,charles ,aldarondo1 ,charles ,franks1 and the ,online ,distributed ,proofreading ,team4 ,,pictures ,,every ,,child ,,should ,,know ,a ,,selection ,,of ,,the ,,world',s ,,art ,,masterpieces ,,for ,,young ,,people ,,by ,,dolores ,,bacon ,illustrated from ,great ,paintings ,,acknowledgments ,besides making acknowledgments to the many authoritative writers upon artists and pictures1 here quoted1 thanks are due to such excellent compilers of books on art subjects as ,sadakichi ,hartmann1 ,muther1 ,c4 ,h4 ,caffin1 ,ida ,prentice ,whitcomb1 ,russell ,sturgis and others4 ,,introduction ,man's inclination to decorate his belongings has always been one of the earliest signs of civilisation4 ,art had its beginning in the lines indented in clay1 perhaps1 or hollowed in the wood of family utensils2 after that came crude colouring and drawing4 ,among the first serious efforts to draw were the ,egyptian square and pointed things1 animals and men4 ,the most that artists of that day succeeded in doing was to preserve the fashions of the time4 ,their drawings tell us that men wore their beards in bags4 ,they show us1 also1 many peculiar head-dresses and strange agricultural implements4 ,artists of that day put down what they saw1 and they saw with an untrained eye and made the record with an untrained hand2 but they did not put in false details for the sake of glorifying the subject4 ,one can distinguish a man from a mountain in their work1 but the arms and legs embroidered upon ,mathilde's tapestry1 or the figures representing family history on an ,oriental rug1 are quite as correct in drawing and as little of a puzzle4 ,as men became more intelligent1 hence spiritualised1 they began to express themselves in ideal ways2 to glorify the commonplace2 and thus they passed from ,egyptian geometry to gracious lines and beautiful colouring4 ,indian pottery was the first development of art in ,america and it led to the working of metals1 followed by drawing and portraiture4 ,among the ,americans1 as soon as that term ceased to mean ,indians1 art took a most distracting turn4 ,europe was old in pictures1 great and beautiful1 when ,america was worshipping at the shrine of the chromo2 but the chromo served a good turn1 bad as it was4 ,it was a link between the black and white of the admirable wood-cut and the true colour picture4 ,some of the ,colonists brought over here the portraits of their ancestors1 but those paintings could not be considered ,american art1 nor were those early settlers ,americans2 but the generation that followed gave to the world ,benjamin ,west4 ,he left his ,mother ,country for ,england1 where he found a knighthood and honours of every kind awaiting him4 ,the earliest artists of ,america had to go away to do their work1 because there was no place here for any men but those engaged in clearing land1 planting corn1 and fighting ,indians4 ,sir ,benjamin ,west was ,president of the ,royal ,academy while ,america was still revelling in chromos4 ,the artists who remained chose such objects as ,davy ,crockett in the trackless forest1 or made pictures of the ,continental ,congress4 ,after the chromo in ,america came the picture known as the buckeye1 painted by relays of artists4 ,great canvases were stretched and blocked off into lengths4 ,the scene was drawn in by one man1 who was followed by artists1 each in turn painting sky1 water1 foliage1 figures1 according to his specialty4 ,thus whole yards of canvas could be painted in a day1 with more artists to the square inch than are now employed to paint advertisements on a barn4 ,the ,centennial ,exhibition of #ahgf came as a glorious flashlight4 ,for the first time real art was seen by a large part of our nation4 ,every farmer took home with him a new idea of the possibilities of drawing and colour4 ,the change that instantly followed could have occurred in no other country than the ,united ,states1 because no other people would have travelled from the four points of the compass to see such an exhibition4 ,thus it was the ,american's penchant for travel which first opened to him the art world1 for he was conscious even then of the educational advantages to be found somewhere1 although there seemed to be few of them in the ,united ,states4 ,after the ,centennial arose a taste for the painting of plaques1 upon which were the heads of ladies with strange-coloured hair2 of leather-covered flatirons bearing flowers of unnatural colour1 or of shovels decorated with snow scenes4 ,the whole nation began to revel in art4 ,it was a low variety1 yet it started toward a goal which left the chromo at the rear end of the course1 and it was a better effort than the mottoes worked in worsted1 which had till then been the chief decoration in most homes4 ,if the buckeye was hand-painting1 this was single-hand painting1 and it did not take a generation to bring the change about1 only a season4 ,after the ,philadelphia exhibition the daughter of the household painted a little just as she played the piano a little4 ,to-day1 much less than a man's lifetime since then1 there is in ,america a universal love for refined art and a fair technical appreciation of pictures1 while already the nation has worthily contributed to the world of artists4 ,sir ,benjamin ,west1 ,sully1 and ,sargent are ours3 ,inness1 ,inman1 and ,trumbull4 ,the curator of the ,metropolitan ,museum in ,new ,york has declared that portrait-painting must be the means which shall save the modern artists from their sins4 ,to quote him3 ,an artist may paint a bright green cow1 if he is so minded3 the cow has no redress1 the cow must suffer and be silent2 but human beings who sit for portraits seem to lean toward portraits in which they can recognise their own features when they have commissioned an artist to paint them4 ,a man will insist upon even the most brilliant artist painting him in trousers1 for instance1 instead of in petticoats1 however the artist-whim may direct otherwise2 and a woman is likely to insist that the artist who paints her portrait shall maintain some recognised shade of brown or blue or gray when he paints her eye1 instead of indulging in a burnt orange or maybe pink6 ,these personal preferences certainly put a limit to an artist's genius and keep him from writing himself down a madman4 ,thus1 in portrait-painting1 with the exactions of truth upon it1 lies the hope of art-lovers6 ,it is the same authority who calls attention to the danger that lies in extremes2 either in finding no value in art outside the old masters1 or in admiring pictures so impressionistic that the objects in them need to be labelled before they can be recognised4 ,the true art-lover has a catholic taste1 is interested in all forms of art2 but he finds beauty where it truly exists and does not allow the nightmare of imagination to mislead him4 ,that which is not beautiful from one point of view or another is not art1 but decadence4 ,that which is technical to the exclusion of other elements remains technique pure and simple1 workmanship--the bare bones of art4 ,a thing is not art simply because it is fantastic4 ,it may be interesting as showing to what degree some imaginations can become diseased1 but it is not pleasing nor is it art4 ,there are fully a thousand pictures that every child should know1 since he can hardly know too much of a good thing2 but there is room in this volume only to acquaint him with forty-eight and possibly inspire him with the wish to look up the neglected nine hundred and fifty-two4 ,,contents ,,introduction ,i4 ,andrea del ,sarto1 ,florentine ,school1 #adhf-aeca ,,ii4 ,michael ,angelo 7,buonarroti71 ,florentine ,school1 #adge-aefd ,,iii4 ,arnold ,bcklin1 ,modern ,german ,school1 #ahbg-aija ,,iv4 ,marie-,rosa ,bonheur1 ,french ,school1 #ahbb-ahii ,v4 ,alessandro ,botticelli1 ,florentine ,school1 #addg-aeaj ,,vi4 ,william ,adolphe ,bouguereau1 ,french 7,genre7 ,school #ahbe-aije ,,vii4 ,sir ,edward ,burne-,jones1 ,english 7,pre-,raphaelite7 ,school1 #ahcc-ahih ,,viii4 ,john ,constable1 ,english ,school1 #aggf-ahcg ,,ix4 ,john ,singleton ,copley1 ,english ,school1 #agcg-ahae ,x4 ,jean ,baptiste ,camille ,corot1 ,fontainebleau-,barbizon ,school1 #agif-ahge ,,xi4 ,correggio 7,antonio ,allegri71 ,school of ,parma1 #adid787--aecd ,,xii4 ,paul ,gustave ,dor1 ,french ,school1 #ahcc-ahhc ,,xiii4 ,albrecht ,drer1 ,nuremberg ,school1 #adga-aebh ,,xiv4 ,mariano ,fortuny1 ,spanish ,school1 #ahch-ahgd ,,xv4 ,thomas ,gainsborough1 ,english ,school1 #agbg-aghh ,,xvi4 ,jean ,lon ,grme1 ,french ,semi-classical ,school1 #ahbd-aijd ,,xvii4 ,ghirlandajo1 ,florentine ,school1 #addi-adid ,,xviii4 ,giotto 7di ,bordone71 ,florentine ,school1 #abgf-accg ,,xix4 ,franz ,hals1 ,dutch ,school1 #aehj-hd-afff ,,xx4 ,meyndert ,hobbema1 ,dutch ,school1 #afcg-agji ,,xxi4 ,william ,hogarth1 ,school of ,hogarth 7,english71 #afig-agfd ,,xxii4 ,hans ,holbein1 the ,younger1 ,german ,school1 #adig-aedc ,,xxiii4 ,william ,holman ,hunt1 ,english 7,pre-,raphaelite7 ,school1 #ahbg- ,,xxiv4 ,george ,inness1 ,american1 #ahbe-ahig ,,xxv4 ,sir ,edwin ,henry ,landseer1 ,english ,school1 #ahjb-ahgc ,,xxvi4 ,claude ,lorrain 7,gelle71 ,classical ,french ,school1 #afjj-afhb ,,xxvii4 ,masaccio 7,tommaso ,guidi71 ,florentine ,school1 #adja-adbh ,,xxviii4 ,jean ,louis ,ernest ,meissonier1 ,french ,school1 #ahae-ahia ,,xxix4 ,jean ,franois ,millet1 ,fontainebleau-,barbizon ,school1 #ahad-ahge ,,xxx4 ,claude ,monet1 ,impressionist ,school of ,france1 #ahdj- ,,xxxi4 ,murillo 7,bartolom ,estban71 ,andalusian ,school1 #afag-afhb ,,xxxii4 ,raphael 7,sanzio71 ,umbrian1 ,florentine1 and ,roman ,schools1 #adhc-aebj ,,xxxiii4 ,rembrandt 7,van ,rijn71 ,dutch ,school1 #afjf-affi ,,xxxiv4 ,sir ,joshua ,reynolds1 ,english ,school1 #agbc-agib ,,xxxv4 ,peter ,paul ,rubens1 ,flemish ,school1 #aegg-afdj ,,xxxvi4 ,john ,singer ,sargent1 ,american and ,foreign ,schools1 #ahef- ,,xxxvii4 ,tintoretto 7,jacopo ,robusti71 ,venetian ,school1 #aeah-aeid ,,xxxviii4 ,titian 7,tiziano ,vecelli71 ,venetian ,school1 #adhi-aegf ,,xxxix4 ,joseph ,mallord ,william ,turner1 ,english1 #agge-ahca ,,xl4 ,sir ,anthony ,van ,dyck1 ,flemish ,school1 #aeii-afda ,,xli4 ,velasquez 7,diego ,rodriguez de ,silva71 ,castilian ,school1 #aeii-affj ,,xlii4 ,paul ,veronese 7,paolo ,cagliari71 ,venetian ,school1 #aebh-aehh4 ,,xliii4 ,leonardo da ,vinci1 ,florentine ,school1 #adeb-aeai4 ,,xliv4 ,jean ,antoine ,watteau1 ,french 7,genre7 ,school1 #afhd-agba ,,xlv4 ,sir ,benjamin ,west1 ,american1 #agch-ahbj ,index ,,illustrations ,,frontispiece ,the ,avenue1 ,middleharnis1 ,holland--,hobbema ,madonna of the ,sack--,andrea del ,sarto ,daniel--,michael ,angelo 7,buonarroti7 ,the ,isle of the ,dead--,arnold ,bcklin ,the ,horse ,fair--,rosa ,bonheur ,spring--,alessandro ,botticelli ,the ,hay ,wain--,john ,constable ,a ,family ,picture--,john ,singleton ,copley ,the ,holy ,night--,correggio 7,antonio ,allegri7 ,dance of the ,nymphs--,jean ,baptiste ,camille ,corot ,the ,virgin as ,consoler--,wm4 ,adolphe ,bouguereau ,the ,love ,song--,sir ,edward ,burne-,jones ,the ,mystic ,marriage of ,st4 ,catherine--,correggio ,moses ,breaking the ,tablets of the ,law--,paul ,gustave ,dor ,the ,nativity--,albrecht ,drer ,the ,spanish ,marriage--,mariana ,fortuny ,mrs4 ,richard ,brinsley ,sheridan--,thomas ,gainsborough ,the ,sword ,dance--,jean ,lon ,grme ,portrait of ,giovanna degli ,albizi--,ghirlandajo 7,domenico ,bigordi7 ,the ,nurse and the ,child--,franz ,hals ,the ,meeting of ,st4 ,john and ,st4 ,anna at ,jerusalem--,giotto 7,di ,bordone7 ,the ,avenue--,meyndert ,hobbema ,the ,marriage ,contract--,wm4 ,hogarth ,the ,light of the ,world--,william ,holman ,hunt ,robert ,cheseman with his ,falcon--,hans ,holbein1 the ,younger ,the ,berkshire ,hills--,george ,inness ,the ,old ,shepherd's ,chief ,mourner--,sir ,edwin ,henry ,landseer ,the ,artist's ,portrait--,tommaso ,masaccio ,acis and ,galatea--,claude ,lorrain ,retreat from ,moscow--,jean ,louis ,ernest ,meissonier ,the ,angelus--,jean ,franois ,millet ,the ,immaculate ,conception--,murillo 7,bartolom ,estban7 ,haystack in ,sunshine--,claude ,monet ,the ,sistine ,madonna--,raphael 7,sanzio7 ,the ,night ,watch--,rembrandt 7,van ,rijn7 ,the ,duchess of ,devonshire and ,her ,daughter--,sir ,joshua ,reynolds ,the ,infant ,jesus and ,st4 ,john--,peter ,paul ,rubens ,carmencita--,john ,singer ,sargent ,the ,miracle of ,st4 ,mark--,tintoretto 7,jacopo ,robusti7 ,the ,artist's ,daughter1 ,lavinia--,titian 7,tiziano ,vecelli7 ,the ,fighting ,tmraire--,joseph ,mallord ,william ,turner ,the ,children of ,charles the ,first--,sir ,anthony ,van ,dyck ,equestrian ,portrait of ,don ,balthasar ,carlos--,velasquez 7,diego ,rodriguez de ,silva7 ,the ,marriage at ,cana--,paul ,veronese ,the ,death of ,wolfe--,sir ,benjamin ,west ,the ,artist's ,two ,sons--,peter ,paul ,rubens ,the ,last ,supper--,leonardo da ,vinci ,fte ,champtre--,jean ,antoine ,watteau ,i ,,andrea ,,del ,,sarto 7,pronounced ,ahn'dray-ah del ,sar'to7 ,florentine ,school #adhf-aeca ,pupil of ,piero di ,cosimo ,italian painters received their names in peculiar ways4 ,this man's father was a tailor2 and the artist was named after his father's profession4 ,he was in fact the ,tailor's ,andrea1 and his father's name was ,angelo4 ,one story of this brilliant painter which reads from first to last like a romance has been told by the poet1 ,browning1 who dresses up fact so as to smother it a little1 but there is truth at the bottom4 ,andrea married a wife whom he loved tenderly4 ,she had a beautiful face that seemed full of spirituality and feeling1 and ,andrea painted it over and over again4 ,the artist loved his work and dreamed always of the great things that he should do2 but he was so much in love with his wife that he was dependent on her smile for all that he did which was well done1 and her frown plunged him into despair4 ,andrea's wife cared nothing for his genius1 painting did not interest her1 and she had no worthy ambition for her husband1 but she loved fine clothes and good living1 and so encouraged him enough to keep him earning these things for her4 ,as soon as some money was made she would persuade him to work no more till it was spent2 and even when he had made agreements to paint certain pictures for which he was paid in advance she would torment him till he gave all of his time to her whims1 neglected his duty and spent the money for which he had rendered no service4 ,thus in time he became actually dishonest1 as we shall see4 ,it is a sad sort of story to tell of so brilliant a young man4 ,andrea was born in the ,gualfonda quarter of ,florence1 and there is some record of his ancestors for a hundred years before that1 although their lives were quite unimportant4 ,andrea was one of four children1 and as usual with ,italians of artistic temperament1 he was set to work under the eye of a goldsmith4 ,this craftsmanship of a fine order was as near to art as a man could get with any certainty of making his living4 ,it was a time when the ,italian world bedecked itself with rare golden trinkets1 wreaths for women's hair1 girdles1 brooches1 and the like1 and the finest skill was needed to satisfy the taste4 ,thus it required talent of no mean order for a man to become a successful goldsmith4 ,andrea did not like the work1 and instead of fashioning ornaments from his master's models he made original drawings which did not do at all in a shop where an apprentice was expected to earn his salt4 ,certain fashions had to be followed and people did not welcome fantastic or new designs4 ,because of this1 ,andrea was early put out of his master's shop and set to learn the only business that he could be got to learn1 painting4 ,this meant for him a very different teacher from the goldsmith4 ,the artist may be said to have been his own master1 because1 even when he was apprenticed to a painter he was taught less than he already knew4 ,that first teacher was ,barile1 a coarse and unpleasing man1 as well as an incapable one2 but he was fair minded1 after a fashion1 and put ,andrea into the way of finding better help4 ,after a few years under the direction of ,piero di ,cosimo1 ,andrea and a friend1 ,francia ,bigio1 decided to set up shop for themselves4 ,the two devoted friends pitched their tent in the ,piazza del ,grano1 and made a meagre beginning out of which great things were to grow4 ,they began a series of pictures which was to lead at least one of them to fame4 ,it was in the little ,piazza1 del ,grano studio that the ,baptism of ,christ was painted1 a partnership work that had been planned in the ,campagnia dello ,scalzo4 ,the ,baptism was not much of a picture as great pictures go1 but it was a beginning and it was looked at and talked about1 which was something at a time when ,titian and ,leonardo had set the standard of great work4 ,in the ,piazza del ,grano1 ,andrea and his friend lived in the stables of the ,tuscan ,grand ,dukes1 with a host of other fine artists1 and they had gay times together4 ,andrea was a shy youth1 a little timid1 and by no means vain of his own work1 but he painted with surprising swiftness and sureness1 and had a very brilliant imagination4 ,its was his main trouble that he had more imagination than true manhood2 he sacrificed everything good to his imagination4 ,after the partnership with his friend1 he undertook to paint some frescoes independently1 and that work earned for him the name of ,andrea senza ,errori--,andrea the ,unerring4 ,then1 as now1 each artist had his own way of working1 and ,andrea's was perhaps the most difficult of all1 yet the most genius-like4 ,there were those1 ,michael ,angelo for example1 who laid in backgrounds for their paintings2 but ,andrea painted his subject upon the wet plaster1 precisely as he meant it to be when finished4 ,he was unlike the moody ,michael ,angelo2 unlike the gentle ,raphael2 unlike the fastidious ,van ,dyck who came long afterward2 he was hail-fellow-well-met among his associates1 though often given over to dreaminess4 ,he belonged to a jolly club named the ,kettle ,club1 literally1 the ,company of the ,kettle2 and to another called ,the ,trowel1 both suggesting an all around good time and much good fellowship ,the members of these clubs were expected to contribute to their wonderful suppers1 and ,andrea on one occasion made a great temple1 in imitation of the ,baptistry1 of jelly with columns of sausages1 white birds and pigeons represented the choir and priests4 ,besides being ,andrew the ,unerring1 and a ,merry ,andrew1 he was also the ,tailor's ,andrew1 a man in short upon whom a nickname sat comfortably4 ,he helped to make the history of the ,company of the ,kettle1 for he recited and probably composed a touching ballad called ,the ,battle of the ,mice and the ,frogs1 which doubtless had its origin in a poem of ,homer's4 ,but all at once1 in the midst of his gay careless life came his tragedy2 he fell in love with a hatter's wife4 ,this was quite bad enough1 but worse was to come1 for the hatter shortly died1 and the widow was free to marry ,andrea4 ,after his marriage ,andrea began painting a series of ,madonnas1 seemingly for no better purpose than to exhibit his wife's beauty over and over again4 ,he lost his ambition and forgot everything but his love for this unworthy woman4 ,she was entirely commonplace1 incapable of inspiring true genius or honesty of purpose4 ,a great art critic1 ,vasari1 who was ,andrea's pupil during this time1 has written that the wife1 ,lucretia1 was abominable in every way4 ,a vixen1 she tormented ,andrea from morning till night with her bitter tongue4 ,she did not love him in the least1 but only what his money could buy for her1 for she was extravagant1 and drove the sensitive artist to his grave while she outlived him forty years4 ,about the time of the artist's marriage he painted one fresco1 ,the ,procession of the ,magi1 in which he placed a very splendid substitute for his wife1 namely himself4 ,afterward he painted the ,dead ,christ which found its way to ,france and it laid the foundation for ,andrea's wrongdoing4 ,this picture was greatly admired by the ,king of ,france who above all else was a lover of art4 ,francis ,i4 asked ,andrea to go to his court1 as he had commissions for him4 ,he made ,andrea a money offer and to court he went4 ,he took a pupil with him1 but he left his wife at home4 ,at the court of ,francis ,i4 he was received with great honours1 and amid those new and gracious surroundings1 away from the tantalising charms of his wife and her shrewish tongue1 he began to have an honest ambition to do great things4 ,his work for ,france was undertaken with enthusiasm1 but no sooner was he settled and at peace1 than the irrepressible wife began to torment him with letters to return4 ,each letter distracted him more and more1 till he told the ,king in his despair1 that he must return home1 but that he would come back to ,france and continue his work1 almost at once4 ,francis ,i41 little suspecting the cause of ,andrea's uneasiness1 gave him permission to go1 and also a large sum of money to spend upon certain fine works of art which he was to bring back to ,france4 ,we can well believe that ,andrea started back to his home with every good intention2 that he meant to appease his wife and also his own longing to see her2 to buy the ,king his pictures with the money entrusted to him1 and to return to ,france and finish his work2 but1 alas1 he no sooner got back to his wife than his virtuous purpose fled4 ,she wanted this2 she wanted that--and especially she wanted a fine house which could just about be built for the sum of money which the ,king of ,france had entrusted to ,andrea4 ,andrea is a pitiable figure1 but he was also a vagabond1 if we are to believe ,vasari4 ,he took the ,king's money1 built his wretched wife a mansion1 and never again dared return to ,france1 where his dishonesty made him forever despised4 ,afterward he was overwhelmed with despair for what he had done1 and he tried to make his peace with ,francis2 but while that monarch did not punish him directly for his knavery2 he would have no more to do with him1 and this was the worst punishment the artist could have had4 ,however1 his genius was so great that other than ,french people forgot his dishonesty and he began life anew in his native place4 ,almost all his pictures were on sacred subjects2 and finally1 when driven from ,florence to ,luco by the plague1 taking with him his wife and stepdaughter1 he began a picture called the ,madonna del ,sacco 7the ,madonna of the ,sack74 ,this fresco was to adorn the convent of the ,servi1 and the sketches for it were probably made in ,luco4 ,when the plague passed and the artist was able to return to ,florence1 he began to paint it upon the cloister walls4 ,andrea1 like ,leonardo1 painted a famous ,last ,supper1 although the two pictures cannot be compared4 ,in ,andrea's picture it is said that all the faces are portraits4 ,just before the plague sent him and his family from ,florence a most remarkable incident took place4 ,raphael had painted a celebrated portrait of ,pope ,leo ,x4 in a group1 and the picture belonged to ,ottaviano de ,medici4 ,duke ,frederick ,,ii41 of ,mantua1 longed to own this picture1 and at last requested the ,medici to give it to him4 ,the ,duke could not well be refused1 but ,ottaviano wanted to keep so great a work for himself4 ,what was to be done8 ,he was in great trouble over the affair4 ,the situation seemed hopeless4 ,it seemed certain that he must part with his beloved picture to the ,duke of ,mantua2 but one day ,andrea del ,sarto declared that he could make a copy of it that even ,raphael himself could not tell from his original4 ,ottaviano could scarcely believe this1 but he begged ,andrea to set about it1 hoping that it might be true4 ,going at the work in good earnest1 ,andrea painted a copy so exact that the pupil of ,raphael1 who had more or less to do with the original picture1 could not tell which was which when he was asked to choose4 ,this pupil1 ,giulio ,romano1 was so familiar with every stroke of ,raphael's that if he were deceived surely any one might be2 so the replica was given to the ,duke of ,mantua1 who never found out the difference4 ,years afterward ,giulio ,romano showed the picture to ,vasari1 believing it to be the original ,raphael1 neither ,andrea nor the ,medici having told ,romano the truth4 ,but ,vasari1 who knew the whole story1 declared to ,romano that what he showed him was but a copy4 ,romano would not believe it1 but ,vasari told him that he would find upon the canvas a certain mark1 known to be ,andrea's4 ,romano looked1 and behold1 the original ,raphael became a del ,sarto6 ,the original picture hangs in the ,pitti ,palace1 while the copy made by ,andrea is in the ,naples ,gallery4 ,the introduction of ,andrea to ,vasari was one of the few gracious things1 that ,michael ,angelo ever did4 ,about ,andrea he said to ,raphael at the time3 ,there is a little fellow in ,florence who will bring sweat to your brows if ever he is engaged in great works4 ,raphael1 would certainly have agreed1 with him had he known what was to happen in regard to the ,leo ,x4 picture4 ,notwithstanding ,andrea's unfortunate temperament1 which caused him to be guided mostly by circumstances instead of guiding them1 he was said to be improving all the time in his art4 ,he had a great many pupils1 but none of them could tolerate his wife for long1 so they were always changing4 ,throughout his life the artist longed for tenderness and encouragement from his wife1 and finally1 without ever receiving it1 he died in a desolate way1 untended even by her4 ,after the siege of ,florence there came a pestilence1 and ,andrea was overtaken by it4 ,his wife1 afraid that she too would become ill1 would have nothing to do with him4 ,she kept away and he died quite alone1 few caring that he was dead and no one taking the trouble to follow him to his grave4 ,thus one of the greatest of ,florentine painters lived and died4 ,years after his death1 the artist ,jacopo da ,empoli1 was copying ,andrea's ,birth of the ,virgin when an old woman of about eighty years on her way to mass stopped to speak with him4 ,she pointed to the beautiful ,virgin's face in the picture and said3 ,i am that woman4 ,and so she was--the widow of the great ,andrea4 ,though she had treated him so cruelly1 she was glad to have it known that she was the widow of the dead genius4 ,,plate--,,the ,,madonna ,,del ,,sacco 7,madonna of the ,sack7 ,this picture is a fresco in the cloister of the ,annunziata at ,florence1 and it is called of the sack because ,joseph is posed leaning against a sack1 a book open upon his knees4 ,doubtless the model for this ,madonna is ,andrea del ,sarto's abominable wife1 but she looks very sweet and simple in the picture4 ,the folds of ,mary's garments are beautifully painted1 so is the poise of her head1 and all the details of the picture except the figure of the child4 ,there is a line of stiffness there and it lacks the softness of many other pictures of the ,infant ,jesus4 ,,plate--,,the ,,holy ,,family ,in this picture in the ,pitti ,palace1 ,florence1 ,andrea del ,sarto represents all the characters in a serious mood4 ,there are ,st4 ,john and ,elizabeth1 ,mary and the ,infant ,jesus1 and there is no touch of playfulness such as may be found in similar groups by other artists of the time4 ,attention is concentrated upon ,jesus who seems to be learning from his young cousin4 ,the left hand1 resting upon ,mary's arm is badly drawn and in character does not seem to belong to the figure of the child4 ,a full1 overhanging upper lip is a dominant feature in each face4 ,other works of ,andrea del ,sarto are ,charity1 which is in the ,louvre2 ,madonna dell' ,arpie1 ,a ,head of ,christ1 ,the ,dead ,christ1 ,four ,saints1 ,joseph in ,egypt1 his own portrait1 and ,joseph's ,dream4 ,,ii ,,michael ,,angelo 7,,buonarroti7 7,pronounced ,meek-el-ahn-jel-o 7,bwone-ar-ro'tee77 ,florentine ,school #adge-aefd ,pupil of ,ghirlandajo ,this wonderful man did more kinds of things1 at a time when almost all artists were versatile1 than any other but one4 ,probably ,leonardo da ,vinci was gifted in as many different ways as ,michael ,angelo1 and in his own lines was as powerful4 ,this ,florentine's life was as tragic as it was restless4 ,there is a tablet in a room of a castle which stands high upon a rocky mount1 near the village of ,caprese1 which tells that ,michael ,angelo was born in that place4 ,the great castle is now in ruins1 and more than four hundred years of fame have passed since the little child was born therein4 ,the unhappy existence of the artist seems to have been foreshadowed by an accident which happened to his mother before he was born4 ,she was on horseback1 riding with her husband to his official post at ,chiusi1 for he was governor of ,chiusi and ,caprese4 ,her horse stumbled1 fell1 and badly hurt her4 ,this was two months before ,michael ,angelo was born1 and misfortune ever pursued him4 ,the father of ,angelo was descended from an aristocratic house--the ,counts of ,canossa were his ancestors--and in that day the profession of an artist was not thought to be dignified4 ,hence the father had quite different plans for the boy2 but the son persisted and at last had his way4 ,when he was still a little child his father finished his work as an official at ,caprese and returned to ,florence2 but he left the little ,angelo behind with his nurse4 ,that nurse was the wife of a stonemason1 and almost as soon as the boy could toddle he used to wander about the quarries where the stonecutters worked1 and doubtless the baby joy of ,angelo was to play at chiseling as it is the pleasure of modern babies to play at peg-top4 ,after a time he was sent for to go to ,florence to begin his education4 ,in ,florence he fell in with a young chap who1 like himself1 loved art1 but who was fortunate enough already to be apprenticed to the great painter of his time--,ghirlandajo4 ,one happy day this young ,granacci volunteered to take ,michael ,angelo to his master's studio1 and there ,angelo made such an impression on ,ghirlandajo that he was urged by the artist to become his pupil4 ,all the world began to seem rose coloured to the ambitious boy1 and he started his life-work with enthusiasm4 ,at that time he was thirteen years old1 full of hope and of love for his kind2 but his good fortune did not last long4 ,he had hardly settled to work in ,ghirlandajo's studio than his genius1 which should have made him beloved1 made him hated by his master4 ,angelo drew superior designs1 created new art-ideas1 was more clever in all his undertakings than any other pupil--even ahead of his master2 and almost at once ,ghirlandajo became furiously jealous4 ,this enmity between pupil and master was the beginning of ,angelo's many misfortunes4 ,one day he got into a dispute with a fellow student1 ,torregiano1 who broke his nose4 ,this deformity alone was a tragedy to one like ,michael ,angelo who loved everything beautiful1 yet must go through life knowing himself to be ill-favoured4 ,in height he was a little man1 topped by an abnormally large head which was part of the penalty he had to pay for his talents4 ,he had a great1 broad forehead1 and an eye that did not gleam nor express the beauty of his creative mind1 but was dull1 and lustreless1 matching his broken1 flattened nose4 ,indeed he was a tragedy to himself4 ,in the ,history of ,painting ,muther describes his unhappy disposition3 ,in his youthful years he never learned what love meant4 ',if thou wishest to conquer me1' in old age he addresses love1 'give me back my features1 from which nature has removed all beauty4' ,whenever in his sonnets he speaks of passion1 it is always of pain and tears1 of sadness and unrequited longing1 never of the fulfilment of his wishes4 ,then1 too1 ,michael ,angelo had a quarrelsome disposition1 and he was harsh in his criticism of others4 ,he hated ,leonardo da ,vinci more for his great physical beauty than for his genius4 ,he quarreled with most of his contemporaries1 never joined the assemblies of his brother artists1 but dwelt altogether apart4 ,his was a gloomy and melancholy disposition and he never found relief outside his work4 ,he was all kinds of an artist--poet1 sculptor1 architect1 painter--and although he worked with the irregularity of true genius1 he worked indefatigably when once he began4 ,it is said that when he was making his ,david he never removed his clothing the whole time he was employed upon the work1 but dropped down when too exhausted to work more1 and slept wherever he fell4 ,his first flight from the workshop of ,ghirlandajo was to the gardens of the great ,florentine prince1 ,lorenzo de' ,medici1 who had sent to ,ghirlandajo for two of his best pupils4 ,he wished them to come to his gardens and study the beautiful ,greek statues which ornamented them4 ,the choice fell to ,angelo and ,granacci4 ,probably those statues in ,lorenzo's garden were the first glimpses of really great art that ,michael ,angelo ever had4 ,certain it is that he was overwhelmed with happiness when he was given permission to copy what he would1 and at once he fell to work with his chisel4 ,his first work in that garden was upon the head of an old faun2 and ,lorenzo1 walking by1 curious to know to what use the lad was putting his opportunity1 made a criticism3 ,you have made your faun old1 he said1 yet you have left all the teeth2 at such an age1 generally the teeth are wanting4 ,angelo had nothing to say and the prince walked on1 but when next he came that way1 he found that ,angelo had broken off two of the faun's teeth2 and this recognition of his criticism pleased ,lorenzo so much that he invited ,angelo to live with him4 ,at first his father objected4 ,he felt himself to be an aristocrat1 and sculpture and painting were indeed low occupations for his son1 who he had resolved should be nothing less than a silk merchant4 ,nevertheless1 the prince's command1 united with the son's pleading1 compelled the father to give up his cherished dream of making a merchant of him1 and ,angelo went to live in the palace4 ,then indeed what seemed a beautiful life opened out4 ,he was dressed in fine clothing1 dined with princes1 and possibly he was grateful to his patron4 ,some historians say so1 and add that when ,lorenzo died ,angelo wept1 and returned sadly to his father's house to mourn1 but this tale seems at odds with what else we know of ,angelo's unangelic1 envious and bitter disposition4 ,it is quite certain1 however1 that with the death of ,lorenzo1 ,angelo's1 fortunes became greatly changed4 ,another prince followed in line--,pietro de' ,medici--but he was a poor thing1 who brought little good to anybody4 ,he had small use for ,michael ,angelo's genius1 but it is said that he did give him one commission4 ,after a great storm one day1 he asked him to make a snow-man for him1 and ,angelo obligingly complied4 ,it was doubtless a very beautiful snow-man1 but although it was ,angelo's it melted in the night1 even as if it had been ,johnny's or ,tommy's snow-man1 and left no trace behind4 ,in ,rome there was a high and haughty pope on the throne--,julius ,,ii4--who had probably not his match for obstinacy and haughtiness1 excepting in the great painter and sculptor4 ,when ,angelo went to ,rome1 he was bound to come in conflict with ,julius for it was popes and princes who gave art any reason for being in those days1 and the ,church prescribed what kind of art should be cultivated4 ,michael was to come directly under the command of the pope and such a combination promised trouble4 ,kings themselves had to remove their crowns and hats to ,julius1 and why not ,michael ,angelo8 ,yet there he stood1 covered1 before the pope1 opposing his greatness to that of the pope4 ,soderini says that ,angelo treated the pope as the king of ,france never would have dared treat him2 but ,angelo may have known that kings of ,france might be born and die1 times without number1 while there would never be born another ,michael ,angelo4 ,there could be nothing but antagonism between ,angelo and ,julius1 and soon after the artist returned to ,florence2 but the necessity for following his profession enabled ,julius to tame him after all1 and it is said that the pope led him back to ,rome1 later1 with a halter about his neck4 ,this must have been agony to ,angelo4 ,back in ,rome1 he was commissioned to make a tomb for the pope4 ,he had no sooner set about the preliminaries--the getting of suitable marble for his work--than he began to quarrel with the men who were to hew it4 ,when that difficulty was settled1 and the marble was got out1 he had a set-to with the shipowners who were to transport the stone1 and that row became so serious that the sculptor was besieged in his own house4 ,at another and later time1 when he was engaged upon the frescoes of the ,sistine ,chapel1 he was made to work by force4 ,he accused the man who had built the scaffolding upon which he must stand1 or lie1 to paint1 of planning his destruction4 ,he suspected the very assistants whom he1 himself1 had chosen to go from ,florence1 of having designs upon his life4 ,he locked the chapel against them1 and they had to turn away when they went to begin work4 ,because of his insane suspicion he did alone the enormous work of the frescoes4 ,doubtless he was half mad1 just as he was wholly a genius4 ,by the time he had finished those frescoes he was so exhausted and overworked that he wrote piteously to his people at home1 ,i have not a friend in ,rome1 neither do ,i wish nor have use for any4 ,this of course was not true2 or he would not have made the statement4 ,i hardly find time to take nourishment4 ,not an ounce more can ,i bear than already rests upon my shoulders4 ,even when the work was done he felt no happiness because of it1 but complained about everything and everybody4 ,if ,angelo thought this an unhappy day1 worse was in store for him4 ,julius ,,ii4 died and in his place there came to reign upon the papal throne1 ,leo ,x4 ,if ,michael ,angelo had been restricted in his work before1 he was almost jailed under ,leo ,x4 ,julius had been a virile1 forceful man1 and ,michael ,angelo was the same4 ,since he must be restrained and dictated to1 it was possible for the artist to listen to a man who was in certain respects strong like himself1 but to be under the thumb of a weak1 effeminate person like ,leo1 was the tragedy of tragedies to ,angelo4 ,that was a marvellous time in ,rome4 ,all its citizens had become so pleasure-loving that the world1 stood still to wonder4 ,when the pope banqueted1 he had the golden plates from which fair women had eaten hurled into the ,tiber1 that they might never be profaned by a less noble use than they had known4 ,from all this riot and madness of pleasure1 ,michael ,angelo stood aside with frowning brow and scornful mien4 ,he approved of nothing and of nobody--despising even ,raphael1 the gentle and loving man whom the pleasure-crazed people of ,rome paused to smile upon and love4 ,the pope said that ,angelo was terrible1 and that he filled everybody with fear4 ,finally1 ,rome so resented his frowning looks and his surly ways that work was provided for him at a distance4 ,he was sent to ,florence again to build a facade4 ,while there1 the city was conquered1 and ,angelo was one who fought for its freedom1 but even so1 he fled just at the crisis4 ,thus he ever did the wrong thing--excepting when he worked4 ,in ,florence he had planned to do mighty things1 but he never accomplished any one of them4 ,he planned to make a wonderful colossal statue on a cliff near ,carrara1 and also he resolved to make the tomb of ,julius the nucleus of a forest of statues4 ,michael ,angelo never married1 but he was burdened with a family and all its cares4 ,he supported his brothers and even his nephews1 and took care of his father4 ,all of those people came to him with their difficulties and with their demands for money4 ,he chided1 quarreled1 repelled1 yet met every obligation4 ,he would sit beside the sick-bed of a servant the night through1 but growl at the demands of his near relatives--and it is not unlikely that he had good reason4 ,at last he withdrew himself from all human society but that of little children1 whom he cared to speak with and to please4 ,he would have naught to do with men of genius like himself2 and when he fell from a scaffolding and injured himself1 the physician had to force his way through a barred window1 in order to get into the sick man's presence to serve him4 ,an illustration of his determined solitude is given in the ,young ,people's ,story of ,art3 ,there had long been lying idle in ,florence an immense block of marble4 ,one hundred years before a sculptor had tried to carve something from it1 but had failed4 ,this was now given to ,michael ,angelo4 ,he was to be paid twelve dollars a month1 and to be allowed two years in which to carve a statue4 ,he made his design in wax2 and then built a tower around the block1 so that he might work inside without being seen4 ,everything ,angelo undertook bore the marks of gigantic enterprise4 ,although he never succeeded in making the tomb of ,julius ,,ii4 the central piece in his forest of statues1 the undertaking was marvellous enough4 ,his original plan was to make the tomb three stories high and to ornament it with forty statues1 and if ,st4 ,peter's ,church was large enough to hold it1 the work was to be placed therein2 but if not1 a church was to be built specially to hold the tomb4 ,when at last1 in spite of his difficulties with workmen and shipowners1 the marbles were deposited in the great square before ,st4 ,peter's1 they filled the whole place2 and the pope1 wishing to watch the progress of the work and not himself to be observed1 had a covered way built from the ,vatican to the workshop of ,angelo in the square1 by which he might come and go as he chose1 while an order was issued that the sculptor was to be admitted at all times to the ,vatican4 ,no sooner was this arrangement completed than ,angelo's enemies frightened the pope by telling him there was danger in making his tomb before his death2 and with these superstitions haunting him ,julius ,,ii4 stopped the work1 leaving ,angelo without the means to pay for his marbles4 ,with the doors of the ,vatican closed to him1 ,angelo withdrew1 post haste to ,florence--and who can blame him8 ,nevertheless1 the work was resumed after infinite trouble on the pope's part4 ,he had to send again and again for ,angelo and after forty years1 the work was finished4 ,there the sequel of the sculptor's forty-years war with self and the world stands to-day in ,moses1 the wonderful1 commanding central figure which seems to reflect all the fierce power which ,angelo had to keep in check during a life-time4 ,the command of ,julius that he should paint the ceiling of the ,sistine ,chapel aroused all his fierce resistance4 ,he did it under protest1 all the while accusing those about him of having designs upon his life4 ,i am not a painter1 but a sculptor1 he said4 ,such a man as thou is everything that he wishes to be1 the pope replied4 ,but this is an affair of ,raphael4 ,give him this room to paint and let me carve a mountain6 ,but no1 he must paint the ceiling2 but to render it easier for him the pope told him he might fill in the spaces with saints1 and charge a certain amount for each4 ,this ,angelo1 who was first of all an artist1 refused to do4 ,he would do the work rightly or not at all4 ,so he made his own plans and cut himself a cardboard helmet1 into the front of which he thrust a candle1 as if it were a ,davy lamp1 and he lay upon his back to work day and night at the hated task4 ,during those months he was compelled to look up so continually1 that never afterward was he able to look down without difficulty4 ,when he had finished the work ,julius had some criticisms to make4 ,those dresses on your saints are such poor things1 he said4 ,not rich enough--such very poor things6 ,well1 they were poor things1 was ,angelo's answer4 ,the saints did not wear golden ornaments1 nor gold on their garments4 ,after ,julius ,,ii4 and ,leo ,x4 came ,pope ,paul ,,iii41 and he1 like the other two1 determined to have ,angelo for his workman4 ,indeed all his life1 ,michael ,angelo's gifts were commanded by the ,church of ,rome4 ,it was for ,paul ,,iii4 he painted the ,last ,judgment4 ,his former work upon the ,sistine ,chapel had been the story of the creation4 ,all his work was of a mighty and allegorical nature2 tremendous shoulders1 mighty limbs1 herculean muscles that seemed fit to support the universe4 ,these allegories are made of hundreds of figures4 ,to-day they are still there1 though dimmed by the smoke of centuries of incense1 and dismembered by the cracking of plaster and disintegration of materials4 ,angelo's methods of work1 as well as their results1 were oppressive4 ,in his youth1 while trying to perfect himself in his study of the human form1 he drew or modelled1 from nude corpses4 ,he had these conveyed by stealth from the hospital into the convent of ,santo ,spirito1 where he had a cell and there he worked1 alone4 ,he was concentrated1 mentally and emotionally1 upon himself4 ,the only remark he made after the blow from ,torregiano was1 ,you will be remembered only as the man who broke my nose6 ,this proved nearly true1 since ,torregiano was banished1 and murdered by the ,spanish ,inquisition4 ,all sorts of anecdotes have floated through the centuries concerning this man and his work4 ,for example1 he made a statue of a sleeping cupid1 which was buried in the ground for a time that it might assume the appearance of age1 and pass for an antique4 ,afterward it was sold to the ,cardinal ,san ,giorgio for two hundred ducats1 though ,michael ,angelo received only thirty4 ,nevertheless1 he died a rich man1 after having cared for a numerous family1 while he himself lived like a man without means4 ,all the tranquillity he ever knew he enjoyed in his old age4 ,it was characteristic of his perversity that he left his name upon nothing that he made1 with one exception4 ,vasari relates the story of that exception3 ,the love and care which ,michael ,angelo had given to this group1 ',in ,paradise1' were such that he there left his name--a thing he never did again for any work--on the cincture which girdles the robe of ,our ,lady2 for it happened one day that ,michael ,angelo1 entering the place where it was erected1 found a large assemblage of strangers from ,lombardy there1 who were praising it highly2 one of them asking who had done it1 was told1 'our ,hunchback of ,milan'2 hearing which ,michael ,angelo remained silent1 although surprised that his work should be attributed to another4 ,but one night he repaired to ,st4 ,peter's with a light and his chisels1 to engrave his name on the figure1 which seems to breathe a spirit as perfect as her form and countenance4 ,if his youth had been given to sculpture1 his maturity to the painting of wondrous frescoes1 so his old age was devoted to architecture1 and as architect he rebuilt the decaying ,st4 ,peter's4 ,in this work he felt that he partly realised his ideal4 ,sculpture meant more to him1 did more for the glory of ,god1 than any other form of art4 ,when he had finished his work on ,st4 ,peter's1 he is said to have looked upon it and exclaimed3 ,i have hung the ,pantheon in the air6 ,this colossal genius died in ,rome1 and was carried by the light of torches from that city back to his better loved ,florence1 where he was buried4 ,his tomb was made in the ,santa ,croce1 and upon it are three female figures representing ,michael ,angelo's three wonderful arts3 ,architecture1 sculpture and painting4 ,no artist was greater than he4 ,his will committed his soul to ,god1 his body to the earth1 and his property to his nearest relatives4 ,,plate--,,daniel ,this wonderful painting is a part of the decoration of the ,sistine ,chapel in ,rome4 ,the picture of the prophet tells so much in itself1 that a description seems absurd4 ,it is enough to call attention to the powerful muscles in the arm1 the fall of the hand1 and then to speak of the main characteristics of the artist's pictures4 ,it is extraordinary that there is no blade of grass to be found in any painting by ,michael ,angelo4 ,he loved to paint but one thing1 and that was the naked man1 the powerful muscles1 or the twisted limbs of those in great agony4 ,he loved only to work upon vast spaces of ceiling or wall4 ,look at this picture of ,daniel and see how like sculpture the pose and modelling appear to be4 ,first of all1 ,michael ,angelo was a sculptor1 and most of the painting which fate forced him to do has the characteristics of sculpture4 ,one critic has remarked that he loves to think of this strange man sitting before the marble quarry of ,pietra ,santa and thinking upon all the beings hidden in the cliff--beings which he should fashion from the marble4 ,it was said that in ,michael ,angelo's hands the ,holy ,family became a race of ,titans1 and where others would have put plants or foliage1 ,angelo placed men and naked limbs to fill the space4 ,when his subject made some sort of herbage necessary1 he invented a kind of medival fern in place of grass and familiar leaves4 ,everything appears brazen and hard and mighty1 suggestive of ,angelo's own throbbing spirit and maddened soul4 ,most of his work1 when illustrated1 must be shown not as a whole but in sections1 but one can best mention them as entire picture themes4 ,on the ceiling of the ,sistine ,chapel are nine frescoes describing ,the ,creation of ,the ,world1 ,the ,fall of ,man and ,the ,deluge4 ,the ,last ,judgment occupies the entire altar wall in the same chapel of the ,vatican4 ,the ,holy ,family is in the ,uffizi ,gallery1 ,florence4 ,,iii ,,arnold ,b,,cklin 7,pronounced ,bek'-lin7 ,modern ,german ,school 7,dsseldorf7 #ahbg-aija ,this splendid artist is so lately dead that it does not seem proper yet to discuss his personal history1 but we can speak understandingly of his art1 for we already know it to be great art1 which will stand the test of time4 ,his imagination turned toward subjects of solemn grandeur and his work is very impressive and beautiful4 ,he was born in ,basel1 one of the most prosaic towns in ,europe4 ,his father was a ,swiss merchant1 and not poor2 thus the son had ordinarily good chances to make an artist of himself4 ,he was born at a time when to be an artist had long ceased to be a reproach1 and men no longer discouraged their sons who felt themselves inspired to paint great pictures4 ,when ,bcklin was nineteen years old he took himself to ,dsseldorf1 with his merchant father's permission1 and settled down to learn his art1 but in that city he found mostly sentimental and anecdotal pictures being painted1 which did not suit him at all4 ,then he took himself off to ,brussels1 where again he was not satisfied1 and so went to ,paris4 ,but while in ,brussels he had copied many old masters1 and had advanced himself very much1 so that he did not present himself in ,paris raw and untried in art4 ,at first he studied in the ,louvre1 then went to ,rome1 seeking ever the best1 and being hard to satisfy4 ,he found rest and tranquillity in ,zrich1 a city in his native country1 but it was ,italy that had most influenced his work4 ,he loved the ,campagna of ,rome with its ruins and the sad grandeur of the crumbling tombs lining its way1 and therefore a certain mysterious1 grand1 and solemn character made his pictures unlike those of any other artist4 ,he loved to paint in vertical 7up-and-down7 fines1 rather than with the conventional horizontal outlines that we find in most paintings4 ,this method gives his pictures a different quality from any others in the world4 ,he loved best of all to paint landscape1 and it is said of him that as the ,greeks peopled their streams and woods and waves with creatures of their imagination1 so ,bcklin makes the waterfall take shape as a nymph1 or the mists which rise above the water source wreathe into forms of merry children2 or in some wild spot hurls centaurs together in fierce combat1 or makes the slippery1 moving wave give birth to ,nereids and ,tritons4 ,muther1 art-critic and biographer1 calls our attention to the similarity between ,wagner's music and ,bcklin's painting4 ,while ,wagner was luring the colours of sound from music1 ,bcklin's symphonies of colour streamed forth like a crashing orchestra1 and he calls him the greatest colour-poet of the time4 ,in appearance ,bcklin was fine of form1 healthy and wholesome in all his thoughts and way of living4 ,in #ahdh he took part in revolutionary politics and later this did him great harm4 ,only the influence of his friends kept him from ruin4 ,after the ,franco-,prussian war he was made ,minister of ,fine ,arts4 ,in this office he rendered great service2 but because he had to witness the wrecking of the ,column ,vendme in order to save the ,louvre and the ,luxembourg from the mob1 he was censured2 indeed so heavy a fine was imposed that it took his whole fortune to pay it2 and he was banished into the bargain4 ,from #ahib to #aija he lived in or near ,florence1 and he died at ,fiesole1 ,january #afth1 #aija4 ,,plate--,,the ,,isle ,,of ,,the ,,dead ,this picture is perhaps the greatest of the many great ,arnold ,bcklin paintings1 and it is both fascinating and awe-inspiring4 ,it best shows his liking for vertical lines in art4 ,the ,isle of the ,dead is of a rocky1 shaft-like formation in which we may see hewn-out tombs2 and there1 tall cypress trees are growing4 ,the traces of man's work in the midst of this sombre1 ideal1 and mystic scene add to the impressiveness of the picture4 ,the isle stands high and lonely in the midst of a sea4 ,the water seems silently to lap the base of the rocks and the trees are in black shadow1 massed in the centre4 ,it looks very mysterious and still4 ,there is a stone gateway touched with the light of a dying day4 ,it is sunset and the dead is being brought to its resting place in a tiny boat1 all the smaller for its relation to the gloomy grandeur of the isle which it is approaching4 ,one figure is standing in the boat1 facing the island1 and the sunlight falls full upon his back and touches the boat1 making that spot stand out brilliantly from all the rest of the picture4 ,among ,bcklin's paintings are ,naiads at ,play1 which hangs in the ,museum at ,basel1 ,a ,villa by the ,sea1 ,the ,sport of the ,waves1 ,regions of ,joy1 ,flora1 and ,venus ,dispatching ,cupid4 ,,iv ,,marie-,,rosa ,,bonheur 7,pronounced ,rosa ,bon-er7 ,french ,school #ahbb-ahie ,pupil of ,raymond ,b4 ,bonheur ,rosa ,bonheur1 ,landseer1 and ,murillo maybe called ,children's ,painters in this book because they painted things that children1 as well as grown-ups1 certainly can enjoy4 ,to be sure1 ,murillo was a very different sort of artist from ,rosa ,bonheur or ,landseer1 but if the two latter painted the most beautiful1 animals--dogs1 sheep1 and horses--,murillo painted the loveliest little children4 ,rosa was the best pupil of her father2 ,raymond ,b4 ,bonheur4 ,in ,bordeaux they lived together the peaceful life of artists1 the father being already a well known painter when his daughter was born4 ,she became1 as ,mr4 ,hamerton1 who knew her1 said1 the most accomplished female painter who ever lived 444 a pure1 generous woman as well and can hardly be too much admired 444 as a woman or an artist4 ,she is simple in her tastes and habits of life and many stories are told of her generosity to others4 ,after a time the ,bonheurs moved to ,paris where young ,rosa could have better opportunities2 and there she put on man's