,,masters ,,in ,,art3 ,,ingres ,illustration3 7cover7 ,,july1 #aijf----;,,ingres----,,price1 #ae ,,cents ,mastersin,art ,a,seriesof,illustrated,monographs ,issued,monthly ,,ingres ,,part #gi----,,volume #g ,batesand,guild,company1 ,publishers #db;,chauncy,street ,boston ,,masters ,,in ,,art ,a ,,series ,,of ,,illustrated ,,monographs3 ,,issued ,,monthly ,,part #gi ,,july1 #aijf ,,volume #g ,ingres ,,contents ,plate ,i4 dipus and the ,sphinx ,louvre1 ,paris ,plate ,,ii4 ,portrait of ,madame de ,senonnes ,museum1 ,nantes ,plate ,,iii4 ,monsieur ,leblanc 7,drawing7 ,bonnat ,collection1 ,bayonne ,plate ,,iv4 ,madame ,destouche 7,drawing7 ,louvre1 ,paris ,plate ,v4 ,the ,stamaty ,family 7,drawing7 ,bonnat ,collection1 ,bayonne ,plate ,,vi4 ,la ,source ,louvre1 ,paris ,plate ,,vii4 ,portrait of ,monsieur ,bertin ,louvre1 ,paris ,plate ,,viii4 ,the ,vow of ,louis ,,xiii ,cathedral1 ,montauban ,plate ,,ix4 ,portrait of ,madame ,devauay ,cond ,museum1 ,chantilly ,plate ,x4 ,the ,apotheosis of ,homer ,louvre1 ,paris ,portrait of ,ingres by ,himself3 ,uffizi ,gallery1 ,florence ,page #bb ,the ,life of ,ingres ,page #bc ,the ,art of ,ingres ,page #bi ,criticisms by ,blanc1 ,lapauze1 ,muther ,the ,works of ,ingres3 ,descriptions of the ,plates and a ,list of ,paintings ,page #ce ,ingres ,bibliography ,page #da ,photo-engravings by ,c4 ,j4 ,peters ,son3 ,boston4 ,press-work by the ,everett ,press3 ,boston ,a complete index for previous numbers will be found in the ,reader's ,guide to ,periodical ,literature1 which may be consulted in any library 99 99 99 99 99 ,,publishers' ,,announcements ,,subscriptions3 ,yearly subscription1 commencing with any number of the #aijf volume1 #a4ej1 payable in advance1 postpaid to any address in the ,united ,states or ,canada4 ,to foreign countries in the ,postal ,union1 #b4jj4 ,as each yearly volume of the magazine commences with the ,january number1 and as indexes and bindings are prepared for complete volumes1 intending subscribers are advised 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#a1 containing ,parts #a to #ab inclusive1 ,volume #b1 containing ,parts #ac to #bd inclusive1 ,volume #c1 containing ,parts #be to #cf inclusive1 ,volume #d1 containing ,parts #cg to #dh inclusive4 ,volume #e1 containing ,parts #di to #fj inclusive1 and ,volume #f1 containing ,parts #fa to #gb inclusive1 bound in brown buckram with gilt stamps and gilt top1 #c4ge each1 postpaid2 bound in green half-morocco1 gilt top1 #d4be each1 postpaid1 ,subscribers' copies of ,volume #a1 ,volume #b1 ,volume #c1 ,volume #d1 ,volume #e1 or ,volume #f will be bound to order in buckram1 with gilt stamps and gilt top1 for #a4ej each2 or in half-morocco1 gilt top1 for #b4jj each4 ,indexes and half-titles for binding ,volumes #a1 #b1 #c1 #d1 #e1 and #f supplied on application4 ,,bates ,,guild ,,company1 ,,publishers #db ,,chauncy ,,street1 ,,boston1 ,,mass4 #a4;,,ad4#g4jf4 ,entered at the ,boston ,post-office as ,second-class ,mail ,matter4 ,copyright1 #aijf1 by ,bates ,guild ,company1 ,boston ,masters in ,art ,a ,series of ,illustrated ,monographs ,among the artists to be considered during the current1 #aijf1 ,volume may be mentioned1 ,ghirlandajo1 ,bouguereau1 and ,goya4 ,the numbers of ',masters in ,art' which have already appeared in #aijf are3 ,part #gc1 ,,january ,,stuart ,part #gd1 ,,february ,,david ,part #ge1 ,,march ,b,,cklin ,part #gf1 ,,april ,,sodoma ,part #gg1 ,,may ,,constable ,part #gh1 ,,june ,,metsu ,part #gi1 ,,july ,,ingres ,,part #hj1 ,,the ,,issue ,,for ,august ,,will ,,treat ,,of ,wilkie 99 99 99 99 99 ,,numbers ,,issued ,,in ,,previous ,,volumes ,,of ',,masters ,,in ,,art' ,,vol4 #a4 ,part #a1 ,,van ,,dyck ,part #b1 ,,titian ,part #c1 ,,velasquez ,part #d1 ,,holbein ,part #e1 ,,botticelli ,part #f1 ,,rembrandt ,part #g1 ,,reynolds ,part #h1 ,,millet ,part #i1 ,,gio4 ,,bellini ,part #aj1 ,,murillo ,part #aa1 ,,hals ,part #ab1 ,,raphael ,,vol4 #b4 ,part #ac1 ,,rubens ,part #ad1 ,,da ,,vinci ,part #ae1 ,d,,rer ,part #af1 ,,michelangelo,a ,part #ag1 ,,michelangelo,b ,part #ah1 ,,corot ,part #ai1 ,,burne-,,jones ,part #bj1 ,,ter ,,borch ,part #ba1 ,,della ,,robbia ,part #bb1 ,,del ,,sarto ,part #bc1 ,,gainsborough ,part #bd1 ,,correggio ,footnote ,a3 ,sculpture ,footnote ,b3 ,painting ,,vol4 #c4 ,part #be1 ,,phidias ,part #bf1 ,,perugino ,part #bg1 ,,holbein,c ,part #bh1 ,,tintoretto ,part #bi1 ,p4 de,h,o,o,c,h ,part #cj1 ,,nattier ,part #ca1 ,,paul ,,potter ,part #cb1 ,,giotto ,part #cc1 ,,praxiteles ,part #cd1 ,,hogarth ,part #ce1 ,,turner ,part #cf1 ,,luini ,footnote ,c3 ,drawings ,,vol4 #d4 ,part #cg1 ,,romney ,part #ch1 ,,fra ,,angelico ,part #ci1 ,,watteau ,part #dj1 ,,raphael,d ,part #da1 ,,donatello ,part #db1 ,,gerard ,,dou ,part #dc1 ,,carpaccio ,part #dd1 ,,rosa ,,bonheur ,part #de1 ,,guido ,,reni ,part #df1 ,p4 de,c,h,a,v,a,n,n,e,s ,part #dg1 ,,giorgione ,part #dh1 ,,rossetti ,footnote ,d3 ,frescos ,,vol4 #e4 ,part #di1 ,,bartolommeo ,part #ej1 ,,greuze ,part #ea1 ,d,,rer,e ,part #eb1 ,,lotto ,part #ec1 ,,landseer ,part #ed1 ,,vermeer ,part #ee1 ,,pintoricchio ,part #ef1 ,,the ,,van ,,eycks ,part #eg1 ,,meissonier ,part #eh1 ,,barye ,part #ei1 ,,veronese ,part #fj1 ,,copley ,footnote ,e3 ,engravings ,,vol4 #f4 ,part #fa1 ,,watts ,part #fb1 ,,palma ,,vecchio ,part #fc1 ,,vig,e ,,le ,,brun ,part #fd1 ,,mantegna ,part #fe1 ,,chardin ,part #ff1 ,,benozzo ,part #fg1 ,,jan ,,steen ,part #fh1 ,,memling ,part #fi1 ,,claude ,part #gj1 ,,verrocchio ,part #ga1 ,,raeburn ,part #gb1 ,,filippo ,,lippi ,,all ,,the ,,above ,,named ,,issues ,,are ,,constantly ,,kept ,,in ,,stock ,prices on and after ,january #a1 #aijf3 ,single numbers of back volumes1 #bj cents each4 ,single numbers of the current #aijf volume1 #ae cents each4 ,bound volumes #a1 #b1 #c1 #d1 #e1 and #f1 containing the parts listed above1 bound in brown buckram1 with gilt stamps and gilt top1 #c4ge each2 in green half-morocco1 gilt stamps and gilt top1 #d4be each4 99 99 99 99 99 ,the ,temple at ,pstum ,illustration ,this facsimile reproduction of the water-color by ,hubert ,g4 ,ripley was made for a special feature of ,the ,architectural ,review4 ,it is #g #i1 and will be appreciated by every one interested in ,greek architecture4 ,we had one hundred extra reproductions made and offer them to ,,masters ,,in ,,art subscribers for #ej cents each1 postpaid4 ,the above illustration gives no idea of the fine color effect of the print1 which the artist has approved as being a perfect reproduction of the original painting4 ,we cannot too strongly recommend our readers to secure a print for framing4 ,,bates ,,guild ,,co4 ,publishers #db ,chauncy ,street1 ,boston1 ,mass4 99 99 99 99 99 ,illustration3 ,,red ,,cedar ,,chests ,protect your furs and fine clothing during the early ,spring and ,summer from moths and insects4 ,use a ,piedmont ,red ,cedar ,chest--dust and moth proof4 ,a beautiful ,wedding or ,birthday present4 ,shipped from factory to your home on approval1 freight prepaid4 ,write for booklet and factory prices4 ,,piedmont ,,furniture ,,co41 ,dept4 #e1 ,statesville1 ,n4 ,c4 99 99 99 99 99 ,illustration ,,seashore ,,lake ,,and ,,mountain ,,resorts of ,,eastern ,,northern ,,new ,,england and the ,,maritime ,,provinces ,,reached ,,by ,,the ,,boston ,,and ,,maine ,,railroad ,illustrated descriptive pamphlets 7containing complete maps7 have been issued under the following titles and will be mailed upon receipt of #b in stamps for each book4 ,,all ,,along ,,shore,,among ,,the ,,mountains,,lakes ,,and ,,streams,,to ,,the ,,fish ,,and ,,game ,,country ,,of ,,new ,,england ,,canada ,,and ,,the ,,maritime ,,provinces,,merrimack ,,valley,,lake ,,sunapee,,vacation ,,days ,,in ,,southern ,,new ,,hampshire ,,lake ,,memphrem,,gog ,,portfolios ,,mountains ,,of ,,new ,,england ,,seashore ,,of ,,new ,,england ,,rivers ,,of ,,new ,,england ,,lakes ,,of ,,new ,,england ,,picturesque ,,new ,,england ,,historic ,,miscellaneous ,,the ,,charles ,,river ,,to ,,the ,,hudson4 ,,will ,,be ,,sent ,,upon ,,receipt ,,of #f ,,cents ,,for ,,each ,,book4 ,,resorts ,,for ,,the ,,vacationist ,illustrated ,,free ,,vacation ,,excursion ,,rates ,,and ,,tours ,,free ,,colored ,,bird',s ,,eye ,,view ,,from ,,mt4 ,,washington ,,colored ,,bird',s ,,eye ,,view ,,of ,,lake ,,winnipesaukee ,,sent ,,on ,,receipt ,,of #f ,,for ,,each4 #bj ,,post ,,cards ,,of ,,new ,,england ,,scenery ,,on ,,boston ,,and ,,maine ,,sent ,,on ,,receipt ,,of #cj ,,cents ,,in ,,stamps ,for ,all ,publications ,apply ,to ,,passenger ,,department ,b,m4 ,r4,r4 ,,boston ,,mass4 ,d4,j4 ,,flanders1 ,,gen',l ,,pass',r ,,ticket ,,agent ,in answering advertisements1 please mention ,,masters ,,in ,,art ,illustration ,,masters ,,in ,,art ,ingres ,,french ,,school ,illustration3 ,,masters ,,in ,,art ,,plate ,i ,,ingres ,,dipus ,,and ,,the ,,sphinx ,,louvre1 ,,paris ,illustration3 ,,masters ,,in ,,art ,,plate ,,ii ,,ingres ,,portrait ,,of ,,madame ,,de ,,senonnes ,,museum1 ,,nantes ,,photograph ,,by ,,braun1 ,,cl,,ment ,,cie ,illustration3 ,,masters ,,in ,,art ,,plate ,,iii ,,ingres ,,monsieur ,,leblanc 7,,drawing7 ,,bonnat ,,collection1 ,,bayonne ,,photograph ,,by ,a4 ,,giraudon ,illustration3 ,,masters ,,in ,,art ,,plate ,,iv ,,ingres ,,madame ,,destouche 7,,drawing7 ,,louvre1 ,,paris ,,photograph ,,by ,a4 ,,giraudon ,illustration3 ,,masters ,,in ,,art ,,plate ,v ,,ingres ,,the ,,stamaty ,,family 7,,drawing7 ,,bonnat ,,collection1 ,,bayonne ,illustration3 ,,masters ,,in ,,art ,,plate ,,vi ,,ingres ,,la ,,source ,,louvre1 ,,paris ,,photograph ,,by ,,braun1 ,,cl,,ment ,,cie ,illustration3 ,,masters ,,in ,,art ,,plate ,,vii ,,ingres ,,portrait ,,of ,,monsieur ,,bertin ,,louvre1 ,,paris ,,photograph ,,by ,,braun1 ,,cl,,ment ,,cie ,illustration3 ,,masters ,,in ,,art ,,plate ,,viii ,,ingres ,,the ,,vow ,,of ,,louis ,,xiii ,,cathedral1 ,,montauban ,,photograph ,,by ,,braun1 ,,cl,,ment ,,cie ,illustration3 ,,masters ,,in ,,art ,,plate ,,ix ,,ingres ,,portrait ,,of ,,madame ,,devau,,ay ,,cond ,,museum1 ,,chantilly ,,photograph ,,by ,,braun1 ,,cl,,ment ,,cie ,illustration3 ,,masters ,,in ,,art ,,plate ,x ,,ingres ,,the ,,apotheosis ,,of ,,homer ,,louvre1 ,,paris ,,photograph ,,by ,,braun1 ,,cl,,ment ,,cie ,illustration3 ,,portrait ,,of ,,ingres ,,by ,,himself ,,uffizi ,,gallery1 ,,florence ,this portrait was painted when ,ingres was seventy-five4 ,he has been described at that time as strong and vigorous1 short of stature1 thick-set1 and ill-proportioned4 ,his complexion was sallow1 his cheek-bones prominent1 his eyes dark and keen1 his eyebrows slight and contracted in a frown1 his nose seemingly short because of the great length of his upper lip4 ,his hair was short and stiff1 and worn parted like a woman's4 ,his appearance1 it was said1 suggested a retired man of business1 or a curate in citizen's clothes1 rather than an artist with whom the love of beauty amounted to a passion4 ,jean-,auguste-,dominique ,ingres ,,born #aghj3 ,,died #ahfg ,,french ,,school ,jean-,auguste-,dominique ,ingres 7pronounced ,anggr7 was born at ,montauban in the south of ,france1 on ,august #bi1 #aghj4 ,his father1 ,jean-,marie-,joseph ,ingres1 was by profession a house-decorator1 with talents so versatile that he was also to some extent painter1 sculptor1 architect1 and musician as well4 ,it was he who gave the first instruction in drawing and in music to his son1 who1 from the outset1 showed so much ability in both that it