,illustration3 ,,the ,,sistine          
,,madonna4--,,raphael4                  
,,child-,,life ,,in ,,art   ,,by        
,,estelle ,m4 ,,hurll1 ,m4,a4           
,illustrated       ,children are ,god's 
apostles1 day by day     ,sent forth to 
preach of love and hope and peace4      
,,lowell4     ,,boston   ,,joseph       
,,knight ,,company   #ahie              
,copyright1 #ahid1   ,,by ,,joseph      
,,knight ,,company4     ,university     
,press3   ,,john ,,wilson ,,and ,,son1  
,,cambridge1 ,u4,s4,a4     ,,preface4   
,the subject of this little book is its 
best claim upon public favor4           
,child-life in every form appeals with  
singular force to the sympathies of all4
 ,in palace and in cottage1 in the city 
and in the country1 childhood reigns    
supreme by the divine right of love4 ,no
 monarch rules more mightily than the   
infant sovereign in the ,kingdom of     
,home1 and none more beneficently4 ,his 
advent brings a bit of heaven into our  
midst1 and we become more gentle and    

tender for the sacred influence4 ,every 
phase of the growing young life is      
beautiful and interesting to us4 ,every 
new mood awakens in us a sense of awe   
before unfolding possibilities for good 
or evil4  ,the poetry of childhood is   
full of attractiveness to the artist1   
and many and varied are the forms in    
which he interprets it4 ,the            
,christ-child has been his highest      
ideal4 ,all that human imagination could
 conceive of innocence and purity and   
divine loveliness has been shown forth  
in the delineation of the ,babe of      
,bethlehem4 ,the influence of such art  
has made itself felt upon all child     
pictures4 ,it matters not whether the   
subject be a prince or a street-waif2   
the true artist sees in him something   
which is lovable and winning1 and       
transfers it to his canvas for our      
lasting pleasure4  ,art has produced so 
many representations of children that it
 would be a hopeless task to attempt a  
complete enumeration of them1 and the   

book makes no pretensions to            
exhaustiveness4 ,the aim has been merely
 to suggest a convenient outline of     
classification1 and to describe a few   
characteristic examples in each group4  
,the nature of the undertaking has1 of  
course1 necessitated consulting the     
works of many standard authorities1 to  
whom ,i gratefully acknowledge my       
indebtedness4 ,the names of the most    
prominent are included in the           
bibliographical list4 ,while faithfully 
studying their opinions1 ,i have always 
reserved the right of forming an        
independent estimate of any painting    
considered1 especially when1 as in many 
cases1 ,i have myself seen the original4
 ,i am under great obligations to my    
friend ,professor ,anne ,eugenia ,morgan
 of ,wellesley for first showing me1    
through her philosophical               
art-interpretations1 the true meaning   
and value of the works of the masters4  
,from these interpretations ,i have     
drawn many of the suggestions which are 

embodied in the descriptions of the     
following pages4  ,while addressing     
lovers of children primarily1 ,i have   
also hoped to interest students in the  
history of art4 ,i have therefore added 
a few notes containing further details  
in regard to some of the subjects4      
,e4 ,m4 ,h4  ,,new ,,bedford1 ,,mass41  
,june #a1 #ahid4       ,,contents4      
,,chapter                               
,,page     ,i4 ,,childhood ,,in ,,ideal 
,,types                               #c
    ,,ii4 ,,children ,,born ,,to ,,the  
,,purple                           #bi  
,,iii4 ,,the ,,children ,,of ,,field    
,,and ,,village                     #eg 
,,iv4 ,,the ,,child-,,life ,,of ,,the   
,,streets                         #hg   
,v4 ,,child-,,angels                    
#aae    ,,vi4 ,,the ,,christ-,,child    
#ada       ,,list ,,of ,,illustrations4 
,,page    ,,sistine ,,madonna           
,raphael       ,frontispiece    ,,the   
,,strawberry ,,girl                     
,reynolds                  #g           

,,penelope ,,boothby                    
,reynolds                 #ae    ,,angel
 ,,heads                                
,reynolds                 #ai           
,from the original painting in the      
,national ,gallery1 ,london4    ,,nature
                                        
,lawrence                 #bc           
,,portrait ,,of ,,prince ,,james1 ,,duke
 ,,of ,,york    ,van ,dyck              
#cc       ,from a painting in ,san      
,luca1 ,rome1 after the ,turin portrait 
by ,van ,dyck4    ,,portrait ,,of       
,,princess ,,mary ,,stuart ,,and        
,,prince ,,william ,,ii4 ,,of ,,orange  
,van ,dyck                 #ci          
,from the original painting in          
,amsterdam4    ,,portrait ,,of ,,the    
,,infanta ,,maria ,,theresa             
,velasquez                #de           
,from the original painting in the      
,prado1 ,madrid4    ,,portrait ,,of     
,,the ,,infanta ,,marguerite            
,velasquez                #di           
,from the original painting in the      

,louvre1 ,paris4    ,,rustic ,,children 
,gainsborough             #ei    ,,la   
,,cruche ,,cassee 7,the ,broken         
,pitcher7     ,greuze                   
#ga       ,from the original painting in
 the ,louvre1 ,paris4    ,,child',s     
,,head                                  
,bouguereau               #gg    ,,the  
,,little ,,rabbit ,,seller              
,meyer von ,bremen         #ha          
,,beggar ,,boys                         
,murillo                  #hi           
,from the original painting in the      
,pinacothek1 ,munich4    ,,street       
,,arabs                                 
,dorothy ,tennant ,stanley  #ih    ,,the
 ,,meeting                              
,marie ,bashkirtseff      #ajc          
,from the original painting in the      
,luxembourg1 ,paris4    ,,castles ,,in  
,,spain                          ,j4 ,g4
 ,brown             #ajg    ,,group ,,of
 ,,angels4 ,from the ,assumption        
,titian                  #aai           
,from the original painting in the      

,academy1 ,venice4    ,,piping ,,angel4 
,detail of ,frari ,madonna     ,bellini 
#abg       ,from the original painting  
in ,venice4    ,,angel4 ,from ,madonna  
and ,child             ,luigi ,vivarini 
#aca       ,from the original painting  
in the ,church of ,redentore1 ,venice4  
,,angel4 ,from the ,vision of ,saint    
,bernard   ,filippino ,lippi            
#ace       ,from the original painting  
in the ,badia1 ,florence4    ,,madonna  
,,of ,,the ,,casa ,,tempi               
,raphael                 #adg           
,,infant ,,jesus ,,and ,,saint ,,john   
,boucher                 #aee           
,from the original painting in the      
,uffizi1 ,florence4    ,,the            
,,christ-,,child                        
,deger                   #aei    ,,head 
,,of ,,boy ,,christ                     
,hofmann                 #afc           
,detail of ,christ ,disputing with the  
,doctors4          99       99       99 
99       99     ,i4  ,,childhood ,,in   
,,ideal ,,types4         ,o child6 ,o   

new-born denizen     ,of life's great   
city6 on thy head     ,the glory of the 
morn is shed1     ,like a celestial     
benison6     ,here at the portal thou   
dost stand1     ,and with thy little    
hand     ,thou openest the mysterious   
gate     ,into the future's undiscovered
 land4                                  
,,longfellow4     ,,child-,,life ,,in   
,,art4  ,,chapter ,i4  ,,childhood ,,in 
,,ideal ,,types4   ,if we could gather  
into one great gallery all the paintings
 of child-life which the world has ever 
produced1 there would be scattered here 
and there some few works of a distinctly
 unique character1 before which we      
should rest so completely satisfied that
 we should quite forget to look at any  
others4 ,these choice gems are the work 
of those rare men of genius who1 looking
 beyond all trivial circumstances and   
individual peculiarities1 discovered the
 essential secrets of child-life1 and   
embodied them in ideal types4 ,they are 
pictures of childhood1 rather than of   

children1 representing those phases of  
thought and emotion which are peculiar  
to the child as such1 and which all     
children possess in common4 ,in their   
presence every mother spontaneously     
exclaims1 ,how like my own little one6  
because the artist has interpreted the  
real child nature4 ,such pictures may   
justly take rank among the highest      
productions of creative art1 having     
proven their claim to greatness by their
 unquestioned appeal to universal       
admiration4  ,in work of this kind one  
name alone is prominent1 a name which   
,england is proud to claim as hers1 but 
to which all the world pays honor1--the 
name of ,sir ,joshua ,reynolds1 ,prince 
of ,child-painters4 ,a simple-hearted   
man1 of sweet1 kindly disposition1 the  
great portrait-painter1 bachelor though 
he was1 possessed in rare measure the   
mysterious gift of winning the          
confidence of children4 ,the great      
octagonal studio in ,leicester ,square  
must have often resounded to the        

laughter of childish voices1 as he      
entertained his little patrons with the 
pet dogs and birds he used in their     
portraits1 and coaxed them into good    
nature with a thousand merry tricks4    
,although the greater number of these   
little people belonged to the most      
wealthy and aristocratic families in    
,england1 their pictures do not in any  
way indicate their rank4 ,still less do 
they show any distinguishing marks of   
the artificial age in which they lived4 
,dressed in the simplest of costumes1 of
 the sort which is never out of fashion 
and always in the best taste1 and posed 
in the natural attitudes of unconscious 
grace1 they are representatives of      
childhood1 pure and simple1 rather than 
of any particular social class or       
historical period4  ,a list of ,sir     
,joshua's child pictures may suitably   
begin with one which1 in his own        
opinion1 is among the best and most     
original of all his works4 ,this is the 
,strawberry ,girl1 exhibited in #aggc1  

and repeated many times by the          
painter1--not so much for the sake of   
profit1 as ,northcote explains1 as for  
improvement4 ,the model was the artist's
 pretty niece1 ,miss ,theophila 7,offy7 
,palmer1 who was named for his mother1  
and whom he loved as an own daughter4   
,the little girl stands with head       
slightly drooping1 in the sweet1 shy way
 so natural to a timid child4 ,the big  
eyes are lifted to ours half            
confidingly1 half timidly1 while a smile
 hovers bewitchingly over the mouth4 ,a 
long1 pointed basket hangs on one arm1  
and the plump hands are folded together 
in front like a little woman's4 ,the    
child wears a curious round cap on her  
head1 under which1 presumably1 her hair 
is gathered up in womanly fashion1 for  
there are no stray locks to be seen     
except the two soft curves on the       
forehead4 ,altogether1 the figure       
presents just that odd commingling of   
dignity with childish timidity which we 
so often notice in our own little maids1

 and which makes them at once so lovable
 and so womanly4  ,illustration3 ,,the  
,,strawberry ,,girl4--,,reynolds4  ,some
 fifteen years after ,sir ,joshua's     
niece posed as the ,strawberry ,girl1   
her own little daughter1 another ,offy1 
served the artist uncle as the model for
 ,simplicity4 ,the great-niece was as   
lovely a child as her mother had been1  
and critics agree in placing ,simplicity
 among the best works of the painter4   
,the setting is a landscape1 in the     
foreground of which the child is seated1
 with her lap full of flowers4 ,the     
sweet face is turned aside in a somewhat
 pensive poise1 and the exquisite purity
 of its expression is exactly           
represented by the title4 ,of a similar 
character is the ,age of ,innocence1    
which portrays a little girl looking out
 into the world with wide eyes and      
parted lips1 a complete embodiment of   
the innocence of childhood on the       
threshold of life4 ,the face1 which is  
presented in profile1 is finely cut1 and

 charmingly framed in short1 clustering 
curls4  ,in looking for ideal types     
among the child-pictures of ,sir ,joshua
 ,reynolds1 we need by no means be      
confined to those which bear fancy      
titles4 ,his portraits are as truly     
interpretative as his imaginative       
subjects1 and each typifies a distinct  
element of child-life4 ,the little ,miss
 ,bowles sitting on the ground hugging  
her dog1 and ,master ,bunbury looking   
out of the canvas with breathless       
eagerness1 arouse a universal interest1 
which is entirely independent of their  
individuality4 ,miss ,frances ,harris1  
the serene1 and ,miss ,penelope         
,boothby1 the demure1 will be loved as  
child ideals long after their names are 
forgotten4  ,a protege of ,reynolds from
 the first1 ,lawrence became his        
successor as ,painter-in-,ordinary to   
the ,king1 and in process of time rose  
to the proud honor of the presidency of 
the ,royal ,academy4 ,holding thus the  
two positions which ,reynolds had graced

 so many years1 it may be said that the 
master's mantle fell upon him more truly
 than upon any other follower4  ,in     
technique his painting is criticised by 
connoisseurs as deficient in that       
harmonious blending of the flesh tints  
with the background which so delights us
 in other artists4 ,then1 too1 his      
insight into character was far less     
penetrating than that of his            
predecessor4 ,nevertheless1 his best    
work has much of the beauty and         
animation which we so admire in the     
paintings of ,reynolds4  ,one of his    
notable pictures is the portrait of     
,master ,lambton1 son of ,lord ,durham1 
sometimes called1 in imitation of the   
,blue ,boy of ,gainsborough1 the ,red   
,boy4 ,the painting was exhibited at the
 ,paris ,salon of #ahbd1 where it is    
said to have completely turned the heads
 of ,french critics1 so fascinating was 
the aristocratic melancholy of the      
beautiful boy it represented4  ,for a   
companion piece to this picture1 one    