clothing1 which she wore all her life thereafter4 ,she wore a workingman's blouse and trousers1 and tramped about looking more like a man than a woman with her short hair4 ,this1 made everybody stare at her and think her very queer1 but people no longer believe that she dressed herself thus in order to advertise herself and attract attention2 but because it was the most convenient costume for her to get about in4 ,she went to all sorts of places2 the stockyards1 slaughter houses1 all about the streets of ,paris1 to learn of things and people1 especially of animals1 which she wished most to paint4 ,she could hardly have gone about thus if she had worn women's clothing4 ,rosa ,bonheur exhibited her first painting at the ,salon in #ahda1 and this was twelve years before her beloved father died2 thus he had the happiness of knowing that the daughter whom he had taught so lovingly was on the road to success and fortune4 ,he knew that when fortune should come to her she would use it well4 ,the year that she exhibited her work in the ,salon she painted only two little pictures--one of rabbits1 the other of sheep and goats--but they were so splendidly done that all the critics knew a great woman artist had arrived4 ,it was then that her enemies1 those who were becoming jealous of her work1 said that she was wearing men's clothing in order to attract attention to herself4 ,soon her work began to be bought by the ,french ,government1 which was a sure sign of her power4 ,she was already much beloved by the people4 ,in the meantime we in ,america and others in ,england had heard of ,mademoiselle ,bonheur1 but we heard far less about her painting than we did about her masculine garb4 ,we thought of her mostly as an eccentric woman2 but one day came ,the ,horse ,fair1 and all the world heard of that1 so the artist was to be no longer judged by the clothes she wore but by her art4 ,finally1 she received the cross of the ,legion of ,honour1 and also was made a member of the ,institute of ,antwerp4 ,she lived near ,fontainebleau2 her studio a peaceful retired home1 till the ,franco-,prussian war came about4 ,then she and others began to fear that her studio and pictures would be destroyed1 so the artist was forced to stop her work and prepared to go elsewhere4 ,but the ,crown ,prince of ,prussia himself ordered that ,mademoiselle ,bonheur should not even be disturbed4 ,her work had made her belong to all the world and all the world was to protect her if need be4 ,rosa ,bonheur had a brother who1 some critics said1 was the better artist1 but if that were true it is likely that his popularity would in some degree have approached that of his sister4 ,rosa ,bonheur did not paint many large canvases1 but mostly small ones1 or only moderately large2 but when she painted sheep it seems that one might shear the wool1 it stands so fleecy and full2 while her horses rampage and curvet1 showing themselves off as if they were alive4 ,,plate--,,the ,,horse ,,fair ,this picture was exhibited all over the world very nearly4 ,it was carried to ,england and to ,america1 and won admiration wherever it was seen4 ,finally it was sold in ,america4 ,it was first exhibited in #ahec1 the year in which the artist's father died4 ,mr4 ,ernest ,gambart was the first who bought the picture1 and he wrote of it to his friend1 ,mr4 ,s4,p4 ,avery3 ,i will give you the real history of ',the ,horse ,fair1' now in ,new ,york4 ,it was painted in #aheb1 by ,rosa ,bonheur1 then in her thirtieth year1 and exhibited in the next ,salon4 ,though much admired it did not find a purchaser4 ,it was soon after exhibited in ,ghent1 meeting again with much appreciation1 but was not sold1 as art did not flourish at the time4 ,in #ahee the picture was sent by ,rosa ,bonheur to her native town of ,bordeaux and exhibited there4 ,she offered to sell it to the town at the very low price #ab1jjj francs 7#b1djj74 ,while there1 ,i asked her if she would sell it to me1 and allow me to take it to ,england and have it engraved4 ,she said3 ',i wish to have my picture remain in ,france4 ,i will once more impress on my countrymen1 my wish to sell it to them for #ab1jjj francs4 ,if they refuse1 you can have it1 but if you take it abroad1 you must pay me #dj1jjj francs4' ,the town failing to make the purchase1 ,i at once accepted these terms1 and ,rosa ,bonheur then placed the picture at my disposal4 ,i tendered her the #dj1jjj francs and she said3 ',i am much gratified at your giving me such a noble price1 but ,i do not like to feel that ,i have taken advantage of your liberality2 let us see how we can combine in the matter4 ,you will not be able to have an engraving made from so large a canvas4 ,suppose ,i paint you a small one from the same subject1 of which ,i will make you a present4' ,of course ,i accepted the gift1 and thus it happened that the large work went travelling over the kingdom on exhibition1 while ,thomas ,landseer was making an engraving from the quarter-size replica4 ,after some time 7in #aheg ,i think71 ,i sold the original picture to ,mr4 ,william ,p4 ,wright1 ,new ,york 7whose picture gallery and residence were at ,weehawken1 ,n4,j471 for the sum of #cj1jjj francs1 but later ,i understood that ,mr4 ,stewart paid a much larger price for it on the breaking up of ,mr4 ,wright's gallery4 ,the quarter size replica1 from which the engraving was made1 ,i finally sold to ,mr4 ,jacob ,bell1 who gave it in #ahei to the nation1 and it is now in the ,national ,gallery1 ,london4 ,a second1 still smaller replica1 was painted a few years later1 and was resold some time ago in ,london for #d1jjj 7#bj1jjj74 ,there is also a smaller water-colour drawing which was sold to ,mr4 ,bolckow for #b1ejj guineas 7#ab1jjj71 and is now an heirloom belonging to the town of ,middlesbrough4 ,that is the whole history of this grand work4 ,the ,stewart canvas is the real and true original1 and only large size ',horse-,fair4' ,once in ,mr4 ,stewart's collection1 it never left his gallery until the auction sale of his collection1 ,march #beth1 #ahhg1 when it was purchased by ,mr4 ,cornelius ,vanderbilt for the sum of #ee1jjj1 and presented to the ,metropolitan ,museum of ,art4 ,and thus we have the whole story of the ,horse-,fair4 ,the picture is #ic-a_/b inches high1 and #aig inches wide1 and it contains a great number of horses1 some of which are ridden1 while others are led1 and all are crowding with wild gaiety toward the fair where it is quite plain they know they are about to be admired and their beauty shown to the best advantage4 ,other well-known ,rosa ,bonheurs are ,ploughing1 ,shepherd ,guarding ,sheep1 ,highland ,sheep1 ,scotch ,deer1 ,american ,mustangs1 and ,the ,study of a ,lioness4 ,v ,,alessandro ,,botticelli 7,pronounced ,ah-lays-sahn'dro ,bo't-te-chel'lee7 ,florentine ,school1 #addg-aeaj 7,vasari's dates7 ,pupil of ,filippo ,lippi and ,verrocchio ,botticelli took his name from his first master1 as was the fashion in those days4 ,the relation of master and apprentice was very close1 not at all like the relation of pupil and teacher to-day4 ,botticelli's father was a ,florentine citizen1 ,mariano ,filipepi1 and he wished his son to become a goldsmith2 hence the lad was soon apprenticed to ,botticelli1 the goldsmith4 ,as a scholar1 the little goldsmith had not distinguished himself4 ,indeed it is said that as a boy he would not take to any sort of schooling in reading1 writing1 or arithmetic4 ,it cannot be said that this failure distinguished him as a genius1 or the world would be full of genius-boys2 but the result was that he early began to learn his trade4 ,fortunately for him and us1 ,botticelli1 the smith1 was a man of some wisdom and when he saw that the lad originated beautiful designs and had creative genius he did not treat the matter with scorn1 as the master of ,andrea del ,sarto had done1 but sent him instead to ,fra ,filippo 7,lippo ,lippi7 to be taught the art of painting4 ,so kind a deed might well establish a feeling of devotion on little ,alessandro's part and make him wish to take his master's name4 ,fra ,filippo was a ,carmelite monk1 merry and kindly2 simple1 good1 and gifted1 but his temperament did not seem to influence his young pupil4 ,of all unhappy1 morbid men1 ,botticelli seems to have been the most so1 unless we are to except ,michael ,angelo4 ,after studying with the monk1 ,botticelli was summoned by ,pope ,sixtus ,,iv4 to ,rome to decorate a new chapel in the ,vatican4 ,before that time his whole life had been greatly influenced by the teachings of ,savonarola who had preached both passionately and learnedly in ,florence1 advocating liberty4 ,from the time he fell under ,savonarola's wonderful power1 the artist grew more and more mystic and morbid4 ,in ,rome it was the custom to have the portraits of conspirators1 or persons of high degree who were revolutionary or otherwise objectionable to the state1 hung outside the ,public ,palace1 and in ,botticelli's time there was a famous disturbance among the aristocrats of the state4 ,in #adgh the powerful ,pazzi family conspired against the ,medici family1 which then actually had control4 ,it was ,botticelli who was engaged to paint the portraits of the ,pazzi family1 which to their shame and humiliation were to be displayed upon the palace walls4 ,one peculiarity of this artist's pictures was that he used actual goldleaf to make the high lights upon hair1 leaves1 and draperies4 ,the effect of the use of this gold was very beautiful1 if unusual1 and it may have been that his apprenticeship as a goldsmith suggested to him such a device4 ,also it was he who created certain characteristics of painting that have since been thought original with ,burne-,jones4 ,this was the use of long stiff lily-stalks or other upright details in his compositions4 ,examples of this idea1 which produced so weird an effect1 will be found in his allegory of ,spring1 where stiff tree-trunks form a part of the background4 ,in the ,madonna of the ,palms upright lily-stalks are held in pale and trembling hands4 ,like ,michael ,angelo1 who came years afterward1 ,botticelli was a guest of the great ,lorenzo the ,magnificent1 in ,florence4 ,it was by ,botticelli's hand that the greater painter sent a letter to ,lorenzo from a duchess friend who was also his patron4 ,this was in ,angelo's youth2 in ,botticelli's old age4 ,all his life was a drama of morbid seeking after the unattainable1 and finally he became so poor and helpless that in his old age he would have starved had ,lorenzo de' ,medici not taken care of him4 ,lorenzo and other friends who in spite of his gloominess admired his real piety1 gathered about him and kept him from starvation4 ,on his ,nativity1 ,botticelli wrote3 ,this picture ,i1 ,alessandro1 painted at the end of the year #aejj in the troubles of ,italy1 in the halftime after the time1 during the fulfilment of the eleventh of ,john1 in the second woe of the ,apocalypse1 in the loosing the devil for three and a half years4 ,afterward he shall be chained according to the twelfth of ,john1 and see him trodden down as in this picture4 ,all of this is interesting because ,botticelli himself wrote it1 but it is not very easily understood by any child1 nor by many grown people4 ,botticelli did some very extraordinary things1 but whether they are beautiful or not one must decide for himself4 ,they are paintings so characteristic that one must think them very beautiful or else not at all so4 ,,plate--,,la ,,primavera 7,spring7 ,in this picture we have the forerunner of a modern painter1 because we see in it certain1 qualities that we find in ,bcklin4 ,look at the effect of vertical lines2 the tree trunks1 and the poses of the slender women4 ,over all hovers a cupid who is sending love-shafts into the hearts of all in springtime4 ,notice the lacy effect of the flowers that bestar the wind-blown gown of ,la ,primavera1 the fern-like leaves that fleck the background2 the draperies that do not conceal the forms of the nymphs of the lovely springtime4 ,the very spirit of spring is seen in all the half-floating1 half-dancing1 gliding1 diaphanous figures of the forest4 ,the flowers of ,la ,primavera's crown are blue and white cornflowers and primroses4 ,she scatters over the earth tulips1 anemones1 and narcissus4 ,the painting is allegorical and unique4 ,never were such fluttering odds and ends of draperies painted before1 nor such fascinating effects had from canvas1 paint1 or brush4 ,the picture hangs in ,florence in the ,uffizi ,gallery4 ,a ,german critic tells us that the ,realm of ,venus1 is a better title for this picture1 and that it was painted after a poem of that name4 ,other pictures by this artist are3 ,the ,birth of ,venus1 ,pallas1 ,judith1 ,holofernes1 ,st4 ,augustine1 ,adoration of the ,magi1 and ,st4 ,sebastian4 ,,vi ,,william ,,adolphe ,,bouguereau 7,pronounced ,w4 ,a'dolf ,bou-gair-roh7 ,french 7,genre7 ,school #ahbe-aije ,pupil of ,picot and the ,ecole des ,beaux-,arts ,bouguereau's business-like father meant his son also to be business-like1 but he made the mistake of permitting him to go to a drawing school in ,bordeaux and there1 to his father's chagrin1 the youngster took the annual prize4 ,after that there seemed nothing for the father to do but grin and bear it1 because the son decided to be an artist and had fairly won his right to be one4 ,young ,bouguereau had no money1 and therefore he went to live with an uncle at ,saintonge1 a priest1 who had much sympathy with the boy's wish to paint1 and he left him free to do the best he could for himself in art4 ,he got a chance to paint some portraits1 and when he and his uncle talked the matter over ,it was decided that he should take the money got for them1 and go to ,paris4 ,it was there that he sought ,picot1 his first truly helpful teacher2 and there1 for the first time he learned more than he already knew about art4 ,all ,bouguereau's opportunities in life were made by himself1 by his own genius4 ,no one gave him anything2 he earned all4 ,he longed to go to ,italy1 and in the ,ecole des ,beaux-,arts he won the ,prix de ,rome1 which made possible a journey to the land of great artists4 ,the ,french ,government began to buy his work1 and he began to receive commissions to decorate walls in great buildings2 thus1 gradually1 he made for himself fame and fortune4 ,when this artist undertook to paint sacred subjects1 of great dignity1 he was not at his best2 but when he chose children and mothers and everyday folk engaged about their everyday business1 he painted beautifully4 ,americans have bought many of his pictures and he has had more popularity in this country than anywhere outside of ,france4 ,some authorities give the birthplace of ,bouguereau as ,la ,rochelle2 at any rate he died there at midnight1 on the nineteenth of ,august1 #aije4 ,,plate--,,the ,,virgin ,,as ,,consoler ,the main distinction about this artist's pictured faces is the peculiarly earnest expression he has given to the eyes4 ,in this picture of the ,virgin there is great genius in the pose and death-look of the little child whose mother has flung herself across the lap of ,mary1 abandoned to her agony4 ,this painting is hung in the ,luxembourg4 ,others by the same master are called ,psyche and ,cupid ,birth of ,venus1 ,innocence1 and ,at the ,well4 ,,vii ,,sir ,,edward ,,burne-,,jones ,english 7,pre-,raphaelite7 ,school #ahcc-ahih ,pupil of ,rossetti ,this artist has been called the most original of all contemporaneous artists4 ,he has also been called the lyric painter2 meaning that he is to painting what the lyric poet is to literature4 ,his work once known can almost always be recognised wherever seen afterward4 ,he did not slavishly follow the ,pre-,raphaelite school1 yet he drew most of his ideas from its methods4 ,he was1 in the use of stiff lines1 a follower of ,botticelli1 and not original in that detail1 as some have seemed to think4 ,,plate--,,chant ,d',,amour 7,the ,love-,song7 ,this is a picture in the true ,burne-,jones style3 a beautiful woman in billowy draperies1 playing upon a harp forms the central figure of the group of three--a listener on either side of her4 ,there is the attractiveness of the ,burne-,jones method about this picture1 but after all there seems to be no very good reason for its having been painted4 ,the subject thus treated has only a negative value1 and little suggestion of thought or dramatic idea4 ,another picture of this artist1 in which his use of stiff draperies is specially shown1 is that of the women at the tomb of ,christ1 when they find the stone rolled away and1 looking around1 see the ,saviour's figure before them4 ,the scene is low and cavern-like1 with a brilliant light surrounding the tomb4 ,this artist also painted ,the ,vestal ,virgin1 ,king ,cophetua and the ,beggar ,maid1 ,pan and ,psyche1 ,the ,golden ,stairs1 and ,love ,among the ,ruins4 ,,viii ,,john ,,constable ,english ,school #aggf-ahcg ,pupil of the ,royal ,academy ,john ,constable was the son of a yeoman farmer who meant to make him also a yeoman farmer4 ,mostly we find that the fathers of our artists had no higher expectations for their sons than to have them take up their own business2 to begin as they had1 and to end as they expected to4 ,but in ,john ,constable's case1 as with all the others1 the father's methods of living did not at all please the son1 and having most of all a liking for picture-making2 young ,john set himself to planning his own affairs4 ,nevertheless1 the foundation of ,john's art was laid right there in the ,suffolk farmer's home and conditions4 ,he was born in ,east ,bergholt1 and the father seems to have believed in windmills1 for early in life the signs of wind and weather became a part of the son's education4 ,he learned a deal more of atmospheric conditions there on his father's windmill planted farm than he could possibly have learned shut up in a studio1 ,french fashion4 ,as a little boy he came to know all the signs of the heavens2 the clouds gathering for storm or shine2 the bending of the trees in the blast2 all of these he loved1 and later on made the principal subjects of his art4 ,he learned to observe these things as a matter of business and at his father's command2 thus we may say that he studied his life-work from his very infancy4 ,all about him were beautiful hedgerows1 picturesque cottages with high pitched roofs covered with thatch1 and it was these beauties which bred one other great landscape painter besides ,constable1 of whom we shall presently speak1 ,gainsborough4 ,at last1 graduating from windmills1 ,john went to ,london4 ,he had a vacation from the work set him by his father1 and for two years he painted cottages1 studied anatomy1 and did the drudgery of his art2 but there was little money in it for him1 and soon he had to go into his father's counting house1 for windmills seemed to have paid the elder ,constable1 considerably better than painting promised to pay young ,john4 ,john doubtless liked counting-house work even less than he had done the study of windmills and weather in his father's fields4 ,he was a most persistent fellow1 however1 and finally he returned to ,london1 to study again the art he loved1 this time in the ,royal ,academy1 which meant that he had made some progress4 ,his father gave him very little aid to do the things he longed to do1 but after his father's death he found that a little money was coming to him from the estate--#d1jjj4 ,he had already triumphed over his difficulties by painting his first fine pictures2 he now knew that he was to become a successful artist1 and be able to take care of himself and a wife4 ,though in love1 he had hitherto been too poor to marry4 ,his first splendid work was ,dedham ,vale4 ,though things were going very well with him1 it was not until ,paris discovered him that he achieved great success4 ,in #ahbd he painted two large pictures which he took to ,paris1 and there he found fame4 ,the best landscape painting in ,france dates from the time when ,constable's works were hung in the ,louvre1 to become the delight of all art-lovers4 ,he received a gold medal from ,charles ,x41 and became more honoured abroad than he had ever been at home4 ,constable had many enemies1 and made many more after he became an ,academician4 ,some artists1 who would have liked that honour and who could not gain it for themselves1 declared that ,constable painted with a palette knife1 though it certainly would not have mattered if he had1 since he made great pictures4 ,he painted things exactly as he saw them1 and was not a popular artist4 ,most of all1 he loved to paint the scenes that he had known so well in his youth1 and he did them over and over again1 as if the subject was one in which he wished to reach perfection4 ,when he died he left a picture1 ,arundel ,castle and ,mill1 standing with its paint wet upon his easel for he passed away very suddenly1 on ,april #ast1 leaving behind him many unsold paintings4 ,he was a sensitive chap1 and throughout his youth was greatly distressed by the differences of opinion between himself and his father4 ,he was torn asunder between a sense of duty and his own wish to be an artist2 and his greatest consolation in this situation was in the friendship he had formed for a plumber1 who1 like himself1 dearly loved art4 ,the plumber's name was ,john ,dunthorne1 and the two men wandered about the country1 when not employed at their regular work1 and together1 by streams and in fields1 painted the same scenes4 ,at one time they hired a little room in the neighbouring village which they made into a studio4 ,constable was a handsome fellow in his youth and was known to all as the handsome miller4 ,his father1 the yeoman farmer with the windmills1 was also a miller4 ,in ,london he became acquainted with one ,john ,smith1 known as ,antiquity ,smith1 who taught him something of etching4 ,after he was recalled to his father's business1 his mother wrote to ,antiquity ,smith1 that she hoped ,john would now attend to business1 by which he will please me and his father1 and ensure his own respectability and comfort--a complete expression of the middle-class ,british mind4 ,her satisfaction was short-lived1 for her son soon returned to ,london4 ,when his first pictures were rejected by the ,royal ,academy he showed one of them to ,sir ,benjamin ,west1 who said hopefully3 ,don't be disheartened1 young man1 we shall hear of you again2 you must have loved nature very much before you could have painted this4 ,about that time he tried to paint many kinds of pictures1 such as portraits and sacred subjects1 but he did not seem to succeed in anything except the scenes of his boyhood1 which he truly loved4 ,hence he gave up attempting that which he could do only passably1 and kept to what he could do supremely well4 ,when his friends wished him to continue portrait painting1 the only thing that was well paid at that time1 ,constable wrote3 ,you know ,i have always succeeded best with my native scenes4 ,they have always charmed me1 and ,i hope they always will4 ,i have now a path marked out very distinctly for myself1 and ,i am desirous of pursuing it uninterruptedly4 ,about the time he fell in love and before his father's death1 his health began to fail1 and the young woman's mother would have none of him4 ,her father was in favour of ,constable1 but he could not hold out against the chance of his daughter losing her grandfather's fortune by marrying the wrong man4 ,the lady was not so distractingly in love as young ,constable was1 and she did not entirely like the idea of poverty1 even with ,john1 so she held off1 and with so much anxiety ,constable became downright ill4 ,for five years the pair lived apart1 and then the artist and the young woman1 whose name was ,maria ,bicknell1 lost their mothers about the same time1 ,this drew them very closely together2 and to help the matter on1 ,john's attendance upon his father in his last illness brought him to the same town as ,miss ,bicknell4 ,after his father's death1 he urged the young lady so strongly to be his wife that she consented ,they were married and her father soon forgave her1 but not so her grandfather1 who declared that he never would forgive her1 but he really must have done so from the first1 for when he died it was found that he had left her a little fortune of #d1jjj4 ,this was about the same amount the artist had received from his father1 so that they were able to get on very well4 ,after ,constable's marriage he went on a visit to ,sir ,george ,beaumont1 and there an amusing incident occurred which is known to-day as the story of ,sir ,george's brown tree4 ,it seems that ,constable's ideas of colour for his landscapes were so true to nature that a good many people did not approve of them1 and one day while painting1 ,sir ,george declared that the colour of an old ,cremona fiddle was the best model of colour tone that a landscape could have4 ,constable's only answer was to place the fiddle on the green lawn in front of the house4 ,at another time his host asked the artist1 ,do you not find it very difficult to determine where to place your brown tree8 ,not at all1 was ,constable's reply1 for ,i never put such a thing into a picture in my life4 ,in painting one picture many times he declared1 ,its light cannot be put out because it is the light of nature4 ,a ,frenchman called attention to one of his pictures thus3 ,look at these landscapes by an ,englishman4 ,the ground appears to be covered with dew4 ,notwithstanding the little fortune of his wife and himself1 ,constable was not quite carefree1 because he had to raise a good sized family of six children so that when his wife's father died and left his daughter #bj1jjj he said to a friend3 ,now ,i shall stand before a six-foot canvas with a mind at ease1 thank ,god6 ,in the very midst of this happiness1 his beloved wife became ill with consumption1 and was certain to die4 ,he no longer cared very much for life and wrote very sadly3 ,i have been ill1 but am endeavouring to get work again1 and could ,i get afloat upon a canvas of six feet1 ,i might have a chance of being carried from myself4 ,when he became a member of the ,royal ,academy1 he said3 ,it has been delayed until ,i am solitary and cannot impart it1 meaning that without his dear wife to share his good fortune1 it seemed an empty honour to him4 ,strange things are told which show how little his work was valued by his countrymen4 ,after he had become a member of the ,academy one of his small pictures was entered but rejected2 nobody knowing anything about it4 ,it was put on one side among the outsiders4 ,finally1 one of his fellow members glancing at it was attracted4 ,stop a bit6 ,i rather like that4 ,why not say 'doubtful'8 ,later ,constable acknowledged the picture as his1 and then they wished to hang it1 but he refused to let them4 ,another ,academy story is about his picture ,hadleigh ,castle4 ,on ,varnishing ,day1 ,chartney1 a brilliant critic1 told ,constable that the foreground of the picture was too cold1 and so he undertook to warm it1 by giving it a strong glaze with asphaltum with ,constable's brush which he snatched from the artist's hand4 ,constable gazed at him in horror4 ,oh6 there goes all my dew1 he cried1 and when ,chartney's back was turned he hurriedly wiped the warmth all away and got back his dew4 ,even the amusing things that happened to him1 seem to have a little sadness about them4 ,he wrote to a friend3 ,beechey was here yesterday1 and said3 ',why d--n it ,constable1 what a d--n fine picture you are making2 but you look d--n ill1 and you've got a d--n bad cold6' so1 added ,constable1 you have evidence on oath of my being about a fine picture and that ,i am looking ill4 ,an illustration of his painstaking and truthfulness to nature is that he once took home with him from a visit bottles of coloured