was a question which should be adopted as his life-work4 ,apparently the boy received but little schooling1 but before he was twelve years old had acquired such proficiency as a violinist that he was accepted as a member of the orchestra of the theater of ,toulouse1 where on one memorable occasion he played a concerto by ,viotti so skilfully that it called forth hearty applause4 ,deeming music to be more remunerative than painting1 his parents wished him to devote himself to it professionally4 ,this did not1 however1 prevent their sending him to the painter ,vigan1 in ,toulouse1 for instruction in drawing1 and under his guidance ,ingres followed the course prescribed by the ,academy of that city1 in which ,vigan was a professor4 ,later he entered the studio of ,roques1 a painter who had been associated in ,rome with ,vien and ,david1 but who1 while adhering to their doctrines1 had devoted much time to copying the works of the great ,italians of the ,renaissance4 ,the sight of these copies--above all1 of one of ,raphael's ',madonna of the ,chair'--revealed to ,ingres his true vocation1 and thenceforth no doubt existed in his mind that he would devote his life to art4 ,whatever disappointment his parents may have felt to have the matter so decided1 no opposition was made to his determination1 and after a brief period of study under a landscape-painter--,briant1 or1 as ,m4 ,mommja says1 ,bertrand1 by name--he started for ,paris4 ,there he soon obtained admission to the studio of ,jacques-,louis ,david1 then the acknowledged leader of the school of painting in ,france4 ,this was in #agif1 and for the next four years ,ingres worked diligently and with such effect that before long he was recognized as one of ,david's most promising pupils4 ,a proof of his master's appreciation of his ability is the fact that when called upon to paint a portrait of ,madame ,rcamier 7see ,,masters ,,in ,,art1 ,part #gd1 ,vol4 #g7 ,david selected his young pupil ,ingres to assist him in the work4 ,but harmony between master and pupil was of short duration1 and although to the end of his life ,ingres spoke with admiration of the great ,david and his great school1 asserting that his teaching was established on the severest and the truest principles1 friction arose between them1 so that in the competition for the grand prize of ,rome in #ahjj1 ,ingres1 unjustly it was said1 was awarded but the second prize4 ,in the following year ,david's jealousy was aroused by the praise bestowed by the ,english sculptor ,flaxman upon the composition by ,ingres of ',achilles and the ,ambassadors of ,agamemnon1' which won for its author the grand prize of ,rome4 ,although the young painter was now entitled to a sojourn of five years in ,italy1 such was the reduced state of the ,french national finances that his departure for ,rome was indefinitely postponed4 ,in the meantime he was accorded a studio in the deserted convent of the ,capuchins in ,paris1 where with several other artists he pursued his studies4 ,poor and without commissions1 save a few chance orders1 or a stray job for some bookseller1 ,ingres worked assiduously at drawings and studies in color1 producing also a number of works which have since become famous--a portrait of his father1 one of himself at twenty-four 7now at ,chantilly71 portraits of ,monsieur and ,madame ,rivire 7in the ,louvre71 ',la belle ,zlie' 7,rouen ,museum71 two portraits of ,napoleon ,bonaparte1 and others1 in which1 as ,delaborde has said1 he showed1 as boldly and forcibly as at the end of his career1 all the strong1 realistic qualities which form the basis of his art4 ,at length1 in #ahjf1 he was enabled to go to ,italy1 where he remained for eighteen years1 during the first five of which he was a pensioner of the ,french ,academy in ,rome1 then established in the ,villa ,medici4 ,he now found himself able to study at the fountainhead both ancient and ,renaissance art1 and was transported by the beauty of the works of the sixteenth-century ,italian painters--especially by those of ,raphael1 whom he always regarded as the greatest of all masters4 ,ingres' work gained steadily in strength and vigor1 and his individuality developed rapidly4 ,departing from the cold formalism of ,david1 he turned to nature for his inspiration and gave a greater semblance of life to his figures than was in strict accordance with the code of the classicists4 'dipus and the ,sphinx1' the first work sent by him from ,rome to ,paris1 gave evidence that the young pensioner of the ,french ,academy was already in possession of his powers1 and that however severely he might be criticized for the singularity of his works1 he was undoubtedly some one to be counted with4 ,soon after painting his 'dipus' he began the ',venus ,anadyomene' which was finished many years later4 ,these works were followed by some of his finest portraits1 and1 in #ahaa1 he completed ',jupiter and ,thetis1' a large canvas now in the ,museum of ,aix4 ',romulus and ,acron' and ',virgil reading the neid' followed2 then came ',the ,betrothal of ,raphael1' ',don ,pedro kissing the ,sword of ,henry ,,iv4'1 ',the ,sistine ,chapel1' and ',the ,large ,odalisque4' ',the ,death of ,leonardo da ,vinci' and ',henry ,,iv4 and the ,spanish ,ambassador' were painted in #ahag2 ',roger liberating ,angelica' and ',francesca da ,rimini' were finished two years later4 ,but whatever the subject or the treatment1 none of his works found favor in ,france4 ,the classicists looked upon him as a renegade from their ranks1 and1 strangely enough1 it was only by ,delacroix and a few others of the so-called romanticists 7regarded by ,ingres with openly expressed abhorrence7 that the merit of his works seems at that time to have been recognized4 ,as year after year passed by1 and neither reputation nor money rewarded his efforts1 the cold indifference and neglect of his country were keenly felt by him4 ,he was1 however1 so firmly convinced that his methods were the true ones--that for an attainment of the highest style an artist must turn to nature1 and that color and effect should be wholly subordinate to beauty of line--that1 even when sore pressed and in the utmost need1 he never deviated from his path in order to cater to popular prejudice and prevailing taste4 ,i count on my old age to avenge me1 he used to say4 ,in #ahac1 when he was thirty-three1 ,ingres married a young ,french woman1 ,madeleine ,chapelle by name1 who1 in a rather business-like way1 had gone to ,rome from her home in ,montauban at the invitation of some relatives living in ,italy with whom ,ingres had become well acquainted1 for the express purpose of becoming the artist's wife4 ,the marriage was a congenial and perfectly happy one4 ,madame ,ingres seems from the first to have felt firm faith in her husband's genius1 and he owed much to her unfailing courage and devotion4 ,the burden of his poverty was cheerfully assumed by her2 all petty annoyances1 as well as serious anxieties1 were kept from his knowledge so far as was possible1 and with no thought but of his well-being and his peace of mind1 his wife shared his trials and lightened his cares4 ,it was at this period that ,ingres1 in order to earn money enough for their daily bread1 executed for slight remuneration many of those marvelous little portraits in lead-pencil 7see plates ,,iii1 ,,iv1 and ,v7 which are so exquisite in touch1 so perfect in their purity of line1 that they place him on a level with the most consummate draftsmen of all times4 ,he himself seems to have regarded these little masterpieces1 for they are nothing less1 merely as pot-boilers1 and to have even experienced a certain sense of humiliation that his art should perforce be turned into a channel so trivial in his eyes compared with the great works his brush longed to paint4 ,the story is told of a gentleman who one day knocked at the door of his modest studio in ,rome1 and when ,ingres himself appeared1 asked timidly1 ,does the artist live here who draws portraits in lead-pencil8 ,no1 sir1 was the angry reply2 he who lives here is a painter1 and the door was slammed in the face of the astonished visitor4 ,yet that he did appreciate their artistic excellence is clear from the fact that when in #ahee it was proposed to hang a row of these drawings below the paintings in his exhibition of that year1 he objected4 ,no1 he said1 people would look only at them4 ,in #ahbj1 after painting for one of the churches in ,rome a large picture representing ',christ giving the ,keys to ,st4 ,peter' 7now in the ,louvre71 ,ingres left ,rome1 and1 in the hope of better fortune than had so far attended him in ,italy1 settled in ,florence4 ,his friend and former fellow-pupil in ,david's studio1 the sculptor ,bartolini1 was then living there1 and did all in his power to assist him2 but ,bartolini's kindness served to only alleviate1 not to overcome1 the hardships of this residence in a city where ,ingres was all but unknown1 and where he was without even the scanty means of support afforded by the sale of his pencil portraits1 which in ,rome had been in demand by the strangers constantly passing through that city4 ,he and his wife were indeed so poor that often they had not money enough to buy the necessary food4 ,and yet at the time of their greatest distress he bravely rejected the proposition of a wealthy ,englishman to go to ,england1 where a fortune would be assured him by the execution of portraits in lead-pencil4 ,the work that chiefly occupied the artist in ,florence was completing a picture entitled ',the ,entry of ,charles ,v4 into ,paris1' and in filling an order received from the ,french ,administration of the ,fine ,arts for a large picture for the ,cathedral of ,montauban1 representing ',the ,vow of ,louis ,,xiii4' ,when at work upon this painting he received a visit one day from ,delcluze1 another fellow-pupil in the ,david studio1 who1 passing through ,florence1 had hunted up his old friend4 ,delcluze was struck by the imposing character of the picture1 and urged the artist1 who was discouraged and disheartened and talked of abandoning the work altogether1 to complete it and send it to ,paris4 ,this was done1 and when1 a year later1 ',the ,vow of ,louis ,,xiii4' was exhibited at the famous ,salon of #ahbd ,ingres had the gratification of knowing that at last recognition had come to him4 ,the picture met with universal approbation1 and ,ingres1 who now returned to ,france after a self-imposed exile of eighteen years1 became suddenly famous4 ,at ,montauban he was received with enthusiasm2 in ,paris he was decorated with the badge of the ,legion of ,honor1 and in the following year1 #ahbe1 was elected to the ,institute of ,france4 ,the ,french government now commissioned him to execute a ceiling decoration for one of the galleries of the ,louvre4 ,the result was ',the ,apotheosis of ,homer1' the greatest of all his subject-pictures4 ,this was in #ahbg1 and from then on ,ingres was looked upon as a leader of the ,french school--a chef d'cole4 ,his studio was thronged with pupils as ,david's once had been--the two ,flandrins1 ,amaury-,duval1 ,chassriau1 ,lehmann1 ,pichon1 and the brothers ,balze were among the number--and with authority only less despotic than that of his former master1 he ruled the band of young artists who regarded him with such admiration and reverence that they brooked