,,famous ,,european ,,artists  ,,by     
,,sarah ,k4 ,,bolton  ,,author ,,of     
,,poor ,,boys ,,who ,,became ,,famous1  
,,girls ,,who ,,became ,,famous1        
,,stories ,,from ,,life1 ,,famous       
,,american ,,authors1 ,,famous          
,,american ,,statesmen1 ,,social        
,,studies ,,in ,,england1 ,,from ,,heart
 ,,and ,,nature1 ,,famous ,,men ,,of    
,,science1 ,,etc4  ,do not act as if you
 had ten thousand years to throw away4  
,death stands at your elbow4 ,be good   
for something while you live1 and it is 
in your power4--,,marcus ,,aurelius4    
,,new ,,york ,,thomas ,y4 ,,crowell     
,,co4 #df ,,east ,,fourteenth ,,street  
,,copyright1 #ahij1 ,,by ,,thomas ,y4   
,,crowell  ,,co4  ,c4 ,j4 ,,peters      
,,son1 ,,typographers ,,and             
,,electrotypers1 #adf ,,high ,,street1  
,,boston4   ,,to ,,miss ,,elizabeth ,c4 
,,bullard ,,with ,,the ,,appreciation   
,,and ,,esteem ,,of ,,the ,,author4     
,illustration3 ,,michael ,,angelo4      
,,preface4   ,hermann ,grimm says1      

,reverence for what is great is a       
universal feeling4444 ,when we look at  
great men1 it is as if we saw a         
victorious army1 the flower of a people1
 marching along4444 ,they all speak one 
common language1 know nothing of castes1
 of noble or pariah2 and he who now or  
in times to come thinks or acts like    
them rises up to them1 and is admitted  
into their circle4  ,possibly1 by       
reading of these great men some may be  
led to think and act like them1 and thus
 be admitted into their circle4 ,all of 
these possessed untiring industry and a 
resolute purpose to succeed4 ,most were 
poor in early life4  ,s4 ,k4 ,b4        
,,contents4                             
,,page4 ,,michael ,,angelo              
#g  ,,leonardo ,,da ,,vinci             
#ff  ,,raphael ,,of ,,urbino            
#aje  ,,titian                     #aee 
,,murillo                    #bjc       
,,rubens                     #bdf       
,,rembrandt                  #bhf  ,,sir
 ,,joshua ,,reynolds        #cah  ,,sir 

,,edwin ,,landseer         #cfg         
,,turner                     #cif       
,,michael ,,angelo4   ,who has ever     
stood in ,florence1 and been warmed by  
her sunlight1 refreshed by her fragrant 
flowers1 and ennobled by her divine art1
 without saying with the poet ,rogers1--
        ,of all the fairest cities of   
the earth1      ,none is so fair as     
,florence4 ',tis a gem      ,of purest  
ray2 and what a light broke forth       
,when it emerged from darkness6 ,search 
within1      ,without1 all is           
enchantment6 ',tis the ,past            
,contending with the ,present2 and in   
turn      ,each has the mastery4        
,pitiful in her struggles for freedom1  
the very centre of art and learning in  
the fifteenth century1 she has to-day a 
charm peculiarly her own4  ,other though
 not many cities have histories as      
noble1 treasures as vast2 but no other  
city has them living1 and ever present  
in her midst1 familiar as household     
words1 and touched by every baby's hand 

and peasant's step1 as ,florence has4   
,every line1 every road1 every gable1   
every tower1 has some story of the past 
present in it4 ,every tocsin that sounds
 is a chronicle2 every bridge that      
unites the two banks of the river1      
unites also the crowds of the living    
with the heroism of the dead4  ,the     
beauty of the past goes with you at     
every step in ,florence4 ,buy eggs in   
the market1 and you buy them where      
,donatello bought those which fell down 
in a broken heap before the wonder of   
the crucifix4 ,pause in a narrow        
by-street in a crowd1 and it shall be   
that ,borgo ,allegri1 which the people  
so baptized for love of the old painter 
and the new-born art4 ,stray into a     
great dark church at evening time1 where
 peasants tell their beads in the vast  
marble silence1 and you are where the   
whole city flocked1 weeping1 at         
midnight1 to look their last upon the   
dead face of their ,michael ,angelo4    
,buy a knot of ,march anemones or ,april

 arum lilies1 and you may bear them with
 you through the same city ward in which
 the child ,ghirlandaio once played     
amidst the gold and silver garlands that
 his father fashioned for the young     
heads of the ,renaissance4 ,ask for a   
shoemaker1 and you shall find the       
cobbler sitting with his board in the   
same old twisting1 shadowy street-way   
where the old man ,toscanelli drew his  
charts that served a fair-haired sailor 
of ,genoa1 called ,columbus4  ,florence1
 ,shelley's ,smokeless ,city1 was the   
ardently loved home of ,michael ,angelo4
 ,he was born ,march #f1 #adge1 or1     
according to some authorities1 #adgd1   
the ,florentines reckoning time from the
 incarnation of ,christ1 instead of his 
birth4  ,lodovico ,buonarotti1 the      
father of ,michael ,angelo1 had been    
appointed governor of ,caprese and      
,chiusi1 and had moved from ,florence to
 the ,castle of ,caprese1 where this    
boy1 his second child1 was born4 ,the   
mother1 ,francesca1 was1 like her       

husband1 of noble family1 and but little
 more than half his age1 being nineteen 
and he thirty-one4  ,after two years    
they returned to ,florence1 leaving the 
child at ,settignano1 three miles from  
the city1 on an estate of the           
,buonarottis'4 ,he was intrusted to the 
care of a stone-mason's wife1 as nurse4 
,living among the quarrymen and         
sculptors of this picturesque region1 he
 began to draw as soon as he could use  
his hands4 ,he took delight in the work 
of the masons1 and they in turn loved   
the bright1 active child4 ,on the walls 
of the stone-mason's house he made      
charcoal sketches1 which were doubtless 
praised by the foster-parents4          
,lodovico1 who was quite too proud for  
manual labor1 designed that his son     
should become a dealer in silks and     
woollens1 as probably he would thus     
amass wealth4 ,with such a project in   
mind1 he was certainly unwise to place  
the child in the exhilarating air of the
 mountains1 where nature would be almost

 sure to win him away from the          
counting-room4  ,when the boy was old   
enough he was sent by his father to a   
grammar school in ,florence1 kept by    
,francesco of ,urbino1 a noted          
grammarian4 ,he made little progress in 
his studies1 for nearly all of his time 
was spent in drawing and in visiting the
 ateliers of the different artists of   
the city4 ,vasari says he was beaten by 
his father and other elders2 but the    
beatings did no good1--indeed1 they     
probably made the quiet1 self-poised lad
 more indifferent to trade and more     
devoted to art4  ,fortunately1 in these 
early years1 as has so often happened to
 men of genius1 ,michael ,angelo found a
 congenial friend1 ,francesco ,granacci1
 a talented youth of good family1       
lovable in nature1 and a student in art4
 ,he was a pupil of one of the best     
painters in ,italy1 ,domenico           
,ghirlandaio4 ,he loaned drawings to    
,michael ,angelo1 and made the boy of   
fourteen more anxious than ever to be an

 artist4  ,lodovico at last saw that a  
lad so absorbed in art would probably be
 a failure in silk and wool1 and placed 
him in the studio of ,ghirlandaio1 with 
the promise of his receiving six gold   
florins the first year1 eight the       
second1 and ten the third4  ,granacci1  
who was nineteen1 and ,michael ,angelo  
now worked happily together4 ,the master
 had undertaken to paint the choir of   
the ,church of ,santa ,maria ,novella1  
and thus the boys were brought into     
important work4  ,one day1 when the     
painters were absent1 ,michael ,angelo  
drew the scaffolding1 with all who      
worked on it1 so perfectly that         
,ghirlandaio exclaimed1 when he saw it3 
,this youth understands more than ,i do 
myself4 ,he also corrected one of the   
master's drawings1 the draped form of a 
woman4 ,sixty years afterwards1 when    
this sketch was shown to ,michael       
,angelo1 he said1 ,i almost think that  
,i knew more art in my youth than ,i do 
in my old age4  ,the young artist now   

painted his first picture1 a plate of   
,martin ,schoengauer's of ,germany1     
representing ,st4 ,anthony tormented by 
devils4 ,one pulls his hair1 one his    
garments1 one seizes the book hanging   
from his girdle1 one snatches a stick   
from his hand1 while others pinch1 and  
tease1 and roll over him4 ,claws1       
scales1 horns1 and the like1 all help to
 make up these monsters4 ,michael       
,angelo went to the fish-market1 and    
carefully studied the eyes and scales of
 the fish1 with their colors1 and       
painted such a picture that it was      
mistaken for the original4  ,after a    
year spent with ,ghirlandaio1 the master
 seems to have become envious1 and the  
three-years' contract was mutually      
broken1 through a fortunate opening for 
,michael ,angelo4 ,cosmo de' ,medici1   
,pater ,patriae1 had collected ancient  
and modern sculptures and paintings1 and
 these art treasures were enriched by   
his grandson1 ,lorenzo the ,magnificent1
 who opened them to students1 with      

prizes for the best work4 ,he founded an
 academy and placed it under the charge 
of ,bertoldo1 the favorite disciple of  
,donatello4  ,lorenzo made himself the  
idol of the people by his generosity1   
consideration1 and unquestioned ability 
to lead4 ,he arranged public            
festivities1 and wrote verses to be sung
 by girls as they danced in the public  
square1 in the month of ,may4 ,all the  
young people knew and loved him4  ,on   
one of these festive occasions1 when the
 triumphal procession of ,paulus        
,a,emilius was being represented1       
,granacci found an opportunity of       
winning ,lorenzo's favor1 and thereby   
gained access to the art treasures4 ,at 
once he thought of his friend1 and      
,michael ,angelo was soon studying the  
marbles and pictures of the great       
,medici4  ,the boy of fifteen quickly   
made friends with the stone-masons1 and1
 getting from them a piece of marble1   
began to copy the antique masque of a   
faun4 ,however1 his work was not like   

the original1 but the mouth was open so 
that the teeth were visible4 ,when      
,lorenzo came among the pupils he       
observed the masque and praised it1 but 
said to the boy1 ,you have made your    
faun so old1 and yet you have left him  
all his teeth2 you should have known    
that at such an advanced age there are  
generally some wanting4  ,at once       
,michael ,angelo broke out a tooth1     
filling the gum as though it had dropped
 out4 ,when ,lorenzo came again he was  
delighted1 and told the boy to send for 
his father4 ,lodovico came reluctantly1 
for he was not yet reconciled to the    
choice of art and poverty which his son 
had made4  ,lorenzo received him        
cordially and asked his occupation4 ,i  
have never followed any business1 was   
the reply2 but ,i live upon the small   
income of the possessions left me by my 
ancestors4 ,these ,i endeavor to keep in
 order1 and1 so far as ,i can1 to       
improve them4  ,well1 said ,lorenzo1    
look around you2 and1 if ,i can do      

anything for you1 only apply to me4     
,whatever is in my power shall be done4 
,lodovico received a vacant post in the 
customhouse1 and ,michael ,angelo was   
taken into the ,medici palace and       
treated as a son4 ,for three years he   
lived in this regal home1 meeting all   
the great and learned men of ,italy3    
,politian1 the poet and philosopher2    
,ficino1 the head of the ,platonic      
,academy2 ,pico della ,mirandola1 the   
prince and scholar1 and many others4    
,who can estimate such influence over a 
youth8 ,who can measure the good that   
,lorenzo de' ,medici was doing for the  
world unwittingly8 ,to develop a grand  
man from a boy1 is more than to carve a 
statue from the marble4  ,michael       
,angelo was now of middle height1 with  
dark hair1 small gray eyes1 and of      
delicate appearance1 but he became      
robust as he grew older4  ,politian was 
the tutor of the two ,medici youths1    
,giovanni and ,giulio1 who afterwards   
became ,leo ,x4 and ,clement ,,vii4 ,he 

encouraged ,michael ,angelo1 when       
eighteen1 to make a marble bas-relief of
 the battle of ,hercules with the       
,centaurs4 ,this is still preserved in  
the ,buonarotti family1 as the sculptor 
would never part with it4 ,the head of  
the faun is in the ,uffizi gallery4     
,michael ,angelo now executed a ,madonna
 in bronze1 and copied the wonderful    
frescos of ,masaccio in the ,brancacci  
,chapel of ,santa ,maria del ,carmine   
7usually called the ,carmine ,chapel71  
the same which inspired ,fra ,angelico1 
,raphael1 and ,andrea del ,sarto4 ,the  
importance of these frescos arises from 
the fact that they hold the same place  
in the history of art during the        
fifteenth century as the works of       
,giotto1 in the ,arena ,chapel at       
,padua1 hold during the fourteenth4     
,each series forms an epoch in painting1
 from which may be dated one of those   
great and sudden onward steps which have
 in various ages and countries marked   
the development of art4 ,the history of 

,italian painting is divided into three 
distinct and well-defined periods1 by   
the ,arena and ,brancacci ,chapels1 and 
the frescos of ,michael ,angelo and     
,raphael in the ,vatican4  ,while       
,michael ,angelo was copying these      
paintings of ,masaccio1 he took no      
holidays1 and gave the hours of night to
 his labors4 ,ambition made work a      
delight4 ,he studied anatomy like a     
devotee4 ,dead bodies were conveyed from
 the hospital to a cell in the convent  
of ,santo ,spirito1 the artist rewarding
 the prior by a crucifix almost as large
 as life1 which he carved from wood4    
,the youth could but know his           
superiority to others1 and was not      
always wise enough to conceal his       
contempt for mediocrity1 or for the     
young men who played at life4 ,one of   
his fellow-students1 ,torrigiani1 grew  
so angry at him1 probably from some     
slighting remark1 that he struck him    
with his fist1 disfiguring his face for 
life4 ,michael ,angelo is said to have  

merely replied to this brutal assault1  
,you will be remembered only as the man 
who broke my nose4 ,torrigiani was at   
once banished1 and died miserably in the
 ,spanish ,inquisition4  ,in ,april1    
#adib1 ,lorenzo the ,magnificent died1  
in the very prime of his life4 ,michael 
,angelo was so overcome that for a long 
time he was unable to collect his       
thoughts for work4 ,the self-reliant    
young man1 cold outwardly1 had a warm   
and generous heart4  ,he went home to   
the ,buonarotti mansion1 opened a       
studio1 purchased a piece of marble and 
made a ,hercules four feet in height4   
,it stood for many years in the ,strozzi
 ,palace in ,florence1 was sold to      
,france1 and is now lost4  ,piero de'   
,medici succeeded to his father         
,lorenzo1 who is said to have remarked  
that he had three sons3 the first good1 
the second clever1 the third a fool4    
,the good one was ,giuliano1 thirteen   
years old at the death of his father2   
the clever one was ,giovanni1 seventeen 

years old1 but a cardinal already by    
favor of the pope1 whose son had married
 a daughter of ,lorenzo's2 and the fool 
was ,piero4  ,in ,january1 #adid1 an    
unusual storm occurred in ,florence1 and
 the snow lay from four to six feet     
deep4 ,piero1 with childish enthusiasm1 
sent for ,michael ,angelo and bade him  
form a statue of snow in the courtyard  
of the palace4 ,the ,medici was so      
pleased with the result that he brought 
the artist to sit at his own table1 and 
to live in the same rooms assigned to   
him by ,lorenzo his father4  ,piero is  
said1 however1 to have valued equally   
with the sculptor a ,spaniard who served
 in his stables1 because he could outrun
 a horse at full gallop4  ,piero was    
proud1 without the virtues of his       
father1 and soon alienated the          
affections of the ,florentines4         
,savonarola1 the ,dominican monk of ,san
 ,marco1 was preaching against the      
luxuries and vices of the age4 ,so      
popular was he1 says ,burlamacchi1 that 

the people got up in the middle of the  
night to get places for the sermon1 and 
came to the door of the cathedral1      
waiting outside till it should be       
opened1 making no account of any        
inconvenience1 neither of the cold1 nor 
the mud1 nor of standing in winter with 
their feet on the marble2 and among them
 were young and old1 women and children1
 of every sort1 who came with such      
jubilee and rejoicing that it was       
bewildering to hear them1 going to the  
sermon as to a wedding4  ,then the      
silence was great in the church1 each   
one going to his place2 and he who could
 read1 with a taper in his hand1 read   
the service and other prayers4 ,and     
though many thousand people were thus   
collected together1 no sound was to be  
heard1 not even a 'hush1' until the     
arrival of the children who sang hymns  
with so much sweetness that heaven      
seemed to have opened4 ,thus they waited
 three or four hours till the padre     
entered the pulpit1 and the attention of

 so great a mass of people1 all with    
eyes and ears intent upon the preacher1 
was wonderful2 they listened so that    
when the sermon reached its end it      
seemed to them that it had scarcely     
begun4  ,piero's weakness and           
,savonarola's power soon bore fruit4    
,michael ,angelo foresaw the fall of the
 ,medici1 and1 unwilling to fight for a 
ruler whom he could not respect1 fled to
 ,venice4 ,but his scanty supply of     
money was soon exhausted1 and he        
returned to ,bologna1 on his way back to
 ,florence4  ,at ,bologna1 the law      
required that every foreigner entering  
the gates should have a seal of red wax 
on his thumb1 showing permission4 ,this 
,michael ,angelo and his friends        
neglected to obtain1 and were at once   
arrested and fined4 ,they would have    
been imprisoned save that ,aldovrandi1 a
 member of the council1 and of a        
distinguished family1 set them free1 and
 invited the sculptor to his own house1 
where he remained for a year4 ,together 

they read ,dante and ,petrarch1 and the 
magistrate soon became ardently attached
 to the bright youth of nineteen4  ,in  
the ,church of ,san ,petronio are the   
bones of ,st4 ,domenico in a marble     
coffin2 on the sarcophagus two kneeling 
figures were to be placed by ,nicolo    
,pisano1 a contemporary of ,cimabue4    
,one was unfinished in its drapery1 and 
the other1 a kneeling angel holding a   
candelabrum1 was not even begun4 ,at    
,aldovrandi's request ,michael ,angelo  
completed this work4 ,so exasperated    
were the artists of ,bologna at his     
skill that he felt obliged to leave     
their city1 and return to ,florence4    
,what a pitiful exhibition of human     
weakness6  ,meantime ,piero had fled    
from ,florence4 ,charles ,,viii4 of     
,france had made a triumphal entrance   
into the city1 and ,savonarola had      
become lawgiver4 ,jesus ,christ is the  
,king of ,florence1 was written over the
 gates of the ,palazzo ,vecchio1 hymns  
were sung in the streets instead of     

ballads1 the sacrament was received     
daily1 and worldly books1 even ,petrarch
 and ,virgil1 and sensuous works of art1
 were burned on a huge pile4 ,even ,fra 
,bartolomeo was so carried away by the  
enthusiasm of the moment as to bring his
 life-academy studies to be consumed on 
this pyre1 forgetful that1 in the       
absence of such studies1 he could never 
have risen above low mediocrity4        
,lorenzo di ,credi1 another and devoted 
follower of ,savonarola1 did the same4  
,michael ,angelo1 though an ardent      
admirer of ,savonarola1 and an attendant
 upon his preaching1 seems not to have  
lost his good judgment1 or to have      
considered the making of a sleeping     
,cupid a sin4 ,when the beautiful work  
was completed1 at the suggestion of a   
friend1 it was buried in the ground for 
a season1 to give it the appearance of  
an antique1 and then sold to ,cardinal  
,san ,giorgio for two hundred ducats1   
though ,michael ,angelo received but    
thirty as his share4 ,soon after1 the   

cardinal ascertained how he had been    
imposed upon1 and invited the artist to 
,rome1 with the hope that the hundred   
and seventy ducats could be obtained    
from the dishonest agent who effected   
the sale4 ,vasari states that many      
persons believed that the agent1 and not
 ,michael ,angelo1 buried the statue for
 gain1 which seems probable from all we 
know of the artist's upright character4 
,michael ,angelo went to the ,eternal   
,city in ,june1 #adif4 ,he was still    
young1 only twenty-one4 ,the idea1 says 
,hermann ,grimm1 in his scholarly life  
of the artist1 that the young ,michael  
,angelo1 full of the bustle of the      
fanatically excited ,florence1 was led  
by his fate to ,rome1 and trod for the  
first time that soil where the most     
corrupt doings were1 nevertheless1 lost 
sight of in the calm grandeur of the    
past1 has something in it that awakens  
thought4 ,it was the first step in his  
actual life4 ,he had before been led    
hither and thither by men and by his own

 indistinct views2 now1 thrown upon his 
own resources1 he takes a new start for 
his future1 and what he now produces    
begins the series of his masterly works4
  ,michael ,angelo's first efforts in   
,rome were for a noble and cultivated   
man1 ,jacopo ,galli3 a ,cupid1 now lost1
 and a ,bacchus1 nearly as large as     
life1 which ,shelley declared a         
revolting misunderstanding of the spirit
 and the idea of ,bacchus4 ,perhaps the 
artist did not put much heart into the  
statue of the intoxicated youth4 ,his   
next work1 however1 the ,pieta1 executed
 for ,cardinal ,st4 ,denis1 the ,french 
ambassador at ,rome1 who desired to     
leave some monument of himself in the   
great city1 made ,michael ,angelo       
famous4 ,sonnets were written to the    
,pieta1 the ,virgin ,mary holding the   
dead ,christ4  ,of this work ,grimm     
says3 ,the position of the body1 resting
 on the knees of the woman2 the folds of
 her dress1 which is gathered together  
by a band across the bosom2 the         

inclination of the head1 as she bends   
over her son in a manner inconsolable   
and yet sublime1 or his1 as it rests in 
her arms dead1 exhausted1 and with mild 
features1--we feel every touch was for  
the first time created by ,michael      
,angelo1 and that that in which he      
imitated others in this group1 was only 
common property1 which he used because  
its use was customary4444  ,our deepest 
sympathy is awakened by the sight of    
,christ1--the two legs1 with weary feet1
 hanging down sideways from the mother's
 knee2 the falling arm2 the failing1    
sunken body2 the head drooping          
backwards1--the attitude of the whole   
human form lying there1 as if by death  
he had again become a child whom the    
mother had taken in her arms2 at the    
same time1 in the countenance there is a
 wonderful blending of the old customary
 ,byzantine type1--the longish features 
and parted beard1 and the noblest       
elements of the national ,jewish        
expression4 ,none before ,michael       

,angelo would have thought of this2 the 
oftener the work is contemplated1 the   
more touching does its beauty           
become1--everywhere the purest nature1  
in harmony both in spirit and exterior4 
,whatever previously to this work had   
been produced by sculptors in ,italy    
passes into shadow1 and assumes the     
appearance of attempts in which there is
 something lacking1 whether in idea or  
in execution2 here1 both are provided   
for4 ,the artist1 the work1 and the     
circumstances of the time1 combine      
together2 and the result is something   
that deserves to be called perfect4     
,michael ,angelo numbered four and      
twenty years when he had finished his   
,pieta4 ,he was the first master in     
,italy1 the first in the world from     
henceforth1 says ,condivi2 indeed1 they 
go so far as to maintain1 he says       
further1 that ,michael ,angelo surpassed
 the ancient masters4  ,how could       
,michael ,angelo have carved this work  
at twenty-four8 ,his knowledge of       

anatomy was surprising4 ,he had become  
imbued with great and noble thoughts    
from ,savonarola's preaching1 and from  
his ardent reading of ,dante and        
,petrarch2 he was eager for fame1 and he
 believed in his own power4 ,and1       
besides all this1 he was in love with   
art4 ,when a friend said to him1 years  
afterwards1 ',tis a pity that you have  
not married1 that you might have left   
children to inherit the fruit of these  
honorable toils1 he replied1 ,i have    
only too much of a wife in my art1 and  
she has given me trouble enough4 ,as to 
my children1 they are the works that ,i 
shall leave2 and if they are not worth  
much1 they will at least live for some  
time4 ,woe to ,lorenzo ,ghiberti if he  
had not made the gates of ,san          
,giovanni2 for his children and         
grandchildren have sold or squandered   
all that he left2 but the gates are     
still in their place4 ,these are so     
beautiful that they are worthy of being 
the gates of ,paradise4  ,the ,pieta is 

now in ,st4 ,peter's4 ,when some person 
criticised the youthful appearance of   
the ,virgin1 and captiously asked where 
a mother could be found1 like this one1 
younger than her son1 the painter       
answered1 ,in ,paradise4  ,the love and 
care1 says ,vasari1 which ,michael      
,angelo had given to this group were    
such that he there left his name--a     
thing he never did again for any        
work--on the cincture which girdles the 
robe of ,our ,lady2 for it happened one 
day that ,michael ,angelo1 entering the 
place where it was erected1 found a     
large assemblage of strangers from      
,lombardy there1 who were praising it   
highly2 one of them1 asking who had done
 it1 was told1 ',our ,hunchback of      
,milan2' hearing which1 ,michael ,angelo
 remained silent1 although surprised    
that his work should be attributed to   
another4 ,but one night he repaired to  
,st4 ,peter's with a light and his      
chisels1 to engrave his name on the     
figure1 which seems to breathe a spirit 

as perfect as her form and countenance4 
,michael ,angelo was now urged by his   
father and brother to return to         
,florence4 ,lodovico1 his father1 writes
 him3 ,buonarotto tells me that you live
 with great economy1 or rather penury4  
,economy is good1 but penury is bad1    
because it is a vice displeasing to ,god
 and to the people of this world1 and1  
besides1 will do harm both to soul and  
body4  ,however1 when his son returned1 
after four years in ,rome1 carrying the 
money he had saved to establish his     
brothers in business1 the proud father  
was not displeased with the penury4     
,this self-denial the great artist      
practised through life for his not      
always grateful or appreciative family4 
,he said in his old age1 ,rich as ,i am1
 ,i have always lived like a poor man4  
,matters had greatly changed in         
,florence4 ,savonarola and his two      
principal followers1 excommunicated by  
,pope ,alexander ,,vi41 because they had
 preached against the corruptions of    

,rome1 calling his court the ,romish    
,babylon1 had been burned at the stake4 
,while the mob had assisted at the death
 of the great and good friar1 the people
 of ,florence were sad at heart4        
,michael ,angelo1 who loved him and     
deeply loved republican ,florence1 was  
sad also1 and perhaps thereby wrought   
all the more earnestly1 never being     
frivolous either in thought or work4    
,upon his return to ,florence1 ,cardinal
 ,piccolomini1 afterwards ,pius ,,iii41 
made a contract with him for fifteen    
statues of ,carrara marble to embellish 
the family chapel in the cathedral of   
,siena4 ,three years were allowed for   
this work4 ,the artist finished but four
 statues1 ,peter1 ,paul1 ,gregory1 and  
,pius1 because of other labors which    
were pressed upon him4  ,the marble     
,madonna in the ,church of ,notre ,dame 
at ,bruges was carved about this time4  
,this1 says ,grimm1 is one of ,michael  
,angelo's finest works4 ,it is          
life-size4 ,she sits there enveloped in 

the softest drapery2 the child stands   
between her knees1 leaning on the left  
one1 the foot of which rests on a block 
of stone1 so that it is raised a little 
higher than the right4 ,on this stone   
the child also stands1 and seems about  
to step down4 ,his mother holds him back
 with her left hand1 while the right    
rests on her lap with a book4 ,she is   
looking straight forward2 a handkerchief
 is placed across her hair1 and falls   
softly1 on both sides1 on her neck and  
shoulders4 ,in her countenance1 in her  
look1 there is a wonderful majesty1 a   
queenly gravity1 as if she felt the     
thousand pious glances of the people who
 look up to her on the altar4  ,an      
opportunity now presented itself for the
 already famous sculptor to distinguish 
himself in his own city4 ,years before a
 marble block1 eighteen feet high1 had  
been brought from ,carrara to ,florence1
 from which the wool-weavers' guild     
intended to have a prophet made for     
,santa ,maria del ,fiore4 ,one sculptor 

had attempted and failed4 ,others to    
whom it was offered said nothing could  
be done with the one block1 but more    
pieces of marble should be added4       
,michael ,angelo was willing to         
undertake the making of a statue4 ,he   
was allowed two years in which to       
complete it1 with a monthly salary of   
six gold florins4 ,his only preparation 
for the work was a little wax model     
which he moulded1 now in the ,uffizi4   
,he worked untiringly1 so that he often 
slept with his clothes on1 to be ready  
for his beloved statue as soon as the   
morning dawned4 ,he had shut himself    
away from the public gaze by planks and 
masonry1 and worked alone1 not          
intrusting a stroke to other hands4 ,he 
felt what ,emerson preached years later1
 that society is fatal4 ,the great      
essayist urged that while we may keep   
our hands in society we must keep our   
head in solitude4 ,great thoughts are   
not born usually in the whirl of social 
life4  ,finally1 when the statue was    

finished in ,january1 #aejd1 and the    
colossal ,david stood unveiled before   
the people1 they said3 ,it is as great a
 miracle as if a dead body had been     
raised to life4 ,vasari says ,michael   
,angelo intended1 by this work1 to teach
 the ,florentines that as ,david had    
defended his people and governed justly1
 so they who were then ruling that city 
should defend it with courage and govern
 it uprightly4  ,the statue weighed     
eighteen thousand pounds1 and required  
forty men four days to drag it by ropes 
a quarter of a mile to the place where  
it was to stand in the ,piazza della    
,signoria4 ,notwithstanding that the    
praise of the sculptor was on every lip1
 still there was so much jealousy among 
the artists that some of their followers
 threw stones at the statue during the  
nights when it was being carried to the 
,piazza1 and eight persons were arrested
 and put in prison4  ,vasari tells a    
story which1 whether true or false1     
illustrates the character of those who  

profess much because they know little4  
,when the statue was set up1 it chanced 
that ,soderini1 whom it greatly pleased1
 came to look at it while ,michael      
,angelo was retouching it at certain    
points1 and told the artist that he     
thought the nose too short4 ,michael    
,angelo perceived that ,soderini was in 
such a position beneath the figure that 
he could not see it conveniently2 yet1  
to satisfy him1 he mounted the scaffold 
with his chisel and a little powder     
gathered from the floor in his hand1    
when striking lightly with the chisel1  
but without altering the nose1 he       
suffered a little of the powder to fall1
 and then said to the gonfaloniere1 who 
stood below1 ',look at it now4'  ',i    
like it better now1' was the reply2 'you
 have given it life4' ,michael ,angelo  
then descended1 not without compassion  
for those who desire to appear good     
judges of matters whereof they know     
nothing4 ,but the artist very wisely    
made no remarks1 and thus retained the  

friendship of ,soderini4 ,in #ahgc1     
after nearly four centuries1 this famous
 statue was removed to the ,academy of  
,fine ,arts in the old ,monastery of    
,st4 ,mark1 lest in the distant future  
it should be injured by exposure4  ,work
 now poured in upon ,michael ,angelo4   
,in three years he received commissions 
to carve thirty-seven statues4 ,for the 
cathedral of ,florence he promised      
colossal statues of the twelve apostles1
 but was able to attempt only one1 ,st4 
,matthew1 now in the ,florentine        
,academy4 ,for ,agnolo ,doni he painted 
a ,madonna1 now in the ,tribune at      
,florence4 ,the price was sixty ducats1 
but the parsimonious ,agnolo said he    
would give but forty1 though he knew it 
was worth more4 ,michael ,angelo at once
 sent a messenger demanding a hundred   
ducats or the picture1 but1 not inclined
 to lose so valuable a work by a famous 
artist1 ,agnolo gladly offered the sixty
 which he at first refused to pay4      
,offended by such penuriousness1        

,michael ,angelo demanded and received  
one hundred and forty ducats6  ,in      
#aejd1 ,gonfaloniere ,soderini desired  
to adorn the great ,municipal ,hall with
 the paintings of two masters1 ,leonardo
 da ,vinci and ,michael ,angelo4 ,the   
latter was only twenty-nine1 while ,da  
,vinci was over fifty4 ,he had recently 
come from ,milan1 where he had been     
painting the ,last ,supper1 which1      
,grimm says1 in moments of admiration1  
forces from us the assertion that it is 
the finest and sublimest composition    
ever produced by an ,italian master4    
,and now with this first painter in     
,italy the first sculptor1 ,michael     
,angelo1 was asked to compete1 and he   
dared to accept the offer4  ,he chose   
for his subject an incident of the      
,pisan war4 ,as the weather was very    
warm1 the ,florentines had laid aside   
their armor and were bathing in the     
,arno4 ,sir ,john ,hawkwood1 the        
commander of the opposing forces1 seized
 this moment to make the attack4 ,the   

bathers rushed to the shore1 and        
,michael ,angelo has depicted them      
climbing the bank1 buckling on their    
armor1 and with all haste returning the 
assault4  ,it is not possible1 says     
,grimm1 to describe all the separate    
figures1 the fore-shortenings1 the      
boldness with which the most difficult  
attitude is ever chosen1 or the art with
 which it is depicted4 ,this cartoon was
 the school for a whole generation of   
artists1 who made their first studies   
from it4  ,da ,vinci's painting         
represented a scene at the battle of    
,anghiari1 where the ,florentines had   
defeated the ,milanese in #addj4 ,while 
these cartoons thus hung opposite to    
each other1 says ,benvenuto ,cellini1   
they formed the school of the world4    
,raphael1 ,andrea del ,sarto1 and others
 made studies from them4 ,da ,vinci's   
faded1 and ,michael ,angelo's was cut in
 pieces by some enemy4  ,before the     
artist had finished his painting he was 
summoned to ,rome by ,pope ,julius      

,,ii41 the great patron of art and      
literature1 who desired a monument for  
himself in ,st4 ,peter's4 ,the mausoleum
 was to be three stories high2 with     
sixteen statues of the captive liberal  
arts1 and ten statues of ,victory       
treading upon conquered provinces1 for  
the first story2 the sarcophagus of the 
pope1 with his statue and attendant     
angels1 for the second2 and1 above all1 
more cherubs and apostles4  ,it will    
cost a hundred thousand crowns1 said the
 artist4  ,let it cost twice that sum1  
said the pope4  ,at once ,michael       
,angelo hastened to the marble quarries 
of ,carrara1 in the most northern part  
of ,tuscany1 where he remained for eight
 months4 ,his task was a difficult one4 
,he wrote to his father after he had    
gone back to ,rome1 ,i should be quite  
contented here if only my marble would  
come4 ,i am unhappy about it2 for not   
for two days only1 but as long as ,i    
have been here1 we have had good        
weather4 ,a few days ago1 a bark1 which 

has just arrived1 was within a          
hair's-breadth of perishing4 ,when from 
bad weather the blocks were conveyed by 
land1 the river overflowed1 and placed  
them under water2 so that up to this day
 ,i have been able to do nothing4 ,i    
must endeavor to keep the pope in good  
humor by empty words1 so that his good  
temper may not fail4 ,i hope all may    
soon be in order1 and that ,i may begin 
my work4 ,god grant it6  ,when the      
marble reached ,rome1 the people were   
astonished1 for there seemed enough to  
build a temple1 instead of a tomb4 ,the 
sculptor resided in a house near the    
,vatican1 a covered way being           
constructed by the pope between the     
atelier and the palace1 that he might   
visit the artist familiarly and see him 
at his work4  ,meantime an envious      
artist was whispering in the ears of    
,julius that it was an evil omen to     
build one's monument in one's lifetime1 
and that he would be apt to die early4  
,this was not agreeable news1 and when  

,michael ,angelo returned from a second 
journey to ,carrara the pope refused to 
advance any money1 and even gave orders 
that he should not be admitted to the   
palace4  ,with commendable pride the    
artist left ,rome at once1 and hastened 
to ,florence1 leaving a letter in which 
he said1 ,most ,holy ,father1--,if you  
require me in the future1 you can seek  
me elsewhere than in ,rome4  ,the proud 
,julius at once perceived his mistake1  
and sent a messenger to bid him return1 
on pain of his displeasure4 ,but        
,michael ,angelo paid no attention to   
the mandate4 ,then ,julius ,,ii4 applied
 to ,soderini the ,gonfaloniere1 who    
said to the sculptor1 ,you have treated 
the pope in a manner such as the ,king  
of ,france would not have done6 ,there  
must be an end of trifling with him now4
 ,we will not for your sake begin a war 
with the pope1 and risk the safety of   
the state4  ,the ,sultan ,bajazet ,,ii41
 who had heard of ,michael ,angelo's    
fame1 now urged him to come to ,turkey  

and build a bridge between              
,constantinople and ,pera1 across the   
,golden ,horn4 ,soderini tried to       
persuade him that he had better die     
siding with the pope1 than live passing 
over to the ,turk1 and meantime wrote   
,julius that he could do nothing with   
him4 ,the pope saw that kindness alone  
would win back the self-reliant and     
independent artist1 and finally         
prevailed upon him to return to ,rome4  
,when he arrived1 ,julius1 half angry1  
said1 ,you have waited thus long1 it    
seems1 till we should ourselves come to 
seek you4  ,an ecclesiastic standing    
near officiously begged his ,holiness   
not to be too severe with ,michael      
,angelo1 as he was a man of no          
education1 and as artists did not know  
how to behave except where their own art
 was concerned4  ,the pope was now fully
 angry1 and exclaimed1 ,do you venture  
to say things to this man which ,i would
 not have said to him myself8 ,you are  
yourself a man of no education1 a       

miserable fellow1 and this he is not4   
,leave our presence4 ,the man was borne 
out of the hall1 nearly fainting4       
,michael ,angelo was at once            
commissioned to make a bronze statue of 
,julius1 fourteen feet high1 to be      
placed before the ,church of ,st4       
,petronio1 in ,bologna4 ,when the pope  
wished to know the cost1 the artist told
 him he thought it would be about three 
thousand ducats1 but was not sure       
whether the cast would succeed4  ,you   
will mould it until it succeeds1 said   
the pope1 and you shall be paid as much 
as you require4  ,when the clay model   
was ready for the pope to look at1 he   
was asked if he would like to be        
represented holding a book in his left  
hand4  ,give me a sword6 he exclaimed2  
,i am no scholar4 ,and what does the    
raised right hand denote8 ,am ,i        
dispensing a curse1 or a blessing8  ,you
 are advising the people of ,bologna to 
be wise1 replied ,michael ,angelo4  ,the
 bronze statue was a difficult work4    

,the first cast was unsuccessful4 ,the  
sculptor wrote home1 ,if ,i had a second
 time to undertake this intense work1   
which gives me no rest night or day1 ,i 
scarcely think ,i should be able to     
accomplish it4 ,i am convinced that no  
one else upon whom this immense task    
might have been imposed would have      
persevered4 ,my belief is that your     
prayers have kept me sustained and well4
 ,for no one in ,bologna1 not even after
 the successful issue of the cast1      
thought that ,i should finish the statue
 satisfactorily2 before that no one     
thought that the cast would succeed4    
,after the statue was completed1        
,michael ,angelo1 at the earnest request
 of the helpless ,buonarotti family1    
went back to ,florence1 and carried     
there what he had earned4 ,grimm naively
 remarks1 ,i could almost suppose that  
it had been designed by ,fate1 as may be
 often observed in similar cases1 to    
compensate for ,michael ,angelo's       
extraordinary gifts by a corresponding  

lack of them in the family4 ,the case of
 ,galileo1 struggling through life for  
helpless relatives1 is similar to that  
of ,michael ,angelo4  ,he was soon      
summoned again to ,rome1 not to complete
 the monument1 as he had hoped1 but to  
paint the ceiling of the ,sistine       
,chapel4 ,he hesitated to undertake so  
important a work in painting1 and begged
 that ,raphael be chosen2 but the pope  
would not consent4  ,he therefore began 
to make designs1 and sent for some of   
his boyhood friends to aid him1         
,granacci and others4 ,his method was to
 make the first draught in red or black 
chalk on a very small scale4 ,from this 
he marked out the full-sized cartoons or
 working drawings1 nailing these to the 
wall1 and cutting away the paper around 
the figures4 ,he soon found that his    
assistants were a hinderance rather than
 a help1 and1 unable to wound their     
feelings by telling them1 he shut up the
 chapel and went away4 ,they understood 
it1 and1 if some were hurt or offended1 

,granacci was not1 but always remained  
an earnest friend4  ,michael ,angelo now
 worked alone1 seeing nobody except his 
color-grinder and the pope4 ,his eyes   
became so injured by holding his head   
back for his work that for a long period
 afterwards he could read only by       
keeping the page above his head4 ,after 
he had painted for some time the walls  
began to mould1 and1 discouraged1 he    
hastened to the pope1 saying1 ,i told   
your ,holiness1 from the first1 that    
painting was not my profession2 all that
 ,i have painted is destroyed4 ,if you  
do not believe it1 send and let some one
 else see4 ,it was soon found that he   
had made the plaster too wet1 but that  
no harm would result4  ,he worked now so
 constantly that he scarcely took time  
to eat or sleep1 and became ill from    
overexertion4 ,in the midst of his      
labors and illness1 he writes his       
father1 ,do not lose courage1 and let   
not a trace of inward sadness gain      
ground in you2 for1 if you have lost    

your property1 life is not lost1 and ,i 
will do more for you than all you have  
lost4 ,still1 do not rely upon it2 it is
 always a doubtful matter4 ,use1 rather1
 all possible precaution2 and thank ,god
 that1 as this chastisement of heaven   
was to come1 it came at a time when you 
could better extricate yourself from it 
than you would perhaps have been earlier
 able to do4 ,take care of your health1 
and rather part with all your           
possessions than impose privations on   
yourself4 ,for it is of greater         
consequence to me that you should remain
 alive1 although a poor man1 than that  
you should perish for the sake of all   
the money in the world4  ,your ,,michael
 ,,angelo4   ,he writes also to his     
younger brother1 ,giovanni ,simone1 who 
appears to have spent much and earned   
little3 ,if you will take care to do    
well1 and to honor and revere your      
father1 ,i will aid you like the others 
and will soon establish you in a good   
shop4444 ,i have gone about through all 

,italy for twelve years1 leading a dog's
 life2 bearing all manner of insults1   
enduring all sorts of drudgery1         
lacerating my body with many toils1     
placing my life itself under a thousand 
perils1 solely to aid my family2 and now
 that ,i have commenced to raise it up a
 little1 thou alone wishest to do that  
which shall confound and ruin in an hour
 everything that ,i have done in so many
 years and with so many fatigues4       
,meantime the pope1 as eager as a child 
to see the painting which he knew would 
help to immortalize himself1 urged the  
artist to work faster1 and continually  
asked when it would be finished and the 
scaffolding taken down4 ,when ,i can1   
holy father1 replied the artist4 ,when  
,i can--when ,i can6 ,i'll make thee    
finish it1 and quickly1 as thou shalt   
see6 ,and he struck ,michael ,angelo    
with the staff which he held in his     
hand4  ,the sculptor at once left the   
painting and started for ,florence4 ,but
 ,julius sent after him1 and gave him   

five hundred crowns to pacify him4 ,it  
certainly would have been a pecuniary   
saving to the pontiff not to have given 
way to his temper and used his staff6   
,when half the ceiling was completed1 at
 ,julius's request the scaffolding was  
removed1 and all ,rome crowded to see   
the wonderful work on ,all ,saints'     
,day1 #aeji4  ,kugler says1 ,the ceiling
 of the ,sistine ,chapel contains the   
most perfect works done by ,michael     
,angelo in his long and active life4    
,here his great spirit appears in its   
noblest dignity1 in its highest purity2 
here the attention is not disturbed by  
that arbitrary display to which his     
great power not unfrequently seduced him
 in other works4  ,the paintings        
represent ,god the ,father separating   
the light from the darkness2 he creates 
the sun and moon2 surrounded by angels1 
he commands the waters to bring forth   
all kinds of animals which can live in  
the sea2 he breathes into man the breath
 of life2 he forms ,eve2 both are driven

 from the garden2 ,abel is sacrificed2  
the flood comes2 ,noah and his family   
are saved in the ark4  ,grimm thus      
describes a portion of this marvellous  
painting3 ,adam lies on a dark mountain 
summit4 ,his formation is finished2     
nothing more remains than that he should
 rise1 and feel for the first time what 
life and waking are4 ,it is as if the   
first emotion of his new condition      
thrilled through him2 as if1 still lying
 almost in a dream1 he divined what was 
passing around him4 ,god hovers slowly  
down over him from above1 softly        
descending like an evening cloud4 ,angel
 forms surround him on all sides1       
closely thronging round him as if they  
were bearing him2 and his mantle1 as if 
swelled out by a full gust of wind1     
forms a flowing tent around them all4   
,these angels are children in           
appearance1 with lovely countenances3   
some support him from below1 others look
 over his shoulder4 ,more wonderful     
still than the mantle which embraces    

them all is the garment which covers the
 form of ,god himself1 violet-gray      
drapery1 transparent as if woven out of 
clouds1 closely surrounding the mighty  
and beautiful form with its small folds1
 covering him entirely down to the      
knees1 and yet allowing every muscle to 
appear through it4 ,i have never seen   
the portrait of a human body which      
equalled the beauty of this4 ,cornelius 
justly said that since ,phidias its like
 has not been formed4444  ,god commands 
and ,adam obeys4 ,he signs him to rise1 
and ,adam seizes his hand to raise      
himself up4 ,like an electric touch1    
,god sends a spark of his own spirit1   
with life-giving power1 into ,adam's    
body4 ,adam lay there powerless2 the    
spirit moves within him2 he raises his  
head to his ,creator as a flower turns  
to the sun1 impelled by that wonderful  
power which is neither will nor         
obedience4444  ,the next picture is the 
creation of ,eve4 ,adam lies on his     
right side sunk in sleep1 and completely

 turned to the spectator4 ,one arm falls
 languidly on his breast1 and the back  
of the fingers rest upon the ground4444 
,eve stands behind ,adam2 we see her    
completely in profile4444 ,we feel      
tempted to say she is the most beautiful
 picture of a woman which art has       
produced4444 ,she is looking straight   
forward2 and we feel that she breathes  
for the first time3 but it seems as if  
life had not yet flowed through her     
veins1 as if the adoring1 ,god-turned   
position was not only the first         
dream-like movement1 but as if the      
,creator himself had formed her1 and    
called her from her slumber1 in this    
position4  ,the pope was anxious to have
 the scaffolding again erected1 and the 
figures touched with gold4 ,it is       
unnecessary1 said ,michael ,angelo4 ,but
 it looks poor1 said ,julius1 who should
 have thought of this before he insisted
 on its being shown to the public4 ,they
 are poor people whom ,i have painted   
there1 said the artist2 they did not    

wear gold on their garments1 and ,julius
 was pacified4  ,raphael was now working
 near ,michael ,angelo in the ,vatican  
palace1 but it is probable that they did
 not become friends1 though each admired
 the genius of the other1 and ,raphael  
thanked ,god that he had been born in   
the same century as ,michael ,angelo4   
,but there was rivalry always between   
the followers of the two masters4       
,raphael was gentle1 affectionate1      
sympathetic1 intense1 lovable2 ,michael 
,angelo was tender at heart but austere 
in manner1 doing only great works1 and  
thinking great thoughts4 ,raphael1 says 
,grimm1 had one excellence1 which1      
perhaps1 as long as the world stands1 no
 other artist has possessed to such an  
extent1--his works suit more closely the
 average human mind4 ,there is no line  
drawn above or below4 ,michael ,angelo's
 ideals belong to a nobler1 stronger    
generation1 as if he had had demigods in
 his mind1 just as ,schiller's poetical 
forms1 in another manner1 often outstep 

the measure of the ordinary mortal4444  
,leonardo sought for the fantastic1     
,michael ,angelo for the difficult and  
the great2 both labored with intense    
accuracy1 both went their own ways1 and 
impressed the stamp of nature on their  
works4 ,raphael proceeded quietly1 often
 advancing in the completion only to a  
certain point1 at which he rested1      
apparently not jealous at being         
confounded with others4 ,he paints at   
first in the fashion of ,perugino1 and  
his portraits are in the delicate manner
 of ,leonardo3 a certain grace is almost
 the only characteristic of his works4  
,at length he finds himself in ,rome1   
opposed alone to ,michael ,angelo2 then 
only does the true source of power burst
 out within him2 and he produces works  
which stand so high above all his former
 ones that the air of ,rome which he    
breathed seemed to have worked wonders  
in him4444 ,raphael served the court    
with agreeable obsequiousness2 but under
 the outward veil of this subservient   

friendliness there dwelt a keen and     
royal mind1 which bent before no power1 
and went its own way solitarily1 like   
the soul of ,michael ,angelo4  ,the     
,sistine ,chapel was finished1 probably1
 in #aeab1 and ,michael ,angelo returned
 with ardor to the ,julius monument1    
which1 however1 had been reduced in plan
 from the original4 ,he worked on the   
central figure1 ,moses1 with great joy1 
believing it would be his masterpiece4  
,this statue1 says ,charles ,christopher
 ,black of ,trinity ,college1           
,cambridge1 takes rank with the         
,prometheus of ,a,eschylus1 with the    
highest and noblest conceptions of      
,dante and ,shakespeare4  ,he sits      
there1 says ,grimm1 as if on the point  
of starting up1 his head proudly raised2
 his hand1 under the arm of which rest  
the tables of the law1 is thrust in his 
beard1 which falls in heavy1 waving     
locks on his breast2 his nostrils are   
wide and expanding1 and his mouth looks 
as if the words were trembling on his   

lips4 ,such a man could well subdue a   
rebellious people1 drawing them after   
him1 like a moving magnet1 through the  
wilderness and through the sea itself4  
,what need we information1 letters1     
supposititious records1 respecting      
,michael ,angelo1 when we possess such a
 work1 every line of which is a         
transcript of his mind8  ,emerson truly 
said1 ,nothing great was ever achieved  
without enthusiasm4 ,no work either in  
literature or art can ever be great1 or 
live beyond a decade or two1 unless the 
author or artist puts himself into      
it1--his own glowing heart and earnest  
purpose4 ,mr4 ,black well says1 ,the    
highest aim of art is not to produce a  
counterpart of nature1 but to convey by 
a judicious employment of natural forms1
 and a wise deviation where required1   
the sentiment which it is the artist's  
object to inculcate4  ,the statues of   
the two chained youths1 or ,fettered    
,slaves1 which were too large after the 
monument had been reduced in size1 were 

sent to ,france4 ,the ,dying ,slave will
 be recalled by all who have visited the
 ,renaissance sculptures of the ,louvre4
 ,grimm says1 ,perhaps the tender beauty
 of this dying youth is more penetrating
 than the power of ,moses4444 ,when ,i  
say that to me it is the most elevated  
piece of statuary that ,i know1 ,i do so
 remembering the masterpieces of ancient
 art4 ,man is always limited4 ,it is    
impossible1 in the most comprehensive   
life1 to have had everything before our 
eyes1 and to have contemplated that     
which we have seen1 in the best and     
worthiest state of feeling4444 ,i ask   
myself what work of sculpture first     
comes to mind if ,i am to name the best1
 and at once the answer is ready1--the  
dying youth of ,michael ,angelo4444     
,what work of any ancient master do we1 
however1 know or possess which touches  
us so nearly as this1--which takes hold 
of our soul so completely as this       
exemplification of the highest and last 
human conflict does1 in a being just    

developing8 ,the last moment1 between   
life and immortality1--the terror at    
once of departing and arriving1--the    
enfeebling of the powerful youthful     
limbs1 which1 like an empty and         
magnificent coat of mail1 are cast off  
by the soul as she rises1 and which1    
still losing what they contained1 seem  
nevertheless completely to veil it6  ,he
 is chained to the pillar by a band     
running across the breast1 below the    
shoulders2 his powers are just ebbing2  
the band sustains him2 he almost hangs  
in it2 one shoulder is forced up1 and   
towards this the head inclines as it    
falls backwards4 ,the hand of this arm  
is placed on his breast2 the other is   
raised in a bent position behind the    
head1 in such an attitude as in sleep we
 make a pillow of an arm1 and it is     
fettered at the wrist4 ,the knees1 drawn
 closely together1 have no more         
firmness2 no muscle is stretched2 all   
has returned to that repose which       
indicates death4  ,a year after the     

,sistine ,chapel was finished1 ,pope    
,julius died1 and was succeeded by ,leo 
,x41 at whose side the artist had sat   
when a boy1 in the palace of ,lorenzo   
the ,magnificent4 ,he was a man of taste
 and culture1 and desired to build a    
monument to himself in his native       
,florence4 ,he therefore commissioned   
,michael ,angelo to build a beautiful1  
sculptured facade for the ,church of    
,san ,lorenzo1 erected by ,cosmo de'    
,medici from designs of ,brunelleschi4  
,for nearly four years the sculptor     
remained among the mountains of         
,carrara1 and the adjacent ones of      
,serravezza1 taking out heavy blocks of 
marble1 making roads over the steep     
rocks for their transportation1 and     
studying architecture with great        
assiduity4  ,meantime1 ,michael ,angelo 
writes to his ,dearest father3 ,take    
care of your health1 and see whether you
 are not still able to get your daily   
bread2 and1 with ,god's help1 get       
through1 poor but honest4 ,i do not do  

otherwise2 ,i live shabbily1 and care   
not for outward honor2 a thousand cares 
and works burden me2 and thus ,i have   
now gone on for fifteen years without   
having a happy1 quiet hour4 ,and ,i have
 done all for the sake of supporting    
you1 which you have never acknowledged  
or believed4 ,god forgive us all6 ,i am 
ready to go on working as long as ,i    
can1 and as long as my powers hold out4 
,later he hears that his father is ill1 
and writes anxiously to his brother1    
,take care1 also1 that nothing is       
lacking in his nursing2 for ,i have     
exerted myself for him alone1 in order  
that to the last he might have a life   
free of care4 ,your wife1 too1 must take
 care of him1 and attend to his         
necessities2 and all of you1 if         
necessary1 must spare no expenses1 even 
if it should cost us everything4        
,finally the facade of ,san ,lorenzo was
 abandoned by ,leo ,x41 who decided to  
erect a new chapel north of the church1 
for the reception of monuments to his   

brother and nephew1 ,giuliano and       
,lorenzo4 ,the artist built the new     
sacristy1 bringing thither three hundred
 cart-loads of marble from ,carrara4    
,leo died in #aeba1 and was succeeded by
 ,adrian1 who lived only a year1 and    
then by ,clement ,,vii41 the cousin of  
,leo ,x4 ,he was a warm friend of       
,michael ,angelo1 and so desirous was he
 of keeping the artist in his service   
that he endeavored to have him take holy
 orders1 but the offer was refused4     
,like the other popes he wished to      
immortalize his name1 and therefore gave
 the artist the building of the         
,laurentian library1 adjoining ,san     
,lorenzo4  ,meantime the relatives of   
,pope ,julius were justly angry because 
his tomb was not completed1 and         
threatened to imprison the sculptor for 
not fulfilling his contract4 ,all art   
work was soon discontinued through the  
sacking of ,rome by ,charles ,v4 of     
,germany1 in #aebg4 ,upon the inlaid    
marble floor of the ,vatican the ,german

 soldiers lighted their fires1 and with 
valuable documents made beds for their  
horses which stood in the ,sistine      
,chapel4 ,rome had ninety thousand      
inhabitants under ,leo ,x4 ,a year after
 the conquest1 she had scarcely a third 
of that number4  ,the ,florentines now  
expelled the ,medici1 revived the       
republic1 and appointed ,michael ,angelo
 to superintend the fortifications and  
defences of ,florence4 ,he had always   
loved liberty4 ,now he loaned his funds 
freely to the republic1 fortified the   
hill of ,san ,miniato1 was sent to      
,ferrara by the government to study its 
fortifications1 and also on an embassy  
to ,venice4 ,he showed himself as       
skilful in engineering as in            
architecture or painting4  ,with quick  
intuition he soon perceived that        
,malatesta ,baglioni1 the               
captain-general of the republic1 was a  
traitor1 and1 warned that he himself was
 to be assassinated1 he fled to ,venice4
  ,here1 in exile1 he probably wrote his

 beautiful sonnets to ,dante1 whose     
works he so ardently admired4           
,how shall we speak of him8 for our     
blind eyes      ,are all unequal to his 
dazzling rays4      ,easier it is to    
blame his enemies1      ,than for the   
tongue to tell his highest praise4      
,for us he did explore the realms of    
woe2      ,and1 at his coming1 did high 
heaven expand      ,her lofty gates1 to 
whom his native land      ,refused to   
open hers4 ,yet shall thou know1        
,ungrateful city1 in thine own despite1 
,that thou hast fostered best thy       
,dante's fame2      ,for virtue1 when   
oppressed1 appears more bright4         
,and brighter1 therefore1 shall his     
glory be1      ,suffering of all mankind
 most wrongfully1      ,since in the    
world there lives no greater name4      
,,southey4   ,venice offered ,michael   
,angelo all possible inducements to     
remain1 and ,francis ,i4 of ,france     
eagerly besought the artist to live at  
his court2 but his heart was in         

,florence1 and thither he returned1 and 
bravely helped to defend her to the     
last4 ,when the ,medici were again      
triumphant1 and freedom was dead1 the   
artist being too great a man to imprison
 or kill1 he was publicly pardoned by   
the pope1 and went sadly to his work on 
the monuments in the ,medici ,chapel of 
,san ,lorenzo4  ,here he labored day and
 night1 eating little and sleeping less1
 ill in body and suffering deeply in    
heart for his beloved ,florence2 working
 into the speaking stone his sorrow and 
his hopes4 ,in #aecd the ,medici ,chapel
 was completed1--a massive piece of     
architecture1 executed at an almost     
fabulous expense4 ,on one side is the   
tomb of ,giuliano de' ,medici1 the son  
of ,lorenzo the ,magnificent1 with his  
statue in a sitting posture1 holding in 
his hand the baton of a general4        
,beneath him1 over the tomb1 are the    
statues ,day and ,night4 ,opposite is   
the tomb of ,lorenzo de' ,medici1 the   
grandson of ,lorenzo the ,magnificent1  

and the father of ,catherine de'        
,medici4 ,it is clad in armor1 with a   
helmet overshadowing the grave features4
 ,the ,italians call it ,il ,pensiero   
7,thought1 or ,meditation74  ,hawthorne 
said of this statue1 ,no such grandeur  
and majesty have elsewhere been put into
 human shape4 ,it is all a miracle--the 
deep repose1 and the deep life within   
it4 ,it is as much a miracle to have    
achieved this as to make a statue that  
would rise up and walk4444 ,this statue 
is one of the things which ,i look at   
with highest enjoyment1 but also with   
grief and impatience1 because ,i feel   
that ,i do not come at all to that which
 it involves1 and that by and by ,i must
 go away and leave it forever4 ,how     
wonderful6 ,to take a block of marble1  
and convert it wholly into thought1 and 
to do it through all the obstructions   
and impediments of drapery4  ,some      
authorities believe that the statue     
usually called ,lorenzo was intended for
 ,giuliano4 ,michael ,angelo himself1   

when remonstrated with because the      
portraits were not correct likenesses1  
replied that he did not suppose people a
 hundred years later would care much how
 the dukes looked6  ,under this statue  
are ,dawn and ,twilight4 ,ruskin calls  
these1 with ,night and ,day1 ,four      
ineffable types1 not of darkness nor of 
day--not of morning nor evening1 but of 
the departure and the resurrection1 the 
twilight and the dawn1 of the souls of  
men4  ,day is a gigantic figure of a    
man2 ,night1 of a woman in a profound   
sleep1 with her foot resting on a thick 
bundle of poppy-heads4 ,when this statue
 was exhibited for the first time1      
,giovanni ,batista ,strozzi wrote a     
verse1 and attached it to the marble3-- 
,carved by an ,angel1 in this marble    
white      ,sweetly reposing1 lo1 the   
,goddess ,night6      ,calmly she       
sleeps1 and so must living be3          
,awake her gently2 she will speak to    
thee4   ,to which ,michael ,angelo wrote
 the following reply3--        ,grateful

 is sleep1 whilst wrong and shame       
survive      ,more grateful still in    
senseless stone to live2      ,gladly   
both sight and hearing ,i forego2       
,oh1 then1 awake me not4 ,hush--whisper 
low4   ,of ,day1 ,mrs4 ,oliphant says1  
in her ,makers of ,florence1 ,bursting  
herculean from his strong prison1 half  
heroic1 nothing known of him but the    
great brow and resolute eyes1 and those 
vast limbs1 which were not yet free from
 the cohesion of the marble1 though     
alive with such strain of action4       
,twilight is the strong figure of a man4
 ,dawn1 or ,morning1 ,grimm considers   
the most beautiful of all4 ,she is lying
 outstretched on the gently sloping side
 of the lid of the sarcophagus4 ,not1   
however1 resting1 but as if1 still in   
sleep1 she had moved towards us2 so     
that1 while the upper part of the back  
is still reclining1 the lower part is   
turned to us4 ,she is lying on her right
 side2 the leg next us1 only feebly bent
 at the knee is stretching itself out2  

the other is half drawn up1 and with the
 knee bent out1 as if it was stepping   
forward and seeking for sure footing4   
,an entire symphony of ,beethoven lies  
in this statue4  ,in #aecd1 the same    
year in which the ,medici statues were  
finished1 ,michael ,angelo's father     
died1 at the age of ninety4 ,the artist 
gave him a costly burial1 and wrote a   
pathetic poem in his memory4 ,the       
beloved brother1 ,buonarotto1 had died  
in ,michael ,angelo's arms4 ,his young  
mother had died years before when he    
went to ,rome1 scarcely more than a boy4
        ,already had ,i wept and sighed 
so much1      ,i thought all grief      
forever at an end1      ,exhaled in     
sighs1 shed forth in bitter tears4      
99       99       99       99       99  
,for thee1 my brother1 and for him who  
was      ,of thee and me the parent1    
love inspires      ,a grief unspeakable 
to vex and sting4              99       
99       99       99       99           
,full ninety times the sun had bathed   

his face      ,in the wet ocean1 ending 
his annual round      ,ere thou         
attainedst to the ,peace ,divine4       
99       99       99       99       99  
,there1 where 7to ,him be thanks67 ,i   
think thee now1      ,and hope to see   
again if my cold heart      ,be raised  
from earthly mire to where thou art4    
99       99       99       99       99  
,and if 'twixt sire and son the noblest 
love      ,still grows in ,heaven1 where
 every virtue grows1      ,while giving 
glory to my heavenly ,lord1      ,i     
shall rejoice with thee in ,heaven's    
bliss4   ,clement was now dead1 and     
,paul ,,iii4 was in the papal chair4    
,he1 like the others1 desired that      
,michael ,angelo should do some great   
work to immortalize his reign4 ,clement 
had wished the artist to paint the ,last
 ,judgment in the ,sistine ,chapel1 and 
when ,paul urged the carrying-out of    
this plan1 ,michael ,angelo excused     
himself on account of the contract with 
the heirs of ,julius ,,ii4  ,it is now  

thirty years1 cried ,paul ,,iii41 that  
,i have had this desire2 and1 now that  
,i am pope1 shall ,i not be able to     
effect it8 ,where is the contract1 that 
,i may tear it8  ,one day he appeared in
 the studio of the painter1 bringing    
with him eight cardinals1 all of whom   
wished to see the designs for the ,last 
,judgment4  ,the artist was still at    
work on ,moses4 ,this one statue is     
sufficient to be a worthy monument to   
,pope ,julius1 said the cardinal of     
,mantua4 ,paul ,,iii4 refused to release
 ,michael ,angelo1 and he began work on 
the ,sistine ,chapel4  ,the painting was
 not completed until nearly eight years 
had passed4 ,there are three hundred    
figures and heads in this vast fresco4  
,says ,m4 ,f4 ,sweetser1 in his concise 
and excellent life of ,michael ,angelo1 
,about ,christ are many renowned        
saints1--the ,madonna1 gazing mildly at 
the blessed and redeemed souls2 ,adam   
and ,eve1 curiously regarding the       
,judge2 and a group of pleading         

apostles1 bearing their emblems4 ,these 
are surrounded by a vast throng of      
saints and martyrs1 safe in ,heaven1 all
 of whom exemplify the saying that      
',michael ,angelo nowhere admits1 either
 into heaven or hell1 any but the       
physically powerful4' ,below the ,judge 
are four angels blowing trumpets towards
 the four quarters of the universe1 and 
four others holding the books by which  
the dead are to be judged4 ,under these 
the land and sea are giving up their    
dead4444 ,as a work of art1 the ,last   
,judgment was one of the grandest       
productions of the famous art-century4  
,biagio da ,cesena1 the pope's master of
 ceremonies1 complained that so many    
naked figures made the painting more    
appropriate for bath-rooms and stables  
than for a chapel4 ,what was the        
surprise of ,biagio1 when the painting  
was thrown open to the public1 to find  
that the infernal judge ,minos1 with    
ass's ears1 was his own portrait6 ,he   
begged the pope to punish the artist2   

but ,paul replied1 ,if the painter had  
placed thee in purgatory1 ,i should have
 used every effort to help thee2 but    
since he has put thee in hell1 it is    
useless to have recourse to me1 because 
ex infernis nulla est redemptio4  ,paul 
,,iv4 later complained that the figures 
were shamefully nude1 and desired to    
have them covered4 ,tell his ,holiness1 
said ,michael ,angelo1 that this is a   
mere trifle1 and can be easily done2 let
 him mend the world1 paintings are      
easily mended4 ,paul finally had the    
nude figures draped by ,daniele da      
,volterra1 who thereupon bore the       
nickname of the breeches-maker4  ,while 
painting this picture1 the artist fell  
from the scaffold and injured his leg   
seriously4 ,he refused to allow anything
 to be done for him1 but his friend1 the
 surgeon ,rontini1 forced his way into  
the house1 and cared for him until he   
recovered4  ,these eight years had been 
the happiest of ,michael ,angelo's life4
 ,before this time he had been cold in  

manner1 often melancholy1 and sometimes 
overbearing2 now he was gentle1         
cheerful1 and affectionate4 ,he had     
written home in early life1 ,i have no  
friends2 ,i need none1 and wish to have 
none4 ,now he had found1 what every     
human being needs1 a friend whose tastes
 and aspirations were like his own4 ,at 
sixty1 he met and loved ,vittoria       
,colonna1 a woman whose mind was        
henceforward to be his inspiration1 and 
whose sweet nature was to be his rest   
and satisfaction forever4 ,for such a   
mind as ,michael ,angelo's there are few
 kindred spirits4 ,fortunate was he that
 the blessed gift came1 even though late
 in life4  ,vittoria was the daughter of
 ,fabrizio ,colonna1 and the widow of   
,marchese di ,pescara1 the two highest  
nobles and generals of her time4        
,tenderly reared and highly educated1   
she had married at nineteen1 her husband
 soon after engaging in the wars of the 
time4 ,he was wounded at ,pavia1 and    
died before his young wife could reach  

him4 ,he was buried at ,milan1 but the  
body was afterwards removed to ,naples  
with great magnificence4  ,vittoria1    
childless1 well-nigh heart-broken1      
turned to literature as her solace4 ,she
 desired to enter a convent2 but the    
bishop of ,carpentros1 afterwards a     
cardinal1 and an intimate friend of     
,vittoria1 hastened to ,paul ,,iii41 who
 forbade the abbess and nuns of ,san    
,silvestro1 on pain of excommunication1 
to permit her to take the veil4         
,vittoria must not be lost to the world4
  ,when her poems were published1 says  
,t4 ,adolphus ,trollope1 in his life of 
this charming woman1 copies were as     
eagerly sought for as the novel of the  
season at a nineteenth-century          
circulating library4 ,cardinals1        
bishops1 poets1 wits1 diplomatists1     
passed them from one to another1 made   
them the subject of their correspondence
 with each other and with the fair      
mourner4  ,hallam says1 ,the rare       
virtues and consummate talents of this  

lady were the theme of all ,italy in    
that brilliant age of her literature4   
,vittoria ,colonna is one of the best   
illustrations in history of what a noble
 and intellectual woman can do for the  
upbuilding of society4 ,many gifted men 
gave her a sincere affection1 and she   
held that affection while life lasted4  
,she was well read in history1 religious
 matters1 and classic literature4 ,her  
first visit to ,rome was a continued    
ovation4 ,even the ,emperor ,charles ,v4
 called upon her4 ,unselfish1           
sympathetic1 with a gentle and winsome  
manner that drew every one into         
confidence1 she proved herself a        
companion for the most highly educated1 
and a helper for the lowly4  ,when she  
visited ,ferrara1 ,duke ,hercules ,,ii41
 who had married ,renee of ,france1 the 
daughter of ,louis ,,xii41 received her1
 says ,trollope1 with every possible    
distinction on the score of her poetical
 celebrity1 and deemed his city honored 
by her presence4 ,he invited1 we are    

told1 the most distinguished poets and  
men of letters of ,venice and ,lombardy 
to meet her at ,ferrara4 ,and so much   
was her visit prized that when ,cardinal
 ,giberto sent thither his secretary1   
,francesco della ,torre1 to persuade her
 to visit his episcopal city1 ,verona1  
that ambassador wrote to his friend     
,bembo1 at ,venice1 that he had like to 
have been banished by the ,duke1 and    
stoned by the people1 for coming there  
with the intention of robbing ,ferrara  
of its most precious treasure1 for the  
purpose of enriching ,verona4444 ,the   
learned and elegant ,bembo writes of her
 that he considered her poetical        
judgment as sound and authoritative as  
that of the greatest masters of the art 
of song4444 ,bernardo ,tasso made her   
the subject of several of his poems4    
,giovio dedicated to her his life of    
,pescara1 and ,cardinal ,pompeo ,colonna
 his book on ,the ,praises of ,women2   
and ,contarini paid her the far more    
remarkable compliment of dedicating to  

her his work ,on ,free ,will4  ,paul    
,,iii4 was1 as ,muratori says1 by no    
means well disposed towards the ,colonna
 family4 ,yet ,vittoria must have had   
influence with the haughty and severe   
old ,farnese4 ,for both ,bembo and      
,fregoso1 the ,bishop of ,naples1 have  
taken occasion to acknowledge that they 
owed their promotion to the purple in   
great measure to her4  ,it is probable  
that she first met ,michael ,angelo in  
the year #aecf4 ,he was then sixty-one1 
and she forty-six4 ,a woman1 says       
,grimm1 needs not extreme youth to      
captivate the mind of a man who         
discovers in her the highest            
intelligence4444 ,she belonged to that  
class of women who1 apparently with no  
will of their own1 never seek to extort 
anything by force1 and yet obtain       
everything which is placed before       
them4444 ,how tenderly she exercised her
 authority over ,michael ,angelo1 who   
had never before been approached2 whom  
she now for the first time inspired with

 the happiness of yielding to a woman1  
and for whom the years which she passed 
at that time in ,rome she made a period 
of happiness1 which he had never before 
known4444 ,whenever we contemplate the  
life of great men1 the most beautiful   
part of their existence is that1 when   
meeting with a power equal to their own1
 they find one worthy of measuring the  
depths of their mind4444 ,there is no   
deeper desire than that of meeting such 
a mind2 no greater happiness than having
 found it2 no greater sorrow than to    
resign this happiness1 whether it be    
that it has never been enjoyed1 or that 
it has been lost4  ,francesco           
d',ollanda1 a portrait-painter1 has     
described one of the ,sundays which he  
spent in the company of ,michael ,angelo
 and ,vittoria1 the latter of whom he   
calls beautiful1 pure in conduct1 and   
acquainted with the ,latin tongue2 in   
short1 she is adorned with every grace  
which can redound to a woman's praise4  
,when ,michael ,angelo arrived at her   

home on that ,sunday1 ,vittoria1 who    
could never speak without elevating     
those with whom she conversed and even  
the place where she was1 began to lead  
the conversation with the greatest art  
upon all possible things1 without1      
however1 touching even remotely upon    
painting4 ,she wished to give ,michael  
,angelo assurance4 ,she said to him1 ,i 
cannot but admire the manner in which   
you withdraw yourself from the world1   
from useless conversation1 and from all 
the offers of princes who desire        
paintings from your hand1--how you avoid
 it all1 and how you have disposed the  
labor of your whole life as one single1 
great work4  ,gracious lady1 replied    
,michael ,angelo1 these are undeserved  
praises2 but1 as the conversation has   
taken this turn1 ,i must here complain  
of the public4 ,a thousand silly        
reproaches are brought against artists  
of importance4 ,they say that they are  
strange people1 that they are not to be 
approached1 that there is no bearing    

with them4 ,no one1 on the contrary1 can
 be so natural and human as great       
artists4444 ,how should an artist1      
absorbed in his work1 take from it time 
and thought to drive away other people's
 ennui8444 ,an artist who1 instead of   
satisfying the highest demands of his   
art1 tries to suit himself to the great 
public1 who has nothing strange or      
peculiar in his personal exterior1 or   
rather what the world calls so1--will   
never become an extraordinary mind4 ,it 
is true1 as regards the ordinary race of
 artists1 we need take no lantern to    
look for them2 they stand at the corner 
of every street throughout the world1   
ready for all who seek them4444 ,true   
art is made noble and religious by the  
mind producing it4 ,for1 for those who  
feel it1 nothing makes the soul so      
religious and pure as the endeavor to   
create something perfect1 for ,god is   
perfection1 and whoever strives after it
 is striving after something divine4    
,true painting is only an image of the  

perfection of ,god1 a shadow of the     
pencil with which he paints1--a melody1 
a striving after harmony4  ,and then1   
says d',ollanda1 ,vittoria began a      
eulogium upon painting2 she spoke of its
 ennobling influence upon a people1--how
 it led them to piety1 to glory1 to     
greatness1 until the tears came into her
 eyes from the emotion within4  ,for ten
 or twelve years1 in the midst of long  
separations and many sorrows1 this      
affection of ,vittoria and ,michael     
,angelo shed its transcendent light over
 two great lives4 ,it was impossible not
 to love a woman with such tenderness1  
sympathy1 and sincerity4 ,we may admire 
a beautiful or a brilliant woman1 but if
 she lacks tenderness and sincerity the 
world soon loses its allegiance4 ,when  
political changes made it necessary for 
her to leave ,rome and go to the        
,convent of ,st4 ,catherine at ,viterbo1
 ,michael ,angelo wrote her daily1 while
 he painted in the ,pauline ,chapel1    
after the ,last ,judgment was finished1 

the ,crucifixion of ,peter1 and the     
,conversion of ,paul4 ,in #aedb she     
wrote him tenderly1 ,i have not answered
 your letter before1 thinking that if   
you and ,i continue to write according  
to my obligation and your courtesy1 it  
will be necessary that ,i leave ,st4    
,catherine's ,chapel1 without finding   
myself with the sisters at the appointed
 hours1 and that you must abandon the   
,pauline ,chapel1 and not keep yourself 
all the day long in sweet colloquy with 
your paintings 444 so that ,i from the  
brides of ,christ1 and you from his     
vicar1 shall fall away4  ,however she   
may chide him for writing too           
frequently1 his words and works are most
 precious to her4 ,when he paints for   
her a picture1 she writes1 ,i had the   
greatest faith in ,god1 that he would   
give you a supernatural grace to paint  
this ,christ2 then ,i saw it1 so        
wonderful that it surpassed in every way
 my expectations4 ,being emboldened by  
your miracles1 ,i desired that which ,i 

now see marvellously fulfilled1 that is1
 that it should stand in every part in  
the highest perfection1 and that one    
could not desire more nor reach forward 
to desire so much4 ,and ,i tell you that
 it gave me joy that the angel on the   
right hand is so beautiful2 for the     
,archangel ,michael will place you1     
,michael ,angelo1 on the right hand of  
the ,lord at the judgment day4 ,and     
meanwhile ,i know not how to serve you  
otherwise than to pray to this sweet    
,christ1 whom you have so well and      
perfectly painted1 and to entreat you to
 command me as altogether yours in all  
and through all4  ,what delicate        
appreciation of the genius of the man   
she loved6 ,how it must have stimulated 
and blessed him6 ,but more than all else
 she loved ,michael ,angelo for the one 
thing women value most in men1 the      
strength and constancy of a nature that 
gives a single and lasting devotion4    
,she gave to ,michael ,angelo a vellum  
book1 containing one hundred and three  

of her sonnets1 and sent him forty new  
ones which she composed at the convent  
of ,viterbo4 ,these he had bound up in  
the same book which he received from    
her2 her for whom1 he said1 ,i would    
have done more than for any one else    
whom ,i could name in the world4 ,he    
wrote back his thanks with the sweet    
self-abnegation of love4        ,and    
well ,i see how false it were to think  
,that any work1 faded and frail1 of     
mine1        ,could emulate the perfect 
grace of thine4      ,genius1 and art1  
and daring1 backward shrink4        ,a  
thousand works from mortals like to me  
,can ne'er repay what ,heaven has given 
thee4   ,she inspired him to write      
poetry4 ,the productions of our great   
artist's pen1 says ,john ,edward        
,taylor1 rank unquestionably in the     
number of the most perfect of his own or
 any subsequent age4 ,stamped by a flow 
of eloquence1 a purity of style1 an     
habitual nobleness of sentiment1 they   
discover a depth of thought rarely      

equalled1 and frequently approaching to 
the sublimity of ,dante4  ,several of   
his most beautiful sonnets were to      
,vittoria3--        ,if it be true that 
any beauteous thing      ,raises the    
pure and just desire of man      ,from  
earth to ,god1 the eternal fount of all1
      ,such ,i believe my love3 for1 as 
in her      ,so fair1 in whom ,i all    
besides forget1      ,i view the gentle 
work of her ,creator2      ,i have no   
care for any other thing      ,whilst   
thus ,i love4 ,nor is it marvellous1    
,since the effect is not of my own      
power1      ,if the soul doth by nature1
 tempted forth1      ,enamored through  
the eyes1      ,repose upon the eyes    
which it resembleth1      ,and through  
them riseth to the primal love1      ,as
 to its end1 and honors in admiring3    
,for who adores the ,maker needs must   
love his work4       ,if a chaste love1 
exalted piety1      ,if equal fortune   
between two who love1      ,whose every 
joy and sorrow are the same1      ,one  

spirit only governing two hearts1--     
,if one soul in two bodies made eterne1 
,raising them both to ,heaven on equal  
wings1--      ,if the same flame1 one   
undivided ray1      ,shine forth to     
each1 from inward unity1--      ,if     
mutual love1 for neither's self         
reserved1      ,desiring only the return
 of love1--      ,if that which one     
desires the other swift                 
,anticipates1 impelled by an unconscious
 power1--      ,are signs of an         
indissoluble faith1      ,shall aught   
have power to loosen such a bond8       
,,john ,,edward ,,taylor4   ,in #aedd   
the ,colonna estates were confiscated by
 the pope1 after a contest between ,paul
 ,,iii4 and the powerful ,colonnas1 in  
which the latter were defeated1 and     
,vittoria retired to the ,benedictine   
,convent of ,st4 ,anna4 ,here her health
 failed4 ,the celebrated physician and  
poet ,fracastoro said1 ,would that a    
physician for her mind could be found6  
,otherwise1 the fairest light in this   

world will1 from causes by no means     
clear1 be extinguished and taken from   
our eyes4  ,at the beginning of #aedg   
she became dangerously ill1 and was     
conveyed to the palace of her relative  
,giuliano ,cesarini1 the only one of her
 kindred in ,rome4 ,she died towards the
 last of ,february1 #aedg1 at the age of
 fifty-seven4  ,she requested to be     
buried like the sisters with whom she   
last resided1 and so entirely were her  
wishes carried out that her place of    
sepulture is unknown4  ,michael ,angelo 
staid beside her to the very last4 ,when
 she was gone he almost lost his senses4
 ,says his pupil1 ,condivi1 ,he bore    
such a love to her that ,i remember to  
have heard him say that he grieved at   
nothing so much as that when he went to 
see her pass from this life he had not  
kissed her brow or her face1 as he      
kissed her hand4 ,after her death he    
frequently stood trembling and as if    
insensible4  ,he wrote several sonnets  
to her memory4        ,when the prime   

mover of my many sighs      ,heaven took
 through death from out her earthly     
place1      ,nature1 that never made so 
fair a face1      ,remained ashamed1 and
 tears were in all eyes4      ,o fate1  
unheeding my impassioned cries6      ,o 
hopes fallacious6 ,o thou spirit of     
grace1      ,where art thou now8 ,earth 
holds in its embrace      ,thy lovely   
limbs1 thy holy thoughts the skies4     
,vainly did cruel ,death attempt to stay
      ,the rumor of thy virtuous renown1
      ,that ,lethe's waters could not   
wash away6      ,a thousand leaves1     
since he hath stricken thee down1       
,speak of thee1 nor to thee would heaven
 convey1      ,except through death1 a  
refuge and a crown4       ,,henry ,w4   
,,longfellow4   ,the monument of ,julius
 had at last been completed1 and placed 
in the ,church of ,san ,pietro in       
,vincola4 ,in #aedf1 ,antonio di ,san   
,gallo1 the director of the building of 
,st4 ,peter's1 died1 and ,michael       
,angelo was commissioned to carry       

forward the work4 ,fortunately ,vittoria
 lived to see this honor conferred upon 
him4  ,he was now seventy-one years old4
 ,for the remaining eighteen years of   
his life1 he devoted himself to this    
great labor1 without compensation4 ,when
 ,paul ,,iii41 with ,cardinal ,marcello1
 summoned ,michael ,angelo to talk over 
some alleged defects1 the aged artist   
boldly replied to the cardinal1 ,i am   
not nor will ,i consent to be obliged to
 tell1 to your eminence or any one else1
 what ,i ought or wish to do4 ,your     
office is to bring money and guard it   
from thieves1 and the designing of the  
building is left to me4 ,then he said to
 the pope1 ,holy ,father1 you see what  
,i gain2 if these fatigues which ,i     
endure do not benefit my soul1 ,i lose  
both time and labor4 ,the pope1 who     
loved him1 placed his hands on his      
shoulders1 saying1 ,you benefit both    
soul and body3 do not doubt4  ,when     
asked if the new dome would not surpass 
that of the ,duomo of ,florence1 by     