sand and fragments of stone which he meant to introduce into a picture2 and on passing some slimy posts near a mill1 he said to his host1 ,i wish you could cut those off and send their tops to me4 ,constable was a loyal friend1 the most persistent of men1 and several anecdotes are told of his characteristics4 ,his friend ,fisher said to him3 ,where real business is to be done1 you are the most energetic and punctual of men4 ,in smaller matters1 such as putting on your breeches1 you are apt to lose time in deciding which leg shall go in first4 ,,plate--,,the ,,hay ,,wain ,this picture was first called ,landscape1 and it was painted in #ahba4 ,in his letters about it1 however1 ,constable also called it ,noon1 and others wrote of it as ,midsummer ,noon4 ,this tells us what a wealth of hot sunlight is suggested by the painting4 ,it shows a little farmhouse upon the bank of a stream1 a spot well known as ,willy ,lott's ,cottage4 ,the owner had been born there and he died there eighty-eight years later1 without ever having left his cottage for four whole days in all those years4 ,upon the tombstone of ,lott1 which is in the ,bergholt burial ground1 his epitaph calls the house ,gibeon ,farm4 ,it was a favourite scene with ,constable1 and he painted it many times from every side4 ,it is the same house we see in the ,mill ,stream1 another ,constable painting1 and again in ,valley ,farm4 ,in this last picture he painted the side opposite to the one shown in the ,hay ,wain4 ,the stream near which the house stands spreads out into a ford1 and in the picture the hay cart1 with two men upon it1 is passing through the ford4 ,the horses are decked out with red tassels4 ,on the right of the stream there is a broad meadow1 golden green in the sunlight1 with groups of trees casting cool shadows on the grass1 and backed by a distant belt of woodland of rich blues and greens4 ,on the right is a fisherman1 half hidden by a bush1 standing near his punt4 ,constable wrote to his friend1 ,fisher1 ,my picture goes to the ,academy on the tenth4 ,this was written on ,april #ast1 #ahba4 ,it is not so grand as ,tinney's4 ,this shows us1 that ,constable had not vanity enough to interfere with his self-criticism4 ,again in a letter written to him by a friend3 ,how does the ',hay ,wain' look now it has got into your own room again8 adding that he wished to see it there1 away from the ,academy which to him was always like a great pot of boiling varnish4 ,later ,fisher wrote3 ,i have a great desire to possess your ',wain1' but ,i cannot now reach what it is worth2 and he begged ,constable not to sell it without giving him a chance to try once more to raise the money to buy it4 ,he wrote that the picture would become of greater value to his children if the artist left it hanging upon the walls of the ,academy1 till you join the society of ,ruysdael1 ,wilson1 and ,claude4 ,as praise and money will then be of no value to you1 the world will liberally bestow both4 ,later a ,frenchman wished to buy it for exhibition purposes1 and when ,constable wrote to ,fisher of this1 his friend replied that he had better sell it to the ,frenchman for the sake of the clat it may give you4 ,the stupid ,english public1 which has no judgment of its own1 will begin to think there is something in it if the ,french make your works national property4 ,you have long lain under a mistake2 men do not purchase pictures because they admire them1 but because others covet them4 ,finally1 the ,hay ,wain was sold to the ,french dealer for #bej1 and ,constable threw in a picture of ,yarmouth for good measure4 ,later a friend declared that he had created a good deal of argument about landscape painting1 and that there had come to be two divisions1 for he had practically founded a new school4 ,he received a gold medal for the ,hay ,wain1 and the ,french nation tried to buy it4 ,in the ,louvre are ,the ,cottage1 ,weymouth ,bay1 and ,the ,glebe ,farm4 ,elsewhere are ,hampstead ,heath1 ,salisbury ,cathedral1 ,the ,lock on the ,stour1 ,dedham ,mill1 ,the ,valley ,farm1 ,gillingham ,mill1 ,the ,cornfield1 ,boat-,building1 ,flatford ,mill on the ,river ,stour1 besides many others4 ,,ix ,,john ,,singleton ,,copley ,english ,school #agcg-ahae ,a little boy with a squirrel was the first picture that pointed this artist toward fame and that was painted in ,england and exhibited at the ,society of ,arts4 ,this ,american-born ,irishman had no family or ancestry of account1 but he himself was to become the father of ,lord ,chancellor ,lyndhurst1 and he did some truly fine things in art4 ,about the same time ,america had another painter1 ,benjamin ,west1 marked out for fame1 but he got his start in ,europe while ,copley had already become a successful artist before he left ,boston1 his native place4 ,he liked best to paint interiors--rooms with fine furniture and curtains1 women in fine clothing and men in embroidered waistcoats and bejewelled buckles4 ,in #aggg he got into the ,royal ,academy1 and on the whole had considerable influence on ,european art4 ,if we study the portraits that he painted while in ,boston1 we can get a very complete idea of the surroundings of the ,royalists at the time of our colonial history4 ,,plate--,,the ,,copley ,,family ,,group ,in this picture there are seven figures with an open landscape forming the background4 ,the baby of the family plays1 with uplifted arms1 upon grandfather's knee4 ,the mother on the couch1 surrounded by her three other children1 is kissing one while another clings to her4 ,before her stands a prim little maid1 gowned in the fashion of grown-folks of her day4 ,a little lock of hair falling upon her forehead suggests that when she was good she was very1 very good1 and when she was bad she was horrid6 ,she wears a little cap4 ,at the back is the artist himself in a wig and other fashions of the time4 ,a great column rises behind him1 forming a part of the architecture or the landscape1 one hardly knows which in so artificially constructed a picture4 ,copley painted also ,john ,hancock1 ,judge ,graham1 ,jeremiah ,lee1 and ,general ,joseph ,warren4 ,x ,,jean ,,baptiste ,,camille ,,corot 7,pronounced ,zhahn ,bah-teest' ,cah-mee'yel ,coh'roh7 ,fontainebleau-,barbizon ,school #agif-ahge ,pupil of ,michallon ,about three hundred years before ,corot's time there was a ,fontainebleau school of artists1 made up of the pathetic ,andrea del ,sarto1 the wonderful ,leonardo da ,vinci1 and ,cellini4 ,these painters had been summoned from their ,italian homes by ,francis ,i41 to decorate the ,palace of ,fontainebleau4 ,the second great group of painters who had studios in the forest and beside the stream were ,rousseau1 ,dupr1 ,diaz1 and ,daubigny2 ,troyon1 ,van ,marcke1 ,jacque2 then ,millet1 the painter of peasants4 ,corot was born in ,paris and received what education the ordinary school at ,rouen could give him4 ,he was intended by his parents for something besides art1 as it would seem that every artist in the world was intended4 ,corot was to grow up and become a respectable draper2 at any rate a draper4 ,the young chap did as his father wished1 until he was twenty-six years old1 and dreary years those must have been to him4 ,he did not get on well with his master1 nor did the world treat him very well4 ,he found neither riches nor the fame that was his due till he was an old man of seventy4 ,at that age he had become as rich a man as he might have been had he remained a sensible draper4 ,best of all1 ,corot loved to paint clouds and dewy nights1 pale moons and early day1 and of all amusements in the world1 he preferred the theatre4 ,there he would sit2 gay or sad as the play might make him1 weeping or laughing and as interested as a little child4 ,after he had anything to give away1 ,corot was the most madly generous of men4 ,it was he who gave a pension to the widow of his brother artist1 ,millet1 on which she lived all the rest of her days4 ,he gave money to his brother painters and to all who went to him for aid2 and he always gave gaily1 freely1 as if giving were the greatest joy1 outside of the theatre1 a man could have4 ,everyone who knew him loved him1 and there was no note of sadness in his daily life1 though there seems to be one in his poetical pictures4 ,because of his generous ways he was known as ,pere ,corot4 ,he sang as he worked1 and loved his fellowmen all the time2 but most of all1 he loved his sister4 ,rousseau is an eagle1 he used to say in speaking of his fellow artist4 ,as for me1 ,i am only a lark1 putting forth some little songs in my gray clouds4 ,it has been noted that most great landscape painters have been city-bred1 a remarkable fact4 ,constable and ,gainsborough were born and bred in the country1 but they are exceptions to the rule4 ,corot's parents were ,parisians of the purest dye1 having been court-dressmakers to ,napoleon ,i42 and when ,corot finally determined to leave the draper's shop and become a painter1 his father said3 ,you shall have a yearly allowance of #a1bjj francs1 and if you can live on that1 you can do as you please4 ,when his son was made a member of the ,legion of ,honour1 after twenty-three years of earnest work1 his father thought the matter over1 and presently doubled the allowance1 for ,camille seems to have some talent after all1 he remarked as an excuse for his generosity4 ,it is told that when he first went to study in ,italy1 ,corot longed to transfer the moving scenes before him to canvas2 but people moved too quickly for him1 so he methodically set about learning how to do with a few strokes what he would otherwise have laboured over4 ,so he reduced his sketching to such a science that he became able to sketch a ballet in full movement2 and it is remarked that this practice trained him for presenting the tremulousness of leaves of trees1 which he did so exquisitely4 ,one learns something of this painter of early dawn and soft evening from a letter he wrote to his friend ,dupr3 ,one gets up at three in the morning1 before the sun2 one goes and sits at the foot of a tree2 one watches and waits4 ,one sees nothing much at first4 ,nature resembles a whitish canvas on which are sketched scarcely the profiles of some masses2 everything is perfumed1 and shines in the fresh breath of dawn4 ,bing6 the sun grows bright but has not yet torn aside the veil behind which lie concealed the meadows1 the dale1 and hills of the horizon4 ,the vapours of night still creep1 like silvery flakes over the numbed-green vegetation4 ,bing6 bing6--a first ray of sunlight--a second ray of sunlight--the little flowers seem to wake up joyously4 ,they all have their drop of dew which trembles--the chilly leaves are stirred with the breath of morning--in the foliage the birds sing unseen--all the flowers seem to be saying their prayers4 ,loves on butterfly wings frolic over the meadows and make the tall plants wave--one sees nothing--yet everything is there--the landscape is entirely behind the veil of mist1 which mounts1 mounts1 sucked up by the sun2 and as it rises1 reveals the river1 plated with silver1 the meadow1 the trees1 cottages1 the receding distance--one distinguishes at last everything that one had divined at first4 ,in all the world there can hardly be a more exquisite story of daybreak than this2 and so beautiful was the mood into which ,corot fell at eventime1 as he himself describes it1 that it would be a mistake to leave it out4 ,this is his story of the night3 ,nature drowses--the fresh air1 however1 sighs among the leaves--the dew decks the velvety grass with pearls4 ,the nymphs fly--hide themselves--and desire to be seen4 ,bing6 a star in the sky which pricks its image on the pool4 ,charming star--whose brilliance is increased by the quivering of the water1 thou watchest me--thou smilest to me with half-closed eye6 ,bing6--a second star appears in the water1 a second eye opens4 ,be the harbingers of welcome1 fresh and charming stars4 ,bing6 ,bing6 ,bing6--three1 six1 twenty stars4 ,all the stars in the sky are keeping tryst in this happy pool4 ,everything darkens1 the pool alone sparkles4 ,there is a swarm of stars--all yields to illusion4 ,the sun being gone to bed1 the inner sun of the soul1 the sun of art awakens4 ,bon6 there is my picture done6 ,in writing those letters1 ,corot made literature as well as pictures4 ,that little word bing6 appears also in his paintings1 as little leaves or bits of tree-trunk1 some small detail which1 high-lightened1 accents the whole4 ,,plate--,,dance ,,of ,,the ,,nymphs ,there could hardly be a more charming painting than this which hangs in the ,louvre4 ,it is of a half-shut-in landscape of tall trees1 their branches mingling2 and all the atmospheric effects that belong to ,corot's work can here be seen4 ,on the open greensward is a group of nymphs dancing gaily1 while over all the scene is the veil of fairy-land or of something quite mysterious4 ,at the back and side1 satyrs can be seen watching the nymphs4 ,there is here less of the blur of leaves than that seen in later pictures1 but the same soft effect is found1 and the little bings are the accents of light placed upon a leaf1 a nymph's shoulder1 or a tree-trunk4 ,this picture was painted in #ahea1 when ,corot had not yet developed that style which was to mark all his later work4 ,besides this picture he painted ,paysage1 ,the ,bathers ,ville d',arvay1 ,willows near ,arras1 ,the ,bent ,tree1 ,a ,gust of ,wind1 and others4 ,,xi ,,correggio 7,,antonio ,,allegri7 7,pronounced ,cor-rage'jyo ,ahl-lay'gree7 ,school of ,parma #adid787-aecd ,pupil of ,mantegna ,when ,correggio was a little boy1 he lived in the odour of spices1 which were kept upon his father's shop-shelves4 ,he was a highly-spiced little boy and man1 although the most timid and shrinking4 ,his imagination was the liveliest possible4 ,the spice merchant lived in the town of ,correggio1 and thus the artist got his name4 ,correggio knew what should be inside the lovely flesh of his painted figures before he began to paint them1 because he studied anatomy in a truly scientific manner before he studied painting4 ,probably no other artist up to that time1 had ever begun with the bare bones of his models1 but ,correggio may be said to have worked from the inside out4 ,he learned about the structure of the human frame from ,dr4 ,giovanni ,battista ,lombardi1 and showed his gratitude to his teacher by painting a picture ,il ,medico del ,correggio 7,correggio's ,physician71 and presenting it to ,doctor ,lombardi4 ,now ,correggio's childhood1 or at least his early manhood1 could not have been spent in poverty1 because it is known that he used the most expensive colours to paint with1 painted upon the finest of canvas1 while greater artists had often to be content with boards4 ,he also painted upon copper plates1 and it is said that he hired ,begarelli1 a sculptor of much fame1 to make models in relief for him to copy for the pictures he painted on the cupolas of the churches in ,parma4 ,that sculptor's services must have been expensive4 ,on the lovely island of ,capri1 in the ,franciscan convent1 will be found one of his first pictures1 painted when ,correggio was about nineteen years old4 ,he was highly original in many ways4 ,although he had never seen the work of any great artist1 he painted the most extraordinary fore-shortened pictures2 and fore-shortening was a technicality in art then uncommon4 ,he also was the first to paint church cupolas4 ,fore-shortening produces some peculiar as well as great results1 and being a feature of art with which people were not then familiar1 ,correggio's work did not go uncriticised4 ,indeed one artist1 gazing up into one of the cupolas where ,correggio's fore-shortened figures were placed1 remarked that to him it appeared a hash of frogs4 ,but when ,titian saw that cupola1 he said3 ,reverse the cupola1 fill it with gold1 and even then that will not be its money's worth4 ,correggio did not receive very large sums for his work1 and since he was married and took good care of his family1 he must have had some source of income besides his brush4 ,he received some interesting rewards for his paintings4 ,for example1 for ,st4 ,jerome1 called ,il ,giorno1 he was given #djj gold imperials1 some cartloads of faggots and measures of wheat1 and a fat pig4 ,that picture is in the ,parma ,gallery1 and all the cupolas which he painted are in ,parma churches4 ,some of his pictures are signed2 ,leito1 a synonym for his name1 ,allegri4 ,this indicates his style of art4 ,there is an interesting story told of how ,correggio stood entranced before a picture of ,raphael's1 and after long study of it he exclaimed3 ,i too1 am a painter6 showing at once his appreciation of ,raphael's greatness and satisfaction at his own genius4 ,doubtless a good share of ,correggio's comfortable living came from the lady he married1 since she was considered a rich woman for those times and in that locality4 ,her name was ,girolama ,merlini1 and she lived in ,mantua1 the place where the ,montagues and ,capulets lived of whom ,shakespeare wrote the most wonderful love story ever imagined4 ,this young woman was only sixteen years old when ,correggio met and loved her1 and very beautiful and later on he painted a picture1 ,zingarella1 for which his wife is said to have been the model4 ,it seems to have been a stroke of economy and enterprise for painters to marry1 since we read of so many who made fame and fortune through the beauty of their wives4 ,they were very happy together1 ,correggio and his wife1 and they had four children4 ,their happiness was not for long1 because ,correggio seems to have been but thirty-four years old when she died1 nor did he live to be old4 ,there is a most curious tale of his death which is probably not true1 but it is worth telling since many have believed it4 ,he is supposed to have died in ,correggio1 of pleurisy1 but the story is that he had made a picture for one who had some grudge against him1 and who in order to irritate him paid him in copper1 fifty scudi4 ,this was a considerable burden1 and in order to save expense and time1 it is said that ,correggio undertook to carry it home alone4 ,it was a very hot day1 and he became so overheated and exhausted with his heavy load that he took ill and died1 and he may be said literally to have been killed by too much money1 if this were true4 ,vasari1 a biographer to be generally believed1 says it is a fact4 ,correggio said that he always had his thoughts at the end of his pencil1 and there are those who impudently declare that is the only place he did have them1 but that is a carping criticism1 because he was a very great artist1 his greatest power being the presentation of soft blendings of light and shade4 ,there seem to have been few unusual events in ,correggio's life2 very little that helps us to judge the man1 but there is a general opinion that he was a kind and devoted father and husband1 as well as a good citizen4 ,with little demand upon his moral character1 he did his work1 did it well1 and his work alone gave him place and fame4 ,he became the head of a school of painting and had many imitators1 but we hear little of his pupils1 except that one of them was his own son1 ,pompino1 who lived to be very old1 and in his turn was successful as an artist4 ,correggio was buried with honours in the ,arrivabene ,chapel1 in the ,franciscan church at ,correggio4 ,,plate--,,the ,,holy ,,night ,this painting is not characteristic of ,correggio's work1 but nevertheless it is very beautiful4 ,the brilliant warm light which comes from the ,infant ,jesus in ,his mother's arms is reflected upon the faces of those gathered about1 and even illuminates the angelic group hovering above him4 ,the slight landscape forming the background is also suggestive1 and the conditions of the birth are indicated by the ass which may be seen in the middle distance4 ,the faces of all are joyous yet full of wonderment1 the whole scene intimate and human4 ,the picture is also called the ,adoration of the ,shepherds1 and that title best tells the story4 ,see the shepherdess shading her face with one hand and offering two turtle-doves with the other4 ,the ass in the distance is the one on which ,mary rode to ,bethlehem1 and ,joseph is caring for it4 ,even the cold light of the dawning day is softened by the beauty of the group below4 ,this picture is in the ,royal ,gallery in ,dresden4 ,,plate--,,the ,,mystic ,,marriage ,,of ,,st4 ,,catherine ,the ,infant ,jesus sits upon ,his mother's lap1 and places the ring upon ,st4 ,catherine's finger1 while ,mary's hand helps to guide that of her ,child4 ,this action brings the three hands close together and adds to the beauty of the composition4 ,all of the faces are full of pleasure and kindliness1 while that of ,st4 ,sebastian fairly glows with happy emotion4 ,the light is concentrated upon the body of the ,child and is reflected upon the faces of the women4 ,this painting hangs in the ,louvre4 ,other great ,correggio pictures are the ,school of ,cupid1 which is more characteristic of his work2 ,antiope1 ,leda1 ,danae1 and ,ecce ,homo4 ,,xii ,,paul ,,gustave ,,dore ,french ,school #ahcc-ahhc ,this artist died in ,paris twenty-five years ago1 but there is little as yet to be told of his life history4 ,he was educated in ,paris at the ,lyce ,charlemagne1 having gone there from ,strasburg1 where he was born4 ,he was a painter of fantastic and grotesque subjects1 and as far as we know1 he began his career when a boy4 ,he made sketches before his eighth year which attracted much attention1 and he earned considerable money while still at school4 ,he was at that time engaged to illustrate for journals1 at a good round sum1 and before he left the ,lyce he had made hundreds of drawings1 somewhat after the satirical fashion of ,hogarth4 ,his work is very characteristic and once seen is likely to be always recognised4 ,he first worked for the ,journal ,pour ,rire1 but then he undertook to illustrate the work of ,rabelais1 the great satirist1 whose text just suited ,dor's pencil4 ,after ,rabelais he illustrated ,balzac1 also the ,wandering ,jew1 ,don ,quixote1 and ,dante's ,divine ,comedy4 ,he undertook to do things which he could not do well1 simply for the money there was in the commissions4 ,he had but a poor idea of colour and his work was coarse1 but it had such marked peculiarities that it became famous4 ,he did a little sculpture as well1 and even that showed his eccentricities of thought4 ,,plate--,,moses ,,breaking ,,the ,,tablets ,,of ,,the ,,law ,this is one of the illustrations of the ,dor ,bible1 published in #ahfe-ff4 ,the story is well known of how ,moses went up into the ,mount of the ,lord to receive the laws for the ,israelites1 which were written upon tables of stone4 ,upon his descent from the ,mount he found that his followers had set up a golden calf1 which they were worshipping2 and in his wrath ,moses broke the tablets on which the ,law was inscribed4 ,the power shown in his attitude1 the affrighted faces of the cowering ,jews1 the thunder and lightning as an expression of the wrath of the ,almighty are all painted in ,dor's best manner4 ,,xiii ,,albrecht ,d,,rer 7,pronounced ,dooer-rer'7 ,nuremberg ,school #adga-aebh ,pupil of ,wolgemuth and ,schongauer ,albrecht ,drer by nationality was a ,hungarian1 but he was born in the city of ,nuremberg4 ,his father had come from the little ,hungarian town of ,eytas to ,nuremberg that he might practise the craft of a goldsmith4 ,notwithstanding his ,hungarian origin1 the name is ,german and the family bearing1 or sign1 is the open door4 ,this device suggests that the name was first formed from ,thurer1 which means carpenter1 maker of doors4 ,the father became the goldworker for a master goldsmith of ,nuremberg named ,hieronymus ,holper1 and very soon the new employee had fallen in love with his master's daughter4 ,the daughter was very young and very beautiful2 her name was ,barbara1 and as ,herr ,drer was quite forty years of age1 while she was but fifteen1 the match seemed most unlikely1 but they married and had eighteen children6 ,the great painter was one of them4 ,albrecht loved his parents most tenderly1 and from first to last we hear no word of disagreement among any members of that immense household4 ,young ,albrecht was especially the companion of his father1 being brilliant1 generous1 and hard-working in a family where everyone needed to do his best to help along4 ,this love and companionship never ceased until death1 and after his parents died ,albrecht wrote in a touching manner of their death1 describing his love for them1 and their many virtues4 ,he was an author and a poet as well as a painter1 and only ,leonardo da ,vinci matched him for greatness and versatility4 ,we may know what ,drer's father looked like1 since the son made two portraits of him2 one is to be seen in the ,uffizi ,gallery at ,florence and the other belongs to the ,duke of ,northumberland's collection4 ,the latter portrait has been reproduced in an engraving1 so that it is familiar to most people4 ,in the days when the great artist was growing up1 ,nuremberg was the centre of all intellectuality and art in the ,north4 ,the city of ,augsburg also followed art fashions1 but it was far less important than ,nuremberg1 because in the latter city every sort of art-craft was followed in sincerity and with great originality4 ,in those days1 the craft of the goldsmith was closely allied with the profession of the painter1 because the smith had to create his own designs1 and that called for much talent4 ,thus it was but a step from designing in precious metals to the use of colour1 and to engraving4 ,in making wood engravings1 however1 the drudgery of it was left almost entirely to workmen1 not artists4 ,nuremberg was also the seat of musical learning4 ,wagner makes this fact pathetic1 comical1 and altogether charming in his ,mastersingers of ,nuremberg4 ,till ,drer's time1 however1 there had been little painting that could be regarded as art1 and when he came to study it there was but little opportunity in his own land1 but ,drer was destined to bring art to ,nuremberg4 ,if he went elsewhere to study1 it was only for a little time1 because he was above all things patriotic and dearly loved his home4 ,with seventeen brothers and sisters1 young ,drer's problem was a serious one4 ,his father not only meant him to become a goldsmith like himself--a craft in which there was much money to be made at a time when people dressed with great ornamentation and used gold to decorate with--it was highly necessary with so large a family that he should learn to do that which could make him helpful to his father4 ,hence the young boy entered his father's shop4 ,if he had not been handicapped with so many to help to maintain1 he would have laid up a considerable fortune1 because from the very beginning he was master of all that he undertook2 doing the least thing better than any other did it1 putting conscience and painstaking into all4 ,my father took special delight in me1 the son said1 seeing that ,i was industrious in working and learning1 he put me to school2 and when ,i had learned to read and write1 he took me home from my school and taught me the goldsmith's trade4 ,the family were good and kind2 excellent neighbours1 deeply religious1 and little ,albrecht certainly was comely4 ,he was beautiful as a little child1 and as a man was very handsome1 with long light hair sweeping his shoulders1 and gentle eyes4 ,he was very tall1 stately1 and full of dignity4 ,in his father's shop he made little clay figures which were afterward moulded in metal2 also he learned to carve wood and ivory1 and he added the touch of originality to all that he did4 ,he was the ,leonardo da ,vinci of ,germany1 an intellectual man1 a poet1 painter1 sculptor1 engraver1 and engineer4 ,he approached