no adverse criticism of him whom they felt to be the deliverer from the bondage of the severe classicism of ,david1 and1 at the same time1 the opponent of that romantic reaction which was daily growing in power under the leadership of ,eugne ,delacroix4 ,ingres himself was vehement in his denunciation of this new movement1 which1 diametrically opposed to the academic and the classic1 rated freedom of expression and the representation of dramatic and emotional themes as superior to formal composition and impersonal1 statuesque art1 and held that beauty of color was of greater pictorial importance than purity of line4 ,his animosity to ,delacroix1 then the leader of the romanticists1 knew no bounds4 ,he regarded him as a follower of the evil one1 and could not hear his name mentioned with equanimity4 ,ingres was violent and prejudiced by nature1 and holding as he did that drawing was the probity of art1 and that painting was but a development of sculpture1 he felt that the kind of art practised by ,delacroix and his school was nothing short of blasphemous4 ,this feeling of hostility was fully reciprocated by the romanticists4 ,party feeling ran high and was increased by the intense partisanship shown to their leaders by the students and younger painters belonging to the opposing factions4 ,in #ahcd ,ingres' great canvas ',the ,martyrdom of ,st4 ,symphorien' was exhibited at the ,salon4 ,the reception accorded it was far from what its author1 who regarded it as one of his finest achievements1 had counted on4 ,filled with anger and resentment that the same cold indifference that had greeted his early efforts was shown this picture1 ,ingres1 in disgust1 resolved to work no more for the unappreciative public1 and gladly accepted the offer of the directorship of the ,french ,academy in ,rome4 ,during his second sojourn in ,italy he produced but few works4 ',the ,virgin of the ,host1' a portrait of ,cherubini1 a small version of the ',odalisque1' and a picture of ',stratonice' are the principal pictures of this period4 ,his duties as ,director of the ,academy were conscientiously fulfilled1 and in the congenial atmosphere of ,rome1 surrounded by his pupils1 seven years passed4 ,in #ahda1 his picture of ',stratonice1' painted for the ,duke of ,orleans1 and now at ,chantilly1 was sent from ,rome to ,paris and exhibited at the ,palais ,royal4 ,the reception it met with was highly favorable1 and decided its author to return once more to his own country4 ,arrived in ,paris1 ,ingres was received with all due deference2 a banquet was given in his honor1 at which painters1 sculptors1 and musicians united in showing him their admiration and respect4 ,delacroix alone was conspicuous by his absence4 ,a portrait of the ,duke of ,orleans was one of the first works executed by ,ingres after his return1 and before long he received the flattering commission from the ,duke of ,luynes to decorate with two great mural paintings the large hall of that nobleman's chteau at ,dampierre4 ,for many years this work continued1 ,ingres and his wife spending several weeks each spring as guests of the ,duke of ,luynes in order that the painter might pursue his labors under the most favorable conditions4 ,the subjects to be portrayed were ',the ,iron ,age' and ',the ,golden ,age1' but an unfortunate combination of circumstances prevented the completion of either one4 ,at first ,ingres worked with enthusiasm1 but as time went on his ardor cooled4 ,misunderstandings arose between the duke and the painter1 and when1 in #ahdi1 the wife1 who for nearly forty years had been his faithful and devoted companion1 died1 ,ingres lost all heart to go on with the task1 and the contract with the ,duke of ,luynes was canceled4 ,his wife's death left him desolate4 ,he worked as diligently as ever1 but his loneliness preyed upon him1 and1 embittered as he was by the struggles and privations of his early life1 he could ill bear the loss of one on whom he had learned to depend for comfort and counsel4 ,his friends all urged him to marry again1 and accordingly1 in #aheb1 he married ,mademoiselle ,delphine ,ramel1 some thirty years younger than he and the niece of one of his closest friends1 and found in her a devoted companion who cheered his closing years4 ,in #ahec his most important work was ',the ,apotheosis of ,napoleon ,i41' painted for the ceiling of a hall in the ,htel de ,ville1 ,paris1 a work that was destroyed by the communards in #ahga4 ,at the ,universal ,exposition held in ,paris in #ahee1 the master1 then seventy-five years of age1 consented to exhibit a collection of his works4 ,a room was reserved for them exclusively1 and the impression they produced was such that ,prince ,napoleon1 president of the jury1 proposed an exceptional reward for the painter1 who was named by the emperor ,grand ,officer of the ,legion of ,honor4 ,in the following year ,ingres completed one of his most beautiful and most famous works1 known as ',la ,source4' ,begun many years before1 this picture is the culmination1 so to speak1 of his genius1 the crowning-point of his task1 his final word4 ,after years of disappointed hopes1 of struggle and of neglect1 the artist now in his old age rested secure in the glory which was his at last4 ,after the completion of ',la ,source' ,ingres occupied himself chiefly in finishing many of the studies made in his younger days1 and in painting replicas of several of his pictures4 ,in #ahfb1 when over eighty1 he completed a large canvas1 commissioned many years before by ,queen ,marie ,amlie1 wife of ,louis ,philippe4 ,this work1 representing ',christ among the ,doctors1' is now in the ,museum of ,montauban1 to which the artist bequeathed it at his death1 together with his painting of ',ossian's ,dream1' a collection of his drawings and studies1 as well as marbles1 bronzes1 medals1 vases1 pictures1 books and engravings1 his favorite pieces of furniture1 his easel1 palette1 brushes1 and his famous violin on which almost to the last he played with unusual skill4 ,in the same year that saw the completion of his ',jesus among the ,doctors' an exposition was held in his honor at ,montauban1 when ,ingres1 who was present on the occasion1 was greeted with an ovation by his fellow-townsmen1 who presented him with a crown of gold4 ,not long afterwards he received news of his appointment as a senator of ,france--a flattering testimony to his genius and the highest dignity which had ever been accorded an artist in that country4 ,ingres' last years passed peacefully4 ,his great delight was in his work and in music4 ,early in ,january1 #ahfg1 he became absorbed in a plan of hearing in his own home before he died some of the music of the composers he most deeply cared for--,gluck1 ,haydn1 ,beethoven1 and ,mozart4 ,a chamber concert was accordingly arranged1 and a number of his special friends were invited to the festival1 which opened with a grand dinner4 ,ingres--,father ,ingres1 as he was called--was in the best of spirits1 and1 notwithstanding his advanced age1 seemingly in the best of health4 ,although too old to himself play on his violin1 he had lost none of his keen enjoyment of music1 and on this occasion his enthusiasm was that of youth4 ,he listened enraptured to the works of his favorite composers played by some of the most skilled musicians of ,paris1 and finally begged that before the evening was over he might hear the concerto by ,viotti which1 as a boy of twelve1 he had played in the theater at ,toulouse4 ,during the night following this memorable little concert ,ingres was awakened by the fall of a burning log from the fireplace to the floor of his chamber4 ,instead of ringing for a servant1 he himself restored the log to its place and opened the window to free the room from smoke4 ,in the few moments this occupied he took a severe cold4 ,a cough developed1 and one week later1 on ,january #ad1 #ahfg1 he died1 in the eighty-seventh year of his age4 ,his funeral was held three days afterwards4 ,an immense crowd followed the hearse which conveyed his remains from his home on the ,quai ,voltaire1 ,paris1 to the ,church of ,st4 ,thomas ,aquinas1 where the services were held1 and thence to the cemetery of ,pre-,lachaise1 where he was laid to rest4 ,in addition to the honors which had been conferred upon ,ingres by his own country1 he had been elected a member of the ,academies of ,florence1 ,amsterdam1 ,antwerp1 ,berlin1 and ,vienna2 had been made a ,chevalier of the ,order of ,civil ,merit of ,prussia2 a ,commander of the ,order of ,leopold of ,belgium2 a ,chevalier of the ,order of ,st4 ,joseph of ,tuscany2 and had received the grand cross of the ,order of ,guadaloupe4 ,the ,art of ,ingres ,,charles ,,blanc ',,gazette ,,des ,,beaux-,,arts' #ahfh ,we have heard eminent artists1 who in other respects admired ,ingres1 deplore the influence he exercised upon the ,french school of painting by reason of the despotic nature of his teaching and the fact that his eccentric sayings1 regarded as they were as oracular1 unfortunately carried with them in the eyes of his prejudiced followers all the weight of serious opinions4 ,such criticism has given us food for thought1 and it is not without having duly considered it that we now express our views regarding ,ingres and the rle he played as leader of the ,french school4444 ,the violent reaction of the romanticists against the too-sculptural tendencies of ,david led1 as all reactions do lead1 to another extreme4 ,arriving in ,france1 as he did after his sojourn in ,italy1 in the midst of the fray1 ,ingres saw with astonishing clearness in what respects the school of ,david had erred1 and also what justice there was at bottom in the revolt of the romanticists4 ,he saw that in a generalization of form1 in an adoption of the type of statues1 of the ,greek profile1 and of sculpturesque draperies1 a cold and conventional quality had been imparted to the painting of his former co-disciples4 ,struck by what was natural1 interesting1 and essentially nave in the work of the ,italian artists of the fifteenth century1 he felt that true style was only to be obtained from a profound study of nature1 which alone produces an endless variety of forms2 that any general type of beauty must be modified by a reference to the individual--if need be1 even by characteristic ugliness--and that1 finally1 universal truth could be attained only by a treatment of individual truth4 ,in this he was more of a painter than ,david2 he reformed the reform of his master4 ,ingres1 then1 was the first to have a conception of actual truth2 the first to know that in art the ideal is the quintessence of the real2 that style should be derived not from erudition1 but from life2 that it may be acquired from the most commonplace models2 that it must be human4444 ,in leading the ,french school back to a study of nature1 he purged it from two evils1 called in the language of the studios chic and poncif4 ,the first signifies the fashion of painting from memory1 from practice1 without consulting nature4 ,the second signifies the habit of repeating forms learned by heart4 ,from these two banes of art ,ingres delivered painting in ,france1 thereby rendering it an inestimable service4 ,while giving satisfaction to the romanticists in recognizing that their reaction was to some extent justifiable1 he perceived at the same time1 and just