,see ,transcriber's ,notes at end of    
text4     ,,artists ,,past ,,and        
,,present   ,by the ,same ,author       
,the ,works of ,james ,mc,neill         
,whistler4 ,illustrated with            
,many ,reproductions of ,etchings1      
,lithographs1 ,pastels and              
,paintings1 #f-c_/d  #i-a_/d ,inches4   
,boxed1 #d4jj ,net4         7,postage   
#cb cents47      ,a study of ,whistler  
and his works1 including etchings1      
lithographs1     pastels1 water-colors1 
paintings1 landscapes4 ,also a chapter  
on     ,whistler's ,theory of ,art4     
,the ,same4--,limited ,edition de ,luxe4
 ,the ,limited ,edition         of the  
,above ,work1 ,illustrated with         
,additional ,examples         on ,japan 
and ,india ,paper4 ,printed on ,van     
,gelder ,hand-made         ,paper1 with 
,wide ,margins4 ,limited to #bej        
,numbered         and ,signed ,copies1  
of which a few are left unsold4 ,boxed1 
#ae4jj ,net4 7,postage ,extra47         
,the ,art of ,william ,blake4 ,uniquely 

and ,elaborately ,illustrated4          
,size #g-a_/b  #aj-a_/b ,inches4 ,wide  
,margins4 ,boxed1 #c4ej         ,net4   
7,postage #be cents47      ,a volume of 
great distinction1 discussing the art of
 ,blake in     several unusual phases1  
and dwelling importantly upon his       
,manuscript ,sketch ,book1 to which the 
author has had free access1     and from
 which the publishers have drawn freely 
for illustrations1     many of which    
have never been published before4       
,illustration3 ,,dans ,,la ,,loge  ,from
 a painting by ,mary ,cassatt           
,artists ,past and ,present  ,,random   
,,studies  ,,by  ,,elisabeth ,,luther   
,,cary  ,author of ,the ,art of ,william
 ,blake1 ,whistler1 ,etc4               
,,illustrated  ,,new ,,york  ,,moffat1  
,,yard  ,,company #aiji                 
,copyright1#aiji1 by  ,,moffat1 ,,yard  
,,company  ,,new ,,york   ,,published1  
,,september1 #aiji   ,the ,plimpton     
,press ,norwood ,mass4 ,u4,s4,a4        
,,contents                              

,,page      ,i4 ,,antoine ,,louis       
,,barye                                 
#a     ,,ii4 ,,the ,,art ,,of ,,mary    
,,cassatt                               
#be    ,,iii4 ,,max ,,klinger           
#cg     ,,iv4 ,,alfred ,,stevens        
#di      ,v4 ,a ,,sketch ,,in ,,outline 
,,of ,,jacques ,,callot                 
#fa     ,,vi4 ,,carlo ,,crivelli        
#ha    ,,vii4 ,,the ,,cassel ,,gallery  
#ie   ,,viii4 ,,fantin-,,latour         
#aji     ,,ix4 ,,carl ,,larsson         
#aai      ,x4 ,,jan ,,steen             
#aca     ,,xi4 ,,one ,,side ,,of        
,,modern ,,german ,,painting            
#adc    ,,xii4 ,,two ,,spanish          
,,painters                              
#afe      ,,list ,,of ,,illustrations   
,,dans ,,la ,,loge                      
,frontispiece  ,from a painting by ,mary
 ,cassatt                               
,facing                                 
,page    ,,portrait ,,of ,,antoine      
,,louis ,,barye                         
#b   ,from a painting by ,j4 ,f4 ,millet

    ,,lion ,,devouring ,a ,,doe         
#f    ,,bull ,,thrown ,,to ,,earth ,,by 
,a ,,bear                               
#f   ,from a bronze by ,barye    ,a     
,,lioness                               
#h   ,from a bronze by ,barye    ,,the  
,,prancing ,,bull                       
#aj   ,from a bronze by ,barye          
,,panther ,,seizing ,a ,,deer           
#ab   ,from a bronze by ,barye    ,,the 
,,lion ,,and ,,the ,,serpent            
#af   ,from a bronze by ,barye          
,,asian ,,elephant ,,crushing ,,tiger   
#bj   ,from a bronze by ,barye          
,,child ,,resting                       
#bh   ,from an etching by ,mary ,cassatt
    ,,on ,,the ,,balcony                
#cb   ,from a painting by ,mary ,cassatt
    ,,woman ,,with ,a ,,fan             
#cd   ,from a painting by ,mary ,cassatt
    ,,beethoven                         
#ch   ,from a statue in colored marble  
by ,max ,klinger    ,,cassandra         
#dd   ,from a statue in colored marble  
by ,max ,klinger    ,l',,atelier        

#eb   ,from a painting by ,alfred       
,stevens    ,,portrait ,,of ,,jacques   
,,callot                                
#fh   ,engraved by ,vosterman after the 
painting of ,van ,dyck    ,,st4         
,,dominic                               
#hd   ,from a panel by ,carlo ,crivelli 
,,st4 ,,george                          
#hf   ,from a panel by ,carlo ,crivelli 
,,piet                                  
#hh   ,from a panel by ,carlo ,crivelli 
,a ,,panel ,,by ,,carlo ,,crivelli 7a7  
#ij    ,a ,,panel ,,by ,,carlo          
,,crivelli 7b7                          
#ib    ,,saskia                         
#ih   ,from a portrait by ,rembrandt    
,,nicholas ,,bruyningh                  
#ajb   ,from a portrait by ,rembrandt   
,,portrait ,,of ,,mme4 ,,ma,,tre        
#aab   ,from a painting by              
,fantin-,latour    ,,my ,,family        
#abj   ,from a painting by ,carl        
,larsson    ,a ,,painting ,,by ,,carl   
,,larsson                               
#abf    ,,peasant ,,women ,,of          

,,dachauer                              
#adh   ,from a painting by ,leibl       
,,fiddling ,,death                      
#aed   ,from a portrait by ,arnold      
,boecklin    ,,the ,,swimmers           
#aff   ,from a painting by ,sorolla     
,,the ,,bath--,j,,vea                   
#afh   ,from a painting by ,sorolla     
,,the ,,sorceresses ,,of ,,san ,,milan  
#agj   ,from a painting by ,zuloaga     
,,the ,,old ,,boulevardier              
#agb   ,from a painting by ,zuloaga     
,,merced,s                              
#agd   ,from a painting by ,zuloaga     
,,artists ,,past ,,and ,,present     ,i 
,,antoine ,,louis ,,barye   ,at the     
,metropolitan ,museum of ,art are two   
pictures by the ,florentine painter of  
the fifteenth century called ,piero di  
,cosimo4 ,they represent hunting scenes1
 and the figures are those of men1      
women1 fauns1 satyrs1 centaurs1 and     
beasts of the forests1 fiercely         
struggling together4 ,as we observe the 
lion fastening his teeth in the flesh of

 the boar1 the bear grappling with his  
human slayer1 and the energy and        
determination of the creatures at bay1  
our thought involuntarily bridges a     
chasm of four centuries and calls up the
 image of the ,barye bronzes in which   
are displayed the same detachment of    
vision1 the same absence of             
sentimentality1 the same vigor and      
intensity if not quite the same         
strangeness of imagination4 ,it is      
manifestly unwise to carry the parallel 
very far1 yet there is still another    
touch of similarity in the beautiful    
surfaces4 ,piero's fine1 delicate       
handling of pigment is in the same      
manner of expression as ,barye's        
exquisite manipulation of his metal     
after the casting1 his beautiful thin   
patines that do not suppress but reveal 
sensitive line and subtle modulation4   
,we know little enough of ,piero beyond 
what his canvases tell us4 ,of ,barye we
 naturally know more1 although          
everything save what his work confides  

of his character and temperament is of  
secondary importance1 and he is         
interesting to moderns1 especially as   
the father of modern animal sculpture1  
and not for the events of his quiet     
life4  ,illustration3 ,from the         
collection of the late ,cyrus ,j4       
,lawrence1 ,esq4  ,,portrait ,,of       
,,antoine ,,louis ,,barye  ,from a      
painting by ,j4 ,f4 ,millet  ,antoine   
,louis ,barye1 born at ,paris ,september
 #ae1 #agif1 died ,june #be1 #ahge1 in  
the same year with ,corot and at the    
same age4 ,the circumstances under which
 he began his career have been told in  
detail by more than one biographer1 but 
it would be difficult rightly to        
estimate the importance and singularity 
of his work without some review of them4
 ,his father was a jeweler of ,lyons1   
who settled in ,paris before ,antoine   
was born1 and whose idea of education   
for his son was to place him at less    
than fourteen with an engraver of       
military equipments from whom he learned

 to engrave on steel and other metals1  
and later with a jeweler from whom he   
learned to make steel matrixes for      
molding reliefs from thin metals4 ,a    
certain stress has been laid on this    
lack of schooling in the conventional   
sense of the word1 but it is difficult  
to see that it did much harm1 since     
,barye1 though he was not a correct     
writer of ,french1 was a great reader1  
keenly intelligent in his analysis of   
the knowledge he gained from books1 and 
with extraordinary power of turning it  
to his own uses4 ,such a mind does not  
seriously miss the advantages offered by
 a formal training1 and it might fairly 
be argued that the manual skill         
developed at the work-bench was in the  
long run more valuable to him than the  
abstract knowledge which he might have  
acquired in school could possibly have  
been4 ,be that as it may1 up to the time
 of his marriage in #ahbc he had a      
varied apprenticeship4 ,at sixteen he   
was drawn as a conscript and was first  

assigned to the department where maps in
 relief are modeled4 ,before he was     
twenty-one he was working with a        
sculptor called ,bosio1 and also in the 
studio of the painter1 ,baron ,gros4 ,he
 studied ,lamarck1 ,cuvier and ,buffon4 
,he competed five times for the ,prix de
 ,rome at the ,salon1 once in the       
section of medals and four times in the 
section of sculpture1 succeeding once   
7in the first competition7 in gaining a 
second prize4 ,he then went back to the 
jeweler's bench for eight years1 varying
 the monotony of his work by modeling   
independently small reliefs of ,eagle   
and ,serpent1 ,eagle and ,antelope1     
,leopard1 ,panther1 and other animals4  
,in #ahca he sent to the ,salon of that 
year the ,tiger ,devouring a ,gavial of 
the ,ganges1 a beautiful little bronze1 
seven and a half inches high1 which won 
a ,second ,medal and was bought by the  
,government for the ,luxembourg4 ,this  
was the beginning of his true career4   
,in the same ,salon was exhibited his   

,martyrdom of ,st4 ,sebastian1 but the  
powerful realism and energy of the      
animal group represented what henceforth
 was to be ,barye's characteristic      
achievement1 the realization1 that is1  
of what the ,chinese call the movement  
of life2 the strange reality of         
appearance that is never produced by    
imitation of nature and that makes the  
greatness of art4 ,the tiger clutches   
its victim with great gaunt paws1 its   
eyes are fixed upon the prey1 its body  
is drawn together with tense muscles1   
its tail is curled1 the serpent is      
coiled about the massive neck of its    
destroyer with large undulating curves4 
,the touch is everywhere certain1 the   
composition is dignified1 and the group 
as an exhibition of extraordinary       
knowledge is noteworthy4  ,a lithograph 
portrait of ,barye by ,gigoux1 made at  
about this time1 shows a fine head1     
interested eyes1 a firm mouth and a     
determined chin4 ,his chief qualities   
were perseverance1 scientific curiosity1

 modesty and pride1 and that indomitable
 desire for perfection so rarely        
encountered and so precious an element  
in the artist's equipment4 ,he was      
little of a talker1 little of a writer1 
infinitely studious1 somewhat reserved  
and cold in manner1 yet fond of good    
company and not averse to good dinners4 
,guillaume said of him that he had the  
genius of great science and of high     
morality1 which is the best possible    
definition in a single phrase of his    
artistic faculty4 ,he had the kind of   
sensitiveness1 or self-esteem1 if you   
will1 that frequently goes with a mind  
confident of its merits1 but not        
indifferent to criticism or sufficiently
 elevated and aloof to dispense with    
resentment4 ,in #ahcb he sent to the    
,salon his ,lion ,crushing a ,serpent1  
and in #ahcc he sent a dozen animal     
sculptures1 a group of medallions and   
six water-colors4 ,that year he was made
 chevalier of the ,legion of ,honour1   
but the following year nine groups made 

for the ,duke of ,orleans were rejected 
by the ,salon jury1 and again in #ahcf  
several small pieces were rejected1     
although the ,seated ,lion1 later bought
 by the government1 was accepted4 ,the  
reasons for the rejections are not      
entirely clear1 but ,barye was an       
innovator1 and in the field of art the  
way of the innovator is far harder than 
that of the transgressor4 ,charges of   
commercialism were among those made     
against him1 and he--the least          
commercial of men--took them deeply to  
heart4 ,his bitterness assumed a        
self-respecting but an inconvenient and 
unprofitable form1 as he made up his    
mind to exhibit thereafter only in his  
own workshop1 a resolution to which he  
held for thirteen years4 ,after the     
rejection of his groups in #ahcd he     
happened to meet ,jules ,dupr1 who      
expressed his disgust with the decision4
 ,it is quite easy to understand1 ,barye
 replied1 ,i have too many friends on   
the jury4 ,this touch of cynicism       

indicates the ease with which he was    
wounded1 but it was equally             
characteristic of him that in planning  
his simple revenge he hurt only himself4
 ,he did indeed refrain from sending his
 bronzes to the ,salon and he did act as
 his own salesman1 and the result was   
the incurrence of a heavy debt4 ,to meet
 this he was obliged to sell all his    
wares to a founder who wanted them for  
the purpose of repeating them in debased
 reproductions4 ,his own care in        
obtaining the best possible results in  
each article that he produced1 his      
reluctance to sell anything of the      
second class1 and his perfectly natural 
dislike to parting with an especially   
beautiful piece under any circumstances1
 did not1 of course1 work to his        
business advantage1 although the        
amateurs who have bought the bronzes    
that came from his own refining hand    
have profited by it immensely4 ,it would
 be a mistake1 however1 to think of him 
as a crushed or even a deeply           

misfortunate man4 ,he simply was poor   
and not appreciated by the general      
public according to his merits4 ,after  
#ahej1 however1 he had enough orders    
from connoisseurs1 many of them         
,americans1 and also from the ,french   
government to make it plain that his    
importance as an artist was firmly      
established at least in the minds of a  
few4 ,he sold his work at low prices    
which since his death have been trebled 
and quadrupled1 in fact1 some of his    
proofs have increased fifty-fold1 but   
the fact that he was not overwhelmed    
with orders gave him that precious      
leisure to spend upon the perfecting of 
his work which1 we may fairly assume1   
was worth more to him than money4       
,illustration3 ,from the collection of  
the late ,cyrus ,j4 ,lawrence1 ,esq4    
,,lion ,,devouring ,a ,,doe  7,,lion    
,,devorant ,,une ,,biche7               
,illustration3 ,from the collection of  
the late ,cyrus ,j4 ,lawrence1 ,esq4    
,,bull ,,thrown ,,to ,,earth ,,by ,a    

,,bear  7,,taureau ,,terrass ,,par ,,un 
,,ours7  ,from a bronze by ,barye  ,nor 
was he entirely without honor in his own
 country4 ,at the ,universal ,exposition
 of #ahee he received the ,grand ,medal 
of ,honour in the section of artistic   
bronzes1 and in the same year the       
,officer's ,cross of ,legion of         
,honour--a dignity that is said to have 
reached poor ,rousseau only when he was 
too near death to receive the           
messengers4 ,in #ahfh ,barye was made   
,member of the ,institute1 although two 
years earlier he had been humiliated by 
having his application refused4 ,and    
from ,america1 in addition to numerous  
proofs of the esteem in which he was    
held there by private amateurs1 he      
received through ,mr4 ,walters in #ahge 
an order to supply the ,corcoran        
,gallery at ,washington with an example 
of every bronze he had made4 ,this last 
tribute moved him to tears1 and he      
replied1 ,ah6 ,monsieur ,walters1 my own
 country has never done anything like   

that for me6 ,these certainly were far  
from being trivial satisfactions1 and   
,barye had also reaped a harvest of even
 subtler joys4 ,one likes to think of   
him in ,barbizon1 living in cordial     
intimacy with ,diaz and ,rousseau and   
,millet and the great ,daumier4 ,here he
 had sympathy1 excellent talk of        
excellent things1 the company of artists
 working as he did1 with profound       
sincerity and intelligence1 and he had a
 chance himself to paint in the vast    
loneliness of the woods where he could  
let his imagination roam1 and could find
 a home for his tigers and lions and    
bears studied in menageries and in the  
,jardin des ,plantes4 ,it is pleasant   
also to think of him among the five and 
twenty ,amis du ,vendredi dining        
together at little wineshops on mutton  
and cheese and wine with an occasional  
pt given as a treat by some member in   
funds for the moment4 ,he was not above 
enthusiasm for un certain pt de         
maquereau de ,calais and he was fond of 

the theater and of all shows where      
animals were to be seen4 ,it is         
pleasantest of all to think of him at   
his work1 the beauty of which he knew   
and the ultimate success of which he    
could hardly have doubted4              
,illustration3 ,from the collection of  
the late ,cyrus ,j4 ,lawrence1 ,esq4  ,a
 ,,lioness  ,from a bronze by ,barye    
,in what does the extraordinary quality 
of this work consist8 ,the question is  
not difficult to answer1 since1 like    
most of the truly great artists1 ,barye 
had clear-cut characteristics among     
which may be found those that separate  
him from and raise him above his        
contemporaries4 ,scientific grasp of    
detail and artistic generalization are  
to be found in all his work where an    
animal is the subject1 and this         
combination is in itself a mark of      
greatness4 ,if we should examine the    
exceptionally fine collection of ,barye 
bronzes belonging to the late ,mr4      
,cyrus ,j4 ,lawrence1 and consisting of 

more than a hundred beautiful examples1 
or the fine group in the ,corcoran      
,gallery at ,washington1 we should soon 
learn his manner and the type           
established by him in his animal        
subjects4 ,in the presence of so large a
 number of the works of a single artist1
 certain features common to the whole   
accomplishment may easily be traced4    
,one dominating characteristic in this  
case is the ease with which the         
anatomical knowledge of the artist is   
worn4 ,even in the early bronzes the    
execution is free1 large1 and quite     
without the dry particularity that might
 have been expected from a method the   
most exacting and specific possible4    
,barye from the first went very deeply  
into the study of anatomy1 examining    
skeletons1 and dissecting animals after 
death to gain the utmost familiarity    
with all the bones and muscles1 the     
articulations1 the fur and skin and     
minor details4 ,his reading of ,cuvier  
and ,lamarck indicates his interest in  

theories of animal life and organism4   
,he took1 also1 great numbers of        
comparative measurements that enabled   
him to represent not merely an          
individual specimen of a certain kind of
 animal1 but a type which should be true
 in general as well as in particular4   
,he would measure1 for example1 the     
bones of a deer six months old and those
 of a deer six weeks old1 carefully     
noting all differences in order to form 
a definite impression of the normal     
measurements of the animal at different 
ages4 ,he made comparative drawings of  
the skulls of cats1 tigers1 leopards1   
panthers1 the whole feline species1 in  
short1 seeking out the principles of    
structure and noting the dissimilarities
 due to differences in size4 ,he made   
innumerable drawings of shoulders1      
heads1 paws1 nostrils1 ears1 carefully  
recording the dimensions on each sketch4
 ,among his notes was found a minute    
description of the characteristic       
features of a blooded horse4  ,he was   

never content with merely an external   
observation of a subject when he had it 
in his power to penetrate the secrets of
 animal mechanism4 ,he first made       
sketches of his subjects1 of course1 but
 frequently he also modeled parts of the
 animal in wax on the spot to catch the 
characteristic movement4 ,his           
indefatigable patience in thus laying   
the groundwork of exact knowledge       
suggests the thoroughness of the old    
,dutch artists4 ,he followed1 too1 the  
recommendation of ,leonardo--so         
dangerous to any but the strongest      
mind--to draw the parts before drawing  
the whole1 to learn exactitude before   
facility4  ,illustration3 ,from the     
collection of the late ,cyrus ,j4       
,lawrence1 ,esq4  ,,the ,,prancing      
,,bull  7,,taureau ,,cabr7  ,from a     
bronze by ,barye  ,a story is told of a 
visit paid him by the sculptor          
,jacquemart3 ,i will show you what ,i   
have under way1 just now1 said he to his
 friend1 and looking about his studio   

for a moment1 drew out a couple of legs 
and stood them erect4 ,after a few      
seconds of puzzled thought he remembered
 the whereabouts of the other members1  
and finally drew out the head from under
 a heap in a corner4 ,and the statue    
once in place was conspicuous for its   
fine sense of unity4 ,it was not1 of    
course1 this meticulous method1 but the 
use he made of it1 that led ,barye to   
his great results4 ,his mind was        
strengthened and enriched by every      
fragment of knowledge with which he fed 
it4 ,it all went wholesomely and        
naturally to the growth of his artistic 
ideas1 and he does not appear to have   
been interested in acquiring knowledge  
that did not directly connect itself    
with these ideas4 ,by his perfect       
familiarity with the facts upon which he
 built his conceptions he was fitted to 
use them intelligently1 omit them where 
he chose1 exaggerate them where he      
chose1 minimize them where he chose4    
,they did not fetter him2 they freed    

him2 and he could work with them        
blithely1 unhampered by doubts and      
inabilities4 ,it is most significant    
both of his accuracy and his freedom    
that in constructing his models he      
dispensed with the rigid iron skeleton  
on which the clay commonly is built4    
,having modeled the different parts of  
his composition1 he brought them        
together and supported them from the    
outside by means of crutches and        
tringles1 after the fashion of the boat 
builders1 thus enabling himself to make 
alterations1 corrections and revisions  
to the very end of his task4 ,the       
definitive braces were put in place only
 at the moment of the molding in        
plaster4  ,illustration3 ,,panther      
,,seizing ,a ,,deer  ,from a bronze by  
,barye  ,for small models he preferred  
to use wax which does not dry and crack 
like the clay4 ,he also sometimes       
covered his plaster model with a layer1 
more or less thick1 of wax1 upon which  
he could make a more perfect rendering  

of superficial subtleties4              
,occasionally1 as in the instance of    
,the ,lion ,crushing the ,serpent1 cast 
by ,honor ,gonon1 he employed the       
process called  cire perdue1 in which   
the model is first made in wax1 then    
over it is formed a mold from which the 
wax is melted out by heat4 ,the liquid  
bronze is poured into the matrix thus   
formed1 and when this has become cold   
the mold is broken off1 leaving an      
almost accurate reproduction of the     
original model1 which is also1 of       
course1 unique1 the wax model and the   
mold both having been destroyed in the  
process4 ,upon his patines he lavished  
infinite care4 ,theodore ,child has     
given an excellent description of the   
difference between this final enrichment
 of a bronze as applied by a master and 
the patine of commerce4 ,the ideal      
patine1 he says1 is an oxydation and a  
polish1 without thickness1 as it were1 a
 delicate varnish or glaze1 giving depth
 and tone to the metal4 ,barye's green  

patine as produced by himself has these 
qualities of lightness and richness of  
tone1 whereas the green patine of the   
modern proofs is not a patine1 not an   
oxydation1 but an absolute application  
of green color in powder1 a mise en     
couleur1 as the technical phrase is4 ,in
 places this patine will be nearly a    
millimeter thick and will consequently  
choke up all delicate modeling1 soften  
all that is sharp1 and render the bronze
 dull1 mou1 heavy4 ,to produce ,barye's 
fine green patine1 requires time and    
patience1 and for commercial bronze is  
impracticable4 ,barye1 however1 was     
never a commercial man4 ,when a bronze  
was ordered he would never promise it at
 any fixed date2 he would ask for one or
 two or three months2 'he did not know  
exactly1 it would depend on how his     
patine came4'  ,his patines are by no   
means all green2 some of them are almost
 golden in their vitality of color--the 
patine mdaill1 as in ,the ,walking      
,deer1 which is a superb example2 some  

are dark brown approaching black4 ,the  
most beautiful in color and delicacy    
which ,i have seen is that on ,mr4      
,lawrence's ,bull ,felled by a ,bear    
7,taureau terrass par un ours71 a bronze
 which seems to me in many particulars  
to remain a masterpiece unsurpassed by  
the more violent and splendid later     
works4 ,another remarkable example of   
the effect of color possible to produce 
by a patine is furnished by the ,lion   
,devouring a ,doe 7,lion devorant une   
biche71 dated #ahcg4 ,the green lurking 
in the shadows and the coppery gleam on 
the ridge of the spine1 the thigh1 and  
the bristling mane1 the rich yet bright 
intermediate tones1 give a wonderful    
brilliancy and vitality to the          
magnificent little piece in which the   
ferocity of nature and the charm and    
lovableness of art are commingled4 ,in  
his interesting book on ,barye1         
published by the ,barye ,monument       
,association1 ,mr4 ,de ,kay has referred
 to this work as an example of ,barye's 

power to reproduce the horrible and to  
make one's blood run cold with the      
ferocity of the destroying beast4 ,it   
seems to me1 however1 that it is one of 
the pieces in which ,barye's power to   
represent the horrible without          
destroying the peace of mind to be found
 in all true art1 is most obvious4 ,with
 his capacity for emphasizing that which
 he wishes to be predominant in his     
composition he has brought out to the   
extreme limit of expression the strength
 of the lion and its savage interest in 
its prey4 ,the lashing tail1 the        
wrinkled nose1 the concentrated eyes are
 fully significant of the mood of the   
beast1 and were the doe equally defined 
the effect would be disturbing4 ,but the
 doe1 lying on the ground1 is treated   
almost in bas-relief1 hardly            
distinguishable against the massive bulk
 of its oppressor4 ,the appeal is not to
 pity1 but to recognition of the force  
of native instincts4 ,added to this is  
the beauty1 subtly distinguished and    

