,the ,mentor ,vol4 #a ,no4 #dj1         
,,angels ,,in ,,art    ,by ,,john ,c4   
,,van ,,dyke    ,professor of the       
,history of ,art1 ,rutgers ,college     
,illustration    ,illustration    ,,the 
,,mentor    ,,serial ,no4 #dj           
,,department ,,of ,,fine ,,arts         
,,mentor ,,gravures      ,,angel ,,with 
,,violin          ,melozzo da ,forl     
,,angel ,,choir                 ,benozzo
 ,gozzoli    ,,angel ,,of ,,annunciation
           ,burne-,jones    ,,madonna   
,,and ,,child ,,with ,,angels           
,bellini    ,,angel ,,with ,,lute       
,carpaccio    ,,saint ,,michael         
,perugino      ,paint an angel6         
exclaimed ,courbet 7koor-bay7 the       
realist to a pupil  who one day asked   
him how it should be done4 ,when did you
 ever see an  angel8 ,the abashed pupil 
had to admit that he had never had the  
good  fortune to see one4 ,very well1   
then1 you had better paint the portrait 
of your grandfather1 whom you see every 
day4 ,the advice to keep his  head out  

of the clouds while his feet were on    
earth may have been  needed by the      
pupil2 but nevertheless angels have been
 painted time  out of mind1 and even    
such pronounced realists as ,courbet and
 ,manet  7mah-nay7 have painted them4   
,and they saw them1 too2 that is1 they  
saw the pretty-faced models they turned 
into angels by adding enlarged  pigeon  
wings to their shoulder blades4 ,but    
they were not very spiritual  angels4   
,realism rather scorns things spiritual1
 and besides religious  feeling and     
sentiment in art passed out several     
centuries before the  coming of the     
modern realists4    ,the early men--the 
,fra ,angelicos1 the ,benozzos          
7ben-ots-o71 the  ,filippinos1 of the   
fifteenth century--believed in the      
,biblical scenes  they painted1 and     
sometimes stated their belief in letters
 of gold  at the bottom of their        
pictures4 ,they saw things with the eye 
of  faith1--saw ,madonnas1 saints1 and  
angels in visions1 and painted them1  as

 the evangelists wrote1 by the aid of   
inspiration4 ,perhaps it was  their     
belief1 their intense feeling1 that gave
 the fine religious  sentiment to the   
work of these early men4 ,yet they did  
not invent or  discover the angel in    
art4 ,it had a more material and        
commonplace  origin than in medieval    
belief and religious fervor4            
,,winged ,,figures ,,in ,,ancient ,,art 
,illustration3 ,,perugino3 ,,baptism    
,,of ,,christ 7detail7    ,there were   
winged figures in ,egyptian1 ,chaldean1 
and ,assyrian art1  deities of the air1 
goddesses of the cloud and the heavens4 
,the  ,hittite and the ,persian produced
 the winged ,sphinx1 and the ,greek the 
winged ,victory that flew above the     
advancing host and pointed the way  to  
glory4 ,this winged ,victory of the     
,greeks probably suggested the          
,christian angel2 though the immediate  
forerunner of the angel was found  in   
the ,cupid and ,psyche of ,roman art4   
,the ,christians1 following the         

,romans1 took over in their art much of 
the material of the old ,roman  world4  
,they had to do this2 for ,christianity 
was without form in art1  and the early 
,christians decried it as idolatrous4   
,but later on there  came a demand for  
telling the ,bible stories in form and  
color1 that  people might see what they 
could not read4 ,then ,christianity1    
answering  the demand1 took up ,roman   
forms and gave them ,christian          
significance4  ,they took the ,cupids of
 ,roman art and turned them into        
,cherubs1 and out  of the winged        
,victories and ,psyches they made       
ministering angels4    ,illustration3   
,,perugino3 ,,cherub ,,head 7detail7    
,the pagan form was soon forgotten in   
the ,christian spirit1 and the  angels  
of the ,gothic and early ,renaissance   
periods developed a new  meaning1 a new 
soul4 ,what beautiful sentiment1 what   
profound feeling1  the early painters   
put into the angel of the ,annunciation6
 ,what a  world of pathos and sadness   

they gave the angel seated by the tomb  
of  ,christ6 ,what gladness and joy to  
the angels of the ,nativity standing    
near the ,madonna or singing the ,gloria
 in ,excelsis in the upper sky6         
,according to tradition1 the angels know
 neither gladness nor sadness1  neither 
wrath nor pity4 ,they are heavenly      
messengers obeying the  mandates of the 
,most ,high1 without emotion or feeling 
of any kind4 ,but  the old masters of   
,italy did not so regard them4 ,they    
gave them human  characteristics1 made  
them emotional and sympathetic1 painted 
them in  robes of blue1 of red1 of gold1
 of white1 and gave them faces and forms
  that were human1 it is true1 but as   
near divine as earthly thought  could   
render them4      ,,cherubim ,,and      
,,seraphim    ,the red-robed angels     
7they were painted red of face as well  
as of robe7  were the ,seraphim1 the    
angels of love1 and nearest to ,god4    
,often with  the early painters only    
their heads were shown1 with wings      