might choose the portrait of ,mr4       
,peel's daughter1 which is considered an
 exceptionally fine work4  ,lawrence's  
groups of mothers with their children   
are especially worthy of study4 ,the    
most famous of these are ,lady ,dover1  
with her son1 ,lord ,clifden1 in her    
arms1 and the ,countess ,gower1 with her
 little daughter ,elizabeth on her lap4 
,the latter has been carried by the     
engraver's art into nearly every country
 of the world1 and often appears under  
the title1 ,maternal ,love4 ,both mother
 and child are looking with intense     
interest in the direction toward which  
the little girl points an eager finger4 
,the child's face is full of vivacious  
beauty1 the sparkling eyes and parted   
lips perfectly representing the alert1  
imaginative type of child nature4  ,the 
finest of ,sir ,thomas ,lawrence's child
 pictures is undoubtedly the portrait of
 the ,calmady children1 better known by 
the title of ,nature4 ,this is indeed a 
picture disclosing the essential truth  

of the child nature2 the two little ones
 are frolicking together in a perfect   
abandon of innocent merriment4  ,the    
pretty story of the sittings in which   
this portrait was obtained1 is a key to 
its success4 ,the children romped with  
the artist as with a boon companion1 and
 the younger relieved the monotony of   
the hour by relating to him the nursery 
tales of ,dame ,wiggins1 and the ,field 
,mice and ,raspberry ,cream4 ,thus the  
painter won the confidence of his little
 friends1 and delineated them in all the
 fresh charm of their youthful vivacity4
 ,nature deserves a place beside        
,simplicity as a true picture of the    
heart of childhood4  ,but after all has 
been said concerning the child pictures 
in any way similar to those of ,sir     
,joshua ,reynolds1 it must still be     
admitted that his work is entirely      
unique in what may be termed the        
universality of its idealism4 ,other    
pictures of child-life there are1--many 
of them of equal and even of superior   

merit as works of art1--which are marked
 by a fine quality of idealism2 but this
 idealism is limited in its range to the
 delineation of individuals1 or of      
particular classes4 ,these pictures     
naturally fall into groups based upon   
the social classes which they represent1
 and by this method of classification1  
they will be considered in the          
subsequent chapters4  ,illustration3    
,,penelope ,,boothby4--,,reynolds4      
,miss ,penelope's face is one of the    
most familiar of ,sir ,joshua's art     
children1 and the first favorite with   
many for the arch loveliness of her     
expression4 ,although her mouth is set  
in a prim little pucker1 we cannot      
repress the suspicion that behind it    
lurks a good deal of childish fun4 ,the 
big mob cap and the voluminous mitts add
 not a little to the quaint charm of the
 picture1 and make it easily recognized 
by many who are otherwise unfamiliar    
with ,reynolds's works4  ,as it was a   
fashion of eighteenth century art to    

draw subjects largely from classic      
mythology1 we find among ,sir ,joshua's 
child pictures an ,infant ,bacchus1 an  
,infant ,jupiter1 and an ,infant        
,hercules4 ,this last was painted to    
fill a commission from the ,empress     
,catherine of ,russia1 and is a powerful
 representation of the young hero1      
seated on wolf-skins1 strangling        
serpents4  ,mercury as a ,postman and   
,cupid as a ,link-,boy are companion    
pieces1 painted from the same model1--a 
mischievous young street boy1 whose     
simulated gravity is irresistibly droll4
 ,the artist's keen sense of humor is   
seen again in that most captivating     
little rogue1 ,puck4 ,the saucy elf is  
perched on a mushroom1 resting after a  
frolic1 and apparently plotting new     
escapades4  ,a complete enumeration and 
description of ,reynolds's child        
pictures would fill a bulky volume1 so  
eagerly1 through a period of over thirty
 years1 were the great portrait         
painter's services demanded by all the  

distinguished families of the day4 ,of  
special interest and beauty are some of 
the portraits of mothers with their     
children4 ,the lovely ,lady ,waldegrave1
 clasping her babe to her breast1 is one
 of these1 while another is the         
celebrated beauty1 the ,duchess of      
,devonshire1 playing with her infant    
daughter4 ,a charming group is ,lady    
,cockburn and her ,boys1 which has been 
engraved under the title of the ,roman  
matron ,cornelia and her ,children4 ,it 
is said of this splendid production1    
that when it was brought into the ,royal
 ,academy exhibition to be hung1 it was 
greeted by the assembly of painters with
 a great demonstration of applause4 ,it 
is no wonder1 then1 that this should be 
one of the few paintings to which the   
master attached his signature4          
,illustration3 ,,angel                  
,,heads4--,,reynolds4  ,our list of     
,reynolds's pictures would be defective 
without some mention of the famous      
,angel ,heads1 which is peculiarly a    

representative work4 ,it consists of a  
cluster of little cherubs1 representing1
 in five different expressions1 the     
delicate features of a single face1     
whose original was ,miss ,frances       
,isabella ,gordon4 ,painted in #aghf1   
near the close of his great career1 it  
seems to gather up into a harmonious    
whole those several aspects of childhood
 which ,sir ,joshua's long and wide     
experience had revealed to him as the   
typical movements of the child mind4    
,the five totally dissimilar expressions
 embody those varying attitudes of mind 
which the child may successively assume 
in any critical experience of its young 
life4 ,the clear-cut profile of the     
lower face at the left suggests the face
 of the child in the ,age of ,innocence 
who first confronts the problem of life4
 ,the one just above has the thoughtful 
poise of the little girl ,simplicity1   
pondering over an important question1   
while the remaining heads stand for     
those imaginative and emotional moods   

which complete the cycle of human       
experience4  ,the original of this      
beautiful picture#a is in the ,national 
,gallery at ,london1 and fortunate      
indeed are they who have the privilege  
of standing before it to delight their  
eyes with the blonde loveliness of the  
sweet faces1 framed in aureoles of      
golden ringlets4  ,illustration3        
,,nature4--,,lawrence4  ,it would be    
difficult to estimate the incalculable  
influence which the life and work of    
,sir ,joshua ,reynolds have exerted on  
the progress of art in the past century4
 ,the influence of his paintings was    
supplemented by the series of discourses
 which it was his duty as ,president of 
the ,royal ,academy to deliver annually 
on subjects of art criticism4 ,his      
unparalleled success brought forth many 
followers and imitators2 but among their
 works few can be selected as worthy    
presentations of childhood in ideal     
types4  ,gainsborough and ,romney were  
considered to some extent the rivals of 

,reynolds1 but ,gainsborough's child    
pictures were drawn from rustic life1   
and ,romney's are not worthy of         
comparison with the master's4 ,we must  
turn1 then1 for the best results of     
,reynolds's influence to the work of    
,sir ,thomas ,lawrence1 who entered upon
 his career just as the great           
portrait-painter was obliged to lay     
aside his brush from failing sight4     
,,ii4  ,,children ,,born ,,to ,,the     
,,purple4         ,for thrones and      
peoples are as waifs that swing         
,and float or fall1 in endless ebb and  
flow2       ,but who love best have best
 the grace to know     ,that ,love1 by  
right divine1 is deathless ,king4       
,,tennyson4     ,,chapter ,,ii4         
,,children ,,born ,,to ,,the ,,purple4  
,the children of a royal family lead a  
strange and somewhat lonely life4       
,impressed1 almost from infancy1 with a 
sense of their superiority1 and         
recognizing no equals among their       
companions and playmates1 they live     

apart in princely isolation1 preparing  
for the future honors which await them4 
,but even the grave responsibilities of 
their rank cannot altogether extinguish 
the inherent joyousness of youth1 and   
children will be children to the end of 
time4 ,the stately ceremonies of the    
court have to yield in turn to innocent 
amusements1 and childhood reasserts its 
natural right to simple and spontaneous 
happiness4  ,the combination of royal   
dignity with pure childishness is a     
unique subject for art1 and one which   
few have had the genius to portray4 ,two
 great painters are famous in history   
for their remarkable success in this    
line of work1--,van ,dyck1 of ,belgium1 
and ,velasquez1 of ,spain4  ,in many    
respects the lives of these two painters
 ran in parallel lines4 ,they were born 
in the same year1 #aeii2 and beginning  
their art studies when still very young1
 with great opportunities for the       
development of their talent1 both had   
won an enviable reputation by the time  

they had reached early manhood4 ,both   
held appointments as the court painters 
of kings who were unusually liberal and 
appreciative in their patronage1--,van  
,dyck under ,charles ,i4 of ,england1   
and ,velasquez under ,philip ,,iv4 of   
,spain4 ,both artists drew great        
inspiration from the ,italian masters1  
whose works they studied in ,venice and 
,rome1 particularly the great ,titian4  
,here1 however1 the comparison may end2 
for the nature of the subjects which    
each chose1 the influence of their      
nationality upon their style1 and1 above
 all1 their own personal individuality  
as artists1 have rendered their work    
strikingly dissimilar4  ,van ,dyck was  
in every sense a man of the world and a 
courtier2 widely travelled1 broadly     
cultured1 fond of music1 brilliant in   
conversation1 handsome of face1 and     
graceful in bearing1 by turns an elegant
 host and a distinguished guest4 ,thus  
all his thoughts1 interests1 and        
pleasures were thoroughly identified    

with the court life1 and he was         
peculiarly fitted for the artistic      
interpretation of royalty4  ,the family 
of ,charles ,i4 of ,england afforded a  
most attractive field for the exercise  
of the court painter's talent1 and many 
and varied are the groups in which they 
were represented4#b ,some of the most   
interesting of these are in the         
collection at ,windsor4 ,in one1 the    
king and queen are seen1 with their two 
sons1 ,prince ,charles and ,prince      
,james2 while another portrays the same 
boys1 with their mother1 ,henrietta     
,maria4 ,the latter painting is an      
exceedingly beautiful work1 repaying    
long study4 ,the boys have that         
indefinable air of nobility which ,van  
,dyck knew so well how to impart to his 
subjects1 and which none can imitate or 
explain4 ,even ,prince ,james1 who is an
 infant in arms1 holds his little head  
erect1 like the prince that he is4 ,the 
artist has shown us1 however1 that royal
 dignity is by no means incompatible    

with the true child nature1 and the two 
young princes are always depicted as    
genuine children1 with frank1 winning   
faces4  ,illustration3 ,,head ,,of      
,,james1 ,,duke ,,of ,,york4--,,van     
,,dyck4  ,the most popular of ,van      
,dyck's portraits of the ,stuart        
children is the famous group at ,turin1 
in which the two young princes1 ,charles
 and ,james1 stand one on each side of  
their sister ,mary4 ,all three bear     
themselves with an air of conscious     
superiority1 a gentle and serene dignity
 born of their faith in the divine right
 of kings4 ,prince ,charles is dressed  
in scarlet satin1 richly embroidered    
with silver lace1 with a broad lace     
collar falling over his shoulders4 ,his 
large round eyes look out towards the   
spectator with the dreamy expression of 
one who builds splendid air-castles4    
,the ,princess ,mary is in white satin1 
and is a dainty little figure1 a second 
edition of her queen mamma1 with        
ringlets carefully ranged on each side  

of her pretty forehead1 and her         
exquisite hands holding lightly the     
lustrous folds of her dress4  ,the      
little ,prince ,james is so short that  
he stands on a platform at the side1 to 
bring his figure into harmonious        
relation to the group4 ,his dress is    
blue satin1 of stiff1 full skirt1 which1
 with the close white cap on his head1  
makes him a quaint little figure4 ,a    
chubby1 innocent looking baby1 he is    
nevertheless a personage who fully      
realizes the important place he occupies
 in the family group1 and is determined 
to fill it with becoming gravity4  ,next
 in popularity to the ,turin picture is 
a group of five children1 the original  
of which is at ,windsor1 and a replica  
at ,berlin4 ,the painting is dated      
#afcg1 fixing the age of ,prince        
,charles as seven4 ,having now outgrown 
the frocks of the earlier pictures1 he  
stands in a graceful boyish attitude1   
wearing satin knickerbockers and        
waistcoat1 and still retaining the      

beautiful lace collar on his            
aristocratic shoulders4 ,his eyes have  
the same dreamy look as in other        
portraits4 ,on his right are his sisters
 ,mary and ,elizabeth1 the former       
demurely complacent as before1 the      
latter timid and dainty4 ,on the left   
the little ,princess ,anne frolics with 
,prince ,james in simple childish       
fashion4 ,as a composition1 the picture 
is somewhat stiff and artificial1 but   
the single figures are all rendered with
 characteristic beauty4  ,it is sad to  
place beside ,van ,dyck's glowing       
canvases1 the dark pictures in which    
historians have painted the after-life  
of these charming children4 ,the        
dreamy-eyed ,prince ,charles grows at   
length into the corrupt and unprincipled
 ,king ,charles ,,ii41 whose tyrannies  
are limited only by his indolence4 ,the 
sweet1 round-faced baby1 ,prince ,james1
 becomes ,king ,james ,,ii41 whose reign
 is even more inglorious than that of   
the brother whom he succeeds4 ,the      