vigorously rendered1 of the large curves
 of the splendid body of the lion4 ,even
 among the superb later pieces it would 
be difficult to find one with greater   
beauty of flowing line and organic      
composition4  ,in the illustration we   
can see the general contour from one    
point of view1 but we cannot see the    
rhythm of the curves balancing and      
repeating each other from the tip of the
 uplifted tail to the arch of the great 
neck4 ,nor is a particle of energy      
sacrificed to these beautiful contours4 
,the body is compact1 the head large and
 expressive of power1 the thick paws    
rest with weight on the ground4 ,there  
is none of the pulling out of forms so  
often employed to give grace and so     
usually suggestive of weakness4 ,the    
composition is at once absolutely       
graceful and eloquent of immense        
physical force4 ,in the ,panther        
,seizing a ,deer 7,panthre saississant  
un ,cerf71 one of the largest of the    
animal groups1 we have again the        

characteristic double curves1 the fine  
play of line1 and the appropriate       
fitting of the figures into a long oval1
 and also the minimizing of the cruelty 
of the subject by the reticent art with 
which it is treated4 ,we see clearly    
enough the angry jaws1 the curled tail1 
the weight of the attacking beast       
falling on the head of its victim1      
dragging it toward the ground4 ,nothing 
is slighted or compromised4 ,we see even
 the gash in the flesh made by the      
panther's claws and the drops of blood  
trickling from the wound4 ,but we have  
to thank ,barye's instinct for refined  
conception that these features of the   
work do not claim and hold our attention
 which is absorbed by the vital line1   
the gracious sweep of the contours1 the 
lovely surface1 and the omission of all 
irrelevant and unreasonable detail4     
,many of ,barye's subjects included the 
human figure and in a few instances the 
human figure alone preoccupied him4     
,occasionally he was very successful in 

this kind4 ,the small silver            
reproduction of ,hercules ,carrying a   
,boar has the remarkable quality of easy
 force4 ,the figure of ,hercules is     
without exaggerated muscles1 is normally
 proportioned and quietly modeled4 ,his 
burden rests lightly on his shoulders1  
and his free long stride indicates that 
the labor is joy4 ,this is the ancient1 
not the modern tradition1 and the little
 figure corresponds1 curiously enough1  
with one of the male figures in the     
,piero di ,cosimo mentioned at the      
beginning of this article4 ,in the      
latter case the strong man is engaged in
 combat with a living animal1 but he    
carries his strength with the same      
assurance and absence of effort in its  
exercise4 ,barye1 however1 does not     
always give this happy impression when  
he seeks to represent the human figure4 
,if we compare1 for example1 the bronze 
made in #ahdj for the ,duke of          
,montpensier 7,roger ,bearing off       
,angelica on the ,hippogriff7 with any  

of the animal groups of that decade or  
earlier1 we can hardly fail to be amazed
 at the lack of unity in the composition
 and the distracting multiplicity of the
 details4 ,if we compare the ,hunt of   
the ,tiger with the ,asian ,elephant    
,crushing ,tiger the great superiority  
of the latter in the arrangement of the 
masses1 the dignity of the proportions1 
and in economy of detail1 is at once    
evident4 ,the figures of the four stone 
groups on the ,louvre1 however1 have a  
certain antique nobility of design and  
withal a naturalness that put them in   
the first class of modern sculpture1 ,i 
think4  ,illustration3 ,from the        
collection of the late ,cyrus ,j4       
,lawrence1 ,esq4  ,,the ,,lion ,,and    
,,the ,,serpent  7,,lion ,,au ,,serpent7
  ,from a bronze by ,barye  ,one point  
worthy of note in any comparison between
 ,barye's animals and his human beings  
is the intensity and subtlety of        
expression in the former and the absence
 of any marked expression in the latter4

 ,his men are practically masked4 ,no   
passion or emotion makes its impression 
on their features4 ,even their gestures1
 violent though they may be1 seem       
inspired from without and not by the    
impulse of their own feelings4 ,his     
animals on the contrary show many phases
 of what must be called1 for lack of a  
more exact word1 psychological          
expression4 ,a striking instance of this
 is found in the contrast between the   
sketch for ,the ,lion ,crushing the     
,serpent and the finished piece4 ,in the
 sketch there is terror in the lion's   
face1 his paw is raised to strike at the
 reptile1 his tail is uplifted and      
lashing1 the attitude and expression are
 those of terror mingled with rage and  
the serpent appears the aggressor4 ,in  
the finished bronze the lion is calmer  
and in obvious possession of the field4 
,the fierce claws pushing out from their
 sheathing1 the eyes that seem to snarl 
with the mouth1 the massive paw resting 
on the serpent's coiled body combine to 

give a subtle impression of certain     
mastery1 and the serpent is             
unquestionably the victim and defendant 
in the encounter4 ,it is by such        
intuitive reading of the aspect of      
animals of diverse kinds1 that ,barye   
awakens the imagination and leads the   
mind into the wilderness of the untamed 
world4 ,he is perhaps most himself when 
depicting moods of concentration4 ,the  
fashion in which he gathers the great   
bodies together for springing upon and  
holding down their prey is absolutely   
unequaled among animal sculptors4 ,his  
mind handled monumental compositions    
with greater success1 ,i think1 than    
compositions of the lighter type in     
which the subject lay at ease or        
exhibited the pure joy of living which  
we associate with the animal world4     
,two exceptions to this statement come1 
however1 at once to my mind--the        
delightful ,bear in his ,trough and the 
,prancing ,bull4 ,the former is the only
 instance ,i know of a ,barye animal    

disporting itself with youthful         
irresponsibility1 and the innocence and 
humor of the little beast make one wish 
that it had not occupied this unique    
place in the list of ,barye's work4 ,the
 ,prancing ,bull also is a conception by
 itself and one of which ,barye may     
possibly have been a little afraid4     
,with his extraordinary patience it is  
not probable that he had the opposite   
quality of ability to catch upon the    
fly1 as it were1 a passing motion1 an   
elusive and swiftly fading effect4 ,but 
in this instance he has rendered with   
great skill the curvetting spring of the
 bull into the air and the lightness of 
the motion in contrast with the weight  
of the body4 ,this singular lightness or
 physical adroitness he has caught also 
in his representation of elephants1 the 
,elephant of ,sengal ,running1 showing  
to an especial degree the agility of the
 animal despite its enormous bulk and   
ponderosity4  ,while ,barye's most      
important work was accomplished in the  

field of sculpture1 his merits as a     
painter were great4 ,his devotion to the
 study of structural expression was too 
stern to permit him to lapse into       
mediocrity1 whatever medium he chose to 
use1 and the animals he created1 or     
re-created1 on canvas are as thoroughly 
understood1 as clearly presented1 as    
artistically significant as those in    
bronze4 ,with every medium1 however1    
there is1 of course1 a set of more or   
less undefinable laws governing its use4
 ,wide as the scope of the artist is    
there are limits to his freedom1 and if 
he uses water-color1 for example1 in a  
manner which does not extract from the  
medium the highest virtue of which it is
 capable he is so much the less an      
artist4 ,it has been said of ,barye that
 his paintings were unsatisfactory on   
that score4 ,about a hundred pictures in
 oil and some fifty water-colors have   
been put on the list of his works4 ,mr4 
,theodore ,child found his execution    
heavy1 uniform1 of equal strength all   

over1 and of a monotonous impasto which 
destroys all aerial perspective4 ,i have
 not seen enough of his painting in oils
 either to contradict or to acquiesce in
 this verdict2 but his water-colors     
produce a very different impression on  
my mind4 ,he uses body-color but with   
restraint and his management of light   
and shade and his broad1 free treatment 
of the landscape background give to his 
work in this medium a distinction quite 
apart from that inseparable from the    
beautiful drawing4 ,in the painting that
 we reproduce the soft washes of color  
over the rocky land bring the background
 into delicate harmony with the richly  
tinted figure of the tiger with the     
effect of variety in unity sought for   
and obtained by the masters of painting4
 ,the weight and roundness of the       
tiger's body is brought out by the firm 
broad outline which ,barye's            
contemporary ,daumier is so fond of     
using in his paintings1 the interior    
modeling having none of the emphasis on 

form that one looks for in a sculptor's 
work4 ,in his paintings indeed1 even    
more than in his sculpture1 ,barye shows
 his interest in the psychological side 
of his problem4 ,here if ever he sees   
his subject whole1 in all its relations 
to life4 ,the vast sweep of woodland or 
desert in which he places his wild      
creatures1 the deep repose commingled   
with the potential ferocity of these    
creatures1 their separateness from man  
in their inarticulate emotions1 their   
inhuman passions1 their withdrawn       
powerfully realized lives1 their        
self-sufficiency1 their part in         
nature--all this becomes vivid to us as 
we look at his paintings and we are     
aware that the portrayal of animal life 
went far deeper with ,barye than a mere 
anatomical grasp of his subject4 ,corot 
did not find his tigers sufficiently    
poetic and altered1 it is said1 the     
tiger drawn for one of his own paintings
 until he succeeded in giving it a more 
romantic aspect4 ,barye's poetry1       

however1 was the unalterable poetry of  
life4 ,he found his inspiration in      
realities but that is not to say that   
his realities were external ones4 ,he   
excluded nothing belonging to the       
sentiment of his subject and comparison 
of his work with that of other animal   
sculptors and painters deepens one's    
respect for the penetrating insight with
 which he sought his truths4  ,since    
,barye's death and the great increase in
 the prices of his work1 many devices   
have been used to sell objects bearing  
his name1 but not properly his work4    
,for example1 he produced for the city  
of ,marseilles some objects in stone    
7designed for the columns of the        
gateway71 which were never done in      
bronze2 since his death these have been 
reduced in size and produced in bronze  
as his work4 ,works of the younger      
,barye signed by the great name are also
 confused with those of the father4     
,further still1 to the confusion of     
inexperienced collectors1 the bronzes of

 ,mne1 ,fratin1 and ,cain1 all artists  
of importance1 but hardly increasing    
fame1 have had the signatures erased and
 that of ,barye substituted4 ,it is     
therefore inadvisable to attempt at this
 date the collection of ,barye's bronzes
 without special knowledge or advice4   
,the great collections of early and fine
 proofs have been made4 ,at the sale of 
his effects after his death the models  
with the right of reproduction were     
sold1 and in many instances these modern
 proofs are on the market bearing the   
name of ,barye1 with no indication of   
their modernity4 ,some of these are so  
cleverly done that great knowledge is   
required to detect them1 and if they    
were sold for a moderate price1 would be
 desirable possessions4 ,certain dealers
 frankly sell a modern reproduction as  
modern and at an appropriate price1 but 
,i know of one only1 ,m4 ,barbdienne1   
who puts a plaque with his initials on  
each piece produced by him4             
,illustration3 ,,asian ,,elephant       

,,crushing ,,tiger  ,from a bronze by   
,barye  ,during ,barye's lifetime he    
had1 however1 in his employ1 a man named
 ,henri1 who possessed his confidence to
 a full degree4 ,a few pieces are found 
with the initial of this man1 showing   
that they were done under his           
supervision and not that of ,barye1 but 
whether before or after the death of the
 latter is not yet determined4     ,,the
 ,,art ,,of ,,mary ,,cassatt     ,,ii   
,,the ,,art ,,of ,,mary ,,cassatt       
,some fifteen years ago1 on the occasion
 of an exhibition in ,paris of ,miss    
,cassatt's work a ,french critic        
suggested that she was then1 perhaps1   
with the exception of ,whistler1 the    
only artist of an elevated1 personal and
 distinguished talent actually possessed
 by ,america4 ,the suggestion no doubt  
was a rash one1 since1 as much personal 
and distinguished work by ,american     
artists never leaves this country1 the  
data for comparison must be lacking to a
 ,french critic2 but it is certainly    

true that1 like ,whistler1 ,miss        
,cassatt early struck an individual     
note1 looked at life with her own eyes1 
and respected her intellectual          
instrument sufficiently to master it to 
the extent1 at least1 of creating a     
style for herself4 ,born at ,pittsburgh1
 ,pennsylvania1 she studied first at the
 ,philadelphia ,academy1 and later      
traveled through ,spain1 ,italy1 and    
,holland in search of artistic knowledge
 and direction4 ,in ,france she came to 
know the group of painters including    
,monet1 ,renoir1 ,pissarro and ,degas1  
and especially influenced by the work of
 ,degas1 she turned to him for the      
counsel she needed1 receiving it in     
generous measure4 ,it was a fortunate   
choice1 the most fortunate possible1 if 
she wished to combine in her art the    
detached observation characteristic in  
general of the ,impressionist school    
with a passionate pursuit of all the    
subtlety1 eloquence and precision       
possible to pure line4 ,the fruit of his

 influence is to be found in the        
technical excellence of her             
representations of life1 the firmness   
and candor of her drawing1 her competent
 management of planes and surfaces1 and 
the audacity with which she attacks     
difficult problems of color and tone4   
,the extreme gravity of her method is   
the natural result of working under a   
master whose intensity and austerity in 
the pursuit of artistic truth are       
perhaps unequaled in the history of     
modern art4  ,her choice of subject is  
not1 however1 the inspiration of any    
mind other than her own4 ,she has taken 
for the special field in which to       
exercise her vigorous talent that       
provided by the various phases of the   
maternal relation4 ,her wholesome young 
mothers with their animated children1   
comely and strong1 unite the charm of   
great expressiveness with that of       
profoundly scientific execution4 ,the   
attentive student of art is well aware  
how easily the former quality           

unsupported by the latter may degenerate
 into the cloying exhibition of         
sentiment1 and is equally aware of the  
sterility of the latter practised for   
itself alone4 ,with expressiveness for  
her goal and the means of rendering     
technical problems for her              
preoccupation1 ,miss ,cassatt has       
arrived at hard-earned triumphs of      
accomplishment4 ,one has only to turn   
from one of her recently exhibited      
pictures to another painted ten or      
twelve years ago to appreciate the      
length of the way she has come4 ,the    
earlier painting1 an oil color1 is of a 
woman in a striped purple1 white1 and   
green gown1 holding a half-naked child1 
who is engaged in bathing its own feet1 
with the absorbed expression on its face
 common to children occupied with such  
responsible tasks4 ,the bricky flesh    
tints of the faces and hands1 and the   
greenish half-tones of the square little
 body are too highly emphasized1 but a  
keen perception of facts of surface and 

construction is obvious in the          
well-defined planes of the child's      
anatomy1 in the foreshortened1 thin     
little arm pressing firmly on the       
woman's knee and in the stout little    
legs1 hard and round and simply modeled4
 ,there is plenty of truth in the       
picture1 but in spite of an almost      
effective effort toward harmony of      
color1 it lacks what the critics call   
totality of effect4 ,the annotation of  
the various phenomena is too explicit1  
the values are not finely related1 and  
there is little suggestion of           
atmosphere4  ,in the later picture this 
crudity is replaced by a beautiful      
fluent handling and the mastery of tone4
 ,the subject is again a woman and      
child1 the latter just out of its bath1 
its flesh bright and glowing1 its limbs 
instinct with life and ready to spring  
with uncontrollable vivacity4 ,the      
modeling of the figures is as elusive as
 it is sure1 and in the warm1 golden air
 by which they seem to be enveloped1 the

 well-understood forms lose all         
suggestion of the hardness and dryness  
conspicuous in the early work4 ,another 
recent painting of a kindred subject1   
,le lever de bb1 shows the same         
synthesis of detail1 the same warmth and
 richness of tone1 the same free and    
learned use of line4 ,obviously1 ,miss  
,cassatt has come into the full         
possession of her art and is no longer  
constrained by the struggle1 sharp and  
hard as it must have been1 with her     
exacting method--a method that has not  
at any time permitted the sacrifice of  
truth to charm4 ,since art is both truth
 and charm1 record and poetry1 there is 
a great satisfaction in watching the    
flowering of a positive talent1 after   
the inevitable stages of literalism are 
passed1 into the beauty of intelligent  
generalization4 ,in all the later work  
there is the important element of ease1 
a certain graciousness of style1 that   
enhances to a very great degree the     
beauty of the serious1 dignified        

canvases4 ,and from the beginning these 
have shown the admirable qualities of   
serenity and poise4 ,there is no        
superficiality or pettiness about these 
homely women with their deep chests and 
calm faces1 peacefully occupying        
themselves with their sound1 agreeable  
children4 ,the air of health1 of fresh  
and normal vigor1 is the characteristic 
of the chosen type1 and lends a         
suggestion of the ,hellenic spirit to   
the modern physiognomies4               
,illustration3 ,,child ,,resting  ,from 
an etching by ,mary ,cassatt  ,if1      
however1 in her technique and in the    
feeling of quietness she conveys1 ,miss 
,cassatt recalls the classic tradition1 
she is intensely modern in her choice of
 natural1 unhackneyed gesture1 and faces
 in which individuality is strongly     
marked and from which conventional      
beauty is absent4 ,occasionally1 as in  
the picture shown at ,philadelphia in   
#aijd1 and in the fine painting owned by
 ,sir ,william ,c4 ,van ,horne1 we have 

a face charming in itself and modeled in
 a way to bring out its refinement1 but 
in the greater number of instances the  
rather heavy and imperfect features of  
our average humanity are reproduced     
without compromise1 with even a certain 
sense of triumph in the beautiful       
statement of sufficiently ugly facts and
 freedom from a fixed ideal4  ,nothing1 
for example1 could be less in the line  
of academic beauty than the quiet       
bonneted woman in the opera-box shown at
 the ,pennsylvania ,academy in #aijg4   
,she has her opera-glass to her eyes and
 her pleasant refined profile is cut    
sharply against the light balustrade of 
the balcony4 ,other figures in adjoining
 boxes are mere patches of color and of 
light and shade1 telling1 nevertheless1 
as personalities so acutely are the     
individual values perceived and         
discriminated4 ,the color is personal   
and interesting1 the difficult          
perspective of the curving line of boxes
 is mastered with amazing skill2 the    

fidelity of the drawing to the forms and
 aspects of things seen gives expression
 to even the inanimate objects          
recorded--and to painters who have tried
 it we recommend the subtlety of that   
simply modeled cheek6 ,the whole        
produces the impression of solid reality
 and quick life and we get from it the  
kind of pleasure communicated not by the
 imitation but by the evocation of      
living truth4 ,we note things that have 
significance for us for the first       
time--the fineness of the hair under the
 dark bonnet1 the pressure of the body's
 weight on the arm supported by the     
railing1 the relaxation of the arm      
holding the fan1 and very clever        
painting by artists of less passionate  
sincerity takes on a meretricious look  
in contrast with this closeness of      
interpretation4  ,this1 perhaps1 is the 
chief distinction of ,miss ,cassatt's   
art--closeness of interpretation united 
to the ,impressionist's care for the    
transitory aspect of things4 ,she       

follows the track of an outline as      
sensitively if not as obviously as      
,ingres1 and she exacts from line as    
much as it is capable of giving without 
interference with the expressiveness of 
the whole mass4 ,she takes account of   
details with an unerring sense for their
 appropriateness4 ,she selects without  
forcing the note of exclusion1 and she  
thus becomes an artist of sufficiently  
general appeal to be understood at once4
 ,she is not merely intelligent1 but    
intelligible2 her art has no cryptic    
side4 ,it is only the initiated         
frequenter of galleries who will pause  
to reflect how tremendously it costs to 
be so clear and plain4  ,in her etchings
 and drawings ,miss ,cassatt early      
arrived at freedom of handling4 ,the    
more responsive medium gave her an      
opportunity to produce delightful       
studies of domestic life while she was  
still far from having attained an easy  
control of pigment and brush4 ,her      
dry-points1 pulled under her own        

direction and enriched with flat tints  
of color1 are interesting and           
expressive1 rich in line and large and  
full in modeling4 ,the color was not1   
however1 wholly an improving experiment4
 ,under the friendly influence of time  
it may become an element of beauty1     
since in no case is it either           
commonplace or crude1 but in its newness
 it lacks something of both delicacy and
 depth4 ,the later etchings without     
color are more nearly completely        
satisfying4 ,the three charming         
interpretations of children recently    
sent over to this country are full of   
freshness and life1 and are admirable   
examples of the brilliant use of pure   
line4 ,the attitude of the child in the 
etching reproduced here is1 indeed1     
quite an extraordinary feat of richness 
of expression with economy of means4    
,the heavy little head sagging against  
the tense arm1 the small1 childish neck 
and thin shoulder are insisted upon just
 sufficiently to render the mood of     

light weariness1 and the little face1   
full of individuality1 is tenderly      
observed and modeled with feeling4 ,the 
psychological bent of the artist1 her   
interest in the portrayal of mental and 
moral qualities1 is nowhere more clearly
 revealed than in her drawings of       
children4 ,she has never been content to
 reproduce merely the physical          
plasticity and delicacy of infancy1 but 
has shown in her joyous babies and      
dreamy little girls at least the        
potentiality of strong wills and clear  
minds4 ,great diversity of character and
 temperament are displayed in the       
expressive curves of the plump young    
faces1 and the eyes1 in particular1     
questioning1 exultant1 wondering1       
reflective or merry1 betray a           
penetrating and subtle insight into the 
dawning personality under observation4  
,illustration3 ,from the ,wilstach      
,collection1 ,philadelphia4  ,,on ,,the 
,,balcony  ,from a painting by ,mary    
,cassatt  ,one of her earliest works    

recently has been added to the ,wilstach
 collection in ,philadelphia4 ,it shows 
a man and two women on a balcony4 ,the  
straight line of the balcony railing    
stretches across the foreground without 
any modification of its rigid linear    
effect4 ,the man's figure is in shadow1 
barely perceptible as to detail1 yet    
indicated without uncertainty of drawing
 or vagueness of any kind1 a solid      
figure the tactile values of which are  
clearly recognized4 ,one of the women is
 bending over the railing in a          
half-shadow while the other lifts her   
face toward the man in an attitude that 
makes exacting requirements of the      
artist's knowledge of foreshortening4   
,the whole is duskily brilliant in      
color1 full of the sense of form1       
simple1 dignified1 sturdy1 opulent4 ,it 
shows that ,miss ,cassatt held at the   
beginning of her career as now1 valuable
 ideals of competency and lucidity in   
the interpretation of life4             
,illustration3 ,,woman ,,with ,a ,,fan  

,from a painting by ,mary ,cassatt      
,,max ,,klinger     ,,iii  ,,max        
,,klinger   ,max ,klinger is one of the 
most interesting and representative     
figures in the art of ,germany to-day4  
,essentially ,german in manner of       
thought and feeling1 he has brought into
 the stiff formality of early nineteenth
 century ,german painting and sculpture 
a plasticity of mind and an elevation of
 purpose and idea that suggest 7as most 
that is excellent in ,germany does      
suggest7 the influence of ,goethe4 ,in  
his restless interrogation of all the   
forms of representative art1 his work in
 the mass shows a curious mingling of   
fantasy1 imagination1 brusque realism1  
antique austerity1 and modern science4  
,the enhancing of the sense of life is1 
however1 always the first thought with  
him1 and lies at the root of his method 
of introducing color into sculpture1 not
 by the means of a deadening pigment but
 by the use of marbles of deep tints and
 positive hues1 and of translucent      

stones4 ,as an artist1 his chief        
distinction is this unremitting         
intention to convey in one way or       
another the sense of the vitalizing     
principle in animate objects4 ,we may   
say of him that his drawing is sometimes
 poor1 that his imagination may be      
clumsy and infelicitous1 that his       
treatment of a subject is frequently    
coarse and even crude1 but we cannot    
deny that out of his etchings and       
paintings1 and out of his great strange 
sculptured figures looks the spirit of  
life1 more often defiant than noble1    
more often capricious than beautiful1   
but not to be mistaken1 and the rarest  
phenomenon in the art product of his    
native country4 ,he unites1 too1 a      
profound respect for the art of         
antiquity with a stout modern sentiment1
 a union that gives to his better work  
both dignity and force4 ,what he seems  
to lack is the one impalpable1 delicate1
 elusive quality that makes for our     
enjoyment of so many imperfect          

productions1 and the lack of which does 
so much to blind us to excellence in    
other directions--the quality of charm1 
which in the main depends upon the      
possession by the artist of taste4  ,max
 ,klinger was born in ,leipzig on the   
eighteenth of ,february1 #aheg4 ,his    
father was a man of artistic            
predilections1 and in easy              
circumstances1 so that the choice of a  
bread-winning profession for the son was
 not of first importance4 ,as ,klinger's
 talent showed itself at a very early   
age1 it was promptly decided that he    
should be an artist4 ,he left school at 
the age of sixteen1 and went to         
,karlsruhe1 where ,gussow was beginning 
to gather about him a large number of   
pupils4 ,in #ahge he followed ,gussow to
 ,berlin1 where he came also under the  
influence of ,menzel4 ,gussow's teaching
 was all in the line of individualism   
and naturalism4 ,he led his pupils      
straight to nature for their model1 and 
encouraged them to paint only what they 

themselves saw and felt4 ,for this      
grounding in the representation of plain
 facts ,klinger has been grateful in his
 maturer years1 and looks back to his   
first master with admiration and respect
 as having early armed him against his  
tendency toward fantasy and idealism4   
,his early style in the innumerable     
drawings of his youth is thin and weak1 
without a sign of the bold originality  
characterizing his recent work1 and he  
obviously needed all the support he     
could get from frank and sustained      
observation of nature4 ,his first       
oil-painting1 exhibited in ,berlin in   
#ahgh1 showed the result of ,gussow's   
influence in its solidity and practical 
directness of appeal1 but a number of   
etchings1 executed that year and the    
next--forerunners of the important later
 series--indicate the natural bent of   
the young artist's mind toward symbolic 
forms and unhackneyed subjects4         
,illustration3 ,,beethoven  ,from a     
statue in colored marble by ,max        