as clearly1 that romanticism was a return to the decadence4 ,indeed1 since it had burst into being1 only those painters were admired who1 essentially imitators1 were called in ,italy naturalisti4 ,caravaggio1 ,ribera1 ,guercino1 ,zurbaran1 ,manfredi1 ,solimena--all were lauded4 ,nothing was talked of but solid painting1 solidity of technique1 painting with a full brush4 ,the sublime beauties of fresco were forgotten1 as were the men who had found expression in the grand1 the universal art of design4 ,it seemed1 forsooth1 as if art had begun in the seventeenth century1 for in the estimation of these innovators the first of all masters1 after ,veronese1 was ,rubens1 and according to them ,rubens had but one equal--,rembrandt4 ,what they admired in ,rembrandt1 however1 was not exactly his genius1 his poetic invention1 and the delicacy of his marvelously expressive drawing2 but the freedom1 the boldness1 of his style1 the so-called secrets of his etchings1 the intensity of his famous lights1 contrasting with the transparency of his underpainting--all the alchemy of his mysterious methods4 ,from these departures from the established methods of the ,french school ,ingres in his turn reacted1 and as he was convinced that he was right and was by nature violent1 he reacted with conviction and with violence4 ,he loved nature but not naturalism4 ,he was willing that his pupils should salute ,rubens1 but they must not pause before him in the ,louvre1 but pass on to ,perugino1 ,raphael1 ,leonardo da ,vinci1 ,fra ,bartolommeo1 ,andrea del ,sarto4 ,all beautiful variations of color were to his mind inferior to the eloquence of form4 ,the affectation of searching for effect seemed to him a means of degrading painting to the level of the theatrical4 ,to the decorators of ,venice he preferred the draftsmen of ,florence2 to ,delacroix1 he preferred ,ingres4 ,thus the painter of ',the ,vow of ,louis ,,xiii4' and of ',st4 ,symphorien' stood half way between the cold idealism of the classicists and the brutal realism of the romanticists4 ,it is but just to say1 however1 that in his teaching ,ingres was wholly one-sided1 thinking no doubt that to gain a little1 much must be demanded4 ,in teaching that drawing is everything1 that all may be expressed by line1 even smoke1 he tended towards painting without relief1 devoid of all planes4 ,by dint of preaching austerity of tone and training his pupils to beware of colorists1 he veiled his whole school in gray4 ,the logical outcome of this was to drive painting into an extreme directly opposed to that which he wished to avoid2 that is to say1 into the dryness of sharply defined contours and a contempt for methods purely picturesque4 ,such was unquestionably the harmful side of ,ingres' influence4 ,but1 on the other hand1 it was he who taught1 by his works even more than by his words1 that nature is idealized by freeing her from all unimportant details1 by selecting only her significant traits2 that in order not to petrify forms by generalizing them1 we must simplify types by individual characteristics taken directly from life2 that drawing1 which appeals to the heart1 is superior to color1 which pleases the eye2 that nude figures are more beautiful than clothed2 that drapery is more artistic than costume2 that the portrayal of human passions1 in that they are eternal1 is superior to any ethnographical representation of changing manners4 ,in a word1 that there is a higher and a lower order of art4444 ,so powerful was the influence of this great artist as leader of the ,french school that it extended to all branches of art4 ,painting1 sculpture1 engraving1 even architecture and music1 were affected by his love of the great1 his feeling for the beautiful4 ,he cared for and he advocated what is everywhere purest and finest3 ,greek art of the most perfect periods1 the marbles of ,phidias1 the frescos of ,raphael1 the engravings of ,marcantonio1 the music of ,gluck and of ,mozart1 the poetry of ,homer4 ,as a painter ,ingres was no doubt unequal1 but he was always admirable in some respect and always a master1 even in his faults4 ,vast compositions were beyond the powers of his imagination1 whose fire burned but briefly4 ,it was only with difficulty and after many changes and hesitations that he was able to compose his pictures1 but the composition was achieved with a severe taste and a sure touch1 and was founded on some tradition carefully chosen and faithfully carried out4 ,his short-breathed genius excelled above all in compositions of only one or two figures1 such as 'dipus1' ',the ,bather1' ',la ,source1' ',venus ,anadyomene4'444 ,drawing was the strongest point of ,ingres' genius1 and in it the most diverse qualities are manifested3 sometimes it is exquisitely delicate and nave1 sometimes keen and incisive1 as in his sketches which are incomparable in what might be called their flavor2 sometimes bold1 magistral1 and striking1 sometimes violent and fierce1 sometimes suave1 tender1 and voluptuous4 ,color and chiaroscuro were his vulnerable points4 ,his pictures often lack atmosphere1 depth1 and picturesque quality4 ,the tendency1 however1 to impart a gray tone to his canvas1 the monotony of his palette1 was not a mistake of which he was guilty throughout his career4 ,if he did not possess that orchestration of color which was the supreme gift of ,eugne ,delacroix1 he nevertheless shows some charming subtleties and happy variations in his local tones4 ,finally1 as regards ,ingres' touch1 it is supple and light1 delicate without being thin1 expressive and unlabored in his painting of the nude1 and exceedingly skilful in the rendering of accessories and of all that calls for elegance in execution4 ,his portraits1 notably those of women1 are striking proofs of this4 ,ingres will live forever because he frequently approaches ,raphael in the beauty of his drawing1 because1 if inferior to ,poussin in expression through ordonnance1 he is sometimes his superior in expression through gesture1 as also in his search for and attainment of beauty4 ,and he will live because he has rivaled ,holbein in portraiture1 surpassed ,david in style1 equaled ,prud'hon in grace1 and created certain forms which in their grandeur seem to be descended from the frescos of ,michelangelo4 ,yes1 whatever may be the inconstancy of fame1 whatever may be the ideas which are to govern future generations1 it may be affirmed that ,jean-,auguste-,dominique ,ingres will never be deposed from the place which he won by a hard struggle1 by the force of his genius--a place that is not only on a plane with the painters who have given luster to the ,french school1 but near those who have been the glory of the ,renaissance4--,,abridged ,,from ,,the ,,french ,,henry ,,lapauze ',m,,langes ,,sur ,l',,art ,,fran,,ais' ,the term realist1 as applied to ,ingres1 requires explanation1 for since his day times have changed1 and we now rank him among the idealists1 or1 to speak more correctly1 among the classicists4 ,certain ,philistines would even go so far as to accuse him of being bound down to a formula2 that is to say1 of being conventional in his manner of painting1 although this was the very thing against which he rebelled so vehemently in ,david4 ,now1 it is not simply by contrast with that pompous1 declamatory1 formal1 and frigid painter against whom he revolted1 that ,ingres is a realist1 but because he actually did draw his inspiration from reality1 because he infused into his work the breath of life4 ,his seeming coldness arises from the fact that it was through line alone that he sought for expression1 reducing color to a subordinate rle4 ,the uniformity of which he is accused1 as if he had made use of some one established mold1 springs from the loftiness of his style4 ,but his drawing1 like his style1 even in attaining the very acme of natural beauty1 never deviates from the domain of truth1 and invariably derives its inspiration from life itself4 ,this is the case even with those celebrated canvases from which he seems to have voluntarily excluded all soul1 in order that its everlasting restlessness1 its turmoil1 and its passion should not disarrange the grand harmony of the composition1 those canvases in which his brush-work has the sharp precision of a chisel1 and in which his art resembles sculpture almost more than painting4 ,even in these works1 notwithstanding the superficial aspect of rigidity and immobility which strikes the eye1 there is perceptible a conscientious submission to nature1 and to truth4 ,it was voluntarily and for a definite esthetic end that ,ingres eliminated movement and color1 so that line and attitude--in other words1 all that which in human beauty least stirs the emotions and appeals most directly to the mind--might reign supreme4 ,serenity1 he used to say1 is to the body what wisdom is to the soul4 ,color possesses in itself resources which he despised as if they had been shams4 ,to compose a picture for effect1 to select some ingenious or powerful motive and offset it by a symphony of tones1 seemed to him beneath the dignity of art4 ,that is why he denounced ,delacroix4 ,to make use of light in a similar way1 to dazzle the eye by astonishing effects of chiaroscuro1 to bewilder the sight as an orchestra stuns the ear with the clangor of its brass1 by breaking black shadows with vivid lights1 was in his opinion artistic disloyalty4 ,that is why he placed but a low estimate upon ,rembrandt4 ,to use color as if it were something plastic1 to paint with what is called a full brush1 with exaggerated high lights1 loaded paint1 glazings1 and visible brush-strokes1 was to him blasphemous4 ,that is why he did not assign a high rank to the ,venetians--with the exception of ,titian4 ,to animate painting by qualities purely sensual1 to make a lavish display of the gorgeous splendor of brilliant stuffs1 rich brocades and velvets1 and gold and silver plate1 to paint in glowing rosy hues and amid voluptuous surroundings the plumpness of naked flesh1 aroused his indignation and his repugnance as if such art were a desecration4 ,that is why he held ,rubens in abhorrence4 ,there is something of the butcher in that painter1 he used to say2 his flesh is like fresh meat1 and his setting like a butcher's stall4 ,such was the force of ,ingres' convictions1 such the rigorous decrees of his conscience in regard to what he considered the good and the evil in painting1 that his violent antipathies were not confined to a man's work1 but extended to the man himself1 even were he no longer living4 ,you are my pupils1 he would say to the young artists working under him1 therefore you are my friends1 and as such you would not bow to one of my enemies were he to pass along the street4 ,turn away1 then1 from ,rubens whenever you meet him in the galleries1 for if you approach him he will be sure to speak evil to you of my teaching and of me4 ,going one day before the opening of the ,exposition of #ahee into the room especially reserved for his works1 and to which the public had not yet been admitted1 he suspected that the keeper1 in disobedience to orders1 had just allowed ,delacroix to enter4 ,some one has been in here1 he cried2 the room smells of brimstone6 ,in sacrificing color to line1 the charm of light to the eloquence of form1 the pleasure of the eye to the enjoyment of the mind1 the sensual delight of the