsys devoted himself to the study of art1 and became the best ,belgian master of his time4 ,his pictures of religious subjects are full of tender earnestness and deep feeling1 and his most important work was an altar-piece which is now in the ,museum of ,antwerp4 ,his scenes from common life1 his misers and lovers are spirited and truthful4 ,his portrait and that of his second wife1 both painted by himself1 are in the gallery of the ,uffizi in ,florence4 ,his works are not very numerous1 but they are seen in the principal galleries4 ,he was buried in the ,cathedral of ,antwerp1 and a slab is inserted in the wall which tells his story2 one sentence is1 ,connubialis amor de mulcibre fecit ,apellene 7,true love changed the smith to an ,apelles74 ,rubens is the next great master of whom ,i shall speak1 but ,i wish to say that during the last part of the sixteenth century there were many ,flemish painters of considerable note whose pictures are seen in galleries1 and are well worth consideration1 but whose lives had no circumstances of especial interest4 ,among the best of these artists were ,,antonio ,,moro1 ,,peter ,,pourbus 7#aeaj-aehc71 and his son and grandson1 both named ,frans1 ,,pieter ,,breughel 7#aecj-aefi71 and his sons ,jan and ,pieter the younger1 and ,,paul ,,bril1 an early ,flemish landscape painter4 ,all the early ,flemish pictures are very interesting1 but in the beginning of the seventeenth century a new manner of painting was introduced through the genius of ,,peter ,,paul ,,rubens 7#aegg-afdj74 ,this master was descended from two good families3 his mother was of the distinguished family ,pypeling1 and his father1 ,john ,rubens1 was one of the two principal magistrates of ,antwerp4 ,this city was the home of ,rubens1 although he was born at ,siegen1 in the county of ,nassau1 during a time when his father was in exile on account of a civil war which was then raging4 ,he was born ,june #bith1 the feast of ,sts4 ,peter and ,paul1 and hence was named for those apostles4 ,he was a bright1 scholarly boy1 and soon showed his love for drawing4 ,when he began to study art under ,adam van ,noort he had already a good education4 ,during the four years he passed with this teacher he learned thoroughly all the technical part of painting2 then1 in another four years under ,otto ,vnius1 he cultivated his taste and the more poetical elements of his nature1 for ,vnius was a very learned and elegant man4 ,in #aeih1 when twenty-one years old1 ,rubens was admitted to the guild of painters in ,antwerp4 ,two years later he went to ,venice1 and1 after studying the works of ,titian and ,paul ,veronese there1 he entered the service of the ,duke of ,mantua1 to whom he had been recommended by the governor of the ,netherlands4 ,while in ,mantua he painted some fine pictures1 and the duke sent him to ,rome to copy celebrated works there4 ,rubens also executed some other orders in ,rome1 from which place he was recalled by the duke1 who wished to send an envoy to ,spain1 and had chosen the young artist for that duty4 ,he showed great political ability in the way he conducted his embassy1 and through his personal charms made many friends4 ,illustration3 ,,fig4 #ee4--,,rubens ,,and ,,his ,,second ,,wife4 ,after his return from ,spain he went again to ,rome and then to ,genoa1 and finally1 on account of the illness of his mother1 he returned to ,antwerp1 having been absent seven years4 ,his mother died before he reached her4 ,he then decided to remain in ,antwerp1 and built himself a fine house with a charming studio4 ,he soon married his first wife1 ,isabella ,brant1 and during the next fifteen years led a very regular and industrious life1 and executed many important works4 ,he also received a large number of pupils into his studio1 and he has been accused of allowing them to paint pictures which he called by his own name2 but it is true that ,rubens1 with his own hand1 completed pictures of almost every kind1 and so proved his power as an artist4 ,he was fond of study1 and could read and speak seven languages4 ,he was in the habit of having some one read aloud to him while he painted1 and preferred books of history and poetry4 ,in #afbj he was invited to ,france by ,marie de ,medicis1 for whom he executed many works4 ,among them the most important were scenes illustrating the life of this queen which decorate some apartments in the ,louvre4 ,in #afbh the ,infanta ,isabella sent him on a second mission to ,spain1 and while there he painted many grand and important pictures1 which are fine examples of his gorgeous coloring4 ,he proved himself so good a diplomatist that he was sent to ,england to try to make peace between that country and ,flanders1 in which he was successful4 ,he was knighted by ,king ,charles in #afcj1 and received the same honor from the king of ,spain4 ,in #afcj he married ,helena ,forment1 a niece of his first wife1 who was but sixteen years old4 ,she became the mother of five children2 he had two sons by his first marriage1 to whom ,gevartius was tutor4 ,rubens made so many portraits of both his wives and so often used them as models in painting his large pictures1 that their faces are familiar to all the world 7,fig4 #ee74 ,rubens made a valuable collection of all sorts of beautiful objects1 and lived luxuriously4 ,after his death a portion of his collection was sold at private sale for more than seventy-five thousand dollars4 ,his death occurred in #afdj1 and he was buried in a private chapel in the ,church of ,st4 ,james in ,antwerp2 he had decorated this chapel with some works of his own4 ,his family erected a monument to him1 upon which an epitaph written by ,gevartius was inscribed4 ,in painting ,rubens was almost a universal genius1 for he left a great variety of works as well as a great number4 ,about one thousand eight hundred are ascribed to him3 doubtless his pupils did much work on these2 but there is something of himself in all4 ,they include historical1 scriptural1 and mythological subjects1 portraits1 animals1 genre pictures1 and landscapes4 ,his style is a strange mingling of northern and southern elements4 ,his handling and his arrangement of his subjects was like that of the ,italians2 but his figures1 even when he represented ,christ and the holiest men1 were like ,spanish kings or ,german peasants1 or somebody whom he had seen4 ,we have not space to speak in detail of the works of ,rubens4 ,some critics insist that one class of his pictures is best1 and some another4 ,of course this depends largely upon the taste of those who make the judgment4 ,it is certain that he was a wonderful painter1 and many of his pictures give great pleasure to those who visit the galleries where they are seen4 ,his pictures of children were so painted that they seem to have been done from pure love of the work4 ,his portraits are splendid1 his genre scenes delightful1 and his landscapes fine2 in short1 the amount and variety of his work is a proof of his great genius and industry1 such as can scarcely be equalled in the history of painting4 ,yet it cannot be denied that there is much incorrect drawing1 unnatural coloring1 and coarse1 bad taste in some of his works4 ,on the other hand1 the fertility of his imagination1 his bold design and effective execution1 as well as his brilliant color1 are all to be admired1 and the name of ,rubens stands high on the list of ,flemish artists who are famous the world over4 ,illustration3 ,,fig4 #ef4--,,the ,,return ,,from ,,egypt4 ,by ,rubens4 ,,frans ,,snyders 7#aegi-afeg7 was born at ,antwerp and lived in the time of ,rubens4 ,he was a famous painter of animals1 and it sometimes happened that they worked together1 ,rubens painting the landscapes and figures and ,snyders the animals in the same pictures4 ,snyders1 like ,rubens1 excelled in representing animals in the most exciting moment of the combat or the chase1 and his pictures are full of life4 ,they are seen in all large ,european galleries1 and are much prized4 ,,jan ,,fyt 7#afji-affa71 also born at ,antwerp1 is the greatest ,flemish animal painter after ,snyders4 ,his greyhounds cannot be equalled1 while his live dogs are wonderful2 but his best pictures represent dead game4 ,the fur and feathers in his paintings are marvellously done1 and his pictures are among the best in the world in which such subjects are treated4 ,,jacob ,,jordaens 7#aeic-afgh71 another native of ,antwerp1 studied under ,adam van ,noort at the same time with ,rubens1 but later in life he became a follower and a sort of assistant of his former fellow-pupil4 ,he married a daughter of their old master and never visited ,italy4 ,his color was fine2 in truth1 he sometimes excelled ,rubens himself in the golden glow which is much admired in his works4 ,many sacred pictures by ,jordaens are seen in the churches of ,flanders4 ,a fine historical work of his represents scenes from the life of ,prince ,frederick ,henry of ,orange1 and is in the ,house of the ,wood1 near the ,hague2 but the larger part of his pictures represent the manners and customs of the common people1 and are seen in public galleries4 ,the greatest artist among the pupils of ,rubens1 as well as one of the greatest of ,flanders1 was ,,anthony ,,vandyck 7#aeii-afda74 ,he was born in ,antwerp1 and was the son of a silk merchant1 this having been the occupation of the ,vandycks for several generations4 ,the mother of the painter was extremely skilled in various kinds of embroidery1 and had such artistic tastes as enabled her to make many original designs1 which she worked out with her needle in delicate and elaborate tapestry work4 ,some people believe that to this taste and talent of his mother's ,vandyck owed the instinct for drawing which he early showed2 at all events1 she did all she could to develop his taste1 and when he was still a boy she persuaded her husband to place him under the teaching of ,henry van ,balen4 ,he was still quite young when he entered the studio of ,rubens1 and was soon so much trusted by the master as to be allowed to make drawings from his works for the use of the engravers4 ,this sort of drawing must be done with great care and exactness1 and ,vandyck must have had much skill to be fitted for it4 ,his fellow-pupils also had great faith in him1 as is shown by the story that one day1 when ,rubens had gone out1 the young student bribed his old servant to show them the painting with which the master was then occupied4 ,while jostling each other it happened that one of them hit the fresh picture1 and injured it4 ,they were much alarmed1 and begged ,vandyck to repair it4 ,after some hesitation he did so1 and was so successful that at first ,rubens did not detect the fact that another had worked on the picture4 ,when he did discover it1 and learned the truth about it he forgave the offence heartily4 ,when ,vandyck was nineteen years old he was admitted to the ,society of ,artists in ,antwerp1 an unusual honor to one of his age4 ,in #afbj ,vandyck went to ,england1 having been invited there through the ,earl of ,arundel4 ,little is known of this visit1 and two years later he was invited to the ,hague1 where he spent several months4 ,when ,vandyck was passing through ,haarlem he went to the studio of ,franz ,hals1 who was at a tavern just then4 ,a message was sent him saying that a stranger desired to have his portrait made1 and had but two hours to spare for it4 ,hals hastened home and dashed off the portrait within the time stated4 ,vandyck then said1 ,portrait-painting seems to be a simple thing2 take my place1 and give me the brush for awhile4 ,hals complied with the request and ,vandyck made his portrait with great celerity4 ,seeing this1 ,hals cried out1 ,you are ,vandyck2 he alone can do such work4 ,the young artist was suddenly called to the death-bed of his father1 who commanded him to paint a picture for the ,dominican ,sisters who had cared for his father in his illness4 ,seven years later ,vandyck presented the ,sisters with a ,crucifixion4 ,at the foot of the cross was a rock upon which was inscribed1 in ,latin1 ,lest the earth should be heavy upon the remains of his father1 ,anthony ,vandyck moved this rock to the foot of the cross1 and gave it to this place4 ,when the monasteries were broken up1 this picture was purchased for two thousand seven hundred dollars for the ,antwerp ,academy1 where it now is4 ,at length ,vandyck prepared to set out for ,italy4 ,when he paid his farewell visit to ,rubens he presented the master with three of his pictures1 and in return ,rubens gave him one of his finest horses4 ,as ,vandyck was on his way from ,antwerp to ,brussels he halted at the village of ,saventhem1 where he fell in love with ,anna van ,ophem1 and so stayed on in the lovely valley of ,flanders1 week after week1 as if he had forgotten that ,italy existed4 ,anna persuaded him to paint a picture for the village church1 and he executed a ,holy ,family in which the ,virgin was a portrait of ,anna1 and ,st4 ,joachim and ,st4 ,anna were drawn from her father and mother4 ,this picture pleased the church authorities so much that they gave the young painter an order for another1 which represented ,st4 ,martin dividing his cloak with beggars4 ,in this work the saint was a portrait of ,vandyck1 and the horse on which he rode was like that which ,rubens had given him4 ,this picture has quite a history4 ,in #ageh the priest agreed to sell it to a collector from the ,hague for one thousand eight hundred dollars2 but when the villagers knew of it they surrounded the church with clubs and pitchforks1 and drove the purchaser away4 ,in #ahjf1 when the ,french invaders tried to carry it away1 the people again prevented it1 and they were forced to call more soldiers from ,brussels before they succeeded in taking it4 ,the ,st4 ,martin was placed in the ,gallery of the ,louvre1 at ,paris1 but was restored to ,saventhem in #ahae4 ,about #ahej a rich ,american offered twenty thousand dollars for the picture1 no matter who brought it to him4 ,upon this a set of rogues tried to steal it at night2 but the dogs of the village gave such an alarm that the town was roused1 and the robbers escaped with difficulty4 ,since then a guardian sleeps in the church1 and the ,st4 ,martin is still there4 ,the news that ,vandyck was thus lingering on his way to ,italy reached the ears of ,rubens1 and he sent such urgent messages to his pupil as induced him to continue his journey1 and he also sent him letters of introduction to artists and to nobles whom the master had known when he made his studies beyond the ,alps4 ,vandyck went first to ,venice1 where he worked hard to copy and learn to imitate the rich color and refined manner of ,titian and other ,venetian masters4 ,he also painted some original pictures in ,venice1 and made many portraits which gave him fame in that and other cities4 ,he was asked to go to other places for the painting of portraits2 but he remained in ,venice until his money was spent1 and then went to ,genoa1 where he was well received and generously employed by the old friends of ,rubens4 ,his works are still to be seen in some of the palaces of that city1 while some have been sold and carried to other countries--they were so fine that they still maintain the name which they gained for him when they were executed4 ,the principal work done in ,genoa was a picture of the ,lomellini family which is now in ,edinburgh2 it is about nine feet square4 ,his different visits to ,genoa during his absence in ,italy make up a period of about three years1 and he did a vast amount of work there4 ,when he first went to ,rome ,vandyck was invited to the house of ,cardinal ,bentivoglio1 who had been papal nuncio to ,flanders1 and for whom our artist made a picture of the ,crucifixion4 ,the full-length portrait which ,vandyck painted of the cardinal is now in ,florence2 a copy of it is in one of the halls of ,harvard ,college4 ,it is one of the finest among the many splendid portraits by this great master4 ,vandyck was fascinated with ,rome1 but he was so unpopular with the other ,flemish painters there that he shortened his stay in the ,eternal ,city in order to escape the vexations he there received4 ,the artists disliked him for his ostentation1 and he was called ,il pittore cavalieresco--and he offended them by declining to associate with them at taverns or to join their coarse festivities4 ,after leaving ,rome he visited ,palermo1 from which place he was driven away by the appearance of the plague4 ,he returned to ,genoa1 visited ,florence and other cities in the north of ,italy1 and finally returned to ,antwerp after an absence of four years4 ,during the first years after his return he met with small success--,rubens was so great that he filled all the space about him--but at last1 in #afbh1 ,vandyck began to receive important commissions1 and from this time was constantly busy with works for the churches of the ,low ,countries4 ,he also painted portraits of many notable persons1 and made great numbers of them in brown and white for the use of engravers4 ,while ,vandyck was thus executing great numbers of fine pictures for the embellishment of ,flanders1 he became so unpopular and his rivals said such hard things of him that he determined to go away4 ,one of his unfortunate experiences was in the house of the bishop1 who had sent for him to paint his portrait4 ,vandyck had first sent his implements to the care of the porter of the palace4 ,when he went himself he was taken into the presence of the bishop1 who was reclining on a sofa1 and gave little attention to the artist4 ,at last the bishop asked if he had not come to paint his portrait4 ,vandyck declared himself to be quite at the service of his lordship4 ,why1 then1 said the bishop1 do you not go for your implements8 ,do you expect me to fetch them for you8 ,vandyck calmly replied1 ,since you have not ordered your servants to bring them ,i supposed that you wished to do it yourself4 ,then the bishop leaped up in anger and cried out1 ,anthony1 ,anthony1 you are a little asp1 but you have a great deal of venom6 ,vandyck thought it safe to make his escape1 and after he crossed the threshold he called back1 ,my lord ,van der ,burch1 you are a voluminous personage1 but you are like the cinnamon tree4 ,the bark is the best part of you4 ,in #afbi ,vandyck went to ,england with the hope of being employed by ,king ,charles ,i42 but he was not able even to get an introduction to the sovereign1 and went to the continent filled with mortification4 ,at length1 however1 ,charles called him to ,london1 whither he went in #afcb1 and soon became the friend of the king as well as his favorite artist4 ,he was assigned a city and a country residence1 and within three months of the time of his arrival at court the king knighted him1 and gave him a gold chain with a portrait of himself set in brilliants suspended from it4 ,charles was in the habit of passing much time with ,vandyck1 and the studio of the court-painter became one of the most fashionable resorts in ,london for the courtiers and other distinguished people4 ,vandyck kept up a fine establishment1 and lived luxuriously4 ,he had a habit of asking his sitters to dinner2 thus he could study their faces and retouch their portraits with the more natural expressions of their conversational hours1 for it is rare that one is natural when posing before an artist who is painting one's portrait4 ,but in the midst of his busy life as an artist and his gay life as a man of the world1 ,sir ,anthony did not forget the needs of his brother painters4 ,there was at that time no club or place where artists met socially to consult and aid each other in their profession4 ,vandyck founded the ,club of ,st4 ,luke2 it met at the ,rose ,tavern1 and all painters of talent living in ,london joined it4 ,one of the more personal acts of kindness which are related of him is that having seen by chance a picture which was painted by ,william ,dobson1 ,vandyck sought him out1 found him in a poor garret1 instructed him with great care1 introduced him to the king1 and1 in short1 by his kind offices so prepared the way that ,dobson was made sergeant-painter to the king after ,vandyck's death1 and won the title of the ,english ,tintoretto4 ,the portraits which ,vandyck executed in ,england are numbered by hundreds and are magnificent pictures4 ,those of the royal family are very numerous and important1 and there is scarcely a man or woman belonging to this period whose name has come down to us in history or literature1 whose portrait he did not paint4 ,he also made thirteen portraits of himself which are still preserved4 ,he was very skilful in painting horses and dogs1 and frequently introduced these animals into his portrait groups4 ,there is a large collection of the pictures of ,vandyck at ,windsor ,castle2 there are many also in the private galleries of ,great ,britain and other countries1 besides a goodly number in the public galleries of ,europe4 ,he executed at least thirty-six portraits of ,charles ,i41 as many as twenty-five of ,queen ,henrietta ,maria1 and he also painted several groups of the children of the royal pair4 ,prince ,rupert of the ,rhine and ,thomas ,wentworth1 ,earl of ,strafford1 were also frequently portrayed by him1 and one of his most important large works was a family picture of the ,earl of ,pembroke and his household4 ,it is called the ,wilton ,family1 as it is in a salon at ,wilton ,house2 it contains eleven figures1 and has been called the first and most magnificent historic portraiture in the world4 ,again1 it is said to be stiff1 wanting in harmony1 bad in color1 and so on1 but after all it still remains a splendid monument to the skill and genius of ,vandyck4 ,the picture is twenty feet long by twelve feet high4 ,vandyck painted no portraits of the ,puritans nor popular leaders of his day2 neither did he of the literary men who flourished at that time1 with the exception of the court poets1 ,sir ,john ,suckling and ,thomas ,carew4 ,i shall not give a list of ,vandyck's historical and religious pictures1 though they are quite numerous4 ,they are not as interesting as his portraits1 and we have not space to give them4 ,his ambition1 however1 was never satisfied1 for he wished to do some great historical work4 ,at one time his opportunity seemed to have come1 for the great banqueting-room of ,whitehall ,palace1 the ceiling of which ,rubens had painted1 still remained with plain walls4 ,vandyck desired to paint on them the history of the ,order of the ,garter4 ,the project was laid before the king1 and he desired sketches to be made for the work1 and one of them1 the ,procession of the ,knights of the ,garter1 was sold after the execution of the king for five pounds4 ,it was owned by ,sir ,peter ,lely and ,sir ,joshua ,reynolds1 and is now at ,belvoir in the collection of the ,duke of ,rutland4 ,we cannot help being sorry for ,vandyck's great disappointment when he knew that his work could not be done4 ,he was weak in health and much in debt1 for the king could not pay him his pension nor what he owed him for pictures4 ,the artist grew sad and discouraged4 ,he sought relief in the study of alchemy1 and indulged the vain hope of discovering some chemical means of making gold from base metals4 ,all this wasted his time and means1 and it is to be regretted that he was less wise than his master1 for when an alchemist tried to interest ,rubens in the same subject1 that great artist replied3 ,you come too late1 my good fellow2 ,i have long since discovered the philosopher's stone4 ,my palette and brushes are worth far more than any other secret4 ,the king and all ,vandyck's friends were troubled by his state of health and mind1 and a marriage was brought about for him with the hope that he would be a happier man4 ,his wife was ,maria ,ruthven1 a lovely ,scotch girl who held a high position among the attendants of the queen4 ,not long after his marriage ,vandyck took her to ,flanders1 where he enjoyed much the honorable reception which he met with in revisiting the scenes of his childhood and youth4 ,but having learned that ,louis ,,xiii4 was about to adorn a large gallery in the ,louvre1 ,vandyck hastened to ,paris hoping to obtain the commission4 ,he was too late--the work had been given to ,poussin1 and ,vandyck returned to ,london greatly disheartened4 ,while at ,antwerp he had received much attention1 as1 indeed1 had been the case before1 for in #afcd he had been elected ,dean of the ,confraternity of ,st4 ,luke and a great feast was held in his honor4 ,when he came now to ,london the social atmosphere was full of sadness4 ,the political troubles1 which were finally so terrible in ,england1 had already become alarming4 ,in a few months the ,earl of ,strafford was executed1 and ,vandyck saw the royal family1 to whom he was so much attached1 surrounded with danger and at last separated4 ,his physical health was already delicate1 and his sorrows brought on a disease from which he soon died4 ,he continued to work until the very last days of his life4 ,eight days before his death his daughter was born2 she was named ,justiniana1 and when she grew up married an ,english baronet1 ,sir ,john ,stepney4 ,a short time before ,vandyck died the king came from the ,north to ,london1 and though he was overburdened with his own cares and griefs he found time to sorrow for the condition of his friend and artist4 ,he offered his physician three hundred pounds if he would save the life of ,sir ,anthony2 but nothing availed to baffle his disease1 and he died ,december #i1 #afda4 ,two days later he was buried in ,st4 ,paul's ,cathedral4 ,it is said that many nobles and artists attended his funeral1 which was conducted with impressive ceremony4 ,the fire which destroyed ,st4 ,paul's made it impossible to say exactly where ,vandyck was laid1 but his coffin-plate was found at the time of the burial of ,benjamin ,west4 ,there were no artists of importance after the time of ,rubens and his followers whom we call ,flemish artists4 ,there were good painters1 certainly1 belonging to the schools of ,flanders2 but these schools had reached their highest excellence and were on the decline1 and so we pass to the ,dutch school1 or the painters of ,holland4 ,there was doubtless a very early school of ,dutch painters1 dating back to the fourteenth century even2 but the records of it are so imperfect1 and so few pictures remain from its early days1 that for our purpose it is best to pass over the fifteenth century and say that during the sixteenth century the painters of ,holland gave up the painting of sacred subjects very largely1 and began to take on the characteristics of what is generally known now as the ,dutch ,school4 ,this school is distinguished for its portraits1 which form a large and important part of its painting2 next for its domestic scenes1 which are realistic and true to life in an astonishing degree4 ,at the beginning of the seventeenth century ,holland had obtained a position as a nation that freed its artists from the influence of the ,romish ,church and the fear of the ,inquisition1 and they soon used their freedom to establish a national art1 and one which became very important to the world4 ,,franz ,,hals 7#aehd-afff7 was the most noteworthy of the portrait-painters4 ,he was born at ,mechlin1 but passed most of his life at ,haarlem4 ,there was a custom in ,holland of painting portraits of the members of guilds and societies in groups1 and some such works of his at ,haarlem are very fine4 ,i have told a story of his rapid manner in the sketch of ,vandyck4 ,he was the first master to introduce that free1 bold1 sleight-of-hand manner which was afterward used by the ,dutch masters1 and is so strong in its effect4 ,this painter led a merry1 careless life4 ,his portraits of single heads or figures are rare1 and his small genre subjects still more so4 ,in the ,htel de ,ville at ,haarlem there are as many as eight of his large works1 most of them having ten or a dozen portraits4 ,the ,dutch painters of still-life--flowers1 dead game and poultry1 and metals1 glass1 and other beautiful objects--were very skilful1 and have never been surpassed4 ,the names of these masters would make a long list4 ,there is little to be told of the circumstances of their lives1 though their works are seen in most ,european galleries1 and well repay one for careful examination4 ,illustration3 ,,fig4 #eg4--,,portrait ,,of ,,an ,,officer4 ,by ,franz ,hals4 ,another form of ,dutch art is the representation of scenes from peasant life1 and there were some very eminent painters who devoted themselves to these subjects entirely4 ,the interiors of inns with men smoking and drinking1 playing cards or making jokes1 were subjects many times repeated2 dancing villagers1 ftes1 and fairs were often pictured1 and in all these scenes everything was given exactly to the life4 ,it follows that these pictures of coarse1 vulgar people engaged in rude amusements cannot be beautiful2 but they are oftentimes wonderful4 ,among the most noted names in this kind of painting are those of ,adrian ,brauwer1 the ,van ,ostades1 the ,teniers1 and ,jan ,steen4 ,most of these artists executed small pictures only4 ,i shall speak particularly of but one of these ,dutch genre painters--,,david ,,teniers the younger 7#afaj-afid71 who became the greatest painter of his time of scenes from common life4 ,this is very great praise1 because there were many ,dutch and several ,flemish painters who were noted for such pictures4 ,this ,teniers studied with his father1 but his works show that he was much influenced by ,rubens4 ,he excelled in guard-house scenes and peasant life in every aspect4 ,in representations of the alchemist also he was unequalled1 as well as in fairs and festivals of every sort4 ,he sometimes painted sacred subjects1 but they are the least praiseworthy of all his works4 ,the pictures of ,teniers are very numerous4 ,one author describes nine hundred of his works which are known to be genuine1 and it is believed that there may be one hundred more4 ,he often represented a great number of figures on one canvas4 ,at ,schleissheim there was a large picture1 thirteen and a half feet by ten feet in size1 which contained one thousand one hundred and thirty-eight figures4 ,it was not unusual for him to paint from one hundred and fifty to three hundred figures in a single picture of moderate size4 ,he had a light1 brilliant touch1 his color was exquisite1 and his arrangement of his subjects was very picturesque4 ,his chief fault was a resemblance in his heads1 and for this reason those pictures with the fewest figures are his best works4 ,teniers had several royal patrons1 and earned sufficient money to live in handsome style in his home in ,perck1 not far from ,mechlin4 ,he chose this place in order to be near the peasant classes1 whose life was his chief study4 ,he also excelled in his ability to imitate the styles of other masters4 ,in the ,vienna ,gallery there is a curious work of his which represents the walls of a room hung with fifty pictures1 imitating those of various ,italian masters2 in the foreground are portraits of ,teniers and the ,archduke ,leopold ,william1 who are represented as conversing with each other4 ,teniers reached his excellence early in life1 and was but twenty-two years old when he was admitted to the ,guild of ,painters at ,antwerp4 ,that ,rubens was his friend is proved by the fact that when ,teniers married the daughter of ,jan ,breughel1 in #afcg1 that great master was one of the witnesses to the ceremony4 ,in #afef he married his second wife1 the daughter of the ,secretary of ,state for ,brabant4 ,by his artistic and personal merits ,teniers gained a higher place in society than was ever held by any other genre painter of the ,flemish or ,dutch schools4 ,he was eighty-four years old when he died1 and was active and industrious up to the close of his life4 ,although ,teniers had such good fortune during his life1 ,i fancy he would have been surprised if he could have known what his fame would be now1 or what prices would be paid for his pictures about two centuries after his death4 ,the ,flemish ,kermes was bought for the ,brussels ,museum in #ahfg for twenty-five thousand dollars1 and at the ,san ,donato sale1 in #ahhj1 the ,prodigal ,son sold for sixteen thousand two hundred dollars1 and the ,five ,senses for fifteen thousand dollars4 ,it is difficult to distinguish the etchings