,princess ,mary has in the mean time    
married ,prince ,william ,,ii4 of       
,orange1 and now1 in ,england's hour of 
need1 it is her son1 ,william ,,iii4 of 
,orange1 who is summoned to the aid of  
his mother's native land4 ,with his     
cousin wife ,mary1 the daughter of the  
unworthy king1 he assumes the head of   
affairs1 and wisely conducts the        
interests of the people throughout a    
prosperous reign4  ,the fact that the   
,princess ,mary's marriage with ,william
 ,,ii4 of ,orange was productive of so  
great a benefit to ,england gives       
special interest to ,van ,dyck's        
painting of the betrothed lovers1 which 
may now be seen at ,amsterdam4 ,the     
princess stands on the left side of the 
picture1 bearing herself with           
characteristic dignity4 ,prince         
,william1 beside her1 holds her left    
hand lightly in his right1 and turns his
 face to meet our gaze with steadfast1  
serious eyes4 ,he is a fine1 manly      
figure1 in every way the true ,prince   

,charming for his pretty lady-love4     
,both children have a thoughtful1       
intelligent look1 far beyond their      
years1 as if conscious that ,england's  
destiny turns upon their union4         
,illustration3 ,,princess ,,mary ,,and  
,,prince ,,of ,,orange4--,,van ,,dyck4  
,from ,van ,dyck's exquisitely idealized
 portraits of royal children we turn to 
the work of ,velasquez1 to find a       
faithful reproduction of the totally    
different type of child-life represented
 at the court of ,spain4 ,appointed     
court painter at the age of twenty-four1
 and retaining this connection until his
 death1 in #affj1 the ,spanish artist   
has left to posterity a vivid panorama  
of the royal life at ,madrid during a   
period of nearly forty years4 ,his      
delineations are so realistic1 his      
technique is so masterly1 his posing of 
figures so entirely natural1 that his   
pictures seem to place the living       
reality before us4 ,often representing  
the characters he painted as occupied in

 their customary daily pursuits1 his    
works are a truthful reflection of the  
life of his times1 and are as full of   
historical interest as of artistic      
merit4  ,the court to which the young   
painter was introduced in #afbc might   
almost be called ,a ,court of ,boys1 the
 king1 ,philip ,,iv41 being but eighteen
 years of age1 and his two brothers1 the
 ,cardinal ,infant ,don ,fernando1 and  
the ,prince ,carlos1 seventeen and      
thirteen respectively4 ,the youthful    
king was1 of course1 his first royal    
patron1 and was painted in a magnificent
 equestrian portrait1 which at once     
established the artist's fame4  ,with   
the birth of the king's first child1 the
 ,prince ,balthasar ,carlos1 in #afbi1  
the court painter's duties began in     
earnest2 and from that time on he was   
most assiduous in portraying the royal  
family4  ,prince ,balthasar was         
represented in almost every imaginable  
position1 first as a tiny child in      
frocks1 and later as a young boy in     

court dress1#c military costume1 or     
hunting-garb4  ,in his most attractive  
portraits he is a gallant young         
horseman1 seated with an easy grace1 as 
if born to the saddle4 ,two of these are
 scenes in the riding-school1 and are   
admirable compositions4 ,the most       
remarkable1 however1 is that in the     
,madrid ,museum1 in which the little    
prince rides alone on a bright bay4 ,the
 beautiful pony bounds out of the       
picture with great spirit and grace1    
guided by his happy1 round-faced rider1 
whose right hand lifts a baton1 and     
whose left holds the bridle4 ,the       
brilliant colors of his riding-costume  
make the picture exceedingly effective  
in rich1 warm tints1--the green velvet  
jacket and the red-and-gold             
scarf1--while the young cavalier's      
fluttering streamers and the horse's    
sweeping mane and tail give a swift     
breezy motion to the whole scene4  ,next
 in age to ,prince ,balthasar came the  
,princess ,maria ,theresa1 who          

afterwards became the queen of ,louis   
,,xiv4 of ,france4 ,velasquez painted   
various portraits of this little        
princess to be sent to the ,european    
courts where negotiations for her       
marriage were under consideration2 but1 
unhappily1 the fate of most of these is 
shrouded in mystery4 ,one interesting   
painting1 however1 may be seen in the   
,royal ,gallery at ,madrid4#d ,the child
 has a sweet1 demure face1 which seems  
very narrow and delicate-looking in its 
broad frame of elaborately arranged     
hair4 ,her bearing is dignified1 in     
spite of her uncomfortable dress4 ,in   
one hand she carries an immense         
handkerchief1 and in the other a rose1  
both resting lightly on the outer edge  
of the huge hemisphere1 of which her    
slender figure forms1 as it were1 the   
central axis4 ,her sad and lonely       
after-life as a neglected queen1 in the 
gay and dissolute ,french court1 makes  
the picture singularly pathetic4 ,there 
is a look of sweet patience in the face1

 which seems to anticipate the coming   
years4  ,illustration3 ,,princess       
,,maria ,,theresa4--,,velasquez4  ,by   
,king ,philip's second marriage he      
brought to the ,spanish court as his    
wife the ,princess ,mariana of ,austria1
 who was then only fourteen years of    
age4 ,the young queen was of course     
frequently portrayed by the court       
painter1 but she did not make a very    
attractive subject for his skill1 with  
her rather dull eyes and her full lips1 
and cheeks plentifully bedaubed with    
rouge4  ,as there was a difference of   
but three years in the ages of the      
child-wife and the ,princess ,maria     
,theresa1 the two were constant         
companions2 and when the ,princess      
,margaret was christened1 the elder     
sister stood as godmother with great    
dignity4 ,a pretty story is related that
 on the way to the chapel for the       
christening1 ,maria ,theresa let slip   
from her finger a costly ring1 which a  
poor woman picked up to return to her4  

,keep it1 said the little princess1 with
 true royal tact2 ,god has sent it to   
you4  ,the ,princess ,margaret became   
the darling of the court1 and her blonde
 beauty is immortalized in many         
portraits by ,velasquez4 ,the most      
famous of these is the picture called   
,las ,meninas1 or ,the ,maids of ,honor1
 in which the young princess is the     
central figure of a group of devoted    
attendants4 ,the composition is a       
veritable masterpiece1 representing with
 perfect naturalness a daily scene in   
the palace4 ,the princess rules with a  
sweet1 complacent smile1 and one can    
well imagine what an object of          
admiration her fair hair and blue eyes  
must have been among the swarthy1       
dark-eyed ,spaniards4  ,illustration3   
,,princess ,,margaret4--,,velasquez4    
,another celebrated painting of the same
 child is in the ,louvre at ,paris1     
where it is a centre of attraction for  
art lovers and copyists1 on account of  
the exquisite delicacy of its technique4

 ,it is a half-length portrait1 showing 
a winning face1 with wide1 earnest eyes1
 and a demure little mouth4 ,the fair   
hair is parted at one side1 where it is 
caught back with a ribbon bow1--a style 
which the princess is said to have      
retained even after her marriage with   
the ,emperor ,leopold4  ,from an        
artist's point of view1 the beauty of   
the ,velasquez child portraits is       
greatly injured by the grotesque        
fashions of the times4 ,a long stiff    
corset and an immense oval hoop entirely
 precluded any possibility of grace in  
the attitude of the little princesses1  
while a ridiculously artificial style of
 dressing the hair completed the        
absurdity of a costume which was the    
laughing-stock of ,europe4  ,van ,dyck  
was in this respect far more fortunate  
in his surroundings1 and the full1      
lustrous folds of satin in which the    
,english royal children were arrayed1   
gave him ample scope for an exquisite   
disposition of light and shade4         

,independently of purely artistic       
principles1 we should be sorry to lose  
from the pictures of either artist that 
element of interest and fascination     
which the costumes of an earlier epoch  
always arouse4 ,the ,princess ,maria    
,theresa would be less interesting      
without her big hoop1 and the ,princess 
,mary less dignified without her        
voluminous satin2 ,charles would        
scarcely be the prince that he is1 if   
lacking his broad lace collar1 and      
,prince ,balthasar would lose much of   
his charm1 deprived of his red and green
 bravery4 ,there is1 in fact1 no detail 
in any of these pictures which does not 
throw light upon the phase of life which
 they portray4  ,other great masters    
besides ,van ,dyck and ,velasquez have  
been called to the portraiture of       
royalty1--,titian1#e ,holbein1#f        
,rubens1--but for various reasons they  
painted but few pictures of royal       
children1 and these are by no means     
notable when compared with their other  

works4  ,van ,dyck and ,velasquez1      
therefore1 stand out the more           
prominently for this unique class of    
court portraits1 and so long as their   
works endure1 they will take first rank 
as a revelation of the peculiar grace   
and charm of the life of children born  
to the purple4     ,,iii4  ,,the        
,,children ,,of ,,field ,,and ,,village4
         ,o for boyhood's painless play1
     ,sleep that wakes in laughing day1 
,health that mocks the doctor's rules1  
,knowledge never learned of schools1    
,of the wild bee's morning chase1       
,of the wild-flower's time and place1   
,flight of fowl1 and habitude     ,of   
the tenants of the wood2--      ,for1   
eschewing books and tasks1     ,nature  
answers all he asks2     ,hand in hand  
with her he walks1     ,face to face    
with her he talks1     ,part and parcel 
of her joy1--     ,blessings on the     
barefoot boy6                           
,,whittier4     ,,chapter ,,iii4  ,,the 
,,children ,,of ,,field ,,and ,,village4

   ,the most fortunate children in the  
world are those whose first lessons in  
life have been learned on the lap of    
,mother ,nature4 ,taught by her to know 
and love all the beautiful things of the
 glad green earth2 versed in the mystic 
language of woodland birds and beasts2  
trained to the skilful use of eye and   
muscle1--they possess the secret of a   
happiness which knows no equal4 ,theirs 
is a life of perfect liberty1           
untrammelled by the false conventions of
 society1 uninjured by over-indulgence1 
untainted by contact with vice4 ,growing
 up under these conditions into a       
healthy and vigorous beauty1 the        
children of field and village have long 
been a source of delight and inspiration
 to both poet and painter4  ,in genre   
painting1 ,holland gave the initiative  
to the art world in the works of ,jan   
,steen1 the ,teniers1 and others4 ,the  
influence of the ,dutch school at length
 made itself felt in ,england2 and after
 the renaissance of ,british art1 in the

 middle of the eighteenth century1 many 
painters arose to interpret the         
conditions of rustic life peculiar to   
,england4  ,first on this list stands   
the name of ,thomas ,gainsborough4#g    
,from early boyhood he loved nature with
 all the intensity of a true artist's   
soul1 and many picturesque scenes in the
 vicinity of his native ,sudbury were   
indelibly impressed upon his youthful   
mind4 ,later in life1 when at the height
 of his success as a great ,london      
painter1 his favorite summer resort was 
,richmond1 where1 wandering about the   
country from day to day1 he met many an 
interesting village child whose face was
 transferred to his canvas4 ,fortunate  
little models1 these2 for the artist    
always rewarded them for their sittings 
with lavish generosity4  ,illustration3 
,,rustic ,,children4--,,gainsborough4   
,one particular boy1 ,jack ,hill by     
name1 so charmed ,gainsborough that he  
actually adopted the lad1 and           
immortalized his handsome features in   

two paintings4#h ,jack ,hill did not    
live up to his privileges1 and1         
preferring his old free life to the     
restrictions of a more elegant          
household1 he ran away4 ,he was1        
however1 never forgotten2 and after     
,gainsborough died1 his good widow      
provided amply for the youth's welfare4 
,perhaps the most extensively known of  
all ,gainsborough's delineations of     
country child-life is the ,rustic       
,children of the ,national ,gallery4    
,the central figure is a young girl1    
standing1 with a child in her arms2 a   
boy sits on the bank beside her with a  
bundle of fagots4 ,the group is         
artistically conceived1 with one of     
,gainsborough's characteristic          
landscapes as a background1 showing a   
cottage home4 ,the children are graceful
 and natural1 with that indefinable     
poetic charm peculiar to the painter's  
work4  ,a picture attracting a great    
deal of admiration in the lifetime of   
,gainsborough1 was the ,boy at the      