,brunelleschi1 he said1 ,it will be more
 grand1 but not more beautiful4         
,michael ,angelo lived very simply in   
,rome1 though he had amassed a large    
property1 most of which he left to his  
nephew ,leonardo1 to whom and his family
 he was tenderly attached4 ,when this   
nephew was married1 the sculptor wrote  
him not to care about a great dowry1 but
 that you should look to a healthy mind1
 a healthy body1 good blood1 and good   
education1 and what sort of family it   
is4444 ,above all1 seek the counsel of  
,god1 for it is a great step4  ,michael 
,angelo was devotedly attached to       
,urbino1 who had been his servant for   
twenty-six years1 and who loved him so  
much1 says ,vasari1 that he had nursed  
him in sickness1 and slept at night in  
his clothes beside him1 the better to   
watch for his comforts4 ,one day the    
artist said to him1 ,when ,i die1 what  
wilt thou do8--,serve some one else1 was
 the reply4 ,thou poor creature1 ,i must
 save thee from that1 said the sculptor1

 and immediately gave him two thousand  
crowns4  ,at ,urbino's death1 when his  
master was about eighty1 ,michael       
,angelo wrote ,vasari1 in deep grief1 of
 his infinite loss4 ,nor have ,i now    
left any other hope than that of        
rejoining him in ,paradise4 ,but of this
 ,god has given me a foretaste1 in the  
most blessed death that he has died2 his
 own departure did not grieve him1 as   
did the leaving me in this treacherous  
world1 with so many troubles4 ,truly is 
the best part of my being gone with him1
 nor is anything now left me except an  
infinite sorrow4  ,the artist was again 
and again urged to return to ,florence1 
by the reigning dukes1 but he replied1  
,you must see by my handwriting that ,i 
touch the twenty-fourth hour1 and no    
thought is now born in my mind in which 
death is not mixed4  ,he was implored on
 every side to carve statues and paint  
pictures4 ,he promised ,francis ,i4 of  
,france a work in marble1 in bronze1 and
 in painting4 ,should death interrupt   

this desire1 said ,michael ,angelo1     
then1 if it be possible to sculpture or 
paint in the other world1 ,i shall not  
fail to do so1 where no one becomes old4
  ,he furnished plans for several ,roman
 gates which ,pius ,,iv41 who succeeded 
,paul ,,iv41 wished to rebuild1 and made
 designs for various other buildings and
 public squares4 ,he erected the ,church
 of ,st4 ,mary of the ,angels1 amid the 
ruins of the ,baths of ,diocletian4     
,nothing exists in architecture1 says   
,mr4 ,heath ,wilson1 which exceeds the  
plan of this church in beauty and       
variety of form4 ,the general           
proportions are so harmonious1 the lines
 of the plan so gracefully disposed1 the
 form of the whole so original1 that1   
without looking at the elevations1 the  
eye is delighted by the evidence on all 
sides of the imagination1 taste1 and    
skill shown by the venerable architect  
in this superb work4  ,the great        
sculptor never ceased to work or to     
study4 ,when old he drew a picture      

representing himself as an aged man in a
 cart1 with these words underneath3     
,ancora impara 7still learning74 ,he    
painted but two portraits1 one of       
,vittoria ,colonna1 and one of young    
,tommaso dei ,cavalieri1 whom he        
tenderly loved4 ,to this youth1 whom    
,varchi1 the ,florentine professor and  
court scholar1 declared to be the most  
attractive young man he had ever known1 
,michael ,angelo wrote this beautiful   
sonnet3--        ,through thee ,i catch 
a gleam of tender glow1      ,which with
 my own eyes ,i had failed to see2      
,and walking onward step by step with   
thee1      ,the once oppressing burdens 
lighter grow4      ,with thee1 my       
grovelling thoughts ,i heavenward raise1
      ,borne upward by thy bold1        
aspiring wing2      ,i follow where thou
 wilt1--a helpless thing1      ,cold in 
the sun1 and warm in winter days4       
,my will1 my friend1 rests only upon    
thine2      ,thy heart must every       
thought of mine supply2      ,my mind   

expression finds in thee alone4         
,thus like the moonlight's silver ray ,i
 shine3      ,we only see her beams on  
the far sky1      ,when the sun's fiery 
rays are o'er her thrown4   ,his last   
work was a group of the ,virgin and the 
dead ,christ1 which he intended should  
be placed on an altar over his own tomb2
 but it was left unfinished from a flaw 
in the marble1 and is now in the        
cathedral in ,florence4 ,vasari found   
the aged artist working at it late at   
night1 when he had arisen from his bed  
because he could not sleep4 ,a tallow   
candle was placed in his pasteboard cap1
 so as to leave his hands free for work4
 ,once1 as they were looking at the     
statue1 ,michael ,angelo suffered the   
lantern which he held in his hand to    
fall1 and they were left in darkness4   
,he remarked1 ,i am so old that ,death  
often pulls me by the cape1 and bids me 
go with him2 some day ,i shall fall     
myself1 like this lamp1 and the light of
 life will be extinguished4  ,to the    

last ,michael ,angelo was always        
learning4 ,he used often to visit the   
,vatican to study the ,torso ,belvedere1
 which he declared had been of the      
greatest benefit to him4  ,in #aefc-fd  
he was elected vice-president of the    
,florentine ,academy of ,fine ,arts4    
,that winter his strength failed        
rapidly1 though all was done for him    
that love and honor could possibly do1  
for he had many devoted friends among   
all classes1 and was constantly aiding  
artists and others4 ,he did not fear    
death1 for he said1 ,if life be a       
pleasure1 since death also is sent by   
the hand of the same master1 neither    
should that displease us4  ,between     
three and four o'clock in the afternoon 
of the #ahth of ,february1 #aefd1 the   
same month in which ,vittoria died1 the 
great man passed away1 in the ninetieth 
year of his age4 ,daniele da ,volterra1 
,condivi1 and ,cavalieri stood by his   
bedside4 ,his last words to them were1  
,i give my soul to ,god1 my body to the 

earth1 and my worldly possessions to my 
nearest of kin4  ,the pope and the      
,romans were determined to keep the dead
 ,michael ,angelo in ,rome2 but his wish
 had been to lie in ,florence4 ,the     
body1 therefore1 was conveyed to the    
latter city1 disguised as a bale of     
merchandise1 and buried in ,santa       
,croce1 on ,sunday night1 ,march #abth1 
the ,tuscan artists following with their
 lighted torches1 accompanied by        
thousands of citizens4 ,in the month of 
,july a grand memorial service was held1
 in the ,church of ,san ,lorenzo1 for   
the illustrious dead1 paintings and     
statuary surrounding a catafalque       
fifty-four feet high4  ,after thirty    
years of voluntary exile1 the           
melancholy1 solitary1 great-souled man  
lay in his native ,florence4 ,he had    
loved liberty and uprightness4 ,he had  
been ambitious1 and devoted to his      
masterly work1 with the will-power and  
intensity which belong to genius4 ,he   
had allowed no obstacles to stand in his

 path1--neither lack of money nor       
jealousy of artists4 ,he had faith in   
himself4 ,he spoke sometimes too        
plainly1 but almost always justly4 ,cold
 and unapproachable though he was1      
children loved him1 and for them he     
would stop and make sketches on the     
street4 ,he had the fearlessness of one 
who rightly counts manhood above all    
titles4 ,he was too noble to be         
trifling1 or petty1 or self-indulgent4  
,great in sculpture1 painting1 poetry1  
architecture1 engineering1 character1 he
 has left an imperishable name4 ,taine  
says1 ,there are four men in the world  
of art and of literature exalted above  
all others1 and to such a degree as to  
seem to belong to another race2 namely1 
,dante1 ,shakespeare1 ,beethoven1 and   
,michael ,angelo4     ,,leonardo ,,da   
,,vinci4   ,the world perhaps contains  
no example of a genius so universal1 so 
creative1 so incapable of               
self-contentment1 so athirst for the    
infinite1 so naturally refined1 so far  

in advance of his own and of subsequent 
ages4 ,his countenances express         
incredible sensibility and mental power2
 they overflow with unexpressed ideas   
and emotions4 ,michael ,angelo's        
personages alongside of his are simply  
heroic athletes2 ,raphael's virgins are 
only placid children1 whose sleeping    
souls have not yet lived4 ,thus writes  
,taine of ,da ,vinci1 in his ,travels in
 ,italy4  ,illustration3 ,,leonardo ,,da
 ,,vinci4  ,mrs4 ,jameson calls         
,leonardo da ,vinci1 in her ,early      
,italian ,painters1 ,the miracle of that
 age of miracles4 ,ardent and versatile 
as youth2 patient and persevering as    
age2 a most profound and original       
thinker2 the greatest mathematician and 
most ingenious mechanic of his time2    
architect1 chemist1 engineer1 musician1 
poet1 painter6  ,hallam1 in his ,history
 of the ,literature of ,europe1 says of 
the published extracts from the great   
volumes of manuscript left by ,leonardo1
 ,these are1 according to our common    

estimate of the age in which he lived1  
more like revelations of physical truths
 vouchsafed to a single mind1 than the  
superstructure of its reasoning upon any
 established basis4 ,the discoveries    
which made ,galileo1 ,kepler1 ,castelli1
 and other names illustrious--the system
 of ,copernicus--the very theories of   
recent geologists1 are anticipated by   
,da ,vinci within the compass of a few  
pages1 not perhaps in the most precise  
language1 or on the most conclusive     
reasoning1 but so as to strike us with  
something like the awe of preternatural 
knowledge4 ,in an age of so much        
dogmatism1 he first laid down the grand 
principle of ,bacon1 that experiment and
 observation must be the guides to just 
theory in the investigation of nature4  
,if any doubt could be harbored1 not as 
to the right of ,leonardo da ,vinci to  
stand as the first name of the fifteenth
 century1 which is beyond all doubt1 but
 as to his originality in so many       
discoveries1 which probably no one man1 

especially in such circumstances1 has   
ever made1 it must be by an hypothesis1 
not very untenable1 that some parts of  
physical science had already attained a 
height which mere books do not record4  
,this man1 whom ,vasari thinks specially
 endowed by the hand of ,god himself1   
was born in #adeb1 at ,castello da      
,vinci1 a village in the ,val d',arno1  
near ,florence4 ,his father1 ,piero     
,antonio da ,vinci1 was a notary of the 
republic1 a man of considerable property
 and influence4 ,when he was            
twenty-five1 he married the first of his
 four wives1 ,albiera di ,giovanni      
,amadori1 in #adeb1 and brought home his
 illegitimate son1 ,leonardo1 born the  
same year1 whom she tenderly cared for  
as her own4  ,of ,leonardo's mother1    
,caterina1 little is known1 save that   
five years later she married1 presumably
 in her own circle4 ,among the twelve   
other children who came into the home of
 the advocate1 ,leonardo was the        
especial pet and pride1 probably because

 he seemed to have been given all the   
talents originally intended for the ,da 
,vinci family4  ,the handsome boy1 whose
 beauty of person1 says ,vasari1 was    
such that it has never been sufficiently
 extolled1 and with a grace beyond      
expression1 cheerful1 eager1            
enthusiastic1 and warmhearted1 when sent
 to school1 learned everything with     
avidity4 ,in arithmetic he often        
confounded the master who taught him1 by
 his reasonings and by the difficulty of
 the problems he proposed4 ,he had that 
omnivorous appetite for books which     
,higginson calls the sure indication of 
genius4  ,he loved nature intensely4 ,he
 studied every flower and tree about the
 country home2 made companions of the   
river ,arno1 the changing clouds1 and   
the snow-capped mountains4 ,passionately
 fond of music1 he not only learned to  
play on the guitar and lute1 but        
invented a lyre of his own1 on which he 
improvised both the song and the air4   
,on the margins of his books he sketched

 such admirable drawings that his father
 took them to ,andrea ,verrochio1 a     
famous ,florentine artist1 who was      
amazed1 and advised that the youth      
become a painter4 ,leonardo entered the 
studio of ,verrochio when he was about  
eighteen1 and at once became deeply     
absorbed in his work4 ,he began to make 
models in clay1 arranging on these soft 
drapery dipped in plaster1 which he drew
 carefully in black and white on fine   
linen2 also heads of smiling women and  
children out of terra cotta3 already he 
had that divine gift of painting the ,da
 ,vinci smile1 which seems to have been 
born with him and to have died with him4
 ,he studied perspective1 and with his  
fellow-students made chemical researches
 into the improvement of colors4        
,verrochio was engaged in painting a    
picture of ,st4 ,john baptizing ,christ1
 for the monks of ,vallombrosa1 and     
requested ,leonardo to paint an angel in
 the left-hand corner1 holding some     
vestments4 ,when the work was finished1 

and ,verrochio looked upon ,leonardo's  
angel1 a space of sunlight in the cold1 
labored old picture1 as ,w4 ,h4 ,pater  
says1 in his ,studies in the ,history of
 the ,renaissance1 ,verrochio became so 
discouraged because a mere child could  
do more than himself1 that he would     
never touch the brush again4 ,this work 
is now in the ,academy of ,fine ,arts in
 ,florence4  ,about this time1 according
 to ,vasari1 ,leonardo made his famous  
shield ,rotella del ,fico4 ,ser ,piero  
da ,vinci1 being at his country house1  
was there visited by one of the peasants
 on his estate1 who1 having cut down a  
fig-tree on his farm1 had made a shield 
from part of it with his own hands1 and 
then brought it to ,ser ,piero1 begging 
that he would be pleased to cause the   
same to be painted for him in ,florence4
 ,this the latter very willingly        
promised to do1 the countryman having   
great skill in taking birds and in      
fishing1 and being often very           
serviceable to ,ser ,piero in such      

matters4 ,having taken the shield with  
him to ,florence1 therefore1 without    
saying anything to ,leonardo as to whom 
it was for1 he desired the latter to    
paint something upon it4  ,accordingly1 
he one day took it in hand1 but1 finding
 it crooked1 coarse1 and badly made1 he 
straightened it at the fire1 and1 giving
 it to a turner1 it was brought back to 
him smooth and delicately rounded1      
instead of the rude and shapeless form  
in which he had received it4 ,he then   
covered it with gypsum1 and1 having     
prepared it to his liking1 he began to  
consider what he could paint upon it    
that might best and most effectually    
terrify whomsoever might approach it1   
producing the same effect with that     
formerly attributed to the head of      
,medusa4 ,for this purpose1 therefore1  
,leonardo carried to one of his rooms1  
into which no one but himself ever      
entered1 a number of lizards1 hedgehogs1
 newts1 serpents1 dragon-flies1 locusts1
 bats1 glow-worms1 and every sort of    

strange animal of similar kind on which 
he could lay his hands2 from this       
assemblage1 variously adapted and joined
 together1 he formed a hideous and      
appalling monster1 breathing poison and 
flames1 and surrounded by an atmosphere 
of fire2 this he caused to issue from a 
dark and rifted rock1 with poison       
reeking from the cavernous throat1      
flames darting from the eyes1 and vapors
 rising from the nostrils in such sort  
that the result was indeed a most       
fearful and monstrous creature2 at this 
he labored until the odors arising from 
all those dead animals filled the room  
with a mortal fetor1 to which the zeal  
of ,leonardo and the love which he bore 
to art rendered him insensible or       
indifferent4  ,when this work1 which    
neither the countryman nor ,ser ,piero  
any longer inquired for1 was completed1 
,leonardo went to his father and told   
him that he might send for the shield at
 his earliest convenience1 since1 so far
 as he was concerned1 the work was      

finished2 ,ser ,piero went accordingly  
one morning to the room for the shield1 
and1 having knocked at the door1        
,leonardo opened it to him1 telling him 
nevertheless to wait a little without1  
and1 having returned into the room1 he  
placed the shield on the easel1 and1    
shading the window so that the light    
falling on the painting was somewhat    
dimmed1 he made ,ser ,piero step within 
to look at it4 ,but the latter1 not     
expecting any such thing1 drew back1    
startled at the first glance1 not       
supposing that to be the shield1 or     
believing the monster he beheld to be a 
painting2 he therefore turned to rush   
out1 but ,leonardo withheld him1        
saying1--',the shield will serve the    
purpose for which it has been executed2 
take it1 therefore1 and carry it away1  
for this is the effect it was designed  
to produce4'  ,the work seemed something
 more than wonderful to ,ser ,piero1 and
 he highly commended the fanciful idea  
of ,leonardo2 but he afterwards silently

 bought from a merchant another shield1 
whereon there was painted a heart       
transfixed with an arrow1 and this he   
gave to the countryman1 who considered  
himself obliged to him for it to the end
 of his life4 ,some time after1 ,ser    
,piero secretly sold the shield painted 
by ,leonardo to certain merchants for   
one hundred ducats1 and it subsequently 
fell into the hands of the ,duke of     
,milan1 sold to him by the same         
merchants for three hundred ducats4     
,leonardo painted also the ,head of     
,medusa1 in the ,uffizi ,gallery1 twined
 about with green1 hissing serpents4    
,for the ,king of ,portugal he painted a
 cartoon for a tapestry curtain1--,adam 
and ,eve in the ,garden of ,eden4 ,of   
the flowers and fruits in this picture1 
,vasari says1 ,for careful execution and
 fidelity to nature1 they are such that 
there is no genius in the world1 however
 godlike1 which could produce similar   
results with equal truth4 ,this cartoon 
is lost4  ,the ,madonna della ,caraffa1 

celebrated for the exquisite beauty of  
the flowers with dew upon them1 which   
stood in a vase by the ,virgin1 and was 
highly prized by ,clement ,,vii41 has   
also disappeared4 ,the ,adoration of the
 ,magi and a ,neptune in his ,chariot   
drawn by ,sea-horses were among ,da     
,vinci's works at this time4  ,he was   
also studying military engineering1     
completed a book of designs for mills   
and other apparatus working by water1   
invented machines for dredging seaports 
and channels1 and urged the making of a 
canal from ,pisa to ,florence1 by       
changing the course of the ,arno1 a     
thing accomplished two hundred years    
later4  ,still he did not neglect his   
painting4 ,he went about the streets of 
,florence looking for picturesque or    
beautiful faces1 which he transferred to
 his sketch-book1 always carried at his 
girdle4 ,he attended the execution of   
criminals to catch the expression of    
faces or contortion of limbs in agony4  
,yet so tender-hearted was he1 that1    

,vasari says1 ,when he passed places    
where birds were sold1 he would         
frequently take them from their cages1  
and1 having paid the price demanded for 
them by the sellers1 would then let them
 fly into the air1 thus restoring to    
them the liberty they had lost4  ,he    
loved art4 ,he said1 ,in the silence of 
the night1 recall the ideas of the      
things which you have studied4 ,design  
in your spirit the contours and outlines
 of the figures that you have seen      
during the day4 ,when the spirit does   
not work with the hands1 there is no    
artist4444 ,do not allege as an excuse  
your poverty1 which does not permit you 
to study and become skilful2 the study  
of art serves for nourishment to the    
body as well as the soul4444 ,when all  
seems easy1 it is an unerring sign that 
the workman has but scant ability and   
that the task is above his              
comprehension4  ,enjoying all athletic  
exercises2 so strong that he could bend 
a horseshoe in his hands2 exceedingly   

fond of horses1 of which he owned       
several1--he still found time to be the 
life and joy of the brilliant society of
 ,florence2 always leading1 always      
fascinating with his intelligent        
conversation and elegant address4 ,and  
yet the ambitious ,leonardo was not     
satisfied in ,florence4 ,the ,medici did
 not encourage him as they did ,michael 
,angelo4 ,possibly they felt that he    
lacked a steady and dominant purpose4   
,he finally made up his mind to try his 
fortune elsewhere1 and wrote the        
following letter to ,lodovico ,sforza1  
,regent of ,milan3--  ,,my ,,most       
,,illustrious ,,lord1--,having seen and 
duly considered the experiments of all  
those who repute themselves masters and 
constructors of warlike instruments1 and
 that the inventions and operations of  
the said instruments are not different  
from those in common use1 ,i will       
endeavor1 without derogating from any   
one else1 to make known to your         
,excellency certain secrets of my own1  

and1 at an opportune time1 ,i shall hope
 to put them into execution1 if they    
seem valuable to you4 ,i briefly note   
these things below3--  #a4 ,i have a    
method of making very light bridges1 fit
 to be carried most easily1 with which  
to follow the flight of enemies2 and    
others1 strong and secure against fire  
and battle2 easy and commodious to lift 
up and to place in position4 ,i have    
methods also to burn and destroy those  
of the enemy4  #b4 ,i know1 in case of  
the siege of a place1 how to take away  
the water from the ditches1 and to make 
an infinite variety of scaling-ladders  
and other instruments pertinent to such 
an expedition4         99       99      
99       99       99  #d4 ,i have also  
kinds of cannon most commodious and easy
 to carry1 with which to throw          
inflammable matters1 whose smoke causes 
great fright to the enemy1 with serious 
injury and confusion4  #e4 ,i have      
means1 by excavations and straight and  
winding subterranean ways1 to come to   

any given point without noise1 even     
though it be necessary to pass under    
moats and rivers4         99       99   
99       99       99  #h4 ,when the     
operations of artillery are impossible1 
,i shall construct mangonels1 balistae1 
and other engines of marvellous         
efficacy1 and out of the common use2    
and1 in short1 according to the variety 
of events1 ,i shall build various and   
infinite means of offence4  #i4 ,and    
when it shall happen to be upon the sea1
 ,i have means of preparing many        
instruments most efficient in attack or 
defence1 and vessels that shall make    
resistance to the most powerful         
bombardment2 and powders and smokes4    
#aj4 ,in time of peace ,i believe ,i can
 satisfy very well and equal all others 
in architecture1 in designing public    
edifices and private houses1 and in     
conducting water from one place to      
another4 ,i can carry on works of       
sculpture1 in marble1 bronze1 or terra  
cotta1 also in pictures4 ,i can do what 

can be done equal to any other1 whoever 
he may be4 ,also1 ,i shall undertake the
 execution of the bronze horse1 which   
will be the immortal glory and eternal  
honor of the happy memory of my lord    
your father1 and of the illustrious     
honor of ,sforza4  ,the result of this  
letter was a summons to the court at    
,milan1 where ,lodovico1 though         
dissolute1 was proud to surround himself
 with the most brilliant men and women  
of the age4 ,leonardo took with him a   
silver lyre1 made in the shape of a     
horse's head1 designed by himself1 on   
which he played so skilfully that the   
duke and his court were enchanted4      
,whatever he did1 says ,vasari1 bore an 
impress of harmony1 truthfulness1       
goodness1 sweetness1 and grace1 wherein 
no other man could ever equal him4 ,such
 a union of gentleness and sincerity    
with genius6 ,who could withstand its   
influence6  ,at ,milan ,leonardo        
remained for nineteen years1 and here   
some of his most remarkable works were  

done4  ,one of the first pictures       
painted for the ,regent was a portrait  
of a favorite1 the beautiful ,cecilia   
,gallerani1 a gifted woman1 skilled in  
music and poetry4 ,leonardo painted for 
her a picture of the ,virgin1 for which 
she probably was the model4 ,the infant 
,saviour is represented as blessing a   
new-blown ,madonna rose1 the emblem of  
,st4 ,cecilia4  ,the next portrait--it  
is now in the ,louvre--was that of      
another beauty1 loved by the duke1      
,lucrezia ,crivelli1 formerly called ,la
 ,belle ,feronniere1 who was a favorite 
of ,francis ,i4 ,the face1 says ,mr4    
,sweetser1 is at once proud and         
melancholy1 with a warm and brilliant   
coloring and soft pure lines1 the head  
full of light1 and even the shadows     
transparent4 ,in honor of both these    
portraits ,latin poems were written by  
the poets of the time4  ,leonardo also  
painted two fine portraits of the lawful
 duke1 ,gian ,galeazzo ,sforza1 and his 
wife1 ,isabella of ,aragon1 the latter  

picture beyond all description beautiful
 and charming1 now preserved in the     
,ambrosian ,library4 ,when these persons
 were married1 ,leonardo invented for   
the entertainment of the guests at the  
wedding feast a mechanical device called
 ,the ,paradise1 a representation of the
 heavens and the revolving planets1     
which opened as the bride and bridegroom
 approached1 while a person in imitation
 of the ,deity recited complimentary    
verses4  ,leonardo now began on the     
great equestrian statue of the warrior  
,francesco ,sforza4 ,he studied ancient 
works of art1 especially the equestrian 
statue of ,marcus ,aurelius in ,rome1   
made almost countless drawings of horses
 in repose or on the battle-field1 many 
of which are still preserved at ,windsor
 ,castle1 studied every movement of live
 horses and every muscle of dead ones1  
and did not complete his clay model for 
ten long years4 ,a genius like ,da      
,vinci spends ten years on the model of 
an equestrian statue1 and yet some      

artists of the present day1 men and     
women1 paint and mould horses or human  
beings after a few weeks or months of   
study1 and expect to win fame6  ,when   
the clay model was exhibited in public  
at the royal wedding of the sister of   
,gian ,galeazzo to the ,emperor         
,maximilian1 the enthusiasm was very    
great4 ,all ,italy talked of it1 and    
poets and critics extolled it as beyond 
the works of ,greece or ,rome4          
,unfortunately the ensuing wars depleted
 the treasury of ,milan1 and prevented  
the work from being cast in bronze4     
,when the ,french entered ,milan in     
#adii1 it became a target for the       
archers4 ,two years later the ,duke of  
,ferrara asked the use of the model that
 a bronze horse with a statue of himself
 might be made2 but the ,king of ,france
 refused1 and the model finally         
disappeared4  ,during these years       
,leonardo founded the ,milan ,academy4  
,probably many of the manuscript volumes
 which he left were notes of lectures   

delivered to the students4 ,he must have
 spoken to them on botany1 optics1      
mechanics1 astronomy1 hydrostatics1     
anatomy1 perspective1 proportion1 and   
other matters4 ,he wrote a book on the  
anatomy of the horse4 ,he also1 says    
,vasari1 filled a book with drawings in 
red crayons1 outlined with the pen1 all 
copies made with the utmost care from   
bodies dissected by his own hand4 ,in   
this book he set forth the entire       
structure1 arrangement and disposition  
of the bones1 to which he afterwards    
added all the nerves1 in their due      
order1 and next supplied the muscles1 of
 which the first are affixed to the     
bones1 the second give the power of     
cohesion or holding firmly1 and the     
third impart the motion4  ,leonardo said
 in his notes1 ,the painter who has     
obtained a perfect knowledge of the     
nature of the tendons and muscles1 and  
of those parts which contain the most of
 them1 will know to a certainty1 in     
giving a particular motion to any part  

of the body1 which and how many of the  
muscles give rise and contribute to it2 
which of them1 by swelling1 occasion    
their shortening1 and which of the      
cartilages they surround4 ,he will not  
imitate those who1 in all the different 
attitudes they adopt or invent1 make use
 of the same muscles in the arms1 back1 
or chest1 or any other parts4444 ,it is 
necessary that a painter should be a    
good anatomist1 that in his attitudes   
and gestures he may be able to design   
the naked parts of the human frame1     
according to the just rules of the      
anatomy of the nerves1 bones1 and       
muscles2 and that1 in his different     
positions1 he may know what particular  
nerve or muscle is the cause of such a  
particular movement1 in order that he   
may make that only marked and apparent1 
and not all the rest1 as many artists   
are in the habit of doing2 who1 that    
they may appear great designers1 make   
the naked limbs stiff and without grace1
 so that they have more the appearance  

of a bag of nuts than the human         
superficies1 or1 rather1 more like a    
bundle of radishes than naked muscles4  
,leonardo irrigated the dry plains of   
,lombardy by utilizing the waters of the
 ,ticino ,river1 visiting many cities   
and towns throughout ,lombardy for this 
purpose1 and carefully studying the     
canals of ,egypt under the ,ptolemies4  
,he studied ancient architecture also4  
,in his epitaph1 composed in his        
lifetime1 he calls himself1 ,the admirer
 of the ancients1 and their grateful    
disciple4 ,one thing is lacking to me1  
their science of proportion4 ,i have    
done what ,i could2 may posterity pardon
 me4  ,he designed a palace for ,count  
,giovanni ,melzi1 at ,vaprio1 which     
became a favorite home for him1         
especially in the time of war--the      
residence of his beloved pupil1         
,francesco ,melzi4  ,in #adib1 after    
,leonardo had been eleven years at the  
,court of ,milan1 ,lodovico1            
unscrupulous and immoral1 married the   

gentle and saintly ,beatrice d',este4   
,leonardo conducted the grand wedding   
festivities1 and designed and decorated 
the bride's apartments in the ,castello 
della ,rocca1 making a beautiful        
bath-room in the garden1 adorned with   
colored marbles and a statue of ,diana4 
,while the regent in no wise            
discontinued his profligate habits1 he  
yet desired to please his wife1 by      
gratifying her taste for religious      
things4 ,as she had shown an especial   
fondness for the ,dominican church and  
convent of ,santa ,maria delle ,grazie1 
,lodovico ordered them reconstructed and
 embellished for her4 ,in the refectory1
 the artist painted kneeling portraits  
of ,beatrice1 her husband1 and their two
 little children1 ,maximilian and       
,francesco2 but they have long since    
faded4  ,about the year #adif1 ,leonardo
 began his immortal work in the         
refectory1 ,the ,last ,supper4 ,here1   
where daily the sweet and broken-hearted
 wife came to remain for hours in       

meditation and prayer before the tomb of
 the ,duchess ,bianca1 from which she   
sometimes had to be removed by force1   
,leonardo came daily to his masterpiece4
 ,sometimes he would go to his work at  
daybreak1 and never think of descending 
from his scaffolding to eat or drink    
till night1 so completely absorbed was  
he in his work4 ,at other times1 says   
,bandello1 he would remain three or four
 days without touching it1 only coming  
for an hour or two1 and remaining with  
crossed arms contemplating his figures1 
as if criticising them himself4 ,i have 
also seen him at midday1 when the sun in
 the zenith causes all the streets of   
,milan to be deserted1 set out in all   
haste from the citadel1 where he was    
modelling his colossal horse1 and1      
without seeking the shade1 take the     
shortest road to the convent1 where he  
would add a few strokes to one of his   
heads1 and then return immediately4     
,leonardo made a cartoon of the whole   
picture1 and separate studies of each   

figure4 ,ten of these are now in the    
,hermitage in ,st4 ,petersburg4  ,he was
 long absorbed in his head of ,christ4  
,he used to say that his hand trembled  
whenever he attempted to paint it4 ,at  
last1 in despair1 he asked counsel of a 
friend1 ,bernardo ,zenale1 who comforted
 him by saying1 ,oh1 ,leonardo1 the     
error into which thou hast fallen is one
 from which only the ,divine ,being     
himself can deliver thee2 for it is not 
in thy power nor in that of any one else
 to give greater divinity and beauty to 
any figures than thou hast done to these
 of ,james the ,greater and the ,less2  
therefore1 be of good cheer1 and leave  
the ,christ imperfect1 for thou wilt    
never be able to accomplish the ,christ 
after such apostles4  ,leonardo finished
 the work in about three years4         
,beatrice1 as might have been expected  
from such an ill-assorted union1 died of
 sorrow in five years after her         
marriage4 ,lodovico1 as has been often  
the case before and since in the world's

 history1 realized too late the wrong he
 had done1 and now strove to remedy it  
by causing a hundred masses a day to be 
said for her soul1 shutting himself up  
in remorse for two weeks in a chamber   
hung with black1 only coming forth to do
 penance at the sanctuaries where his   
lovely and neglected wife had           
worshipped4 ,he now wished to make her  
last resting-place1 ,santa ,maria delle 
,grazie1 as beautiful as possible1 and  
hastened ,leonardo at his work on the   
,last ,supper that he might see it      
completed1 meantime raising a           
magnificent tomb to the memory of his   
neglected ,beatrice4  ,the prior of the 
convent could not understand why        
,leonardo should meditate over his work1
 and1 likewise in haste to have the     
picture finished1 complained to         
,lodovico1 who courteously entreated the
 artist to go on as rapidly as possible4
 ,vasari says1 ,leonardo1 knowing the   
prince to be intelligent and judicious1 
determined to explain himself fully on  

the subject with him1 although he had   
never chosen to do so with the prior4   
,he therefore discoursed with him at    
some length respecting art1 and made it 
perfectly manifest to his comprehension 
that men of genius are sometimes        
producing most when they seem to be     
laboring least1 their minds being       
occupied in the elucidation of their    
ideas1 and in the completion of those   
conceptions to which they afterwards    
give form and expression with the hand4 
,he further informed the duke that there
 were still wanting to him two heads1   
one of which1 that of the ,saviour1 he  
could not hope to find on earth4444     
,the second head still wanting was that 
of ,judas1 which also caused him some   
anxiety1 since he did not think it      
possible to imagine a form of feature   
that should properly render the         
countenance of a man who1 after so many 
benefits received from his ,master1 had 
possessed a heart so depraved as to be  
capable of betraying his ,lord1 and the 

,creator of the world2 with regard to   
that second1 however1 he would make     
search1 and after all--if he could find 
no better--he need never be at any great
 loss1 for there would always be the    
head of that troublesome and impertinent
 prior4 ,this made the duke laugh with  
all his heart2 he declared ,leonardo to 
be completely in the right3 and the poor
 prior1 utterly confounded1 went away to
 drive on the digging in his garden1 and
 left ,leonardo in peace4  ,the ,last   
,supper was painted in oils instead of  
fresco1 and soon began to fade4 ,in     
#aeae1 when ,francis ,i4 was in ,milan1 
he was so impressed with the picture    
that he determined to carry it back to  
,france1 and tried to find architects   
who could secure it from injury by      
defences of wood and iron so that it    
could be transported1 but none could be 
found able to do it1 and the project was
 abandoned4 ,the painting was soon      
damaged by the refectory lying for some 
time under water4 ,later one of the     

monks made a doorway through it1 cutting
 off the feet of ,christ4 ,in #agbf an  
artist named ,belotti restored787 it1   
leaving nothing untouched but the sky4  
,his work proved unsatisfactory1 and    
,mazza repainted everything except the  
heads of ,matthew1 ,thaddeus1 and       
,simon4 ,the indignant people soon      
compelled him to cease1 and the prior   
who had permitted it was banished from  
the convent4  ,in #agif1 when ,napoleon 
entered ,italy1 the troops used the     
refectory as a stable4 ,three or four   
years later1 it again lay under water   
for two weeks4 ,at present1 one is able 
to perceive only the general design as  
the work of ,leonardo4 ,excellent copies
 were made by ,da ,vinci's pupils1 so   
that the great picture has found its way
 into thousands of homes4  ,the ,saviour
 and his apostles are seated at a long  
table1 in a stately hall4 ,on the left  
is ,bartholomew2 next1 ,james the ,less2
 then ,andrew1 ,peter1 ,judas holding   
the money-bag1 ,john1 with ,christ in   

the centre1 ,thomas on his right hand1  
then ,james the ,greater1 ,philip1      
,matthew1 ,thaddeus1 and ,simon4 ,the   
moment chosen by the painter is that    
given by ,matthew3 ,and as they did eat1
 he said1 ,verily ,i say unto you1 that 
one of you shall betray me4 ,and they   
were exceeding sorrowful1 and began     
every one of them to say unto him1      
,lord1 is it ,i8  ,mrs4 ,c4 ,w4 ,heaton 
says of this picture1 in her valuable   
life of ,da ,vinci1 ,in his dramatic    
rendering of the disciples1 ,leonardo   
has shown the boldest and grandest      
naturalism4 ,they are all of them real1 
living men with passions like unto      
us--passions called for the moment by   
the fearful words of the ,master1 ',one 
of you shall betray me1' into full and  
various play4  ,most who visit ,milan to
 see the lace-work in stone of its      
exquisite cathedral1 go also to the     
famous painting which tells alike the   
story of a great artist struggling to   
put immortal thoughts into his faces1   

and the story of the remorse of a human 
being in breaking the heart of a lovely 
woman4 ,had it not been to atone to     
,beatrice1 probably the ,last ,supper   
would never have been painted in ,santa 
,maria delle ,grazie4 ,thus strangely   
has the bitterness of one soul led to   
the joy and inspiration of thousands6   
,in #adih1 ,louis ,,xii4 came to the    
throne of ,france1 and laid claim to the
 duchy of ,milan1 enforcing his claim by
 arms4 ,lodovico fled1 but was captured 
by the ,french1 and kept a prisoner for 
ten years1 until his death4 ,leonardo   
went back to his old home in ,florence1 
taking with him two persons1 his friend 
,luca ,paciolo1 who had lived with him  
three years at ,milan1 the author of ,de
 ,divina ,proportione1 for which book   
the artist made sixty drawings2 and his 
beautiful pupil ,salai1 his son as he   
called him1 a youth of singular grace   
and beauty of person1 with curling and  
wavy hair1 a feature of personal beauty 
by which ,leonardo was greatly pleased4 

,from this dear disciple the artist     
painted many of his angels' heads4      
,florence had changed since he went     
away1 scarcely more than a boy4 ,now he 
was in middle life1 forty-eight years   
old1 the famous painter of the ,last    
,supper1 the polished and renowned      
scholar4 ,his first work on his return  
was an altar-piece for the ,annunciata  
,church1--the ,madonna1 ,st4 ,anna1 and 
the infant ,christ4 ,the cartoon1 now in
 the ,royal ,academy at ,london1 caused 
the greatest delight4 ,when finished1   
the chamber wherein it stood was crowded
 for two days by men and women1 old and 
young1 as if going to a solemn festival1
 all hastening to behold this marvel of 
,leonardo's1 which amazed the whole     
population4  ,he now painted two noble  
,florentine ladies1 ,ginevra ,benci1 a  
famous beauty1 and the ,mona ,lisa1 the 
third wife of ,francesco del ,giocondo1 
the latter of whom it is conjectured    
that ,leonardo loved4  ,vasari says1    
,whoever shall desire to see how far art

 can imitate nature1 may do so to       
perfection in this head1 wherein every  
peculiarity that could be depicted by   
the utmost subtlety of the pencil has   
been faithfully reproduced4 ,the eyes   
have the lustrous brightness and        
moisture which is seen in life1 and     
around them are those pale1 red1 and    
slightly livid circles1 also proper to  
nature1 with the lashes1 which can only 
be copied as these are with the greatest
 difficulty2 the eyebrows also are      
represented with the closest exactitude1
 where fuller and where more thinly set1
 with the separate hairs delineated as  
they issue from the skin1 every turn    
being followed and all the pores        
exhibited in a manner that could not be 
more natural than it is2 the nose1 with 
its beautiful and delicately roseate    
nostrils1 might be easily believed to be
 alive2 the mouth1 admirable in its     
outline1 has the lips uniting the       
rose-tints of their color with that of  
the face in the utmost perfection1 and  

the carnation of the cheek does not     
appear to be painted1 but truly of flesh
 and blood2 he who looks earnestly at   
the pit of the throat cannot but believe
 that he sees the beating of the pulses1
 and it may be truly said that this work
 is painted in a manner well calculated 
to make the boldest master tremble1 and 
astonishes all who behold it1 however   
well accustomed to the marvels of art4  
,mona ,lisa was exceedingly beautiful2  
and while ,leonardo was painting her    
portrait1 he took the precaution of     
keeping some one constantly near her1 to
 sing or play on instruments1 or to jest
 and otherwise amuse her1 to the end    
that she might continue cheerful1 and so
 that her face might not exhibit the    
melancholy expression often imparted by 
painters to the likenesses they take4   
,in this portrait of ,leonardo's1 on the
 contrary1 there is so pleasing an      
expression1 and a smile so sweet1 that  
while looking at it one thinks it rather
 divine than human1 and it has ever been

 esteemed a wonderful work1 since life  
itself could exhibit no other           
appearance4  ,no wonder ,grimm says1 ,he
 who has seen the ,mona ,lisa smile is  
followed forever by this smile1 just as 
he is followed by ,lear's fury1         
,macbeth's ambition1 ,hamlet's          
melancholy1 and ,iphigenia's touching   
purity4  ,pater says of the ,mona ,lisa1
 ',la ,gioconda' is1 in the truest      
sense1 ,leonardo's masterpiece1 the     
revealing instance of his mode of       
thought and work4 ,in suggestiveness1   
only the ',melancholia' of ,duerer is   
comparable to it2 and no crude symbolism
 disturbs the effect of its subdued and 
graceful mystery4 ,we all know the face 
and hands of the figure1 set in its     
marble chair1 in that cirque of         
fantastic webs1 as in some faint light  
under sea4 ,perhaps of all ancient      
pictures time has chilled it least4     
99       99       99       99       99  
,the fancy of a perpetual life1 sweeping
 together ten thousand experiences1 is  

an old one2 and modern thought has      
conceived the idea of humanity as       
wrought upon by1 and summing up in      
itself1 all modes of thought and life4  
,certainly ,lady ,lisa might stand as   
the embodiment of the old fancy1 the    
symbol of the modern idea4  ,one feels  
with ,michelet1 when he says1 ,it       
fascinates and absorbs me4 ,i go to it  
in spite of myself1 as the bird is drawn
 to the serpent4 ,i have found myself   
going day after day to the ,louvre to   
linger before two masterpieces2 to grow 
better through the womanhood of the     
,venus de ,milo1 and to rest in the     
peaceful1 contented smile of the ,mona  
,lisa4 ,nobody can forget the perfect   
hand4 ,one seems to feel the delicacy of
 the loving touch which ,leonardo gave  
as he painted through those long yet    
short four years1 leaving the portrait1 
as he declared1 unfinished1 because of  
his high ideal of what a painting should
 be4 ,the husband did not purchase the  
picture of the artist--did he not value 

the beauty8 ,it was finally sold to     
,francis ,i41 for four thousand gold    
crowns1 an enormous sum at that day4    
,after ,da ,vinci had been two years in 
,florence1 ,caesar ,borgia1 the son of  
,pope ,alexander ,,vi41 appointed him   
architect and general engineer4 ,he     
travelled through ,central ,italy1      
making ramparts and stairways for the   
citadel of ,urbino1 machinery at        
,pesaro1 designing a house and better   
methods of transporting grapes at       
,cesena1 and finer gates at ,cesenatico4
 ,at one place he lingered to enjoy the 
regular cadence of the waves beating on 
the shore2 at another1 his soul filled  
with music1 he was soothed by the murmur
 of the fountains4 ,but ,caesar was soon
 obliged to flee into ,spain1 and       
,leonardo could no longer hold the      
position of engineer4  ,pietro          
,soderini1 who had been elected         
gonfaloniere for life1 was the friend of
 both ,leonardo and ,michael ,angelo4   
,he wished to have these two greatest   

artists paint each a wall in the ,hall  
of the ,palazzo ,vecchio4 ,michael      
,angelo chose for his subject a group of
 soldiers surprised by the enemy while  
bathing in the ,arno2 ,leonardo1 a troop
 of horsemen fighting round a standard1 
a scene from the battle of ,anghiari1   
fought by the ,florentines against the  
,north ,italians4 ,vasari says1 ,not    
only are rage1 disdain1 and the desire  
for revenge apparent in the men1 but in 
the horses also2 two of those animals1  
with their fore-legs intertwined1 are   
attacking each other with their teeth1  
no less fiercely than do the cavaliers  
who are fighting for the standard4      
,vasari thinks it scarcely possible     
adequately to describe 444 the wonderful
 mastery he exhibits in the forms and   
movements of the horses4444 ,the        
muscular development1 the animation of  
their movements1 and their exquisite    
beauty1 are rendered with the utmost    
fidelity4  ,when the rival cartoons of  
,michael ,angelo and ,da ,vinci were    

publicly exhibited1 the excitement was  
great between the followers of each     
artist4 ,when ,da ,vinci began to paint 
upon the wall1 in oils1 as in the ,last 
,supper1 the colors so sank into it that
 he abandoned the work4 ,soderini       
accused him of having received money and
 not rendering an equivalent1 which so  
wounded the pride1 of the artist that   
his friends raised the amount which had 
been advanced to him1 and offered it to 
the gonfaloniere1 who generously refused
 to accept it4 ,da ,vinci had already   
become offended with ,soderini's        
treasurer1 who offered him a portion of 
his pay in copper money4 ,leonardo would
 not take it1 saying1 ,i am no          
penny-painter4  ,in #aejd1 ,da ,vinci's 
father died1 and the artist became      
involved in lawsuits with the other     
twelve children1 who seem to have       
disputed his share in the property4  ,at
 this time ,leonardo made drawings for  
the raising of the ,church of ,san      
,giovanni 7the ,baptistery71 and the    

placing of steps beneath it4 ,he        
supported his assertions with reasons so
 persuasive that while he spoke the     
undertaking seemed feasible1 although   
every one of his hearers1 when he had   
departed1 could see for himself that    
such a thing was impossible4 ,they could
 not understand that they had a genius  
in their midst some centuries in advance
 of his age4 ,he made three bronze      
figures over the portal of the          
,baptistery1 without doubt the most     
beautiful castings that have been seen  
in these latter days4  ,tired of        
lawsuits1 and his ineffectual efforts   
toward the raising of the ,baptistery1  
he gladly went back to ,milan1 having   
been invited thither by ,marechal de    
,chaumont1 the ,french governor1 after  
an absence in ,florence of six years4   
,he seems to have been straitened in    
circumstances1 for he had but thirty    
crowns left1 and of these he generously 
gave thirteen to make up the marriage   
portion of the sister of his beloved    

,salai4  ,for seven years during this   
second sojourn in ,milan1 he was        
prosperous and happy4 ,he built large   
docks and basins1 planned many mills1   
enlarged and improved the great         
,martesan canal1 two hundred miles long1
 which brings the waters of the ,adda   
through the ,valtellina and across the  
,chiavenna district1 contributing       
greatly to the fertility of the garden  
of ,northern ,italy1 and painted several
 pictures4 ,la ,monaca1 now in the      
,pitti ,palace1 is the half-length      
figure of a young nun4 ,taine says1 ,the
 face is colorless excepting the        
powerful and strange red lips1 and the  
whole physiognomy is calm1 with a slight
 expression of disquietude4 ,this is not
 an abstract being1 emanating from the  
painter's brain1 but an actual woman who
 has lived1 a sister of ,mona ,lisa1 as 
complex1 as full of inward contrasts1   
and as inexplicable4  ,flora1 a         
beautiful woman in blue drapery1 holding
 a flower in her left hand1 believed by 

many to be a portrait of ,diana of      
,poitiers1 is at the ,hague1 where the  
,hollanders call it ,frivolity or       
,vanity4 ,leda1 the bride of ,jupiter1  
with the twins1 ,castor and ,pollux1    
playing among the shell-chips of their  
broken egg1 is also at the ,hague4      
,probably the celebrated ,la ,vierge aux
 ,rochers 7,the ,virgin among the       
,rocks7 was painted at this time4 ,of   
this ,theophile ,gautier says1 ,the     
aspect of the ,virgin is mysterious and 
charming4 ,a grotto of basaltic rocks   
shelters the divine group1 who are      
sitting on the margin of a clear spring1
 in the transparent depths of which we  
see the pebbles of its bed4 ,through the
 arcade of the grotto1 we discover a    
rocky landscape1 with a few scattered   
trees1 and crossed by a stream1 on the  
banks of which rises a village4 ,all    
this is of a color as indefinable as    
those mysterious countries one traverses
 in a dream1 and accords marvellously   
with the figures4 ,what more adorable   

type than that of the ,madonna6 it is   
especially ,leonardo's1 and does not in 
any way recall the ,virgins of ,perugino
 or ,raphael4 ,her head is spherical in 
form2 the forehead well developed2 the  
fine oval of her cheeks is gracefully   
rounded so as to enclose a chin most    
delicately curved2 the eyes with lowered
 eyelids encircled with shadow1 and the 
nose1 not in a line with the forehead1  
like that of a ,grecian statue1 but     
still finely shaped2 with nostrils      
tenderly cut1 and trembling as though   
her breathing made them palpitate2 the  
mouth a little large1 it is true1 but   
smiling with a deliciously enigmatic    
expression that ,da ,vinci gives to his 
female faces1 a tiny shade of mischief  
mingling with the purity and goodness4  
,the hair is long1 loose1 and silky1 and
 falls in crisp meshes around the       
shadow-softened cheeks1 according with  
the half-tints with incomparable grace4 
,this picture was originally on wood1   
but has been transferred to canvas4     

,there are three pictures of this scene2
 the one in the collection of the ,duke 
of ,suffolk is believed to be the       
original1 while that in the ,louvre is  
best known4  ,of the ,virgin seated on  
the knees of ,st4 ,anne1 now in the     
,louvre1 ,taine says1 ,in the little    
,jesus of the picture of ,st4 ,anne1 a  
shoulder1 a cheek1 a temple1 alone      
emerge from the shadowy depth4 ,leonardo
 da ,vinci was a great musician4        
,perhaps he found in that gradation and 
change of color1 in that vague yet      
charming magic of chiaroscuro1 an effect
 resembling the crescendoes and         
decrescendoes of grand musical works4   
,st4 ,john the ,baptist1 in the ,louvre1
 is one of the few pictures1 among the  
many attributed to ,leonardo1 which     
critics regard as authentic4 ,st4       
,sebastian1 now in the ,hermitage in    
,st4 ,petersburg1 was purchased by the  
,tsar of ,russia in #ahfj1 for twelve   
thousand dollars4  ,when the ,french    
were driven out of ,lombardy1 ,da ,vinci

 left ,milan1 in #aead1 and1 taking his 
devoted pupils1 ,salai1 ,francesco      
,melzi1 and a few others with him1      
started for ,rome1 whither ,michael     
,angelo and ,raphael had already gone4  
,leo ,x4 was on the papal throne3 he    
cordially welcomed him1 and bade him    
work for the glory of ,god1 ,italy1 ,leo
 ,x41 and ,leonardo da ,vinci4 ,however1
 the pope gave him very little to do4   
,the pontiff1 says ,vasari1 was much    
inclined to philosophical inquiry1 and  
was more especially addicted to the     
study of alchemy4 ,leonardo1 therefore1 
having composed a kind of paste from    
wax1 made of this1 while it was still in
 its half-liquid state1 certain figures 
of animals1 entirely hollow and         
exceedingly slight in texture1 which he 
then filled with air4 ,when he blew into
 these figures he could make them fly   
through the air1 but when the air within
 had escaped from them they fell to the 
earth4  ,one day the vine-dresser of the
 ,belvedere found a very curious lizard1

 and for this creature ,leonardo        
constructed wings made from the skins of
 other lizards1 flayed for the purpose2 
into these wings he put quicksilver1 so 
that when the animal walked the wings   
moved also1 with a tremulous motion2 he 
then made eyes1 horns1 and a beard for  
the creature1 which he tamed and kept in
 a case2 he would then show it to the   
friends who came to visit him1 and all  
who saw it ran away terrified4  ,when   
the pope asked him to paint a picture1  
,leonardo immediately began to distil   
oils and herbs for the varnish1         
whereupon the pontiff exclaimed1 ,alas6 
this man will assuredly do nothing at   
all1 since he is thinking of the end    
before he has made a beginning to his   
work4 ,it is supposed that ,leonardo    
painted for ,leo ,x4 the ,holy ,family  
of ,st4 ,petersburg1 with the bride of  
,giuliano de ,medici as the ,st4        
,catherine4  ,louis ,,xii4 of ,france   
having died1 the brilliant young        
,francis ,i4 succeeded him ,january #a1 

#aeae1 and soon after won back ,lombardy
 to himself in battle4 ,at once         
,leonardo1 who had been painter to ,king
 ,louis while in ,milan1 joined himself 
to ,francis1 not wishing to remain in   
,rome4 ,he was received by that monarch 
with the greatest delight1 and given the
 ,chateau of ,cloux with its woods1     
meadows1 and fish-ponds1 just outside   
the walls of the king's castle at       
,amboise4 ,here he abode with his dear  
pupils1 who were content to live in any 
country so they were with ,da ,vinci2   
and was allowed a pension of seven      
hundred crowns of gold and the title of 
,painter to the ,king4  ,he was         
sixty-three4 ,he had done many great    
things1 but now1 with ease and every    
comfort1 perchance his genius would be  
more brilliant than ever4 ,when about   
this age1 ,michael ,angelo had completed
 his wonderful statues in the ,medici   
chapel1 and later even painted his ,last
 ,judgment and planned the great dome of
 ,st4 ,peter's4 ,but ,leonardo1 the     

versatile1 luxury-loving1 divine        
,leonardo1 no longer urged to duty by   
necessity1 did nothing further for the  
world4 ,he mingled in the gayeties of   
the court1 walked arm in arm in his     
gardens with the beautiful ,salai1 his  
long white hair falling to his          
shoulders1 and made a unique automaton  
for the great festivities of the        
conquering young king at ,pavia1 a lion 
filled with hidden machinery by means of
 which it walked up to the throne1 and1 
opening its breast1 showed it filled    
with a great number of fleurs-de-lis4   
,he soon fell into a kind of languor    
that presaged the sure coming of death4 
,in early life he had been so devoted to
 science that ,vasari tells us by this  
means he conceived such heretical ideas 
that he did not belong to any religion1 
but esteemed it better to be a          
philosopher than a ,christian4 ,now he  
turned his thoughts toward the ,catholic
 church1 and made his will1 which       
recommends his soul to ,god1 the        

glorious ,virgin ,mary1 his lordship    
,st4 ,michael1 and all the beautiful    
angels and saints of ,paradise4 ,he     
wishes that at his obsequies there shall
 be sixty torches carried by sixty poor 
persons1 who shall be paid for carrying 
them according to the discretion of the 
said ,melzi1 which torches shall be     
shared among the four churches above    
named4  ,to his beloved pupils1 ever    
with him1 he gives his property4 ,nine  
days after this1 says ,vasari1 ,may #b1 
#aeai1 at the age of sixty-seven1       
,leonardo died in the arms of his       
devoted ,king1 ,francis ,i42 but later  
historians have considered this         
doubtful4 ,he was buried under the      
flag-stones in the ,church of ,st4      
,florentin at ,amboise4  ,in the        
religious wars which followed1 the      
church was demolished1 the gravestones  
sold1 and the lead coffins melted for   
their metal4 ,many persons have tried to
 find the grave of the great master1 and
 ,m4 ,arsene ,houssaye made a last and  

perhaps successful attempt in #ahfc4 ,he
 says1 ,more than one ,italian had gone 
to ,amboise for the purpose of finding  
the tomb of ,leonardo da ,vinci1 and had
 gazed sadly on the spot where the      
church once stood1 now covered by thick 
growing covert4  ,the gardener's        
daughter had been often questioned1 and 
it was she who first gave me the idea1  
some years ago1 of seeking for the tomb 
of the painter of the ',last ,supper1'  
but ,i do not know whether the fact of  
her having the painter's name sometimes 
on her lips arose from the fact of her  
hearing him spoken of by her father or  
by visitors4 ,she it was who pointed out
 to me the spot where the great painter 
of ,francis ,i4 might be found2 a       
white-cherry tree was growing there1    
whose fruit was so rich from the fact of
 its growing above the dead4  ,on       
,tuesday1 the #bc;d of ,june1 #ahfc1 the
 first spadeful of earth was turned up  
before the mayor and the archbishop of  
,amboise4 ,i set the men to work on     

three different spots1 some to          
reconnoitre the foundations of the      
church1 others to look for the ossuary1 
and the rest to search the tombs4 ,it   
was necessary to dig down deeply1 the   
soil having risen over the site of the  
church to the height of two or three    
yards4444  ,the #bjth of ,august we     
lighted on a very old tomb1 which had   
been1 at the demolition of ,st4         
,florentin1 covered with unequal stones4
 ,no doubt the original tombstone had   
been broken1 and1 out of respect for the
 dead1 replaced by slabs belonging to   
the church1 and bearing still some rude 
traces of fresco painting4444 ,it was in
 the choir of the church1 close to the  
wall1 and toward the top of the         
plantation1 where grew the white-cherry 
tree4  ,we uncovered the skeleton with  
great respect2 nothing had occurred to  
disturb the repose of death1 excepting  
that towards the head the roots of the  
tree had overturned the vase of         
charcoal4 ,after displacing a few       

handfuls of earth1 we saw great dignity 
in the attitude of the majestic dead4444
 ,the head rested on the hand as if in  
sleep4 ,this is the only skeleton we    
discovered in this position1 which is   
never given to the dead1 and appears    
that of a deep thinker tired with       
study4444 ,i had brought with me from   
,milan a portrait of ,leonardo da ,vinci
 444 and the skull we had taken from its
 tomb corresponded exactly with the     
drawing4 ,many doctors have seen it1 and
 consider it to be the skull of a       
septuagenarian4 ,eight teeth still      
remain in the jaws1 four above and four 
below4444 ,the brow projects over the   
eyes1 and is broad and high2 the        
occipital arch was ample and purely     
defined4 ,intellect had reigned there1  
but no especial quality predominated4   
,we collected near the head some        
fragments of hair or beard1 and a few   
shreds of brown woollen material4 ,on   
the feet were found some pieces of      
sandals1 still keeping the shape of the 

feet4444  ,the skeleton1 which measured 
five feet eight inches1 accords with the
 height of ,leonardo da ,vinci4 ,the    
skull might have served for the model of
 the portrait ,leonardo drew of himself 
in red chalk a few years before his     
death4 ,m4 ,robert ,fleury1 head master 
of the ,fine ,art ,school of ,rome1 has 
handled the skull with respect1 and     
recognized in it the grand and simple   
outline of this human yet divine head1  
which once held a world within its      
limits4  ,in #ahgc ,italy raised a      
monument to her great genius1 at ,milan4
 ,his statue stands on a lofty pedestal1
 which has four bas-reliefs1            
representing scenes from his life4 ,at  
the four corners are placed statues of  
his principal scholars1--,cesare da     
,sesto1 ,marco d' ,oggione1 ,beltraffio1
 and ,andrea ,solario4  ,all ,leonardo's
 precious manuscripts were bequeathed to
 ,francesco ,melzi1 and unfortunately   
became scattered4 ,about the end of the 
seventeenth century they were mostly in 

the ,ambrosian ,library at ,milan2 but  
the ,french under ,napoleon took        
fourteen of the principal manuscripts1  
leaving only two1 which now form the    
,codex ,atlantico at ,milan4 ,the latter
 is a collection of four hundred of     
,leonardo's drawings and manuscripts4   
,one volume on mathematics and physics  
is among the ,arundel ,manuscripts1 at  
the ,british ,museum4 ,at ,holkham is a 
manuscript of the ,libro ,originali di  
,natura4  ,in #afea ,raphael ,trichet   
,dupresne1 of ,paris1 published a       
selection from ,da ,vinci's works on    
painting1 the ,trattato della ,pittura1 
which has been reprinted twenty-two     
times in six different languages1 one of
 the best guides and counsellors of the 
painter4 ,a ,treatise on the ,motion and
 ,power of ,water was published later4  
,in #ahhc ,jean ,paul ,richter1 ,knight 
of the ,bavarian ,order of ,st4         
,michael1 after years of labor over the 
strange handwriting of ,da ,vinci1 from 
right to left across the page1 published

 much of the work of the great painter1 
reproducing his sketches by             
photogravure4 ,he had access to the     
manuscripts in the ,royal ,library at   
,windsor1 the ,institute of ,france1 the
 ,ambrosian ,library at ,milan1 the     
,louvre1 the ,academy of ,venice1 the   
,uffizi1 the ,royal ,library of ,turin1 
the ,british and ,south ,kensington     
,museums1 and ,christ ,church ,college1 
,oxford4  ,richter says1 ,da ,vinci has 
been unjustly accused of having         
squandered his powers by beginning a    
variety of studies1 and then1 having    
hardly begun1 thrown them aside4 ,the   
truth is that the labors of three       
centuries have hardly sufficed for the  
elucidation of some of the problems     
which occupied his mighty mind4         
,leonardo's astronomical speculations1  
his remarks on fossils1 at that time    
believed to be mere freaks of nature1   
his close study of botany1 his          
researches in chemistry1 color1 heat1   
light1 mechanics1 anatomy1 music1       

acoustics1 and magnetism1 have been an  
astonishment to every reader4  ,among   
his inventions were a proportional      
compass1 a lathe for turning ovals1 an  
hygrometer2 an ingenious surgical probe1
 a universal joint1 dredging machines1  
wheelbarrows1 diving-suits1 a porphyry  
color-grinder1 boats moved by           
paddle-wheels1 a roasting-jack worked by
 hot air1 a three-legged sketching-stool
 which folded up1 a revolving cowl for  
chimneys1 ribbon-looms1 coining presses1
 saws for stone1 silk spindles and      
throwers1 wire-drawing and file-cutting1
 and plate-rolling machines4 ,no wonder 
he was called the all-knowing ,leonardo4
  ,all his work as a poet is lost1 save 
one sonnet3--        ,who cannot do as  
he desires1 must do      ,what lies     
within his power4 ,folly it is      ,to 
wish what cannot be4 ,the wise man holds
      ,that from such wishing he must   
free himself4      ,our joy and grief   
consist alike in this3      ,in knowing 
what to will and what to do2      ,but  

only he whose judgment never strays     
,beyond the threshold of the right      
learns this4      ,nor is it always good
 to have one's wish2      ,what seemeth 
sweet full oft to bitter turns4      ,my
 tears have flown at having my desire4  
,therefore1 ,o reader of these lines1 if
 thou      ,wouldest be good1 and be to 
others dear1      ,will always to be    
able to do right4   ,in ,richter's works
 of ,leonardo are many fables3 ,a razor1
 having come out of the sheath in which 
it was usually concealed1 and placed    
itself in the sunlight1 saw how brightly
 the sun was reflected from its surface4
 ,mightily pleased thereat1 it began to 
reason with itself after this fashion3  
',shall ,i now go back to the shop which
 ,i have just quitted8 ,certainly it    
cannot be pleasing to the gods that such
 dazzling beauty should be linked to    
such baseness of spirit4 ,what a madness
 it would be that should lead me to     
shave the soaped beards of country      
bumpkins6 ,is this a form fitted to such

 base mechanical uses8 ,assuredly not4  
,i shall withdraw myself into some      
secluded spot1 and1 in calm repose1 pass
 away my life4'  ,having therefore      
concealed itself for some months1 on    
leaving its sheath one day and returning
 to the open air1 it found itself       
looking just like a rusty saw1 and      
totally unable to reflect the glorious  
sun from its tarnished surface4 ,it     
lamented in vain this irreparable loss1 
and said to itself1 ',how much better   
had ,i kept up the lost keenness of my  
edge1 by practising with my friend the  
barber4 ,what has become of my once     
brilliant surface8 ,this abominable rust
 has eaten it all up4' ,if genius       
chooses to indulge in sloth1 it must not
 expect to preserve the keen edge which 
the rust of ignorance will soon destroy4
  ,richter also gives many pages of     
terse moral sentiments1 showing that ,da
 ,vinci1 in his more than thirty years  
of writing1--he began to write when he  
was about thirty1--had thought deeply   

and probably conformed his life to his  
thoughts4  ,it is easier to contend with
 evil at the first than at the last4    
,you can have no dominion greater or    
less than that over yourself4  ,if the  
thing loved is base1 the lover becomes  
base4  ,that is not riches which may be 
lost2 virtue is our true good1 and the  
true reward of its possessor4 ,that     
cannot be lost1 that never deserts us1  
but when life leaves us4 ,as to property
 and external riches1 hold them with    
trembling2 they often leave their       
possessor in contempt1 and mocked at for
 having lost them4  ,learning acquired  
in youth arrests the evil of old age2   
and if you understand that old age has  
wisdom for its food1 you will so conduct
 yourself in youth that your old age    
will not lack for nourishment4  ,the    
acquisition of any knowledge is always  
of use to the intellect2 because it may 
thus drive out useless things1 and      
retain the good4  ,avoid studies of     
which the result dies with the worker4  

,reprove your friend in secret1 and     
praise him openly4  ,in the midst of the
 corruption of that age1 we hear no word
 breathed against the character of this 
eager1 brilliant1 many-sided man4 ,he   
won from his pupils the most complete   
devotion1 and he seems to have given as 
fond an affection in return4 ,this      
possibly satisfied the craving of the   
human heart for love4 ,perhaps1 after   
all1 life did not appear as satisfactory
 as he could have wished1 with all his  
worship of the beautiful1 for he says1  
,when ,i thought ,i was learning to     
live1 ,i was but learning to die4 ,he   
seemed at the zenith of his powers when 
death came2 but who shall estimate the  
value of a life by its length8 ,he said1
 ,as a day well spent gives a joyful    
sleep1 so does life well employed give a
 joyful death4444 ,a life well spent is 
long4     ,,raphael ,,of ,,urbino4   ,in
 the history of ,italian art ,raphael   
stands alone1 like ,shakespeare in the  
history of our literature2 and he takes 

the same kind of rank--a superiority not
 merely of degree1 but of quality4444   
,his works have been an inexhaustible   
storehouse of ideas to painters and to  
poets4 ,everywhere in art we find his   
traces4 ,everywhere we recognize his    
forms and lines1 borrowed or stolen1    
reproduced1 varied1 imitated1--never    
improved4  ,illustration3 ,,raphael ,,of
 ,,urbino4  ,some critic once said1     
',show me any sentiment or feeling in   
any poet1 ancient or modern1 and ,i will
 show you the same thing either as well 
or better expressed in ,shakespeare4'   
,in the same manner one might say1      
',show me in any painter1 ancient or    
modern1 any especial beauty of form1    
expression1 or sentiment1 and in some   
picture1 drawing1 or painting after     
,raphael ,i will show you the same thing
 as well or better done1 and that       
accomplished which others have only     
sought or attempted4'  ,to complete our 
idea of this rare union of greatness and
 versatility as an artist with all that 

could grace and dignify the man1 we must
 add such personal qualities as very    
seldom meet in the same individual--a   
bright1 generous1 genial1 gentle spirit2
 the most attractive manners1 the most  
winning modesty4  ,thus writes ,mrs4    
,jameson of the man of whom ,vasari     
said1 ,when this noble artist died1 well
 might ,painting have departed also1 for
 when he closed his eyes1 she too was   
left1 as it were1 blind4444 ,to him of a
 truth it is that we owe the possession 
of invention1 coloring1 and execution1  
brought alike1 and altogether1 to that  
point of perfection for which few could 
have dared to hope2 nor has any man ever
 aspired to pass before him4  ,raphael  
of ,urbino was born at ,colbordolo1 a   
small town in the ,duchy of ,urbino1    
,april #f1 #adhc4 ,his father1 ,giovanni
 ,santi1 was a painter of considerable  
merit1 and was possessed also of poetic 
ability1 as he wrote an epic of two     
hundred and twenty-four pages1 in honor 
of ,federigo of ,montefeltro1 then ,duke

 of ,urbino4 ,this duke was a valiant   
soldier1 and a patron of art and        
literature1 who for years kept twenty or
 thirty persons copying ,greek and      
,latin manuscripts for his library4     
,the mother of ,raphael1 ,magia1 the    
daughter of ,battista ,ciarla1 a        
merchant at ,urbino1 was a woman of     
unusual sweetness of disposition and    
beauty of character4 ,unfortunately she 
died when ,raphael was eight years old4 
,her three other children died young4   
,these years must have been happy ones  
to the gentle1 loving child4 ,their home
 was in the midst of the snowy peaks of 
the ,apennines1 looking towards the blue
 ,adriatic4 ,it is not strange that he  
became a worshipper of the beautiful4   
,nature soon grows to be an inspiring   
companion to those who love her4 ,she   
warms the heart with her exquisite      
pictures of varied earth and sky2 she   
caresses us with the glow of sunlight   
and the fragrance of flowers2 she sings 
us to rest with the melody of the sea   

and the murmur of the trees and the     
brooks4  ,giovanni ,santi married for   
his second wife ,bernardina1 the        
daughter of the goldsmith1 ,pietro di   
,parte1 a woman of strong character1 but
 lacking the gentleness of ,magia4 ,two 
years after this marriage he died1      
leaving ,raphael doubly orphaned at     
eleven years of age4 ,what prospect was 
there that this boy1 without father or  
mother1 without riches or distinguished 
family1 would work his way to renown8   
,the will of ,giovanni left the ,santi  
home to ,bernardina as long as she      
remained a widow1 and the child to her  
care and that of his brother1 a priest1 
,don ,bartolomeo4 ,the latter does not  
appear to have been a very saintly      
minister1 for he and ,bernardina        
quarrelled constantly over the property1
 quite forgetting the development of the
 boy left in their charge4 ,finally     
,magia's brother1 ,simone di ,battista  
,ciarla1 came to an understanding with  
the disputants1 and arranged that the   

lad1 who had worked somewhat in his     
father's studio1 should be placed under 
some eminent painter4  ,pietro ,perugino
 was chosen1 an artist who had one of   
the largest schools in ,italy1 and who  
was noted especially for his coloring   
and profound feeling4 ,it is said that  
when he examined the sketches of the    
boy1 he exclaimed1 ,let him be my pupil3
 he will soon become my master4         
,perugino had been a follower of        
,savonarola1 but after he had seen that 
good man put to death1 he gave up his   
faith in ,god and man4 ,when he was on  
his death-bed1 he refused to see a      
confessor1 saying1 ,i wish to see how a 
soul will fare in that ,land1 which has 
not been confessed4  ,for nine years    
,raphael worked under ,perugino at      
,perugia1 studying perspective and every
 department of art1 and winning the love
 of both master and pupils4 ,when he was
 seventeen1 ,passavant1 in his life of  
,raphael1 says1 the young artist painted
 his first works1 his master being in   

,florence3 a banner for the church of   
the ,trinita of ,citta di ,castello1 and
 the ,crucifixion4 ,the banner has the  
,trinity on one sheet of canvas1 and the
 ,creation of ,man on the other4 ,the   
,crucifixion was bought by ,cardinal    
,fesch at ,rome1 and at the sale of his 
paintings1 in #ahde1 was purchased for  
about twelve thousand five hundred      
dollars4 ,it is now in ,earl ,dudley's  
collection4  ,about this time the       
,coronation of the ,virgin was painted  
for ,madonna ,maddalina degli ,oddi1 a  
lady of great influence1 who obtained   
for ,raphael several commissions1       
concerning which he expresses great joy 
in his letters4 ,how many are willing to
 employ an artist after he is famous2   
how few before6 ,a woman had the heart  
and the good sense to help him in these 
early years1 and she helped the whole   
art world thereby4  ,this picture was   
kept in the ,franciscan church at       
,perugia until #agib1 when it was sent  
to ,paris1 but was restored to ,italy by

 the treaty of #ahae1 and is now in the 
,vatican4  ,for a friend of ,perugia he 
painted the beautiful ,connestabile     
,madonna4 ,the mother of the ,saviour1  
says ,passavant1 a figure of virginal   
sweetness1 is walking in the country1 in
 early spring1 when the trees are still 
bare1 and the distant mountains are     
covered with snow4 ,she is walking along
 pensively1 reading in a little book1 in
 which the child in her arms also looks 
attentively4 ,nothing could be found    
more exquisite4 ,everything in it shows 
that ,raphael must have devoted himself 
to it with especial ardor4  ,this       
picture1 only six and three-fourths     
inches square1 was sold in #ahga to the 
,emperor of ,russia for sixty-six       
thousand dollars4  ,raphael left the    
studio of ,perugino in the beginning of 
#aejd1 before he was twenty-one1 and    
painted for the ,franciscans1 at ,citta 
di ,castello1 the ,marriage of the      
,virgin1 now the chief ornament of the  
,brera gallery at ,milan1 and called the

 ,sposalizio4 ,the ,virgin is attended  
by five women1 and ,st4 ,joseph by five 
young men who were once ,mary's suitors4
 ,the despair of the lovers is shadowed 
forth by the reeds they hold2 they will 
never flower2 and the handsomest youth  
is breaking his across his knees4       
,grimm says of this picture1 ,next to   
the ,sistine ,madonna1 it may be        
considered ,raphael's most popular work4
 ,in the figures of this composition we 
recognize types of all the different    
ages of man1 which allow every one who  
stands before it1 whether young or old1 
to feel as if the artist had been the   
confidant of all the thoughts and       
feelings appropriate to his period of   
life4444 ,raphael's elegance obtrudes   
itself nowhere1 as with other artists is
 so often the case4 ,beside this1 the   
harmony of his colors1 which1 although  
hitting against one another almost      
sharply1 still have the effect of a bed 
of flowers whose varied hues combine    
agreeably4 ,a youthful delight in the   

brilliancy of color is apparent1 which  
later yielded to a different taste4     
,like ,duerer1 ,raphael might have      
confessed1 in his ripest years1 that    
while young he loved a certain          
garishness of coloring1 such as he had  
afterward renounced4  ,raphael now      
returned to ,urbino1 where he painted   
for the reigning duke1 ,st4 ,george     
slaying the ,dragon and ,st4 ,michael   
attacking ,satan4 ,he made many friends 
among the noted people of the court1    
but1 full of ambition1 and having heard 
of the works of ,da ,vinci and ,michael 
,angelo at ,florence1 he was extremely  
anxious to go to that city4 ,a lady1 as 
previously1 took interest in the boyish 
artist1 and wrote to ,pietro ,soderini1 
the ,gonfaloniere of ,florence1 the     
following letter of introduction3--     
,most magnificent and powerful lord1    
whom ,i must ever honor as a father1--  
,he who presents this letter to you is  
,raphael1 a painter of ,urbino1 endowed 
with great talent in art4 ,he has       

decided to pass some time in ,florence1 
in order to improve himself in his      
studies4 ,as the father1 who was dear to
 me1 was full of good qualities1 so the 
son is a modest young man of            
distinguished manners2 and thus ,i bear 
him an affection on every account1 and  
wish that he should attain perfection4  
,this is why ,i recommend him as        
earnestly as possible to your ,highness1
 with an entreaty that it may please    
you1 for love of me1 to show him help   
and protection on every opportunity4 ,i 
shall regard as rendered to myself1 and 
as an agreeable proof of friendship to  
me1 all the services and kindness that  
he may receive from your ,lordship4     
,from her who commends herself to you1  
and is willing to render any good       
offices in return4  ,,joanna ,,feltra   
,,de ,,ruvere1 sic4 ,duchess of ,sora1  
and ,prefectissa of ,rome4   ,with this 
cordial letter from the sister of the   
,duke of ,urbino1 he entered the ,city  
of ,flowers4 ,he was now a youth of     

twenty-one1 slight in figure1 five feet 
eight inches tall1 with dark brown eyes 
and hair1 perfect teeth1 and the kindest
 of hearts4 ,he was received into the   
homes of the patricians1 and was asked  
to paint pictures for them4 ,meantime he
 used every spare moment in study4      
,especially did the works of ,masaccio  
and ,leonardo da ,vinci1 says           
,passavant1 reveal to ,raphael his own  
wonderful powers1 until then almost     
concealed4 ,awakened suddenly1 and      
excited with the inspiration that seemed
 all at once to flow in on him from     
every side1 he pushed forward at once   
towards the perfection he was so soon to
 attain4  ,he copied the horsemen in ,da
 ,vinci's battle of ,anghiari2 made     
sketches from life of the children of   
the ,florentines1 in his book of        
drawings1 now to be seen in the ,academy
 of ,venice2 stood entranced before the 
gates of ,ghiberti1 and that marvel of  
beauty1 the ,campanile of ,giotto4      
,raphael now painted for his friend1    