of the son from those of the father1 ,david ,teniers the elder1 though it is well known that the son executed such works4 ,,gerard ,,honthorst 7#aeib-affj7 was also a painter of genre scenes1 and many of his works had figures of life size4 ,his chief distinction1 however1 was that of painting the effects of artificial lights4 ,he was famous in ,england and ,italy as well as in his own country1 and the ,italians called him ,gherardo della ,notte1 or ,gerard of the ,night1 because he painted so many night-scenes lighted by candles1 lamps1 and torches4 ,then there was a class of ,dutch artists who represented the interiors of fine houses--rooms with all sorts of beautiful furniture and ornaments1 with ladies and gentlemen in splendid costumes4 ,they tried to show the effects of light upon satins1 glass1 metals1 and other shining objects4 ,they painted with great care1 and finished their pictures in the most perfect manner4 ,,gerhard ,,terburg 7#afjh-afha71 ,,gerhard ,,dow 7#afac-afge71 and ,,gabriel ,,metsu 7#afae-;after #affg7 were all remarkable for works of this kind4 ,,pieter ,,de ,,hooge1 who worked from #afbh to #afga1 and of whose life little is known1 painted similar pictures of court-yards as well as of rooms in houses4 ,the list of the names of all these ,dutch masters cannot be given here1 and ,i hasten to tell you of one whose name and fame is so great that when we hear of ,dutch art we always think first of him1 because he stands out as its head4 ,,rembrandt ,,van ,,ryn 7#afjg-affi7 was born at ,leyden1 and was educated by his parents with the hope that he would be a scholar and a prominent man in ,leyden4 ,but his taste for drawing and painting would not be put aside1 and in #afbj he entered the studio of ,j4 ,j4 van ,swanenburg1 where he learned the first lessons in his art1 and was then placed under the teaching of ,pieter ,lastman in ,amsterdam1 where he remained only six months1 after which he returned to his father's house1 and there lived for seven years4 ,he was not far from seventeen years old when he thus left the usual course of study4 ,from this time he gave himself up to close observation of nature in every form4 ,he studied broad landscapes--farms1 groves1 gardens1 rivers1 canals1 sunshine1 clouds1 and shadows1 and with and above all these1 the human faces that he saw1 as well as the varying forms1 movements1 and peculiarities of the men and women about him4 ,that nothing escaped his observation is proved by the works he did in later life4 ,in #afcj ,rembrandt settled in ,amsterdam1 which was called the ,venice of the ,north1 and was the centre of northern commerce1 civilization1 and the activity of political and intellectual life4 ,rembrandt was no sooner established in his studio on one of the western quays than he was pressed with orders for pictures and applications from young men who desired his instructions4 ,the years following were crowded with work--with painting and engraving4 ,rembrandt is called the ,prince of ,etchers1 and he used the etching needle most skilfully1 but he also employed the dry-point and even the graver in finishing4 ,thus he may be said to have established a new school of engraving of great excellence4 ,illustration3 ,,fig4 #eh4--,,one ,,of ,,rembrandt',s ,,portraits ,,of ,,himself4 ,it would seem that in these early years one of his amusements was to make etchings of himself4 ,in one year1 #afcj-ca1 he made nineteen of these portraits in different costumes and positions1 with as many kinds of expression on his face4 ,he often repeated the portrait of his mother also4 ,illustration3 ,,fig4 #ei4--,,the ,,lecture ,,on ,,anatomy4 ,by ,rembrandt4 ,in #afcb he painted the ,school of ,anatomy1 now one of the gems of the fine gallery at the ,hague4 ,it represents a lecture by ,professor ,tulp1 who is dissecting the arm of a dead body and explaining its structure to seven other surgeons4 ,it is a wonderful picture and one of the most famous works of this great master4 ,in #ahbh it was sold for the benefit of the fund for surgeons' widows1 and the ,dutch ,government paid thirty-two thousand florins for it4 ,this picture is in a certain way a portrait picture1 and comes within the class of ,dutch pictures of which ,i have spoken as portraits of guilds and societies2 for ,tulp was very famous1 and ,rembrandt probably attended his lectures1 and was chosen by him to be the painter of this celebrated portrait of himself surrounded by members of his guild4 ,rembrandt's influence upon the art of his time was very great almost from the beginning of his career4 ,about #afcd he introduced his manner of portrait-painting1 with dark backgrounds and deep shadows on the face1 with a bright light on the cheek and nose passing down to the shoulder1 and immediately other artists adopted this manner4 ,they considered it a necessity to imitate him1 so much was he admired4 ,in #afcd ,rembrandt married ,saskia van ,ulenburg1 who was very beautiful and of an aristocratic and wealthy family4 ,she was only twenty-one years of age when she married1 and ,rembrandt painted many portraits of her besides making her his model for beautiful figures in his mythological and sacred subjects4 ,she lived but eight years after her marriage1 which were the happiest of the artist's life4 ,she left but one child1 a son named ,titus1 and showed her confidence in her husband by leaving all her fortune to him1 with the single stipulation that their son should be properly educated4 ,after the death of ,saskia it seems that the only thought of the master was to work without rest1 and in this way to drown the remembrance of his sorrow4 ,there is little material for a story of his life--it is told in his pictures4 ,the house in which ,saskia lived was very fine1 and ,rembrandt was so fond of collecting all sorts of curious and beautiful objects that he finally made himself poor1 and his collection was sold4 ,he never travelled1 and some writers have said that he was ignorant of classic art2 but the list of his collections proves that he had busts of ,homer and ,socrates and copies of ancient sculptures1 such as the ,lacoon1 a ,cupid1 and so on4 ,he also had pictures of some of the best ,italian masters4 ,after the sale of his home and all his rare objects he hired a house on the ,rosengracht near the ,west ,church4 ,this house still stands1 and has a shield dated #afeb1 though the artist did not live there until #afeh4 ,his life here was not lonely or desolate4 ,he had many friends in ,amsterdam who did not forget him4 ,he was near the bastions of the city1 and had not far to go to sketch1 as he loved to do1 and he was busy with his brush until #affb1 when he did nothing of which we know4 ,in #afff he executed four pictures4 ,among his works of #affg there is a portrait of himself which is of great interest4 ,in ,october1 #affh1 ,rembrandt died after a short illness4 ,he was buried in the ,west ,church1 and his funeral was so simple that its cost was registered as only fifteen florins4 ,rembrandt's pictures are so numerous and so varied in their subjects that no adequate list or account of them can be given here4 ,and his numerous engravings are as interesting as his pictures1 so that a volume would scarcely suffice to do him justice2 but ,i will try to tell something of his style4 ,his management of light was his most striking characteristic4 ,he generally threw a strong1 vivid light upon the central or important object1 whether it was a single figure or a group1 and the rest of the picture was in shadow4 ,this is true of all his works1 almost without exception--portraits1 pictures both large and small1 and etchings4 ,rembrandt loved to paint unusual things4 ,we are apt to think that an unusual thing is not natural2 but if we closely observe nature1 especially the effect of light and shade1 we shall find that no imagination could make pictures more wonderful than the reality we see4 ,rembrandt had that keen observation that helped him to seize upon the sharp features--the strong points in a scene or a person--and then he had the skill to reproduce these things on his canvas with great truth4 ,his etchings are much prized4 ,one of the most famous represents ,christ healing the sick1 and is called the ,hundred ,guilders ,print1 because that sum was the price he fixed for it2 now a good impression of it is worth ten times as much4 ,at his death he left about six hundred pictures and four hundred engravings4 ,his landscapes are his rarest subjects4 ,most of these are in private collections1 but ,i have seen one in the ,cassel ,gallery2 the color of it is bright and glowing--the sky magnificent4 ,in the foreground there is a bridge1 and on an eminence are the ruins of a castle4 ,some fine works by ,rembrandt are in ,england1 and very large prices have been paid for them4 ,in #ahfg ,christ ,blessing ,little ,children was sold for seven thousand pounds4 ,at the ,san ,donato sale in ,florence1 in #ahhj1 ,lucretia brought twenty-nine thousand two hundred dollars1 and a ,portrait of a ,young ,woman nearly as much4 ,among ,rembrandt's pupils ,gerbrandt van der ,eeckhout holds a high rank1 and his pictures are seen in many galleries4 ,among the landscape painters of ,holland ,,albert ,,cuyp 7#afje-afia7 is very famous4 ,he sometimes introduced figures and animals into his pictures1 but they were of secondary importance2 the scenery was his chief thought4 ,his works are in many galleries1 and the increase in their value is marvellous4 ,sir ,robert ,peel bought a landscape1 twelve by twenty inches in size1 for which he paid three hundred and fifty guineas3 it was originally sold in ,holland for about one ,english shilling6 ,during the first century after his death no picture by ,cuyp brought more than thirty florins2 now they cost almost their weight in gold4 ,other fine landscape painters were ,jan and ,andries ,both1 ,jan van ,goyen1 ,jan ,wynants1 ,adrian van de ,velde1 and1 finally1 ,,philip ,,wouverman 7#afai-affh71 who introduced much life into his works4 ,he painted battles1 hunting parties1 and such subjects as allowed him to introduce white horses1 for which he became noted4 ,his works1 as well as those of the other painters last mentioned1 are valuable4 ,there are so many in galleries which are attributed to ,wouverman that it is doubtful if they are all genuine4 ,he had animation and fine feeling for the picturesque4 ,his execution was light and delicate1 and there is much tenderness shown in his works4 ,there were many excellent ,dutch landscape painters whom we have not mentioned4 ,,paul ,,potter 7#afbe-afed7 was born at ,enkhuysen1 and though he died young he made himself a great and enduring reputation by his pictures of animals4 ,paul ,potter's ,bull1 which is in the gallery at the ,hague1 is as well known as any one picture the world over4 ,he left one hundred and eight pictures and eighteen etchings4 ,he was most successful in representing cattle and sheep2 his horses are not as fine4 ,he never crowded his pictures2 they have an open landscape1 but few animals1 and perhaps a shepherd1 and that is all4 ,some of his pictures have been valued as high as fifty thousand dollars4 ,,jacob ,,ruysdael 7#afbe-afha7 was born in the same year with ,paul ,potter4 ,his birth-place was ,haarlem4 ,he came to be the very best of all ,dutch landscape painters1 and though most of his pictures represent the dull1 uninteresting scenery of ,holland1 they are so skilfully drawn and painted that they are really most attractive1 if not cheerful4 ,his works number about four hundred and forty-eight pictures and seven fine1 spirited etchings4 ,he was fond of giving a broad1 expansive effect to his pictures1 and frequently placed church spires in the distance4 ,he painted a few marine views with rough seas and cloudy skies4 ,though many of his works are gloomy1 he sometimes painted sunshine with much effect4 ,some of his finest works are in the ,dresden ,gallery4 ,,mindert ,,hobbema was a pupil of ,jacob ,ruysdael1 and this is almost all that is known of him personally2 but his pictures show that he was a great landscape painter4 ,they sell for enormous sums1 and many of the best are in ,england4 ,most of those seen in the continental galleries are not those he should be judged by4 ,at the ,san ,donato sale in ,florence1 his picture of the ,wind-,mills sold for forty-two thousand dollars4 ,the number of reputable ,dutch painters is very large1 but ,i shall mention no more names4 ,after the great men whom we have spoken of there comes an army of those who are called little ,dutch masters1 and their principal work was making copies from the pictures of the greater artists4 ,in the history of what we know as ,german art we find a very early school at ,cologne1 but the records of it are so scarce and imperfect that ,i shall give no account of it here4 ,at ,augsburg there was an important school of art which commenced with the ,holbeins4 ,the first ,hans ,holbein is known as ,old ,holbein1 and so little is known of him that ,i shall merely give his name4 ,the second ,,hans ,,holbein1 called the elder 7#adfj-aebc71 painted a great number of religious pictures1 which are seen in various churches and galleries in ,germany4 ,some of the best are in the ,cathedral of ,augsburg4 ,in one salon of the ,munich ,pinakothek there are sixteen panels painted by him4 ,but it was ,,hans ,,holbein the third1 known as the younger1 who reached the perfection of his school 7#adie-aedc74 ,this painter was instructed by his father and by ,hans ,burgkmair4 ,he was but fifteen years of age when he began to receive commissions for pictures4 ,when he was about twenty-one years old he removed to ,basle1 and there he painted many pictures1 though not nearly as many as have been called by his name4 ,about a year after ,holbein went to ,basle he was called to ,lucerne to decorate a house1 and he executed other works there and at ,altorf4 ,in #aeai1 when he had been three years in ,basle1 he became a citizen of that town and a member of its guild of painters4 ,his works at ,basle were mostly decorative1 and he painted few easel pictures there4 ,holbein married a widow with one son2 her name was ,elizabeth ,schmid4 ,she had a very bad temper4 ,it is said that she made ,holbein's life so miserable that he left ,basle for that reason4 ,he visited her sometimes1 and always gave her money1 but lived away from her4 ,in #aebf ,holbein went to ,england1 and his friend ,erasmus said that he went because he had so little to do in ,basle4 ,he carried a letter to ,sir ,thomas ,more1 who received him with great kindness1 and the artist made many portraits of ,sir ,thomas and his family4 ,there is a story about one of these portraits of that nobleman4 ,he had refused to be present at the marriage of ,anne ,boleyn to ,king ,henry ,,viii41 and she never forgave him4 ,on the day that ,more was executed she looked at one of ,holbein's portraits of the ex-chancellor and exclaimed1 ,ah1 me6 the man seems to be still alive2 and seizing the picture she threw it into the street4 ,in #aecj ,holbein returned to ,basle to complete some unfinished frescoes1 and this being done he went again to ,london4 ,about this time he began to be employed by the king1 and did many pictures for him from time to time4 ,in #aech ,henry sent ,holbein to ,brussels to make a portrait of the ,duchess of ,milan1 of whom the king was thinking for his fourth wife4 ,no citizen of ,basle was allowed to enter the service of a foreign sovereign without the consent of the council1 so in #aech the artist went home to ask permission to serve the ,king of ,england4 ,great efforts were made to keep him in ,basle1 but at last he received permission to remain two years in ,england3 the artist never went again to ,basle4 ,henry ,,viii4 became fond of ,holbein1 and was generous to him1 even giving him a painting-room in the palace of ,whitehall4 ,in #aeci the artist was sent to paint a portrait of ,anne of ,cleves1 whom the king married the next year4 ,it has been said that the picture was so flattering that when the king saw the lady he was disappointed2 we know that he was soon divorced from her4 ,in #aedc the plague raged in ,london1 and on the #gth of ,october ,holbein prepared his will4 ,he died before the #bith of ,november1 but the facts concerning his death and burial are not known4 ,there are several interesting anecdotes of ,holbein4 ,one relates that when passing through ,strasburg he visited the studio of an artist1 and finding him out1 painted a fly on a picture which was on an easel4 ,when the painter saw the fly he tried to brush it away1 and when he found who had painted it he searched the city for ,holbein2 but he had already left for ,england4 ,another story shows the regard which ,henry ,,viii4 had for him4 ,one day a nobleman went to ,holbein's studio1 and insisted upon entering1 though the artist told him that he was painting the portrait of a lady by his ,majesty's orders4 ,the nobleman persisting1 ,holbein threw him down the stairs with great violence1 and then rushed to the king1 and told him what he had done4 ,soon after the nobleman was borne to the presence of the king2 he was unable to walk1 and was loud in his complaints4 ,the king ridiculed him1 and the nobleman was angry1 and threatened to punish the artist legally4 ,then ,henry got angry1 and said3 ,now you have no longer to deal with ,holbein1 but with me1 your king4 ,do you think that this man is of so little consideration with us8 ,i tell you1 my lord1 that out of seven peasants ,i can make seven earls in a day2 but out of seven earls ,i could not make one such artist as ,hans ,holbein4 ,illustration3 ,,fig4 #fj4--;,,burgomaster ,,meier ,,madonna4 ,by ,holbein4 ,dresden ,gallery4 ,at ,basle one may see some of the most important of the early portraits of ,holbein2 these are in the gallery where are also his ten well-known scenes from the ,passion of ,christ4 ,while at ,basle he probably made the designs for the ,dance of ,death4 ,for a long time it was believed that he painted this subject both at ,basle and at ,bonn1 but we now know that he only made designs for it4 ,he also decorated the ,town ,hall at ,basle2 of this work1 however1 but little remains4 ,the most celebrated work by ,holbein is the ,meyer ,madonna in the royal palace of ,darmstadt1 of which there is a copy in the ,dresden ,gallery4 ,it takes its name from that of the ,burgomaster ,meyer1 for whom it was painted4 ,the ,madonna1 with the infant ,jesus in her arms1 stands in a niche in the centre of the picture2 the burgomaster and his family kneel before her4 ,this is what is called a votive picture1 which means a picture made in the fulfilment of a vow1 in gratitude for some signal blessing or to turn away some danger4 ,many of these works commemorate an escape from accident or a recovery from sickness4 ,the picture is very beautiful1 and it seems as if the ,virgin wished to share her peace with the kneeling family1 so sweet is the expression of her face1 while the child seems to bestow a blessing with his lifted hand4 ,the original was probably painted for a ,chapel of ,our ,lady4 ,his ,dance of ,death was very curious1 the idea being that ,death is always near us and trying to strike down his prey4 ,the pictures represent a skeleton clutching at his victims1 who are of all ages and occupations1 from the lovely young bride at the altar to the hard-working pedlar in the cut we give here1 and all of them are hurried away by this frightful figure which stands for ,death itself4 ,holbein made many wood engravings1 but none so important as these4 ,when the set is complete there are fifty-three cuts1 but it is rare to find more than forty-six4 ,holbein was one of the foremost of ,german masters4 ,all his pictures are realistic1 and many of them are fantastic2 he gave graceful movement and beauty of form to many of his subjects2 his drapery was well arranged2 his color and manner of painting were good4 ,he painted in fresco and oil colors1 executed miniatures and engravings4 ,his portraits were his best works1 and in them he equalled the greatest masters4 ,the most reliable portrait of this artist is in the ,basle ,museum4 ,it is done in red and black chalk1 and represents him as a man with regular1 well-shaped features1 with a cheerful expression which also shows decision of character4 ,illustration3 ,,fig4 #fa4--;,,from ,,holbein',s ,,dance ,,of ,,death4 ,there were other good artists in the ,augsburg school after the time of the ,holbeins2 but ,i shall pass immediately to the ,franconian school1 or that of ,nuremburg1 and to its great master1 ,,albert ,d,,rer 7#adga-aebh71 whose life was very interesting1 and who stands1 as an artist1 among the greatest painters of the world4 ,the city of ,nuremburg was a grand1 rich old place even in ,drer's time1 and as a boy he was familiar with its scenery and architecture1 which helped him to cultivate his artist tastes1 and to make him the great man that he became4 ,he was an author of books as well as an architect1 sculptor1 painter1 and engraver4 ,his father was a goldsmith1 and ,albert was apprenticed to the same trade2 but he was so anxious to study painting that at length his father placed him as apprentice to the painter ,michael ,wohlgemuth4 ,at this time ,albert was fifteen years old1 and the two years he had spent with the goldsmith had doubtless been of great advantage to him2 for in that time he had been trained in the modelling of small1 delicate objects1 and in the accurate design necessary in making the small articles in precious metals which are the principal work of that trade4 ,albert ,drer had a very strong nature1 and ,michael ,wohlgemuth was not a man who could gain much influence over such a youth4 ,during the three years which ,drer passed under his teaching he learned all the modes of preparing and using colors1 and acquired much skill in handling the brush2 he also learned the first lessons in wood-engraving1 in which he afterward reached so high a perfection that a large part of his present fame rests upon his skill in that art4 ,one of the earliest portraits painted by ,drer is in the ,albertina at ,vienna1 and bears this inscription3 ,this ,i have drawn from myself from the looking-glass1 in the year #adhd1 when ,i was still a child4 ,,albert ,d,,rer4 ,six years later he painted the beautiful portrait of his father which is now in the gallery at ,florence2 and it is a question whether this is not as finely executed as any portrait of his later years4 ,when ,drer left ,wohlgemuth he started upon the student journey which was then the custom with all ,german youths1 and is still practised in a modified degree4 ,these youths1 after serving their apprenticeship in the occupation they were to follow1 travelled1 and worked at their trade or profession in the cities of other countries4 ,drer was absent four years1 but we know little of what he did or saw1 for in his own account of his life he says only this3 ,and when the three years were out my father sent me away4 ,i remained abroad four years1 when he recalled me2 and1 as ,i had left just after ,easter in #adij1 ,i returned home in #adid1 just after ,whitsuntide4 ,in the same year1 in ,july1 ,drer was married to ,agnes ,frey4 ,he was also admitted to the guild of painters1 and we may say that he was now settled for life4 ,it is a singular fact that1 although ,drer painted several portraits of his father and himself1 he is not known to have made any of his wife4 ,some of his sketches are called by her name1 but there is no good reason for this4 ,drer was so industrious1 and executed so many pictures1 copper-plates1 and wood engravings within the six years next after his return to ,nuremburg1 that it is not possible to give an exact account of them here4 ,in #aejj an event occurred which added much to his happiness and to his opportunities for enlarging his influence4 ,it was the return to ,nuremburg of ,willibald ,pirkheimer1 one of the friends of ,drer's childhood1 between whom and himself there had always existed a strong affection4 ,pirkheimer was rich and influential1 and at his house ,drer saw many eminent men1 artists1 scholars1 reformers1 and theologians1 and in their society he gained much broader knowledge of the world1 while he received the respect which was due to his genius and character4 ,illustration3 ,,fig4 #fb4--;,a ,,scene ,,from ,d,,rer',s ,,wood ,,engravings ,,of ,,the ,,life ,,of ,,the ,,virgin ,,mary4 ,drer's health was not good1 and his continual work proved more than he could bear4 ,his father died in #aejb1 and this loss was a deep grief to the artist4 ,so little money was left for his mother and younger brother that their support came upon him4 ,at length1 in #aeje1 he made a journey to ,venice1 partly for his health1 and in order to study ,venetian painting4 ,he was well received by the painters of ,venice4 ,giovanni ,bellini and ,carpaccio were the leading painters of that time4 ,they were both quite old1 but ,giorgione and ,titian were already coming into notice and preparing to fill the places of the older men4 ,bellini was especially delighted with the exquisite manner in which ,drer painted hair1 and asked the ,german to give him the brush he used for that purpose4 ,drer gave him all his brushes1 but ,bellini insisted upon having the one for painting hair4 ,drer took a common brush1 and painted a long tress of fine hair3 ,bellini declared that had he not seen this done he could not have believed it4 ,while in ,venice ,drer received an order to paint a picture for the ,fondaco de' ,tedeschi1 or ,german ,exchange4 ,it is believed that this work was the famous ,feast of ,rose ,garlands1 now in the ,monastery at ,strahow1 in ,bohemia4 ,the ,emperor ,rudolph ,,ii4 bought it1 and had it carried from ,venice to ,prague on men's shoulders4 ,in #aghb it was purchased for the ,abbey of ,strahow1 and was almost lost to the world for many years4 ,it is a beautiful picture1 and the praise it received was a great pleasure to ,drer1 because heretofore many painters had said that he was a good engraver1 but could not use colors4 ,drer wrote to ,pirkheimer3 ,there is no better picture of the ,virgin ,mary in the land1 because all the artists praise it1 as well as the nobility4 ,they say they have never seen a more sublime1 a more charming painting4 ,the ,venetian ,government offered ,drer a handsome pension if he would remain in ,venice1 and he declined many orders for the sake of returning to ,germany1 which he believed to be his duty4 ,from the time of his return1 in #aejg1 to #aebj1 there is very little to tell of the personal history of this artist4 ,almost all that can be said is that he labored with great industry2 it was the golden period of his art2 he had many young men in his studio1 which was the centre of art to ,nuremburg4 ,at this time he probably executed the best carvings which he ever did4 ,during seven years he made forty-eight engravings and etchings and more than a hundred wood-cuts4 ,the large demand for these works was a source of good income to ,drer1 and gave him a position of comfort4 ,the ,reformation was at hand1 and ,drer's ,virgins and ,saints and his pictures of the sufferings of ,christ were very well suited to the religious excitement of that period4 ,the house in which ,drer lived and worked for many years is still preserved in ,nuremburg as public property1 and is used as an art gallery4 ,the street on which it stands is now called the ,albrecht-,drer ,strasse4 ,on the square before the house stands a bronze statue of the master which was erected by the ,nuremburgers on the three hundredth anniversary of his death4 ,about #aeji ,drer occupied himself considerably in writing poetry2 but1 although there was much earnest feeling in his verse1 it was not such as to give him great fame as a poet4 ,it was at the same period that he carved the wonderful bas-relief of the ,birth of ,john the ,baptist1 now in the ,british ,museum4 ,it is cut out of stone1 is seven and one-half by five and one-half inches in size1 and is a marvellous piece of work4 ,two thousand five hundred dollars were paid for it nearly a century ago4 ,he made many exquisite little carvings in stone1 ivory1 and boxwood1 and in these articles the result of his work as a goldsmith is best seen4 ,in #aeab ,drer was first employed by the ,emperor ,maximilian1 and for the next seven years there was a close relation between the sovereign and the artist2 but there are few records concerning it4 ,it is said that one day when the painter was making a sketch of the emperor the latter took a charcoal crayon1 and tried to draw a picture himself3 he constantly broke the crayon1 and made no progress toward his end4 ,after watching him for a time ,drer took the charcoal from ,maximilian1 saying1 ,this is my sceptre1 your ,majesty2 and he then taught the emperor how to use it4 ,drer executed some very remarkable drawings and engravings4 ,among them was the ,triumphal ,arch of ,maximilian1 composed of ninety-two blocks4 ,the whole cut is ten and one-half feet high by nine feet wide4 ,it shows all the remarkable events in the emperor's life1 just as such subjects were carved upon the triumphal arches of the ,romans and other nations4 ,hieronymus ,rsch did the engraving of this great work from ,drer's blocks1 and while it was in progress the emperor went often to see it4 ,during one of these visits several cats ran into the room1 from which happening arose the proverb1 ,a cat may look at a king4 ,the emperor granted ,drer a pension2 but it was never regularly paid1 and after the emperor's death the ,council of ,nuremburg refused to pay it unless it was confirmed by the new sovereign1 ,charles ,v4 ,for the purpose of obtaining this confirmation ,drer made a journey to the ,netherlands in the year #aebj4 ,his wife and her maid ,susanna went with him4 ,his diary gives a quaint account of the places they visited1 the people whom they met1 and of the honors which were paid him4 ,in ,antwerp he was received with great kindness1 and the government of the city offered him a house and a liberal pension if he would remain there2 but his love for his native town would not allow him to leave it4 ,after several months ,drer received the confirmation of his pension and also the appointment of court-painter4 ,this last office was of very little account to him4 ,the emperor spent little time at ,nuremburg1 and it was not until he was older that he was seized with the passion of having his portrait painted1 and then ,drer had died1 and ,titian was painter to the court4 ,illustration3 ,,fig4 #fc4--,,the ,,four ,,apostles4 ,by ,drer4 ,when ,drer returned to his home there was quite an excitement over the collection of curious and rare objects which he had made while absent4 ,some of these he had bought1 and many others were gifts to him1 and he gave much pleasure to his friends by displaying them4 ,there had been a great change in ,nuremburg1 for the doctrines of the ,reformation were accepted by many of its people1 and it was the first free city that declared itself ,protestant4 ,the change1 too1 was quietly made2 its convents and churches were saved from violence1 and the art treasures of the city were not destroyed4 ,among the most important ,lutherans was ,pirkheimer1 ,drer's friend4 ,we do not know that ,drer became a ,lutheran1 but he wrote of his admiration for the great reformer in his diary1 and it is a meaning fact that during the last six years of his life ,drer made no more pictures of the ,madonna4 ,these last years were not as full of work as the earlier ones had been4 ,a few portraits and engravings and the pictures of the ,four ,apostles were about all the works of this time4 ,he gave much attention to the arrangement and publication of his writings upon various subjects connected with the arts4 ,these books gave him much fame as a scholar1 and some of them were translated into several languages4 ,as an architect ,drer executed but little work2 but his writings upon architectural subjects prove that he was learned in its theories4 ,during several years his health was feeble1 and he exerted himself to make provision for his old age if he should live1 or for his wife after his death4 ,he was saddened by the thought that he had never been rewarded as he should have been for his hard1 faithful labors1 and his latest letters were sad and touching4 ,he died in ,april1 #aebh1 after a brief illness1 and was buried in the cemetery of ,st4 ,john1 