crossed in  front of them1 sometimes    
with four1 six1 or eight wings4 ,the    
blue-robed  angels were the ,cherubim1  
the angels of knowledge1 and they too   
were  shown in their heads only1 with   
many crossed wings4 ,they appeared in   
groups and halos surrounding the        
presence of the ,father1 the ,son1 or   
the ,virgin4 ,the cherubs or putti of   
later ,italian art1 so frequently  seen 
with the ,madonna and ,child1 are the   
artistic descendants of  the ,seraphim  
and ,cherubim4 ,they are seen in the    
large aureoles of  light that surround  
the ,madonna2 for instance1 in          
,raphael's ,sistine  ,madonna and       
,titian's ,assumption of the ,virgin4   
,they recede into the  background or    
come forward in clouds as the countless 
hosts of heaven4    ,illustration3      
,,domenichino4 ,,madonna ,,of ,,the     
,,rosary 7detail7    ,frequently the    
,cherubs are given enlarged childlike or
 feminine forms  with individual        
features1 elongated wings1 variegated   

colors4 ,they are  then shown hovering  
or standing or seated near the ,madonna1
 and are  usually playing on musical    
instruments--making music for the glory 
of the ,madonna and ,child4 ,they are   
seen in the pictures of ,bellini        
7bel-lee-nee7 and ,carpaccio            
7kahr-pah-cho7 near the foot of the     
throne2 with ,melozzo da ,forl 7for-lee7
 they soar in the air2 with  ,duccio    
7doo-cho7 and ,cimabue 7chee-mah-boo-ah7
 they stand about the  throne1 dressed  
in rich robes1 singing1 playing1 or     
worshiping4 ,music  and color were      
associated in the minds of the early    
,italians as though  both were          
manifestations of sentiment in art4     
,especially was this true  at           
,venice1--the one great color spot in   
,italian art4      ,,ministering ,,and  
,,guardian ,,angels    ,the angels that 
sang the ,gloria in ,excelsis1 or knelt 
near at hand  at the birth of ,christ1  
were usually larger than the putti1     
girlish  in form1 and very beautiful of 

face4 ,they were dressed sometimes in   
colors1 as with ,correggio 7kor-red-jo72
 sometimes in gold brocades of  gorgeous
 pattern1 as with the ,vivarini         
7vee-vahr-ee-nee72 sometimes in  white  
and blue1 as with ,piero della ,franesca
 7frahn-ches-kah74 ,again1  they        
frequently had jeweled crowns or        
embossed halos or peacock-eyed  wings4  
,it was the idea of the old masters to  
make them decoratively  beautiful as    
well as representative of purity and    
truth4 ,and they  carried out this idea 
still further in the faces1 which were  
always of  the most lovely types they   
could find or imagine4 ,to us today     
these  angel faces are perhaps the most 
attractive feature of this early  church
 art of ,italy4    ,illustration3       
,,correggio2 ,,angel ,,group 7detail of 
fresco at ,parma7    ,the same kind of  
angels1 but clothed usually in white1   
appeared to  the ,shepherds1 attended   
the ,holy ,family in their flight into  
,egypt1  stood by the river bank at the 

baptism of ,christ1 were with ,him in   
the wilderness1 in the garden1 at the   
crucifixion1 watched by the  tomb1 and  
rolled away the stone from the door4    
,others of the angelic  host appeared at
 times to warn ,abraham1 to present a   
message to  ,saint ,joachim1 to guide   
,saint ,peter out of his prison4 ,they  
were all  ministering spirits1 but      
without specific names4                 
,illustration3 ,,fra ,,bartolommeo2     
,,madonna ,,enthroned 7detail7          
,,the ,,seven ,,archangels    ,on the   
other hand1 certain deeds to be done    
were given to certain  angels who had   
definite names4 ,these were the seven   
archangels4 ,it was  ,michael1 captain  
of the ,hosts of ,heaven1 that overcame 
the ,demon and  drove him into the      
,bottomless ,pit2 it was ,jophiel with  
the flaming  sword that drove ,adam and 
,eve out of ,paradise2 it was ,zadkiel  
that  stayed the hand of ,abraham1 and  
,chamuel that wrestled with ,jacob4     
,these were all archangels who appeared 

with their various symbols in           
,christian art4 ,uriel1 guardian of the 
sun1 is seen less frequently  than the  
others2 but ,raphael1 the chief guardian
 angel1 is often  seen in company with  
,tobit1 and occasionally in the pictures
 of the  ,last ,judgment with ,michael1 
blowing the dread blast of the great    
resurrection4    ,illustration3 ,,guido 
,,reni3 ,,st4 ,,michael ,,and ,,the     
,,demon    ,but the angel ,gabriel      
appears in art oftener than all the     
other angels  put together4 ,this is    
because he was the angel of the         
,annunciation and  foretold the coming  
of ,christ4 ,he is seen a thousand times
 in ,italian  art1 lilies in hand1      
kneeling and repeating the message to   
the ,madonna4  ,the theme was the most  
popular of all1 and a thousand different
 types  of beauty were created to       
impersonate ,gabriel4 ,many of them are 
still  existent1 and some of them are   
the most lovely creations of the old    
masters4      ,,angel ,,ideals ,,of     