,klinger  ,about the art of drawing as  
distinguished from that of painting he  
has his own opinions1 expressed with    
emphasis in an essay called ,malerei und
 ,zeichnung4 ,drawing1 etching1         
lithography and wood-engraving he       
considers preeminently adapted to convey
 purely imaginative thoughts such as    
would lose a part of their evanescent   
suggestiveness by translation into the  
more definite medium of oil-color1 and  
he holds ,griffelkunst1 or the art of   
the point in as high estimation as any  
other art for the interpretation of     
ideas appropriate to it1 an opinion not 
now as unusual as when he first         
announced it to his countrymen4 ,for    
about five years after the close of his 
student period1 he occupied himself     
chiefly with etchings1 turning out      
between #ahgi and #ahhc no fewer than   
nine of the elaborate cycles which are  
so expressive of his method of thought1 
and of the best qualities of his        
workmanship4 ,in these cycles he        

delights in following a development not 
unlike that of a musical theme1         
beginning with a prelude and carrying   
the idea through manifold variations to 
its final expression4 ,his curious      
history of the finding of a glove which 
passes through different symbolic forms 
of individuality in the dreams of a     
lover1 is a fair example of his         
eccentric and somewhat lumbering humor  
in the use of a symbol in his earlier   
years4 ,his etchings for ,ovid's        
,metamorphoses show the same violent    
grasp of the lighter side of his        
subject1 but in his landscape etchings  
of #ahha we have ample opportunity to   
see what he could do with a             
conventionally charming subject treated 
with conventional sentiment and without 
symbolic intention4 ,the moonlight scene
 which he calls ,mondnacht1 has all the 
subtle exquisite feeling for harmony and
 tone to be gained from a ,whistler     
nocturne4 ,the dim light on the         
buildings1 the soft sweep of the clouds 

across the dark sky1 the impalpable     
rendering1 the grave and deep beauty of 
the scene combine to express the essence
 of night and its mystery4 ,the         
oil-painting ,abend1 of #ahhb1 also     
bears eloquent testimony to ,klinger's  
power to evoke purely pictorial images  
of great loveliness4  ,in #ahhb1 after  
about a year of study in ,munich1 he    
painted the important frescoes for the  
,steglitz ,villa1 in which the influence
 of ,boecklin played freely4 ,it was in 
,paris1 however1 where he studied       
between #ahhc and #ahhe1 that ,klinger  
received his strongest and most definite
 impulse toward painting4 ,his ,judgment
 of ,paris revealed the fact that the   
young painter had come into possession  
of himself1 and could be depended upon  
for qualities demanding constraint and a
 measure of severity4 ,in choosing a    
legend of antiquity for the subject of  
his picture1 he may have felt a         
psychological obligation to obey the    
greater influences of the antique       

tradition4 ,at all events he rather     
suddenly developed a style of great     
maturity and firmness4 ,from ,paris he  
went back to ,berlin1 but in #ahhi he   
started for ,rome1 where he spent four  
profitable years4 ,the fruit of this    
,roman period has continued to ripen up 
to the present time1 although since     
#ahic ,klinger has made his home in     
,leipzig1 his wanderjahre apparently    
over and done with4 ,he not only painted
 in ,rome a ,piet1 a ,crucifixion1 and a
 number of pictures in which problems of
 open-air painting are attacked1 but he 
conceived there the powerful series of  
etchings on the subject of death1 and   
there he made his first attempts in     
colored sculpture4 ,from his earliest   
years1 the image of death had often     
solicited him1 and some of his          
interpretations are filled with dignity 
and pathos4 ,in the slender1 rigid      
figure on a white draped bed1 from the  
etching cycle entitled ,eine ,liebe1    
there is the suggestion of a classic    

tomb1 severe and impressive in outline1 
while nothing could be more poignant    
than the emotional appeal of the ,mutter
 und ,kind in the second death series4  
,to turn from these to the two religious
 paintings executed in ,rome1 is to     
realize that eccentric as ,klinger often
 is1 both in choice of subject and      
treatment1 his attitude toward the      
mysteries and problems of man's         
existence is that of a serious thinker  
with a strong artistic talent1 but a    
still stronger intelligence4 ,it is not1
 however1 until we reach the period     
which he devotes to sculpture1 that we  
find in his art the quality of nobility1
 a certain breadth1 which in spite of   
innovations in execution and almost     
trivial symbolic detail1 impresses upon 
his conceptions the classic mark4  ,he  
began his studies for his great         
polychromatic statue of ,beethoven as   
early as #ahhf1 fifteen years before its
 completion4 ,in #ahib it was reported  
in ,rome that he had turned to sculpture

 as a new field in which to prove       
himself a master1 and his first         
exhibited figure placed him above the   
rank of the amateur4 ,he threw himself  
into his new work with his usual energy1
 making himself familiar with the       
technicalities of marble cutting in     
order to follow the execution with      
intelligence at every stage4 ,he sought 
for his material with unwearying zest1  
taking long journeys into ,italy1       
,greece and the ,pyrenees to procure    
marble with the soft1 worn1 rich quality
 produced by exposure to the weather2   
with this he combined onyx and brilliant
 stones1 bronze1 ivory and gold1 always 
with the intention of creating an       
impression of life in addition to       
producing a decorative result4 ,his     
strong decorative instinct comes to his 
aid1 however1 in avoiding the           
incoherence that would seem inevitable  
from the mixture of so many and such    
diverse materials1 and the equally      
strong intellectual motive always       

obvious in his work also tends to hold  
it together in a more or less dignified 
unity4 ,the ,cassandra1 his second      
colored statue1 finished in ,leipzig in 
#ahie1 and now in possession of the     
,leipzig ,museum1 is especially free    
from eccentricity and caprice4 ,the     
beautiful ,greek head1 with its deep-set
 eyes and delicate mouth1 is expressive 
of intense but normal feeling4 ,the     
flesh is represented by warm-toned      
marble1 the hair is brownish-red1 the   
garment is of alabaster1 yellowish-red  
with violet tones1 and the figure stands
 on a pedestal of ,pyranean marble4 ,in 
color effect1 however1 the ,beethoven is
 the most striking4 ,in ,les ,matres    
,contemporains1 ,m4 ,paul ,mongr thus   
describes it3  ,the pedestal1 half rock1
 half cloud1 which supports the throne  
of the ,olympian master1 is of ,pyranean
 marble of a dark violet-brown2 the     
eagle is of black marble1 veined with   
white1 its eyes are of amber4 ,the nude 
bust of ,beethoven is of white ,syrian  

marble1 with light yellowish            
reflections1 the drapery1 hanging in    
supple folds1 is of ,tyrolean onyx with 
yellow-brown streaks in it4 ,the throne 
of bronze is of a dull brown tone1      
except in the curved arms1 which are    
brilliantly gilded4 ,five angel heads in
 ivory are placed like a crown on the   
inside of the back of the throne2 their 
wings are studded with multi-colored    
gems and with antique fluorspar2 the    
back of the throne is laid with blue    
,hungarian opals4 ,all these different  
elements1 the ,french critic maintains1 
are held together in reciprocal         
cohesion1 and are kept subordinated to  
the bold conception of ,beethoven as the
 ,jupiter of music--the godlike power   
accumulated and concentrated1 on the    
point of breaking forth in lightnings2  
the eagle in waiting1 ready to take     
flight1 as the visible thought of       
,jupiter1 before whom will spring up a  
whole world1 or the musical image of a  
world3 that is what is manifested by    

this close alliance of idea and form4   
,illustration3 ,,cassandra  ,from a     
statue in colored marble by ,max        
,klinger  ,this monument to ,beethoven  
is a performance designed to express not
 merely the artistic interest of the    
subject for ,klinger1 but the abounding 
enthusiasm of the latter for the great  
musician's genius4 ,immediately after   
leaving ,rome1 ,klinger also brought to 
completion a series of etchings called  
,brahms-phantasie1 and intended to      
illustrate the emotions aroused by the  
compositions of ,brahms4 ,in #aija he   
made a portrait bust of ,liszt1 and his 
drawings for the ,metamorphoses were    
dedicated to ,schumann4 ,in the autumn  
of #aijf his ,brahms memorial was placed
 in the new ,music ,hall in ,hamburg4   
,this memorial monument has the form of 
a powerful ,hermes with the head of     
,brahms4 ,the ,muse of tone is          
apparently whispering secrets of art    
into the ears of the master4 ,his debt1 
therefore1 to the masters of music may  

be considered as fully and promptly     
paid1 and the impression of hero-worship
 conveyed by these ardent tributes is a 
reminder that the artist is young in    
temperament1 ,teutonic in origin1 and   
untouched by the modern spirit of       
indifference to persons4 ,unlike many   
,german artists of the present day1 he  
did not find in ,paris the atmosphere   
that suited him4 ,in spite of his years 
there and in ,rome1 he has remained     
undisturbed by any anti-,german         
influence4 ,his compatriots speak with  
pride of the intensely national         
character of his mind1 and have early   
recognized his importance1 as perhaps   
could hardly have failed to be the case 
with powers so far from humble1 and a   
method so far from patient4 ,france also
 has paid him more than one tribute of  
appreciation1 and the general feeling   
toward him seems now to be that         
expressed by one of his ,german admirers
 in ,america3 ,why criticize him8 ,he is
 so overwhelming1 so overpowering       

intellectually that the best we can do  
is to try to understand him4            
,,alfred ,,stevens     ,,iv  ,,alfred   
,,stevens   ,an exhibition of the       
paintings of ,alfred ,stevens was held  
in ,april and ,may1 #aijg1 at the city  
of ,brussels1 and later in ,may and in  
,june at the city of ,antwerp4 ,the     
collection comprised examples from the  
museums at ,brussels1 ,antwerp1 ,paris  
and ,marseilles1 and from the galleries 
of many private owners4 ,it was         
representative in the fullest sense of  
the word1 showing the literal tendencies
 of the artist's youth in such pictures 
as ,les ,chasseurs de ,vincennes 7#ahee7
 tightly painted1 conscientiously       
modeled1 with only the deep1 resonant   
red of a woman's cape to indicate the   
magnificent color-sense soon to be      
revealed2 or ,le ,convalescent1 in which
 the two sympathetic women hovering over
 the languid young man in a ,paris      
drawing-room are photographically true  
to the life of the time1 without1       

however1 conveying its spiritual or     
intellectual expression2 showing also   
the rich and grave middle period in     
which beauty of face and form and the   
charm of elegant accessories are        
rendered with singular intensity and    
perfect sincerity2 as in ,les           
,visiteuses1 ,dsespre1 etc42 and1       
finally1 showing the psychological      
synthesis of the later years1 which     
reveals itself in such works as ,un     
,sphinx ,parisien1 baffling in its fixed
 introspective gaze1 and executed with  
an impeccable technique4  ,many of the  
early pictures have a joyousness of     
frank workmanship1 a directness of      
attack and a simplicity of arrangement  
that appeal to the world at large more  
freely than the subtler blonde harmonies
 of the later years4 ,the ,profil de    
,femme 7#ahee7 in which ,m4 ,lambotte   
discerns the influence of ,rembrandt1 is
 more suggestive to the present writer  
of familiarity with ,courbet's bold1    
heavy impasto and sharp transitions from

 light to shadow4 ,the ,rverie of the   
preceding year has also its suggestions 
of ,courbet1 in spite of the delicately 
painted flowers in the ,japanese vase2  
but in the pictures of the next few     
years1 the robust freshness of the      
painter's ,flemish vision finds         
expression in color-schemes that        
resemble nothing so much as the gardens 
of ,belgium in springtime1 filled with  
hardy blossoms and tended by skillful   
hands2 ,la ,consolation of #aheg1 for   
example1 in which the two black-robed   
women form the heavy note of dead color 
against which are relieved the pink and 
white of their companion's gown1 the    
pale yellow of the wall1 the blue of the
 floor and the low1 softly brilliant    
tones of the beautiful tapestry curtain4
 ,another painting of about the same    
time has almost the charm of            
,fantin-,latour's early renderings of   
serious women bending over their books  
or their sewing4 ,in ,la ,liseuse the   
girl's face is absorbed and thoughtful1 

the color harmony is quiet1 the white   
dress1 the dull red of the chair1 the   
blue and yellow and green wools on the  
table1 forming a pattern of closely     
related tones as various in its unity as
 the motley border of an old-fashioned  
dooryard4 ,in other examples we have    
reminiscences of that time of excitement
 and esthetic riot when the silks and   
porcelains and enamels of the ,far ,east
 came into the ,paris of artists and    
artisans and formed at once a part of   
the baggage of the ,parisian atelier4   
,l',inde  ,paris is a particularly      
delightful reflection of this period of 
,chinoiseries4 ,it depicts a young woman
 in a black gown of the type that       
,millais loved1 leaning forward with    
both hands on a table covered with an   
,indian drapery4 ,on the table stands   
the miniature figure of an elephant4    
,the background is of the strong green  
so often used by ,manet and the varied  
pattern of the table cover gives        
opportunity for assembling a number of  

rich and vivid yet quiet hues in an     
intricate and interesting color         
composition4  ,la ,parisienne ,japonaise
 is a subject of the kind that enlisted 
,whistler's interest during the         
sixties--a handsome girl in a blue silk 
kimono embroidered with white and yellow
 flowers1 and a green sash1 looks into a
 mirror that reflects a yellow          
background and a vase of flowers4 ,the  
colors are said to have faded and       
changed1 to the complete demoralization 
of the color-scheme1 but it is still a  
picture of winning charm1 less reserved 
and dignified than ,whistler's ,lange   
,leizen of #ahfd1 but with passages of  
subtle color and a just relation of     
values that have survived the           
encroachments of time4  ,from a very    
early period ,stevens adopted the       
camel's-hair shawl with its             
multi-colored border as the model for   
his palette and the chief decoration of 
his picture4 ,it is easier1 says one of 
his ,french critics1 to enumerate the   

paintings in which such a shawl does not
 appear than those in which it does4 ,it
 slips from the shoulders of the        
,dsespre and forms a wonderful contrast 
to the smooth fair neck and arm relieved
 against it2 it is the magnificent      
background of the voluminous gauzy robe 
in ,une ,douloureuse ,certitude2 it     
falls over the chair in which the young 
mother sits nursing her baby in ,tous   
les ,bonheurs2 it hangs in the corners  
of studios1 it is gracefully worn by    
fashionable visitors in fashionable     
drawing-rooms2 its foundation color is  
cream or red or a deep and tender yellow
 as soft as that of a tea-rose2 it      
determines the harmony of the colored   
silks and bric--brac which are in its   
vicinity1 it rules its surroundings with
 a truly oriental splendor1 and it gives
 to the work in which it plays so       
prominent a part an individuality       
supplementary to the artist's own4 ,it  
is as important as the rugs in the      
pictures of ,vermeer of ,delft or       

,gerard ,terborch4  ,illustration3      
,l',,atelier  ,from a painting by       
,alfred ,stevens  ,the silks and muslins
 of gowns and scarves are also important
 accessories in these pictures which    
have a modernity not unlike that of the 
pictures of ,velasquez1 in which the    
ugliness of contemporary fashions turns 
to beauty under the learned rendering of
 textures and surfaces4 ,bibelots and   
furnishings1 wall-hangings1 pictures1   
rugs1 polished floors1 glass and silver 
and china and jewels are all likewise   
pressed into the service of an art that 
used what lay nearest to it1 not for the
 purposes of realism but for the        
enchantment of the vision4 ,m4 ,lambotte
 has pointed out that ,stevens          
introduced mirrors1 crystals and        
porcelains into his canvasses with the  
same intention as that of the           
landscape-painter who makes choice of a 
subject with a river1 lake or pond1     
knowing that clear reflections and      
smooth surface aid in giving the effect 

of distance and intervening atmosphere4 
,the same writer has told us that so far
 from reproducing the ordinary costumes 
of his period ,stevens took pains to    
seek exclusive and elegant examples1    
chefs d'oeuvres of the dressmaker's art1
 and that such were put at his service  
by the great ladies of the second       
empire4 ,the beautiful muslin over-dress
 of the ,dame en ,rose is perhaps the   
one that most taxed his flexible brush4 
,it is diaphanous in texture1           
elaborately cut and trimmed with        
delicate laces and embroideries1 and the
 rose of the under-robe1 the snowy white
 of the muslin1 the silver ornaments and
 the pale blonde hair of the wearer make
 the lightest and daintiest of harmonies
 accentuated by the black of the lacquer
 cabinet with its brilliant             
polychromatic insets4  ,unlike          
,whistler1 ,stevens never abandoned the 
rich and complicated color arrangements 
of his youth for an austere and         
restricted palette4 ,he nevertheless was

 at his best when his picture was       
dominated by a single color1 as in the  
wonderful ,fdora of #ahhb or ,la        
,tricoteuse4 ,in the former the warmly  
tinted hair and deep yellow fan are the 
vibrant notes1 the creamy dress1 the    
white flowers1 the silver bracelet1 and 
the white butterfly making an ensemble  
like a golden wheatfield swept by pale  
lights4 ,the piquant note of contrast is
 given by the blue insolent eyes and the
 hardly deeper blue blossoms of the     
love-in-a-mist held in the languid      
hands4  ,in ,la ,tricoteuse the         
composition of colors is much the       
same--a creamy white dress with gray    
shadows1 reddish yellow hair1 and a bit 
of blue knitting with the addition of a 
sharp line of red made by the signature4
 ,there is no austerity in these        
vaporous glowing arrangements of a      
single color4 ,they are as near to the  
portraiture of full sunlight as pigment 
has been able to approach and if it can 
be said that ,whistler has painted the  

soul of color1 it certainly can be said 
that ,stevens here has painted its      
embodied life4 ,for the most part we    
have1 however1 to think of ,alfred      
,stevens as a portraitist of the        
ponderable world2 a ,flemish lover of   
brilliant appearances1 a scrupulous     
translator of the language of visible   
things into the idiom of art4 ,in the   
picture entitled ,l',atelier1 which we  
reproduce1 is a more or less significant
 instance of his artistic veracity4 ,on 
the crowded wall1 forming the background
 against which is seen the model's      
charming profile1 is a picture which    
obviously is a copy of the painting of  
,la ,fuite en ,egypte by ,breughel4 ,two
 versions of the same subject1 one1 the 
original by ,breughel the elder1 the    
other1 a copy by his son1 now hang in   
the ,brussels ,museum1 alike in         
composition but differing in tone1 the  
son's copy having apparently been left  
in an unfinished condition with the     
brown underpainting visible throughout4 

,that this1 and not the elder           
,breughel's1 is the original of the     
picture in ,steven's ,l',atelier is     
clear at the first glance1 the warm     
tonality having been accurately         
reproduced and even the drawing of the  
tree branches1 which differs much in the
 two museum pictures having conformed   
precisely to that in the copy by the    
younger ,breughel4 ,it is by this       
accuracy of touch1 this respect for     
differences of texture and material1    
this recognition of the part played in  
the ensemble by insignificant detail1   
this artistic conscience1 in a word1    
that ,stevens demonstrates his descent  
from the great line of ,flemish painters
 and makes good their tradition in      
modern life4 ,many of his sayings are   
expressive of his personal attitude     
toward art4 ,for example3  ,it is first 
of all necessary to be a painter4 ,no   
one is wholly an artist who is not a    
perfect workman4  ,when your right hand 
becomes too facile--more facile than the

 thought that guides it1 use the left   
hand4  ,do not put into a picture too   
many things which attract attention4    
,when every one speaks at once no one is
 heard4  ,concerning technique1 he says 
to his pupils3 ,paint quantities of     
flowers4 ,it is excellent practice4 ,use
 the palette knife to unite and smooth  
the color1 efface with the knife the    
traces of the brush4 ,when one paints   
with a brush the touches seen through a 
magnifying glass are streaked with light
 and shade because of the hairs of the  
brush4 ,the use of the palette knife    
renders these strokes as smooth as      
marble1 the shadows have disappeared4   
,the material brought together renders  
the tone more beautiful4 ,marble has    
never an ugly tone4  ,one may use       
impasto1 but not everywhere4 ,your brush
 should be handled with reference to the
 character of what you are copying 444  
do not forget that an apple is smooth4  
,i should like to see you model a       
billiard ball4 ,train yourself to have a

 true eye4  ,these are precepts that    
might be given by any good painter1 but 
few of the moderns could more justly    
claim to have practiced all that they   
preached4  ,as a creative artist        
,stevens had his limitations4 ,his      
lineal arrangements are seldom entirely 
fortunate and his compositions1 despite 
the skill with which the given space is 
filled1 lack except in rare instances   
the serenity of less crowded canvasses4 
,he invariably strove to gain atmosphere
 by his choice and treatment of         
accessories but he rarely used the      
delicate device of elimination4         
,nevertheless he was a great painter and
 a great ,belgian1 untrammeled by       
foreign influences4 ,he not only drank  
from his own glass but he drank from it 
the rich old wines of his native        
country4     ,a ,,sketch ,,in ,,outline 
,,of ,,jacques ,,callot     ,v  ,a      
,,sketch ,,in ,,outline ,,of ,,jacques  
,,callot   ,in the ,print ,room of the  
,new ,york ,public ,library are a large 

number of etchings by ,jacques ,callot1 
which are a mine of wealth to the       
painter-etcher of to-day1 curious of the
 methods of his predecessors4 ,looking  
at the portrait of ,callot in which he  
appears at the height of his brief      
career with well formed1 gracious       
features1 ardent eyes1 a bearing marked 
by serenity and distinction1 an         
expression both grave and genial1 the   
observer inevitably must ask3 ,is this  
the creator of that grotesque manner of 
drawing which for nearly three centuries
 has borne his name1 the artist of the  
,balli1 the ,gobbi1 the ,beggars8 ,in   
this dignified1 imaginative countenance 
we have no hint of ,callot's tremendous 
curiosity regarding the most fantastic  
side of the fantastic times in which he 
lived4 ,we see him in the rle least     
emphasized by his admirers1 although    
that to which the greater number of his 
working years were dedicated3 the rle1  
that is1 of moralist1 philosopher and   
historian1 one deeply impressed by the  

sufferings and cruelties of which he    
became a sorrowful critic4  ,there      
surely never was an artist whose life   
and environment were more faithfully    
illustrated by his art4 ,to know one is 
to know the other1 at least as they     
appear from the outside1 for with       
,callot1 as with the less veracious and 
ingenuous ,watteau1 it is the external  
aspect of things that we get and from   
which we must form our inferences4 ,only
 in his selection of his subjects do we 
find the preoccupation of his mind2 in  
his rendering he is detached and        
impersonal1 helping us out at times in  
our knowledge of his mental attitude    
with such quaint rhymes as those        
accompanying ,les ,grandes ,misres de la
 ,guerre1 but chiefly confining his hand
 to the representation of forms1        
relations and distances1 with as little 
concern as possible for the expression  
of his own temperament1 or for          
psychological portraiture of any sort4  
,in the little history1 more or less    

authenticated1 of his eventful youth is 
the key to his charm as an artist1 a    
charm the essence of which is freedom1  
an easy1 informal way of looking at the 
visible world1 a light abandon in the   
method of reproducing it1 an            
independence of the tool or medium1     
resulting in art which1 despite its     
minuteness of detail1 seems to happen as
 ,whistler has said all true art must4  
,the beginning was distinctly           
picturesque1 befitting a nature to which
 the world at first unfolded itself as a
 great ,gothic picturebook filled with  
strange1 eccentric and misshapen        
figures4  ,one spring day in #afjd1 a   
band of ,bohemians1 such as are         
described in ,gautier's ,le ,capitaine  
,fracasse1 might have been seen         
journeying through the smiling country  
of ,lorraine on their way to ,florence  
to be present there at the great ,fair  
of the ,madonna4 ,no gipsy caravan of   
to-day would so much as suggest that    
bizarre and irresponsible company of    

men1 women1 and children1 clad in motley
 rags1 some in carts1 some trudging on  
foot1 some mounted on asses or horses   
rivaling ,rosinante in bony ugliness1   
the men armed with lance1 cutlass and   
rifle1 a cask of wine strapped to the   
back of one1 a lamb in the arms of      
another4 ,a couple of the swarming      
children were decked out with cooking   
utensils1 an iron pot for a hat1 a      
turnspit for a cane1 a gridiron hanging 
in front apron wise4 ,chickens1 ducks1  
and other barnyard plunder testified to 
the marauding course of the troop whose 
advent at an inn was the signal for     
terrified flight on the part of the     
inmates4 ,the camp by night1 if no      
shelter were at hand1 was in the forest1
 where the travelers tied their awnings 
to the branches of trees1 built their   
fires1 dressed their stolen meats1 and  
lived so far as they could accomplish it
 on the fat of the land--for the most   
part of their way a rich and lovely land
 of vine-clad hills and opulent verdure4