beyond the walls1 where a simple epitaph was inscribed upon his monument4 ,this cemetery is an interesting place1 and contains the graves of many men noted in the chronicles of ,nuremburg4 ,on ,easter ,sunday in #ahbh1 three hundred years after his death1 a ,drer celebration was held in ,nuremburg4 ,artists came from all parts of ,germany4 ,a solemn procession proceeded to his grave1 where hymns were sung1 and the statue by ,rauch1 near ,drer's house1 was dedicated4 ,i can give you no description of ,drer's many works1 and although it is true that he was a very great master1 yet it is also true that his pictures and engravings are not noted for their beauty so much as for their strength and power4 ,his subjects were often ugly and repulsive rather than beautiful1 and his imagination was full of weird1 strange fancies that can scarcely be understood4 ,indeed1 some of them never have been explained1 and one of his most famous engravings1 called ,the ,knight1 ,death1 and the ,devil1 has never yet been satisfactorily interpreted1 and many different theories have been made about it4 ,many of the principal galleries of ,europe have ,drer's paintings1 though they are not as numerous as his engravings1 and1 indeed1 his fame rests more upon the latter than the former1 and very large sums are paid by collectors for good impressions of his more important plates4 ,drer had several followers4 ,his most gifted scholar was ,,lucas ,,sunder 7#adgb-aeec71 who is called ,lucas ,cranach1 from the place of his birth4 ,he established a school of painting in ,saxony1 and was appointed court-painter4 ,although there were a goodly number of ,german painters late in the sixteenth century1 there were none of great eminence1 and1 in truth1 there have been few since that time whose lives were of sufficient interest to be recounted here1 so ,i shall tell you of but one more before passing to the artists of ,spain4 ,,angelica ,,kauffman 7#agdb-ahjh7 was a very interesting woman who gained a good reputation as an artist2 but there is such a difference of opinion among judges as to her merits as a painter that it is difficult to decide what to say of her4 ,as a person1 she excited an interest in her lifetime which has never died out1 and ,miss ,thackeray's novel1 ,miss ,angel1 tells what is claimed to be her story1 as nearly as such stories are told in novels4 ,she was born at ,coire1 in the ,grisons4 ,her father was an artist1 a native of ,schwarzenburg1 and when ,angelica was born he was occupied in executing some frescoes at ,coire4 ,when the child was a year old he settled at ,morbegno1 in ,lombardy1 and ten years later1 when she had shown a taste for music1 her parents again removed to ,como1 where there were better opportunities for her instruction4 ,her progress in music was remarkable1 and for a time she was unable to say whether she loved this art or that of painting the better4 ,later in life she painted a picture in which she represented herself1 as a child1 standing between allegorical figures of ,music and ,painting4 ,the beautiful scenery about ,como1 the stately palaces and charming villas1 the lake with its pleasure boats1 and all the poetry of the life there1 tended to develop her talents rapidly1 and1 though she remained but two years1 the recollection of this time was a pleasure to her through all her life4 ,she was next taken to ,milan1 where a world of art was opened to her1 and she saw pictures which excelled all her imaginations4 ,the works of ,leonardo and other great ,lombard masters stirred her soul to its very depths4 ,she soon attracted attention by her pictures1 and ,robert d',este became her patron1 and placed her under the care of the ,duchess of ,carrara4 ,she was now daily associated with people of culture and elegance1 and thus early in her life acquired the modest dignity and self-possession which enabled her in her future life to accept becomingly the honors and attentions which were paid her4 ,her mother's death occurred at ,milan1 and her father returned to ,schwarzenburg4 ,the people about her were so coarse and disagreeable to ,angelica that she passed much of her time in the grand forests4 ,at this time she painted frescoes of the ,twelve ,apostles1 copied from the engravings after ,piazetta4 ,her father was not content to remain away from ,italy1 and they went again to ,milan1 then to ,florence1 and at last to ,rome4 ,she was now eighteen years old1 and found much profit in the friendship of the great scholar ,winckelmann1 who allowed her to paint his portrait4 ,angelica visited ,naples and ,bologna also1 and finally ,venice1 where she met ,lady ,wentworth1 who became her friend1 and afterward took her to ,england4 ,she had a most brilliant career in ,london1 where her friends were in the highest rank of society4 ,de ,rossi described her appearance at this time1 and said that she was not very tall1 but had a slight1 elegant figure4 ,her complexion was dark and clear1 her mouth well formed1 her teeth white and even1 and all her features good4 ,he speaks of her azure eyes1 so placid and bright that their expression had a charm which could not be described4 ,no one felt like criticising her4 ,other artists paid her many honors1 and she was made a member of the ,academy of ,arts4 ,it has been said that ,fuseli1 the learned art critic1 and ,sir ,joshua ,reynolds1 the great artist1 both asked her hand in marriage4 ,some members of the royal family became her friends1 and she was at the height of honorable success and of happiness4 ,it is painful to turn from this bright picture of her life to all the sorrow and darkness which followed it4 ,she made an unhappy marriage1 her husband proving to be an adventurer who had assumed a distinguished name4 ,for a time she was crushed by this sorrow2 but her friends remained true to her1 and she found relief in absolute devotion to her art4 ,for twelve years she supported herself and her father2 then his health failed1 and it was thought best for him to go to ,italy4 ,angelica was now forty years old1 and before leaving ,england she married ,antonio ,zucchi1 an artist who had long been her friend4 ,he devoted himself to her and to her father with untiring affection1 and when the old man died he was happy in the thought that his beloved daughter had so true a friend as ,zucchi4 ,from this time their home was in ,rome1 where ,angelica was the centre of an artistic and literary society of a high order4 ,among her visitors were such men as ,herder and ,goethe4 ,the latter wrote of her3 ,the light and pleasing in form and color1 in design and execution1 distinguish the numerous works of our artist4 ,no living painter excels her in dignity or in the delicate taste with which she handles the pencil4 ,she was very industrious1 and her life seems to have been divided between two pleasures1 her work and the society of her friends1 until the death of her husband1 which occurred in #agie4 ,she lived twelve years longer1 but they were years of great sadness4 ,she made journeys in order to regain her spirits4 ,she visited the scenes of her childhood1 and remained some time in ,venice with the family of ,signor ,zucchi4 ,even after her last return to ,rome she worked as much as her strength would permit1 but her life was not long4 ,she was mourned sincerely in ,rome2 her funeral was attended by the members of the ,academy of ,st4 ,luke2 and her latest works were borne in the procession4 ,she was buried beside her husband in the ,church of ,st4 ,andrea dei ,frati4 ,her bust was placed in the ,pantheon4 ,various critics have praised her works in the most liberal manner2 others can say nothing good of them4 ,for myself1 ,i cannot find the extreme of praise or blame a just estimate of her4 ,no one can deny the grace of her design1 which was also creditably correct4 ,her portraits were good2 her poetical subjects are very pleasing2 her historical pictures are not strong2 her color was as harmonious and mellow as that of the best ,italians1 excepting a few of the greatest masters1 and in all her pictures there is something which wins for her a certain fondness and praise1 even while her faults are plainly seen4 ,her pictures are to be found in galleries in ,rome1 ,florence1 ,vienna1 ,munich1 and ,england2 many are also in private collections4 ,she painted several portraits of herself2 one in the ,uffizi1 at ,florence1 is very pleasing4 ,she represents herself seated in a solitary landscape1 with a portfolio in one hand and a pencil in the other4 ,she has an air of perfect unconsciousness1 as if she thought of her work only4 ,her etchings are much valued1 and sell for large prices4 ,many of her pictures were engraved by ,bartolozzi1 and good prints of them are rare4 ,on one of her pictures she wrote3 ,i will not attempt to express supernatural things by human inspiration1 but wait for that till ,i reach heaven1 if there is painting done there4 ,,chapter ,v4 ,,painting ,,in ,,spain4 ,spanish painting had its birth during the reign of ,ferdinand and ,isabella1 and may be said to have been derived from ,italy1 through the influence of the ,italian painters who went to ,spain1 and the ,spanish artists who made their studies in ,italy4 ,but in spite of this strong ,italian influence ,spanish painting has its own characteristics which separate it from all other schools1 and give it a high position on its own merits4 ,,antonio ,,del ,,rincon 7#addf-aejj7 was the first ,spanish painter of whom we know4 ,if any works of his remain they are portraits of his august sovereigns now in the ,cathedral of ,granada2 but it is probable that these pictures are copies of the originals by ,rincon4 ,dating the beginning of the ,spanish school from the last half of the fifteenth century1 it is the third school in ,europe as to age1 it being about two centuries later than the ,italian1 and one century later than the ,flemish school4 ,its importance is only exceeded by that of ,italy4 ,the distinguishing feature of ,spanish art is its gravity1 or we may almost say its strictly religious character1 for1 excepting portraits1 there were few pictures of consequence that had not a religious meaning4 ,some artists were also priests1 and1 as the officers of the ,inquisition appointed inspectors whose duty it was to report for punishment any artist who did not follow the rules of the ,inquisition1 it is easy to understand that the painters were careful to keep within the rules fixed for them4 ,whatever flights of imagination one might have in secret1 he would scarcely run the risk of being excommunicated from the church1 sent into exile for a year1 and fined one thousand five hundred ducats for the pleasure of putting his fancies on canvas4 ,pacheco1 who was an inspector at ,seville1 published minute rules for the representation of sacred subjects and persons1 and other writers did the same4 ,there was a long and grave discussion over the propriety of painting the devil with horns and a tail4 ,it was decided that he should have horns because1 according to the legend of ,st4 ,theresa1 he had horns when he appeared to that saint2 and he was allowed to have a tail because it was thought to be a suitable appendage to a fallen angel who had lost his wings4 ,one very strict rule was that the feet of the ,virgin ,mary should be covered1 and nude figures or portions of the figure were strictly forbidden4 ,another important influence upon the ,spanish artists was their belief that the ,virgin ,mary and other holy spirits appeared to inspire them and aid them in painting their pictures4 ,in fact1 the church was the chief patron of art1 and the artist was one of her most valuable teachers4 ,a learned ,spanish writer said3 ,for the ignorant1 what master is like painting8 ,they may read their duty in a picture though they may not search for it in books4 ,the painters of ,spain were divided between the schools of ,castile1 ,seville1 and ,valencia4 ,that of ,castile was founded at ,toledo early in the fifteenth century1 and was maintained about two hundred years4 ,claudio ,coello was of this school2 he died in #afic1 and has well been called the last of the old masters of ,spain4 ,,alonzo ,,berreguette 7#adhj-aefa71 born at ,parades de ,nava1 in ,castile1 was the most eminent ,spanish artist of his time4 ,he is called the ,michael ,angelo of ,spain1 because he was painter1 sculptor1 and architect4 ,he was painter to ,philip ,i4 ,later he went to ,italy1 and journeyed from ,florence to ,rome with ,michael ,angelo in #aeje4 ,he studied in ,italy many years4 ,he was appointed painter and sculptor to the ,emperor ,charles ,v4 ,berreguette received four thousand four hundred ducats for the altar in the ,church of ,st4 ,benito el ,real in ,valladolid1 where he settled4 ,when he was almost eighty years old he went to ,toledo to erect a monument in the ,hospital of ,st4 ,john ,baptist4 ,he was lodged in the hospital1 and died there4 ,he left a large fortune1 and was buried with splendid ceremonies at the expense of the emperor4 ,,luis ,,de ,,morales 7#aeaj-aehf7 was called the divine4 ,he belonged to the school of ,castile1 and very little is known of his early life4 ,when he was fifty-five years old ,philip ,,ii4 invited him to court4 ,when ,morales appeared he was so splendidly dressed that the king was angry1 and gave orders that he should be paid a certain sum and dismissed4 ,but the poor painter explained that he had spent all that he had in order to come before the king in a dress befitting ,philip's dignity4 ,then ,philip pardoned him1 and allowed him to paint one picture2 but as this was not hung in the ,escorial1 ,morales was overcome by mortification1 and almost forsook his painting1 and fell into great poverty4 ,in #aeha the king saw ,morales at ,badajoz1 in a very different dress from that he had worn at court4 ,the king said3 ,morales1 you are very old4 ,yes1 sire1 and very poor1 replied the painter4 ,the king then commanded that he should have two hundred ducats a year from the crown rents with which to buy his dinners4 ,morales hearing this1 exclaimed1 ,and for supper1 sire8 ,this pleased ,philip1 and he added one hundred ducats to the pension4 ,the street in ,badajoz on which ,morales lived bears his name4 ,nearly all his pictures were of religious subjects1 and on this account he was called the divine4 ,he avoided ghastly1 painful pictures1 and was one of the most spiritual of the artists of ,spain4 ,very few of his pictures are seen out of ,spain1 and they are rare even there4 ,his masterpiece is ,christ ,crowned with ,thorns1 in the ,queen of ,spain's ,gallery at ,madrid4 ,in the ,louvre is his ,christ ,bearing the ,cross4 ,at the sale of the ,soult collection his ,way to ,calvary sold for nine hundred and eighty pounds sterling4 ,,alonso ,,sanchez ,,coello 7about #aeae-aeij7 was the first great portrait painter of ,spain4 ,he was painter-in-ordinary to ,philip ,,ii41 and that monarch was so fond of him that in his letters he called him my beloved son4 ,at ,madrid the king had a key to a private entrance to the apartments of ,coello1 so that he could surprise the painter in his studio1 and at times even entered the family rooms of the artist4 ,coello never abused the confidence of ,philip1 and was a favorite of the court as well as of the monarch4 ,among his friends were the ,popes ,gregory ,,xiii4 and ,sixtus ,v41 the ,cardinal ,alexander ,farnese1 and the ,dukes of ,florence and ,savoy4 ,many noble and even royal persons were accustomed to visit him and accept his hospitality4 ,he was obliged to live in style becoming his position1 and yet when he died he left a fortune of fifty-five thousand ducats4 ,he had lived in ,lisbon1 and ,philip sometimes called him his ,portuguese ,titian4 ,very few of his portraits remain2 they are graceful in pose and fine in color4 ,he knew how to represent the repose and refinement of gentle blood and delicate nurture4 ,many of his works were burned in the ,prado4 ,his ,marriage of ,st4 ,catherine is in the ,gallery of ,madrid4 ,a ,st4 ,sebastian painted for the ,church of ,st4 ,jerome1 at ,madrid1 is considered his masterpiece4 ,lope de ,vega wrote ,coello's epitaph1 and called his pictures ,eternal scenes of history divine1 ,wherein for aye his memory shall shine4 ,,juan ,,fernandez ,,navarrete 7#aebf-aegi71 called ,el ,mudo1 because deaf and dumb1 is a very interesting painter4 ,he was not born a mute1 but became deaf at three years of age1 and could not learn to speak4 ,he studied some years in ,italy1 and was in the school of ,titian4 ,in #aefh he was appointed painter to ,philip ,,ii4 ,his principal works were eight pictures for the ,escorial1 three of which were burned4 ,his picture of the ,nativity is celebrated for its lights1 of which there are three2 one is from the ,divine ,babe1 a second from the glory above1 and a third from a torch in the hand of ,st4 ,joseph4 ,the group of shepherds is the best part of the picture1 and when ,tibaldi saw the picture he exclaimed1 ,o6 gli belli pastori6 and it has since been known as the ,beautiful ,shepherds4 ,his picture of ,abraham and the ,three ,angels was placed near the door where the monks of the ,escorial received strangers4 ,the pictures of ,navarrete are rare4 ,after his death ,lope de ,vega wrote a lament for him1 in which he said1 ,no countenance he painted that was dumb4 ,when the ,last ,supper painted by ,titian reached the ,escorial1 it was found to be too large for the space it was to occupy in the refectory4 ,the king ordered it to be cut1 which so distressed ,el ,mudo that he offered to copy it in six months1 in reduced size1 and to forfeit his head if he did not fulfil his promise4 ,he also added that he should hope to be knighted if he copied in six months what ,titian had taken seven years to paint4 ,but ,philip was resolute1 and the picture was cut1 to the intense grief of the dumb ,navarrete4 ,while the painter lived ,philip did not fully appreciate him2 but after his death the king often declared that his ,italian artists could not equal his mute ,spaniard4 ,,juan ,,carre,o ,,de ,,miranda 7#afad-afhe7 is commonly called ,carreo4 ,he was of an ancient noble family4 ,his earliest works were for the churches and convents of ,madrid1 and he acquired so good a name that before the death of ,philip ,,iv4 he was appointed one of his court-painters4 ,in #afga the young king ,charles gave ,carreo the cross of ,santiago1 and to his office of court-painter added that of ,deputy ,aposentador4 ,he would allow no other artist to paint his likeness unless ,carreo consented to it4 ,the pictures of ,carreo were most excellent1 and his character was such as to merit all his good fortune4 ,his death was sincerely mourned by all who knew him4 ,it is said that on one occasion he was in a house where a copy of ,titian's ,st4 ,margaret hung upon the wall1 and those present united in saying that it was abominably done4 ,carreo said3 ,it has at least one merit2 it shows that no one need despair of improving in art1 for ,i painted it myself when ,i was a beginner4 ,gregorio ,utande1 a poor artist1 had painted a ,martyrdom of ,st4 ,andrew for the nuns of ,alcal1 and demanded one hundred ducats for it4 ,the nuns thought the price too much1 and wished to have ,carreo value the work4 ,utande took the picture to ,carreo1 and first presenting the great master with a jar of honey1 asked him to touch up his ,st4 ,andrew for him4 ,carreo consented1 and1 in fact1 almost repainted ,utande's picture4 ,a short time after ,carreo was asked to value the ,st4 ,andrew1 but declined4 ,then ,herrera valued it at two hundred ducats1 which price the nuns paid4 ,after ,utande received his money he told the whole story1 and the picture was then known as ,la ,cantarilla de ,miel1 or the pot of honey4 ,,claudio ,,coello 7#afce-afic71 who1 as we have said1 has been called the last of the old ,spanish masters1 was intended by his father for his own profession1 that of bronze-casting4 ,but ,claudio persuaded his father to allow him to study painting1 and before the close of his life he became the most famous painter in ,madrid4 ,he was not only the court-painter1 but also the painter to the ,cathedral of ,toledo and keeper of the royal galleries4 ,it was not strange that he should feel that he merited the honor of painting the walls of the ,escorial1 and when this was refused him and ,luca ,giordano was selected for the work1 ,coello threw aside his brushes and paints1 grew sad1 then ill1 and died a year later4 ,his masterpiece is now in the ,escorial2 it represents the ,collocation of the ,host4 ,his own portrait painted by himself is in the gallery of the ,hermitage at ,st4 ,petersburg4 ,the school of ,seville was the most important school of ,spain4 ,it is also known as the school of ,andalusia4 ,it dates from the middle of the fifteenth century1 and its latest master1 ,alonso ,miguel de ,tobar1 died in #ageh4 ,,luis ,,de ,,vargas 7#aejb-aefh71 one of the earliest of the painters of the school of ,seville1 was a devout and holy man4 ,he was accustomed to do penance1 and in his room after his death scourges were found with which he had beaten himself1 and a coffin in which he had been accustomed to lie and meditate upon death and a future life4 ,it is said that ,vargas studied twenty-eight years in ,italy4 ,his pictures were fine4 ,his female heads were graceful and pure1 his color good1 and the whole effect that of grand simplicity4 ,his picture of the ,temporal ,generation of ,our ,lord is his best work in ,seville4 ,adam is kneeling in the foreground1 and his leg is so well painted that the picture has been called ,la ,gamba4 ,in spite of his seriousness ,vargas was a witty man4 ,on one occasion he was asked to give his opinion of a very poor picture of ,christ on the ,cross4 ,vargas replied3 ,he looks as if he were saying1 ',forgive them1 ,lord1 for they know not what they do6' ,,pablo ,,de ,,cespedes 7#aech-afjh7 was born at ,cordova1 and is an important person in the history of his time1 for he was a divine1 a poet1 and a scholar1 as well as an architect1 sculptor1 and painter4 ,he was a graduate of the ,university of ,alcal1 and excelled in ,oriental languages4 ,he studied art in ,rome1 and while there made a head of ,seneca in marble1 and fitted it to an antique trunk2 on account of this work he was called ,victor il ,spagnuolo4 ,zuccaro was asked to paint a picture for the splendid ,cathedral of ,cordova2 he declined1 and said that while ,cespedes was in ,spain they had no need of ,italian artists4 ,the pictures of ,cespedes which now remain are so faded and injured that a good judgment can scarcely be formed of them2 but they do not seem to be as fine as they were thought to be in his day4 ,his ,last ,supper is in the ,cathedral of ,cordova4 ,in the foreground there are some jars and vases so well painted that visitors praised them4 ,cespedes was so mortified at this that he commanded his servant to rub them out1 and only the most judicious admiration for the rest of the picture and earnest entreaty for the preservation of the jars saved them from destruction4 ,he left many writings upon artistic subjects and an essay upon the antiquity of the ,cathedral of ,cordova4 ,he was as modest as he was learned1 and was much beloved4 ,he was made a canon in the ,cathedral of ,cordova1 and was received with full approbation of the ,cordovese bishop and chapter4 ,,francisco ,,pacheco 7#aega-afed7 was born at ,seville4 ,he was a writer on art1 and is more famous as the master of ,velasquez and on account of his books than for his pictures4 ,he established a school where younger men than himself could have a thorough art education4 ,pacheco was the first in ,spain to properly gild and paint statues and bas-reliefs4 ,some specimens of his work in this specialty still exist in ,seville4 ,,francisco ,,de ,,herrera1 the elder 7#aegf-afef71 was a very original painter4 ,he was born at ,seville1 and never studied out of ,andalusia4 ,he had so bad a temper that he drove his children and his pupils away from him4 ,he knew how to engrave on bronze1 and made false coins2 when his forgery was discovered1 he took refuge with the ,jesuits4 ,while in their convent ,herrera painted the history of ,st4 ,hermengild1 one of the patron saints of ,seville4 ,when ,philip ,,iv4 saw his picture he forgave him his crime1 and set him at liberty4 ,,francisco ,,zurbaran 7#aeih-affb7 was one of the first among ,spanish painters4 ,he was skilful in the use of colors1 and knew how to use sober tints and give them a brilliant effect4 ,he did not often paint the ,madonna4 ,his female saints are like portraits of the ladies of his day4 ,he was very successful in painting animals1 and his pictures of drapery and still-life were exact in their representation of the objects he used for models4 ,he painted historical and religious pictures1 portraits and animals2 but his best pictures were of monks4 ,stirling says3 ,he studied the ,spanish friar1 and painted him with as high a relish as ,titian painted the ,venetian noble1 and ,vandyck the gentleman of ,england4 ,zurbaran was appointed painter to ,philip ,,iv4 before he was thirty-five years old4 ,he was a great favorite with ,philip1 who once called ,zurbaran the painter of the king1 and king of painters4 ,zurbaran's finest works are in the ,museum of ,seville4 ,he left many pictures1 and the ,louvre claims to have ninety-two of them in its gallery4 ,,diego ,,rodriguez ,,de ,,silva ,y ,,velasquez 7#aeii-affj7 was born at ,seville1 and died at ,madrid4 ,his parents were of noble families2 his father was ,juan ,rodriguez de ,silva1 and his mother ,geronima ,velasquez1 by whose name1 according to the custom of ,andalusia1 he was called4 ,his paternal grandfather was a ,portuguese1 but so poor that he was compelled to leave his own country1 and seek his fortune at ,seville1 and to this circumstance ,spain owes her greatest painter4 ,velasquez's father became a lawyer1 and lived in comfort1 and his mother devoted herself to his education4 ,the child's great love of drawing induced his father to place young ,velasquez in the school of ,herrera1 where the pupil acquired something of his free1 bold style4 ,but ,velasquez soon became weary1 and entered the school of ,francisco ,pacheco1 an inferior painter1 but a learned and polished gentleman4 ,here ,velasquez soon learned that untiring industry and the study of nature were the surest guides to perfection for an artist4 ,until #afbb he painted pictures from careful studies of common life1 and always with the model or subject before him--adhering strictly to form1 color1 and outline4 ,he is said to have kept a peasant lad for a study1 and from him executed a variety of heads in every posture and with every possible expression4 ,this gave him wonderful skill in taking likenesses4 ,to this period belong the ,water ,carrier of ,seville1 now at ,apsley ,house1 several pictures of beggars1 and the ,adoration of the ,shepherds1 now in the ,louvre1 where is also a ,beggar ,boy munching a piece of ,pastry4 ,at ,vienna is a ,laughing ,peasant holding a flower 7,fig4 #fd71 and in ,munich another ,beggar ,boy4 ,in #afbb his strong desire to see the paintings in the ,royal ,galleries led him to ,madrid4 ,letters which he carried gave him admission to the works of art2 but excepting securing the friendship of ,fonesca1 a noted patron of art1 and an order to paint a portrait of the poet ,gongora1 he was unnoticed1 and so he returned in a few months to ,seville4 ,subsequently ,fonesca interested the minister ,olivarez in his behalf4 ,this resulted in a letter summoning ,velasquez to court1 with an enclosure of fifty ducats for the journey4 ,he was attended by his slave1 ,juan ,pareja1 a mulatto lad1 who was his faithful attendant for many years1 and who became an excellent painter4 ,his former instructor1 ,pacheco1 now his father-in-law1 also accompanied him4 ,his first work at the capital1 naturally1 was a portrait of his friend ,fonesca1 which so pleased the king1 ,philip ,,iv41 that he appointed ,velasquez to his service1 in which he remained during his life4 ,this gave him full opportunity to perfect himself1 for the king was never weary of multiplying pictures of himself4 ,velasquez also painted many portraits of the other members of the royal family1 in groups and singly4 ,his life was even and prosperous1 and he made steady advances toward perfection4 ,he was sent to ,italy to study and to visit the galleries and works in all the cities4 ,a second time the king sent him to ,italy to purchase works of art1 with orders to buy anything he thought worth having4 ,he was everywhere received with consideration and kindness4 ,the pope sat to him for his portrait2 the cardinals ,barberini and ,rospigliosi2 the sculptors ,bernini and ,algardi2 the painters ,nicolas ,poussin1 ,pietro da ,cortona1 ,claude and ,matteo ,prete were his friends and associates4 ,upon his return to ,madrid1 ,velasquez was appointed aposentador-major1 with a yearly salary of three thousand ducats1 and a key at his girdle to unlock every door in the palace4 ,he superintended the ceremonies and festivals of the royal household2 he arranged in the halls of the ,alcazar the bronzes and marbles purchased in ,italy2 he also cast in bronze the models he brought from abroad1 and he yet found time to paint his last great picture1 ,las ,menias1 or the ,maids of ,honor1 which represents the royal family1 with the artist1 maids of honor1 the dwarfs1 and a sleeping hound4 ,it is said that when the king saw the picture he declared but one thing was wanting1 and with his own hand significantly painted the cross of ,santiago upon the breast of the artist4 ,when the courts of ,france and ,spain met on the ,isle of ,pheasants for the betrothal of the ,infanta ,maria ,teresa to ,louis ,,xiv41 ,velasquez superintended all the ceremonies and all the festivities4 ,these were of surpassing splendor1 for these two courts were at this time the most luxurious in ,europe4 ,stirling says the fatigues of the life of ,velasquez shortened his days4 ,he arrived at ,madrid on his return1 on ,june #bfth1 and from that time was gradually sinking4 ,he died ,august #fth4 ,he was buried with magnificent ceremonies in the ,church of ,san ,juan4 ,his wife survived him but eight days2 she was buried in the same grave4 ,illustration3 ,,fig4 #fd4--,,laughing ,,peasant4 ,velasquez4 ,illustration3 ,,fig4 #fe4--,,the ,,topers4 ,by ,velasquez4 ,the character of ,velasquez was a rare combination of freedom from jealousy1 power to conciliate1 sweetness of temper1 strength of will and intellect1 and steadfastness of purpose4 ,he was the friend of ,rubens and of ,ribera1 the protector of ,cano and ,murillo1 who succeeded and were1 next to him1 the greatest painters of ,spain4 ,as the favorite of ,philip ,,iv41 in fact1 his minister for artistic affairs1 he filled his office with purity and disinterestedness4 ,,juan ,,de ,,pareja 7#afaj-afgj7 was born in ,spanish ,south ,america4 ,he was never a great artist2 but the circumstances of his life make him interesting4 ,he was the slave of ,velasquez1 and was employed as color-grinder4 ,he studied painting secretly1 and at last1 on an occasion when the king visited the studio of his master1 ,pareja showed him a picture of his own painting1 and throwing himself at ,philip's feet begged pardon for his audacity4 ,both ,philip and ,velasquez treated him very kindly4 ,velasquez gave ,pareja his freedom2 but it is said that he continued to serve his old master faithfully as long as he lived4 ,pareja succeeded best as a portrait painter4 ,his works are not numerous1 and are seen in few collections out of ,spain4 ,,bartolom ,,est,,ban ,,murillo 7#afah-afhb7 was born at ,seville4 ,his parents were ,gaspar ,estban and ,maria ,perez1 and the name of his maternal grandmother1 ,elvira ,murillo1 was added to his own1 according to ,andalusian custom4 ,from childhood he showed his inclination for art1 and although this at first suggested to his parents that he should be educated as a priest1 the idea was soon abandoned1 as it was found that his interest in the paintings which adorned the churches was artistic rather than religious4 ,he was therefore1 at an early age1 placed in the studio of his maternal uncle1 ,juan de ,castillo1 one of the leaders of the school of art of ,seville4 ,castillo was then about fifty years old1 and had as a student with ,louis ,fernandez acquired the ,florentine style of the sixteenth century--combining