,,the ,,old ,,masters    ,illustration3 
,,verocchio 7,school of7 ,,archangel    
,,raphael 7detail7    ,of course the    
ideal of angelic beauty varied with each
 painter4 ,each  chose for a model the  
fairest type he could find1 and each    
differed  from his fellow4 ,perhaps the 
most popular types of angels in the     
early  ,renaissance were painted by     
,melozzo da ,forl4 ,a notable group of  
them  was painted in a cupola of the    
,church of the ,apostles in ,rome4 ,they
  were angels of the ,ascension1 and    
surrounded the rising figure of         
,christ4 ,the fresco afterward became so
 damaged that it was taken down1  and   
some of the angels were transferred to  
the ,sacristy of ,st4 ,peter's1  where  
they are now to be seen4 ,our           
reproduction shows a detail of one  of  
them1--one with a fair face1 abundant   
hair1 a halo about the head  made up of 
golden cubes of mosaic1 and large       
expanded wings4 ,the figure  is seen    
slightly foreshortened1 and this1 with  

the spread wings that  seem really large
 enough to support an angel1 gives the  
impression of  flight1 or at least a    
hovering movement4 ,the wings are       
upraised1 and  seem to frame the        
beautiful head and its halo4 ,this      
upward swing of the  wings is           
counterbalanced by the downward sweep of
 the drapery from the  waist line4      
,between the upward and the downward    
curves is a swirling  cross line1 made  
up by the shoulder1 the arm1 and the    
violin bow4  ,all this is shrewdly      
worked out1 and gives force and movement
 to the  figure4 ,the whole composition 
has nobility and loftiness about it1 and
  is not a mere sweet-faced affair of   
the ,carlo ,dolci 7dol-chee7 kind4      
,illustration3 ,,veronese3              
,,annunciation 7detail7                 
,illustration3 ,,botticelli3 ,,madonna1 
,,child1 ,,and ,,angels      ,,types    
,,of ,,benozzo ,,and ,,leonardo ,,da    
,,vinci    ,the angels of ,benozzo      
,gozzoli 7got-so-lee7 are of similar    

characters4  ,they have not a particle  
of sweetness about them1 and would never
 be  called pretty2 but what fine       
sentiment and decided individuality     
they have6 ,they are part of a famous   
fresco in the ,riccardi ,palace at      
,florence1 one of the finest and best   
preserved frescos in all ,italy4  ,the  
little chapel where they are had its    
walls entirely covered by  ,benozzo with
 a fresco representing the ,adoration of
 the ,kings4 ,the  gorgeous procession  
of the kings and their attendants 7made 
up of  portraits of the ,medici and     
their friends1 with ,lorenzo the        
,magnificent  riding as one of the      
kings7 covers three walls of the chapel4
 ,the  splendid cavalcade winds along1  
and finally comes up to the fourth      
wall1 where was once shown the ,madonna 
and ,child with ,joseph4 ,this  group of
 the ,holy ,family has disappeared2 but 
the band of worshiping  angels is on the
 side wall1 still intact4 ,the angels   
are kneeling and  standing amid flowers 

which one does not see at first because 
of the  bright colors and the golden    
halos4 ,what beautiful faces1 nave      
forms1  and praying hands are here6     
,this is sincerity in art1 and true     
enough  sentiment into the bargain4 ,one
 will travel far before seeing its      
better4    ,illustration3 ,,botticini3  
,,madonna ,,and ,,child 7detail of      
angels7    ,a historic and even a       
sentimental interest attaches to        
,leonardo da  ,vinci's 7lay-o-nahrd-o   
dah vin-chee7 little angel in the       
,baptism of  ,christ by ,andrea         
,verocchio 7vay-rok-kee-o74 ,vasari     
7vah-sah-ree7  recites the story of how 
,verocchio1 when ill perhaps1 told his  
pupil1  the young ,leonardo1 to finish  
this picture by painting in the second  
angel1 and that ,leonardo did it so well
 that it was superior to the  other     
parts of the picture4 ,perceiving this1 
,andrea resolved never  again to take   
pencil in hand2 since ,leonardo1 though 
still so young1  had acquitted himself  

better in the art than he had done4     
,this is  a pretty story1 which has been
 pooh-poohed and denied by recent       
criticism1 but without reason4 ,the     
angel with the profile was certainly    
done by a different hand than the angel 
with the full face4 ,it is  different   
from any other part of the picture1 and 
there is every  reason to believe it    
done by ,leonardo as ,vasari states4    
,the charm of  the angel1 the type1 the 
graceful contours1 the light and shade1 
all  foreshadow the later work of       
,leonardo4 ,what a lovely creation1 not 
only  in face and feature1 but in       
serenity and fine feeling6      ,,the   
,,charming ,,angels ,,of ,,perugino     
,perugino 7pay-roo-jee-no7 was in that  
same studio of ,verocchio1 a  fellow    
pupil with ,leonardo2 but his angels are
 much weaker conceptions  than          
,leonardo's4 ,they are contemplative1   
full of wistful tenderness1  lost in    
reverie2 but they lack somewhat in      
mental grip4 ,they make up  for this1   

however1 by a charming sentiment4 ,the  
,st4 ,michael1 reproduced  herewith1    
shows it4 ,he is hardly the ideal       
captain-general of the  heavenly host1  
able to wield the sword in the front    
ranks2 but on the  contrary is a slight1
 boyish figure1 full of fancy1 and lost 
in day  dreams4    ,illustration3 ,,fra 
,,angelico3 ,,trumpet-,,blowing ,,angel 
,,perugino',s ,,saint ,,michael    ,in  
this picture he stands aloof from the   
figures about him1 and1 with  his head  
inclined to one side1 seems to be       
listening to the song of  the angels in 
the upper air4 ,the brown eyes are full 
of earnestness2  but the round face and 
slight mouth have no set purpose other  
than to  suggest sentiment and symmetry4
 ,a very pretty type1 no doubt2 but not 
a strong one4 ,a man of power like      
,michelangelo could have very little    
sympathy with it4 ,indeed1 he sneered at
 the pretty face and called  ,perugino a
 dolt and blockhead in art4 ,that was   
more than ,perugino  could bear1 and1 in