everything that he did from an intellectual point of view1 looking for the reasons of things4 ,after a while in his father's shop1 he found mere craftsmanship irksome1 and he begged to be allowed to enter a studio4 ,this was a great disappointment to the father1 even a distress1 because he could see no very quick nor large returns in money for an artist1 and he sorely needed the help of his son2 but being kind and reasonable1 he consented ,albrecht was apprenticed to the only artist of any repute then in ,nuremberg1 ,wolgemuth4 ,to his studio ,albrecht went1 at the age of fifteen1 and if he did not learn much more of painting1 under that artist's direction1 than his own genius had already taught him1 he learned the drudgery of his work2 how to grind colours and to mix them1 and he studied wood engraving also4 ,in ,wolgemuth's studio he remained for the three years of his apprenticeship1 and then he fled to better things4 ,for a time he followed the methods of another ,german artist1 ,schongauer1 but finally he went forth to try his luck alone4 ,he wandered from place to place1 practising all his trades1 goldsmithing1 engraving1 whatever would support him1 yet always and everywhere painting4 ,it is thought that he may have gone as far as ,italy1 but it is not certain whether he went there in his first wanderings or later on4 ,however1 he was soon recalled home1 for his father had found a suitable wife for him4 ,she was the daughter of a rich citizen and her name was ,agnes ,frey4 ,she was pretty as well as rich1 but had she been neither ,albrecht would have returned at his father's bidding4 ,there was never any resistance to the fine and proper things of life on ,albrecht ,drer's part4 ,he was the well balanced1 reasonable man from youth up4 ,there have been extraordinary tales told of the artist's wife4 ,she has been called hateful and spiteful as ,xantippe1 the wife of ,socrates1 but we think this is calumny4 ,the stories came about in this way3 ,drer had a life-long friend1 ,wilibald ,pirkheimer1 who in his old age became the most malicious and quarrelsome of old fellows4 ,he lived longer than ,drer did1 and ,drer's wife also outlived her husband4 ,pirkheimer wanted a set of antlers which had belonged to ,drer and which he thought the wife should give him after ,drer was dead1 but ,agnes thought otherwise and would not give them up4 ,then1 full of rage1 the old man wrote the most outrageous letters about poor ,agnes1 saying that she was a shrew and had compelled ,drer to work himself to death2 that she was a miser and had led the artist an awful dance through life4 ,this is the only evidence against her1 and that so sane and sensible a man as the artist lived with her all his life and cherished her1 is evidence enough that ,pirkheimer didn't tell the truth4 ,when ,drer died he was in good circumstances and instead of being overworked1 he for many years had done no pot-boiling1 but had followed investigations along lines that pleased him4 ,after his death1 the widow treated his brothers and sisters generously1 giving them properties of ,drer's and being of much help to them4 ,during the artist's life he and she had travelled everywhere together and had appeared to love each other tenderly2 hence we may conclude that the old ,pirkheimer was simply a disgruntled1 gouty old man without a good word for anybody4 ,if ,drer's father and mother had eighteen children1 ,albrecht and ,agnes struck a balance1 for they had none4 ,whether or not ,drer went to ,italy before his marriage in #adid1 certain it is that he was in ,venice1 the home of ,titian1 in #aejf4 ,titian was six years younger than ,drer1 who was then about thirty-five years old4 ,it is said that he started for ,italy in #aeje and that he went the whole of the way1 over the ,alps1 through forests and streams1 on horseback4 ,who knows but it was during that very journey1 while travelling alone1 often finding himself in lonely ways1 and full of the speculative thoughts that were characteristic of him1 that he did not think first of his subject1 ,knight1 ,death1 and the ,devil1 which helped make his fame4 ,in that picture we have a knight1 helmeted1 carrying his lance1 mounted upon his horse1 riding in a lonely forest1 with death upon a pale horse by his side1 holding an hour glass to remind the knight of the fleeting of time4 ,behind comes the devil1 with trident and horn1 represented as a frightful and disgusting beast1 which follows hot-foot after the lonely knight1 who looks neither to right nor left1 but persistently goes his way4 ,titian's teacher1 ,bellini1 was still living1 and he was one of ,drer's greatest admirers4 ,especially did he believe that he could paint the finest hair of any artist in the world4 ,one day1 while studying ,drer's work1 and being especially fascinated by the hair of one of his figures1 the old man took ,drer's brush and tried to reproduce as beautiful a tress4 ,presently he put down the brush in despair1 but the younger artist took it up1 still wet with the same colours1 and in a few brilliant strokes produced a lovely lock of woman's hair4 ,while luxuriating in ,venetian heat1 ,drer wrote home to his friend ,pirkheimer3 ,oh1 how ,i shall freeze after this sunshine6 ,he was a lover of warm1 beautiful colour1 gay and tender life4 ,most of all he loved the fatherland1 and all the honours paid him and all the invitations pressed upon him could not keep him long from ,nuremberg4 ,the journey homeward was not uneventful because he was taken ill1 and had to stop at a house on his way1 where he was cared for till he was strong enough to proceed4 ,before he went his way he painted upon the wall of that house a fine picture1 to show his gratitude for the kind treatment he had received4 ,imagine a people so settled in their homes that it would be worth while for an artist who came along to leave a picture upon the walls to-day--we should have moved to a new house or a new flat almost before ,drer could have washed his brushes and turned the corner4 ,back in ,nuremberg1 he settled down into the life of a responsible citizen1 lived in a fine new house1 in time became a member of the council1 and his studio was a veritable workshop4 ,studios were quite different from those of to-day4 ,then the pupils turned to and ground colours1 did much of their own manufacturing1 engaged at first in such commonplace occupations1 which were nevertheless teaching them the foundation of their art1 while they watched the work of the master4 ,such a studio as ,drer's must have been full of young men coming and going1 not all working at the art of painting1 but engraving1 preparing materials for such work1 designing1 and executing many other details of art work4 ,after this time ,drer made his smallest picture1 which is hardly more than an inch in diameter4 ,on that tiny surface he painted the whole story of the crucifixion1 and it is now in the ,dresden ,gallery4 ,to those of us who see little mentality in the faces of the ,italian subjects1 the ,german art of ,drer1 often ugly in the choice of models1 and so exact as to bring out unpleasing details1 is nevertheless the greater2 because in all cases1 the faces have sincere expressions4 ,they exhibit human purposes and emotions which we can understand1 and despise or love as the case may be4 ,they say that his ,madonna is generally a much-dressed round-faced ,german mother1 holding a merry little ,german boy4 ,that may be true2 but at any rate1 she is every inch a mother and he a well-beloved little boy1 which is considerably more than can be said of some ,italian performances4 ,drer made a painting of ,praying ,hands1 a queer subject for a picture1 but those hands are nothing but praying hands4 ,the story of them is touching4 ,it is said that for several years ,drer had won a prize for which a friend of his had also competed1 and upon losing the prize the last time he tried for it1 the friend raised his hands and prayed for the power to accept his failure with resignation and humility4 ,drer1 looking at him1 was impressed with the eloquence of the gesture2 thus the ,praying ,hands was conceived4 ,drer was also called the ,father of ,picture ,books1 because he designed so many woodcuts that he first made possible the illustration of stories4 ,he printed his own illustrations in his own house1 and was well paid for it4 ,the ,emperor ,maximillian visited ,nuremberg1 and wishing to honour ,drer1 commanded him to make a triumphal arch4 ,it was not to be fashioned in stone like the arches given to the victorious ,roman ,emperors2 but instead it was to be composed of engravings4 ,drer made for this purpose ninety-two separate blocks of woodcuts4 ,on these were represented ,maximillian's genealogical tree and the principal events of his life4 ,all these were arranged in the form of an arch1 #i feet wide and #aj-a_/b feet high4 ,it took ,drer three years to do this work1 and he was never well paid1 so says one who has compiled many incidents of his life4 ,while the artist worked1 the ,emperor often visited his studio2 and as ,drer's pet cats often visited it at the same time1 the expression arose1 'a cat may look at a ,king6' ,on the occasion of one of these kingly visits1 ,maximillian tried to do a little art-work on his own account4 ,taking a piece of charcoal he tried to sketch1 but the charcoal kept breaking and he asked ,drer why it did so4 ,that is my sceptre2 your ,majesty has other and greater work to do1 was the tactful reply4 ,it is a question with us to-day whether the ,king ever did a greater work than ,albrecht ,drer1 king of painters1 was doing4 ,after this1 ,maximillian gave ,drer a pension1 but when the ,emperor died the artist found it necessary to apply to the monarch who came after him1 in order to have the gift confirmed4 ,this was the occasion for his journey to the ,low ,countries1 and he took his wife ,agnes with him4 ,in the ,netherlands he was received with much honour and was invited to become court painter2 and what was more1 his pension was fixed upon him for life4 ,the great work of his life was his illustration of the ,apocalypse4 ,for this he made sixteen extraordinary woodcuts1 of great size4 ,on his journey to see ,charles ,v41 ,maximillian's successor1 ,drer kept a diary in which he noted the minutest details of all that happened to him4 ,he told of the coronation of ,charles2 of hearing about a whale that had been cast upon the shore2 of his disappointment that it had been removed before he had reached the place4 ,he wrote with great indignation about the supposed kidnapping of ,martin ,luther1 while he was on his way home from the ,diet of ,worms4 ,while ,drer was in the ,low ,countries1 a fever came upon him1 and when he returned home1 it still followed him4 ,indeed1 although he lived for seven years after his return1 he was never well again4 ,among his effects there was a sketch made to indicate to his physician the seat of his illness4 ,drer did not paint great frescoes upon walls as did ,raphael1 ,michael ,angelo1 and all great ,italian artists2 but instead he painted on wood1 canvas1 and in oils4 ,in all the civilised world ,drer was honoured equally with the great ,italian painters of his time4 ,he was a man of much conscientiousness1 dignity1 and tenderness4 ,he was devoted to his home and country1 and regarded the problems of life intellectually4 ,when he came to die1 his end was so unexpected that those dearest to him could not reach his bedside4 ,he was buried in ,st4 ,john's cemetery in ,nuremberg4 ,after his death1 ,martin ,luther wrote as follows to their mutual friend1 ,eoban ,hesse3 ,as for ,drer2 assuredly affection bids us mourn for one who was the best of men1 yet you may well hold him happy that he has made so good an end1 and that ,christ has taken him from the midst of this time of troubles1 and from yet greater troubles in store1 lest he1 that deserved to behold nothing but the best1 should be compelled to behold the worst4 ,therefore may he rest in peace with his fathers1 ,amen4 ,,plate--,,the ,,nativity ,our description of this painting calls attention to the fact that the columns and arches of the picturesque ruin belong to a much later period in history than the birth of ,christ4 ,drer was not acquainted with any earlier style of architecture than the ,romanesque and therefore he used it here4 ,the ruin serves as a stable4 ,a roof of board is built out in front of the side-room which shelters the ox and ass1 and under this lean-to lies the new born babe surrounded by angels who express their childish joy4 ,mary kneels and contemplates her child with glad emotion4 ,joseph1 also deeply moved1 kneels down on the other side of the child1 outside the shelter of the roof4 ,some shepherds to whom the angel1 who is still seen hovering in the air1 has announced the tidings1 are already entering from without the walls4 7,knackfuss74 ,the picture is the central panel of an altar-piece now in the ,old ,pinakothek at ,munich4 ,drer's oil painting of the four apostles--,john1 ,peter1 ,mark1 and ,paul--is in the same gallery4 ,other ,drer pictures are3 ,the ,knight1 ,death and the ,devil1 ,the ,adoration of the ,magi1 ,melancholy1 and portraits of himself4 ,,xiv ,,mariano ,,fortuny 7,pronounced ,mah-ree-ah-no' ,for-tu'ne7 ,spanish ,school #ahch-ahgd ,pupil of ,claudio ,lorenzalez ,fortuny won his own opportunities4 ,he took a prize1 while still very young1 which made it possible for him to go to ,rome where he wished to study art4 ,he did not spend his time studying and copying the old masters as did most artists who went there1 but1 instead1 he studied the life of the ,roman streets4 ,he had already been at the ,academy of ,barcelona1 but he did not follow his first master2 instead1 he struck out a line of art for himself4 ,after a year in ,rome the artist went to war2 but he did not go to fight men1 he was still fighting fate1 and his weapon was his sketch book4 ,he went with ,general ,prim1 and he filled his book with warlike scenes and the brilliant skies of ,morocco4 ,from that time his work was inspired by his ,moorish experiences4 ,after going to war without becoming a soldier1 ,fortuny returned to ,paris and there he became fast friends with ,meissonier1 so that a good deal of his work was influenced by that artist's genius4 ,after a time ,fortuny's paintings came into great vogue and far-off ,americans began buying them1 as well as ,europeans4 ,there was a certain rich dry-goods merchant in the ,united ,states who had made a large fortune for those days1 and while he knew nothing about art1 he wanted to spend his money for fine things4 ,so he employed people who did understand the matter to buy for him many pictures whose excellence he1 himself1 could not understand1 but which were to become a fine possession for succeeding generations4 ,this was about #ahfj1 and this man1 ,a4,t4 ,stewart1 bought two of ,fortuny's pictures at high prices4 ,the ,serpent ,charmer1 and ,a ,fantasy of ,morocco4 ,when ,fortuny was thirty years old he married the daughter of a ,spaniard called ,madrazo1 director of the ,royal ,museum4 ,his wife's family had several well known artists in it1 and the marriage was a very happy one4 ,because of this1 ,fortuny was inspired to paint one of the greatest of his pictures1 ,the ,spanish ,marriage4 ,in it are to be seen the portraits of his wife and his friend ,regnault4 ,after a time he went to live in ,granada2 but he could never forget the beautiful1 barbaric scenes in ,morocco1 and so he returned there4 ,afterward he went with his wife to live in ,rome1 and there they had a fine home and everything exquisite about them1 while fortune and favour showered upon them2 but he fell ill with ,roman fever1 because of working in the open air1 and he died while he was comparatively a young man4 ,,plate--,,the ,,spanish ,,marriage ,fortuny is said to split the light into a thousand particles1 till his pictures sparkle like jewels and are as brilliant as a kaleidoscope4444 ,he set the fashion for a class of pictures1 filled with silks and satins1 bric--brac and elegant trifling4 ,look at the brilliant scene in this picture6 ,the priest rising from his chair and leaning over the table is watching the bridegroom sign his name4 ,this chap is an old fop1 bedecked in lilac satin1 while the bride is a dainty young woman1 without much interest in her husband1 for she is fingering her beautiful fan and gossiping with one of her girl friends4 ,she wears orange-blossoms in her black hair and is in full bridal array4 ,one couple1 two men1 sit on an elegantly carved seat and are looking at the goings-on with amusement1 while an old gentleman sits quite apart1 disgusted with the whole unimpressive scene4 ,everybody is trifling1 and no one is serious for the occasion4 ,the furnishings of the room are beautiful1 delicate1 almost frivolous4 ,people are strewn about like flowers1 and the whole effect is airy and inconsequent4 ,fortuny painted also ,the ,praying ,arab1 ,a ,fantasy of ,morocco1 ,snake ,charmers1 ,camels at ,rest1 etc4 ,,xv ,,thomas ,,gainsborough ,english ,school #agbg-aghh ,pupil of ,gravelot and of ,hayman ,there seems to have been no artist1 with the extraordinary exceptions of ,drer and ,leonardo1 who learned his lessons while at school4 ,little painters have uniformly begun as bad spellers4 ,gainsborough's father was in the business of woolen-crape making1 while his mother painted flowers1 very nicely1 and it was she who taught the small ,thomas4 ,there were nine little ,gainsboroughs and1 shocking to relate1 the artist of the family was so ready with his pencil that when he was ten years old he forged his father's name to a note which he took to the schoolmaster1 and thereby gained himself a holiday4 ,there is no account of any other wicked use to which he put his talent4 ,it is said that he could copy any writing that he saw1 and his ready pencil covered all his copy-books with sketches of his schoolmasters4 ,it was thought better for him finally to follow his own ideas of education1 namely1 to roam the woodlands and make beautiful pictures4 ,his father's heart was not softened till one day little ,gainsborough brought home a sketch of the orchard into which the head of a man had thrust itself1 painted with great ability4 ,this man was a poacher1 and father ,gainsborough recognised him by the portrait4 ,there seemed to be utility in art of this kind1 and before long the boy found himself apprenticed to a silversmith4 ,through the silversmith the artist got admission to an art school and began his studies2 but his master was a dissolute fellow1 and before long the pupil left him4 ,gainsborough was born in the town of ,sudbury on the ,river ,stour1 the same which inspired another great painter half a century later4 ,gainsborough is best known by his portraits1 in particular as the inventor of the ,gainsborough hat1 but he was first of all a truly great landscape painter1 and learned his art as ,constable did after him1 along the beautiful shores of the river that flowed past his native town4 ,the old ,black ,horse ,inn is still to be seen1 and it was in the orchard behind it that he studied nature1 the same in which he made the first of his famous portraits1 that of the poacher4 ,it is known to this day as the portrait of ,tom ,pear-tree4 ,that picture was copied on a piece of wood cut into the shape of a man1 and it is in the possession of ,mr4 ,jackson1 who lent it for the exhibition of ,gainsborough's work held at the ,grosvenor ,gallery1 in #ahhe4 ,while ,thomas was with his first master1 by no means a good companion for a lad of fifteen1 he lived a busy1 self-respecting life1 since he was devoted to his home and to his parents4 ,only three years after he set out to learn his art he married a young lady of ,sudbury4 ,the pair were by no means rich1 ,gainsborough having only eighteen years of experience in this world1 besides his brush1 and a maker of woolen-crape shrouds for a father--who was not over pleased to have an artist for a son4 ,the lady had two hundred pounds but this did not promise a very luxurious living1 so they took a house for six pounds a year1 at ,ipswich4 ,thus the two young lovers began their life together4 ,there was a good deal of romance in the story of his wife1 whose name was supposed to be ,margaret ,burr4 ,the two hundred pounds that helped to pay the ,ipswich rent did not come from the man accepted as her father1 but from her real father1 who was either the ,duke of ,bedford1 or an exiled prince4 ,this would seem to be just the sort of story that should surround a great painter and his affairs4 ,while he lived at ,ipswich ,gainsborough used to say of himself that he was chiefly in the face-way meaning that for the most part he made portraits4 ,he loved best to paint the scenes of his boyhood1 as ,constable afterward did1 but he soon found there was more money in portraits1 and so he decided to go to live in ,bath1 the fashionable resort of ,english people in that day1 where he was likely to find rich folk who wanted to see themselves on canvas4 ,he settled down there with his wife1 whom he loved dearly1 and his two daughters and at once began to make money4 ,it is said he painted five hours a day and all the rest of the time studied music4 ,as the theatre was ,corot's greatest happiness1 so did music most delight ,gainsborough1 and he could play well on nearly every known instrument2 he became so excellent a musician that he even gave concerts4 ,he had the most delightful people about him1 people who loved art and who appreciated him1 and then there were the other people who paid for having themselves painted4 ,altogether it was an ideal situation4 ,his studio was in the place known as the ,circus at ,bath1 and people came and went all day1 for it became the fashionable resort for all the fine folks4 ,from five guineas for half length portraits1 he soon raised his price to forty2 he had charged eight for full length portraits1 but now they went for one hundred4 ,he painted some famous men of the time4 ,the very thought is inspiring of such a company of geniuses with ,gainsborough in the centre of the group4 ,he painted ,laurence ,sterne1 who wrote ,the ,sentimental ,journey1 and a few other delightful things2 also ,garrick1 the renowned actor4 ,even the encyclopdia reads thrillingly upon this subject and one can afford to quote it1 with the feeling that the quotation will be read3 ,his house harboured ,italian1 ,german1 ,french and ,english musicians4 ,he haunted the green room of ,palmer's ,theatre1 and painted gratuitously the portraits of many of the actors4 ,he gave away his sketches and landscapes to any one who had taste or assurance enough to ask for them4 ,this sounds royal and exciting4 ,after that ,gainsborough went up to ,london with plenty of money and plenty of confidence and instead of six pounds a year for his house1 he paid three hundred pounds1 which suggests much more comfort4 ,there were two other great painters of the time in ,london1 ,sir ,benjamin ,west--an ,american1 by the way--and ,sir ,joshua ,reynolds4 ,west was court favourite1 but ,gainsborough too was called upon to paint royalty1 and share ,west's honours4 ,reynolds was the favourite of the town1 but he too had to divide honours with ,gainsborough when the latter painted ,richard ,brinsley ,sheridan1 ,edmund ,burke and ,sir ,william ,blackstone4 ,notwithstanding1 his landscapes1 for which he should have been most famous1 did not sell4 ,everybody approved of them1 but it is said they were returned to him till they stood ranged in long lines from his hall to his painting room ,gainsborough was a member of the ,royal ,academy and also a true ,bohemian4 ,he cared little for elegant society1 but made his friends among men of genius of all sorts4 ,he was very handsome and impulsive1 tall and fair1 and generous in his ways2 but he had much sorrow on account of one of his daughters1 ,mary1 who married ,fischer1 a hautboy player1 against her father's wishes4 ,the girl became demented--at least she had spells of madness4 ,when ,mary ,gainsborough married1 her father wrote the following letter to his sister1 which shows that he was a man of tender feeling for those whom he truly loved3 444 ,i had not the least suspicion of the attachment being so long and deeply seated2 and as it was too late for me to alter anything without being the cause of total unhappiness on both sides1 my consent 444 ,i needs must give 444 and accordingly they were married last ,monday and settled for the present in a ready-furnished little house in ,curzon ,street1 ,mayfair 444 ,i can't say ,i have any reason to doubt the man's honesty or goodness of heart1 as ,i never heard anyone speak anything amiss of him1 and as to his oddities and temper1 she must learn to like them as she likes his person 444 ,peggy has been very unhappy about it1 but ,i endeavour to comfort her4 ,peggy was his wife4 ,the abominable ,fischer died twenty-years before ,mary did--she lived to be an old1 old woman4 ,among those whom ,gainsborough loved best was the man called ,wiltshire who carried his pictures to and from ,london4 ,he was a public carrier but would never take any money for his services to the artist1 because he loved his work4 ,all he asked was a little picture--and he got so many of these1 given in purest affection1 that he might have gone out of business as a carrier1 had he chosen to sell them4 ,four of those little pictures are now very great ones worth thousands of pounds and known everywhere to fame4 ,they are ,the ,parish ,clerk1 ,portrait of ,quin1 ,a ,landscape with ,cattle1 and ,the ,harvest ,waggon4 ,we have a good many stories of ,gainsborough's bad manners4 ,the artists of his day tried to treat him with every consideration1 but in return he treated them very badly1 especially ,sir ,joshua ,reynolds4 ,reynolds1 who was then ,president of the ,academy greatly admired ,gainsborough but the latter would not return ,sir ,joshua's call1 and when ,reynolds asked him to paint his portrait for him1 ,gainsborough undertook it thanklessly4 ,sir ,joshua left town for ,bath for a time1 and when he returned he tried to learn how soon the portrait would be finished1 but ,gainsborough would not even reply to his inquiry4 ,there seems to have been no reason for this behaviour unless it was jealousy1 but it made a most uncomfortable situation between fellow artists4 ,gainsborough has told some not very pleasing stories about himself1 but one of them shows us what a knack he had for seeing the comic side of things1 and perhaps for seeing comedy where it never existed4 ,upon one occasion he was invited to a friend's house where the family were in the habit of assembling for prayers1 and he had no sooner got inside1 than he began to fear he should laugh1 when prayer time came1 at the chaplain4 ,in a rush of shyness he fled1 leaving his host to look for him1 till he stumbled over a servant who said that ,mr4 ,gainsborough had charged him to say he had gone to breakfast at ,salisbury4 ,even respect for the customs of others could not make him control himself4 ,it was through his intimacy with ,king ,george's family that his quarrel with the ,royal ,academy came about4 ,he had painted the three princesses--the ,princess ,royal1 ,princesses ,augusta and ,elizabeth1 and these were to be hung at a certain height in ,carlton ,house1 but when he sent the first to the ,academy he asked it to be specially hung and his request was refused4 ,then he sent a note as follows3 ,he begs pardon for giving them so much trouble1 but he has painted the picture of the princesses in so tender a light that1 notwithstanding he approves very much of the established line for strong effects1 he cannot possibly consent to have it placed higher than eight feet and a half1 because the likeness and the work of the picture will not be seen