  ,the period was lavish in curious gay 
figures to set against the peaceful     
background of the landscape4 ,strolling 
players of the open-air theaters1       
jugglers1 fortune-tellers1 acrobats1    
,pierrots1 and dancers amused the       
pleasure-loving people4 ,the band of    
,bohemians just described was but one of
 many4 ,its peculiarity consisted in the
 presence among its members of a        
singularly fair and spirited child1     
about twelve years of age1 whose alert  
face and gentle manner indicated an     
origin unmistakably above that of his   
companions4 ,this was little ,jacques   
,callot1 son of ,rene ,brunehault and   
,jean ,callot1 and grandson of the      
grandniece of the ,maid of ,orleans1    
whose self-reliant temper seems to have 
found its way to this remote descendant4
  ,already determined to be an artist1  
he had left home with almost no money in
 his pocket and without the consent of  
his parents1 set upon finding his way to
 ,rome1 where one of his                

playfellows--the ,israel ,henriet1 son  
ami1 whose name is seen upon so many of 
the later ,callot prints--was studying4 
,falling in with the gipsies1 he        
traveled with them for six or eight     
weeks1 receiving impressions of a       
flexible1 wanton1 vagabond life that    
were never entirely to lose their       
influence upon his talent1 although his 
most temperate and scholarly biographer1
 ,m4 ,meaume1 finds little of           
,bohemianism in his subsequent manner of
 living4 ,flibien records that according
 to ,callot's own account1 when he found
 himself in such wicked company1 he     
lifted his heart to ,god and prayed for 
grace not to join in the disgusting     
debauchery that went on under his eyes4 
,he added also that he always asked ,god
 to guide him and to give him grace to  
be a good man1 beseeching ,him that he  
might excel in whatever profession he   
should embrace1 and that he might live  
to be forty-three years old4 ,strangely 
enough this most explicit prayer was    

granted to the letter1 and was a        
prophecy in outline of his future4      
,arriving in ,florence with his friends 
the ,bohemians1 fortune seemed about to 
be gracious to him4 ,his delicate face  
with its indefinable suggestions of good
 breeding attracted the attention of an 
officer of the ,duke1 who took the first
 step toward fulfilling his ambition by 
placing him with the painter and        
engraver1 ,canta ,gallina1 who taught   
him design and gave him lessons in the  
use of the burin4 ,his taste was already
 for oddly formed or grotesque figures1 
and to counteract this tendency ,gallina
 had him copy the most beautiful works  
of the great masters4  ,possibly this   
conventional beginning palled upon his  
boyish spirit1 or he may merely have    
been impatient to reach ,israel and     
behold with his own eyes the golden city
 described in his friend's letters4 ,at 
all events1 he shortly informed his     
master that he must leave him and push  
on to ,rome4 ,gallina was not lacking in

 sympathy1 for he gave his pupil a mule 
and a purse and plenty of good advice1  
and started him on his journey4         
,stopping at ,siena1 ,callot gained his 
first notion of the style1 later to     
become so indisputably his own1 from    
,duccio's mosaics1 the pure unshadowed  
outline of which he bore in mind when he
 dismissed shading and cross-hatching   
from the marvelously expressive little  
figures that throng his prints4 ,he had 
hardly entered ,rome1 however1 when some
 merchants from the town of ,nancy1 his 
birthplace1 recognized him and bore him1
 protesting1 back to his home4  ,once   
more he ran away1 this time taking the  
route to ,italy through ,savoy and      
leading adventurous days4 ,in ,turin he 
was met by his elder brother and again  
ignominiously returned to his parents4  
,but his persistence was not to go      
unrewarded4 ,the third time that he     
undertook to seek the light burning for 
him in the city of art1 he went with his
 father's blessing1 in the suite of the 

ambassador dispatched to the ,pope by   
the new duke1 ,henry ,,ii4  ,it is said 
that a portrait of ,charles the ,bold1  
engraved by ,jacques from a painting1   
was what finally turned the scale in    
favor of his studying seriously with the
 purpose of making art his profession4  
,he had gained smatterings of knowledge1
 so far as the use of his tools went1   
from ,dumange ,crocq1 an engraver and   
,master of the ,mint to the ,duke of    
,lorraine1 and from his friend ,israel's
 father1 chief painter to ,charles      
,,iii4 ,he had the habit also of        
sketching on the spot whatever happened 
to attract his attention4  ,in truth he 
had lost but little time4 ,at the age of
 seventeen he was at work1 and very hard
 at work1 in ,rome under ,tempesta4     
,money failing him1 he became           
apprenticed to ,philippe ,thomassin1 a  
,french engraver1 who turned out large  
numbers of rubbishy prints upon which   
his apprentices were employed at so much
 a day4 ,some three years spent in this 

fashion taught ,callot less art than    
skill in the manipulation of his        
instruments4 ,much of his early work is 
buried in the mass of ,thomassin's      
production1 and such of it as can be    
identified is poor and trivial4 ,his    
precocity was not the indication of     
rapid progress4 ,his drawing was feeble 
and was almost entirely confined to     
copying until #afaf1 when1 at the age of
 twenty-four1 he began regularly to     
engrave his own designs1 and to show the
 individuality of treatment and the     
abundant fancy that promptly won for him
 the respect of his contemporaries4     
,while he was in ,thomassin's studio1 it
 is reported that his bright charm of   
face and manner gained him the liking of
 ,thomassin's young wife--much nearer in
 age to ,callot than to her husband--and
 the jealousy of his master4 ,he        
presently left the studio and ,rome as  
well1 never to return to either4 ,it is 
the one misadventure suggestive of      
erratic tendencies admitted to ,callot's

 story by ,m4 ,meaume1 although other   
biographers have thrown over his life in
 ,italy a sufficiently lurid light1     
hinting at revelries and vagaries and   
lawless impulses unrestrained4 ,if1     
indeed1 the brilliant frivolity of      
,italian society at that time tempted   
him during his early manhood1 it could  
only have been for a brief space of     
years4 ,after he was thirty all         
unquestionably was labor and quietness4 
,from ,rome he went to ,florence1 taking
 with him some of the plates he recently
 had engraved4 ,these at once found     
favor in the eyes of ,cosimo ,,ii1 of   
the ,medici then ruling over ,tuscany1  
and ,callot was attached to his person  
and given a pension and quarters in what
 was called1 the artist's gallery4 ,at  
the same time he began to study under   
the then famous ,jules ,parigi1 and     
renewed his acquaintance with his old   
friend ,canta ,gallina1 meeting in their
 studios the most eminent artists of the
 day--the bright day not yet entirely   

faded of the later ,renaissance4        
,illustration3 ,,portrait ,,of ,,jacques
 ,,callot  ,engraved by ,vosterman after
 the painting of ,van ,dyck  ,still his 
work was copying and engraving from the 
drawings of others4 ,had he been under a
 master less interested and sympathetic 
than the good ,parigi1 it is possible   
that his peculiar talent would never    
have declared itself4 ,at all events1   
,parigi urged him1 and the urging seems 
to have been necessary1 to improve his  
drawing1 to drop the burin and study the
 great masters4 ,especially ,parigi     
prayed him to cultivate his precious    
talent for designing on a very small    
scale the varied and complicated        
compositions with which his imagination 
teemed4 ,his taste for whatever was     
fantastic and irregular in aspect had   
not been destroyed by his study of the  
beautiful4 ,the ,bohemian side of human 
nature1 the only nature for which he    
cared1 still fascinated his mind1       
whether it had or had not any influence 

upon his activities1 and ,parigi's      
remonstrances were silenced by his      
appreciation of the comic wit sparkling 
in his pupil's sketches4  ,we see little
 of ,callot among his friends of this   
period1 but the glimpses we get reveal a
 lovable and merry youth in whose nature
 is a strain of sturdy loyalty1 ardent  
in work and patient in seeking          
perfectness in each individual task     
undertaken1 but with a curious          
contrasting impatience as well1 leading 
him frequently to drop one thing for    
another1 craving the relaxation of      
change4 ,an anecdote is told of him that
 illustrates the sweet-tempered         
blitheness of spirit with which he      
quickly won affection4  ,in copying a   
head he had fallen into an error common 
among those who draw most successfully  
upon a small scale1 he had made it much 
too large4 ,his fellow-students were    
prompt to seize the opportunity of      
jeering at him1 and he at once          
improvised a delightful crowd of impish 

creatures on the margin of his drawing1 
dancing and pointing at it in derision4 
,his progress under ,parigi's wise      
instruction was marked1 but it was four 
years after his arrival in ,florence    
before he began to engrave to any extent
 from his own designs4 ,in the meantime1
 he had studied architecture and aerial 
and linear perspective1 and had made    
innumerable pen and pencil drawings from
 nature4 ,he had also begun to practice 
etching1 attaining great dexterity in   
the use of the needle and in the        
employment of acids4  ,in #afag--then   
twenty-five years old--he produced the  
series of plates which he rightly deemed
 the first ripe fruits of his long toil 
in the domain of art4 ,these were the   
delightful ,capricci di varie figure in 
which his individuality shone           
resplendent4 ,they reproduced the       
spectacle of ,florence as it might then 
have been seen by any wayfarer2 street  
people1 soldiers1 officers1 honest      
tradesmen and rogues1 mandolin players1 

loiterers of the crossways and bridges1 
turnpike-keepers1 cut-throats1 buffoons 
and comedians1 grimacing pantaloons1    
fops1 coquettes1 country scenes1 a      
faithful and brilliant study of the     
time1 the manners1 and the place4       
,parigi was enthusiastic and advised his
 pupil to dedicate the plates to the    
brother of the ,grand ,duke4  ,after    
this all went well and swiftly4 ,passing
 over many plates1 important and        
unimportant1 we come three years later  
to the ,great ,fair of ,florence1       
pronounced by ,m4 ,meaume1 ,callot's    
masterpiece4 ,it is doubtful1 says this 
excellent authority1 if in ,callot's    
entire work a single other plate can be 
found worthy to compete with the ,great 
,fair of ,florence4 ,he has done as     
well1 perhaps1 but never better4  ,at   
this time his production was1 all of it1
 full of life and spirit1 vivacious and 
fluent1 the very joy of workmanship4 ,he
 frequently began and finished a plate  
in a day1 and his long apprenticeship to

 his tools had made him completely their
 master4 ,in many of the prints are     
found traces of dry point1 and those who
 looked on while he worked have         
testified that when a blank space on his
 plate displeased him he was wont to    
take up his instrument and engrave a    
figure1 a bit of drapery1 or some trees 
in the empty spaces1 directly upon the  
copper1 improvising from his ready      
fancy4  ,for recreation he commonly     
turned to some other form of his craft4 
,he tried painting1 and some of his     
admirers would like to prove that he was
 a genius in this sort1 but it is fairly
 settled that when once he became       
entangled in the medium of color he was 
lost1 producing the heaviest and most   
unpleasing effects1 and that he produced
 no finished work in this kind4 ,he     
contributed to the technical outfit of  
the etcher a new varnish1 the hard      
varnish of the lute-makers which up to  
that time had not been used in etching1 
and which1 substituted for the soft     

ground1 enabled him to execute his      
marvelous little figures with great     
lightness and delicacy1 and also made it
 possible for him to keep several plates
 going at once1 as he delighted to do1  
turning from one to another as his mood 
prompted him4  ,this ,florentine period 
was one of countless satisfactions for  
him4 ,more fortunate than many artists1 
he won his fame in time to enjoy it4    
,his productions were so highly regarded
 during his lifetime that good proofs   
were eagerly sought1 and to use         
,baldinucci's expression1 were enfermes 
sous sept clefs4 ,he was known all over 
,europe1 and about his neck he wore a   
magnificent gold chain given him by the 
,grand ,duke ,cosimo ,,ii1 in token of  
esteem4 ,in the town which he had       
entered so few years before in the gipsy
 caravan1 he was now the arbiter of     
taste in all matters of art1 highly     
honored1 and friend of the great4 ,when 
,cosimo died and the pensions of the    
artists were discontinued1 ,callot was  

quite past the need of princely favors1 
and could choose his own path4 ,he had  
already refused offers from ,pope and   
emperor and doubtless would have        
remained in ,florence had not ,prince   
,charles of ,lorraine determined to     
reclaim him for his native place4  ,in  
#afba or #afbb he returned to ,nancy1   
never again to live in ,italy4 ,he went 
back preeminent among his countrymen4   
,he had done in etching what had not    
been done before him and much that has  
not been done since4 ,he had created a  
new genre and a new treatment4 ,he had  
been faithful to his first lesson from  
,duccio and had become eloquent in his  
use of simple outline to express joy1   
fear1 calm or sorrow1 his work gaining  
from this abandonment of shadows a      
largeness and clearness that separates  
him from his ,german contemporaries and 
adds dignity to the elegance and grace  
of his figures4 ,his skill with the     
etching needle had become so great that 
technical difficulties practically did  

not exist for him4 ,what he wished to do
 he did with obvious ease and always    
with distinction4 ,his feeling for      
synthesis and balance was as striking as
 his love of the curious1 and as these  
qualities seldom go together in one     
mind1 the result was an art extremely   
unlike that of other artists4 ,it was   
characteristic of him that he could not 
copy himself1 and found himself         
completely at a loss when he tried to   
repeat some of his ,florentine plates   
under other skies4  ,arrived at ,nancy1 
he found ,henry ,,ii1 the then reigning 
,duke of ,lorraine1 ready to accord him 
a flattering welcome1 and under his     
favor he worked with increasing success4
 ,among the plates produced shortly     
after his return is one called ,les     
,supplices1 in which is represented all 
the punishments inflicted throughout    
,europe upon criminals and legal        
offenders4 ,in an immense square the    
revolting scenes are taking place1 and  
innumerable little figures swarm about  

the streets and even upon the roofs of  
the houses4 ,yet the impression is      
neither confused nor painful4 ,a certain
 impersonality in the rendering1 a      
serious almost melancholy austerity of  
touch robs the spectacle of its ignoble 
suggestion4 ,inspection of this         
remarkable plate makes it easy to       
realize ,callot's supreme fitness for   
the tasks that shortly were to be laid  
upon him4  ,he was chosen by the        
,infanta ,elisabeth-,claire-,eugenie of 
,austria to commemorate the ,siege of   
,breda1 in a series of etchings1 and    
while he was in ,brussels gathering his 
materials for this tremendous work he   
came to know ,van ,dyck1 who painted his
 portrait afterward engraved by         
,vosterman1 a superb delineation of both
 his face and character at this         
important period of his eminent career4 
,soon after the etchings were completed1
 designs were ordered by ,charles ,,iv1 
for the decorations of the great        
carnival of #afbg4 ,callot was summoned 

to ,paris to execute some plates        
representing the surrender of ,la       
,rochelle in #afbh1 and the prior attack
 upon the fortress of ,st4 ,martin on   
the ,isle of ,r4 ,in ,paris he dwelt    
with his old friend ,israel ,henriet1   
who dealt largely in prints and who had 
followed with keen attention ,callot's  
constantly increasing renown4 ,henriet  
naturally tried to keep his friend with 
him in ,paris as long as possible1 but  
,callot had lost by this time the       
vagrant tendencies of his youth4 ,he was
 married and of a home-keeping          
disposition1 and all that ,henriet could
 throw in his way of stimulating tasks  
and congenial society1 in addition to   
the formidable orders for which he had  
contracted1 detained him hardly longer  
than a year4 ,upon leaving he made over 
all his ,parisian plates save those of  
the great sieges to ,henriet1 whose name
 as publisher appears upon them4        
,callot's return to ,nancy marked the   
close of the second period of his art1  

the period in which he painted battles  
with ten thousand episodes revealed in  
one plate1 and so accurately that men of
 war kept his etchings among their      
text-books for professional reference4  
,the next demand that was made upon him 
to represent the downfall of a brave    
city came from ,louis ,,xiii1 upon the  
occasion of his entering ,nancy on the  
#beth of ,september1 #afcc4 ,by a ruse  
,richelieu had made the entry possible1 
and the inglorious triumph ,louis deemed
 worthy of commemoration by the         
accomplished engraver now his subject4  
,neither ,callot's high ,lorraine heart 
nor his brilliant instrument was        
subjugated1 however1 and he respectfully
 begged the monarch to absolve him from 
a task so revolting to his patriotism4  
,sire1 he said1 ,i am of ,lorraine1 and 
,i cannot believe it my duty to do      
anything contrary to the honor of my    
,prince and my ,country4 ,the king      
accepted his remonstrance in good part1 
declaring that ,monsieur of ,lorraine   

was very happy to have subjects so      
faithful in affection4 ,certain         
courtiers took ,callot to task1 however1
 for his refusal to obey the will of    
,his ,majesty1 and to them ,callot      
responded that he would cut off his     
thumb rather than do violence to his    
sense of honor4 ,some of the artist's   
historians have made him address this   
impetuous reply to the king himself1 but
 ,m4 ,meaume reminds us that1 familiar  
with courts1 he knew too well the       
civility due to a sovereign to make it  
probable that he so forgot his dignity4 
,later the king tried to allure ,callot 
by gifts1 honors and pensions1 but in   
vain4 ,the sturdy gentleman preferred   
his oppressed prince to the royal favor1
 and set himself to immortalizing the   
misfortunes of his country in the superb
 series of etchings which he called ,les
 ,misres de la ,guerre4 ,he made six    
little plates showing in the life of the
 soldier the misery he both endures and 
inflicts upon others4 ,these were the   

first free inspiration of the           
incomparable later set called ,les      
,grandes ,misres1 a veritable poem1 ,m4 
,meaume declares1 a funeral ode         
describing and deploring the sorrows of 
,lorraine4 ,these sorrows so much       
afflicted him that he would gladly have 
gone back to ,italy to spend the last   
years of his life1 had not the condition
 of his health1 brought on by his       
indefatigable labor1 prevented him4  ,he
 lived simply in the little town where  
he had seen his young visions of the    
spirit of art1 walking in the early     
morning with his elder brother1         
attending mass1 working until dinner    
time1 visiting in the early afternoon   
with the persons1 many of them          
distinguished and even of royal blood1  
who thronged his studio1 then working   
until evening4 ,he rarely attended the  
court1 but grew constantly more quiet in
 taste and more severe in his artistic  
method1 until the feeling for the       
grotesque that inspired his earlier     

years were hardly to be discerned4 ,once
 only1 in the tremendous plate          
illustrating the ,temptation of ,saint  
,anthony1 did he return to his old      
bizarre vision of a world conceived in  
the mood of ,dante and ,ariosto4        
,callot died on the #bdth of ,march1    
#afce1 at the age of forty-three4 ,still
 a young man1 he had passed through all 
the phases of temperament that commonly 
mark the transit from youth to age4 ,and
 he had used his art in the manner of a 
master to express the external world and
 his convictions concerning the great   
spiritual and ethical questions of his  
age4 ,he enunciated his message         
distinctly2 there were no tender        
gradations1 no uncertainties of outline 
or mysteries of surface in his work4 ,it
 is the grave utterance of the definite 
,french intelligence with a note of     
deeper suggestion brought from those    
regions of ironic gloom in which the    
,florentine recorded his sublime        
despair4     ,,carlo ,,crivelli     ,,vi

  ,,carlo ,,crivelli   ,among the more  
interesting pictures acquired by the    
,metropolitan ,museum within the past   
two years are the panels by ,carlo      
,crivelli1 representing respectively    
,st4 ,george and ,st4 ,dominic4         
,crivelli is one of the fifteenth       
century ,italian masters who show their 
temperament in their work with          
extraordinary clearness4 ,his spirit was
 ardent and his moods were varying4     
,with far less technical skill than his 
contemporary1 ,mantegna1 he has at once 
a warmer and more brilliant style and a 
more modern feeling for natural and     
significant gesture4 ,his earliest known
 work that bears a date is the          
altar-piece in ,s4 ,silvestro at ,massa 
near ,fermo2 but his most recent        
biographer1 ,mr4 ,rushworth1 gives to   
his ,venetian period before he left for 
the ,marches1 the ,virgin and ,child now
 at ,verona1 and sees in this the       
strongest evidences of his connection   
with the ,school of ,padua4 ,other      

important pictures by him are at        
,ascoli1 in the ,lateran ,gallery1      
,rome1 in the ,vatican1 in the ,brera   
,gallery at ,milan1 in the ,berlin      
,gallery1 in the ,national ,gallery at  
,london1 in ,frankfurt 7the ,stdel      
,gallery71 in the ,museum of ,brussels1 
in ,lord ,northbrook's collection1      
,london1 in the ,boston ,museum1 in     
,mrs4 ,gardiner's collection at ,boston1
 and in ,mr4 ,johnson's collection at   
,philadelphia4 ,the eight examples in   
the ,national ,gallery1 although        
belonging for the most part to his later
 period1 show his wide range and his    
predominating characteristics1 which    
indeed are stamped with such emphasis   
upon each of his works that despite the 
many and great differences in these1    
there seems to be little difficulty in  
recognizing their authorship4 ,no4 #ghh1
 ,the ,madonna and ,child ,enthroned1   
surrounded by ,saints1 an altarpiece    
painted for the ,dominican ,church at   
,ascoli in #adgf1 is the most elaborate 

and pretentious of the ,national        
,gallery compositions1 but fails as a   
whole to give that impression of moral  
and physical energy1 of intense feeling 
expressed with serene art1 which renders
 the ,annunciation 7,no4 #gci7 both     
impressive and ingratiating4 ,the lower 
central compartment is instinct with    
grace and tenderness4 ,the ,virgin1     
mild-faced and melancholy1 is seated on 
a marble throne4 ,the ,child held on her
 arm1 droops his head1 heavy with sleep1
 upon her arm in a babyish and appealing
 attitude curiously opposed to the      
dignity of the ,child in ,mantegna's    
group which hangs on the opposite wall4 
,his hand clasps his mother's finger and
 his completely relaxed figure has      
unquestionably been studied from life4  
,at the right and left of the ,virgin   
are ,st4 ,peter and ,st4 ,john1 ,st4    
,catherine of ,alexandria and ,st4      
,dominic1 whole-length figures strongly 
individualized and differentiated4 ,st4 
,john in particular reveals in the      

beauty of feature and expression        
,crivelli's power to portray subtleties 
and refinements of character without    
sacrificing his sumptuous taste for     
accessories and ornament4 ,the ,saint1  
wearing his traditional sheep skin and  
bearing his cross and scroll1 bends his 
head in meditation4 ,his brows are knit1
 his features1 ascetic in mold and      
careworn1 are eloquent of serious       
thought and moral conviction4 ,by the   
side of ,st4 ,peter resplendent in      
pontifical robes and enriched with      
jewels1 he wears the look of a young    
devout novice not yet so familiar with  
sanctity as to carry it with ease4 ,he  
stands by the side of a little stream1  
in a landscape that combines in the true
 ,crivelli manner direct realism with   
decorative formality4 ,the ,st4 ,dominic
 with book and lily in type resembles   
the figure in the ,metropolitan1 but the
 face is painted with greater skill and 
has more vigor of expression4 ,above    
this lower stage of the altarpiece are  

four half-length figures of ,st4        
,francis1 ,st4 ,andrew the ,apostle1    
,st4 ,stephen and ,st4 ,thomas ,aquinas1
 and over these again are four pictures 
showing the ,archangel ,michael         
trampling on the ,dragon1 ,st4 ,lucy the
 ,martyr1 ,st4 ,jerome and ,st4 ,peter1 
,martyr1 all full length figures of     
small size and delicately drawn1 but    
which do not belong to the original     
series4 ,the various parts of the       
altarpiece were enclosed in a splendid  
and ornate frame while in the possession
 of ,prince ,demidoff in the latter half
 of the nineteenth century and the whole
 is a magnificent monument to           
,crivelli's art4 ,the heavy gold        
backgrounds and the free use of gold in 
the ornaments1 together with the use of 
high relief 7,st4 ,peter's keys are     
modeled1 for example1 almost in the     
round1 so nearly are they detached from 
the panel7 represent his tendency to    
overload his compositions with archaic  
and realistic detail1 but here as       

elsewhere the effect is one of harmony  
and corporate unity of many parts4 ,the 
introduction of sham jewels1 such as    
those set in the ,virgin's crown and in 
the rings and medallions worn by ,peter1
 fails to destroy the dignity of the    
execution4 ,it may even be argued that  
these details enhance it by affording a 
salient support to the strongly marked  
emotional faces of the saints and to the
 vigorous gestures which would be       
violent in a classic setting4           
,illustration3 ,,st4 ,,dominic  ,from a 
panel by ,carlo ,crivelli  ,a quite     
different note is struck in the grave   
little composition belonging to an      
altarpiece of early date in which two   
infant angels support the body of       
,christ on the edge of the tomb4        
,nothing is permitted to interrupt the  
simplicity of this pathetic group4 ,in  
the much more passionate rendering of a 
similar subject--the ,piet in ,mr4      
,johnson's collection--the child angels 
are represented in an agony of grief1   

their features contorted and their      
gestures despairing4 ,the little angels 
of the ,national ,gallery picture1 on   
the contrary1 are but touched by a      
pensive sorrow4 ,one of them rests his  
chin upon the shoulder of the ,christ   
half tenderly1 half wearily2 the other  
in fluttering robes of a lovely yellow1 
applies his slight strength to his task 
seriously but without emotion4 ,the     
figure of ,christ1 tragically quiet1    
with suffering brows1 the wound in the  
side gaping1 is without the suggestion  
of extreme physical anguish that marks  
the figure in the ,boston ,piet4 ,the   
sentiment with which the panel is       
inspired is one of gentleness1 of       
resignation1 of self-control and piety4 
,the same sentiment is felt in the      
companion panel1 now in the ,brussels   
,gallery--,the ,virgin and the ,child   
,jesus--which originally1 with the      
,piet1 formed the central double        
compartment of a triptych at ,monte     
,fiore1 near ,fermo4 ,the sad coloring  