palette to the intellectual enjoyment of style1 ,ingres realized a great ideal1 founded as much1 perhaps1 upon the absence of certain qualities as upon the triumphant presence of certain others4 ,his temperament1 so restrained in his color1 is revealed in his nervous1 vigorous drawing4 ,it is evident from the valuable studies preserved in the ,museum of ,montauban what tremendous struggles he underwent when he took his pencil in hand4 ,what efforts1 what will-power6 ,what frankness and boldness of execution1 and what scrupulous conscientiousness in his repeated attempts6 ,there were times when he would weep in utter despair4 ,i can no longer draw6 he would lament1 even at the time when he was at the head of the ,french school4 ,color never caused him such agony4 ,he never worried his head about that2 it was sure to come1 sober and subdued1 following the drawing like a docile slave whose duty it is to escort his master1 to keep step with him1 but at a respectful distance4 ,no great draftsman1 he declared1 could ever fail to find the color that would best suit the character of his drawing4 ,and again1 he said1 ,i shall write over the door of my studio1 ',school of ,drawing1' and ,i shall make painters4444 ,it has been said of ,ingres that he was a ,greek who had strayed from antiquity into our own times4 ,we know1 however1 that nature does not produce geniuses at haphazard1 but that every great creator expresses the thoughts1 ideas1 and aspirations of his time4 ,ingres was no exception to this law4 ,not only was he the child of his century1 but he was its representative1 both in the classic reaction and the romantic impulse2 and as in his well-balanced mind the two tendencies were modified one by the other1 the result was this great and harmonious genius which is on a plane superior to the feelings and passions of his epoch1 into which1 nevertheless1 his intrepid spirit boldly plunged4--,,from ,,the ,,french ,,richard ,,muther ',,the ,,history ,,of ,,modern ,,painting' ,i doubt whether up to the present time any one has rightly understood the mysterious figure of ,ingres1 of the man who in his youth was enraptured by the spirit1 the grace1 the originality of ,watteau and the delicious color of his pictures1 and who1 at a later time1 not because of incapacity1 but out of deliberate intention1 introduced discords of color into his paintings2 of this classicist par excellence1 who is counted among the greatest artists1 in the familiar and graceful style1 who are recorded in the history of art4 ,like ,david1 ,ingres has survived as a portrait-painter only4 ,like him1 when he found himself face to face with nature1 he relented1 and forgot the strict system which he had elaborated for his great pictures4 ,he has painted portraits which imprint themselves on the memory like medals1 struck in metallic sharpness4 ,here too he is unequal1 often cold and commonplace1 but more frequently quite admirable4 ,in these paintings1 cast as it were in bronze1 there is something that comes from the fresh original source of all art2 they have that vein of realism by which the vigorous idealism of ,raphael is distinguished from the conventional idealism of a professor of historical painting4 ,here one finds real treasures1 creations of remarkable vital power1 and in admirable taste4 ,they show that ,ingres1 apparently so systematic1 had a profound love for living nature1 and they insure the immortality of his name4 ,his historical pictures are works which compel our esteem1 but his portraits are splendid creations which can truly stand comparison with the great old masters4444 ,in ,holbein's portraits the whole ,german community of his time has been handed down to us2 in those of ,van ,dyck1 the aristocracy of ,england under ,charles ,i4 ,so also ,ingres has depicted for us1 with all its failings and all its virtues1 the middle-class hierarchy of ,louis ,philippe's reign1 which felt itself to be the first estate1 the summit of the nation1 felt sure of the morrow1 was proud of itself1 of its intelligence and energy1 which pursued with correctness its moral course of life1 revered order and hated all excess--including that of the colorists4 ,it is this same spirit which animated ,ingres himself1 that splendid bourgeois of art4 ,his portrait of ,bertin is justly his most celebrated work2 not merely the painted petrifaction of a newspaper potentate1 but also one of those portraits which bring a whole epoch home to one's mind4444 ,but however highly one must estimate the importance of such a work1 ,ingres is nevertheless at his highest1 not in his painted likenesses1 but in his portrait-drawings4 ,in the former the raw colors are still1 at times1 offensive4 ,the faces sometimes have the conventional1 uniform coloring of his historical pictures1 the historical tone4 ,almost always the flesh looks like wood1 the dress like metal1 blue robes like steel4 ,his drawings1 however1 are to be admired without criticism4 ,ingres lived in his youth1 at ,rome1 as a drawer of portraits4 ,for eight scudi he did the bust1 for twelve the whole figure1 raging inwardly the while at being kept from great art by such journeyman-work4 ,in these pieces an artistic eye which was now inexorable1 now tender and full of fancy1 has looked on nature1 and1 in flowing pencil-strokes1 has caught with spirit and with the certain touch of direct feeling the real fulness of life in what he saw4 ,these drawings show that ,father ,ingres possessed not only a highly cultivated intelligence and iron strength of will1 not only the genius of industry1 but also a heart1 a genuine1 warm1 and fine-feeling heart2 that he was in his innermost being by no means the cold academician1 the stiff doctrinaire1 which he appears to be in his large pictures1 and which his opposition to the romantic school made of him4 ,here we have a charmer such as the ,primitives were1 a charmer such as the ,impressionists are1 like ,massys and ,manet1 like ,drer and ,degas1 like all who have looked nature in the face4 ,and while these drawings1 at once occasional and austere1 place him as a draftsman on a level with the greatest masters in the history of art1 they also show him1 the reactionary1 as at the same time a man of progress1 as the connecting link between the great art of the first half and the familiar art which rules over the second half of the nineteenth century4 ,the ,works of ,ingres ,,descriptions ,,of ,,the ,,plates ',,dipus ,,and ,,the ,,sphinx' ,,plate ,i ,during the second year of his sojourn in ,rome1 ,ingres produced his famous picture of 'dipus and the ,sphinx1' in which his individual manner of conception and execution was first affirmed4 ,the mythical hero is here represented1 not as ,david would have represented him1 cold and lifeless as a statue1 but as a man endowed with the beauty of a ,greek athlete rather than a god1 and although his body is drawn and modeled with such academic exactitude that its very perfection is in itself somewhat wearisome1 yet when compared with the creations of the painter of the ,horatii and the ,sabines1 it can readily be seen why ,ingres1 pure classicist though he be1 should have been regarded in his own day as a revolutionary4 ,the old ,greek legend is here portrayed of dipus explaining the riddle of the ,sphinx1 whereby he delivered ,thebes from the cruelties of that monster who had mercilessly destroyed every man who had failed to solve her riddle4 dipus has entered the cave in which the ,sphinx is seated4 ,with one foot placed upon a rock and his elbow resting on his knee1 he gazes intently in her face as he explains that a being with four feet1 two feet1 and three feet is man1 who1 in infancy1 crawls upon all fours1 in manhood stands erect upon two feet1 and in old age supports his tottering legs with a staff4 ,a red mantle is thrown over the young ,greek's shoulder1 against which rest two spears1 weapons with which to defend himself if need be against the attack of the dreaded ,sphinx4 ,the bones and portions of the bodies of the creature's victims lie scattered about1 and in the distance a man is seen flying in terror4 ,the canvas is now in the ,louvre4 ,it measures about six feet high by four feet ten inches wide4 ',,portrait ,,of ,,madame ,,de ,,senonnes' ,,plate ,,ii ,in the portrait of ,madame de ,senonnes1 now in the ,museum of ,nantes1 writes ,m4 ,louis ,gonse1 ,ingres stands unrivaled4 ,look carefully at the illusive serenity of this strange face where no brush-stroke is visible1 at the vague1 fleeting smile of the parted lips1 the smooth1 lustrous hair1 the throat modeled like an alabaster column1 the sinuous lines of the body1 the beautiful1 large1 plump hands loaded with rings2 observe the perfect nonchalance of the pose1 and then see the reflection of the back of the head in the mirror--a favorite device of the ,primitives2 note the wonderful values of the garnet red of the dress against the silky yellow cushions with their reddish brown tones1 the marvelous way in which the cashmere shawl and lace ruff are painted1 the strong and harmonious color-scheme based on the play of complementary tones1 all the sharp precision of the drawing1 carried as it is to the utmost limits1 and then say whether in all modern painting there is another work which combines such a variety of perfections4 ,this portrait of ,madame de ,senonnes is to ,ingres' portraits of women what the one of ,monsieur ,bertin is to his portraits of men4 ,a visiting-card stuck into the frame of the mirror1 with the inscription ',ing4 ,roma1' tells us that the picture was painted in the eternal city--apparently between #ahjf and #ahaj4 ,according to report1 ,ingres had a tender feeling for this fair ,roman model1 who1 child of the people as she was1 had lately become the wife of the ,vicomte de ,senonnes4 ,and in truth1 he has put into this portrait all the ardor1 all the conviction1 of his genius4 ,madame de ,senonnes died young2 and the vicomte1 returning from ,italy to his home in ,angers1 married again1 on which occasion he presented this portrait to his brother1 who promptly relegated it to the attic4 ,at the brother's death his heirs sold it for one hundred and twenty francs 7#bd4jj7 to a dealer who afterwards offered it to the ,museum of ,nantes1 which unhesitatingly gave him the sum of four thousand francs 7#hjj4jj7 for it4 ,to-day it would bring1 at the lowest estimate1 one hundred thousand francs1 and the time will undoubtedly come when it will be valued at a million4 ',,monsieur ,,leblanc' 7,,drawing7 ,,plate ,,iii ,ingres' portraits in lead-pencil1 writes ,m4 ,henry ,lapauze1 are the most remarkable1 if indeed they might not be called the greatest1 productions of his genius4444 ,in them we find unquestionably that quality of realism1 over-conscientious1 perhaps1 but devoid of all coarseness1 and that power of imparting life which in his large paintings is more or less concealed beneath the formality of his style4 ,the drawing reproduced in plate ,,iii1 and now in the ,bonnat ,collection at ,bayonne1 was made in ,florence in #ahbb1 as a preparatory study for a portrait in oil1 executed in the following year4 ,drawn with a sureness of touch1 a breadth1 simplicity1 and freedom1 and at the same time a scrupulous precision1 every line is significant4 ,monsieur ,leblanc himself1 dressed according to the fashion of the day in high silk hat and