,stile4 ,while this treasure was still  
in the hands of the artist1 he was      
visited one day by ,colonel ,hamilton1  
then considered the finest violinist of 
his times4 ,gainsborough1 a devoted     
lover of music1 begged him to play1 and 
when the first air was finished1        
rapturously exclaimed1 ,now1 my dear    
,colonel1 if you will but go on1 ,i will
 give you that picture of the ,boy at   
the ,stile1 which you so wished to      
purchase of me4  ,in half an hour the   
prize was won1 and both parties were    
well satisfied with the agreement4  ,in 
studying ,gainsborough's rustic children
 as a class1 it is noticeable that he   
emphasizes the pathetic side of their   
life2 instead of a thrifty1 tidy        
appearance1 in which ,england's village 
children are by no means lacking1 he    
gives his subjects a careless1 neglected
 air4 ,the ,rustic ,children of the     
,national ,gallery are unnecessarily    
ragged2 their hair is wild and          
dishevelled1 and their general          

appearance untidy4 ,many of the children
 of the most celebrated pictures are    
attractive from a delicate1 refined     
beauty1 rather than from the robust and 
healthy vitality we naturally associate 
with country life4 ,this makes their    
surroundings incongruous1 and we feel   
sorry that they are not in their true   
sphere4 ,the child who stands1          
half-clad1 before the hearth-fire1 in   
the painting called the ,little         
,cottager1 has the delicate features of 
a true aristocrat4 ,no cottage boy this1
 with shapely hands and large1          
melancholy eyes4 ,his wistfulness is so 
touching that we would fain snatch him  
from his surroundings1 and set him down 
amidst the soft luxuries which belong to
 him by right4  ,the ,shepherd ,boy in a
 ,storm has the face and expression of a
 poet1 as he lifts his beautiful eyes to
 the overhanging clouds1 with nothing of
 fear or shrinking1 but with apparent   
admiration for the grandeur of ,nature4 
,gainsborough painted many scenes of    

child-life in which animals are         
introduced1 as in the picture of a girl 
holding a child on a donkey1 and in one 
representing two shepherd boys looking  
on at fighting dogs4 ,he did not        
hesitate before a subject which would   
have appalled most artists1 and which1  
in other hands1 would have been vulgar  
and common1--,a ,girl ,feeding ,pigs4   
,this he painted with such skill that   
,reynolds instantly recognized its      
greatness1 and eagerly purchased it for 
a sum far in advance of the price       
modestly named by the painter4 ,the     
amusing anecdote is related concerning  
this work that a countryman1 who studied
 it attentively some time1 gave it as   
his opinion that they be deadly like    
pigs2 but nobody ever saw pigs feeding  
together but what one on 'em had a foot 
in the trough4  ,gainsborough#i is      
pronounced by ,ruskin the purest        
colorist of the ,english school1 taking 
rank beside ,rubens1 and adding a lustre
 to the fame of ,british art which time 

can do nothing to dim4 ,his style is so 
peculiarly individual in its            
characteristics that it cannot properly 
be compared with that of any other      
artist2 but his predilection for        
subjects drawn from rural child-life    
finds a parallel in the work of his     
,french contemporary1 ,jean ,baptiste   
,greuze4#aj  ,the pictures by which     
,greuze made his early reputation1 and  
which perhaps he never excelled in later
 times1 were the ,father ,explaining the
 ,bible to his ,children1#aa and the    
,village ,bride4#ab ,both represent     
family scenes among village people1 and 
contain1 as their most charming         
features1 some delightfully natural     
children4 ,one could scarcely find      
anything more deliciously childlike than
 the mischievous little ones who gather 
about the table to listen to the ,father
 ,explaining the ,bible1 and whose love 
of fun even this solemn occasion cannot 
repress4 ,equally attractive are the    
young people gathering affectionately   

and tearfully about their pretty elder  
sister1 the ,village ,bride1 who comes  
with her lover to receive the parental  
blessing4  ,the appearance of these two 
compositions made their artist famous1  
and won for him the ardent admiration   
and powerful friendship of the          
encyclopaedist ,diderot4 ,continuing his
 work along this new#ac line of         
subjects1 ,greuze went on to paint many 
other scenes in the child-life of the   
country4 ,two notable companion pictures
 of this kind are the ,departure of the 
,cradle1 and the ,return from the       
,nurse1 founded upon a phase of ,french 
village life quite unknown in many other
 countries1 namely1 the custom among    
busy working-people of sending their    
infants out to board with nurses4       
,unnatural as was the custom1 it by no  
means indicated a lack of family        
affection1 as is seen in these charming 
compositions4 ,in both cases1 the child1
 at first an infant1 and later a little 
boy a year or two old1 is the centre of 

the group1 fondled and admired by all4  
,the pre-eminence of ,greuze was due not
 only to the entire novelty of his      
chosen range of subjects1 but to the    
exquisite beauty of his technique4 ,he  
excelled in painting those fresh        
carnations1 mixed with lilies and roses1
 as the ,french used to say1 and        
diversified with blue-gray shadows and  
warm reflected light4 ,such             
characteristics are easily carried to   
extremes1 and were often exaggerated by 
,greuze himself2 but when held in true  
control they are a delight to the eye of
 the true color-lover4  ,an example of  
his coloring1 in its most lovely        
aspects1 is the ,trumpet4 ,the scene is 
a cottage interior1 in which a young    
mother1 with a babe in her arms1 sits   
beside a cradle containing another      
little one1 and turns to quiet her      
roguish boy1 who stands somewhat sulkily
 by her chair1 reluctant to forego the  
pleasure of blowing on his trumpet4     
,silence6 do not awaken him6 is what the

 mother seems to say2 and these words   
form the title under which the picture  
first appeared4  ,greuze could not      
altogether escape the blight of that    
artificiality which was everywhere      
characteristic of his times1 and nowhere
 more conspicuous than in ,france4      
,soyez piquant1 si vous ne pouvez pas   
etre vrai1 was his advice to a fellow   
artist1 ,ducreux2 and his own work too  
often shows evidence of the sacrifice of
 truth to piquancy4 ,his single figures 
and heads are not1 as a class1 so true  
to nature as his compositions1 although 
they are much better known to the       
public4 ,scattered far and wide through 
all the great art galleries of the      
world1 they have been greatly admired   
for their delicate coloring1 and for    
those qualities of prettiness which are 
always attractive4  ,nearly all these   
purport to be representations of        
children1 but they are certainly not    
like the children of our own households1
 nor1 indeed1 like those of the same    

artist's domestic pictures4 ,they       
reverse the proverb1 by being young     
heads on old shoulders1 the face and    
features of childhood on the mature and 
well-developed figure of womanhood4 ,the
 expression1 too1 is a curious          
combination of childlike simplicity with
 the sentimental melancholy of young    
maidenhood2 and one cannot escape the   
impression that the models are not      
genuine peasant children1 but pretty and
 somewhat worldly young women1          
masquerading in pastoral costumes for a 
fancy ball4  ,from the long list of     
examples of this class1 both figures and
 heads1 a few well-known subjects will  
suggest the type3 ,the ,milkmaid1 the   
,little ,pouter1 ,simplicity1 the ,girl 
with an ,orange1 and the ,broken        
,pitcher4  ,illustration3 ,,the ,,broken
 ,,pitcher4--,,greuze4  ,the last is    
probably more familiar than any other   
work of ,greuze4 ,it attained an immense
 popularity in the lifetime of the      
artist1 attracting many people to his   

studio4 ,among the visitors was         
,mademoiselle ,philipon1 afterwards     
known to fame as ,madame ,roland1 and   
her delightful description#ad gives a   
complete idea of the picture3--  ,it is 
a little girl1 naive1 fresh1 charming1  
who has just broken her pitcher2 she    
holds it on her arm1 near the fountain  
where the accident occurred4 ,her eyes  
are downcast1 her lips half parted2 she 
tries to account for her mishap1 and    
does not know if she is in fault4       
,nothing could be more piquant and      
charming4 ,the only criticism one could 
suggest is that ,monseiur ,greuze has   
not made the little maid sorry enough1  
so that in the future she will not be   
tempted to return to the fountain6  ,the
 heroine of the broken pitcher is       
dressed in white1 has blue eyes and     
auburn hair1 cherry lips1 and           
pink-and-white complexion4  ,for        
twenty-five years ,greuze was the       
fashion in ,paris4 ,with all his faults1
 he was immeasurably superior to his    

,french contemporaries1 and his work was
 a decided step towards a new era4 ,with
 the great political and social changes 
inaugurated in ,france early in the     
nineteenth century1 an entirely new     
style of art1 literary and graphic1 was 
made possible1 and a new school of      
painters arose to portray ,french       
peasant life4  ,no modern artist has    
chosen a field which exactly corresponds
 to that of ,greuze1 the tendency being 
rather to neglect the child element to  
which he devoted so much energy4 ,one   
painter may be mentioned1 however1 who  
has contributed a few valuable additions
 to this department of art1--,william   
,adolphe ,bouguereau4  ,the remarkable  
number of works which ,bouguereau has   
produced since his first great success  
in #ahed have made him distinguished for
 a large variety of subjects2 but the   
pictures by which he has touched the    
hearts of the people are those in which 
he portrays the peasants of his own     
sunny land1--sweet1 shy1 dark-eyed      

girls1 with masses of black hair pushed 
back loosely from their foreheads4  ,one
 is a ,little ,shepherdess1 who stands  
with careless grace poising a crook     
across her shoulders1 while her eyes    
meet ours with a frank yet modest gaze4 
,again the same girl rests from her     
labors1 sitting on a stone1 lost in     
revery4 ,another sweet child is the girl
 seated by a well1 with a broken pitcher
 lying on the ground beside her4 ,her   
hands are clasped on her knee1 as she   
bends slightly forward in a pensive     
attitude1 her large eyes full of        
childish pathos4 ,cajolery also belongs 
to this set1 and is so named from the   
caresses with which a little girl begs  
some favor of an older sister1 whose    
merry eyes show that she fully          
understands the secrets of child        
diplomacy4  ,younger than any of these  
children is the bewitching little gypsy1
 whose tangled curls frame a round1     
dimpled face1 with rosebud mouth1 and   
big black eyes looking bashfully        

askance4 ,there is a peculiar charm in  
the child's shyness1 as if1 like some   
wild creature of the woods1 she would   
turn and flee before a nearer approach4 
,bouguereau's work1 academic in style1  
and always refined and elegant in       
manner1 has qualities of artistic       
excellence which place him in the       
foremost rank2 and we are glad to       
believe that for many generations to    
come his lovely little peasant girls    
will be widely known and loved4         
,illustration3 ,,child                  
,,head4--,,bouguereau4  ,from the       
dark-eyed children of sunny ,france to  
the fair-haired sons and daughters of   
the ,saxon race is a long step1 which   
introduces us to child-life of a totally
 different type4 ,childhood in the rural
 districts of ,germany and ,switzerland 
has been very completely portrayed by   
,johann ,georg ,meyer1 better known as  
,meyer von ,bremen1--the name he has    
taken in honor of his native city4      
,with an intense sympathy for all the   

pleasures of childhood1 ,meyer unites a 
wonderfully delicate sense of the       
artistic and picturesque4 ,his fertility
 of invention seems well-nigh           
inexhaustible4 ,he has given us cottage 
scenes and out-of-door life with        
impartial liberality1 and has shown     
equal skill of treatment1 whether he    
handles groups or single figures4  ,his 
subjects are drawn largely from life in 
the ,hessian1 ,bavarian1 and ,swiss     
,alps1 where he has carefully studied   
the manners and customs of the people4  
,the cottage interiors have all the     
characteristic quaintness and charm of  
these peasant homes4 ,high wooden       
chairs1 of the fiddle-back pattern1 are 
the conspicuous pieces of furniture2    
rich old cabinets stand against the     
walls1 and oddly shaped earthern jars   
are ranged on shelves4 ,the light comes 
through little diamond-paned windows1   
and gleams on floors of hard wood1      
unadorned with carpet or rug4 ,in these 
surroundings1 groups of flaxen-haired   

children sport in all the sweet         
innocence of healthy1 happy childhood4  
,sometimes they gather eagerly about the
 table to play with their ,pet ,canary2 
at another time they cluster about their
 mother's knee to peep admiringly at the
 wonderful new baby in her arms1 and to 
hear the mysterious announcement that   
,the ,storks ,brought ,it4 ,again1 the  
centre of their attention is the tiny   
brother gleefully taking his first      
uncertain steps towards the outstretched
 arms of his young mother4              
,illustration3 ,,the ,,little           
,,rabbit-,,seller4--,,meyer ,,von       
,,bremen4  ,the out-of-door scenes have 
the picturesque mountain scenery of the 
,alps for their background1 and         
sometimes a pretty cottage is included  
in the scene4 ,a characteristic example 
is the ,little ,rabbit-,seller4 ,a group
 of children gather round a little girl1
 who carries1 suspended from her        
shoulders1 a large basket of rabbits4   
,two of the number peep with intense    

interest into the basket1 delighted with
 the opportunity to feed the pretty     
creatures4 ,the others are talking with 
the young merchant1--a school-boy with  
book satchel held behind him1 and an    
older girl holding a curly-haired child 
on her back4 ,the pure1 gentle face of  
the young girl is one not to be easily  
forgotten1 and which reappears on other 
canvases of the artist4 ,the            
affectionate care of this older sister  
for the child she carries is one of many
 instances in which the same trait is   
shown in ,meyer's pictures1 and is      
eminently characteristic of the         
,germans4  ,the earnest piety in which  
the children of these simple-hearted    
people are reared is beautifully        
expressed in the companion pictures1    
,morning ,prayer and ,evening ,prayer1  
as well as in one called ,simple        
,devotion1 where a little girl offers a 
bouquet to the ,virgin of a wayside     
shrine4  ,in whatever mood the children 
are portrayed1 they are always entirely 

unconscious of observers1 never posing  
for the artist1 but caught unawares on  
his canvas1 in the midst of their       
pursuits4 ,in this way they always make 
pictures with stories in them1 of just  
the kind to delight the heart of a      
child4  ,such art carries a beautiful   
and enduring lesson1 whether the scenes 
it represents are ,german or ,french1   
,english or ,american4 ,in these visions
 of the simple and joyous life of the   
country1 we are brought1 as it were1    
face to face with ,nature1 to enjoy her 
sweetest and most beneficent influence4 
,,iv4  ,,the ,,child-,,life ,,of ,,the  
,,streets4         ,when ,i was a       
beggarly boy1       ,and lived in a     
cellar damp1     ,i had not a friend nor
 a toy1       ,but ,i had ,aladdin's    
lamp2     ,when ,i could not sleep for  
cold1       ,i had fire enough in my    
brain1     ,and builded1 with roofs of  
gold1       ,my beautiful castles in    
,spain6                                 
,,lowell4     ,,chapter ,,iv4  ,,the    