of the ,virgin's robe--a dull bluish    
green with a gold pattern over an under 
robe of pale ashes of roses1 the calm1  
benign features1 the passive hands1 are 
all in the spirit of subdued feeling4   
,the child alone1 gnomish in expression 
and awkward in a straddling attitude    
upon his mother's knee1 fails to conform
 to the general gracious scheme4  ,in   
the ,annunciation already mentioned1 we 
have another phase of ,crivelli's       
flexible genius--a phase in which are   
united the pomp and splendor of his     
fantastic taste with the innocence and  
sweetness of his most engaging feminine 
type4 ,it would be difficult to imagine 
a more demure and girlish ,virgin than  
the small kneeling figure in the richly 
furnished chamber at the right of the   
panel4 ,the glory of her fate is        
symbolized by the broad golden ray      
falling from the heavens upon her meekly
 bowed head4 ,her face is pale with the 
dim pallor that commonly rests upon     
,crivelli's flesh tones1 and her clasped

 hands have the exaggerated length of   
finger and also the look of             
extraordinary pliability which he       
invariably gives4 ,outside the room in  
the open court kneels the ,angel of the 
,annunciation and by his side kneels    
,st4 ,emedius1 the patron of ,ascoli1   
with a model of the city in his hands4  
,these figures are realistic in gesture 
and expression1 interested1 eager1      
responsive1 filled with quick life and  
joyous impulse4 ,the richly embroidered 
garment of the angel1 his gilded wings1 
his traditional attitude1 neither       
overpower nor detract from the vivid    
individuality of the beautiful face so  
firmly yet so freely modeled within its 
delicate hard bounding line4 ,this      
feeling of actuality in the scene is    
carried still farther by the            
introduction of a charming little child 
on a balcony at the left1 peering out   
from behind a pillar with naive         
curiosity and half-shy1 half-bold       
determination to see the end of the     

adventure4 ,all this is conceived in the
 spirit of modernity and the personal   
quality is unmistakable and enchanting4 
,there is no excess of emotion nor is   
there undue restraint4 ,there is a      
blithe sense of the interest of life and
 the personality of human beings that   
gives a value to the subject and a      
meaning beyond its accepted symbolism4  
,on the technical side1 also1 the panel 
has remarkable merit even for this      
expert and careful painter4 ,his        
,venetian fondness for magnificent      
externals finds ample expression in the 
rich accessories4 ,a peacock is perched 
on the casement of the ,virgin's room1  
flowers and fruits1 vases and variegated
 marbles all come into the plan of the  
handsome environment1 and are justified 
artistically by the differentiation of  
textures1 the gradation of color1 the   
research into intricacies of pattern1   
the light firm treatment of             
architectural structure1 and the skilful
 subordination of all superficial detail

 to the elements of the human drama1 the
 figures of which occupy little space1  
but are overwhelming in significance4   
,illustration3 ,in the ,metropolitan    
,museum1 ,new ,york4  ,,st4 ,,george    
,from a panel by ,carlo ,crivelli  ,it  
is interesting to compare this          
,annunciation with the two small        
sextagonal panels of the same subject in
 the ,stdel ,museum at ,frankfurt which 
are earlier in date4 ,in many respects  
the compositions are closely similar4   
,there is the same red brick wall1 the  
same ,oriental rug hanging from the     
casement1 the types of ,angel and       
,virgin are the same1 but in the        
,frankfurt panel there is more impetuous
 motion in the gesture of the ,angel1   
who hardly pauses in his flight through 
air to touch his knee to the parapet4   
,his mouth is open and the words of his 
message seem trembling on his lips4     
,although all the outlines are severely 
defined with the sharpness of a         
,schiavone1 the interior modeling is    

sensitive and delicate and in the case  
of the ,virgin1 tender and softly       
varied1 so that the curve of the throat 
and chin seem almost to ripple with the 
breathing1 the young chest swells in    
lovely gradation of form under the close
 bodice1 and the whole figure has a     
graciousness of contour1 a slim         
roundness and elasticity by which it    
takes its place among ,crivelli's many  
realizations of his ideal type as at    
least one of the most lovable if not the
 most characteristic and personal4      
,especially fine1 also1 is the treatment
 of the drapery in these two admirable  
little panels4 ,the mantle surrounding  
the angel billows out in curling folds  
as eloquent of swift movement as the    
draperies of ,botticelli's striding     
nymphs2 and the opulent line of the     
,virgin's cloak is superb in its lightly
 broken swirl about the figure4 ,the    
hair1 too1 of both the ,angel and the   
,virgin1 waves in masses at once free   
and formal1 with something of the wild  

beauty of ,botticelli's windblown       
tresses4 ,the analogy between the two   
painters1 the ardent and poetic         
,florentine and the no less ardent and  
at times almost as poetic ,venetian 7if 
we accept his own claim to the title71  
might be further dwelt upon1 although it
 would be easy to overemphasize it4 ,one
 attribute1 certainly1 they had in      
common and it is the one that most      
completely separates each of them from  
his fellows--the exultant verve1 that   
is1 with which the human form is made to
 communicate energy of movement in their
 compositions4 ,it is impossible to     
believe that either of them ever painted
 a tame picture4 ,if1 however1 ,crivelli
 could not be tame he could be insipid1 
escaping tameness by what might be      
called the violence of his affectation4 
,the ,st4 ,george in the ,metropolitan  
,museum is an instance of his occasional
 use of a type so frail and languid in  
its grace and so sentimental in gesture 
and expression as to suggest caricature4

 ,another example dated #adia is the    
,madonna and ,child ,enthroned in the   
,national ,gallery4 ,on either side of  
the melancholy ,madonna are ,st4        
,francis and ,st4 ,sebastian4 ,the      
latter is pierced by arrows and tied to 
a pillar1 but so far from wearing the   
look of suffering or of calm endurance1 
he has a trivial glance of deprecation  
for the observer1 and his figure is     
wholly wanting in the force of young    
manhood4 ,a striking contrast to this   
effeminate mood may be found in ,no4    
#gbd1 also a ,madonna ,enthroned1       
between ,st4 ,jerome and ,st4           
,sebastian1 a late signed picture of    
,crivelli's declining talent1 with a    
predella below the chief panel in which 
appear ,st4 ,catherine1 ,st4 ,jerome in 
the ,wilderness1 the ,nativity1 the     
,martyrdom of ,st4 ,sebastian again1 and
 ,st4 ,george and the ,dragon4 ,the     
little compartment containing the scene 
of the ,nativity is quite by itself     
among ,crivelli's works for intimate and

 homely charm4 ,the simplicity of the   
surroundings and the natural attitudes  
of the people have an almost ,dutch     
character1 borne out by the meticulous  
care for detail in the execution united 
to an effect of chiaro-oscuro very rare 
in early ,italian art and hardly to be  
expected in a painter of ,crivelli's    
,paduan tendencies4 ,the ,st4 ,george is
 more characteristic1 with an immense   
energy in its lines4 ,in arrangement it 
recalls the ,st4 ,george of ,mrs4       
,gardiner's collection and despite its  
small size is almost the equal of that  
magnificent example in concentration and
 fire4  ,illustration3 ,in the          
,metropolitan ,museum1 ,new ,york4      
,,piet  ,from a panel by ,carlo         
,crivelli  ,still another type1 and one 
that combines dignity and much          
spirituality with naive realism1 is the 
,beato ,ferretti 7,no4 #ffh71 showing an
 open landscape with a village street at
 the right and a couple of ducks in a   
small pond at the left1 the ,beato      

kneeling in adoration with a vision of  
the ,virgin and ,child surrounded by the
 ,mandorla or ,verica glory appearing   
above4 ,the kneeling saint is           
realistically drawn and his face wears  
an expression of intense piety4 ,the    
landscape is marked by the bare twisted 
stems of trees1 that seem to repeat the 
rigid and conceivably tortured form of  
the saint4 ,a beautiful building with a 
domed roof is seen at the right4 ,at the
 top of the picture across the          
cloud-strewn sky is a festoon of fruits1
 ,crivelli's characteristic decoration4 
,illustration3 ,in the ,stdel ,gallery  
at ,frankfort4  ,a ,,panel ,,by ,,carlo 
,,crivelli 7a7   ,illustration3 ,in the 
,stdel ,gallery at ,frankfort4  ,a      
,,panel ,,by ,,carlo ,,crivelli 7b7     
,in all these pictures ,crivelli reveals
 himself as an artist filled with       
emotional inspiration1 to whom the      
thrill of life is more than its         
trappings1 and one1 moreover1 who       
observes1 balances and differentiates4  

,the society of his saints and angels is
 stimulating2 the element of the        
unexpected enters into his work in open 
defiance of his pronounced mannerism4   
,it is possible to detect beneath the   
close and manifold coverings of his     
ornate decoration a swift flame of      
imaginative impulse such as ,blake sent 
into the world without such covering4   
,he would have pleased ,blake by this   
nervous energy and by his pure bright   
coloring1 despite the fact that he      
signed himself ,venetus4 ,he painted in 
tempera and finished his work with care 
and deliberation4 ,it is remarkable that
 so little of his mental fire died out  
in the slow process of his execution4   
,it is still more remarkable that in    
spite of his reactionary tendencies1 his
 archaistic use of gold and relief at a 
moment when all great artists were      
renouncing these1 he is intensely modern
 in his sentiment4 ,he seems to         
represent a phase of human development  
at which we in ,america have but        

recently arrived2 a phase in which      
appreciation of ancient finished forms  
of beauty is united to a restless       
eagerness and the impulse toward        
exaggerated self-expression4 ,he is     
supposed to have been born about #addj1 
which would make him a contemporary of  
the two ,bellini1 of ,hans ,memling and 
of ,mantegna4 ,had he only been able to 
give his imagination a higher range--had
 he possessed a more controlling        
spiritual ideal1 had the touch of       
self-consciousness that rests like a    
grimace on the otherwise lovely aspect  
of much of his painting1 been           
eliminated1 he would have stood with    
these on the heights of fifteenth       
century art4 ,we are fortunate to have  
in ,america the ,boston ,museum ,piet1  
which shows him in one of his most      
temperate moods1 the ,piet of ,mr4      
,johnson's collection1 which is the     
emphatic expression of his least        
restrained moments1 the ,st4 ,george of 
,mrs4 ,gardiner's collection1 in which  

his grasp of knightly character and     
pictorial grace is at its best1 and     
these two strongly contrasted types of  
the ,metropolitan ,museum4              
,,rembrandt ,,at ,,the ,,cassel         
,,gallery     ,,vii  ,,rembrandt ,,at   
,,the ,,cassel ,,gallery   ,the art     
gallery of ,cassel is well known to     
connoisseurs as containing a group of   
,rembrandts of the first order4 ,the    
earliest example is a small painting of 
a boy's head supposed to be a portrait  
of the artist at the age of twenty or   
one and twenty2 ,dr4 ,bode considers    
#afbh too late rather than too early as 
the probable date1 and the same         
authority warns us against considering  
such studies in the light of serious    
portraiture3 ,it had never occurred to  
the young artist1 he says1 to make a    
dignified portrait of himself at the    
time when he painted these pictures4    
,the execution is clumsy1 the color is  
dull and heavy and of the brownish tone 
common to ,rembrandt's early painting1  

and much of the drawing--as in the rings
 of hair escaping to the surface from   
the thick curling mass--is meaningless  
and indefinite1 but the distribution of 
light and shade is not unlike that of   
,rembrandt's later work and the touch   
has a certain bold freedom that seems to
 have been his from the first whenever  
he served as his own model1 even while  
his handling was still hard and prim in 
his portraits of others4 ,another work  
ascribed to his early period1 about     
#afcd1 is the ,man with a ,helmet1 also 
commonly known as a self-portrait1      
fluent in execution and vivacious and   
lifelike in expression1 yet not without 
that hint of conscious pose common with 
the artist in his endeavors to force the
 note of character4 ,the blunt1 strong  
features are strikingly like those of   
the authenticated portraits of the      
artist1 but ,dr4 ,karl ,voll1 ,director 
of the ,alt ,pinakothek at ,munich1     
declares that the idea of a             
self-portrait1 attractive as it is1 can 

hardly in this case be upheld4 ,whoever 
the sitter may have been1 the painting  
is an amazing example of dexterity of   
hand and acute observation4 ,the sharp  
glitter of the helmet1 the contrasting  
flesh-like quality of the painting in   
the face1 the light vigorous drawing of 
the moustache and hair1 give an         
impression of the artist's mastery of   
his craft hardly to be surpassed at any 
period of his life4 ,far less poetic in 
its color-scheme and chiaro-oscuro than 
the youthful portrait belonging to ,mrs4
 ,gardiner's collection1 it is even more
 eloquent of the ease with which he     
managed his tools4 ,of a still greater  
charm1 with subtler problems met and    
solved1 is the portrait of ,saskia van  
,ulenburgh1 whom he married in          
,amsterdam in the year #afcd1 the       
probable date of the ,cassel portrait4  
,at all events the young woman carries  
in her hand a spray of rosemary1 the    
symbol of betrothal1 and her dress has  
the richness of a ,dutch bride's        

equipment4 ,here we see ,rembrandt's art
 in perhaps its most delicate and       
psychologically interesting phase4 ,the 
character revealed by the small pretty  
features has neither extraordinary force
 nor marked individuality4 ,the lines   
are neither deep-cut nor broad4 ,one is 
reminded of a fine little etching in    
which the plate has been bitten only to 
a moderate depth and which requires a   
sensitive handling in the printing to   
produce anything like richness4 ,yet the
 result is rich in the fullest sense of 
the term4 ,it depends for its quality   
not only upon the splendid color-scheme 
formed by the dark red of the velvet hat
 and gown1 the white of the feather1 the
 gold and gray and dull blue of the     
trimmings and ornaments1 the beautiful  
jewels1 with which ,rembrandt then as   
later produced an appearance of great   
magnificence1 the bright red-gold of the
 hair falling lightly over the softly   
modeled brow1 and the fair warm tones of
 the flesh glowing as from living health

 and physical energy3 it depends as much
 upon the deep research into the        
expression that has resulted in the     
intimate portraiture possible only to   
genius and seldom found even in the work
 of the great masters1 never1 so far as 
the writer's observation has gone1 in   
the work of their later years4 ,the     
smile that hesitates at the corner of   
the whimsical little mouth1 the tender  
modulations of surface on the forehead  
and about the straight-gazing honest    
eyes1 the swift suggestions of movement 
and play of mood in the flexible        
contours1 the gaiety and sweetness and  
singular purity of the girlish face1 are
 evoked with magisterial authority and  
precision4 ,never surely has there been 
a finer example of ,dutch care and      
thoroughness in the observation and     
rendering of minute detail united to    
breadth of effect4 ,the painting of the 
jewels and embroideries is wrought to a 
singularly perfect finish4 ,it is almost
 as though the artist had set himself to

 extract the utmost beauty of which the 
textures of stuffs and gems are capable1
 to prove how much more enchanting was  
the beauty of the brilliant blond demure
 little face daintily poised above them4
 ,dr4 ,bode calls the picture one of the
 most attractive1 not only of his early 
pictures1 but of all his works4         
,illustration3 ,courtesy of ,berlin     
,photographic ,company4  ,,saskia  ,from
 a portrait by ,rembrandt  ,to          
,rembrandt's early years also are       
ascribed certain careful studies of old 
men's heads and several portraits of    
younger men4 ,among these are one of the
 writing-master ,coppenol and one of the
 poet ,krul1 the former painted in      
#afcb1 the latter in #afcc4 ,the ,krul  
portrait is the more striking of the    
two1 and the pictorial costume with the 
broad hat casting its lucent shadow over
 the fine brow1 the silken jacket with  
its gleaming reflections and the wide   
white ruffles at neck and sleeve on     
which the light blazes full1 adds to the

 dignity and richness of the effect4 ,it
 is easy1 however1 to agree with ,dr4   
,voll in ranking the splendid portrait  
of an unknown man1 of some five or six  
years later date1 far above the ,krul   
portrait in artistic quality4 ,although 
excessively warm in tone it has in      
addition to excellent construction and a
 lifelike aspect a nobility of bearing  
that imposes itself directly and        
irresistibly upon the spectator4  ,the  
portrait of ,coppenol is not easily     
analyzed and ,dr4 ,bode notes that the  
likeness to the authenticated portraits 
of the famous drawing master is not     
altogether convincing4 ,simpler and     
homelier in appearance than the portrait
 of ,krul1 this solid and even heavy    
figure seated comfortably in an         
armchair1 the well-drawn hands busy with
 mending a quill pen1 the glance        
reflective1 but hardly thoughtful1 the  
mouth under the small fair moustache    
slightly indeterminate1 the head covered
 with short hair1 the smooth fat face   

three-quarters in light1 presents at    
first glance a commonplace aspect       
enough4 ,but returning to it from the   
,krul or even from the more masterly    
later portrait1 the spectator is certain
 to be deeply impressed by the quiet yet
 searching execution that takes account 
of every significant change in plane or 
outline in the large cheek and full     
chin4 ,from the very commonplace of the 
pose and type one gains a special       
pleasure1 since the power of the artist 
to irradiate an ordinary subject is the 
more clearly seen4 ,the serene light    
enveloping the good head and falling    
gently on the background brings no      
thought of method or pigment to the     
mind1 and the fleshlike quality of the  
face and hands is as near imitation of  
reality as is possible within the bounds
 of synthetic art4 ,it is easy to agree 
with ,dr4 ,bode's opinion that the      
homely simple portraits painted in      
ordinary costume and under ordinary     
conditions of light during ,rembrandt's 

first three years in ,amsterdam are     
intellectually more worth while than the
 earlier more personal works4 ,the      
theory is that he turned them out in    
competition with his contemporaries and 
eclipsed them on their own ground4  ,the
 portrait of ,rembrandt's ,father in    
,indoor ,dress1 of the preceding year   
7#afca71 is in a quite different manner1
 and closely resembles the painting in  
,boston of an old man with downcast     
eyes1 from the same model4 ,the bald    
head and scanty beard1 the wrinkled face
 and slightly uncertain mouth1 are      
familiar to all students of ,rembrandt's
 art4 ,in #afca ,rembrandt was still in 
his father's house and one gains some   
notion of the old miller's amiability   
from the frequency with which he        
appeared in etchings and paintings and  
the variety of the poses which he took  
on behalf of his ardent son1 adjusting  
his expression to his assumed character 
with no little dramatic skill4 ,never in
 his later years did ,rembrandt so      

delicately render the patience and      
discipline of age4 ,in this alert1      
unprepossessing yet kindly face we can  
read a not too fanciful history of the  
temperament of the sitter4 ,we see1 at  
all events1 the mark of a sympathetic   
mind4  ,the next picture in the         
collection to mark a special period and 
one of brilliant achievement in         
,rembrandt's career is the so-called    
,woodcutter's ,family1 belonging to the 
decade between #afdj and #afej4 ,after  
an old fashion the ,holy ,family is     
represented as seen in a painting before
 which a curtain is partly drawn4 ,the  
mother sits by the side of a cradle from
 which she has lifted the child who     
clings to her neck while she presses him
 to her in a close embrace4 ,in the     
farther corner of the room is the figure
 of the father in his carpenter's apron1
 and in the center a cat is crouching   
near some dishes on the floor4 ,the room
 is filled with a mild sunlight that    
filters through the air and falls across

 the figures of the mother and child and
 across the broad expanse of floor4 ,the
 simplicity and poetic feeling in       
lighting and gesture are worthy of      
,rembrandt's prime1 and there is no     
trace of the extreme drama that marks   
the religious compositions at ,munich4  
,the color is beautiful and the tone    
mysterious4 ,nevertheless one misses the
 precious quality of the earlier        
craftmanship as it shines in such lovely
 paintings as the ,saskia and the       
,portrait of a ,young ,woman4 ,in these 
the painter shows that he was still     
young1 that he had arrived at a skill of
 hand that permitted him to use his     
medium with ease and certainty1 but that
 he had not yet ceased to attempt what  
lay just beyond his powers4 ,his brush  
still sought out subtle refinements of  
modeling with the patience that allied  
him to the earlier ,dutch and ,flemish  
masters4 ,he had1 no doubt1 the         
instinctive feeling of ardent youth1 the
 assumption of time ahead for the       

carrying out of all projects1 and his   
brilliant manipulations of his pigment  
showed neither haste1 nor as yet the    
complete confidence that leaves untold  
the detail of the story for the         
imagination of the audience to supply4  
,he was not ready to sacrifice          
everything else to that light and       
atmosphere of which he made his own     
world in his later years4               
,characteristic of his most winning use 
of this light that he created for his   
own purposes is the portrait of         
,nicholas ,bruyningh1 ,secretary of one 
of the divisions of the ,courts of      
,justice at ,amsterdam3 one of the most 
salient and brilliant of the ,rembrandts
 in the ,cassel ,gallery4 ,this portrait
 belongs to the year #afeb when the     
artist was about forty-five years old1  
and it is a superb example of matured   
genius4 ,the subject offered an         
opportunity for daring handling and     
pictorial arrangement upon which        
,rembrandt seized with a full           

understanding of its possibilities4 ,the
 beautiful gay face with its suggestion 
of irresponsibility glows from a mist of
 atmosphere that veils all minor detail1
 leaving in strong relief the mass of   
curling hair1 the smiling dark eyes1 the
 smiling mouth unconcealed by the slight
 moustache1 the firmly modeled nose and 
pliant chin1 with the tasseled collar   
below catching the point of highest     
light4 ,it is the poetry of good humor1 
of physical beauty1 of content with life
 and life's adventures4 ,it also marks  
what ,herr ,knackfuss calls ,rembrandt's
 softer manner in which all sharp       
outlines of objects are effaced1 and the
 lights gleam from a general darkness4  
,more than ,the ,sentinel1 which        
sometimes is given as the starting point
 for this departure in style1 it has the
 appearance of a dramatic emergence from
 shadow4 ,from having been a painstaking
 craftsman ,rembrandt at this time had  
become a dramatist selecting from his   
material those elements best adapted to 

sway the emotions4 ,he has lost         
himself--or found himself--in the       
expression of character2 not merely     
character as one element in a picture's 
interest1 but character as the element4 
,in this picture of ,nicholas ,bruyningh
 we cannot escape from the merry        
careless temperament4 ,we cannot as in  
the early portrait of ,saskia linger in 
dalliance over charming accessories and 
beautifully discriminated textures until
 we reach by moderate degrees the       
eloquence of the profoundly studied     
face4 ,bruyningh's face is like the     
tirade of a ,french play--it is rendered
 at white heat and in one inconceivably 
long breath4 ,its significance is so    
intensified as to produce a profound    
feeling in a sympathetic spectator4     
,illustration3 ,courtesy of ,berlin     
,photographic ,company4 ,in the ,cassel 
,museum4  ,,nicholas ,,bruyningh  ,from 
a portrait by ,rembrandt  ,if we compare
 it with the badly named ,laughing      
,cavalier of ,franz ,hals we see clearly

 enough the difference between drama and
 realism4 ,drama as defined by ,robert  
,louis ,stevenson consists not of       
incident but of passion that must       
progressively increase in order that the
 actor may be able to carry the audience
 from a lower to a higher pitch of      
interest and emotion4 ,this also defines
 ,rembrandt's painting at all periods4  
,as one approaches the human face in his
 pictures one becomes aware of an       
emotional quality that is irresistible1 
and in a portrait like that of          
,bruyningh the emotional quality is     
almost isolated from incident or detail4
 ,it is the great moment of the third   
act when the audience holds its breath4 
,the ,standard ,bearer is not accepted  
by ,dr4 ,bode as a fine work or even as 
certainly original1 the version of the  
same subject in ,baron ,g4 du           
,rothschild's collection having made    
much deeper an impression upon him4 ,the
 ,cassel version is nevertheless a work 
of great distinction1 the grave and     

beautiful face and shining armor looking
 out of a luminous atmosphere that has  
more of the ,rembrandtesque quality than
 many authenticated works of            
,rembrandt's riper period4 ,the work is 
engaging1 personal1 striking1 and if not
 entirely great certainly possessed of  
many of the qualities of greatness4     
,while the ,cassel collection does not  
contain any of the superb self portraits
 of ,rembrandt's later years1 the one   
example in this kind having authority   
without great interest1 it does include 
one biblical picture of unusual         
importance belonging to the year #afef1 
the ,jacob ,blessing his ,grandchildren1
 which is1 however1 unfinished4 ,the    
square1 direct brush strokes suggest    
those of ,hals1 the drapery is thinly   
painted with a flowing medium1 the black
 shadows on the face of ,jacob cut      
sharply into the half tones1 there is   
little discrimination in the textures   
and the background comes forward4 ,but  
the faces of the children are charming  

in characterization1 recalling the      
simple tenderness of the ,girl ,leaning 
,out of the ,window at ,dulwich1 one of 
the most enchanting embodiments of youth
 ever achieved by ,rembrandt1 and the   
woman1 ,israelitish in type1 with large 
eyes and features rather abruptly       
defined1 is an attractive attempt to    
realize feminine beauty1 a task in which
 ,rembrandt was never dexterous1        
however4  ,of the two landscapes1 that  
with the ruined castle is the most      
impressive1 but neither compares        
favorably with the dainty perfection of 
the landscape etchings4  ,if we add to  
these examples the studies of old men's 
heads and the delightful portrait of the
 artist's sister holding a pink in her  
hand1 we realize that the group as a    
whole covers many phases of ,rembrandt's
 constantly changing inspiration4 ,he   
betrayed in his later works the         
impatience of those to whom few years   
are left in which to complete their     
accomplishment1 but he kept the         

sensitiveness of his youth well into his
 brief prime1 although he transferred it
 from the field of form to that of      
light4 ,it betrays itself in the quality
 of that light which absorbs all that is
 ugly1 coarse1 or ultra real in its     
poetizing glamour4 ,from the tender     
explicit craftsmanship of the wonderful 
,saskia to the golden mist enveloping   
the figure of ,nicholas ,bruyningh1 is a
 long step1 but not longer than many a  
painter has taken in his progress from  
youth to maturity4 ,the special comment 
upon ,rembrandt's character as a painter
 which we are able to gather from the   
,cassel pictures is that in casting off 
the trammels of particularity he did not
 become less receptive to poetic        
influences4 ,he grew more and more a    
dreamer1 and in losing the clear        
objective manner of his early portraits 
he substituted not the idle carelessness
 which in the work of a painter's later 
years is apt to be condoned as freedom1 
but the generalization that excludes    

vulgarities of execution and makes      
necessary increased mastery of the      
difficult craft of painting4            
,,fantin-,,latour     ,,viii            
,,fantin-,,latour   ,fantin-,latour was 
born in #ahcf1 was the son of a painter1
 and was educated at ,paris under his   
father's guidance and that of ,lecoq and
 ,boisbaudeau1 professor at a little art
 school connected with the ,ecole des   
,beaux-,arts4 ,one of the most          
interesting painters of the little group
 in ,france whose work began to come    
before the public about the middle of   
the nineteenth century1 a close friend  
of ,whistler1 a passionate admirer of   
,delacroix1 and an inspired student of  
the old masters1 he managed to preserve 
intact an individuality that has a      
singular richness and simplicity seen   
against the many-colored tapestry of    
nineteenth-century art4 ,rubens1        
,velasquez1 ,rembrandt1 ,franz ,hals1   
and ,nicolaas ,maas1 ,pieter de ,hooch  
and ,vermeer of ,delft1 ,watteau and    