,lorenzo ,nasi1 the ,madonna della ,gran
 ,duca1 now in the ,pitti ,palace4      
,until the end of the last century this 
picture was in the possession of a poor 
widow1 who sold it to a bookseller for  
twelve scudi4 ,finally the ,grand ,duke 
,ferdinand ,,iii4 of ,tuscany bought it1
 and carried it with him through all his
 journeys1 praying before it night and  
morning4 ,the bold1 commanding1 and     
luminous style1 says ,passavant1 in     
which the painting stands out from the  
background1 makes the figure and divine 
expression of the head still more       
impressive4 ,thanks to all these        
qualities united1 this ,madonna produces
 the effect of a supernatural           
apparition4 ,in short1 it is one of the 
masterpieces of ,raphael4  ,another     
,madonna on wood1 thirty-five inches in 
diameter1 owned by the ,terranuova      
family until #ahed1 was purchased for   
the ,berlin ,museum1 for thirty-four    
thousand dollars4  ,after some other    
works1 ,raphael went back to ,urbino and

 ,perugia1 but1 eager and restless for  
,florence1 he soon returned to that city
 and was cordially welcomed4 ,his       
enthusiasm inspired every artist1 and   
his modest deference to the opinions of 
others won him countless friends2 the   
only very distinguished man1 as ,mrs4   
,jameson says1 of whom we read1 who     
lived and died without an enemy or a    
detractor6 ,between #aejf and #aejh1    
besides the ,temfi ,madonna now of      
,munich1 and the ,colonna ,madonna at   
,berlin1 the ,ansidei ,madonna was      
painted for the ,ansidei family of      
,perugia as an altar-piece in the church
 of ,s4 ,fiorenzo4 ,it represents the   
,virgin on a throne1 with ,jesus on her 
right knee1 and an open book on her     
left1 from which mother and child are   
reading4 ,the painting was purchased in 
#ahhd by the ,national ,gallery for the 
,duke of ,marlborough for the enormous  
sum of three hundred and fifty thousand 
dollars4  ,on the marriage of his       
patrician friend1 ,lorenzo ,nasi1 he    

painted for him the ,madonna with the   
,goldfinch1 called also the ,madonna del
 ,cardellino1 now in the ,uffizi4 ,the  
,virgin is seated holding a book1 while 
,st4 ,john is offering to the infant    
,saviour a goldfinch1 which the child is
 about to caress4 ,another picture1     
painted for his intimate friend ,taddeo 
,taddei1 a learned ,florentine1 ,the    
,holy ,family under the ,palm ,tree1    
round1 and forty-two and three-fourths  
inches in diameter1 was purchased by the
 ,duke of ,bridgewater1 for sixty       
thousand dollars1 and is now in the     
possession of ,lord ,ellesmere1 in      
,london4  ,again ,raphael returned to   
the court of ,urbino1 always winning to 
himself the most educated and the       
noblest among the distinguished men and 
women4 ,pietro ,bembo1 secretary to ,leo
 ,x4 and a cardinal under ,paul ,,iii41 
one of the most celebrated writers of   
the time1 was very fond of ,raphael2    
,count ,baldassare ,castiglione1 a      
writer and diplomatist1 was one of the  

artist's most loved companions2         
,bernardo ,divizio da ,bibiena1 author  
of ,la ,calandra1 the first prose comedy
 written in ,italy1 loved him as a      
brother2 ,francesco ,francia and ,fra   
,bartolomeo1 the noted artists1 were his
 ardent friends4  ,something beside     
genius drew all these men and scores of 
others to ,raphael4 ,vasari says1 ,every
 vile and base thought departed from the
 mind before his influence4 ,there was  
among his extraordinary gifts one of    
such value and importance that ,i can   
never sufficiently admire it1 and always
 think thereof with astonishment4 ,this 
was the power accorded to him by        
,heaven1 of bringing all who approached 
his presence into harmony2 an effect    
inconceivably surprising in our calling1
 and contrary to the nature of our      
artists1 yet all1 ,i do not say of the  
inferior grades only1 but even those who
 lay claim to be great personages1      
became as of one mind once they began to
 labor in the society of ,raphael1      

continuing in such unity and concord1   
that all harsh feelings and evil        
dispositions became subdued and         
disappeared at the sight of him4444     
,such harmony prevailed at no other time
 than his own4 ,and this happened       
because all were surpassed by him in    
friendly courtesy as well as in art2 all
 confessed the influence of his sweet   
and gracious nature1 which was so       
replete with excellence1 and so perfect 
in all the charities1 that not only was 
he honored by men1 but even by the very 
animals1 who would constantly follow his
 steps and always loved him4  ,we find  
it related that whenever any other      
painter1 whether known to ,raphael or   
not1 requested any design or assistance 
of whatever kind at his hands1 he would 
invariably leave his work to do him     
service2 he continually kept a large    
number of artists employed1 all of whom 
he assisted and instructed with an      
affection which was rather as that of a 
father to his children than merely as of

 an artist to artists4 ,from these      
things it followed that he was never    
seen to go to court1 but surrounded and 
accompanied1 as he left his house1 by   
some fifty painters1 all men of ability 
and distinction1 who attended him thus  
to give evidence of the honor in which  
they held him4 ,he did not1 in short1   
live the life of a painter1 but that of 
a prince4  ,wherefore1 ,o art of        
painting6 well mightest thou for thy    
part1 then1 esteem thyself most happy1  
having1 as thou hadst1 one artist1 among
 thy sons1 by whose virtues and talents 
thou wert thyself exalted to heaven4    
,thrice blessed indeed mayest thou      
declare thyself1 since thou hast seen   
thy disciples1 by pursuing the footsteps
 of a man so exalted1 acquire the       
knowledge of how life should be         
employed1 and become impressed with the 
importance of uniting the practice of   
virtue to that of art4  ,raphael allowed
 people to pursue their own course1     
without attempting to dominate4 ,he said

 to ,cesare da ,sesto1 one of ,da       
,vinci's most distinguished pupils1 ,how
 does it happen1 dear ,cesare1 that we  
live in such good friendship1 but that  
in the art of painting we show no       
deference to each other4 ,finally1      
however1 ,cesare adopted ,raphael's     
methods from choice4  ,raphael was      
modest in manner1 never monopolizing the
 time or conversation of others4 ,he    
made the best of things1 overlooking the
 petty matters which some persons allow 
to wear and imbitter their dispositions4
 ,he worked hard1 performing an amount  
of labor which has been the astonishment
 of the world ever since his death2 he  
was somewhat frail in body2 he was not  
rich in this world's goods2 sweet in    
nature and refined in spirit1 it is to  
be presumed that he kept his troubles in
 his own heart1 unspoken to others4 ,he 
loved ardently1 and was as ardently     
loved in return4 ,he was appreciative1  
sympathetic1 tender1 and gracious4      
,herrmann ,grimm says1 ,such men pass   

through life as a bird flies through the
 air4 ,nothing hinders them4 ,it is all 
one to the stream whether it flows      
through the plain smoothly in one long  
line1 or meanders round rocks in its    
winding course4 ,it is no circuitous way
 for it1 thus to be driven right and    
left in its broad course2 it is sensible
 of no delay when its course is         
completely dammed4 ,swelling easily1 it 
widens out into the lake1 until at      
length it forces a path for its waves2  
and the power with which it now dashes  
on is just as natural as the repose with
 which it had before changed its course4
  ,raphael1 ,goethe1 and ,shakespeare   
had scarcely outward destinies4 ,they   
interfered with no apparent power in the
 struggles of their people4 ,they       
enjoyed life2 they worked2 they went    
their way1 and compelled no one to      
follow them4 ,they obtruded themselves  
on none2 and they asked not the world to
 consider them1 or to do as they did4   
,but the others all came of themselves1 

and drew from their refreshing streams4 
,can we mention a violent act of        
,raphael's1 ,goethe's1 or               
,shakespeare's8  ,goethe1 who seems so  
deeply involved in all that concerns us1
 who is the author of our mental        
culture1 nowhere opposed events2 he     
turned wherever he could advance most   
easily4 ,he was diligent4 ,he had in his
 mind the completion of his works4      
,schiller wished to produce and to gain 
influence2 ,michael ,angelo wished to   
act1 and could not bear that lesser men 
should stand in the front1 over whom he 
felt himself master4 ,the course of     
events moved ,michael ,angelo1 and      
animated or checked his ideas4 ,it is   
not possible to extricate the           
consideration of his life from the      
events going on in the world1 while     
,raphael's life can be narrated         
separately like an idyl4  ,raphael1     
while still under ,perugino1 had        
received from ,donna ,atalanta ,baglioni
 the order for an ,entombment for the   

,church of the ,franciscans4 ,this he   
painted in #aejg4 ,a century later the  
monks sold it to ,pope ,paul ,v41 who   
had it removed to the ,borghese ,palace 
in ,rome4  ,the body of ,christ is being
 borne to the tomb by two men4 ,the     
weeping ,magdalen is holding his hand1  
and the ,virgin is fainting in the arms 
of three women4  ,grimm says1 ,the      
bearers of the body move along1         
conscious of carrying a noble burden4   
,and ,christ1 himself1 beauty1 serenity1
 and mercy dwell in him in fullest      
measure1 as if his spirit still both    
informed his body and glorified it4     
,only ,raphael could undertake to paint 
this4 ,no one before or after him could 
so simply and naturally picture the     
earthly form1 irradiated with heavenly  
light4  ,st4 ,catherine of ,alexandria1 
painted at this time1 now in the        
,national ,gallery of ,london1 says     
,passavant1 is one of the works which   
nothing can describe2 neither words nor 
a painted copy1 nor engravings1 for the 

fire in it appears living1 and is       
perfectly beyond the reach of imitation4
  ,la ,belle ,jardiniere1 in the        
,louvre1 considered one of the best and 
most beautiful of ,raphael's works1     
represents the ,virgin in the midst of  
rich landscape1 the ground covered with 
grass and flowers1 while the infant     
,christ looks up to her with great      
tenderness4 ,it is said that the model  
was a lovely flower-girl to whom the    
painter was much attached4  ,while      
finishing this picture he was called to 
,rome by the famous ,pope ,julius ,,ii41
 and went to the ,eternal ,city with    
great hope and delight4  ,he was now    
twenty-five1 and the most important work
 of his life lay before him4 ,julius    
,,ii4 had refused to take possession of 
the rooms in the ,vatican which had been
 used by the depraved ,alexander ,,vi4  
,he said1 when it was suggested to      
remove the mural portraits of that pope1
 ,even if the portraits were destroyed1 
the walls themselves would remind me of 

that ,simoniac1 that ,jew6  ,michael    
,angelo was already at work upon the    
great monument for ,julius4 ,now the    
pope desired to enlarge and beautify the
 ,vatican1 and make that his monument as
 well4 ,he received ,raphael with the   
greatest cordiality4 ,it is said that   
when ,raphael knelt down before him1 his
 chestnut locks falling upon his        
shoulders1 the pope exclaimed1 ,he is an
 innocent angel4 ,i will give him       
,cardinal ,bembo for a teacher1 and he  
shall fill my walls with historical     
pictures4 ,julius commissioned him to   
fresco the hall of the judicial         
assembly1 called ,la ,segnatura4 ,the   
first fresco1 done between #aejh and    
#aeji1 is called ,theology or the       
,dispute on the ,holy ,sacrament 7,la   
,disputa74  ,in the upper part appear   
the three figures of the ,holy ,trinity1
 each surrounded by a glory4 ,above all 
is the ,almighty ,father1 in the midst  
of the seraphim1 cherubim1 and a        
countless host of angels1 who sing the  

',holy1 holy1 holy1 ,lord ,god of       
hosts4' ,below the ,father1 amidst the  
saints of the celestial kingdom1 the    
,saviour is enthroned2 a little lower1  
the ,holy ,spirit is descending on men4 
,at the right of the ,saviour1 the      
,virgin is seated1 bending towards him  
in adoration2 and at her left is ,st4   
,john the ,baptist1 who is pointing     
towards him4 ,on a large half-circle of 
clouds1 which extends to the extreme    
limits of the picture1 are seated       
patriarchs1 prophets1 and martyrs1      
representing the communion of saints4   
,commencing at the extreme point to the 
right of ,christ1 we see the apostle    
,st4 ,peter1 holding the ,holy          
,scriptures and the two keys4444 ,at his
 side1 in the expectation of mercy and  
pardon1 is ,adam1 the father of the     
human race4 ,near ,adam is ,st4 ,john1  
the apostle loved by ,christ1 writing   
down his divine visions2 afterwards1    
,david1 the head of the terrestrial     
family of our ,lord1 the sweet psalmist 

who sang the praises of ,god2 then ,st4 
,stephen1 the first martyr2 and lastly1 
a saint half concealed by the clouds4   
,on the other side1 at the right of the 
spectator1 is ,st4 ,paul1 holding a     
sword in remembrance of his martyrdom1  
and also as a symbol of the penetrating 
power of his doctrine4 ,by his side is  
,abraham1 with the knife to sacrifice   
,isaac1 the first type of the sacrifice 
of ,christ2 then the apostle ,st4       
,james1 the third witness of the        
transfiguration of the ,saviour1 the    
religious type of hope1 as ,st4 ,peter  
is of faith and ,st4 ,john of love4     
,moses follows with the tables of the   
law4 ,st4 ,lawrence corresponds to ,st4 
,stephen2 and lastly we perceive a      
warlike figure1 which is believed to be 
,st4 ,george1 the patron saint of       
,liguria2 in honor1 no doubt1 of ,julius
 ,,ii41 who was born in that country4   
,the ,holy ,spirit1 under the form of a 
dove1 surrounded by four cherubim1 who  
hold the four books of the ,gospel open1

 is descending upon the assembly of     
believers4  ,this sort of council1      
expressing theological life1 is united  
in a half-circle around the altar1 on   
which the ,eucharist is exposed on a    
monstrance4 ,nearest to the altar1 on   
both sides1 come the four great fathers 
of the church1 the columns of ,roman    
,catholicism2 to the left1 ,st4 ,jerome1
 the type of contemplative life1        
absorbed in profound meditation on the  
,scriptures2 near him are two books1 one
 containing his ',letters1' the other   
the ,vulgate4 ,opposite is ,st4         
,ambrose1 active especially in the      
militant church3 he is raising his eyes 
and hands towards heaven1 as if         
delighted with the angelic harmonies4   
,st4 ,augustine1 whom he converted to   
,christianity1 is beside him1 and is    
dictating his thoughts to a young man   
seated at his feet4 ,his book on the    
',city of ,god' is lying by him4 ,st4   
,gregory the ,great1 clothed in the     
tiara and pontifical mantle1 is opposite

 ,st4 ,augustine4 ,his book on ,job1    
with the superscription1 ',liber        
,moralium1' is also on the ground beside
 him4  ,besides these1 among the fifty  
or more figures1 are other priests and  
philosophers1 all discussing the great  
questions pertaining to the redemption  
of the world4  ,the pope was so         
overjoyed on the completion of this     
picture that he is said to have thrown  
himself upon the ground1 exclaiming1    
with uplifted hands1 ,i thank thee1     
great ,god1 that thou hast sent me so   
great a painter6  ,with ,la ,disputa the
 romance of ,raphael's life begins4     
,while he was painting this1 tradition  
says that he fell in love with          
,margherita1 the daughter of a          
soda-manufacturer1 who lived near ,santa
 ,cecilia1 on the other side of the     
,tiber4 ,passavant says1 quoting from   
,missirini1 ,a small house1 ,no4 #bj1 in
 the street of ,santa ,dorotea1 the     
windows of which are decorated with a   
pretty framework of earthenware1 is     

pointed out as the house where she was  
born4  ,the beautiful young girl was    
very frequently in a little garden      
adjoining the house1 where1 the wall not
 being very high1 it was easy to see her
 from outside4 ,so the young men1       
especially artists1--always passionate  
admirers of beauty1--did not fail to    
come and look at her1 by climbing up    
above the wall4  ,raphael is said to    
have seen her for the first time as she 
was bathing her pretty feet in a little 
fountain in the garden4 ,struck by her  
perfect beauty1 he fell deeply in love  
with her1 and1 after having made        
acquaintance with her1 and discovered   
that her mind was as beautiful as her   
body1 he became so much attached as to  
be unable to live without her4 ,she has 
been called ,fornarina1 because she was 
long supposed to be the daughter of a   
baker 7fornajo74  ,on the rough studies 
made for the ,disputa1 now preserved in 
,vienna1 ,london1 and elsewhere1 three  
love sonnets have been found in the     

artist's handwriting1 showing that while
 he mused over heavenly subjects1 with  
the faces of ,peter and ,john before    
him1 he had another face1 more dear and 
beautiful than either1 in his mind4     
,eugene ,muntz1 the librarian to the    
,ecole ,nationale des ,beaux-,arts1 who 
says of these sonnets1 ,so great is his 
delicacy of feeling1 his reserve and    
discretion1 that we can scarcely analyze
 his dominant idea1 gives the following 
translation3--  ,love1 thou hast bound  
me with the light of two eyes which     
torment me1 with a face like snow and   
roses1 with sweet words and tender      
manners4 ,so great is my ardor that no  
river or sea could extinguish my fire4  
,but ,i do not complain1 for my ardor   
makes me happy4444 ,how sweet was the   
chain1 how light the yoke of her white  
arms around my neck4 ,when those bonds  
were loosed1 ,i felt a mortal grief4 ,i 
will say no more2 a great joy kills1    
and1 though my thoughts turn to thee1 ,i
 will keep silence4  ,just as ,paul1    

descended from the skies1 was unable to 
reveal the secrets of ,god1 so ,raphael 
is unable to reveal the thoughts of his 
beating heart4 ,he thanks and praises   
love1 and yet the pain of separation is 
intense4 ,he feels like mariners who    
have lost their star4  ,to this love he 
was probably constant through life1 the 
short twelve years which remained4 ,when
 he painted the ,farnesina1 the palace  
of the rich banker1 ,agostino ,chigi1   
years afterward1 ,vasari says1 ,raphael 
was so much occupied with the love which
 he bore to the lady of his choice1 that
 he could not give sufficient attention 
to the work4 ,agostino1 therefore1      
falling at length into despair of seeing
 it finished1 made so many efforts by   
means of friends and by his own care    
that after much difficulty he at length 
prevailed on the lady to take up her    
abode in his house1 where she was       
accordingly installed1 in apartments    
near those which ,raphael was painting2 
in this manner the work was ultimately  

brought to a conclusion4  ,he painted   
her portrait1 now in the ,barberini     
,palace1 it is believed1 in #aeji4 ,it  
represents a girl only half-clothed1    
seated in a myrtle and laurel wood4 ,a  
striped yellow stuff surrounds her head 
as a turban1 and imparts something      
distinguished and charming to her       
features1 says ,passavant4  444 ,with   
her right hand she holds a light gauze  
against her breast4 ,her right arm1     
encircled with a golden bracelet1 rests 
on her knees1 which are covered by red  
drapery4 ,on the bracelet ,raphael has  
inscribed his name with the greatest    
care4  ,the face did not seem to me     
beautiful when ,i saw it in ,rome a few 
years ago1 but certainly does not lack  
expression1 making one feel that the    
mind which ,raphael discovered to be as 
beautiful as the body was equally potent
 with the warmhearted artist4  ,grimm   
says1 ,the portrait of the young girl or
 woman in the ,barberini ,palace is a   
wonderful painting4 ,i call it so       

because it bears about it in a high     
degree the character of mysterious      
unfathomableness4 ,we like to           
contemplate it again and again4444 ,her 
hair is brilliantly black1 parted over  
the brow1 and smoothly drawn over the   
temples1 behind the ear2 the head is    
encircled with a gay handkerchief1 like 
a turban1 the knots of which lie on one 
side above the ear1 pressing it a little
 with their weight4  ,she is slightly   
bent forward4 ,she sits there with her  
delicate shoulder a little turned to the
 left2 she seems looking stealthily at  
her lover1 to watch him as he paints1   
and yet not to stir from her position1  
because he has forbidden it4 ,it seems  
to him1 however1 to be a source of the  
most intense pleasure to copy her       
accurately1 and in no small matter to   
represent her otherwise than as he saw  
her before him4 ,we fancy her to feel   
the jealousy1 the vehemence1 the joy1   
the unalterable good-humor1 and the     
pride springing from the happiness of   

being loved by him4 ,he1 however1       
painted it all because he was capable of
 these feelings himself in their        
greatest depth4 ,if his pictures do not 
betray this1 his poems do4  ,muntz says1
 ,from a technical point of view1 the   
work is a masterpiece4 ,never1 perhaps1 
has ,raphael given such delicacy and    
subtlety to his carnations2 never did he
 create a fuller life2 we can see the   
blood circulate2 we can feel the beating
 pulse4 ,thus the picture is a continual
 source of envy and despair to modern   
realists4  ,crowe and ,cavalcaselle1 in 
their life of ,raphael1 speak of the    
warm tone of flesh burnished to a nicety
 and shaded with exceptional force1 in  
this picture4 ,the coal-black eyes have 
a fascinating look of intentness1 which 
is all the more effective as they are   
absolutely open1 under brows of the     
purest curves4444 ,the forehead has a   
grand arch1 the cheeks are broad1 the   
chin rounded and small4 ,the contours   
are all circular4 ,the flesh has a      

fulness which characterizes alike the   
neck1 the drooping shoulders1 and the   
arms and extremities4  ,passavant thus  
speaks of a portrait in ,florence1 which
 belonged to the ,grand ,duke of        
,tuscany4 ,this portrait in the ,pitti  
,palace bears a strong resemblance to   
the ,madonna di ,san ,sisto 7,dresden   
,museum71 with this difference1 however1
 that the features of the ,virgin are   
ennobled4 ,the woman in the portrait is 
a handsome ,roman1 but of quite         
individual character4 ,her form is      
powerful1 her costume sumptuous1 her    
beautiful black eyes flash1 her mouth is
 refined and full of grace4  ,if this   
portrait1 as may well be believed1      
represents the same person as that of   
the ,barberini house1 we are compelled  
to admit that the countenance1 always   
intelligent1 of this young girl1 had    
become wonderfully animated in the time 
between the execution of the two        
portraits4 ,however1 he adds1 it would  
be indeed astonishing if constant       

intercourse with the author of so many  
masterpieces1 and one of the most       
perfect human organizations that nature 
ever produced1 should have failed to    
influence the facile character of a     
young girl4 ,this second portrait1 to   
judge by the manner in which it is      
painted1 must belong to the last years  
of ,raphael's life4  ,with this fervent 
and lasting love for ,margherita in his 
heart1 ,raphael painted the other three 
mural paintings in the ,vatican hall3   
the ,parnassus1 ,apollo surrounded by   
the ,nine ,muses1 ,homer singing1 ,dante
 and ,virgil conversing1 with ,pindar1  
,sappho1 ,horace1 ,petrarch1 ,ovid1 and 
others2 ,jurisprudence1 with ,emperor   
,justinian and ,gregory ,,ix41 the one  
founding the laws of the ,state1 the    
other the laws of the ,church2 the      
,school of ,athens1 with the masters of 
ancient philosophy and science          
assembled4  ,on the left we see the most
 ancient of the philosophic schools     
gathered around ,pythagoras4 ,socrates1 

,plato1 and ,aristotle are surrounded by
 their pupils2 ,archimedes and          
,zoroaster are the central figures of   
the interested group4 ,diogenes sits on 
the central steps of the grand hall     
where more than fifty great men are     
assembled4  ,passavant says1 ,in the    
',school of ,athens1' ,raphael showed   
the full power of his genius1 and that  
he was completely master both of his    
style and of his execution4 ,in the part
 of this picture requiring great        
learning1 it is possible1 and indeed    
highly probable1 that ,raphael consulted
 the most erudite of his friends1 and   
amongst others the ,count ,castiglione1 
who had just come to settle at ,rome4   
,however this may be1 to ,raphael alone 
belongs the great honor of having       
succeeded in representing1 in a single  
living and distinct image1 the          
development of ,greek philosophy4 ,it   
was ,raphael who conceived the idea of  
grouping the personages according to the
 rank they occupy in history1 and       

rendered the tendencies of these        
philosophers apparent1 not merely by    
ingenious grouping1 but also by their   
actions1 their attitudes1 and           
countenances4  ,this fresco1 in which he
 rose to such dignity and to such a     
grand style1 is justly considered as the
 most magnificent work the master ever  
produced4 ,it does1 indeed1 unite the   
technical experience of drawing1        
coloring1 and touch--the conquests of   
the more modern schools--to the severity
 bequeathed to them by the more ancient 
ones4444  ,a great era in arts1 as in   
literature1 does not always follow the  
appearance of an extraordinary genius4  
,it comes on gradually1 and its progress
 may be noted4 ,it has its infancy1 and 
with it the simplicity belonging to that
 age2 then its youth1 with the grace and
 sentiments natural to youth2 afterwards
 maturity1 with its increased power4    
,raphael was the highest expression of  
the art of the sixteenth century2 he    
attained its greatest perfection4 ,he   

was a continuation of the chain of      
artists in his time1 and was its last   
and brightest link4  ,eugene ,muntz     
calls this papal hall1 the ,stanza della
 ,segnatura1 the most splendid sanctuary
 of modern art4 ,the profundity of      
ideas1 the nobility of the style1 and   
the youthful vitality which prevails in 
every detail of the decoration1 make up 
a monumental achievement which is       
without parallel in the annals of       
painting1 without equal even among the  
other works of ,raphael himself4        
,during the three years' work in this   
hall1 ,raphael painted several other    
pictures3 the magnificent portrait of   
,pope ,julius ,,ii41 now in the ,pitti  
,palace2 the ,madonna di ,foligno1 now  
in the ,vatican1 a large altar-piece for
 ,sigismondo ,conti di ,foligno1 private
 secretary to the pope2 the ,virgin     
seated on golden clouds surrounded by   
half-length angels against a blue sky4  
,a burning globe1 with a rainbow above  
it1 is falling from the sky4 ,according 

to tradition this globe is a bomb1 and  
bears reference to the danger incurred  
by ,sigismondo at the siege of ,foligno1
 his native town1 and the rainbow may be
 considered symbolical of the           
reconciliation of the donor with ,god4  
,the ,madonna della ,casa d',alba1      
round1 on wood1 only nine and one-half  
inches in diameter1 was originally in a 
church at ,nocera de ,pagani1 in the    
,neapolitan ,states1 and later was owned
 by the ,duke of ,alba1 at ,madrid4 ,the
 ,duchess of ,alba gave it to her       
doctor1 in her will1 for curing her of a
 dangerous disease4 ,she died very soon1
 and the doctor was arrested on         
suspicion of poison1 but was finally    
liberated4 ,the painting came into the  
possession of the ,emperor of ,russia1  
for seventy thousand dollars1 and is in 
the ,hermitage4  ,the ,madonna del      
,pesce1 the gem of the ,italian ,gallery
 of the ,madrid ,museum1 which some     
persons rank equal to the ,sistine      
,madonna1 represents the ,virgin holding

 the ,child1 who rests his hand on an   
open book4 ,tobias1 holding a fish1 and 
led by an angel1 implores a cure for his
 father's blindness4  ,raphael also     
executed for the wealthy ,agostino      
,chigi1 the protege of ,julius ,,ii4 and
 ,leo ,x41 the frescos in the ,church   
,santa ,maria della ,pace4 ,cinelli     
tells this anecdote3 ,raphael of ,urbino
 had painted for ,agostino ,chigi1 at   
,santa ,maria della ,pace1 some prophets
 and sibyls1 on which he had received an
 advance of five hundred scudi4 ,one day
 he demanded of ,agostino's cashier     
7,giulio ,borghesi7 the remainder of the
 sum at which he estimated his work4    
,the cashier1 being astonished at this  
demand1 and thinking that the sum       
already paid was sufficient1 did not    
reply4 ',cause the work to be estimated 
by a judge of painting1' replied        
,raphael1 'and you will see how moderate
 my demand is4'  ,giulio ,borghesi      
thought of ,michael ,angelo for this    
valuation1 and begged him to go to the  

church and estimate the figures of      
,raphael4 ,possibly he imagined that    
self-love1 rivalry1 and jealousy would  
lead the ,florentine to lower the price 
of the pictures4  ,michael ,angelo went1
 accompanied by the cashier1 to ,santa  
,maria della ,pace1 and1 as he was      
contemplating the fresco without        
uttering a word1 ,borghesi questioned   
him4 ',that head1' replied ,michael     
,angelo1 pointing to one of the ,sibyls1
 'that head is worth a hundred          
scudi4'444 ',and the others8' asked the 
cashier4 ',the others are not less4'    
,some who witnessed this scene related  
it to ,chigi4 ,he heard every           
particular1 and1 ordering1 in addition  
to the five hundred scudi for five      
heads1 a hundred scudi to be paid for   
each of the others1 he said to his      
cashier1 ',go and give that to ,raphael 
in payment for his heads1 and behave    
very politely to him1 so that he may be 
satisfied2 for if he insists on my also 
paying for the drapery1 we should       

probably be ruined4'  ,from #aeab to    
#aead1 ,raphael frescoed the second     
,vatican hall1 ,la ,stanza d',eliodoro4 
,the first mural painting was ,the      
,miraculous ,expulsion of ,heliodorus   
from the ,temple at ,jerusalem1 the     
angels attacking him as he is taking the
 money destined for widows and orphans4 
,the second fresco is the ,miracle of   
,bolsena1 where1 in the reign of ,urban 
,,iv41 a priest1 who doubted the reality
 of transubstantiation1 saw the blood   
flow from the ,host while he was        
celebrating mass4 ,these are called the 
most richly colored frescos in the      
world1 exceeding the celebrated ones of 
,titian in the ,scuola di ,san ,antonio1
 at ,padua4  ,the third fresco          
represents the ,deliverance of ,st4     
,peter from ,prison1 and the fourth1    
,attila arrested in his march on ,rome  
in #deb1 by the apparition of ,st4      
,peter and ,st4 ,paul4 ,a frightful     
hurricane is raging at the time1 and the
 ,huns are filled with terror4 ,leo ,x41

 who had succeeded ,julius ,,ii41       
desired to be immortalized instead of   
,st4 ,leo1 so1 with a touch of human    
nature not entirely spiritual1 caused   
himself and his court1 driving the      
,french under ,louis ,,xii4 out of      
,italy1 to be painted in the picture4   
,passavant says1 ,a few very animated   
groups of soldiers had to be sacrificed2
 but on the whole the composition gained
 by the alteration1 from the contrast of
 the calm gentleness of the pontiff with
 the ferocity of the barbarians4 ,in    
execution this fresco may be considered 
as one of the most perfect by this      
master4  ,while this second room in the 
,vatican was being painted1 ,raphael1 as
 usual1 was engaged also in other work4 
,in the ,chigi palace1 or ,farnesina1 he
 painted the beautiful fresco1 ,galatea4
 ,the subject is taken from the         
narrative of ,philostratus about the    
,cyclops4 ,in the fresco1 says          
,passavant1 ,galatea is gently sailing  
on the waves4 ,love guides the shell1   

which is drawn by dolphins1 and         
surrounded by tritons and marine        
centaurs1 who bear the nymphs4 ,little  
cupids in the air are shooting arrows at
 them4 ,all these figures form a        
contrast with the beautiful ,galatea1   
whose languid eyes are raised to heaven1
 the centre of all noble aspirations4   
,galatea is an image of beauty of soul  
united to that of the body4 ,it is1     
indeed1 a sort of glorified nature2 or1 
rather1 a goddess clad in human form4   
,raphael's genius defies all comparison1
 and has attained in this masterpiece a 
height which approaches very nearly to  
perfection4  ,this fresco won the most  
enthusiastic praise4 ,his friend1 ,count
 ,castiglione1 wrote him in hearty      
commendation1 and ,raphael replied1--   
,as for 'the ,galatea1' ,i should think 
myself a great master if it possessed   
one-half the merits of which you write1 
but ,i read in your words the love you  
bear to myself4 ,to paint a figure truly
 beautiful1 ,i should see many beautiful

 forms1 with the further provision that 
you should be present to choose the most
 beautiful4 ,but1 good judges and       
beautiful women being rare1 ,i avail    
myself of certain ideas which come into 
my mind4 ,if this idea has any          
excellence in art ,i know not1 although 
,i labor heartily to acquire it4  ,how  
modest the spirit of this letter1 and   
how fully it shows that the young artist
 lived in an ideal world1 filled with   
exquisite things of his own creating4   
,some natures always see roses instead  
of thorns1 sunshine behind the clouds2  
believe in goodness and purity rather   
than in sin and sorrow2 and such natures
 make the world lovelier by their       
uplifting words and hopes4  ,the famous 
artist1 now thirty-one1 had become      
wealthy1 and had built for himself a    
tasteful and elegant home on the ,via di
 ,borgo ,nuova1 not far from the        
,vatican4 ,the ground floor of the      
facade was of rustic architecture1 with 
five arched doors1 four of which were   

for the offices1 and the one in the     
centre for the entrance to the house4   
,the upper story was of ,doric order1   
with coupled columns1 and five windows  
surmounted by triangular pediments4 ,the
 entablature which surmounted the whole 
was of a severe style2 imitated from the
 antique4 ,this beautiful building no   
longer exists4 ,the angle of the right  
of the basement1 which now forms a part 
of the ,accoramboni palace1 is the only 
part that remains4  ,raphael's friends1 
with that well-meant1 but usually       
injudicious interference which is so    
common1 were urging him to bring a wife 
into his home4 ,his uncle1 ,simone di   
,battista di ,ciarla1 seems to have been
 anxious1 for the artist writes him in  
#aead1 ,as to taking a wife1 ,i will    
say1 in regard to her whom you destined 
for me1 that ,i am very glad and thank  
,god for not having taken either her or 
another4 ,and in this ,i have been wiser
 than you who wished to give her to me4 
,i am convinced that you see yourself   

that ,i should not have got on as ,i    
have done4  ,another person seemed      
equally anxious for his marriage4       
,cardinal ,bibiena1 who had been        
,raphael's intimate friend when he lived
 in ,urbino1 had long been desirous that
 he should marry ,maria1 the daughter of
 ,antonio ,divizio da ,bibiena1 his     
nephew4 ,evidently ,raphael was engaged 
to her1 for he writes to this uncle1    
,simone1 ,i cannot withdraw my word2 we 
are nearer than ever to the conclusion4 
,as the matter was deferred year by     
year--as many writers believe1 because  
,raphael1 loving ,margherita1 was       
unwilling to marry another--he was saved
 from the seeming necessity of keeping  
his promise1 by ,maria's death some time
 previous to his own4 ,she is buried in 
,raphael's chapel in the ,pantheon1 not 
far from his grave4 ,he had met and     
loved ,margherita in #aejh1 six years   
earlier1 and possibly after his         
engagement to ,maria4 ,margherita was in
 his house when he died1 and to her he  

left an adequate portion of his         
property4  ,this year1 #aead1 ,bramante1
 the architect of ,st4 ,peter's1 having 
died1 ,raphael was appointed his        
successor4 ,perceiving that the four    
columns which were to support the cupola
 had too weak a foundation1 the first   
work was to strengthen these4 ,he       
executed a plan of the church1 which    
some think superior to that which       
,michael ,angelo carried out after      
,raphael's death4 ,he studied carefully 
the architectural works of ,vitruvius1  
and planned several beautiful structures
 in ,rome4  ,raphael also had the       
oversight of all the excavations in and 
around ,rome1 so that pieces of antique 
statuary1 which were often found1 might 
be carefully preserved4 ,to this end1   
wrote ,leo ,x41 ,i command every one1 of
 whatever condition or rank he may be1  
noble or not1 titled or of low estate1  
to make you1 as superintendent of this  
matter1 acquainted with every stone or  
marble which shall be discovered within 

the extent of country designated by me1 
who desire that every one failing to do 
so shall be judged by you1 and fined    
from one hundred to three hundred gold  
crowns4  ,the third hall of the pope1   
called the ,stanza del ,incendio1 was   
painted from #aead to #aeag4 ,the first 
fresco is ,the ,oath of ,leo ,,iii41    
who1 brought before the ,emperor        
,charlemagne for trial1 was acquitted   
through a supernatural voice proclaiming
 that no one had the right to judge the 
pope4  ,the second fresco is ,the       
,coronation of ,charlemagne by ,leo     
,,iii41 thus signifying that the        
spiritual power is above the temporal   
power4 ,the two principal portraits are1
 however1 ,leo ,x4 and ,francis ,i41 who
 formed an alliance in #aeae4  ,the     
third and finest picture is ,the        
,conflagration of the ,borgo ,vecchio at
 ,rome4 ,the other pictures were        
executed in part by the pupils of       
,raphael4 ,this was by his own hand4 ,in
 #hdg a fire broke out in ,rome1 which  

extended from the ,vatican to the       
,mausoleum of ,adrian4 ,the danger from 
the high wind was very great1 when ,pope
 ,leo ,,iv4 implored divine aid1 and at 
once the flames assumed the form of a   
cross1 and the fire was quenched4       
,several of the figures1 says           
,passavant1 are considered as perfect   
and inimitable1 amongst others the two  
beautiful and powerful women who are    
bringing water in vases1 and whose forms
 are so admirably delineated under their
 garments agitated by the wind4  ,the   
last fresco shows the ,victory of ,leo  
,,iv4 over the ,saracens at ,ostia4 ,the
 pope1 ,leo ,,iv41 with the face of ,leo
 ,x41 is on the shore1 engaged in       
prayer4  ,at this time ,raphael made    
sepia sketches for the ,loggie leading  
to the apartments of the pope2 thirteen 
arcades1 each arcade containing four    
principal pictures4 ,forty-eight of     
these scenes are taken from the ,old    
,testament1 and four from the life of   
,christ4 ,taken together1 they are      

called ,raphael's ,bible4 ,vasari said  
of the decorations in the ,loggie1 ,it  
is impossible to execute or to conceive 
a more exquisite work4 ,catherine ,,ii4 
of ,russia had all these ,loggie        
paintings copied on canvas1 and placed  
in the ,hermitage1 in a gallery         
constructed for them1 like that in the  
,vatican4 ,this gallery cost a million  
and a half of dollars4  ,in these busy  
years1 #aeae to #aeaf1 the famous       
cartoons for the ,sistine ,chapel were  
made4 ,sixtus ,,iv4 had built the       
chapel4 ,michael ,angelo1 under ,julius 
,,ii41 had painted in it his ,history of
 the ,creation1 and ,prophets and       
,sibyls4 ,and now ,raphael was asked to 
make cartoons for ten pieces of         
tapestry1 to be hung before the         
wainscoting on high festivals4 ,the     
cartoons are1 ,the ,miraculous ,draught 
of ,fishes1 ,christ's ,charge to ,peter1
 ,the ,martyrdom of ,st4 ,stephen1 ,the 
,healing of the ,lame ,man1 ,the ,death 
of ,ananias1 ,the ,conversion of ,st4   

,paul1 ,elymas struck with ,blindness1  
,paul and ,barnabas at ,lystra1 ,st4    
,paul ,preaching at ,athens1 and ,saint 
,paul in ,prison4 ,the cartoons were    
sent to ,arras1 in ,flanders1 and       
wrought in wool1 silk1 and gold4        
,brought to ,rome in #aeai1 they were   
hung in ,st4 ,peter's1 on the feast of  
,st4 ,stephen4  ,the enthusiasm of the  
,romans was unbounded4 ,vasari says this
 work seems rather to have been         
performed by miracle than by the aid of 
man4 ,these tapestries1 after many      
changes1 are now in the ,vatican1 much  
soiled and faded4 ,of the cartoons1     
twelve feet by from fourteen to eighteen
 feet1 with figures above life-size1    
seven of them are to be seen in the     
,south ,kensington ,museum4 ,they were  
purchased at ,arras by ,charles ,i41 on 
the recommendation of ,rubens4 ,they are
 yearly studied by thousands of         
visitors4 ,grimm calls the cartoons     
,raphael's greatest productions4 ,he    
considers the ,death of ,ananias as the 

most purely dramatic of all his         
compositions4  ,compared with these1    
says ,hazlitt1 all other pictures look  
like oil and varnish2 we are stopped and
 attracted by the coloring1 the         
pencilling1 the finishing1 the          
instrumentalities of art2 but here the  
painter seems to have flung his mind    
upon the canvas4 ,his thoughts1 his     
great ideas alone1 prevail2 there is    
nothing between us and the subject2 we  
look through a frame and see ,scripture 
histories1 and are made actual          
spectators in miraculous events4  ,not  
to speak it profanely1 they are a sort  
of a revelation of the subjects of which
 they treat2 there is an ease and       
freedom of manner about them which      
brings preternatural characters and     
situations home to us with the          
familiarity of every-day occurrences2   
and while the figures fill1 raise1 and  
satisfy the mind1 they seem to have cost
 the painter nothing4 ,everywhere else  
we see the means2 here we arrive at the 

end apparently without any means4       
,raphael was now overwhelmed with orders
 for pictures4 ,he had shown worldly    
wisdom--a thing not always possessed by 
genius--in having his works engraved by 
men under his own supervision1 so that  
they were everywhere scattered among the
 people4  ,in #aeaf he decorated the    
bath-room of his friend ,cardinal       
,bibiena1 who lived on the third floor  
of the ,vatican4 ,the first sketch      
represents the ,birth of ,venus2 then   
,venus and ,cupid1 seated on dolphins1  
journey across the sea2 she is wounded  
by ,cupid's dart2 she pulls out the     
thorn which has pierced her4 ,the blood1
 falling on the white rose1 gives us1   
according to tradition1 the rich red    
rose4 ,these paintings were certainly of
 a different nature from the others in  
the ,vatican1 and1 while ,passavant     
thinks it strange that a spiritually    
minded cardinal should have desired such
 pictures1 they were nevertheless       
greatly admired and copied4  ,this same 

year1 #aeaf1 one of ,raphael's most     
celebrated ,madonnas was painted1 the   
one oftener copied1 probably1 than any  
other picture in the world1 ,the        
,madonna della ,sedia1 now in the ,pitti
 ,palace4 ,the ,virgin1 with an         
uncommonly sweet and beautiful face1 is 
seated in a chair 7sedia71 with both    
arms encircling the infant ,saviour1 his
 baby head resting against her own4     
,grimm says1 ,mary has been painted by  
,raphael in different degrees of earthly
 rank2 the ,madonna della ,sedia        
approaches the aristocratic1 but only in
 outward show1 for the poorest mother   
might sit there as she does4 ,gold and  
variegated colors have been used without
 stint4444 ,the dress of the mother is  
light blue2 the mantle which she has    
drawn about her shoulders is green1 with
 red and willow-green stripes and       
gold-embroidered border2 her sleeves are
 red faced with gold at the wrists4 ,a  
grayish brown veil with reddish brown   
stripes is wound about her hair2 the    

little dress of the child is            
orange-colored1 and the back of the     
chair red velvet4 ,the golden lines     
radiating from the halo around the head 
of the child form a cross1 and over the 
mother's and ,john's float light golden 
rings4 ,all the tones are flower-like   
and clear4444 ,a harmonious glow        
irradiates it1 which1 partaking of a    
spiritual as well as a material nature1 
constitutes the peculiarity of this     
work1 and defies all attempts at        
reproduction4 ,pictorial art has        
produced few such works which actually  
in their beauty exceed nature herself1  
who does not seem to wish to unite so   
many advantages in one person or        
place4444  ,raphael's ,madonnas have the
 peculiarity that they are not          
distinctively national4 ,they are not   
,italians whom he paints1 but women     
raised above what is national4          
,leonardo's1 ,correggio's1 ,titian's1   
,murillo's1 and ,rubens's ,madonnas are 
all in some respects affected by their  

masters' nationality2 a faint suggestion
 of ,italian or ,spanish or ,flemish    
nature pervades their forms4 ,raphael   
alone could give to his ,madonnas that  
universal human loveliness1 and that    
beauty which is a possession common to  
the ,european nations compared with     
other races4  ,his ,sistine ,madonna    
soars above us as our ideal of womanly  
beauty2 and yet1 strange to say1 despite
 this universality1 she gives to each   
individual the impression that1 owing to
 some special affinity1 he has the      
privilege of wholly understanding her4  
,shakespeare's and ,goethe's feminine   
creations inspire the same feeling4444  
,all ,raphael's works are youthful      
works4 ,after finishing the ,sistine    
,madonna1 he lived only three years4 ,at
 thirty-five years of age 7and he did   
not survive much beyond this71 the      
largest portion of human life is often  
still in the future4 ,the events of each
 day continue to surprise us1 and to    
seem like adventures4 ,raphael was full 

of these fresh hopes and anticipations  
when a cruel fate snatched him away4    
,his last works betray the same youthful
 exhilaration in labor as his first4    
,his studies from nature made at this   
time have a freshness and grace which1  
regarded as personal manifestations of  
his genius1 are as valuable as his      
paintings4 ,he was still in process of  
development4444 ,what in our later years
 we call illusions still enchanted him4 
,the easy1 untrammelled life at the     
court of the pope wore for him1 to the  
last1 a romantic glamour1 and the       
admiration of those who only meant to   
flatter sounded sweet in his ears1 even 
while he saw through it4 ,everything    
continued to serve him2 with the gospel 
of defeat his soul was still            
unacquainted4  ,the ,sistine ,madonna1  
with the ,virgin standing on the clouds 
in the midst of myriads of cherubs'     
heads1 ,st4 ,sixtus kneeling on the     
left1 and ,st4 ,barbara on the right1   
was painted in #aeah for the            

,benedictine ,monastery of ,san ,sisto1 
at ,piacenza1 from which it was         
purchased in #aged by ,augustus ,,iii41 
,elector of ,saxony1 for forty thousand 
dollars4 ,it was received at ,dresden   
with great joy1 the throne of ,saxony   
being displaced in order to give this   
divine product of genius a fitting home4
 ,it is said that the famous ,correggio1
 standing before this picture1 exclaimed
 with pride1 ,i too am an artist6       
,passavant says1 ,it was the last       
,virgin created by the genius of        
,raphael2 and1 as if he had foreseen    
that this ,madonna would be his last1 he
 made it an apotheosis4  ,it is         
interesting to sit in the ,dresden      
gallery alone1 before the ,sistine      
,madonna1 which has the face of the     
beloved ,margherita1 and note the hush  
that comes upon the people when they    
pass over the threshold4 ,they seem to  
enter into the feelings of the artist4  
,it is said that many a poor and lonely 
woman1 bent with years1 has wept before 

this painting4  ,the eyes of the ,virgin
 look at you1 but they do not see you4  
,the eyes are thinking--looking back    
into her past with its mysteries2       
looking forward perchance into a veiled 
but significant future4 ,these eyes1    
once seen1 are never forgotten1 and you 
go again and again to look at them4     
,raphael's ,christ ,bearing the ,cross  
7,lo ,spasimo7 is considered a          
masterpiece1 from its drawing and       
expression4 ,some think it equal to ,the
 ,transfiguration4 ,the ship which was  
carrying it to ,palermo was lost with   
all on board4 ,nothing was recovered    
save this picture1 which1 uninjured1    
floated in a box into the harbor of     
,genoa4 ,it is now in ,madrid4  ,another
 well-known work of ,raphael is ,st4    
,cecilia1 listening to the singing of   
six angels1 her eyes raised to heaven in
 ecstasy4 ,a musical instrument is      
slipping from her hand while she        
listens1 entranced1 to playing so much  
more wonderful than her own4 ,on her    

right are ,st4 ,paul and ,st4 ,john2 on 
her left ,mary ,magdalene1 with ,st4    
,augustine4 ,cecilia was a rich and     
noble ,roman lady who lived in the reign
 of ,alexander ,severus4 ,she was       
married at sixteen to ,valerian1 who1   
with his brother ,tiburtius1 was        
converted to ,christianity by her       
prayers4 ,both these men were beheaded  
because they refused to sacrifice to    
idols1 and ,cecilia was shortly after   
condemned to death by ,almachius1       
,prefect of ,rome4 ,she was shut up in  
her own bath-room1 and blazing fires    
kindled that the hot vapor might destroy
 her2 but she was kept alive1 says the  
legend1 for ,god sent a cooling shower  
which tempered the heat of the fire4    
,the prefect then sent a man to her     
palace1 to behead her1 but he left her  
only half killed4 ,the ,christians found
 her bathed in her blood1 and during    
three days she still preached and       
taught1 like a doctor of the church1    
with such sweetness and eloquence that  

four hundred pagans were converted4 ,on 
the third day she was visited by ,pope  
,urban ,i41 to whose care she tenderly  
committed the poor whom she nourished1  
and to him she bequeathed the palace in 
which she had lived1 that it might be   
consecrated as a temple to the ,saviour4
 ,she died in the third century4  ,this 
masterpiece of color was sent to        
,bologna1 having been ordered by a noble
 ,bolognese lady1 ,elena ,duglioni1 for 
a chapel which she built to ,st4        
,cecilia4 ,raphael sent the picture to  
his artist friend ,francesco ,francia1  
asking that he make any correction he   
pleased1 if he noticed any defect4 ,it  
is stated that ,francia was so overcome 
at the sight of this picture that he    
died from excessive grief because he    
felt that he could never equal it4      
,shelley wrote concerning this work1    
,standing before the picture of ,st4    
,cecilia1 you forget that it is a       
picture as you look at it1 and yet it is
 most unlike any of those things which  

we call reality4 ,it is of the inspired 
and ideal kind1 and seems to have been  
conceived and executed in a similar     
state of feeling to that which produced 
among the ancients those perfect        
specimens of poetry and sculpture which 
are the baffling models of succeeding   
generations4 ,there is a unity and a    
perfection in it of an incommunicable   
kind4 ,the central figure1 ,st4         
,cecilia1 seems wrapt in such           
inspiration as produced her image in the
 painter's mind2 her deep1 dark1        
eloquent eyes lifted up1 her chestnut   
hair flung back from her forehead3 she  
holds an organ in her hands2 her        
countenance1 as it were1 calmed by the  
depth of her passion and rapture1 and   
penetrated throughout with the warm and 
radiant light of life4 ,she is listening
 to the music of heaven1 and1 as ,i     
imagine1 has just ceased to sing1 for   
the four figures that surround her      
evidently point1 by their attitudes1    
towards her1 particularly ,st4 ,john1   

who1 with a tender1 yet impassioned     
gesture1 bends his countenance towards  
her1 languid with the depth of his      
emotion4 ,at her feet lie various       
instruments of music1 broken and        
unstrung4 ,of the coloring ,i do not    
speak2 it eclipses ,nature1 yet it has  
all her truth and softness4  ,raphael   
was now loaded with honors4 ,henry      
,,viii4 urged him to visit ,england and 
become attached to his court4 ,francis  
,i4 was eager to make him court painter 
of ,france4 ,often the artist shut      
himself up in his palace1 and applied   
himself so closely to his books and     
pictures that people said he was        
melancholy4 ,he was so deeply interested
 in history that he thought of writing  
some historical works4 ,he had planned  
and partially completed a book on       
ancient ,rome1 which should reproduce to
 the world the city in its former       
grandeur4 ,he left a manuscript on art  
and artists1 which ,vasari found most   
valuable in his biographies4 ,he sent   

artists into all the neighboring        
countries to collect studies from the   
antique4 ,he loved poetry and           
philosophy4  ,several artists lived in  
his home1 for whom he provided as though
 they were his children4 ,among others  
in his house lived ,fabius of ,ravenna1 
concerning whom ,calcagnini1 the pope's 
secretary1 wrote1 ,he is an old man of  
stoical probity1 and of whom it would be
 difficult to say whether his learning  
or affability is the greater4 ,through  
him ,hippocrates speaks ,latin1 and has 
laid aside his ancient defective        
expressions4 ,this most holy man has    
this peculiar and very uncommon quality 
of despising money so much as to refuse 
it when offered to him1 unless forced to
 accept it by the most urgent necessity4
 ,however1 he receives from the pope an 
annual pension1 which he divides amongst
 his friends and relations4 ,he himself 
lives on herbs and lettuces1 like the   
,pythagoreans1 and dwells in a hole     
which might justly be named the tub of  

,diogenes4 ,he would far rather die than
 not pursue his studies4444  ,he is     
cared for as a child by the very rich   
,raphael da ,urbino1 who is so much     
esteemed by the pope2 he is a young man 
of the greatest kindness and of an      
admirable mind4 ,he is distinguished by 
the highest qualities4 ,thus he is1     
perhaps1 the first of all painters1 as  
well in theory as in practice2 moreover1
 he is an architect of such rare talent 
that he invents and executes things     
which men of the greatest genius deemed 
impossible4 ,i make an exception only in
 ,vitruvius1 whose principles he does   
not teach1 but whom he defends or       
attacks with the surest proofs1 and with
 so much grace that not even the        
slightest envy mingles in his criticism4
  ,at present he is occupied with a     
wonderful work1 which will be scarcely  
credited by posterity 7,i do not allude 
to the basilica of the ,vatican1 where  
he directs the works73 it is the town of
 ,rome1 which he is restoring in almost 

its ancient grandeur2 for1 by removing  
the highest accumulations of earth1     
digging down to the lowest foundations1 
and restoring everything according to   
the descriptions of ancient authors1 he 
has so carried ,pope ,leo and the       
,romans along with him as to induce     
every one to look on him as a god sent  
from heaven to restore to the ancient   
city her ancient majesty4  ,with all    
this he is so far from being proud that 
he comes as a friend to every one1 and  
does not shun the words and remarks of  
any one2 he likes to hear his views     
discussed in order to obtain instruction
 and to instruct others1 which he       
regards as the object of life4 ,he      
respects and honors ,fabius as a master 
and a father1 speaking to him of        
everything and following his counsels4  
,a rare man1 indeed1 this ,raphael2 not 
proud1 not envious1 but confiding1      
learning from everybody1 sincere and    
unselfish4  ,for the fourth hall in the 
,vatican1 the ,sala di ,costantino1     

,raphael made the cartoon for ,the      
,battle of ,constantine4 ,in the centre 
of the picture ,constantine is dashing  
across the battle-field on a white      
horse1 with his spear levelled at       
,maxentius1 who1 with his army1 is      
driven back into the ,tiber4 ,the whole 
picture is remarkable for life and      
spirit4  ,raphael now undertook the     
paintings in the ,loggie of the         
,farnesina1 for ,agostino ,chigi1--the  
fable of ,cupid and ,psyche1 from       
,apuleius4 ,a certain king had three    
daughters1 of whom ,psyche1 the         
youngest1 excites the jealousy of ,venus
 by her beauty4 ,the goddess accordingly
 directs her son ,cupid to punish the   
princess by inspiring her with love for 
an unworthy individual4 ,cupid himself  
becomes enamoured of her1 shows her to  
the ,graces1 and carries her off4 ,he   
visits her by night1 warning her not to 
indulge in curiosity as to his          
appearance4 ,psyche1 however1 instigated
 by her envious sisters1 disobeys the   

injunction4 ,she lights a lamp1 a drop  
of heated oil from which awakens her    
sleeping lover4 ,cupid upbraids her1 and
 quits her in anger4 ,psyche wanders    
about1 filled with despair4 ,meanwhile  
,venus has been informed of her son's   
attachment1 imprisons him1 and requests 
,juno and ,ceres to aid her in seeking  
for ,psyche1 which both goddesses       
decline to do4 ,she then drives in her  
dove-chariot to ,jupiter1 and begs him  
to grant her the assistance of ,mercury4
 ,her request is complied with1 and     
,mercury flies forth to search for      
,psyche4 ,venus torments her in every   
conceivable manner1 and imposes         
impossible tasks on her1 which1 however1
 with the aid of friends1 she is enabled
 to perform4 ,at length she is desired  
to bring a casket from the infernal     
regions1 and even this1 to the          
astonishment of ,venus1 she succeeds in 
accomplishing4 ,cupid1 having at length 
escaped from his captivity1 begs        
,jupiter to grant him ,psyche2 ,jupiter 

kisses him1 and commands ,mercury to    
summon the gods to deliberate on the    
matter4 ,the messenger of the gods then 
conducts ,psyche to ,olympus1 she       
becomes immortal1 and the gods celebrate
 the nuptial banquet4 ,in this pleasing 
fable ,psyche obviously represents the  
human soul purified by passions and     
misfortunes1 and thus fitted for the    
enjoyment of celestial happiness4       
,raphael had time only to make cartoons 
for the greater part of this work1 while
 his pupils executed them4 ,the         
paintings were criticised1 and it was   
said that the talent of ,raphael was    
declining4  ,hurt by such an            
unwarrantable opinion1 ,raphael gladly  
accepted an order from ,cardinal        
,giuliano de' ,medici for a             
,transfiguration for the ,cathedral of  
,narbonne4 ,at the same time the        
cardinal ordered the ,raising of        
,lazarus from ,sebastiano del ,piombo4  
,michael ,angelo made the drawings for  
this picture1 it is said1 so that this  

work might equal or surpass that of     
,raphael4 ,when the latter was apprised 
of this1 he replied cheerfully1 ,michael
 ,angelo pays me a great honor1 since it
 is in reality himself that he offers as
 my rival and not ,sebastiano4  ,the    
,transfiguration1 now in the ,vatican1  
is in two sections4 ,in the upper       
portion ,christ has risen into the air  
above ,mount ,tabor1 and has appeared to
 ,peter1 ,james1 and ,john1 on the      
mount4 ,at this moment the voice is     
heard saying1 ,this is my beloved ,son3 
hear him4  ,at the foot of the mount1 an
 afflicted father1 followed by a crowd  
of people1 has brought his demoniac boy 
to the ,apostles1 to be healed4 ,the    
disciples point to the ,saviour as the  
only one who has the power to cast out  
evil spirits4  ,vasari says1 ,in this   
work the master has of a truth produced 
figures and heads of such extraordinary 
beauty1 so new1 so varied1 and at all   
points so admirable1 that among the many
 works executed by his hand this1 by the

 common consent of all artists1 is      
declared to be the most worthily        
renowned1 the most excellent1 the most  
divine4 ,whoever shall desire to see in 
what manner ,christ transformed into the
 ,godhead should be represented1 let him
 come and behold it in this picture4444 
,but as if that sublime genius had      
gathered all the force of his powers    
into one effort1 whereby the glory and  
the majesty of art should be made       
manifest in the countenance of ,christ3 
having completed that1 as one who had   
finished the great work which he had to 
accomplish1 he touched the pencils no   
more1 being shortly afterwards overtaken
 by death4  ,before the ,transfiguration
 was completed1 ,raphael was seized with
 a violent fever1 probably contracted   
through his researches among the ruins  
of ,rome4 ,weak from overwork1 he seems 
to have realized at once that his labors
 were finished4 ,he made his will1      
giving his works of art to his pupils2  
his beautiful home to ,cardinal         

,bibiena1 though the cardinal died soon 
after without ever living in it2 a      
thousand crowns to purchase a house     
whose rental should defray the expense  
of twelve masses monthly at the altar of
 his chapel in the ,pantheon1 which he  
had long before made ready for his body2
 and the rest of his property to his    
relatives and ,margherita4  ,he died on 
the night of ,good ,friday1 ,april #f1  
#aebj1 at the age of thirty-seven4 ,all 
,rome was bent with grief at the death  
of its idol4 ,he lay in state in his    
beautiful home1 on a catafalque         
surrounded by lighted tapers1 the       
unfinished ,transfiguration behind it4  
,an immense crowd followed the body to  
the ,pantheon2 his last beautiful       
picture1 its colors yet damp1 being     
carried in the procession4  ,his friend 
,cardinal ,pietro ,bembo wrote his      
epitaph in ,latin3 ,dedicated to        
,raphael ,sanzio1 the son of ,giovanni  
of ,urbino1 the most eminent painter1   
who emulated the ancients4 ,in whom the 

union of ,nature and ,art is easily     
perceived4 ,he increased the glory of   
the pontiffs ,julius ,,ii4 and ,leo ,x4 
by his works of painting and            
architecture4 ,he lived exactly         
thirty-seven years1 and died on the     
anniversary of his birth1 ,april #f1    
#aebj4        ,living1 great ,nature    
feared he might outvie      ,her works1 
and1 dying1 fears herself to die4       
,count ,castiglione wrote to his mother1
 ,it seems as if ,i were not in ,rome1  
since my poor ,raphael is here no       
longer4 ,the pope1 ,leo ,x41 could not  
be comforted1 and1 it is said1 burst    
into tears1 exclaiming1 ,ora pro nobis4 
,the ,mantuan ,ambassador wrote home the
 day after ,raphael's death1 ,nothing is
 talked of here but the loss of the man 
who at the close of his                 
three-and-thirtieth year thirty-seventh 
has now ended his first life2 his       
second1 that of his posthumous fame1    
independent of death and transitory     
things1 through his works1 and in what  

the learned will write in his praise1   
must continue forever4  ,three hundred  
and thirteen years after his death his  
tomb was opened1 in #ahcc1 and the      
complete skeleton was found4 ,after five
 weeks1 the precious remains were       
enclosed in a leaden coffin1 and that in
 a marble sarcophagus1 and reburied at  
night1 the ,pantheon being illuminated1 
and the chief artists and cultivated    
people of the city bearing torches in   
the reverent procession4  ,dead at      
thirty-seven1 and yet how amazing the   
amount of work accomplished4 ,he left   
two hundred and eighty-seven pictures   
and five hundred and seventy-six        
drawings and studies4 ,michael ,angelo  
said ,raphael owed more to his wonderful
 industry than to his genius4 ,when     
asked once by his pupils how he         
accomplished so much1 ,raphael replied1 
,from my earliest childhood ,i have made
 it a principle never to neglect        
anything4  ,passavant says1 ,he was the 
most ideal artist that ,god has ever    

created4 ,his maxim was1 ,we must not   
represent things as they are1 but as    
they should be4  ,says ,charles ,c4     
,perkins of ,boston1 ,throughout all his
 works there is not an expression of    
face1 or a contour1 whether of muscle or
 drapery1 which is not exactly suited to
 its end2 nor in the thousands of       
figures which he drew or painted can we 
recall an ungraceful or a mannered line 
or pose4 ,this was because of all       
artists since the ,greeks1 he had the   
most perfect feeling for true beauty4   
,the beautiful was his special field1   
and hence he is first among his kind4   
,leonardo had more depth1 ,michael      
,angelo more grandeur1 ,correggio more  
sweetness2 but none of them approached  
,raphael as an exponent of beauty       
whether in young or old1 in mortals or  
immortals1 in earthly or divine beings4 
,raphael was in truth the greatest of   
artists1 because the most comprehensive1
 blending as he did the opposing        
tendencies of the mystics and the       

naturalists into a perfect whole by     
reverent study of nature and of the     
antique4 ,bred in a devotional school of
 art1 and transferred to an atmosphere  
charged with classical ideas1 he        
retained enough of the first1 while he  
absorbed enough of the second1 to make  
him a painter of works ,christian in    
spirit and ,greek in elegance and purity
 of form and style4  ,raphael will live1
 not only through his works but through 
the adoration we all pay to a lovable   
character4 ,the perennial fountain of   
goodness and sweetness in ,raphael's    
soul1 which won for him the favor of the
 great1 as ,giovio said1 while living1  
has won for him the homage of the world1
 now that he is dead4 ,he had by nature 
a sunny1 kindly disposition3 he had what
 every person living may have1 and would
 do well to cultivate3 a spirit that did
 not find fault1 lips that spoke no     
censure of anybody1 but praise where    
praise was possible1 and such           
self-control that not an enemy was ever 

made by his temper or his lack of       
consideration for others4 ,he was       
enthusiastic1 but he had the self-poise 
of a great nature4 ,true1 his life was  
short4 ,as ,grimm says1 ,four single    
statements exhaust the story of his     
life3 he lived1 he loved1 he worked1 he 
died young4 ,he helped everybody1 and   
what more is there in life than this8   
,,titian4   ,if ,i were required1 says  
,mrs4 ,jameson1 to sum up in two great  
names whatever the art of painting had  
contemplated and achieved of highest and
 best1 ,i would invoke ,raphael and     
,titian4 ,the former as the most perfect
 example of all that has been           
accomplished in the expression of       
thought through the medium of form2 the 
latter1 of all that has been            
accomplished in the expression of life  
through the medium of color4 ,hence it  
is that1 while both have given us mind1 
and both have given us beauty1 ,mind is 
ever the characteristic of              
,raphael--,beauty1 that of ,titian4     

,illustration3 ,,titian4  ,considered   
under this point of view1 these         
wonderful men remain to us as           
representatives of the two great        
departments of art4 ,all who went before
 them1 and all who follow after them1   
may be ranged under the banners of one  
or the other of these great kings and   
leaders4 ,under the banners of ,raphael 
appear the majestic thinkers in art1 the
 ,florentine and ,roman painters of the 
fifteenth and sixteenth centuries2 and  
,albert ,duerer1 in ,germany4 ,ranged on
 the side of ,titian appear the         
,venetian1 the ,lombard1 the ,spanish1  
and ,flemish masters4 ,when a school of 
art arose which aimed at uniting the    
characteristics of both1 what was the   
result8 ,a something second-hand and    
neutral--the school of the ,academicians
 and the mannerists1 a crowd of painters
 who neither felt what they saw1 nor saw
 what they felt2 who trusted neither to 
the ,god within them1 nor the nature    
around them2 and who ended by giving us 

,form without ,soul--,beauty without    
,life4  ,ruskin says1 ,when ,titian or  
,tintoret look at a human being1 they   
see at a glance the whole of its nature1
 outside and in2 all that it has of     
form1 of color1 of passion1 or of       
thought2 saintliness and loveliness2    
fleshly power and spiritual power2      
grace1 or strength1 or softness1 or     
whatsoever other quality1 those men will
 see to the full1 and so paint that1    
when narrower people come to look at    
what they have done1 every one may1 if  
he chooses1 find his own special        
pleasure in the work4 ,the sensualist   
will find sensuality in ,titian2 the    
thinker will find thought2 the saint1   
sanctity2 the colorist1 color2 the      
anatomist1 form2 and yet the picture    
will never be a popular one in the full 
sense1 for none of these narrower people
 will find their special taste so alone 
consulted as that the qualities which   
would insure their gratification shall  
be sifted or separated from others2 they

 are checked by the presence of the     
other qualities1 which insure the       
gratification of other men4444 ,only    
there is a strange undercurrent of      
everlasting murmur about the name of    
,titian1 which means the deep consent of
 all great men that he is greater than  
they4  ,strong praise indeed6--the deep 
consent of all great men that he is     
greater than they2--strong praise for   
the tireless worker1 of whom ,ludovico  
,dolce wrote1 who knew him personally1  
that he was most modest2 that he never  
spoke reproachfully of other painters2  
that1 in his discourse1 he was ever     
ready to give honor where honor was due2
 that he was1 moreover1 an eloquent     
speaker1 having an excellent wit and a  
perfect judgment in all things2 of a    
most sweet and gentle nature1 affable   
and most courteous in manner2 so that   
whoever once conversed with him could   
not choose but love him thenceforth     
forever4 ,he was remarkably calm and    
self-poised through life1 saying that a 

painter should never be agitated4 ,and  
yet he was a man of strong feelings and 
tender affections4  ,titian1 the lover  
of the beautiful1 was born at ,arsenale1
 in the ,valley of ,cadore1 in the heart
 of the ,venetian ,alps1 in the year    
#adgg4 ,his father1 ,gregorio ,vecelli1 
was a brave soldier1 a member of the    
,council of ,cadore1 inspector of mines1
 superintendent of the castle1 and1     
though probably limited in means1 was   
universally esteemed for wisdom and     
uprightness4 ,of the mother1 ,lucia1    
little is known1 save that she bore to  
,gregorio four children1 ,caterina1     
,francesco1 ,orsa1 and ,titian4  ,in    
this ,alpine country1 with its          
waterfalls and its rushing river1       
,piave1 with its mountain wild-flowers1 
its jagged rocks and nestling cottages1 
the boy ,titian grew to be passionately 
fond of nature2 to idolize beauty of    
form and face1 and to revel in color4   
,the clouds1 the sky1 the cliffs1 the   
greensward1 were a constant delight4 ,in

 after years he put all these changing  
scenes upon canvas1 becoming the most   
famous idealist as well as the greatest 
landscape-painter of the ,venetian      
school4  ,the story is told1 though it  
has been denied by some authorities1    
that before he was ten years of age he  
had painted1 on the walls of his home at
 ,cadore1 with the juice of flowers1 a  
,madonna1 the ,child standing on her    
knee1 while an angel kneels at her feet4
 ,the father and relatives were greatly 
surprised and pleased1 and the lad was  
taken to ,venice1 seventy miles from    
,cadore1 and placed with an uncle1 so   
that he might study under the best      
artists4  ,his first teacher seems to   
have been ,sebastian ,zuccato1 the      
leader of the guild of mosaic-workers4  
,he was soon1 however1 drawn to the     
studio of ,gentile ,bellini1 an artist  
seventy years old1 noted for his        
knowledge of perspective and skill in   
composition4 ,he had travelled much1 and
 had gathered into his home pictures and

 mosaics of great value3 the head of    
,plato1 a statue of ,venus by           
,praxiteles1 and other renowned works4  
,what an influence has such a home on a 
susceptible boy of eleven or twelve     
years of age6 ,gentile was a man of     
tender heart as well as of refined      
taste4 ,asked to paint portraits of the 
sultan and sultana1 the aged artist went
 to ,constantinople in #adgi and        
presented the ruler with a picture of   
the decapitation of ,st4 ,john4 ,the    
sultan criticised the work1 and1 to show
 the painter the truth of the criticism1
 had the head of a slave struck off in  
his presence1 whereupon the artist1 sick
 at heart1 returned at once to ,venice4 
,the young ,cadorine studied carefully  
the minute drawings of ,gentile         
,bellini1 but1 with an originality      
peculiar to himself1 sketched boldly and
 rapidly4 ,the master was displeased1   
and the boy sought the studio of his    
brother1 ,giovanni ,bellini1 an artist  
with more brilliant style1 and broader  

contrasts in light and shade4  ,here he 
met ,giorgione as a fellow-pupil1 who   
soon became his warm friend4 ,this man  
studied the works of ,leonardo da       
,vinci1 and became distinguished for    
boldness of design and richness of      
color4 ,titian was his assistant and    
devoted admirer4  ,another person who   
greatly influenced the early life of    
,titian was ,palma ,vecchio of ,bergamo1
 eminent for his portraits of women4    
,perhaps there was a special bond       
between these two men1 for it is        
asserted that ,titian loved ,palma's    
beautiful daughter1 ,violante4 ,palma   
had three daughters1 whom he frequently 
painted2 one picture1 now at ,dresden1  
shows ,violante in the centre between   
her two sisters2 another1 ,st4 ,barbara 
in the church of ,santa ,maria ,formosa 
in ,venice1 ,palma's masterpiece1 and   
still another1 ,violante1 at ,vienna1   
with a violet in her bosom4  ,titian's  
earliest works were a fresco of         
,hercules1 on the front of the ,morosini

 ,palace2 a ,madonna1 now in the ,vienna
 ,belvedere1 which shows genuine feeling
 with careful finish2 and portraits of  
his parents1 now lost4 ,his first       
important work was painted about the    
year #aejj1 when he was twenty-three1   
,sacred and ,profane ,love1 now in the  
,borghese ,palace at ,rome4  ,eaton says
 of this1 ,out of ,venice there is      
nothing of ,titian's to compare to his  
',sacred and ,profane ,love4'444        
,description can give no idea of the    
consummate beauty of this composition4  
,it has all ,titian's matchless warmth  
of coloring1 with a correctness of      
design no other painter of the ,venetian
 school ever attained4 ,it is nature1   
but not individual nature2 it is ideal  
beauty in all its perfection1 and       
breathing life in all its truth1 that we
 behold4  ,crowe and ,cavalcaselle1 who 
have studied the more than one thousand 
pictures to which the name of ,titian is
 attached1 say in their life of the     
great painter1 ,the scene is laid in a  

pleasure ground surrounded by landscape1
 swathed in the balmy atmosphere of an  
autumnal evening4 ,a warm glow is shed  
over hill1 dale1 and shore1 and streaks 
of gray cloud alternate with bands of   
light in a sunset sky4 ,to the right1 in
 the distance1 a church on an island1   
and a clump of cottages on a bend of    
land1 bathed by the waters of the sea2  
and two horsemen on a road watch their  
hounds coursing a hare4 ,to the left a  
block of buildings and a tower half     
illumined by a ray of sun crown the     
hillside1 where a knight with his lance 
rides to meet a knot of villagers4      
,nearer to the foreground1 and at       
measured intervals1 saplings throw their
 branches lightly on the sky1 which1    
nearer still1 is intercepted in the     
centre of the space by a group of       
rich-leaved trees1 rising fan-like      
behind the marble trough of an antique  
fountain4 ,enchanting lines of hill and 
plain1 here in shadow1 there in light1  
lead us to the foreground1 where the    

women sit on a lawn watered by the      
stream that issues from the fountain1   
and rich in weeds that shoot forked     
leaves and spikes out of the grass4     
,artless 7,sacred7 ,love1 on one side1  
leans1 half-sitting1 on the ledge of the
 trough1 a crystal dish at her side1    
symbolizing her thoughts4 ,her naked    
figure1 slightly veiled by a length of  
muslin1 is relieved upon a silken cloth 
hanging across the arm1 and helping to  
display a form of faultless shape and   
complexion4 ,the left hand holds aloft  
the vase and emblematic incense of love2
 the right1 resting on the ledge1       
supports the frame as the maiden turns1 
with happy earnestness1 to gaze at her  
companion4 ,she neither knows nor cares 
to heed that ,cupid is leaning over the 
hinder ledge of the fountain and        
plashing in the water4444 ,not without  
coquetry1 or taste for sparkling color1 
the chestnut hair of the naked maiden is
 twisted in a rose-colored veil2 the    
cloth at her loins is of that golden    

white which sets off so well the still  
more golden whiteness of her skin4 ,the 
red silk falling from her arm1 and      
partly waving in the air1 is of that    
crimson tone which takes such wonderful 
carminated changes in the modulations of
 its surface1 and brings out by its     
breaks the more uniform pearl of the    
flesh4  ,to this figure of ,sacred      
,love1 into which the young painter     
evidently put his heart1 he gave the    
beautiful and half-pensive face of      
,violante4 ,did he intend thus to       
immortalize her1 while he immortalized  
himself8 ,very likely4  ,sated          
7,profane7 ,love sits to the left1 her  
back resolutely turned towards ,cupid1  
her face determined1 haughty1 but       
serene2 her charms veiled in splendid   
dress1 her very hands concealed in      
gloves4444 ,a plucked rose fades        
unheeded by the sated one's side1 and a 
lute lies silent under her elbow4444    
,she seems so grand in her lawns and    
silks2 her bosom is fringed with such   

delicate cambric2 her waist and skirt1  
so finely draped in satin of gray       
reflexes2 the red girdle1 with its      
jewelled clasp1 the rich armlets1 the   
bunch of roses in her gloved hand1 all  
harmonize so perfectly4  ,for the next  
six or seven years1 while ,venice was   
engaged in wars with the ,french and the
 ,turks1 little is known of the young   
,titian1 save that he must have been    
growing in fame1 as he painted the      
picture of the infamous ,caesar ,borgia1
 the son of ,pope ,alexander ,,vi41     
,jacopo da ,pesaro1 ,bishop of ,paphos1 
who had charge of the ,papal squadron   
against the ,turks1 and other paintings1
 now lost4 ,the picture of ,pesaro was  
owned by ,charles ,i4 of ,england4 ,in  
#ahbe ,william ,i41 ,king of the        
,netherlands1 presented it to the city  
of ,antwerp1 where it is highly prized4 
,in #aejg the ,state of ,venice engaged 
,giorgione to fresco the new ,fondaco   
de' ,tedeschi1 a large public structure 
for the use of foreign merchants1 which 

had two halls1 eighty rooms1 and        
twenty-six warehouses4 ,a portion of    
this work was transferred to ,titian4   
,above the portal in the southern face  
of the building1 ,titian painted a      
,judith1 the figure of a woman seated on
 the edge of a stone plinth1 in front of
 a stately edifice4 ,in her right hand  
she waves a sword1 while with her left  
foot she tramples on a lifeless head4   
,two other grand frescos were painted by
 him1 all now despoiled by the northern 
or ,tramontana winds4  ,says one writer1
 ,whilst ,giorgione showed a fervid and 
original spirit1 and opened up a new    
path1 over which he shed a light that   
was to guide posterity1 ,titian         
exhibited in his creations a grander but
 more equable genius1 leaning at first1 
indeed1 on ,giorgione's example1 but    
expanding1 soon after1 with such force  
and rapidity as to place him in advance 
of his rival1 on an eminence which no   
later craftsman was able to climb4      
,titian was characterized by this1 that 

he painted flesh in which the blood     
appeared to mantle1 whilst the art of   
the painter was merged in the power of a
 creator4  ,he imagined forms of grander
 proportions1 of more sunny impast1 of  
more harmonious hues1 than his          
competitors4 ,with incomparable skill he
 gave tenderness to flesh1 by           
transitions of half-tone and broken     
contrasted colors4 ,he moderated the    
fire of ,giorgione1 whose strength lay  
in resolute action1 fanciful movement1  
and a mysterious artifice in disposing  
shadows contrasting darkly with hot red 
lights1 blended1 strengthened1 or       
blurred so as to produce the semblance  
of exuberant life4  ,it is said by some 
writers that ,giorgione never forgave   
,titian for excelling him in the frescos
 of the ,fondaco2 but1 however this may 
be1 when the noted artist and poet died1
 soon after1 at the age of thirty-four1 
,titian completed all his unfinished    
pictures4 ,giorgione loved tenderly a   
girl who deserted him through the       

influence of ,morto da ,feltri1 an      
intimate friend1 who lived under his    
roof4 ,the latter was killed in the     
battle of ,zara in #aeai1 after his     
friend ,giorgione had died of a broken  
heart at the loss of his beloved4       
,between #aejh and #aeaa ,titian painted
 several ,madonnas1 one in the          
,belvedere at ,vienna1 one in ,florence1
 one in the ,louvre1 and the beautiful  
,madonna and ,st4 ,bridget now at       
,madrid4  ,st4 ,bridget stands with a   
basin of flowers in her hand1 in front  
of the infant ,saviour1 who bends out of
 the ,virgin's arms to seize the        
offering1 yet turns his face to his     
mother1 as if inquiring shall he take it
 or not4 ,against the sky and white     
cloud of the distance1 the form of ,st4 
,bridget alone is relieved4 ,the ,virgin
 and the saint in armor to the left     
stand out in front of hangings of that  
gorgeous green which seems peculiar in  
its brightness to the ,venetians4 ,with 
ease in action and movement1 a charming 

expression is combined4 ,the juicy tints
 and glossy handling are those of       
,titian's ,palmesque period2 and ,st4   
,bridget is the same lovely girl whose  
features ,palma painted with equal      
fondness and skill in the panel called  
,violante1 at the ,belvedere of         
,vienna4444 ,titian shows much greater  
fertility of resource in the handling of
 flesh than ,palma1 being much more     
clever and subtle in harmonizing light  
with half-tint by tender and cool       
transitions of gray crossed with red1   
and much more effective in breaking up  
shadow with contrasting touches of livid
 tone1 yet fusing and blending all into 
a polished surface1 fresh as of         
yesterday1 and of almost spotless       
purity1 by the use of the clearest and  
finest glazings that it is possible to  
imagine4  ,titian was now thirty-four1  
with probably the same love for         
,violante in his heart1 but still poor1 
and struggling with untiring industry   
for the great renown which he saw before

 him4  ,at this time ,titian painted one
 of his most noted works1 thought by    
some to be his masterpiece1 ,the        
,tribute ,money1 now in the museum at   
,dresden4 ,it was painted at the request
 of ,alfonso d',este1 ,duke of ,ferrara4
 ,scanelli1 who wrote in #afee1 tells   
this story concerning the picture4      
,titian was visited on a certain        
occasion by a company of ,german        
travellers1 who were allowed to look at 
the pictures which his studio contained4
 ,on being asked what impression these  
works conveyed1 these gentlemen declared
 that they only knew of one master      
capable of finishing as they thought    
paintings ought to be finished1 and that
 was ,duerer2 their impression being    
that ,venetian compositions invariably  
fell below the promise which they had   
given at their first commencement4  ,to 
these observations ,titian smilingly    
replied1 that if he had thought extreme 
finish to be the end and aim of art1 he 
too would have fallen into the excesses 

of ,duerer4 ,but1 though long experience
 had taught him to prefer a broad and   
even track to a narrow and intricate    
path1 yet he would still take occasion  
to show that the subtlest detail might  
be compassed without sacrifice of       
breadth2 and so produced the ,christ of 
the ,tribute ,money4  ,crowe and        
,cavalcaselle say1 ,vasari reflects an  
opinion which holds to this day1 that   
the 'head of ,christ is stupendous and  
miraculous4' ,it was considered by all  
the artists of his time as the most     
perfect and best handled of any that    
,titian ever produced2 but for us it has
 qualities of a higher merit than those 
of mere treatment4 ,single as the       
subject is1 the thought which it        
embodies is very subtle4  ,christ turns 
towards the questioning ,pharisee1 and  
confirms with his eye the gesture of his
 hand1 which points to the coin4 ,his   
face is youthful1 its features and short
 curly beard are finely framed in a     
profusion of flowing locks4 ,the        