,,child-,,life ,,of ,,the ,,streets4    
,ragged1 dirty1 and unkempt2 untrained  
in all the pretty graces of refinement2 
deprived of all the fostering care of   
the home1 how can the children of the   
street afford the artist any subjects   
for his canvas8 ,because1 in spite of   
deprivation and poverty1 they possess   
the imperishable treasure of a happy    
heart2 and happiness is the true secret 
of the beauty of childhood4 ,the child's
 buoyant vitality is proof against any  
disadvantages in his external           
surroundings2 for his horizon is limited
 to the present4 ,yesterday's hunger is 
quickly forgotten in to-day's plenty2   
the fatigue of the morning's toil       
vanishes in the evening's frolic2 even  
the wounds of a cruel blow are readily  
healed by a friendly word4 ,unconscious 
of any disparity between himself and    
others1 he is equally contented with his
 lot1 whether his clothing be velvet or 
rags1 whether his play-ground be a royal
 park or the streets of a great city4   

,the artistic possibilities of street   
material lay long undiscovered through  
the first centuries of the ,art         
,renaissance1 when the subjects were    
chiefly religious and mythological4 ,it 
is then to ,murillo and his matchless   
pictures of the beggar boys of ,seville 
that we may attribute the real origin of
 this department of genre painting4     
,murillo had himself known something of 
poverty and homelessness4 ,left an      
orphan at the age of eleven1 he was     
thrown entirely upon his own resources  
at nineteen1 his equipment for life     
being a few years' apprenticeship in the
 studio of his uncle1 ,juan del         
,castillo4 ,in the years of hard work   
that followed1 he laid the foundations  
of a career destined to be one of the   
most notable in the history of art4     
,illustration3 ,,beggar                 
,,boys4--,,murillo4  ,there was held one
 day every week1 in a large public      
square of ,seville1 an open-air market  
called the ,feria1 at which meat and    

fish1 fruit and vegetables1 old clothes 
and old iron1 were heaped upon stalls or
 piled upon the pavement for the        
examination of customers4 ,last but not 
least of all the commodities here       
displayed were paintings1 offered for   
sale by the artists themselves1 who were
 supplied with brushes and colors to    
adapt the details to the purchasers'    
taste4 ,it may be imagined that these   
pictures of the ,feria were not works of
 high art1 nor was there much stimulus  
to artistic talent in their production4 
,nevertheless1 it was in this business  
that the young ,murillo began his       
career2 and it was in this way1         
doubtless1 that he came to observe      
closely1 and to store up in his artist's
 memory the picturesque effects among   
the children who swarmed in the sunny   
square4 ,perfect types of glowing health
 were these nut-brown sons and daughters
 of ,andalusia1 enjoying life with the  
indolence and simple merriment          
characteristic of a southern race4 ,it  

was ,murillo's delight to portray them  
in their happiest moods4 ,sometimes they
 are playing games on the pavement1 as  
in the ,dice ,players2 again1 they are  
feasting upon the luscious native       
fruits1 as in the celebrated pictures of
 the ,munich ,gallery4 ,with what       
delicious enjoyment do the little       
vagabonds poise above their open mouths 
a cluster of purple grapes or a slice of
 rich melon6 ,their ragged garments     
scarcely suffice to cover them2 their   
arms and legs are bare2 their abundant  
dark curls have known no combing1 and   
they are undeniably dirty4 ,and yet they
 are perfectly charming4 ,the rich tints
 of their sunburned skin2 the dark      
liquid eyes of the ,spanish race2 the   
beautiful curves of their plump necks   
and shoulders2 the free grace of their  
attitudes1--all combine to make them    
picturesque and attractive4  ,the dirt  
is rendered with an unsparing realism   
which1 in a few instances1 is carried   
beyond the limits of good taste4 ,such  

is the case with ,el ,piojoso of the    
,louvre1 which represents a little      
beggar removing vermin from his body1   
and which ,mr4 ,ruskin has severely     
denounced4 ,another picture in ,munich1 
and one at ,st4 ,petersburg1 belong to  
the same class2 but these may be        
considered exceptions to the rule4 ,the 
general statement holds true1 that the  
real motif of ,murillo's beggar-boy     
pictures is the simple1 natural         
enjoyment which may render attractive1  
and even beautiful1 the most unlovely   
surroundings4  ,the artist shows a fine 
insight into human nature in his        
appreciation of the companionship       
between the street boy and the small    
dog4 ,the famous ,beggar-boy of the     
,hermitage ,gallery at ,st4 ,petersburg 
is a capital example4 ,the boy1 standing
 by a wall1 with a basket of fruit in   
his hand1 turns to smile at his dog1    
with a perfect expression of good       
comradeship4 ,in several other          
paintings1 where the boys are eating1 a 

little dog stands by1 watching the      
tempting morsels enviously1 with the    
hope of getting a share in due time4    
,england is especially rich in examples 
of ,murillo's street scenes4 ,besides   
the well-known picture in the ,national 
,gallery1 there are three fine works at 
,dulwich ,college1#ae and many others   
scattered through the galleries of      
private collectors4 ,this fact may be   
the reason that ,murillo was first      
popularly known in ,england for this    
class of subjects1 rather than for his  
religious art4  ,one of ,murillo's most 
ardent admirers among modern ,english   
artists is ,mrs4 ,henry ,m4 ,stanley1   
first known in the art world as ,dorothy
 ,tennant4 ,she gayly avers that the    
most interesting object to her1 when as 
a small girl she was taken for her daily
 walk1 was some dear little child in    
tatters4 ,the small young lady's        
interest in street children was         
something more than philanthropic2 it   
was intensely artistic4 ,as soon as she 

could wield a pencil1 she began to make 
ragamuffin pictures1 and to dream of a  
career as the champion painter of the   
poor4 ,gifted with a keen sense of      
humor1 she was quick to see the happy   
side of a life whose exterior is        
apparently one of misery2 and it was    
this side which she determined to       
portray4 ,murillo's happy beggar boys   
were her ideal2 ,hogarth's work also    
commanded her admiration4 ,following in 
the footsteps of these great            
predecessors1 she sought for her models 
the merry1 reckless1 happy-go-lucky     
urchin2 the tomboy girl2 and the plump1 
untidy mother1 dancing and tossing her  
ragged baby4  ,such subjects would      
naturally be more difficult to find in  
,london than in ,seville2 and one could 
not walk about the streets of the bleak 
northern metropolis without seeing many 
little waifs whose pitiable condition   
contrasts sadly with the jocund poverty 
of ,murillo's ,andalusian beggars4 ,thus
 it is that1 in spite of the most       

cheerful intentions1 ,mrs4 ,stanley has 
often produced pictures full of pathos4 
,the wan little violinist1 sitting on   
the edge of his poor bed1 and clasping  
his sister in his arms1 is a sad little 
figure4 ,another picture1 that brings   
tears of sympathy to our eyes1 is the   
hungry-looking boy1 also a violinist1   
gazing wistfully into the window of a   
pastry-cook's1 where a placard proclaims
 that hot dinners are five-pence4       
,equally pathetic is a scene inside the 
same shop1 where a little waif is held1 
fainting1 in the arms of the proprietor1
 while other children gather round to   
see4  ,illustration3 ,,london ,,street  
,,arabs4--,,dorothy ,,stanley4  ,it is a
 relief to turn from these to the       
subjects which are the artist's most    
characteristic field1 and to enjoy with 
her the romps and pranks of the street  
,arabs4 ,a clever picture of this class 
is the big boy using a smaller one as a 
wheelbarrow1 the small boy's arms       
supporting the machine1 and his legs    

furnishing the handles4 ,of kindred     
nature is a sort of double pick-a-back1 
or pyramid1 in which three ragged       
urchins are enjoying themselves hugely  
in the attempt to carry out so          
remarkable a feat4 ,in the line of      
gymnastics1 also1 is the really         
admirable painting exhibited at the ,new
 ,gallery in #ahij1 which portrays three
 delicious youngsters turning           
somersaults over a rail1 while a little 
girl at each end looks on admiringly4   
,the original of the little chap hanging
 head downward may have been the ,boy   
,taylor1 of dragon fame1 of whom the    
artist writes in her ,street ,arabs4    
,having once figured in a circus as a   
green demon1 or dragon1 his experience  
made him very quick at catching         
attitudes2 and1 proud of his powers of  
endurance1 he begged ,mrs4 ,stanley to  
paint him standing on his head1 assuring
 her that he preferred that position to 
any other6  ,larger pictures of merry   
street life are a company of young      

people dancing to the music of a        
hand-organ1 a group of children playing 
blind-man's buff1 and so many others    
that the description would become       
tiresome4 ,many of these were made to   
illustrate children's stories in ,little
 ,folks and the ,quiver1 while others   
adorn the collections of fortunate      
possessors4 ,all of them illustrate     
admirably the artist's firm conviction  
that no ragamuffin is ever common or    
vulgar4  ,the sympathetic interest and  
enthusiasm which ,mrs4 ,stanley has     
shown for the ,london street ,arab finds
 an interesting parallel in the work of 
,marie ,bashkirtseff4 ,though ,russian  
by birth1 ,mademoiselle ,bashkirtseff   
passed the greater part of her short    
life in ,france1 and1 belonging to a    
wealthy and distinguished family1 was   
educated amidst all the luxuries and    
gayeties of fashionable ,parisian life4 
,but the girl's indomitable spirit was  
not to be hindered by the bonds of      
social restraint1 and she devoted       

herself to art with an almost passionate
 intensity4 ,struggling constantly      
against the inroads of a fatal disease1 
and cut down on the very threshold of   
life1 she produced but few works to show
 to the world what heights she was      
capable of attaining4 ,of these1 the two
 which rank first1 and which are best   
known to her admirers1 are studies of   
the ,paris gamin4  ,jean and ,jacques   
was exhibited at the ,salon of #ahhc1   
and not only won the high praise of many
 eminent artists1 but also received     
honorable mention from the committee4   
,the picture is described in the        
artist's journal as two little boys1 who
 are walking along the pavement1 holding
 each other by the hand2 the elder1 a   
boy of seven1 holds a leaf between his  
teeth1 and looks straight before him    
into space2 the other1 a couple of years
 younger1 has one hand thrust into the  
pocket of his little trousers1 and is   
regarding the passers-by4  ,scarcely had
 this picture been completed1 when      

another street scene suddenly flashed   
upon the imagination of the ambitious   
young painter1 and she straightway set  
to work upon it4 ,the result was ,the   
,meeting1 exhibited at the ,salon of    
#ahhd4 ,it represents a group of six    
boys1 standing at a street corner1      
engaged in plotting some mischief4 ,from
 the oldest1 a school-boy of twelve1 to 
the little fellow in a pinafore1 they   
are intent1 eager1 alert2 absorbed in   
the scheme which they are discussing4   
,they have sometimes been criticised for
 being ugly2 but as the artist wittily  
says1 ,one does not see such miracles of
 beauty among the little boys who run   
about the streets1 and the models were  
chosen for the expressiveness of their  
faces4  ,the painting met with          
instantaneous approval1 not only from   
eminent artists1 but from the public1   
whose judgment on such subjects is even 
more conclusive4 ,all the leading       
periodicals obtained permission to      
engrave it1 and it became the talk of   

the hour4 ,the signature1 ,m4           
,bashkirtseff1 left the sex of the      
artist an open question1 and there were 
those who could not believe that it was 
the work of a woman1 and a young one at 
that4  ,illustration3 ,,the             
,,meeting4--,,marie ,,bashkirtseff4     
,mademoiselle ,bashkirtseff found great 
amusement in visiting the exhibition1   
watching the people look at her picture1
 and laughing in her sleeve to imagine  
their amazement should they know that   
the elegantly dressed young lady sitting
 near it was the artist4  ,the sequel is
 full of pathos4 ,in spite of all the   
praises heaped upon it1 ,the ,meeting   
did not receive a medal4 ,to the        
ambitious young girl the disappointment 
was most humiliating1 and with          
characteristic sincerity she did not try
 to conceal her indignation and chagrin4
 ,justice came at last1 but all too     
late4 ,when the bright young hopes were 
stilled in the quiet of death1 the      
picture was honored with a place in the 