,chardin1 ,van ,dyck1 ,titian1          
,tintoret1 and ,veronese were his true  
masters and his copies of their works   
are said by his enlightened critic1 ,m4 
,arsne ,alexandre1 to have a masterly   
quality of their own1 to be far removed 
from the conventionality of facsimiles1 
and to bear upon an underlying fidelity 
of transcription an impress of          
individual sentiment4 ,he sought to be  
faithful to the originals beyond        
external imitation1 by seeking to render
 the original tone of the painting in   
its first freshness1 as it appeared     
before time and varnish had yellowed and
 darkened it4 ,he thus made himself     
familiar with the technical methods of  
the great periods of painting1 and1     
coming into his inheritance of modern   
ideas and ideals1 he was able to achieve
 a beauty of execution much too rarely  
sought by his contemporaries1 although  
his intimate companions like himself    
frequented the ,louvre with a           
considerable assiduity1 spending upon   

the old masters the enthusiasm which    
they withheld from the later academic   
school of painting4  ,his earlier       
subjects were largely ,biblical and     
historical4 ,he then passed to domestic 
scenes and in #ahei1 #ahfa1 and #ahfc   
was painting his pictures of ,les       
,liseurs and ,les ,brodeuses which      
showed the charming face of his sister  
with her sensitive smiling mouth and    
softly modeled brows1 and later that of 
his wife4 ,at the ,salon of #ahei he and
 ,whistler both submitted subjects drawn
 from family life1 ,whistler his ,at the
 ,piano with his own sister and his     
niece1 little ,annie ,haden1 for the    
models1 and ,fantin his painting of     
young women embroidering and reading1   
only to have their canvases refused4    
,fantin was not1 however1 a martyr to   
his predilections in art4 ,he early     
obtained admission to the ,salon        
although he had enough rejected work to 
permit him to appear among the painters 
exhibiting in the famous little ,salon  

des ,refuss of #ahfc4 ,he received      
medals and official recognitions4 ,but  
his modesty of taste led him to hold    
himself somewhat apart and exclusive    
among those who shared his likings4 ,his
 portrait of himself1 painted in #aheh1 
shows a dreamy young man with serious1  
almost solemn1 eyes1 sitting before his 
easel1 and looking into the distance    
with the expression of one who sees     
visions4  ,as a matter of fact he did   
see visions and attempted to fix them   
with his art4 ,an ardent lover of music1
 he was eager to translate the emotions 
aroused by it into the terms of his own 
art4 ,as early as #ahei he was in       
,england1 to which he returned in #ahfa 
and #ahfd1 and while there he was       
surrounded by a group of people who     
shared his enthusiasm for ,german music4
 ,there he first became familiar with   
,schumann's melodies1 and made the rare 
little etching representing his ,english
 friends1 ,mr4 and ,mrs4 ,edwards1      
playing one of ,schumann's compositions1

 ,edwards with his flute and ,mrs4      
,edwards at the piano4 ,in #ahfb he had 
the very tempered satisfaction of       
finding that ,wagner1 already beloved by
 him1 had reached the public taste      
through the labors of the courageous    
,pasdeloup4 ,i always regret1 he wrote  
to ,edwards1 seeing the objects of my   
adoration adored by others1 especially  
by the masses4 ,i am very jealous when  
,i love4  ,in order to celebrate        
,wagner's triumph over these masses1    
however1 he at once made the lithograph 
called ,venusberg1 from which sprang the
 very different oil version of the same 
subject which together with the ,hommage
  ,delacroix1 the story of which ,m4    
,bndite has recounted1 was admitted to  
the ,salon of #ahfd4 ,fantin's          
lithographs1 a number of which are in   
the print room of the ,lenox ,library   
building in ,new ,york ,city1 show      
clearly his preoccupation with music1   
and an interesting article on this phase
 of his temperament appeared in the     

,revue des ,deux ,mondes1 ,september    
#ae1 #aijf4 ,naturally a worshiper1 he  
did not confine himself to commemorating
 only the musicians who were his        
favorites4 ,in lithography and painting 
he exalted such diverse heroes of the   
different arts as ,stendhal1 ,hugo1     
,baudelaire1 ,delacroix1 ,manet1        
,schumann1 ,weber1 ,berlioz1 and        
,wagner4 ,in #ahgg his enthusiasm for   
,wagner revived in his work1 and        
compositions based on the ,ring music   
followed each other in rapid succession4
 ,wolfram gazing at the evening star1 or
 following with enchanted eyes          
,elizabeth's ghostly figure as it moves 
slowly up the hill toward the towers of 
,wartburg2 the ,rhine maidens playing   
with rhythmic motions in the swirling   
waters1 with ,alberic1 crouched in the  
foreground1 watching them2 ,sieglinde1  
giving ,siegmund to drink1 as hounded   
and pursued he sinks at the door of     
,hunding's dwelling2 the evocation of   
,kundry by ,klingner2 ,siegfried blowing

 his horn and receding from the         
enticements of the ,rhine maidens--these
 are among the subjects that engaged    
him4 ,it would be difficult to describe 
his manner of interpretation4 ,quite    
without theatrical suggestion1 it       
combines a dramatic use of dark and     
light and a feeling for palpable        
atmosphere hardly equaled by ,rembrandt 
himself1 with a remarkably certain      
touch4 ,nothing could better emphasize  
the value of technical drill to a poetic
 temperament than these imaginative     
drawings4 ,in them ,fantin gives full   
rein to his emotional delight in tender 
visions and twilight dreams4 ,the lovely
 rhythm of his lines1 the rise and fall 
of his sensitive shadows and lights that
 play and interplay in as strict        
obedience to law as the waves of the    
sea1 his delicate modeling by which he  
brings form out of nebulous half-tones  
with the slightest touches1 the least   
discernible accents1 the accurate bland 
drawing1 the ordered composition1 the   

subtle spacing1 the innumerable         
indications of close observation of     
life--all these qualities combine to    
give an impression of fantasy and       
reality so welded and fused as to be    
indistinguishable to the casual glance4 
,illustration3 ,in the ,brooklyn ,art   
,museum4  ,,portrait ,,of ,,mme4        
,,ma,,tre  ,from a painting by          
,fantin-,latour  ,in spite of the       
assiduous study of ,dutch and ,italian  
masters1 ,fantin's work is              
characteristically ,french in both its  
fantasy and its realism4 ,not only the  
grace of the forms and the elegance of  
the gestures1 but the sentiment of the  
composition and the quality of the      
color1 are undisguisedly ,gallic4 ,he is
 closer to ,watteau than to any other   
painter but his firmer technic and more 
patient temperament give him an         
advantage over the feverish master of   
eighteenth-century idyls4 ,his art      
throbs with a fuller life and in his    
airiest dreams his world is made of a   

more solid substance4 ,for melancholy he
 offers serenity1 for daintiness he     
offers delicacy4  ,his technique1       
especially in his later work1 is quite  
individual in its character4 ,he models 
with short swift strokes of the         
brush--not unlike the brush work in some
 of ,manet's pictures4 ,his pigment is  
rather dry and often almost crumbly in  
texture1 but his values are so carefully
 considered that this delicately ruffled
 surface has the effect of casting a    
penumbra about the individual forms1 of 
causing them to swim in a thickened but 
fluent atmosphere1 instead of suggesting
 the rugosity of an ill-managed medium4 
,in his paintings of flowers he found   
the best possible expression for his    
subtle color sense4 ,the letters written
 to him by ,whistler in the sixties show
 how fervently these paintings were     
admired by the ,american master of      
harmony1 and also how much good         
criticism came to him from his comrade  
whose enthusiasm for ,japanese art      

already was fully awakened4  ,as a      
portraitist1 ,fantin was peculiarly     
fortunate4 ,his exquisitely painted     
flower studies1 his pearly-toned        
beautifully drawn nudes1 his lithographs
 with their soft darks and tender       
manipulations of line1 his ambitious    
imaginative compositions1 are none of   
them so eloquent of his personality as  
his portraits with their absolute       
integrity1 their fine divination1 and   
their fluent technique4 ,the portrait   
which we reproduce is of ,madam ,matre1 
was painted in #ahhb1 and was acquired  
by the ,museum of the ,brooklyn         
,institute of ,arts and ,sciences in    
#aijf4 ,it represents a woman of middle 
years with a sincere and thoughtful face
 and a quiet bearing4 ,the felicities of
 ,fantin's brush are seen in the way in 
which the silk sleeve follows the curve 
of the round firm arm1 and the soft lace
 of the bodice rests against the throat 
and is relieved almost without contrast 
of color against the white skin4 ,the   

touches of pure pale blue in the fan and
 the delicate tints of the rose are     
manifestations of the artist's          
restrained and subtle management of     
color1 but above all there is a         
perfectly unassuming yet uncompromising 
rendering of character4 ,there is       
nothing in the plain refined features   
that cries out for recognition of a     
temperament astutely divined4 ,they have
 the calm repose that indicates entire  
lack of self-consciousness1 no quality  
is unduly insisted upon1 there is       
neither sentimentality nor brutal       
realism in the handling1 the sitter     
simply lives as naturally upon the      
canvas as we feel that she must have    
lived in the world4 ,it is for such     
sweet and logical truth-telling1 such   
mild and strict interpretation1 that we 
must pay our debt of appreciation to    
,fantin1 the painter of ideal realities 
and of actual ideals4     ,,carl        
,,larsson     ,,ix  ,,carl ,,larsson    
,the accomplished ,swedish critic1      

,georg ,nordensvan1 opens his monograph 
on ,carl ,larsson with the statement    
that the latter is unquestionably the   
most popular artist of the present day  
in his own country1 and that he is      
equally popular as a man4 ,it is not    
often that the personality of an artist 
seems so essentially connected with his 
work as in ,larsson's case4 ,his gay1   
pugnacious1 independent1 yet amiable    
temper of mind is so directly reflected 
in the character of his various         
production as to make a consideration of
 the two together an almost necessary   
prelude to any account of him4 ,he has  
insisted upon expressing his            
individuality at whatever cost of       
traditional and conventional technique  
and he has at the same time             
unconsciously represented the frankest1 
most wholesome1 and1 on the whole1 most 
characteristic side of the ,swedish     
character4 ,a rather daring and flippant
 humor enters into his paintings4 ,one  
of his portraits of himself shows him   

standing1 his happy reddish face aglow1 
against a yellowish-brown wall4 ,he is  
dressed in a long1 yellowish-brown      
smoking frock1 and holds in his raised  
hand a pencil from which appears to     
spring a little feminine figure supposed
 to represent his genius4 ,this figure  
carries what looks like a quantity of   
small round cookies1 says his critic1   
possibly to symbolize the adequacy with 
which his genius provides for his       
nourishment4  ,another shows him with   
his little girl sitting on his head1    
maintaining her equilibrium by planting 
stout feet on his shoulders4 ,the       
painter wears a house-jacket1 loose     
slippers and baggy trousers1 his face   
beams with good-humor2 the child is     
brimming with laughter2 the little scene
 is instinctive with the spirit of      
intimate domesticity1 and the drawing1  
free and easy1 without apparent effort  
in the direction of elegant arrangement 
or expressiveness of line1 is           
nevertheless singularly nervous and     

vigorous4  ,illustration3 ,,my ,,family 
,from a painting by ,carl ,larsson  ,in 
still another portrait1 he is sitting   
before his easel1 his little girl on one
 knee1 his canvas on the other with the 
easel serving only as a prop4 ,his eyes 
are turned toward a mirror which is     
outside the picture and the reflection  
in which he is using as a model2 the    
child's eyes are fixed on the canvas    
watching the growth of the design4      
,these are self-portraits in more than  
the usual sense4 ,it is the rarest thing
 in art to find a painter representing  
his own aspect with such complete lack  
of self-consciousness4 ,no              
characteristics seem especially to be   
emphasized1 none betray exaggeration1   
there apparently is neither distortion  
nor idealization1 nor is there any      
attempt to select a mood that shall     
preserve a favorable impression of the  
sitter4 ,nothing could1 however1 more   
favorably present a character to the    
critical scrutiny of strangers than this

 superb good faith4 ,the least          
sentimental of us must recognize with   
frank delight the wholesome sweetness of
 the world these kindly faithful records
 open to us4  ,larsson was born at      
,stockholm in #ahec4 ,from the age of   
thirteen he depended upon his own labors
 for support2 retouching photographs at 
first4 ,later he entered the elementary 
school of the academy where he received 
honors4 ,he drew from the antique and   
from the model and began to make        
drawings for illustration when he was   
about eighteen4 ,the public knew him    
first through his drawings for the comic
 paper called ,kasper1 and he shortly   
became a much sought after illustrator  
for papers and books4 ,the first book   
illustrated by him was a collection of  
stories by ,richard ,gustafsson1 the    
editor of ,kasper1 the next was         
,anderson's ,tales4 ,in the latter he   
succeeded ,isidor ,trnblom1 who died in 
#ahgf after having executed only a few  
drawings for the first part4 ,he became 

bold and rapid in improvisation1 and    
light and easy in execution--qualities  
that he never lost4 ,he was obliged to  
make of his academic studies a side     
issue1 bread-winning taking necessarily 
the first place with him4 ,no doubt it  
is to this necessity that he owes that  
prompt adaptation of his facility to    
various uses1 that practical application
 of his freshly acquired knowledge which
 give to the simple compositions of his 
earlier period an especial spontaneity4 
,he had no time to fix himself in ruts  
of practice4 ,to draw from the ,antinous
 one day and the next to press one's    
,greek outline into service for the     
representation of little dancing girls  
and happy babies is to effect that union
 between art and life which makes the   
first moving and the second beautiful2  
the union in which ,daumier found the   
source of his prodigious strength4 ,in  
his early years ,larsson was anything   
but a realist4 ,his fancy turned to     
unusual and vast subjects1 and his      

natural impatience caused him to launch 
himself upon them with very inadequate  
preliminary study4 ,the first canvas    
attempted by him during the study-time  
in ,paris 7time which he won at the     
,academy7 was nearly ten feet high and  
represented a scene from the deluge with
 figures double life size4 ,naturally1  
he found himself unable to cope with the
 difficulties that promptly arose and   
was obliged to give it up4 ,in #ahgg1   
when he was twenty-four years old1 he   
painted a three-quarter length portrait 
of a woman standing1 which was his best 
work of that period4 ,the genre pictures
 which he sent home to ,stockholm at    
about the same time awakened little     
enthusiasm and spread the impression    
that he had no future as a painter and  
would be obliged to content himself with
 illustration4 ,as an illustrator he    
became thoroughly successful1 turning   
out a large amount of work and gaining  
for himself in ,stockholm the very      
inappropriate name of the ,swedish ,dor4

 ,he made enough money in this branch of
 art to try painting again in ,paris1   
but with almost no success until the    
,spring of #ahhc1 when he exhibited at  
the ,salon a couple of small            
water-colors1 the subjects taken from   
the field and garden life of ,grez1 a   
little painting village that lies south 
of the ,fontainebleau forest4 ,these    
pictures won a medal and were bought in 
,gothenburg4 ,other similar subjects    
followed1 all distinguished1 ,nordensvan
 affirms1 by the same pleasing delicacy 
of handling1 the same glow and splendor 
of sunlight1 and the same glad          
color-harmony4 ,he now was in a position
 to marry1 and pictures of family life  
presently appeared in great numbers4    
,these are altogether                   
charming--spirited1 vivid1 original1 and
 full of an indescribable freshness and 
heartiness4 ,sometimes he painted his   
young wife holding her baby1 sometimes  
he painted his two boys parading as     
mimic soldiers2 sometimes it was his    

little girl hiding under the great1     
handsome dining-table2 or a young       
people's party in the characteristic    
dining-room1 all the furniture and      
decorations of which are reproduced with
 crisp naturalism4  ,not the least charm
 of his paintings lies in the beauty of 
these handsome interiors in which detail
 has the precise definition found in the
 work of the old ,dutch artists4 ,while 
,larsson's technique lacks the exquisite
 finish of a ,terborch or ,vermeer of   
,delft he tells almost as many truths   
about a house and its occupants as they 
do4 ,if we consider1 for example1 the   
charming composition which he calls ,the
 ,sluggard's ,melancholy ,breakfast     
7,sjusofverskans dystra frukost7 we find
 worthy of note not only the pensive and
 rather cross little girl sitting alone 
at the table with her loaf of bread and 
cup of milk1 but also the long          
tablecloth with its handsome            
conventional design1 obviously a bit of 
artistic handicraft since it is signed  

and dated above the fringe at one end1  
the decoration on the wall1 possibly the
 lower part of a painted window1 with   
its significant motto ,arte et          
,probitate2 the graceful pattern of the 
chairs1 the big pitcher full of flowers 
and fruits1 the plain ample dishes1 the 
polished floor of the passage-way at the
 end of which a door opens on the green 
fields with a child's figure half-seen  
standing on the threshold1 the fine rich
 color harmony of greens and reds and   
blues and browns held together by a     
subtlety of tone that involves no loss  
of strength4  ,his outdoor scenes are   
hardly less personal in their           
portraiture4 ,there is the one called   
,apple-,bloom with a ,larsson child in a
 pink sunbonnet clinging to the slim    
stem of a young apple-tree2 in the      
distance some long low red buildings    
behind a board fence1 in the foreground 
the pale green of spring grass2 there is
 the one in which the larger part of the
 picture is filled with delicate field  

growth1 thin sprays of pink1 blue and   
white blossoms1 and long slender leaves1
 at the top of the canvas a little      
thicket of trees with a small bright    
head peering between the branches2 there
 is the one in which a baby lies on the 
greensward under the trees2 each has an 
indescribable charm of individuality4   
,doubtless resembling a hundred other   
groves or meadows1 these have an        
expression of their own distinguishing  
them from their kind4 ,it is the genius 
of the close observer for discrimination
 between like things4  ,whatever the    
subject1 the treatment is always        
brilliant1 frank and joyous4 ,larsson's 
brushwork is light and flowing2 he has1 
indeed1 a certain ,french vivacity of   
technique1 but his motives and his      
personal point of view are so purely    
,scandinavian as to leave no other      
impression on the mind4 ,nor is he      
merely the painter of the ,swedish type4
 ,he is the painter of intimate home    
life and character as found within his  

own walls4 ,hardly any other family in  
,sweden is known so well as his1 and the
 variety and enthusiasm of his mind lend
 spontaneity to these domestic pictures1
 so that one does not easily tire of the
 strong smiling creatures naturally and 
effectively presented to our vision4    
,in the field of mural decoration also  
he has shown marked originality4 ,under 
the encouragement of ,mr4 ,pontus       
,furstenberg1 one of the foremost       
patrons of art in ,sweden1 he tested    
himself on a series of paintings for a  
girl's school in ,gothenburg4 ,he       
accomplished his task in a manner       
entirely his own1 taking for his        
subjects typical figures of women in    
,sweden at different periods of         
history--a ,viking's widow2 the holy    
,brigitta2 a noble house mother of the  
time of the ,vasas1 etc4--but although  
his manner of painting was free and     
blithe it hardly satisfied the most     
severe critics on account of its lack of
 architectonic qualities and the absence

 in it of anything like monumental      
simplicity4 ,he has continued1 however1 
to go his own way in mural decoration   
and holds to the principle that the     
walls should look flat and that the     
harmony of color and line should be     
balanced and proportioned with regard to
 decorative and not to realistic effect4
 ,his subjects are apt to be fanciful   
and are executed in a semi-playful      
spirit not in the least familiar to an  
uninventive age1 as where the spirit of 
the ,renaissance is represented by a    
young woman seated high on a            
step-ladder1 looking toward the sky1    
with ,popes and ,cardinals seated on the
 rungs below gazing in adoration1 while 
underneath them all yawns the grave     
filled with skeletons1 from which the   
,renaissance has risen4  ,illustration3 
,a ,,painting ,,by ,,carl ,,larsson  ,on
 the subject of home arts and           
handicrafts ,larsson has emphatic ideas 
and urges on his compatriots the        
desirability of preserving their        

national types4 ,take care of your true 
self while time is1 he says1 again      
become a plain and worthy people4 ,be   
clumsy rather than elegant3 dress       
yourselves in furs1 skins1 and woolens1 
make yourselves things that are in      
harmony with your heavy bodies1 and make
 everything in bright strong colors2    
yes1 in the so-called gaudy peasant     
colors which are needed contrasts to    
your deep green pine forests and cold   
white snow4 ,he has made designs for    
haute-lisse weaving which were executed 
by the ,handicraft ,guild and which were
 practically open air painting          
translated into the ,gobelin weave4 ,in 
all that he does he is free from the    
trammels of convention2 but his chief   
triumphs are in a field that is sadly   
neglected in modern art4 ,as a painter  
of family life he is surpassed by none  
of his contemporaries4     ,,jan ,,steen
     ,x  ,,jan ,,steen   ,jan ,steen was
 born in ,leyden about #afbf1 which     
would make him nineteen years younger   

than ,rembrandt4 ,he is said to have    
studied first under ,nicolas ,knpfer and
 then possibly under ,adriaen van       
,ostade in ,harlem1 and finally under   
,jan van ,goyen at the ,hague4 ,in #afdh
 he was enrolled in the ,painter's      
,guild at ,leyden1 and the following    
year he married ,margaretha van ,goyen1 
the daughter of his latest master4 ,his 
father was a well-to-do merchant and    
beer-brewer and ,steen himself at one   
time ran a brewery1 though apparently   
not with great success4 ,he             
incontestably was familiar with the life
 of drinking places and houses in which 
rough merrymaking was the chief         
business4 ,many of his subjects are     
drawn from such sources and his brush   
brings them before us with their        
characteristic features sharply observed
 and emphasized4 ,he has been accused of
 a moralizing tendency and it may at    
least be said that he permits us to draw
 our own moral from perverted and       
unpolished facts4 ,in his least         

restrained moments he is a kind of      
,dutch ,jordaens1 less exuberant1 less  
sturdy and florid and gesticulatory2 but
 with the same zest for living1 the same
 union of old and young in any festival 
that includes good meat and good drink  
with song and dance and horse-play4 ,if 
we compare ,die ,lustige ,familie at    
,amsterdam with that ebullient rendering
 of the same subject by ,jordaens       
entitled ,zoo de ouden zongen3 ,zoo     
pypen de jongen that hangs in the       
,antwerp ,museum1 we have no difficulty 
in perceiving the points of similarity4 
,there even are likenesses in the       
color-schemes of the two painters1      
,jordaen's silvery yellows for once     
meeting their match2 but we find in     
,steen's picture a more subtle          
discrimination in the characters and    
temperaments lying beneath the physical 
features of the gay company4            
,oftentimes ,steen indulges in a gay and
 harmless badinage as different as      
possible from the bold and keen irony of

 his wilder themes4 ,in ,die ,katzentanz
 ,stunde of the ,rijks museum at        
,amsterdam the laughing children putting
 the wretched little cat through a      
course of unwelcome instruction1 the    
excited pose of the dog1 the            
concentration of the girl upon her      
dance-music1 are rendered with joyous   
freedom and animation1 and suggest a    
childlike mood4 ,the lovely ,menagerie  
of the ,hague is conceived in a still   
milder and gentler temper1 the demure   
child among her pets1 feeding her lamb1 
with her doves flying about her head and
 the faithful little ,steen dog in the  
background1 is an idyllic figure4       
,indeed the entire composition has a    
tenderness and almost a religious depth 
of sentiment that make it unique among  
the painter's achievements4 ,another    
charming composition in which homely    
pleasures enjoyed with moderation and in
 a mood of simple merriment are         
delicately depicted is ,der             
,wirtshausgarten in ,berlin1 in which   

the young people and their elders       
together with the happy dog are having a
 quiet meal under a green arbor4 ,family
 pets play an important part in all     
these scenes of domestic life2          
apparently ,jan ,steen even more than   
other ,dutch painters was interested in 
the idiosyncrasies of the animals about 
him and was amused by incidents         
including them4 ,his pictures gain by   
this a certain suggestion of kindliness 
and community of good feeling that is   
refreshing in the midst of the frequent 
vulgarity of theme and sentiment4       
,reminiscences of the exquisite feeling 
shown in ,die ,menagerie continually    
occur in such incidents as a girl       
feeding her parrot1 the play of children
 with the friendly dogs and cats of the 
noisy inn1 and especially in the        
importance given to the expressions and 
attitudes of the dumb creatures4 ,the   
dog is nearly always in the foreground1 
invariably characterized with the utmost
 vivacity and clearness1 and usually    

playing his cheerful part in whatever of
 lively occupation his masters are      
engaged in4 ,in ,die ,lustige ,familie  
he joins his voice to the family concert
 with an expression of canine agony4    
,frequently the subjects are obviously  
drawn from the life of his own family   
circle and the portraits of his children
 in these canvases are always           
sympathetic and delightful1 giving a    
peculiarly intimate character to the    
artist's works in this kind4 ,in ,das   
,nikolausfest at ,amsterdam the little  
girl in the foreground--apparently the  
little ,elisabeth born in #affb1 who    
figures in so many of the later         
paintings--is a particularly engaging   
figure4  ,these simpler feasts and      
family gatherings in which gay laughter 
reigns in place of brawling1 constitute 
a delightful phase of ,steen's art1 yet 
curiously they are seldom as beautiful  
in their esthetic qualities as the      
tavern scenes and incidents of low and  
vicious life4 ,the picture in the       