chaste designing with cold and hard coloring4 ,murillo was thus early instructed not only in grinding colors and in indispensable mechanical details1 but was thoroughly grounded in the important elements of purity of conception and dignity of treatment and arrangement4 ,seville at this time was the richest city in the ,spanish empire4 ,its commerce with all ,europe1 and especially with ,spanish ,america1 was at its height4 ,the ,guadalquivir was alive with its shipping4 ,its palaces of semi-,moorish origin were occupied by a wealthy and luxurious nobility4 ,the vast cathedral had been finished a century before4 ,the tower ,la ,giralda1 three hundred and forty feet in height1 is to this day one of the greatest marvels in ,christendom1 and with its ,saracenic ornament and its lace work in stone is beyond all compare4 ,the royal palace of the ,alcazar1 designed by ,moorish architects1 rivalled the ,alhambra1 and was filled with the finest workmanship of ,grenada4 ,there were one hundred and forty churches1 of which many had been mosques1 and were laden with the exquisite ornaments of their original builders4 ,such a city was sure to stimulate artists and be their home4 ,the poorer ones were in the habit of exposing their works on balconies1 on the steps of churches or the cathedral1 or in any place where they would attract attention4 ,thus it often happened on festival days that a good work would command fame for an artist1 and gain for him the patronage of some cathedral chapter or generous nobleman4 ,castillo removed to ,cadiz in #afdj1 and ,murillo1 who was very poor1 could only bring himself before the public1 and earn sufficient for the bare necessities of life by thus exposing his pictures in the market of the ,feria1 as it was called1 in front of the ,church of ,all ,saints4 ,he struggled along in this way for two years4 ,early in #afdj1 ,murillo met with an old fellow-pupil1 ,moya1 who had been campaigning in ,flanders in the ,spanish army1 and had there become impressed with the worth of the clear and strong style of the ,flemish masters4 ,especially was he pleased with ,vandyck1 so that he followed him to ,england1 and there studied as his pupil during the last six months of ,vandyck's life4 ,moved by ,moya's romancing stories of travel1 adventure1 and study1 ,murillo resolved to see better pictures than were to be found at ,seville1 and1 if possible1 to visit ,italy4 ,as a first step he painted a quantity of banners1 madonnas1 flower-pieces--anything and everything--and sold them to a ship owner1 who sent them to ,spanish ,america2 and it is said that this and similar trades originated the story that ,murillo once visited ,mexico and other ,spanish-,american countries4 ,thus equipped with funds1 and without informing his friends 7his parents were dead71 he started on foot across the mountains and the equally dreaded plains for ,madrid1 which he entered at the age of twenty-five1 friendless and poor4 ,he sought out ,velasquez1 and asked him for letters to his friends in ,rome4 ,but ,velasquez1 then at the height of his fame and influence1 was so much interested in the young enthusiast that he offered him lodgings and an opportunity to study and copy in the galleries of ,madrid4 ,the ,royal ,galleries contained carefully selected pictures from the ,italian and ,flemish schools1 so that ,murillo was at once placed in the very best possible conditions for success4 ,murillo thus spent more than two years1 mostly under the direction of ,velasquez1 and worked early and late4 ,he copied from the ,italian and ,flemish masters1 and drew from casts and from life4 ,this for a time so influenced his style that even now connoisseurs are said to discern reminiscences of ,vandyck and ,velasquez in the pictures painted by him on his first return to ,seville4 ,at the end of two years ,velasquez advised ,murillo to go to ,rome1 and offered to assist him4 ,but ,murillo decided first to return to ,seville1 and perhaps had come to the resolution not to go to ,italy2 but this may be doubted4 ,he knew the progress he had made2 he was reasonably certain that1 if not the superior1 he was the equal of any of the artists he had left behind in ,seville4 ,he was sure of the wealth1 and taste1 and love for art in his native city4 ,his only sister was living there4 ,the rich and noble lady he afterward married resided near there4 ,and so we can hardly wonder that the artist gave up a cherished journey to ,italy1 and returned to the scene of his early struggles with poverty4 ,the first works which ,murillo painted after his return were for the ,franciscan ,convent4 ,they brought him little money but much fame4 ,they were eleven in number1 but even the names of some are lost4 ,one represents ,st4 ,francis resting on his iron bed1 listening in ecstacy to the notes of a violin which an angel is playing to him2 another portrays ,st4 ,diego of ,alcal1 asking a blessing on a kettle of broth he is about to give to a group of beggars clustered before him2 another represents the death of ,st4 ,clara of ,assisi1 in the rapturous trance in which her soul passed away1 surrounded by pale nuns and emaciated monks looking upward to a contrasting group of ,christ and the ,madonna1 with a train of celestial virgins bearing her shining robe of immortality4 ,the companion picture is a ,franciscan monk who passes into a celestial ecstacy while cooking in the convent kitchen1 and who is kneeling in the air1 while angels perform his culinary tasks4 ,these pictures brought ,murillo into speedy notice4 ,artists and nobles flocked to see them4 ,orders for portraits and altar-pieces followed in rapid succession1 and he was full of work4 ,notwithstanding the fact that he was acknowledged to be at the head of his profession in ,seville1 his style at this time was cold and hard4 ,it is called frio 7cold71 to distinguish it from his later styles4 ,the ,franciscan ,convent pictures were carried off by ,marshal ,soult1 and fortunately2 for the convent was burned in #ahaj4 ,his second style1 called calido1 or warm1 dated from about the time of his marriage1 in #afdh1 to a lady of distinguished family1 named ,doa ,beatriz de ,cabrera y ,sotomayor4 ,she was possessed of considerable property1 and had lived in the village of ,pilas1 a few leagues southwest of ,seville4 ,her portrait is not known to exist2 but several of ,murillo's madonnas which resemble each other are so evidently portraits1 that the belief is these idealized faces were drawn from the countenance of the wife of the master4 ,his home now became famous for its hospitable reunions1 and his social position1 added to his artistic merits1 procured for him orders beyond his utmost ability to fill4 ,one after another in quick succession1 large1 grand works were sent out from his studio to be the pride of churches and convents4 ,at this time his pictures were noted for a portrait-like naturalness in their faces1 perhaps lacking in idealism1 but withal pure and pleasing2 the drapery graceful and well arranged1 the lights skilfully disposed1 the tints harmonious1 and the contours soft4 ,his flesh tints were heightened by dark gray backgrounds1 so amazingly true that an admirer has said they were painted in blood and milk4 ,the calido1 or warm manner1 was preserved for eight or ten years4 ,in this style were painted an ,immaculate ,conception1 for the ,franciscan ,convent2 ,the ,nativity of the ,virgin1 for the high altar of the ,seville ,cathedral2 a ,st4 ,anthony of ,padua for the same church1 and very many others equally famous4 ,in #ahgd the ,st4 ,anthony was stolen from the cathedral1 and for some time was unheard of1 until two men offered to sell it for two hundred and fifty dollars to ,mr4 ,schaus1 the picture dealer in ,new ,york4 ,he purchased the work and turned it over to the ,spanish ,consul1 who immediately returned it to the ,seville ,cathedral1 to the great joy of the ,sevillians4 ,in #afeh ,murillo turned his attention to the founding of an ,academy of ,art1 and1 though he met with many obstacles1 the institution was finally opened for instruction in #affj1 and ,murillo was its first president4 ,at this time he was taking on his latest manner1 called the vaporoso1 or vapory1 which was first used in some of his pictures executed for the ,church of ,sta4 ,maria la ,blanca4 ,in this manner the rigid outlines of his first style is gone2 there is a feathery lightness of touch as if the brush had swept the canvas smoothly and with unbroken evenness3 this softness is enhanced by frequent contrasts with harder and heavier groups in the same picture4 ,but the highest point in the art was reached by ,murillo in the eleven pictures which he painted in the ,hospital de la ,caridad4 ,six of these are now in their original places2 five were stolen by ,soult and carried to ,france2 some were returned to ,spain1 but not to the hospital4 ,the convent of the ,capuchins at ,seville at one time possessed twenty pictures by this master4 ,the larger part of them are now in the ,museum of ,seville1 and form the finest existing collection of his works4 ,this museum was once a church1 and the statue of ,murillo is placed in front of it4 ,although the lighting of this museum is far inferior to that of ,madrid and many others1 yet here one must go to realize fully the glory of this master4 ,among the pictures is the ,virgen de la ,sevillet1 or ,virgin of the ,napkin4 ,it is said that the cook of the convent had become the friend of the painter1 and begged of him some memento of his good feeling2 the artist had no canvas1 and the cook gave him a napkin upon which this great work was done4 ,illustration3 ,,fig4 #ff4--,,the ,,immaculate ,,conception4 ,by ,murillo4 ,in the ,louvre4 ,murillo's representation of that extremely spiritual and mystical subject called the ,immaculate ,conception1 has so far excelled that of any other artist that he has sometimes been called the painter of the ,conception4 ,his attention was especially called to this subject by the fact that the doctrine it sets forth was a pet with the clergy of ,seville1 who1 when ,pope ,paul ,v41 in #afag1 published a bill making this doctrine obligatory1 celebrated the occasion with all possible pomp in the churches2 the nobles also gave entertainments1 and the whole city was alive with a fervor of religious zeal and a desire to manifest its love for this dogma4 ,the directions given by the ,inspector of the ,holy ,office for the representation of this subject were extremely precise2 but ,murillo complied with them in general effect only1 and disregarded details when it pleased him3 for example1 the rules prescribed the age of the ,virgin to be from twelve to thirteen1 and the hair to be of golden hue4 ,murillo sometimes pictured her as a dark-haired woman4 ,it is said that when he painted the ,virgin as very young his daughter ,francesca was his model2 later the daughter became a nun in the convent of the ,madre de ,dios4 ,the few portraits painted by ,murillo are above all praise2 his pictures of humble life1 too1 would of themselves have sufficed to make him famous4 ,no ,spanish artist1 except ,velasquez1 has painted better landscapes than he4 ,but so grand and vast were his religious works that his fame rests principally on them4 ,it is true1 however1 that in ,england and in other countries out of ,spain he was first made famous by his beggar boys and kindred subjects4 ,murillo and ,velasquez may be said to hold equivalent positions in the annals of ,spanish ,art--,murillo as the painter for the church1 and ,velasquez as that of the court4 ,as a delineator of religious subjects ,murillo ranked only a very little below the greatest ,italian masters1 and even beside them he excels in one direction2 for he is able more generally and fully to arouse religious emotions and sympathies4 ,this stamps his genius as that of the first order1 and it should also be placed to his credit1 in estimating his native talent1 that he never saw anything of all the ,classic ,art which was such a source of inspiration to the artists of ,italy4 ,stirling says3 ,all his ideas were of home growth3 his mode of expression was purely national and ,spanish2 his model--nature1 as it existed in and around ,seville4 ,while painting a marriage of ,st4 ,catherine for the ,capuchin ,church of ,cadiz1 ,murillo fell from the scaffold1 and soon died from his injuries3 he was buried in the ,church of ,sta4 ,cruz1 and it is a sad coincidence that this church and that of ,san ,juan1 at ,madrid1 in which ,velasquez was interred1 were both destroyed by the ,french under the command of ,soult4 ,the character of ,murillo was such as to command the greatest respect1 and though he was not associated with as many royal personages as ,velasquez1 he was invited to court1 and received many flattering acknowledgments of his genius4 ,his fame was not confined to his own country1 and his portrait was engraved in ,flanders during the last year of his life4 ,he had many strong personal friends1 and his interest in the academy and his generosity to other artists prove him to have been above all mean jealousies3 he loved ,art because it was ,art1 and did all in his power for its elevation in his own country4 ,it is probable that since his death more money has been paid for a single picture by him than he received for the entire work of his life4 ,the ,immaculate ,conception1 now in the ,louvre1 was sold from the ,soult collection for six hundred and fifteen thousand three hundred francs1 or more than one hundred and twenty-three thousand dollars4 ,at the time of its sale it was believed to be the largest price ever paid for a picture4 ,,sebastian ,,gomez 7about #afbj7 was a mulatto slave of ,murillo's1 and like ,pareja he secretly learned to paint4 ,at last one day when ,murillo left a sketch of a head of the ,virgin on his easel ,gomez dared to finish it4 ,murillo was glad to find that he had made a painter of his slave1 and though the pictures of ,gomez were full of faults his color was much like that of his master4 ,two of his pictures are in the ,museum of ,seville4 ,he did not live long after ,murillo's death in #afhb4 ,,don ,,alonso ,,miguel ,,de ,,tobar 7#afgh-ageh7 never attained to greatness4 ,his best original pictures were portraits4 ,he made a great number of copies of the works of ,murillo1 and was chiefly famous for these pictures4 ,there is little doubt that many pictures attributed to ,murillo are replicas1 or copies by the hand of ,tobar4 ,the school of ,valencia flourished from #aejf to #afhj4 ,,vicente ,,de ,,joanes 7about #aejf-aegi7 was a painter of religious pictures who is scarcely known out of ,spain1 and in that country his pictures are1 almost without exception1 in churches and convents4 ,he was very devout1 and began his works with fasting and prayer4 ,it is related that on one occasion a ,jesuit of ,valencia had a vision in which the ,virgin ,mary appeared to him1 and commanded him to have a picture painted of her in a dress like that she then wore1 which was a white robe with a blue mantle4 ,she was to be represented standing on a crescent with the mystic dove floating above her2 her ,son was to crown her1 while the ,father was to lean from the clouds above all4 ,the ,jesuit selected ,joanes to be the painter of this work1 and though he fasted and prayed much he could not paint it so as to please himself or the ,jesuit4 ,at last his pious zeal overcame all obstacles1 and his picture was hung above the altar of the ,immaculate in the convent of the ,jesuits4 ,it was very beautiful--the artists praised it1 the monks believed that it had a miraculous power1 and it was known as ,la ,purisima1 or the perfectly pure one4 ,joanes excelled in his pictures of ,christ4 ,he seemed to have conceived the very ,christ of the ,scriptures1 the realization of the visions of ,st4 ,john1 or of the poetry of ,solomon4 ,in these pictures he combined majesty with grace and love with strength4 ,joanes frequently represented the ,last ,supper1 and introduced a cup which is known as the ,holy ,chalice of ,valencia4 ,it is made of agate and adorned with gold and gems1 and was believed to have been used by ,christ at his ,last ,supper with his disciples4 ,some of the portraits painted by ,joanes are very fine4 ,in manner and general effect his works are strangely like those of the great ,raphael4 ,,francisco ,,de ,,ribalta 7#aeej-afbh7 was really the head of the school of ,valencia1 and one of the best historical painters of ,spain4 ,he studied his art first in ,valencia1 and there fell in love with the daughter of his master4 ,the father refused him his suit1 and the young couple parted in deep sorrow4 ,ribalta went to ,italy1 where he made such progress1 and gained such fame that when he returned to ,valencia he had no trouble in marrying his old master's daughter4 ,valencia has more pictures by ,ribalta than are found elsewhere4 ,out of ,spain they are very rare4 ,one of his works is at ,magdalene ,college1 ,oxford4 ,one peculiarity of the ,spanish painters was that they painted the extremes of emotion4 ,their subjects represented the ecstacy of bliss or the most excruciating agony4 ,they did not seem to have as much middle ground or to know as much of moderate emotions as the painters of other nations4 ,ribalta was no exception to this rule1 and some of his pictures are painful to look at4 ,his portraits are fine1 and represent the most powerful men of ,valencia of the time in which he lived4 ,,josef ,,de ,,ribera was a native of ,valencia1 but lived and studied in ,italy1 and so became more of an ,italian than a ,spanish master4 ,i have spoken of him in connection with the ,naturalists and their school at ,naples4 ,,alonso ,,cano 7#afja-affg7 was a very important artist1 and cannot be said to belong to any school4 ,he was born at ,granada1 and studied under masters of ,seville1 both in painting and sculpture4 ,he became the best ,spanish artist who studied in ,spain only4 ,he was something of an architect also1 and his various talents acquired a high place for him among artists2 but his temper was such as to cause him much trouble1 and it so interfered with his life that he did not attain to the position to which his artistic gifts entitled him4 ,in #afcg he fought a duel1 and was obliged to flee from ,madrid1 and in #afdd his wife was found murdered in her bed4 ,cano was suspected of the crime1 and although he fled he was found1 and brought back1 and put to the torture4 ,he made no confession1 and was set at liberty2 but many people believed in his guilt4 ,he still held his office as painter to the king1 and was sometimes employed on important works2 but he determined to remove to his native ,granada and become a priest4 ,philip ,,iv4 appointed him canon1 and after he held this office he was still employed as a painter and sculptor by private persons1 as well as by religious bodies1 and was even sent to ,malaga to superintend improvements in the cathedral there4 ,but his temper led him into so many broils that at length1 in #afei1 the chapter of ,granada deprived him of his office4 ,he went to the king with his complaints1 and was again made a canon2 but he was so angry that he never would use his brush or his chisel in the service of the ,cathedral of ,granada4 ,his life was now devoted to charity and good works4 ,he gave away all his money as soon as he received it4 ,when his purse was empty he would go into a shop1 and beg a pencil and paper1 and sketching a head or other design would mark the price on it1 and give it to a beggar with directions for finding a purchaser for it4 ,after his death large numbers of these charity works were collected4 ,one of his strong characteristics was hatred of the ,jews4 ,he would cross the street1 in order not to meet one of them1 and would throw away a garment that had brushed against one of the race4 ,one day he went home1 and found his housekeeper bargaining with a ,jew2 he chased him away with great fury1 sent the woman off to be purified1 repaved the spot where the ,jew had stood1 and gave the shoes in which he had chased him to a servant4 ,when about to die ,cano would not receive the sacrament from the priest who was present1 because he had communicated with ,jews1 and when a rude crucifix was held before him he pushed it away4 ,when he was reproved for this he said3 ,vex me not with this thing2 but give me a simple cross that ,i may adore it1 both as it is1 and as ,i can figure it in my mind4 ,when this was done1 it is said that he died in a most edifying manner4 ,very few of ,cano's architectural works remain2 a few drawings of this sort are in the ,louvre which are simple and elegant in style4 ,the finest carving by him is a small figure of the ,virgin1 now in the ,cathedral of ,granada4 ,eight of his pictures are in the ,queen of ,spain's gallery at ,madrid1 and the ,church of ,getafe1 the ,cathedral of ,granada and that of ,malaga have his works4 ,a beautiful madonna1 which was one of his latest works1 is in the chapel of the ,cathedral of ,valencia1 and is lighted by votive tapers only4 ,his pictures are rare out of ,spain4 ,one of his portraits is in the ,louvre4 ,other works are in ,berlin1 ,dresden1 ,munich1 and the ,hermitage1 ,st4 ,petersburg4 ,the last ,spanish painter of whom ,i shall speak belongs to a much later period4 ,,francisco ,,goya ,y ,,lucientes 7#agdf-ahbh7 was a student in ,rome1 and after his return to ,spain lived in fine style in a villa near ,madrid4 ,he was painter to ,charles ,,iv41 and was always employed on orders from the nobility4 ,he painted portraits and religious pictures1 but his chief excellence was in painting caricatures4 ,he was never weary of painting the priests and monks in all sorts of ridiculous ways4 ,he made them in the form of apes and asses1 and may be called the ,hogarth of ,spain1 so well did he hold up the people about him to ridicule4 ,he painted with great boldness and could use a sponge or stick in place of a brush4 ,sometimes he made a picture with his palette-knife1 and put in the fine touches with his thumb4 ,he executed engravings also1 and published eighty prints which he called ,caprices4 ,these were very famous2 they were satires upon all ,spanish laws and customs4 ,he also made a series of plates about the ,french invasion1 thirty-three prints of scenes in the bull-ring1 and etchings of some of the works of ,velasquez4 ,portraits of ,charles ,,iv4 and his queen by ,goya are in the museum at ,madrid4 ,works of his are in the ,louvre and in the ,national ,gallery in ,london4 ,his pictures sell for large prices4 ,in #ahgj his picture of ,charlotte ,corday sold for five hundred and eighty-four pounds4 ,,chapter ,,vi4 ,,painting ,,in ,,france4 ,the ,french school of painting does not date earlier than the sixteenth century1 and the painters of that time were few in number1 and little is known of them4 ,before the time when a ,french school could be said to exist the kings of ,france employed foreign artists to decorate their palaces and churches1 and they naturally turned to the ,italians for all that they needed4 ,hence it happened that in its earliest days the ,french school was almost entirely under ,italian influence1 and ,i shall first speak of ,french masters who studied in ,italy4 ,,nicholas ,,poussin 7#aeid-affe7 may be said to belong to the seventeenth century1 since he was born so late in the preceding one4 ,poussin was born in ,normandy1 and early began to draw and paint4 ,he studied somewhat in ,france1 and when thirty years old went to ,rome1 where1 in reality1 his artistic career began4 ,he was a pupil of ,andrea ,sacchi1 and received some instruction from ,domenichino also2 but he formed his style principally by studying the works of the ancients and those of the great ,raphael4 ,he was so devoted to the study of the habits and customs of the ,greeks that he almost became one of them in his modes of thought4 ,illustration3 ,,fig4 #fg4--;,,arcadian ,,shepherds4 ,poussin4 ,he was very poor when he first went to ,rome2 but he worked hard1 and began to be known and to receive orders for pictures4 ,louis ,,xiii4 heard of ,poussin1 and invited him to ,paris1 where he gave him apartments in the ,tuileries4 ,but the artist longed to return to ,rome1 and made a plea of going for his wife4 ,soon after he left1 ,louis died1 and ,poussin never returned to ,france4 ,poussin was always busy2 but he asked such moderate prices that he was never rich1 and1 when a great man pitied the artist because he had so few servants1 ,poussin pitied him in return for having so many4 ,his portrait painted by himself is in the ,louvre1 where are many of his mythological pictures4 ,his love for the classic manner makes these subjects his best works4 ,his paintings are seen in many ,european galleries4 ,,claude ,,lorraine 7#afjj-afhb71 whose real name was ,claude ,gele1 was born in ,champagne in ,lorraine4 ,his parents were very poor1 and died when he was still young3 he was apprenticed to a pastry-cook1 and so travelled to ,rome as servant to some young gentlemen4 ,not long after his arrival he engaged himself to the painter ,agostino ,tassi1 for whom he cooked1 and mixed colors4 ,after a time he himself began to paint4 ,nature was his teacher2 he studied her with unchanging devotion2 he knew all her changes1 and was in the habit of sitting for a whole day watching one scene1 so that he could paint from memory its different aspects at the various hours of the day4 ,his works brought him into notice when he was still young4 ,he received many orders1 and when about twenty-seven years old some pictures he painted for ,pope ,urban ,,viii4 established his fame as an artist of high rank4 ,his character was above reproach1 and his feelings were as tender as many of his pictures4 ,he was attractive in person1 though his face was grave in its expression4 ,it would seem that he should have left a large fortune1 but he did not4 ,this was partly because he suffered much from gout1 and was often unable to paint2 but a better reason probably is that he gave so much to his needy relations that he could not save large sums4 ,claude ,lorraine has been called the prince and poet of landscape painters4 ,lbke1 the ,german art writer1 praises him very much1 and his praise is more valuable than it would be if it came from one of ,claude's own countrymen4 ,he says3 ,far more profoundly than all other masters did ,claude ,gele penetrate into the secrets of nature1 and by the enchanting play of sunlight1 the freshness of his dewy foregrounds1 and the charm of his atmospheric distances1 he obtained a tone of feeling which influences the mind like an eternal ,sabbath rest4 ,in his works there is all the splendor1 light1 untroubled brightness1 and harmony of the first morning of creation in ,paradise4 ,his masses of foliage have a glorious richness and freshness1 and even in the deepest shadows are interwoven with a golden glimmer of light4 ,but they serve only as a mighty framework1 for1 more freely than with other masters1 the eye wanders through a rich foreground into the far distance1 the utmost limits of which fade away in golden mist4 ,his two great charms are the immense space which he represents in his pictures and his beautiful color4 ,the latter appears as if he had first used a silvery gray1 and then put his other colors over that1 which gives his works a soft1 lovely atmospheric effect1 such as no other artist has surpassed4 ,when he introduced buildings into his pictures they were well done2 but his figures and animals were so imperfect that he was accustomed to say that he sold the landscape1 and gave away the figures4 ,before his death his pictures were so much valued that other artists tried to imitate them1 and he was accustomed to keep a book of sketches by which his works could be proved4 ,he called this book ,liber ,veritatis1 and before his death it reached six volumes2 one of these containing two hundred drawings is at ,chatsworth4 ,a catalogue of his works describes more than four hundred landscapes4 ,all the principal galleries of ,europe have his pictures1 and there are a great number of them in ,england1 both in public and private collections4 ,,sebastian ,,bourdon 7#afaf-afga71 who was born at ,montpelier1 made his studies in ,rome4 ,he brought himself into notice by a picture of the ,crucifixion of ,st ,peter1 which is now in the ,louvre4 ,he was one of the earliest members of the ,french ,academy4 ,bourdon resided in ,sweden for some years2 but was in ,paris1 and held the position of ,rector of the ,academy when he died4 ,he painted a few genre subjects1 and two of his portraits by himself are in the ,louvre2 but his best works were landscapes1 and in these his style was like that of ,salvator ,rosa4 ,it has been said that ,rigaud assisted him in his portraits of himself4 ,bourdon made some engravings1 and collectors prize his plates very much4 ,there were other ,french painters who studied in ,italy1 but those that ,i have mentioned are the important ones4 ,of those who studied in their own country only1 ,,eustache ,,le ,,sueur 7#afag-afee7 was the first of any importance2 but his life was short and uneventful1 and he was not appreciated4 ,his most important works are in the ,louvre4 ,,charles ,,le ,,brun 7#afai-afij7 was very prominent in his day4 ,his father was a sculptor1 and was employed by the ,chancellor ,segnier4 ,this nobleman's attention was attracted to the son1 and he at length sent the young ,le ,brun to ,italy to study4 ,he remained there six years1 and after his return to ,paris he was made painter to the king1 and became the favorite of the court4 ,he used his opportunities to persuade ,louis ,,xiv4 to found the ,royal ,academy at ,paris1 which was done in #afdh4 ,all his principal pictures are in the ,louvre4 ,,pierre ,,mignard 7#afab-afie7 has been called the ,roman1 because he lived in ,rome twenty-two years1 and while there was patronized by three successive popes4 ,in #affd he was made ,president of the ,academy of ,st4 ,luke in ,rome4 ,at length ,louis ,,xiv4 invited him to return to ,france4 ,in #afij he succeeded ,le ,brun as court painter1 and was made ,chancellor of the ,academy4 ,his portraits are his best works1 and these are seen in the galleries of various ,european countries4 ,,hyacinthe ,,rigaud 7#afei-agdc7 became the most distinguished ,french portrait painter of his time2 but his pictures are not very attractive or interesting in our day4 ,he finished them too much1 and so gave them an artificial appearance4 ,then1 too1 the costume of his day was such that his portraits seem to be the portraits of wigs and not of people4 ,they are very numerous4 ,he often painted the portrait of ,louis ,,xiv41 and had illustrious people from all parts of ,europe among his sitters4 ,,antoine ,,watteau 7#afhd-agba7 was the first to practise a new style of painting4 ,the habit of the ,french court was to pass much time in elegant out-door amusements4 ,watteau represented the scenes of the ftes galantes and reunions then so much in fashion4 ,his pictures are crowded with figures in beautiful costumes4 ,there are groups of ladies and gentlemen promenading1 dancing1 love-making1 and lounging in pleasant grounds with temples and fountains and everything beautiful about them4 ,the pictures of ,watteau are fine1 and are seen in many galleries4 ,his color is brilliant1 and to their worth as pictures is added the historical interest which belongs to them1 because they give us the best idea of court life1 dress1 and manners of the reign of ,louis ,,xiv4 which can be had from any paintings4 ,the followers of ,watteau were numerous1 but are not of great importance4 ,there were a few painters of animals and flowers in the ,french school2 but we shall pass to the genre painters1 among whom ,,jean-,,baptiste ,,greuze 7#agbe-ahje7 was important4 ,he painted very beautiful pictures of young girls and children4 ,his color is very agreeable1 and some of his works are finished as finely as if they were done on ivory4 ,most of his pictures are in private galleries1 but they are seen in some public collections4 ,probably the ,broken ,jug1 in the ,louvre1 is his best known work4 ,his pictures sell for very large prices4 ,at the ,forster sale in #ahgf1 ,a ,little ,girl with a ,lap ,dog in her ,arms brought six thousand seven hundred and twenty pounds2 in #aggb the same picture was sold for three hundred pounds1 and in #ahcb it was again sold for seven hundred and three