,luxembourg1 where it hangs to-day1 an  
admirable representation of that most   
interesting genus1 the ,paris gamin4    
,the ,american street boy is a distinct 
type3 his ambition is to rise in the    
world4 ,wealth1 fame1 and power may be  
his1 if he will but labor to attain     
them1 and to this end he throws himself 
ardently into the building of a career4 
,for a certain portion of the day he is 
a man of affairs4 ,dashing through the  
net-work of wheels1 in the thickest     
traffic of crowded thoroughfares1       
jumping on and off moving cars and      
carriages1 pushing his way with untiring
 zeal1 he shows a reckless daring and a 
dauntless energy which are unmatched    
among any other people4 ,his duties     
done1 he is a gentleman of leisure4 ,he 
may amuse himself now as he pleases1 and
 his recreations show the same          
versatility displayed in his business   
enterprises4 ,possessed of a lively     
imagination and a keen sense of humor1  
he is never at a loss for a source of   

fun4 ,he is as generous as he is        
mischievous1 always willing to share his
 good things with his companions4       
,altogether1 he is an interesting and   
attractive figure1 and it is no wonder  
that he has long since made his         
appearance on the canvas4               
,illustration3 ,,castles ,,in           
,,spain4--,,john ,g4 ,,brown4  ,probably
 the most conspicuous painter of        
,american street subjects is ,john      
,george ,brown1 of ,new ,york4 ,a       
resident of this city for more than     
forty years1 ,mr4 ,brown has made it his
 life-work to study the character and   
customs of the poorer classes of        
children4 ,newsboys and boot-blacks are 
his special friends1 and among them he  
finds many fine examples of the best    
characteristics of human nature4  ,the  
,wounded ,playfellow shows how easily   
the street boy's sympathies are touched 
by the suffering of an animal4 ,a little
 urchin carefully holds a dog in his    
arms1 while another deftly binds a      

bandage about the poor creature's broken
 leg4 ,a third boy and a small girl are 
the interested spectators4 ,the intense 
and eager interest with which the entire
 group regard the operation is admirably
 portrayed4  ,the natural bent of ,young
 ,america towards politics and oratory  
is seen in the ,stump ,speech1 an oil   
painting which was exhibited at the     
,columbian ,exposition4  ,mr4 ,brown    
uses water colors1 as well as oils1 for 
a medium of expression1 being the       
president of the ,water ,color ,society1
 which he helped to found4 ,an example  
of this kind of work is his picture     
called ,free from ,care4 ,a bright-faced
 boot-black stands leaning against a    
wall1 with one thumb thrust in his      
trousers pocket1 and a general air of   
having thrown aside business            
responsibility for a good time4         
,equally free from care1 and happy in   
this privilege1 is the boy1 seated on a 
box1 blowing soap-bubbles4 ,his simple  
delight in this innocent pastime1 and   

the almost dreamy look with which he    
watches the fairy bubble1 show a        
hitherto unsuspected vein of poetry in  
the street-boy nature4  ,the boot-black 
appears ordinarily in the most prosaic  
light1 as a practical individual1 whose 
chief concern is the struggle for daily 
bread4 ,but this is only half the truth4
 ,under his rough exterior he hides a   
heart keenly responsive to beauty4 ,his 
youthful imagination is1 in ,lowell's   
happy phrase1 a veritable ,aladdin's    
lamp1 with which he transforms the      
meagreness of his surroundings into the 
splendid luxuries of a castle in ,spain4
     ,v4  ,,child-,,angels4         ,he 
shall give his angels charge over thee1 
,to keep thee in all thy ways4     ,they
 shall bear thee up in their hands1     
,lest thou dash thy foot against a      
stone4                                  
,,psalm ,,xci4     ,,chapter ,v4        
,,child-,,angels4   ,to represent the   
perfect innocence and purity of an      
angel1 a being whose native atmosphere  

is the very presence of ,god1 a creature
 not subject to the limitations of      
physical laws1 ever speeding on divine  
errands from heaven to earth and back   
again to heaven1 nothing could be more  
natural than that art should use the    
face and form of innocent human         
childhood4  ,child-angels were first    
seen in art during the ,italian         
,renaissance1 and formed a conspicuous  
feature in the religious paintings of   
the period4 ,one of the most interesting
 and beautiful forms in which they      
appear is as a great host1 or glory1    
filling the background of a composition4
  ,from the announcement of the         
,saviour's birth to the ,galilean       
shepherds1 to the vision of ,saint ,john
 on the ,isle of ,patmos1 we find       
various allusions in the ,new ,testament
 to the presence of angel companies in  
the affairs of human life4 ,it was      
therefore entirely legitimate and       
appropriate to introduce a visible      
embodiment of the heavenly hosts into   

the many sacred scenes portrayed in art1
 whether these were representations of  
the actual incidents of ,bible history1 
or the imaginative embodiments of       
religious ideals4  ,the ,sistine        
,madonna suggests itself at once as a   
most beautiful illustration4 ,the entire
 canvas is studded with tiny child      
faces1 delicately outlined1--a veritable
 cloud of witnesses1 dissolving into the
 golden glory with which they are       
surrounded4 ,what a contrast is the     
exquisite spirituality of this          
conception to ,perugino's angel glories1
 where baby faces1 each with six        
many-hued wings are ranged at regular   
intervals throughout the composition6   
,a less notable example of ,raphael's   
unique treatment of the angel host is in
 his ,vision of ,ezekiel1 a small       
painting of earlier date than the       
,sistine ,madonna4 ,here the idea is    
manifestly drawn from the prophet's     
description of his vision of the four   
living creatures in a great amber wheel1

 which was full of eyes4  ,turning from 
,raphael's clouds of dimly suggested    
cherub faces to those representations of
 the angel throngs in which the child   
forms are more distinctly delineated1 we
 find that the great masters have made  
use of the myriad figures to express a  
corresponding variety in mood and       
character4 ,thus1 when the emotions of  
the principal personage in a composition
 are too complex to be adequately       
expressed on a single countenance1 the  
angel faces surrounding may each1 in    
turn1 convey some one of the many       
aspects of thought or feeling which go  
to make up the entire conception4  ,the 
,crucifixion#af is a striking instance  
of the mingling1 of contrasted          
emotions1--bodily suffering and         
spiritual victory1 worldly defeat and   
heavenly triumph1--all of which cannot  
be depicted on the face of the ,christ1 
but which a throng of attendant cherubs 
may fully interpret4 ,the same principle
 is illustrated in the many scenes of   

which the ,madonna is the central       
figure1 as the ,immaculate ,conception1 
the ,assumption1 and the ,coronation4   
,illustration3 ,,fragment ,,from ,,the  
,,assumption4--,,titian4  ,of such      
paintings1 ,titian's ,assumption is the 
most splendid example4 ,the ascending1  
,virgin is surrounded by a wreath of    
child-angels1 of surpassing grace and   
beauty4 ,it is of these that ,mrs4      
,jameson has written1 in her            
incomparable way1 that they are mind and
 music and love1 kneaded1 as it were1   
into form and color4 ,from a            
compositional point of view they serve  
an important purpose in directing the   
attention of the spectator to the       
principal figure of the picture4 ,all   
the gracefully intertwined limbs of the 
angelic host--outstretched arms and     
floating figures1--form the radii of a  
great semicircle centering in the       
beautiful ,madonna4  ,if ,titian's      
child-angels stand for the highest      
attainment in the idealization of child 

beauty1 those of ,rubens1 on the other  
hand1 are the most human and lovable    
ever conceived in art4 ,their lovely    
baby forms cluster in countless numbers 
about the glorified ,virgin1 joyously   
bearing palm and wreath in token of her 
triumph4  ,the name of ,murillo also    
occupies the first rank in the          
delineation of companies of             
child-angels4 ,called in turn the       
,titian and the ,rubens of ,spain1 he is
 like his ,venetian and ,flemish        
prototypes in his intense sympathy for  
childhood4 ,his angels have not that    
transcendent superiority to mortals     
which distinguishes ,titian's1 nor are  
they the dimpled bits of pink-and-white 
babyhood characteristic of ,rubens4     
,they belong somewhere between the two  
extremes1 and are remarkable for their  
innocence and purity of expression4 ,as 
the ,immaculate ,conception was         
,murillo's favorite subject1 it is here 
that we see his child-angels at their   
best4 ,he has also introduced them into 

the ,holy ,family of ,seville1 as well  
as into that most wonderful painting of 
the ,christ-child ,appearing to ,saint  
,anthony of ,padua4  ,a beautiful method
 of introducing child-angels into       
religious pictures1 differing widely    
from the treatment of angel hosts1 is to
 represent one#ag or two1 sometimes     
three1 in attendance upon the ,madonna  
and ,babe1 or the ,christ4 ,this is     
especially appropriate where the subject
 is treated devotionally1 and the       
central figure is elevated on a throne  
or pedestal1 with the angels at the     
foot4  ,among the ,florentine artists1  
the two friends ,raphael and            
,bartolommeo1 as well as their          
contemporary1 ,andrea del ,sarto1       
furnish many examples of these angel    
attendants4 ,with ,andrea del ,sarto1 as
 was characteristic1 they are bewitching
 winged boys2 while with ,bartolommeo   
and ,raphael they partake of a more     
delicate spirituality1 which marks them 
as truly celestial4  ,the ,madonna of   

the ,harpies1 which is considered the   
masterpiece of ,andrea del ,sarto1      
contains two charming cherubs1 which may
 be taken as excellent types of the     
artist's rendering of these subjects4   
,the ,two ,angels1 from his great       
painting of the ,four ,saints1 are      
somewhat above his average plane4 ,these
 lovely and graceful figures originally 
stood in the centre of a large          
composition1 but were at a later date   
removed from the canvas to make a       
separate picture4 ,their real           
significance is to show forth the beauty
 of a saintly life4 ,each carries a     
scroll1 and one points upward4  ,in the 
work of ,bartolommeo the finest cherubs 
are those of his ,throne ,madonna1 the  
,madonna ,enthroned1 and the ,risen     
,christ4 ,all three show the same       
masterly hand1 and express a similar    
conception of the office filled by the  
angels4 ,in every case one is looking up
 with a rapt expression of joy1 while   
the other is more contemplative1        

drooping the head as if in reflection4  
,the contrast suggests the distinction  
of early theology between the seraphim  
and cherubim1 the former being1         
according to etymological significance1 
the spirits who love and adore1 and the 
latter1 those who know and worship4     
,this distinction was scrupulously      
adhered to in early art by representing 
the seraphim as red1 and the cherubim as
 blue4 ,although later artists no longer
 observed any discrimination between two
 classes of celestial beings1 it may be 
that the difference between             
,bartolommeo's two angels is due to the 
influence of this idea4 ,be this as it  
may1 the fact remains that the          
opposition between them in face and     
attitude is exactly appropriate to      
symbolize one as love and the other as  
reflection4  ,this is very marked in    
,raphael's work1 as may be seen in his  
,madonna del ,baldacchino1 a painting   
whose style of composition is strikingly
 like that of ,bartolommeo4 ,of the two 

singing angels at the foot of the       
,madonna's throne1 one studies eagerly  
the meaning of his music1 while the     
other sings with the happy              
unconsciousness of a bird4 ,comparing   
with this ,raphael's grandest           
achievement1 the ,sistine ,madonna1 we  
find the same motif carried to its      
highest realization4 ,the two beautiful 
cherubs who lean upon the parapet at the
 bottom of the picture are perfect      
impersonations of the serene content and
 the thoughtful deliberation with which 
varying types of ,christian believers   
have received the great fact of the     
,incarnation4  ,the ,venetian painters  
delighted to put musical instruments    
into the hands of their child-angels1   
representing them as choristers1 hymning
 the praises of the infant ,saviour4 ,of
 these1 many notable examples were      
produced in the botteghe of the two     
rival artist families1 the ,bellini and 
the ,vivarini4 ,jacopo ,bellini and his 
two sons1 ,gentile and ,giovanni1 were  

the real founders of the ,venetian      
school1 and the work of ,giovanni became
 an ideal standard1 which his           
contemporaries essayed to follow4 ,luigi
 ,vivarini was so successful as his     
imitator that his paintings are often   
incorrectly assigned to the greater     
artist4  ,illustration3 ,,piping        
,,angel4--,,bellini4  ,the ,frari       
,madonna1 however1 is an undoubted      
,bellini1 and here the ,venetian        
conception of the child-angel is seen in
 its loveliest aspects4 ,two eager      
little choristers stand on the lower    
steps of the ,madonna's throne1         
exquisite courtiers of the ,infant      
,king1 as ,mrs4 ,oliphant gracefully    
calls them4 ,one1 myrtle-crowned1 is    
blowing on a pipe1 while the other bends
 gravely over a large lute4  ,the       
,madonna of the ,church of the          
,redentore#ah shows another pair of     
angel musicians1 sitting on a low wall  
in the foreground1 one at the head and  
the other at the feet of the sleeping   

,babe4 ,both are playing on lutes1 and  
the serious1 absorbed air with which    
they fulfil their task is delightful to 
see4 ,with lifted face and faraway eyes1
 they seem to be listening to a heavenly
 chorus1 of which their own melody is an
 echo4  ,any mention of the ,venetian   
type of angels would be incomplete      
without adding the names of ,palma      
,vecchio and ,carpaccio to the list of  
those who most delicately interpreted   
the subject4 ,examples of their work are
 scattered over ,northern ,italy1 but   
none perhaps are more representative    
than ,carpaccio's ,presentation1 in the 
,academy at ,venice1 and ,palma's       
altar-piece at ,zerman4  ,illustration3 
,,angel ,,from ,,painting ,,in ,,church 
,,of ,,redentore4--,,vivarini4  ,the    
child-angel as a playmate and companion 
of the ,christ-child is a conception    
which has not infrequently been         
represented in art with great           
appropriateness4 ,both ,van ,dyck and   
,lucas ,cranach have given us the       