,louvre1 however1 ,das ,familien ,mahl1 
contradicts this generalization in the  
sheer loveliness of color1 in the light 
that streams through the window hung    
with vines1 and in the delicately       
discriminated textures of the gowns and 
furnishings4 ,in this picture the figure
 of the woman nursing her child in the  
background has an amplitude of line and 
graciousness of pose that places it on a
 plane with ,millet's renderings of     
similar subjects1 while the painting in 
itself is of a quality never achieved by
 the poetic ,frenchman4  ,occasionally  
we find compositions by ,steen in which 
only two or three figures are           
introduced1 although as a rule he crowds
 every inch of his canvas with human    
beings and still-life4 ,a very beautiful
 example of these compositions is seen  
in ,die ,musikstunde of the ,national   
,gallery1 ,london4 ,the daintiness and  
innocence of the young girl's profile1  
the refinement of the man's face1 and   
the enchanting tones of the yellow      

bodice and blue skirt make of this      
picture a worthy sequel to ,die         
,menagerie4  ,another composition of two
 figures is ,das ,trinkerpaar in the    
,rijks ,museum at ,amsterdam4 ,a woman  
is drinking from a glass1 and a man     
standing at one side holds a jug and    
looks at her with an expression of      
concern4 ,the painting of the woman's   
right hand which she holds to her breast
 is delightful and so is the clear      
half-tone of her face4 ,an attractive   
one-figure composition1 also in the     
,rijks ,museum1 is ,die ,scheuermagd1 a 
scullery maid scouring a metal pitcher  
on the top of a cask4 ,the              
discriminations of texture in this      
picture1 the wood and metal surfaces1   
the cotton of the woman's blouse1 the   
rather coarse skin of her bared arms and
 the more delicate texture of her full  
throat1 are especially noteworthy4      
,several compositions in which two or   
three figures are grouped are variations
 of one theme1 an invalid visited by her

 physician4 ,in several instances the   
title1 the rather lackadaisical         
expression of the lady1 and the         
significant glances of her companions1  
indicate that love-sickness is the      
malady4 ,the color in these pictures is 
usually beautiful and the types are     
cleverly differentiated1 the entire     
story becoming apparent to the spectator
 by particularities of gesture and      
feature1 neither exaggerated nor        
emphasized unduly1 but acutely observed 
and rendered at their precise value in  
the expressiveness of the whole4 ,a very
 fine example of these ,doktorbilder is 
in the collection of the ,new ,york     
,historical ,society4 ,the doctor is    
bleeding his patient1 and there are     
several people in the room4 ,the rich   
costumes are distinguished by the       
indescribable blond yellows and silvery 
blues that make ,steen's color harmonies
 at their best singularly delicate and  
blithe4  ,among the compositions in     
which many figures in a complicated     

environment tax the artist's technical  
skill to the utmost1 are several        
representations of the bean feast1 that 
saturnalia of ,germany1 upon which      
abundant eating and drinking are in     
order4 ,one of the most beautiful of    
these pictures is in the ,cassel        
,gallery4 ,steen himself1 portly and    
flushed1 sits at the table1 grimacing   
good-naturedly at the racket assailing  
his ears4 ,his handsome wife is in the  
foreground1 her large free gesture and  
unrestrained pose bringing out the      
opulent beauty of her form draped in    
shining silken stuffs4 ,her face1 turned
 toward the little urchin who has found 
the bean in the cake and thus won the   
right to wear a paper crown as king of  
the revels1 is dimpled with smiles4 ,the
 two children are babyish in figure and 
expression and the little dog is more   
serious than is his wont upon these     
occasions4 ,a couple of men are making a
 din with bits of brass and iron1 and   
the place is in complete disorder with  

eggshells and kitchen utensils scattered
 about on the floor1 yet the aspect of  
the scene is curiously removed from     
vulgarity4 ,both beauty and character   
have been ideals of the artist4 ,he has 
not only grasped the loveliness of      
external things but he has delved rather
 deeply into the individualities of     
these roistering ,hollanders4 ,you do   
not feel as you do with ,jordaens that  
excess of flesh and the joys of the     
palate are all the world holds for the  
revelers4 ,the world holds1 for one     
thing1 appreciation of rich accessories4
 ,the columned bedstead1 the handsome   
rugs1 the carved furniture1 the glint of
 gold in the ornate picture frame1      
especially the sheen of the silk skirts1
 the soft thick velvet and fur of the   
sacques and bodices1 these1 while they  
are not uncommon in the ,dutch interiors
 of the period combine to produce an    
impression of esthetic well-being that  
tempers the unctuous physical           
satisfactions of a merry-making class4  

,with ,jordaens it is the satyr in man  
that sets the standard of enjoyment1    
except in his religious pictures which  
often are filled with genuine and noble 
emotion1 and in which he rises superior 
to ,steen where the latter works in the 
same kind4 ,nothing could be more       
commonplace or characterless in color   
and form than ,steen's rendering of the 
dinner at ,emmaus4 ,occasionally1       
however1 he is equally without          
inspiration in his lustiest subjects4   
,in the ,frhliche ,heimkehr at          
,amsterdam1 a merry enough scene of     
people returning from a boatride in high
 spirits1 there is neither charm of     
color 7save in the yellow jacket of a   
girl who leans over the side of the     
boat7 nor subtlety of characterization4 
,fully to appreciate ,steen1 we should  
know his pictures in the ,louvre and at 
,amsterdam4 ,they cover a wide range and
 comprise a considerable number of      
masterpieces4 ,the life he depicts in   
them is not of a very high order1 but he

 has seen the possibilities for         
pictorial representation in his         
surroundings as almost no other painter 
of his time4 ,his people are alive and  
their living is active and fervent4     
,what they do they do with zest4 ,there 
is energy in the painter's line and     
vitality in his color4 ,nothing is dull 
or tame in his family drama4 ,all has a 
touch of moving beauty4 ,in the         
,schlechte ,gesellschaft of the ,louvre 
or the more vulgar ,nach dem ,gelage of 
the ,rijks ,museum--least rewarding of  
pictures for the moralist--how rich in  
beauties of color and line is the       
composition1 how tender in modeling are 
the forms1 how bewitching to the eye the
 fine enamel of the surface6  ,in the   
,metropolitan ,museum1 in ,new ,york1 is
 one characteristic example3 ,the old   
rat comes to the trap at last1 which    
badly needs cleaning1 and one new       
purchase attributed to ,steen in the    
lists of his work but hardly typical or 
even characteristic4 ,the subject is a  

kitchen scene4 ,in it we have neither   
,steen's charm of color nor his         
perfection of finish4 ,yet the turn of  
the woman's head1 the unaffected        
merriment of her expression and that of 
the youth1 and the type to which her    
face belongs sufficiently recall such   
examples of the artist's work as ,das   
,galante ,anerbieten at ,brussels with  
which indeed it has more in common than 
with any other of ,jan ,steen's pictures
 known to me4  ,steen's own portrait1   
painted by himself and hanging now in   
the ,amsterdam ,museum1 shows a face    
upon which neither wild living nor      
ardent toil has left unhappy marks4 ,his
 serious eyes look frankly out from     
under arched brows4 ,his mouth is firm  
though smiling slightly4 ,the high1 bold
 nose and strong chin1 the well-shaped  
head and thoughtful brow indicate a     
character more decided and more         
praiseworthy than the legends adrift    
concerning his life would lead us to    
expect in him4     ,,one ,,side ,,of    

,,modern ,,german ,,painting     ,,xi   
,,one ,,side ,,of ,,modern ,,german     
,,painting   ,the best substitutes for  
the judgments of posterity are the      
judgments of foreigners4 ,a group of    
pictures by the artists of one country1 
taken to another country for exhibition 
and criticism1 is subjected to something
 the same test as the pictures of one   
generation coming under the scrutiny of 
another generation4  ,when a collection 
of pictures by modern ,german artists   
was exhibited in ,america in #aiji1 the 
,american people were prompt in their   
recognition of a certain quality which  
they termed national4 ,the critics--many
 of them--saw this quality from the     
adverse side and were far from          
complimentary to the ,germans in their  
comparisons between ,american art and   
,german art1 but a general impression   
was given of a vitality sufficiently    
marked to make itself felt by the least 
initiated observer4 ,a number of the    
pictures by the older men had little    

enough of this vitality1 but where it   
existed it was so decided as to leaven  
the mass4 ,and there was almost none of 
the sentimentality characterizing the   
,teutonic ideal as it had manifested    
itself in the pictures formerly brought 
to this country4  ,compared1 then1 with 
the paintings of ,american artists and  
with those of the ,frenchmen1 whose work
 we have known so much better than that 
of any other country1 compared also with
 the work of the modern ,spaniards1     
whose paintings were on exhibition the  
same winter at the ,hispanic ,museum1 we
 find the special character of the      
,german painting to exist in a resolute 
individualism1 a determination to       
express the inner life of the artist1   
his temperament and predilections and   
his mood at whatever cost of technical  
facility4 ,expressiveness1 getting the  
idea into circulation1 getting something
 said1 this appears to be the common    
goal of the ,german painter of the      
present day4  ,in such case1 of course1 

the idea is of particular importance4   
,if it is to take precedence over purely
 esthetic qualities it is reasonable to 
expect it to be an idea of no little    
importance4 ,let us examine some of the 
painters represented in the exhibition  
arranged for ,america1 and see whether  
in most cases the idea is emotional as  
with the artists of ,china and ,japan1  
and therefore peculiarly appropriate to 
translation by rhythms of line and      
harmonies of color1 or intellectual1 and
 therefore demanding a complex and      
difficult expression and the solution of
 technical problems that do not come    
into the question at all when nothing   
else is required than to evoke an       
especial mood or temper of soul4  ,the  
oldest of the painters represented was  
,adolf von ,menzel1 who was born in     
#ahae and died in his ninetieth year4   
,as he began work at an early age his   
accomplishment practically covers the   
period of the nineteenth century4 ,he   
has been designated by one of his       

,german critics as three ,menzels in    
one3 the first1 the historian of the    
,freiderician period2 the second1 the   
historian of his own time1 recording the
 court life in which he played his part2
 the third1 the acute observer of the   
life of the streets and workrooms and a 
commentator on the amusing details of   
the passing show4  ,a number of his     
sketches were shown at the exhibition1 a
 couple of landscapes1 a ballroom scene 
and a theater subject1 beside a little  
mediaeval subject in gouache4 ,these    
displayed his dexterity of hand which   
was truly astounding1 and also his      
memory1 as the ,thtre ,gymnase was      
painted fully a year after he left      
,paris4 ,the ballroom supper was painted
 in an ironic mood and the gluttony of  
his fellow humans1 their unattractive   
personalities1 their curious aspect of  
the educated animal1 appear with an     
intense and pitiless fidelity to the    
fact which is of the essence of         
intellectual realism1 but which could   

equally have been achieved through the  
medium of words4 ,in spite of a         
cultivated color sense and a fine       
control over his instrument he was from 
first to last essentially an            
illustrator4 ,it was difficult for him  
to omit any detail that would add to the
 piquancy or fulness of his story1      
however much the omission might have    
done for his general effect4 ,he said   
himself1 ,there should be no            
unessentials for the artist1 and he     
advised his pupils to finish as much as 
possible and not to sketch at all4 ,this
 passion for completeness rarely        
accompanies a strong feeling for the    
romantic aspects of nature or for       
atmospheric subtleties4 ,neither does   
the painter who observes human nature   
closely and represents it with a        
detailed commentary upon its            
characteristics usually convey the      
impression of any subjective emotion4   
,menzel is no exception to this rule4   
,in his work he appears as emotionless  

as a machine1 but his accomplishment is 
not mechanical4 ,it is1 on the contrary1
 the record of a busy1 highly           
individualized1 accurate mind4 ,a       
,berlin man1 he had the alertness1 the  
clear-cut effectiveness1 the energy1 and
 the coldness typical of a cosmopolitan 
product4 ,if we compare his ,ball       
,supper in which the glare of lights1   
the elaboration of costume1 the rapacity
 and shallow glittering superficiality  
of a ,court festivity are presented     
almost as though in hackneyed phrases1  
so devoid is the picture of any meaning 
beyond the obvious1 with the ,steel     
,foundry in which the unsentimental     
acceptance of labor as a necessary      
factor in civilization is conspicuous1  
it is clear that his mind was free from 
dreams and visions whichever side of    
society he looked upon4 ,in this respect
 his influence is salutary4 ,it is like 
a cool and wholesome breeze blowing away
 all miasmic vapors1 and there is a     
positively exhilarating quality in his  

firm assumption of the power of the     
human being over his material4 ,his     
workmen are men of strong muscle and    
prompt brain4 ,in the ,steel ,foundry we
 see their efficient handling of the    
great bars of metal with admiration as  
we should in life1 and we note what in  
modern times is not always present for  
notation1 the intelligence and interest 
in their faces4 ,in one corner of the   
room1 behind a screen or partition1 a   
little group is devouring luncheon4     
,here we strike once more the note of   
the ballroom supper in the munching     
eagerness of the eaters1 but seen in    
juxtaposition with the physical force   
and effort of the workers it ceases to  
be revolting1 and seems to symbolize the
 lusty joy of living with a sympathetic 
zest of realization4  ,in all of        
,menzel's work we have this sense of    
physical and mental competency4 ,it     
shows nothing of the abnormal or        
decadent1 and it must also be admitted  
that only in a few instances does it    

show anything of esthetic beauty4 ,he   
was able to paint crowds of people and  
he managed to get a remarkable unity of 
effect in spite of his devotion to      
detail1 but his masses of light and     
shade are not held in that noble        
harmonious relation achieved by the     
peasant ,millet who was ,menzel's       
contemporary1 his lines have no rhythmic
 flow1 his color1 though often charming1
 is seldom held together in a unified   
tone4 ,some one has called him the      
conscience of ,german painting1 but he  
is more than that4 ,he is both          
conscience and brain4 ,it is always     
possible to obtain an intellectual      
satisfaction from his point of view4    
,what is lacking is emotion4  ,we feel  
this lack in other ,berlin masters4     
,professor ,max ,liebermann is one of   
the most distinguished of the modern    
group1 and his large1 cool1 definite art
 is innocent of the moving quality4 ,he 
was represented in the exhibition by a  
portrait of ,dr4 ,bode1 a vigorous      

little composition called ,the          
,polo-players1 the ,flax ,barn at       
,laren1 and ,the ,lace ,maker4 ,the last
 two were especially typical of his     
steady detachment from his subject4 ,the
 old lace maker1 bending over her       
bobbins1 suggests only absorption in her
 task4 ,there is no ennobling of her    
form1 no idealizing of her features1 no 
enveloping of her occupation with       
sentiment1 nothing but the direct       
statement of her personality which is   
neither subtle nor complex and the      
description of what she is doing4 ,but  
she is intensely real1 more real1 even1 
than ,menzel's closely observed         
individuals4 ,liebermann1 born in #ahdg1
 was the leader of the new tendency     
characterizing the ,germany of the      
seventies1 the tendency toward constant 
reference to nature as opposed to the   
old-fashioned conventionalism and       
,academic methods4 ,there could have    
been no safer leader for a band of      
rebels since he was the sanest of       

thinkers and worked out a style in which
 the classic qualities of nobility in   
the disposition of lines and spaces and 
remarkable purity of form played a      
prominent part4  ,illustration3         
,courtesy of ,berlin ,photographic      
,company4  ,,peasant ,,women ,,of       
,,dachauer  ,from a painting by ,leibl  
,observing his ,flax ,barn1 in          
comparison with the work of his         
compatriots1 its fine freedom from      
triviality of detail was apparent1 and  
the beauty of its cool light1 spread    
over large spaces and diffused          
throughout the interior of the low shed1
 made itself felt4 ,one noted also1 as  
elements of the picture's peculiarly    
dignified appeal1 the severe arrangement
 of the figures with the long row of    
workers under the windows1 the long     
threads of flax passing over their heads
 to the women in the foreground1 and the
 almost straight line formed in turn by 
these women4 ,the composition1 quite    
geometrical in its precision1 gave a    

sense of deep repose in spite of the    
vitality of the individual figures and  
the impression they made of being able  
to turn and move at will1 an impression 
nearly always missed by ,leibl1         
,liebermann's great forerunner in the   
painting of humble life4 ,we get much   
the same austere effect from the        
almshouse pictures of old men and women 
on benches in the open square1 always   
arranged in a geometrical design1 and   
always calm in gesture and mild in type1
 which appear from time to time in the  
foreign exhibitions of ,liebermann's    
work4  ,liebermann has done for the     
,germans something of what ,millet did  
for the ,french4 ,he has built his art  
upon the daily life of the poor1 but    
while1 like ,millet1 he has introduced a
 monumental element into his work1 it is
 clearer1 more closely reasoned1 more   
firmly knit than ,millet's art1 and at  
the same time less emotional4           
,liebermann's hospitality to purely     
technical ideas1 his interest in        

problems of light and air1 his diligent 
analysis of motion1 his ability to      
translate a scene from the life of the  
laboring class without sentimentality1  
without prettiness or eloquence or any  
of the attributes that catch the        
multitude1 give to his art a touch of   
coldness that is not without its charm  
for those who care for a highly         
developed orderly product of the mind4  
,most of the ,berlin men who are in any 
degree notable share somewhat in this   
attribute4 ,arthur ,kampf1 although he  
has less than ,liebermann of cool       
detachment1 has both elegance and       
gravity4 ,he could hardly have had a    
better representation by any one or two 
canvases than by the ,charity and the   
,two ,sisters of the ,american          
exhibition4 ,in the first he depicts a  
street scene with its contrasts of      
poverty and wealth4 ,a man and woman in 
evening dress1 returning from their     
evening's pleasure1 are besought by poor
 people clustering around a soup stall  

and drop coin into the insistent hands4 
,the smoking caldron of soup in the     
center and the circle of sharply        
differentiated faces form an admirable  
composition1 the apparently accidental  
lines of which play into a dignified    
linear scheme4 ,the ,two ,sisters       
reveals the influence of ,velasquez in  
its flat modeling and subtle            
characterization1 and in its atmospheric
 grays enlivened with geranium reds4    
,both of these pictures indicate a      
modern temper of mind in the fluency of 
their technique and the realism of their
 treatment together with the attention  
paid to the tonal quality and to the    
character of the space composition4     
,kampf1 however1 although a young       
man--he was born in #ahfd--;has passed  
through many phases of development which
 are recorded in his many-sided art4    
,his subjects range from the historical 
themes of his wall decorations at       
,magdeburg and ,aachen through          
portraiture in which he grasps          

characters essentially diverse and      
suggests with unerring instinct the     
dominant quality1 scenes of labor as in 
his ,bridge-,building1 scenes of        
brutality and excitement as in his      
,bull-fight1 scenes from the drama of   
the ,biblical story1 scenes of domestic 
life as in his delicately humorous      
picture of the absorbed reader eating   
his breakfast with the morning paper    
propped up in front of him1 and scenes  
of peaceful holiday-making among the    
poor as in his idyllic ,sunday          
,afternoon which shows a peasant boy    
playing his harmonicum under the trees1 
with his old father and mother sitting  
by in placid enjoyment4 ,various as     
these pictures are and closely as the   
manner has in each case been adapted to 
the special subject1 we nowhere miss the
 note of individuality1 although in such
 a portrait as that of the ,kaiser1     
which was shown in ,america1 it         
unquestionably is subdued4 ,neither do  
we miss the note of locality4 ,born at  

,aachen1 ,kampf is a true ,rheinlander  
and one of his ,german critics notes    
that we must look to this fact for the  
explanation of his special qualities1   
declaring that without the              
,rheinlander's cheerfulness and         
energetic temperament1 and without the  
background of the ancient ,rhenish      
culture1 he would be inconceivable4 ,on 
the other hand his turning to drama and 
romance for his inspiration speaks of   
his ,duesseldorfian training and his    
realism of representation allies him to 
,menzel4 ,at forty-two he was made      
president of the ,royal ,academy of ,art
 in ,berlin1 and it is probable that the
 wholesome ,rhenish energy of which his 
critic speaks will save him from sinking
 into the formalism of the academic     
tradition4  ,in his art1 however1 as in 
that of his compatriots1 it is apparent 
that the world of ideas is the world in 
which he lives1 and he works to express 
his mind rather than his soul1 his      
thoughts rather than his emotions1 if we

 follow the indefinite and arbitrary    
division between thought and feeling    
that does service as a symbol of a      
meaning difficult to express clearly4   
,there were other interesting painters  
represented in the ,berlin group at the 
,american ,exhibition1 ,otto ,engel1    
,fritz ,berger1 ,hans ,hartig--and of   
all it is more or less true that the    
idea in their work is more important    
than the feeling4 ,it is true also that 
the tradition of the peasant ,leibl1 a  
great painter1 but invariably cold1     
rests upon most of them4 ,his wonderful 
manipulation of pigment is equaled by   
none of them1 but his accurate1 detached
 observation1 his balanced rendering1   
the firmness of his method1 have entered
 more or less into their scheme of art4 
,and it is to be noted that his ideas   
and theirs are ideas appropriate to the 
painter's medium4 ,menzel's literary    
bent is not shared by them1 his         
predilection for a story to illustrate  
almost never appears among the younger  

,berlin painters1 and he cannot in any  
real sense be considered their          
prototype4  ,when we turn to the older  
members of the modern ,munich school we 
find the influence of ,boecklin         
dominant4 ,arnold ,boecklin1 a ,swiss by
 birth1 and possessed of the ,swiss     
ingenuity of mind1 has been the subject 
of endless discussion among the ,germans
 of the present day4 ,he exhausted his  
very great talent in painting a symbolic
 world1 and by his appreciation of the  
value of coherence he made his paintings
 impressive4 ,they are each a perfectly 
coherent arrangement of parts1 making a 
whole which has the appearance of       
simplicity1 however numerous the        
elements composing it may be4 ,by a     
combined generalization and intensity he
 turned the actual world which he       
studied closely enough1 into his own    
unreality4 ,thus1 in his ,italian       
landscapes1 he reveals the architectonic
 structure of his scene stripped of all 
incidental ornament1 the upright and    

horizontal lines left severe and        
uncompromised1 and the blue of the      
heavens and the sea1 and the dark green 
of the cypresses1 pushed to an almost   
incredible depth4 ,everything is more   
significant than in nature1 yet nature  
has provided the elements of            
significance4 ,it is in his ability to  
see things whole and to co-ordinate the 
selected details that ,boecklin is most 
an artist4 ,this largeness of           
generalization gives him power over the 
imagination1 and is1 perhaps the only1  
certainly the chief source of his power4
 ,his color by its very intensity       
overdoes the intended effect4 ,the      
imagination instead of being stimulated 
is sated1 and his obvious symbolism     
fails to pique the curiosity4 ,moreover1
 his handling of paint lacks            
sensitiveness4 ,he has something of the 
disregard shown by the ,english painter 
,watts for the beauty inherent in his   
material which might as well be clay or 
textile as pigment in his hands4 ,but   

his appreciation of the effect upon the 
mind of noble arrangements of space and 
mass raises him to a much higher place  
as an artist than he can be said to     
occupy as a painter4  ,illustration3    
,,fiddling ,,death  ,from a portrait by 
,arnold ,boecklin  ,franz von ,stuck is 
,boecklin's most distinguished follower4
 ,when we turn from the examples of     
,boecklin's work1 by no means the most  
impressive examples1 exhibited in       
,america1 to ,stuck's ,inferno we       
perceive both the influence of ,boecklin
 and the powerful individuality that    
mingles with it4  ,there is ,boecklin's 
insistence upon the symbol1 and upon the
 bodying forth of things unseen1 there  
is the solid violence of color1 there is
 the pompous statement of the           
half-discerned truths which more        
sensitive artists are content to        
whisper4 ,but there is also a splendid  
arabesque of line and a deeper reading  
of the spiritual content of the subject4
  ,if we compare ,stuck with ,william   