 a rage1 he brought ,michelangelo before
 the ,council  of ,eight on a charge of 
slander4 ,but it only resulted in a     
laugh at  ,perugino's expense4 ,his     
action was perhaps foolish2 but his     
pictures  are not to be laughed at4     
,they are excellent in color1 and the   
pretty  face that ,michelangelo scorned 
became the early model for ,perugino's  
great pupil1 ,raphael4      ,,the       
,,angels ,,of ,,fra ,,angelico          
,illustration3 ,,fra ,,angelico3        
,,coronation 7detail7    ,in sweetness  
of type and depth of feeling1 the angels
 of ,fra ,angelico  are more profound   
than ,perugino's4 ,besides1 they seem to
 have more  sincerity about them4 ,the  
monk-painter in his cell saw visions of 
heavenly things1 and as he saw so he    
recorded in art4 ,all his faces  seem   
filled with divine tenderness4 ,he      
painted only one face1 one type4  ,his  
pictures show men with beards and monks 
in cowls1 and angels in  flowing robes  
with bright wings2 but there is always  

the same face1  the same sentiment4 ,his
 trumpet-blowing angels1 of which there 
are  countless copies in existence1 are 
epitomes of this conception and         
sentiment4 ,they have great purity and  
beauty4 ,fra ,angelico was a man  of    
pure thought to start with1 and         
everything he touched reflected his     
purity4      ,,types ,,of ,,filippino   
,,and ,,botticelli    ,illustration3    
,,filippino ,,lippi3 ,,madonna ,,and    
,,st4 ,,bernard 7detail of  angels7     
,illustration3 ,,seppi2 ,,angel ,,of    
,,annunciation    ,filippino and        
,botticelli came later than ,fra        
,angelico1 and the ,florence  of their  
day had begun to draw away from medieval
 traditions in art  in favor of more    
learned technical accomplishment2 yet   
one can hardly  see any waning of       
sentiment in the work of these men4 ,in 
fact1 the  sentiment of ,filippino is   
often perilously near to sentimentality1
 so  intense and earnest is the feeling 
of the man4 ,his ,madonna is always  on 

the brink of tears1 and his angels are  
in perfect sympathy with the  ,madonna4 
,botticelli is more of an intellectual  
force2 but he too is  saturated with    
sentiment to a point of morbidity4 ,his 
,madonnas have  sad eyes1 mouths that   
droop at the corners1 hollow cheeks1 and
 long1  flowing hair4 ,they bend before 
the ,angel of the ,annunciation like    
broken flowers1 or agonize at the       
,crucifixion like lost souls4 ,their    
sentiment is intense4 ,nor does it vary 
much when ,botticelli dealt with        
classic subjects4 ,his ,venus in her    
seashell1 his ,pallas1 his ,spring1  all
 have some of the same morbidity1       
mingled with mystery1 melancholy1       
tenderness1 that we see in his angels   
surrounding the ,madonna4 ,this         
personal quality of the painter is very 
attractive1 and has perhaps  done more  
to make ,botticelli popular than his    
fine qualities as a  draftsman and a    
painter4      ,,preraphaelite ,,angels  
,when the ,preraphaelite movement       

started in ,england over half a century 
ago1 with ,rossetti1 ,holman-,hunt1 and 
,millais as painters1 and ,ruskin  for a
 prophet1 it could think of no one      
better as a model to follow  than       
,botticelli4 ,the ,botticelli look is   
quite apparent in the sad1  rather      
unhealthy faces of ,rossetti4 ,this     
,rossetti influence was  handed on to   
his pupil1 ,burne-,jones4 ,none of the  
,preraphaelite ardor  was abated or its 
sentiment lessened with ,burne-,jones4  
,indeed1 he  improved upon his master   
both technically and sentimentally4 ,he 
was a  much better draftsman and        
colorist than ,rossetti1 and presented  
the  ,preraphaelite idea with greater   
force and effect4    ,illustration3     
,,burne-,,jones3 ,,the ,,annunciation   
,,the ,,angels ,,of ,,burne-,,jones     
,illustration3 ,,verocchio3 ,,baptism   
7detail of ,leonardo's ,angel7    ,the  
,burne-,jones type had rounder1 more    
inquiring eyes1 thinner  cheeks1 a      
sadder mouth1 a more willowy figure4 ,it

 appears often in  long1 flowing hair1  
with swirling drapery1 and dramatic     
action4 ,at  other times one sees it as 
a romantic type consumed by a fever of  
passionate sentiment4 ,the ,annunciation
 shown herewith is not a very  good     
illustration of this4 ,the ,madonna has 
a dull stare in her eyes  as though she 
was something of an invalid1 and even   
the angel has a  semi-malarious look4   
,but the melancholy1 the sadness1 the   
morbidity1  so apparent in ,botticelli  
are also apparent here4 ,the picture is 
a fine example of the painter's         
decorative sense4 ,it has been put      
together with much skill4 ,notice the   
architecture1 the passageway at  back1  
the bas reliefs1 the repeated lines of  
the draperies in both the  ,madonna and 
the angel4 ,one could almost wish it in 
stained glass1 so  beautifully would it 
fill an upright window4    ,every       
painter of ,botticelli's rank in ,italy 
had a score or less of  followers1 and  
among them all there was never any      