any higher1 therefore at a word he will not trouble the gentlemen against their inclination1 but will beg the best of his pictures back again4 ,immediately1 the ,academy returned his pictures1 although it would seem that they might better have accommodated ,gainsborough than have lost such a fine exhibition4 ,he never again would send anything to them4 ,he was inclined to be irritated by inartistic points in his sitters1 and is said to have muttered when he was painting the portrait of ,mrs4 ,siddons1 the great actress3 ,damn your nose madam2 there is no end to it4 ,the nose in question must have been an eyesore to more than ,gainsborough1 for a famous critic is said to have declared that ,mrs4 ,siddons1 with all her beauty was a kind of female ,johnson 444 her nose was not too long for nothing4 ,notwithstanding that his landscapes were not popular1 he used to go off into the country to indulge his taste for painting them1 and once he wrote to a friend that he meant to mount all the ,lakes at the next ,exhibition in the great style1 and you know1 if people don't like them1 it's only jumping into one of the deepest of them from off a wooded island and my reputation will be fixed forever4 ,an old lady1 whose guest he was1 down in the country1 told how he was gay1 very gay1 and good looking1 creating a great sensation1 in a rich suit of drab with laced ruffles and cocked hat4 ,one of the boys he saw in the country he delighted to paint1 and he also grew so much attached to him that he took him to ,london and kept him with him as his own son4 ,that boy's name was ,jack ,hill and he did not care for city life1 nor maybe for ,gainsborough's eccentricities1 so he ran away4 ,he was found again and again1 till one day he got away for good1 and never came back4 ,all his later life ,gainsborough was happy4 ,his daughter1 who had married ,fischer1 the hautboy-player1 came back home to live1 and her disorder was not bad enough to prevent her being a cause of great happiness to her father4 ,the other daughter never married4 ,gainsborough says that he spent a thousand pounds a year1 but he also gave to everybody who asked of him1 and to many who asked nothing1 so that he must have made a great deal of money during his lifetime1 by his art4 ,it is said that the ,boy at the ,stile was bestowed on ,colonel ,hamilton for his fine playing of a solo on the violin4 ,a lady who had done the artist some trifling service received twenty drawings as a reward1 which she pasted on the walls of her rooms without the slightest idea of their value4 ,gainsborough got up early in the morning1 but did not work more than five hours4 ,he liked his friends1 his music1 and his wife1 and spent much time with them4 ,he was witty1 and while he sketched pictures in the evening1 with his wife and daughters at his side1 he kept them laughing with his droll sayings4 ,the last days of ,gainsborough showed him to be a hero4 ,he died of cancer1 and some time before he knew what his disease was he must have suffered a great deal4 ,there is a story that is very pathetic of a dinner with his friends1 ,beaumont and ,sheridan4 ,usually1 he was the gayest of the gay1 but of late all his friends had noticed that gaiety came to him with effort4 ,upon the night of this dinner1 ,sheridan had been his wittiest1 and had tried his hardest to make ,gainsborough cheer up1 till finally1 the artist1 finding it impossible to get out of his sad mood1 asked ,sheridan if he would leave the table and speak with him alone4 ,the two friends went out together4 ,now don't laugh1 but listen1 ,gainsborough said2 ,i shall soon die4 ,i know it2 ,i feel it4 ,i have less time to live than my looks infer1 but ,i do not fear death4 ,what oppresses my mind is this3 ,i have many acquaintances1 few friends2 and as ,i wish to have one worthy man to accompany me to the grave1 ,i am desirous of bespeaking you4 ,will you come8 ,aye or no6 ,at that ,sheridan1 who was greatly shocked1 tried to cheer him1 but ,gainsborough would not return to the table1 till he got the promise1 which of course ,sheridan made4 ,it was not very long after this that a famous trial took place--that of ,warren ,hastings4 ,it was in ,westminster ,hall1 and ,gainsborough went to listen several times4 ,on the last occasion1 he became so interested in what was happening that he did not notice a window open at his back4 ,after a little he said to a friend that he felt something inexpressibly cold touch his neck4 ,on his return home he told of the strange feeling to his wife4 ,then he sent for a doctor1 and there was found a little swelling4 ,the doctor said it was not serious and that when the weather grew warmer it would disappear2 but all the while ,gainsborough felt certain that it would mean his death4 ,a short time after that he told his sister that he knew himself to have a cancer1 and that was true4 ,when he felt that he must die1 he fell to thinking of many things in the past1 and wished to right certain mistakes of his behaviour as far as possible4 ,he sent to ,sir ,joshua ,reynolds and asked him to come and see him1 since he could not go to see ,sir ,joshua4 ,reynolds went and then ,gainsborough told him of his regret that he had shown so much ill-will and jealousy toward so great and worthy a rival4 ,reynolds was very generous and tried to make ,gainsborough understand that all was forgiven and forgotten4 ,he left his brother artist much relieved and happier1 and he afterward said3 ,the impression on my mind was that his regret at losing life was principally the regret of leaving his art4 ,as ,reynolds left the dying man's room1 ,gainsborough called after him3 ,we are all going to heaven--and ,van ,dyck is of the company4 ,he was buried in ,kew ,churchyard and the ceremonies were followed by ,reynolds and five of the ,royal ,academicians1 who forgot all ,gainsborough's eccentricities of conduct toward them in their honest grief over his death4 ,he was one of the first three dozen original members of the ,royal ,academy4 ,,plate--,,portrait ,,of ,,mrs4 ,,richard ,,brinsley ,,sheridan ,this picture is now in the collection of ,lord ,rothschild1 ,london4 ,mrs4 ,sheridan was the loveliest lady of her time4 ,she was the daughter of ,thomas ,linley1 and a singer4 ,she came from a home which was called a nest of nightingales1 because all in it were musicians4 ,the father had a large family and made up his mind to become the best musician of his time in his locality in order to support them4 ,he was successful1 and in turn most of his children became musicians4 ,his lovely daughter1 ,eliza 7,mrs4 ,sheridan71 he bound to himself as an apprentice and taught her till she was twenty-one1 insisting that she serve out her time to him1 that she might become a perfect singer4 ,the story of this beautiful lady seems to belong to the story of ,gainsborough's portrait and shall be told here4 ,when she was a very little girl1 no more than eight years old1 she was so beautiful that as she stood at the door of the pump room in ,bath to sell tickets for her father's concerts1 everyone bought them from her4 ,when she was a very young woman her father engaged her to marry a ,mr4 ,long1 sixty years old4 ,she did not seem to mind what arrangements her father made for her1 but continued to sing and attend to her business1 till after the wedding gowns were all made and everything ready for the marriage1 when she happened to meet the brilliant ,richard ,brinsley ,sheridan1 whose plays were so fashionable1 and she fell deeply in love with him4 ,she told ,mr4 ,long she would not marry him1 and without much objection he gave her up1 but her father was very angry and he threatened to sue ,mr4 ,long for letting his daughter go4 ,then the beautiful lady ran away to ,calais and married ,mr4 ,sheridan without her father's permission2 but she came home again and said nothing of what she had done1 kept on singing and helping her father earn money for his family4 ,one day1 ,mr4 ,sheridan was wounded in a duel which he had fought with one of his wife's admirers1 and when she heard the news she screamed1 my husband1 my husband1 so that everybody knew she was married to the fascinating playwright4 ,sheridan for some reason did not at once come and get her1 nor arrange for them to have a home together4 ,for a good while she continued to sing2 and once hearing her in oratorio1 ,sheridan fell in love with his wife all over again4 ,he took her from her home and would never let her sing again in public4 ,they remarried publicly and went to live in ,london4 ,he was not at all a rich and famous man at that time--only a poor law-student--but he would not let his wife make the fortune she might easily have made1 by singing4 ,this must have made his beautiful wife very sad1 but she made no complaint at giving up her music and letting him silence her lovely voice1 but turned all her attention to advancing his fortunes4 ,she worked for him even harder than she had for her father1 and that was saying a great deal4 ,when he became a great writer of plays his wife took charge of all the accounts of his ,drury ,lane ,theatre1 and when he was in the ,house of ,commons she acted as his secretary4 ,sheridan died in great poverty and wretchedness1 and it is believed had his self-sacrificing wife not died before him she would have looked after his affairs so well that he would not have lost his fortune4 ,gainsborough painted the portraits of ,sheridan's father-in-law1 and of ,samuel ,linley2 and it was said that this last portrait was painted in forty-eight minutes4 ,among his other portraits are3 eight of ,george ,,iii41 ,sir ,john ,skynner1 ,admiral ,hood1 ,colonel ,st4 ,leger1 and ,the ,blue ,boy2 but he was first and last a landscape painter of highest genius4 ,,xvi ,,jean ,,leon ,,gerome 7,pronounced ,zhahn ,lay'on ,zhay-rome7 ,french1 ,semi-classical ,school #ahbd-aijd ,pupil of ,delaroche ,one cannot write much more than the date of birth and death of a man who lived until three or four years of the time of writing1 so we may only say that ,grme was one of the most brilliant of modern ,french painters4 ,he was born at ,vesoul and his father was a goldsmith4 ,thus he probably had no very great difficulty in getting a start in his work4 ,the prejudice against having an artist in the family was dying out1 and as a prosperous goldsmith we may believe that his father had means enough to give his son good opportunities4 ,grme1 like ,millet1 studied under ,delaroche1 but became no such characteristic painter as he4 ,while studying with ,delaroche he also was taking the course in l',ecole des ,beaux-,arts4 ,his first exhibited picture was ,the ,cock ,fight1 and he won a third class medal by it4 ,almost always this painter has chosen his subjects from ancient or classic life1 and his pictures are not always decent1 but he painted with much care1 the details of his work are very finely done and their vivid colour is fascinating4 ,,plate--,,the ,,sword ,,dance ,this painting may be seen in the ,metropolitan ,museum of ,art in ,new ,york ,city4 ,the scene is full of action and interest1 but perhaps the details of dress1 mosaic decoration upon the walls1 patterns of the rugs1 the coloured and jewelled lamps and windows are the most splendidly painted of all4 ,the central figure is a dancing girl1 only partly draped1 balancing a sword on her head1 while a brilliant green veil flies from head and face4 ,other ,oriental women squat upon the floor watching her with a half indolent expression1 while their ,oriental masters and their friends sit in pomp at one side1 absorbed in the dance and in the girl4 ,the expressions upon all the faces are excellent and1 the jewelled light that falls upon the group1 the rich clothing1 the grace of the dancer--all make a fascinating picture of a genre type4 ,other ,grmes are ,daphnis and ,chloe1 ,leda1 and ,the ,duel after the ,masked ,ball4 ,,xvii ,,ghirlandajo 7,pronounced ,geer-lan-da'yo7 ,florentine ,school #addi-adid ,pupil of ,fra ,bartolommeo ,it is a good deal of a name--,domenico di ,tommaso di ,currado ,bigordi--and it would appear that the child who bore it was under obligation to become a good deal of a something before he died4 ,italian and ,spanish painters generally had large names to live up to1 and the one known as ,ghirlandajo did nobly4 ,his father was a goldsmith and a popular part of his work was the making of golden garlands for the hair of rich ,italian ladies4 ,his work was so beautiful that it gained for him the name of ,ghirlandajo1 meaning the garland-twiner1 a name that lived after him1 in the great art of his son4 ,domenico began as a worker in mosaic1 a maker of pictures or designs with many coloured pieces of glass or stone4 ,ghirlandajo's art was no improvement on that of his teacher1 but he in turn became the teacher of ,michael ,angelo4 ,the ,florentine school of painting1 to which ,ghirlandajo belonged1 was not so famous for colour as the ,venetian school1 but it had many other elements to commend it4 ,one cannot expect ,ghirlandajo to rank with ,titian1 ,rubens1 or other colourists of his own and later periods1 but he did the very best work of his day and school4 ,he attained to fame through his choice of types of faces for his models1 and by his excellent grouping of figures4 ,until his day1 the faces introduced into paintings were likely to be unattractive1 but he chose pleasing ones1 and he painted the folds of garments beautifully4 ,he was not entirely original in his ideas1 but he carried out those which others had thus far failed to make interesting4 ,often1 in his wish to paint exactly what he saw1 he softened nothing and therefore his figures were repulsive1 but ,fra ,bartolommeo's pupil gave promise of what ,michael ,angelo was to fulfill4 ,ghirlandajo and ,michael ,angelo were a good deal alike in their emotional natures4 ,both sought great spaces in which to paint1 and both chose to paint great frescoes4 ,indeed ,ghirlandajo had the extraordinary ambition to put frescoes on all the fortification walls about ,florence4 ,it certainly would have made the city a great picture gallery to have had its walls forever hung with the pictures of one master4 ,had he painted them1 inside and out1 when such an enemy as ,napoleon came along1 with his love of art1 and his fashion of taking all that he saw to ,paris1 he would likely enough have camped outside the walls while he decided what part of the gallery he would transfer to the ,louvre4 ,one of the reasons that ,ghirlandajo is famous is that he often chose well known personages for his models1 and as he painted just what he saw1 did not idealise his subject1 he gave to the world amazing portraits1 as well as fine paintings4 ,the same thing was done by painters of a far different school1 at another period4 ,the ,dutch and ,flemish painters were in the habit of using their neighbours as models4 ,ghirlandajo is classed among religious painters1 but let us compare some of his religious paintings with those of ,raphael or ,murillo1 and see the result4 ,he painted seven frescos on the walls of the ,santa ,maria ,novella in ,florence1 all scenes of ,biblical history1 as ,ghirlandajo imagined them4 ,they show him to have been a fine artist1 but to have had not much idea of history1 and to have had little sense of fitness4 ,ghirlandajo's seven subjects are taken from legends of the ,virgin1 and the greatest represents ,mary's visit to ,elizabeth2 it is called ,the ,visitation1 and it is a fresco about eighteen feet long painted on the choir wall4 ,let us imagine the possible scene4 ,the ,virgin ,mary came from ,cana1 a little town in ,galilee placed in the hills about nine miles from ,nazareth1 the home of the lowliest and the poorest1 of a kindly pastoral people living in the open air1 needing and wanting very little1 simple in their habits4 ,elizabeth1 ,mary's old cousin1 lived in ,judea1 and ,st4 ,luke writes thus3 ,mary arose in those days and went into the hill country with haste1 into a city of ,judea2 and entered into the house of ,zacharias 7,elizabeth's husband7 and saluted ,elizabeth4 ,this record had been made at least eleven hundred years before ,ghirlandajo painted in the ,santa ,maria ,novella1 and from it one cannot imagine that ,mary made any preparation for her journey1 nor does it suggest that ,elizabeth had any chance to arrange a reception for her4 ,even had she done so1 it must have been of the simplest description1 at that time among those people4 ,one can imagine a lowly home2 an aged woman coming out to meet her young relative either at her door or in the high road4 ,there may have been surroundings of fruit and flowers1 a stretch of highroad or a hospitable doorway2 but the wildest imagination could not picture what ,ghirlandajo did4 ,he paints ,elizabeth flanked with handmaidens1 as if she were some royal personage1 instead of a priest's wife in fairly comfortable circumstances where comfort was easily obtained4 ,mary appears to be escorted by ladies-in-waiting1 hardly a likely circumstance since she was affianced to no richer or more important person than a carpenter of ,galilee4 ,possibly the three ladies that stand behind ,mary in1 the picture are merely lookers-on1 but in that case the visit of ,mary would seem to have been of public importance1 especially as there are youths near by who are also much interested in one woman's hasty visit to another4 ,the rich brocades worn by ,elizabeth's waiting ladies are splendid indeed and the landscape is fine--a rich ,italian landscape with architecture of the most up-to-date sort--showing1 in short1 that the artist lacked historical imagination4 ,he found some models1 made a purely decorative painting with an ,italian setting and called it ,the ,visitation4 ,the doorway on the right is distinctly renaissance4 ,such a painting as this is not religious1 nor is it historic1 nor does it suggest a subject2 it is merely a fine picture better coloured than most of those of the ,florentine school4 ,there is another painting of this same subject by ,ghirlandajo in the ,louvre1 but it is no nearer truth than the one in the ,santa ,maria4 ,ghirlandajo painted other than religious subjects1 and one of them1 at least1 is quite repulsive4 ,it is the picture of an old man1 with a beautiful little child embracing him4 ,the old man may have tenderness and love in his face1 but his heavy features1 his warty nose1 do not make one think of pleasant things and one does not care to imagine the dear little child kissing the grotesque old fellow4 ,it was before ,ghirlandajo's time that another painter had discovered the use of oil in mixing paints4 ,previously colours had been mixed in water with some gelatinous substance1 such as the white and yolk of an egg1 to give the paint a proper texture or consistency4 ,this preparation was called distemper1 and frescoes were made by using this upon plaster while it was still wet4 ,plaster and colours dried together1 and the painting became a part of the wall1 not to be removed except by taking the plaster with it4 ,the different gluey substances used had often the effect of making the colours lose their tone and they presented a glazed surface when used upon wood1 a favourite material with artists4 ,there are numberless anecdotes written of this artist and his brother1 and one of these shows he had a temper4 ,the brothers were engaged in a monastery at ,passignano painting a picture of the ,last ,supper4 ,while at work upon it1 they lived in the house4 ,the coarse fare did not suit ,ghirlandajo1 and one night he could endure it no longer4 ,springing from his seat in the refectory he flung the soup all over the monk who had served it1 and taking a great loaf of bread he beat him with it so hard that the poor monk was carried to his cell1 nearly dead4 ,the abbot had gone to bed1 but hearing the rumpus he thought it was nothing less than the roof falling in1 and he hurried to the room where he found the brothers still raging over their dinner4 ,david shouted out to him1 when the abbot tried to reprove the artist1 that his brother was worth more than any pig of an abbot who ever lived6 ,it is recorded in the documents found in the ,confraternity of ,st4 ,paul that3 ,domenico de ,ghurrado ,bighordi1 painter1 called del ,grillandaio1 died on ,saturday morning1 on the #aath day of ,january1 #adic 7o4s471 of a pestilential fever1 and the overseers allowed no one to see the dead man1 and would not have him buried by day4 ,so he was buried1 in ,santa ,maria ,novella1 on ,saturday night after sunset1 and may ,god forgive him6 ,this was a very great loss for he was highly esteemed for his many qualities1 and is universally lamented4 ,the artist left nine children behind him4 ,ghirlandajo's pictures may be found in the ,louvre1 the ,berlin ,museum1 the ,dresden1 ,munich1 and ,london galleries4 ,most children will find it hard to see their beauty4 ,great men are likely to come in groups1 and with ,ghirlandajo there are associated ,botticelli and ,fra ,filippo ,lippi4 ,,plate--,,portrait ,,of ,,giovanna ,,degli ,,albizi ,this lovely lady was the wife of one of the painter's patrons1 ,giovanni ,tornabuoni1 through whom he received the commission for a series of frescoes in the choir of the ,santa ,maria ,novella1 ,florence4 ,the subjects chosen were sacred1 but since ,ghirlandajo1 no more than his neighbours1 knew what the ,virgin or her contemporaries looked like1 he saw no reason why he should not compliment some of the great ones of his own city and his own time by painting them in to represent the different characters of ,holy ,writ4 ,so1 as one of the ladies attendant upon ,elizabeth when ,mary comes to visit her1 we have this signora of the fifteenth century4 ,the artist made another picture of her1 the one here shown1 but in the same dress and posed the same as she had been for the church fresco4 ,this accounts for its dignity and simplicity4 ,it would seem like a bas-relief cut out of marble were it not for its wonderful colouring4 ,it is in the ,rudolf ,kann ,collection1 ,paris4 ,this artist's other pictures are ,adoration of the ,shepherds1 ,adoration of the ,magi1 ,madonna and ,child with ,saints1 ,three ,saints and ,god the ,father1 ,coronation of the ,virgin1 and ,portrait of ,old ,man and ,boy4 ,,xviii ,,giotto 7,,di ,,bordone7 7,pronounced ,jot-to7 ,florentine ,school #abgf-accg ,pupil of ,cimabue ,giotto painted upon wood1 and in distemper--the mixture of colour with egg or some other jelly-like substance4 ,we know nothing of his childhood except that he was a shepherd1 as we learn from a story told of him and his teacher1 ,cimabue4 ,the story runs that one day while ,giotto was watching his sheep1 high up on a mountain1 ,cimabue was walking abroad to study nature1 and he ran across a shepherd boy who was drawing the figure of a sheep1 with a piece of slate upon a stone4 ,in those days we can imagine how rare it was to find one who could draw anything1 ever so rudely4 ,immediately ,cimabue saw a chance to make an artist and he asked the little shepherd if he would like to be taught art in his studio4 ,giotto was overjoyed at the opportunity1 and at once he left the mountains for the town1 the shepherd's crook for the brush4 ,in those days the studio of one like ,cimabue was really a workshop4 ,artists had to grind their own colours1 prepare their own panels upon which to paint1 and do a hundred other things of a workman rather than an artist kind in connection with their painting4 ,such a studio was crowded with apprentices--boys who did these jobs while learning from the master4 ,their teaching consisted in watching the artist and now and then receiving advice from him4 ,it was into such a shop as this1 in ,florence1 that ,giotto went1 and soon he was to become greater than his master4 ,even so1 we cannot think him great1 excepting for his time1 because his pictures1 compared with later art1 are crude1 stiff1 and strange4 ,no pupil was permitted to use a brush till he had learned all the craft of colour grinding and the like1 and this was supposed to take about six years4 ,these workshops were likely to be dull1 gloomy places1 and only a strong desire to do such things as they saw their master doing1 would induce a boy to persevere through the first drudgery of the work4 ,giotto persevered1 and not only became an original painter1 at a time when even ,cimabue hardly made figures appear human in outline1 but he designed the great ,campanile in ,florence1 and he saw it partly finished before he died4 ,the ,campanile is a wonder of architecture1 but ,giotto's ,madonnas had to be improved upon1 as certainly as he had improved upon those of ,cimabue4 ,there are many amusing stories of ,giotto1 mainly telling of his good nature1 and his ugly appearance1 which everyone forgot in appreciation of his truly kind heart4 ,once a visit was made to his studio by the ,king of ,naples1 after the artist had become famous4 ,giotto was painting busily1 though the day was very hot4 ,the ,king entered1 and bade ,giotto not to be disturbed but to continue his work1 adding3 ,still1 if ,i were you1 ,i should not paint in such hot weather4 ,giotto looked up with a laugh in his eye3 ,neither would ,i--if ,i were you1 ,sire6 he answered4 ,there is a famous saying3 ,as round as ,giotto's ,o1 and this is how it came about4 ,the pope wanted the best of the ,florentine artists to do some work in ,rome for him and he sent out to them for examples of their work4 ,when the pope's messenger came to ,giotto the artist was very busy4 ,when asked for some of his work to show the pope1 he paused1 snatched a piece of paper and with the brush he had been using1 which was full of red paint1 he hurriedly drew a circle and gave it to the messenger who stared at him4 ,but--is this all8 he asked4 ,all--yes--and too much4 ,put it with the others4 ,this perfect circle and the account the messenger gave of his visit so delighted the pope that ,giotto was chosen from all the ,florentine artists to decorate the ,roman buildings4 ,thus ,giotto worked till he was fifty-seven or eight years old when he put aside his brush and turned to sculpture and architecture4 ,meantime he had far outstripped his master in art4 ,the arrangement of the groups is about the same1 but the figures look human and the draperies are more natural1 while he gives the appearance of length1 breadth1 and thickness to his thrones and enclosures4 ,we shall not choose a ,madonna for illustration1 but another of ,giotto's masterpieces1 remembering that good as he was in his time1 he seems amazingly bad compared with those who came after him4 ,,plate--,,the ,,meeting ,,of ,,st4 ,,john ,,and ,,st4 ,,anna ,,at ,,jerusalem4 ,in #acjc a certain ,enrico ,scrovegno had a private chapel built in the ,arena at ,padua and he sent for ,giotto to come there and adorn the whole of its walls and ceiling with frescoes4 ,these remain1 though the chapel is now emptied of all else1 and they suffice to bring scores of art-lovers to ,padua4 ,the picture here reproduced represents the meeting and reconciliation between the father and mother of the ,virgin before her birth4 ,the peculiarly shaped eyes and eyebrows that ,giotto gives to all his characters are specially noteworthy here as in every one of the thirty-eight frescoes4 ,there are three rows of pictures1 one above the other and in them are portrayed the principal scenes in the lives of ,christ and the ,virgin4 ,the painter here reached his high-water mark1 showed the very best he could produce in sincere1 restrained art4 ,,xix ,,franz ,,hals ,dutch ,school #aehj-jd-afff ,pupil of ,karel ,van ,mander ,franz ,hals belonged to a family which for two hundred years had been highly respected in ,haarlem in the ,netherlands4 ,the father of the painter left that town for political reasons in #aegi1 and it was at ,antwerp that ,franz was born sometime