,pharisee to the right stands in profile
 before ,jesus1 holds the coin1 and asks
 the question4 ,the contrast is sublime 
between the majestic calm and elevation 
and what ,inandt calls the ',godlike    
beauty' of ,christ1 and the low cunning 
and coarse air of the ,pharisee2 between
 the delicate chiselling of the         
features1 the soft grave eye and        
pure-cut mouth of the ,saviour1 and the 
sharp aquiline nose or the crafty glance
 of the crop-haired1 malignant          
,hebrew4444  ,the form of ,christ was   
never conceived by any of the ,venetians
 of such ideal beauty as this4 ,nor has 
,titian ever done better2 and it is     
quite certain that no one1 ,titian      
himself included1 within the compass of 
the ,north ,italian schools1 reproduced 
the human shape with more nature and    
truth1 and with greater delicacy of     
modelling4 ,amidst the profusion of     
locks that falls to ,christ's shoulders1
 there are ringlets of which we may     
count the hairs1 and some of these are  

so light that they seem to float in air1
 as if ready to wave at the spectator's 
breath4 ,nothing can exceed the         
brightness and sheen or the transparent 
delicacy of the colors4 ,the drapery is 
admirable in shade and fold1 and we     
distinguish with ease the loose texture 
of the bright red tunic1 and that of the
 fine broadcloth which forms the blue   
mantle4 ,the most perfect easel picture 
of which ,venice ever witnessed the     
production1 this is also the most       
polished work of ,titian4  ,in #aeaa    
,titian was called to ,padua and        
,vicenza1 where he executed some        
frescos1 principally from the life of   
,st4 ,anthony1 returning to ,venice in  
#aeab4  ,he was now famous1 and ,pope   
,leo ,x4 naturally desired to draw him  
to ,rome1 where ,raphael and ,michael   
,angelo were the admired of all4        
,cardinal ,bembo1 the secretary of the  
pope1 and the friend of ,raphael1       
importuned ,titian2 but the ,venetian   
loved his own state and preferred to    

serve her1 sending1 ,may #ca1 #aeac1 the
 following petition to the ,council of  
,ten4  ,i1 ,titian of ,cadore1 having   
studied painting from childhood upwards1
 and desirous of fame rather than       
profit1 wish to serve the ,doge and     
,signori1 rather than his highness the  
pope and other ,signori1 who in past    
days1 and even now1 have urgently asked 
to employ me4 ,i am therefore anxious1  
if it should appear feasible1 to paint  
in the ,hall of ,council1 beginning1 if 
it please their sublimity1 with the     
canvas of the battle on the side towards
 the ,piazza1 which is so difficult that
 no one as yet has had the courage to   
attempt it4  ,for this work ,titian     
asked a moderate compensation1 and the  
first vacant brokership for life1 all of
 which the government granted4 ,he moved
 into a studio in the old palace of the 
,duke of ,milan1 at ,san ,samuele on the
 ,grand ,canal1 where he remained for   
sixteen years4  ,it seemed now as though
 comfort were guaranteed to the         

hard-working artist4 ,but unfortunately 
rivalries arose4 ,the ,bellinis had     
worked in this ,hall of ,council in the 
,ducal ,palace1 till they felt the      
position to be theirs by right4 ,after  
long discussions1 ,titian was           
successful1 receiving from the ,fondaco 
an annuity of one hundred ducats as a   
broker1 and the privilege of exemption  
from certain taxes1 while1 on the other 
hand1 he had to paint the ,doge's       
portrait4  ,titian was now painting the 
following works for ,alfonso d',este1   
,duke of ,ferrara1 who had married the  
handsome and celebrated ,lucretia       
,borgia3--  ,the ,venus ,worship1 now in
 the ,museum of ,madrid1 represents the 
goddess standing on a marble pedestal1  
with two nymphs at her feet1 while      
winged cupids pluck the apples sacred to
 ,venus1 from the branches of great     
trees1 climbing boughs like boys1       
dropping down from them like thrushes1  
loading baskets1 throwing and catching1 
tumbling1 fighting1 and dancing4  ,this 

picture was a favorite study for        
artists1 and it is said that            
,domenichino wept when he heard that it 
had been carried to ,spain4  ,the ,three
 ,ages1 now in the collection of ,lord  
,ellesmere1 has been frequently copied4 
,a cupid steps on two sleeping children3
 a beautiful girl sits near her lover1  
the holy feeling of youthful innocence  
and affection charmingly expressed in   
both3 an old man contemplates two skulls
 on the ground4 ,to the children1 as to 
the lovers1 the forms appropriate to    
their age are given2 and the whole      
subject is treated with such harmony of 
means as to create in its way the       
impression of absolute perfection4  ,the
 ,virgin's ,rest1 near ,bethlehem1 now  
in the ,national ,gallery1 shows the    
mother with the infant ,christ on her   
lap1 taking a bunch of flowers from ,st4
 ,john4 ,the ,noli ,me ,tangere1 also in
 the ,national ,gallery1 represents     
,christ with ,mary ,magdalene on her    
knees before him4 ,one cannot look      

without transport on the mysterious calm
 of this beautiful scene1 which ,titian 
has painted with such loving care1 yet  
with such clever freedom4 ,the picture  
is like a leaf out of ,titian's journal1
 which tells us how he left his house on
 the canals1 and wandered into the      
country beyond the lagoons1 and lingered
 in the fresh sweet landscape at        
eventide1 and took nature captive on a  
calm day at summer's end4  ,while       
painting these pictures1 besides various
 portraits of the poet ,ariosto1        
,alfonso1 and others1 ,titian was       
producing what is generally regarded as 
his masterpiece1 ,the ,assumption of the
 ,virgin1 a colossal picture1 now in the
 ,academy of ,arts at ,venice4 ,it was  
painted for ,santa ,maria di ,frari1 and
 was shown to the public1 ,march #bj1   
#aeah1 on ,st4 ,bernardino's ,day1 when 
all the public offices were closed by   
order of the ,senate1 and a great crowd 
thronged the church4  ,the gorgeous blue
 and red of ,mary's tunic and mantle    

stand out brilliant on the silvery      
ether1 vaulted into a dome1 supported by
 countless cherubs4 ,the ministry of the
 angels about her is varied and eager4  
,one raises the corner of the mantle1   
some play the tabor1 others hold the    
pipes1 or sing in choir1 whilst others  
again are sunk in wonderment1 or point  
at the ,virgin's majesty2 and the rest  
fade into the sky behind1 as the sound  
of bells fades sweetly upon the ear of  
the passing traveller4444 ,all but the  
head and arms of the ,eternal is lost in
 the halo of brightness towards which   
the ,virgin is ascending4 ,he looks down
 with serene welcome in his face1 an    
angel on one side ready with a crown of 
leaves2 an archangel swathed in drapery1
 on the other1 eagerly asking leave to  
deposit on the ,virgin's brow the golden
 cincture in his hands4  ,titian was at 
once declared to be the foremost painter
 in ,venice1 and was1 indeed1 the idol  
of the people4  ,he now painted the     
,annunciation for the ,cathedral of     

,treviso1 and executed several frescos4 
,meantime1 the ,venetian ,government    
threatened that unless he went forward  
with the work in the ,ducal ,palace it  
should be finished by others at his     
expense4 ,pressed on every hand for     
pictures1 he still neglected the        
,palace1 and painted the brilliant      
,bacchanal1 now at ,madrid1 for ,duke   
,alfonso4  ,ariadne reposes on the      
ground1 insensible from wine1 while a   
company of ,menads sport about her as   
,theseus sails away in the distance4    
,the most beautiful ,menad1 with white  
muslin tunic and ruby-red bodice and    
skirt1 has the exquisite face and form  
of ,violante1 with a violet or pansy on 
her breast4 ,the painter was now over   
forty1 and still seemed to bear         
,violante on his heart4  ,ariadne1      
daughter of ,minos1 ,king of ,crete1    
according to the legend1 fell in love   
with ,theseus1 when he came to ,crete to
 kill the ,minotaur1 and gave him a     
thread by means of which he found his   

way out of the labyrinth4 ,in gratitude 
he offered her his hand4 ,she fled with 
him1 and he deserted her on the ,island 
of ,naxos1 where ,bacchus found her and 
married her4 ,on the ,bacchanal a       
couplet shows its motive1--        ,who 
drinks not over and over again1         
,knows not what drinking is4   ,alfonso 
d',este was delighted with this gay     
picture4 ,although ,lucretia ,borgia1   
whom he never loved1 had been dead but a
 few months1 he had married a girl in   
humble station1 ,laura ,dianti1 whom he 
loved tenderly1 and who kept his fickle 
heart true till his death4 ,she must    
have been a person of gentle and lovely 
nature1 for the duke became kinder to   
everybody1 and more devoted to art1     
literature1 and the refining influences 
of life4  ,it is believed that the      
famous picture in the ,louvre called    
,titian and his ,mistress represents    
,laura and ,alfonso4 ,the girl stands   
behind a table or slab of stone1        
dressing her hair1 whilst a man in the  

gloom behind her holds1 with his left   
hand1 a round mirror1 the reflection of 
which he catches with a square mirror in
 his right4 ,into the second of these   
the girl gently bends her head to look1 
eagerly watched by her lover1 as she    
twists a long skein of wavy golden hair4
 ,over the white and finely plaited     
linen that loosely covers her bosom1 a  
short green bodice is carelessly thrown1
 and a skirt of the same stuff is       
gathered to the waist by a sash of      
similar color4 ,the left side of the    
girl's head is already dressed2 she is  
finishing the right side1 and a         
delightful archness and simplicity beam 
in the eyes as they turn to catch the   
semblance in the mirror4 ,the coal-black
 eye and brow contrast with the ruddy   
hair2 the chiselled nose projects in    
delicate line from a face of rounded1   
yet pure contour2 and the lips1 of a    
cherry redness1 which ,titian alone     
makes natural1 are cut with surprising  
fineness4 ,the light is concentrated    

with unusual force upon the face and    
bust of the girl1 whilst the form and   
features of the man are lost in         
darkness4 ,we pass with surprising      
rapidity from the most delicate silvery 
gradations of sunlit flesh and drapery1 
to the mysterious depths of an almost   
unfathomable gloom1 and we stand before 
a modelled balance of light and shade   
that recalls ,da ,vinci1 entranced by a 
chord of tonic harmony1 as sweet and as 
thrilling as was ever struck by any     
artist of the ,venetian school4  ,tired 
with his constant labor1 ,titian        
journeyed to ,conegliano1 at the foot of
 the ,venetian ,alps1 and painted1 at   
his leisure1 a series of frescos on the 
front of the ,scuola di ,santa ,maria   
,nuova1 in return for which he received 
the gift of a house1 where he rested    
ever after1 when on his way to ,cadore4 
,in #aebb the great altar-piece of the  
,resurrection was finished for ,brescia1
 and placed on the high altar of ,st4   
,nazaro e ,celso1 where it long remained

 an object of study by artists4 ,titian 
thought the martyrdom of ,st4           
,sebastian1 in this picture1 the best   
thing he had ever done4  ,seven years   
had now passed since he had received the
 commission to paint the ,hall of the   
,great ,council4 ,his property was to be
 taken from him1 and1 alarmed at the    
prospect1 he worked vigorously for      
several weeks on the ,battle of ,cadore 
or the other great painting1 ,the       
,humiliation of the ,emperor ,barbarossa
 by ,pope ,alexander ,,iii4  ,duke      
,alfonso was urging the overworked      
master for a new picture1 the ,bacchus  
and ,ariadne1 now in the ,national      
,gallery of ,england3 a picture five    
feet nine inches by six feet three      
inches4 ,the scene is taken from the    
classic poem of ,catullus1 when         
,ariadne1 near the shore of ,naxos1     
flees from the presence of ,bacchus1    
whose chariot is drawn by leopards4 ,he 
was the son of ,jupiter by ,semele1     
whose death being caused by ,juno1 the  

god of the vintage was reared by nymphs 
in ,thrace4 ,he taught men the          
cultivation of the vine and the art of  
wine-making4  ,concerning this picture1 
,crowe and ,cavalcaselle say1 ,centuries
 have robbed the canvas of its          
freshness1 and restorers have done their
 best to remove its brightest surfaces2 
yet no one who looks at it even now can 
fail to acknowledge the magic of its    
enchantment4 ,rich harmony of drapery   
tints and soft modelling1 depth of shade
 and warm flesh1 all combine to produce 
a highly colored glow2 yet in the midst 
of this glow the form of ,ariadne seems 
incomparably fair4 ,nature was never    
reproduced more kindly or with greater  
exuberance than it is in every part of  
this picture4 ,what subtlety there is in
 the concentration of light on ,ariadne1
 which alone gives a focus to the       
composition4 ,what splendor in the      
contrasts of color1 what wealth and     
diversity of scale in air and           
vegetation2 how infinite is the space1  

how varied yet mellow the gradations of 
light and shade4  ,there is not a single
 composition by ,titian up to this time 
in which the scene and the dramatis     
personae are more completely in unison2 
and1 looking at these groves and cliffs 
and seas1 or prying into the rich       
vegetation of the foreground1 we are    
startled beyond measure to think that   
they were worked out piecemeal1 that the
 figures were put in first and the      
landscape last4 ,nor is it without      
curiosity that we inquire where ,titian 
got that landscape1 where he studied    
that foreground2 and we are forced to   
conclude that he forsook the workshop on
 the ,grand ,canal1 where there         
certainly was no vegetation1 even in the
 sixteenth century1 and went to         
,ferrara1 and there reproduced with     
'botanical fidelity' the iris1 the wild 
rose and columbine1 which so exquisitely
 adorn the very edge of the ground on   
which the ,satyrs tread4 ,this picture  
has been copied by ,rubens1 ,poussin1   

and other noted artists4  ,about this   
time the ,flora of the ,uffizi was      
painted1 a beautiful woman with the     
,violante face4 ,she is not yet dressed1
 but her hair is looped up with a silken
 cord so as to shape the most charming  
puffs above the ears1 falling in short  
and plaited waves to the bosom1 leaving 
bare the whole of the face1 the neck1   
and throat4 ,no one here holds the      
mirrors1 yet the head is bent and the   
eyes are turned as if some one stood by 
to catch the glance1 and stretch a hand 
for the flowers2 for whilst with her    
left ,flora strives by an intricate and 
momentary play of the fingers1 to keep  
fast the muslin that falls from her     
shoulder and the damask that slips from 
her form1 with the other she presents a 
handful of roses1 jessamines1 and       
violets to an unseen lover4 ,the white  
dress1 though muslin-fine and gathered  
into minute folds1 is beyond measure    
graceful in fall1 and contrasts in      
texture as well as harmonizes in color  

with the stiffer and more cornered stuff
 of the rose-tinged cloth which shows   
such fine damask reflexes on the left   
arm4  ,at this time1 also1 ,titian      
painted one of his most exquisite       
creations1 the ,sleeping ,venus1 now at 
,darmstadt1 a graceful nude figure      
asleep on a red couch strewn with roses1
 her arm under her head4 ,the face is   
delicate1 innocent1 pensive1 and        
refined--still the face of              
,violante1--one of the most beautiful1  
it seems to me1 which an artist has ever
 put upon canvas4 ,there are several    
replicas in ,england and elsewhere4 ,the
 figure is not more perfect1 perhaps1   
than the ,venus of the ,uffizi1 painted 
later for the ,duke of ,urbino1 or the  
,venus of ,madrid2 but the face is one  
which ,i have always felt an especial   
pleasure in possessing4  ,taine says of 
,titian1 ,he was endowed with that      
unique gift of producing ,venuses who   
are real women1 and colossi who are real
 men1 a talent for imitating objects    

closely enough to win us with the       
illusion and of so profoundly           
transforming objects as to enkindle     
reverie4 ,he has at once shown in the   
same nude beauty a courtesan1 a         
patrician's mistress1 a listless and    
voluptuous fisherman's daughter1 and a  
powerful ideal figure1 the masculine    
force of a sea-goddess1 and the         
undulating forms of a queen of the      
empyrean4444  ,the infinite diversities 
of nature1 with all her inequalities1   
are open to him2 the strongest contrasts
 are within his range2 each of his works
 is as rich as it is novel4 ,the        
spectator finds in him1 as in ,rubens1 a
 complete image of the world around him1
 a history1 a psychology1 in an         
epitomized form4  ,the ,venus           
,anadyomene1 now in ,lord ,ellesmere's  
collection1 rising new-born but         
full-grown from the sea1 wringing her   
long hair1 has the features of a new    
model1 not ,violante1 but the same which
 ,titian used in his famous ,magdalen4  

,this represents a woman of about       
twenty-five1 with finely rounded limbs  
and well-modelled figure1 handsome face1
 and streaming golden hair1 and the     
white splendor of the entire form thrown
 into bold relief by a dark and lonely  
background4 ,the ,magdalen is           
distinguishable from ,venus only by her 
upturned face and tearful eyes4  ,who   
was this new model8 ,could it possibly  
have been ,cecilia1 the lady whom       
,titian married about this time8 ,in    
#aebe1 a son1 ,pomponio1 was born to    
him1 who became a lifelong sorrow1 and  
before #aecj two other children1 ,orazio
 and ,lavinia4 ,the happiness of this   
married life was of short duration1 for 
on the fifth of ,august1 #aecj1 after   
the birth of ,lavinia1 with a mournful  
heart1 he buried ,cecilia4 ,one of his  
friends wrote to the warder of ,mantua1 
,our master1 ,titian1 is quite          
disconsolate at the loss of his wife1   
who was buried yesterday4 ,he told me   
that in the troubled time of her        

sickness he was unable to work at the   
portrait of the ,lady ,cornelia1 or at  
the picture of the ',nude1' which he is 
doing for our most illustrious lord4    
,left with three helpless children1     
,titian sent to ,cadore for his sister  
,orsa1 who came and cared for his       
household as long as she lived4 ,he had 
grown tired of his home on the ,grand   
,canal1 and1 longing for the open       
country1 hired a house in the northern  
suburbs4 ,a little later he took a piece
 of land adjoining1 which extended to   
the shore1 and which became famous in   
after years for its beauty as a garden  
and for the distinguished people who    
gathered there4  ,mrs4 ,jameson says1   
,he looked over the wide canal which is 
the thoroughfare between the city of    
,venice and the ,island of ,murano2 in  
front1 the two smaller islands of ,san  
,cristoforo and ,san ,michele2 and      
beyond them ,murano1 rising on the      
right1 with all its domes and campanili 
like another ,venice4 ,far off extended 

the level line of the mainland1 and in  
the distance the towering chain of the  
,friuli ,alps1 sublime1 half defined1   
with jagged snow-peaks soaring against  
the sky2 and more to the left1 the      
,euganean hills1 ,petrarch's home1      
melting like visions1 into golden light4
 ,there1 in the evening1 gondolas filled
 with ladies and cavaliers1 and         
resounding with music1 were seen        
skimming over the crimson waves of the  
,lagoon1 till the purple darkness came  
on rapidly--not1 as in the north1 like a
 gradual veil1 but like a gemmed and    
embroidered curtain1 suddenly let down  
over all4 ,this was the view from the   
garden of ,titian2 so unlike any other  
in the world that it never would occur  
to me to compare it with any other4     
,more glorious combinations of sea1     
mountain1 shore1 there may be--,i cannot
 tell2 like1 it is nothing that ,i have 
ever beheld or imagined4  ,who does not 
recall such beautiful scenes in silent  
,venice6 ,and yet one longs1 while      

there1 for the sound of the feet of     
horses1 and the zest of a               
nineteenth-century city2 one feels as   
though life were going by in a dream1   
and is anxious to awake and be a part of
 the world's eager1 stirring thought4   
,gondolas and moonlight evenings delight
 one for a time1 but not for long6      
,titian was now fifty-four4 ,he had     
painted the ,entombment of ,christ1     
which was a favorite with ,van ,dyck1   
and helped to form his style--a picture 
four feet and four inches by seven feet1
 now in the ,louvre2 the ,madonna of    
,san ,niccolo di ,frari1 now in the     
,vatican1 which ,pordenone is reported  
to have said was not painting1 but flesh
 itself2 the ,madonna di ,casa ,pesaro1 
which latter especially won the         
heartiest praise4 ,st4 ,peter1 ,st4     
,francis1 and ,st4 ,anthony of ,padua   
implore the intercession of the ,virgin 
in favor of the members of the ,pesaro  
family4  ,crowe and ,cavalcaselle thus  
speak of it3 ,high up on a spray of     

clouds that inwreathe the pillars of the
 temple1 two angels playfully sport with
 the cross2 and1 with that wonderful    
insight which a painter gets who has    
studied cloud form flitting over ,alpine
 crags1 ,titian has not only thrown a   
many-toned gradation of shade on the    
vapor1 but shown its projected shadow on
 the pillar4 ,the light falls on the    
clouds1 illumines the sky between the   
pillars1 and sheds a clear glow on the  
angels1 casting its brightest ray on the
 ,madonna and the body of the infant    
,christ4444 ,decompose the light or the 
shadow1 and you find incredible         
varieties of subtlety1 which make the   
master's art unfathomable4 ,both are    
balanced into equal values with a       
breadth quite admirable1 the utmost     
darks being very heavy and strong       
without losing their transparency2 the  
highest lights dazzling in brightness1  
yet broken and full of sparkle4 ,round  
the form of the infant ,christ the play 
of white drapery is magic in effect4444 

,to the various harmonizing elements of 
hue1 of light1 and of shade1 that of    
color superadded brings the picture to  
perfection2 its gorgeous tinting so     
subtly wrought1 and so wonderfully      
interweaving with sun and darkness and  
varied textures as to resolve itself    
with the rest into a vast and           
incomprehensible whole1 which comes to  
the eye an ideal of grand and elevated  
beauty1 a sublime unity1 that shows the 
master who created it to have reached a 
point in art unsurpassed till now1 and  
unattainable to those who come after    
him4  ,the ,martyrdom of ,st4 ,peter    
,martyr1 completed in #aebi1 where      
,titian reproduced the human form in its
 grandest development1 has been studied 
by generations of artists1 from         
,benvenuto ,cellini and ,rubens to ,sir 
,joshua ,reynolds4 ,so valued was it by 
,venice that the ,signoria threatened   
with death any one who should dare to   
remove it4 ,unfortunately it was        
destroyed by fire in #ahfg1 together    

with the chapel which contained it4     
,the ,madonna del ,coniglio1 at the     
,louvre1 is also much valued4 ,we ask   
ourselves1 indeed1 when looking at this 
picture1 whether an artist with only    
fleeting ties could have created such a 
masterpiece2 and the answer seems to be 
that nature here gushes from the        
innermost recesses of a man's heart who 
has begun to know the charms of         
paternity1 who has watched a young      
mother and her yearling child1 and      
seized at a glance those charming but   
minute passages which seldom or never   
meet any but a father's eye4  ,in #aecc 
a most fortunate thing happened to      
,titian4 ,charles ,v4 had come to       
,bologna1 to receive the homage of      
,italy4 ,the great emperor was an       
enthusiastic lover of art1 had seen     
,titian's work1 and desired a portrait  
from his hand4 ,the artist hastened     
thither and painted ,charles in armor1  
bare-headed4 ,he used to say of himself 
that he was by nature ugly1 but being   

painted so often uglier than he really  
was1 he disappointed favorably many     
persons1 who expected something most    
unattractive4  ,another portrait of him 
which ,titian painted1 now at ,madrid1  
shows him in splendid gala dress1 with  
red beard1 pale skin1 blue eyes1 and    
protruding lower lip4  ,the sculptor    
,lombardi was so anxious to look upon   
the emperor that he carried ,titian's   
paintbox at the sittings1 and slyly made
 a relief portrait of ,charles on a     
tablet in wax1 which he slipped into his
 sleeve4 ,the emperor detected him1     
asked to see the work1 praised it1 and  
had ,lombardi put it in marble for him4 
,charles was so pleased with the        
portraits by ,titian that he would never
 sit to any other artist4 ,he called him
 the ,apelles of his time1 and paid him 
one thousand scudi in gold for each     
portrait4 ,he created ,titian a ,count  
of the ,lateran ,palace1 of the ,aulic  
,council1 and of the ,consistory2 with  
the title of ,count ,palatine1 and all  

the advantages attached to those        
dignities4 ,his children were thereby   
raised to the rank of ,nobles of the    
,empire1 with all the honors            
appertaining to families with four      
generations of ancestors4 ,he was also  
made a ,knight of the ,golden ,spur1    
with the right of entrance to ,court4   
,the ,cadorine youth had reached the    
temple of fame1 unaided save by his     
skilful hand and inventive brain4 ,he   
sat daily from morning till night at his
 easel1 often ill from overwork1 yet    
urged on by that undying aspiration     
which we call genius4  ,he painted the  
beautiful portrait of the young         
,cardinal ,ippolito de' ,medici1 now in 
the ,pitti ,palace1 whom ,michael       
,angelo so tenderly loved1 and whose    
untimely death by poison at the hand of 
his cup-bearer1 at ,itri1 caused general
 sorrow4 ,ippolito sat to ,titian at    
,bologna in the red cap and variegated  
plumes of a ,hungarian chief4 ,his      
curved sabre hung from an ,oriental sash

 wound round a red-brown coat with      
golden buttons1 and he wielded with his 
right the mace of command4 ,it appeared 
as if the burning sun of the ,danube    
valley had bronzed the features of the  
chieftain1 whose skin seemed to glow    
with a tropical heat1 whilst its surface
 was smooth and burnished as that of the
 ,bella ,gioconda4 ,ippolito urged      
,titian to come to ,rome2 ,francis ,i4  
wished him to visit ,france2 but ,titian
 loved his ,venice gardens and his      
mountain resort at ,cadore1 and could   
not be induced to leave them4 ,his      
father1 ,gregorio ,vecelli1 had died in 
#aebg1 three years before the death of  
,cecilia1 and ,francesco1 the dearly    
loved artist brother1 had gone to care  
for the ,cadore home1 where he often    
welcomed with enthusiastic admiration   
his famous brother1 ,titian4  ,the next 
paintings from the great artist were the
 ,rape of ,proserpina2 portraits of the 
,duke and ,duchess of ,urbino1 ,isabella
 d',este ,gonzaga1 the beautiful        

,eleonora ,gonzaga1 the twelve ,caesars 
for ,duke ,federigo ,gonzaga of ,mantua2
 the ,annunciation1 for which he        
received two thousand scudi from the    
,emperor2 ,la ,bella di ,titiano1 now in
 the ,pitti1 and the ,venus of the      
,uffizi4 ,the face of the ',bella' was  
so winning that it lurked in ,titian's  
memory1 and passed as a type into       
numerous canvases1 in which the painter 
tried to realize an ideal of loveliness4
 ,the head being seen about two-thirds  
to the left1 whilst the eyes are turned 
to the right1 the spectator is          
fascinated by the glance in whatever    
direction he looks at the canvas4 ,the  
eye is grave1 serene1 and kindly1 the   
nose delicate and beautifully shaped1   
the mouth divine4 ,abundant hair of a   
warm auburn waves along the temples1    
leaving a stray curl to drop on the     
forehead4 ,the rest is plaited and      
twisted into coils round a head of the  
most symmetrical shape4 ,a gold chain   
falls over a throat of exquisite model1 

and the low dress1 with its braided     
ornaments and slashed sleeves           
alternately tinted in blue and white and
 purple1 is magnificent4 ,one hand1 the 
left1 is at rest2 the other holds a     
tassel hanging from a girdle4 ,nothing  
can exceed the delicacy and subtlety    
with which the flesh and dress are      
painted1 the tones being harmonized and 
thrown into keeping by a most varied use
 and application of glazings and        
scumblings4  ,of the ,uffizi ,venus1    
,crowe and ,cavalcaselle say1 ,what the 
painter achieves1 and no other master of
 the age achieves with equal success1 is
 the representation of a beauteous      
living being1 whose fair and polished   
skin is depicted with enamelled gloss1  
and yet with every shade of modulation  
which a delicate flesh comports3 flesh  
not marbled or cold1 but sweetly toned1 
and mantling with life's blood1 flesh   
that seems to heave and rise and fall   
with every breath4 ,perfect distribution
 of space1 a full and ringing harmony of

 tints1 atmosphere both warm and mellow1
 are all combined in such wise as to    
bring us in contact with something that 
is real2 and we feel1 as we look into   
the canvas1 that we might walk into that
 apartment and find room to wander in   
the gray twilight into which it is      
thrown by the summer sky that shows     
through the coupled windows4  ,at the   
feet of ,venus a little dog lies curled 
up on the couch4 ,in the ,venus of      
,madrid1 she pats the back of a dog1    
while her lover plays an organ at the   
foot of the couch4  ,it is interesting  
to learn how ,titian produced such      
effects by his brush4 ,says ,palma      
,giovine1 ,titian prepared his pictures 
with a solid stratum of pigment1 which  
served as a bed or fundament1 upon which
 to return frequently4 ,some of these   
preparations were made with resolute    
strokes of a brush heavily laden with   
color1 the half-tints struck in with    
pure red earth1 the lights with white1  
modelled into relief by touches of the  

same brush dipped into red1 black1 and  
yellow4 ,in this way he would give the  
promise of a figure in four strokes4    
,after laying this foundation1 he would 
turn the picture to the wall1 and leave 
it there perhaps for months1 turning it 
round again after a time1 to look at it 
carefully1 and scan the parts as he     
would the face of his greatest enemy4   
,if at this time any portion of it      
should appear to him to have been       
defective1 he would set to work to      
correct it1 applying remedies as a      
surgeon might apply them1 cutting off   
excrescences here1 super-abundant flesh 
there1 redressing an arm1 adjusting or  
setting a limb1 regardless of the pain  
which it might cause4 ,in this way he   
would reduce the whole to a certain     
symmetry1 put it aside1 and return again
 a third or more times1 till the first  
quintessence had been covered over with 
its padding of flesh4 ,it was contrary  
to his habit to finish at one painting1 
and he used to say that a poet who      

improvises cannot hope to form pure     
verses4 ,but of 'condiments1' in the    
shape of last retouches1 he was         
particularly fond4 ,now and then he     
would model the light into half-tint    
with a rub of his finger1 or with a     
touch of his thumb he would dab a spot  
of dark pigment into some corner to     
strengthen it2 or throw in a reddish    
stroke--a tear of blood1 so to speak--to
 break the parts superficially4 ,in     
fact1 when finishing1 he painted much   
more with his fingers than with his     
brush4 ,titian used to say1 ,white1 red1
 and black1 these are all the colors    
that a painter needs1 but one must know 
how to use them4 ,titian painted        
rapidly4 ,one of his best friends said  
that he could execute a portrait as     
quickly as another could scratch an     
ornament on a chest4  ,in #aecg the     
,council of ,ten1 angered at ,titian's  
delays in frescoing the ducal palace1   
gave a portion of the work to the noted 
artist ,pordenone1 took away his        

brokership1 and decreed that he should  
refund his revenues from that source for
 the past twenty years4 ,in dismay1     
,titian left his orders from emperors   
and princes1 and went to work in the    
great halls4 ,two years later his       
broker's patent was restored1 and1      
,pordenone having died in #aech1 the    
patronage of the ,republic came again   
into his hands4  ,titian now painted the
 ,angel and ,tobit1 of ,san ,marciliano 
at ,venice1 and the ,presentation in the
 ,temple1 now at the ,venice ,academy1  
the latter the finest and most complete 
creation of ,venetian art since the     
',peter ,martyr1' and the ',madonna di  
,casa ,pesaro4'  ,this picture is one of
 the largest of the master's works1     
being twenty-five feet long4 ,mary1 in a
 dress of celestial blue1 ascends the   
steps of the temple in a halo of        
radiance4 ,she pauses on the first      
landing-place1 and gathers her skirts to
 ascend to the second4 ,the flight is in
 profile before us4 ,at the top of it   

the high-priest1 in ,jewish garments1   
yellow tunic1 blue undercoat and        
sleeves1 and white robe1 looks down at  
the girl with serene and kindly gravity1
 a priest in cardinal's robes at his    
side1 a menial in black behind him1 and 
a young acolyte in red and yellow       
holding the book of prayer4 ,at the     
bottom there are people looking up1 some
 of them leaning on the edge of the     
step1 others about to ascend4  ,titian  
painted several portraits of himself1   
one now at ,berlin1 another at ,madrid1 
still another in ,florence1 and others4 
,they show a bold1 high forehead1 finely
 cut nose1 penetrating eyes1 and much   
dignity of bearing4  ,duke ,alfonso of  
,ferrara and ,duke ,federigo ,gonzaga of
 ,mantua1 his noble patrons1 had both   
died2 but ,pope ,paul ,,iii4 now became 
an ardent admirer of ,titian's work1    
invited him to ,rome1 where he spent    
several months lodged in the ,belvedere 
,palace1 and sat to him for a portrait4 
,it is said1 after the picture of ,paul 

was finished and set to dry on the      
terrace of the palace1 that the passing 
crowd doffed their hats1 thinking that  
it was the living pope4  ,while in      
,rome1 ,titian painted many portraits in
 the pontiff's family1 and a ,danae     
receiving the ,golden ,rain1 now in the 
museum of ,naples1 for ,ottavio         
,farnese1 grandson of ,paul ,,iii41 who 
was married to ,margaret1 daughter of   
,emperor ,charles ,v4 ,danae was the    
daughter of ,acrisius1 king of ,argos4  
,an oracle had predicted that her son   
would one day kill ,acrisius2 therefore1
 to prevent the fulfilment of the       
prophecy1 ,danae was shut up in a brazen
 tower4 ,but ,jupiter transformed       
himself into a shower of gold1 and      
descended through the roof of her tower4
 ,she became the mother of ,perseus1 and
 she and her son were put into a chest  
and cast into the sea4 ,jupiter rescued 
them1 and ,perseus finally killed his   
grandfather4  ,titian was now           
sixty-eight years of age1--growing old1 

but never slacking in energy or         
industry4 ,he had painted for the       
,church of ,san ,spirito ,abraham's     
,sacrifice of ,isaac1 ,the ,murder of   
,abel1 ,david's ,victory over ,goliath1 
,the ,descent of the ,holy ,spirit1 ,the
 ,four ,christian ,fathers1 and ,the    
,four ,evangelists4 ,his figures are not
 cast in the supernatural mould of those
 of ,michael ,angelo at the ,sistine1   
they are not shaped in his sculptural   
way1 or foreshortened in his            
preternatural manner4 ,they have not the
 elegance of ,raphael1 nor the          
conventional grace of ,correggio2 but   
they are built up1 as it were1 of flesh 
and blood1 and illumined with a magic   
effect of light and shade and color     
which differs from all else that was    
realized elsewhere by selection1        
outline1 and chiaroscuro4 ,they form    
pictures peculiar to ,titian1 and       
pregnant with his1 and only his1 grand  
and natural originality4 ,the ,ecce     
,homo1 twelve feet by eight1 in the     

gallery of ,vienna1 was painted for     
,giovanni d' ,anna1 a wealthy merchant4 
,when ,henry ,,iii4 passed through      
,venice in #aegd1 he saw this picture1  
and offered eight hundred ducats for it4
 ,when ,sir ,henry ,wotton was ,english 
envoy at ,venice in #afbj1 he bought the
 painting for the ,duke of ,buckingham1 
who refused thirty-five thousand dollars
 offered for it by the ,earl of         
,arundel4  ,in #aedf1 on the return of  
the artist from ,rome to his home1 ,casa
 ,grande1 in ,venice1 he painted the    
portraits of his lovely daughter        
,lavinia1 now in the ,dresden ,museum1  
and in the ,berlin gallery4 ,from the   
first to the last this beautiful piece  
7in ,dresden7 is the work of the master1
 and there is not an inch of it in which
 his hand is not to be traced4 ,his is  
the brilliant flesh1 brought up to a    
rosy carnation by wondrous kneading of  
copious pigment2 his the contours formed
 by texture1 and not defined by outline2
 his again the mixture of sharp and     

blurred touches1 the delicate modelling 
in dazzling light1 the soft glazing1    
cherry lip1 and sparkling eye4 ,such a  
charming vision as this was well fitted 
to twine itself round a father's heart4 
,lavinia's hair is yellow1 and strewed  
with pearls1 showing a pretty wave1 and 
irrepressible curls in stray locks on   
the forehead4 ,ear-rings1 a necklace of 
pearls1 glitter with gray reflections on
 a skin incomparably fair4 ,the gauze on
 the shoulders is light as air1 and     
contrasts with the stiff richness of a  
white damask silk dress and skirt1 the  
folds of which heave and sink in shallow
 projections and depressions1 touched in
 tender scales of yellow or ashen white4
 ,the left hand1 with its bracelet of   
pearls1 hangs gracefully as it tucks up 
the train of the gown1 whilst the right 
is raised no higher than the waist1 to  
wave the stiff1 plaited leaf of a       
palmetto fan4444  ,lavinia1 at ,berlin1 
is dressed in yellowish flowered silk1  
with slashed sleeves1 a chiselled girdle

 round her waist1 and a white veil      
hanging from her shoulders4 ,seen in    
profile1 she raises with both hands1 to 
the level of her forehead1 a silver dish
 piled with fruit and flowers4 ,her head
 is thrown back1 and turned so as to    
allow three-quarters of it to be seen1  
as she looks from the corners of her    
eyes at the spectator4 ,auburn hair is  
carefully brushed off the temples1 and  
confined by a jewelled diadem1 and the  
neck is set off with a string of pearls4
  ,the ,titian home had joys and sorrows
 in it like other homes4 ,pomponio1 the 
eldest child1 though a priest1 was      
dissolute and a spendthrift1 constantly 
incurring debts which his devoted father
 paid to mitigate the disgrace4 ,orazio1
 a noble son1 had become an artist1 his 
father's assistant and confidant4 ,he   
had married and brought his young wife  
to ,casa ,grande4 ,lavinia1 a beauty1   
the only daughter1 was about to be      
married to ,cornelio ,sarcinella of     
,serravalle1 receiving from her father a

 dowry of fourteen hundred ducats1 a    
regal sum for a painter4  ,in ,january  
of #aedh1 ,titian1 now past seventy1 was
 summoned to ,augsburg1 where ,charles  
,v4 had convened the ,diet of the       
,empire4 ,he painted the portrait of    
,charles on the field of ,muhlberg in   
burnished armor-inlaid with gold1 his   
arms and legs in chain mail1 his hands  
gauntleted1 a morion with a red plume1  
but without a visor1 on his head4 ,the  
red scarf with gold stripes--cognizance 
of the ,house of ,burgundy--hung across 
his shoulders1 and he brandished with   
his right hand a sharp and pointed      
spear4 ,the chestnut steed1 half hid in 
striped housings1 had a head-piece of   
steel topped by a red feather similar to
 that of its master4  ,titian also      
painted1 while at ,augsburg1 ,king      
,ferdinand1 the brother of ,charles1    
,queen ,mary of ,hungary1 ,prometheus1  
,sisyphus1 ,ixion1 and ,tantalus at her 
request1 besides many other pictures4   
,charles so honored ,titian that once   

when the artist dropped his brush the   
emperor picked it up and handed it to   
him1 saying that ,titian was worthy of  
being served by ,caesar4  ,on a second  
visit to ,augsburg ,titian painted a    
portrait of ,philip ,,ii4 of ,spain1 the
 son of ,charles4 ,this was sent to     
,queen ,mary of ,england1 when ,philip  
was her suitor1 and quite won her heart1
 presumably more than the man himself   
when he afterwards became her husband4  
,when ,titian parted from his patron1   
,charles gave him a ,spanish pension of 
five hundred scudi4 ,he returned to     
,venice rich as a prince instead of poor
 as a painter4  ,philip ,,ii4 was as    
much a patron of art as his father1 and 
was constantly soliciting paintings from
 ,titian4 ,it is best1 probably1 that   
most of us are worked to our utmost     
capacity1 for work rarely kills people2 
worry frequently destroys both body and 
brain4  ,for ,philip he painted a ,st4  
,margaret1 now in the museum at ,madrid2
 a ,danae1 where an old woman sits      

beside the couch and gathers ,jupiter's 
golden shower in her apron2 a ,perseus  
and ,andromeda1 the princess bound to a 
rock1 and ,perseus saving her2 and a    
,venus and ,adonis1 now at ,madrid4 ,for
 the enfeebled ,emperor ,charles he     
painted ,the ,grieving ,virgin1 now in  
the ,madrid ,museum1 which represents   
the mother lamenting over the sufferings
 of the ,saviour1 and the ,trinity1 now 
at ,madrid1 showing the ,virgin         
interceding before the ,father and ,son 
for the imperial family1--a picture upon
 which the emperor used to gaze with    
intense feeling when he had retired to  
die in the ,convent of ,yuste4 ,thither 
he carried nine of ,titian's paintings  
for his consolation4 ,he died in #aeeh1 
with his eyes resting lovingly upon a   
picture of the emperor painted by       
,titian1 and upon ,the ,trinity4 ,christ
 appearing to the ,magdalen was sent to 
,queen ,mary of ,hungary4  ,titian was  
now seventy-nine years of age1 honored  
and loved by many countries4 ,while his 

life had been one of almost unceasing   
labor1 he had found time to receive at  
,casa ,grande1 poets and artists1 dukes 
and kings1 at his delightful            
garden-parties4 ,henry ,,iii4 of ,france
 came to see him1 and received as a gift
 any pictures in the studio of which he 
asked the price4 ,when ,cardinal        
,granvelle and ,pacheco came to dine at 
,casa ,grande1 ,titian flung a purse to 
his steward1 and bade him prepare a     
feast1 since all the world was dining   
with him4  ,titian attached to himself a
 few most devoted friends3 ,aretino1 a  
writer1 who had many faults1 but must   
have had some virtues to have been loved
 by ,titian for thirty years2           
,sansovino1 an architect2 ,speroni1 a   
philosopher1 and a few others who met   
frequently for cultured conversation and
 good-fellowship at ,casa ,grande4 ,it  
is said by historians that at some of   
these garden parties the still beautiful
 ,violante was to be seen among the     
distinguished guests4 ,had she been     

married to another1 all these years8 or 
was the old affection renewed in these  
latter days8  ,in #aeef ,aretino died1  
and ,titian deeply lamented the man who 
had been an almost inseparable          
companion2 three years later his beloved
 brother1 ,francesco1 died at ,cadore1  
and two years after this his beautiful  
daughter ,lavinia1 leaving six little   
children4  ,still the man past eighty   
painted on3 ,the ,martyrdom of ,st4     
,lawrence1 now in the ,jesuits' ,church 
at ,venice1 and ,christ ,crowned with   
,thorns1 now in the ,louvre1 where1 with
 undeniable originality1 he almost      
attained to a grandeur of composition   
and bold creativeness equal to those of 
,buonarotti1 whilst he added to his     
creations that which was essentially his
 own--the magic play of tints and lights
 and shadows which mark the true        
,venetian craftsman4  ,at eighty-two he 
painted for ,philip ,,ii4 ,diana and    
,calisto1 ,diana and ,actaeon1 and ,the 
,entombment of ,christ4 ,the ,dianas are

 now in the ,bridgewater collection at  
,london1 for which they were purchased  
for twelve thousand five hundred        
dollars4  ,titian1 says ,crowe1 was     
never more thoroughly master of the     
secrets of the human framework than now 
that he was aged4 ,never did he less    
require the model4 ,what his mind       
suggested issued from his hand as       
,minerva issued from the brain of ,jove4
 ,his power was the outcome of years of 
experience1 which made every stroke of  
his brush both sure and telling4444 ,but
 the field of the earlier time1 take it 
all in all1 is sweeter and of better    
savor than that of the later period4    
,rich1 exuberant1 and bright the works  
of the master always were2 but there is 
something mysterious and unfathomable in
 the brightness and sweetness of his    
prime which far exceeds in charm the    
cleverness of his old age4  ,with loving
 care he painted ,irene of ,spilimberg1 
who died at twenty1 and whose fame in   
classic learning1 in music1 painting1   

and poetry1 was celebrated in sonnets   
and prose at her death4 ,she was a pupil
 of ,titian1 a fit representative of an 
age which produced among learned men    
such women as ,vittoria ,colonna and    
,veronica ,gambara4 ,irene is painted   
almost at full length and large as life1
 in a portico1 from which a view is seen
 of a landscape1 with a shepherd tending
 his flock1 and a unicorn to indicate   
the lady's maiden condition4 ,her head  
is turned to the left1 showing auburn   
hair tied with a string of pearls4      
,round her throat is a necklace of the  
same4 ,her waist is bound with a chain  
girdle1 and over her bodice of red stuff
 a jacket of red damask silk is         
embroidered with gold1 and fringed at   
the neck with a high standing muslin    
collar4 ,a band hanging from the        
shoulders and passing beneath one arm is
 held in the right hand1 whilst the left
 is made to grasp a laurel crown1 and   
',si fata tulissent' is engraved on the 
plinth of a pillar4  ,the ,epiphany1 now

 in ,madrid1 was sent to ,philip ,,ii41 
in #aefj2 a ,magdalen1 now in the       
,hermitage1 in #aefa2 ,christ in the    
,garden1 ,europa and the ,bull1 and     
,jupiter and ,antiope1 in #aefb4 ,titian
 wrote to ,philip1 ,i had determined to 
take a rest for those years of my old   
age which it may please the majesty of  
,god to grant me2 still 444 ,i shall    
devote all that is left of my life to   
doing reverence to your ,catholic       
,majesty with new pictures4  ,europa1   
says ,sweetser1 is a lovely and scantily
 clad maiden sitting on the back of a   
flower-garlanded white bull1 who is     
swimming proudly through the green sea1 
throwing a line of foaming surge before 
his breast4 ,in the air are flying      
,cupids1 and the nymphs on the distant  
shore bewail the loss of their          
companion4  ,jupiter and ,antiope1 now  
in the ,louvre1 formerly called the     
,venus of ,pardo1 is very celebrated4   
,though injured by fire1 travels1       
cleaning1 and restoring1 says ,crowe1   

the masterpiece still exhibits ,titian  
in possession of all the energy of his  
youth1 and leads us back involuntarily  
to the days when he composed the        
,bacchanals4 ,the same beauties of      
arrangement1 form1 light1 and shade1 and
 some of the earlier charms of color1   
are here united to a new scale of       
effectiveness due to experience and a   
magic readiness of hand4 ,fifty years of
 practice were required to bring ,titian
 to this mastery4 ,distribution1        
movement1 outline1 modelling1 atmosphere
 and distance1 are all perfect4  ,the   
following year1 #aefc1 ,titian sent to  
,philip ,the ,last ,supper1 with        
thirteen life-sized figures1 upon which 
he had worked for six years4 ,when it   
was carried to the ,escurial1 in spite  
of the protests of the painter          
,navarrete1 the monks cut off a large   
piece of the upper part of the canvas1  
to make it the size of the wall of the  
refectory6  ,in #aefe he painted ,the   
,transfiguration1 in the ,san ,salvadore

 at ,venice1 the ,annunciation for the  
same church2 ,st4 ,james of             
,compostella1 in the ,church of ,san    
,leo1 and the ,cupid and ,venus of the  
,borghese ,palace1 the ,queen of ,love  
and two ,graces teaching ,cupid his     
vocation4  ,venus is seated in front of 
a gorgeous red-brown drapery2 her head  
is crowned with a diadem1 and her       
luxuriant hair falls in heavy locks on  
her neck4 ,her arms are bare1 but her   
tunic is bound with a sash1 which meets 
in a cross at her bosom and winds away  
under the arms1 whilst a flap of a blue 
mantle crosses the knees4 ,with both    
hands she is binding the eyes of ,eros  
leaning on her lap1 whilst she turns to 
listen to the whispering of another     
,eros resting on her shoulder4 ,a girl  
with naked throat and arm carries       
,cupid's quiver1 whilst a second holds  
his bow4 ,behind the group a sky        
overcast with pearly clouds lowers over 
a landscape of hills4444 ,light plays   
upon every part1 says ,crowe1 creating1 

as it falls1 a due projection of shadow1
 producing all the delicacies of broken 
tone and a clear silvery surface full of
 sparkle1 recalling those masterpieces  
of ,paolo ,veronese1 in which the       
gradations are all in the cinerine as   
opposed to the golden key4  ,in #aeff1  
the aged artist1 now verging on ninety1 
heretofore exempt from taxation1 was    
obliged to give a list of his property4 
,he owned several houses1 pieces of     
land1 sawmills1 and the like1 and has   
been blamed because he did not state the
 full value of his possessions4         
,vasari1 who visited him at this time1  
writes1--,titian has enjoyed health and 
happiness unequalled1 and has never     
received from heaven anything but favor 
and felicity4 ,his house has been       
visited by all the princes1 men of      
letters1 and gentlemen who ever come to 
,venice4 ,besides being excellent in    
art1 he is pleasant company1 of fine    
deportment and agreeable manners4444    
,titian1 having decorated ,venice1 and1 

indeed1 ,italy and other parts of the   
world1 with admirable pictures1 deserves
 to be loved and studied by artists1 as 
one who has done and is still doing     
works deserving of praise1 which will   
last as long as the memory of           
illustrious men4  ,when he was          
ninety-one he sent to ,philip ,,ii4 a   
,venus1 the ,martyrdom of ,st4          
,lawrence1 a large ,tarquin and         
,lucretia1 and ,philip ,presenting his  
,son to an ,angel1 now in the ,madrid   
,museum4 ,he also painted for himself   
,christ ,crowned with ,thorns1 a        
powerful work1 now in ,munich1 which    
,rubens1 ,rembrandt1 and ,van ,dyck     
carefully studied as a model4           
,tintoretto hung it later in his        
atelier1 to show what a painting ought  
to be4  ,his ,adam and ,eve1 now at     
,madrid1 which ,rubens greatly admired  
and copied1 was painted at this time4   
,in #aegf1 when ,titian was ninety-nine1
 he began his last picture1 the ,christ 
of ,pity1 for the ,franciscans of the   

,frari1 with whom he had bargained for a
 grave in their chapel4 ,the ,saviour   
rests in death on the lap of the        
,virgin4  ,we may suppose1 says ,donald 
,g4 ,mitchell1 that a vision of         
,lavinia--long gone out of his          
household--of ,cecilia1 still longer    
gone--of ,violante1 a memory of his     
young days--may have flitted on his mind
 as he traced the last womanly face he  
was to paint4  ,on marble plinths at the
 sides of the niche are statues of      
,moses and the ,hellespontic ,sibyl1 and
 on a scutcheon at the ,sibyl's feet we 
see the arms of ,titian1 a set square   
sable on a field argent1 beneath the    
double eagle on a field or4 ,a small    
tablet leaning against the scutcheon    
contains the defaced portraits of       
,titian and his son ,orazio1 kneeling   
before a diminutive group of the        
',christ of ,pity4'444 ,it is truly     
surprising1 says ,crowe1 that a man so  
far advanced in years should have had   
the power to put together a composition 

so perfect in line1 so elevated in      
thought1 or so tragic in expression4444 
,we see the traces of a brush           
manipulated by one whose hand never grew
 weary1 and never learned to tremble4444
 ,in the group of the ,virgin and       
,christ--a group full of the deepest and
 truest feeling--there lies a grandeur  
comparable in one sense with that which 
strikes us in the ',pieta' of ,michael  
,angelo4 ,for the sublime               
conventionalism by which ,buonarotti    
carries us into a preternatural         
atmosphere1 ,titian substitutes a depth 
of passion almost equally sublime1 and  
the more real as it is enhanced by      
color4  ,titian did not live to complete
 this work1 which was done by his pupil1
 ,palma ,giovine1 who placed            
conspicuously upon it this touching     
inscription3 ,that which ,titian left   
unfinished1 ,palma reverently completed1
 and dedicated the work to ,god4  ,age  
did not spoil the skill of the master4  
,aretino said1 on looking at a portrait 

of a daughter of the rich ,strozzio1 ,if
 ,i were a painter1 ,i should die of    
despair4444 ,but certain it is that     
,titian's pencil has waited on ,titian's
 old age to perform its miracles4       
,tullia said1 ,i hold ,titian to be not 
a painter--his creations not art1 but   
his works to be miracles1 and ,i think  
that his pigments must be composed of   
that wonderful herb which made ,glaucus 
a god when he partook of it2 since his  
portraits make upon me the impression of
 something divine1 and1 as heaven is the
 paradise of the soul1 so ,god has      
transfused into ,titian's colors the    
paradise of our bodies4  ,in the summer 
of this year1 #aegf1 ,venice was        
stricken by a plague which destroyed    
fifty thousand people out of one hundred
 and ninety thousand2 more than a       
quarter of the whole population4 ,there 
was a general panic1 the sick were left 
to die unattended1 and a law was passed 
that no victims of the scourge should be
 buried in the churches4  ,as the plague

 swept on it carried off ,orazio1 the   
son of ,titian1 and then the idol of    
,venice1 ,titian himself4 ,he died      
suddenly ,august #bg1 #aegf4 ,the law of
 burial was quickly set aside by the    
supreme authorities1 and1 despite the   
fear of contagion1 the canons of ,st4   
,mark bore his body in solemn procession
 to his grave in the ,church of the     
,frari4 ,in #aheb1 nearly three         
centuries later1 the ,emperor of        
,austria erected a magnificent mausoleum
 over his tomb4 ,it is a vast canopy    
covering a statue of ,titian1 seated1   
with one hand resting on the ,book of   
,art1 while the other lifts the veil of 
,nature4 ,surrounding him are figures   
representing painting1 wood-carving1    
sculpture1 and architecture1 while on   
the wall behind him are bas-reliefs of  
three of his greatest works1 the        
,assumption1 the ,martyrdom of ,st4     
,lawrence1 and the ,martyrdom of ,st4   
,peter4 ,two angels bear the simple     
inscription1--  ,titiano ,ferdinandus   

,i4 ,,mdccclii4  ,wonderful old man6    
self-made1 a poet by nature1 a marvel of
 industry1 working to the very last on  
his beloved paintings1 rich1 tender to  
his family1 true in his friendships4    
,the greatest master of color whom the  
world has known4     ,,murillo4   ,in   
the picturesque city of ,seville1 the   
glory of the ,spanish realms1 the       
greatest painter of ,spain1 ,bartolome  
,esteban ,murillo1 was born1 probably on
 the last day of the year #afag4 ,he was
 baptized on ,new ,year's ,day1 #afah1  
in the ,church of ,la ,magdalena1       
destroyed in #ahaj by the ,french troops
 under ,marshal ,soult4  ,illustration3 
,,murillo4  ,his father1 ,gaspar        
,esteban1 was a mechanic1 renting a     
modest house which belonged to a        
convent1 and keeping it in repair for   
the use of it4 ,his mother1 ,maria      
,perez1 seems to have been well         
connected1 as her brother1 ,juan de     
,costillo1 was one of the leaders of art
 in ,seville4 ,it is said that the      

family were once wealthy and            
distinguished1 but now they were very   
poor4  ,the boy1 ,bartolome1 was        
consecrated to the church1 with the fond
 hope of his mother that he would become
 a priest4 ,however1 he soon exhibited  
such artistic talent that this project  
was abandoned4 ,one day when the mother 
went to ,church1 leaving the child at   
home1 he amused himself by taking a     
sacred picture1 ,jesus and the ,lamb1   
and painting his own hat on the ,infant 
,saviour's head1 and changing the lamb  
into a dog4  ,probably the reverent     
mother was shocked1 but she thereby     
gained a knowledge of the genius of her 
only son4 ,in school1 the boy used to   
make sketches on the margins of his     
books and on the walls4  ,before he was 
eleven years old1 both father and mother
 died1 leaving him to the care of a     
surgeon1 ,juan ,agustin ,lagares1 who   
had married his aunt1 ,dona ,anna       
,murillo4 ,probably from this family    
name the boy derived his own4 ,a little 

sister1 ,teresa1 was also left an       
orphan4  ,he was soon apprenticed to his
 uncle1 ,juan del ,castillo1 who taught 
him carefully all the details of his    
art1--correct drawing1 how to prepare   
canvas1 mix colors1 and study patiently4
 ,the lad was very industrious1 eager to
 learn1 extremely gentle and amiable1   
and soon attached himself to both       
teacher and pupils4  ,from this it is   
easy to judge that he had had a lovely  
mother1 one who encouraged1 who         
preserved a sweet nature in her son     
because sweet herself4 ,how often have  
,i seen a parent lose the confidence of 
a child by too often reproving1 by      
over-criticism1 by disparagement6       
,praise seldom harms anybody4 ,we       
usually receive and give too little     
commendation all our lives4  ,one of my 
most precious memories is the fact that 
my widowed mother made it her life-rule 
not to find fault with her two children4
 ,she loved us into obedience4 ,she told
 us her wishes and her hopes for us1 and

 the smile with which she spoke lingers 
in my heart like an exquisite picture4  
,long ago ,i learned that no home ever  
had too much love in it4  ,for nine     
years the ,spanish lad worked in his    
uncle's studio1 studying nature as well 
as art1 as shown in his inimitable      
,beggar ,boys and other dwellers in the 
streets of ,seville4 ,when he was       
twenty1 he painted two ,madonnas1 ,the  
,virgin with ,st4 ,francis1 for the     
,convent of ,regina ,angelorum1 and the 
,virgin del ,rosario with ,san ,domingo1
 for the ,church of ,st4 ,thomas4  ,it  
was natural that the young artist1      
loving the ,catholic faith1 should paint
 as one of his first pictures the ,story
 of the ,rosary4 ,mrs4 ,jameson1 in her 
,legends of the ,monastic ,orders1 thus 
gives the history of ,st4 ,dominick3    
,his father was of the illustrious      
family of ,guzman4 ,his mother1 ,joanna 
d',aza1 was also of noble birth4444     
,such was his early predilection for a  
life of penance that when he was only   

six or seven years old he would get out 
of his bed to lie on the cold earth4    
,his parents sent him to study theology 
in the university of ,valencia1 and he  
assumed the habit of a canon of ,st4    
,augustine at a very early age4  ,many  
stories are related of his youthful     
piety1 his self-inflicted austerities1  
and his charity4 ,one day he met a poor 
woman weeping bitterly1 and when he     
inquired the cause she told him that her
 only brother1 her sole stay and support
 in the world1 had been carried into    
captivity by the ,moors4 ,dominick could
 not ransom her brother2 he had given   
away all his money1 and even sold his   
books1 to relieve the poor2 but he      
offered all he could1--he offered up    
himself to be exchanged as a slave in   
place of her brother4 ,the woman1       
astonished at such a proposal1 fell upon
 her knees before him4 ,she refused his 
offer1 but she spread the fame of the   
young priest far and wide4444  ,he      
united with himself several             

ecclesiastics1 who went about barefoot  
in the habit of penitents1 exhorting the
 people to conform to the ,church4 ,the 
institution of the ,order of ,st4       
,dominick sprang out of this association
 of preachers1 but it was not united    
under an especial rule1 nor confirmed1  
till some years later1 by ,pope         
,honorius1 in #abaf4  ,it was during his
 sojourn in ,languedoc that ,st4        
,dominick instituted the ,rosary4 ,the  
use of a chaplet of beads1 as a memento 
of the number of prayers recited1 is of 
,eastern origin1 and dates from the time
 of the ,egyptian ,anchorites4 ,beads   
were also used by the ,benedictines1 and
 are to this day in use among the       
,mohammedan devotees4 ,dominick invented
 a novel arrangement of the chaplet1 and
 dedicated it to the honor and glory of 
the ,blessed ,virgin1 for whom he       
entertained a most especial veneration4 
,a complete rosary consists of fifteen  
large and one hundred and fifty small   
beads2 the former representing the      

number of ,paternosters1 the latter the 
number of ,ave ,marias4444 ,the rosary  
was received with the utmost enthusiasm1
 and by this single expedient ,dominick 
did more to excite the devotion of the  
lower orders1 especially of the women1  
and made more converts1 than by all his 
orthodoxy1 learning1 arguments1 and     
eloquence4  ,st4 ,dominick1 in the      
excess of his charity and devotion1 was 
accustomed1 while preaching in          
,languedoc1 to scourge himself three    
times a day1--once for his own sins2    
once for the sins of others2 and once   
for the benefit of souls in purgatory4  
,he preached in all the principal cities
 of ,europe1 and died at ,bologna in    
#abba4  ,in #afdj1 when ,murillo was    
twenty-two1 the ,castilli home was      
broken up1 the uncle ,juan going to     
,cadiz to reside4 ,without fame and     
poor1 the youth was thrown upon his own 
resources4 ,there were many artists in  
the city of ,seville1 and ,murillo1 shy 
and retiring1 could not expect much     

patronage4 ,he decided to go to the     
,feria1 a weekly market1 held in front  
of the ,church of ,all ,saints1 and     
there1 in the midst of stalls where     
eatables1 old clothes1 and other wares  
were sold1 he set up his open-air       
studio1 and worked among the gypsies and
 the muleteers4  ,rough1 showy pictures 
were painted to order and sold to those 
who frequented the market-place4 ,for   
two long years he lived among this      
humble class1 earning probably but a    
scanty subsistence4 ,here1 doubtless1 he
 learned to paint flower-girls and      
squalid beggars4 ,there was no contempt1
 says ,sweetser1 in ,murillo's feelings 
towards these children of nature2 and   
his sentiments seemed to partake almost 
of a fraternal sympathy for them4 ,no   
small portion of his popularity among   
the lower classes arose from the        
knowledge that he was their poet and    
court painter1 who understood and did   
not calumniate them4 ,velasquez had     
chosen to paint superb dukes and        

cardinals1 and found his supporters in a
 handful of supercilious grandees2 but  
,murillo illustrated the lives of the   
poorest classes on ,spanish soil1 and   
was the idol of the masses4 ,with what  
splendor of color and mastery of design 
did he thus illuminate the annals of the
 poor6 ,coming forth from some dim      
chancel or palace-hall in which he had  
been working on a majestic              
,madonna-picture1 he would sketch in1   
with the brush still loaded with the    
colors of celestial glory1 the          
lineaments of the beggar crouching by   
the wall or the gypsy calmly reposing in
 the black shadow of the archway4 ,such 
versatility had never before been seen  
west of the ,mediterranean1 and         
commanded the admiration of his         
countrymen4  ,we do not find in his     
pictures the beggar of ,britain and     
,america1 cold1 lowering1 gloomy1 and   
formidable2 but the laughing child of   
the sunlight1 full of joy and content1  
preferring to bask rather than to work1 

yet always fed somehow1 and abundantly2 
crop-haired1 brown-footed1 clad in      
incoherent rags1 but bright-eyed1 given 
to much joviality1 and with an affluence
 of white teeth1 often shown in merry   
moods2 not so respectable as the staid  
burghers of ,nuremberg and ,antwerp1 but
 far more picturesque and perhaps quite 
as happy4  ,but for ,murillo's life of  
poverty he could not have had this      
sympathy with the poor4 ,doubtless every
 experience is given us with a purpose1 
that either through the brush or the    
pen1 or by word or deed1 we may the     
better do our part for the elevation of 
mankind4  ,in #afdb1 ,murillo had a new 
inspiration4 ,a fellow-pupil in         
,castillo's school1 ,pedro de ,moya1    
after joining the ,spanish army and     
campaigning in ,flanders1 had spent six 
months in ,london under ,van ,dyck4 ,now
 he came back to ,seville aglow with his
 delights in travel and the wonders of  
the ,flemish painters4  ,murillo was    
fired with ambition4 ,he too would see  

famous painters and renowned cities1 and
 become as great as his young friend    
,moya4 ,but how8 ,he had no money and no
 influential friends4 ,he would make the
 effort4 ,he might stay forever at the  
,feria1 and never be heard of beyond    
,seville4  ,he bought a piece of linen1 
cut it into pieces of various sizes1    
and1 in some obscure room1 painted upon 
them saints1 flowers1 fruit1 and        
landscapes4 ,then he sallied forth to   
find purchasers4 ,one wonders whether   
the young man did not sometimes become  
discouraged in these years of toil2 if  
he did not sometimes look at the houses 
of the grandees and sigh because he was 
not rich or because he was homeless and 
unknown8  ,he sold most of his pictures 
to a ship-owner1 by whom they were sent 
to the ,west ,indies and other ,catholic
 portions of ,america4 ,then he started 
on foot over the ,sierras1--a long and  
tedious journey to ,madrid4 ,in the     
,spanish capital he could find the works
 of art which he wished to study4  ,he  

had no money nor friends when he arrived
 in the great city1 but he had courage4 
,he had learned early in life a most    
valuable lesson1--to depend on himself4 
,to whom should he go8 ,velasquez1      
formerly of ,seville1 was at the height 
of his fame1 the favorite of the king1  
the friend of the wealthy and the       
distinguished4 ,murillo determined to   
seek the great artist in his own home2  
at least he could only be refused       
admittance4  ,velasquez kindly received 
the young man1 who told him how he had  
come on foot over the mountains to      
study4 ,there was no jealousy in the    
heart of the painter1 no fear of        
rivalry4 ,he was pleased with the       
modesty1 frankness1 and aspiration of   
the youth1 and1 strange to say1 took him
 into his own home to reside4 ,what a   
contrast to painting in the ,feria1 and 
living in a garret6  ,murillo at once   
began to study in the royal galleries   
where ,philip ,,ii4 and his father      
,charles ,v4 had gathered their         

,titians1 their ,rubenses1 and their    
,van ,dycks4 ,for three years1 through  
the kindness of ,velasquez1 he met the  
leading ,spanish artists and the        
prominent people of the court4 ,the king
 admired his work1 and greatly          
encouraged him4 ,murillo was            
fortunate1--yes2 but ,fortune did not   
seek him1 he sought her6 ,ambition and  
action made him successful4  ,early in  
#afde1 ,murillo returned to ,seville4   
,velasquez offered to give him letters  
of introduction to eminent artists in   
,rome1 but he preferred to go back to   
his native city4 ,probably he longed for
 the old ,cathedral1 with ,la ,giralda1 
the ,alcazar1 the ,moorish palaces1 and 
the ,guadalquivir4  ,the ,alcazar1 says 
,hare1 in his ,wanderings in ,spain1    
begun in #aaha1 was in great part       
rebuilt by ,pedro the ,cruel1 #acec-fd4 
,the history of this strange monarch    
gives the ,alcazar its chief interest4  
,hither he fled with his mother as a    
child from his father1 ,alonzo ,,xi41   

and his mistress1 ,leonora de ,guzman4  
,they were protected by the minister1   
,albuquerque1 at whose house he met and 
loved ,maria de ,padilla1 a ,castilian  
beauty of noble birth1 whom he secretly 
married4 ,albuquerque was furious1 and1 
aided by the queen-mother1 forced him   
into a political marriage with the      
,french princess1 ,blanche de ,bourbon4 
,he met her at ,valladolid2 but three   
days after his nuptials fled from the   
wife he disliked to the one he loved1   
who ever after held royal court at      
,seville1 while ,queen ,blanche1--a sort
 of ,spanish ,mary ,stuart1--after being
 cruelly persecuted and imprisoned for  
years1 was finally put to death at      
,medina-,sidonia4  ,in this ,alcazar1   
,pedro received the ,red ,king of       
,granada1 with a promise of             
safe-conduct1 and then murdered him for 
the sake of his jewels1 one of which--a 
large ruby--he gave to the ,black       
,prince after ,navarete1 and which is   
'the fair ruby1 great like a            

rachet-ball1' which ,elizabeth showed to
 the ambassador of ,mary of ,scotland1  
and now adorns the royal crown of       
,england4444  ,it was in the ,alcazar1  
also1 that ,pedro murdered his          
illegitimate brother1 the master of     
,santiago1 who had caused him much      
trouble by a rebellion4 ,maria de       
,padilla knew his coming fate1 but did  
not dare to tell him1 though from the   
beautiful ajimez window over the gate   
she watched for his arrival1 and tried  
to warn him by her tears4 ,six years    
after1 this murder was avenged by ,henry
 of ,trastamare1 the brother of the     
slain1 who stabbed ,pedro to the heart4 
,but ,maria de ,padilla was already     
dead1 and buried with queens in the     
royal chapel1 when ,pedro publicly      
acknowledged her as his lawful wife1 and
 the marriage received the sanction of  
the ,spanish ,church4444  ,within the   
,alcazar all is still fresh and         
brilliant with light and color4 ,it is  
like a scene from the ',arabian         

,nights1' or the wonderful creation of a
 kaleidoscope4444 ,the ,hall of         
,ambassadors is perfectly glorious in   
its delicate lace-like ornaments and the
 rich color of its exquisite azulejos4  
,the cathedral1 says ,hare1 stands on a 
high platform1 girdled with pillars1    
partly brought from ,italica and partly 
relics of the mosques1 of which two     
existed on this site4 ,the last1 built  
by the ,emir ,yusuf in #aahd1 was pulled
 down in #adja1 when the cathedral was  
begun1 only the ,giralda1 the ,court of 
,oranges1 and some of the outer walls   
being preserved4 ,the chapter1 when     
convened for the building of the        
cathedral1 determined1 like religious   
,titans1 to build 'one of such size and 
beauty that coming ages should proclaim 
them mad for having undertaken it4'444  
,far above houses and palaces1 far above
 the huge cathedral itself1 soars the   
beautiful ,giralda1 its color a pale    
pink1 incrusted all over with delicate  
,moorish ornament1 so high that its     

detail is quite lost as you gaze upward2
 so large that you may easily ride on   
horseback to the summit1 up the broad   
roadway in the interior4444  ,in the    
interior everything is vast1 down to the
 ,paschal candle1 placed in a           
candlestick twenty-five feet high1 and  
weighing twenty-five hundred pounds1 of 
wax1 while the expenditure of the       
chapter may be estimated by the fact    
that eighteen thousand seven hundred and
 fifty litres of wine are consumed      
annually in the sacrament4 ,of the      
ninety-three stained windows many are   
old and splendid4 ,their light is       
undimmed by curtains1 for there is an   
,andalusian proverb that the ray of the 
sun has no power to injure within the   
bounds in which the voice of prayer can 
be heard4 ,in the centre of the nave1   
near the west door1 surrounded by       
sculptured caravelas1 the primitive     
ships by which the ,new ,world was      
discovered1 is the tomb of ,ferdinand   
,columbus1 son of the great navigator   

7who himself rests in ,havanna71        
inscribed1--        ',a ,,castilla ,y ,a
 ,,leon      ,,mundo ,,nuevo ,,dio      
,,colon4'   ,at the opposite end of the 
church is the royal chapel1 where ,st4  
,ferdinand1 who was canonized in #afbg1 
'because he carried fagots with his own 
hands for the burning of heretics1'     
rests beneath the altar1 in a silver    
sarcophagus4 ,here also are his ,queen1 
,beatrix1 his son ,alonzo el ,sabio1    
father of our ,queen ,eleanor1 and      
,maria de ,padilla1 the beautiful       
,morganatic wife of ,pedro the          
,cruel4444  ,many of the services in    
this church reach a degree of splendor  
which is only equalled by those of ,st4 
,peter's2 and the two organs1 whose     
gigantic pipes have been compared to the
 columns of ,fingal's ,cave1 peal forth 
magnificently4 ,but one ceremony1 at    
least1 is far more fantastic than       
anything at ,rome4  ,frances ,elliot1 in
 her ,diary of an ,idle ,woman in       
,spain1 thus describes this remarkable  

ceremony3 ,to the left1 within the bars1
 ,i am conscious of the presence of a   
band of stringed instruments1--not only 
violins and counter-bass1 but flutes1   
flageolets1 and hautboys1 even a        
serpent1 as they call a quaint          
instrument associated with my earliest  
years1 forthwith all beginning to play  
in a most ancient and most homely way1  
for all the world like a simple village 
choir1 bringing a twang of damp1 mouldy1
 country churches to my mind1 sunny     
,english afternoons1 and odors of       
lavender and southern-wood4  ,as they   
play--these skilled musicians--a sound  
of youthful voices comes gathering in1  
fresh1 shrill1 and childlike1 rising and
 falling to the rhythm4  ,all at once   
the music grows strangely passionate1   
the voices and the stringed instruments 
seem to heave and sigh in tender        
accents1 long-drawn notes and sobs wail 
out melodious cries for mercy and       
invocations for pardon1 growing louder  
and intenser each moment4  ,then1 ,i    

know not how1 for the great darkness    
gathers round even to the gates of the  
altar1 a band of boys1 the owners of the
 voices1 appears as in a vision in the  
open space between the benches on which 
the chapter sits1 and1 gliding down the 
altar steps1 move in a measure fitting  
in softly with the music4  ,how or when 
they begin to dance1 singing as if to   
the involuntary movement of their feet1 
,i know not2 at first 'high-disposedly1'
 their bodies swaying to and fro to the 
murmur of the band1 which never leaves  
off playing a single instant1 in the    
most heavenly way4 ,then1 as the music  
quickens and castanets click out1 the   
boys grow animated1 and move swifter to 
and fro1 raising their arms in curves   
and graceful interlacing rounds4 ,still 
faster the music beats1 and faster and  
faster they move1 crossing and          
recrossing in mazy figures1 the stringed
 instruments following them with zeal1  
the castanets1 hautboys1 and flutes1    
their interlacing forms knotting in a   

kind of ecstasy1 yet all as grave and   
solemn as in a song of praise1 a visible
 rejoicing of the soul at ,christmas    
time and the ,divine birth4 ,as ,david  
danced before the ark for joy1 so do    
these boys dance now with holy gladness4
  ,i made out something of their        
costume1--broad ,spanish hats1 turned up
 with a panache of blue feathers1 the   
,virgin's color1 a flowing mantle of the
 same hue over one shoulder1 glittering 
in the light1 white satin vests1 and    
white hose and shoes4  ,the dance is    
most ancient1 archi-old1 as one may     
say--of an origin ,phoenician or ,arab1 
sanctified to ,christian use4 ,the      
music1 like the dance1 quaint and       
pathetic1 with every now and then a solo
 so sweet it seems as if an angel had   
come down unseen to play it4 ,i have    
inquired on all hands what is the origin
 of this singular rite1 which takes     
place twice a year1 at ,advent and      
,easter1 but no one can tell me4 ,about 
two centuries ago an ,archbishop of     

,seville objected to the dance as giddy 
and mundane1 and forbade it in his      
cathedral1 causing a terrible scandal4  
,the ,sevillians were enraged2 their    
fathers had loved the dance1 and their  
fathers before them1 and they were ready
 to defend it with swords and staves4   
,as the ,archbishop was inexorable1 an  
appeal was made to ,rome4 ,the ,pope of 
that day1 a sensible man1 replied that  
he could give no judgment without seeing
 the dance himself2 so the whole        
troop--stringed instruments1 castanets1 
serpent1 cavalier hats and cloaks1 and  
the boys who wore them--were carried off
 to ,rome at the expense of rich        
citizens4 ,then the measure was tried   
before the ,pope in the ,vatican1 and he
 approved4 ',let the citizens of        
,seville have their dance1' the ,pope   
said2 ',i see no harm in it4 ,as long as
 the clothes last it shall continue4'   
,need ,i add that those clothes never   
wore out1 but1 like the widow's curse1  
renewed themselves miraculously1 to the 

delight of the town1 and that they will 
continue to last fresh and new as long  
as the gigantic walls of the cathedral  
uprear themselves1 and the sun of       
,andalusia shines on the flat plains6   
,murillo loved this old cathedral1 and  
later he painted for it some of his     
wonderful pictures1 among them ,the     
,guardian ,angel1 in which a glorious   
seraph with spreading wings leads a     
little1 trustful child by the hand1 and 
directs him to look beyond earth into   
the heavenly light1 and ,st4 ,anthony of
 ,padua visited by the infant ,saviour4 
,the saint is kneeling with outstretched
 arms1 looking above to the child1 who  
descends through a flood of glory filled
 with cherubs1 drawn down by the prayers
 of the saint4 ,on the table beside him 
is a vase of white lilies1 which many   
persons averred were so natural that the
 birds flew down the cathedral aisles to
 peck at the flowers4 ,for this picture 
the cathedral clergy paid ten thousand  
reals4 ,mrs4 ,jameson declares this the 

finest work ever executed in honor of   
,st4 ,anthony1 a subject chosen by      
,titian and scores of other artists4    
,when the nephew of ,murillo's first    
master1 ,castillo1 looked upon this     
work1 he exclaimed1 ,it is all over with
 ,castillo6 ,is it possible that        
,murillo1 that servile imitator of my   
uncle1 can be the author of all this    
grace and beauty of coloring8  ,the     
canons told ,m4 ,viardot that the ,duke 
of ,wellington offered to pay for this  
picture as many gold pieces as would    
cover its surface of fifteen feet       
square1 about two hundred and forty     
thousand dollars4 ,in #ahgd the figure  
of ,st4 ,anthony was cut out1 stolen1   
and sold to a ,mr4 ,schaus1 a           
picture-dealer of ,new ,york1 for two   
hundred and fifty dollars4 ,he turned   
his purchase over to the ,spanish       
consul1 who restored it to the          
cathedral4  ,st4 ,anthony was a         
,portuguese by birth1 and taught        
divinity in the universities of         