dearth of sentimental  ,madonnas and    
pathetic angels4 ,florence held no      
monopoly of the subject4      ,,angels  
,,of ,,bellini ,,and ,,carpaccio        
,illustration3 ,,murillo3 ,,guardian    
,,angel    ,at ,venice in the early days
 were ,bellini and ,carpaccio1 who      
produced  famous ,madonnas and most     
lovable angels4 ,they are different     
angels  from those of ,botticelli4 ,in  
fact1 they are little more than handsome
  children navely making music for the  
,madonna and ,child4 ,their  unconscious
 quality is captivating4 ,how very      
childlike1 in their pure  faces1 their  
golden hair1 their round legs and fat   
little hands6 ,the  models were perhaps 
the painter's own children4 ,why not8   
,was not the  ,madonna1 nine times out  
of ten1 the painter's own wife8 ,and how
 better  could he depict the winged     
messengers of the sky than by painting  
them  with the forms of those he loved  
here below8 ,it is only a step across   
the world from heaven to earth1 and is  

not love the band that unites  them8    
99       99       99       99       99  
,,supplementary ,,reading4--,sacred and 
,legendary ,art1 ,jameson2 ,life of     
,christ in ,art1 ,farrar2 ,christian    
,iconography1 ,didron2 ,angels of  ,god1
 ,timpson2 ,angels in ,art1 ,clement4   
,,the ,,mentor    ,,issued              
,,semi-,,monthly ,,by    ,the ,mentor   
,association1 ,inc4    #cha ,fourth     
,ave41 ,new ,york1 ,n4 ,y4      ,volume 
#a                                      
,number #dj     ,,annual ,,subscription1
 ,,four ,,dollars4 ,,single ,,copies    
,,twenty ,,cents4 ,,foreign   ,,postage1
 ,,seventy-,,five ,,cents ,,extra4      
,,canadian ,,postage1 ,,fifty ,,cents   
,,extra4 ,,entered ,,at ,,the ,,post    
,,office ,,at ,,new ,,york1 ,n4 ,y41    
,,as ,,second-,,class   ,,matter4       
,editorial    ,we have just received the
 following letter from a reader of ,the 
,mentor3  ,i have examined with great   
care and profit a copy of ,the ,mentor  
just received4 ,there is only one       

suggestion that ,i can make towards  its
 improvement1 and that is that on the   
back of the photogravures  there should 
be a pronunciation scheme for all       
foreign names4 ,not  everyone who reads 
is able to pronounce properly the       
,spanish1 ,french1  or ,italian2        
particularly is this true of names and  
places4 ,the  pronunciation might be put
 in brackets right after the names1 or  
made a  sort of marginal affair4        
99       99       99       99       99  
,this is the kind of letter we like to  
get4 ,the suggestion is a good  one4 ,we
 wrote at once to the writer1 saying    
that pronunciation would be  indicated  
wherever foreign names were used4 ,we   
have done so in the text  pages of ,the 
,mentor--our readers know that4 ,we have
 not been doing it  in the stories      
printed on the back of ,the ,mentor     
gravures4 ,there was  no reason for not 
doing it4 ,the indication of            
pronunciations should  accompany foreign
 names wherever they are used4 ,the     

writer of the above  has done us a real 
service in calling attention to the     
matter4 ,we wish  that readers would    
write to us whenever they have a        
suggestion that  they think would add to
 the value and usefulness of ,the       
,mentor4           99       99       99 
99       99    ,half knowledge on any   
subject is not of much use4 ,the case of
 a  college professor comes to mind4 ,he
 was very strong on what he called      
completing a thought and finishing a    
fact4 ,he said that as a man  walked    
through life or looked through books he 
was constantly in an  atmosphere of     
information--that facts were darting    
like meteors all  about him4 ,he said   
that the habit of mind of most people   
was slovenly4  ,such complete facts as  
come to their attention are perhaps     
absorbed4  ,half facts come along1 and  
most people do not follow them up to a  
finish4 ,the habit of this professor was
 to carry a memorandum pad  in his      
pocket1 and whenever he would hear a    

statement or receive a  bit of knowledge
 he would jot down a note and then1 in  
some leisure  moment1 look the matter up
 in an authoritative reference book1    
thereby  completing his information and1
 as he put it1 sewing it up good and    
tight for future use4           99      
99       99       99       99    ,the   
result is that that college professor   
knows what he knows  thoroughly and     
accurately4 ,he is never heard saying1  
as so many do  when a subject is        
mentioned1 ,oh1 what about that4 ,i have
 had bits  of information concerning it 
from time to time4 ,what does it mean8  
,the professor had looked up the matter 
when he got his first bit of            
information1 and1 as a result1 he had   
digested the subject and in his  way    
owned it4           99       99       99
       99       99    ,we have planned  
,the ,mentor with the thought of giving 
members of  the ,association the        
essential information that they should  
have on  different subjects4 ,everyone  

is not fortunate enough to have a good  
reference library--some are not even in 
touch with reference books4 ,it  is the 
purpose of ,the ,mentor1 therefore1 to  
come like a good friend who  is well    
informed and spend a few minutes a day  
with you1 telling you  in simple        
language about the many interesting and 
important things1  events1 and people of
 the world4           99       99       
99       99       99    ,and you don't  
have to make notes as the professor did4
 ,you don't have  to go looking for     
books of reference on the subject4 ,the 
,mentor not  only gives you in an       
interesting way the essential facts     
about a thing1  together with           
illustrations1 but it gives you a list  
of the important  reference books on the
 subject4    ,illustration3 ,,angel     
,,with ,,violin1 ,,by ,,melozzo ,,da    
,,forli          ,melozzo da ,forl      
,,one      ,today we think of ,italy as 
one united country4 ,for that reason it 
is  difficult for many of us to realize 