between that date and #aehe4 ,his parents took him back to ,haarlem as an infant1 and that is the town with which his name and fame are most closely associated4 ,little is known of his early life except that he began his studies with ,karel ,van ,mander and ,cornelis ,cornelissen4 ,what we know of his family life is not to his credit4 ,in the parish register of #afaa is recorded the birth of a son to ,franz ,hals and five years later he is on the public records for abusing his wife1 who died shortly afterward4 ,he married again within a year and the second wife bore him many children and survived him ten years4 ,five of his seven sons became painters4 ,franz ,hals drank too much and mixed too freely with the kind of disreputable people he loved to paint1 but he never became so degraded that his hand lost its cunning1 or his eye its keen vision for that which he wished to portray4 ,in #afdd1 he was made a director of the ,guild of ,st4 ,lucas1 an institution for the protection of arts and crafts in ,haarlem1 but from that time onward he sank in popular esteem1 deservedly4 ,he fell into debt1 then into pauperism1 and when he died1 about the age of eighty-six1 he was buried at public expense in the choir of ,st4 ,bavon ,church in ,haarlem4 ,it was in the year #afaf that ,hals first became known as a master of his art by the painting of the ,st4 ,jovis ,shooting ,company1 one of the clubs composed of volunteers banded together for the defence of the town should occasion arise4 ,such guilds were common throughout ,holland1 and they became a favourite subject with ,hals1 as with other painters of the time1 who vied with one another in portraiture of the different members4 ,these groups were hung upon the walls of the chambers where meetings were held for social purposes in times of peace4 ,the men of highest rank are always given the most conspicuous places in the pictures4 ,the flag is generally the one bit of gorgeous colour in the scene2 but ,franz ,hals seized the opportunity to show his wonderful skill in detail while painting the cuffs and ruffs worn by these grandees4 ,in all his work there is an impression of strength rather than of beauty2 it is the charm of expressiveness he is aiming at1 rather than the charm of grace and colour to which the ,italian school was devoted4 ,he differed from that school1 also1 in his choice of subjects1 for he was distinctly and almost entirely a portrait painter1 and within his own limited range he is unsurpassed4 ,a wonderful collection of his works is to be seen in the ,haarlem ,town ,hall4 ,,plate--,,the ,,nurse ,,and ,,the ,,child ,considering the woeful life that ,franz ,hals led1 it is amazing to think that he of all artists is the best painter of good humour4 ,he puts a smile on the face of nearly every one of his leading characters1 whether it be a modest young girl1 a hideous old woman1 a strolling musician1 or a riotous soldier1 and in every case the laugh suits the subject4 ,it may have been his own easygoing shiftlessness1 his way of casting care aside with a jest that enabled him to live so long and to accomplish so much in spite of his poverty and other misfortunes4 ,the roguish look upon the face of this baby of the house of ,ilpenstein makes it appear older than the pleasant faced nurse4 ,the dress of the child is such as ,hals delighted to spend his talents upon4 ,the picture is in the ,berlin ,gallery4 ,among his best known paintings are ,the ,laughing ,cavalier1 ,the ,fool1 ,the ,man with the ,sword1 and ,hille ,bobbe4 the ,witch of ,haarlem4 ,,xx ,,meyndert ,,hobbema ,dutch ,school #afcg-agji ,pupil of ,jacob van ,ruisdael ,when a man becomes famous many people claim his acquaintance1 and often many places his birthplace4 ,in ,hobbema's case it has never been decided whether he was born in the little town of ,koeverdam1 or in the city of ,haarlem or in ,amsterdam4 ,nor is it quite certain when he was born2 but what he did afterward1 we are all acquainted with4 ,no one knows much about the life of this artist1 but his master was doubtless his uncle1 van ,ruisdael4 ,hobbema was dead a hundred years before the world acknowledged his genius1 thus he reaped no reward for hard work and ambition4 ,he1 like ,rembrandt1 died in great poverty1 and with nearly the same surroundings4 ,rembrandt died forsaken in ,roosegraft ,street1 ,amsterdam1 and ,hobbema died in the same locality4 ,we must speak chiefly about his work1 since we know little of his personality or affairs4 ,if ,bcklin's pictures seem to be composed of vertical lines1 ,hobbema's are as startling in their positive vertical and horizontal lines combined4 ,we are not likely to find elevations or gentle1 gradual depressions in his landscapes1 but straight horizons1 long trunked1 straight limbed trees2 and the landscape seems to be punctured here and there by an upright house or a spire4 ,it is startlingly beautiful1 and so characteristic that after seeing one or two of ,hobbema's pictures we are likely to know his work again wherever we may find it4 ,hobbema got at the soul of a landscape4 ,it was as if one painted a face that was dear to one1 and not only made it a good likeness but also painted the person as one felt him to be--all the tenderness1 or maybe all the sternness4 ,it may be that ,hobbema's failure to get money and honours1 or at the very least1 kind recognition as a great artist1 while he lived1 influenced his painting1 and made him see mostly the sad side of beauty1 nor it is certain that his landscapes give one a strange feeling of sadness and desolation1 even when he paints a scene of plenty and fulness4 ,the ,french have made a phrase for his kind of work1 paysage intime--meaning the beloved country--the one best known4 ,it is a fine phrase1 and it was first used to describe ,rousseau's and ,corot's work2 but it especially applies to ,hobbema's4 ,while this artist was not yet recognised1 his uncle van ,ruisdael was known as a great artist4 ,the family must have been rich in spirit that gave so much genius to the world4 ,hobbema certainly loved his art above all things1 for he had no return during his lifetime1 save what was given by the joy of work4 ,there are those who complain that ,hobbema was a poor colourist4 ,true1 he used little besides grays and a peculiar green1 which seemed especially to please him2 but since that colouring belonged to the subjects he chose1 one cannot complain on the ground that what he did was unsatisfying4 ,for lack of knowledge about him we can think of him as a man of moods1 sad1 desolate ones at that2 because his work is too extreme and uniform in its character for us to believe his method was affected4 ,,plate--,,the ,,avenue1 ,,middelharnis1 ,,holland ,this perhaps is one of the most characteristic of ,hobbema's pictures4 ,note a strange hopelessness in the scene1 as well as beauty4 ,the tall and solemn trees1 the high light upon the road1 suggesting to us all sorts of joys struggling through the cheerlessness of life4 ,what other artist would have chosen such a corner of nature for a subject to paint8 ,to quote a fine description3 ,he loved the country-side1 studied it as a lover1 and has depicted it with such intimacy of truth that the road to ,middelharnis seems as real to-day as it did over a hundred years ago to the artist4 ,we see the poplars1 with their lopped stems1 lifting their bushy tops against that wide1 high sky which floats over a flat country1 full of billowy clouds as the sky near the ,north ,sea is apt to be4 ,deep ditches skirt the road1 which drain and collect the water for purposes of irrigation1 and later on will join some deeper1 wider canal1 for purposes of navigation4 ,we get a glimpse on the right1 of patient perfection of gardening1 where a man is pruning his grafted fruit trees2 farther on a group of substantial farm buildings4 ,on the opposite side of the road stretches a long1 flat meadow1 or polder1 up to the little village which nestles so snugly around its tall church tower2 the latter fulfilling also the purpose of a beacon1 lit by night1 to guide the wayfarer on sea and land2 scene of tireless industry1 comfortable prosperity1 and smiling peace4 444 ,pride and love of country breathe through the whole scene4 ,to many of us the picture smiles less than it thrills with sadness4 ,perhaps it speaks thus only to those who find a kind of hurt in the revival of the spring1 which promises so much and may fulfill so little4 ,hobbema's ,watermill is very well-known and so are his ,wooded ,landscape1 and ,haarlem's ,little ,forest4 ,,xxi ,,william ,,hogarth ,school of ,hogarth 7,english7 #afig-agfd ,william ,hogarth1 like ,watteau1 originated his own school2 in short there never was anybody like him4 ,he was an editorial writer in charcoal and paint1 or in other words he had a story to tell every time he made a picture1 and there was an argument in it1 a right and a wrong1 and he presented his point of view by making pictures4 ,english artists in literature and in painting have done some great reformatory work4 ,charles ,dickens overthrew some dreadful abuses by writing certain novels4 ,the one which has most interest for children is the awful story of ,dotheboys' ,hall1 which exposed the ill treatment of pupils in a certain class of ,english schools4 ,what ,dickens and ,charles ,reade did in literature1 ,hogarth undertook to do in painting4 ,he described social shams2 painted things as they were1 thus making many people ashamed and possibly better4 ,italians had always painted saints and ,madonnas1 but ,hogarth pretended to despise that sort of work1 and painted only human beings4 ,he did not really despise ,raphael1 ,titian1 and their brother artists1 but he was so disgusted with the use that had been made of them and their schools of art1 to the entire exclusion of more familiar subjects1 that he turned satirist and ridiculed everything4 ,first of all1 ,hogarth was an engraver4 ,he was born in ,london on the #ajth ,december1 #afig1 and eighteen days later was baptised in the church of ,st4 ,bartholemew the ,great4 ,his father was a school teacher and a literary hack1 which means that in literature he did whatever he could find to do1 reporting1 editing1 and so on4 ,hogarth must early have known something of vagabond life1 for his father's life during his own youth must have brought him into association with all sorts of people4 ,he knew how madhouses were run1 how kings dined1 how beggars slept in goods boxes1 and many other useful items4 ,hogarth said of himself3 ,shows of all sorts gave me uncommon pleasure when an infant1 and mimicry1 common to all children1 was remarkable in me4444 ,my exercises1 when at school1 were more remarkable for the ornaments which adorned them1 than for the exercises themselves4 ,he became an engraver or silver-plater1 being apprenticed to ,mr4 ,ellis ,gamble1 at the sign of the ,golden ,angel1 ,cranbourne ,alley1 ,leicester ,fields4 ,engraving on silver plate was all well enough1 but ,hogarth aspired to become an engraver on copper1 and he has said that this was about the highest ambition he had while he was in ,cranbourne ,alley4 ,the shop-card which he engraved for ,mr4 ,ellis ,gamble may have been the first significant piece of work he undertook4 ,the card is still among the ,hogarth relics4 ,he set up as an engraver on his own account1 though he did study a little in ,sir ,james ,thornhill's art school2 but whatever he learned he turned to characteristic account4 ,he continued to make shop-cards1 shop-bills1 and book-plates4 ,finally1 in #agbg1 a maker of tapestry engaged ,hogarth to sketch him a design end he set to work ambitiously ,he worked throughout that year upon the design1 but when he took it to the man it was refused4 ,the truth was that the man who had commissioned the work had heard that ,hogarth was an engraver and no painter1 and he had so little intelligence that he did not intend to accept his design1 however much it might have pleased him4 ,hogarth sued the man for his refusal and he won the suit4 ,he next began to make what he called conversation pieces1 little paintings about a foot high of groups of people1 the figures being all portraits4 ,these were very fashionable for a time and made some money for the artist4 ,both he and ,watteau were fond of the stage1 and both painted scenes from operas and plays4 ,in time he moved into lodgings at the ,golden ,head1 in ,leicester ,fields1 and there he made his home4 ,he had already begun the great paintings which were to make him famous among artists4 ,these were a series of pictures1 telling stories of fashionable and other life4 ,his own story of how he came to think of the picture series was that he had always wished to present dramatic stories--present them in scenes as he saw them on the stage4 ,he had married the daughter of ,sir ,james ,thornhill1 and had never been thought of kindly by his father-in-law till he made so much stir with his first series4 ,then ,sir ,james approved of him1 and ,hogarth found life more pleasing4 ,there are very few anecdotes to tell of the artist's life1 and the story of his pictures is much more amusing4 ,one of his first satires was made into a pantomime by ,theophilus ,gibber1 and another person made it into an opera4 ,many pamphlets and poems were written about it1 and finally china was painted with its scenes and figures4 ,there was as much to cry as to laugh over in ,hogarth's pieces and that is what made them so truly great4 ,one of his great picture series was called the ,rake's ,progress and it was a warning to all young men against leading too gay a life4 ,it showed the ,rake at the beginning of his misfortunes1 gambling1 and in the last reaping the reward of his follies in a debtor's prison and the madhouse4 ,there are eight pictures in that set4 ,in this series1 especially in the fifth picture1 there are extraordinary proofs of ,hogarth's completeness of ideas4 ,upon the wall in the room wherein the ,rake marries an old woman for her money1 the ,ten ,commandments are hung1 all cracked1 and the ,creed also is cracked and nearly smudged out2 while the poor-box is covered with cobwebs4 ,the eight pictures brought to ,hogarth only seventy guineas4 ,one of his pictures was suggested to him by an incident which greatly angered him4 ,he had started for ,france on some errand of his own1 and was in the very act of sketching the old gate at ,calais1 when he was arrested as a spy4 ,now ,hogarth was a hard-headed ,englishman1 and when he was hustled back to ,england without being given time for argument1 he was so enraged that he made his picture as grotesque as possible1 to the lasting chagrin of ,france4 ,he painted the ,french soldiers as the most absurd1 thin little fellows imaginable1 and that picture has largely influenced people's idea of the ,french soldier all over the ,english-speaking world4 ,as ,hogarth grew old he grew also a little bitter and revengeful toward his enemies1 often taking his revenge in the ordinary way of belittling the people he disliked1 in his paintings4 ,hogarth came before ,reynolds or ,gainsborough2 in short1 was the first great ,english artist1 and his chief power lay in being able instantly to catch a fleeting expression1 and to interpret it4 ,an incident of ,hogarth's youth illustrates this4 ,he had got into a row in a pot-house with one of the hangers-on1 and when someone struck the brawler over the head with a pewter pot1 there1 in the midst of excitement and rioting1 ,hogarth whipped out his pencil and hastily sketched the expression of the chap who had been hit4 ,hogarth was friends with most of the theatre managers1 and one of his souvenirs was a gold pass given him by ,tyers1 the director of ,vauxhall ,gardens1 which entitled ,hogarth and his family to entrance during their lives4 ,this was in return for some passes1 which ,hogarth had engraved for ,tyer4 ,upon one occasion ,hogarth set off with some companions for a trip to the ,isle of ,sheppey4 ,incidentally ,forest wrote a sketch of their journey and ,hogarth illustrated it4 ,that work is to be found1 carefully preserved1 in the ,british ,museum4 ,the repeated copying and reproduction for sale of his pictures brought about the first effort to protect his works of art by copyright4 ,but it was not till he had done the ,rake's ,progress that he was able to protect himself at all1 and even then not completely4 ,just before his death he was staying at ,chiswick1 but the day before he died he was removed to his house in ,leicester ,fields4 ,he was buried in the ,chiswick churchyard2 and in that suburb of ,london may still be seen his old house and a mulberry tree where he often sat amusing children for whom he cared very much4 ,garrick wrote the following epitaph for his tomb3 ,if ,genius fire thee1 ,reader1 stay2 ,if ,nature touch thee1 drop a tear2 ,if neither move thee1 turn away1 ,for ,hogarth's honour'd dust lies here4 ,farewell1 great ,painter of ,mankind6 ,who reached the noblest point of art1 ,whose pictured ,morals charm the ,mind ,and through the ,eye correct the ,heart4 ,,plate--,,the ,,marriage ,,contract ,the picture used in illustration here is part of probably the very greatest art-sermon ever painted1 called ,marriage la ,mode4 ,the story of it is worth telling3 ,the first act is laid in the drawing-room of the ,viscount ,squanderfield--is not that a fine name for the character8 ,on the left1 his lordship is seated1 pointing with complacent pride to his family tree1 which has its roots in ,william the ,conqueror4 ,but his rent roll had been squandered1 the gouty foot suggesting whither some of it has gone2 and to restore his fortunes he is about to marry his heir to the daughter of a rich alderman4 ,the latter is seated awkwardly at the table1 holding the marriage contract duly sealed1 signed and delivered2 the price paid for it1 being shown by the pile of money on the table and the bunch of cancelled mortgages which the lawyer is presenting to the nobleman1 who refuses to soil his elegant fingers with them4 ,over on the left is his weakling son1 helping himself at this critical turn of his affairs1 to a pinch of snuff while he gazes admiringly at his own figure in the mirror4 ,the lady is equally indifferent2 she has strung the ring on to her finger and is toying with it1 while she listens to the compliments being paid to her by ,counsellor ,silver-tongue4 ,through an open window another lawyer is comparing his lordship's new house1 that is in the course of building1 with the plan in his hand4 ,a marriage so begun could only end in misery4 ,this is the first act1 and the pictures that follow show all the steps of unhappiness which the couple take4 ,there are five more acts to that painted drama1 which is in the ,national ,gallery1 ,london4 ,,xxii ,,hans ,,holbein1 ,,the ,,younger 7,pronounced ,hahntz ,hol'bine7 ,german ,school #adig-aedc ,pupil of ,holbein1 the ,elder ,there were three generations of painters in the ,holbein family1 and the ,hans of whom we speak was of the third4 ,his grandfather was called old ,holbein1 and when more painters of the same name and family came along it became necessary to distinguish them from each other thus3 old ,holbein1 the elder ,holbein1 and young ,holbein4 ,the first one was not much of an artist2 still1 in a locality where at best there was not much art he was good enough to be remembered4 ,young ,holbein was born in ,augsburg1 which is in ,swabia1 in southern ,germany2 elder ,holbein and his father1 ,michael1 old ,holbein1 had moved there from ,schonenfeld1 a neighbouring village1 about forty three years before little ,hans was born1 the old ,michael bringing his family to the larger town where it was easier to make a living4 ,the elder ,holbein was a really good artist and well thought of in ,augsburg1 and when little ,hans's turn came he had no teacher but his father1 unless indeed we were to call him also a pupil of his elder brother1 ,ambrosius4 ,his uncle ,sigismund1 too1 taught him something of art1 for the whole ,holbein family seem to have been artists4 ,young ,holbein was never regularly apprenticed to any outsider4 ,art was not then taught as it is now4 ,the work of a beginner was often to paint for his master certain details which it was thought that he might handle properly1 while the master occupied himself with what he thought to be some more important part of the picture4 ,it is said that ,hans often painted the draperies of his father's figures when his father was engaged upon the altar pieces so fashionable at the time4 ,the ,holbeins one and all must have been bad managers or improvident2 at any rate1 ,hans did not turn out well as a man and we read that his father was always in debt and difficulty although he received much money for his work and was not handicapped1 like ,drer's father1 by a family of eighteen children4 ,the story of the ,holbeins is quite unlike that of the ,drers1 and not nearly so attractive4 ,some time before ,hans was twenty years of age1 the entire family had packed up and gone to live in ,lucerne1 while ,hans and his brother1 ,ambrosius1 went travelling together1 as most young ,germans went at that time before they settled down to the serious work of life4 ,the last we hear of ,ambrosius he had joined the painters' guild in ,basel1 and probably he died not long afterward1 or at any rate while he was still young4 ,there was in ,basel a certain ,hans ,bar1 for whose wedding occasion ,hans ,holbein designed a table1 on which he pictured an allegory of ,st4 ,nobody4 ,this was very likely such work as our cartoonists do to-day1 but being the work of ,holbein1 it had great artistic value4 ,besides that1 he painted a schoolmaster's sign to be hung outside the door4 ,as an illustrator1 ,holbein made the acquaintance of several authors about that time and started on the high road to fame4 ,he was a man of very little conscience or fine feeling1 and there could hardly be a greater contrast than that between the clean sweet life of ,drer and the brawling1 unfeeling one that ,hans ,holbein led4 ,drer married1 had no children1 but tenderly loved and cared for his wife1 taking her with him upon his journeys and making her happy4 ,holbein married and beat his wife2 had several children and took care of none of them4 ,his wife grew to look old and worn while he remained a gay looking sport1 quite tired of one whom he had had on his hands for ten years4 ,he wandered everywhere and left his family to shift for itself4 ,one writer in speaking of the two men says3 ,drer would never have deserted his wife whom he took with him even on his journey to the ,netherlands2 and he was bound by the same tenderness to his native town4 ,however much he rejoiced to receive a visit from ,bellini at ,venice1 or when at ,antwerp1 the artists instituted1 a torch-light procession in his honour1 nothing could have moved him to leave ,nuremberg4 ,drer loved his home2 ,holbein hated his4 ,holbein had a cold1 light-blue eye2 ,drer a soft and tender glance4 ,while ,drer lived he was the mainstay of his family--father and brothers4 ,holbein's father died in misery and his brother's life was disastrous1 ,hans doing nothing to serve them and looking on at their sufferings indifferently4 ,there is a court document in existence which tells the particulars of ,hans ,holbein's arrest for getting into a brawl with a lot of goldsmiths' apprentices during a night of carousal4 ,the court warned him that he would be more severely punished if he did not cease his lawless life and he was made to promise not to jostle1 pinch1 nor beat his lawful spouse4 ,when he died he made no provision in his will for his family4 ,there is a picture of his wife1 ,elizabeth ,schmidt1 to be seen in his ,madonna at ,solothurn ,holbein used her for the model4 ,she then was young and blooming and the model for the child was his own baby2 at that time he found them useful4 ,his life of folly can hardly be excused by impulsiveness or emotion1 for his pictures show little of either4 ,he was best at portrait painting4 ,at that time guilds and town councils wanted the portraits of their members preserved in some way1 and it was the habit of painters like ,holbein to form picturesque groups and give to such dramatic groupings the features of townsmen4 ,rembrandt did this much later than ,holbein1 when he painted the ,night ,watch1 or as it is more properly called1 ,the ,sortie4 ,probably ,holbein's first important work was to make title pages for the second edition of ,martin ,luther's translation of the ,new ,testament4 ,this ,,ms4 was made about the time that ,holbein's work began to be of interest to the public1 and so the commission was given to him4 ,after a time this artist went to ,england with letters of introduction to ,sir ,thomas ,more1 ,chancellor to ,king ,henry ,,viii4 ,sir ,thomas treated him very kindly and set him to work making portraits of his own family4 ,during the time he was living at ,more's home in ,chelsea1 the ,king himself1 used frequently to visit there1 and on one occasion he saw the brilliant portraits of the ,more family and inquired about the artist4 ,sir ,thomas offered the ,king any of the pictures he liked1 but ,henry ,,viii4 asked to see the artist4 ,when brought before him1 ,holbein's fortune seemed to be made for the ,king asked him to go to court and paint for him1 remarking that now he had the artist he did not care about the pictures4 ,holbein seems to have been a favourite with ,henry and many anecdotes are told of his life at ,whitehall1 where he went to live4 ,once while ,holbein was engaged upon a portrait1 a nobleman insisted upon entering his studio1 after the artist had told him that he was painting the portrait of a lady1 by order of the ,king4 ,the nobleman insisted upon seeing it1 but ,holbein seized him and threw him down the ,stairs2 then he rushed to the ,king and told what had happened4 ,he had no sooner finished than the nobleman appeared and told his story4 ,the ,king blamed the nobleman for his rudeness4 ,you have not to do with ,holbein1 he said1 but with me4 ,i tell you1 of seven peasants ,i can make seven lords1 but of seven lords ,i cannot make one ,holbein4 ,begone6 and remember that if you ever attempt to avenge yourself1 ,i shall look upon any injury offered to the painter as done to myself4 ,it was ,holbein who1 visiting a brother artist and finding a picture on the easel1 painted a fly upon it4 ,when the artist returned he tried to brush the fly off1 then set about looking for the one who had deceived him4 ,his portrait painting was so superb that he received many commissions4 ,meantime1 ,sir ,thomas ,more had fallen into disfavour with the ,king and was to lose his head1 but it is written that the artist's portraits betray nothing of this tragedy4 ,he was as ready to climb to fame by the favour of his generous patron's enemies as he had been to accept the offices of ,sir ,thomas ,more4 ,he painted the portraits of several of the wives of ,henry ,,viii41 and it may be said that there was a good deal of that monarch's temperament to be found in ,holbein himself4 ,take him all in all1 ,hans was as detestable as a man as he was excellent as a painter4 ,in his adopted home in ,lucerne1 ,holbein had painted frescoes1 both on the inside and the outside of a citizen's house1 and this house stood until #ahbd1 when it was torn down to make way for street improvements1 but several artists hastily copied the frescoes so that they are not entirely lost4 ,before he left ,germany for ,england1 ,holbein had been commissioned to decorate the town hall in ,basel1 and a certain amount of money was voted for the work1 but after he had finished three walls1 he decided that the money was only enough to pay him for what he had already done4 ,the councillors agreed with him1 but as money was a little close in ,basel at that time1 they felt unable to