,bologna1 ,toulouse1 ,paris1 and ,padua4
 ,finally he became an eloquent preacher
 among the people4 ,it is said that when
 they refused to listen he preached to  
the dwellers in the sea1 and an infinite
 number of fishes1 great and little1    
lifted their heads above water1 and     
listened attentively to the sermon of   
the saint6  ,very many miracles are     
attributed to him4 ,he restored to life 
by his prayers ,carilla1 a young maiden 
who was drowned2 also a young child who 
was scalded to death2 renewed the foot  
of a young man who had cut it off       
because the saint rebuked him for having
 kicked his brother2 caused the body of 
a murdered youth to speak1 and acquit an
 old man who had been accused of his    
death2 made a glass cup remain whole    
when thrown against a marble slab1 while
 the marble was shivered4  ,the legend  
of the mule1 says ,mrs4 ,jameson1 is one
 of the most popular of the miracles of 
,st4 ,anthony1 and is generally found in
 the ,franciscan churches4 ,a certain   

heretic called ,bovidilla entertained   
doubts of the real presence in the      
sacrament1 and1 after a long argument   
with the saint1 required a miracle in   
proof of this favorite dogma of the     
,roman ,catholic ,church4 ,st4 ,anthony1
 who was about to carry the host in     
procession1 encountered the mule of     
,bovidilla1 which fell down on its knees
 at the command of the saint1 and1      
although its heretic master endeavored  
to tempt it aside by a sieve full of    
oats1 remained kneeling till the host   
had passed4  ,after ,murillo's return   
from the house of ,velasquez to         
,seville1 he worked incessantly for     
nearly three years upon eleven paintings
 for the convent of the ,franciscans    
near ,casa del ,ayuntamiento4 ,the      
cloisters contained three hundred marble
 columns4 ,for the decoration of a minor
 cloister the priests offered so small  
an amount that no leading artist in     
,seville would attempt it4 ,but         
,murillo1 still poor1 and not well      

known1 gladly accepted the work4 ,it was
 a laborious undertaking1 with perhaps  
scarcely enough compensation to provide 
for his daily needs2 but it made him    
famous4 ,henceforward there was neither 
poverty nor obscurity for the great     
,spanish master4  ,the first picture for
 the ,franciscans represented ,st4      
,francis1 on an iron bed1 listening to  
an angel who is playing on a violin4    
,the second portrayed ,st4 ,diego       
blessing a pot of broth1 which he is    
about to give to a group of beggars at  
the gate of his convent4 ,another       
picture1 called1 ,the ,angel ,kitchen1  
now in the ,louvre1 represents a monk   
who fell in a state of ecstasy whilst   
cooking for the convent1 and angels are 
doing his work4 ,still another          
represents a ,franciscan praying over   
the dead body of a friar1 as if to      
restore it to life4 ,this is now owned  
by ,mr4 ,richard ,ford1 of ,devonshire1 
,england4  ,the finest picture of the   
series represents ,the ,death of ,st4   

,clara of ,assisi4 ,she was the daughter
 of a noble knight of great wealth1 and 
much sought in marriage4 ,desiring to   
devote herself to a religious life1 she 
repaired to ,st4 ,francis for counsel1  
who advised her to enter a convent4 ,she
 fled from her home to where ,st4       
,francis dwelt1 and he with his own     
hands cut off her luxuriant golden      
tresses1 and threw over her his own     
penitential habit of gray wool4 ,her    
family sought to force her away1 but    
later her sister ,agnes and mother      
,ortolana joined her in the convent4    
,on the death of her father1 ,st4 ,clara
 gave all her wealth to the poor4 ,she  
went1 like the others of her order1     
barefoot or sandalled1 slept on the hard
 earth1 and lived in silence4 ,the most 
notable event of her life was the       
dispersion of the ,saracens4 ,emperor   
,frederic ravaged the shores of the     
,adriatic4 ,in his army were a band of  
infidel ,saracens1 who attacked the     
,convent of ,san ,damiano4 ,the         

frightened nuns rushed to the side of   
,mother ,clara1 who had long been unable
 to rise from her bed4 ,at once she     
arose1 took from the altar the pyx of   
ivory and silver which contained the    
,host1 placed it on the threshold1      
knelt1 and began to sing4 ,the          
barbarians were overcome with fear1 and 
tumbled headlong down their             
scaling-ladders4  ,mrs4 ,jameson says1  
,the most beautiful picture of ,st4     
,clara ,i have ever seen represents the 
death of the saint1 or1 rather1 the     
vision which preceded her death1 painted
 by ,murillo4444 ,st4 ,clara lies on her
 couch1 her heavenly face lighted up    
with an ecstatic expression4 ,weeping   
nuns and friars stand around2 she sees  
them not1 her eyes are fixed on the     
glorious procession which approaches her
 bed3 first1 our ,saviour1 leading his  
,virgin-mother2 they are followed by a  
company of virgin-martyrs1 headed by    
,st4 ,catharine1 all wearing their      
crowns and bearing their palms1 as      

though they had come to summon her to   
their paradise of bliss4 ,nothing can be
 imagined more beautiful1 bright1 and   
elysian than these figures1 nor more    
divine with faith and transport than the
 head of ,st4 ,clara4  ,these paintings 
of ,murillo were the one topic of       
conversation in ,seville4 ,orders for   
pictures came from every side2 artists  
crowded to the convent to study works so
 unlike their own2 the chief families of
 the city made the hitherto unknown     
young man a welcome guest at their      
palaces2 fame and position had come when
 he was only thirty years old4  ,for one
 hundred and seventy years these        
pictures were the pride of the convent1 
when they were taken by ,marshal ,soult 
under ,napoleon1 and eventually         
scattered through ,northern ,europe4    
,the convent was destroyed by fire soon 
afterwards4  ,the old adage that        
blessings never come singly was realized
 in the case of ,murillo1 for at this   
time he married a wealthy lady from a   

family of high renown1 ,dona ,beatriz de
 ,cobrera y ,sotomayor1 who dwelt at    
,pilas1 about five leagues from         
,seville4 ,it is said that he first saw 
her when painting an altar-piece in the 
,church of ,san ,geronimo at ,pilas1 and
 portrayed her as an angel in his       
picture while he was winning her love4  
,their married life seems to have been  
an eminently happy one4 ,their home     
became a centre for artists and the best
 social circles of the city4 ,three     
children were born to them3 ,gabriel1   
who went to the ,west ,indies2          
,francisca1 who became a nun2 and       
,gaspar1 afterwards a canon of ,seville 
,cathedral4  ,murillo's manner of       
painting changed now from what the      
,spanish call frio1 or his cold style1  
to calido1 or his warm style1 where the 
outlines were less pronounced1 the      
figures rounder1 and the coloring more  
luminous and tender4 ,the works of the  
new manner1 says ,sweetser1 are notable 
for graceful and well-arrayed drapery1  

skilfully disposed lights1 harmonious   
tints1 soft contours1 and a             
portrait-like naturalness in the faces1 
lacking in idealism1 but usually pure   
and pleasing4 ,his flesh-tints were     
almost uniformly heightened by dark gray
 backgrounds1 and were so amazingly true
 that one of his critics has said that  
they seemed to have been painted with   
blood and milk 7con sangre y leche74    
,many of the ,madonnas which ,murillo   
painted were evidently from the same    
sweet1 pure-faced model1 and it is      
believed that they are the likeness of  
his wife4 ,his boys were his models for 
the infants ,jesus and ,john4  ,his     
first work in the so-called warm manner 
was ,our ,lady of the ,conception1 a    
colossal picture for the ,brotherhood of
 the ,true ,cross4 ,the monks were at   
first displeased1 thinking that the     
finishing was not sufficiently delicate2
 but when ,murillo caused it to be hung 
in the dome1 for the high position for  
which it was intended1 they were greatly

 delighted4 ,murillo1 however1 made them
 pay double the original price for their
 fault-finding4  ,saints ,leander and   
,isidore1 two archbishops of ,seville1  
in the sixth and seventh centuries1 who 
fought the ,arian heresy1 was his next  
picture1 followed by the ,nativity of   
the ,virgin1--a much admired work1--a   
group of women and angels dressing the  
new-born ,mary4  ,in #afef1 for one of  
the canons of ,santa ,maria la ,blanca1 
,murillo painted four large semicircular
 pictures1 the ,immaculate ,conception1 
where the ,virgin is adored by several  
saints1 ,faith1 and two pictures1 ,the  
,dream and ,the ,fulfilment1 to         
illustrate ,our ,lady of the ,snow1 the 
two latter now in the ,academy of ,san  
,fernando at ,madrid4  ,according to a  
fourth-century legend1 the ,virgin      
appeared by night to a wealthy ,roman   
senator and his wife1 commanding them to
 build a church in her honor on a       
certain spot on the ,esquiline ,hill1   
which they would find covered with      

,august snow4 ,they went to ,pope       
,liberius1 and1 after obtaining his     
blessing1 accompanied by a great        
concourse of priests and people1 sought 
the hill1 found the miraculous snow in  
summer1 and gave all their possessions  
to build the church4  ,one picture of   
,murillo represents the senator in a    
black velvet costume1 asleep in his     
chair1 while his wife reposes on the    
floor1 the ,madonna and ,holy ,child    
above them2 the other picture shows them
 telling their dream to the ,pope4      
,viardot calls these paintings the      
miracles of ,murillo4 ,these were       
painted in the last of the three manners
 of ,murillo1 the method usually adopted
 in his ,madonnas1--the vapory style1   
with soft and tender outlines1 velvety  
coloring1 and shadows which are only    
softened lights4  ,in #affj1 ,murillo   
founded an academy of art in ,seville1  
of which he was president for two years4
 ,the students were required to abstain 
from swearing and ill behavior1 and to  

give assent to the following3 ,praised  
be the most ,holy ,sacrament and the    
pure conception of our ,lady4  ,murillo 
was a most gentle and encouraging       
teacher4 ,his colored slave1 ,sebastian 
,gomez1 who had listened to the teaching
 which he gave to others1 finished the  
head of the ,virgin which his master had
 left on the easel4 ,murillo exclaimed  
on seeing it1 ,i am indeed fortunate1   
,sebastian2 for ,i have created not only
 pictures1 but a painter6 ,many of the  
works of ,gomez1 whom ,murillo made     
free1 are still preserved and prized in 
,seville4  ,during the next ten years1  
,murillo did much work for the cathedral
 clergy2 eight oval1 half-length        
pictures of saints1 ,justa1 ,rufina1    
,hermengild1 ,sidon1 ,leander1          
,archbishops ,laureano and ,pius1 and   
,king ,ferdinand2 the ,repose in ,egypt2
 the infants ,christ and ,john for the  
,antigua ,chapel1 and other works4      
,saints ,justa and ,rufina were         
daughters of a potter1 whom they        

assisted4 ,some women who worshipped    
,venus came to the shop to buy vessels  
for idolatrous sacrifice4 ,the sisters  
declared that they had nothing to sell  
for such purposes1 as all things should 
be used in the service of ,god4 ,the    
,pagan women were so incensed that they 
broke all the earthenware in the place4 
,the sisters then broke the image of    
,venus1 and flung it into a kennel4 ,for
 this act the populace seized them1 and 
took them before the ,prefect4 ,justa   
expired on the rack1 and ,rufina was    
strangled4 ,these two saints have always
 guarded the beautiful tower ,giralda4  
,they are said to have preserved it from
 destruction in #aejd1 in a terrific    
thunder-storm4 ,when ,espartero         
bombarded ,seville in #ahdc1 the people 
believed that ,giralda was encompassed  
by angels led by these sisters1 who     
turned aside the bombs4  ,murillo was   
now fifty-two years old1 in the prime of
 life1 famous and honored4 ,he was named
 by his admiring contemporaries a better

 ,titian1 and it was asserted that even 
,apelles would have been proud to be    
called the ,grecian ,murillo4 ,he lived 
in a large and handsome house1 still    
carefully preserved1 near the ,church of
 ,santa ,cruz1 not far from the ,moorish
 wall of the city4 ,the courtyard       
contains a marble fountain1 amidst      
flowering shrubs1 and is surrounded on  
three sides by an arcade upheld by      
marble pillars4 ,at the rear is a pretty
 garden1 shaded by cypress and citron   
trees1 and terminated by a wall whereon 
are the remains of ancient frescos which
 have been attributed to the master     
himself4 ,the studio is on the upper    
floor1 and overlooks the ,moorish       
battlements1 commanding a beautiful view
 to the eastward1 over orange-groves and
 rich corn-lands1 out to the gray       
highlands about ,alcala4  ,murillo's    
only sister1 ,teresa1 had married a     
noble of ,burgos1 a knight of ,santiago1
 judge of the royal colonial court1 a   
man of great cultivation1 and later     

chief secretary of state at ,madrid4    
,the artist was also urged by ,king     
,charles ,,ii4 to enter the royal       
service at ,madrid1 especially since a  
picture of the ,immaculate ,conception1 
exhibited during a festival of ,corpus  
,christi1 had awakened the greatest     
enthusiasm among the people4 ,but he    
loved ,seville1 and would not leave it4 
,and the ,sevillians equally loved the  
man so generous that he gave all he     
earned to the poor2 so diligent at his  
work that he had no time for evil       
speaking2 with so much tact and         
sweetness and vital piety that he left  
no shadow upon his name4  ,in #afgj1    
,murillo began his great works for ,la  
,caridad1 or the ,hospital of ,st4      
,george4 ,the ,brotherhood of ,holy     
,charity built a church about #adej1 but
 it had fallen into ruin4 ,in #affa1    
,don ,miguel ,manura ,vicentelo de ,leca
 determined to restore and beautify the 
church and its adjacent buildings1 and  
secured over half a million ducats for  

this purpose4 ,his history was a strange
 one4  ,frances ,elliot says of this    
dissolute man1 ,returning at midnight   
from a revel given by some gallants1 in 
the now ancient quarter of the          
,macarena1 ,don ,miguel falls in with a 
funeral procession with torches and     
banners4 ,some grandee of high degree1  
doubtless1 there are so many muffled    
figures1 mutes carrying silver horns1   
the insignia of knighthood borne upon   
shields1 a saddled horse led by a       
shadowy page1 and the dim forms of      
priests and monks chanting death dirges4
  ,don ,miguel can recall no death at   
court or among the nobles1 and this is  
plainly a corpse of quality4 ,nor can he
 explain the midnight burial1 a thing   
unknown except in warfare or in time of 
plague2 so1 advancing from the dark     
gateway where he had stood to let the   
procession pass1 he addresses himself to
 one of the muffled figures1 and asks1  
',whose body are they carrying to the   
,osario at this time of night8'  ',don  

,miguel de ,manara1' is the answer2 'a  
great noble4 ,will you follow us and    
pray for his sinful soul8'  ,as these   
words are spoken1 the funeral procession
 seems to pause1 and one advances who   
flings back the wreaths and flowers     
which shroud the face1 and lo6 ,don     
,miguel gazes on his own visage4        
,spellbound1 he seems to join the       
ghostly throng which wends its slow way 
into the ,church of ,santa ,inez1 where 
spectral priests appear to meet it1 and 
carry the bier into the nave1 where1    
next morning1 ,don ,miguel is found1 by 
the nuns coming to matins1 insensible   
upon the stones4  ,he at once reformed  
his vicious life1 erected a great       
cloistered hospital1 with one of the    
most beautiful churches in ,seville1 and
 endowed it1 so that a large company of 
priests1 sisters of charity1 physicians1
 and domestics could be provided for4   
,don ,miguel caused this inscription to 
be cut on the facade of the hospital3   
,this house shall stand as long as ,god 

shall be feared in it1 and ,jesus       
,christ be served in the persons of ,his
 poor4 ,whoever enters here must leave  
at the door both avarice and pride4     
,the noble was buried at the church     
door1 so that all who passed in might   
trample upon his grave4 ,the monumental 
slab bears the perhaps not inappropriate
 words1 dictated by himself3 ,to the    
memory of the greatest sinner that ever 
lived1 ,don ,miguel de ,manara4         
,murillo painted for the new ,church of 
,st4 ,george eight pictures for the side
 walls1 and three for the altars1 for   
which he received over seventy-eight    
thousand reals4 ,the ,annunciation1 the 
,infant ,saviour1 and the ,infant ,st4  
,john were destined for the side altars2
 the remaining eight1 ,moses striking   
the ,rock1 the ,prodigal's ,return1     
,abraham receiving the ,three ,angels1  
the ,charity of ,san ,juan de ,dios1 the
 ,miracle of the ,loaves and ,fishes1   
,our ,lord healing the ,paralytic at the
 ,pool of ,bethesda1 ,st4 ,peter        

released from ,prison by the ,angel1 and
 ,st4 ,elizabeth of ,hungary tending the
 ,sick1 were intended for the walls4    
,only three of these eight are left at  
,la ,caridad1--,moses1 the ,loaves and  
,fishes1 and ,san ,juan1--the rest      
having been carried to ,france by       
,marshal ,soult4  ,of these three1 ,san 
,juan is considered the most spirited   
and powerful4 ,this saint was the       
founder of the ,hospitallers or         
,brothers of ,charity4 ,born of very    
poor parents1 at nine years of age he   
ran away from home with a priest1 who   
deserted him on the road to ,madrid1 at 
a little village near ,oropesa1 in      
,castile4 ,he hired himself to a        
shepherd2 later he entered the wars     
between ,charles ,v4 and ,francis ,i41  
and became a brave but profligate       
soldier4 ,he was about to be hanged for 
allowing some booty to be carried off1  
over which he had been placed as        
sentinel4 ,the rope was already around  
his neck1 when an officer1 touched with 

pity1 interfered to save his life1 on   
condition that he should quit the camp4 
,after various wanderings1 he returned  
to his native town1 only to find that   
both his father and mother had died of  
grief in consequence of his flight4 ,he 
nearly lost his reason through remorse1 
became converted1 and began to devote   
his life to the poor and the sick4 ,to  
the deserted shed which served for his  
home1 he brought the starving and       
wretched whom he found in the streets1  
and worked for them and begged for them4
 ,he finally obtained a large building1 
where1 in the winter1 he kept a great   
fire to warm homeless travellers4  ,thus
 passed ten years of his life1 says     
,mrs4 ,jameson1 without a thought of    
himself2 and when he died1 exhausted in 
body1 but still fervent and energetic in
 mind1 he1 unconsciously as it seemed1  
bequeathed to ,christendom one of the   
noblest of all its religious            
institutions4  ,under how many different
 names and forms has the little hospital

 of ,juan de ,dios been reproduced      
throughout ,christian ,europe1 ,catholic
 and ,protestant6 ,our houses of refuge1
 our asylums for the destitute2 the     
brotherhood of the ',caridad1' in       
,spain2 that of the ',misericordia1' in 
,italy2 the ',maisons de ,charite1' in  
,france2 the ',barmherzigen ,brueder1'  
in ,germany1--all these sprang out of   
the little hospital of this poor1       
low-born1 unlearned1 half-crazed ,juan  
de ,dios6 ,i wonder if those who go to  
visit the glories of the ,alhambra1 and 
dream of the grandeur of the ,moors1    
ever think of him4  ,the only           
representation of this good saint which 
can rank high as a work of art is a     
famous picture by ,murillo1 painted for 
the ,church of the ,caridad1 at         
,seville4 ,in a dark1 stormy night1     
,juan is seen staggering--almost        
sinking--under the weight of a poor     
dying wretch1 whom he is carrying to his
 hospital4 ,an angel sustains him on his
 way4 ,the dark form of the burden and  

the sober gray frock of the bearer are  
dimly seen in the darkness1 through     
which the glorious countenance of the   
seraph1 and his rich yellow drapery1    
tell like a burst of sunshine4  ,of the 
five pictures removed by ,marshal       
,soult1 the ,st4 ,elizabeth of ,hungary1
 called ,el ,tinoso1 now in the ,madrid 
,academy1 is considered one of          
,murillo's finest works4 ,it represents 
her dressed in her royal robes1 washing 
the head of a leprous boy1 while around 
her are beggars and the ladies of her   
court4  ,the ,st4 ,elizabeth1 says ,john
 ,hay1 in his ,castilian ,days1 is a    
triumph of genius over a most terribly  
repulsive subject4 ,the wounds and sores
 of the beggars are painted with        
unshrinking fidelity1 but every vulgar  
detail is redeemed by the beauty and    
majesty of the whole4 ,i think in these 
pictures of ,murillo 7his ,madonnas and 
others7 the last word of ,spanish art   
was reached4 ,there was no further      
progress possible in life1 even for him4

 ',other heights in other lives1 ,god   
willing4'  ,of ,murillo's ,marys of the 
,conception1 that fill the room with    
light and majesty1 ,colonel ,hay        
beautifully says3 ,they hang side by    
side1 so alike and yet so distinct in   
character4 ,one is a woman in knowledge 
and a goddess in purity2 the other1     
absolute innocence1 startled by the     
stupendous revelation1 and exalted by   
the vaguely comprehended glory of the   
future4 ,it is before this picture that 
the visitor always lingers longest4 ,the
 face is the purest expression of       
girlish loveliness possible to art4     
7,supposed to be the face of his        
daughter1 ,francesca47 ,the ,virgin     
floats1 up-borne by rosy clouds2 flocks 
of pink cherubs flutter at her feet1    
waving palm branches4 ,the golden air is
 thick with suggestions of dim1         
celestial faces1 but nothing mars the   
imposing solitude of the ,queen of      
,heaven1 shrined alone1 throned in the  
luminous azure4 ,surely no man ever     

understood or interpreted1 like this    
grand ,andalusian1 the power that the   
worship of woman exerts on the religions
 of the world4 ,all the passionate love 
that has been poured out in all the ages
 at the feet of ,ashtaroth and ,artemis 
and ,aphrodite and ,freya found visible 
form and color at last on that immortal 
canvas1 where1 with his fervor of       
religion1 and the full strength of his  
virile devotion to beauty1 he created1  
for the adoration of those who should   
follow him1 this type of the perfect    
feminine1--        ',thee6 standing     
loveliest in the open heaven6      ,ave 
,maria6 only heaven and ,thee6'   ,the  
story of ,st4 ,elizabeth is both        
touching and beautiful4 ,the daughter of
 ,andreas ,,ii41 ,king of ,hungary1 born
 in #abjg1 she was betrothed1 in her    
childhood1 to ,duke ,louis of           
,thuringia4 ,she early developed the    
most generous and spiritual character1  
giving to the poor1 praying much1 even  
at midnight1 on the bare1 cold earth1   

winning for herself the hatred of a     
fashionable court and the adoration of  
her subjects4 ,various legends are told 
of her4  ,when ,elizabeth was           
ministering to her poor at ,eisenach1   
says ,mrs4 ,jameson1 she found a sick   
child cast out from among the others    
because he was a leper1 and so loathsome
 in his misery that none would touch him
 or even go nigh him2 but ,elizabeth1   
moved with compassion1 took him in her  
arms1 carried him up the steep ascent to
 the castle1 and1 while her attendants  
fled at the spectacle1 and her          
mother-in-law1 ,sophia1 loaded her with 
reproaches1 she laid the sufferer in her
 own bed4 ,her husband was then absent1 
but shortly afterwards his horn was     
heard to sound at the gate4 ,then his   
mother1 ,sophia1 ran out to meet him1   
saying1 ',my son1 come hither6 ,see with
 whom thy wife shares her bed6' ,and she
 led him up to the chamber1 telling him 
what had happened4 ,this time1 ,louis   
was filled with impatience and disgust2 

he rushed to the bed and snatched away  
the coverlid2 but behold6 instead of the
 leper1 there lay a radiant infant1 with
 the features of the ,new-born in       
,bethlehem2 and while they stood amazed1
 the vision smiled1 and vanished from   
their sight4  ,elizabeth1 in the absence
 of her husband1 daily visited the poor1
 who dwelt in the suburbs of ,eisenach  
and in the huts of the neighboring      
valleys4 ,one day1 during a severe      
winter1 she left her castle with a      
single attendant1 carrying in the skirts
 of her robe a supply of bread1 meat1   
and eggs for a certain poor family2 and1
 as she was descending the frozen and   
slippery path1 her husband1 returning   
from the chase1 met her1 bending under  
the weight of her charitable burden4    
',what dost thou here1 my ,elizabeth8'  
he said4 ',let us see what thou art     
carrying away8' and she1 confused and   
blushing to be so discovered1 pressed   
her mantle to her bosom2 but he         
insisted1 and1 opening her robe1 he     

beheld only red and white roses1 more   
beautiful and fragrant than any that    
grow on this earth1 even at summer-tide2
 and it was now the depth of winter6    
,then he was about to embrace his wife1 
but1 looking in her face1 he was        
overawed by a supernatural glory1 which 
seemed to emanate from every feature1   
and he dared not touch her2 he bade her 
go on her way and fulfil her mission2   
but1 taking from her lap one of the     
roses of ,paradise1 he put it in his    
bosom1 and continued to ascend the      
mountain slowly1 with his head declined1
 and pondering these things in his      
heart4  ,in #abbf1 a terrible famine    
afflicted all ,germany2 but the country 
of ,thuringia suffered more than any    
other4 ,elizabeth distributed to the    
poor all the corn in the royal          
granaries4 ,every day a certain quantity
 of bread was baked1 and she herself    
served it out to the people1 who        
thronged around the gates of the castle1
 sometimes to the number of nine        

hundred4 ,uniting prudence with charity1
 she so arranged that each person had   
his just share1 and so husbanded her    
resources that they lasted through the  
summer2 and when harvest-time came round
 again1 she sent them into the fields1  
provided with scythes and sickles1 and  
to every man she gave a shirt and a pair
 of new shoes4 ,but1 as was usual1 the  
famine had been succeeded by a great    
plague and mortality1 and the           
indefatigable and inexhaustible charity 
of ,elizabeth was again at hand4  ,in   
the city of ,eisenach1 at the foot of   
the ,wartburg1 she founded an hospital  
of twenty beds1 for poor women only2 and
 another1 called the ,hospital of ,st4  
,anne1 in which all the sick and poor   
who presented themselves were received2 
and ,elizabeth herself went from one to 
the other1 ministering to the wretched  
inmates with a cheerful countenance1    
although the sights of misery and       
disease were often so painful and so    
disgusting that the ladies who attended 

upon her turned away their heads1 and   
murmured and complained of the task     
assigned to them4  ,she also founded a  
hospital especially for poor children4  
,it is related by an eye-witness that   
whenever she appeared among them they   
gathered round her1 crying ',mutter6    
,mutter6' clinging to her robe and      
kissing her hands4 ,she1 mother-like1   
spoke to them tenderly1 washed and      
dressed their ulcerated limbs1 and even 
brought them little toys to amuse them4 
,in these charities1 she not only       
exhausted the treasury1 but she sold her
 own robes and jewels1 and pledged the  
jewels of the state4 ,when the landgrave
 7her husband7 returned1 the officers   
and councillors went out to meet him1   
and1 fearing his displeasure1 they began
 to complain of the manner in which     
,elizabeth1 in their despite1 had       
lavished the public treasures4 ,but     
,louis would not listen to them2 he cut 
them short1 repeating1 ',how is my dear 
wife8 how are my children8 are they     

well8 ,let her give what she will1 so   
long as she leaves me my castles of     
,eisenach1 ,wartburg1 and ,naumburg6'   
,then he hurried to the gates1 and      
,elizabeth met him with her children1   
and threw herself into his arms1 and    
kissed him a thousand times1 and said to
 him tenderly1 ',see6 ,i have given to  
the ,lord what is his1 and he has       
preserved to us what is thine and mine6'
  ,louis was soon after killed in the   
,crusades1 and she and her children were
 driven out of ,thuringia by his        
brothers1 ,henry and ,conrad4 ,later1   
some of her possessions were restored to
 her4 ,she spun wool to earn more money 
to give away1 and wore ragged clothes   
that she might help the destitute4 ,she 
died at twenty-four1 singing hymns1 her 
sweet voice murmuring1 ,silence6 at the 
last4  ,no sooner had ,elizabeth        
breathed her last breath than the people
 surrounded her couch1 tore away her    
robe1 cut off her hair1 even mutilated  
her remains for relics4 ,she was buried 

amid miracles and lamentations1 and four
 years after her death she was canonized
 by ,gregory ,,ix4  ,murillo's ,abraham 
receiving the ,angels and ,the          
,prodigal's ,return were purchased of   
,marshal ,soult by the ,duke of         
,sutherland1 and are now in ,stafford   
,house4 ,the ,healing of the ,paralytic 
was purchased of ,marshal ,soult for    
thirty-two thousand dollars1 and is now 
in the possession of ,mr4 ,tomline of   
,london4 ,the head of the ,christ is    
thought to be ,murillo's best           
representation of our ,lord4 ,the soft  
violet hue1 so dear to ,valencian art1  
of the ,saviour's robe1 is skilfully    
opposed to the deep brown of ,st4       
,peter's mantle1 a rich tint then and   
still made by ,andalusian painters from 
beef-bones4 ,the ,release of ,st4 ,peter
 is at the ,hermitage1 in ,st4          
,petersburg4  ,before the paintings for 
,la ,caridad were finished1 ,murillo was
 asked to decorate the new ,capuchin    
church4 ,for three years he worked here1

 not leaving the convent1 it is said1   
for a single day4 ,such diligence is    
most suggestive to those persons who    
expect to win success without           
unremitting labor6 ,of the more than    
twenty pictures painted here by         
,murillo1 nine formed the retablo of the
 high altar1 and eight were on the side 
altars4 ,seventeen of these are now in  
the ,seville ,museum4  ,the immense     
altar-piece1 ,the ,virgin granting to   
,st4 ,francis the ,jubilee of the       
,porciuncula1 is now in the ,national   
,museum of ,madrid4 ,this was a feast in
 honor of the ,cavern of ,st4 ,francis  
of ,assisi1 in which he received a visit
 from the ,virgin and ,child4           
,thirty-three beautiful cherubs are     
showering the kneeling ,st4 ,francis    
with red and white roses1 blossoms from 
the briers with which he scourged       
himself4 ,over the high altar were      
pictures of ,saints ,justa and ,rufina1 
,st4 ,anthony of ,padua1 ,st4 ,john in  
the ,desert1 ,st4 ,joseph1 ,st4 ,felix  

of ,cantalicio1 the ,veronica1 ,saints  
,leander and ,bonaventura1 and a gem    
called ,the ,madonna of the ,napkin4    
,murillo had so endeared himself to one 
of the lay brethren of the convent1 a   
cook1 that he begged some token of      
remembrance from the hand of the great  
artist4 ,as he had no canvas1 ,murillo  
took the napkin which the cook had      
brought with his food1 and1 before      
nightfall1 made a most beautiful        
,virgin1 and a ,child so natural that it
 seems1 says ,e4 ,g4 ,minor1 in her life
 of ,murillo1 as if it would spring from
 its mother's arms4 ,the coloring of    
this picture1 of which innumerable      
copies and engravings have been made1   
was never surpassed even by ,murillo    
himself4  ,st4 ,veronica was a          
noble-hearted woman1 who1 seeing the    
,saviour pass her door1 on his way to   
,calvary1 wiped the perspiration from   
his brow with her handkerchief or veil4 
,to her surprise and delight1 she found 
an image of the ,lord's face upon it4   

,she suffered martyrdom under ,nero4    
,the great pictures on the side altars  
of the church illustrated ,st4 ,thomas  
of ,villanueva1 which the artist himself
 esteemed the best of all his works2    
,st4 ,francis of ,assisi1 embracing the 
,crucified ,redeemer1 ,st4 ,anthony of  
,padua and the ,infant ,christ2 the     
,vision of ,st4 ,felix1 the             
,annunciation1 the ,immaculate          
,conception1 the ,nativity1 and the     
,virgin with the ,head of the ,saviour  
on her ,knee4  ,st4 ,thomas is          
represented as at the door of his       
cathedral1 giving alms to beggars4 ,in  
the year #aedd1 says ,mrs4 ,jameson1    
,charles ,v4 showed his respect for him 
by nominating him ,archbishop of        
,valencia4 ,he accepted the dignity with
 the greatest reluctance4 ,he arrived in
 ,valencia in an old black cassock1 and 
a hat which he had worn for twenty-one  
years2 and as he had never in his life  
kept anything for himself beyond what   
was necessary for his daily wants1 he   

was so poor that the canons of his      
cathedral thought proper to present him 
with four thousand crowns for his       
outfit2 he thanked them gratefully1 and 
immediately ordered the sum to be       
carried to the hospital for the sick and
 poor2 and from this time forth we find 
his life one series of beneficent       
actions4 ,he began by devoting          
two-thirds of the revenues of his       
diocese to purposes of charity4  ,he    
divided those who had a claim on him    
into six classes3 first1 the bashful    
poor who had seen better days1 and who  
were ashamed to beg2 secondly1 the poor 
girls whose indigence and misery exposed
 them to danger and temptation2 in the  
third class were the poor debtors2 in   
the fourth1 the poor orphans and        
foundlings2 in the fifth1 the sick1 the 
lame1 and the infirm2 lastly1 for the   
poor strangers and travellers who       
arrived in the city or passed through   
it1 without knowledge where to lay their
 heads1 he had a great kitchen open at  

all hours of the day and night1 where   
every one who came was supplied with    
food1 a night's rest1 and a small       
gratuity to assist him on his journey4  
',there were few churches or convents on
 the sunny side of the ,sierra ,morena  
without some memorial picture of this   
holy man1' but the finest beyond all    
comparison are those of ,murillo4  ,the 
,st4 ,francis represents ,christ        
appearing to the saint in his grotto on 
,mount ,alvernus when he received the   
stigmata1 wounds similar to those of the
 ,saviour in the ,crucifixion4  ,in     
#afgh1 ,murillo painted for the         
,hospital de los ,venerables1 at        
,seville1 an asylum for aged priests1   
,st4 ,peter ,weeping1 the ,virgin and   
,child enthroned on ,clouds1 the        
portrait of his friend ,don ,justino    
,neve y ,yevenes1 and the ,immaculate   
,conception1 now in the ,louvre1 for    
which the ,french government paid1 in   
#aheb1 at the sale of ,marshal ,soult's 
collection1 over one hundred and        

twenty-three thousand dollars4 ,the     
beautiful ,virgin1 in her mantle of     
exquisite blue1 over her white robe1    
floats upward toward the sky1 attended  
by angels1 her feet treading upon the   
crescent1 showing her triumph over the  
other religions of the world4 ,it is a  
marvel of color and pure saintly        
expression4  ,viardot says3 ,murillo    
comes up1 in every respect1 to what our 
imagination could hope or conceive4 ,his
 earthly daylight is perfectly natural  
and true2 his heavenly day is full of   
radiance4 ,we find in the attitude of   
the saints1 and the expression of their 
features1 all that the most ardent      
piety1 all that the most passionate     
exaltation1 can feel or express in      
extreme surprise1 delight1 and          
adoration4 ,as for the visions1 they    
appear with all the pomp of a celestial 
train1 in which are marvellously grouped
 the different spirits of the immortal  
hierarchy1 from the archangel with      
outspread wings to the bodiless heads of

 the cherubim4 ,it is in these scenes of
 supernatural poetry that the pencil of 
,murillo1 like the wand of an enchanter1
 produces marvels4 ,if in scenes taken  
from human life1 he equals the greatest 
colorists1 he is alone in the imaginary 
scenes of eternal life4 ,it might be    
said of the two great ,spanish masters1 
that ,velasquez is the painter of the   
earth1 and ,murillo of heaven4  ,his    
next work was for the ,augustinian      
convent church1 the ,madonna appearing  
to ,st4 ,augustine1 and ,st4 ,augustine 
and the little ,child on the ,seashore1 
who is trying to fill a hole in the sand
 with water carried from the ocean in a 
shell4  ,about this time1 he painted the
 exquisite ,st4 ,john with the ,lamb1   
now in the ,national ,gallery1 for which
 the government paid ten thousand       
dollars2 ,los ,ninos de la ,concha1 the 
,children of the ,shell1 where the      
,child ,jesus holds the shell1 filled   
with water1 to the lips of ,st4 ,john1  
now in the ,prado ,museum at ,madrid2   

and ,st4 ,ildefonso receiving the       
,chasuble from the ,virgin1 also at     
,madrid4 ,this saint defended the       
doctrine of the ,immaculate ,conception 
at a time when it had many opponents4   
,in token of her appreciation1 the      
,virgin came to his cathedral1 seated   
herself upon his ivory pulpit1 and1 with
 the angels about her1 chanted a service
 from the ,psalter4 ,he bowed to the    
ground1 and the ,virgin said1 ,come     
hither1 most faithful servant of ,god1  
and receive this robe1 which ,i have    
brought thee from the treasury of my    
,son4 ,he knelt before her1 and she     
threw over him a cassock of heavenly    
tissue4 ,the ivory chair remained       
thereafter unoccupied1 till the         
presumptuous ,archbishop ,sisiberto sat 
in it1 and died a miserable death in    
consequence4  ,besides all this work1   
,murillo's various ,beggar ,boys are    
known wherever art is loved2 one is in  
the ,louvre1 ,el ,piojoso2 several1 in  
the ,pinakothek at ,munich2 the         

,flower-,girl and a ,boy with a ,basket 
and ,dog1 at the ,hermitage2 and others1
 in ,london and ,madrid4 ,the ,education
 of the ,virgin1 ,mary kneeling by the  
side of ,st4 ,anna1 her mother1 the     
faces portraits1 it is believed1 of his 
wife and daughter1 is in the ,royal     
,gallery at ,madrid4 ,five large        
paintings from the life of ,jacob1      
,isaac blessing ,jacob1 ,jacob's ,dream1
 ,jacob and ,laban's ,sheep1 ,laban     
searching for his ,gods in the ,tent of 
,rachel1 and one other1 are in various  
galleries4  ,murillo was now growing    
old4 ,all the time which he could       
possibly spare from his work he passed  
in devotion4 ,he often visited the      
,church of ,santa ,cruz1 where he spent 
hours before the altar-piece1 ,the      
,descent from the ,cross1 by ,pedro     
,campana4 ,when lingering late one      
night1 he was asked by the sacristan why
 he thus tarried4 ,he replied3 ,i am    
waiting till those men have brought the 
body of our blessed ,lord down the      

ladder4  ,his last picture1 the         
,marriage of ,st4 ,catharine1 was begun 
in #afhj1 in the ,capuchin ,church at   
,cadiz1 when he was sixty-two years of  
age4 ,he had finished the centre group  
of the ,madonna and ,child and ,st4     
,catharine1 when he fell from the       
scaffold on which he was climbing to his
 work1 and fatally injured himself4     
,whether this accident occurred in the  
chapel at ,cadiz1 or in his own studio1 
is not positively known1 but he died    
soon afterward1 at ,seville1 ,april #c1 
#afhb1 in the arms of his friend ,canon 
,neve and his pupil ,pedro ,nunez de    
,villavicencio4 ,his wife was dead1 and 
his daughter had become a nun six years 
previous1 but his second son1 ,gaspar1  
stood beside the bed of death4  ,he was 
buried with distinguished honors1 the   
bier being carried by two marquises and 
four knights1 and followed by a great   
concourse of people4 ,at his own        
request1 he was buried beneath his      
favorite picture1 the ,descent from the 

,cross4 ,his grave was covered with a   
stone slab on which were carved his     
name1 a skeleton1 and the words1 ,vive  
moriturus1 ,live as one who is about to 
die4  ,during the ,french occupation1   
the ,church of ,santa ,cruz was         
destroyed1 and its site is now occupied 
by the ,plaza ,santa ,cruz4 ,a tablet   
was placed in the adjacent wall in      
#aheh1 stating that ,murillo was buried 
there4 ,a bronze statue of the painter  
has been erected by the city of         
,seville1 near the ,provincial ,museum4 
,more than five hundred of the works of 
,murillo are scattered through ,europe4 
,self-made1 he left a name honored alike
 for great genius and great beauty of   
character4 ,says ,emelyn ,w4 ,washburn1 
in ,spanish ,masters1 ,we shall not err 
when we say that ,murillo is the        
sweetest and richest painter of his     
day4444 ,he has a glowing fancy1 an eye 
for all beauty of nature and life1 and a
 lofty mind and moral purpose4 ,his     
magic pencil writes the heart of his    

saints on the face2 none better than he 
can draw the pure brow of childhood2    
and1 above all1 his conceptions suggest 
a mystery hidden beneath the outward    
coloring4  ,his name recalls ,spanish   
art in the noon of its glory4 ,there is 
in that series of great and small       
artists not one who has so won the heart
 of all time2 none depicts so much of   
that personal beauty which gives life to
 the past4 ,we approach ,zurbaran with  
somewhat of awe2 ,velasquez is the grand
 historical painter4 ,but in ,murillo we
 see the mingling of the two1 with a    
milder grace4 ,in him1 we see the sweet 
singer with the golden harp strung      
always before him1 the man with all the 
chords of his fine nature touched by the
 ,holy ,ghost4  ,there is1 perhaps1 no  
point where ,murillo appears in more    
winning beauty than in his relations    
with other painters4 ,he shows the most 
generous soul1 the rarest gentleness1 a 
heart where the struggles of youth have 
only brought forth the richest fruits4  

,we see the picture of a man too great  
for little hates4 ,his is a character   
shaped by the mild spirit of ,christ's  
religion4444  ,murillo stands forth as a
 mind which most faithfully represents  
,spanish genius1 art1 religion2 who     
lived a ,spaniard of the ,spaniards in  
that brilliant world2 who wore the same 
long cloak and grave dignity as is now  
met with in the narrow1 dirty lanes of  
,seville2 nay1 more1 who had a living   
human heart1 and who pondered as we now 
ponder the problems of art and life2 who
 taught a nation and an age4            
,,rubens4   ,taine says1 in his         
,philosophy of ,art in the ,netherlands3
 ,rubens is to ,titian what ,titian was 
to ,raphael1 and ,raphael was to        
,phidias4 ,never did artistic sympathy  
clasp nature in such an open and        
universal embrace4 ,ancient boundaries1 
already often extended1 seem removed    
purposely to expose an infinite career4 
,he shows no respect for historic       
proprieties3 he groups together         

allegoric with real figures1 and        
cardinals with a naked ,mercury4        
,illustration3 ,,rubens4  ,there is no  
deference to the moral order2 he fills  
the ideal heaven of mythology and of the
 ,gospel with coarse or mischievous     
characters2 a ,magdalen resembling a    
nurse1 and a ,ceres whispering some     
pleasant gossip in her neighbor's ear4  
,there is no dread of exciting physical 
sensibility2 he pushes the horrible to  
extremes1 444 all the animal instincts  
of human nature appear2 those which had 
been excluded as gross he reproduces as 
true1 and in him1 as in nature1 they    
encounter the others4 ,nothing is       
wanting but the pure and the noble2 the 
whole of human nature is in his grasp1  
save the loftiest heights4 ,hence it is 
that this creativeness is the vastest we
 have seen1 comprehending as it does all
 types1 ,italian cardinals1 ,roman      
emperors1 contemporary citizens1        
peasants and cowherds1 along with the   
innumerable diversities stamped on      

humanity by the play of natural forces1 
and which more than fifteen hundred     
pictures did not suffice to exhaust4    
,for the same reason1 in the            
representation of the body1 he          
comprehended more profoundly than any   
one the essential characteristic of     
organic life2 he surpasses in this the  
,venetians as they surpass the          
,florentines2 he feels still better than
 they that flesh is a changeable        
substance in a constant state of        
renewal2 and such1 more than any other1 
is the ,flemish body1 lymphatic1        
sanguine1 and voracious2 more fluid1    
more rapidly tending to accretion and   
waste than those whose dry fibre and    
radical temperance preserve permanent   
tissues4  ,hence it is that nobody has  
depicted its contrasts in stronger      
relief1 nor as visibly shown the decay  
and bloom of life2 at one time the dull1
 flabby corpse1 a genuine clinical mass1
 empty of blood and substance2 livid1   
blue1 and mottled through suffering1 a  

clot of blood on the mouth1 the eye     
glassy1 and the feet and hands clayish1 
swollen1 and deformed because death     
seized them first2 at another1 the      
freshness of living carnations1 the     
handsome1 blooming1 and smiling athlete1
 the mellow suppleness of a yielding    
torso in the form of a well-fed youth1  
the soft rosy cheeks and placid candor  
of a girl whose blood was never         
quickened or eyes bedimmed by thought1  
flocks of dimpled cherubs and merry     
cupids1 the delicacy1 the folds1 the    
exquisite melting rosiness of infantile 
skin1 seemingly the petal of a flower   
moistened with dew and impregnated with 
morning light4  ,his personages speak2  
their repose itself is suspended on the 
verge of action2 we feel what they have 
just accomplished1 and what they are    
about to do4 ,the present with them is  
impregnated with the past and big with  
the future2 not only the whole face1 but
 the entire attitude conspires to       
manifest the flowing stream of their    

thought1 feeling1 and complete being2 we
 hear the inward utterance of their     
emotion2 we might repeat the words to   
which they give expression4 ,the most   
fleeting and most subtle shades of      
sentiment belong to ,rubens2 in this    
respect he is a treasure for novelist   
and psychologist2 he took note of the   
passing refinements of moral expression 
as well as of the soft volume of        
sanguine flesh2 no one has gone beyond  
him in knowledge of the living organism 
and of the animal man4444  ,there is    
only one ,rubens in ,flanders1 as there 
is only one ,shakespeare in ,england4   
,great as the others are1 they are      
deficient in some one element of his    
genius4  ,this great painter1 ,peter    
,paul ,rubens1 whom ,sir ,joshua        
,reynolds called the best workman with  
his tools that ever managed a pencil1   
was born at ,siegen1 ,june #bi1 #aegg1  
on the day commemorating the martyrdom  
of these saints at ,rome1 hence the     
names given to the child4 ,antwerp and  

,cologne have claimed his birth1 but    
subsequent historical investigation has 
shown ,siegen as his birthplace4 ,jans  
,rubens1 the father of ,peter1 was a    
distinguished councilman and alderman of
 ,antwerp1 having taken his degree of   
,doctor of ,laws at ,rome when he was   
thirty-one4 ,when he was about that age 
he married ,marie ,pypelincx1 a woman of
 good family1 unusual force of          
character1 and the idol of her son      
,peter as long as she lived4  ,antwerp  
was now the scene of a desolating war4  
,charles ,v41 ,emperor of ,germany and  
,king of ,spain1 had abdicated1 leaving 
the ,netherlands to his son ,philip     
,,ii4 ,religious dissensions1 the       
presence of ,spanish soldiers1 and other
 matters1 led to revolts1 which the     
,duke of ,alva1 with twenty thousand    
soldiers1 was sent to suppress in #aegf4
 ,seven thousand of the people of       
,antwerp were slain1 and five hundred   
houses burned4  ,jans ,rubens had been  
accused of ,calvinistic tendencies1 and 

thought it prudent to retire to ,cologne
 before the arrival at ,antwerp of the  
,roman ,catholic ,duke of ,alva1 placing
 himself on the side of ,prince ,william
 of ,orange1 the ,silent1 who had       
married ,annie of ,saxony4 ,she had     
quarrelled with her husband1 had come to
 ,cologne1 and had employed ,jans       
,rubens as one of her counsellors in    
obtaining her property1 which ,philip   
,,ii4 had confiscated4 ,forgetting his  
high position and his family1 ,jans     
,rubens sacrificed his good name and    
character by his immorality1 was        
arrested and thrown into prison by      
,count ,john of ,nassau1 the brother of 
,prince ,william1 and ,annie was        
divorced by her husband4 ,by ,german law
 ,rubens was under the penalty of death4
 ,he wrote to his wife1 confessing his  
guilt and imploring her pardon4 ,she    
determined at once to save his life1 if 
possible4 ,the noble-hearted woman wrote
 him tenderly--only great souls know how
 to forgive1--  ,how could ,i push      

severity to the point of paining you    
when you are in such affliction that ,i 
would give my life to relieve you from  
it8 ,even had this misfortune not been  
preceded by a long affection1 ought ,i  
to show so much hatred as not to be able
 to pardon a fault against me8444 ,be1  
then1 assured that ,i have entirely     
forgiven you1 and would to ,heaven that 
your deliverance depended on this1 for  
then we should soon be happy again4     
,alas6 it is not what your letter       
announces that affects me4 ,i could     
scarcely read it4 ,i thought my heart   
would break4 ,i am so distressed1 ,i    
hardly know what ,i write4 ,this sad    
news so overwhelms me it is with        
difficulty ,i can bear it4 ,if there is 
no more pity in this world1 to whom     
shall ,i apply8 ,i will implore ,heaven 
with tears and groans1 and hope that    
,god will grant my prayer by touching   
the hearts of these gentlemen1 so that  
they may spare us1 may have compassion  
on us2 otherwise1 they will kill me as  

well as you1 my soul is so linked to    
yours that you cannot suffer a pain     
without my suffering as much as you4 ,i 
believe that if these good lords saw my 
tears they would have pity on me1 even  
if they were of stone2 and1 when all    
other means fail1 ,i will go to them1   
although you write me not to do so4     
,marie could not reach ,william the     
,silent1 for he was away in the country1
 consolidating the ,dutch ,republic2 but
 she visited in person his mother1 and  
his brother1 ,count ,john4 ,all her     
entreaties availed nothing4 ,it was     
publicly stated that ,jans ,rubens had  
been imprisoned for political treason to
 ,prince ,william1 and must suffer      
death4 ,marie was forbidden access to   
any of ,william's family1 and for two   
years was not allowed to enter the      
dungeon where her husband was confined4 
,at length she declared that the whole  
truth should be told1 and ,annie of     
,saxony be forever disgraced4 ,this     
threat moved the proud ,orange family1  

and procured the release of ,jans       
,rubens1 under bonds of six thousand    
thalers1 that he would never go outside 
the little town of ,siegen4 ,here he    
lived for some years1 broken in health  
by his prison life1 and under the strict
 surveillance of ,count ,john4 ,finally1
 ,marie obtained permission for them to 
reside in ,cologne1 where he died in    
#aehg1 when his boy ,peter was ten years
 of age4  ,the next year ,marie ,rubens 
returned to their old home at ,antwerp1 
and by her good sense and persistence   
recovered the estates of her husband1   
which had been confiscated during the   
wars1 thus placing her family in very   
comfortable circumstances4 ,peter       
entered a ,jesuits' college1 where he   
showed great aptitude for languages4 ,in
 childhood he had been taught ,latin by 
his father1 and ,french by a tutor4     
,later1 he learned ,italian1 ,spanish1  
,german1 and ,english1 besides1 of      
course1 speaking his native ,flemish4   
,his mother had destined him for the    

law1 but it was distasteful to him4  ,at
 the age of thirteen1 as was often the  
custom1 the frank and handsome boy was  
made a page in the household of his     
godmother1 the ,countess ,lalaing1 but  
he took no pleasure in mere fashionable 
surroundings1 and begged his mother that
 he might become an artist4  ,this      
choice did not attract the mother1 whose
 ambitions and hopes centred largely in 
her enthusiastic ,peter1 but she had the
 wisdom to lead rather than to dictate4 
,parents who break the wills of their   
children usually have spoiled children  
as the result4  ,she placed her boy with
 ,tobias ,verhaeght1 a landscape        
painter1 from whom the lad learned that 
close study of nature which made him    
thereafter a reader of her secrets4     
,conrad ,busken ,huet says1 in his ,land
 of ,rubens3 ,man and nature as the     
,creator made them were quite sufficient
 for ,rubens's inspiration1 no matter   
where he found them1 far from home or   
close to it4 ,what attracted him most in

 nature was the unchangeable1 the       
imperishable1 and the grand4 ,he knew   
how to find these everywhere4 ,artists  
less gifted and born by the seashore    
have before now felt the want of        
sniffing the mountain breeze4 ,did their
 cradle stand among the meadows1 they   
longed for running streams and rivers4  
,rubens's pictures prove that such      
contrasts had no value for him4  ,within
 the narrow limits of his native soil1  
he found every condition necessary to   
the practice of his art4 ,his           
imagination had no need of anything more
 stirring than that presented to him by 
the recollection of human vicissitudes  
amidst glebe and glade4 ,the twinkling  
of the eye sufficed to transform them   
into battlefields in his productions4444
  ,when the sun shines1 he shines       
everywhere4 ,such is ,rubens's motto4   
,he knows but one moon1 but one starry  
vault1 but one gloaming1 but one morning
 dew4 ,every raindrop on which there    
falls a ray of light reminds him of a   

diamond4 ,each stubble-field whence     
uprises the lark supplies music to his  
ears4 ,each swan to which he flings     
bread-crumbs on his arrival at ',steen' 
7his country home7 teaches him to keep  
the most sublime song of his art for the
 end4  ,it is curious to note that      
,rubens1 says ,charles ,w4 ,kett1 in his
 ,life of ,rubens1 who began with scenes
 of country life1 returned in his last  
days to his first love1 so that when he 
could no longer cover his huge canvases 
with heroic figures1 he would retire to 
his chateau at ,steen1 and paint        
landscapes1 even though the gout almost 
incapacitated him from holding his      
brushes4  ,after about ten years spent  
with ,verhaeght1 young ,rubens1 thinking
 that he would devote himself to        
historical subjects1 became a pupil of  
,adam van ,noort1 a teacher skilled in  
drawing1 and in the use of brilliant    
color1 with study of light and shade4   
,he is said to have been intemperate and
 quick-tempered1 but for four years     

,rubens found him a useful teacher4  ,it
 is related1 says ,george ,h4 ,calvert1 
that one day1 when the master was       
absent1 the pupil took a fresh canvas to
 try what he could do by himself towards
 representing a weeping ,madonna4 ,he   
worked for hours1 and so intently that  
he did not hear the returning footsteps 
of the master1 who from behind gazed in 
admiration and wonder at his            
performance4  ,the young painter was    
restless1 not an unnatural condition for
 an ardent1 ambitious boy or girl4 ,such
 a life1 fruitful for good or evil1 must
 be filled with the best activities4    
,when ,rubens was nineteen1 he entered  
the studio of ,otto ,venius1 a kind and 
learned man1 of courtly manners1 a      
free-master of the ,guild of ,st4 ,luke1
 and court painter to ,archduke ,albert 
of ,austria and the ,infanta ,isabella  
of ,spain4 ,she was the daughter of     
,philip ,,ii41 to whom he had ceded the 
,spanish ,netherlands4 ,they were       
distinguished patrons of art1 and did   

everything to restore the war-worn      
country to peace and prosperity4 ,venius
 became deeply attached to his pupil1   
made him acquainted with the ,regents   
,albert and ,isabella1 and inspired him 
to go to ,italy to study art1 the       
country in which he had studied for     
seven years4  ,rubens had already       
painted some admirable works3 the       
,adoration of the ,three ,kings1 a ,holy
 ,trinity1 a ,dead ,christ in the ,arms 
of the ,father1 and a portrait of ,marie
 ,pypelincx1 the true-hearted wife1 says
 ,mr4 ,kett1 of the faithless ,jans1 the
 mother of the artist1 the upholder of  
the family after the death of the       
father1 the educator of his children1   
and the restorer of the fallen greatness
 of the name of ,rubens4 ,calmly and    
beautifully does the pale face still    
look forth from the canvas as of old4   
,she must have smiled with satisfaction 
on the rising fame of her youngest      
surviving son1 now going forth into the 
world to have those talents acknowledged

 which her maternal heart was assured   
were in his keeping4 ,carefully attired1
 like a matron of good family1 in velvet
 dress1 mourning coif1 and muslin cuffs1
 denoting her widowed state1 she carries
 in her face the traits of a shrewd     
woman of the world1 who has battled     
bravely with the times1 and now sees    
victory crowning her endeavors4  ,her   
very chair1 somewhat similar to the one 
still preserved in the ,academy at      
,antwerp as the gift of her son1 speaks 
of a home of comfort2 her book1 held in 
her still handsome hand1 a forefinger   
marking the page she has not finished   
reading1 tells of a certain amount of   
learned leisure2 and her whole          
surroundings recall a home whence an    
artist1 a man of culture1 and a         
courteous gentleman might derive those  
early impressions and first inspirations
 which would develop1 when he came in   
contact with a larger world1 into       
masterpieces of art4  ,on ,may #h1      
#afjj1 ,rubens1 at twenty-three years of

 age1 having said good-by to his fond   
mother1 started for ,italy4 ,his first  
visit was to ,venice1 where he studied  
the wonderful colorists1 ,titian1 ,paul 
,veronese1 and ,tintoretto4 ,he is said 
to have copied twenty portraits by      
,titian1 so earnest was he in obtaining 
the secret of these marvellous tints4   
,while here he became the friend of a   
,mantuan1 an officer at the court of    
,vincenzo de ,gonzaga1 ,duke of ,mantua4
 ,this duke was thirty-seven years old1 
rich1 handsome1 somewhat of a poet1 the 
patron of artists and authors1 a        
brilliant and extravagant ruler4        
,through this friend1 and also by       
letters of introduction from ,archduke  
,albert1 ,rubens met ,gonzaga1 who was  
surprised at the learning of the        
attractive and distinguished-appearing  
young artist4 ,hearing him repeat a     
passage from ,virgil1 ,gonzaga addressed
 him in ,latin1 and was answered in the 
same language1 fluently and correctly4  
,the duke had made a fine collection of 

paintings and antiques1 and these       
,rubens was glad to study4 ,a most      
fortunate thing resulted from this      
acquaintance2 ,rubens was appointed     
painter to the court and a member of the
 ducal household4  ,this was not the    
result merely of fortuitous             
circumstances4 ,rubens had been a       
student4 ,he was called later by        
scholars1 the antiquary and ,apelles of 
our time4 ,he was also a most           
industrious worker4 ,philip ,rubens1 his
 nephew1 says in his life of his uncle1 
,he never gave himself the pastime of   
going to parties where there was        
drinking and card-playing1 having always
 had a dislike for such4 ,so fond was he
 of reading the best books1 that in     
after years1 when he painted1 ,seneca   
and ,plutarch were often read to him4   
,he had studied the technique of        
painting since he was thirteen years    
old4 ,he was especially charming in     
manner1 being free from harshness or    
censoriousness1 and1 withal1 a person of

 much tact and consideration4 ,he had   
prepared himself for a great work1 and  
was ready to embrace his opportunity    
when it came4  ,besides painting several
 originals for the ,duke of ,mantua1    
,rubens was sent to ,rome to make copies
 of some of the masterpieces4 ,he took  
letters of introduction to ,cardinal    
,alessandro ,montalto1 the nephew of    
,sixtus ,v41 very rich1 and a great     
patron of art4  ,besides this work for  
,gonzaga1 ,rubens painted for the chapel
 of ,st4 ,helena1 in the ,church of the 
,holy ,cross of ,jerusalem1 at ,rome1 at
 the request of ,archduke ,albert1      
formerly its cardinal1 three pictures3  
,st4 ,helena embracing the ,cross1      
,christ crowned with ,thorns1 and a     
,crucifixion4  ,on his return to        
,mantua1 he copied the ,triumph of      
,julius ,caesar1 by ,andrea ,mantegna2  
in one of the series1 in place of a     
sheep walking by the side of an         
elephant1 he painted a lion4 ,dr4       
,waagen says in his ,life of ,rubens3   

,his love of the fantastic and pompous  
led him to choose that with the elephant
 carrying the candelabra1 but his ardent
 imagination1 ever directed to the      
dramatic1 could not be content with     
this2 instead of a harmless sheep1 which
 in ,mantegna is walking by the side of 
the foremost elephant1 ,rubens has      
introduced a lion and lioness1 which    
growl angrily at the elephant4 ,the     
latter1 on his part1 is not idle1 but1  
looking furiously round1 is on the point
 of striking the lion a blow with his   
trunk4 ,the severe pattern he had before
 him in ,mantegna has moderated ,rubens 
in his taste for very full forms1 so    
that they are here more noble and       
slender than is usual with him4 ,the    
coloring1 as in his earliest pictures1  
is more subdued than in the later1 and  
yet more powerful4 ,rubens himself seems
 to have set a high value upon this     
study1 for it was among his effects at  
his death4  ,in #afjc1 ,rubens was sent 
by the ,duke of ,mantua on a pleasant   

mission to ,spain1 with costly presents 
to ,philip ,,iii41 the indolent son of  
,philip ,,ii41 and his powerful         
favorite1 the ,duke of ,lerma4 ,for the 
king there was a gorgeous coach and     
seven beautiful horses1 twelve          
arquebuses1 six of whalebone and six    
variegated1 and a vase of rock crystal  
filled with perfumes4 ,for the ,duke of 
,lerma1 a number of pictures1 a silver  
vase of large dimensions inwrought with 
colors1 and two vases of gold4 ,for the 
,countess of ,lerma1 a cross and two    
candelabra of rich crystal4 ,for the    
secretary1 ,pedro ,franqueza1 two vases 
of rock crystal1 and a complete set of  
damask hangings1 the edges of gold      
tissue4  ,after a long journey1 with    
continuous rain for twenty-five days1   
,rubens and his gifts reached           
,valladolid4 ,when the paintings were   
unpacked1 they were nearly ruined1 from 
the colors having peeled off4 ,at the   
request of ,iberti1 resident at the     
,court of ,madrid from ,mantua1 ,rubens 

undertook the work of restoration1 and1 
better still1 painted two originals for 
the ,duke of ,lerma1 a ,democritus1 and 
a ,heraclitus1 both life-size1 now in   
the gallery of ,madrid4 ,he also painted
 an equestrian likeness of the duke     
himself1 several ladies of the court1   
for the gallery of beauties possessed by
 ,gonzaga1 and probably many other      
pictures on this first visit1 as more   
than one hundred and twenty of ,rubens's
 paintings are known to have existed in 
,spain4 ,on his return to ,italy he was 
loaded with gifts from the ,king of     
,spain and grandees1 so much were his   
works esteemed and so greatly was the   
young ,fleming admired4 ,once more in   
,italy1 ,rubens painted an altar-piece  
for the ,church of the ,holy ,trinity at
 ,mantua1 in which the mother of the    
duke was buried2 three pictures1 the    
,baptism of our ,saviour1 the ,mystery  
of the ,transfiguration1 and a central  
picture1 the ,mystery of the ,trinity1  
which latter contained portraits of     

,duke ,vincenzo1 his ,duchess ,leonora1 
his parents1 and his children4 ,when the
 ,french took ,mantua in #agig1 this    
church was used as a storehouse for food
 for the horses4 ,a ,french commissary  
cut this picture in pieces1 the better  
to carry it1 and1 when about to send it 
to ,france1 was prevented by the        
,academy of ,mantua4 ,some of the pieces
 have disappeared4  ,rubens also        
painted1 for the ,church of ,santa      
,maria in ,valicella1 ,rome1 an         
altar-piece1 representing the ,madonna  
and ,child1 with side pictures of the   
pope and several saints4 ,in            
co-operation with his brother ,philip1  
he published1 in #afjh1 a book on ,roman
 antiquities1 with six copper-plate     
illustrations4 ,the pope was so pleased 
with ,rubens that he desired to keep him
 in ,rome permanently4  ,for the ,grand 
,duke ,ferdinand ,i4 of ,florence1      
,rubens painted several pictures1 among 
them a ,hercules between ,venus and     
,minerva4 ,in ,spain he executed a      

series called ,the ,labors of ,hercules1
 besides three separate ones1           
representing the slaying of the dragon1 
the struggle with ,antaeus1 and the     
combat with a lion4 ,he also copied the 
celebrated cartoon of ,leonardo da      
,vinci1 called ,the ,battle of the      
,standard1 and made a valuable portrait 
of himself for the ,grand ,ducal        
collection of self-painted heads of     
artists4 ,at ,genoa he made drawings of 
her remarkable palaces and churches1    
which he published later in a volume    
with one hundred and thirty-nine        
illustrations4  ,after an absence of    
eight years in ,italy1 ,rubens was      
recalled to ,antwerp by the illness of  
his mother4 ,he started homeward        
,october #bh1 #afjh1 with a heavy heart4
 ,on his way he learned that she had    
died nine days before he began his long 
journey4  ,on reaching ,antwerp1 he shut
 himself up for four months in the      
,abbey of ,st4 ,michael's1 where she had
 been buried4 ,he had given her no      

ordinary affection1 and his was no      
ordinary loss4 ,he met this loss in the 
silence of his own thoughts in the      
abbey1 and when he had gained the       
self-control necessary for his work1 he 
came out into the world4 ,most of us    
learn to bear our sorrows in our own    
hearts1 without laying our burdens upon 
others1 finding1 sooner or later1 that  
the world has enough of its own4  ,he   
talked of returning to ,italy1 but      
,archduke ,albert and ,isabella1 proud  
of his genius and his attainments1      
invited him to court1 sat for their     
portraits1 and made him their official  
painter4 ,one of his first works for    
them was a ,holy ,family1 which was so  
much admired that the ,society of ,st4  
,ildefonso of ,brussels1 ,archduke      
,albert being its head1 ordered an      
altar-piece for the ,chapel of the order
 of ,st4 ,james4 ,this picture1 says    
,dr4 ,waagen1 which is at present in the
 ,imperial gallery at ,vienna1          
represents the ,virgin ,mary enthroned1 

and putting the cloak of the order on   
the shoulders of ,st4 ,ildefonso4 ,she  
is surrounded by four female saints4 ,on
 the interior of the wings are the      
portraits of ,albert and ,isabella1 with
 their patron saints4 ,this work1 one of
 the most admirable ever painted by     
,rubens1 displays in a remarkable degree
 the qualities praised in the one       
painted for the ,archduke4  ,the        
association were so pleased that they   
offered the artist a purse of gold1     
which1 having been made a member1 he    
would not receive1 saying that his only 
desire was to be useful to his brother  
members4  ,lonely from the death of his 
mother1 a new affection came into his   
heart to sustain and console him4       
,philip1 his brother1 now secretary of  
,antwerp1 had taken as his wife ,maria  
de ,moy1 whose sister1 ,clara1 much     
older1 had married a former secretary of
 ,antwerp1 ,jan ,brandt4 ,their         
daughter1 ,isabella ,brandt1 was a young
 woman of attractive face and sweet     

disposition4 ,peter naturally met the   
niece of his brother ,philip's wife1    
loved her1 and married her ,october #ac1
 #afji1 in the ,abbey ,church of ,st4   
,michael1 when he was thirty-two4  ,he  
soon built a house1 costing sixty       
thousand florins1 in the ,italian style 
of architecture1 with a spacious studio1
 and a separate building or rotunda1    
like the ,pantheon at ,rome1 lighted    
from the top1 where he arranged the     
pictures1 marbles1 vases1 and gems which
 he had collected in ,italy4 ,adjoining 
this he laid out a large garden1 planted
 with flowers and choice trees4  ,the   
celebrated picture of ,rubens and his   
first wife1 says ,mr4 ,kett1 now in the 
,pinakothek at ,munich1 must have been  
painted within the first few years of   
their married life1 and is a striking   
example of the painter's manner at this 
period4 ,his calm serenity and          
thoughtful expression1 combined with    
beauty and force of character1 are well 
balanced by the placid contentment and  

happy dignity of his wife1 as the pair  
sit under their own vine and fig-tree1  
prepared to receive their visitors4     
,there is no affected demonstration of  
feeling1 no bashful restraint4 ,a couple
 well-to-do and able to enjoy themselves
 are happy to share their pleasure with 
others4  ,in #afaa1 ,rubens met with a  
severe loss in the death of his greatly 
beloved brother1 ,philip4 ,all the seven
 children of ,jans ,rubens and ,maria   
,pypelincx were now dead save ,peter    
,paul4  ,in #afad1 ,rubens's heart was  
made glad by the birth of a son1 to whom
 ,archduke ,albert became godfather1 and
 gave him his own name4 ,four years     
later his only other child by ,isabella 
,brandt was born1 both of whom survived 
their father4 ,a beautiful painting of  
these two children is now in the        
,liechtenstein ,gallery1 in ,vienna4    
,the rich and famous painter was now    
happy1 surrounded by his loved ones1    
busy constantly with his work1 which    
poured in upon him4 ,in summer he rose  

at four o'clock1 heard mass1 and went to
 work early4 ,says ,dr4 ,waagen1 ,this  
was the time when he generally received 
his visitors1 with whom he entered      
willingly into conversation on a variety
 of topics1 in the most animated and    
agreeable manner4 ,an hour before dinner
 he always devoted to recreation1 which 
consisted either in allowing his        
thoughts to dwell as they listed on     
subjects connected with science or      
politics1 which latter interested him   
deeply1 or in contemplating his         
treasures of art4 ,from anxiety not to  
impair the brilliant play of his fancy1 
he indulged but sparingly in the        
pleasures of the table1 and drank but   
little wine4 ,after working again till  
the evening1 he usually1 if not         
prevented by business1 mounted a        
spirited ,andalusian horse1 and rode for
 an hour or two4  ,this was his favorite
 exercise2 he was extremely fond of     
horses1 and his stables generally       
contained some of remarkable beauty4 ,on

 his return home1 it was his custom to  
receive a few friends1 principally men  
of learning or artists1 with whom he    
shared his frugal meal1 and afterwards  
passed the evening in instructive and   
cheerful conversation4 ,this active and 
regular mode of life could alone have   
enabled ,rubens to satisfy all the      
demands that were made upon him as an   
artist1 and the astonishing number of   
works that he completed1 the genuineness
 of which is beyond all doubt1 can only 
be accounted for by this union of       
extraordinary diligence with his        
unusually fertile powers of production4 
,in building his home1 ,rubens          
encroached a little on land owned by the
 ,company of ,arquebusiers of ,antwerp4 
,a lawsuit was threatened1 but finally a
 compromise was effected whereby ,rubens
 agreed to paint a triptych1 that is1 a 
picture in three parts1 of their patron 
,st4 ,christopher1 to be hung in the    
cathedral4 ,in fulfilment of this       
contract1 he painted the renowned       

,descent from the ,cross1 now in the    
south end of the transept of the        
cathedral1 with ,st4 ,simon on one wing 
of the triptych1 and ,the ,visitation on
 the other1 with ,st4 ,christopher in   
person4  ,says ,huet3 ,playing upon the 
name of a patron saint1 he has          
represented a threefold 'bearing of     
,christ'2 ,christ borne from the ,cross 
in the centre2 ,christ borne by old     
,simon on the right2 ,christ borne      
''neath his mother's heart' on the left 
wing4444 ,there is no need to insist as 
to how ,rubens acquitted himself of his 
task in the centre piece4 ,da ,vinci's  
',last ,supper' and ,rubens's ',descent 
from the ,cross' are the two most       
popular altarpieces of ,christianity1   
admired alike by ,protestant and        
,catholic4 ,for the history of ,flemish 
art this ',descent' possesses as much   
value as does ,goethe's ',faust' for the
 history of ,german literature4 ,no one 
has succeeded in painting subsequent to 
,rubens a ',descent from the ,cross'    

without paying toll to the master4444   
,it is the triumph of human sympathy    
expressed in accordance with the theory 
of line and color4 ,the painter had no  
other aim than to limn a perfect group  
of loving people1 occupied in taking    
down the body of ,christ4 ,he does not  
portray your sorrow1 but theirs4 ,what  
he tenders us is sentiment1 not         
sentimentality2 emotion1 not intellect4 
,the allusion to ,st4 ,christopher must 
be disinterred from encyclopaedias2 the 
recollection of ,john in his red cloak1 
carrying his burden1 of the fair-haired 
,mary ,magdalen1 of the disciple with   
the winding-sheet betwixt his teeth1 has
 become immortal4  ,the lovely          
mother-virgin of the left-hand side leaf
 deserves particular attention4444 ,i   
know of no more fascinating female      
figure from ,rubens's brush2 none which 
in its ,flemish guise is so original1 so
 wholly his4 ,the ',descent from the    
,cross' itself one might still believe  
to be the work of one of the great      

,italians4 ,no such mistake is possible 
with the side leaf4 ,what excites our   
wonder in ,goethe is his succeeding in  
raising a ,leipzig girl of the lower    
classes to the rank of a tragic heroine1
 the very mention of whose name suffices
 to remind us of an imperishable type4  
,rubens's pregnant ,mary is an honorable
 ,gretchen4 ,he created her out of the  
most hidden depths of human nature1     
where blood and soul1 mind and matter1  
melt into one4 ,when ,jordaens wishes to
 paint fertility1 he resorts to the     
allegory of the schools4 ,to ,rubens    
life itself is the best of all          
allegories4 ,mary's clinging for support
 to the railing of the staircase1 as she
 ascends it1 is a hymn in honor of      
maternity4 ,in the course of ages       
pictorial art has produced many         
beautiful works1 none more beautiful    
than that scene4  ,about this time      
,rubens painted some of his greatest    
works4 ,our ,saviour giving the ,keys to
 ,st4 ,peter was originally placed in   

the ,cathedral of ,st4 ,gudule2 it was  
sold in #ahbd to the ,prince of ,orange1
 for one hundred and twenty-five        
thousand dollars4 ,an ,elevation of the 
,cross1 an immense picture1 executed for
 the ,church of ,st4 ,walburg1 at       
,antwerp1 is now in the north transept  
of the cathedral4 ,he painted an        
,adoration of the ,magi for the choir of
 the ,abbey ,church of ,st4 ,michael1   
dear to him from the burial of his      
mother and his own marriage1 and a      
similar picture for the ,church of ,st4 
,john at ,malines4  ,of an ,adoration of
 the ,magi in the ,museum at ,antwerp1  
,eugene ,fromentin says3 ,it is truly a 
tour de force1 especially if one recalls
 the rapidity of this work of           
improvisation4 ,not a gap1 not a strain2
 a vast1 clear half-tint and lights     
without excess envelop all the figures1 
supporting one the other2 all the colors
 are visible and multiply values the    
most rare1 the least sought and yet the 
most fit1 the most subtle and yet the   

most distinct4 ,by the side of types    
that are very ugly swarm superior types4
 ,with his square face1 his thick lips1 
his reddish skin1 big eyes strongly     
lighted up1 and his stout body girt in  
green pelisse with sleeves of peacock   
blue1 this ,african among the ,magi is a
 figure entirely new1 before which1     
assuredly1 ,tintoretto1 ,titian1        
,veronese would have clapped their      
hands4  ,on the left stand in dignified 
solemnity two colossal cavaliers of a   
singular ,anglo-,flemish style1 the most
 extraordinary piece of color in the    
picture1 with its dull harmony of black1
 greenish blue1 of brown and white4 ,add
 the profile of the ,nubian             
camel-drivers1 the supernumeraries1 men 
in helmets1 negroes1 the whole in the   
most ample1 the most transparent1 the   
most natural of atmospheres4            
,spider-webs float in the framework1 and
 quite low down the head of the ox1--a  
sketch achieved by a few strokes of the 
brush in bitumen1--without more         

importance and not otherwise executed   
than would be a hasty signature4 ,the   
,child is delicious2 to be cited as one 
of the most beautiful among the purely  
picturesque compositions of ,rubens1 the
 last word of his knowledge as to color1
 of his skill as to technique1 when his 
sight was clear and instantaneous1 his  
hand rapid and careful1 and when he was 
not too exacting1 the triumph of rapture
 and science--in a word1 of             
self-confidence4  ,rubens had courage4  
,he used to say3 ,every one according to
 his gift2 my talent is such that never 
yet has an undertaking1 however         
extraordinary in size or diversity of   
subjects1 daunted my courage4  ,the     
,assumption of the ,virgin in the       
,antwerp ,cathedral1 ,dr4 ,waagen says1 
may be said to produce the same effect  
as a symphony1 in which the united      
sounds of all the instruments blend     
together joyously1 divinely1 mightily4  
,no other painter has ever known how to 
produce such a full and satisfactory    

tone of light1 such a deep chiaro-oscuro
 united with such general brilliancy4   
,st4 ,theresa pleading for the ,souls in
 ,purgatory1 ,st4 ,anne instructing the 
,virgin1 and the ,dead ,saviour laid on 
a ,stone1 are now at ,antwerp4 ,five of 
the above pictures and three others1    
,christ on the ,cross1 ,the             
,resurrection of our ,saviour1 and ,the 
,adoration of the ,shepherds1 were      
painted in eighteen days1 ,rubens       
receiving as compensation fifty dollars 
per day1 his usual price4  ,for a       
magnificent church built by the         
,jesuits1 ,rubens painted two works for 
the high altar1 pictures for two other  
altars1 and thirty-nine ceilings with   
,bible scenes1 including the ,assumption
 and ,coronation of the ,virgin1 the    
,translation of ,elijah1 and the        
,archangel ,michael triumphing over the 
,serpent4 ,these works with the church  
were all destroyed by fire1 caused by   
lightning1 in #agah4  ,with all this    
prosperity it was not strange that envy 

and jealousy should now and then        
confront ,rubens4 ,one of his rivals    
invited him to paint a picture on some  
chosen subject1 and allow umpires to    
decide which was the better work4       
,rubens replied to the challenge3 ,my   
attempts have been subjected to the     
scrutiny of connoisseurs in ,italy and  
,spain4 ,they are to be found in public 
collections and private galleries in    
those countries2 gentlemen are at       
liberty to place their works beside     
them1 in order that the comparison be   
made4  ,the great artist used to say1   
,do well1 and people will be jealous of 
you2 do better1 and you confound them4  
,he employed several pupils to help him 
constantly4 ,he would make sketches and 
superintend the work1 adding the        
finishing touches4 ,having been asked to
 paint for the ,cathedral of ,malines a 
,last ,supper1 ,rubens made the drawing 
and sent it to one of his pupils1 ,juste
 van ,egmont1 to lay on the ground      
color4 ,the canon of the cathedral said 

to ,van ,egmont1 ,why did your master   
not come himself8 ,don't be uneasy1 was 
the reply4 ,he will1 as is his custom1  
finish the picture4  ,egmont went on    
with the work1 when finally the canon1  
in a rage1 ordered him to stop1 while he
 wrote to ,rubens3 ',twas a picture by  
your own hand ,i ordered1 not an attempt
 by an apprentice4 ,come1 then1 and     
handle the brush yourself3 or recall    
your ,juste van ,egmont1 and tell him to
 take with him his sketch2 my intention 
being not to accept it1 you can keep it 
for yourself4  ,rubens wrote back3 ,i   
proceed always in this way2 after having
 made the drawing1 ,i let my pupils     
begin the picture1 finish even1         
according to my principles2 then ,i     
retouch it1 and give it my stamp4 ,i    
shall go to ,malines in a few days2 your
 dissatisfaction will cease4 ,rubens    
came1 and the canon was satisfied4  ,mr4
 ,kett says3 ,rubens's method of        
painting was his own4 ,some of his      
fellow-countrymen1 who were jealous of  

him1 said he did not use paints1 but    
colored varnishes1 and that his pictures
 would not last2 of the latter point we 
are the better judges4 ,he used light   
grounds1 almost1 if not quite white2 his
 outlines were drawn with a brush in    
color 7often red for the flesh71 and    
very transparent glazes were laid over  
all the shadows1 the lights being       
sometimes1 not always1 painted thicker4 
,he exposed his pictures to the sun for 
short spaces of time1 between the       
paintings1 to dry out the oil4 ,they    
received several coats of color1 and    
then1 finally1 he put in the stronger   
touches himself1 the light ones now     
thick4 ,all his works1 however1 do not  
seem to have been done in this way1 but 
many have solid painting from the first4
  ,rubens had become both rich and      
famous4 ,when an alchemist visited him1 
urging that he furnish a laboratory and 
apparatus for the process of            
transmutation of metals1 and share the  
profits1 the painter replied3 ,you have 

come twenty years too late2 ,i found out
 the secret long ago2 and then1 pointing
 to his palette and brushes1 he added1  
,everything ,i touch with these turns to
 gold4  ,a new honor was now conferred  
upon ,rubens4 ,marie de' ,medici1 the   
sister of the ,duchess ,leonora of      
,mantua1 wished to adorn her palace of  
the ,luxembourg1 in ,paris1 with great  
magnificence4 ,henry1 ,baron ,vicq1 the 
ambassador of the ,archduke ,albert and 
,isabella1 spoke to ,queen ,marie of    
,rubens4 ,she must have known of his    
work1 also1 when he was the court       
painter of ,mantua4 ,he was summoned to 
,paris1 and took the order for          
twenty-two immense pictures1            
illustrative of her life4 ,these are now
 in the ,louvre1 full of vigor1         
brilliant in imagery1 and rich in color4
  ,in the first picture the three ,fates
 spin the fortunes of ,marie de'        
,medici2 the second represents her birth
 at ,florence1 in #aege1 ,lucina1 the   
goddess of births1 being present with   

her torch1 while ,florentia1 the goddess
 of the city1 holds the new-born infant2
 the third1 her education1 conducted by 
,minerva1 ,apollo1 and ,mercury2 fourth1
 ,love shows the princess the portrait  
of ,henry ,,iv41 whom she married in    
#afjj1 after he had been divorced from  
,margaret of ,valois1 in the preceding  
year2 above are ,jupiter and ,juno2     
beside the king appears ,gallia2 fifth  
shows the nuptials2 the ,grand ,duke    
,ferdinand of ,tuscany acts as proxy for
 his niece's husband2 sixth1 the queen  
lands at ,marseilles2 seventh1 the      
wedding festival1 at ,lyons1 with ,henry
 ,,iv4 as ,jupiter1 and ,marie as ,juno2
 eighth1 the birth of ,louis ,,xiii41 in
 #afja1 with ,fortuna behind the queen2 
ninth1 ,henry ,,iv4 starting on his     
campaign against ,germany1 in #afaj1    
when he makes the queen regent2 tenth1  
coronation of the queen at ,st4 ,denis2 
eleventh1 apotheosis of ,henry ,,iv41   
who was stabbed by ,ravaillac1 it is    
said1 not against the queen's wishes1   

who1 nevertheless1 in the picture is    
enthroned in mourning robes between     
,minerva and ,wisdom2 twelfth1 regency  
of the queen under the protection of    
,olympus2 ,mars1 ,apollo1 and ,minerva  
drive away the hostile powers1 while    
,juno and ,jupiter cause the chariot of 
,france to be drawn by gentle doves2    
thirteenth1 the queen in the field      
during the civil war in ,france2        
fourteenth1 treaty between ,france and  
,spain2 fifteenth1 prosperity during the
 regency1 the queen bearing the scales  
of justice with ,minerva1 ,fortuna1 and 
,abundantia on the right1 ,gallia and   
,time on the left1 while below are      
,envy1 ,hatred1 and ,stupidity2         
sixteenth1 the queen commits the rudder 
of the ,ship of ,state1 rowed by the    
,virtues1 to ,louis ,,xiii41 who        
certainly must have deserted these      
virtues early in his career2            
seventeenth1 flight of the queen1 in    
#afai1 to ,blois1 where the wily        
,cardinal ,richelieu joined her as a    

pretended friend2 eighteenth1 ,mercury  
presents himself to the queen as a      
messenger of peace2 nineteenth1 the     
queen is conducted into the temple of   
peace2 twentieth1 ,marie and ,louis     
,,xiii4 on ,olympus1 with the dragon of 
rebellion below them2 twenty-first1 the 
king giving his mother a chaplet of     
peace2 twenty-second1 portrait of       
,marie2 followed by portraits of her    
parents1 ,grand ,duke ,francis and      
,johanna1 ,grand ,duchess of ,tuscany4  
,fortunately1 ,rubens could not paint   
the sad future of ,marie de' ,medici4   
,she died in a poor apartment at        
,cologne1 deserted by her family4 ,the  
queen was delighted with ,rubens's      
pictures1 taking lessons of him in      
drawing1 and often conversing with him  
while he made the sketches1 the painting
 being done by himself and his pupils in
 his studio at ,antwerp1 in about two   
years and a half4  ,the queen had       
intended to adorn another gallery at the
 ,luxembourg with the life of ,henry    