ample cloak1 seems to stand before us in miniature4 ',,madame ,,destouche' 7,,drawing7 ,,plate ,,iv ,the drawing in the ,louvre of ,madame ,destouche1 writes ,m4 ,mommja1 is perhaps the most beautiful1 the most worthy of being placed first in the series of those incomparable portraits which ,ingres' pencil has rendered as immortal on their frail sheets of paper as are those that have been cut into indestructible bronze by the ,italian medalists4 ,count ,delaborde was1 ,i believe1 the first to remark upon this exquisite work4 ,writing of ,ingres' drawings exhibited at the ,salon des ,arts-,unis in #ahfa1 he says3 ',the pencil portrait of ,madame ,destouche should especially be noticed--a drawing so masterly in its freedom1 so fine in its picturesque quality1 and in the originality of its costume4' ,and ten years later he wrote3 ',this portrait is one of the most beautiful that ,ingres ever drew4' ,who then was this young woman who smiles so sweetly and takes such evident delight in her life and in her beauty8 ,possibly she was the wife of the artist ,destouche1 whose name figures on the list of ,david's pupils4 ,born in #agid1 he must have married very young for ,ingres to have drawn in ,rome in #ahaf a portrait of his wife1 and yet the age of the lady here represented is quite suitable to that of a husband of twenty-two4 ,whoever she was1 let us be grateful to her for having furnished ,ingres with the subject for a masterpiece4 ,she is truly elegant--,madame ,destouche2 her long gown1 with its girdle just beneath the bust1 is profusely trimmed with lace at the wrists and about the low-cut neck4 ,a bit of delicate muslin1 also edged with lace1 covers her shoulders1 and around her throat is a sort of ruff of plaited gauze1 open in front to show the throat1 around which is wound in a triple coil a chain with cross attached4 ,as to her hat--it is a poem2 a little peculiar1 it may be1 but charmingly becoming with its brim coquettishly turned up and with its high crown rounded like a cap beneath a cluster of nodding plumes4444 ,never1 perhaps1 was the artist's delicate pencil more seductive1 never did it more perfectly realize that physical charm of modeling which is like a caress1 characteristic--as ,m4 ,roger ,marx has truly said--of the creations of ,ingres4 ',,the ,,stamaty ,,family' 7,,drawing7 ,,plate ,v ,the family group reproduced in plate ,v1 and now in the ,bonnat ,collection at ,bayonne1 is one of the finest examples of ,ingres' work in pencil4 ,it was drawn in ,rome in #ahah1 and represents ,monsieur ,stamaty1 consul at ,civit ,vecchia1 with his wife and children4 ,the characterization1 writes ,m4 ,galichon1 is delicately and accurately given4 ,each person bears the stamp of his or her own individuality and is strikingly true to life4 ,in short1 ,ingres has here produced a masterpiece4 ,a marvelous group1 writes ,m4 ,lapauze1 in which the depth and intimacy of the feeling expressed is in no way marred by the wonderfully minute rendering of the accessories4 ,each little detail of costume1 each fold of material1 all the differences in texture--everything is given its own special character2 everything is perceptible1 tangible1 so to speak4 ,science of draftsmanship1 eloquence of line1 could not possibly be carried farther4 ',,la ,,source' ,,plate ,,vi ',la ,source'--,the ,spring--considered by ,charles ,blanc the most beautiful figure ever produced by the ,french school--was not painted until ,ingres was seventy-six1 though the study for it had been made many years before4 ,in the admirable purity of its line1 in its grace of form and its masterly modeling in light1 this work has the beauty of a ,greek statue4 ,standing against a dark wall of rock1 her little feet reflected in the pool of water at its base1 is the nude figure of a young girl4 ,one rounded arm is thrown above her head to help support against her shoulder a ,grecian urn from which a stream of water falls into the pool beneath4 ,with her blond hair1 her smooth brow and clear blue eyes1 her lips parted in a slight smile1 her childish form1 and her expression of unconsciousness and innocence1 she is a figure of almost ideal loveliness4 ,upon its completion ',la ,source' was exhibited in ,paris1 and later in ,london4 ,everywhere it aroused feelings of enthusiastic admiration4 ,the hypercritical1 to be sure1 found fault with the drawing of the legs1 which1 repainted by the artist when the picture was finished and the model no longer before him1 are not carried so far as is the upper part of the body4 ,but on the whole even those who most strenuously opposed ,ingres' methods acknowledged its beauty and excellence4 ,it is difficult to imagine1 writes ,mr4 ,george ,moore1 what further beauty he may have introduced into a face1 or what further word he might have had to say on the beauty of a virgin body4 ,the picture was bought by ,count ,duchtel1 whose widow bequeathed it to the ,louvre1 where it now hangs4 ,it is on canvas and measures five and a half feet high by two feet eight inches wide4 ',,portrait ,,of ,,monsieur ,,bertin' ,,plate ,,vii ,this celebrated portrait of ,bertin1 manager of the ,journal des ,dbats1 one of the leading papers of ,paris1 is generally regarded as the artist's masterpiece in portraiture4 ,it was painted in #ahcb4 ,ingres has himself related how he made repeated studies for this work1 frequently changing his original plan1 and as frequently beginning over again2 how anxious and discouraged he became2 how he finally confessed to ,monsieur ,bertin that all the sittings had been in vain1 that nothing had been accomplished1 and how grateful he was when the busy man of affairs begged him not to be so distressed but to try once more1 for that he1 ,bertin1 was in no way weary1 but would gladly give him as many sittings as he wished4 ,reassured by such consideration1 ,ingres took heart and resolved to make another attempt4 ,the pose1 however1 perplexed him4 ,while still undecided on this point it happened that he spent an evening in ,bertin's house1 and while there the conversation turned upon some political question of the day in which opposite views were held by ,bertin and his sons4 ,each side vehemently maintained its ground1 but no argument could convince the elder ,bertin that the young men had reason on their side4 ,while listening to their argument he leaned slightly forward in his armchair1 and planting his hands squarely upon his knees turned toward the speaker with an expression on his strong face indicative of interest1 lack of conviction1 and consciousness of power to refute the argument advanced4 ,the pose and expression--both so characteristic and unstudied--at once struck ,ingres1 and when he bade his host good night1 ,monsieur ,bertin1 he said1 your portrait is done4 ,i have you this time and shall not let you go4 ,the result1 attained quickly and without effort1 was the superb portrait here reproduced1 so forceful and expressive1 so true to life1 that as we stand before it in the ,louvre1 where it now hangs1 we seem to be in the presence of the man himself4 ',,the ,,vow ,,of ,,louis ,,xiii' ,,plate ,,viii ,this great canvas1 ordered by the ,administration of the ,fine ,arts for the ,cathedral of ,montauban1 where it is now to be seen in the sacristy1 was begun in ,florence in #ahba1 and finished three years later4 ,the subject represents ,louis ,,xiii41 ,king of ,france1 consecrating to the ,virgin his person1 his crown1 and his state1 in recognition of the great mercy about to be vouchsafed by heaven in granting him an heir to his kingdom4 ,it would seem from his letters written at this period that ,ingres was not altogether pleased with the double subject prescribed for him1 and that1 preferring one in which the interest should be more centered1 he expressed his desire to paint instead ',the ,assumption4' ,the ,administration1 however1 was firm1 and the artist was forced to yield4 ,in his rendering of the scene1 in which the historic and the mystical are combined1 he has closely followed ,raphael1 taking his motives from that painter's famous pictures of ',the ,transfiguration1' ',the ,sistine ,madonna1' ',the ,madonna of ,foligno1' and ',the ,mass of ,bolsena' 7see ,,masters ,,in ,,art1 ,vols4 #a and #d1 ,parts #ab and #dj74 ,notwithstanding its manifest faults1 writes ,m4 ,mommja1 this work is truly grand4 ,it marks a turning-point in the history of painting as well as in the career of the artist whose fame it established4 ,at the same time it was the beginning of his adherence to the academic method1 which until then he had combated with such bitter violence4 ,exhibited at the ,salon of #ahbd1 ',the ,vow of ,louis ,,xiii4' was received with unanimous approval4 ,the romanticists1 with ,delacroix at their head1 recognized in this new master the successful opponent of the teachings of ,david2 while the classicists discovered in his conscientious drawing1 sober and restrained coloring1 an intentional protest against the innovators4 ',,portrait ,,of ,,madame ,,devau,,ay' ,,plate ,,ix ,in #ahjg1 the year after his arrival in ,rome1 ,ingres painted this portrait of ,madame ,devauay1 now in the ,cond ,museum1 ,chantilly1 which for its purity of line1 delicate subtlety of expression1 and for its quality of distinction1 ranks as one of his best and most characteristic works4 ,the colors1 too1 partly owing1 no doubt1 to the mellowing effect of time1 are richer and there is more atmosphere than in many of his paintings4 ,madame ,devauay is seated in an armchair of red damask against a dark background4 ,she wears a black velvet dress and a yellowish coffee-colored shawl4 ,around her throat is a necklace of brownish-red beads1 and in one hand she holds a small tortoise-shell fan4 ,her smooth black hair is ornamented with a gold comb just visible at the back of her well-shaped head4 ,her eyes are dark1 her complexion sallow1 her features delicate1 and although her face is in repose1 about her mouth there lurks an inscrutable smile4 ,something in this canvas holds one captive1 writes ,m4 ,lapauze1 even before one has had time to fully take in the perfection of the lines1 the beauty of the arrangement1 the velvety quality of the color4 ,she is sister to ,leonardo's ',mona ,lisa1' this woman of whom we cannot tell whether or not she is fair to look upon1 so strongly does she appeal to our emotions4444 ,she is as mysterious as the enigmatic creations of a ,leonardo1 or a ,holbein1 or as some of those beings portrayed by certain of the ,primitives who have fixed upon their canvases the inexpressible emotions of the soul4 ,ingres1 worshiper of form1 consummate master of line1 has here attained this rare power of magic4 ',,the ,,apotheosis ,,of ,,homer' ,,plate ,x ,in #ahbf1 after his return from his first sojourn in ,italy1 ,ingres was commissioned by the ,french government to decorate the ceiling of one of the galleries of the ,louvre4 ,for his subject the artist took ',the ,apotheosis of ,homer1' and in his treatment of the theme achieved what is regarded as his finest work in composition of the grand style4 ,before the entrance to an ,ionic temple1 ,homer1 the blind ,greek poet1 is seated1 like ,jupiter1 scepter in hand1 upon a gilded throne4 ,a winged figure of ,victory1 clad in rose-color1 crowns him with a wreath of laurel1 and on either side are grouped the most illustrious artists1 poets1 and