,blake whose fancy also was haunted by  
,dantesque conceptions1 we see how much 
more impressive ,blake's visions of the 
unreal world are and we find the reason 
in their swift energy of conception and 
in the artist's tenacity in holding his 
conception4 ,with both ,boecklin and    
,stuck we feel that the manner of       
rendering the conception becomes more   
important than the initial conception1  
and this seldom1 if ever1 is true of    
,blake4 ,in spite of ,boecklin's superb 
restraint in the disposition of his     
masses1 when it comes to color he is at 
the mercy of the material pigment and   
permits it to obliterate where it should
 enhance and reveal4 ,his forms1 also1  
and even more than ,stuck's1 lose       
vitality under the weight of            
significance forced upon them1 while    
,blake's emerge from the blank panel    
clean and strong and unencumbered4 ,we  
feel that ,blake1 with all his struggle 
to utter truth by means of symbol1 never
 allows his mind to lose the idea that  

,living form is eternal existence1 but  
in ,boecklin's pictures living form is  
often buried beneath his colored clays4 
,thus we see that it cannot truly be    
said of him and his followers that the  
idea is of first importance to them4 ,it
 is their material that is of first     
importance1 otherwise they would learn  
so to subordinate their material as to  
support and disclose their idea4 ,this  
is the more obvious that their idea is  
emotional and therefore perfectly suited
 to expression through the medium of    
art4 ,liebermann's ideas although they  
are intellectual are not of a kind that 
cannot appropriately be translated into 
pictures1 and his respect for them leads
 him to fit his manner of expression    
closely to their requirements4 ,like    
,leibl he is a painter and a thinker in 
one1 and the faculties of the two work  
in complete coordination4  ,painters of 
,boecklin's type1 on the other hand1    
wish to produce in the observer a strong
 emotion1 but they become slaves to     

their medium because their own emotion  
is not sufficiently powerful to conquer 
their minds1 which become diverted by   
the colors and forms they produce4 ,one 
of ,blake's swift upward soaring lines  
has more power to carry the imagination 
heavenward than all the versions of     
,boecklin's ,island of ,death4  ,against
 ,boecklin's followers1 whose minds are 
more or less befogged by their lack of  
appreciation of paint as a means to an  
end1 we must place ,wilhelm ,truebner   
who is a clear thinker and a great      
painter1 with more warmth than          
,liebermann and with a reticent color   
sense1 a feeling for expressive form1 a 
love of reality1 and no apparent desire 
to re-invent the grotesque4 ,his        
elegance of line in itself sets him     
apart from most of his compatriots1 and 
his knowledge of how to extract from his
 color scheme its essential beauty is   
greater than that of most modern        
painters1 whatever their nationality4   
,his blacks have the depth and luster   

without unctiousness characteristic of  
black as the great colorists use it1 and
 in his touches of pale refined color   
enlivening a black and white            
composition1 we have the delightful     
effect so often given by ,manet1 as of a
 bunch of bright flowers thrown into a  
shadowy corner4  ,if young ,germany were
 content to follow in ,truebner's       
footsteps we should soon have a revival 
of the ancient craftsmanship and        
conscience that animated ,holbein and   
,drer4 ,young ,germany1 however1 has    
other plans4 ,to learn of them the      
reader is referred to ,meier-,graefe's  
comprehensive and stimulating volume on 
modern art4 ,the only representation of 
the painters of the immediate present   
given in the ,american exhibition was   
confined to the ,scholle ,school1 which1
 however1 indicates clearly the creative
 impulse that is stirring in the younger
 painters4 ,a warlike state1 ,blake     
wrote1 never can produce ,art4 ,it will 
,rob and ,plunder and accumulate into   

one place and ,translate and ,copy and  
,buy and ,sell and ,criticize1 but not  
,make4 ,this has been true of the       
,germans1 but the present generation is 
bent upon making and it is natural that 
the strongest impulse toward originality
 should come to the ,munich painters    
rather than to the cosmopolitan ,berlin 
men4  ,the ,scholle is a ,munich        
association consisting of a group of    
young men who1 taking the humble and    
fecund earth as their symbol1 as the    
title of the society implies1 seek to   
get into their painting the vigor and   
intensity of life and force which       
devotion to the healthy joys provided by
 our mother ,earth is supposed to       
engender4  ,they are like the giant     
,antaeus whose strength was invincible  
so long as he remained in contact with  
the earth1 but who easily was strangled 
when lifted into the upper air4 ,their  
strength also melts into helplessness   
when confronted by problems of          
atmosphere and the delicate veils of    

tone which enwrap the material world for
 the ,american painter4  ,but the energy
 of these young ,germans in their own   
field is something at which to wonder4  
,they remind one of their critics of a  
band of lusty peasant boys journeying in
 rank from their ,university to the     
nearest beer garden1 singing loud songs 
by the way4 ,leo ,putz1 ,adolf ,muenzer1
 ,fritz ,erler1 are the leaders of the  
group1 although ,alex ,salzmann and     
,ferdinand ,spiegel were ,erler's       
collaborators in the famous ,wiesbaden  
frescoes which offended the taste of the
 ,kaiser4 ,these young men are entirely 
capable of offending a less conventional
 taste than the ,kaiser's1 but they all 
are doing something which has not been  
done in ,germany for many a long year2  
they are busying themselves with the    
visible world and painting frankly what 
they see4 ,it does not matter in the    
least that in their decorative work they
 give rein to their fancy and produce   
such symbolism as we find in ,erler's   

,pestilence1 or that in the             
illustrations for ,jugend they tell a   
story with keen appreciation of its     
literary significance4 ,their eyes are  
open upon the aspect of material things 
and they paint flesh that is palpitating
 with life1 forms that live and move1   
and color that vibrates4  ,here again as
 with ,liebermann and ,truebner the idea
 and the execution are in harmony1 but  
with the ,scholle painters the idea is  
apt to be a very simple one1 depending  
upon straightforward representation for 
its impressiveness4 ,above all it       
reflects the national temper of mind1   
for all these individualists are ,german
 to the core and not to be mistaken for 
any other race4  ,one characteristic of 
this national temper is directness4 ,not
 necessarily simplicity1 of course1     
since the ,german painter as well as the
 ,german writer has frequently complex  
thoughts to express and uses            
corresponding elaborations of           
expression4 ,but he does not often say  

one thing while seeming to say another2 
he does not often give double and       
contradictory meanings to the same      
subject4 ,he does not present for your  
contemplation the disheartening         
spectacle of sophistication masquerading
 as innocence1 or duplicity masquerading
 as frankness4 ,to that extent he is an 
optimist1 however deep his native       
pessimism may go in other directions4   
,there is1 for example1 a picture by the
 ,french artist ,jacques ,blanche1      
entitled ,louise of ,montmartre1 and    
known to many ,americans1 in which the  
girl to whom ,paris irresistibly calls  
is shown in her boyish blouse and       
collar1 her youthful hat and plainly    
dressed hair1 in a nonchalant attitude1 
pretty and plebeian1 with honest eyes1  
yet revealing in every line of her frank
 and fresh young face the potentiality  
of response to all the appeals made by  
the ruthless spirit of the city4 ,it is 
impossible to discern at what points the
 artist has betrayed that artless       

physiognomy in order to reveal the      
secrets of temperament1 but the thing is
 done4  ,it is not what the ,german is  
interested in doing4 ,his imagination   
works subjectively1 giving form to his  
own conceptions1 rather than objectively
 or as an interpreter of others4 ,hence 
the downright1 and1 in a sense1         
confiding aspect of so much of this     
brave art4 ,hence1 also1 its affinity   
with the ,american spirit1 for the      
,american still bends a rather          
unsuspecting gaze upon life and accepts 
character and temperament as they choose
 to present themselves4 ,the ,german1   
however1 is articulate and ratiocinating
 where we are more purely instinctive4  
,we are not inclined to reason about our
 moods and we seldom are able to express
 them in our literature4 ,in our art1 on
 the other hand1 especially in our      
landscape art1 we manage to translate   
our subtlest emotion4 ,we are able to   
suggest what is too delicate for        
analysis1 and in this we stand almost   

alone in the painting of the present    
day4     ,,two ,,spanish ,,painters     
,,xii  ,,two ,,spanish ,,painters       
,modern art1 particularly ,american art1
 owes much to ,velasquez and something  
to ,goya1 and modern painters have been 
prompt to acknowledge their             
indebtedness4 ,but there has been a     
prevailing impression that with ,goya's 
rich and unique achievement ,spanish art
 stopped in its own country so          
completely as to be incapable of        
revival4 ,the impression was disturbed  
in this country by the appearance in the
 galleries of the ,hispanic ,museum in  
,new ,york1 and also in ,buffalo and in 
,boston1 of the work of two modern      
,spaniards1 one a painter who           
demonstrated by his methods and choice  
of subjects that the old ,spanish       
traditions and ideals had not been      
forgotten1 the other a singularly       
isolated individual who illumined for us
 a side of ,spanish life which art      
previously had ignored4 ,both spoke a   

racy idiom and conveyed a sense of      
quickened vitality by freedom of        
gesture1 unhackneyed arrangement1       
intensity of color1 reality of type1 yet
 in their influence upon the public they
 were as far as might be asunder4       
,joaquin ,sorolla y ,bastida was born at
 ,valencia1 ,spain1 in #ahfc1 and began 
seriously to study art at the age of    
fifteen4 ,he studied at the ,academy of 
his birthplace for several years and won
 there a scholarship entitling him to a 
period of study in ,italy4 ,he visited  
,paris also1 where he was profoundly    
impressed1 it is said1 by two           
exhibitions in the ,french capital1 one 
of the work of ,bastien ,le,page1 the   
other of the work of the ,german        
,menzel4 ,the modern note is clearly    
felt in all his later painting1 but     
certainly not the influence of either   
,bastien ,le,page or ,menzel4 ,the      
painter to whom he bears the most marked
 resemblance is ,botticelli4 ,the       
spiritual languor1 the melancholy       

sentiment1 the mystical tendency1 the   
curiosity and interest in the unseen    
which are important characteristics of  
the ,florentine who read his ,dante to  
such good purpose do not appear in the  
work of this frank and lusty ,valencian1
 but where else in modern painting do we
 find the gracile forms1 the supple     
muscles1 the buoyancy of carriage1 the  
light impetuosity of movement1 and the  
draperies blown into the shapes of wings
 and sails1 which meet us here as in the
 pagan compositions of ,botticelli8     
,illustration3 ,in the ,metropolitan    
,museum of ,art4  ,,the ,,swimmers      
,from a painting by ,sorolla  ,if we    
glance at ,sorolla's young girls and    
young boys racing along the hot beach1  
or his bathers exulting in their water  
joy1 we recall at the same moment the   
,primavera with its swift-stepping      
nymphs1 the wind gods in the ,birth of  
,venus1 or the ,judith with her maid    
moving rapidly along a flower-strewn    
path4 ,this joy of motion and this      

continual suggestion of youth and       
vitality form the link that binds       
together the so dissimilar ideals of the
 old and the modern master4 ,sorolla's  
inspiration is by far the simpler4 ,his 
art reflects the brilliant sunshine of  
the ,mediterranean coast1 the tonic     
quality of the fresh air1 and the       
unconventionality of life by the sea4   
,all his people use natural gestures and
 express in their activity the          
untrammeled energy of primitive life4   
,in looking at these children1 and there
 is hardly a figure that has not the    
navet of childhood1 we think less of the
 individuals portrayed than of the      
outdoor freshness of which they are a   
part4 ,they are much more spirits of    
nature than the dryads and nereids and  
mermaids conceived by the ,germans to   
express in symbol the natural forces4   
,nothing suggests the use of models1 all
 has the look of spontaneity as though  
the artist had made his notes in        
passing1 without the slightest regard to

 producing a picture1 with only the idea
 of reproducing life4 ,life1 however1   
appears in his canvases in a            
sufficiently decorative form1 although  
not in the carefully considered patterns
 of those artists with whom the         
decorative instinct is supreme4         
,observe1 for example1 the painting     
entitled ,sea ,idyl4 ,two children are  
stretched on the beach1 their bright    
bodies wet and glistening and casting   
blue shadows on the sands4 ,they are    
lying so close to the water's edge that 
the waves lap over them1 the boy's skin 
shines like polished marble under the   
wet film just passing across it1 and the
 girl's drenched garments cling with    
sharp chiseled folds to the form beneath
 like the draperies of some young ,greek
 goddess just risen from the sea4 ,the  
insolence of laughing eyes1 the idle    
fumbling of young hands in the wet sand1
 the tingling life in the clean-cut     
limbs1 the buoyancy of the waves that   
lift them slightly and hold them above  

the earth1--all are seen with unwearied 
eyes1 and reproduced with energy4  ,the 
management of the pigment in this       
picture as in many of the others can be 
called neither learned nor subtle4      
,apparently the artist had in mind two  
intentions1 the one to represent motion1
 the other to represent light1 and he   
set about his task in the simplest way  
possible1 with such simplicity1 indeed1 
that the extraordinary character of the 
result would easily be missed by a      
pedant4 ,it has not been missed by the  
public1 who have entered with enthusiasm
 into the painter's mood1 perceived the 
originality of his vision and the       
joyousness of his art1 and have radiated
 their own appreciation of this         
vitalized1 healthful world of happy     
people until they have increased the    
distrust of the pedant for an art so    
helplessly popular4  ,illustration3 ,in 
the ,metropolitan ,museum of ,art4      
,,the ,,bath--,j,,vea  ,from a painting 
by ,sorolla  ,the distrust is not       

unnatural4 ,to follow the popular taste 
would lead us into strange errors in our
 judgments of art1 and only rarely would
 produce a predilection capable of      
lasting over a generation4 ,how is it1  
then1 that we fearlessly may range      
ourselves on the side of the public in  
admiration of ,sorolla's art8 ,because  
the painter has cast off the slavery of 
the conventional vision4 ,he sees for   
himself1 the rarest of gifts1 and thus  
can well afford to paint like others4   
,he spends1 apparently1 but little      
thought upon his execution1 letting it  
flow easily according to his instinct   
for the appropriate4 ,it is not a safe  
example to follow for painters who do   
not see with unusual directness4 ,often 
in searching out refinements of         
execution the eye discovers refinements 
of fact in the scene to be portrayed and
 makes its selection with greater       
distinction than would be possible at   
first sight4 ,but ,sorolla's prompt     
selective vision flies to its goal like 

a bee to a honey-bearing flower4 ,he    
takes what he wants and leaves the rest 
with the dew still on it4 ,his forces   
are neither scattered nor spent4 ,his   
freshness is overmastering1 and with our
 eyes on his creations we have that     
curious sense of possessing youth and   
health and freedom which we get         
sometimes from the sight of boys at     
their games4 ,we are cheated into       
forgetfulness of the world's great age  
and our own lassitudes and physical     
ineffectiveness4 ,this illusion is      
agreeable to the most of us1 hence our  
unreserved liking for ,sorolla's art    
which produces it4  ,the art of ,ignacio
 ,zuloaga1 on the contrary1 produces the
 opposite impression of complete        
sophistication4 ,in place of adolescent 
exultations and ebullient physical      
activities1 we find in it the strange   
sorceries of a guileful civilization4   
,there are smiling women with narrowed  
eyelids and powdered faces1 old men     
practising dolorous rejuvenations1      

laughter that conceals more than it     
expresses1 motions that are as          
calculated as those of the dance1       
serpentine forms1 fervid passions1 and  
underneath the sophistries a violent    
primeval temper4 ,in spite of the       
flowerlike gaiety of the color in rich  
costumes1 the glint of silver1 the sweet
 cool blues1 the pale violets1 in the   
painter's versions of the typical       
toreador of ,spain the types are bold1  
cruel1 and sullen4 ,in spite of the     
fragility and elegance of the women on  
balconies under soft laces the          
prevailing note is that of undisciplined
 ferocity of emotion4 ,this too is      
,spain1 but not the ,spain of the beach 
and sea life4  ,the rather numerous     
examples of what ,mr4 ,christian        
,brinton has called ,zuloaga's growing  
diabolic tendency make it clear that his
 art holds no place for spontaneity and 
the innocence due to ignorance1 but     
where he keeps to ,spanish subjects his 
work remains healthy4 ,there is the     

picture entitled ,the ,sorceresses of   
,san ,milan in which three old women are
 seen against a dramatic landscape4     
,these haggard jests of nature bring    
before us a ,spain from which the       
,american finds it impossible not to    
shrink with horror1 but they are rich in
 dramatic quality and recall the power  
of ,goya to endow the abnormal with     
imaginative splendor while holding to   
essential truth4 ,they are diabolic1 if 
you will1 but not ,mephistophelian4     
,there is the abstract horror in them   
which we associate with unknown powers  
of darkness1 but not the guile with     
which we endow a personal devil4 ,in    
striking contrast to this group are the 
balcony pictures in which women of ripe 
aggressive beauty lounge gracefully in  
the open-air rooms with the same freedom
 of pose as within doors1 haughty yet   
frank1 opulent1 languid yet animated1   
flowers that could have bloomed nowhere 
else than under a scorching sun4        
,illustration3 ,courtesy of the         

,hispanic ,society of ,america4  ,,the  
,,sorceresses ,,of ,,san ,,milan  ,from 
a painting by ,zuloaga  ,then there is  
the group of dancers and actors and     
singers in each of which we find the    
adroit mingling of the artificial with  
the real1 and the appreciation of the   
fact that with the people of the stage  
much that is artificial to others       
becomes their reality4 ,the most vivid  
of them all is ,mlle4 ,lucienne ,brval  
as ,carmen4 ,the sinuous figure is      
wrapped in a shawl apparently of a      
thousand colors2 actually1 a strong     
combination of yellow1 green1 and red4  
,the skirt which the singer gathers in  
one hand and lifts sufficiently to show 
the small foot in its red slipper has a 
dark vermilion ground on which is a     
pattern of large flowers of paler       
vermilion1 boldly outlined with blue4   
,over it droops the dark fringe of the  
shawl4 ,a crimson flower is in the dark 
hair1 and the footlights cast an        
artificial amber glow on the face4 ,this

 tawny harmony is seen against a        
background of slightly acid green2 at   
the other side of the canvas is a little
 table with two men seated at it4 ,they 
look made up1 in the theatrical sense1  
and the table looks rather light and    
rickety2 there is one solid natural     
stage property1 the yellow jug on the   
table with its dull blue figure4 ,the   
whole life and reality of the picture   
are in the ,carmen smiling and muffled  
in the curious shawl1 as if she were    
about to move in a fiery dance in which 
her brilliant wrappings would take a    
part as animated and vital as her own4  
,no one but a ,spaniard could invest a  
garment with such expressiveness4       
,illustration3 ,courtesy of the         
,hispanic ,society of ,america4  ,,the  
,,old ,,boulevardier  ,from a painting  
by ,zuloaga  ,paulette as ,danseuse is  
another stage figure4 ,here again the   
costume speaks with extraordinary       
eloquence4 ,the colors are green and    
pink1 and play delicately within a      

narrow range of varied tones4 ,under the
 short green jacket the low-cut bodice  
shows a finely modeled throat and a     
chest that seems almost to rise and fall
 with the breath1 so palpitating with   
life is the fleshlike surface4 ,the     
poise of the figure suggests that the   
dance has that moment ended1 and the    
eyes and mouth are slightly arched4 ,the
 undulating line of the draperies1 now  
tightly drawn about the figure1 and     
again billowing into ampler curves1     
suggests the rhythm of the dance4  ,in  
another canvas we see ,paulette once    
more1 this time in walking costume1     
standing with her hands on her hips in a
 daintily awkward pose4 ,her lips1 in   
the first picture upturned at the       
corners1 mouselike1 have widened in a   
frank smile1 her eyes have lost their   
formal archness and look with detached  
interest upon the passing show1 she     
still is supple1 clear cut1 with a      
flexible silhouette1 but her gown would 
find it impossible to dance1 and1 as    

before1 she and her gown are one4  ,in  
,the ,actress ,pilar ,soler1 on the     
other hand1 ,zuloaga dispenses as far as
 possible with definite aids to         
expression4 ,the costume is undefined2  
the half-length figure1 draped in black 
and placed high on the canvas1 is seen  
against a dark greenish-blue background4
 ,the mass of the silhouette1 unbroken  
as in an ,egyptian statue1 but with     
tremulous contours suggesting the       
fluttering of life in the dimly defined 
body1 is sufficiently considered and    
distinguished2 but it is the modeling of
 the face that holds the attention1 a   
mere blur of tone1 yet with all the     
planes understood and with a certain    
material richness of impasto that       
contributes to the look of solid flesh1 
the dark of the eyebrows making the only
 pronounced accent--a face that becomes 
more and more vital as you look at it1  
with that indestructible vitality of    
which1 among the ,frenchmen1 ,carrire   
was master4  ,in several other canvases1

 notably in the first version of ,my    
,cousin ,esperanza1 and the second      
version of ,women in a ,balcony1        
,zuloaga has caught this effect of vague
 fleeting values1 changes in surface so 
subtle as to be felt rather than seen1 a
 kind of floating modeling that suggests
 form rather than insists upon it4 ,and 
he has done this in the most difficult  
manner4 ,whistler long ago taught us to 
appreciate the effect1 but he worked    
with thin layers of pigment1 a sensitive
 surface upon which the slightest accent
 made an impression4 ,zuloaga1 on the   
contrary1 works with a full brush1 and  
consequently a more unmanageable        
surface4 ,he attains his success as a   
sculptor does against the odds of his   
material1 but he seems better to suggest
 his special types in this way4         
,illustration3 ,courtesy of the         
,hispanic ,society of ,america4         
,,merced,s  ,from a painting by ,zuloaga
  ,often he makes his modeling with the 
sweep of his brush in one direction and 

another4 ,candida ,laughing shows this  
method1 and so does the ,village ,judge1
 in which the pigment is still more     
freely swept about the bone of the cheek
 and the setting of the eye1 telling its
 story of the way the human face is     
built up in the frankest and briefest   
manner4 ,with the lovely ,merceds1 a    
fragile figure1 elegant in type1 the    
workmanship becomes again less          
outspoken4 ,the haughty1 graceful       
carriage1 and the intense refinement of 
the features that glow with a pale light
 beneath the fine lace of the scarf1    
demand and receive a daintier1 more     
fastidious interpretation4 ,in the      
portrait of ,mrs4 ,f41 ,jr41 there is a 
fresher manner1 a breezier1 crisper     
feeling throughout4 ,the color harmony  
of gray and green is cool and lively1   
the poise of the figure lacks the touch 
of languor that is present in the       
fieriest of the typical ,spaniards4 ,we 
seem to have passed into another and    
cooler air4  ,the composition of this   

picture too1 is especially admirable4   
,the subject stands1 bending forward a  
little1 the left hand resting on the    
hip1 the other fingering a string of    
pearls1 a gauzy scarf is about the      
shoulder and floats away from the figure
 at the hips1 the sky is atmospheric and
 there is a background of trees1 river1 
and bridge4 ,at the left of the canvas  
an iron balustrade1 bent into free1     
graceful curves1 comes into the         
composition1 beautifully drawn and      
painted in a just value1 adding in the  
happiest manner to the decorative       
effect4  ,this is the class of pictures 
in which ,zuloaga is at his best4 ,the  
types offer him adequate opportunity for
 exercising the faculty of astute       
discrimination with which he is gifted1 
without calling into play the ironic    
temper that broods with cold amusement  
over such a canvas as ,the ,old         
,boulevardier than which cynicism can go
 but little farther4 ,it might          
reasonably be argued that it is only in 

subjects which call forth as many       
evidences as possible of the artist's   
temperament and character that we can   
fully measure his force4 ,the impulse1  
however1 that turns his gaze toward     
those physiognomies that offer the      
richest reward to the investigating     
scrutiny is a part of his force1 as also
 his choice of subjects about which he  
can talk1 as one of his ,french critics 
has put it in his own language4         
,transcriber's ,notes3  ,the word       
esthetic left as is throughout text4    
,compound words left as is throughout   
text4 ,alternative and original spelling
 has been maintained including          
,rijksmuseum and ,rijks ,museum4        
,spelling and punctuation1 by page      
number3  ,page     #c - ,tiger devouring
 a ,gavial of the ,ganges changed to    
,devouring4    #ab - the patine of      
commerceinserted 4 period ,the ideal    
#bg - fluent handling and the mystery of
 tone changed to mastery4    #dd - ,in  
,les ,mitre ,contemporains1 ,m4 ,paul   

,mongr thus changed to   ,matre4    #de 
- but the abounding enthusisam of the   
latter changed to enthusiasm4    #fa -  
the ,gobbi1 the ,beggars8 inserted      
question mark and closing   quotation   
mark4    #gd - ,years #ahbg and #ahbh   
changed to #afbg and #afbh respectively4
    #hb -7,stdel ,gallery7 in the       
,museum of ,brussels1 changed to 7,stdel
   ,gallery71 in the ,museum of         
,brussels1    #hd - those set in the    
,virign's changed to ,virgin's4    #he -
 physical anguish that mark the figure  
changed to marks4    #ib - his most     
temperate moods1 the ,pieta changed to  
,piet4   #ajj - #ahca changed to #afca4 
#acb - of the two painters1 ,jordaen's  
silvery---,jordaen's left as is1        
corrected it would have been ,jordaens'4
 ,jordaens was the painter's  name4     
#ach - ,in the ,frohliche ,heimkehr at  
,amsterdam changed to ,frhliche4   #agd 
- slightest accent made an impresssion  
changed to impression4   #agd - ,with   
the lovely ,mercedes1 changed to        

,merceds4