pounds4 ,thus we see that in fifty-four years its value had increased to more than nine times its price1 and in one hundred and four years it brought twenty-two times as much as it was first sold for4 ,,claude ,,joseph ,,vernet 7#agad-aghi7 was the best marine painter of the ,french school4 ,louis ,,xv4 commissioned him to paint the seaports of ,france4 ,fifteen of these pictures are in the ,louvre4 ,there have been many engravings after his works4 ,his pictures of ,italian seaports and views near ,rome and ,tivoli are among his best paintings4 ,his color has little variety2 but his drawing is correct1 and his finish is very careful and fine4 ,vernet also made a few etchings4 ,in the early part of the eighteenth century ,,joseph ,,marie ,,vien 7#agaf-ahji7 returned to the classic style of painting1 and created a feeling against the pretty manner which had been the chief feature of ,french pictures for some time4 ,his pictures are very numerous in the churches and galleries of ,paris4 ,he was not a great painter1 but he marks a change in the spirit of ,french painting4 ,vien was the teacher of ,,jacques ,,louis ,,david 7#agdh-ahbe71 who was considered the first painter in modern art at the close of the eighteenth century4 ,he was so devoted to the classic style that he took the remains of ancient art as models for the figures in his pictures4 ,his groups are like groups of statues1 and his flesh looks like marble1 it is so hard and lifeless4 ,during the time of the first ,napoleon this style was carried to excess in everything connected with the arts4 ,david was such a favorite with the emperor that after the return of the ,bourbons he was banished1 and his family were not allowed to bury him in ,france4 ,he lived in ,brussels1 and executed many of his best pictures there4 ,illustration3 ,,fig4 #fh4--,,the ,,sabine ,,women4 ,david4 ,,antoine ,,jean ,,gros 7#agga-ahce7 was a great admirer of ,david1 and first attracted attention in #ahja by a picture of ,bonaparte on the ,bridge of ,arcola4 ,after this ,gros painted many such works1 and principally represented military events4 ,many of his pictures are very coarse4 ,the ,plague at ,jaffa and the ,field of ,eylau are of this type1 and the first is disgusting4 ,among his best works is ,francis ,i4 and ,charles ,v4 visiting the ,tombs at ,st4 ,denis4 ,but although he received many honors1 and was made a baron by ,charles ,x41 he could not bear the criticism which was made upon his pictures1 and finally drowned himself in the ,seine near ,meudon4 ,,paul ,,delaroche 7#agig-ahef7 was born at ,paris1 and studied under ,baron ,gros4 ,he became a celebrated artist and was made a member of the ,institute of ,france1 a ,professor in l'cole des ,beaux-,arts1 and an officer of the ,legion of ,honor4 ,his principal works represent scenes of important historical interest1 and he so arranged them that they appeal to one's sympathies with great power4 ,among these pictures are the ,condemnation of ,marie ,antoinette1 the ,death of the ,duke of ,guise1 ,cromwell ,contemplating the ,remains of ,charles ,i41 and other similar historical incidents4 ,his design was according to academical rules2 but he was not entirely conventional1 and in some of his religious pictures there was much expression and deep feeling4 ,illustration3 ,,fig4 #fi4--;,,death ,,of ,,the ,,duke ,,of ,,guise4 ,delaroche4 ,his largest and most famous work is the ,hemicycle1 in l'cole des ,beaux-,arts1 ,paris4 ,he was occupied with this painting during three years2 it contains seventy-five figures of life size4 ,the arts of different countries and ages are represented in it by portraits of the artists of the times and nations typified4 ,thus it is very interesting when considered merely as a great collection of portraits4 ,delaroche married the daughter of ,horace ,vernet1 and it is said that the figure which stands for ,gothic ,architecture is a portrait of her4 ,the ,hemicycle is richly colored1 and has a great deal of fine painting in it2 but from its very nature it has no dramatic power1 and does not arouse any deep sentiment in one who studies it4 ,delaroche was paid only about fifteen thousand dollars for this great labor1 and refused to have any further reward4 ,perhaps none of his works are more powerful than the ,death of the ,duke of ,guise4 ,you will easily recall the circumstances of his assassination3 the painter has so represented it that one really forgets that it is a picture1 and can only remember the horror of the crime4 ,the corpse of the duke is on one side of the immense chamber1 near the bed2 the assassins are in a terrified group on the other side1 and with them the cowardly king1 who was absolutely afraid of the dead body of his victim4 ,the picture is a remarkable instance of the power that may be given to what is sometimes called historical-genre art4 ,this picture was sold in #ahec for ten thousand five hundred dollars 7,fig4 #fi74 ,,jean ,,louis ,g,,ricault 7#agia-ahbd74 ,he was born at ,rouen1 and studied first under ,gurin and then in ,rome4 ,he was the first master of any power who entirely dismissed the influence of the art of ,david with its marble flesh and statuesque effect4 ,the one great work by which he is known is the ,wreck of the ,medusa1 which is in the ,louvre1 and which may be said to mark the advent of the modern ,french school4 ,,eugene ,,delacroix 7#agii-ahfc7 was the son of a ,minister of ,foreign ,affairs1 and was born to position and wealth4 ,but through misfortunes all this was changed1 and he was forced to work hard for his living4 ,at last he managed to study under ,gurin1 and in the studio of the master became the friend of ,gricault4 ,the first work which brought ,delacroix fame was a picture of a scene from ,dante's ,inferno1 in which ,dante sees some of his old acquaintances who were condemned to float upon the lake which surrounds the infernal city4 ,this work was exhibited in #ahbb1 and was bought for the ,gallery of the ,luxembourg4 ,baron ,gros tried to be his friend2 but ,delacroix wished to follow his own course1 and for some time had but small success4 ,he travelled in ,spain1 ,algiers1 and ,morocco1 and at length was commissioned by ,thiers to do some decorative work in the throne-room of the ,chamber of ,deputies4 ,he was much criticised1 but at length was accepted as a great artist1 and was made a member of the ,institute in #aheg4 ,he received another important order for the ,chamber of ,peers4 ,some of his works are at ,versailles1 and others are seen in various churches of ,paris4 ,when they are considered as a whole they are effective1 but they do not bear examination2 his design was free and spirited and his color good1 and he painted a variety of subjects1 and was able to vary the expression of his work to suit the impression he wished to produce4 ,,mile ,,jean ,,horace ,,vernet 7#aghi-ahfc7 was born in the ,louvre4 ,he studied under his father1 ,carle ,vernet1 who was the son of ,claude ,joseph ,vernet4 ,carle was a witty man1 and it is said that when he was dying he exclaimed1 ,how much ,i resemble the ,grand ,dauphin--son of a king1 father of a king1 and never a king myself6 ,in spite of his being less than his father or his son1 he was a good painter of horses4 ,when ,horace ,vernet was but fifteen years old he supported himself by drawing2 he studied with ,vincent1 and drew from living models4 ,in #ahad he showed such bravery at the ,barriere of ,clichy that he was decorated with the ,cross of the ,legion of ,honor3 before he died he was a grand officer of the order on account of his artistic merits4 ,he was also a member of the ,institute and ,director of the ,academy of ,rome4 ,his best works were executed in ,rome1 where he spent seven years2 he travelled in ,algiers1 ,syria1 ,egypt1 ,palestine1 ,russia1 and ,england1 and was everywhere received with the honors which his genius merited4 ,his works embraced a great variety of subjects1 and it is said that he often finished his picture the first time he went over it1 and did not retouch it4 ,there is no doubt that in certain ways the excellence of ,vernet has been overestimated1 and he has been too much praised2 but his remarkable memory1 which enabled him truthfully to paint scenes he had witnessed1 and his facility of execution1 are worthy of honorable mention4 ,when twenty years old ,vernet was married1 and from this time he kept an expense account in which all the prices he received for his works are set down4 ,the smallest is twenty-four sous for a tulip2 the largest is fifty thousand francs for the portrait of the ,empress of ,russia4 ,about #ahag ,vernet became the favorite of the ,duke of ,orleans1 and was therefore unpopular with the royal party4 ,in #ahbj he had made himself so displeasing to the king by some lithographs which were scattered among the people1 that it was thought best for him to leave ,paris4 ,however1 he overcame all this1 and four years later ,charles ,x4 sat to him for his portrait4 ,from this time orders and money flowed in from all sides4 ,the ,vernets had originated in ,avignon1 and in #ahbf1 when the museum there was opened1 ,horace and his father were invited to be present4 ,every honor was shown them2 poems were read in their praise2 they were conducted to the home of their ancestors1 which they piously saluted1 and inscribed their names upon the door-posts4 ,after they returned to ,paris they received rich gifts in return for the pictures they had given to ,avignon4 ,the ,gallery ,vernet1 which contains works by ,antoine1 ,franois1 ,joseph1 ,carle1 and ,horace ,vernet1 is regarded as a sacred place by the people of that region4 ,when ,horace ,vernet was ,director of the ,academy in ,rome he held salons weekly2 they were very gay1 and all people of distinction who lived in ,rome or visited that city were seen at these receptions1 dancing and amusing themselves in the lively ,french manner4 ,but after #ahcj he felt that the ,villa ,medici was a prison4 ,he wished to follow the ,french army in the ,east1 and three years later did go to ,algiers4 ,in the same year the king decided to convert the palace at ,versailles into an historical museum1 and from this time ,vernet had but two ideas1 the ,east and ,versailles4 ,almost every work he did was connected with these two thoughts4 ,louis ,philippe now desired him to paint four battle-pieces2 but ,vernet objected that no room was large enough to please him3 for this reason a floor was removed1 two stories turned into one1 and the grand ,gallery of ,battles made4 ,at length he had a difficulty with the king and went to ,russia2 but hearing that his father was dying he returned to ,paris1 and was made welcome back to ,versailles1 where he was really necessary4 ,we cannot stay to recount the honors which were showered upon him1 and which he always received with great modesty of demeanor4 ,he went from one triumph to another until #ahdh1 when the ,revolution almost broke his heart2 he worked on1 but his happiness was over4 ,in the great ,exposition of #ahee he had a whole salon devoted to his works1 and men from all the world came to see and to praise4 ,he lived still eight years2 he made pictures of incidents in the ,crimean ,war2 he painted a portrait of ,napoleon ,,iii41 but he wrote of himself3 ,when time has worn out a portion of our faculties we are not entirely destroyed2 but it is necessary to know how to leave the first rank and content one's self with the fourth4 ,his industry and the amount of work he did are simply marvellous4 ,he loved excitement and adventure1 and the works which have these elements were his best--and he liked best to do them4 ,his color cannot be praised2 he had no lofty intellectual aims2 he was clever to a high degree1 but he was not great2 he was one to whom the happy medium of praise should be given1 for he neither merits severity of criticism nor immoderate praise2 he was simply a gifted painter and the greatest and last of the ,vernets4 ,he is also the last ,french painter of whom we shall speak1 as we do not propose to take up the excellent artists of our own day1 who would require a volume devoted strictly to themselves4 ,,chapter ,,vii4 ,,painting ,,in ,,england4 ,in early days in ,england there were miniature-painters1 and in the last half of the sixteenth century there were some very important ,english painters of this kind4 ,before the days of ,charles ,i4 the ,english kings were much in the habit of inviting foreign artists to ,england1 and commissions were given to them4 ,the painters who were most prominent in ,england were of the ,flemish school1 and even under ,charles ,i41 as we have seen1 ,rubens and ,vandyck were the principal painters in ,england4 ,but in the reign of this king some native artists made names for themselves1 and what we call the ,english school of painting may really be dated from this time4 ,before speaking of painters ,i must mention one miniaturist whose works were in demand in other countries1 as well as in ,england4 ,,samuel ,,cooper 7#afji-afgb7 has been called the ,vandyck in little1 and there is far more breadth in his works than is usual in miniature4 ,he painted likenesses of many eminent persons1 and his works now have an honorable place in many collections4 ,,william ,,dobson 7#afaj-afdf7 has been mentioned in our account of ,vandyck as a painter whom the great master befriended and recommended to ,charles ,i4 ,he became a good portrait-painter1 and after ,vandyck's death was appointed sergeant-painter to the king4 ,his portraits are full of dignity2 the face shadows are dark1 and his color excellent4 ,he did not excel in painting historical subjects4 ,vandyck was succeeded at court by two foreign artists who are so closely associated with ,england that they are always spoken of as ,english artists4 ,illustration3 ,,fig4 #gj4--,,sir ,,joshua ,,reynolds4 ,,peter ,,van ,,der ,,faes 7#afah-afhj71 who was born in ,westphalia1 is known to us as ,sir ,,peter ,,lely4 ,he became the most celebrated portrait-painter after ,vandyck1 and his ,beauties at ,hampton ,court are pictures which are known the world over4 ,he has been accused of not painting eyes as he ought2 but the ladies of his day had an affectation in the use of their eyes4 ,they tried to have the sleepy eye that spoke the melting soul1 so ,sir ,peter ,lely was not to blame for painting them as these ladies wished them to be4 ,he was knighted by ,charles ,,ii41 and became very rich4 ,his portraits of men were not equal to those of women4 ,when ,cromwell gave him a commission to paint his portrait1 he said3 ,mr4 ,lely1 ,i desire you will use all your skill to paint my picture truly like me1 and not flatter me at all2 but remark all these roughnesses1 pimples1 warts1 and everything as you see me1 otherwise ,i will never pay you a farthing for it4 ,sir ,peter ,lely was buried in ,covent ,garden1 where there is a monument to his memory with a bust by ,gibbon4 ,sir ,,godfrey ,,kneller 7#afdf-agbc71 born at ,lbeck1 was a rival to ,sir ,peter ,lely1 and had the honor of painting the portraits of eight crowned heads and a very great number of other people of importance4 ,he had studied both the ,dutch and ,italian manner2 for he was the pupil of ,rembrandt and ,bol1 of ,carlo ,maratti and ,bernini4 ,some critics praise his pictures very much1 while others point out many defects in them4 ,he painted very rapidly1 and he sometimes hurried his pictures off for the sake of money2 but his finished works are worthy of remark4 ,he especially excelled in painting hair2 his drawing was correct2 some of his groups of children are fine pictures2 and some madonnas that he painted1 using his sitters as models1 are works of merit4 ,his monument was made by ,rysbrach1 and was placed in ,westminster ,abbey4 ,both ,sir ,peter ,lely and ,sir ,godfrey ,kneller had pupils and followers2 but there was no original ,english artist before the time of ,,william ,,hogarth 7#afig-agfd71 and he may really be named as the first master of a purely ,english school of painting4 ,when ,hogarth was fifteen years old he was apprenticed to a silversmith1 and the grotesque designs which he copied for armorial bearings helped to increase his natural love for all that was ridiculous and strange4 ,after #agah he was much occupied in engraving for booksellers1 and at length he began to paint small genre pictures and some portraits1 in which he made good success1 but he felt that he was fitted for other work4 ,in #agcj he married the daughter of the artist1 ,sir ,james ,thornhill1 without the consent of her father4 ,soon after this he began his series of pictures called the ,harlot's ,progress1 and when ,sir ,james saw them he was so satisfied with the talent of ,hogarth that he declared that such an artist could support a wife who had no dower1 and the two painters were soon reconciled to each other4 ,before #agdd ,hogarth had also painted the series of the ,rake's ,progress and ,marriage la ,mode 7,fig4 #ga74 ,these are all pictures which hold up the customs of the time to ridicule and satire1 and his works of this kind are almost numberless4 ,he explains as follows the cause of his painting in this way3 ,the reasons which induced me to adopt this mode of designing were that ,i thought both critics and painters had1 in the historical style1 quite overlooked that intermediate species of subjects which may be placed between the sublime and the grotesque4 ,i therefore wished to compose pictures on canvas similar to representations on the stage2 and further hope that they will be tried by the same test and criticised by the same criticism4 ,illustration3 ,,fig4 #ga4--,,the ,,marriage ,,contract4 ,no4 #a of ,the ,marriage la ,mode4 ,by ,hogarth4 ,in the ,national ,gallery4 ,it was in this sort of picture that ,hogarth made himself great1 though he supported himself for several years by portrait-painting1 in which art he holds a reputable place4 ,most of his important pictures are in public galleries4 ,hogarth was a fine engraver1 and left many plates after his own works1 which are far better and more spirited than another artist could have made them4 ,the pictures of ,hogarth have good qualities aside from their peculiar features4 ,he made his interiors spacious1 and the furniture and all the details were well arranged2 his costumes were exact1 as was also the expression of his faces2 his painting was good1 and his color excellent4 ,in #agec he published a book called the ,analysis of ,beauty4 ,ever after his first success his career was a prosperous one4 ,he rode in his carriage1 and was the associate and friend of men in good positions4 ,hogarth was buried in ,chiswick ,churchyard1 and on his tombstone are these lines1 written by ,david ,garrick3 ,farewell1 great painter of mankind6 ,who reach'd the noblest point of ,art1 ,whose pictur'd morals charm the mind1 ,and through the eye1 correct the heart4 ,if ,genius fire thee1 reader1 stay2 ,if ,nature touch thee1 drop a tear2 ,if neither move thee1 turn away1 ,for ,hogarth's honour'd dust lies here4 ,the next important ,english painter was ,,richard ,,wilson 7#agac-aghb71 and he was important not so much for what he painted as for the fact that he was one of the earliest landscape-painters among ,english artists4 ,he never attained wealth or great reputation1 although after his return from studying in ,italy he was made a member of the ,royal ,academy4 ,we come now to ,sir ,,joshua ,,reynolds 7#agbc-agib71 born at ,plympton1 in ,devonshire4 ,his father was a clergyman and the master of the grammar school at ,plympton4 ,joshua was destined for the medical profession by his parents2 but his love of drawing was so marked that1 as the opportunity offered for him to go to ,london and study under ,hudson1 his father allowed him to do so4 ,after various changes1 in #agdi he was able to go to ,rome1 and remained in ,italy three years 7,fig4 #gj74 ,when he returned to ,england he soon attracted attention to his pictures1 and it was not long before both fame and fortune were secured to him4 ,his life was a very quiet one1 with little of incident that can be related here4 ,his sister kept his house for him1 and he lived generously1 having company to dinner almost daily4 ,his friends were among the best people of the time1 including such persons as ,dr4 ,johnson1 ,percy1 ,goldsmith1 ,garrick1 the ,burkes1 and many others4 ,the day before ,johnson died he told ,reynolds that he had three requests to make of him3 that he would forgive him thirty pounds which he had lent him1 would read the ,scriptures daily1 and would not paint on ,sunday4 ,sir ,joshua promised to do these things1 and remembered his promise4 ,sir ,joshua was skilful in compliments4 ,when he painted his famous picture of ,mrs4 ,siddons as the ,tragic ,muse he put his name on the border of her garment4 ,the actress went near the picture to examine it1 and when she saw the name she smiled4 ,the artist said3 ,i could not lose the opportunity of sending my name to posterity on the hem of your garment4 ,illustration3 ,,fig4 #gb4--,,muscipula4 ,by ,reynolds4 ,sir ,joshua ,reynolds' fame rests upon his portraits1 and in these he is almost unrivalled4 ,his pictures of children are especially fine4 ,it was his custom to receive six sitters daily4 ,he kept a list of those who were sitting and of others who waited for an opportunity to have their portraits made by him4 ,he also had sketches of the different portraits he had painted1 and when new-comers had looked them over and chosen the position they wished1 he sketched it on canvas and then made the likeness to correspond4 ,in this way1 when at his best1 he was able to paint a portrait in about four hours4 ,his sitters' chairs moved on casters1 and were placed on a platform a foot and a half above the floor4 ,he worked standing1 and used brushes with handles eighteen inches long1 moving them with great rapidity4 ,in #agfh ,sir ,joshua was made the first ,president of the ,royal ,academy1 and it was then that he was knighted by the king4 ,he read lectures at the ,academy until #agij1 when he took his leave4 ,during these years he sent two hundred and forty-four pictures to the various exhibitions4 ,in #aghb he had a slight shock of paralysis1 but was quite well until #aghi1 when he feared that he should be blind1 and from this time he did not paint4 ,he was ill about three months before his death1 which occurred in ,february1 #agib4 ,his remains were laid in state at the ,royal ,academy1 and then buried in ,st4 ,paul's ,cathedral1 near the tomb of ,sir ,christopher ,wren4 ,it is to be regretted that the colors used by ,sir ,joshua ,reynolds are now much faded in many of his pictures4 ,those in the ,national ,gallery1 in ,london1 are1 however1 in good preservation4 ,naturally1 since so many of his pictures were portraits they are in the collections of private families in ,england1 and but few of them are seen in ,european galleries4 ,there is an excellent opportunity to study his manner in the pictures at the ,south ,kensington ,museum1 where there are several portraits1 some pictures of children1 and the ,graces ,decorating a ,statue of ,hymen4 ,it is very satisfactory to think of a great artist as a genial1 happy man1 who is dear to his friends1 and has a full1 rich life outside of his profession4 ,such a life had ,sir ,joshua ,reynolds1 and one writer says of him3 ,they made him a knight--this famous painter2 they buried him 'with an empire's lamentation2' but nothing honors him more than the 'folio ,english dictionary of the last revision' which ,johnson left to him in his will1 the dedication that poor1 loving ,goldsmith placed in the ',deserted ,village1' and the tears which five years after his death even ,burke could not forbear to shed over his memory4 ,,thomas ,,gainsborough 7#agbg-aghh7 was born in ,sudbury1 in ,suffolk1 and when still quite young went to ,london1 and studied under ,francis ,hayman1 who was not an eminent painter4 ,gainsborough became one of the most important masters of the ,english school1 especially in landscape painting and the representation of rustic figures4 ,his portraits were not as good in color as those of ,sir ,joshua ,reynolds2 they have a bluish-gray hue in the flesh tints2 but they are always graceful and charming4 ,his landscapes are not like those of any other master4 ,they are not exact in the detail of leaves and flowers--a botanist could find many faults in them--but they are like nature in spirit3 they seem to have the air blowing through them1 they are fresh and dewy when it is morning in them1 and quiet and peaceful when evening comes under his brush4 ,in many of his pictures he put a cart and a white animal4 ,his rustic figures have the true country life in them3 they seem to have fed upon the air1 and warmed themselves in the sun until they are plump and rosy as country lads and lasses should be4 ,his best genre pictures are the ,cottage ,girl1 the ,woodman and ,dog in a ,storm1 the ,cottage ,door1 and the ,shepherd ,boy in a ,shower4 ,he painted a picture of a ,girl and ,pigs1 for which ,sir ,joshua ,reynolds paid him one hundred guineas4 ,in character ,gainsborough was very attractive1 though somewhat contradictory in his moods4 ,he was generous and genial1 lovable and affectionate2 he was also contradictory and impulsive1 not to say capricious4 ,his wife and he had little quarrels which they settled in this wise3 ,when ,gainsborough had spoken to her unkindly1 he would quickly repent1 and write a note to say so1 and address it to his wife's spaniel1 called ,tristram1 and sign it with the name of his pet dog1 ,fox4 ,then ,margaret ,gainsborough would answer3 ,my own1 dear ,fox1 you are always loving and good1 and ,i am a naughty little female ever to worry you as ,i too often do1 so we will kiss1 and say no more about it2 your own affectionate ,tris4 ,like ,reynolds1 ,gainsborough had many warm friends1 and when he died ,sir ,joshua himself watched by his bedside1 and bent to catch his last word1 which was the name of ,vandyck4 ,,john ,,singleton ,,copley 7#agcg-ahae7 was born in ,boston1 ,mass41 ,u4 ,s41 to which place his parents are said to have immigrated from ,limerick1 ,ireland4 ,the father was descended from the ,copleys of ,yorkshire1 ,england1 and the mother from the ,singletons of ,county ,clare1 both families of note4 ,when young ,copley was eleven years old his mother was married to ,peter ,pelham1 a widower with three sons--,peter1 ,charles1 and ,william--and who subsequently became the father of another son1 ,henry1 by this second marriage4 ,mr4 ,pelham was a portrait painter and a mezzotint engraver of unusual merit4 ,one authority calls him the founder of those arts in ,new ,england4 ,mr4 ,pelham was also a man of education1 a land surveyor1 and a mathematician4 ,he was thus well qualified to educate1 assist1 and stimulate young ,copley in the pursuit of studies so natural and congenial to him4 ,he is said to have been studious and quiet1 and to have made rapid advances4 ,when he was fifteen years old he painted a portrait of his step-brother1 ,charles ,pelham1 now in the family of a great-grandson1 ,mr4 ,charles ,pelham ,curtis1 of ,boston4 ,at sixteen he published an engraving of ,rev4 ,william ,welsteed1 from a portrait painted by himself4 ,the same year he painted the portrait of a child--afterward ,dr4 de ,mountfort--now owned in ,detroit4 ,in #aged he painted an allegorical picture of ,mars1 ,venus1 and ,vulcan1 thirty inches long by twenty-five wide1 now owned in ,bridgewater1 ,mass4 ,the next year he painted a miniature of ,george ,washington1 who was on a visit to ,governor ,shirley at the time4 ,this picture now belongs to the family of the late ,george ,p4 ,putnam1 of ,new ,york ,city4 ,in #agef he painted a three-quarters length portrait of ,general ,william ,brattle1 life size1 signed and dated1 and now owned by ,mr4 ,william ,s4 ,appleton4 ,he now improved rapidly4 ,a crayon portrait of ,miss ,rebecca ,gardiner1 afterward ,mrs4 ,philip ,dumaresq1 an oil painting of ,mrs4 ,edmund ,perkins1 a portrait of ,rebecca ,boylston1 afterward wife of ,governor ,gill1 portraits of ,colonel and ,mrs4 ,lee1 grandparents of ,general ,william ,raymond ,lee1 all exist and attest the continued growth of his powers4 ,these date between #agfc and #agfi4 ,during this time he had access to and was a visitor in houses where were portraits by ,saribest1 ,blackburn1 ,liopoldt1 and even by ,vandyck and ,sir ,godfrey ,kneller4 ,mr4 ,augustus ,thorndike ,perkins1 in his carefully written monograph on ,copley1 says that our artist must have seen all these pictures1 since1 as ,dr4 ,gardiner says1 his genial disposition and his courtly manners make him a welcome guest everywhere4 ,mr4 ,perkins remarks that ,copley must have studied with ,blackburn2 that he imitated1 but in some respects surpassed him4 ,both frequently used1 either as the lining of a dress or as drapery1 a certain shade of mauve pink2 ,blackburn uses this shade feebly1 while ,copley dashes it on with the hand of a master4 ,on ,november #af1 #agfi1 ,copley married ,susan 7or ,susannah1 as it is sometimes written71 the daughter of ,mr4 ,richard ,clarke1 a distinguished merchant of ,boston1 to whom1 as agent of the ,east ,india ,company of ,london1 was consigned the tea thrown overboard in ,boston harbor4 ,from all accounts he soon began to live in good style2 and as1 in #agga1 ,colonel ,trumbull found him living opposite the ,common1 it is probable that he purchased at about that time the property which afterward became so valuable1 although long after ,copley had ceased to be the owner4 ,in #aggc1 says the late eminent conveyancer1 ,nathaniel ,ingersoll ,bowditch1 ,copley owned all the land bounded on the west by ,charles ,river1 thence by ,beacon ,street to ,walnut ,street1 thence by ,walnut ,street to ,mt4 ,vernon ,street1 thence by ,mt4 ,vernon ,street to ,louisburg ,square1 thence by ,louisburg ,square to ,pinckney ,street1 thence by ,pinckney ,street to the water1 containing about eleven acres of land4 ,this land is now covered with handsome residences1 and is of great value4 ,an agent of ,copley's sold his property after he went abroad without being authorized to do so1 and1 although his son came over in #agie to look into the matter1 he was only able to secure a compromise by which a further sum of three thousand guineas was paid in final settlement4 ,soon after his marriage ,copley painted his picture of a ,boy with a ,squirrel1 which he sent anonymously to ,benjamin ,west1 in ,london1 for exhibition4 ,west judged from the wood on which the picture was stretched and from the kind of squirrel that the work was ,american1 and so excellent was the painting that a rule of the institution was set aside1 and the picture exhibited4 ,this picture is now in the possession of ,mrs4 ,james ,s4 ,amory1 of ,boston1 a granddaughter of the artist4 ,the boy in the picture was his half-brother ,henry4 ,the picture was so favorably received that ,copley was advised to go to ,england4 ,he sailed in #aggd1 and never returned4 ,mr4 ,copley1 soon after his arrival in ,london1 passed over to the ,continent1 and through ,italy1 studying in ,parma and in ,rome4 ,he visited ,naples and ,pstum also4 ,it is said that he studied so diligently that he was with difficulty persuaded to paint two portraits in ,rome4 ,in #agge he travelled and studied in ,germany1 in ,holland1 and in ,france4 ,this same year his wife and family joined him in ,england4 ,these consisted of his wife1 his son1 ,john ,singleton1 who afterward became the famous ,lord ,chancellor ,lyndhurst2 his daughter ,elizabeth1 afterward married to a distinguished merchant in ,boston1 and who survived to a great age2 ,mary ,copley1 who lived unmarried to the great age of ninety-four2 and another son who died young4 ,in #aggg he was made an ,associate of the ,royal ,academy1 and six years later an ,academician4 ,he was now in the full tide of success4 ,he was offered five hundred guineas to paint a family group of six persons4 ,the well-known group of ,copley's family1 called the ,family ,picture1 the ,death of ,lord ,chatham1 and ,watson and the ,shark1 were on his easel in #aghj4 ,the picture of ,lord ,chatham falling senseless in the ,house of ,lords was commenced soon after his death in #aggh4 ,it was engraved by ,bartolozzi1 and twenty-five hundred copies were sold in a few weeks4 ,copley exhibited the picture1 to his own profit as well as fame4 ,in #agha occurred the death of ,major ,pierson1 shot in the moment of victory over the ,french troops who had invaded the island of ,jersey4 ,his death was instantly avenged by his black servant1 and of this scene ,copley made one of his finest pictures4 ,he took pains1 with his usual honesty1 to go to ,st4 ,helier's1 and make a drawing of the locality4 ,the picture is thoroughly realistic1 although painful4 ,his large picture of the ,repulse and ,defeat of the ,spanish ,floating ,batteries at ,gibraltar was painted on commission from the city of ,london4 ,it is twenty-five feet long by twenty-two and a half feet high2 but there are so many figures and so much distance to be shown in the painting that the artist really needed more room4 ,of the commander1 ,lord ,heathfield1 ,sir ,robert ,royd1 ,sir ,william ,green1 and some twelve or fifteen others1 the artist made careful portraits4 ,the story told by ,elkanah ,watson shows ,copley's strong sympathy for ,america4 ,in #aghb ,watson was in ,london1 and ,copley made a full-length portrait of him1 and in his journal ,watson says3 ,the painting was finished in most exquisite style in every part1 except the background1 which ,copley and ,i designed to represent a ship bearing to ,america the acknowledgments of our independence4 ,the sun was just rising upon the stripes of the ,union streaming from her gaff4 ,all was complete save the flag1 which ,copley did not deem proper to hoist under the present circumstances1 as his gallery was the constant resort of the royal family and the nobility4 ,i dined with the artist on the glorious #eth of ,december1 #aghb4 ,after listening with him to the speech of the king formally recognizing the ,united ,states of ,america as in the rank of nations1 previous to dinner1 and immediately after our return from the ,house of ,lords1 he invited me into his studio1 and there1 with a bold hand1 a master's touch1 and1 ,i believe1 an ,american heart1 he attached to the ship the stars and stripes4 ,this was1 ,i imagine1 the first ,american flag hoisted in ,old ,england4 ,copley purchased1 for a ,london residence1 the mansion-house in ,george ,street belonging to ,lord ,fauconburg4 ,it afterward became more widely known as the residence of his son1 ,lord ,lyndhurst4 ,lord ,mansfield's residence was near by1 and among the many commissions from public men was one to paint his lordship's portrait4 ,perhaps one of the most interesting of all his commissions was one to paint the picture of ,charles ,i4 demanding the five obnoxious members from the ,long ,parliament1 for which a number of gentlemen in ,boston paid one thousand five hundred pounds4 ,it is said that every face in this great picture was taken from a portrait at that time extant2 and ,mrs4 ,gardiner ,greene narrates that she and her father were driven in a post-chaise over a considerable part of ,england1 visiting every house in which there was a picture of a member of the famous ,parliament1 and were always received as honored guests4 ,copley's painting of the death of ,lord ,chatham was much admired4 ,so numerous were the subscriptions for the engraving that it is said ,copley must have received nearly1 or quite1 eleven thousand pounds for the picture and the engraved copies4 ,it was quite natural for ,copley to be popular with ,new ,englanders2 indeed1 almost every ,bostonian1 at one time1 on visiting ,london1 made a point to bring home his portrait by ,copley1 if possible4 ,there are known to exist in this country two hundred and sixty-nine oil-paintings1 thirty-five crayons1 and fourteen miniatures by him4 ,these pictures are carefully cherished1 as are indeed all memorials of this generous and kindly gentleman4 ,although his life was mostly passed in ,england1 where he obtained wealth and renown1 yet in a strong sense he could be claimed for ,boston1 as it was there he was born2 it was there he received his artistic bias and education2 it was there he was married1 and had three children born to him2 and1 finally1 it was there that he acquired a fair amount of fame and property solely by his brush4 ,it will be worth while for the readers of this volume to take pains to see some of the more noteworthy ,copleys4 ,a portrait of ,john ,adams1 full length1 painted in ,london in #aghc1 is now in possession of ,harvard ,college4 ,a portrait of ,samuel ,adams1 three-quarters length1 spirited and beautiful1 standing by a table1 and holding a paper1 hangs in ,faneuil ,hall4 ,another picture of ,samuel ,adams is in ,harvard ,college1 which also owns several other ,copleys4 ,a portrait of ,james ,allen1 a man of fortune1 a patriot1 and a scholar1 is now owned by the ,massachusetts ,historical ,society4 ,the ,copley ,family1 one of the artist's very best pictures1 is now owned in ,boston by ,mr4 ,amory1 and1 in fact1 ,mrs4 ,james ,s4 ,amory owns a number of his best works4 ,copley was a man of elegance and dignity1 fond of the beautiful1 particular in his dress1 hospitable1 and a lover of poetry and the arts4 ,his favorite book was said to be ,paradise ,lost4 ,his last picture was on the subject of the ,resurrection4 ,,benjamin ,,west 7#agch-ahbj7 was born at ,springfield1 ,pennsylvania1 of ,quaker parentage4 ,in the various narratives of his successful life many stories are told which appear somewhat fabulous1 and most of which have nothing to do with his subsequent career4 ,he is said to have made a pen-and-ink portrait of his little niece at the age of seven years2 to have shaved the cat's tail for paint brushes2 to have received instruction in painting and archery from the ,indians2 to have so far conquered the prejudices of his relatives and their co-religionists to his adoption of an artist's life that he was solemnly consecrated to it by the laying on of hands by the men1 and the simultaneous kissing of the women4 ,his love for art must have been very strong1 and he was finally indulged1 and assisted in it by his relatives1 so that at the age of eighteen he was established as a portrait-painter in ,philadelphia4 ,by the kindness of friends in that city and in ,new ,york he was enabled to go to ,italy1 where he remained three years1 making friends and reputation everywhere4 ,parma1 ,florence1 and ,bologna elected him a member of their ,academies4 ,he was only twenty-five years old when he went to ,england1 on his way back to ,america4 ,but he was so well received that he finally determined to remain in ,england1 and a young lady named ,elizabeth ,shewell1 to whom he had become engaged before going abroad1 was kind and judicious enough to join him in ,london1 where she became his wife1 and was his faithful helpmate for fifty years4 ,in #agff he exhibited his ,orestes and ,pylades1 which on account of its novelty and merit produced a sensation4 ,he painted ,agrippina weeping over the ,urn of ,germanicus1 and by the ,archbishop of ,york was introduced to ,george ,,iii4 as its author4 ,he immediately gained favor with the king1 and was installed at ,windsor as the court-painter with a salary of one thousand pounds per annum4 ,this salary and position was continued for thirty-three years4 ,he painted a series of subjects on a grand scale from the life of ,edward ,,iii4 for ,st4 ,george's ,hall1 and twenty-eight scriptural subjects1 besides nine portrait pictures of the royal family4 ,in #agib1 on the death of ,reynolds1 he was elected ,president of the ,royal ,academy1 a position which1 except a brief interregnum1 he held until his death in ,march1 #ahbj4 ,he was greatly praised in his day1 and doubtless thought himself a great artist4 ,he painted a vast number of portraits and quite a number of pictures of classical and historical subjects4 ,his ,lear is in the ,boston ,athenum2 his ,hamlet and ,ophelia is in the ,longworth collection in ,cincinnati2 ,christ ,healing the ,sick is in the ,pennsylvania ,hospital2 and the ,rejected ,christ is or was owned by ,mr4 ,harrison1 of ,philadelphia4 ,there are two portraits of ,west1 one by ,allston and one by ,leslie1 in the ,boston ,athenum1 and a full-length1 by ,sir ,thomas ,lawrence1 in the ,wadsworth ,gallery in ,hartford1 ,conn4 ,one of ,west's pictures did a great deal for his reputation1 although it was quite a departure from the treatment and ideas then in vogue2 this was the ,death of ,general ,wolfe on the ,plains of ,abraham4 ,when it was known to artists and amateurs that his purpose was to depict the scene as it really might have happened he was greatly ridiculed4 ,even ,sir ,joshua ,reynolds expressed an opinion against it2 but when he saw the picture he owned that ,west was right4 ,hitherto no one had painted a scene from contemporary history with figures dressed in the costume of the day4 ,but ,west depicted each officer and soldier in his uniform1 and gave every man his pig-tail who wore one4 ,the picture is spirited and well grouped4 ,west was just such a practical1 thoughtful1 and kindly man as we might expect from his ancestry and surroundings4 ,,george ,,romney 7#agcd-ahjb71 born in ,beckside1 near ,dalton1 in ,cumberland4 ,he married when he was twenty-two1 and in his twenty-seventh year went to ,london with only thirty pounds in his pocket1 leaving his wife with seventy pounds and two young children4 ,he returned home to die in #agii1 and in the meantime saw his wife but twice4 ,the year after his arrival in ,london he carried off the fifty-guinea prize on the subject of the ,death of ,wolfe from the ,society of ,arts4 ,through the influence of ,sir ,joshua ,reynolds this was reconsidered1 and the fifty-guinea prize was awarded to ,mortimer for his ,edward the ,confessor1 while ,romney was put off with a gratuity of twenty-five guineas4 ,this produced a feud between the two artists4 ,romney showed his resentment by exhibiting in a house in ,spring ,gardens1 and never sending a picture to the ,academy1 while ,reynolds would not so much as mention his name1 but spoke of him as the man in ,cavendish ,square4 ,this was after his return from the ,continent2 but before going to ,italy he was distinctly the rival of ,sir ,joshua1 so much so that there were two factions1 and ,romney's studio1 in ,great ,newport ,street1 was crowded with sitters1 among whom was the famous ,lord ,chancellor ,thurlow1 whose full-length portrait is the pride of its possessor4 ,at this time he was making about twelve hundred pounds a year1 a very good income for those days4 ,in #aggc he went to ,rome with a letter to the ,pope from the ,duke of ,richmond4 ,his diary1 which he kept for a friend1 shows how conscientious and close was his observation and how great his zeal4 ,he made a copy of the ,transfiguration1 for which he refused one hundred guineas1 and which finally sold for six guineas after his death4 ,on his return to ,london in #agge he took the house in ,cavendish ,square1 where he had great success4 ,he painted a series of portraits of the ,gower family1 the largest being a group of children dancing1 which ,allan ,cunningham commended as being masterly and graceful4 ,some of his portraits have a charm beyond his rivals4 ,he painted portraits of ,lady ,hamilton1 the friend of ,lord ,nelson--the maid of all work1 model1 mistress1 ambassadress1 and pauper--scores of times1 and in different attitudes and a variety of characters1 as ,hebe1 a ,bacchante1 a ,sibyl1 as ,joan of ,arc1 as ,sensibility1 as a ,st4 ,cecilia1 as ,cassandra1 as ,iphigenia1 as ,constance1 as ,calypso1 as ,circe1 and as ,mary ,magdalen1 and in some of these characters many times4 ,he often worked thirteen hours a day1 and did his fancy sketches when sitters disappointed him4 ,he would paint a portrait of a gentleman in four sittings4 ,he was extremely fond of portraying ,shakespeare's characters1 and contributed to the ,shakespeare ,gallery formed by ,alderman ,boydell4 ,he went to ,paris in #agij1 where ,lord and ,lady ,gower introduced him to ,louis ,philippe1 and through him to all the art treasures of the ,french capital4 ,on his return to ,london he formed a plan of an art museum1 to be furnished with casts of the finest statues in ,rome1 and spent a good deal of money in the erection of a large building for the purpose4 ,his powers as an artist gradually waned4 ,he left his ,cavendish ,square residence in #agig1 and in #agii returned to his family and home at ,kendall4 ,from this time to the close of his life in #ahjb he was a mere wreck1 and his artist life was over4 ,,george ,,morland 7#agfc-ahjd7 was born in ,london1 and the son of an artist4 ,his father was unsuccessful1 and poor ,george was articled to his father1 after the ,english fashion1 and was kept close at home and at work4 ,it is said that his father stimulated him with rich food and drink to coax him to work4 ,he was very precocious1 and really had unusual talents4 ,his subjects were those of rustic life1 and his pictures contain animals wonderfully well painted1 but his pigs surpass all4 ,his character was pitiful2 he was simply1 at his best1 a mere machine to make pictures4 ,as for goodness1 truth1 or nobleness of any sort1 there is not a syllable recorded in his favor4 ,strange to say1 the pictures of his best time are masterpieces in their way1 and have been sold at large prices4 ,sir ,,thomas ,,lawrence 7#agfi-ahcj71 born at ,bristol1 ,england1 in the ,white ,hart ,inn1 of which his father was landlord4 ,he was wonderfully precocious1 and as a child of five years would recite odes1 and declaim passages from ,milton and ,shakespeare4 ,even at this early period he made chalk or pencil portraits1 and at nine he finally decided to become a painter from having seen a picture by ,rubens4 ,at this period he made a colored chalk portrait of the beautiful ,georgiana1 ,duchess of ,devonshire1 which still hangs in ,chiswick ,house1 in the room in which ,charles ,fox died4 ,his father was the son of a clergyman1 and was bred a lawyer1 but had never prospered2 still his culture and education gave a certain zest and tone to the mind of young ,lawrence1 and made him1 with his elegant figure and handsome face1 the successful courtier that he afterward became4 ,he worked hard1 with considerable success1 and with but little instruction until1 at the age of eighteen1 he went to ,london for the first time4 ,at that period he was described as being extremely handsome in person1 with fine1 regular features1 brilliant eyes1 and long1 chestnut-colored hair falling to his shoulders4 ,he lodged close by ,sir ,joshua ,reynolds--then near the end of his career1 and from him received much valuable advice4 ,during ,lawrence's first years in ,london he attempted pictures illustrating classic art1 but without much success4 ,indeed he was never successful in large1 imaginative pictures1 and during most of his career of more than forty years1 confined himself to portraits4 ,the time was propitious for him3 ,gainsborough was dead2 ,reynolds was almost blind1 and had given up painting2 and ,romney had no hold on the court and the leaders of fashion4 ,lawrence raised his prices1 and had all he could do4 ,he adopted a more expensive style of dress1 and in fact lived so extravagantly that he never arrived at what may be called easy circumstances--his open-handed generosity contributed to this result4 ,he early received commissions from the royal family4 ,in #agia he was elected an ,associate1 and in #agid an ,academician4 ,the next year ,george ,,iii4 appointed him painter in ordinary to his ,majesty4 ,he was thus fairly launched on a career that promised the highest success4 ,in a certain sense he had it1 but largely in a limited sense4 ,he painted the portraits of people as he saw them2 but he never looked behind the costume and the artificial society manner4 ,he reproduced the pyramidically shaped coats and collars1 the overlapping waistcoats of different colors1 the ,hessian boots1 and the velvet coats1 adorned with furs and frogs1 of the fine gentlemen2 and the turbans with birds-of-,paradise feathers1 the gowns without waists1 the bare arms and long gloves1 the short leg-of-mutton sleeves1 and other monstrosities of the ladies4 ,and for thirty years his sitters were attired in red1 or green1 or blue1 or purple4 ,he absolutely revelled in the ugliness of fashion4 ,occasionally ,lawrence did some very good things1 as when he painted the ,irish orator and patriot1 ,curran1 in one sitting1 in which1 according to ,williams1 he finished the most extraordinary likeness of the most extraordinary face within the memory of man4 ,he always painted standing1 and often kept his sitters for three hours at a stretch1 and sometimes required as many as nine sittings4 ,on one occasion he is said to have worked all through one day1 through that night1 the next day1 and through all the night following6 ,by command of the prince regent he painted the allied sovereigns1 their statesmen1 princes1 and generals--all the leading personages1 in fact1 in alliance against ,napoleon4 ,his pictures in the exhibition of #ahae were ,mrs4 ,wolfe1 the ,prince ,regent1 ,metternich1 the ,duke of ,wellington1 ,blucher1 the ,hetman ,platoff1 and ,mr4 ,hart ,davis4 ,during the ,congress that met at ,aix-la-,chapelle in #ahah1 ,lawrence was commissioned by the ,prince ,regent to paint its principal heads for an especial gallery4 ,he thus had for sitters nearly all the leading statesmen of ,europe4 ,from ,aix-la-,chapelle he went to ,vienna1 and thence to ,rome in #ahai1 where among others he painted likenesses of the ,pope1 of ,cardinal ,gonsalvi1 and of ,canova4 ,of the latter1 ,canova cried out1 ,per ,baccho1 che nomo e questo6 ,it was considered a marvellous likeness2 and without violating good taste he worked into the picture crimson velvet and damask1 gold1 precious marble1 and fur1 with a most brilliant effect4 ,before reaching home in ,london he was elected ,president of the ,royal ,academy4 ,at this time he had been elected a member of the ,roman ,academy of ,st4 ,luke's1 of the ,academy of ,fine ,arts in ,florence1 and of the ,fine ,arts in ,new ,york4 ,he continued to improve as a painter1 and between #ahbe and the year of his death1 painted and exhibited some of his finest works4 ,he usually exhibited eight pictures each year1 and although without a rival1 gave evidence of anxious care to sustain his reputation4 ,he was especially successful with children1 and many of these pictures--as well as of celebrities--were engraved1 and have thus become known all over the world4 ,of his eight pictures exhibited in #ahbi--the last he ever contributed--,williams says3 ,it is difficult to imagine a more undeviating excellence1 an infallible accuracy of likeness1 with an elevation of art below which it seemed impossible for him to descend4 ,lawrence died on the morning of the #gth of ,january1 #ahcj1 with but little warning1 from ossification of the heart2 he was buried with much pomp and honor in ,st4 ,paul's ,cathedral1 by the side of ,sir ,joshua ,reynolds4 ,illustration3 ,,fig4 #gc4--,,portrait ,,of ,,turner4 ,,joseph ,m4 ,w4 ,,turner1 ,r4,a4 7#agge-ahea74--;,it is believed1 by those who have investigated the question most carefully1 that this eminent artist and most remarkable man was born in ,maiden ,lane1 ,london1 ,april #c1 #agge1 although the artist himself has stated that he was born in ,devonshire1 ,april #bc1 #agfi4 ,turner's father1 ,william ,turner1 was a native of ,devonshire1 but came to ,london while young1 and did a fair business in the ,covent ,garden district as a hair-dresser1 wig-maker1 and in shaving people4 ,the father was garrulous1 like the traditional hair-dresser1 with a pleasant laugh1 and a fresh1 smiling face4 ,he had a parrot nose and a projecting chin4 ,turner's mother was a ,miss ,mallord 7or ,marshall71 of good family1 but a violent-tempered woman1 with a hawk nose and a fierce visage4 ,her life ended in a lunatic asylum4 ,the artist1 who was always impatient of inquiry into his domestic matters1 resented any allusion to his mother1 and never spoke of her4 ,the manifest peculiarities of his parents had an impression upon ,turner1 and would have made him eccentric had there been no other influences of a kindred nature4 ,the parents were under-sized1 and of limited mental range2 they were of very little personal assistance to their gifted son1 although the father in later years busied himself in mixing colors1 adjusting pictures to frames1 and sometimes he was entrusted with certain rough work at filling in backgrounds4 ,when ,turner was but five years old he is said to have made1 from memory1 a fair copy of a lion rampant engraved on a silver salver1 which he had seen while accompanying his father to the house of a customer4 ,presently the boy began to copy pictures in water-colors1 and then to make sketches from nature of scenes along the river ,thames4 ,in his ninth year he drew a picture of ,margate ,church4 ,when he was ten years old he was sent to school at ,brentford-,butts1 where he remained two years1 boarding with his uncle1 the local butcher4 ,his leisure hours were spent in dreamy wanderings and in making countless sketches of birds1 trees1 flowers1 and domestic fowls4 ,he acquired a smattering of the classics and some knowledge of legends and ancient history4 ,on his return to ,london he received instruction from ,palice in painting flowers1 and1 after a year or two1 was sent to ,margate1 in ,kent1 to ,coleman's school4 ,here he had more scope and a wider range1 and made pictures of the sea1 the chalk cliffs1 the undulations of the coast1 and the glorious effects of cloud scenery4 ,on his return from ,margate he began to earn money by coloring engravings and by painting skies in amateurs' drawings and in architects' plans at half a crown an evening4 ,he always deemed this good practice1 as he thus acquired facility and skill in gradations4 ,his father at one time thought to make an architect of him1 and sent him to ,tom ,malton to study perspective4 ,but he failed in the exact branch of the profession1 and neither with ,malton nor with the architect ,hardwick did he give satisfaction4 ,while with ,hardwick he drew careful sketches of old houses and churches1 and this practice must have been of much use to him in after-life4 ,his father finally sent him to the ,royal ,academy1 where he studied hard1 drawing from ,greek models and the formal classic architecture4 ,about this time he was employed1 at half a crown an evening1 with supper thrown in1 to make copies of pictures by ,dr4 ,munro1 of ,adelphi ,terrace4 ,munro was one of the physicians employed in the care of ,george ,,iii4 when he had a crazy spell1 and owned many valuable pictures by ,salvator-,rosa1 ,rembrandt1 ,snyder1 ,gainsborough1 ,hearne1 ,cozens1 and others4 ,he had also portfolios full of drawings of castles and cathedrals1 and of ,swiss and ,italian scenery1 and of sketches by ,claude and ,titian4 ,turner was also employed to sketch from nature in all directions about ,london4 ,in these tasks he had for a constant companion ,honest ,tom ,girtin1 a young fellow of ,turner's own age1 who afterward married a wealthy lady1 had rich patrons1 and died before he was thirty4 ,had he lived to mature years1 ,girtin would have been a powerful rival to ,turner4 ,they were most excellent friends1 and when ,girtin died in ,rome1 ,turner was one of his most sincere mourners4 ,toward the close of ,sir ,joshua ,reynolds' life1 ,turner frequented his studio1 copied pictures1 and acquired some art secrets4 ,he began to teach water-color drawing in schools1 while still a boy1 at from a crown to a guinea a lesson4 ,he made hundreds of sketches in a part of ,london now built over compactly with houses in streets and squares1 but then picturesque in hills and dells1 in wooded fields and green lanes4 ,with all his baggage tied in a handkerchief on the end of his walking-stick1 he made a sketching tour through the towns of ,rochester1 ,canterbury1 ,margate1 and others1 in ,kent1 in #agic1 and about this time began to paint in oil4 ,his first contribution to the ,royal ,academy was a water-color sketch in #agij4 ,within the next ten years he exhibited over sixty pictures of castles1 cathedrals1 and landscapes4 ,all through his life he made sketches4 ,wherever he was1 if he saw a fine or an unusual effect1 he treasured it up for use4 ,he sketched on any bit of paper1 or even on his thumb-nail1 if he had nothing better4 ,nothing escaped his attention1 whether of earth1 or sea1 or sky4 ,probably no artist that ever lived gave nature such careful and profound study4 ,his studies of cloud scenery were almost a revelation to mankind4 ,in all this ,turner drew his instruction as well as his inspiration from nature4 ,the critics did nothing for him2 he rather opened the eyes of even such men as ,ruskin to the wonders of the natural world4 ,but these results all came later1 and were the fruit of and resulted from his constant and incessant studies4 ,illustration3 ,,fig4 #gd4--,,nantes4 ,by ,turner4 ,in #agid and #agie he made elaborate drawings of ,rochester1 ,chepstow1 ,birmingham1 ,worcester1 ,guildford1 ,cambridge1 and other towns1 for magazines4 ,in #agif he did the same for ,chester1 ,bristol1 ,leith1 ,peterborough1 and ,windsor4 ,within the next four years he completed the circuit of twenty-six counties in ,england and ,wales1 and he also exhibited twenty-three highly finished drawings of cathedrals and churches4 ,he was slow to undertake oil-painting1 preferring the more rapid touch and the light-and-shade effect of the crayon1 or the delicate and beautiful effects of water-colors4 ,he was always greater as a painter in water-colors than in oils1 and it is claimed by ,redgrave that the art all but began with him1 and that his water-color paintings epitomize the whole mystery of landscape art4 ,some of his paintings in this line have been sold at enormous prices1 and even in his own day his water-color picture of ,tivoli sold for eighteen hundred guineas4 ,turner became as fond of ,northern ,yorkshire--which he first visited in #agig--;as he was of ,southern ,kent4 ,he found there a great variety of scenery1 from the sweet and peaceful to the ennobling and grand4 ,he visited and made studies from all the old cathedrals1 castles1 and abbeys1 and in #agih he exhibited pictures of ,fountain and ,kirkstall ,abbeys1 ,holy ,island ,cathedral1 ,buttermere ,lake1 ,dunstanborough ,castle1 as well as ,morning ,among the ,corriston ,fells4 ,he found in ,yorkshire also some of his warmest friends and most munificent patrons1 notably ,mr4 ,hawkesworth ,fawkes1 of ,farnley ,hall1 whose house was adorned with fifty thousand dollars' worth of ,turner's pictures4 ,some additions to ,farnley ,hall were designed by ,turner1 and he was always a welcome visitor4 ,here he sketched1 and at intervals enjoyed himself greatly in hunting and fishing4 ,it is said that the ,farnley portfolios still contain sketches not only of the hall and its precincts1 but of coast scenes1 ,swiss views1 drawings of birds1 illustrations of the ,civil ,war1 and1 more especially1 of fifty-three remarkable drawings of the ,rhineland regions1 done at the rate of three a day2 these last were offered by ,turner to ,mr4 ,fawkes on his return from the ,continent for the sum of five hundred pounds1 and the bargain was closed at once4 ,when ,mr4 ,fawkes visited ,london he spent hours in ,turner's private gallery1 but was never shown into the painting-room4 ,indeed1 very few persons were ever allowed there4 ,once1 when ,turner dined at a hotel with ,mr4 ,fawkes1 the artist took too much wine1 and reeled about1 exclaiming1 ,hawkey1 ,i am the real lion--,i am the great lion of the day1 ,hawkey4 ,when ,mr4 ,fawkes died1 ended ,turner's visits to ,farnley4 ,he never went there again1 but when the younger ,fawkes brought the ,rhine drawings up to ,london for him to see again1 he passed his hand over the ,lorelei ,twilight1 saying1 with tears in his eyes1 ,but ,hawkey6 but ,hawkey6 ,when ,mr4 ,wells1 an artist of ,addiscomb1 died he mourned his loss bitterly1 and exclaimed to his daughter3 ,oh1 ,clara1 ,clara1 these are iron tears6 ,i have lost the best friend ,i ever had in my life6 ,in this family all the children loved him4 ,he would lie on the floor1 and play with them1 and the oldest daughter afterward said3 ,of all the light-hearted1 merry creatures ,i ever knew1 ,turner was the most so4 ,but in #agig ,turner had a bitter disappointment which warped and distorted all his after-life4 ,a young lady to whom he had become attached while a schoolboy at ,margate1 was engaged to be married to him4 ,he had been absent for two years on sketching tours1 and the step-mother of the young lady had intercepted and destroyed his letters1 so that at last she believed the representations made that ,turner had deserted her4 ,she became engaged to another1 and was about to be married1 when ,turner appeared1 and pleaded passionately that she would return to him4 ,she thought that she had been trifled with1 and held by her refusal1 and did not find out the wrongs done by the step-mother until it was too late4 ,this disappointment led to greater self-concentration and stingy money-getting until it became the absorbing passion of his life1 so that the artist passion was dominated by it4 ,it would take up too large a portion of this book to describe even briefly ,turner's travels and works4 ,only a bare outline can be given4 ,in #ahjj he became an ,associate of the ,royal ,academy4 ,he moved into a more commodious house at #fd ,harley ,street4 ,during this year he exhibited pictures of ,caernarvon ,castle and the ,fifth ,plague of ,egypt2 also fine views of ,fonthill ,abbey1 the new palace of ,beckford1 with whom he spent much time4 ,the only portrait for which ,turner ever sat was painted in #ahjj by ,george ,dance4 ,it shows a handsome young man1 with a full but receding forehead1 arched eyebrows1 a prominent nose1 a massive chin1 and a sensual mouth4 ,his thick and wiry hair is tied behind1 and he wears a coat with an immense cape4 ,by this time full-bottomed wigs had gone out of fashion1 and the old barber abandoned his business to go and live with his artist son4 ,in #ahja ,turner exhibited pictures of ,st4 ,donat's ,castle and ,pembroke ,castle in ,wales1 the ,salisbury ,chapter-house1 an autumn morning in ,london1 the destruction of the ,median army1 and ,dutch fishing-boats in a gale4 ,he had begun his contest with ,claude by painting pictures of classical subjects in ,claude's manner4 ,turner was elected ,royal ,academician in #ahjb1 and exhibited several notable oil-paintings1 signed with all his initials1 which he thenceforth used4 ,the ,academy had been quick to recognize ,turner's genius1 and he was always its faithful1 conservative1 and zealous friend4 ,as an auditor1 councillor1 or a visitor he was scrupulous1 and he attended general meetings and formal dinners with the same promptitude and certainty with which for forty-five years he sent his pictures to the annual exhibitions4 ,he was a peacemaker in debates1 but in business he was irresolute4 ,in #ahjb he visited the ,continent for the first time1 travelling in ,france1 ,switzerland1 and ,italy1 and everywhere making sketches4 ,at this time he carried sketch-books in which he jotted everything--all manner of drawings and outlines of nature and architecture1 notes of local gossip1 chemical memoranda1 notes of expenses1 tavern bills1 views of coasts and cities1 ruins1 castles1 manufacturing works1 and detached figures4 ,one book gives views about the ,simplon ,pass1 another the sea-coast from ,nice to ,genoa1 another contains countless jottings from the pictures in the ,vatican1 another is taken up with views in ,paris and ,rouen1 and several are devoted to ,scottish scenery4 ,in #ahjf ,turner began his ,liber ,studiorum1 in rivalship of ,claude's ,liber ,veritatis2 it was issued in parts in dark blue covers1 each part containing five plates4 ,it was discontinued in #ahad1 after seventy plates had been issued4 ,although not remunerative at the time1 in later days as high as three thousand pounds has been paid for a single copy of the ,liber1 while the subscription price was only seventeen pounds ten shillings2 even before ,turner died a copy of it was worth over thirty guineas4 ,charles ,turner1 the engraver1 used the proofs for kindling-paper2 but some years later ,colnaghi1 the print dealer1 paid him fifteen hundred pounds for his remaining rubbish1 as he considered it4 ,good ,god6 cried the old engraver2 ,i have been burning bank-notes all my life6 ,in #ahgh ,professor ,norton1 of ,harvard ,university1 published a set of thirty-three of the best of the ,liber studies1 reproduced in ,boston by the heliotype process4 ,the ,liber ,studiorum was intended to manifest ,turner's command of the whole compass of the landscape art1 and was divided into six heads3 historical1 pastoral1 elegant pastoral1 mountain1 marine1 and architectural4 ,in #ahjh ,turner was appointed ,professor of ,perspective in the ,royal ,academy4 ,during two or three years only1 out of the thirty in which he held the professorship1 did he deliver lectures4 ,he spoke in a deep and mumbling voice1 was confused and tedious in manner1 and frequently became hopelessly entangled in blind mazes of obscure words4 ,sometimes when he had written out his lectures he was unable to read them4 ,once1 after fumbling in his pockets1 he exclaimed3 ,gentlemen1 ,i've been and left my lecture in the hackney-coach4 ,still he was interested in this work1 and ,ruskin says3 ,the zealous care with which ,turner endeavored to do his duty is proved by a large existing series of drawings1 exquisitely tinted1 and often completely colored1 all by his own hand1 of the most difficult perspective subjects--illustrating not only directions of light1 but effects of light1 with a care and completion which would put the work of any ordinary teacher to utter shame4 ,during this year he took a house at ,hammersmith1 ,upper ,mall1 the garden of which ran down to the ,thames1 but still retained his residence in ,harley ,street4 ,in #ahab he first occupied the house ,no4 #dg ,queen ,anne ,street1 and this house he retained for forty years4 ,it was dull1 dingy1 unpainted1 weather-beaten1 sooty1 with unwashed windows and shaky doors1 and seemed the very abode of poverty1 and yet when ,turner died his estate was sworn as under one hundred and forty thousand pounds--seven hundred thousand dollars4 ,when ,turner's father died in #ahcj he was succeeded by a withered and sluttish old woman named ,danby4 ,the whole house was dreary1 dirty1 damp1 and full of litter4 ,the master had a fancy for tailless--,manx--cats1 and these made their beds everywhere without disturbance4 ,in the gallery were thirty thousand fine proofs of engravings piled up and rotting4 ,his studio had a fair north light from two windows1 and was surrounded by water-color drawings4 ,his sherry-bottle was kept in an old second-hand buffet4 ,about #ahac or #ahad ,turner purchased a place at ,twickenham2 he rebuilt the house1 and called it ,solus ,lodge4 ,the rooms were small1 and contained models of rigged ships which he used in his marine views2 in his jungle-like garden he grew aquatic plants which he often copied in foregrounds4 ,he kept a boat for fishing and marine sketching2 also a gig and an old cropped-eared horse1 with which he made sketching excursions4 ,he made at this time the acquaintance of ,rev4 ,mr4 ,trimmer1 the rector of the church at ,heston1 who was a lover of art1 and often took journeys with ,turner4 ,while visiting at the rectory ,turner regularly attended church in proper form2 and finally he wrote a note to ,mr4 ,trimmer1 alluding to his affection for one of the rector's kinswomen1 and suggesting3 ,if ,miss ---- would but waive bashfulness1 or in other words make an offer instead of expecting one1 the same ,lodge might change occupiers4 ,but ,turner was doomed to disappointment1 and never made another attempt at matrimony4 ,in #ahad ,turner commenced his contributions of drawings to illustrate ,cook's ,southern ,coast1 and continued this congenial work for twelve years1 making forty drawings at the rate of about twenty guineas each2 the drawings were returned to the artist after being engraved4 ,in #ahae he exhibited the ,dido ,building ,carthage1 and in #ahag a companion picture1 the ,decline of the ,carthaginian ,empire1 and for these two pictures the artist refused five thousand pounds1 having secretly willed them to the ,national ,gallery4 ,ruskin divides ,turner's art life into three periods3 that of study1 from #ahjj to #ahbj2 that of working out art theories toward an ideal1 from #ahbj to #ahce2 and that of recording his own impressions of nature1 from #ahce to #ahde1 preceded by a period of development1 and followed by a period of decline1 from #ahde to #ahej4 ,besides his pictures painted on private commission1 ,turner exhibited two hundred and seventy-five pictures at the ,academy4 ,the ,rivers of ,england was published in #ahbd1 with sixteen engravings after ,turner2 another series contained six illustrations of the ,ports of ,england--second-class cities4 ,in #ahbf the ,provincial ,antiquities of ,scotland was published1 with thirteen illustrations by ,turner4 ,the same year he sold his house at ,twickenham1 because1 he said1 ,dad was always working in the garden1 and catching abominable colds4 ,in #ahbg ,turner commenced the ,england and ,wales on his own account1 and continued it for eleven years4 ,it consisted of a hundred plates1 illustrating ports1 castles1 abbeys1 cathedrals1 palaces1 coast views1 and lakes4 ,in #ahbh ,turner went to ,rome by way of ,nismes1 ,avignon1 ,marseilles1 ,nice1 and ,genoa2 and this year painted his ,ulysses ,dividing ,polyphemus1 of which ,thornbury says3 ,for color1 for life and shade1 for composition1 this seems to me to be the most wonderful and admirable of ,turner's realisms4 ,ruskin calls it his central picture1 illustrating his perfect power4 ,of ,turner's wonderful versatility1 ,ruskin says3 ,there is architecture1 including a large number of formal 'gentlemen's seats2' then lowland pastoral scenery of every kind1 including nearly all farming operations1 plowing1 harrowing1 hedging and ditching1 felling trees1 sheep-washing1 and ,i know not what else2 there are all kinds of town life1 court-yards of inns1 starting of mail coaches1 interiors of shops1 house-buildings1 fairs1 and elections2 then all kinds of inner domestic life1 interiors of rooms1 studies of costumes1 of still-life and heraldry1 including multitudes of symbolical vignettes2 then marine scenery of every kind1 full of local incident--every kind of boat1 and the methods of fishing for particular fish being specifically drawn--round the whole coast of ,england2 pilchard-fishing at ,st4 ,ives1 whiting-fishing at ,margate1 herring at ,loch ,fyne1 and all kinds of shipping1 including studies of every separate part of the vessels1 and many marine battle-pieces2 then all kinds of mountain scenery1 some idealized into compositions1 others of definite localities1 together with classical compositions2 ,romes and ,carthages1 and such others by the myriad1 with mythological1 historical1 or allegorical figures2 nymphs1 monsters1 and spectres1 heroes and divinities4444 ,throughout the whole period with which we are at present concerned1 ,turner appears as a man of sympathy absolutely infinite--a sympathy so all-embracing that ,i know nothing but that of ,shakespeare comparable with it4 ,a soldier's wife resting by the roadside is not beneath it2 ,rizpah watching the dead bodies of her sons1 not above it4 ,nothing can possibly be so mean as that it will not interest his whole mind and carry his whole heart2 nothing so great or solemn but that he can raise himself into harmony with it2 and it is impossible to prophesy of him at any moment whether the next he will be in laughter or tears4 ,in #ahcb ,turner made a will in which he bequeathed the bulk of his estate for the founding of an institution for the ,maintenance and ,support of ,poor and ,decayed ,male ,artists being born in ,england and of ,english parents only1 and of lawful issue4 ,it was to be called ,turner's ,gift1 and for the next twenty years the artist pinched1 and economized to increase the fund for his noble purpose4 ,at this time he was entering upon his third manner--that of his highest excellence1 when he went to the cataract for its iris1 and the conflagration for its flames2 asked of the sky its intensest azure1 of the sun its clearest gold4 ,it is remarked by ,ruskin1 who has made most profound study of ,turner's works1 that he had an underlying meaning or moral in his groups of foreign pictures2 in ,carthage1 he illustrated the danger of the pursuit of wealth2 in ,rome1 the fate of unbridled ambition2 and in ,venice1 the vanity of pleasure and luxury4 ,the ,venetian pictures began in #ahcc1 with a painting of the ,doge's ,palace1 ,dogana1 ,campanile1 and ,bridge of ,sighs2 and with these were exhibited ,van ,tromp ,returning from ,battle1 the ,rotterdam ,ferry-boat1 and the ,mouth of the ,seine4 ,in #ahcj or #ahca he made1 on commission from the publisher ,cadell1 twenty-four sketches to illustrate ,walter ,scott's poems--published in #ahcd--;and while doing this he was entertained royally at ,abbotsford1 and made excursions with ,scott and ,lockhart to ,dryburgh ,abbey and other points of interest4 ,he went as far north as the ,isle of ,skye1 where he drew ,loch ,corriskin1 and nearly lost his life by a fall4 ,about this time he made a series of illustrations for ,scott's ,life of ,napoleon4 ,turner spent some time in ,edinburgh1 frequently sketching with ,thomson1 a clergyman and local artist1 who was preferred by some of the ,scotch amateurs to ,turner4 ,he one day called at ,thomson's house to examine his paintings1 but instead of expected praises he merely remarked1 ,you beat me in frames4 ,turner made thirty-three illustrations for ,rogers's ,poems 7,fig4 #ge71 and seventeen for an extended edition of ,byron4 ,he was in the habit at this time of frequently walking to ,cowley ,hall1 the residence of a ,mr4 ,rose1 where he was kindly welcomed4 ,he was there called ,old ,pogey4 ,one day ,mrs4 ,rose asked him to paint her favorite spaniel2 in amazement he cried1 ,my dear madam1 you do not know what you ask2 and always after this the lady went by the title of ,my dear madam4 ,mr4 ,rose tells how he and ,turner sat up one night until two o'clock drinking cognac and water1 and talking of their travels4 ,when ,mrs4 ,rose and a lady1 a friend1 visited ,turner in a house in ,harley ,street1 in mid-winter1 they were entertained with wine and biscuits in a cold room1 without a fire1 where they saw seven tailless cats1 which ,turner said were brought from the ,isle of ,man4 ,illustration3 ,,fig4 #ge4--;,,illustration ,,from ,,rogers',s ,,poems4 ,for three years ,turner travelled in ,france1 and made studies and sketches up and down its rivers4 ,these were first published as ,turner's ,annual ,tour1 but were afterward brought out by ,bohn as ,liber ,fluviorum4 ,these sketches have been highly praised by ,ruskin2 but ,hammerton1 who certainly knows ,french scenery far more accurately than ,ruskin1 while praising the exquisite beauty of ,turner's work1 challenges its accuracy1 and especially as to color1 saying that ,turner1 as a colorist1 was splendid and powerful1 but utterly unfaithful4 ,leitch ,ritchie1 who was associated with ,turner in this work1 could not travel with him1 their tastes were so unlike2 and he says that ,turner's drawings were marvellously exaggerated1 that he would make a splendid picture of a place without a single correct detail1 trebling the height of spires and throwing in imaginary accessories4 ,turner always claimed the right to change the groupings of his landscapes and architecture at will1 preferring to give a general and idealized view of the landscape rather than a precise copy thereof4 ,in #ahce he exhibited ,heidelberg ,castle in the ,olden ,time1 ,ehrenbreitstein1 ,venice from the ,salute ,church1 and ,line-fishing off ,hastings4 ,in #ahcf he exhibited a ,view of ,rome from the ,aventine ,hill1 and the ,burning of the ,house of ,lords and ,commons1 which last was almost entirely painted on the walls of the exhibition4 ,at this time it was the custom to have what were called varnishing days at the exhibition1 during which time artists retouched1 and finished up their pictures4 ,they were periods of fun and practical jokes1 and ,turner always enjoyed1 and made the most of them4 ,he frequently sent his canvas to the ,academy merely sketched out and grounded1 and then coming in as early as four in the morning on varnishing days1 he would put his nose to the sketch and work steadily with thousands of imperceptible touches until nightfall1 while his picture would begin to glow as by magic4 ,about this time he exhibited many pictures founded on classical subjects1 or with the scenes laid in ,italy or ,greece1 as ,apollo and ,daphne in the ,vale of ,tempe1 ,regulus ,leaving ,rome to ,return to ,carthage1 the ,parting of ,hero and ,leander1 ,phryne ,going to the ,public ,baths as ,venus1 the ,banishment of ,ovid from ,rome1 with ,views of the ,bridge and ,castle of ,st4 ,angelo4 ,a year later he exhibited pictures of ,ancient ,rome1 a vast dreamy pile of palaces1 and ,modern ,rome1 with a view of the ,forum in ,ruins4 ,one of the most celebrated of ,turner's pictures was that of the ,old ,tmraire1 an old and famous line-of-battle ship1 which in the battle of ,trafalgar ran in between and captured the ,french frigates ,redoubtable and ,fougueux4 ,turner saw the ,tmraire in the ,thames after she had become old1 and was condemned to be dismantled4 ,the scene is laid at sunset1 when the smouldering1 red light is vividly reflected on the river1 and contrasts with the quiet1 gray and pearly tints about the low-hung moon4 ,the majestic old ship looms up through these changing lights1 bathed in splendor4 ,the artist refused a large price for this picture by ,mr4 ,lennox1 of ,new ,york1 and finally bequeathed it to the nation4 ,in #ahdj ,turner exhibited the ,bacchus and ,ariadne1 two marine scenes1 and two views in ,venice2 also the well-known ,slavers ,throwing ,overboard the ,dead and ,dying1 a ,typhoon ,coming ,on 7,fig4 #gf71 which is now in the ,museum of ,fine ,arts of ,boston4 ,of this picture ,thackeray says3 ,i don't know whether it is sublime or ridiculous4 ,but ,ruskin1 in ,modern ,painters1 says3 ,i believe if ,i were reduced to test ,turner's immortality upon any single work1 ,i should choose the ',slave ,ship4' ,its daring conception1 ideal in the highest sense of the word1 is based on the purest truth1 and wrought out with the concentrated knowledge of a life4 ,its color is absolutely perfect1 not one false or morbid hue in any part or line1 and so modulated that every square inch of canvas is a perfect composition2 its drawing as accurate as fearless2 the ship buoyant1 bending1 and full of motion2 its tones as true as they are wonderful2 and the whole picture dedicated to the most sublime of subjects and impressions 7completing thus the perfect system of all truth which we have shown to be formed by ,turner's works71 the power1 majesty1 and deathfulness of the open1 deep1 illimitable sea4 ,illustration3 ,,fig4 #gf4--,,the ,,slave ,,ship4 ,by ,turner4 ,no painter of modern times1 or perhaps of any time1 has ever provoked the discussion of his merits which ,turner did4 ,when he was at his best his great merits and his originality procured for him the strongest defenders1 and finally brought his pictures into favor with the wealthy middle class of ,england1 so that he obtained high prices1 and since his death these prices have doubled1 and even quadrupled4 ,at a sale of ,mr4 ,bicknell's collection in #ahcf1 ten of ,turner's pictures1 which had been bought for three thousand seven hundred and forty-nine pounds1 were sold for seventeen thousand and ninety-four pounds4 ,as ,turner grew older and his manner deteriorated he was assailed by the wits1 the art critics1 and the amateurs with cruel badinage1 and to these censures ,turner was morbidly sensitive4 ,but even ,ruskin admits that the pictures of his last five years are of wholly inferior value1 with unsatisfactory foliage1 chalky faces1 and general indications of feebleness of hand4 ,wornum1 in his ,epochs of ,painting1 said3 ,in the last ten years of his career1 and occasionally before1 ,turner was extravagant to an extreme degree2 he played equally with nature and with his colors4 ,light1 with all its prismatic varieties1 seems to have been the chief object of his studies2 individuality of form or color he was wholly indifferent to4 ,the looseness of execution in his latest works has not even the apology of having been attempted on scientific principles2 he did not work upon a particular point of a picture as a focus and leave the rest obscure1 as a foil to enhance it1 on a principle of unity2 on the contrary1 all is equally obscure and wild alike4 ,these last productions are a calamity to his reputation2 yet we may1 perhaps1 safely assert that since ,rembrandt there has been no painter of such originality and power as ,turner4 ,dr4 ,waagen says in his ,treasury of ,art in ,great ,britain3 ,no landscape painter has yet appeared with such versatility of talent4 ,his historical landscapes exhibit the most exquisite feeling for beauty of hues and effect of lighting1 at the same time that he has the power of making them express the most varied moods of nature4 ,toward the last part of his life ,turner's peculiarities increased2 he became more morose1 more jealous4 ,he was always unwilling to have even his most intimate friends visit his studio1 but he finally withdrew from his own house and home4 ,of late years he had frequently left his house for months at a time1 and secreted himself in some distant quarter1 taking care that he should not be followed or known4 ,when the great ,exhibition of #ahea opened1 ,turner left orders with his housekeeper that no one should be admitted to see his pictures4 ,for twenty years the rain had been streaming in upon them through the leaky roof1 and many were hopelessly ruined4 ,he sent no pictures to the exhibition of that year1 and he was hardly to be recognized when he appeared in the gallery4 ,finally his prolonged absence from the ,academy meetings alarmed his friends2 but no one dared seek him out4 ,his housekeeper alone1 of all that had known him1 had the interest to hunt up the old artist4 ,taking a hint from a letter in one of his coats1 she went to ,chelsea1 and1 after careful search1 found his hiding-place1 with but one more day of life in him4 ,it is said that1 feeling the need of purer air than that of ,queen ,anne ,street1 he went out to ,chelsea and found an eligible1 little cottage by the side of the river1 with a railed-in roof whence he could observe the sky4 ,the landlady demanded references from the shabby1 old man1 when he testily replied1 ,my good woman1 ,i'll buy the house outright4 ,she then demanded his name--in case1 sir1 any gentleman should call1 you know4 ,name8 said he1 what's your name8 ,my name is ,mrs4 ,booth4 ,then ,i am ,mr4 ,booth4 ,and so he was known1 the boys along the river-side calling him ,puggy ,booth1 and the tradesmen ,admiral ,booth1 the theory being that he was an old admiral in reduced circumstances4 ,in a low studded1 attic room1 poorly furnished1 with a single roof window1 the great artist was found in his mortal sickness4 ,he sent for his favorite doctor from ,margate1 who frankly told him that death was at hand4 ,go down stairs1 exclaimed ,turner1 take a glass of sherry1 and then look at me again4 ,but no stimulant could change the verdict of the physician4 ,an hour before he died he was wheeled to the window for a last look at the ,thames1 bathed in sunshine and dotted with sails4 ,up to the last sickness the lonely1 old man rose at daybreak to watch1 from the roof of the cottage1 the sun rise and the purple flush of the coming day4 ,the funeral1 from the house in ,queen ,anne ,street1 was imposing1 with a long line of carriages1 and conducted with the ritual of the ,english ,church in ,st4 ,paul's ,cathedral4 ,dean ,milman read the service1 and at its conclusion the coffin was borne to the catacombs1 and placed between the tombs of ,james ,barry and ,sir ,joshua ,reynolds4 ,turner's will1 with its codicils1 was so confused and vague that the lawyers fought it in the courts for four years1 and it was finally settled by compromise4 ,the real estate went to the heir-at-law1 the pictures and drawings to the ,national ,gallery1 one thousand pounds for a monument in ,st4 ,paul's ,cathedral1 and twenty thousand pounds to the ,royal ,academy for annuities to poor artists4 ,turner's gift to the ,british nation included ninety-eight finished paintings and two hundred and seventy pictures in various stages of progress4 ,ruskin1 while arranging and classifying ,turner's drawings1 found more than nineteen thousand sketches and fragments by the master's hand1 some covered with the dust of thirty years4 ,sir ,,david ,,wilkie 7#aghe-ahda7 has been called the prince of ,british genre painters4 ,his father was a minister1 and ,david was placed in the ,trustees' ,academy in ,edinburgh in #agii4 ,in #ahje he entered the ,royal ,academy in ,london1 and was much noticed on account of his ,village ,politicians1 exhibited the next year4 ,from this time his fame and popularity were established1 and each new work was simply a new triumph for him4 ,the ,card ,players1 ,rent ,day1 the ,village ,festival1 and others were rapidly painted and exhibited4 ,in #ahbe ,wilkie went to the ,continent1 and remained three years4 ,he visited ,france1 ,germany1 ,italy1 and ,spain1 and after his return he painted a new class of subjects in a new manner4 ,he made many portraits1 and his other works were historical subjects4 ,his most celebrated works in this second manner were ,john ,knox ,preaching1 ,napoleon and the ,pope at ,fontainebleau1 and ,peep-o'-,day ,boy's ,cabin4 ,the portrait of the landscape painter ,william ,daniell is a good picture4 ,in #ahcj ,wilkie succeeded ,sir ,thomas ,lawrence as painter to the king1 as he had been limner to the ,king of ,scotland since #ahbb4 ,he was not knighted until #ahcf4 ,in #ahdj he visited ,constantinople1 and made a portrait of the sultan2 he went then to the ,holy ,land and ,egypt4 ,while at ,alexandria1 on his way home1 ,wilkie complained of illness1 and on shipboard1 off ,gibraltar1 he died1 and was buried at sea4 ,this burial is the subject of one of ,turner's pictures1 and is now in the ,national ,gallery4 ,the name of ,landseer is an important one in ,british art4 ,,john ,,landseer 7#agfa-aheb7 was an eminent engraver2 his son ,,thomas 7#agie-ahhj7 followed the profession of his father and arrived at great celebrity in it4 ,,charles1 born in #agii1 another son of ,john ,landseer1 became a painter and devoted himself to a sort of historical genre line of subjects1 such as ,cromwell at the ,house of ,sir ,walter ,stewart in #afea1 ,surrender of ,arundel ,castle in #afdc1 and various others of a like nature4 ,charles ,landseer travelled in ,portugal and ,brazil when a young man2 he was made a member of the ,royal ,academy in #ahde2 from #ahea to #ahga he was keeper of the ,academy1 and has been an industrious and respected artist4 ,but the great genius of the family was3 ,sir ,,edwin ,,landseer 7#ahjb-ahgc71 the youngest son of ,john ,landseer1 the engraver4 ,he received his first drawing lessons from his father1 and from a very early age showed a great talent for sketching and that love for the brute creation which have been his chief characteristics as an artist4 ,he had the power to understand his dumb subjects as well as if they spoke some language together1 and then he had the ability to fix the meaning of all they had told him upon his canvas1 by means of the sketching lines which gave the precise form of it all and by his finishing shades which put in the expression4 ,if his animals were prosperous and gladsome1 he represented their good fortune with hearty pleasure2 if they were suffering1 sad1 or bereaved1 he painted their woes with a sympathy such as none but a true friend can give4 ,when ,edwin and ,thomas were old enough that their father thought other instruction than his own should be given them1 he placed them with ,haydon1 and in these early days the master predicted that ,edwin ,landseer would be the ,snyders of ,england4 ,edwin sent his first picture to the ,royal ,academy when he was but thirteen years old1 and during the following fifty-eight years there were but six exhibitions to which he did not contribute4 ,when he began his studies at the ,royal ,academy he was fourteen years old1 and already famous as an animal painter4 ,he was a bright1 curly-headed1 manly lad1 and the aged ,fuseli1 then keeper of the ,academy1 grew to be very fond of him2 he would often ask1 ,where is my little dog-boy8 ,edwin ,landseer now worked on diligently and quietly2 his works were constantly praised1 and he received all the patronage that he desired4 ,through the advice of his master1 ,haydon1 he had the habit of dissecting animals1 and learning their anatomy with all the exactness with which other artists study that of human beings4 ,about #ahbj a lion died in the ,exeter ,change ,menagerie1 and ,edwin ,landseer secured the body for dissection4 ,he then painted three large pictures of lions1 and during the year in which he became eighteen years old1 he exhibited these pictures and others of horses1 dogs1 donkeys1 deer1 goats1 wolves1 and vultures4 ,when nineteen1 in #ahba1 he painted ,pointers1 ,to-ho6 a hunting scene1 which was sold in #ahgb1 the year before his death1 for two thousand and sixteen pounds4 ,in #ahbb ,landseer gained the prize of the ,british ,institution1 one hundred and fifty pounds1 by his picture of ,the ,larder ,invaded4 ,he made the first sketch for this on a child's slate1 which is still preserved as a treasure4 ,but the most famous of this master's early works is the ,cat's ,paw1 in which a monkey uses a cat's paw to draw chestnuts from a hot stove4 ,landseer was paid one hundred pounds2 its present value is three thousand pounds1 and it is kept at the seat of the ,earl of ,essex1 ,cashiobury4 ,this picture of the ,cat's ,paw had an important result for the young artist1 as it happened that it was exhibited when ,sir ,walter ,scott was in ,london1 and he was so much pleased with it that he made ,landseer's acquaintance1 and invited him to visit ,abbotsford4 ,accordingly1 in #ahbd1 ,landseer visited ,sir ,walter in company with ,leslie1 who then painted a portrait of the great novelist1 which now belongs to the ,ticknor family of ,boston4 ,it was at this time that ,sir ,walter wrote in his journal3 ,landseer's dogs were the most magnificent things ,i ever saw1 leaping1 and bounding1 and grinning all over the canvas4 ,out of this visit came a picture called ,a ,scene at ,abbotsford1 in which the dog ,maida1 so loved by ,scott1 was the prominent figure2 six weeks after it was finished the dog died4 ,at this time ,sir ,walter was not known as the author of the ,waverley ,novels1 but in later years ,landseer painted a picture which he called ,extract from a ,journal whilst at ,abbotsford1 to which the following was attached3 ,found the great poet in his study1 laughing at a collie dog playing with ,maida1 his favorite old greyhound1 given him by ,glengarry1 and quoting ,shakespeare--',crabbed old age and youth cannot agree4' ,on the floor was the cover of a proof-sheet1 sent for correction by ,constable1 of the novel then in progress4 ,n4 ,b4--,this took place before he was the acknowledged author of the ',waverley ,novels4' ,landseer early suspected ,scott of the authorship of the novels1 and without doubt he came to this conclusion from what he saw at ,abbotsford4 ,landseer repeated his visits to ,scotland for many years1 and saw all parts of that country at various seasons4 ,from the time of his first visit there was a new feeling in his works--a breadth and power was in them which he gained from nature1 and a refinement and elevation which he undoubtedly received from his friendship with ,sir ,walter and the impetus it gave him4 ,he also became so interested in the ,gaelic people that he painted good pictures of them4 ,at first these men did not know what to make of a huntsman who would throw away his gun when fine game appeared1 and draw out pencils and paper to make pictures of what others were so eager to shoot4 ,this tendency made him a poor hunter2 but he was intensely interested in the chase1 and especially in deer-stalking4 ,he insisted that deer had intelligence1 and the question was whether the game or the hunter happened to have the superior mind4 ,when in ,london the artist was a quiet1 society gentleman2 but each year he broke away from all city habits1 and went to the ,highlands1 where he divided his days between the chase and painting portraits of his friends there with their children and pets1 or putting frescoes on the walls of their houses4 ,landseer continued to live in his father's house long after he was a famous man4 ,the senior artist conducted all business matters--sold pictures1 and took the money for them as if his son was still a boy4 ,at length1 through the advice of a friend1 ,edwin ,landseer removed to ,no4 #a ,st4 ,john's ,wood ,road1 to which he gave the name of ,maida ,vale2 he enlarged1 and improved this home from time to time1 and had no other for nearly fifty years4 ,illustration3 ,,fig4 #gg4--,,the ,,eagle ,,and ,,dead ,,stag4 ,by ,landseer4 ,in #ahbf ,landseer painted ,chevy ,chase2 it was the only historical painting he ever did1 and still remains at ,woburn ,abbey1 where it originally went4 ,the animals in the picture are excellent of course1 but this sort of painting was not that in which ,landseer showed his best4 ,this year of #ahbf was an important one to this master4 ,he was twenty-four years old1 and was immediately admitted an ,associate of the ,royal ,academy4 ,no one can be a candidate for this honor at a younger age1 and very few others have attained it so early4 ,before he was thirty ,landseer was a full member1 and his diploma picture1 ,the ,dead ,warrior is in the ,royal ,academy4 ,but this year saw a great change in his pictures1 as may be seen in that of ,the ,chief's ,return from ,deer-stalking1 which he sent to the next exhibition4 ,it was free1 broad1 and effective beyond any previous work1 and this manner was his best4 ,many judges fix the year #ahcd as the very prime in the art of ,landseer1 and one of the works of that year1 called ,bolton ,abbey in the ,olden ,time1 is very famous4 ,it represents the vassals of the abbey bringing in their tributes of game1 fish1 and fruits1 which the jolly1 old monks gladly receive4 ,there is no question but that ,landseer's best pictures are of dogs1 and we can but echo the words of ,hamerton when he says3 ,the best commentators on ,landseer1 the best defenders of his genius1 are the dogs themselves2 and so long as there exist terriers1 deer-hounds1 blood-hounds1 his fame will need little assistance from writers on art4 ,landseer had a long and happy intimacy with ,queen ,victoria and the royal family4 ,he painted portraits of the various members of the queen's household in all possible ways1 with dogs and on horseback1 in fancy dress and hunting costume--in short1 these portraits are far too numerous to be mentioned in detail4 ,ever after #ahce ,landseer was called upon to paint pictures of the pets of the royal family1 and these works became very numerous4 ,while he was thus favored as an artist he was also a friend of the queen and her immediate family2 he was often summoned to play billiards with ,prince ,albert4 ,the queen's ,journal of ,life in the ,highlands frequently mentions him1 and we are sure that if we could read ,landseer's diary it would tell us many interesting things of the queen and her family4 ,naturally it followed that an artist thus favored by the queen would be patronized by the nobility1 and it is true that much of ,landseer's time1 both as an artist and as a gentleman of society1 was passed in the company of people of the highest positions in ,great ,britain2 and with the one exception of ,sir ,joshua ,reynolds1 no artist in ,england was ever visited by so many people of rank4 ,his house was really a social centre1 and no one felt above accepting his hasty invitations to his parties1 which were almost always gotten up on an impulse and the guests invited at the last possible moment4 ,among ,landseer's friends were ,dickens and ,thackeray1 and ,sydney ,smith was very fond of the artist2 and it is said that when the great wit was asked to sit to ,landseer for his portrait1 he replied in the words of the haughty ,syrian3 ,is thy servant a dog that he should do this thing8 ,when at his best ,landseer had a facility in drawing and painting that was