the ,italy of ,melozzo da ,forl's       
7mel-ot-so day for-lee7 time4 ,then     
there was no union--practically  no     
,italy4 ,the country was rent by the    
strivings of many tiny  principalities1 
each jealous of the other1 each trying  
to outdo the  other1 each quick to seize
 an opportunity to work its neighbor    
harm4    ,every one of the petty princes
 was seeking to beautify his capital    
city1 to have his court outshine those  
of his rivals4 ,if he desired  to be    
known as a patron of art and letters1   
poets1 architects1 and  philosophers    
were invited to associate themselves    
with him4 ,artists1  like the scholars1 
had to rely on the favor of such princes
 for their  living4    ,in later years  
the introduction of oil painting made   
easy the sending  of a panel or a canvas
 as the gift of one lord to another4    
,but before  that time1 instead of      
sending the painter's work1 it would    
have been  necessary to send the        
painter2 for most of the work was done  

in another  way4 ,in fresco painting the
 artist was obliged to work directly on 
the wall on which the picture was to be 
seen when finished4 ,often he  himself  
applied the wet plaster1 and after      
smoothing it laid on the  color4 ,he had
 to work rapidly2 for when the plaster  
had dried every  addition or correction 
showed4    ,but before becoming         
sufficiently generous to give away their
 artist's  work most of the nobles first
 employed their artists to decorate     
their  own chapels or palaces for them4 
,it was under the patronage of one of   
the cardinals1 a nephew of ,pope ,pius  
,,iv1 that ,melozzo da ,forl painted    
his angels4 ,pius ,,iv did not wish to  
be behind his neighbors in the          
encouragement of the fine arts4 ,he     
wanted ,rome to be the finest city in   
the world1 and set about making it so4  
,those who wished to please him  were   
not slow to follow his leading4    ,the 
angels reproduced in ,the ,mentor are   
but a portion of the entire  fresco1    

which showed the ,ascension of ,christ1 
and formerly decorated  the dome of the 
,church of the ,apostles at ,rome4      
,these fragments escaped  destruction   
when the church was reconstructed in    
#agaa4 ,they are now in  the ,sacristy  
of ,saint ,peter's4    ,almost nothing  
is known of the life of ,melozzo4 ,we   
should not have  known when he was born 
if his epitaph had not recorded his age4
 ,his  name indicates that he came from 
,forl1 a small town not far from        
,ravenna4 ,his fame rests almost        
entirely on these fragments2 but so well
  were they done that they give this man
 high rank among the artists of  ,italy4
    ,illustration3 ,,angel ,,choir1 ,,by
 ,,benozzo ,,gozzoli          ,benozzo  
,gozzoli    ,,two      ,like many       
another painter1 ,benozzo ,gozzoli      
7be-ot-so got-so-lee7  owed much to his 
master4 ,fra ,angelico painted beautiful
 angels1 and his  pupil seems to have   
learned some of his skill2 for the group
 of ,adoring  ,angels in the ,riccardi  

,palace is one of the loveliest to be   
seen in  all ,italy4 ,early in his life 
,benozzo was apprenticed to ,ghiberti1  
the  sculptor of the doors of the       
baptistery at ,florence4 ,so splendid   
are  they that by the ,italians they are
 called ,the ,doors of ,paradise4 ,he   
began under a good man4 ,but he could   
not have remained in that studio  long2 
for at the age of twenty-seven we find  
,fra ,angelico taking him  with him to  
,rome as assistant in his work for the  
,pope4    ,two years later ,benozzo     
started out for himself4 ,he worked in  
several  of the smaller ,tuscan towns1  
until in #adei the death of several of  
the older artists of ,florence opened up
 the way for his return to his  native  
city4    ,he was not obliged to wait    
long2 for the ,medici soon called upon  
him  for what proved to be his          
masterpiece4 ,the palace of the ,medici 
had in  it a small private chapel2 to   
,benozzo they gave the task of          
decorating  its walls4 ,the subject     

chosen was ,the ,adoration of the ,magi4
 ,we  have three letters written by     
,benozzo to ,piero de' ,medici when he  
was  engaged upon this work4 ,they show 
that he was using every effort to do    
his best4 ,i have no other thought in my
 heart1 he writes1 but how  best to     
perfect my work and satisfy your wishes4
    ,the work was well done4 ,perhaps   
that is why everyone who today visits   
,florence feels that he must see this   
tiny chapel before he leaves4 ,one      
steps from the busy ,florentine street1 
through massive portals1 into  a        
courtyard4 ,from the present we step    
back into the past4 ,climbing a  stair1 
we reach the dim chapel1 which is but   
little changed from the  way it was left
 by ,benozzo4 ,it is as much a monument 
of his skill as it  is of the           
munificence of the ,medici4             
,benozzo's success with this work       
insured his prosperity4 ,he married and 
settled in ,florence4 ,ten years later  
he moved to ,pisa1 where he spent       