musicians of all time4 ,here is ,apelles leading ,raphael by the hand2 schylus presenting a scroll on which his tragedies are written2 ,phidias with his mallet2 ,pindar holding his lyre2 ,plato1 ,socrates1 ,horace1 ,virgil1 and ,dante1 and1 farther down1 ,shakespeare1 ,tasso1 ,corneille1 ,poussin1 ,gluck1 ,mozart1 ,racine1 ,molire1 ,fnelon1 and others1 while on the steps at ,homer's feet1 personified as the poet's daughters1 are seated the ',iliad' and the ',odyssey4' ,the first is at the left1 clad in red1 and with ,achilles' sword beside her2 the other1 enveloped in a sea-green mantle1 is shown in profile1 holding across her knee the oar of ,ulysses4 ,in the loftiness of its style and the purity of its lines1 ',the ,apotheosis of ,homer' is one of the noblest examples of the classic school of painting4 ,although it cannot be called in any way a copy of ,raphael1 it is evident that in painting it ,ingres had in mind the ',parnassus' and the ',school of ,athens' 7see ,,masters ,,in ,,art1 ,vol4 #d1 ,part #dj71 those grand creations of the painter whom he regarded as superior to all others4 ,a copy by his pupils now occupies the place of ,ingres' great ceiling decoration4 ,the original picture is exhibited in one of the rooms of the ,louvre1 where it is seen to better advantage4 ,the figures are life-sized1 and the canvas measures more than twelve feet high by nearly seventeen feet wide4 ,a ,,list ,,of ,,the ,,principal ,,paintings ,,by ,,ingres ,,with ,,their ,,present ,,locations ,,belgium4 ,,brussels1 ,,museum3 ,virgil reading the neid 7study7--,,li,,ge1 ,,museum3 ,napoleon ,bonaparte as ,first ,consul--,,england4 ,,london1 ,,south ,,kensington ,,museum1 ,,ionides ,,collection3 ,henry ,,iv4 and the ,spanish ,ambassador2 ,sleeping ,odalisque--,,france4 ,,aix1 ,,museum3 ,jupiter and ,thetis2 ,portrait of the ,painter ,granet--,,angers1 ,,museum3 ,francesca da ,rimini--,,autun1 ,,cathedral3 ,the ,martyrdom of ,st4 ,symphorien--,,chantilly1 ,,cond ,,museum3 ,portrait of ,madame ,devauay 7,plate ,,ix72 ,portrait of ,ingres2 ,stratonice2 ,francesca da ,rimini2 ,venus ,anadyomene--,,dampierre1 ,,ch,,teau ,,of ,,the ,,duke ,,of ,,luynes3 ,the ,iron ,age and ,the ,golden ,age 7two unfinished mural paintings7--,,montauban1 ,,museum3 ,jesus among the ,doctors2 ,ossian's ,dream2 ,portrait of ,ingres' ,father2 ,portrait of ,belvze2 ,portrait of a ,man--,,montauban1 ,,cathedral3 ,the ,vow of ,louis ,,xiii4 7,plate ,,viii7--,,montpellier1 ,,museum3 ,portrait of ,desdebans2 ,stratonice2 ,oil ,studies for ',jesus among the ,doctors2 and ',the ,apotheosis of ,homer'--,,nantes1 ,,museum3 ,portrait of ,madame de ,senonnes 7,plate ,,ii7--,,paris1 ,,louvre3 ,christ giving the ,keys of ,heaven to ,st4 ,peter2 ,the ,apotheosis of ,homer 7,plate ,x72 dipus and the ,sphinx 7,plate ,i72 ',la ,source' 7,plate ,,vi72 ,the ,virgin of the ,host2 ,jeanne d',arc at the ,coronation of ,charles ,,vii42 ,roger liberating ,angelica2 ,the ,large ,odalisque2 ,the ,bather2 ,portrait of ,m4 ,bertin 7,plate ,,vii72 ,portrait of ,cherubini2 ,portrait of ,m4 ,cordier2 ,portraits of ,m4 and ,mme4 ,rivire2 ,portrait of ,mlle4 ,rivire2 ,portrait of ,m4 ,bochet--,,paris1 ,,cole ,,des ,,beaux-,,arts3 ,romulus victorious over ,acron1 ,king of the ,sabines2 ,the ,ambassadors of ,agamemnon in the ,tent of ,achilles--,,paris1 ,h,,tel ,,des ,,invalides3 ,portrait of ,napoleon ,bonaparte--,,paris1 ,,th,,atre ,,fran,,ais3 ,louis ,,xiv4 and ,molire--,,paris1 ,,collection ,,of ,m4 ,,degas3 ,portraits of ,m4 and ,mme4 ,leblanc--,,perpignan1 ,,museum3 ,portrait of the ,duke of ,orleans 7repetition of the one at ,versailles7--,,rouen1 ,,museum3 ',la belle ,zlie'--,,toulouse1 ,,museum3 ,virgil reading the neid--,,versailles1 ,,palace3 ,portrait of the ,duke of ,orleans--,,italy1 ,,florence1 ,,uffizi ,,gallery3 ,portrait of ,ingres 7see page #bgd7--,,rome1 ,,quirinal ,,palace3 ,ossian's ,dream--,,rome1 ,,villa ,,miollis3 ,virgil reading the neid--,,russia1 ,,st4 ,,petersburg1 ,,imperial ,,collections3 ,the ,virgin of the ,host--,,switzerland4 ,,coppet1 ,,ch,,teau3 ,portrait of the ,comtesse d',haussonville4 ,ingres ,bibliography ,a ,,list ,,of ,,the ,,principal ,,books ,,and ,,magazine ,,articles ,,dealing ,,with ,,ingres ,,alexandre1 ,a4 ,jean-,dominique ,ingres1 ,master of ,pure ,draughtsmanship4 ,london1 #aije--;,,alexandre1 ,a4 ,histoire populaire de la peinture2 cole franaise4 ,paris #ahic--;,,amaury-,,duval4 ,l',atelier d',ingres4 ,paris1 #ahgh--;,,balze1 ,r4 ,ingres3 son cole1 son enseignement du dessin4 ,paris1 #ahhj--;,,beul1 ,c4 ,e4 loge de ,m4 ,ingres4 ,paris1 #ahfg--;,,blanc1 ,c4 ,ingres1 sa vie et ses ouvrages4 ,paris1 #ahgj--;,,brownell1 ,w4 ,c4 ,french ,art4 ,new ,york1 #aija--;,,chennevi,,res1 ,h4 ,,de4 ,les dessins du ,louvre4 ,paris1 #ahhb-hc--;,,chesneau1 ,e4 ,la peinture franaise au ,,xix sicle4 ,paris1 #ahfb--;,,chesneau1 ,e4 ,peintres et statuaires romantiques4 ,paris1 #ahhj--;,,cook1 ,c4 ,art and ,artists of ,our ,time4 ,new ,york1 #ahhh--;,,delaborde1 ,h4 ,ingres1 sa vie1 ses travaux1 sa doctrine4 ,paris1 #ahgj--;,,del,,cluze1 ,e4 ,j4 ,david1 son cole et son temps4 ,paris1 #ahee--;,,duplessis1 ,g4 ,les portraits dessins par ,ingres4 ,paris1 #ahif--;,,foresti1 ,e4 ,notice sur le monument d',ingres rig ,montauban4 ,montauban1 #ahga--;,,gautier1 ,t4 ,portraits contemporains4 ,paris1 #ahha--;,,gigoux1 ,j4 ,causeries sur les artistes de mon temps4 ,paris1 #ahhe--;,,gonse1 ,l4 ,les chefs-d'uvre des ,muses de ,france4 ,paris1 #aijj--;,,grandmougin1 ,c4 ,ingres 7in ,la ,grande ,encyclopdie74 ,paris1 #ahhf-aijb--;,,gruy,,re1 ,f4-,a4 ,la peinture au chteau de ,chantilly4 ,paris1 #ahih--;,,haack1 ,,dr4 ,f4 ,die ,kunst ,,xix ,jahrhunderts4 ,stuttgart1 #aije--;,,hamerton1 ,p4 ,g4 ,contemporary ,french ,painters4 ,london1 #ahfh--,,kingsley1 ,r4 ,g4 ,a ,history of ,french ,art4 ,london1 #ahii--,,lapauze1 ,h4 ,mlanges sur l'art franais4 ,paris1 #aije--,,larroumet1 ,g4 ,portrait de ,bertin l'ain 7in ,jouin's ,chefs-d'uvre74 ,paris1 #ahii--,,lom,,nie1 ,l4 ,galerie des contemporains illustres4 ,paris1 #ahdb--,,maccoll1 ,d4 ,s4 ,nineteenth ,century ,art4 ,glasgow1 #aijb--,,marcel1 ,h4 ,la peinture franaise au ,,xix sicle4 ,paris #aijf--,,mauclair1 ,c4 ,the ,great ,french ,painters4 ,london1 #aijc--,,merson1 ,o4 ,ingres1 sa vie et ses uvres4 ,paris1 #ahfg--,,michel1 ,a4 ,notes sur l'art moderne4 ,paris1 #ahif--,,momm,,ja1 ,j4 ,ingres4 ,paris #aijc--,,montrosier1 ,e4 ,peintres modernes4 ,paris1 #ahhb--,,moore ,g4 ,modern ,painting4 ,new ,york1 #ahic--,,muther1 ,r4 ,the ,history of ,modern ,painting4 ,london1 #ahie--,,muther1 ,r4 ,ein ,jahrhundert franzsischer ,malerei4 ,berlin1 #aija--,,pattison1 ,e4 ,f4 ,s4 ,ingres 7in ,encyclopdia ,britannica74 ,edinburgh1 #ahhc--,,perrier1 ,c4 tudes sur les beaux-arts en ,france et l'tranger4 ,paris1 #ahfc--,,pinset1 ,r41 and ,d',,auriac1 ,j4 ,histoire du portrait en ,france4 ,paris1 #ahhd--,,planche1 ,j4 ,b4 ,g4 ,portraits d'artistes4 ,paris1 #ahec--,,planche1 ,j4 ,b4 ,g4 tudes sur les arts4 ,paris1 #ahee--,,schmarsow1 ,a4 ,jean-,auguste-,dominique ,ingres 7in ,dohme's ,kunst und ,knstler1 etc47 ,leipsic1 #ahhf--,,silvestre1 ,t4 ,histoire des artistes vivants4 ,paris1 #ahef--,,silvestre1 ,t4 ,les artistes franais4 ,paris1 #ahgh--,,silvestre1 ,t4 ,l'apothose de ,m4 ,ingres4 ,paris1 #ahfb--,,stranahan1 ,c4 ,h4 ,a ,history of ,french ,painting4 ,new ,york1 #ahhh--,,wyzewa1 ,t4 ,,de1 and ,,perreau1 ,x4 ,les grands peintres de la ,france4 ,paris1 #ahij4 ,,magazine ,,articles ,,contemporary ,,review1 #ahfg3 ,t4 ,f4 ,wedmore2 ,ingres--,,gazette ,,des ,,beaux-,,arts1 #ahfa3 4 ,galichon2 ,dessins de ,m4 ,ingres4 #ahfa3 ,h4 ,delaborde2 ,les dessins de ,m4 ,ingres4 #ahfa3 4 ,galichon2 ,description des dessins de ,m4 ,ingres exposs au ,salon des ,arts-,unis4 #ahfb3 ,h4 ,delaborde2 ,la collection de tableaux de ,m4 le comte ,duchtel4 #ahfb3 ,h4 ,delaborde2 ,de quelques traditions de l'art franais4 #ahfc3 ,c4 ,blanc2 ,du style et de ,m4 ,ingres4 #ahfg3 4 ,galichon2 ,la mort de ,m4 ,ingres4 #ahfg-fh3 ,c4 ,blanc2 ,ingres1 sa vie et ses ouvrages4 #ahgj3 ,h4 ,delaborde2 ,notes et penses de ,j4-,a4-,d4 ,ingres4 #ahgj3 ,g4 ,duplessis2 ,le cabinet de ,m4 ,gatteaux4 #ahgj3 ,j4 ,b42 ,deux historiens d',ingres4 #ahhi3 ,p4 ,mantz2 ,la peinture franaise4 #ahid3 ,l4 ,mabilleau2 ,les dessins d',ingres au ,muse de ,montauban4 #ahih3 ,g4 ,babin2 ,madame de ,senonnes par ,ingres4 #ahih3 ,la jeunesse d',ingres4 #aijj3 ,a4 ,michel2 ,la peinture franaise l'exposition centennale4 #aija3 ,e4 ,hbert2 ,la ,villa ,medicis en #ahdj3 ,souvenirs d'un pensionnaire4 #aije3 ,j4 ,mommja2 ,le portrait de ,madame ,destouches--,,die ,,kunst1 #aija3 ,h4 von ,tschudi2 ,die ,jahrhundert-,ausstellung der franzsischen ,kunst--,,mcclure',s ,,magazine1 #ahif3 ,w4 ,h4 ,low2 ,a ,century of ,painting--,,macmillan',s ,,magazine1 #ahga3 ,f4 ,wedmore2 ,ingres--,,revue ,,de ,,paris1 #ahif3 ,l4 ,mabilleau2 ,les cahiers d',ingres au ,muse de ,montauban--,,zeitschrift ,f,r ,,bildende ,,kunst1 #ahfg3 ,j4 ,meyer2 ,ingres4 ,illustration ,fashions in stationery are as pronounced and as ever-changing as fashions in dress4 ,women of taste are as particular about one as the other4 ,it is because ,eaton-,hurlbut ,highland ,linen follows so closely the demands of fashion as to shades1 sizes and finish that women who care for what is correct in writing papers prefer it4 ,it is difficult to follow the changes in stationery1 but it is easy to remember the name ,highland ,linen4 ,you can buy it anywhere at any time with the feeling that it is absolutely correct in every detail4 ,highland ,linen is made entirely from the new1 clean cuttings of sheeting factories of this and foreign countries--not from rags4 ,while this choice stock primarily makes for quality1 the knowledge of its use makes impossible any unpleasant associations--something that all women of refinement appreciate4 ,illustration ,eaton-,hurlbut ,paper ,company ,pittsfield1 ,mass4 ,the ,gentle ,art of ,letter ,writing1 a delightful desk book for all who write letters1 sent free on request for the name of a dealer who does not sell ,eaton-,hurlbut ,correspondence ,papers4 ,,masters ,,in ,,art ,,back ,,numbers ,,and ,,bound ,,volumes ,,masters ,,in ,,art was established in ,january1 #aijj4 ,as will be seen from the following list of painters and sculptors covered by the first six years1 the bound volumes form a fairly complete reference library of ,art4 ,the subjects1 in the order of publication1 are as follows3 ,illustration3 ,cloth ,binding ,volume ,i 7#aijj7 treats of ,van ,dyck1 ,titian1 ,velasquez1 ,holbein1 ,botticelli1 ,rembrandt1 ,reynolds1 ,millet1 ,giov4 ,bellini1 ,murillo1 ,hals1 and ,raphael4 ,volume ,,ii 7#aija7 treats of ,rubens1 ,da ,vinci1 ,drer1 ,michelangelo 7,sculpture71 ,michelangelo 7,painting71 ,corot1 ,burne-,jones1 ,ter ,borch1 ,della ,robbia1 ,del ,sarto1 ,gainsborough1 and ,correggio4 ,volume ,,iii 7#aijb7 treats of ,phidias1 ,perugino1 ,holbein1 ,tintoretto1 ,pieter ,de ,hooch1 ,nattier1 ,paul ,potter1 ,giotto1 ,praxiteles1 ,hogarth1 ,turner1 and ,luini4 ,volume ,,iv 7#aijc7 treats of ,romney1 ,fra ,angelico1 ,watteau1 ,raphael's ,frescos1 ,donatello1 ,gerard ,dou1 ,carpaccio1 ,rosa ,bonheur1 ,guido ,reni1 ,puvis ,de ,chavannes1 ,giorgione1 and ,rossetti4 ,illustration3 ,half-,morocco ,binding ,volume ,v 7#aijd7 treats of ,fra ,bartolommeo1 ,greuze1 ,drer's ,engravings1 ,lotto1 ,landseer1 ,vermeer