marvellous4 ,he could draw two entirely different objects at the same moment1 his left hand being equally skilful with the right4 ,he was seen to draw a horse's head with one hand and a stag's head with antlers at exactly the same time--and this at an evening party to prove that it could be done4 ,he once sent to an exhibition a picture of rabbits under which he wrote1 ,painted in three-quarters of an hour4 ,he painted a life-size picture of a fallow-deer in three hours1 and it required no retouching4 ,one of his comrades said3 ,sir ,edwin has a fine hand1 a correct eye1 refined perceptions1 and can do almost anything but dance on the slack wire4 ,he is a fine billiard player1 plays at chess1 sings when with his intimate friends1 and has considerable humor4 ,we have passed over the best and most pleasant part of the life of this great painter1 for in #ahdj he had an attack of illness from which he never recovered4 ,he travelled1 and endeavored in every way to go on with his work2 but he was always subject to attacks of depression which were sometimes so serious that his friends feared loss of reason4 ,of course there was a different tone in his works--a seriousness and pathos1 and at times a religious element1 which was very acceptable to some persons1 and he gained admirers where he had not found them before4 ,but it can scarcely be said that his last days were his best days1 though he executed some famous pictures4 ,in #ahff he exhibited a model of a stag at bay which was afterward cast in bronze4 ,the lions at the base of the ,nelson monument in ,trafalgar ,square may be called the work of ,sir ,edwin1 for he modelled one of the colossal beasts from which the others were formed with but slight changes1 and the whole were cast under the care of ,baron ,marochetti4 ,in #ahgb he painted ,the ,font1 which is a religious subject4 ,it represents the sheep and lambs of the ,gospel gathering round a font1 upon the edge of which are doves4 ,a rainbow spans the sky2 on the sides of the font are a mask of the face of ,christ and the symbols of the ,atonement4 ,this is a painful picture1 for while it is exquisite in conception its execution shows the weakness of the painter1 who so soon after he made it was released from all his darkness and suffering4 ,sir ,edwin ,landseer was buried in ,st4 ,paul's ,cathedral with all the honors which his genius and character merited4 ,his works are known to almost every child in ,america by means of the engravings which have been made from them4 ,his brother ,thomas engraved hundreds of the designs of ,edwin and made them popular all over the world1 and a large part of this success was due to the skill and sympathy which ,thomas devoted to what was largely a work of love4 ,of course many other engravers have worked after ,landseer1 and almost all his pictures have been reproduced in one style of engraving or another4 ,there are nine portraits of ,sir ,edwin ,landseer in existence--one by ,j4 ,hayter when ,landseer was thirteen years old and is represented as a cricketer2 one painted a year later by ,leslie1 in which ,edwin ,landseer is the ,rutland in the work called ,henry ,,vi4 ,it is owned by the ,philadelphia ,academy4 ,the next were not made until #ahdc1 when ,count d',orsay painted two portraits of him2 in #ahcj ,dupper had made a drawing1 and in #ahce a photograph was taken2 ,baron ,marochetti made a bust portrait of ,landseer which is in the ,royal ,academy1 and in his picture called the ,connoisseurs ,sir ,edwin painted his own portrait1 with dogs on each side who stand as critics of his work4 ,this was painted in #ahfe4 ,sir ,edwin ,landseer left an estate of two hundred and fifty thousand pounds1 and the works unsold at his death brought about seventy thousand pounds4 ,his will made but a few bequests1 and the remainder of this large sum was divided between his brother and three sisters4 ,with the account of ,sir ,edwin ,i shall close the account of painters given in this volume4 ,we have seen how few actual remains of the painting of ancient nations are now in existence4 ,almost nothing is left even from the times of the ,greeks2 in truth1 there is more upon the tombs of ,egypt than in the land of ,hellas4 ,we read accounts of classic painting which arouse our deepest interest one moment1 only to remember in the next that we can see but the merest scraps of all this wealth of beauty which moved the cultured ,greeks to write of it with such enthusiasm4 ,after the days of classic art we have endeavored to trace painting through a period when it could scarcely be termed an art1 so little of it was done1 and that little was so far below our ideal4 ,again1 this decline was followed by a ,renaissance--an awakening--and from that day in the fourteenth century when the ,madonna of ,cimabue was carried in triumph through the streets of ,florence1 this art moved on with progressive steps until ,michael ,angelo1 ,leonardo1 ,raphael1 ,titian1 and others highly gifted1 had set up the standards which have remained as beacons and guides to all the world4 ,in tracing this progress we have seen that ,italy1 the ,german nations1 ,spain1 ,france1 and ,england have all striven to dream dreams of beauty and grandeur1 of tenderness and love1 and to fix them in fitting colors where all the world could see them4 ,the past is always fascinating4 ,no stories are so pleasantly begun as those that say1 ,a long time ago there lived1 etc4 ,one can have the most complete satisfaction in the study of what has happened so far in the past that we can see all its effects and judge of it by the tests which time is sure to bring to everything4 ,it is such a study that has been made in these pages1 and ,i would suggest that it has a second use scarcely less important than the study of history--that is1 the preparation it affords for judging of what is done in the present4 ,a knowledge of what has been achieved enables us by comparison to decide upon the merits of new works4 ,the painting of to-day offers an immense field for investigation4 ,when we remember that five centuries ago the painters of the world could be counted by tens1 and are told that now there is an average of twenty-five hundred painters in some foreign cities1 we see that a lifetime is scarcely sufficient in which to study the painting of our own era4 ,have we not reason to hope that works are now being produced which shall be studied and admired in the future as we study and admire those of the past8 ,is it not true that the artistic works of any period show forth the spirit of the time8 ,if1 then1 the close of the ,dark ,ages and the dawn of a better life could bring forth the treasures which remain from those days1 what ought to be the result of the more universal learning and the advancing civilization of the nineteenth century8 ,and so1 in leaving this book1 ,i hope that it may be useful to all who read it for one purpose that ,i have suggested or the other2 either to present an outline of what has been done in the past1 or aid in the understanding of the painting of the present4 ,,index4 ,,by ,l4 ,e4 ,,jones4 ,abraham and the ,three ,angels 7,navarrete71 #baa ,academia ,leonardi ,vinci1 #hg ,adams1 ,john1 portrait by ,copley1 #bfd ,adams1 ,samuel1 portrait by ,copley1 #bfd ,adoration of the ,kings 7,vinci71 #hi ,adoration of the ,shepherds 7,velasquez71 #baf ,agrippina ,weeping over the ,urn of ,germanicus 7,west71 #bfe ,albani1 ,francesco1 #adh ,aldobrandini ,marriage1 #bg ,alexander the ,great1 portrait by ,apelles1 #ah ,allen1 ,james1 portrait by ,copley1 #bfd ,allston1 portrait of ,west1 #bff ,analysis of ,beauty 7,hogarth71 #bed ,ancient painting1 #a-dj ,ancient ,rome 7,turner71 #bhg ,andalusia school of painting1 #bac ,angelico1 ,fra1 #gb-gh ,animal painters-- ,snyders and ,fyt1 #afg2 ,potter1 #ahg2 ,landseer1 #bic ,anne of ,cleves1 portrait by ,holbein1 #aij ,annunciation 7,titian71 #abg ,apelles1 #ah-bj1 #dj ,apollo and ,daphne in the ,vale of ,tempe 7,turner71 #bhg ,apollodorus1 #ac-ad ,archangel ,michael 7,raphael71 #aad ,architecture1 a fine art1 #a2 more advanced than painting among ,oriental nations1 #ab2 development of ,greek1 from ,egyptian and ,assyrian1 #ac2 during the ,romanesque period1 #aej4 ,see also ,gothic ,ariosto1 portrait by ,bassano1 #acb ,aristides1 #ag ,assisi1 wall-paintings of ,cimabue in ,upper ,church at1 #fb2 frescoes of ,giotto in ,lower ,church at1 #ff ,assyrian painting1 #i-aa ,augsburg ,cathedral contains earliest painted windows1 #ea ,augsburg school of art1 #ahh ,augustine1 ,st41 quoted1 #b ,aurora 7,guido ,reni71 #ade ,avignon1 the ,vernet ,gallery at1 #bdg ,babylonian painting1 #aa-ac ,bacchus and ,ariadne 7,titian71 #abd ,bacchus and ,ariadne 7,turner71 #bhh ,balen1 ,henry van1 #afh ,banishment of ,ovid from ,rome 7,turner71 #bhg ,baptism of ,christ1 #hd-hf ,barbarelli1 ,giorgio1 #aah-abj ,bartolommeo1 ,fra1 #ic-id2 and ,raphael1 #aaj ,bartolozzi1 engraved pictures of ,angelica ,kauffman1 #bjf ,bas-reliefs in ,egyptian painting1 #c-e ,bassano family1 #acb ,bathing ,soldiers 7,michael ,angelo71 #ajh ,battle of the ,standard 7,vinci71 #ajh ,bazzi1 or ,razzi1 #aah ,beauties at ,hampton ,court 7,lely71 #bea ,beggar ,boy 7,velasquez71 #baf ,beggar ,boy ,munching a ,piece of ,pastry 7,velasquez71 #baf ,belgium4 ,see ,flanders ,bella1 ,la 7,titian71 #abd ,belle ,ferronire1 ,la 7,vinci71 #hg ,belle ,jardinire1 ,la 7,raphael71 #aaj ,bellini1 ,gentile1 #hj-ha ,bellini1 ,giovanni1 #hj1 #ha-hb2 and ,titian1 #abc2 and ,drer1 #aig ,bellini1 ,jacopo1 #hj ,bellotti1 ,bernardo1 #aec ,beltraffio1 ,giovanni ,antonio1 #ic ,bembo1 ,pietro1 epitaph on ,raphael1 #aaf ,benci1 ,ginevra 7,vinci71 #hi ,bentivoglio1 ,cardinal1 and ,vandyck1 #aga ,benvenuti1 ,lorenzo1 #aec ,bernardo di ,daddo1 #fi ,berreguette1 ,alonzo1 #bjh-bji ,bertoldo1 #if-ig ,birth of ,john the ,baptist 7,drer71 #aih ,birth of the ,virgin ,mary1 #eh ,blucher1 portrait by ,lawrence1 #bgj ,boleyn1 ,anne1 and ,holbein1 #ahi ,bologna school1 #ga1 #hb ,bolton ,abbey in the ,olden ,time 7,landseer71 #bih ,bonaparte on the ,bridge of ,arcola 7,gros71 #bdb ,borgia1 ,csar1 appoints ,da ,vinci engineer1 #ij ,borgognone1 ,ambrogio1 #ic ,both1 ,jan and ,andries1 #ahg ,botticelli1 ,sandro1 #gi ,bourdon1 ,sebastian1 #bch ,bowditch1 ,n4 ,i41 quoted1 #bfa ,boy with a ,squirrel 7,copley71 #bfa ,boylston1 ,miss ,rebecca1 portrait by ,copley1 #bfj ,brattle1 ,general ,william1 portrait by ,copley1 #bfj ,brauwer1 ,adrian1 #agh ,brenghel1 ,jan1 #afb ,brenghel1 ,pieter1 #afb ,bril1 ,paul1 #afb ,broken ,jug 7,greuze71 #bdj ,brunn1 cited1 #ba ,bull1 ,the 7,potter71 #ahg ,burch1 ,bishop ,van der1 and ,vandyck1 #agb ,burgkmair1 ,hans1 instructor of ,holbein1 #ahi ,burial-places1 medival paintings in1 #da4 ,see also ,catacombs ,burning of the ,house of ,lords and ,commons 7,turner71 #bhg ,byron's ,works illustrated by ,turner1 #bhf ,calumny 7,apelles71 #ai ,calvert1 ,denis1 instructor of ,domenichino1 #ada ,cammuccini1 ,vincenzio1 #aec ,canaletto1 #aec ,cano1 ,alonso1 #bcj-bcb ,canova1 designed a monument for ,titian1 #abh2 portrait by ,lawrence1 #bga ,cantarilla de ,miel1 ,la 7,utande71 #bab ,capitoline ,doves1 #cd ,caprices 7,goya71 #bcc ,caracci1 ,annibale1 #adj2 quoted on ,correggio1 #ace2 on ,domenichino1 #ada2 instructor of ,guido ,reni1 #adc ,caracci family and school1 #adj ,caravaggio1 #aej ,card ,players 7,wilkie71 #bib ,carew1 ,thomas1 portrait by ,vandyck1 #agd ,carreo1 ,juan de1 #baa-bab ,carvings of ,drer1 #aih ,casa ,grande1 the home of ,titian1 #abf ,castelfranco1 altar-piece painted by ,giorgione1 #aai ,castile school of painting1 #bjh ,castillo1 ,juan de1 instructor of ,murillo1 #bba ,catacombs1 paintings of1 #db-de ,cato of ,utica 7,ribera71 #aea ,cat's ,paw 7,landseer71 #bie ,celtic illuminated ,,mss41 early1 #di ,cenci1 ,beatrice1 portrait by ,guido ,reni1 #ade-adg ,cennino1 quoted1 #fh ,central period of ,middle ,ages4 ,see ,romanesque ,cespedes1 ,pablo de1 #bac-bad ,charles ,i41 and ,rubens1 #afd2 and ,vandyck1 #agb-agc2 portraits by ,vandyck1 #agd2 and ,dobson1 #bdi ,charles ,,ii4 and ,lely1 #bea ,charles ,,iv4 and ,goya1 #bcb ,charles ,v41 and ,titian1 #abd1 #abf-abg2 and ,drer1 #aii-bja2 and ,berreguette1 #bji ,charles ,x41 and ,gros1 #bdb2 and ,vernet1 #bdf ,chartres ,cathedral1 glass-painting in1 #ec ,chevy ,chase 7,landseer71 #bif-bih ,chief's 7,the7 ,return from ,deer-stalking 7,landseer71 #bih ,christ1 paintings by ,joanes of1 #bbi ,christ ,bearing the ,cross 7,morales71 #baj ,christ ,blessing ,little ,children 7,rembrandt71 #ahf ,christ ,crowned with ,thorns 7,morales71 #baj ,christ ,healing the ,sick 7,west71 #bff ,christ in ,glory 7,correggio71 #acd ,christian art4 ,see ,early ,church decoration in ,gothic period of ,middle ,ages1 #fj ,cimabue1 ,g41 #fa-fd ,cistercian monks1 painted windows in churches of1 #ed ,clay used by ,babylonian tile-painters1 #ab ,clement ,,vii41 portrait by ,titian1 #abd ,club of ,st4 ,luke founded by ,vandyck1 #agc ,coello1 ,alonso ,sanchez1 #baj ,coello1 ,claudio1 #bjh1 #bab-bac ,collocation of the ,host 7,coello71 #bac ,cologne school of art1 #ahh ,colonna1 ,vittoria1 friendship with ,michael ,angelo1 #ajc ,colors1 ,egyptian rules for use of1 #e-g2 in ,assyrian paintings1 #aa2 in ,pompeian wall-paintings1 #cb2 in illumination1 #dg2 ,raphael's skill in1 #aaj2 discoveries by ,hubert van ,eyck in use of1 #aef ,communion of ,st4 ,jerome 7,domenichino71 #ada ,condemnation of ,marie ,antoinette 7,delaroche71 #bdb ,consalvi1 ,cardinal1 portrait by ,lawrence1 #bga ,cook's ,southern ,coast1 illustrated by ,turner1 #bhb ,cooper1 ,samuel1 #bdi ,copley1 ,john ,singleton1 #bei-bfd ,copley ,family 7,copley71 #bfd ,corday1 ,charlotte1 portrait by ,goya1 #bcc ,cornaro1 ,caterina1 portrait by ,titian1 #abd ,correggio1 #acb-aci ,cottage ,door 7,gainsborough71 #beh ,cottage ,girl 7,gainsborough71 #beh ,court influence upon art during ,romanesque period1 #ej ,coxie1 ,michael1 copies ,van ,eyck's altar-piece for ,philip ,i41 #aef ,cranach1 ,lucas1 #bjb ,cromwell at the ,house of ,sir ,walter ,stewart 7,landseer71 #bic ,cromwell ,contemplating the ,remains of ,charles ,i4 7,delaroche71 #bdb ,cromwell's directions to ,lely for painting his portrait1 #bea ,crucifixion as represented by ,giotto1 #fh-fi ,crucifixion 7,fra ,angelico71 #ge-gf ,crucifixion 7,tintoretto71 #acj ,crucifixion 7,vandyck71 #afi1 #aga ,crucifixion of ,st4 ,peter 7,bourdon71 #bch ,cunningham1 ,allan1 quoted1 #bfg ,cupid1 statue of1 by ,michael ,angelo1 #ih-ii ,curran1 portrait by ,lawrence1 #bgj ,cuyp1 ,albert1 #ahf-ahg ,damophilos1 #ba ,dane 7,titian71 #abi ,dance1 ,george1 portrait of ,turner1 #bgi ,dance of ,death 7,holbein71 #aib-aic ,daniell1 ,william1 portrait by ,wilkie1 #bic ,dante1 portrait by ,giotto1 #fd-ff2 and ,michael ,angelo1 #ajc ,dante's ,inferno1 painting by ,delacroix of scene from1 #bde ,david1 ,jacques ,louis1 #bdj-bdb ,david 7,michael ,angelo71 #ii ,dead ,warrior1 ,the 7,landseer71 #bih ,death of the ,duke of ,guise 7,delaroche71 #bdb1 #bdd ,death of ,lord ,chatham 7,copley71 #bfb ,death of ,wolfe 7,romney71 #bfg ,death of ,wolfe 7,west71 #bff ,decline of the ,carthaginian ,empire 7,turner71 #bhb ,decoration of a ,roof1 #dd-de ,delacroix1 ,eugene1 #bdd-bde ,delaroche1 ,paul1 #bdb ,demeter ,enthroned1 #cd ,descent from the ,cross 7,ribera71 #aea ,descent from the ,cross 7,volterra71 #ajd ,dido ,building ,carthage 7,turner71 #bhb ,dionysus1 or ,bacchus 7,aristides71 #ag ,discovery of the ,herb ,mandragora1 #dg-dh ,dobson1 ,william1 #bdi-bea2 and ,vandyck1 #agc ,dodwell ,vase 7,the71 #ch ,domenichino1 #ada-adc2 and ,poussin1 #bcd ,dorian school of ,sikyon1 #ae-ag ,dow1 ,gerhard1 #aha ,drawing first regularly taught in ,sikyon school1 #ag ,drunken ,bacchus 7,michael ,angelo71 #ii ,duccio1 #fd ,dupper1 portrait of ,landseer1 #cja ,drer1 ,albert1 #aic-bjb ,dutch4 ,see ,holland ,early ,christian art1 #da1 #db-di ,early period of ,middle ,ages4 ,see ,early ,christian art ,eastern4 ,see ,oriental ,eclectics of the seventeenth century1 #adj ,edward the ,confessor 7,mortimer71 #bfg ,edward ,,iii41 paintings by ,west from the life of1 #bff ,eeckhout1 ,gerbrandt van der1 #ahf ,eginhard1 #di ,egyptian mosaics1 #cf ,egyptian painting1 #c-i ,ehrenbreitstein 7,turner71 #bhg ,ekphantos1 #ba ,encaustic paintings of ,nikias1 #ah ,england1 painting in1 #bdi-cjc2 glass-painting in1 #ec2 wall-painting in1 #fj ,england and ,wales 7,turner71 #bhb ,engravings1 by ,rembrandt1 #ahe2 by ,drer1 #aid1 #aih2 by ,hogarth1 #bed4 ,see also ,etchings ,entombment of ,christ 7,caravaggio71 #aej ,entombment of ,christ 7,titian71 #abh-abi ,erasmus and ,holbein1 #ahi ,escorial1 ,giordano painted walls of1 #bac ,etching1 ,rembrandt's use of1 #ahb ,etchings1 of ,salvator ,rosa1 #aeb2 of ,teniers1 #ahj2 of ,rembrandt1 #ahf ,etruscan tombs1 decorated with mural paintings1 #bc2 stone-paintings found in1 #cf ,etruscans introduced painting into ,italy from ,greece1 #ac1 #bj-ba ,euphranor1 #ag ,extract from a ,journal whilst at ,abbotsford 7,landseer71 #bie ,eyck1 ,hubert van1 #aee-aef ,eyck1 ,jan van1 #aef-aeh ,eyck1 ,lambert van1 #aeh ,eyck1 ,margaretha van1 #aeh ,faes1 ,peter van der1 #bea ,false ,players 7,caravaggio71 #aej ,family of ,darius 7,veronese71 #aca ,family ,picture 7,copley71 #bfb ,farnesina ,villa1 frescoes by ,raphael in1 #aaa ,farrari1 ,gaudenzio1 #ic ,fawkes1 ,h41 friend and patron of ,turner1 #bgg ,feast of ,rose ,garlands 7,drer71 #aig ,fernandez1 ,louis1 #bba ,ferrara1 ,duke of1 and ,titian1 #abd ,field of ,eylau 7,gros71 #bdb ,fifth ,plague of ,egypt 7,turner71 #bgh-bgi ,figure-painting in ancient ,greece1 #bj ,final period of ,middle ,ages4 ,see ,gothic ,five ,senses 7,teniers71 #ahj ,flanders1 painting in1 #aee-agf ,flaying of ,st4 ,bartholomew 7,ribera71 #aea ,flemish ,kermes 7,teniers71 #ahj ,flora 7,titian71 #abd ,florentine school1 #gb-hj1 #ic ,fonesca1 portrait by ,velasquez1 #baf ,font1 ,the 7,landseer71 #cjj ,foreshortening of ,correggio1 #acd ,fortune ,teller 7,caravaggio71 #aej ,four ,apostles1 ,the 7,drer71 #bja ,france1 painting in1 #bcd-bdh2 glass-painting in1 #ea4 ,see also ,gaul ,francia1 ,francisco1 #hb-hc ,francis ,i41 and ,da ,vinci1 #ij-ib2 and ,sarto1 #aje2 and ,raphael1 #aad ,francis ,i4 and ,charles ,v4 ,visiting the ,tombs at ,st4 ,denis 7,gros71 #bdb ,franconian school1 #aic ,frederick ,henry1 ,prince1 scenes from the life of1 painted by ,jordaens1 #afg ,fuseli1 and ,angelica ,kauffman1 #bjd2 and ,landseer1 #bid ,fyt1 ,jan1 #afg ,gaddi1 ,a41 #fi ,gaddi1 ,t41 #fi ,gainsborough1 ,thomas1 #beh ,gamba1 ,la 7,vargas71 #bac ,gardiner1 quoted1 #bfj ,gardiner1 ,miss ,rebecca1 portrait by ,copley1 #bfj ,gargasos1 #ba ,garrick1 ,david1 epitaph on ,hogarth1 #bed ,gaul1 miniature-painting in1 #di ,george ,,iii41 and ,west1 #bfe2 and ,lawrence1 #bgj ,gricault1 ,jean ,louis1 #bdd ,german illuminated ,,mss41 early1 #di ,germany1 painting in1 #ahh-bjf2 glass-painting in1 #ea2 wall-painting in1 #fj ,gele1 ,claude4 ,see ,lorraine ,ghirlandajo1 ,domenico1 #gi-hj1 #if ,giordano1 ,luca1 #bac ,giorgione1 #aah-abj2 and ,titian1 #abc ,giotteschi1 #fi ,giotto di ,bondone1 #fd-fi ,girl and ,pigs 7,gainsborough71 #beh ,girtin1 ,tom1 #bgd ,glass-painting1 #ea-ed1 #eh-fj ,glykera 7,pausias71 #ag ,goes1 ,hugo van der1 #aeh ,goethe1 quoted1 #bje ,goldsmith1 ,oliver1 and ,reynolds1 #beh ,gomez1 ,sebastian1 #bbh-bbi ,gongora1 portrait by ,velasquez1 #baf ,gonzaga1 ,giulia1 portraits by ,piombo1 #abj ,gothic architecture1 its influence upon painting and sculpture in ,middle ,ages1 #ed2 its influence upon glass-painting1 #eh ,gothic period of ,middle ,ages1 #db1 #ed-ga ,gower family1 portraits by ,romney1 #bfg ,goya y ,lucientes1 ,francisco1 #bcb-bcc ,goyen1 ,jan van1 #ahg ,gozzoli1 ,benozzo1 #hj ,graces ,decorating a ,statue of ,hymen 7,reynolds71 #beg ,granacci1 ,francisco1 #hj1 #if ,great ,book of the ,hours1 illumination of1 #eh ,greek painting1 ancient1 #ac-cd1 #dj2 on stone1 #cf ,greuze1 ,jean-,baptiste1 #bci-bdj ,grimm1 quoted1 #ajj-aja ,grisaille glass1 #ed ,gros1 ,antoine ,jean1 #bdb ,guardi1 ,francesco1 #aec ,gurin1 instructor of ,gricault1 #bdd2 of ,delacroix1 #bde ,guido1 ,tommaso1 #gh-gi ,guido of ,siena1 #fd ,guido ,reni1 #adc-adh ,guilds among painters in ,gothic period of ,middle ,ages1 #ef ,hals1 ,franz1 #agg2 and ,vandyck1 #afi ,hamerton1 on ,turner1 #bhf2 on ,landseer1 #bih ,hamilton1 ,lady1 portraits by ,romney1 #bfg-bfh ,hamlet and ,ophelia 7,west71 #bff ,harlot's ,progress 7,hogarth71 #beb ,haydon1 instructor of ,landseer1 #bid ,hayman1 ,francis1 instructor of ,gainsborough1 #beh ,hayter1 ,j41 portrait of ,landseer1 #cja ,heidelberg ,castle in the ,olden ,time 7,turner71 #bhg ,hellenic school1 #ah ,hemicycle 7,delaroche71 #bdb-bdd ,henrietta ,maria1 ,queen1 portraits by ,vandyck1 #agd ,henry ,i41 #ed-ee ,henry ,,iii4 and ,titian1 #abg ,henry ,,viii4 and ,holbein1 #ahi-aib ,hercules1 statue of1 by ,michael ,angelo1 #ih ,herrera1 ,francisco de1 #bab1 #bad-bae1 #baf ,hobbema1 ,mindert1 #ahh ,hogarth1 ,william1 #beb-bed ,holbein1 ,hans1 #ahh-aic ,holland1 painting in1 #agf-ahh2 fidelity to detail1 #aa ,holy ,family 7,vandyck71 #afi-agj ,honthorst1 ,gerard1 #ahj ,hooge1 ,pieter de1 #aha ,houssaye1 ,a41 #ib ,hudson1 instructor of ,reynolds1 #bee ,hundred ,guilders ,print 7,rembrandt71 #ahf ,illumination of ,,mss41 #da1 #df-di1 #eh ,illustrations used in ,egyptian papyrus rolls1 #h ,immaculate ,conception 7,murillo71 #bbd1 #bbe-bbg1 #bbh ,inquisition1 its influence on ,spanish painting1 #bjg-bjh ,intaglios in ,egyptian painting1 #f ,interiors1 ,dutch painters of1 #ahj-aha ,ionian school1 #ae ,ireland1 miniature-painting in ancient1 #di ,isabella1 ,empress1 portrait by ,titian1 #abg ,isabella1 ,infanta1 sends ,rubens to ,spain1 #afd ,isabella of ,portugal1 portrait by ,jan van ,eyck1 #aef ,italy1 painting in1 #ac-cd1 #dj1 #gb-aed ,ixion on the ,wheel 7,ribera71 #aea ,jameson1 ,mrs41 quoted1 #aai ,joanes1 ,vicente de1 #bbi ,john ,knox ,preaching 7,wilkie71 #bic ,johnson1 ,samuel1 and ,sir ,joshua ,reynolds1 #bee ,jonah1 statue of1 modelled by ,raphael1 #aae ,jordaens1 ,jacob1 #afg-afh ,julius ,,ii41 ,pope1 and ,michael ,angelo1 #ii-ajj2 and ,raphael1 #aaa ,julius ,,ii41 ,tomb of1 7,michael ,angelo71 #ajj1 #aja ,justinian1 ,theodora1 and ,attendants1 #de-df ,justus of ,ghent1 #aeh ,kauffman1 ,angelica1 #bjc-bjf ,king ,david1 #ea ,kneller1 ,sir ,godfrey1 #bea-beb ,knight 7,the71 ,death1 and the ,devil 7,drer71 #bjb ,kugler1 quoted1 #abi ,landseer1 ,charles1 #bic ,landseer1 ,sir ,edwin1 #bic-cja ,landseer1 ,john1 #bic ,landseer1 ,thomas1 #bic ,landscape-painting1 in ancient ,greece1 #bj2 in ancient ,rome1 #bg-bi2 in ,holland1 #ahf-ahg ,larder ,invaded 7,landseer71 #bie ,large ,holy ,family of the ,louvre 7,raphael71 #aad ,last ,judgment 7,michael ,angelo71 #aja ,last ,supper 7,vinci71 #hg-hi1 #ib ,last ,supper 7,titian71 #baa ,last ,supper 7,cespedes71 #bad ,last ,supper1 paintings by ,joanes of1 #bbi-bcj ,lastman1 ,pieter1 #aha ,laughing ,peasant 7,velasquez71 #baf ,lawrence1 ,sir ,thomas1 #bfi-bga2 portrait of ,west1 #bff ,lear 7,west71 #bff ,le ,brun1 ,charles1 #bch ,lee1 ,colonel and ,mrs41 portraits by ,copley1 #bfj ,lely1 ,sir ,peter1 #bea ,leo ,x41 and ,da ,vinci1 #ij2 and ,raphael1 #aaa2 and ,titian1 #abd ,leonardo da ,vinci1 #hd-ic ,leopold ,william1 ,archduke1 portrait by ,teniers1 #agi ,leslie1 portrait of ,west1 #bff2 portrait by ,landseer1 #cja ,le ,sueur1 ,eustache1 #bch ,liber ,fluviorum 7,turner71 #bhf ,liber ,studiorum 7,turner71 #bhj ,liber ,veritatis 7,claude ,lorraine71 #bcg ,line-fishing off ,hastings 7,turner71 #bhg ,lippi1 ,fillipino1 #gi ,lippi1 ,filippo1 #gi ,little ,girl with a ,lap ,dog in her ,arms 7,greuze71 #bdj ,lombard school1 #ic ,lomellini ,family 7,vandyck71 #aga ,lorelei ,twilight 7,turner71 #bgh ,lorenzo di ,credi1 #gi ,lorraine1 ,claude1 #bcf-bch ,louis ,,xii4 and ,da ,vinci1 #ij ,louis ,,xiii4 and ,poussin1 #bcd-bcf ,louis ,,xiv41 and ,le ,brun1 #bch2 and ,mignard1 #bci2 portraits by ,rigaud1 #bci ,louis ,,xv4 and ,vernet1 #bdj ,louis ,philippe and ,vernet1 #bdf ,lbke1 quoted1 #hb1 #bcg ,lucretia 7,rembrandt71 #ahf ,ludius1 #ba-bc ,luini1 ,bernardino1 #ic ,luther1 ,drer's admiration for1 #bja ,madonna del ,sacco 7,sarto71 #ajg ,madonna della ,gran ,duca 7,raphael71 #ajh ,madonna di ,san ,francesco 7,correggio71 #acd ,madonna di ,san ,francesco 7,sarto71 #ajg ,madonna ,enthroned 7,cimabue71 #fb ,madonnas of ,fra ,bartolommeo1 #ic ,madonnas of ,raphael1 #aaj ,madonnas of ,elisabetta ,sirani1 #adh ,maids of ,honor 7,velasquez71 #bah ,mannerists1 #aci-adj ,mansfield1 ,lord1 portrait by ,copley1 #bfc ,mantegna1 ,andrea1 #hb1 #acb ,mantua1 ,duke of1 a patron of ,rubens1 #afb-afd ,manuscripts4 ,see ,illumination ,margaritone of ,arezzo1 #fd ,marochetti1 ,baron1 portrait of ,landseer1 #cja ,marriage at ,cana 7,veronese71 #aca ,marriage la ,mode 7,hogarth71 #beb ,marriage of ,st4 ,catharine 7,coello71 #baj ,mars1 ,venus1 and ,vulcan 7,copley71 #bei-bfj ,martyrdom of ,st4 ,andrew 7,utande71 #bab ,martyrdom of ,st4 ,lawrence 7,titian71 #abg ,masaccio1 #gh-gi ,maso1 #fi ,masolino1 #gh-gi ,massacre of the ,innocents 7,volterra71 #ajd ,matsys1 ,quintin1 #afa ,maximilian1 ,emperor1 and ,drer1 #aih-aii ,mazzuoli1 ,francesco1 #aci ,medival painting1 #da-ga ,medici1 ,lorenzo de1 patron of ,michael ,angelo1 #if-ig ,medusa's ,head 7,vinci71 #hf ,meire1 ,gerard van der1 #aeh ,memling1 ,hans1 #afj-afa ,memorial windows1 origin of1 #eh ,mengs1 ,raphael1 #aec ,menias1 ,las 7,velasquez71 #bah ,metsu1 ,gabriel1 #aha ,meyer ,madonna 7,holbein71 #aib ,michael ,angelo1 #id-ajd2 his frescoes of ,sistine ,chapel1 #aab2 and ,raphael1 #aae2 and ,piombo1 #abj-aba ,middle ,ages4 ,see ,medival ,mignard1 ,pierre1 #bch-bci ,milan1 ,academia ,leonardi ,vinci1 #hg ,miniaturists in ,england1 #bdi4 ,see also ,illumination ,miracle of ,st4 ,mark 7,tintoretto71 #acj ,miranda1 ,juan ,carreo de1 #baa-bab ,modena school1 #ga ,modern ,rome 7,turner71 #bhg ,mona ,lisa 7,vinci71 #hi-ij ,morales1 ,luis de1 #bji-baj ,more1 ,sir ,thomas1 portraits by ,holbein1 #ahi ,morland1 ,george1 #bfh ,morning ,among the ,corriston ,fells 7,turner71 #bgg ,moro1 ,antonio1 #afb ,mosaics1 found in ancient ,italy1 #cd-cf2 of the ,middle ,ages1 #da1 #de-df2 none by early ,germans or ,celts left1 #di2 transparent1 #ea ,moses1 #db-dd ,mountfort1 ,dr4 de1 portrait by ,copley1 #bei ,mouth of the ,seine 7,turner71 #bhd ,mural paintings1 ,egyptian1 #c2 ,assyrian1 #i2 ,oriental1 #ac2 ,pompeian1 #ae2 ancient ,greek1 #bj2 of ,ludius1 #ba2 ancient ,italian1 #bc-bd2 mosaics as1 #ce2 in catacombs1 #dd-de2 no early ,german or ,celtic left1 #di2 in ,middle ,ages1 #fj-fa ,murillo1 #bbj-bbh ,napoleon and the ,pope at ,fontainebleau 7,wilkie71 #bic ,napoleon ,,iii41 portrait by ,horace ,vernet1 #bdg ,nativity 7,navarrete71 #baa ,nativity of the ,saviour 7,correggio71 #ace ,nativity of the ,virgin 7,murillo71 #bbd ,naturalists of the seventeenth century1 #adj1 #aej ,navarrete1 ,juan ,fernandez1 #baa ,navicella 7,giotto71 #ff ,nest of ,cupids1 #cd ,nicholas ,v41 epitaph on ,fra ,angelico1 #gh ,nikias1 #ag-ah ,nikomachos1 #ag ,nile ,mosaic 7,the71 #cf ,niobe1 #cf ,noort1 ,adam van1 instructor of ,rubens1 #afb2 of ,jordaens1 #afg ,notte 7,correggio71 #ace ,nude paintings forbidden by ,spanish ,inquisition1 #bjh ,nuremburg school1 #aic ,old ,tmraire 7,turner71 #bhg-bhh ,ophem1 ,anna van1 and ,vandyck1 #afi ,oppert1 ,j41 quoted1 #i1 #aa ,orcagna1 ,andrea1 #gj-ga ,orestes and ,pylades 7,west71 #bfe ,oriental nations more advanced in architecture and sculpture than in painting1 #b ,oriental origin of mosaics1 #cd ,orsay1 ,count d'1 portrait of ,landseer1 #cja ,ostades1 ,van1 #agh ,outline drawing the best part of ,egyptian painting1 #g ,pacheco1 ,francisco1 #bjh1 #bad1 #baf ,palma1 ,jacopo1 #aba ,panel-pictures1 #bc1 #ej-ea1 #fj1 #fa ,papyrus rolls1 ,egyptian illustrations in1 #h ,paradise 7,tintoretto71 #acj ,pareja1 ,juan de1 #bbj ,parmigianino1 #aci ,parrhasius1 #ad-ae ,parting of ,hero and ,leander 7,turner71 #bhg ,paul ,,iii41 portrait by ,titian1 #abf ,pausias1 #ag ,pavement mosaics1 #ce-cf ,peep-o'-,day ,boy's ,cabin 7,wilkie71 #bic ,pelham1 ,charles1 portrait by ,copley1 #bei ,pembroke1 ,earl of4 ,see ,wilton ,family ,perkins1 ,a4 ,t41 quoted1 #bfj ,perkins1 ,c4 ,c41 quoted1 #gj ,perkins1 ,mrs4 ,edmund1 portrait by ,copley1 #bfj ,perspective1 unknown to ,egyptians1 #e2 and to ,oriental nations1 #ac2 first used by ,apollodorus1 #ad2 its use in ,middle ,ages1 #eh2 ,turner's lectures on1 #bhj-bha ,perugino1 ,pietro1 #hb1 #hd1 #ajg ,petrus1 ,christus1 #aeh ,philip ,i41 and ,berreguette1 #bji2 employs ,coxie to copy ,van ,eyck's altar-piece1 #aef ,philip ,,ii41 and ,titian1 #abg2 and ,morales1 #bji2 and ,coello1 #baj2 and ,navarrete1 #baa ,philip ,,iv41 and ,carreo1 #bab2 and ,zurbaran1 #bae2 and ,herrera1 #bae2 and ,velasquez1 #baf-bah2 and ,cano1 #bca ,philip of ,burgundy1 employs ,jan van ,eyck1 #aef ,philip of ,macedon1 portraits by ,apelles1 #ah ,phryne ,going to the ,public ,baths as ,venus 7,turner71 #bhg ,piet1 ,la 7,michael ,angelo71 #ii ,pirkheimer1 ,willibald1 and ,drer1 #aie ,plague at ,jaffa 7,gros71 #bdb ,pliny1 quoted1 #ad1 #ba-bc ,pointers1 ,to-ho6 7,landseer71 #bie ,pollajuolo1 ,antonio1 #gi ,ponte1 ,da1 family1 #acb ,portrait of ,dante 7,giotto71 #fd-ff ,portrait of a ,young ,woman 7,rembrandt71 #ahf ,ports of ,england 7,turner71 #bhb ,potter1 ,paul1 #ahg ,pourbus1 ,frans1 #afb ,pourbus1 ,peter1 #afb ,poussin1 ,nicholas1 #age1 #bcd-bcf ,presentation in the ,temple 7,titian71 #abc ,presentation of ,christ in the ,temple 7,cammuccini71 #aed ,prodigal ,son 7,teniers71 #ahj ,protogenes1 #ai-bj ,provincial ,antiquities of ,scotland1 illustrated by ,turner1 #bhb ,purisima1 ,la 7,joanes71 #bbi ,raising of ,lazarus 7,piombo71 #aae ,rake's ,progress 7,hogarth71 #beb ,raphael1 #ajg-aah ,razzi1 or ,bazzi1 #aah ,reading ,magdalen 7,correggio71 #ace1 #aci ,redgrave1 quoted1 #bgg ,regulus ,leaving ,rome to ,return to ,carthage 7,turner71 #bhg ,rejected ,christ 7,west71 #bff ,religious influence1 upon ,egyptian artists1 #h-i2 in ,romanesque period1 #ej2 in ,gothic period1 #ef2 upon ,spanish painters1 #bjg ,rembrandt1 #aha-ahf ,renaissance1 #da1 #gb ,rent ,day 7,wilkie71 #bib ,repulse and ,defeat of the ,spanish ,floating ,batteries at ,gibraltar 7,copley71 #bfb ,reynolds1 ,sir ,joshua1 #bea-beh2 and ,angelica ,kauffman1 #bjd2 portrait of1 #bej2 and ,romney1 #bfg ,ribalta1 ,francisco de1 #bcj ,ribera1 ,giuseppe1 #aej-aea ,ribera1 ,josef de1 #bcj ,rigaud1 ,hyacinthe1 #bch1 #bci ,rincon1 ,antonio del1 #bjg ,ritchie1 ,leitch1 on ,ruskin1 #bhf-bhg ,rivers of ,england 7,turner71 #bhb ,robusti1 ,jacopo1 #acj ,robusti1 ,marietta1 #acj-aca ,rogers's ,poems1 illustrated by ,turner1 #bhf ,roman painting1 ancient4 ,see ,italian ,roman school1 #ajg ,romanesque period of ,middle ,ages1 #db1 #ej-ed ,romano1 ,giulio1 #aaf1 #aah ,romney1 ,george1 #bff-bfh ,rosselli1 ,cosimo1 #hj ,rossi1 de1 quoted1 #bjd ,rotello del ,fico 7,vinci71 #hf ,rotterdam ,ferry-boat 7,turner71 #bhd ,rubens1 #afb-afg2 and ,vandyck1 #afh1 #afi2 as an alchemist1 #age2 in ,england1 #bdi ,rubrics1 #dg ,rupert1 ,prince1 portraits by ,vandyck1 #agd ,ruskin1 on ,turner1 #bhj-bha1 #bhb1 #bhc-bhd1 #bhh ,ruysdael1 ,jacob1 #ahg-ahh ,sacchi1 ,andrea1 instructor of ,poussin1 #bcd ,sacrifice of ,iphigenia 7,timanthes71 #ae ,st4 ,anthony ,adoring the ,virgin and ,child 7,sirani71 #adi ,st4 ,anthony of ,padua 7,murillo71 #bbd ,st4 ,cecilia 7,raphael71 #aah ,st4 ,clara of ,assisi 7,murillo71 #bbc ,st4 ,diego of ,alcal 7,murillo71 #bbc ,st4 ,francis 7,murillo71 #bbc ,st4 ,george ,slaying the ,dragon 7,raphael71 #ajh1 #aaj ,st4 ,hermengild 7,herrera71 #bae ,st4 ,margaret 7,titian71 #bab ,st4 ,margaret ,overcoming the ,dragon 7,raphael71 #aad ,st4 ,martin 7,vandyck71 #agj ,st4 ,michael 7,guido ,reni71 #adg ,st4 ,michael ,attacking ,satan 7,raphael71 #ajh ,st4 ,peter ,martyr 7,titian71 #abi ,st4 ,peter's1 ,michael ,angelo the architect of1 #ajc2 supervision of building by ,raphael1 #aad ,st4 ,sebastian 7,coello71 #baj ,st4 ,sebastian 7,vinci71 #ij ,salvator ,rosa1 #aea-aeb ,sarto1 ,andrea del1 #ajd-ajg ,savonarola1 #id-ig ,saxony1 school of1 #bjb ,scene at ,abbotsford 7,landseer71 #bie ,scene in the ,lower ,world1 #ch ,school of ,anatomy 7,rembrandt71 #ahb-ahd ,scott1 ,walter1 ,poems and ,life of ,napoleon illustrated by ,turner1 #bhd2 portrait by ,leslie1 #bie2 and ,landseer1 #bie-bif ,scourging of ,st4 ,andrew 7,domenichino71 #ada ,sculpture1 more advanced than painting among ,oriental nations1 #aab2 ,greek1 developed from ,egyptian and ,assyrian1 #ac ,sebastian del ,piombo1 #aae1 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