sixteen years painting a series of      
frescos in the ,campo ,santo4 ,and in   
that lovely1 quiet place he lies buried 
today1 near the frescos upon  which he  
labored so faithfully4    ,illustration3
 ,,angel ,,of ,,annunciation1 ,,by      
,,burne-,,jones          ,sir ,edward   
,burne-,jones    ,,three      ,the      
mother of ,sir ,edward ,burne-,jones    
died when he was born4 ,the lot of  a   
lad without a mother is bound to be a   
hard one1 especially if he has  no      
brothers or sisters4 ,his father would  
permit him to read only two or  three   
books2 but one of them was sop's        
,fables1 and this was the boy's         
favorite1 because it had prints in it4  
,the child used to spend much  time     
before the shop windows looking at the  
volumes he might not read4  ,he was     
never very strong physically4    ,this  
course seems to have driven the boy to  
living in the realms of  the            
imagination1--a training for the painter
 of nymphs and fairies he  was to become

 later4 ,not until he was twenty-three1 
it is said1 did  ,burne-,jones see a    
good picture4    ,when he went up to    
,oxford he formed a friendship with     
,william ,morris1  a youth almost as shy
 as himself4 ,they read ,ruskin's       
,modern ,painters  together1 and told   
each other their dreams4 ,at ,london    
during one of  the vacations he came    
into touch with ,dante ,gabriel         
,rossetti1 and on  advice of this artist
 gave up his studies at ,oxford to      
devote himself  exclusively to the study
 of art4 ,however frail ,burne-,jones   
may have  been physically1 there could  
have been no lack of mental courage in  
the  man who could take such a bold step
 as this4    ,his struggle was a long   
one and a hard one2 but he was never    
without  the help and encouragement of  
warm friends1 ,ruskin among them4 ,he   
traveled to ,italy4 ,on his second trip 
he went with ,ruskin4 ,but with the     
possible exception of ,botticelli1 the  
,italian masters had little direct      

influence upon his work4 ,he seems to   
have caught their spirit of doing       
things1 of doing them as well as he was 
able1 with deep sincerity of  feeling4  
,he was one of the leading spirits of   
the ,preraphaelites1 a band of  young   
men who hoped to regenerate art by      
putting into their work the  simplicity 
and sincerity that had actuated the     
artists before ,raphael's  time4    ,he 
married in #ahfj1 and settled on the    
outskirts of ,london4 ,a gradually      
increasing host of friends began to make
 their way to his modest home4          
,burne-,jones felt that1 wherever else  
he might be at fault1 in spirit  he was 
right4 ,so he did not reach for the fame
 that makes less wise  men seek short   
cuts1 but worked steadily and carefully4
 ,his reputation  increased1 honors came
 to him1 and before he died he knew that
 his work  was being appreciated4    ,in
 #ahid1 four years before his death1 a  
baronetcy was conferred upon  him by    
,queen ,victoria1 and to those who knew 

the man and his work this  was felt to  
be not higher than was deserved4        
,illustration3 ,,madonna ,,and ,,child  
,,with ,,angels1 ,,by ,,bellini4        
,giovanni ,bellini    ,,four      ,the  
,bellini 7bel-lee-nee7 family was a very
 artistic one4 ,not only  ,giovanni1 but
 his brother ,gentile as well1 became a 
famous artist1 and  their father was a  
painter of note4 ,not to be outdone by  
the other  members of the family1 their 
only sister ,andrea married ,mantegna1  
the  great ,paduan master4 ,under such  
circumstances it is unlikely that the   
boy ,giovanni had to overcome any       
parental opposition to his becoming  an 
artist4 ,art must have been a part of   
the daily life of the entire  family4   
,at first he doubtless studied under his
 father's direction2 but  his early work
 shows that he was much influenced by   
his brother-in-law  as well4            
,although the two brothers1 ,giovanni   
and ,gentile1 worked independently1     
they both won distinction and were      

highly esteemed by the ,venetians4      
,they were commissioned to paint a      
series of large canvases for the  ,ducal
 ,palace2 but these works have since    
been destroyed by two fires  which      
greatly damaged that wonderful          
building1--the first in #adgi and  the  
second in #aegg4    ,although no longer 
a young man when the invention of oil   
painting was  first brought to ,venice1 
instead of adhering to the old          
traditions he  set about mastering the  
new medium4 ,and he succeeded too4      
,pupils came  to him to be taught the   
new practice2 among them ,titian and    
,giorgione4  ,his studio was the very   
dwelling place of the ,genius of        
,painting1 and  from his workshop went  
out many of the men to whom ,venetian   
painting  owes its fame4    ,painters   
from far and near came to visit him4    
,among them was ,albrecht  ,drer1 the   
,german master1 whom ,bellini received  
very cordially4 ,he is  very old1 wrote 
,drer1 but still the best in painting4  

,there was a  waiting list of nobles who
 wanted him to paint their portraits4   
,fine in color1 and accurate in drawing 
to the last1 he seems not to  have      
degenerated4 ,he must have been a man of
 great force and talent4    ,he lived to
 be ninety years old4 ,he was laid to   
rest beside his  brother1 in ,san       
,giovanni e ,paolo1 the ,westminster    
,abbey of ,venice4    ,illustration3    
,,angel ,,with ,,lute 7,,detail ,,of    
,,presentation71 ,,by ,,carpaccio       
,vittore ,carpaccio    ,,five           
,venice the ,magnificent is never very  
far removed from the pictures of        
,vittore ,carpaccio 7kahr-pah-cho74 ,it 
doesn't matter whether he is  painting  
the story of ,saint ,ursula at ,cologne 
or a scene from ,holy  ,writ1 ,cologne  
is given a very ,venetian look1 and the 
,madonna or the  ,saints are in         
,venetian costumes and brocades4        
,this oriental love for splendor in     
dress has led some writers to  believe  
that ,carpaccio must have accompanied   