,repose in ,egypt1 enlivened by the     
presence of a company of frolicsome     
cherubs sporting about the ,divine      
,babe4 ,rubens painted a lovely group of
 the ,infant ,jesus and ,saint ,john1   
seated on the ground1 playing with their
 celestial little visitors4 ,a ,holy    
,family1 by ,ippolito ,andreasi1        
represents angel children gathering and 
bringing grapes to the ,saviour4  ,with 
a small circle of ,florentine artists1  
led by ,botticelli1 and including       
,filippo ,lippi and ,filippino ,lippi1 a
 unique class of child-angels is in     
great favor4 ,these are children of a   
larger growth and maturer appearance    
than the infantine cherubs of           
contemporary artists1 and might properly
 be called angel-youths4 ,in the best   
examples their expression is an         
admirable mingling of strength and      
purity4 ,as attendants to the           
,christ-child1 they serve in various    
capacities with loving and reverent     
grace4  ,in ,botticelli's famous round  

,madonna of the ,uffizi1 one holds the  
ink vessel into which the ,virgin dips  
her pen as she writes the ,magnificat1  
two others hold a starry crown over her 
head1 and two more complete the group1  
as companions of the ,saviour4 ,in the  
,holy ,family1 by the same artist1 only 
two angels are introduced1 one of whom  
leans over a balustrade1 with a         
beautiful lily-stalk in his hand1 in    
token of the ,virgin's purity4  ,filippo
 ,lippi's charming rendering of         
angel-youths is best seen in the picture
 which represents the ,christ-child     
borne by two attendant cherubs in       
exemplification of the psalmist's words1
 ,they shall bear thee up in their      
hands1 lest thou dash thy foot against a
 stone4 ,the ,madonna stands before the 
,divine ,babe1 with hands clasped in    
adoration1 a lovely impersonation of the
 ,madre ,pia4  ,illustration3 ,,angel   
,,from ,,vision ,,of ,,madonna          
,,appearing ,,to ,,saint                
,,bernard4--,,filippino ,,lippi4  ,the  

,madre ,pia is also the subject of one  
of ,filippino ,lippi's most exquisite   
angel pictures4 ,the ,infant ,saviour   
lies on the ground1 in a garden1 while  
his mother kneels to adore him4         
,angel-youths surround him1 kneeling1   
and one stands showering rose-petals    
down upon him4  ,the masterpiece of     
,filippino ,lippi is the ,vision of     
,saint ,bernard1 in the ,badia at       
,florence1 and here again angel-youths  
are introduced with charming effect4    
,two are in the rear1 with hands clasped
 in adoration2 two are beside the       
,virgin1 bearing the weight of her      
mantle1 and raising their earnest young 
faces with sweet reverence4 ,one of     
these faces is presented in profile1 and
 has a delicately cut1 pure outline1 of 
rare gentleness and beauty4  ,the       
artist's ideal is wonderfully helpful to
 the imagination1 and the thought is    
full of comfort1 that it is loving and  
tender presences like these which are in
 charge over us1 to keep us in all our  

ways4     ,,vi4  ,,the ,,christ-,,child4
          ,and the ,child grew1 and     
waxed strong in spirit1 filled with     
wisdom3      and the grace of ,god was  
upon him4                               
,,luke ii4 #dj4     ,,chapter ,,vi4     
,,the ,,christ-,,child4   ,among the    
innumerable pictures in which the       
world's great religious painters have   
represented the scenes of the earthly   
life of our ,lord1 it is amazing to note
 the large proportion of subjects       
relating to his infancy and childhood4  
,what else can this mean than that the  
hearts of worshippers ever yearn towards
 that which they can understand and     
love1 and that thus1 of all the varied  
aspects of ,christ's character1 it      
appeals to us most forcibly that ,he was
 once a babe in the ,bethlehem manger4  
,to find the earliest delineations of   
the ,christ-child we must go to the     
,catacombs of ,rome1 and on the walls of
 their strange subterranean chapels     
retrace the fading features of the      

,divine ,babe as painted there centuries
 ago to cheer the hearts of ,christians4
 ,two of these primitive frescos are in 
the ,greek chapel of the ,catacomb of   
,s4 ,praxedes1#ai where they are a      
constant object of interest to the art  
pilgrim4 ,considered aesthetically1 they
 have of course no intrinsic beauty2 but
 to the thoughtful mind they stand for  
the beginnings of a great art movement  
which culminated in the canvases of     
,raphael and ,titian4  ,from the frescos
 of the ,catacombs the next step in the 
progress of ,christian art was to the   
mosaics ornamenting the basilicas2 and  
here the ,christ-child again appears as 
a conspicuous figure4 ,some of the most 
interesting of these mosaics#bj         
represent the ,babe receiving the gifts 
of the ,magi1--as at ,santa ,maria      
,maggiore in ,rome and at ,saint        
,apollinare in ,ravenna4 ,in others1 as 
at ,capua1 the ,child shares with the   
enthroned ,virgin the adoration of a    
surrounding group of saints4 ,still     

another of peculiar interest is at      
,santa ,maria in ,trastevere 7,rome71   
where the ,infant is suckled at his     
mother's breast4  ,when we enter that   
strange period of history known as the  
,dark ,ages1 we find the art products   
few and uninteresting2 but even then the
 ,christ-child is not forgotten1 and    
again and again he appears sculptured in
 marble over the portals of cathedrals1 
or painted in stiff ,byzantine style    
over their altars4  ,thus it was that in
 the new birth of art in ,italy1 when   
,niccolo ,pisano in sculpture1 and      
,cimabue in painting1 awakened the      
sleeping world to a love of beauty1 the 
,madonna1 with her heaven-born ,babe1   
was the first subject to arouse         
enthusiasm2 and it was for a picture of 
this sort that all ,florence went mad   
with joy1 as it was borne along ,the    
,street of ,rejoicing4  ,in early       
representations1 both in mosaics and    
paintings1 the ,child is dressed in a   
tunic1 white1 red1 or blue1 often very  

richly ornamented with gold embroidery4 
,this method obtained as late as the    
fourteenth century1 when ,fra ,angelico 
still painted the ,babe in the elaborate
 royal garments of a king4 ,but art at  
last returned to nature1 and from the   
fifteenth century the ,holy ,child was  
painted partially and sometimes wholly  
undraped1 with beautiful rounded limbs  
and soft pink baby flesh4  ,it was then 
that ,italy was transformed into a      
paradise of art1 and all the important  
cities were full of great painters whose
 hearts were aglow with the sacred fire 
of genius4 ,in the host of beautiful    
works which were produced in the next   
three centuries1 every type of treatment
 was exemplified1 varying from the most 
simple naturalism to the loftiest       
idealism4 ,the naive realism of         
,filippino ,lippi's chubby baby1        
placidly sucking his thumb as he looks  
out of the picture1 is matched in the   
frolicsome boys of ,andrea del ,sarto's 
many paintings1 smiling mischievously   

from the ,madonna's arms4 ,at the other 
extreme is the strangely precocious     
looking child of ,botticelli1 raising   
his eyes heavenward1 with a mystic smile
 on his serious face4  ,and when it     
would seem that every conceivable type  
of infancy1 and every imaginable        
situation had already been realized on  
the canvas1 ,raphael#ba arose to create 
an entirely new ideal4 ,his life was so 
short1 his work so surpassingly         
brilliant1 that it was as if a splendid 
meteor suddenly flashed across the      
starry firmament of the ,cinque-,cento4 
,perugino1 his master2 ,pinturicchio1   
his employer2 ,fra ,bartolommeo1 his    
friend2 ,andrea del ,sarto1 the         
faultless painter1 all paled before his 
rapidly increasing glory4 ,when he laid 
down his brush at the age of            
thirty-seven1 he had finished a career  
which is one of the miracles of history4
 ,his work is a complete epitome of     
religious art1 including all the great  
themes1 and enveloping each with an     

atmosphere of pure spirituality1        
indescribably elevating to mind and     
soul4  ,his conception of the           
,christ-child ranges from the sleeping  
,babe from whose innocent face the      
,madonna of the ,diadem softly lifts a  
veil1 to the grave boy whom the ,chair  
,madonna clasps in her arms4 ,every     
shade of playfulness1 of affection1 of  
dignity1 and of contemplation1 is       
mirrored in the long series of pictures 
in which he embodied his ever-changing  
ideal of the ,divine ,infant4           
,illustration3 ,,madonna ,,di ,,casa    
,,tempi4--,,raphael4  ,the magnificent  
versatility of his genius is admirably  
illustrated by the contrast between two 
of his finest works1--the ,madonna of   
the ,casa ,tempi and the ,madonna di    
,san ,sisto1 standing the one for the   
human aspect and the other for the      
divine1 in the incarnation of the ,son  
of ,god4 ,the first shows an ideal      
mother fondly pressing her darling's    
cheek against her own2 the second is a  

vision of ideal womanhood hastening down
 the centuries to present the ,word to  
the waiting world4  ,the ,christ-child  
of the ,tempi painting is a dimpled baby
 shyly nestling against his mother's    
breast2 the ,sistine ,child is a royal  
messenger lightly enthroned upon the    
,madonna's arm4 ,in one conception1     
,mother and ,son are absorbed entirely  
in each other2 in the other1 they think 
only of their mission to humanity1 their
 wide eyes searching the future with    
far-seeing gaze1 and their thoughts     
intent upon the coming of the heavenly  
kingdom4  ,we can appreciate the ,tempi 
,madonna at the first glance2 the       
meaning of the ,sistine ,madonna we can 
never fully reach1 though to contemplate
 it day by day is to feel our thoughts  
become purer and our aspirations nobler4
  ,a feature of the child-life of ,jesus
 upon which ,raphael loved to dwell is  
his companionship with his cousin ,john1
 a boy of nearly the same age1 whose    
destiny was indissolubly linked with the

 ,christ4 ,following the ,gospel        
description of the ,baptist when he came
 forth from the desert clothed with     
camel's hair and with a girdle of skin  
about his loins1 the artist has         
represented the child ,john as a dark1  
faun-like boy1 with a little skin       
garment girt about him1--a picturesque  
figure to contrast with the fair beauty 
of the ,christ-child4  ,the two boys are
 most charming1 when1 as in the ,madonna
 of the ,pearl1 the little ,john seeks  
with childish eagerness to please his   
cousin4 ,here he is running gleefully to
 ,jesus1 with his skin garment full of  
newly gathered fruit4 ,the              
,christ-child1 seated on his            
grandmother's knee1 beside his mother1  
stretches out his hands for the gift1   
his face shining with simple1 child-like
 pleasure4 ,at another time ,saint ,john
 brings a goldfinch to the ,virgin's    
knee1 and the two children lean lovingly
 against her1 ,jesus turning his earnest
 eyes towards the bird1 which he        

thoughtfully strokes4 ,a very pretty    
incident is embodied in the             
,aldobrandini ,madonna1 where the       
,christ-child reaches from his mother's 
arms to smilingly bestow a flower upon  
,saint ,john4  ,other pictures          
introduce1 more or less definitely1 an  
element of devotion on the part of the  
infant ,baptist1 as in the ,madonna of  
the ,meadow1 where he kneels to receive 
the cross from the hands of the         
,christ-child4 ,the devotional relation 
is still more marked in the ,belle      
,jardiniere of the ,louvre4 ,in the     
,holy ,family of ,casa ,canigiani1      
,jesus is giving ,saint ,john a banner  
with the words ,ecce ,agnus ,dei4  ,the 
two boys1 as the central figures of the 
,holy ,family1 have engaged the brush of
 nearly every great religious painter1  
some producing familiar and domestic    
scenes1 others emphasizing the symbolic 
and religious significance of the theme4
 ,andrea del ,sarto treated the subject 
many times1 and usually portrayed the   

children in a natural and playful       
intimacy4 ,pinturicchio painted them    
running across a flowery meadow to get  
water from a fountain4 ,guilio ,romano  
has given us the decidedly domestic     
scene of ,jesus in the bath1 with ,saint
 ,john merrily pouring water upon him4  
,sometimes1 as in a lovely work by      
,angiolo ,bronzino1 ,saint ,john is     
affectionately kissing the sleeping     
,babe4  ,it was a beautiful thought on  
the part of some few artists1--notably  
,palma ,vecchio1 ,luini1 and            
,murillo1--to introduce a lamb as a     
playmate for the children1 the          
suggestion having its origin in the     
,baptist's description of ,jesus as the 
,lamb of ,god4  ,in ,botticelli's ,holy 
,family1 ,saint ,john stands by with    
clasped hands1 adoring the ,infant4     
,perugino places him kneeling at a      
little distance in the rear1--a perfect 
embodiment of childish devotion4 ,in a  
painting by ,titian1 also1 he kneels    
apart1 leaning on his cross1 and in one 

by ,guido1 he humbly kisses the         
,christ-child's foot4  ,in a lovely     
picture by ,murillo1 called the         
,children of the ,shell1 he kneels to   
drink from a cup which the little ,jesus
 holds to his lips4 ,here the contrast  
between the two is exquisitely rendered1
 both from the artistic and the         
religious point of view1 the            
,christ-child bearing the unmistakable  
stamp of superiority1 in spite of his   
childish figure1 while the infant ,john 
is a charming impersonation of reverent 
and loving humility4  ,the religious    
spirit of the old masters has not been  
successfully imitated by any modern     
artist who has attempted to delineate   
the ,infant ,jesus and ,saint ,john1 nor
 is this to be expected4 ,there are many
 pleasing works of art1 however1 which1 
though differing widely from early      
,italian standards1 have an             
attractiveness of their own4  ,such1 for
 instance1 is ,boucher's painting1      
thoroughly characteristic of the artist1