,,iv41 but the project was abandoned in 
consequence of the quarrel between      
,marie and ,cardinal ,richelieu4        
,rubens painted other pictures while at 
work on the ,medici allegory3 ,susannah 
and the ,elders1 ,lot's ,daughters1 a   
beautiful ,virgin and ,child for ,baron 
de ,vicq1 who had recommended him to    
,marie de' ,medici1 and several other   
works4  ,in his ,kermess now in the     
,louvre1 a peasant festival in          
,flanders1 in front of a village inn    
about fourscore persons of both sexes   
are depicted1 intermingled in varieties 
of groups1 in the full swing of         
boisterous enjoyment after a better meal
 than peasants are used to1 singing1    
dancing1 talking1 shouting1 gambolling1 
love-making4 ,a large1 serious dog tries
 to get his share by prying into a pail 
half filled with empty platters4 ,an    
abounding scene of rustic revelry1 in   
the groups and individuals a character  
and expression which only warm genius   
animating rich intellectual resources   

could give4  ,rubens delighted in       
painting animals4 ,it is related1 says  
,calvert1 that he caused to be brought  
to his house a very fine and powerful   
lion that he might study him in his     
various attitudes4 ,but what he had     
still greater delight in painting than  
animals was children4 ,here1 too1 as    
with animals1 and in a higher form1 he  
had what a healthy1 juicy mind like his 
revelled in1 nature unsophisticated4 ,it
 may have been in front of one of his   
canvases glowing with the luminous      
rosiness of half a dozen of these happy 
soul-buds that ,guido exclaimed1 ',does 
,rubens mix blood with his paint8' ,the 
mobility of children1 their naturalness1
 their unveiled life and innocence1     
humanity in its heavenly promise1       
laughing incarnations of hope1 all      
appealed to his liveliest sympathies1 as
 to his artistic preferences4  ,he was  
skilled1 also1 in portraits4 ,mr4 ,kett 
says the picture of his mother1 in the  
,dulwich ,gallery1 the ,spanish ,hat1 in

 the ,national ,gallery1 and the        
portrait called ,general ,velasquez are 
three that could scarcely be excelled by
 any master of any time4  ,dr4 ,waagen  
says of ,le ,chapeau de ,poil 7,the     
,spanish ,hat71 ,no picture justifies   
more than this the appellation which    
,rubens has obtained of ',the ,painter  
of ,light4' ,no one who has not beheld  
this masterpiece of painting can form   
any conception of the transparency and  
brilliancy with which the local coloring
 in the features and complexion1 though 
under the shadow of a broad-brimmed     
,spanish beaver hat1 are brought out and
 made to tell1 while the different parts
 are rounded and relieved with the      
finest knowledge and use of reflected   
lights4 ,the expression of those        
youthful features1 beaming with         
cheerfulness1 is so full of life1 and   
has such a perfect charm1 that one is   
inclined to believe the tradition that  
,rubens fell in love with the original  
7a young girl of the ,lunden family1 at 

,antwerp7 whilst she was sitting to him4
  ,mrs4 ,jameson says1 ,the picture as a
 picture is miraculous1 all but life    
itself4444 ,rubens1 during his life1    
would never part with this picture4444  
,after the death of his widow1 it passed
 into the possession of the ,lunden     
family1 whose heir1 ,m4 ,van ,havre1    
sold it in #ahag1 for sixty thousand    
francs1 to another descendant of the    
family1 ,m4 ,stier d',artselaer4 ,at his
 death1 in #ahbb1 it was sold by auction
 and purchased by ,m4 ,niewenhuys for   
seventy-five thousand francs1 and       
brought to ,england1 where1 after being 
offered in vain to ,george ,,iv41 it was
 bought by ,sir ,robert ,peel for three 
thousand five hundred guineas4444  ,to  
venture to judge ,rubens1 we ought to   
have seen many of his pictures4 ,his    
defects may be acknowledged once for    
all4 ,they are in all senses gross1     
open1 palpable2 his florid color1       
dazzling and garish in its              
indiscriminate excess2 his exaggerated1 

redundant forms2 his coarse allegories2 
his historical improprieties2 his vulgar
 and prosaic versions of the loftiest   
and most delicate creations of poetry2  
let all these be granted1 but this man  
painted that sublime history 7a series  
of six pictures71 almost faultless in   
conception and in costume1 the ',decius'
 in the ,liechtenstein ,gallery4 ,this  
man1 who has been called unpoetical1 and
 who was a born poet1 if ever there was 
one1 conceived that magnificent epic1   
the ',battle of the ,amazons2' that     
divine lyric1 the ',virgin ,mary'       
trampling sin and the dragon1 in the    
,munich ,gallery1 which might be styled 
a ,pindaric ,ode in honor of the        
,virgin1 only painted instead of sung2  
and those tenderest moral poems1 the    
',st4 ,theresa' pleading for the souls  
in ,purgatory1 and the little sketch of 
',war1' where a woman sits desolate on  
the black1 wide heath1 with dead bodies 
and implements of war heaped in shadowy 
masses around her1 while1 just seen     

against the lurid streak of light left  
by the setting sun1 the battle rages in 
the far distance4444  ,though thus      
dramatic in the strongest sense1 yet he 
is so without approaching the verge of  
what we call theatrical4 ,with all his  
flaunting luxuriance of color1 and      
occasional exaggeration in form1 we     
cannot apply that word to him4 ,le ,bran
 is theatrical2 ,rubens1 never4 ,his    
sins are those of excess of daring and  
power2 but he is ever the reverse of the
 flimsy1 the artificial1 or the         
superficial4 ,his gay magnificence and  
sumptuous fancy are always accompanied  
by a certain impress and assurance of   
power and grandeur1 which often reaches 
the sublime1 even when it stops short of
 the ideal4  ,a few months after the    
paintings were finished for ,marie de'  
,medici1 a great sorrow came to the     
,rubens mansion4 ,isabella ,brandt1 his 
wife1 died in the middle of the year    
#afbf1 leaving two sons1 ,albert and    
,nicholas1 twelve and eight years of    

age4 ,she was buried with much display  
in the ,abbey ,church of ,st4 ,michael1 
where she had been married1--in the same
 tomb with his mother and his brother   
,philip1 and her husband dedicated a    
beautiful ,virgin and ,child to her     
memory4 ,he wrote to a friend1 sadly1 in
 regard to her whom he had lost1 as one 
not having any of the vices of her sex4 
,she was without bad temper or feminine 
frivolity1 but was in every way good and
 honorable--in life loved on account of 
her virtues1 and since her death        
universally bewailed by all4 ,such a    
loss seems to me worthy of sympathy1 and
 because the true remedy for all evils  
is forgetfulness1 the daughter of time1 
one must without doubt hope for relief2 
but ,i find the separation of grief for 
the departed from the memory of a person
 whom ,i ought to revere and honor      
whilst ,i live1 to be very difficult4   
,partly to distract his mind from his   
grief1 and partly to assist his own     
country1 to which he was devotedly      

attached1 to keep peace with the powers 
at war1 which made ,belgium their       
battle-ground1 at the request of the    
,infanta ,isabella he visited ,holland  
on a diplomatic mission1 and1 a little  
later1 ,spain and ,england4 ,the ,king  
of ,spain had already ennobled ,rubens4 
,regard being had to the great renown   
which he has merited and acquired by    
excellence in the art of painting1 and  
rare experience in the same1 as also by 
the knowledge which he has of histories 
and languages1 and other fine qualities 
and parts which he possesses1 and which 
render him worthy of our royal favor1 we
 have granted and do grant to the said  
,peter ,paul ,rubens and his children   
and posterity1 male and female1 the said
 title and degree of nobility4 ,in      
consequence of this1 ,isabella had made 
him gentleman of her household4  ,in    
this his second visit to ,spain1 he is  
said to have painted forty pictures in  
nine months4 ,rubens and ,velasquez     
became intimate friends1 although the   

former was fifty-one1 and the latter    
twenty-eight4  ,a little later he was   
sent by ,philip ,,iv4 of ,spain1 who had
 appointed ,rubens secretary to his     
privy council1 on a mission to ,england4
 ,here he was discovered by a courtier1 
one morning1 busy at his painting4 ,ho6 
said the courtier1 does his ,most       
,catholic ,majesty's representative     
amuse himself with painting8  ,no1      
answered ,rubens1 the artist sometimes  
amuses himself with diplomacy4  ,rubens 
painted for ,king ,charles ,i41 ,diana  
and her ,nymphs surprised by ,satyrs1   
and ,peace and ,plenty1 which latter1   
after remaining in ,italy for a century1
 was finally bought by the ,marquis of  
,stafford1 for fifteen thousand dollars1
 and by him presented to the ,national  
,gallery4 ,rubens also made nine        
sketches for pictures ordered by the    
king to decorate the ceiling of the     
throne-room of ,whitehall1 illustrating 
the deeds of ,james ,i4 ,these cost     
fifteen thousand dollars4  ,king        

,charles knighted the famous painter1   
and after the ceremony presented him    
with the sword1 a handsome service of   
plate1 a diamond ring1 and a rich chain 
to which was attached a miniature of the
 king2 this he ever afterwards wore     
round his neck4  ,at ,cambridge         
,university he was received by ,lord    
,holland1 the ,chancellor1 and admitted 
to the honorary degree of ,master of    
,arts4  ,as a diplomatist1 ,m4          
,villoamil says1 ,rubens had great tact1
 was prudent1 active1 forbearing1 and   
patient to the last degree1 and1 above  
all1 throwing aside all personality1 how
 exclusively careful he was neither to  
exceed nor fall short of the line laid  
down to him from ,spain1 softening1 when
 it seemed harsh1 what the ,count ,duke 
7,olivarezs7 had charged him to         
communicate1 and even taking on himself 
faults and errors which he had not      
committed1 when by such assumption he   
could advance his objects and gain the  
ends he had in view in the service of   

,spain4  ,how few in this world learn   
the beauty and the power of being       
patient to the last degree6 ,how few    
learn early in life to avoid gossip1 to 
speak well of others1 and to make peace6
  ,in #afcj1 four years after the death 
of ,isabella ,brandt1 ,rubens married   
her sister's daughter1 ,helena          
,fourment1 a wealthy girl of sixteen1   
while the painter was fifty-three4 ,he  
seems to have thought her beautiful1 as 
she appears in nearly all his subsequent
 paintings4 ,at ,blenheim are two       
portraits of the fair ,helena3 one1     
representing himself and his wife in a  
flower garden with their little child1  
,dr4 ,waagen regards as one of the most 
perfect family pictures in the world4   
,in the ,belvidere1 ,vienna1 is a       
magnificent portrait of ,helena         
,fourment4 ,she bore to ,rubens five    
children in the ten remaining years of  
his life4  ,he soon bought a lovely     
country home1 the ,chateau de ,steen at 
,elewyt1 which was sold at his death for

 forty thousand dollars4 ,it was1 says  
,huet1 a feudal castle1 surrounded on   
all sides with water4 ,rubens1 though   
nothing need have prevented him from    
demolishing the castle and erecting an  
,italian villa on its site1 respected   
its mediaeval architecture4 ,one may    
take it that the mediaeval turrets and  
the mediaeval moat made up1 according to
 him1 an agreeable whole with the sylvan
 surroundings4 ,an imagination like his 
felt at home everywhere4 ,the principal 
charm of ',steen' lay in its being but a
 day's journey from ,antwerp1--that     
there wife and children could breathe   
the beneficent country air in unstinted 
draughts1 and the artist himself could  
indulge his leisure and find new        
subjects4 ,it is all but certain that   
the idyl of ',the ,rainbow' and the     
bacchanalia of ',the ,village ,fair'    
were painted nowhere else but at        
,steen4444  ,though the two centuries   
and a half that have elapsed since then 
have altered the means of locomotion and

 communication so thoroughly as to make 
them difficult of recognition1 it needs 
no great effort of the imagination to   
follow the ,rubens family from stage to 
stage on its flitting to the summer     
quarters4 ,we can fancy him sitting one 
of those splendid horses he so          
magnificently bestrode4 ,a team of four 
or six less costly1 but well-fed1       
well-groomed1 and well-equipped cattle  
drags through the loose sand or heavy   
clay the still heavier coach1 where1    
between children and nursemaids1 thrones
 the mistress of the house1 not very    
securely2 for she1 like the rest1 is    
considerably jolted4 ,she wears the     
large hat with feathers1 beneath which  
the charming face meets the spectators1 
as in the picture in the ,louvre4 ,a    
solid train with provisions for the long
 journey brings up the rear of the      
procession4 ,proud of his young wife1   
anxious as to her every want1 the great 
artist1 whose hair and beard are        
plentifully besprinkled with gray1 does 

not leave the carriage door by her side4
  ,during the last years of his life    
,rubens suffered much from gout1 but1   
with the help of his pupils1 he         
accomplished a great amount of work4    
,many of his scholars became famous3    
,van ,dyck1 ,jordaens1 ,snyders1        
,teniers1 and others4  ,van ,dyck was   
twenty-two years younger than ,rubens1  
and entered his studio when he was      
seventeen4 ,in four years his works     
began to be almost as much esteemed as  
those of his master4 ,it is said that   
one day1 during the absence of ,rubens  
from his studio1 the pupils1 crowding   
around a freshly painted picture1 pushed
 against it1 thus effacing the arm and  
chin of a ,virgin4 ,they were greatly   
distressed over the matter1 when ,van   
,hoeck cried out3 ,van ,dyck is the     
handiest2 he must repair the mischief4  
,the restoration was so deftly made that
 ,rubens did not observe the accident4  
,later1 when ,van ,dyck came back from  
,italy1 after five years of study there1

 he found little sale for his pictures1 
and was depressed4 ,rubens went to his  
studio1 comforted him1 and bought all   
his paintings which were finished4 ,he  
did the same thing with a rival who had 
maligned him because he was not as      
successful as the great painter4 ,when  
,rubens died1 he owned in his gallery   
over three hundred pictures1 many by    
,titian1 ,paul ,veronese1 ,tintoretto1  
and ,van ,dyck1 and ninety by his own   
hand4  ,in #afce1 when ,philip ,,iv4 of 
,spain had appointed as governor of the 
,netherlands his own brother1 the       
,cardinal ,infanta ,ferdinand1 ,sir     
,peter ,paul ,rubens was deputed to     
design the triumphal arches and         
ornamental temples for his solemn entry 
into ,antwerp4 ,these beautiful designs 
were afterwards engraved and published1 
with a learned ,latin description by his
 friend ,gevaerts1 though they were not 
ready for the press till the year after 
,rubens's death4 ,on the day when       
,ferdinand entered ,antwerp1 ,rubens was

 ill at his house1 but the new governor 
showed his appreciation of his talent   
and learning by calling upon him in his 
own home1 as ,queen ,marie de' ,medici1 
the ,infanta ,isabella1 and other famous
 persons had done4  ,his last piece of  
work was the ,crucifixion of ,st4       
,peter1 for ,st4 ,peter's ,church at    
,cologne4 ,he asked for a year and a    
half to complete the picture1 but death 
came before it was finished4 ,it        
represents the apostle nailed to the    
cross with his head downwards1          
surrounded by six executioners4 ,he has 
proved1 says ,gustave ,planche1 over and
 over again that he knew all the secrets
 of the human form1 but never has he    
proved it so clearly as in the          
,crucifixion of ,peter4  ,may #cj1      
#afdj1 ,antwerp was in mourning for her 
world-renowned painter4 ,he was buried  
at night1 as was the custom1 a great    
concourse of citizens1 all the artistic 
and literary societies1 and sixty orphan
 children with torches1 following his   

body to the grave4 ,it was temporarily  
placed in the vault of the ,fourment    
family1 and ,march #d1 #afdb1 was       
removed to a special chapel built by his
 wife in the ,church of ,st4 ,james in  
,antwerp4 ,at his own request1 made     
three days before his death1 a ,holy    
,family1 one of his best works1 was hung
 above his resting-place4 ,in the       
picture1 ,st4 ,george is a portrait of  
himself1 ,st4 ,jerome of his father1 an 
angel of his youngest son1 and ,martha  
and ,mary of ,isabella and ,helena1 his 
two wives4 ,a group of tiny angels1     
floating in the air1 crown the ,holy    
,child with a wreath of flowers4  ,the  
learned nephew of ,rubens1 ,gevaerts1   
wrote the following epitaph1 in ,latin1 
now inscribed on his monument3--  ,here 
lies ,peter ,paul ,rubens1 knight1 and  
,lord of ,steen1 son of ,john ,rubens1 a
 senator of this city4 ,gifted with     
marvellous talents1 versed in ancient   
history1 a master of all the liberal    
arts and of the elegancies of life1 he  

deserved to be called the ,apelles of   
his age and of all ages4 ,he won for    
himself the good will of monarchs and of
 princely men4 ,philip ,,iv41 ,king of  
,spain and the ,indies1 appointed him   
secretary of his ,privy ,council1 and   
sent him on an embassy to the ,king of  
,england in #afbi1 when he happily laid 
the foundation of the peace that was    
soon concluded between those two        
sovereigns4 ,he died in the year of     
salvation #afdj1 on the #cjth of ,may1  
aged sixty-three years4  ,the wife of   
,rubens afterwards married ,john        
,baptist ,broechoven1 ,baron van        
,bergeyck1 an ambassador in ,england in 
the reign of ,charles ,,ii4  ,rubens    
left his large collection of sketches to
 whichever of his sons might become an  
artist1 or whichever of his daughters   
might marry an artist1 but not one      
fulfilled the conditions4  ,two hundred 
years after ,rubens's death1 in #ahgj1 a
 monument was erected to his memory in  
one of the public squares of ,antwerp1  

and in #ahgg a memorial festival was    
held in his honor in the same city4     
,,rembrandt4   ,edmondo ,de ,amicis1    
that wonderful word-painter1 says in his
 ,holland and its ,people3 ,however one 
may be profane in art1 and have made a  
vow never more to offend in too much    
enthusiasm1 when one is in the presence 
of ,rembrandt van ,rhijn1 one can but   
raise a little1 as the ,spaniards say1  
the key of one's style4 ,rembrandt      
exercised a particular prestige4 ,fra   
,angelico is a saint1 ,michael ,angelo a
 giant1 ,raphael an angel1 ,titian a    
prince2 ,rembrandt is a supernatural    
being4 ,how otherwise shall we name that
 son of a miller8 ,born in a windmill1  
rising unheralded1 without master1      
without examples1 without any derivation
 from schools1 he became a universal    
painter1 embraced all the aspects of    
life1 painted figures1 landscapes1      
marine views1 animals1 saints in        
paradise1 patriarchs1 heroes1 monks1    
wealth and misery1 deformity and        

decrepitude1 the ghetto1 the tavern1 the
 hospital1 death2 made1 in short1 a     
review of heaven and earth1 and rendered
 all things visible by a light from the 
arcana of his own imagination4          
,illustration3 ,,rembrandt4  ,it was    
said that the contrast of light and     
shadow corresponded in him to diverse   
movements of thought4 ,schiller1 before 
beginning a work1 heard within himself a
 harmony of indistinct sounds1 which    
were like a prelude to inspiration2 in  
like manner1 ,rembrandt1 when in the act
 of conceiving a picture1 had a vision  
of rays and shadows1 which spoke to his 
soul before he animated them with his   
personages4 ,there is in his pictures a 
life1 and what may almost be called a   
dramatic action1 quite apart from the   
human figures4 ,vivid rays of light     
break into the darkness like cries of   
joy2 the darkness flies in terror1      
leaving here and there fragments of     
shadow full of melancholy1 tremulous    
reflections that seem like lamentations2

 profound obscurity full of dim         
threatenings2 spurts of light1 sparkles1
 ambiguous shadows1 doubtful            
transparencies1 questionings1 sighs1    
words of a supernatural language1 heard 
like music1 and not understood1 and     
remaining in the memory like the vague  
relics of a dream4  ,and in this        
atmosphere he plants his figures1 of    
which some are clothed in the dazzling  
light of a theatrical apotheosis1 others
 veiled like phantoms1 others revealed  
by one stroke of light upon the face2   
dressed in habits of luxury or misery1  
but all with something strange and      
fantastic2 without distinctness of      
outline1 but loaded with powerful       
colors1 sculptural reliefs1 and bold    
touches of the brush2 and everywhere a  
warmth of expression1 a fury of violent 
inspiration1 the superb1 capricious1 and
 profound imprint of a free and fearless
 genius4  ,this strange1 great painter1 
,rembrandt1 was born1 not in a windmill1
 as ,amicis says1 but in ,leyden1       

,holland1 ,july #ae1 #afjg4 ,his father1
 ,gerrit ,harmen van ,rhijn1 a miller1  
was then forty years old1 in easy       
circumstances1 married to the daughter  
of the baker ,willems van ,snydtbrouck1 
then thirty-five1 a vigorous1           
strong-charactered woman1 whom the boy1 
in after years1 loved to paint1 over and
 over again4  ,of their six children1   
,adriaen1 who became a miller1 ,gerrit1 
,machteld1 ,cornelis1 ,willem1 who      
became a baker1 and ,rembrandt1 the     
latter was destined for the law4 ,he was
 early taught ,latin1 as a preparation  
for the ,leyden ,academy1 but before he 
was twelve he showed such decided taste 
for painting and designing that his     
parents removed the lad from school1 and
 placed him with a relative1 who was an 
artist1 ,jacob van ,swanenburg4 ,he had 
returned from study in ,italy in #afag1 
and ,rembrandt entered his studio1      
probably in #afbj1 the year in which our
 forefathers left ,holland4  ,for three 
years the boy bent himself closely to   

the work he loved4 ,he made such        
remarkable progress that1 at the end of 
this time1 he was sent to the well-known
 painter1 ,pieter ,lastman of           
,amsterdam4 ,he remained there but six  
months1 and then returned to his home in
 ,leyden4  ,from the age of seventeen to
 twenty1 while in his ,leyden home1 we  
know little of the youth1 save that he  
studied nature with loving fidelity1    
wandered over the low1 picturesque      
country with its canal and windmills1   
and observed people and skies and       
landscapes4  ,the first work attributed 
to ,rembrandt was painted in #afbg1 when
 he was twenty years old1 ,st4 ,paul in 
,prison1 showing care in detail and     
richness in color4 ,during the next two 
years1 he made etchings of himself and  
of his mother1 who appears to have been 
his ideal4  ,his first oil paintings    
were done in #afcj2 one1 now lost1      
showing a philosopher in a grotto2 and  
the ,bust of an ,old ,man1 which1 says  
,prof4 ,john ,w4 ,mollett of ,france1 in

 his ,life of ,rembrandt1 is the most   
interesting of all the ,rembrandts in   
the ,cassel ,gallery1 from the fact that
 it first displayed his knowledge of the
 great secret1 which he subsequently so 
wonderfully developed1 of concentrating 
light upon the heads of his portraits4  
,he painted other old men's heads at the
 same date1 and all are remarkable for  
indefatigable elaboration and care4 ,in 
this same year1 ,rembrandt produced more
 than thirty etchings4  ,after several  
years passed at ,leyden1 ,rembrandt     
removed his studio to ,amsterdam1 a rich
 and flourishing city of one hundred    
thousand people at that time1 whither   
his fame had preceded him4 ,he hired    
apartments over a shop on the           
,bloemgracht1 a quay in the western part
 of the city1 where numerous pupils soon
 came to him1 and commissions from the  
wealthy4 ,one of his first principal    
works was ,the ,presentation in the     
,temple1 now in the museum at the       
,hague4 ,the picture1 says ,mr4         

,sweetser1 presents a great temple      
interior1 with groups of citizens and   
prelates1 and1 in the centre1 massed    
under a bright light1 the ,holy ,family1
 with the richly robed ,simeon adoring  
the child ,jesus4 ,it is full of the    
strong shades and contrasting brightness
 of the new school of art1 replete with 
poetic power and fresh personality1 warm
 in golden lights1 and in certain parts 
showing a rare minuteness of finish in  
detail4 ,this subject was always a      
favorite with ,rembrandt1 and several   
other paintings thereof are preserved1  
together with numerous sketches and     
engravings1 showing the venerable       
,simeon in the ,temple at ,jerusalem4   
,the ',susannah' was executed during the
 same year1 and is now at the ,hague4   
,the shrinking1 naked figure of the fair
 bather1 though lacking in statuesque   
beauty and symmetry1 is thoroughly      
natural and tender1 palpitating with    
life1 and lighted with a warm and       
harmonious glow4 ,this1 also1 was a     

favorite theme with ,rembrandt1 and     
conveniently replaced the ,diana and    
,actaeon of the classical painters with 
a subject not less alluring1 and perhaps
 more permissible4  ,rembrandt also     
painted ,st4 ,jerome1 now at            
,aix-la-,chapelle1 the lost pictures of 
,lot and his ,daughters1 and the        
,baptism of the ,eunuch2 ,the ,young    
,man1 now at ,windsor2 the ,prophetess  
,anna1 in the ,oldenbourg ,gallery2 the 
,portrait of a ,man1 in the ,brunswick  
,museum2 and about forty etchings1 among
 them two portraits of his mother1      
several of himself2 the ,bath of ,diana1
 and the ,meeting of ,danae and         
,jupiter4  ,in #afcb1 ,rembrandt painted
 his famous ,school of ,anatomy1 now at 
the ,hague1 for which the ,dutch        
government1 two centuries later1 gave   
thirty-two thousand florins4  ,this     
picture represents the celebrated       
anatomist1 ,nicolaus ,tulp1 a friend and
 patron of ,rembrandt1 in a vaulted     
saloon1 engaged in explaining the       

anatomy of the arm of a corpse4 ,he     
wears a black cloak with a lace collar1 
and a broad-brimmed soft hat4 ,with his 
half-raised left hand1 he makes a       
gesture of explanation1 while with his  
right he is dissecting a sinew of the   
arm of his subject4 ,the corpse lies on 
a table before him4 ,to the right of    
,tulp is a group of five figures2 and   
two other men are sitting at the table  
in front4 ,these listeners are not      
students1 but members of the guild of   
surgeons of ,amsterdam1 as shown by a   
paper held by one of them4 ,they are    
attending to the lecture with very      
various expressions4  ,they are all     
bare-headed1 dressed in black1 and with 
turned-over collars except one1 who     
still wears the old-fashioned upright   
ruff4 ,there are1 perhaps1 other persons
 present in the hall1 as ,tulp appears  
to be looking beyond the picture1 as if 
about to address an audience not visible
 to the spectator2 and it is here worthy
 of remark that ,rembrandt's            

compositions are never imprisoned in    
their frames1 but convey an idea of a   
wide space beyond them4 ,it is somewhat 
singular that the spectator seems hardly
 to notice the corpse lying before him  
at full length1 the feet of which he can
 almost touch1 although it is strongly  
lighted in contrast to the surrounding  
black garments1 and most faithfully     
presents the peculiar hue of a dead     
body1 leaving no doubt that it was      
painted from nature1 as well as the     
living heads4 ,the admirable art of the 
composition consists in its power of    
riveting the attention to the living in 
the presence of death4  ,amicis says3   
,it is difficult to express the effect  
produced by this picture4 ,the first    
feeling is that of horror and repulsion 
from the corpse4 ,the forehead is in    
shadow1 the eyes open with the pupils   
turned upwards1 the mouth half open as  
if in astonishment1 the chest sunken1   
the legs and feet stiff1 the flesh      
livid1 and looking as if1 should you    

touch it with your hand1 it would feel  
cold4 ,with this rigid body a powerful  
contrast is produced by the vivacious   
attitudes1 the youthful faces1 the      
bright1 attentive eyes1 full of thought1
 of the disciples1 revealing in         
different degrees the avidity for       
knowledge1 the joy of learning1         
curiosity1 wonder1 the strength of      
intelligence1 the suspense of the mind4 
,the master has the tranquil face1 the  
serene eye1 and the almost smiling lip  
of one who feels the complacency of     
knowledge4 ,there is in the complexion  
of the group an air of mystery1 gravity1
 and scientific solemnity1 which        
inspires reverence and silence4  ,the   
contrast between the light and shadow is
 as marvellous as that between life and 
death4 ,it is all done with             
extraordinary finish2 one can count the 
folds of the ruffs1 the lines of the    
face1 the hairs of the beards4 ,it is   
said that the foreshortening of the     
corpse is wrong1 and that in some points

 the finish runs into dryness1 but      
universal judgment places the ',lesson  
in ,anatomy' among the greatest triumphs
 of human genius4  ,rembrandt was only  
twenty-six years old when he painted    
this picture1 which1 therefore1 belongs 
to his first manner1 in which there are 
not yet apparent that fire and audacity1
 that sovereign security in his own     
genius1 which shine in the works of his 
maturer years3 but there is already that
 luminous potency1 that marvellous      
chiaroscuro1 that magic of contrasts1   
which form the most original trait of   
his genius4  ,i remember1 in standing   
before this picture1 to have had the    
same repulsion of which ,amicis speaks4 
,how differently one feels before that  
other marvel of the ,hague1 ,paul       
,potter's ,bull1 so at one with nature1 
so tender1 so restful6 ,what wonder that
 it once hung in the ,louvre1 beside the
 ,transfiguration of ,raphael1 the ,st4 
,peter ,martyr1 of ,titian1 and the     
,communion of ,st4 ,jerome by           

,domenichino8  ,during this year1 #afcb1
 ,rembrandt executed several portraits  
of men2 the ,rape of ,proserpine1 in the
 ,berlin ,gallery2 ,moses saved from the
 ,nile2 ,christ and ,nicodemus2 the     
,oriental ,standing1 in the gallery of  
the ,king of ,holland2 the ,betrothed   
,jewess2 the ,rape of ,europa2 and      
portraits of six women4 ,his etchings   
this year were1 ,man on ,horseback1     
,cottage with ,white ,palings his first 
landscape1 ,seller of ,rat's ,poison1   
,jesus being carried to the ,tomb1 and  
the ,resurrection of ,lazarus4  ,in the 
following year he painted ,susannah     
,surprised by the ,elders1 which is now 
in ,russia2 ,the ,boat of ,st4 ,peter1 a
 powerful conception1 showing dark      
storm-shadows surrounding the sea-tossed
 bark1 with a high light thrown on the  
nearer mountain-like waves and on the   
men at the sails2 ,the ,elevation of the
 ,cross1 and ,the ,descent from the     
,cross1 bought by ,prince ,frederick    
,henry of ,holland1 and now in ,munich2 

,the ,good ,samaritan1 now in ,sir      
,richard ,wallace's collection2 ,the    
,philosophers in ,meditation1 two       
delicate pictures1 now in the ,louvre2  
,the ,master ,shipbuilder and his ,pipe1
 now at ,buckingham ,palace1 sold for   
sixteen thousand five hundred francs1 in
 #ahaj2 portraits of ,madame ,grotius1 a
 youth at ,dresden1 another in the      
,pourtales ,collection1 sold for seven  
thousand dollars in #ahfe2 and no less  
than sixteen others1 besides many       
etchings4 ,one of these portraits1 that 
of a young boy1 was bought by ,j4 de    
,rothschild1 in #ahfe1 for five thousand
 dollars2 and a portrait of ,saskia1 now
 at ,cassel1 for ten thousand dollars4  
,of the picture of ,saskia in the       
,dresden ,museum1 painted this year1    
,professor ,mollett says3 ,the head in  
this portrait is slightly inclined1 the 
long chestnut curls are covered by a    
cherry-colored bonnet ornamented with   
white feathers4 ,the light falling on   
the figure from above illuminates the   

rim of the bonnet and the lower part of 
the face1 while the forehead is covered 
by the shadow thrown by the hat4  ,of   
the large portrait in the ,cassel       
,gallery1 painted the same year1 he     
says3 ,in this picture ,saskia is very  
richly dressed1 and covered with a      
profusion of pearls and precious stones4
 ,the face1 a delicate profile of a     
bright1 fresh color1 drawn against a    
dark brown background1 is entirely in   
the light1 almost without shadows4  ,the
 portrait of her in the late ,fesch     
,gallery1 says ,sweetser1 displays the  
maiden's snowy complexion1 great deep   
eyes1 rosy lips1 and rich auburn hair1  
adorned with white and green plumes1 and
 wearing pearls on her neck1 and a chain
 of gold on her green silk mantilla4    
,who was ,saskia8 ,the lovely and       
beautiful woman whose life was to       
,rembrandt like the transcendent light  
he threw into his pictures2 whose death 
left him forever in the shadow of       
shadows1 which he1 of all painters1 knew

 best how to paint4  ,saskia van        
,ulenburgh was the orphan daughter of   
,rombertus ,ulenburgh1 a ,frisian lawyer
 of high standing1 envoy from ,friesland
 to the court of ,william of ,orange4   
,she was wealthy1 of lovely character1  
and attractive in face and in manner4   
,her brother-in-law1 the painter        
,nijbrand de ,geest1 was a man of       
influence1 and her cousin1 ,hendrik     
,ulenburgh1 was the publisher of        
,rembrandt's engravings4 ,they therefore
 naturally met each other4 ,she was     
young and of distinguished family2 the  
young artist1 who fell in love with her1
 had his genius alone to offer her4     
,the devoted love of ,rembrandt won the 
happy-hearted1 refined ,saskia4 ,they   
were married ,june #e1 #afcd1 when she  
was twenty-one and ,rembrandt           
twenty-seven1 and went to live in his   
pleasant home in ,amsterdam4  ,the next 
eight years were given to arduous work1 
blessed by the well-nigh omnipotent     
influence of a seemingly perfect love4  

,in his marriage year he painted ,queen 
,artemisia1 now in ,madrid2 ,the        
,incredulity of ,st4 ,thomas1 now at the
 ,hermitage2 ,repentance of ,peter1     
,judas and the ,blood ,money2 a larger  
,descent from the ,cross1 now at ,st4   
,petersburg2 ,rev4 ,mr4 ,ellison and    
,wife of the ,english ,church at        
,amsterdam1 sold in ,london1 in #ahfj1  
for about nine thousand dollars2 several
 portraits of himself and several of    
,saskia4 ,in the large ,jewish ,wife1 in
 ,bathsheba receiving ,david's ,message1
 in the long lost ,vertumnus and        
,pomona1 ,saskia1 the beloved ,saskia1  
is always the model4  ,at the same time 
were made five sketches and sixteen     
engravings1 the most notable being ,the 
,annunciation to the ,shepherds4 ,this1 
says ,professor ,mollett1 is a night    
effect1 with a mass of trees on the     
right hand1 and a distance in which a   
city is seen1 with its factories and    
bridges in a nest of foliage1 and fires 
reflected in water4 ,in the foreground  

the shepherds and their flocks are      
alarmed by the sudden appearance of the 
celestial glory1 in the luminous circles
 of which thousands of cherubim are     
flying2 an angel is advancing1 and1 with
 the right hand raised1 is announcing   
the news to the shepherds4 ,the whole   
composition is wonderful for the energy 
it displays1 and appears as if it had   
been thrown on the copper with swift1   
nervous1 inspired touches1 but always   
accurate and infallible4  ,in #afce a   
son was born to ,rembrandt and ,saskia1 
named ,rombertus1 after her father1 but 
the child soon died1 the first shadow in
 the famous artist's home4 ,this year he
 painted ,samson menacing his           
,father-in-law1 now in the ,berlin      
,museum2 the ,rape of ,ganymede1 now at 
,dresden2 ,christ driving out the       
,money-changers2 ,the ,martyrdom of ,st4
 ,stephen2 in all1 eight portraits1     
seven other paintings1 nine designs1 and
 twenty-three etchings4 ,one of the most
 attractive of the pictures about this  

time is ,rembrandt at home1 with        
,saskia1 life-size1 and full of         
happiness1 seated upon his knee4  ,three
 scenes from the history of ,tobias     
follow4 ,the first1 the blind father    
awaiting his son's return1 is in the    
,berlin ,museum2 the second contains    
,tobias and his wife seated in a        
chamber2 the third illustrates ,tobias  
restoring sight to his father4  ,in     
#afcf he painted ,the ,entombment1 ,the 
,resurrection1 and ,the ,ascension1     
companion pictures to the ,crucifixion  
painted for ,prince ,frederick ,henry   
four years previously2 ,the ,repose in  
,egypt1 now at ,aix-la-,chapelle2 ,the  
,ascension1 in the ,munich ,pinakothek2 
,samson blinded by the ,philistines1    
with ,delilah in ,flight2 and ,st4      
,paul1 in the ,vienna ,belvidere1       
besides three portraits and ten         
etchings4  ,the finest etching of this  
period was ,ecce ,homo1 a marvellous    
composition1 consisting of an immense   
number of figures admirably disposed4   

,our ,lord is seen in front standing1   
surrounded by guards4 ,his eyes are     
raised to heaven1 his hands are manacled
 and clasped together1 and on his head  
is the crown of thorns4 ,it is1 says    
,mollett1 one of the painter's grandest 
works4  ,the ',ecce ,homo1' says ,wilmot
 ,buxton1 to say nothing of the         
splendor1 the light and shade and       
richness of execution1 has never been   
surpassed for dramatic expression2 and  
we forgive the commonness of form and   
type1 in the expression of touching     
pathos in the figure of the ,saviour2   
nor would it be possible to express with
 greater intensity the terrible raging  
of the crowd1 the ignobly servile and   
cruel supplications of the priests1 or  
the anxious desire to please on the part
 of ,pilate4  ,the following year1 ,the 
,lord of the ,vineyard1 now in the      
,hermitage1 was painted1 representing   
the master in a chamber flooded with    
light1 listening to the complaints of   
the laborers2 ,abraham sending away     

,hagar and ,ishmael2 and several        
portraits of himself and ,saskia4 ,now  
she is seated at a table face to face   
with her husband1 her blue eyes looking 
pleased and happy into his2 now they    
walk hand in hand in a beautiful        
landscape4  ,in ,july1 #afch1 a second  
child gladdened the ,rembrandt          
household1 this time a daughter1 named  
,cornelia after the artist's mother4 ,in
 less than four weeks she passed out of 
,saskia's arms1 leaving them again      
childless4 ,rembrandt's father had died 
six years before1 and of his brothers   
and sisters1 ,gerrit1 ,machteld1 and    
,cornelis were dead also4 ,still the    
painter worked on bravely1 for did he   
not have the one inspiration that gave  
almost superhuman power to overcome     
obstacles1 and made work a              
pleasure1--the love of his blue-eyed    
,saskia8  ,during this year some        
lawsuits occurred in the family over her
 property1 and ,rembrandt sued some of  
her relatives for slander1 because they 

had insinuated that ,saskia has         
squandered her heritage in ornaments and
 ostentation4 ,how little the ,friesland
 people knew of the poetry of the       
painter's heart1 which1 for the love he 
bore ,saskia1 decked1 with his rich     
imagination1 every picture of her with  
more than royal necklaces1 and covered  
her robes with priceless gems1 because  
she was his idol6  ,this year1 #afch1 he
 painted the great picture ,the ,feast  
of ,ahasuerus1 or ,the ,wedding of      
,samson1 now at ,dresden1 where at the  
middle of the table sits the joyous     
queen1 ,esther or ,delilah1 robed in    
white silk1 and richly jewelled1 of     
course with ,saskia's face2 ,christ as a
 ,gardener1 long owned by the ,prince of
 ,hesse-,cassel1 presented to ,josephine
 at ,malmaison1 and bought by ,george   
,,iv4 for ,buckingham ,palace1 where it 
still remains2 ,joseph telling his      
,dream2 ,the ,little ,jewish ,bride1    
representing ,st4 ,catherine and her    
wheel of martyrdom 7the hair1 the       

pearls1 the face are all ,saskia's71 and
 other works4  ,the next year among his 
many superb portraits are three of his  
mother3 one in ,vienna1 painted a year  
before her death1 in a furred cloak1    
resting her folded hands on a staff2    
another with a red shawl on her head2   
and still another seated1 with her hands
 joined2--both the latter in the        
,hermitage4 ,he also finished ,the      
,entombment and ,the ,resurrection1     
begun three years before4 ,he said1     
,these two pieces are now finished with 
much of study and of zeal1 444 because  
it is in these that ,i have taken care  
to express the utmost of naturalness and
 action2 and this is the principal      
reason why ,i have been occupied so long
 on them4 ,he urged that they be hung in
 a strong light1 for he said1 ,a picture
 is not made to be smelt of4 ,the odor  
of the colors is unhealthy4  ,he etched 
,the ,death of the ,virgin1 ,the        
,presentation1 ,youth surprised by      
,death1 and others4  ,the next year1    

#afdj1 a baby's voice was again heard in
 the handsome ,rembrandt home1 a little 
daughter named1 for the second time1    
,cornelia1 but in a few short months the
 household was again stricken by death4 
,rembrandt's activity was now           
marvellous4 ,in the next two years he   
painted ,le ,doreur1 a portrait of his  
artist friend ,domer1 which was sold in 
#ahfe for over thirty thousand dollars2 
it is also called ,the ,gilder1 and is  
now in the ,metropolitan ,museum of ,art
 in ,new ,york2 the portrait of an aged 
woman1 purchased in #ahfh for the       
,narishkine ,collection1 for eleven     
thousand dollars2 ,woman with the ,fan1 
of ,buckingham ,palace2 the mysterious  
,witch of ,endor1 ,schoenborn ,gallery  
in #ahfg1 for five thousand dollars2    
,the ,carpenter's ,household1 now in the
 ,louvre1 representing ,joseph at work1 
with the tender mother nursing her      
child2 ,the ,salutation1 in the         
,grosvenor ,gallery2 ,susannah at the   
,bath2 ,the ,offering of ,manoah1 at the

 ,dresden ,museum1 showing ,manoah and  
his wife prostrate before the altar1    
from which an angel crowned with flowers
 is ascending2 a magnificent portrait of
 himself at thirty1 in the ,national    
,gallery1 in a black cap and fur robe1  
his arms crossed on a window-sill2      
sixteen fine etchings1 among them three 
lion-hunts1 the preacher ,anslo and his 
wife seated at a book-laden table2      
several exquisite portraits of ladies1  
and two of the beloved ,saskia3 one is  
full of life and health1 with the       
sweetest expression1 and carefully      
finished2 the other1 in #afdb1 is richly
 dressed1 but the face is delicate and  
dreamy1 like that of one who may have   
received a message from the unseen      
world4  ,professor ,mollett says of     
these1 ,the first represents ,saskia in 
all the freshness of her beauty1 seen   
through the prism of love and art2 in   
her rich dress1 fresh color1 and bright 
smile1 bearing a strong resemblance to  
the ,saskia on her husband's knee4 ,it  

is difficult to imagine a more charming 
and amiable face1 or a portrait more    
happy in color and expression4 ,the work
 is very carefully finished without     
being minute1 the tone profound1 the    
touch broad and melting4 ,no greater    
contrast can be conceived to this       
picture bathed in light1 radiant with   
happiness and health1 than the ',saskia'
 of ,antwerp4 ,this portrait has an     
indefinable charm4 ,the very soul of the
 painter seems to have entered into the 
picture1 to which a melancholy interest 
is attached4 ,it bears the same date as 
the year of ,saskia's death1 #afdb4 ,the
 face no longer shows the serene beauty 
of youth and strength1 but its          
etherealized and delicate features have 
a thoughtful and dreamy expression4 ,it 
was probably painted from memory1 after 
,saskia's death4  ,in ,september1 #afda1
 a son was born to ,saskia1 ,titus1     
named for her sister ,titia van         
,ulenburgh4 ,the latter died the same   
year4 ,on the #aith of the next ,june1  

,saskia was buried from the ,oude ,kerk 
in ,amsterdam1 leaving her son1 not a   
year old1 and her husband1 to whom her  
loss was irreparable4  ,this year he had
 completed his greatest work1 ,the      
,night ,watch1 now in the ,amsterdam    
,museum1 and stood at the very zenith of
 his fame4 ,from this time1 while he did
 much remarkable work1 he seems like a  
man on a mountain top1 looking on one   
side to sweet meadows filled with       
flowers and sunlight1 and on the other  
to a desolate landscape over which a    
clouded sun is setting4 ,with ,saskia   
died the best of ,rembrandt4 ,before her
 death he had painted various pictures  
of himself1 all joyous1 even fantastic1 
sometimes as a warrior1 sometimes with  
jewelled robes and courtly attire4 ,now 
for five years he made no portrait of   
himself1 and then one simple and stern1 
like a man who lives and does his work  
because he must4  ,the ,night ,watch1 or
 the ,sortie of the ,banning ,cock      
,company1 represents ,captain ,frans    

,banning ,cock's company of arquebusiers
 emerging from their guild-house on the 
,singel4 ,amicis says of it1 ,it is more
 than a picture2 it is a spectacle1 and 
an amazing one4 ,all the ,french        
critics1 to express the effect which it 
produces1 make use of the phrase1       
',c'est ecrasant6' 7',it is             
overpowering6'7 ,a great crowd of human 
figures1 a great light1 a great         
darkness--at the first glance this is   
what strikes you1 and for a moment you  
know not where to fix your eyes in order
 to comprehend that grand and splendid  
confusion4  ,there are officers1        
halberdiers1 boys running1 arquebusiers 
loading and firing1 youths beating      
drums1 people bowing1 talking1 calling  
out1 gesticulating--all dressed in      
different costumes1 with round hats1    
pointed hats1 plumes1 casques1 morions1 
iron gorgets1 linen collars1 doublets   
embroidered with gold1 great boots1     
stockings of all colors1 arms of every  
form2 and all this tumultuous and       

glittering throng start out from the    
dark background of the picture and      
advance towards the spectator4  ,the two
 first personages are ,frans ,banning   
,cock1 ,lord of ,furmerland and         
,ilpendam1 captain of the company1 and  
his lieutenant1 ,willem van             
,ruijtenberg1 ,lord of ,vlaardingen1 the
 two marching side by side4 ,the only   
figures that are in full light are this 
lieutenant1 dressed in a doublet of     
buffalo-hide1 with gold ornaments1      
scarf1 gorget1 and white plume1 with    
high boots2 and a girl who comes behind1
 with blond hair ornamented with pearls1
 and a yellow satin dress2 all the other
 figures are in deep shadow1 excepting  
the heads1 which are illuminated4 ,by   
what light8 ,here is the enigma4 ,is it 
the light of the sun8 or of the moon8 or
 of the torches8  ,there are gleams of  
gold and silver1 moonlight1 colored     
reflections1 fiery lights2 personages   
which1 like the girl with blond tresses1
 seem to shine by a light of their own2 

faces that seem lighted by the fire of a
 conflagration2 dazzling scintillations1
 shadows1 twilight1 and deep darkness1  
all are there1 harmonized and contrasted
 with marvellous boldness and           
insuperable art4444 ,in spite of        
censure1 defects1 conflicting judgments1
 it has been there for two centuries    
triumphant and glorious2 and the more   
you look at it1 the more it is alive and
 glowing2 and1 even seen only at a      
glance1 it remains forever in the       
memory1 with all its mystery and        
splendor1 like a stupendous vision4     
,charles ,blanc says of the picture3 ,to
 tell the truth1 this is only a dream of
 night1 and no one can decide what the  
light is that falls on the groups of    
figures4 ,it is neither the light of the
 sun nor of the moon1 nor does it come  
from torches2 it is rather the light    
from the genius of ,rembrandt4  ,the    
home of the artist at that time1 of     
brick and cut stone1 four stories high1 
on one of the quays of the river        

,amstel1 must have been most attractive 
and happy until the death of ,saskia4   
,says ,mr4 ,sweetser3 ,the house still  
stands1 and1 by the aid of an existing  
legal inventory 7dated #afef71 we can   
even refurnish it as it was in the days 
of ,rembrandt4 ,entering the vestibule1 
we find the flagstone paving covered    
with fir-wood1 with black-cushioned     
,spanish chairs for those who wait1 and 
to amuse their leisure several busts and
 twenty-four paintings--four each by    
,brouwer and ,lievens1 the rest mostly  
by ,rembrandt4  ,the ante-chamber1 or   
saloon1 was a large room furnished with 
seven ,spanish chairs upholstered in    
green velvet1 a great walnut table      
covered with ,tournay cloth1 an         
ebony-framed mirror1 and a marble       
wine-cooler4 ,the walls were covered    
with thirty-nine pictures1 many of which
 were in massive and elegant frames4    
,there were religious scenes1           
landscapes1 architectural sketches1     
works of ,pinas1 ,brouwer1 ,lucas van   

,leyden1 and other ,dutch masters2      
sixteen pictures by ,rembrandt2 and     
costly paintings by ,palma ,vecchio1    
,bassano1 and ,raphael4  ,the next room 
was a perfect little museum of art1     
containing a profusion of the master's  
pictures1 with rare works of ,van       
,leyden1 ,van ,dyck1 ,aartgen1          
,parsellis1 ,seghers1 and copies from   
,annibale ,caracci4 ,the oaken press and
 other furnishings indicated that the   
marvellous etchings of our artist were  
engraved and printed here4  ,the next   
saloon was the gem of the establishment1
 and was equipped with a great mirror1  
an oaken table with an embroidered      
cloth1 six chairs with blue coverings1 a
 bed with blue hangings1 a cedar-wood   
wardrobe1 and a chest of the same wood4 
,the walls even here showed the profound
 artistic taste of the occupant1 for    
they were overlaid with twenty-three    
pictures by ,aartgen1 ,lievens1         
,seghers1 and other northern painters2  
,the ',concordi1' ',resurrection1' and  

',ecce ,homo' of ,rembrandt2 a ,madonna 
by ,raphael2 and ,giorgione's great     
picture of ',the ,samaritan4'  ,on the  
next floor the master had his studio and
 museum4 ,the great art-chamber         
contained materials for weeks of study2 
the walls were covered with rich and    
costly bric-a-brac--statuettes in       
marble1 porcelain1 and plaster2 the     
,roman emperors2 busts of ,homer1       
,aristotle1 and ,socrates3 ,chinese and 
,japanese porcelains and drawings2      
,venetian glass2 casts from nature2     
curious weapons and armor1 with a shield
 attributed to ,quentin ,matsys2        
minerals1 plants1 stuffed birds1 and    
shells2 rare fans1 globes1 and books4   
,another feature was a noble collection 
of designs1 studies1 and engravings1    
filling sixty leather portfolios1 and   
including specimens of the best works of
 the chief ,italian1 ,german1 and ,dutch
 artists and engravers4  ,to gain this  
beautiful collection of works of art1   
,rembrandt spared no money1 paying      

eighty-six dollars for a single         
engraving of ,lucas van ,leyden's1 and  
fourteen hundred florins for fourteen   
proofs from the same painter4  ,after   
,saskia died1 the tide of fortune seemed
 to turn4 ,several artists who had      
studied in ,italy returned to ,holland1 
and popularized the ,italian style1 so  
that the works of ,rembrandt seemed to  
fade somewhat from the public gaze4     
,with pride and sorrow he went on       
painting1 but he must have been deeply  
wounded4  ,in #afdc and '#dd1 he painted
 ,bathsheba at the ,bath4 ,the nude     
figure of ,bathsheba1 says ,professor   
,mollett1 stands out in a dazzling      
effect of light from a background of    
warm1 confused shadows4 ,the figure is  
not beautiful to a sculptor's eye1 nor  
in the ,italian style2 but in animation1
 in the flesh color1 and in the         
modelling it is superb4 ,the harmony of 
the tints and of the general tone is    
very beautiful2 tints of bronze and gold
 combine with shades of violet1 brown1  

green1 and yellow ochre into a warm1    
poetic1 and mysterious gamut4 ',this    
picture should be hung in a strong      
light1 that the eye may penetrate into  
the shadows1' said ,rembrandt4  ,the    
other works of this time were the ,diana
 and ,endymion of the ,liechtenstein    
,gallery at ,vienna2 ,philemon and      
,baucis2 the ,old ,woman ,weighing      
,gold1 now in the ,dresden ,museum2 ,the
 ,woman taken in ,adultery1 which       
brought thirty thousand dollars at      
public sale1 and is now in the ,english 
,national ,gallery2 a portrait of ,jan  
,cornelis ,sylvius1 which was sold in   
#ahgb for nearly eight thousand dollars1
 and the ,burgomaster ,six for six      
thousand dollars4 ,the latter was the   
portrait of ,jan ,six1 a young          
patrician1 an enthusiastic student and  
poet1 married to ,margaret the daughter 
of the famous surgeon ,dr4 ,tulp4       
,other pictures in the next few years   
were ,the ,tribute ,money2 the          
,burgomaster ,pancras giving a ,collar  

of ,pearls to his ,wife1 now owned by   
,queen ,victoria2 ,abraham receiving the
 ,three ,angels2 two paintings of the   
,adoration of the ,shepherds1 one now in
 ,munich and one in the ,national       
,gallery2 ,the ,good ,samaritan1 and    
,the ,pilgrims of ,emmaus1 now in the   
,louvre2 and ,the ,peace of the ,land1  
celebrating the peace of ,westphalia1   
now in the ,boymans ,museum at          
,rotterdam4 ,it represents the enclosure
 of a fortress1 the walls of which are  
visible in the right-hand background1   
where cannons are blazing and a group of
 soldiers fighting2 the right-hand      
foreground is entirely occupied by a    
group of horsemen1 of remarkable vigor  
and truth2 on the left are two thrones1 
on one of which leans a figure of       
,justice1 clasping her hands as if in   
supplication4 ,the centre1 which is in  
the light1 is occupied by a couchant    
lion growling1 his one paw on a bundle  
of arrows1 the symbol of the ,united    
,provinces4 ,the lion is bound by two   

chains1 the one attached to the thrones1
 the other fastened to an elevation1    
bearing on a shield the arms of         
,amsterdam1 surrounded by the words1    
',soli ,deo ,gloria4'  ,samuel taught by
 his ,mother1 ,christ appearing to      
,mary1 ,the ,prophetess ,anna1 ,jesus   
blessing ,little ,children1 purchased   
for the ,national ,gallery for          
thirty-five thousand dollars2--,the     
,bather1 in the ,national ,gallery1 of  
which ,landseer says3 ,it is the most   
artful thing ever done in painting1 and 
the most unsophisticated2 a likeness of 
,rembrandt's son ,titus1 now twelve     
years old1 were his next works4         
,fifty-seven etchings were made between 
#afdi and #afee1 the most celebrated    
being the ,hundred-,guilder ,print1 or  
,jesus healing the ,sick4  ,the subject 
of this etching is taken from the words1
 ',and ,jesus went about all ,galilee1  
preaching the gospel of the kingdom1 and
 healing all manner of sickness and all 
manner of disease among the people4'    

,the serene and calm figure of ,jesus   
stands out from the shadow of the       
background1 preaching to the people     
around him4 ,by a superb antithesis1 the
 ,pharisees and ,sadducees1 the priests 
and the curious and unbelieving1 are    
standing on ,christ's right hand1 bathed
 in light1 while from the shadows that  
envelop the left side of the picture are
 coming the sick1 the possessed1 and    
unfortunates of all kinds4 ,the         
composition is full of feeling1 drawn   
and executed with a rare genius1 the    
details revealing a world of expression 
and character3 the lights and shadows1  
disposed in large masses1 are of        
wonderful softness4 ,the etching1       
commenced with aqua-fortis1 is finished 
with the dry point1 the silvery neutral 
tints of ,christ's robe and the soft    
shadows being produced in this manner4  
,frederick ,wedmore says in his ,masters
 of ,genre-,painting1 ,i should be      
thankful for the ',hundred-,guilder     
,print1' were it only because of the    

half-dozen lines in which ,rembrandt has
 etched one figure1 to me the central   
one1 a tall man1 old and spare1 and a   
little bent1 with drooped arms1 and     
hands clasped together in gesture of    
mild awe and gently felt surprise1 as of
 one from whose slackened vitality the  
power of great surprise or of very keen 
interest has forever gone4 ,on his face 
there is the record of much pain1 of    
sufferings not only his own1 not only of
 the body1 but of saddening experiences 
which have left him quelled and forever 
grave4  ,the name arose from the fact   
that a ,roman merchant gave ,rembrandt  
for one engraving seven ,marc ,antonio  
engravings1 which were valued at a      
hundred guilders1 and the artist would  
never sell any of these pictures below  
this price4 ,only eight impressions of  
the first plate are in existence2 two   
are in the ,british ,museum1 one is in  
,paris1 one in ,amsterdam1 one in       
,vienna1 one in the collection of the   
,duke of ,buccleuch1 one in ,mr4        

,holford's1 and one owned by ,m4 ,eugene
 ,dutuit of ,rouen1 sold in #ahfg for   
about six thousand dollars4  ,when      
,saskia died1 she left her property--she
 had brought ,rembrandt forty thousand  
florins--to her infant son ,titus1 with 
the condition that her husband should   
have the use of the money until his     
death or his second marriage4 ,if the   
boy died1 ,rembrandt was to receive the 
whole estate1 save in case of a second  
marriage1 when half should go to her    
sister4  ,already ,saskia's friends saw 
the money passing away from the artist1 
and they brought suits for ,titus's     
sake1 to recover it4 ,finally1 in #afef1
 he transferred his house and land to   
,titus1 with the privilege of remaining 
there during the pleasure of ,saskia's  
relatives4  ,matters did not improve1   
and the following year all the rich     
collection of art works and household   
goods were sold by auction to meet the  
demands of creditors4 ,the next year his
 engravings and designs were sold in the

 same way1 and the year following the   
house was disposed of1 ,rembrandt being 
allowed to remove two stoves only and   
some screens4 ,these must have been     
bitter days for the once happy artist4  
,it was fortunate that ,saskia did not  
live to see such a direful change4      
,during all the struggle and disgrace   
,rembrandt kept on working4 ,in #afef   
and '#eg he painted for the ,surgeons'  
,guild1 a large picture1 ,lesson on     
,anatomy of ,joan ,deyman1 containing   
the portraits of nine celebrated        
doctors2 ,st4 ,john the ,baptist        
,preaching1 a canvas with over one      
hundred small figures2 ,the ,adoration  
of the ,magi1 now in ,buckingham ,palace
 and greatly admired2 ,joseph accused by
 ,potiphar's ,wife1 and ,jacob blessing 
,ephraim and ,manasseh4  ,professor     
,mollett says that the ,jacob belongs as
 much to all times and all nations as   
the masterpieces of ,greek sculpture4   
,this touching scene1 which is simply   
rendered with all the power of          

,rembrandt's art1 represents the aged   
patriarch extending his hands1 which    
,joseph is guiding1 towards the boys1   
who are kneeling before him4 ,behind the
 bed stands their mother1 ,asenath1 with
 clasped hands4 ,the light falling from 
behind ,jacob1 on the left1 leaves his  
face in the shade4 ,his head is covered 
by a yellowish cap1 bordered with       
clear-colored fur2 the sleeve of the    
right arm is of a beautiful gray2 the   
hand painted with large1 broad touches4 
,the bed is covered with a sheet and a  
counterpane of pale red and fawn color4 
,joseph wears a turban1 and his wife a  
high cap1 long veil1 and robe of gray   
and fawn-colored brown4 ,the fair child 
has a yellow vest2 and his head1 bright 
with reflected lights1 is very fine in  
tone1 and of extreme delicacy4 ,we see  
the colors here employed are gray and   
fawn-colored brown1 which1 in the       
highest notes1 only reach subdued red or
 yellow4 ,the whole bears a mysterious  
air2 in a fine and luminous light1      

filled with tones and half-tones that   
are indefinable4 ,the touch is of such  
surpassing boldness and ease1 that1 when
 viewed in detail1 the picture might be 
called a sketch1 if the harmony and     
completeness of the whole did not       
indicate the maturity and profundity of 
the work4  ,after ,rembrandt's home was 
sold1 he hired a house on the           
,rosengracht1 a retired but respectable 
part of the city1 two blocks away from  
the ,bloemgracht1 where he began life   
with his beloved ,saskia4 ,here1 as     
elsewhere1 he gathered admiring pupils  
about him1 and kept diligently at his   
work4 ,it is probable that he was       
married at this time1 or later1 for in  
#affc he painted a picture known as     
,rembrandt and his ,family1 now in the  
,brunswick ,museum1 where a rosy and    
smiling lady is seated with a child on  
her lap1 while two little girls of      
perhaps five and seven stand by her4    
,the man with brown hair stands on the  
left1 giving a flower to one of the     

girls4  ,rembrandt's chief works now    
were ,moses descending from ,sinai1 and 
breaking the ,tables of the ,law1 ,jacob
 wrestling with the ,angels1 a striking 
picture of ,ziska and his ,adherents    
swearing to avenge the ,death of ,huss1 
and ,the ,syndics of the ,guild of      
,clothmakers1 now in the ,amsterdam     
,museum4  ,professor ,springer writes   
concerning the latter picture1 the      
,school of ,anatomy1 and ,the ,night    
,watch3 ,art has never again created a  
greater wealth of stirring imagery or   
poetry of color so entrancing as these  
three pictures reveal to us4            
,unconsciously our thoughts return to   
,shakspeare's familiar creations1 and we
 recognize in these two mighty art      
champions of the north kindred natures  
and a corresponding bent of fancy4  ,in 
#affh1 ,titus1 now twenty-seven years   
old1--he studied painting1 but became a 
merchant1--was married to his cousin    
,magdalena van ,loo1 one of the ,frisian
 families1 and died in ,september of the

 same year4 ,the next ,march1 his widow 
bore a daughter who received the name of
 ,titia1 for her dead father4 ,magdalena
 died in the same year in which her     
child was born4 ,thus frequently did    
sorrow shadow the path of the great     
master of shadows4  ,this year1         
,rembrandt painted several portraits of 
himself4 ,in that of the ,pitti ,palace1
 we see him wrapped in fur1 a medal is  
hung about his neck1 and he is wearing a
 close-fitting cap1 from which his ample
 white hair escapes4 ,his face is       
furrowed with age1 but the brightness of
 the eye is not diminished4444  ,in the 
splendid portrait in the ,double        
,collection at ,rouen1 he again stands  
before us1 with bending attitude and    
slightly inclined head1 in theatrical   
costume1 with his maulstick in his hand1
 laughing heartily4 ,and this is        
,rembrandt's farewell6 ,his face is     
wrinkled across and across by time and  
care1 but it is no gloomy misanthrope   
crushed by evil fortune whom we see1 but

 the man who opposed to all fortunes the
 talisman of ,labor1 and thus paints the
 secret of his life in his final        
portrait of himself1 in the midst of his
 work1 scorning destiny4  ,a year after 
,titus died1 death came to ,rembrandt1  
at sixty-two4 ,he was buried simply in  
the ,west ,church1 so simply that the   
registered expense of his burial is     
fifteen florins6  ,his power of work was
 marvellous4 ,he painted over six       
hundred and twenty pictures1 executed   
three hundred and sixty-five etchings1  
besides two hundred and thirty-seven    
variations of these1 with hundreds of   
drawings and sketches scattered over    
,europe4 ,among the best known etchings 
are ,rembrandt's ,portrait with the     
,sword1 ,lazarus rising from the ,dead1 
the ,hundred-,florin ,plate1            
,annunciation1 ,ecce ,homo1 ,the ,good  
,samaritan1 ,the ,great ,descent from   
the ,cross1 the landscape with the mill1
 and that with the three trees4  ,that  
he was a man of great depth of feeling  

is shown by his love of his mother1 his 
worship of ,saskia1 and his tenderness  
to his brothers and sisters after they  
had lost their fortunes4 ,he was also   
passionately fond of nature and of      
animals4 ,sweetser tells this incident3 
,one day he was making a portrait group 
of a notable family1 when he was        
informed that his favorite monkey had   
died4 ,the grieving artist caused the   
body to be brought to the studio1 and   
made its portrait on the same canvas on 
which he was engaged4 ,the family1      
aforesaid1 was naturally incensed at    
such an interpolation1 and demanded that
 it should be effaced2 but ,rembrandt   
preferred to keep the whole work        
himself1 and let his patrons seek a more
 accommodating artist4  ,taine pays     
,rembrandt this glowing tribute in his  
,art in the ,netherlands3 ,rembrandt1   
constantly collecting his materials1    
living in solitude and borne along by   
the growth of an extraordinary faculty1 
lived1 like our ,balzac1 a magician and 

a visionary in a world fashioned by his 
own hand1 and of which he alone         
possessed the key4 ,superior to all     
painters in the native delicacy and     
keenness of his optical perceptions1 he 
comprehended this truth and adhered to  
it in all its consequence1--that1 to the
 eye1 the essence of a visible object   
consists of the spot 7tache71 that the  
simplest color is infinitely complex1   
that every visual sensation is the      
product of its elements coupled with its
 surroundings1 that each object on the  
field of sight is but a single spot     
modified by others1 and that in this    
wise the principal feature of a picture 
is the ever-present1 tremulous1 colored 
atmosphere into which figures are       
plunged like fishes in the sea4444      
,free of all trammels and guided by the 
keen sensibility of his organs1 he has  
succeeded in portraying in man not      
merely the general structure and the    
abstract type which answers for classic 
art1 but again that which is peculiar   

and profound in the individual1 the     
infinite and indefinable complications  
of the moral being1 the whole of that   
changeable imprint which concentrates   
instantaneously on a face the entire    
history of a soul1 and which            
,shakespeare alone saw with an equally  
prodigious lucidity4  ,in this respect  
he is the most original of modern       
artists1 and forges one end of the chain
 of which the ,greeks forged the other2 
the rest of the masters1 ,florentine1   
,venetian1 and ,flemish1 stand between  
them2 and when1 nowadays1 our           
over-excited sensibility1 our           
extravagant curiosity in the pursuit of 
subtleties1 our unsparing search of the 
true1 our divination of the remote and  
the obscure in human nature1 seeks for  
predecessors and masters1 it is in him  
and in ,shakespeare that ,balzac and    
,delacroix are able to find them4       
,,sir ,,joshua ,,reynolds4   ,in        
,plympton1 ,devonshire1 ,july #af1      
#agbc1 the great ,english painter1 ,sir 

,joshua ,reynolds1 was born4 ,his       
father1 ,samuel1 and his grandfather1   
,john1 were both ministers1 while his   
mother and grandmother were both        
daughters of clergymen4  ,illustration3 
,,sir ,,joshua ,,reynolds4  ,samuel     
,reynolds was a gentle1 kindly man1     
master of the grammar school at         
,plympton1 supporting his eleven        
children on the meagre income of seven  
hundred and fifty dollars a year4 ,he   
had married ,theophila ,potter1 when she
 was twenty-three1 the lovely daughter  
of a lovely young mother1 ,theophila    
,baker1 who1 marrying against the       
consent of her father1 was disinherited 
by him1 and at the early death of her   
devoted husband wept herself blind1 and 
died broken-hearted4  ,joshua1 the      
seventh child of ,samuel and ,theophila1
 was a thoughtful1 aspiring boy1 who    
cared more for drawing than for ,ovid1  
and spent his early years in copying the
 illustrations from ,plutarch's ,lives  
and ,jacob ,cats's ,book of ,emblems1   

which his grandmother1 on his father's  
side1 had brought with her from         
,holland4 ,his sisters were also fond of
 drawing1 and as pencils and paper could
 not be afforded in the minister's      
family1 they drew on the whitewashed    
walls of a long passage1 with burnt     
sticks4 ,the boy's sketches were the    
poorest1 and he was therefore nicknamed 
the clown4  ,on the back of a ,latin    
exercise1 the lad drew a wall with a    
window in it4 ,under it1 the not highly 
delighted father1 who wished his boy to 
be a learned doctor1 wrote3 ,this is    
drawn by ,joshua in school1 out of pure 
idleness4 ,but when in his eighth year  
the boy made a fine sketch of the       
grammar school with its cloister1 having
 studied carefully the ,jesuit's        
,treatise on ,perspective1 the          
astonished father said1 ,now1 this      
exemplifies what the author of the      
',perspective' says in his preface1     
'that1 by observing the rules laid down 
in this book1 a man may do wonders2' for

 this is wonderful4  ,joshua was fond of
 literary composition1 and early        
composed some rules of conduct for      
himself1 which influenced him through   
life4 ,he said1 ,the great principle of 
being happy in this world is not to mind
 or be affected with small things1 a    
maxim which he carried out in his       
peaceful1 self-poised1 and remarkably   
happy life4  ,if you take too much care 
of yourself1 nature will cease to take  
care of you1 he said1 and thus without  
excessive self-consciousness he did his 
great work and reaped his great reward4 
,a book did for ,joshua what a book has 
often done before1 became an            
inspiration1 and therefore led to grand 
results4 ,he read ,richardson's ,theory 
of ,painting1 wherein was expressed the 
hope and belief that there was a future 
for ,england in art4 ,no nation under   
heaven so nearly resembles the ancient  
,greeks and ,romans as we4 ,there is a  
haughty courage1 an elevation of        
thought1 a greatness of taste1 a love of

 liberty1 a simplicity and honesty      
amongst us which we inherit from our    
ancestors1 and which belong to us as    
,englishmen2 and 'tis in these this     
resemblance consists4444 ,a time may    
come when future writers may be able to 
add the name of an ,english painter4444 
,i am no prophet1 nor the son of a      
prophet1 but1 considering the necessary 
connection of causes and effects1 and   
upon seeing some links of that fatal    
chain1 ,i will venture to pronounce 7as 
exceedingly probable7 that if ever the  
ancient1 great1 and beautiful taste in  
painting revives1 it will be in         
,england2 but not till ,english         
painters1 conscious of the dignity of   
their country and of their profession1  
resolve to do honor to both by ,piety1  
,virtue1 ,magnanimity1 ,benevolence1 and
 a contempt of everything that is really
 unworthy of them4  ,and now ,i cannot  
forbear wishing that some younger       
painter than myself1 and one who has had
 greater and more early advantages1     

would practise the magnanimity ,i have  
recommended1 in this single instance of 
attempting and hoping only to equal the 
greatest masters of whatsoever age or   
nation4 ,what were they which we are not
 or may not be8 ,what helps had any of  
them which we have not8  ,the boy       
,joshua was electrified by these words4 
,perhaps he could become equal to the   
greatest masters4 ,he told a friend1    
,edmond ,malone1 that this book so      
delighted and inflamed his mind that    
,raphael appeared to him superior to the
 most illustrious names of ancient or   
modern time4  ,young ,reynolds painted  
his first oil painting1 now in the      
possession of ,deble ,boger1 ,esq41 of  
,anthony1 near ,plymouth1 when he was   
twelve years old4 ,it was a portrait of 
,rev4 ,thomas ,smart1 a tutor in the    
family of ,lord ,edgcumbe4 ,in church1  
while ,smart was preaching1 ,joshua made
 a sketch on his thumb-nail of the      
minister4 ,he enlarged this sketch in a 
boat-house1 using part of the sail for  

his canvas4  ,good ,samuel ,reynolds    
began to wonder whether a boy who could 
paint at twelve would make a successful 
apothecary1 and1 not being able to      
decide the question alone1 he consulted 
,mr4 ,craunch4 ,this gentleman1 of small
 fortune1 resided at ,plympton1 and was 
the father of pretty ,betsy ,craunch1 a 
sweetheart of ,peter ,pindar 7,dr4      
,wolcot74 ,the lad himself said1 he     
would rather be an apothecary than an   
ordinary painter2 but if he could be    
bound to an eminent master1 he should   
choose the latter4  ,mr4 ,craunch       
advised the study of art1 and through   
his influence and that of his friend1 a 
lawyer1 ,mr4 ,cutcliffe of ,bideford1   
the lad was sent to ,thomas ,hudson1 the
 principal portrait painter in ,england1
 living in ,great ,queen ,street1       
,lincoln's ,inn1 ,london4 ,he was the   
pupil of ,richardson1 married his       
daughter1 and thus ,reynolds was brought
 again under a kindred influence to that
 which had inspired him in the ,theory  

of ,painting4  ,hudson was to receive   
six hundred dollars for care of his     
pupil1 half of which was loaned by a    
married sister till he should be able to
 repay her4 ,the boy made drawings from 
ancient statuary and from ,guercino1 and
 was delighted with his work1 writing   
home to his father1 ,while ,i am doing  
this ,i am the happiest creature alive4 
,one morning1 while purchasing some     
pictures for ,hudson at an auction room1
 he was overjoyed to see a great poet1  
,alexander ,pope1 enter the place1 and  
bow to the crowd1 who opened a passage  
for him4 ,among others1 ,pope shook     
hands with the ardent young artist4 ,he 
described the poet as about four feet   
six inches high2 very hump-backed and   
deformed4 ,he wore a black coat1 and1   
according to the fashion of that time1  
had on a little sword4 ,he had a large  
and very fine eye1 and a long1 handsome 
nose2 his mouth had those peculiar marks
 which are always found in the mouths of
 crooked persons1 and the muscles which 

run across the cheek were so strongly   
marked that they seemed like small      
cords4  ,though bound to ,hudson for    
four years1 at the end of two years     
,joshua was dismissed1 ostensibly for   
neglect to carry a picture at the time  
ordered1 but in reality1 it is believed1
 because the master was jealous that he 
had painted so admirably the portrait of
 an elderly serving-woman in the house4 
,he returned to ,devonshire1 and settled
 at ,plymouth1 where he soon painted    
about thirty portraits of the magnates  
of the neighborhood1 at fifteen dollars 
apiece4  ,he worked earnestly1 saying1  
,those who are determined to excel must 
go to their work whether willing or     
unwilling1 morning1 noon1 and night1 and
 they will find it to be no play1 but1  
on the contrary1 very hard labor4       
,young ,reynolds made a portrait in     
#agdf of ,captain ,hamilton1 father of  
the ,marquis of ,abercorn1 which was the
 first of his pictures which brought the
 artist into notice4 ,he also painted   