his master ,gentile ,bellini  to        
,constantinople4 ,when the sultan       
desired that ,venice send one of her    
foremost artists to paint his portrait1 
the commission was given to  ,gentile   
,bellini4 ,he may have taken ,carpaccio 
with him4 ,the portrait  ,bellini       
painted exists today in the ,layard     
collection1 recently  bequeathed to the 
,national ,gallery1 ,london4            
,although ,carpaccio painted many       
religious pictures1 he succeeded best   
when there was some story to be told4   
,he gave to his pictures the  charming  
simplicity that is the first essential  
of a good story-teller4  ,nor was he    
without a sense of humor4 ,in one of his
 pictures telling  the story of the life
 of ,saint ,jerome he shows the lion    
walking up to  ,jerome and holding out  
his paw in order that the troublesome   
thorn  might be removed1 while the      
terrified brothers of the saint are seen
  flying in all directions4    ,one of  
the ,venetian nobles gave ,carpaccio a  

commission to paint the  portrait of a  
poet connected with his household4 ,at  
least one of these  rhymesters was to be
 found in the train of most of the      
nobles in those  times4 ,the poet was so
 elated that he burst forth into verse1 
giving  ,carpaccio directions to paint  
him with a wreath of laurel4 ,carpaccio 
painted the portrait2 but1 possibly at a
 hint from the nobleman1 he  substituted
 for the crown of laurel one of grape   
leaves4 ,the poet  retaliated by        
reviling ,carpaccio in a lampoon full of
 abuse4    ,we do not know exactly when 
,carpaccio was born1 though it is       
generally  believed to have been in     
#adej1 in ,istria1 nor just when he     
died4 ,only  at ,venice can an adequate 
conception of his work be formed4 ,he   
seems  never to have journeyed far from 
that island city4    ,carpaccio's love  
for splendor found plenty of employment 
among  the beauty-loving ,venetians4    
,venice was beyond the reach of papal   
dictation1 and religion came to be      

considered by them more as an           
opportunity for display than as a rule  
of conduct4 ,its tragic phases  were not
 at all popular4 ,the ,crucifixion was  
not often painted2 but the              
,presentation in the ,temple and the    
,feast in the ,house of ,simon1 with    
their display of fine costumes1 were    
painted again and again4    ,when       
,ruskin first went to ,venice1          
,carpaccio's work was not at all        
appreciated2 but1 thanks to his lead in 
admiring its charming  qualities1 today 
,carpaccio is loved by many4            
,illustration3 ,,the ,,assumption       
7,,detail ,,of ,,st4 ,,michael71 ,,by   
,,perugino          ,perugino    ,,six  
,perugino 7pay-roo-jee-no7 was born in  
#addf in a little town not far  from    
,perugia4 ,his parents were respectable 
people1 and when he was  nine years old 
they sent him to ,perugia to be educated
 under one of  the artists of that city4
 ,his family name was ,vannucci2 but    
like many  other ,italian artists he was

 called after the city from which he    
came4  ,he grew up in ,perugia2 but by  
the time he had reached early manhood we
  find him at ,florence1 studying the   
frescos4 ,according to ,vasari1 he      
became a pupil of ,verocchio1 and in    
,verocchio's studio worked side by  side
 with ,leonardo da ,vinci4    ,it was   
about this time that the change from    
tempera to oil painting  took place in  
,italy4 ,perugino and ,leonardo were    
among the first of the  artists who     
thoroughly mastered the new medium4     
,perugino's careful work did much to    
increase his fame4 ,before he had       
reached the age of forty he was invited 
by the ,pope to come to ,rome4  ,he     
painted several subjects for the        
,sistine ,chapel1 and his work was      
given a prominent place in that place4  
,but when a later pope wished to  make  
room for ,michelangelo's ,last ,judgment
 ,perugino's frescos were  ruthlessly   
destroyed and the space they had        
occupied was filled with                

,michelangelo's huge composition4       
,judging from his quiet1 pensive        
,madonnas and his melancholy ,saints1   
it might be thought that ,perugino was  
of a saintly character too2 but  the    
records of ,florence show that after his
 return from ,rome he and  a companion  
got into difficulties with the          
authorities4 ,they were  captured when  
lying in wait for someone against whom  
they had a grudge4  ,perugino escaped   
with a fine of ten florins after        
pleading that he had  intended that the 
fellow should have no more than a good  
drubbing2 but  his companion1 who       
harbored graver designs1 was exiled4    
,perugino's work arose steadily in      
public esteem4 ,commissions came        
rapidly1 and he was able to choose among
 them4 ,a number of the younger  men    
came to him to be taught his method4    
,among them was the young  ,raphael1 who
 worked with him for several years4     
,raphael's early work  much resembles   
,perugino's4    ,perugino married a     

beautiful girl many years his junior4   
,he never tired  of dressing her in rich
 costumes4 ,but as he grew older he also
 grew  miserly4 ,when he died he left a 
comfortable estate for her and her      
three sons4 ,he was carried off by the  
plague when working in one of the  towns
 not far from ,florence1 at the age of  
seventy-eight years4     ,,prepared ,,by
 ,,the ,,editorial ,,staff ,,of ,,the   
,,mentor ,,association ,,illustration   
,,for ,,the ,,mentor1 ,,vol4 #a1 ,no4   
#dj1 ,,serial ,no4 #dj ,,copyright1     
#aiac1 ,,by ,,the   ,,mentor            
,,association1 ,,inc4                   
,transcriber's ,notes3    ,italic text  
is denoted by underscores4    ,minor    
punctuation and printer errors repaired4