 and1 when considered in itself1 a very 
pretty thing4 ,the two plump babies are 
bewitching little figures1 irresistibly 
lovable in their dimpled beauty4 ,sweet 
cherub faces peep from the surrounding  
clouds1 regarding the holy children with
 wondering awe4  ,illustration3 ,,infant
 ,,christ ,,and ,,saint                 
,,john4--,,boucher4  ,the figure of the 
,christ-child alone does not belong to  
the early ,renaissance1 but by the      
seventeenth century1 the subject had    
found favor with ,guido and             
,franceschini in ,italy1 and with       
,murillo and ,zurbaran in ,spain4 ,with 
all these artists it was a favorite     
custom to depict the child ,jesus asleep
 on the cross4 ,murillo's ,infant       
,saviour1 plaiting a crown of thorns1   
also belongs to this class4 ,these forms
 of symbolic illustration have their    
modern counterpart in the work of       
several ,german artists4 ,as the ,gospel
 narrative furnishes no actual incidents
 of the early childhood of ,jesus1 he is

 shown in some attitude which will      
suggest his divine calling4 ,painted by 
,ittenbach1 he raises his right hand to 
point the heavenward way1 while with his
 left he indicates his name inscribed in
 the letters ,i4 ,h4 ,s4 on the breast  
of his tunic4 ,in ,sinkel's picture he  
holds a tablet of the ,commandments1    
with his finger on the fourth1 a sweet  
expression of ,sabbath peace on his     
face4  ,professor ,deger's picture      
expresses a unique and lovely conception
 of the ,christ-child in the fields1    
communing with his ,father1 and         
preparing for his ministry4 ,he is a    
dreamy-looking boy1 of delicate         
features1 and broad1 high brow1 with    
fair curls blowing away from his face4  
,though alone1 he lifts his hand in     
blessing1 as if1 in his prophetic       
imagination1 the meadows were already   
peopled with the throngs to whom he is  
to teach the sweet lessons of the lilies
 and the sparrow4  ,illustration3 ,,the 
,,christ-,,child4--,,deger4  ,the       

childhood of ,jesus came to an end at   
the age of twelve1 when he awoke to the 
realization that he must be about his   
,father's business4 ,it was a great     
moment in the quiet life of the         
,nazarene lad4 ,mary and ,joseph having 
to make their annual journey to         
,jerusalem to celebrate the ,passover1  
had brought him with them1 and allowed  
him to wander from them4 ,supposing him 
to be among the company with which they 
were travelling1 they were well on their
 homeward way1 when they discovered that
 he was missing4 ,returning to the city1
 and seeking him hither and thither1    
they at length found him in the temple1 
sitting in the midst of the doctors1    
both hearing them1 and asking them      
questions4 ,and all that heard him were 
astonished at his understanding and     
answers4  ,it was the latter part of    
this account which the early masters    
seized as the motif of the ,dispute in  
the ,temple1 and interpreted as meaning 
that the boy ,christ assumed the        

position of teacher and preacher to the 
doctors4 ,in the paintings of ,duccio   
and ,giotto1 he is sitting on a         
platform1 with the mien and gesture of a
 learned doctor2 while other artists    
place him on a sort of throne or pulpit4
 ,it was left to modern art to conceive 
the true significance of the event1 and 
to put before us the eager boy1         
listening and asking questions4         
,professor ,heinrich ,hofmann's         
beautiful picture shows a profound      
insight into the wonderful childhood of 
,jesus1 as well as a fine sense of      
artistic composition4 ,the boy stands in
 the midst of the group1 lifting his    
eager1 inquiring face to the learned    
doctors surrounding him4 ,his expression
 conveys all the earnestness of his     
questionings1 and at the same time shows
 the depth of that power of             
understanding which so amazed the       
listeners4 ,looking from his bright     
young face to the staid countenances of 
the professed expounders of the law1 a  

new light flashes upon that mysterious  
utterance which fell in after times from
 the same inspired lips3 ,i thank thee1 
,o ,father1 ,lord of heaven and earth1  
that thou hast hid these things from the
 wise and prudent1 and hast revealed    
them unto babes4  ,illustration3 ,,head 
,,of ,,boy ,,christ4--,,hofmann4        
99       99       99       99       99  
,,notes4     ,,notes4  ,,chapter        
,i4--,,page #c4  #a ,of this picture1   
,claude ,phillips justly observes that  
it has been not a little cheapened and  
obscured by frequent copies1 in which   
the delicate essence of the original has
 been allowed to evaporate2 but a glance
 at the picture itself renews the magic 
spell of the master4  ,the plate for our
 illustration1 being made from a        
photograph taken directly from the      
original painting1 reproduces the spirit
 of the picture with remarkable         
fidelity4   ,,chapter ,,ii4--,,page #bi4
  #b ,the children of the ,english court
 were not alone in the good fortune of  

being immortalized by the brush of ,van 
,dyck4 ,the great artist also painted a 
little ,prince of ,savoy1 with his      
sister1--a picture which is now in the  
,royal ,gallery at ,turin4  #c ,a       
portrait of ,prince ,balthasar in court 
dress1 by ,velasquez1 is in the         
,belvedere at ,vienna4  #d ,dr4 ,carl   
,justi has various strong arguments to  
prove that the ,prado portrait of ,maria
 ,theresa is incorrectly so called1 and1
 in reality1 represents the ,infanta    
,marguerite4 ,the picture is1 however1  
widely accepted as a genuine ,maria     
,theresa1 and is catalogued as such by  
,curtis4 ,i have1 therefore1 thought    
best to follow the opinion of the       
majority on this point4  #e ,titian     
painted a charming portrait of the      
,princess ,strozzi1 which is now in     
,berlin4  #f ,holbein painted the little
 ,prince ,edward1 afterwards ,edward    
,,vi41 in two extant portraits1--one1 a 
miniature1 in the possession of the     
,duke of ,devonshire1 another at        

,windsor4   ,,chapter ,,iii4--,,page    
#eg4  #g ,the dates of ,gainsborough's  
life are #agbg-aghh4  #h ,the two       
pictures for which ,jack ,hill served as
 model are ,jack ,hill in a ,cottage1   
and ,jack ,hill1 with his ,cat1 in a    
,wood4  #i ,gainsborough was followed by
 several ,english artists celebrated for
 their pictures of the child-life of the
 country4 ,of these1 the most notable   
were ,sir ,david ,wilkie and ,william   
,collins4 ,wilkie's ,blind-,man's ,buff1
 and ,collins's ,happy as a ,king are   
representative examples of their work4  
#aj ,jean ,baptiste ,greuze was born in 
#agbe1 and died in #ahje4  #aa ,the     
,father ,explaining the ,bible to his   
,children is now in the ,dresden        
,gallery4 ,mrs4 ,stranahan1 in her      
,history of ,french ,painting1 calls    
attention to the fact that the poet     
,robert ,burns celebrates the same scene
 in his ,cotter's ,saturday ,night4  #ab
 ,the ,village ,bride1 called in        
,french1 ,l',accordee du ,village1 is in

 the ,louvre1 ,paris4  #ac ,although    
,greuze is usually spoken of as         
introducing a new line of subjects into 
,french art1 it is fair to say that     
,chardin 7#afii-agii7 had already given 
the initiative4 ,the ,little ,girl at   
,breakfast1 exhibited at the ,salon of  
#agcg1 and ,le ,benedicite1 from the    
,salon of #agdj1 are highly praised by  
,mrs4 ,stranahan for their sympathetic  
treatment of domestic scenes in humble  
life4  #ad ,this description1 which ,i  
have rendered somewhat freely into      
,english1 is an extract from a letter   
addressed by ,mademoiselle ,philipon to 
the ,demoiselles ,cannet4   ,,chapter   
,,iv4--,,page #hg4  #ae ,the three      
paintings by ,murillo in the ,dulwich   
,gallery1 to which reference is made1   
are3--  ,the ,flower ,girl1 ,two ,boys  
and a ,dog1 and ,three ,boys1--one      
eating a tart4 ,the gallery also        
contains a religious painting by        
,murillo4   ,,chapter ,v4--,,page #aae4 
#af ,the representation of the          

,crucifixion1 with attendant angels1 is 
very frequent in ,renaissance art4 ,for 
examples among the earlier painters1    
,duccio and ,giotto may be mentioned1   
while in a later period ,luini and      
,gaudenzio adopted the same motif1 with 
characteristic results4  #ag ,for       
examples of single child-angels1 see    
,raphael's ,madonna di ,foligno1 in the 
,vatican at ,rome1 and ,bartolommeo's   
,madonna and ,saints1 in ,san ,martino1 
,lucca4  #ah ,the ,madonna of the       
,church of the ,redentore is popularly  
attributed to ,bellini1 but is more     
probably the work of ,luigi ,vivarini4  
,for arguments1 see ,crowe and          
,cavalcaselle1 ,history of ,painting in 
,north ,italy1 vol4 i41 pages #fd and   
#ahf4   ,,chapter ,,vi4--,,page #ada4   
#ai ,my authority on these frescos is   
,charles ,i4 ,hemans1 who states 7page  
#gj of ,ancient ,christianity and       
,sacred ,art7 that conjecture has       
assumed antiquity as high as the first  
century for some paintings in the       

catacombs of ,s4 ,praxedes1 but does not
 mention whether these are of the       
number4  ,van ,dyke1 in his             
,christ-child in ,art 7page #abj71      
describes an interesting third century  
fresco in the catacomb of ,,ss4         
,marcellinus and ,peter1 representing   
the ,adoration of the ,magi4  #bj ,the  
mosaics at ,santa ,maria ,maggiore are  
assigned to the fifth century2 those at 
,s4 ,apollinare ,nuova1 ,ravenna1 to the
 sixth century4 ,see ,hemans1 ,ancient  
,christianity and ,sacred ,art4  ,for   
further descriptions of the mosaics at  
,capua and at ,santa ,maria in          
,trastevere1 ,rome1 see ,mrs4 ,jameson's
 ,legends of the ,madonna4 ,for an      
engraving of the ,virgin and ,child in  
the ,ravenna mosaic1 see ,van ,dyke's   
,christ-child in ,art4  #ba ,the present
 location of all the works of ,raphael  
mentioned in this chapter may be seen in
 the following list3--      ,madonna of 
the ,diadem1 ,louvre1 ,paris4     ,chair
 ,madonna 7,madonna della ,sedia71      

,pitti1 ,florence4     ,madonna of the  
,casa ,tempi1 ,munich4     ,sistine     
,madonna1 ,dresden4     ,the ,pearl1    
,madrid4     ,madonna of the ,goldfinch 
7del ,cardellino71 ,pitti1 ,florence4   
,aldobrandini ,madonna1 ,national       
,gallery1 ,london4     ,madonna of the  
,meadow1 ,vienna4     ,la ,belle        
,jardiniere1 ,louvre1 ,paris4           
,madonna of the ,casa ,canigiani1       
,munich4     ,,bibliography4    ,,allan 
,,cunningham3 ,great ,english ,painters4
   ,,richard ,,redgrave3 ,a ,century of 
,painters of the ,english ,school4      
,,northcote3 ,life of ,sir ,joshua      
,reynolds4   ,,claude ,,phillips3 ,sir  
,joshua ,reynolds4   ,,henry ,,percy    
,,horne3 ,catalogue of the ,engraved    
,pictures of ,gainsborough4   ,,william 
,,hookham ,,carpenter3 ,memoirs of ,sir 
,anthony ,van ,dyck4                    
,,stirling-,,maxwell3 ,annals of the    
,artists of ,spain4   ,,carl ,,justi3   
,velasquez and his ,times 7translated by
 ,keane74   ,,stranahan3 ,history of    

,french ,painting4   ,,ch4 ,,normand3   
,greuze4 7,in ,series3 ,artistes        
,celebres47   ,,crowe and               
,,cavalcaselle3 ,history of ,painting in
      ,italy3 ,history of ,painting in  
,north ,italy4   ,t4 ,,cole 7,engraver7 
and ,w4 ,j4 ,,stillman3 ,old ,italian   
,masters4   ,,eugene ,,muentz3 ,raphael3
 ,his ,life1 ,works1 and ,times4        
,,mrs4 ,,anna ,,jameson3 ,sacred and    
,legendary ,art2      ,legends of the   
,madonna2 ,history of ,our ,lord4       
,,charles ,i4 ,,hemans3 ,ancient        
,christianity and ,sacred ,art2         
,mediaeval ,christianity and ,sacred    
,art4   ,,henry ,,van ,,dyke3 ,the      
,christ-,child in ,art4   ,,marie       
,,bashkirtseff3 ,journal4   ,,dorothy   
,,tennant ,,stanley3 ,street ,arabs4    
,,karl ,,karoly3 ,the ,paintings of     
,florence4   ,,charles ,l4 ,,eastlake3  
,notes on the ,pictures in the ,louvre4