,hamilton in a picture with ,lord and   
,lady ,eliot4 ,the latter married       
,hamilton after her husband's death4    
,this ,captain ,hamilton1 we find in    
,prior's ,life of ,malone1 was a very   
uncommon character2 very obstinate1 very
 whimsical1 very pious1 a rigid         
disciplinarian1 yet very kind to his    
men4 ,he lost his life as he was        
proceeding from his ship to land at     
,plymouth4 ,the wind and sea were       
extremely high2 and his officers        
remonstrated against the imprudence of  
venturing in a boat where the danger    
seemed imminent4 ,but he was impatient  
to see his wife1 and would not be       
persuaded4 ,in a few minutes after he   
left the ship1 the boat was upset and   
turned keel upwards4  ,the captain1     
being a good swimmer1 trusted to his    
skill1 and would not accept a place on  
the keel1 in order to make room for     
others1 and then clung to the edge of   
the boat4 ,unluckily1 he had kept on his
 great-coat4 ,at length1 seeming        

exhausted1 those on the keel exhorted   
him to take a place beside them1 and he 
attempted to throw off the coat2 but1   
finding his strength fail1 told the men 
he must yield to his fate1 and soon     
afterwards sank1 while singing a psalm4 
,this year1 young ,reynolds1 now        
twenty-three1 painted his own portrait4 
,says ,tom ,taylor1 in his ,life and    
,times of ,sir ,joshua ,reynolds1 begun 
by ,charles ,robert ,leslie1 the royal  
academician1 and finished by ,taylor1   
,it is masterly in handling1 and        
powerful1 almost ,rembrandtesque1 in    
chiaro-oscuro4 ,the hair flows1 without 
powder1 in long ringlets over the       
shoulders4 ,the white collar and ruffled
 front of the shirt are thrown open4 ,a 
dark cloak is flung over the shoulders4 
,this year1 #agdf1 ,samuel ,reynolds    
died1 and the young painter took his two
 unmarried sisters to ,plymouth to      
provide for them in his new home4       
,reynolds learned much at this time from
 ,william ,gandy1 whose father had been 

a successful pupil of ,van ,dyck4 ,one  
of this painter's maxims1 which ,joshua 
never forgot1 was that a picture ought  
to have a richness in its texture1 as if
 the colors had been composed of cream  
or cheese1 and the reverse of a hard and
 husky or dry manner4  ,three years     
later1 an unlooked-for pleasure came to 
,reynolds4 ,he had always longed to     
visit ,rome for study1 but his father   
was too poor to provide the means1 and  
artists1 as a rule1 do not grow rich    
early in their career1 if at all4 ,the  
famous ,admiral ,keppel1 then a         
commodore only twenty-four years old1   
appointed to a command in the           
,mediterranean1 put into ,plymouth for  
repairs to his ship4 ,here1 at the house
 of ,lord ,edgcumbe1 he met the young   
painter1 and was so pleased with his    
courteous manner and frank kindly nature
 that he offered him passage on his     
vessel4 ,the offer was gladly accepted1 
and they sailed for ,lisbon1 ,may #aa1  
#agdi4 ,from here they went to ,cadiz1  

,gibraltar1 ,tetuan1 ,algiers1 the      
,island of ,minorca1 where ,reynolds    
painted nearly all the officers of the  
garrison1 then to ,genoa1 ,leghorn1     
,florence1 and1 finally1 ,rome4 ,now1 he
 said1 ,i am at the height of my wishes1
 in the midst of the greatest works of  
art that the world has produced4  ,he   
remained at ,rome two years1 his married
 sisters1 ,mrs4 ,palmer and ,mrs4       
,johnson1 advancing the money for his   
expenses4 ,he studied and copied many of
 the works of ,raphael1 ,michael        
,angelo1 ,titian1 ,rubens1 ,rembrandt1  
and others1 and filled several journals 
with his art notes4 ,two of these books 
are now carefully preserved in the      
,british ,museum1 two in the ,sloane    
,museum1 and several in the ,lenox      
,gallery in ,new ,york4  ,at first1     
,reynolds was disappointed in the works 
of ,raphael1 but1 said he1 ,i did not   
for a moment conceive or suppose that   
the name of ,raphael1 and those         
admirable paintings in particular1 owed 

their reputation to the ignorance and   
the prejudice of mankind2 on the        
contrary1 my not relishing them as ,i   
was conscious ,i ought to have done was 
one of the most humiliating things that 
ever happened to me4 ,i found myself in 
the midst of works executed upon        
principles with which ,i was            
unacquainted4  ,i felt my ignorance1 and
 stood abashed4 ,all the indigested     
notions of painting which ,i had brought
 with me from ,england1 where the art   
was at the lowest ebb1--it could not1   
indeed1 be lower1--were to be totally   
done away with and eradicated from my   
mind4 ,it was necessary1 as it is       
expressed on a very solemn occasion1    
that ,i should become as a little child4
 ,notwithstanding my disappointment1 ,i 
proceeded to copy some of those         
excellent works4 ,i viewed them again   
and again2 ,i even affected to feel     
their merits1 and to admire them more   
than ,i really did4 ,in a short time a  
new taste and new perceptions began to  

dawn upon me1 and ,i was convinced that 
,i had originally formed a false opinion
 of the perfection of art1 and that this
 great painter was entitled to the high 
rank which he holds in the estimation of
 the world4444  ,having since that      
period frequently revolved the subject  
in my mind1 ,i am now clearly of opinion
 that a relish for the higher           
excellences of the art is an acquired   
taste1 which no man ever possessed      
without long cultivation and great labor
 and attention4444 ,it is the florid    
style which strikes at once1 and        
captivates the eye1 for a time1 without 
ever satisfying the judgment4 ,nor does 
painting in this respect differ from    
other arts4 ,a just and poetical taste  
and the acquisition of a nice           
discriminative musical ear are equally  
the work of time4  ,in making the       
studies from ,raphael in the ,vatican1  
,reynolds caught so severe a cold as to 
produce deafness1 from which he never   
recovered1 and was obliged to use an    

ear-trumpet all his life4 ,he could not 
help observe the superficiality of the  
average tourist4 ,he said1 ,some        
,englishmen1 while ,i was in the        
,vatican1 came there1 and spent above   
six hours in writing down whatever the  
antiquary dictated to them4 ,they       
scarcely ever looked at the paintings   
the whole time4 ,instead of examining   
the beauties of the works of fame1 and  
why they were esteemed1 they only       
inquire the subject of the picture and  
the name of the painter1 the history of 
a statue and where it is found1 and     
write that down4  ,later1 ,reynolds     
journeyed to ,bologna1 ,modena1 ,parma1 
and ,venice1 studying the methods of the
 ,venetian painters4 ,he says1 ,when ,i 
observed an extraordinary effect of     
light and shade in any picture1 ,i took 
a leaf out of my pocketbook1 and        
darkened every part of it in the same   
gradation of light and shade as the     
picture1 leaving the white paper        
untouched to represent the light1 and   

this without any attention to the       
subject1 or to the drawing of the       
figures4 ,a few trials of this kind will
 be sufficient to give their conduct in 
the management of their lights4 ,after a
 few experiments1 ,i found the paper    
blotted nearly alike4 ,their general    
practice appeared to be1 to allow not   
above a quarter of the picture for the  
light1 including in this portion both   
the principal and secondary lights2     
another quarter to be kept as dark as   
possible2 and the remaining half kept in
 mezzotint or half-shadow4 ,rubens      
appears to have admitted rather more    
light than a quarter1 and ,rembrandt    
much less1 scarcely an eighth3 by this  
conduct1 ,rembrandt's light is extremely
 brilliant1 but it costs too much2 the  
rest of the picture is sacrificed to    
this one object4  ,reynolds longed to be
 at home again4 ,so great was his love  
for ,england that when1 at ,venice1 he  
heard at the opera a ballad that had    
been popular in ,london1 it brought     

tears to his eyes4  ,reynolds settled in
 ,london on his return from the         
,continent1 after spending three months 
in ,devonshire4 ,he took a suite of     
handsome apartments in ,st4 ,martin's   
,lane1 his sister ,frances1 six years   
younger than himself1 being his         
housekeeper4 ,she failed to make her    
brother happy1 through her peculiar     
temperament4 ,she was1 says ,madame     
d',arblay1 a woman of worth and         
understanding1 but of a singular        
character2 who1 unfortunately for       
herself1 made1 throughout life1 the     
great mistake of nourishing a           
singularity which was her bane1 as if it
 had been her greatest blessing4444 ,it 
was that of living in an habitual       
perplexity of mind and irresolution of  
conduct1 which to herself was restlessly
 tormenting1 and to all around her was  
teasingly wearisome4  ,whatever she     
suggested or planned one day was        
reversed the next2 though resorted to on
 the third1 as if merely to be again    

rejected on the fourth2 and so on almost
 endlessly2 for she rang not the changes
 on her opinions and designs1 in order  
to bring them into harmony and practice1
 but wavering1 to stir up new           
combinations and difficulties1 till she 
found herself in the midst of such      
chaotic obstructions as could chime in  
with no given purpose1 but must needs be
 left to ring their own peal1 and to    
begin again just where they began at    
first4  ,frances copied her brother's   
pictures1 which copies1 ,reynolds said1 
make other people laugh1 and me cry4    
,dr4 ,samuel ,johnson said she was very 
near to purity itself2 and of her ,essay
 on ,taste1 ,there are in these few     
pages or remarks such a depth of        
penetration1 such nicety of observation1
 as ,locke or ,pascal might be proud of4
  ,reynolds now painted the portraits of
 ,sir ,james ,colebrooke1 the ,duchess  
of ,hamilton1 the ,countess of          
,coventry1 and the ,dukes of ,devonshire
 and ,grafton4 ,the two ladies were two 

beautiful ,irish sisters4 ,horace       
,walpole tells us how even the noble mob
 in the drawing-room clambered upon     
chairs and tables to look at them2 how  
their doors were mobbed by crowds eager 
to see them get into their chairs1 and  
places taken early at the theatres when 
they were expected2 how seven hundred   
people sat up all night1 in and about a 
,yorkshire inn1 to see the ,duchess of  
,hamilton get into her post-chaise in   
the morning2 while a ,worcester         
shoemaker made money by showing the shoe
 he was making for the ,countess of     
,coventry4  ,the latter1 the elder and  
lovelier1 died seven years after her    
marriage1 from consumption4 ,the        
,duchess of ,hamilton1 ,reynolds painted
 again five years later1 and a third    
time in a red dress and hat1 on         
horseback1 the ,duke standing near her4 
,the evident desire which ,reynolds had1
 writes ,northcote1 his pupil and       
biographer1 to render his pictures      
perfect to the utmost of his ability1   

and in each succeeding instance to      
surpass the former1 occasioned his      
frequently making them inferior to what 
they had been in the course of the      
process2 and when it was observed to him
 that probably he had never sent out to 
the world any one of his paintings in as
 perfect a state as it had been1 he     
answered 'that he believed the remark   
was very just2 but that1                
notwithstanding1 he certainly gained    
ground by it on the whole1 and improved 
himself by the experiment2' adding1 'if 
you are not bold enough to run the risk 
of losing1 you can never hope to gain4' 
,with the same wish of advancing himself
 in the art1 ,i have heard him say that 
whenever a new sitter came to him for a 
portrait1 he always began it with a full
 determination to make it the best      
picture he had ever painted2 neither    
would he allow it to be an excuse for   
his failure to say 'the subject was a   
bad one for a picture2' there was always
 nature1 he would observe1 which1 if    

well treated1 was fully sufficient for  
the purpose4  ,the portrait of his      
friend ,admiral ,keppel1 standing on a  
sandy beach1 and back of him a          
tempestuous sea1 did much to establish  
the reputation of ,reynolds4 ,he painted
 eight other pictures of this brave man1
 who entered the navy at ten and at     
eighteen had been round the world4      
,keppel was the first of many heroes    
painted by ,reynolds1 writes ,leslie1   
who was never excelled1 even by         
,velasquez1 in the expression of        
heroism4 ,so anxious was he to do all   
possible justice to his gallant friend1 
and so difficult did he find it to      
please himself1 that after several      
sittings he effaced all he had done1 and
 began the picture again4444  ,from an  
early period ,reynolds adopted what he  
strongly recommended in his ,discourses1
 the practice of drawing with the hair  
pencil instead of the port-crayon2 and  
this constant use of the brush gave him 
a command of the instrument1 if ever    

equalled1 certainly never exceeded1 for 
there are marvels of delicacy and of    
finish in his execution1 combined with a
 facility and a spirit unlike anything  
upon the canvases of any other painter4 
,i am far from meaning that in the works
 of other great masters there are not   
many excellences which ,reynolds did not
 possess2 but what ,i would note is     
that1 though he was all his life        
studying the works of other artists1 he 
could not1 and it was fortunate that he 
could not1 escape from his own manner   
into theirs4  ,reynolds once said to    
,northcote1 ,there is not a man on earth
 who has the least notion of coloring2  
we all of us have it equally to seek for
 and find out1 as at present it is      
totally lost to the art4444 ,i had not  
an opportunity of being early initiated 
in the principles of coloring2 no man1  
indeed1 could teach me4 ,if ,i have     
never been settled with respect to      
coloring1 let it at the same time be    
remembered that my unsteadiness in this 

respect proceeded from an inordinate    
desire to possess every kind of         
excellence that ,i saw in the works of  
others1 without considering that there  
are in coloring1 as in style1           
excellences which are incompatible with 
each other2 however1 this pursuit1 or1  
indeed1 any similar pursuit1 prevents   
the artist from being tired of his      
art4444 ,i tried every effect of color2 
and1 leaving out every color in its     
turn1 showed every color that ,i could  
do without it4 ,as ,i alternately left  
out every color1 ,i tried every new     
color1 and often1 it is well known1     
failed4444  ,i considered myself as     
playing a great game2 and1 instead of   
beginning to save money1 ,i laid it out 
faster than ,i got it1 in purchasing the
 best examples of art that could be     
produced1 for ,i even borrowed money for
 this purpose4 ,the possession of       
pictures by ,titian1 ,vandyck1          
,rembrandt1 etc41 ,i considered as the  
best kind of wealth4 ,he said1 in order 

to obtain one of ,titian's best works he
 would be content to ruin himself4      
,reynolds was probably never surpassed  
in the drawing of the face1 but was not 
always correct in the human form1       
because of insufficient knowledge of    
anatomy4  ,during ,reynolds's second    
year in ,london1 he had one hundred and 
twenty sitters1 dukes and duchesses1    
members of ,parliament1 and reigning    
beauties4 ,that of ,mrs4 ,bonfoy1       
daughter of the first ,lord ,eliot1 is1 
says ,leslie1 one of his most beautiful 
female portraits1 and in perfect        
preservation4 ,the lady is painted as a 
half-length1 in a green dress1 with one 
hand on her hip1 and the head turned1   
with that inimitable grace of which     
,reynolds was master beyond all the     
painters who ever painted women4        
,already ,reynolds had become the friend
 of the great-hearted1 great-minded ,dr4
 ,samuel ,johnson1 who came and went at 
all hours to the artist's home1 and who1
 when about to be arrested for trivial  

debts1 was again and again befriended by
 the artist's purse4 ,in #agef1         
,reynolds painted for himself a         
half-length of ,johnson1 with a pen in  
his hand1 sitting at a table4 ,this     
picture is used in ,boswell's ,life4    
,for ,johnson's ,idler ,reynolds wrote  
three papers1 sitting up one whole night
 to complete them1 and by so doing was  
made ill for a time4  ,he also painted a
 young lad1 the son of ,dr4 ,mudge1 who 
was very anxious to visit his father on 
his sixteenth birthday1 but was         
prevented through illness4 ,never mind1 
,i will send you to your father1 said   
,reynolds1 and he sent a speaking       
likeness1 which was of course a gift4   
,he seldom1 however1 made presents of   
his pictures1 for he said they were     
usually not valued unless paid for4     
,about this time1 ,sir ,william         
,lowther1 a young millionnaire1 died1   
leaving twenty-five thousand dollars to 
each of thirteen companions4 ,each      
companion very properly commissioned    

,reynolds to paint for him the portrait 
of so considerate and generous a friend4
  ,in #ageh and #agei1 the artist was   
overwhelmed with work4 ,in one year     
there were one hundred and fifty        
sitters1 among them the ,prince of      
,wales1 afterwards ,george ,,iii42 ,lady
 ,mary ,coke1 afterwards believed to    
have been secretly married to the ,duke 
of ,york1 brother of ,george ,,iii42 and
 the fair and frail ,kitty ,fisher1 very
 agreeable and vivacious1 speaking      
,french with great fluency1 who died    
five years after her marriage1 a victim 
of cosmetics1 it is said4 ,sir ,joshua  
painted seven beautiful portraits of    
her4 ,the most interesting represents   
her holding a dove in her lap1 while its
 mate is about to descend to it from a  
sofa on which she is reclining4 ,there  
are three of these1 one being in the    
,lenox collection in ,new ,york4        
,reynolds also painted the famous       
,garrick this year1 and thirteen years  
later ,garrick and his wife4 ,leslie    

writes3 ,reynolds had to light the eyes 
with that meteoric sensibility1 and to  
kindle the features with that fire of   
life which would deepen into the passion
 of ,lear1 sparkle in the vivacity of   
,mercutio1 or tremble in the fatuousness
 of ,abel ,drugger4 ,he had to paint the
 man who1 of all men that ever lived1   
presents the most perfect type of the   
actor2 quick in sympathy1 vivid in      
observation1 with a body and mind so    
plastic that they could take every      
mould1 and give back the very form and  
pressure of every passion1 fashion1     
action2 delighted to give delight1 and  
spurred to ever higher effort by the    
reflection of the effect produced on    
others1 no matter whether his audience  
were the crowd of an applauding theatre1
 a table full of noblemen and wits1 a   
nursery group of children1 or a solitary
 black boy in an area2 of inordinate    
vanity1 at once the most courteous1     
genial1 sore1 and sensitive of men2 full
 of kindliness1 yet always quarrelling2 

scheming for applause even in the       
society of his most intimate friends2 a 
clever writer1 a wit and the friend of  
wits4  ,mrs4 ,garrick1 though always the
 delight and charm of ,garrick's house1 
was now no longer the lovely1           
light-limbed1 laughing ,eva ,maria      
,violette1 for love of whom ,garrick1   
twenty-five years before1 had dressed in
 woman's clothes that he might slip a   
letter into her chair1 without          
compromising her1 or offending her      
watchful protectress1 ,lady ,burlington1
 and who had witched the world as a     
dancer1 while she won friends among the 
titled and the great by her grace1      
good-humor1 and modest sweetness of     
disposition4 ,in ,lord ,normanton's     
gallery is a most fascinating sketch of 
her1 which must have been painted in the
 first years of ,sir ,joshua's          
acquaintance with her4 ,slight as it is1
 those who have seen will not easily    
forget it4 ,in the picture of her       
sitting with her husband1 painted this  

year1 she appears of matronly character1
 with a handsome1 sensitive1 kindly     
face2 the dress is painted with singular
 force and freedom4  ,in #agei1         
,reynolds painted his first ,venus1     
reclining in a wooded landscape1 while  
,cupid looks in through the boughs4     
,mason1 the poet1 writes3 ,when he was  
painting his first ,venus1 ,i was       
frequently near his easel2 and although 
before ,i came to town his picture was  
in some forwardness1 and the attitude   
entirely decided1 yet ,i happened to    
visit him when he was finishing the head
 from a beautiful girl of sixteen1 who1 
as he told me1 was his man ,ralph's     
daughter1 and whose flaxen hair1 in fine
 natural curls1 flowed behind her neck  
very gracefully4  ,but a second casual  
visit presented me with a very different
 object2 he was then painting the body1 
and in his sitting chair a very squalid 
beggar-woman was placed1 with a child1  
not above a year old1 quite naked1 upon 
her lap4 ,as may be imagined1 ,i could  

not help testifying my surprise at      
seeing him paint the carnation of the   
goddess of beauty from that of a little 
child1 which seemed to have been        
nourished rather with gin than with     
milk1 and saying that ',i wondered he   
had not taken some more healthy-looking 
model2' but he answered1 with his usual 
naivete1 that1 'whatever ,i might think1
 the child's flesh assisted him in      
giving a certain morbidezza to his own  
coloring1 which he thought he should    
hardly arrive at had he not such an     
object1 when it was extreme 7as it      
certainly was71 before his eyes4  ,among
 the many famous portraits of this year 
and the next was that of the ,countess  
,waldegrave1 ,horace ,walpole's         
beautiful niece ,maria1 afterwards      
,duchess of ,gloucester4 ,the earl was  
the most trusted friend of ,george      
,,ii41 and1 for a short time1 prime     
minister4 ,walpole mentions the countess
 being mobbed in the park one ,sunday   
when in company with ,lady ,coventry1 so

 that several sergeants of the guards   
marched before and behind them to keep  
off the admiring crowd4 ,also that of   
the beautiful ,elizabeth ,gunning1      
afterward ,duchess of ,argyle1 and the  
sister of ,admiral ,keppel1 afterwards  
,marchioness of ,tavistock4 ,this is one
 of the painter's loveliest and best    
preserved female portraits4 ,the dress  
is white1 with a rose in the bosom1 and 
the expression inimitably maidenly and  
gentle4  ,this year1 ,reynolds removed  
to a fine home in ,leicester ,square1   
where he remained as long as he lived1  
having a suburban home at ,richmond     
,villa4 ,his own painting-room was      
octagonal1 about twenty feet long and   
sixteen in breadth4 ,the window which   
gave the light to the room was square1  
and not much larger than one-half the   
size of a common window in a private    
house2 whilst the lower part of this    
window was nine feet four inches from   
the floor4 ,the chair for his sitters   
was raised eighteen inches from the     

floor1 and turned on casters4 ,his      
palettes were those which are held by a 
handle1 not those held on the thumb4    
,the stocks of his pencils were long1   
measuring about nineteen inches4 ,he    
painted in that part of the room nearest
 to the window1 and never sat down when 
he worked4  ,he had now raised his      
prices to twenty-five1 fifty1 and one   
hundred guineas for the three classes of
 portraits1--head1 half-length1 and     
full-length1 and his income from his    
work was thirty thousand dollars a year4
 ,he purchased1 says ,northcote1 a      
chariot on the panels of which were     
curiously painted the four seasons of   
the year in allegorical figures4 ,the   
wheels were ornamented with carved      
foliage and gilding2 the liveries also  
of his servants were laced with silver4 
,but1 having no spare time himself to   
make a display of this splendor1 he     
insisted on it that his sister ,frances 
should go out with it as much as        
possible1 and let it be seen in the     

public streets to make a show1 which she
 was much averse to1 being a person of  
great shyness of disposition1 as it     
always attracted the gaze of the        
populace1 and made her quite ashamed to 
be seen in it4 ,this anecdote1 which ,i 
heard from this very sister's own mouth1
 serves to show that ,sir ,joshua       
,reynolds knew the use of quackery in   
the world4 ,he knew that it would be    
inquired whose grand chariot this was1  
and that1 when it was told1 it would    
give a strong indication of his great   
success1 and1 by that means1 tend to    
increase it4  ,the next year1 ,reynolds 
painted1 among others1 the ,rev4        
,laurence ,sterne1 at this moment the   
lion of the town1 engaged fourteen deep 
to dinner1 'his head topsy-turvy with   
his success and fame1' consequent on the
 appearance of the first instalment of  
his ',tristram ,shandy4' ,the picture is
 now in the gallery of the ,marquis of  
,lansdowne1 by whom it was purchased on 
the death of ,lord ,holland4  ,sterne's 

wig1 writes ,leslie1 was subject to odd 
chances from the humor that was         
uppermost in its wearer4 ,when by       
mistake he had thrown a fair sheet of   
manuscript into the fire instead of the 
foul one1 he tells us that he snatched  
off his wig1 'and threw it              
perpendicularly1 with all imaginable    
violence1 up to the top of the room4'   
,while he was sitting to ,reynolds1 this
 same wig had contrived to get itself a 
little on one side2 and the painter1    
with that readiness in taking advantage 
of accident1 to which we owe so many of 
the delightful novelties in his works1  
painted it so1 for he must have known   
that a mitre would not sit long         
bishop-fashion on the head before him1  
and it is surprising what a ,shandean   
air this venial impropriety of the wig  
gives to its owner4444  ,in #agfh1      
,sterne lay dying at the ',silk bag shop
 in ,old ,bond ,street1' without a      
friend to close his eyes4 ,no one but a 
hired nurse was in the room1 when a     

footman1 sent from a dinner table where 
was gathered a gay and brilliant        
party--the ,dukes of ,roxburgh and      
,grafton1 the ,earls of ,march and      
,ossory1 ,david ,garrick and ,david     
,hume--to inquire how ,dr4 ,sterne did1 
was bid to go upstairs by the woman of  
the shop4 ,he found ,sterne just        
a-dying4 ,in ten minutes1 ',now it is   
come1' he said1 put up his hand as if to
 stop a blow1 and died in a minute4     
,his laurels--such as they were--were   
still green4 ,the town was ringing with 
the success of the ',sentimental        
,journey1' just published4444 ,sterne's 
funeral was as friendless as his        
death-bed4 ,becket1 his publisher1 was  
the only one who followed the body to   
its undistinguished grave1 in the parish
 burial-ground of ,marylebone1 near     
,tyburn gallows-stand4444 ,his grave was
 marked down by the body-snatchers1 the 
corpse dug up1 and sold to the professor
 of anatomy at ,cambridge4 ,a student   
present at the dissection recognized    

under the scalpel the face of the       
brilliant wit and ,london lion of a few 
seasons before4  ,in #agfa1 the year of 
the marriage and coronation of ,george  
,,iii41 ,reynolds painted three of the  
most beautiful of the ten               
bridesmaids1--,lady ,elizabeth ,keppel2 
,lady ,caroline ,russell1 in            
half-length1 sitting on a garden-seat1  
in a blue ermine-embroidered robe over a
 close white-satin vest4 ,she is lovely1
 with a frank1 joyous1 innocent         
expression1 and has a pet ,blenheim     
spaniel in her lap--a love-gift1 ,i     
presume1 from the ,duke of ,marlborough1
 whom she married next year2 and ,lady  
,sarah ,lenox1 whom ,george ,,iii4 had  
loved1 and would have married had not   
his council prevented4 ,she married1 six
 years later1 ,sir ,joshua's friend1    
,sir ,charles ,bunbury1 was divorced1   
married ,general ,napier1 and became the
 mother of two illustrious sons1 ,sir   
,william and ,sir ,charles4 ,four years 
later1 ,reynolds painted another        

exquisite picture of her kneeling at a  
footstool before a flaming tripod1 over 
which the triad of the ,graces look down
 upon her as she makes a libation in    
their honor4444 ,lady ,sarah was still  
in the full glow of that singular       
loveliness which1 it was whispered1 had 
four years ago won the heart of the     
king1 and all but placed an ,english    
queen upon the throne4 ,though the      
coloring has lost much of its richness1 
the lakes having faded from ,lady       
,sarah's robes1 and left what was once  
warm rose-color a cold1 faint purple1   
the picture takes a high place among the
 works of its class--the full-length    
allegorical4  ,five years after this1   
,lord ,tavistock1 a young man of rare   
promise1 who had married ,lady ,keppel1 
was killed by falling from his horse4   
,his beautiful wife never recovered from
 this bereavement1 and died in a few    
months at ,lisbon1 of a broken heart4   
,all these years were extremely busy    
ones for the distinguished artist4 ,he  

disliked idle visitors1 saying3 ,these  
persons do not consider that my time is 
worth1 to me1 five guineas an hour4 ,he 
belonged to several literary and social 
clubs1 and was a lifelong and devoted   
friend to such men as ,edmund ,burke1   
,johnson1 and ,goldsmith4  ,when he was 
ill1 ,johnson wrote him3 ,if the        
amusement of my company can exhilarate  
the languor of a slow recovery1 ,i will 
not delay a day to come to you1 for ,i  
know not how ,i can so effectually      
promote my own pleasure as by pleasing  
you1 in whom1 if ,i should lose you1 ,i 
should lose almost the only man whom ,i 
call a friend4  ,reynolds had now raised
 his prices to thirty guineas for a     
head1 seventy for a half-length1 and one
 hundred and fifty for a full-length1   
one half to be paid at the first        
sitting4  ,in #agff1 when he was        
forty-three1 a frequent visitor to the  
studio was ,angelica ,kauffman1 the     
pretty ,swiss artist1 whom he usually   
enters in his notebooks as ,miss ,angel1

 and whom it is believed he loved and   
wished to marry4 ,she was1 at this time1
 twenty-five years old1 very attractive1
 and admired by everybody for her genius
 and loveliness4  ,mrs4 ,ellet1 in her  
,women ,artists1 says3 ,at the age of   
nine1 this child of genius was much     
noticed on account of her wonderful     
pastel pictures4 ,when her father left  
,morbegno1 in ,lombardy1 in #ageb1 to   
reside in ,como1 she found greater scope
 for her ingenious talent1 and better   
instruction in that city2 and1 in       
addition to her practice with the brush 
and pencil1 she devoted herself to      
studies in general literature and in    
music4 ,her proficiency in the latter   
was so rapid1 and the talent evinced so 
decided1 besides the possession of a    
voice unusually fine1 that her friends1 
a few years afterward1 urged that her   
life should be devoted to music4 ,she   
was herself undecided for some time to  
which vocation she should consecrate her
 powers4  ,in the native city of her    

father1 ,schwarzenberg1 ,angelica       
painted in fresco the figures of the    
,twelve ,apostles after copper          
engravings from ,piazetta1 an unusual   
work for a woman4 ,after some years in  
,milan and ,florence1 ,angelica went to 
,rome in #agfc1 where she painted the   
portrait of ,winkelmann1 then sixty     
years old1 and other famous people1 and 
was taken to ,london by the accomplished
 ,lady ,wentworth1 wife of the ,british 
resident4  ,here1 says ,mrs4 ,ellet1 she
 found open to her a career of brilliant
 success1 productive of much pecuniary  
gain4 ,her talents and winning manners  
raised her up patrons and friends among 
the aristocracy4 ,persons attached to   
the court engaged her professional      
services1 and the most renowned painter 
in ,england1 ,sir ,joshua ,reynolds1 was
 of the circle of her friends4444 ,she  
was numbered among the painters of the  
,royal ,society1 and received the rare  
honor1 for a woman1 of an appointment to
 a professorship in the ,academy of     

,arts in ,london1 being1 meanwhile1     
universally acknowledged to occupy a    
brilliant position in the best circles  
of fashionable society4  ,reynolds      
painted her portrait twice1 and she     
painted his for his friend1 ,mr4 ,parker
 of ,saltram4 ,she was declared by some 
persons to be a great coquette4 ,once   
she professed to be enamoured of        
,nathaniel ,dance2 to the next visitor  
she would disclose the great secret1    
that she was dying for ,sir ,joshua     
,reynolds4  ,when at the height of her  
fame1 either because she had refused a  
prominent lord1 who sought to be        
revenged1 or through the jealousy of    
another artist1 a fearful deception was 
practised upon her4  ,a low-born        
adventurer1 says ,mrs4 ,ellet1 who      
assumed the name of a gentleman of rank 
and character--that of his master1      
,count ,frederic de ,horn--played a     
conspicuous part at that time in ,london
 society1 and was skilful enough to     
deceive those with whom he associated4  

,he approached our artist1 who was then 
about twenty-six1 and in the bloom of   
her existence4 ,he paid his respects as 
one who rendered the deepest homage to  
her genius2 then he passed into the     
character of an unassuming and          
sympathizing friend4 ,finally1 he       
appealed to her romantic generosity1 by 
representing himself as threatened with 
a terrible misfortune1 from which she   
only could save him by accepting him as 
her husband4 ,a sudden and secret       
marriage1 he averred1 was necessary4    
,poor ,angelica1 who had shunned love on
 the banks of ,como and under the       
glowing skies of ,italy1 and since her  
coming to ,london had rejected many     
offers of the most advantageous         
alliance1 that she might remain free to 
devote herself to her art1 was caught in
 the fine-spun snare1 and yielded to    
chivalrous pity for one she believed    
worthy of her heart's affection4 ,the   
marriage was celebrated by a ,catholic  
priest1 without the formality of        

writings and without witnesses4         
,angelica had received commissions to   
paint several members of the royal      
family and eminent personages of the    
court1 and her talents had procured her 
the favorable notice of the ,queen of   
,england4 ,one day1 while she was       
painting at ,buckingham ,palace1 her    
,majesty entered into conversation with 
her1 and ,angelica communicated to her  
royal friend the fact of her marriage4  
,the queen congratulated her1 and sent  
an invitation to the ,count de ,horn to 
present himself at court4 ,the impostor1
 however1 dared not appear so openly1   
and he kept himself very close at home1 
for he well knew that it could not be   
long before the deception would be      
discovered4  ,at length1 the suspicions 
of ,angelica's father1 to whom her      
marriage had been made known1 led him to
 inquiries1 which were aided by friends 
of influence4 ,about this time1 some    
say1 the real count returned1 and was   
surprised at being frequently           

congratulated on his marriage4 ,then    
came the mortifying discovery that the  
pretended count was a low impostor4 ,the
 queen informed ,angelica1 and assured  
her of her sympathy4  ,the fellow had   
been induced to seek the poor girl's    
hand from motives of cupidity alone1    
desiring to possess himself of the      
property she had acquired by her labors4
 ,he now wished to compel her to a hasty
 flight from ,london4 ,believing herself
 irrevocably bound to him1 ,angelica    
resolved to submit to her fate2 but her 
firmness and strength of nature enabled 
her to evade compliance with his        
requisition that she should leave       
,england1 till the truth was made known 
to her--that he who called himself her  
husband was already married to another  
woman1 still living4 ,this discovery    
made it dangerous for the impostor to   
remain in ,london1 and he was compelled 
to fly alone1 after submitting          
unwillingly to the necessity of         
restoring some three hundred pounds     

obtained from his victim1 to which he   
had no right4  ,the false marriage was1 
of course1 immediately declared null and
 void4 ,these unhappy circumstances in  
no way diminished the interest and      
respect manifested for the lady who1 in 
plucking the rose of life1 had been so  
severely wounded by its thorns2 on the  
contrary1 she was treated with more     
attention than ever1 and received       
several unexceptionable offers of       
marriage4 ,but all were declined2 she   
chose to live only for her              
profession4444  ,after fifteen years'   
residence in ,england1 when the         
physician who attended her suffering    
father advised return to ,italy1 and the
 invalid expressed his fear of dying and
 leaving her unprotected1 ,angelica     
yielded to her parent's entreaties1 and 
bestowed her hand upon the painter      
,antonio ,zucchi4  ,he was then         
fifty-three1 and she forty4 ,he lived   
fourteen years after this1 and the      
marriage seems to have been a happy one4

 ,much of the time was spent in ,rome1  
where ,angelica became the friend of    
,goethe1 ,herder1 and others4 ,goethe   
said of her3 ,the good ,angelica has a  
most remarkable1 and1 for a woman1      
really unheard-of talent2 one must see  
and value what she does1 and not what   
she leaves undone4 ,there is much to    
learn from her1 particularly as to work1
 for what she effects is really         
marvellous4444 ,the light and pleasing  
in form and color1 in design and        
execution1 distinguish the numerous     
works of our artist4 ,no living painter 
excels her in dignity1 or in the        
delicate taste with which she handles   
the pencil4  ,her ,allegra and          
,penserosa1 ,venus and ,adonis1 ,the    
,death of ,heloise1 ,sappho ,inspired by
 ,love1 ,leonardo da ,vinci dying in the
 arms of ,francis ,i41 ,the ,return of  
,arminius1 painted for ,joseph ,,ii41   
and the ,vestal ,virgin1 are among her  
best known works4 ,she died seven years 
after her husband1 and1 as at the       

funeral of ,raphael1 her latest pictures
 were borne after her bier4 ,she was    
buried in ,st4 ,andrea della ,fratte1   
and her bust was preserved in the       
,pantheon4 ,such is the sad history of  
the woman whom it is believed ,reynolds 
loved1 and wished to marry4  ,in #agfh  
the ,royal ,academy was founded1 chiefly
 by the exertions of ,west1 the painter1
 and ,sir ,william ,chambers4 ,reynolds 
was unanimously chosen its first        
president1 and was immediately knighted 
by the king4 ,he left a sitter to go to 
,st4 ,james's and receive the honor1 and
 then returned to his sitter4 ,when the 
president delivered his first discourse1
 probably on account of his deafness1 he
 did not speak loud enough to be heard4 
,a nobleman said to him1 ,sir ,joshua1  
you read your discourse in a tone so low
 that ,i scarce heard a word you said4  
,that was to my advantage1 said ,sir    
,joshua1 with a smile4  ,reynolds       
suggested the addition of a few         
distinguished honorary members to the   

,academy3 ,dr4 ,johnson1 as professor of
 ,ancient ,literature2 ,goldsmith1      
professor of ,ancient ,history1 and     
others4 ,goldsmith wrote his brother1   
says ,allan ,cunningham1 in his ,life of
 ,reynolds3 ,i took it rather as a      
compliment to the institution than any  
benefit to myself4 ,honors to one in my 
situation are something like ruffles to 
a man who wants a shirt4  ,goldsmith was
 very fond of ,reynolds1 and dedicated  
to him his ,deserted ,village1 in these 
words3 ,i can have no expectations1 in  
an address of this kind1 either to add  
to your reputation or to establish my   
own4 ,you can gain nothing from my      
admiration1 as ,i am ignorant of the art
 in which you are said to excel1 and ,i 
may lose much by the severity of your   
judgment1 as few have a juster taste in 
poetry than you4 ,setting interest1     
therefore1 aside1 to which ,i never paid
 much attention1 ,i must be indulged at 
present in following my affections4 ,the
 only dedication ,i ever made was to my 

brother1 because ,i loved him better    
than most other men4 ,he is since dead4 
,permit me to inscribe this poem to you4
  ,at the first exhibition of the       
,academy1 among the pictures which      
attracted the most notice were ,sir     
,joshua's ,miss ,morris as ,hope nursing
 ,love1--the lady was the daughter of a 
governor of one of the ,west-,india     
,islands1 and1 going upon the stage as  
,juliet1 was so overpowered by timidity 
that she fainted and died soon          
afterwards1--the ,duchess of ,manchester
 and her son1 as ,diana disarming       
,cupid2 and pretty ,mrs4 ,crewe1 the    
daughter of ,fulke ,greville1 whom he   
had painted at sixteen as ,psyche1 and  
at nineteen as ,st4 ,genevieve reading  
in the midst of her flock4  ,tom ,taylor
 says3 ,the ,mrs4 ,crewe should class as
 one of his loveliest pictures--most    
touching and pathetic in the expression 
given by the attitude rather than the   
face2 for the eyes are cast down on the 
book1 and the features are nearly hidden

 by the hand which supports the head4   
,the landscape is beautiful in color1   
and powerfully relieves the figure1     
clothed in a simple white dress1 the    
light of which is distributed through   
the picture by the sheep feeding or     
resting about their pretty shepherdess4 
,walpole notes the harmony and          
simplicity of the picture1 and calls it1
 not unjustly1 'one of his best4'  ,each
 year1 ,reynolds's discourses were      
eagerly listened to at the ,academy4 ,a 
great part of every man's life1 he said1
 must be spent in collecting materials  
for the exercise of genius4 ,invention  
is little but new combination4 ,nothing 
can come of nothing4 ,hence the         
necessity for acquaintance with the     
works of your predecessors4 ,but of     
these1 who are to be models--the guides8
 ,the answer is1 ,those great masters   
who have travelled with success the same
 road4444 ,try to imagine how a ,michael
 ,angelo or a ,raphael would have       
conducted themselves1 and work yourself 

into a belief that your picture is to be
 seen and observed by them4 ,even enter 
into a kind of competition with these   
great masters2 paint a subject like     
theirs2 a companion to any work you     
think a model4 ,test your own work with 
the model4444 ,let your port-crayon be  
never out of your hands4 ,draw till you 
draw as mechanically as you write4 ,but1
 on every opportunity1 paint your       
studies instead of drawing them4        
,painting comprises both drawing and    
coloring4 ,the ,venetians knew this1 and
 have left few sketches on paper4444    
,have no dependence on your own genius2 
if you have great talents1 industry will
 improve them2 if you have but moderate 
abilities1 industry will supply their   
deficiency4 ,nothing is denied to       
well-directed labor--nothing is to be   
obtained without it4444 ,without the    
love of fame you can never do anything  
excellent2 but by an excessive and      
undistinguishing thirst after it you    
will come to have vulgar views2 you will

 degrade your style1 and your taste will
 be entirely corrupted4444 ,i mention   
this because our exhibitions1 while they
 produce such admirable effects by      
nourishing emulation and calling out    
genius1 have also a mischievous tendency
 by seducing the painter to an ambition 
of pleasing indiscriminately the mixed  
multitude of people who resort to them4 
,to ,barry1 the artist1 who was in      
,rome1 he wrote3 ,whoever is resolved to
 excel in painting1 or indeed in any    
other art1 must bring all his mind to   
bear upon that one object1 from the     
moment he rises till he goes to bed4    
,the effect of every object that meets  
the painter's eye may give a lesson1    
provided his mind is calm1 unembarrassed
 with other objects1 and open to        
instruction4 ,this general attention1   
with other studies connected with the   
art1 which must employ the artist in his
 closet1 will be found sufficient to    
fill up life1 if it were much longer    
than it is4444 ,whoever has great views1

 ,i would recommend to him1 whilst at   
,rome1 rather to live on bread and water
 than lose those advantages which he can
 never hope to enjoy a second time1 and 
which he will find only in the          
,vatican4444 ,the ,capella ,sistina is  
the production of the greatest genius   
that was ever employed in the arts4444  
,if you neglect visiting the ,vatican   
often1 and particularly the ,capella    
,sistina1 you will neglect receiving    
that peculiar advantage which ,rome can 
give above all other cities in the      
world4 ,in other places you will find   
casts from the antique1 and capital     
pictures of the great masters1 but it is
 there only that you can form an idea of
 the dignity of the art1 as it is there 
only that you can see the works of      
,michael ,angelo and ,raphael4 ,if you  
should not relish them at first1 which  
may probably be the case1 as they have  
none of those qualities which are       
captivating at first sight1 never cease 
looking till you feel something like    

inspiration come over you1 till you     
think every other painter insipid in    
comparison1 and to be admired only for  
petty excellences4  ,in #aggj1 ,sir     
,joshua painted a picture called ,the   
,babes in the ,woods1 which is now in   
the collection of ,viscount ,palmerston4
 ,reynolds loved to find picturesque    
beggar children on the street1 and would
 send them to his studio to be painted4 
,northcote says he would often hear the 
voice of a little waif1 worn with       
sitting1 say plaintively1               
,sir1--sir1--,i'm tired6  ,it happened  
once1 says ,leslie1 as it probably often
 did1 that one of these little sitters  
fell asleep1 and in so beautiful an     
attitude that ,sir ,joshua instantly put
 away the picture he was at work on1 and
 took up a fresh canvas4 ,after         
sketching the little model as it lay1 a 
change took place in its position2 he   
moved his canvas to make the change     
greater1 and1 to suit the purpose he had
 conceived1 sketched the child again4   

,the result was the picture of the      
',babes in the ,wood4'  ,this year1 ,sir
 ,joshua brought the thirteen-year-old  
daughter1 ,theophila1 of his widowed    
sister1 ,mrs4 ,palmer1 to live with him 
in ,london1 and three years later her   
elder sister1 ,mary1 who afterward      
became the ,marchioness of ,thomond4 ,he
 painted ,theophila1 called ,offy1 as ,a
 ,girl ,reading1 at which the young miss
 was offended1 saying1 ,i think they    
might have put ',a ,young ,lady4'  ,sir 
,joshua offered to take to his home the 
sons of his other sister1 ,mrs4         
,johnson--he had not forgotten how these
 two sisters had loaned him money when  
he was poor--but ,mrs4 ,johnson declined
 his offer1 fearing the temptations of  
,london1 and being greatly opposed to   
her brother's habit of painting on      
,sundays4 ,one son went into the church 
and died young2 another went to ,india1 
and ,reynolds took great interest in his
 welfare4 ,later1 two of ,mrs4          
,johnson's daughters lived with ,sir    

,joshua4  ,in #aggc1 he painted and     
exhibited ,the ,strawberry ,girl1 which 
represents ,offy ,palmer1 creeping      
timidly along1 and looking anxiously    
around with her great black eyes4 ,sir  
,joshua always maintained that this was 
one of the half-dozen original things   
which he said no man ever exceeded in   
his life's work4 ,later the picture was 
purchased by the ,marquis of ,hertford  
for ten thousand five hundred dollars4  
,f4 ,s4 ,pulling1 of ,exeter ,college1  
,oxford1 says1 in his ,life of ,sir     
,joshua3 ,what a love ,reynolds had for 
children1 childless though he was       
himself6 ,what a marvellous knowledge of
 their ways1 and1 even of their         
thoughts6 ,with the peer's son or the   
beggar's child it was the same4 ,the    
most fastidious critic finds it         
impossible to discover faults in these  
child portraits2 the whole soul of the  
painter has gone into them1 and he is as
 much at home with the gypsy child as   
with little ,lord ,morpeth4 ,as ,mr4    

,stephens well observes1 ',reynolds1 of 
all artists1 painted children best 444  
knew most of childhood1 depicted its    
appearances in the truest and happiest  
spirit of comedy1 entered into its      
changeful soul with the tenderest1      
heartiest sympathy1 played with the     
playful1 sighed with the sorrowful1 and 
mastered all the craft of infancy4444   
,his ',child ,angels' was not painted   
till #aghf4 ,it consists of simply five 
different representations of the same   
face1 that of ,frances ,gordon4 ,the    
perfect loveliness of this picture is   
beyond dispute4444 ,these are human     
faces1 it is true1 but can you imagine  
any purer1 more innocent1 more gentle   
faces8444 ,i1 for one1 am perfectly     
content to accept these faces as those  
of the most lovely beings ,god ever     
created4  ,a picture of a nymph with a  
young ,bacchus1 really the portrait of  
the beautiful young actress1 ,mrs4      
,hartley1 whose lovely face and lithe1  
tall1 delicate figure had rapidly won   

for her the leading place at ,covent    
,garden1 is now in the possession of    
,mr4 ,bentley1 who refused an offer of  
ten thousand dollars for it4  ,sir      
,joshua was now elected mayor of        
,plympton1 his native town1 an honor    
which he greatly prized2 and received   
the degree of ,d4 ,c4 ,l4 from ,oxford  
,university4 ,oliver ,goldsmith had     
died1 and on the day of his death ,sir  
,joshua did not touch a pencil1 a       
circumstance the most extraordinary for 
him1 says ,northcote1 who passed no day 
without a line4 ,he acted as executor   
for his dead friend1 and found1 to his  
amazement1 that his debts were ten      
thousand dollars4  ,reynolds was as ever
 the centre of a charming circle4 ,miss 
,burney1 the author of ,evelina1 liked  
his countenance and manners2 the former 
she pronounced expressive1 soft1 and    
sensible2 the latter1 gentle1           
unassuming1 and engaging4 ,hannah ,more1
 too1 was greatly pleased with the      
distinguished painter4  ,foremost among 

the beauties of this brilliant time1    
says ,leslie1 was ,sir ,joshua's pet in 
childhood1 now the irresistible young   
queen of ton1 ,georgiana1 ,duchess of   
,devonshire4 ,she effaced all her       
rivals1 ,walpole tells us1 without being
 a beauty4 ',her youth1 figure1 glowing 
good-nature1 sense1 lively modesty1 and 
modest familiarity make her a           
phenomenon4' ,the young duchess was now 
sitting to him in the full flush of her 
triumph as arbitress of fashion1 the    
most brilliant of the gay throng who    
danced and played the nights away at the
 ,ladies' ,club1 masqueraded at the     
,pantheon1 and promenaded at ,ranelagh4 
,marie ,antoinette herself had scarcely 
a gayer1 more devoted1 and more         
obsequious court4 ,it was this beautiful
 young duchess who set the fashion of   
the feather headdresses1 now a mark for 
all the witlings of the time4 ,sir      
,joshua has painted her in her          
new-fashioned plumes1 in the full-length
 now at ,spencer ,house4444  ,another   

beautiful sitter of this year was       
,eliza1 the youthful wife of ,richard   
,brinsley ,sheridan4 ,the young couple  
were now emerging from the first        
difficulties of their married life4 ,her
 exquisite and delicate loveliness1 all 
the more fascinating for the tender     
sadness which seemed1 as a contemporary 
describes it1 to project over her the   
shadow of early death2 her sweet voice1 
and the pathetic expression of her      
singing2 the timid and touching grace of
 her air and deportment1 had won        
universal admiration for ,eliza ,ann    
,linley4 ,from the days when1 a girl of 
nine1 she stood with her little basket  
at the pump-room door1 timidly offering 
the tickets for her father's benefit    
concerts1 to those when in her teens she
 was the belle of the ,bath assemblies1 
none could resist her beseeching grace4 
,lovers and wooers flocked about her2   
,richard ,walter ,long1 the ,wiltshire  
miser1 laid his thousands at her        
feet4444  ,nor had she resisted only the

 temptation of money2 coronets1 it was  
whispered1 had been laid at her feet as 
well as purses4 ,when she appeared at   
the ,oxford oratorios1 grave dons and   
young gentlemen commoners were alike    
subdued4 ,in ,london1 where she sang at 
,covent ,garden in the ,lent of #aggc1  
the king himself was said to have been  
fascinated as much by her eyes and voice
 as by the music of his favorite        
,haendel4 ,from all this homage ,miss   
,linley had withdrawn to share love in a
 cottage with ,sheridan at ,east        
,burnham1 after a runaway match in      
,march1 #aggb1 and after her husband had
 fought two duels in her cause with a   
,captain ,matthews4 ,when she began to  
sit to ,sir ,joshua1 ,richard ,brinsley 
,sheridan was only known as a witty1    
vivacious1 easy-tempered1 and agreeable 
young man of three and twenty1 with     
nothing but his wits to depend on2 but1 
before the picture was finished1 he was 
famous as the author of ',the ,rivals4' 
,sir ,joshua painted ,mrs4 ,sheridan as 

,st4 ,cecilia4 ,she had a way of        
gathering little children about her1 and
 singing their childish songs1 with     
'such a playfulness of manner1 and such 
a sweetness of look and voice1' says    
one1 in describing her so engaged1 'as  
was quite enchanting4'444 ,mrs4         
,sheridan was gentleness personified1   
and sang without pressing2 but her      
husband1 proud of her as he was1 would  
never allow her to sing in public after 
their marriage1 and was even chary of   
permitting her to delight their friends 
with her sweet voice in private4 ,she   
was the lovely model for the ,virgin in 
,reynolds's ',nativity1' for which the  
young ,duke of ,rutland paid him six    
thousand dollars1 an unexampled price   
for an ,english picture at that time4   
,it was burnt at ,belvoir ,castle4 ,she 
died a few years later1 living long     
enough to witness her husband's great   
success1 and not long enough to see him 
overwhelmed with debts1 partly the      
result of drink4  ,in #aghj1 ,sir       

,joshua painted the ladies ,maria1      
,laura1 and ,horatia ,waldgrave1        
grand-nieces of ,horace ,walpole4 ,he   
never had more beautiful sitters1 says  
,leslie2 and in none of his pictures has
 he done more justice to beauty4 ,their 
bright faces are made to tell with      
wonderful force1 by the white dresses   
and powdered tetes worn by all three4   
,they are sitting round a work-table4   
,lady ,laura1 in the centre1 winds silk 
on a card from a skein held by ,lady    
,horatia2 while ,lady ,maria1 on the    
right1 bends over her tambouring frame4 
,the action admits of a natural         
arrangement of the heads1 in full-face1 
three-quarters1 and profile2 and it is  
impossible to conceive an easier1       
prettier way of grouping three graceful1
 high-bred young ladies4 ,at this time1 
all three of these young ladies were in 
sorrow4 ,the young ,duke of ,ancaster1  
to whom ,horatia was betrothed1 had just
 died suddenly1 and two prominent lords 
to whom the other sisters were engaged  

had broken their promises4 ,lady ,maria 
married1 four years later1 the ,earl of 
,euston2 ,laura1 her cousin1 ,lord      
,chewton2 and ,horatia1 ,lord ,hugh     
,seymour4  ,sir ,joshua painted two     
years later the beautiful but unhappy   
,mrs4 ,musters1 whose son ,john married 
,mary ,chaworth1 ,byron's first love4   
,the fine full-length of her as ,hebe1  
with the eagle1 still hangs at ,colwich 
,hall4 ,another full-length1 with a     
spaniel at her feet1 painted in #aggg1  
the year of her marriage1 is at         
,petworth4 ,it is interesting to compare
 the two1 and note the wear and tear of 
five years in the reign of a queen of   
fashion4 ,the eagle was a pet of ,sir   
,joshua1 kept in a yard outside the     
studio4  ,in #aghc1 when ,mrs4 ,siddons 
was the leading actress of the time1 she
 sat to ,reynolds4 ,taking her hand1 he 
led her up to his platform with the     
words1 ,ascend your undisputed throne3  
bestow on me some idea of the ,tragic   
,muse4 ,on which1 she said1 ,i walked up

 the steps1 and instantly seated myself 
in the attitude in which the ,tragic    
,muse now appears4 ,he inscribed his    
name on the border of her drapery1      
saying1 ,i could not lose the honor this
 opportunity afforded me of going down  
to posterity on the hem of your garment4
 ,sir ,thomas ,lawrence called this the 
finest portrait in the world of a woman1
 and ,mrs4 ,jameson says1 ,it was       
painted for the universe and posterity4 
,this picture was purchased1 in #ahbb1  
by the first ,marquis of ,westminster1  
for nearly nine thousand dollars4       
,reynolds also painted ,miss ,kemble1   
her sister1 a very sweet and gentle     
woman4  ,this year1 #aghd1 a friendship 
of thirty years was severed by the death
 of ,dr4 ,johnson4 ,on his death-bed1 he
 made three requests of ,sir ,joshua3   
never to use his pencil on ,sundays2 to 
read the ,bible whenever possible1 and  
always on ,sundays2 and to forgive him a
 debt of thirty pounds1 which he had    
borrowed of him1 as he wished to leave  

the money to a poor family4 ,reynolds   
was present at the funeral1 when his    
friend was laid beside ,garrick1 in the 
south transept of ,westminster ,abbey4  
,reynolds said of his friend3 ,his pride
 had no meanness in it2 there was       
nothing little or mean about him4       
,truth1 whether in great or little      
matters1 he held sacred4 ,from the      
violation of truth1 he said1 in great   
things your character or your interest  
was affected1 in lesser things your     
pleasure is equally destroyed4 ,i       
remember1 on his relating some incident1
 ,i added something to his relation1    
which ,i supposed might likewise have   
happened3 ',it would have been a better 
story1' says he1 'if it had been so2 but
 it was not4' ,our friend1 ,dr4         
,goldsmith1 was not so scrupulous2 but  
he said he only indulged himself in     
white lies1 light as feathers1 which he 
threw up in the air1 and1 on whomever   
they fell1 nobody was hurt4 ',i wish1'  
says ,dr4 ,johnson1 'you would take the 

trouble of moulting your feathers4'  ,as
 in his writings not a line can be found
 which a saint would wish to blot1 so in
 his life he would never suffer the     
least immorality or indecency of        
conversation1 or anything contrary to   
virtue or piety1 to proceed without a   
severe check1 which no elevation of rank
 exempted them from4  ,the ,christian   
religion was with him such a certain and
 established truth that he considered it
 as a kind of profanation to hold any   
argument about its truth4  ,at          
sixty-three years of age1 ,reynolds was 
as busy as ever4 ,miss ,palmer wrote to 
her cousin in ,calcutta3 ,my uncle seems
 more bewitched than ever with his      
palette and pencils4 ,he is painting    
from morning till night1 and the truth  
is that every picture he does seems     
better than the former4 ,he is just     
going to begin a picture for the        
,empress of ,russia1 who has sent to    
desire he will paint her an historical  
one4 ,the subject is left to his own    

choice1 and at present he is            
undetermined what to choose4  ,he chose 
,the ,infant ,hercules strangling the   
,serpents4 ,rogers says3 ,reynolds1 who 
was always thinking of his art1 was one 
day walking with ,dr4 ,lawrence1 near   
,beaconsfield1 when they met a fine rosy
 little peasant boy--a son of ,burke's  
bailiff4 ,reynolds patted him on the    
head1 and1 after looking earnestly in   
his face1 said3 ',i must give more color
 to my ,infant ,hercules4' ,he took such
 great pains with this work that he used
 to say of the picture3 ,there are ten  
under it1 some better1 some worse4 ,the 
,empress sent him as pay for this a gold
 box1 with her cipher in diamonds1 and  
seven thousand five hundred dollars4    
,in his ,gleaners1 painted in #aghh1 the
 centre figure1 with a sheaf of corn on 
her head1 was the portrait of a         
beautiful girl1 ,miss ,potts1 who       
afterwards became the mother of ,sir    
,edwin ,landseer4  ,in #aghi1 he lost   
the sight of his left eye1 through      

overwork1 but he still preserved the    
sweet serenity of his nature1 and was   
not depressed4 ,he amused himself with  
his canary bird1 which was so tame that 
it would sit upon his hand2 but one     
morning it flew out of the window1 and  
never returned4  ,on ,december #aj1     
#agij1 ,reynolds gave his fifteenth and 
last ,discourse to the ,academy4 ,in    
closing1 he said to the crowded         
audience3 ,i reflect1 not without       
vanity1 that these ,discourses bear     
testimony of my admiration of that truly
 divine man2 and ,i should desire that  
the last words ,i should pronounce in   
this ,academy and from this place might 
be the name of ,,michael ,,angelo4  ,as 
,reynolds descended from the chair1     
,edmund ,burke stepped forward1 and1    
taking his hand1 addressed him in the   
words of ,milton1--        ,the angel   
ended1 and in ,adam's ear      ,so      
charming left his voice1 that he awhile 
,thought him still speaking1 still stood
 fixed to hear4   ,this year1 he allowed

 ,sheridan to buy the picture of his    
wife1 ,st4 ,cecilia1 at half-price4     
,reynolds said it was the best picture  
he ever painted1 and added1 in the      
letter to ,sheridan3 ,however1 there is 
now an end of the pursuit2 the race is  
over1 whether it is won or lost4  ,the  
next year1 in ,may1 #agia1 ,sir ,joshua 
sat for his picture for the last time to
 the ,swedish artist1 ,beda1 at the     
request of the ,royal ,academy of       
,sweden4 ,he had sent his picture to    
,florence1 on being elected an honorary 
member of that famous ,academy4 ,in     
,october of this year he became almost  
totally blind4  ,burke wrote to his son 
,richard in ,january1 #agib3 ,our poor  
friend1 ,sir ,joshua1 declines daily4   
,for some time past he has kept his     
bed4444 ,at times he has pain2 but for  
the most part is tolerably easy4        
,nothing can equal the tranquillity with
 which he views his end4 ,he            
congratulates himself on it as a happy  
conclusion of a happy life4 ,he spoke of

 you in a style that was affecting4 ,i  
don't believe there are any persons he  
values more sincerely than you and your 
mother4  ,reynolds died tranquilly      
between eight and nine on ,thursday     
evening1 ,february #bc1 #agib4 ,he was  
buried in ,st4 ,paul's1 on ,saturday1   
,march #c1 ninety-one carriages         
following the body to the grave4 ,there 
were ten pall-bearers1 the ,duke of     
,dorset1 ,duke of ,leeds1 ,duke of      
,portland1 ,marquis ,townshend1 ,marquis
 of ,abercorn1 ,earl of ,carlisle1 ,earl
 of ,inchiquin1 ,earl of ,upper ,ossory1
 ,lord ,viscount ,palmerston1 and ,lord 
,eliot4  ,by will he left to his niece  
,offy1 who had married1 in #agha1 a     
wealthy ,cornish gentleman1 ,mr4        
,gwatkin1 fifty thousand dollars2 to his
 sister ,frances the use1 for life1 of  
twelve thousand five hundred dollars2 to
 ,burke1 ten thousand dollars1 and      
cancelled a bond for the same amount of 
money borrowed2 a thousand dollars to   
each of his executors2 five thousand    

dollars to a servant who had lived with 
him more than thirty years2 all the     
remainder of his property1 about five   
hundred thousand dollars1 to his niece1 
,miss ,palmer4 ,such an amount of money 
earned by an artist1 making his own way 
in life from poverty1 was indeed        
wonderful4 ,the number of his pictures  
is estimated at three thousand4  ,burke 
wrote of him1 the pages blurred with his
 tears3 ,sir ,joshua ,reynolds was1 on  
very many accounts1 one of the most     
memorable men of his time4 ,he was the  
first ,englishman who added the praise  
of the elegant arts to the other glories
 of his country4 ,in taste1 in grace1 in
 facility1 in happy invention1 and in   
the richness and harmony of coloring1 he
 was equal to the great masters of the  
renowned ages4 ,in portrait he went     
beyond them2 for he communicated to that
 description of the art1 in which       
,english artists are the most engaged1 a
 variety1 a fancy1 and a dignity derived
 from the higher branches1 which even   

those who professed them in a superior  
manner did not always preserve when they
 delineated individual nature4 ,his     
portraits remind the spectator of the   
invention of history and the amenity of 
landscape4 ,he possessed the theory as  
perfectly as the practice of his art4   
,to be such a painter1 he was a profound
 and penetrating philosopher4  ,in full 
affluence of foreign and domestic fame1 
admired by the expert in art and by the 
learned in science1 courted by the      
great1 caressed by sovereign powers1 and
 celebrated by distinguished poets1 his 
native humility1 modesty1 and candor    
never forsook him1 even on surprise or  
provocation2 nor was the least degree of
 arrogance or assumption visible to the 
most scrutinizing eye in any part of his
 conduct or discourse4  ,his talents of 
every kind1 powerful from nature1 and   
not meanly cultivated by letters1 his   
social virtues in all the relations and 
all the habitudes of life1 rendered him 
the centre of a very great and          

unparalleled variety of agreeable       
societies1 which will be dissipated by  
his death4 ,he had too much merit not to
 excite some jealousy1 too much         
innocence to provoke any enmity4 ,the   
loss of no man of his time can be felt  
with more sincere1 general1 and unmixed 
sorrow4  ,mrs4 ,jameson says3 ,the      
pictures of ,reynolds are1 to the eye1  
what delicious melodies are to the      
ear1--,italian music set to ,english    
words2 for the color1 with its          
luxurious1 melting harmony1 is          
,venetian1 and the faces and the        
associations are ,english4444 ,more and 
more we learn to sympathize with that   
which is his highest characteristic1 and
 which alone has enabled him to compete 
with the old masters of ,italy2 the     
amount of mind1 of sensibility1 he threw
 into every production of his pencil1   
the genial1 living soul he infused into 
forms1 giving to them a deathless       
vitality4  ,one secret of ,reynolds's   
popularity1 outside his genius1 was the 

fact that he never spoke ill of the work
 of other painters4 ,northcote says he  
once asked ,sir ,joshua what he thought 
of two pictures by ,madame ,le ,brun1   
who at that time was the most popular   
artist in ,france in portraiture4       
',they are very fine1' he answered4     
',how fine8' ,i said4  ',as fine as     
those of any painter4'  ',do you mean   
living or dead8'  ',either living or    
dead1' he answered briskly4  ',as fine  
as ,van ,dyke8'  ,he answered tartly1   
',yes1 and finer4'  ,i said no more1    
perceiving he was displeased at my      
questioning him4  ,leslie says of him3  
,he felt deeply and almost impatiently  
the gulf between the technical merits of
 his pictures and those of the great    
,venetians or ,rembrandt1 whom at       
different epochs he worshipped with     
equal reverence4 ,i have no doubt his   
inferiority to these men in power1 in   
mastery of materials1 and in certainty  
of method was just as apparent to ,sir  
,joshua as it is to any unbiassed judge 

who now compares his pictures with those
 of ,titian1 ,rembrandt1 or             
,velasquez4444  ,estimating ,reynolds at
 his best1 he stands high among the     
great portrait painters of the world1   
and has achieved as distinct a place for
 himself in their ranks as ,titian or   
,tintoret1 ,velasquez or ,rembrandt4    
,,sir ,,edwin ,,landseer4   ,sir ,edwin 
,landseer1 born in #ahjb1 in ,london1 on
 or about ,march #g1 was the fifth child
 in a family of seven children4 ,the    
father1 ,john ,landseer1 a most skilful 
engraver1 was the author of some books  
on the art of engraving and archaeology4
 ,he once gave a course of lectures     
before the ,royal ,institution4 ,the    
mother1 whose maiden name was ,miss     
,potts1 was a gifted and beautiful      
woman1 whose portrait was painted by    
,sir ,joshua ,reynolds4  ,illustration3 
,,sir ,,edwin ,,landseer4  ,the boy     
,edwin began to draw very early in life4
 ,miss ,meteyard quotes these words from
 ,john ,landseer3 ,these two fields were

 ,edwin's first studio4 ,many a time    
have ,i lifted him over this very stile4
 ,i then lived in ,foley ,street1 and   
nearly all the way between ,marylebone  
and ,hampstead was open fields4 ,it was 
a favorite walk with my boys2 and one   
day when ,i had accompanied them1 ,edwin
 stopped by this stile to admire some   
sheep and cows which were quietly       
grazing4 ,at his request ,i lifted him  
over1 and1 finding a scrap of paper and 
a pencil in my pocket1 ,i made him      
sketch a cow4 ,he was very young indeed 
then--not more than six or seven years  
old4  ,after this we came on several    
occasions1 and as he grew older this was
 one of his favorite spots for          
sketching4 ,he would start off alone1 or
 with ,john 7,thomas87 or ,charles1 and 
remain till ,i fetched him in the       
afternoon4 ,i would then criticise his  
work1 and make him correct defects      
before we left the spot4 ,sometimes he  
would sketch in one field1 sometimes in 
the other1 but generally in the one     

beyond the old oak we see there1 as it  
was more pleasant and sunny4  ,while    
still very young1 the lad learned the   
process of etching from his father and  
elder brother ,thomas1 the latter one of
 the most eminent of engravers4 ,at     
seven1 he drew and etched the heads of a
 lion and a tiger1 in which1 says       
,frederick ,g4 ,stephens1 the differing 
characters of the beasts are given with 
marvellous craft1 that would honor a    
much older artist than the producer4    
,the drawing of the tiger's             
whiskers--always difficult things to    
manage--is admirable in its rendering of
 foreshortened curves4  ,at thirteen he 
drew a magnificent ,st4 ,bernard dog4   
,edwin saw him in the streets of        
,london1 in charge of a man servant4 ,he
 followed the dog to the residence of   
his owner1 and obtained permission to   
make a sketch of him4 ,the animal was   
six feet four inches long1 and1 at the  
middle of his back1 stood two feet seven
 inches in height4 ,these creatures are 

capable of carrying one hundredweight of
 provisions from a neighboring town to  
the monks at the ,monastery of ,st4     
,bernard1 eighteen miles4  ,stephens    
says3 ,it is really one of the finest   
drawings of a dog that have ever been   
produced4 ,we do not think that even the
 artist at any time surpassed its noble 
workmanship4 ,the head1 though expansive
 and domical in its shape1 is small in  
proportion to that of a ,newfoundland   
dog2 the brow is broad and round2 the   
eyes1 according to the standard commonly
 assumed for large dogs1 are far from   
being large1 and are very steadfast in  
their look1 without fierceness2 the ears
 are pendulous1 placed near to the head1
 and fleshy in substance4 ,a live dog1  
admitted into the room with this        
picture1 became greatly excited4  ,when 
,edwin was thirteen1 in #ahae1 he       
exhibited some pictures at the ,royal   
,academy2 a mule1 and a dog with a      
puppy4 ,the following year he became a  
student at the ,royal ,academy4 ,he was 

a bright1 manly boy1 with light1 curly  
hair1 gentle and graceful in manner1 and
 diligent in his work4 ,fuseli1 the     
keeper of the ,academy1 was much pleased
 with him1 and1 looking around the room 
upon the students1 would say1 ,where is 
my little dog boy8 ,this was in allusion
 to the picture of ,edwin's favorite    
dog1 ,brutus1 lying at full length of   
his chain1 near a red earthenware dish4 
,the picture1 though very small1 was    
sold in #ahfa for seventy guineas4  ,in 
#ahah1 ,fighting ,dogs ,getting ,wind   
was exhibited at ,spring ,gardens1 and  
caused a great sensation4 ,the ,examiner
 said1 in a review of the works of the  
,society of ,painters in ,oil and       
,water-,colors1 ,landseer's may be      
called the great style of animal        
painting1 as far as it relates to the   
execution and color1 and the natural1 as
 far as it concerns their portraiture4  
,did we see only the dog's collar1 we   
should know that it was produced by no  
common hand1 so good is it1 and palpably

 true4 ,but the gasping and cavernous   
and redly stained mouths1 the flaming   
eyes1 the prostrate dog1 and his        
antagonist standing exultingly over him2
 the inveterate rage that superior      
strength inflames but cannot subdue1    
with the broad and bright relief of the 
objects1 give a wonder-producing        
vitality to the canvas4  ,landseer also 
exhibited this year the ,white ,horse in
 a ,stable4 ,it disappeared from the    
studio1 and twenty-four years later1 in 
#ahdb1 it was discovered in a hayloft1  
where it had been hidden by a dishonest 
servant4 ,it was sent to ,honorable ,h4 
,pierrepont1 for whom it was painted1   
with a letter from ,landseer1 saying    
that he had not retouched the picture1  
thinking it better when my early style  
was unmingled with that of my old age4  
,in #ahai1 ,the ,cat ,disturbed was     
exhibited1 afterwards engraved with the 
title of ,the ,intruder4 ,it represents 
a cat chased to the upper part of a     
stable by a dog1 into whose place she   

had ventured4 ,dr4 ,waagen said1 ,this  
picture exhibits a power of coloring and
 a solidity of execution recalling such 
masters as ,snyders and ,fyt4  ,about   
this time a lion in the ,exeter ,change 
,menagerie died1 and the young artist   
succeeded in getting the body and       
dissecting it1 acting upon ,haydon's    
advice1 of years before1 to dissect     
animals1 the only mode of acquiring a   
knowledge of their construction4  ,the  
result was the painting of two large    
pictures1 six feet by eight1 and six    
feet by seven feet six inches           
respectively3 ,a ,lion ,disturbed at his
 ,repast1 and ,a ,lion ,enjoying his    
,repast1 followed by a third1 ,a        
,prowling ,lion4  ,in #ahba1 the chief  
pictures exhibited were ,the            
,rat-,catchers1 where four dogs are     
catching rats in an old barn2 and       
,pointers1 ,to-ho1 a hunting-scene1     
which sold in #ahgb for over ten        
thousand dollars4 ,the following year1  
,landseer received from the directors of

 the ,british ,institution seven hundred
 and fifty dollars as a prize for ,the  
,larder ,invaded4 ,eighteen other       
pictures came from ,landseer's studio   
this year4  ,the most famous of ,sir    
,edwin's early works was ,the           
,cat's-,paw1 sold for five hundred      
dollars1 and now owned by the ,earl of  
,essex4 ,its present value is over      
fifteen thousand dollars4  ,the scene1  
says ,stephens1 is a laundry or         
ironing-room1 probably in some great    
house1 to which a monkey of most crafty 
and resolute disposition has access4    
,the place is too neat and well         
maintained to be part of a poor man's   
house4 ,the ironing-woman has left her  
work1 the stove is in full combustion1  
and the hand of some one who appreciated
 the good things of life has deposited  
on its level top1 together with a       
flatiron1 half a dozen ripe1 sound      
chestnuts4 ,to the aromatic1 appetizing 
odor of the fruit was probably due the  
entrance of the monkey1 a muscular1     

healthy beast1 who came dragging his    
chain and making his bell rattle4 ,he   
smelt the fruit and coveted them2 tried 
to steal them off the cooking-place with
 his own long1 lean digits1 and burnt   
his fingers4  ,he looked about for a    
more effective means1 and1 heedless of  
the motherhood of a fine cat1 who with  
her kittens was ensconced in a          
clothes-basket1 where she blandly       
enjoyed the coverings and the heat1     
pounced upon puss1 entangled as she was 
in the wrappings of her ease4 ,puss     
resisted at first with offended dignity 
and wrath at being thus treated before  
the faces of her offspring4 ,she        
resisted as a cat only can1 with lithe  
and strenuous limbs2 the muscular1      
light1 and vigorous frame of the        
creature quivered with the stress of her
 energy2 she twisted1 doubled her body1 
buckled herself1 so to say1 in          
convulsions of passion and fear1 but    
still1 surely1 without a notion of the  
object of her captor4  ,yet he had by   

far the best of the struggle1 for her   
tiger-like claws were enveloped in the  
covering which erst served her so       
comfortably2 and1 kicking1 struggling1  
squalling1 and squealing as strength    
departed from her1 she flounced about   
the room1 upset the coal-scuttle on the 
floor1 and hurled her mistress's        
favorite flower-pot in hideous confusion
 on the 'ironing-blanket4' ,it was to no
 purpose1 for the quadruped1 with       
muffled claws1 was no match for her     
four-handed foe4 ,he dragged her towards
 the stove1 and dreadful notions of a   
fate in its fiery bowels must have      
arisen in her heart as nearer and still 
more near the master of the situation   
brought his victim4  ,stern1 resolute1  
with no more mercy than the cat had when
 some unhappy mouse felt her            
claws--claws now to be deftly yet       
painfully employed1 ,pug grasped her in 
three of his powerful hands1 and1 as    
reckless of struggles as of yells1      
squeals1 and squalls1 with the fourth   

stretched out her soft1 sensitive1      
velvety forepaw--the very mouse-slayer  
itself--to the burning stove and its    
spoils4 ,what cared he for the bared    
backs or the spiteful mewlings of her   
miserable offspring1 little cats as they
 were8 ,he made their mother a true     
'cat's-paw4'  ,soon after the exhibition
 of this picture1 ,sir ,walter ,scott   
came to ,london and took the young      
painter to ,abbotsford4 ,the novelist   
greatly admired ,landseer's work1       
saying1 ,his dogs are the most          
magnificent things ,i ever saw1 leaping 
and bounding and grinning all over the  
canvas4 ,after this1 ,landseer visited  
,scotland nearly every year1 charmed by 
its scenery and enjoying the hospitality
 of the nobles4  ,in his thirty-second  
year1 it seemed necessary that the      
painter should have a home removed from 
the soot and noisy traffic of ,london4  
,a small house and garden1 with a barn  
suitable for a studio1 were purchased at
 ,no4 #a ,st4 ,john's ,wood1 a suburban 

region1 which derives its name from     
having been owned by the priors of the  
,hospital of the ,knights of ,st4 ,john 
of ,jerusalem4 ,a premium of a hundred  
pounds being demanded for the house1    
,landseer was about to break off        
negotiations1 when a friend said3 ,if   
that is the only obstacle1 ,i will      
remove it4 ,go to the lawyers1 and tell 
them to make out the lease1 and that as 
soon as it is ready for signatures1 you 
will pay the sum required2 and ,i will  
lend you the money1 which you can repay 
when it suits you1 without interest4    
,the painter returned the money loaned1 
in instalments of twenty pounds each4   
,here he lived for nearly fifty years1  
his sister1 ,mrs4 ,mackenzie1 being his 
housekeeper4 ,here he received more     
famous people than any other ,english   
painter save ,joshua ,reynolds4 ,here1  
as he grew wealthy1 he brought his dogs 
and other pets2 here the father1 ,john  
,landseer1 to whom the son was ever     
devotedly attached1 died4  ,a writer in 