of ,delft1 ,pintoricchio1 ,the ,brothers ,van ,eyck1 ,meissonier1 ,barye1 ,veronese1 and ,copley4 ,volume ,,vi 7#aije7 treats of ,watts1 ,palma ,vecchio1 ,madame ,vige ,le ,brun1 ,mantegna1 ,chardin1 ,benozzo ,gozzoli1 ,jan ,steen1 ,memling1 ,claude ,lorrain1 ,verrocchio1 ,raeburn1 ,fra ,filippo ,lippi4 ,the ,cloth ,binding is a brown art buckram1 with heavy bevelled boards1 side and back stamps in frosted and burnished gold1 from designs by ,mr4 ,b4 ,g4 ,goodhue1 and gilt top4 ,the ,half-,morocco ,binding is in green1 with green and gold marbled paper sides and end papers1 gold tooled back designed by ,mr4 ,b4 ,g4 ,goodhue1 and gilt top4 ,in both styles of binding the forwarding is most thoroughly done1 the front and bottom edges are untrimmed4 ,,prices ,all single numbers1 except those of the current calendar year1 are #bj cents each1 postpaid1 in the ,united ,states1 ,canada1 and ,mexico2 #be cents each1 postpaid1 to foreign countries in the postal union4 ,single numbers of the current year are #ae cents4 ,no reduction when yearly volumes or complete sets are ordered4 ,bound volumes are #c4ge each for cloth1 #d4be each for half-morocco1 express prepaid4 ,terms for purchasing the complete set on small monthly payments will be sent on request4 ,,bates ,,guild ,,company1 ,,publishers #db ,,chauncy ,,street1 ,,boston1 ,,massachusetts ,in answering advertisements1 please mention ,,masters ,,in ,,art ,illustration ,the ,chaffee ,studio ,,no4 #a ,,hancock ,,street ,,worcester1 ,,mass4 ,,has ,,constantly ,,on ,,hand ,,and ,,for ,,sale ,original ,work of ,mr4 ,,albert ,h4 ,,chaffee ,,including ,views in ,color of ,spain1 ,sicily1 ,italy1 ,switzerland ,famous ,masterpieces ,studied in the ,galleries ,raphael's ,hours and ,frescoes in the ,vatican ,the ,raphael ,prints in ,sepia1 ,many ,sizes4 ,small framed pictures1 very artistic ,also hand-painted ,dinner and ,score-,cards1 and any hand-decorated work to order4 ,selections of any of the above sent on approval ,interpretation of ,raphael's ,hours1 by ,mrs4 ,adeliza ,brainerd ,chaffee ,edition de ,luxe1 hand-illumined1 #aj4jj per ,copy4 ,library ,edition1 ,board ,covers1 #a4ej2 ,paper ,covers1 #ej cents4 ,mrs4 ,chaffee's ,series of ,six ,topic ,books1 for the ,study of ,art1 in use by ,clubs1 ,schools1 and ,individual ,study4 #cj ,cents ,each4 ,correspondence ,invited4 ,picture-,lighting ,is in ,itself an ,art4 ,fine paintings are often spoiled by ineffective or poor lighting4 ,the ,famous ,frink ,system is being used in a large number of the finest galleries in the country1 and by a great many prominent collectors4 ,covers the pictures with a strong1 even light2 no glare in the eyes1 or spots on the picture space4 ,an ,ideal ,light4 ,we have made a special study of picture-lighting1 and are prepared to give you the best results attainable4 ,galleries1 individual collections or paintings successfully lighted4 ,investigation invited4 ,i4 ,p4 ,,frink1 #eea ,pearl ,street1 ,new ,york ,city4 ,illustration ,,braun',s ,,carbon ,,prints ,,finest ,,and ,,most ,,durable ,,imported ,,works ,,of ,,art ,,one ,,hundred ,,thousand direct reproductions from the original paintings and drawings by old and modern masters in the galleries of ,amsterdam1 ,antwerp1 ,berlin1 ,dresden1 ,florence1 ,haarlem1 ,hague1 ,london1 ,madrid1 ,milan1 ,paris1 ,st4 ,petersburg1 ,rome1 ,venice1 ,vienna1 ,windsor1 and others4 ,special ,terms to ,schools4 ,,braun1 ,,cl,,ment ,,co4 #bef ,fifth ,ave41 bet4 #bhth and #bith ,sts4 ,,new ,,york ,,city ,,the ,,university ,,prints ,illustration ,are the only reproductions published in inexpensive form for the systematic study of ,greek and ,italian ,art4 ,one cent each1 or eighty cents per hundred4 ,catalog on request4 ,publishing ,department ,,bureau ,,of ,,university ,,travel #ah ,trinity ,place ,boston1 ,mass4 ,,new ,,subscribers ,,to ,masters in ,art ,who would like the bound volumes complete from the beginning are requested to write for our offer to supply them on terms of small monthly payments4 ,,bates ,,guild ,,company ,in answering advertisements1 please mention ,,masters ,,in ,,art ,illustration3 ,,sistine ,,madonna ,,every ,,home ,,should ,,know ,,the ,,beautiful ,perry ,pictures ,,one ,,cent ,,each ,in lots of #be or more2 #abj for #a4jj4 ,there are more than #b1jjj pictures from which to select4 ,each picture on paper1 #e #h4 ,send two two-cent stamps for ,illustrated ,catalogue of #a1jjj small pictures1 two ,regular ,size pictures1 and a picture in three colors1 or send #be;c4 for #be ,art ,subjects1 or #be on the ,life ,of ,christ1 or #a4jj for a beautiful set of #abj ,art ,subjects1 no two alike1 or send #ej;c4 for #aa ,extra ,size ,pictures1 each on paper2 #aj #ab4 ,,the ,,perry ,,pictures ,,company ,,box #aba1 ,,malden1 ,,mass4 ,mention ,masters in ,art4 ,,faelten ,,pianoforte ,,school ,,carl ,,faelten1 ,,director ,,courses ,,for ,,pianists ,,and ,,music ,,teachers ,,special ,,department ,,for ,,children ,,tenth ,,school ,,year ,,begins ,,monday1 ,,september #ag1 #aijf ,,send ,,for ,,calendar #cj ,,huntington ,,avenue1 ,,boston ,in answering advertisements1 please mention ,,masters ,,in ,,art ,,are ,,you ,,building ,a ,,country ,,house ,,or ,,do ,,you ,,own ,,one8 ,in either case the following books will interest you4 ,,american ,,country ,,houses ,comprising the material gathered for a recent special number of ',,the ,,architectural ,,review'--the leading architectural paper of ,america--and showing1 by #cbe photographic illustrations and plans1 the exteriors and interiors of the best country houses of moderate cost built in this country during the last few years by architects of the highest standing4 ,with full descriptive text4 ,price1 bound1 #c4jj postpaid4 ,,stables ,a work of similar character to the above1 showing by over #eej illustrations the exteriors1 plans1 and interiors of stables of every size and arrangement1 with articles by experts on stable planning1 construction1 hygiene1 farm buildings1 etc4 ,price1 bound1 #c4jj1 postpaid4 ,,american ,,gardens ,the only volume existing which shows what is possible in garden making under ,american conditions of climate and environment4 ,illustrates1 by #bcg superb photographs1 sixty-one of the loveliest ,american gardens1 old and new4 ,plans are given1 and the preface treats of the principles of garden design4 ,price1 #g4ej1 express paid4 ,special illustrated and descriptive circulars concerning each of the above books on application4 ,,bates ,,guild ,,company ,,publishers #db ,chauncy ,st41 ,boston1 ,mass4 ,,new ,,york ,,school ,,of ,,art ,summer ,announcements for #aijf ,,class ,,in ,,europe ,june to ,october--,spain1 ,france1 ,belgium1 and ,holland4 ,instructors3 ,,robert ,,henri ,,louis ,,gaspard ,,monte ,,bayport1 ,,long ,,island ,june to ,october--,out-of-door work from ,costume ,model and ,landscape2 also ,studio ,work in ,portraiture and ,still ,life4 ,instructor3 ,,douglas ,,john ,,connah ,,new ,,york ,,city #gh ,west #eeth ,street ,june #ast to ,september #dth ,classes in ,life1 ,portrait1 ,still ,life1 ,composition1 and illustration under ,kenneth ,hayes ,miller ,design and ,normal ,art1 under the direction of ,frank ,alvah ,parsons ,for particulars apply to ,,susan ,f4 ,,bissell1 ,secretary #eg ,w4 #egth ,street1 ,new ,york ,city ,,eric ,,pape ,,school ,,of ,,art ,eighth ,year4 ,oct4 #b1 #aije1 to ,oct4 #c1 #aijf4 ,head ,instructor and ,director1 ,,eric ,,pape ,manager1 ,,charles ,a4 ,,lawrence ,no examinations for admission to any of the classes4 ,students begin by drawing from the nude and costume models1 as is done in the ,paris academies1 upon which the school is modelled4 ,fine large studios4 ,drawing1 ,painting1 ,composition1 ,illustration1 ,decorative ,design1 and ,pyrogravure ,drawing and ,painting from life4 ,separate classes for men and women4 ,portraiture1 ,still-life1 ,flower-painting1 ,water-color1 ,pastel1 ,composition1 ,decorative ,design and ,painting1 ,practical ,design for ,textiles1 ,illustration1 ,pen1 ,wash1 ,gouache1 ,poster1 and ,book-cover designing4 ,morning1 ,afternoon1 and ,evening ,classes4 ,scholarships1 ,medals1 and ,prizes4 ,for illustrated circulars address the ,secretary4 ,cor4 ,massachusetts ,avenue and ,boylston ,street ,,boston1 ,,mass4 ,art ,academy of ,cincinnati ,endowed for ,higher ,education in ,art4 ,money ,scholarships4 ,year's ,tuition #be4jj ,,frank ,,duveneck ,drawing1 ,painting ,v4 ,,nowottny ,composition1 ,artistic ,l4 ,h4 ,,meakin ,anatomy1 ,etc4 ,c4 ,j4 ,,barnhorn1 ,modeling ,,william ,h4 ,,fry1 ,wood-,carving ,,anna ,,riis1 ,design and ,china ,painting ,,henrietta ,,wilson ,,kate ,r4 ,,miller ,preparatory ,drawing1 ,etc4 #ci,,th ,,year3 ,,sept4 #bd1 #aijf1 ,,to ,,may #be1 #aijg ,j4 ,h4 ,,gest1 ,director1 ,cincinnati1 ,ohio ,,art ,,students' ,,league ,,of ,,new ,,york ,,summer ,,schools ,new ,york ,city ,,george ,b4 ,,bridgman and ,h4 ,,daniel ,,webster1 ,instructors ,june #d to ,september #bb ,woodstock1 ,ulster ,co41 ,new ,york ,,birge ,,harrison1 ,instructor ,june #ae to ,october #a ,circulars of information concerning these classes will be mailed on request4 ,address ,art ,students' ,league of ,new ,york #bae ,west #egth ,street1 ,new ,york1 ,n4,y4 ,in answering advertisements1 please mention ,,masters ,,in ,,art ,,the ,,aristocrat ,,of ,,musical ,,publications ,masters in ,music ,a ,,series ,,of ,,thirty-,,six ,,monographs ,,of ,,the ,,great ,,composers ,edited by ,,daniel ,,gregory ,,mason ,author of ,from ,grieg to ,brahms and ,beethoven and ,his ,forerunners ,each number of ,masters in ,music1 complete in itself1 presents a comprehensive summary of the life and achievement of one of the great musicians of the world1 with #cb pages of music1 those compositions being selected which1 in the opinion of competent judges1 best manifest the composer's genius4 ,they are arranged for the piano or piano and voice1 as the case may be4 ,these compositions are accompanied by notes pointing out the characteristics of each selection and suggesting its best interpretation4 ,a beautiful portrait frontispiece1 quotations from the most eminent critics1 and a bibliography and a list of works complete the number1 forming a concise yet complete handbook for the study of the composer to whom it is devoted4 ,contents ,volume ,i4 ,mozart1 ,chopin1 ,gounod1 ,mendelssohn1 ,grieg1 and ,raff4 ,volume ,,ii4 ,verdi1 ,haydn1 ,biset1 ,beethoven 7two numbers71 and ,handel4 ,volume ,,iii4 ,weber1 ,frans1 ,liszt1 ,purcell1 ,strauss1 ,the ,scarlattis4 ,volume ,,iv4 ,rossini1 ,dvok1 ,schubert 7two numbers71 ,tschakowsky1 and ,bach4 ,volume ,v4 ,schumann 7two numbers71 ,csar ,franck1 ,meyerbeer1 ,brahms 7two numbers74 ,volume ,,vi4 ,rubinstein1 ,bellini and ,donizetti1 ,gluck1 ,saint-,sans1 ,wagner 7two numbers74 ,price1 per volume of six numbers1 #a4be1 postpaid4 ,single numbers1 #be cents each4 #g4ej secures #cf parts1 comprising #a1aeb pages of classical music1 carefully engraved and printed1 and #egf pages of instructive and interesting reading-matter1 with #cf frontispiece portrait plates--#a1hjj pages--a musical library in itself4 ,we will send the complete set1 express prepaid1 on receipt of #b4ej and your promise to complete the purchase by five monthly payments of #a4jj each4 ,,bates ,,guild ,,company1 ,,publishers #db ,,chauncy ,,street1 ,,boston1 ,,massachusetts ,in answering advertisements1 please mention ,,masters ,,in ,,art