,cornhill says3 ,there were few studios 
formerly more charming to visit than    
,landseer's4 ,besides the genial artist 
and his beautiful pictures1 the habitues
 of his workshop 7as he called it7      
belonged to the elite of ,london        
society1 especially the men of wit and  
distinguished talents--none more often  
there than ,d',orsay1 with his          
good-humored face1 his ready wit and    
delicate flattery4 ',landseer1' he would
 call out at his entrance1 'keep de dogs
 off me' 7the painted ones74 ',i want to
 come in1 and some of dem will bite     
me--and dat fellow in de corner is      
growling furiously4'  ,in #ahbf1 when   
,landseer was twenty-four years old1    
,chevy ,chase was painted1 now at       
,woburn ,abbey1 the property of the     
,duke of ,bedford4 ,it is an            
illustration of the old ballad3--       
,to drive the deer with hound and horne 
,erle ,percy took his way1      ,the    
chiefest harts in ,chevy ,chase         
,to kill and bear away4   ,this year1 he

 was made an associate of the ,royal    
,academy1 an honor seldom given to so   
young a man4 ,he was made a full member 
at thirty4 ,his first important picture 
exhibited after this1 in #ahbg1 was ,the
 ,chief's ,return from ,deer-stalking4  
,it is1 says ,stephens1 one of the best 
of his compositions1 the subject giving 
scope to all his powers in dealing with 
dogs1 deer1 and horses4 ,across the     
backs of a white and a black pony two   
magnificent antlered deer are bound4 ,a 
young chief and his old companion1 a    
mountaineer1--with traces of the wear   
and tear of a hard life on his cheeks   
and in his gaunt eyes1--step by the head
 of one of the horses4 ,they go slowly  
and heedfully down the hill4 ,two dogs  
pace with them2 one of these turns to a 
deer's skull which lies in the herbage4 
,the ,monkey who had seen the ,world    
appeared at the same time as ,the       
,chief's ,return1 and was engraved by   
,gibbon as ,the ,travelled ,monkey4 ,the
 monkey1 who has returned from his      

travels and meets his friends1 is       
dressed in a cocked hat and laced coat1 
with a wide cravat1 breeches1 buckled   
shoes1 and a pendent eyeglass4 ,the     
latter1 especially1 astonishes his      
friends4 ,thomas ,baring gave fifteen   
hundred guineas for this painting1 and  
bequeathed it to ,lord ,northbrook4     
,another picture of this time1 engraved 
by ,john ,pye1 was thus described in the
 ,catalogue3 ,william ,smith1 being     
possessed of combativeness1 and animated
 by a love of glory1 enlisted in the    
#ajast ,regiment of ,foot4 ,at the      
,battle of ,waterloo1 on the #ahth of   
,july following1 a cannon-ball carried  
off one of his legs2 thus commenced and 
terminated ,william's military career4  
,as he lay wounded on the field of      
battle1 the dog here represented1 blind 
with one eye1 and having also a leg     
shattered apparently by a musket-ball1  
came and sat beside him1 as 'twere for  
sympathy4  ,the dog became ,william's   
prisoner1 and1 when a grateful country  

rewarded ,william's services by a       
pension and a wooden leg1 he stumped    
about accompanied by the dog1 his friend
 and companion4 ,on the #aeth of        
,december1 #ahcd1 ,william died4 ,his   
name never having been recorded in an   
extraordinary ,gazette1 this public     
monument1 representing the dog at a     
moment when he was ill1 and reclining   
against the mattress on which his master
 died1 is erected to his memory by      
,edwin ,landseer and ,john ,pye4  ,in   
this year1 #ahbg1 there was also        
exhibited the well-known ,scene at      
,abbotsford1 with the celebrated ,maida1
 ,sir ,walter ,scott's favorite dog1 in 
the foreground4 ,six weeks after the    
picture was painted1 the dog died4 ,high
 ,life and ,low ,life1 exhibited in     
#ahca1 noteworthy on account of their   
size1 being eighteen inches by thirteen 
and a half1 were bequeathed by ,robert  
,vernon to the nation1 and are now in   
the ,national ,gallery4 ,high ,life     
represents a gentle and slender         

stag-hound in a handsome home2 ,low     
,life1 a brawny bulldog1 in a rude stone
 doorway4  ,hamerton says3 ,everything  
that can be said about ,landseer's      
knowledge of animals1 and especially of 
dogs1 has already been said4 ,there was 
never very much to say1 for there was no
 variety of opinion and nothing to      
discuss4 ,critics may write volumes of  
controversy about ,turner and           
,delacroix1 but ,landseer's merits were 
so obvious to every one that he stood in
 no need of critical explanations4 ,the 
best commentators on ,landseer1 the best
 defenders of his genius1 are the dogs  
themselves2 and so long as there exist  
terriers1 deer-hounds1 bloodhounds1 his 
fame will need little assistance from   
writers upon art4  ,in #ahcb1 ,spaniels 
of ,king ,charles's ,breed was          
exhibited2 now in the ,national         
,gallery1 as a gift from ,mr4 ,vernon4  
,both these spaniels1 pets of ,mr4      
,vernon1 came to a violent end4 ,the    
white ,blenheim spaniel fell from a     

table and was killed2 the true ,king    
,charles fell through the railings of a 
staircase1 and was picked up dead at the
 bottom4 ,the picture was painted in two
 days1 illustrating ,landseer's         
wonderful rapidity of execution4 ,yet   
this power1 as ,stephens well says1     
followed more than twenty years' hard   
study4  ,stephens records an amazing    
instance of ,landseer's power4 ,a large 
party was assembled one evening at the  
house of a gentleman in the upper ranks 
of ,london society2 crowds of ladies and
 gentlemen of distinction were present1 
including ,landseer1 who was1 as usual1 
a lion2 a large group gathered about the
 sofa where he was lounging4 ,the       
subject turned on dexterity and facility
 in feats of skill with the hand4 ,no   
doubt1 the talk was ingeniously led in  
this direction by some who knew that    
,sir ,edwin could do wonders of         
dexterous draughtsmanship1 and were not 
unwilling to see him draw1 but they did 
not expect what followed4  ,a lady1     

lolling back on a settee1 and rather    
tired of the subject1 as ladies are apt 
to become when conversation does not    
appeal to their feelings or their       
interests1 exclaimed1 after many        
instances of manual dexterity had been  
cited3 ',well1 there's one thing nobody 
has ever done1 and that is to draw two  
things at once4' ,she had signalized    
herself by quashing a subject of        
conversation1 and was about to return to
 her most becoming attitude1 when       
,landseer said3 ',oh1 ,i can do that2   
lend me two pencils1 and ,i will show   
you4'  ,the pencils were got1 a piece of
 paper was laid on the table1 and ,sir  
,edwin1 a pencil in each hand1 drew     
simultaneously1 and without hesitation1 
with the one hand the profile of a      
stag's head1 and all its antlers        
complete1 and with the other hand the   
perfect profile of a horse's head4 ,both
 drawings were full of energy and       
spirit1 and1 although1 as the occasion  
compelled1 not finished1 they were1     

together and individually1 quite as good
 as the master was accustomed to produce
 with his right hand alone2 the drawing 
by the left hand was not inferior to    
that by the right4  ,in #ahcd1          
,suspense1 a bloodhound watching at a   
closed door for his wounded master1 ,a  
,highland ,shepherd ,dog rescuing ,sheep
 from a ,snowdrift1 and ,a ,scene of the
 ,old ,time at ,bolton ,abbey were      
exhibited4 ,for the last1 ,landseer was 
paid two thousand dollars4 ,it is now   
owned by the ,duke of ,devonshire1 and  
is valued at more than fifteen thousand 
dollars4 ,queen ,victoria and ,prince   
,albert made etchings from this and from
 several others of ,landseer's works4   
,in #ahce1 ,a ,sleeping ,bloodhound     
7,countess7 was exhibited4 ,it was      
bequeathed by ,mr4 ,jacob ,bell to the  
,national ,gallery4 ,the hound was1 one 
dark night 7at ,wandsworth71 anxiously  
watching her master's return from       
,london4 ,she heard the wheels of his   
gig and his voice1 but1 in leaping from 

the balcony where she watched1 she      
missed her footing1 and fell all but    
dead at her master's feet4 ,mr4 ,bell   
7the owner of the dog7 placed the hound 
in his gig and returned to ,london1     
called ,sir ,edwin ,landseer from his   
bed1 and had a sketch made then and     
there of the dying animal4  ,in #ahcg   
came ,the ,highland ,shepherd's ,chief  
,mourner1 representing the interior of a
 plain ,highland home1 the coffin of the
 shepherd in the centre1 covered by his 
maud for a pall1 his only mourner the   
dog who rests his head upon the coffin4 
,a well-worn ,bible is on a stool in    
front1 with a pair of spectacles4       
,ruskin calls this picture one of the   
most perfect poems or pictures 7,i use  
the words as synonymous7 which modern   
times have seen4 ,here the exquisite    
execution of the crisp and glossy hair  
of the dog1 the bright1 sharp touching  
of the green bough beside it1 the clear 
painting of the wood of the coffin and  
the folds of the blanket1 are           

language1--language clear and expressive
 in the highest degree4 ,but the close  
pressure of the dog's breast against the
 wood2 the convulsive clinging of the   
paws1 which has dragged the blanket off 
the trestle2 the total powerlessness of 
the head1 laid close and motionless upon
 its folds2 the fixed and tearful fall  
of the eye in its utter hopelessness2   
the rigidity of repose1 which marks that
 there has been no motion nor change in 
the trance of agony since the last blow 
was struck upon the coffin-lid2 the     
spectacles marking the place where the  
,bible was last closed1 indicating how  
lonely has been the life1 how unwatched 
the departure1 of him who is now laid   
solitary in his sleep1--these are all   
thoughts2 thoughts by which the picture 
is separated at once from hundreds of   
equal merit as far as the mere painting 
goes1--by which it ranks as a work of   
high merit1 and stamps its author1 not  
as the neat imitator of the texture of a
 skin or the fold of a drapery1 but as a

 ,man of ,mind4  ,the ,portrait of the  
,marquis of ,stafford and the ,lady     
,evelyn ,gower1 in #ahch1 is considered 
,landseer's best portrait-picture4 ,a   
,distinguished ,member of the ,humane   
,society1 exhibited in #ahch1 is the    
picture of a large ,newfoundland dog    
named ,paul ,pry4 ,he lies in the broad 
sunlight1 and the shadow of his enormous
 head is cast sideways on his flank as  
white as snow4 ,he looks seaward with a 
watchful eye1 and his quickness of      
attention is hinted at by the gentle    
lifting of his ears4 ,the painting of   
the hide1 here rigid and there soft2    
here shining with reflected light1 there
 like down2 the masses of the hair1 as  
the dog's habitual motions caused them  
to grow2 the foreshortening of his paws 
as they hang over the edge of the quay1 
and the fine sense of chiaro-oscuro     
displayed in the whole1 induce us to    
rank it1 says ,stephens1 with the       
painter's masterpieces4  ,landseer was  
now thirty-six years old1 famous and    

honored1 a welcome guest at the palaces 
of royalty4 ,in #ahce he had painted    
,dash1 the favorite spaniel of the      
,duchess of ,kent1 the pet of whom      
,leslie speaks in his autobiography3    
,the ,queen ,victoria1 ,i am told1 had  
studied her part very diligently1 and   
she went through it extremely well4 ,i  
don't know why1 but the first sight of  
her in her robes brought tears into my  
eyes1 and it had this effect upon many  
people2 she looked almost like a child4 
,she is very fond of dogs1 and has one  
very favorite little spaniel1 who is    
always on the lookout for her return    
when she has been from home4 ,she had of
 course been separated from him on that 
day longer than usual1 and when the     
state coach drove up to the steps of the
 palace1 she heard him barking with joy 
in the hall1 and exclaimed1 ',there's   
,dash6' and was in a hurry to lay aside 
the sceptre and ball she carried in her 
hands1 and take off the crown and robes1
 to go and wash little ,dash4  ,in #ahci

 ,landseer painted a picture of the     
,queen1 which she gave to ,prince       
,albert2 the next year1 the ,queen and  
the ,duke of ,wellington reviewing a    
body of troops2 in #ahdb1 ,the ,queen   
and ,children2 the ,princess ,royal with
 her pony and dog2 the ,queen and the   
,princess ,royal2 ,windsor ,castle in   
the ,present ,time2 ,islay1 the ,queen's
 pet terrier2 ,sharp1 her favorite2     
,princess ,alice in a cradle1 with the  
dog ,dandie ,dinmont2 ,alice with the   
greyhound ,eos1 belonging to ,prince    
,albert1 and later ,her ,majesty the    
,queen in the ,highlands1 ,prince       
,albert at ,balmoral1 which was engraved
 for the ,queen's book1 ,leaves from a  
,diary in the ,highlands2 ,princess     
,beatrice on horseback1 the ,queen at   
,osborne1 and the ,queen on a white     
horse4  ,landseer was always a favorite 
with the royal family4 ,in the last     
painful years of his life1 when he      
suffered from overtaxed nerves1 they    
were his devoted friends4 ,he writes to 

his sister from ,balmoral1 ,june1 #ahfg3
 ,the ,queen kindly commands me to get  
well here4 ,she has to-day been twice to
 my room to show additions recently     
added to her already rich collection of 
photographs4 ,why1 ,i know not1 but     
since ,i have been in the ,highlands ,i 
have for the first time felt wretchedly 
weak1 without appetite4 ,the easterly   
winds1 and now again the unceasing cold 
rain1 may possibly account for my       
condition1 but ,i can't get out4        
,drawing tires me2 however1 ,i have done
 a little better to-day4 ,the doctor    
residing in the castle has taken me in  
hand1 and gives me leave to dine to-day 
with the ,queen and the rest of the     
royal family4444 ,flogging would be mild
 compared to my sufferings4 ,no sleep1  
fearful cramp at night1 accompanied by a
 feeling of faintness and distressful   
feebleness4  ,when ,landseer was in good
 health1 he was the most genial of      
companions4 ,he was the intimate friend 
of ,dickens1 ,thackeray1 ,browning1 and 

other noted men4 ,leslie tells the      
following incident at a dinner party at 
the house of ,sir ,francis ,chantrey1   
the sculptor4 ,edwin ,landseer1 the best
 of mimics1 gave a capital specimen of  
,chantrey's manner1 and at ,chantrey's  
own table4 ,dining at his house with a  
large party1 after the cloth was removed
 from the beautifully polished          
table1--,chantrey's furniture was all   
beautiful1--,landseer's attention was   
called by him to the reflections1 in the
 table1 of the company1 furniture1      
lamps1 etc4 ',come and sit in my place  
and study perspective1' said our host1  
and went himself to the fire4 ,as soon  
as ,landseer was seated in ,chantrey's  
chair1 he turned round1 and1 imitating  
his voice and manner1 said to him3      
',come1 young man1 you think yourself   
ornamental2 now make yourself useful1   
and ring the bell4' ,chantrey did as he 
was desired2 the butler appeared1 and   
was perfectly bewildered at hearing his 
master's voice1 from the head of the    

table1 order some claret1 while he saw  
him standing before the fire4  ,some one
 urged ,sydney ,smith to sit to         
,landseer for his portrait4 ,he is said 
to have replied in the words of the     
,syrian messenger to the prophet        
,elisha3 ,is thy servant a dog1 that he 
should do this great thing8  ,at another
 time ,landseer was talking to ,sydney  
,smith about the drama1 and said3 ,with 
your love of humor1 it must be an act of
 great self-denial to abstain from going
 to the theatres4 ,the witty clergyman  
replied1 ,the managers are very polite2 
they send me free admissions which ,i   
can't use1 and1 in return1 ,i send them 
free admissions to ,st4 ,paul's4        
,bewick1 the artist1 said3 ,sir ,edwin  
has a fine hand1 a correct eye1 refined 
perceptions1 and can do almost anything 
but dance on the slack wire4 ,he is a   
fine billiard-player1 plays at chess1   
sings when with his intimate friends1   
and has considerable humor4  ,landseer  
is sensitive1 delicate1 with a fine hand

 for manipulation1--up to all the       
finesse of the art2 has brushes of all  
peculiarities for all difficulties2     
turns his picture into all manner of    
situation and light2 looks at it from   
between his legs1--and all with the     
strictly critical view of discovering   
hidden defects1 falsities of drawing1 or
 imperfections4 ,see to what perfection 
he carries his perception of surface1   
hair1 silk1 wool1 rock1 grass1 foliage1 
distance1 fog1 mist1 smoke6 how he      
paints the glazed or watery eye6  ,a    
writer in the ,london ,daily ,news says3
 ,sir ,edwin's method of composition was
 remarkably like ,scott's1 except in the
 point of the early rising of the       
latter4 ,landseer went late to bed1 and 
rose very late1 coming down to breakfast
 at noon2 but he had been composing     
perhaps for hours4 ,scott declared that 
the most fertile moments for resources1 
in invention especially1 were those     
between sleeping and waking1 or rather  
before opening the eyes from sleep1     

while the brain was wide awake4 ,this1  
much prolonged1 was ,landseer's time for
 composing his pictures4 ,his conception
 once complete1 nothing could exceed the
 rapidity of his execution4  ,in #ahdj1 
at the country house of ,mr4 ,william   
,wells1 ,landseer had his first violent 
illness associated with severe          
depression1 to which attacks he was     
subject all the rest of his life4 ,he   
went abroad for a time1 travelling in   
,france1 ,switzerland1 and ,austria1 but
 he was constantly longing for his      
studio1 where1 he said1 his works were  
starving for him4  ,coming events cast  
their shadows before them1 sometimes    
called ,the ,challenge1 a vigorous stag 
bellowing his defiance to hunters or    
other animals of his kind2 ,shoeing1    
which has been engraved many times1 the 
mare1 ,old ,betty1 belonging to his     
friend ,mr4 ,jacob ,bell2 and ,the      
,otter ,speared1 a huntsman surrounded  
by yelping dogs1 while he uplifts a poor
 otter on his spear1 were all exhibited 

in #ahdd1 and won great praise4  ,from  
,sir ,edwin's sporting-scenes many      
persons gained the impression that he   
was a keen sportsman1 which was not the 
case4 ,ewen ,cameron1 an old forest     
keeper of ,glencoe1 who for more than   
twenty-four years accompanied ,landseer 
with the sketch-book and gun1 tells how 
the highland gillies were annoyed when a
 magnificent stag came bounding toward  
them1 and ,sir ,edwin hastily thrust his
 gun into their hands1 saying1 ,here6   
take6 take this6 while he pulled out his
 book and began to sketch4 ,they        
murmured greatly in ,gaelic1 but1 says  
,cameron1 ,sir ,edwin must have had some
 ,gaelic in him1 for he was that angry  
for the rest of the day1 it made them   
very careful of speaking ,gaelic in his 
hearing after4  ,the companion pictures 
,peace and ,war1 painted in #ahdf--the  
former a beautiful scene on a cliff     
overlooking ,dover harbor1 the latter a 
ruined cottage with a dying horse and   
dead rider near the door--were sold to  

,mr4 ,vernon for seventy-five hundred   
dollars4 ,the publishers of the         
engravings from these pictures paid     
,landseer fifteen thousand dollars for  
them4 ,the ,stag at ,bay1 belonging to  
the ,marquis of ,breadalbane1 one of    
,landseer's strongest pictures1 appeared
 the same year4  ,in #ahdh1 ,a ,random  
,shot1 one of the artist's most pathetic
 pictures1 was painted4 ,stephens thus  
describes it3 ,it is a snow piece1 the  
scene high on the mountain1 whose most  
distant ridges rise above the mist4 ,the
 snow lies smooth2 and for miles1 so far
 as the eye can penetrate the vapor1    
there is nothing but snow1 which covers1
 but does not hide1 the shapes of the   
hilltops4 ,a few footprints show that a 
doe has come hither1 attracted1         
doubtless1 by her knowledge of a pool of
 unfrozen water which would assuage her 
thirst4 ,some careless shooter1 firing  
into a herd of deer1 had hit the doe1   
whose fawn was with her1 and1 mortally  
wounded1 she came to die2 the poor fawn 

had followed4 ,there the victim fell2   
there the innocent one strove1 long     
after the mothers form was cold1 to     
obtain milk where an unfailing source   
had been4 ,the mother has fallen on her 
side2 the long limbs1 that once went so 
swiftly1 are useless1 and the last      
breath of her nostrils has melted the   
snow1 so that1 stained with her blood1  
the water trickled downwards until it   
froze again4  ,monkhouse says1 in his   
,landseer ,studies3 ,he painted dogs and
 deer as no man ever painted them       
before2 he inspired one with a humor and
 both with a poetry beyond all parallel 
in art2 he added to this a feeling for  
the grandeur and sublimity of nature1   
which gave to his pictures a charm and a
 sentiment which all can feel2 he never 
painted anything false or ignoble1      
vulgar or unmanly2 he won as an artist  
purely the affection and admiration of a
 whole people as scarcely any man1 not a
 poet1 or a soldier1 or a statesman1 or 
a philosopher1 has ever won them        

before4444  ,landseer may be said to    
have mastered other animals1 but the    
deer mastered him4 ,he raised dogs      
almost to the scale of humanity1 but    
deer raised him to a level of higher    
being4 ,his love for the deer may not   
have been so deep1 but it was more      
elevating1 less self-regarding1 and it  
ended at last in stimulating his        
imagination to produce pictures deeper  
in thought and more awful in sentiment  
than any attempted by an animal painter 
before4  ,a writer in ,cornhill says3   
,landseer's perceptions of character    
were remarkably acute4 ,not only did he 
know what was passing in the hearts of  
dogs1 but he could read pretty closely  
into those of men and women also4 ,the  
love of truth was an instinct with him2 
his common phrase about those he        
estimated highly was that 'they had the 
true ring4' ,this was most applicable to
 himself2 there was no alloy in his     
metal2 he was true to himself and to    
others4 ,this was proved in many        

passages of his life1 when nearly       
submerged by those disappointments and  
troubles which are more especially felt 
by sensitive organizations such as that 
which it was his fortune--or            
misfortune--to possess4  ,it was a pity 
that ,landseer1 who might have done so  
much for the good of the animal kind1   
never wrote on the subject of their     
treatment4 ,he had a strong feeling     
against the way some dogs are tied up1  
only allowed their freedom now and then4
 ,he used to say a man would fare better
 tied up than a dog1 because the former 
can take his coat off1 but a dog lives  
in his forever4 ,he declared a tied-up  
dog1 without daily exercise1 goes mad1  
or dies1 in three years4  ,his wonderful
 power over dogs is well known4 ,an     
illustrious lady asked him how it was   
that he gained his knowledge4 ',by      
peeping into their hearts1 ma'am1' was  
his answer4 ,i remember once being      
wonderfully struck with the mesmeric    
attraction he possessed with them4 ,a   

large party of his friends were with him
 at his house in ,st4 ,john's ,wood2 his
 servant opened the door2 three or four 
dogs rushed in1 one a very              
fierce-looking mastiff4 ,the ladies     
recoiled1 but there was no fear2 the    
creature bounded up to ,landseer1       
treated him like an old friend1 with    
most expansive demonstrations of        
delight4 ,some one remarking 'how fond  
the dog seemed of him1' he said1 ',i    
never saw it before in my life4'  ,would
 that horse-trainers could have learned 
from him how horses could be broken in  
or trained more easily by kindness than 
by cruelty4 ,once when visiting him he  
came in from his meadow looking somewhat
 dishevelled and tired4 ',what have you 
been doing8' we asked him4 ',only       
teaching some horses tricks for         
,astley's1 and here is my whip1' he     
said1 showing us a piece of sugar in his
 hand4 ,he said that breaking in horses 
meant more often breaking their hearts1 
and robbing them of all their spirit4444

  ,in #ahej1 the ,dialogue of ,waterloo 
was produced1 with the ,duke of         
,wellington and his daughter-in-law1 the
 ,marchioness ,douro1 on the            
battlefield4 ,it is said that eighteen  
thousand dollars were paid for the      
copyright of this painting4  ,this year1
 ,landseer was made a knight1 at the age
 of forty-eight4 ,the next year1 #ahea1 
he painted the well-known ,monarch of   
the ,glen4 ,the ,midsummer ,night's     
,dream of the same year1 painted for the
 great engineer1 ,isambard ,k4 ,brunel1 
who ordered a series of ,shakespearian  
subjects from different artists1 at four
 hundred guineas each1 was afterwards   
sold to ,earl ,brownlow for fourteen    
thousand dollars4  ,in #aheg1 in ,scene 
in ,brae-mar--,highland ,deer1 we have1 
says ,stephens1 the grandest stag which 
came from his hands4 ,this was sold in  
#ahfh for four thousand guineas4 ,the   
,maid and the ,magpie1 painted for      
,jacob ,bell1 and by him presented to   
the nation1 appeared in #aheh4 ,the     

pretty girl is about to milk a cow1 but 
turns to listen to her lover1 when a    
magpie steals a silver spoon from one of
 the wooden shoes at her side4 ,in      
connection with this picture1 ,m4 ,f4   
,sweetser tells this incident3  ,sir    
,edwin once painted a picture for ,jacob
 ,bell for one hundred guineas1 which   
the latter soon afterwards sold for two 
thousand guineas4 ,placing the latter   
amount in ,landseer's bank1 ,mr4 ,bell  
narrated the circumstance1 suppressing  
both his own name and that of the       
purchaser1 and adding that the seller   
would not keep the money1 but wanted    
another picture painted for it4 ,the    
master was so charmed with this generous
 act that he said1 ',well1 he shall have
 a good one4' ,and afterwards1 pressing 
,bell to tell him who his benefactor    
was1 the latter exclaimed1 in the words 
of ,nathan1 the ,israelite3 ',i am the  
man4' ,the picture which resulted was   
',the ,maid and the ,magpie4'  ,in      
#ahfj1 ,flood in the ,highlands1 called 

by ,stephens probably the strongest of  
all his pictures1 was painted4 ,he was  
now fifty-eight4 ,i remember him1 says  
,stephens1 during the painting of this  
picture1 on the ,tuesday before it was  
sent to the ,academy1--putting a few    
touches on the canvas4 ,he looked as if 
about to become old1 although his age by
 no means justified the notion2 it was  
not that he had lost activity or energy1
 or that his form had shrunk1 for he    
moved as firmly and swiftly as          
ever1--indeed he was rather             
demonstrative1 stepping on and off the  
platform in his studio with needless    
display1--and his form was stout and    
well filled4  ,nevertheless1 without    
seeming to be overworked1 he did not    
look robust1 and he had a nervous way   
remarkable in so distinguished a man1   
one who was usually by no means         
unconscious of himself1 and yet1 to     
those he liked1 full of kindness4 ,the  
wide green shade which he wore above his
 eyes projected straight from his       

forehead1 and cast a large shadow on his
 plump1 somewhat livid features1 and1 in
 the shadow1 one saw that his eyes had  
suffered4 ,the gray ',tweed' suit1 and  
its sober trim1 a little emphatically   
'quiet1' marked the man2 so did his     
stout1 not fat nor robust1 figure2 rapid
 movements1 and utterances that         
glistened with prompt remarks1 sharp1   
concise1 with quiet humor1 but not      
seeking occasions for wit1 and imbued   
throughout with a perfect frankness1    
distinguished the man4  ,in #ahfd1 ,man 
proposes1 ,god disposes1 was painted1 an
 ,arctic incident suggested by the      
finding of the relics of ,sir ,john     
,franklin4 ,the purchaser of this       
picture1 ,sweetser says1 paid ,landseer 
twenty-five hundred pounds for it4  ,in 
#ahfe1 ,the ,connoisseurs was painted1  
and presented by ,sir ,edwin to the     
,prince of ,wales4 ,it represents two   
dogs looking over the shoulders of the  
artist1 while he makes a drawing4       
,monkhouse says3 ,the man behind his    

work was seen through it1--sensitive1   
variously gifted1 manly1 genial1        
tender-hearted1 simple1 and unaffected1 
a lover of animals and children and     
humanity2 and if any one wishes to see  
at a glance nearly all we have written1 
let him look at his own portrait1       
painted by himself1 with a canine       
connoisseur on either side4  ,lady      
,godiva's ,prayer1 painted in #ahff1 was
 sold in #ahgd for ,l#ccfj1 or nearly   
seventeen thousand dollars4 ,this year1 
,sir ,edwin first appeared as a         
sculptor1 in a vigorous model of a ,stag
 at ,bay4 ,in #ahfg his bronze ,lions   
were placed at the base of the ,nelson  
monument in ,trafalgar ,square1 thus    
associating two great names4 ,the       
government had commissioned him to      
execute this work eight years before1 in
 #ahei1 but sickness and other matters  
had prevented4 ,that this commission was
 a care to him1 is shown by a letter to 
a friend3 ,i have got trouble enough2   
ten or twelve pictures about which ,i am

 tortured1 and a large national monument
 to complete4444 ,if ,i am bothered     
about anything and everything1 no matter
 what1 ,i know my head will not stand it
 much longer4  ,again he writes3 ,my    
health 7or rather condition7 is a       
mystery beyond human intelligence4 ,i   
sleep well seven hours1 and awake tired 
and jaded1 and do not rally till after  
luncheon4 ,j4 ,l4 came down yesterday   
and did her best to cheer me4444 ,i     
return to my own home in spite of a kind
 invitation from ,mr4 and ,mrs4         
,gladstone to meet ,princess ,louise at 
breakfast4  ,the ,swannery invaded by   
,sea-,eagles was one of ,landseer's most
 notable later works4 ,the ,sick        
,monkey1 painted in #ahgj1 was purchased
 by ,thomas ,baring for three thousand  
guineas1 and bequeathed to ,lord        
,northbrook1 the ,viceroy of ,india4    
,when ,sir ,charles ,eastlake died1 the 
presidency of the ,royal ,academy was   
urged upon ,landseer1 but he declined4  
,he had become wealthy through his      

painting1 his property amounting to     
about one million two hundred and fifty 
thousand dollars1 which he left mostly  
to his brothers and sisters4  ,sir      
,edwin's life was now drawing to its    
close4 ,miss ,mackey says1 in ,cornhill1
 concerning his last long illness3 ,was 
ever any one more tenderly nursed and   
cared for8 ,those who had loved him in  
his bright wealth of life now watched   
the long days one by one telling away   
its treasure4 ,he was very weak in body 
latterly1 but sometimes he used to go   
into the garden and walk round the      
paths1 leaning on his sister's arm4 ,one
 beautiful spring morning1 he looked up 
and said3 ',i shall never see the green 
leaves again2' but he did see them1     
,mrs4 ,mackenzie1 his sister1 said4 ,he 
lived through another spring4 ,he used  
to lie in his studio1 where he would    
have liked to die4 ,to the very end he  
did not give up his work2 but he used to
 go on1 painting a little at a time1    
faithful to his task4  ,when he was     

almost at his worst1 so some one told   
me1 they gave him his easel and his     
canvas1 and left him alone in the       
studio1 in the hope that he might take  
up his work and forget his suffering4   
,when they came back1 they found that he
 had painted the picture of a little    
lamb lying beside a lion4 ,this and     
',the ,font' were the last pictures ever
 painted by that faithful hand4  ',the  
,font' is an allegory of all creeds and 
all created things coming together into 
the light of truth4 ,the ,queen is the  
owner of ',the ,font4' ,she wrote to her
 old friend and expressed her admiration
 for it1 and asked to become the        
possessor4 ,her help and sympathy       
brightened the sadness of those last    
days for him4 ,it is well known that he 
appealed to her once1 when haunted by   
some painful apprehensions1 and that her
 wise and judicious kindness came to the
 help of his nurses4 ,she sent him back 
a message1 bade him not be afraid1 and  
to trust to those who were doing their  

best for him1 and in whom she herself   
had every confidence4444  ,he wished to 
die in his studio1 his dear studio1 for 
which he used to long when he was away1 
and where he lay so long expecting the  
end2 but it was in his own room that he 
slept away4 ,his brother was with him4  
,his old friend came into the room4 ,he 
knew him and pressed his hand4          
,landseer died on the morning of        
,october #a1 #ahgc1 and was buried      
,october #aa1 with distinguished honors1
 in ,st4 ,paul's ,cathedral4            
,,turner4   ,turner was unquestionably1 
in his best time1 the greatest master of
 water color who had ever lived4 ,he may
 have been excelled since then in some  
special departments of the art1 in some 
craft of execution1 or in the knowledge 
of some particular thing in nature2 but 
no one has ever deserved such generally 
high rank as ,turner in the art of      
water-color painting4 ,his superiority  
even goes so far that the art1 in his   
hands1 is like another art1 a fresh     

discovery of his own4  ,illustration3   
,,turner4  ,the color1 in his most      
delicate work1 hardly seems to be laid  
on the paper by any means known to us1  
but suggests the idea of a vaporous     
deposit1 and besides the indescribable  
excellence of those parts of ,turner's  
water-colors which do not look as if    
they were painted at all1 there is      
excellence of another kind in those     
parts which exhibit dexterities of      
execution4 ,nor is the strange          
perfection of his painting in water     
color limited to landscape2 his studies 
of still life1 birds and their plumage1 
bits of interiors at ,petworth1 etc41   
are evidence enough that1 had he chosen 
to paint objects rather than effects1 he
 might have been as wonderful an object 
painter as ,william ,hunt was1 though in
 a different and more elevated manner4  
,thus writes ,philip ,gilbert ,hamerton4
  ,turner was born ,april #bc1 #agge1 in
 ,maiden ,lane1 ,london1 over a barber  
shop1 in which his father1 ,william     

,turner1 lived and worked4 ,the latter  
was an economical1 good-natured1        
uneducated man1 who taught his boy to be
 honest and saving4  ,the mother1 ,mary 
,turner1 belonged to a family of        
,marshalls or ,mallords near            
,nottingham1 superior in position to the
 family of ,william ,turner4 ,she had an
 ungovernable temper1 and is said to    
have led the barber a sad life4 ,later1 
she became insane1 and was sent to an   
asylum4  ,the boy ,william very early   
began to show his skill in drawing4 ,in 
his first school at ,new ,brentford1    
when he was ten years old1 his birds1   
flowers1 and trees on the walls of the  
room attracted attention1 so that his   
schoolmates often did his work in       
mathematics for him while he made       
sketches4 ,his father had intended him  
to be a barber1 but1 perceiving the     
lad's talent1 encouraged him1 hung his  
drawings in his shop windows1 and sold  
them for a few pence or shillings each4 
,at twelve years of age1 ,william was   

sent to ,mr4 ,palice1 a floral          
drawing-master in ,soho2 at thirteen1 to
 a ,mr4 ,coleman at ,margate1 where he  
loved and studied the sea2 and at       
fourteen1 to the ,royal ,academy4       
,meanwhile1 he earned money by coloring 
prints1 making backgrounds and skies for
 architects' plans1 and copying pictures
 for ,dr4 ,munro1 who lived in one of   
the palaces on the ,strand4 ,this       
physician owned many ,rembrandts and    
,gainsboroughs1 with sketches by        
,claude1 ,titian1 ,vandevelde1 and      
others4  ,this house proved a valuable  
place for study to the barber's son1 who
 considered himself fortunate to receive
 half a crown and a supper for each     
evening's work4  ,when pitied by some   
one in later life1 because of the hard  
work of his boyhood1 he said1 ,well6    
,and what could be better practice8  ,in
 #agib1 when he was seventeen1 he       
received a commission from ,mr4 ,j4     
,walker1 an engraver1 to make drawings  
for his ,copperplate ,magazine1 and soon

 after from ,mr4 ,harrison for his      
,pocket ,magazine4 ,to make these       
sketches1 the youth travelled through   
,wales1 on a pony lent him by a friend1 
and on foot1 with his baggage in his    
handkerchief tied to the end of a stick1
 through ,nottingham1 ,cambridge1       
,lincoln1 ,peterborough1 ,windsor1 ,ely1
 the ,isle of ,wight1 and elsewhere4    
,the result of these tours1 says ,w4    
,cosmo ,monkhouse1 may be said to have  
been the perfection of his technical    
skill1 the partial displacement of      
traditional notions of composition1 and 
the storing of his memory with infinite 
effects of nature4  ,his first water    
color at the ,royal ,academy ,exhibition
 was a picture of ,lambeth ,palace1 when
 he was fifteen1 and his first oil      
painting at the exhibition1 according to
 ,redgrave1 the ,rising ,squall1 ,hot   
,wells1 when he was eighteen4 ,hamerton 
thinks ,moonlight1 a study in ,milbank1 
was his first exhibited work in oil4    
,the picture1 he says1 shows not the    

least trace of genius1 yet it has always
 been rather a favorite with me for its 
truth to nature in one thing4 ,all the  
ordinary manufacturers of               
moonlights--and moonlights have been    
manufactured in deplorably large        
quantities for the market--represent the
 light of our satellite as a blue and   
cold light2 whereas in nature1          
especially in the southern summer1 it is
 often pleasantly rich and warm4 ,turner
 did not follow the usual receipt1 but  
had the courage to make his moonlight   
warm1 though he had not as yet the skill
 to express the ineffably mellow        
softness of the real warm moonlights in 
nature4  ,at twenty-one1 ,turner hired a
 house in ,hand ,court1 and began to    
teach drawing in ,london and elsewhere  
at ten shillings a lesson4 ,but he soon 
grew impatient of his fashionable       
pupils1 and the teaching was abandoned4 
,at twenty-two1 he journeyed into the   
counties of ,yorkshire and ,kent1 and   
soon produced ,morning on the ,coniston 

,fells1 in #agih2 ,cattle in ,water2    
,buttermere ,lake1 #agih2 and ,norham   
,castle on the ,tweed4 ,twenty years    
afterward1 as he was passing ,norham    
,castle1 with ,cadell1 an ,edinburgh    
publisher1 he took off his hat to the   
castle4 ,cadell expressed surprise4 ,oh1
 said ,turner1 ,i made a drawing or     
painting of ,norham several years ago4  
,it took2 and from that day to this ,i  
have had as much to do as my hands could
 execute4  ,in ,yorkshire1 the rising   
young artist1 natural and genial in     
manner1 though small and somewhat plain 
in person1 made many warm friends4 ,he  
was often a guest at ,farnley ,hall1    
owned by ,mr4 ,hawkesworth ,fawkes1 who 
afterward adorned his home with fifty   
thousand dollars' worth of ,turner's    
pictures4  ,mr4 ,fawkes's son speaks of 
the fun1 frolic1 and shooting we enjoyed
 together1 and which1 whatever may be   
said by others of his temper and        
disposition1 have proved to me that he  
was1 in his hours of distraction from   

his professional labors1 as             
kindly-hearted a man1 and as capable of 
enjoyment and fun of all kinds1 as any  
,i ever knew4  ,mrs4 ,wheeler1 a friend 
in these early years1 says3 ,of all the 
light-hearted1 merry creatures ,i ever  
knew1 ,turner was the most so2 and the  
laughter and fun that abounded when he  
was an inmate of our cottage was        
inconceivable1 particularly with the    
juvenile members of the family4         
,somewhere between the ages of nineteen 
and twenty-three1 a sorrow came which   
seemed completely to change ,turner's   
nature4 ,while at the ,margate school1  
he had fallen in love with the sister of
 a schoolmate2 the love had been        
reciprocated1 and an engagement followed
 a few years later4 ,during a long      
absence in his art work1 their letters  
were intercepted by the young lady's    
stepmother1 who finally prevailed upon  
her to become engaged to another4 ,a    
week before the wedding1 ,turner arrived
 at ,margate1 and besought her to marry 

him2 but his betrothed considered       
herself in honor bound to the new lover4
 ,the marriage proved a most unhappy    
one1 and ,turner remained a disappointed
 and solitary man through life4  ,his   
art now became his one absorbing        
thought2 he worked early and late1 often
 rising for work at four o'clock in the 
morning1 saying sadly that there were no
 holidays for him4  ,in #agii1 when he  
was twenty-four1 he was made an         
associate of the ,royal ,academy1 and a 
full academician in #ahjb4 ,hamerton    
says3 ,his election is the more         
remarkable1 that he had done nothing    
whatever to bring it about1 except his  
fair hard work in his profession4 ,he   
was absolutely incapable of social      
courtiership in any of its disguises4   
,he gave no dinners1 he paid no calls1  
he did nothing to make the academicians 
believe that he would be a credit to    
their order in any social sense4 ,even  
after his election1 he would not go to  
thank his electors1 in obedience to the 

established usage4 ',if they had not    
been satisfied with my pictures1' he    
said to ,stothard1 'they would not have 
elected me4 ,why1 then1 should ,i thank 
them8 ,why thank a man for performing a 
simple duty8' ,his views on the subject 
were clearly wrong1 for the rules of    
good manners very frequently require us 
to thank people for performing simple   
duties1 and the academicians were not   
under any obligation to elect the young 
painter so soon2 but how completely     
,turner's conduct in this matter proves 
that he can only have been elected on   
his merits6444  ,his elevation to the   
full membership was of immense value to 
him in his career1 and he knew this so  
well that he remained deeply attached to
 the ,academy all his life4 ,he was     
associate or member of it for a full    
half-century1 and during fifty years was
 only three times absent from its       
exhibitions4  ,this year1 #ahjb1 he     
removed to #fd ,harley ,street1 taking  
his plain old father home to live with  

him4 ,he took his first tour on the     
,continent1 this year1 making studies of
 ,mont ,blanc1 the ,swiss lakes and     
mountain passes4 ,the exhibitions of    
#ahjc to #ahjf contained1 among other   
pictures1 ,the ,vintage at ,macon1 the  
celebrated ,calais ,pier in a gale2 ,the
 ,source of the ,arveiron1 ,narcissus   
and ,echo1 ,edinburgh from ,calton      
,hill2 his famous ,shipwreck1 now in the
 ,national ,gallery2 and the magnificent
 ,goddess of ,discord choosing the      
,apple of ,contention in the ,garden of 
,hesperides1 also in the ,national      
,gallery4  ,in #ahjg1 ,turner began1 at 
the suggestion of his friend1 ,mr4 ,w4  
,f4 ,wells1 the ,liber ,studiorum1      
issued in dark blue covers1 each        
containing five plates1 the whole series
 of one hundred plates to be divided    
into historical1 landscape1 pastoral1   
mountainous1 marine1 and architectural4 
,the work was intended as a rival to    
,claude ,lorraine's ,liber ,veritatis4  
,after seventy plates had been          

published1 the project came to an end in
 #ahaf1 because of disagreement with    
engravers1 and lack of patronage4 ,the  
principal pictures were ,a,esacus and   
,hesperia1 ,jason1 ,procris and         
,cephalus1 the ,fifth and ,tenth        
,plagues of ,egypt1 ,christ and the     
,woman of ,samaria1 ,rizpah1 ,raglan    
,castle1 the ,river ,wye1 ,solway ,moss1
 ,inverary1 the ,yorkshire ,coast1 ,mer 
de ,glace1 the ,lake of ,thun1 ,st4     
,gothard ,pass1 the ,alps from          
,grenoble1 ,dunstanborough ,castle1 and 
others4  ,so hopeless and worthless did 
the enterprise seem1 at one time1 says  
,m4 ,f4 ,sweetser1 that ,charles        
,turner1 the engraver1 used the proofs  
and trials of effect as kindling paper4 
,many years later1 ,colnaghi1 the great 
print-dealer1 caused him to hunt up the 
remaining proofs in his possession1 and 
gave him fifteen hundred pounds for     
them4 ',good ,god6' cried the old       
engraver1 ',i have been burning         
bank-notes all my life4'444 ,in later   

days three thousand pounds had been paid
 for a single copy of the ,liber4  ,the 
most obvious intention of the work1 says
 ,monkhouse1 was to show ,turner's own  
power1 and there never was1 and perhaps 
never will be again1 such an exhibition 
of genius in the same direction4 ,no    
rhetoric can say for it as much as it   
says for itself in those ninety plates1 
twenty of which were never published4   
,if he did not exhaust art or nature1 he
 may be fairly said to have exhausted   
all that was then known of landscape    
art1 and to have gone further than any  
one else in the interpretation of       
nature4444  ,amongst his more obvious   
claims to the first place among         
landscape artists are his power of      
rendering atmospherical effects1 and the
 structure and growth of things4 ,he not
 only knew how a tree looked1 but he    
showed how it grew4 ,others may have    
drawn foliage with more habitual        
fidelity1 but none ever drew trunks and 
branches with such knowledge of their   

inner life4444 ,others have drawn the   
appearance of clouds1 but ,turner knew  
how they formed4 ,others have drawn     
rocks1 but he could give their          
structure1 consistency1 and quality of  
surface1 with a few deft lines and a    
wash2 others could hide things in a     
mist1 but he could reveal things through
 mist4 ,others could make something like
 a rainbow1 but he1 almost alone1 and   
without color1 could show it standing   
out1 a bow of light arrested by vapor in
 mid-air1 not flat upon a mountain1 or  
printed on a cloud4444 ,if we seek the  
books from which his imagination took   
fire1 we have the ,bible and ,ovid2 the 
first of small1 the latter of great and 
almost solitary power4 ,jason1 daring   
the huge glittering serpent2 ,syrinx1   
fleeing from ,pan2 ,cephalus and        
,procris2 ,a,esacus and ,hesperia2      
,glaucus and ,scylla2 ,narcissus and    
,echo4 ,if we want to know the artists  
he most admired and imitated1 or the    
places to which he had been1 we shall   

find easily nearly all the former1 and  
sufficient of the latter to show the    
wide range of his travel4 ,in a word1   
one who has carefully studied the ,liber
 has indeed little to learn of the range
 and power of ,turner's art and mind1   
except his color and his fatalism4  ,in 
#ahjh1 ,turner was appointed professor  
of perspective in the ,royal ,academy1  
which position he held for thirty years1
 though he rarely gave lectures to      
students1 owing to his confused manner  
and obscurity in the use of language4   
,ruskin says3 ,the zealous care with    
which ,turner endeavored to do his duty 
is proved by a large existing series of 
drawings1 exquisitely tinted1 and often 
completely colored1 all by his own hand1
 of the most difficult perspective      
subjects2 illustrating not only         
directions of line1 but effects of      
light1 with a care and completion which 
would put the work of any ordinary      
teacher to utter shame4 ,in teaching    
generally1 he would neither waste time  

nor spare it2 he would look over a      
student's drawing at the ,academy1 point
 to a defective part1 make a scratch on 
the paper at the side1 say nothing4 ,if 
the student saw what was wanted1 and did
 it1 ,turner was delighted2 but if the  
student could not follow1 ,turner left  
him4  ,turner this year moved to the    
,upper ,mall1 ,hammersmith1 where his   
garden extended to the ,thames4 ,in this
 he had a summer-house1 where some of   
his best work was done4 ,he still       
retained the ,harley-,street house1 and 
lived in it much the life of a recluse4 
,mr4 ,thornbury tells the following     
incident3--  ,two ladies called upon    
,turner while he lived in ,harley       
,street4 ,on sending in their names1    
after having ascertained that he was at 
home1 they were politely requested to   
walk in1 and were shown into a large    
sitting-room without a fire4 ,this was  
in the depth of winter2 and lying about 
in various places were several cats     
without tails4 ,in a short time our     

talented friend made his appearance1    
asking the ladies if they felt cold4    
,the youngest replied in the negative2  
her companion1 more curious1 wished she 
had stated otherwise1 as she hoped they 
might have been shown into his sanctum  
or studio4 ,after a little conversation 
he offered them wine and biscuits1 which
 they partook of for the novelty1 such  
an event being almost unprecedented in  
his house4 ,one of the ladies bestowing 
some notice upon the cats1 he was       
induced to remark that he had seven1 and
 that they came from the ,isle of ,man4 
,turner was fond of his pet cats1 and   
would let no harm come to them4 ,after  
he had moved1 in #ahab1 to #dg          
,queen-,anne ,street1 one of his        
favorite pictures1 ,bligh ,shore was    
used as a covering for a window4 ,a cat 
desiring to enter the window scratched  
the picture severely1 and was about to  
be punished for the offence1 by ,mrs4   
,danby1 the housekeeper1 when ,turner   
said1 ,never mind1 and saved the cat    

from the whipping4  ,at his house in    
,twickenham1 which he bought and rebuilt
 in #ahac or #ahad1 calling it ,solus   
,lodge on account of his desire to be   
alone1 and afterwards ,sandycomb ,lodge1
 the boys named him ,blackbirdy1 because
 he protected the blackbirds in the     
adjacent trees1 not allowing their nests
 to be robbed4 ,turner sold this place  
after having owned it about twelve      
years1 because his aged father1 whom he 
always called ,dad1 was always working  
in the garden and catching cold4  ,the  
eccentric artist must have been at this 
time quite rich1 as well as famous4 ,he 
had painted ,the ,sun rising in ,mist1  
in #ahjg2 the well-known ,wreck of the  
,minotaur1 in #ahaj2 ,apollo killing the
 ,python1 in #ahaa2 ,hannibal and his   
,army crossing the ,alps in a           
,snowstorm1 in #ahab2 and ,crossing the 
,brook1 and ,dido building ,carthage1 in
 #ahae4 ,the first 7',crossing the      
,brook'71 says ,monkhouse1 is the purest
 and most beautiful of all his oil      

pictures of the loveliness of ,english  
scenery1 the most simple in its motive1 
the most tranquil in its sentiment1 the 
perfect expression of his enjoyment of  
the exquisite scenery in the            
neighborhood of ,plymouth4 ,the latter  
7',dido building ,carthage'71 with all  
its faults1 was the finest of the kind  
he ever painted1 and his greatest effect
 in the way of color before his visit to
 ,italy4  ,it is said that ,crossing the
 ,brook was painted for a gentleman who 
ordered it with the promise of paying   
twenty-five hundred dollars for it1 but 
was disappointed in it when finished1   
and refused to take it4 ,turner was     
afterwards offered eight thousand       
dollars for it1 but would not sell it4  
,in #ahae1 the artist1 now forty years  
old1 was again disappointed in love4 ,he
 wrote to one of his best friends1 ,rev4
 ,h4 ,scott ,trimmer1 vicar of ,heston1 
concerning his sister1 ,miss ,trimmer3  
,if she would but waive her bashfulness1
 or1 in other words1 make an offer      

instead of expecting one1 the same      
7,sandycomb ,lodge7 might change        
occupiers4 ,but ,miss ,trimmer had1 at  
this time1 another suitor1 whom she     
married1 and ,turner never again        
attempted to win a wife4  ,in #ahag1    
,the ,decline of the ,carthaginian      
,empire was exhibited1 a companion piece
 to the ,building of ,carthage4 ,years  
later1 ,sir ,robert ,peel1 ,lord        
,hardinge1 and others1 offered          
twenty-five thousand dollars to ,turner 
for the two pictures1 intending to      
present them to the ,national ,gallery4 
,it's a noble offer1 said the painter1  
but ,i have willed them4 ,he had already
 made his will1 privately1 giving these 
and other pictures to the nation4  ,the 
artist is said to have once remarked to 
his friend ,chantrey1 the sculptor3     
,will you promise to see me rolled up in
 the ',carthage' at my burial8  ,yes1   
was the reply2 and ,i promise you also  
that1 as soon as you are buried1 ,i will
 see that you are taken up and unrolled4

  ,in #ahai1 ,turner made his first     
visit to ,italy1 after which his works  
became remarkable for their color4 ,in  
#ahbc1 says ,monkhouse1 he astonished   
the world with the first of those       
magnificent dreams of landscape         
loveliness with which his name will     
always be specially associated3 ',the   
,bay of ,baiae1 with ,apollo and the    
,sibyl4'  ,the ,rivers of ,england was  
published in #ahbf1 with sixteen        
engravings after ,turner's designs4     
,monkhouse says3 ,for perfect balance of
 power1 for the mirroring of nature as  
it appears to ninety-nine out of every  
hundred1 for fidelity of color to both  
sky and earth1 and form 7especially of  
trees71 for carefulness and accuracy of 
drawing1 for work that neither startles 
you by its eccentricity nor puzzles you 
as to its meaning1 which satisfies      
without cloying1 and leaves no doubt as 
to the truth of its illusion1 there is  
none to compare with these drawings of  
his of ,england after his first visit to

 ,italy4  ,during this year1 #ahbf1     
among other pictures1 ,turner exhibited 
his ,cologne--the ,arrival of a         
,packet-boat--,evening4 ,there were1    
says ,hamerton1 such unity and serenity 
in the work1 and such a glow of light   
and color1 that it seemed like a window 
opened upon the land of the ideal1 where
 the harmonies of things are more       
perfect than they have ever been in the 
common world4 ,the picture was hung     
between two of ,sir ,thomas ,lawrence's 
portraits1 the golden color of the      
,cologne dulling their effect4 ,turner  
at once covered his picture with        
lampblack1 thereby spoiling it for the  
public view4 ,when reproached by the    
critics1 he said3 ,poor ,lawrence was so
 unhappy4 ,it will all wash off after   
the ,exhibition4 ,was there ever1 says  
,hamerton1 a more exquisitely beautiful 
instance of self-sacrifice8 ,the        
,cologne was sold1 in #ahed1 to ,mr4    
,john ,naylor1 for two thousand guineas4
  ,turner made designs for twenty       

illustrations in ,rogers's poem of      
,italy1 for which1 it is asserted1 he   
would accept but five guineas each1 as  
the execution of the work pleased him so
 well2 thirteen illustrations for ,the  
,provincial ,antiquities of ,scotland1  
for which ,sir ,walter ,scott wrote the 
letter-press2 and twenty-six pictures   
for ,finden's ,illustrations of the     
,bible4 ,turner generally received from 
twenty to one hundred guineas for each  
drawing used1 which was returned to him 
that he might sell it1 if he so desired4
  ,in #ahbg the first part of his       
largest series of prints was published3 
,england and ,wales4 ,the work was      
discontinued twelve years later1 because
 it was not a pecuniary success4  ,bohn 
offered twenty-eight hundred pounds for 
the copper plates and stock1 but ,turner
 himself bid them in1 at the auction1   
for three thousand pounds1 saying to    
,bohn3 ,so1 sir1 you were going to buy  
my ',england and ,wales' to sell cheap1 
,i suppose--make umbrella prints of     

them1 eh8 ,but ,i have taken care of    
that4  ,he disliked steel engravings1 or
 any plan to cheapen or popularize art4 
,he once told ,sir ,thomas ,lawrence    
that he didn't choose to be a basket    
engraver4 ,being asked what he meant1 he
 replied3 ,when ,i got off the coach    
t'other day at ,hastings1 a woman came  
up with a basketful of your ',mrs4      
,peel1' and wanted to sell me one for a 
sixpence4  ,the painter's hard-working  
life1 with little comfort save what fame
 brings to a man who eagerly seeks it1  
received its greatest shock in the death
 of the aged father1 in #ahcj4 ,turner  
said1 ,the loss was like that of an only
 child4 ,his friends the ,trimmers said1
 ,he never appeared the same man after  
his father's death4  ,the plain barber  
had lived with his son for thirty years1
 and had seen him gain wealth and       
renown4 ,he could do little save to     
encourage with his affection and be     
proud and grateful for the painter's    
success4 ,and this was enough4 ,he was  

buried in ,st4 ,paul's1 ,covent ,garden1
 the artist writing this inscription for
 his monument3--                        
,,in ,,the ,,vault            ,,beneath 
,,and ,,near ,,this ,,place             
,,are ,,deposited ,,the ,,remains ,,of  
,,william ,,turner1      ,,many ,,years 
,,an ,,inhabitant ,,of ,,this ,,parish1 
,,who ,,died               ,,september  
#ba,,st1 #ahcj4           ,,to ,,his    
,,memory ,,and ,,of ,,his ,,wife1       
,,mary ,,ann1         ,,their ,,son ,j4 
,m4 ,w4 ,,turner1 ,r4 ,a41              
,,has ,,placed ,,this ,,tablet1         
,,august1 #ahcb4   ,in #ahcb1 ,turner   
exhibited his memorable ,childe         
,harold's ,pilgrimage2 ,italy1 in which 
he seemed to combine the mountains1 the 
trees1 the cities1 and the skies he had 
loved in that beautiful country4 ,from  
#ahcc to #ahce he produced his exquisite
 series1 ,the ,rivers of ,france4       
,ruskin says3 ,of all foreign countries1
 ,turner has most entirely entered into 
the spirit of ,france2 partly because   

here he found more fellowship of scene  
with his own ,england2 partly because an
 amount of thought which will miss of   
,italy or ,switzerland will fathom      
,france2 partly because there is in the 
,french foliage and forms of ground much
 that is especially congenial with his  
own peculiar choice of form4444 ,he     
still remains the only1 but in himself  
the sufficient1 painter of ,french      
landscape4  ,in #ahcc ,turner exhibited 
the first of his eleven remarkable      
,venetian pictures1 one of the finest   
being1 ,the ,sun of ,venice going to    
,sea4 ,the characteristics which they   
have in common1 says ,hamerton1 are     
splendor of color and carelessness of   
form2 the color being1 in most          
instances1 really founded upon the true 
,venetian color1 but worked up to the   
utmost brilliance which the palette     
would allow1 the forms simply sketched1 
exactly on the principles of the        
artist's own free sketching in water    
colors4444 ,it is believed1 and with    

probability1 that he blocked out the    
picture almost entirely in pure white1  
with only some very pale tinting1 just  
to mark the position of the objects1 and
 that this white preparation was thick  
and loaded from the beginning4 ,on this 
he afterwards painted thinly in oil or  
water-color1 or both1 so that the       
brilliance of the white shone through   
the color1 and gave it that very        
luminous quality which it possesses4    
,this is simply a return to the early   
,flemish practice of painting thinly on 
a light ground1 with the difference1    
however1 that ,turner made a fresh      
ground of his own between the canvas and
 his bright colors1 and that the        
modelling of the impasto with the brush 
was done in this thick white4 ,the      
result was to unite the brilliance of   
water-color to the varied and rich      
surface of massive oil-painting4  ,these
 pictures called forth much adverse     
criticism1 but they soon had a          
,herculean defender in the ,oxford      

,undergraduate of #ahcf1 the ,ruskin of 
,modern ,painters4 ,in #ahci1 ,turner   
exhibited ,the fighting ,temeraire      
tugged to her last berth to be broken   
up1 #ahch4 ,thornbury tells how the     
subject was suggested to ,turner4  ,in  
#ahch1 ,turner was with ,stanfield and a
 party of brother artists on one of     
those holiday excursions1 in which he so
 delighted1 probably to end with        
whitebait and champagne at ,greenwich4  
,it was at these times that ,turner     
talked and joked his best1 snatching1   
now and then1 a moment to print on his  
quick brain some tone of sky1 some gleam
 of water1 some sprinkling light of oar1
 some glancing sunshine cross-barring a 
sail4 ,suddenly there moved down upon   
the artist's boat the grand old vessel  
that had been taken prisoner at the     
,nile and that led the van at           
,trafalgar4 ,she loomed pale and        
ghostly1 and was being towed to her last
 moorings at ,deptford by a little      
fiery1 puny steam-tug4  ',there's a fine

 subject1 ,turner1' said ,stanfield1 and
 the suggestion was gladly acted upon4  
,hamerton says3 ,the picture is1 both in
 sentiment and execution1 one of the    
finest of the later works4 ,the sky and 
water are both magnificent1 and the     
shipping1 though not treated with severe
 positive truth1 is made to harmonize   
well with the rest1 and not stuck upon  
the canvas1 as often happens in the     
works of bad marine painters4 ,the sun  
sets in red1 and the red1 by the        
artist's craft1 is made at the same time
 both decided in hue and luminous1      
always a great technical difficulty4    
,golden sunsets are easy in comparison1 
as every painter knows4 ,this picture   
has more than once been associated by   
critics with the magnificent ',ulysses  
deriding ,polyphemus1' which was painted
 ten years earlier4 ,both are splendid  
in sky and water1 and both are florid in
 color4 ,mr4 ,ruskin's opinion is that  
the period of ,turner's central power1  
'entirely developed and entirely        

unabated1 begins with the ,ulysses1 and 
closes with the ,temeraire4'  ,this     
decade had been a time of immense       
industry for ,turner4 ,in that space he 
had made more than four hundred drawings
 for the engraver1 had exhibited more   
than fifty pictures in the ,royal       
,academy1 and had executed1 besides1    
some thousands of sketches1 and probably
 many private commissions which cannot  
easily be ascertained4  ,one reason of  
his aversion to society was his desire  
to save time for this great amount of   
work4 ,the ,temeraire1 though sought by 
several persons1 the artist refused to  
sell at any price1 and bequeathed it to 
the nation4  ,from #ahdj to #ahde1      
,turner painted a few pictures of great 
power4 ,the ,slave ,ship1 slavers       
throwing overboard the dead and dying1  
typhoon coming on1 was exhibited in     
#ahdj4 ,it became the property of ,mr4  
,ruskin1 who sold it1 and it is now in  
the ,boston ,museum of ,fine ,arts4 ,it 
represents a sunset on the ,atlantic    

after a storm4 ,it is gorgeous in color1
 and is regarded by many as the grandest
 sea which ,turner ever painted4 ,the   
,snowstorm1 in #ahdb1 was harshly       
criticised1 and called soapsuds and     
whitewash4 ,the picture represents a    
steamer off a harbor in a storm1 making 
signals4  ,ruskin says3 ,turner was     
passing the evening at my father's      
house1 on the day this criticism came   
out2 and after dinner1 sitting in his   
armchair1 ,i heard him muttering low to 
himself at intervals1 ',soapsuds and    
whitewash6' again1 and again1 and again4
 ,at last ,i went to him1 asking 'why he
 minded what they said4' ,then he burst 
out3 ',soapsuds and whitewash6 what     
would they have8 ,i wonder what they    
think the sea's like8 ,i wish they'd    
been in it6'  ,turner had been in the   
storm1 and knew that he had painted     
truthfully4 ,one night1 when the ,ariel 
left ,harwich1 he got the sailors to    
lash him to the mast1 to observe the    
storm1 and remained there four hours1   

not expecting to survive it4            
,peace--,burial at ,sea1 now in the     
,national ,gallery1 was exhibited also  
in #ahdb4 ,it was painted to commemorate
 the funeral of ,sir ,david ,wilkie1 the
 ,scottish artist1 which had taken place
 in ,june1 #ahda1 off ,gibraltar1 some  
distance from shore4 ,whilst the picture
 was on the easel1 ,stanfield entered   
,turner's studio and said1 ,you're      
painting the sails very black1 to which 
the artist made answer1 ,if ,i could    
find anything blacker than black1 ,i'd  
use it4  ,the deaths of ,chantrey1 in   
#ahda1 and of ,callcott1 in #ahdd1      
deeply affected ,turner4 ,in the        
death-chamber of the former1 says       
,george ,jones1 he wrung my hands1 tears
 streaming from his eyes1 and then      
rushed from the house without uttering a
 word4 ,when ,william ,frederick ,wells1
 the artist1 died a few years           
previously1 ,turner went to the house1  
sobbing like a child1 and saying to the 
daughter1 ,o ,clara1 ,clara6 these are  

iron tears4 ,i have lost the best friend
 ,i ever had in my life4  ,in #ahdc1 he 
took his last journey to the ,continent1
 making many sketches about ,lake       
,lucerne1 which was very dear to him4   
,from #ahdg to #ahdi1 he paid several   
visits to the photographic artist       
,mayall1 calling himself a master in    
chancery1 as he did not wish to be      
recognized4 ,he was deeply interested in
 the progress of photography4 ,when     
,mayall was in pecuniary trouble in     
consequence of a lawsuit about patent   
rights1 ,turner1 unasked1 brought him   
fifteen hundred dollars1 telling him to 
repay it sometime if he could4 ,he      
gladly accepted the loan and paid it4   
,after nearly two years1 ,turner found  
that his personality had become known1  
and could never be induced to visit the 
place again4  ,in #ahej1 he sent his    
last pictures to the ,academy3 ,a,eneas 
relating his ,story to ,dido1 ,mercury  
sent to admonish ,a,eneas1 ,the         
,departure of the ,trojan ,fleet1 and   

,the ,visit to the ,tomb4  ,he was now  
seventy-five years old4 ,in #ahea1 he   
exhibited no pictures1 and ceased to    
attend the ,academy meetings1 which had 
always given him so much pleasure4      
,david ,roberts1 the artist1 wrote him1 
and begged to be allowed to see him4    
,two weeks later1 ,turner called at the 
studio4 ,i tried to cheer him up1 says  
,roberts1 but he laid his hand upon his 
heart and replied1 ',no1 no2 there is   
something here which is all wrong4' ,as 
he stood by the table in my             
painting-room1 ,i could not help looking
 attentively at him1 peering in his     
face1 for the small eye 7blue7 was      
brilliant as that of a child1 and unlike
 the glazed and 'lack-lustre eye' of    
age4 ,this was my last look4  ,for      
several months1 the aged artist was     
absent from his home in ,queen-,anne    
,street4 ,finally1 ,hannah ,danby1 who  
had been his housekeeper for fifty      
years1 and was said to have been his    
mistress1 found a letter in the pocket  

of an old coat1 which led her to believe
 he was in ,chelsea4 ,she and a relative
 sought him1 and found him1 ,december   
#ah1 #ahea1 very ill1 in a small plain  
cottage on the banks of the ,thames1    
owned by ,sophia ,caroline ,booth4 ,he  
was called ,admiral ,booth by her       
neighbors1 who thought him an admiral in
 reduced circumstances4 ,he died the day
 after his friends found him4 ,an hour  
before his death1 he was wheeled to the 
window to look out upon the ,thames1 and
 bathe in the sunshine which he so      
dearly loved4  ,so died1 says           
,monkhouse1 the great solitary genius1  
,turner1 the first of all men to        
endeavor to paint the full power of the 
sun1 the greatest imagination that ever 
sought expression in landscape1 the     
greatest pictorial interpreter of the   
elemental forces of nature that ever    
lived4444 ,sunlight was his discovery2  
he had found its presence in shadow2 he 
had studied its complicated reflections 
before he commenced to work in color4   

,from monochrome he had adopted the low 
scale of the old masters1 but into it he
 carried his light2 the brown clouds1   
and shadows and mists1 had the sun      
behind them1 as it were1 in veiled      
splendor4 ,then it came out and flooded 
his drawings and his canvases with a    
glory unseen before in art4 ,but he must
 go on1 refine upon this2 having        
eclipsed all others1 he must now eclipse
 himself4 ,his gold must turn to yellow1
 and yellow almost into white1 before   
his genius could be satisfied with its  
efforts to express pure sunlight4       
,turner was buried in ,st4 ,paul's      
,cathedral1 between the tombs of ,sir   
,joshua ,reynolds and ,james ,barry1 the
 service being read by ,dean ,milman4   
,by his will1 he left all his pictures  
and drawings to the nation1 to be       
preserved in a ,turner ,gallery1        
specifying that ,the ,sun ,rising in    
,mist and ,dido building ,carthage      
should be hung between the two pictures 
painted by ,claude1 the ,seaport and    

,mill4 ,during his life he is said to   
have refused two offers of five hundred 
thousand dollars for the pictures in his
 ,queen-,anne ,street house4 ,he left   
one hundred thousand dollars to the     
,royal ,academy1 five thousand dollars  
for a monument to himself in ,st4       
,paul's1 a few small bequests for       
relatives1 money for a medal to be given
 for the best landscape exhibited at the
 ,academy every two or three years1 and 
the remainder of a large fortune for the
 maintenance of poor and decayed male   
artists being born in ,england and of   
,english parents only1 and lawful issue2
 the latter gift to be known as         
,turner's ,gift4  ,the will was         
contested by relatives1 and1 after four 
years of litigation1 the testator's     
intention to provide for aged artists   
was disregarded1 and the property given 
to the nearest of kin4 ,such instances  
are teaching our great men to carry out 
their benevolent wishes in their        
lifetime4 ,though ,turner had great     

faults1--it is stated that he drank to  
excess in later years1--he had great    
virtues4 ,though parsimonious with      
himself1 he was generous to others4     
,ruskin tells these incidents3  ,there  
was a painter of the name of ,bird1 and 
when ,bird first sent a picture to the  
,academy for exhibition1 ,turner was on 
the hanging committee4 ,bird's picture  
had great merit2 but no place for it    
could be found4 ,turner pleaded hard for
 it4 ,no1 the thing was impossible4     
,turner sat down and looked at ,bird's  
picture a long time2 then insisted that 
a place must be found for it4 ,he was   
still met by the assertion of           
impracticability4 ,he said no more1 but 
took down one of his own pictures1 sent 
it to the ,academy1 and hung ,bird's in 
its place4444 ,at the death of a poor   
drawing-master1 ,mr4 ,wells1 whom       
,turner had long known1 he was deeply   
affected1 and lent money to the widow   
until a large sum had accumulated4 ,she 
was both honest and grateful1 and1 after

 a long period1 was happy enough to be  
able to return to her benefactor the    
whole sum she had received from him4    
,she waited on him with it2 but ,turner 
kept his hands in his pocket4 ',keep    
it1' he said1 'and send your children to
 school and to church4' ,he said this in
 bitterness2 he had himself been sent to
 neither4  ,once1 after sending an      
importunate beggar from his house1 he   
relented1 ran after her1 and gave her a 
five-pound note4  ,says ,thornbury3 ,an 
early patron of ,turner1 when he was a  
mere industrious barber's son1 working  
at three-shilling drawings in his murky 
bedroom1 had seen some of them in a     
window in the ,haymarket1 and had bought
 them4 ,from that time he had gone on   
buying and being kind to the rising     
artist1 and ,turner could not forget it4
 ,years after1 he heard that his old    
benefactor had become involved1 and that
 his steward had received directions to 
cut down some valued trees4 ,instantly  
,turner's generous impulses were roused2

 his usual parsimony 7all directed to   
one great object7 was cast behind him4  
,he at once wrote to the steward1       
concealing his name1 and sent him the   
full amount2 many1 many thousands--as   
much as twenty thousand pounds1 ,i      
believe4  ,the gentleman never knew who 
was his benefactor2 but1 in time1 his   
affairs rallied1 and he was enabled to  
pay the whole sum back4 ,years again    
rolled on1 and now the son of ,turner's 
benefactor became involved4 ,again the  
birds of the air brought the news to the
 guardian angel of the family2 again he 
sent the necessary thousands            
anonymously2 again the son stopped the  
leak1 righted himself1 and returned the 
whole sum with thanks4  ,ruskin says3   
,he had a heart as intensely kind and as
 nobly true as ,god ever gave to one of 
his creatures4444 ,having known ,turner 
for ten years1 and that during the      
period of his life when the highest     
qualities of his mind were in many      
respects diminished1 and when he was    

suffering most from the evil speaking of
 the world1 ,i never heard him say one  
depreciating word of living man or man's
 work4 ,i never saw him look an unkind  
or blameful look4 ,i never saw him let  
pass1 without some sorrowful            
remonstrance or endeavor at mitigation1 
a blameful word spoken by another4 ,of  
no man but ,turner whom ,i have ever    
known could ,i say this2 and of this    
kindness and truth came1 ,i repeat1 all 
his highest power2 and all his failure  
and error1 deep and strange1 came of his
 faithlessness4 ,probably ,mr4 ,ruskin  
means lack of religious faith1 as ,mr4  
,thornbury says ,turner feared that he  
would be annihilated4  ,turner was a    
most pains-taking worker4 ,every quarter
 of an inch of ,turner's drawings1 says 
,ruskin1 will bear magnifying2 and much 
of the finer work in them can hardly be 
traced1 except by the keenest sight1    
until it is magnified4 ,in his painting 
of ',ivy ,bridge1' the veins are drawn  
on the wing of a butterfly not three    

lines in diameter2 and ,i have one of   
his smaller drawings of ',scarborough'  
in my own possession1 in which the      
muscle shells on the beach are rounded1 
and some shown as shut1 some as open1   
though none are as large as the letters 
of this type3 and yet this is the man   
who was thought to belong to the        
'dashing' school1 literally because most
 people had not patience or delicacy of 
sight enough to trace his endless       
details4  ,he loved poetry1 and         
sometimes attempted to write it4 ,he was
 seldom true to nature in his work4     
,hamerton says3 ,with an immense and    
unwearied industry1 ,turner accumulated 
thousands and thousands of memoranda to 
increase his knowledge of what          
interested him1 especially in the       
mountains1 rivers1 and cities of the    
,continent1 and the coasts of his native
 island4 ,amidst all this wealth of     
gathered treasure1 his imagination      
reigned and revelled with a poet's      
freedom4 ,with a knowledge of landscape 

vaster than any mortal ever possessed   
before him1 his whole existence was a   
succession of dreams4 ,even the hardest 
realities of the external world itself1 
granite and glacier1 could not awaken   
him2 but he would sit down before them  
and sketch another dream1 there1 in the 
very presence of the reality itself4    
,notwithstanding all the knowledge and  
all the observation which they prove1   
the interest of ,turner's twenty        
thousand sketches is neither topographic
 nor scientific1 but entirely           
psychological4 ,it is the soul of       
,turner that fascinates the student1 and
 not the material earth4  ,with little  
education from the schools1 without     
distinguished ancestry1 in the midst of 
many disappointments and much censure1  
,turner came to great renown4 ,he had   
talent1 but he had also untiring        
industry and unlimited perseverance4    
,,new ,,books ,,for ,,young ,,people4   
#a ,,jed4 ,a ,boy's ,adventures in the  
,army of '#fa-'fe4  ,a story of battle  

and prison1 of peril and escape4 ,by    
,,warren ,,lee ,,goss1 author of ,the   
,soldier's ,story of his ,captivity at  
,andersonville and other ,prisons1 ,the 
,recollections of a ,private 7in the    
,century ,war ,series74 ,fully          
illustrated4 #abmo4 ,cloth4 #a4ej4  ,in 
this story the author has aimed to      
furnish true pictures of scenes in the  
great ,civil ,war1 and not to produce   
sensational effects4 ,the incidents of  
the book are real ones1 drawn in part   
from the writer's personal experiences  
and observations as a soldier of the    
,union1 during that war4 ,the           
descriptions of the prison are          
especially truthful1 for in them the    
author briefly tells what he himself    
saw4 ,one of the best war stories ever  
written4 ,boys will read it with        
avidity4  #b ,,the ,,walks ,,abroad ,,of
 ,,two ,,young ,,naturalists4  ,from the
 ,french of ,charles ,beaugrand4 ,by    
,,david ,,sharp1 ,m4,b41 ,f4,l4,s41     
,f4,z4,s41 ,president of the            

,entomological ,society of ,london4     
,fully illustrated4 #hvo4 #b4jj4  ,a    
fascinating narrative of travel and     
adventure1 in which is introduced much  
valuable information on natural history 
subjects1 and a reading of the book will
 tend to foster an interest in zooelogy4
  #c ,,famous ,,men ,,of ,,science4  ,by
 ,,sarah ,k4 ,,bolton1 author of ,poor  
,boys who became ,famous1 etc1 ,short   
biographical sketches of ,galileo1      
,newton1 ,linnaeus1 ,cuvier1 ,humboldt1 
,audubon1 ,agassiz1 ,darwin1 ,buckland1 
and others4 ,illustrated with #ae       
portraits4 #abmo4 #a4ej4  #d ,,the      
,,french ,,revolution4 ,pictures of the 
,reign of ,terror4  ,by ,,lydia ,,hoyt  
,,farmer1 author of ,boys' ,book of     
,famous ,rulers1 etc4 ,with #ce         
illustrations4 #abmo4 #a4ej4  ,to those 
who have not the leisure to make an     
exhaustive study of this remarkable     
epoch in the world's history1 this      
volume offers a rapid and clear resume  
of its most important events and        

thrilling scenes4  #e ,,rolf ,,and ,,his
 ,,friends4  ,by ,j ,a ,k1 author of    
,birchwood1 ,fitch ,club1 etc4          
,illustrated1 #abmo4 #a4be4  ,a         
healthful1 stimulating story1 showing   
the advantage that every boy must       
necessarily gain from association with  
intelligent1 progressive young people1  
no matter what their color or condition 
in life may be4 ,the incidents are fresh
 and natural1 the conversations bright  
and piquant1 and the interest well      
sustained1 while incidentally there is a
 valuable leaven of information4  #f    
,,cecil',s ,,knight4  ,by ,e4 ,b4       
,,hollis1 author of ,cecil's ,cousins1  
etc4 ,a story of no impossible knight1  
but of a very real1 natural1 and manly  
boy1 who1 through perseverance1 good    
sense1 and genuine courage1 fought his  
way from poverty to success4            
,illustrated1 #abmo4 #a4be4  ,we        
recommend ',cecil's ,knight' as an      
excellent book to put into a boy's      
hand4--,beacon4  #g ,,red ,,carl4  ,by  

,j4 ,j4 ,,messmer4 ,a story dealing with
 the labor question1 socialism1 and     
temperance1 and one of the best1 all    
points considered1 that treats of these 
subjects popularly4 ,illustrated1 #abmo4
 #a4be4  ,it would be difficult to find 
a healthier1 more stimulating1 and more 
suggestive story to put into the hands  
of the young4   ,for sale by all        
booksellers4  ,,thomas ,y4 ,,crowell    
,,co4      ,,new ,,york4     ,,famous   
,,books ,,for ,,young ,,people4         
,,famous ,,men ,,of ,,science4  ,by     
,,sarah ,k4 ,,bolton4 ,short            
biographical sketches of ,galileo1      
,newton1 ,linnaeus1 ,cuvier1 ,humboldt1 
,audubon1 ,agassiz1 ,darwin1 ,buckland1 
and others4 ,illustrated with #ae       
portraits4 #abmo4 #a4ej4  ,,poor ,,boys 
,,who ,,became ,,famous4  ,by ,,sarah   
,k4 ,,bolton4 ,short biographical       
sketches of ,george ,peabody1 ,michael  
,faraday1 ,samuel ,johnson1 ,admiral    
,farragut1 ,horace ,greeley1 ,william   
,lloyd ,garrison1 ,garibaldi1 ,president

 ,lincoln1 and other noted persons who1 
from humble circumstances1 have risen to
 fame and distinction1 and left behind  
an imperishable record4 ,illustrated    
with #ba portraits4 #abmo4 #a4ej4       
,,girls ,,who ,,became ,,famous4  ,by   
,,sarah ,k4 ,,bolton4 ,a companion book 
to ,poor ,boys ,who ,became ,famous4    
,biographical sketches of ,harriet      
,beecher ,stowe1 ,george ,eliot1 ,helen 
,hunt ,jackson1 ,harriet ,hosmer1 ,rosa 
,bonheur1 ,florence ,nightingale1 ,maria
 ,mitchell1 and other eminent women4    
,illustrated with portraits4 #abmo4     
#a4ej4  ,,famous ,,american ,,authors4  
,by ,,sarah ,k4 ,,bolton4 ,short        
biographical sketches of ,holmes1       
,longfellow1 ,emerson1 ,lowell1         
,aldrich1 ,mark ,twain1 and other noted 
writers4 ,illustrated with portraits4   
#abmo4 #a4ej4  ,,famous ,,american      
,,statesmen4  ,by ,,sarah ,k4 ,,bolton4 
,a companion book to ,famous ,american  
,authors4 ,biographical sketches of     
,washington1 ,franklin1 ,jefferson1     

,hamilton1 ,webster1 ,sumner1 ,garfield1
 and others4 ,illustrated with          
portraits4 #abmo4 #a4ej4  ,,boys' ,,book
 ,,of ,,famous ,,rulers4  ,by ,,lydia   
,,hoyt ,,farmer4 ,lives of ,agamemnon1  
,julius ,caesar1 ,charlemagne1          
,frederick the ,great1 ,richard ,coeur  
de ,lion1 ,robert ,bruce1 ,napoleon1 and
 other heroes of historic fame4 ,fully  
illustrated with portraits and numerous 
engravings4 #abmo4 #a4ej4  ,,girls'     
,,book ,,of ,,famous ,,queens4  ,by     
,,lydia ,,hoyt ,,farmer4 ,a companion   
book to ,boys' ,book of ,famous ,rulers4
 ,lives of ,cleopatra1 ,queen           
,elizabeth1 ,catherine de ,medici1      
,josephine1 ,victoria1 ,eugenie1 etc4   
#abmo1 cloth4 #he illustrations4 #a4ej4 
,,life ,,of ,,la ,,fayette1 the ,knight 
of ,liberty4  ,by ,,lydia ,,hoyt        
,,farmer4 ,a glowing narrative of the   
life of this renowned general1 with #eh 
illustrations4 #abmo4 #a4ej4  ,as a     
large portion of the material presented 
in this volume has been gathered from   

,french works never before translated   
and which are now out of print1 and also
 from original files of newspapers1 and 
various manuscripts written by members  
of the ,la ,fayette family1 a more      
complete life of ,general ,la ,fayette  
is here offered than has before         
appeared1 either in this country or in  
,europe4  ,,the ,,french ,,revolution4  
,pictures of the ,reign of ,terror4  ,by
 ,,lydia ,,hoyt ,,farmer4 ,with #ce     
illustrations4 #abmo4 #a4ej4  ,to those 
who have not the leisure to make an     
exhaustive study of this remarkable     
epoch in the world's history1 this      
volume offers a rapid and clear resume  
of its most important events and        
thrilling scenes4   ,,thomas ,y4        
,,crowell  ,,co41      ,,new ,,york