give him more1 and so voted to let the back wall alone1 till further notice4 ,he painted one ,madonna whom he surrounded with the entire family of ,burgomaster ,meyer1 including even the burgomaster's first wife1 who was dead4 ,this work is called the ,meyer ,madonna4 ,it is said that after ,holbein's return to ,basel he1 with others1 was persecuted for his religious principles1 but if this were true1 his persecutors went to considerable pains for nothing1 because ,holbein was never known to have any sort of principles1 religious or otherwise4 ,he was neither a ,protestant1 nor a ,catholic but a painter1 a man without convictions and without thought4 ,he did not care for family1 country1 friends1 politics1 religion1 nor for anything else1 so far as any one knows4 ,when he was asked why he had not partaken of the ,sacrament1 he answered that he wanted to understand the matter better before he did so4 ,thus he escaped punishment1 and when matters were explained to him1 he did whatever seemed safest and most convenient under the circumstances4 ,on his return to ,england1 he settled among the colony of ,german and ,netherland merchants1 who were in the habit of meeting at a place called ,the ,steelyard1 as their home and warehouses were grouped in that locality1 with a guild hall and a wineshop they alone patronised4 ,while associated with his compatriots ,holbein made portraits of many of them1 and these are magnificent works of art4 ,he painted them separately or in groups2 in their offices and in their guild hall1 as the case might be4 ,the men whom he thus painted were3 ,gorg ,gisze1 ,hans of ,antwerp1 ,derich ,berck1 ,geryck ,tybis1 ,ambrose ,fallen1 and many others4 ,he designed the arch which the guild erected upon the occasion of ,anne ,boleyn's coronation1 and he painted ,henry's next ,queen1 ,jane ,seymour4 ,holbein painted many portraits of ,henry ,,viii4 and probably all those dated after #aecg were either copies or founded upon the portrait which ,holbein made and which was destroyed with ,whitehall4 ,while he painted for ,henry1 ,holbein received a sort of retainer's fee of thirty pounds a year1 but he may have received sums for outside commissions which he undertook4 ,on one occasion1 when he took a journey to ,upper ,burgundy to paint a portrait of the ,duchess whom ,henry contemplated making his next wife1 the ,king gave him ten pounds out of his own purse4 ,we have no record of vast sums such as ,raphael received4 ,henry did not succeed in making the ,duchess his wife1 so ,holbein was sent to paint another--,anne of ,cleves--that ,henry might see what he thought of her before he undertook to make her his queen4 ,holbein did a disastrous deed1 for he made ,anne a very acceptable looking woman1 7the portrait hangs in the ,louvre7 and ,henry negotiated for her on the strength of that portrait4 ,later1 when he saw her1 he was utterly disgusted and disappointed4 ,holbein1 notwithstanding this trick1 was employed to paint the next wife of ,henry1 and doubtless he also made the miniature of ,catherine ,howard which is in ,windsor ,castle4 ,holbein finally died of the plague and no one knows where he was buried4 ,his wife died later1 and it was left for his son1 ,philip1 who was said to be a good well-behaved lad1 to bring honours to the family4 ,he was apprenticed in ,paris1 and1 settling later in ,augsburg1 he founded a branch of the ,holbein family on which the ,emperor ,matthias conferred a patent of nobility1 making them the ,holbeins of ,holbeinsberg4 ,,plate--,,robert ,,cheseman ,,with ,,his ,,falcon ,this is one of the best of the many splendid portraits ,holbein painted4 ,it hangs in ,the ,hague gallery4 ,the gentleman was forty-eight years old and in the portrait he wears a purplish-red doublet of silk and a black overcoat1 which was the fashion of the day1 all trimmed with fur4 ,he has curly hair1 just turning gray4 ,his left hand is gloved and on it he holds his falcon1 while with the other hand he strokes its feathers4 ,of all sports at that time1 falconry was the most fashionable and every fine gentleman had his sporting birds4 ,robert ,cheseman lived in ,essex4 ,he was rich and a leader in ,english politics4 ,his father was keeper of the wardrobe to ,henry ,,viii4 and he himself served in many public offices4 ,he was one of the gentleman chosen to welcome ,anne of ,cleves when she landed on ,english soil to marry ,henry ,,viii4 ,these details were first published by ,mr4 ,arthur ,chamberlain and are taken from his sketch of ,holbein and his works4 ,among ,holbein's other famous pictures are3 ,the ,ambassadors1 ,hans of ,antwerp1 ,christina of ,denmark1 ,jane ,seymour1 ,anne of ,cleves1 and ,st4 ,george and the ,dragon4 ,,xxiii ,,william ,,holman ,,hunt ,english 7,pre-,raphaelite7 ,school #ahbg-- ,pupil of ,academy ,school ,the story of the ,pre-,raphaelites is all by itself a story of art4 ,holman ,hunt was one of three who formed this brotherhood2 and he1 with one other1 are the only ones whom some of us think worthy of giving a place in art4 ,this is to be the story of the brotherhood rather than a story of one man4 ,the last great artist ,england had had before this extraordinary group1 was ,j4 ,m4 ,w4 ,turner1 truly a wonderful man1 but after him ,england's painters became more and more commonplace1 drawing further and further away from truth1 ,there was one1 ,j4 ,f4 ,lewis1 who went away to ,syria and lived a lonely and studious life1 trying to paint with fidelity sacred scenes1 but he was not great enough to do what his conscience and desires demanded of him2 and1 finally1 ,constable declared that the end of art in ,england had come4 ,but it had not1 for up in ,london1 in the very heart of the city1 in ,cheapside 7,wood ,street7 there was born1 in ,april1 #ahbg1 a child destined to be a brilliant and wonderful man1 who was actually to rescue ,english art from death4 ,many do not think thus1 but enough of us do to warrant the statement4 ,the new artist was ,holman ,hunt4 ,he was the son of a ,london warehouseman1 with no inclination whatever for learning1 so that it seemed simply a waste of time to send him to school4 ,this continually repeated history of artists who seem to know nothing outside their brushes and colours1 is astonishing1 but it is true that artists for the most part must be regarded as artists1 pure and simple1 and not as men of even reasonably good intellectual attainments1 and more or less this accounts for their low estate centuries ago4 ,one does not associate learning and the artist4 ,when we have such splendid examples as ,drer and two or three others we discuss their intellectuality because they are so unusual4 ,holman ,hunt was like most of his brother artists in all but his art4 ,he hated school and at twelve years of age was taken from it4 ,his father wanted him to become a warehouse merchant like himself1 and he began life as clerk or apprentice to an auctioneer4 ,he next went into the employment of some calico-printers of ,manchester4 ,the designing of calicoes can hardly be called art1 even if the department of design had fallen to ,holman ,hunt's lot and we have no evidence that it did1 but he started to be an artist nevertheless1 there in the print-shop4 ,he found in his new place another clerk who cared for art2 and this sympathy encouraged him to fix his mind upon painting more than ever4 ,he used to draw such natural flies upon the window panes that his employer tried one day to shoo away a whole colony of flies that seemed miraculously to have settled4 ,this gave the clerks much amusement1 and also attracted attention to ,holman ,hunt's genius4 ,his very small salary was spent1 not on his support1 but in lessons from a portrait painter of the city4 ,his parents did not like this1 but they could not help themselves1 and thus this greatest of the ,pre-,raphaelites began his work4 ,the ,pre-,raphaelites were a little group of men who believed that artists were drawing too much on their imaginations1 not painting things as they saw them1 and that the painter had become incapable of close observation4 ,he worked in his studio1 did not get near enough to nature1 and instead of trying to follow along this line1 this group of men1 with their new and partly correct ideas1 meant to go back further than the great masters themselves and present an elemental art4 ,this was a part of their scheme and partly it was justified1 but of all the men who undertook to make a new school1 ,holman ,hunt was the only one who remained1 and will remain forever1 a representative4 ,he alone stuck to the original purpose of the group and developed it into a truly great school2 so that it is he alone we need to know4 ,after he began to take lessons of the portrait painter in ,london1 he developed so quickly that he found by painting portraits three days a week1 he could pay his own expenses1 and the rest of the time he devoted to study4 ,he tried to be admitted to the ,academy schools twice and was twice refused before they would receive him4 ,it was there in the ,academy the three original ,pre-,raphaelites met for the first time2 they were ,holman ,hunt1 ,dante ,gabriel ,rossetti1 and ,millais4 ,after entering the school ,hunt painted and sold four excellent pictures1 but they all seem to have been lost2 nobody can trace them4 ,he was not yet a ,pre-,raphaelite4 ,all this time ,hunt was half ill because he knew that he was grieving his father of whom he was devotedly fond1 and the strain of trying to work while he was unhappy nearly destroyed him4 ,the pictures that he exhibited at the ,royal ,academy were so poor that the commission declared they should not only be removed but that ,hunt ought really to be forbidden to exhibit any more4 ,this must have been a great blow to the young and struggling artist1 and to add to this trouble1 his father was being jeered at for having such a good-for-nothing son4 ,hunt's pictures in the ,academy were so much despised that his father was told his son was a disgrace to him1 and we may be sure that did not help the young fellow1 who meantime was earning a living1 not by painting pictures1 but by cleaning up those of another man4 ,dyce1 who had painted on the walls of ,trinity ,house1 engaged him to clean and restore those paintings1 and ,hunt was doing this for his bread and butter4 ,at that time he became so downhearted and discouraged that he almost decided to leave ,england altogether and go to live in ,canada away from his friends who jeered1 and his family who reproached him2 but just then ,millais1 one of the successful painters whom he had met in the ,academy school1 who could afford to be generous1 came to ,hunt's aid and gave him the means of living while he painted ,the ,hireling ,shepherd4 ,this was destined to be the turning point in ,hunt's luck1 for that painting was properly hung at the exhibition1 and it received recognition4 ,after that he painted a picture which he sold on the installment plan--being paid by the purchaser so much a month4 ,meantime he owed his landlady a large sum1 and he says himself that he suffered almost unbearable pain at passing her and her husband week after week without being able to even talk of annulling his debts4 ,in time he not only settled that bill which distressed him1 but paid back his friend ,millais the money loaned by him4 ,hunt rarely took a commission1 because to do so meant that he must paint a picture after the manner his employer wished1 and ,hunt had certain ideas of art in which he believed and therefore would not bind himself to depart from them2 but after a little success1 which enabled him to pay his bills1 he did undertake a commission from ,sir ,thomas ,fairbairn1 and it was called ,the ,awakened ,conscience4 ,he finished this picture on a ,january day late in the afternoon1 and that very night he left ,england1 setting out upon a longed-for journey to the ,holy ,land1 where he meant to study the country and people till he believed himself able to paint a truthful picture of sacred scenes4 ,he refused to paint pictures of ,eastern ,jews who should look like ,parisians1 with ,venetian backgrounds4 ,he meant to paint ,oriental scenes as nearly as he could1 as they might have taken place4 ,he came back to his ,english home just two years and one month from the time he had left it1 and he brought back a picture of the goat upon which the ,jews loaded their sins and then turned loose in waste-places to wander and die4 ,the ,scapegoat was a great picture1 but before he left ,england he had painted a greater--the one we see here--,the ,light of the ,world4 ,he had depended upon the sale of the ,scapegoat to pay his way for a time after his return home1 and alas1 it did not sell4 ,more than that1 his beloved father died and this added to his sense of desolation1 for he had not been sufficiently successful before his death to justify himself in his father's eyes4 ,these things so overwhelmed his sensitive mind with trouble1 that his condition became very serious1 and if certain good friends had not stood by him loyally1 he would probably never have painted again4 ,he began at last another ambitious picture--,finding of ,christ in the ,temple--but while he was engaged upon this1 he had to paint mere pot-boilers also in order to get on at all1 and he says that half the time the great picture stood with its face to the wall while he was trying merely to earn bread and butter4 ,the wonderful ,louis ,blanc tried once to plan a way by which all deserving people should have in this world equal opportunity to try4 ,this has never been worked out4 ,it never will be1 but ,holman ,hunt reminds us how much the world loses by not providing that equal opportunity4 ,no one deserves more than his chance2 but such struggles of genius tell us that all is not fair4 ,hunt persevered with this ,christ in the ,temple and when finished he sold it for #e1ejj guineas--a larger sum than he had ever before been given for a painting4 ,he no sooner received his money for this great picture than off he went once more to the ,holy ,land4 ,he was conscientious in everything he did1 and never before had an artist painted scenes of ,christ that carried such a sense of truth with them4 ,the set haloes seen about the heads of the saints and of holy people even in ,raphael's pictures and in those of the very greatest artists of his time1 disappeared with ,holman ,hunt's coming4 ,in the ,light of the ,world1 the halo is an accident--the great white moon1 happening to rise behind the ,christ's head--and there we have the halo1 simple1 natural1 only suggestive1 not artificial4 ,then1 too1 in the ,shadow of ,death1 there is a menacing shadow of the cross--made upon the wall by ,christ's body1 as he naturally stretches out his arms1 after his work in the carpenter shop4 ,there is not one false note that shocks us1 or makes us feel that after all the story itself is affected and artificial4 ,everything that is symbolical is brought about naturally4 ,they are sincere1 truthful pictures that speak to the mind as well as to the eye4 ,hunt's colouring and many other technical matters are often far from perfect1 but there is something besides technicality to be considered in judging a picture4 ,for a time1 while the three men1 ,hunt1 ,rossetti1 and ,millais1 kept together1 their pictures were signed ,p4 ,r4 ,b41 as a sign of their league2 but this did not last very long1 and afterward ,hunt signed his pictures independently4 ,after the ,brotherhood had worked against the greatest discouragements for a long time1 and felt nearly hopeless of success1 ,john ,ruskin1 one of the greatest of critics and most fearless of men1 who was so much respected that his words had great influence1 suddenly published a defence of these ,pre-,raphaelites4 ,he declared that they were the greatest artists of the time1 and while scorning their critics he applauded those three young men1 till he turned the tide1 and everybody began to know what truly brilliant work they were doing4 ,ruskin's words came1 ,hunt said1 as thunder out of a clear sky4 ,when the ,brotherhood was formed the three young men thought they should have a paper--a periodical of some sort1 in which they might tell of their purposes and express their ideas2 and so ,rossetti1 who wrote as well as painted1 proposed that they print such a periodical once a month1 and call it the ,germ2 and the ,p4 ,r4 ,b's4 were to be joint proprietors4 ,rossetti had first thought of a different title1 ,thoughts ,toward ,nature1 and his brother1 ,w4 ,m4 ,rossetti1 who was going to take charge of the monthly1 thought that expressed the ,pre-,raphaelites' idea2 but it was finally agreed to call it the ,germ4 ,only two numbers could be published by the ,pre-,raphaelites1 because nobody bought it and the young men's money gave out1 but the printers came to the rescue1 and put up the money to issue two or three more ,germs4 ,although that journal failed utterly1 its four numbers were worth publishing1 and are to-day worth reading4 ,they were truly valuable1 for they contained a story and poem by ,dante ,gabriel ,rossetti1 besides work of the other ,p4 ,r4 ,b's4 ,above all things ,hunt was conscientious in his work1 trying with all his might to represent things as be believed them to be4 ,when he made his ,scapegoat1 he went to the shores of the ,dead ,sea to paint1 accompanied only by ,arab guides1 and there he found the desolate1 hard landscape for his picture4 ,the hardships he experienced were very many4 ,the wretched goat he took with him died in the desert of that dreary place after it had been no more than sketched in1 but back in ,jerusalem ,hunt finished the goat4 ,ruskin's description of the picture helps one to feel all the desolation of the subject3 ,the salt sand of the wilderness of ,ziph1 where the weary goat is dying4 ,the neighbourhood is stagnant and pestiferous1 polluted by the decaying vegetables brought down by the ,jordan in its floods1 and the bones of the beasts of burden that have died by the way of the sea1 lie like wrecks upon its edge1 bared by the vultures and bleached by the salt ooze4 ,even the superstitious ,arabs would not go near the spot which ,hunt chose as the scene of his picture1 but ,hunt endured all things1 believing it due to his art4 ,when he painted ,christ in the ,temple1 he needed ,jewish models1 and it was almost impossible for him to get them4 ,he could not let them know what they were to represent1 or they would not have sat for him at all but he succeeded in painting the first ,semitic presentment of the ,semitic ,scriptures4 ,in ,jerusalem the ,jews heard that he had come to traffic with the souls of the faithful1 and they forbade him to have any ,jews come into his studio2 so that he could not finish the picture there4 ,back in ,london he had to find his models in the ,jewish school4 ,he left the figures of ,christ and the ,virgin till the last and then painted them from a lady of the ancient race1 distinguished alike for her amiability and beauty1 and a lad in one of the ,jewish schools1 to which the husband of the lady furnished a friendly introduction4 ,thus1 step by step1 through the greatest difficulties1 ,holman ,hunt established a new school of painting--allegory with a modern treatment which all could understand4 ,,plate--,,the ,,light ,,of ,,the ,,world ,this is the most popular picture of a sacred subject1 ever painted2 and ,john ,ruskin's description of it1 here quoted1 is the best ever written or that can be written4 ,on the left of the picture is seen the door of the human soul4 ,it is fast barred1 its bars and nails are rusty2 it is knitted and bound to its stanchions by creeping tendrils of ivy1 showing that it has never been opened4 ,a bat hovers over it2 its threshold is overgrown with brambles1 nettles and fruitless corn4444 ,christ approaches in the night time1 444 he wears the white robe1 representing the power of the ,spirit upon ,him2 the jewelled robe and breastplate1 representing the sacredotal investitude2 the rayed crown of gold1 interwoven with the crown of thorns2 not dead thorns1 but now bearing soft leaves1 for the healing of the nations4444 ,the lantern carried in ,christ's left hand is the light of conscience4444 ,its fire is red and fierce2 it falls only on the closed door1 on the weeds that encumber it1 and on an apple shaken from one of the trees of the orchard1 thus marking that the entire awakening of the conscience is not to one's own guilt alone1 but to the guilt of the world1 or1 'hereditary guilt4'444 ,this light is suspended by a chain1 wrapt around the wrist of the figure1 showing that the light which reveals sin to the sinner appears also to chain the hand of ,christ4 ,the light which proceeds from the head of the figure--is that of the hope of salvation2 it springs from the crown of thorns1 and1 though itself sad1 subdued and full of softness1 is yet so powerful1 that it entirely melts into the glow of it the forms of the leaves and boughs which it crosses1 showing that every earthly object must be hidden by this light1 where its sphere extends4 ,if you will study every detail of this reproduction1 finding all the objects--the apple1 the rusty bolts--noting how the full risen moon has formed a natural nimbus for the sacred head1 and then re-read what ,ruskin has said1 you will discover the rarest truths in ,holman ,hunt's picture4 ,the several pictures which he painted1 but which cannot now be found are3 ,hark6 which was first exhibited in the ,royal ,academy2 ,scene from ,woodstock1 ,the ,eve of ,st4 ,agnes1 ,jerusalem by ,moonlight1 ,the ,king of ,hearts1 ,moonlight at ,salerno1 ,interior of the ,mosque of ,omar1 ,the ,pathless ,water1 ,winter1 ,afternoon1 ,sussex ,downs1 ,penzance1 ,the ,archipelago1 ,will-o'-the-,wisp1 ,ivybridge1 ,the ,foal of an ,ass1 ,road over the ,downs1 ,the ,haunt of the ,gazelle1 ',oh1 ,pearl1' ,quoth ,i1 ,miss ,flamborough1 ,the ,school-girl's ,hymn4 ,portraits3 ,mr4 ,martineau2 ,mr4 ,j4 ,b4 ,brice4 ,small sketch of the ,scapegoat1 ,sunset on the ,sea1 ,morning ,prayer1 ,bianca1 ,past and ,present1 and ,dead ,mallard4 ,should you ever find one of these pictures bearing the initials ,p4 ,r4 ,b4 or those of ,holman ,hunt1 you will have made an interesting discovery and should make it known to others4 ,,xxiv ,,george ,,inness ,american #ahbe-ahig ,pupil of ,regis ,gignoux ,george ,inness was destined to keep a grocery store as his father had kept one before him1 and had grown rich in it4 ,when ,george was a young man he was given a grocery store in ,newark1 ,new ,jersey1 a very small store indeed1 and it is not surprising that the young man preferred art to butter and eggs4 ,the ,inness family had just moved from ,newburg1 probably the elder ,innes seeking in ,newark a good location for his son's beginning4 ,the first art-work ,inness did was engraving2 as he had been apprenticed to that business1 but afterward he studied with ,gignoux1 a pupil of ,delaroche4 ,at that time there was what is known as the ,hudson ,river ,school4 ,its ideas were set and formal1 and not very inspiring1 aside from the subjects treated4 ,church was then a young man like ,inness1 and he was studying in the ,hudson ,river ,school1 but the young grocer struck out a line for himself4 ,he was forty years old before he got to ,paris1 but once there1 he turned to the men at ,barbizon--,rousseau1 ,millet1 ,corot1 and the rest--for inspiration1 and began to do beautiful things indeed4 ,rousseau became his friend1 and the art of ,inness grew large and rich through such influences4 ,inness had inherited much religious feeling from his ,scotch ancestors1 and all his work was conscientious1 very carefully done4 ,when ,inness returned from ,paris he was not yet well known4 ,he went to ,montclair1 ,new ,jersey1 to live and it was there that he did his best work4 ,finally1 after he was fifty years old1 he became known as a truly splendid painter4 ,he loved best to paint quiet scenes of morning1 evening sunset1 and the like4 ,his pictures began to gain value1 and one that he had sold for three hundred dollars jumped in price to ten thousand and more4 ,his work is not equally good1 because his moods greatly influenced him4 ,,plate--,,berkshire ,,hills ,this picture in the ,george ,a4 ,hearn collection is full of the sense of restfulness that the works of this artist always convey4 ,the trees are as motionless as the distant hills1 and if the oxen are moving at all it is but slowly4 ,some other ,inness paintings are the ,georgia ,pines1 ,sunset on the ,passaic1 ,the ,wood ,gatherers and ,after a ,summer ,shower4 ,,xxv ,,sir ,,edwin ,,henry ,,landseer ,english ,school #ahjb-ahgc ,pupil of his father1 ,john ,landseer ,it is pleasant to speak of one artist whose good work began in the companionship of his father2 the case of ,edwin ,landseer is most unusual4 ,his father was a skilful engraver who loved art1 and encouraged the cultivation of it in his son1 as other fathers of painters encouraged them to become priests or haberdashers or bakers1 as the case might be4 ,little ,landseer's beginning has been described by his father as he and a friend stood looking upon one of the scenes of his childhood3 ,these two fields were ,edwin's first studio4 ,many a time have ,i lifted him over this very stile4 ,i then lived in ,foley ,street1 and nearly all the way between ,marylebone and ,hampstead was open fields4 ,it was a favourite walk with my boys2 and one day when ,i had accompanied them1 ,edwin stopped by this stile to admire some sheep and cows which were quietly grazing4 ,at his request ,i lifted him over1 and finding a scrap of paper and a pencil in my pocket1 ,i made him sketch the cow4 ,he was very young indeed1 then--not more than six or seven years old4 ,after this we came on several occasions1 and as he grew older this was one of his favourite spots for sketching4 ,he would start off alone1 or with ,john 7,thomas87 or ,charles1 and remain till ,i fetched him in the afternoon4 ,i would then criticise his work1 and make him correct defects before we left the spot4 ,sometimes he would sketch in one field1 sometimes in the other1 but generally in the one beyond the old oak we see there1 as it was more pleasant and sunny4 ,all the ,landseer men were gifted1 and the mother was the beautiful woman whom ,reynolds painted as a gleaner1 carrying a bundle of wheat upon her head4 ,there were seven little ,landseers1 the oldest of them being ,thomas1 the famous engraver1 whose reproduction of his brother's works will preserve them to us always1 even after the originals are gone4 ,the first of ,edwin's drawings which seemed to his family worthy of publishing was a great ,st4 ,bernard dog1 such a wonderful performance for a little fellow of thirteen that ,thomas engraved it and distributed it all over ,england4 ,little ,edwin had seen this beautiful dog one day in the streets of ,london in a servant's charge1 and he was so delighted with its beauty1 that he followed the two home and asked the dog's owner if he might sketch him4 ,the ,st4 ,bernard was six feet four inches long and at the middle of his back1 stood two feet seven inches in height4 ,a great critic said that this drawing was one of the very finest that any master of art had ever made1 though it was done by a little child of thirteen years and it is also said that ,landseer himself never did anything better than that little-boy work4 ,a live dog who was let into the room with it--as critic1 maybe--proved to be the most flattering of such1 because he bristled instantly for a fight4 ,while the boy was still thirteen--which seems to have been a magic and not a tragic number to him--he exhibited pictures in the ,royal ,academy4 ,these were a mule1 and a dog with a puppy4 ,in the stories of ,famous ,artists we are told that he was a fine1 manly little chap with light curly hair and very well behaved4 ,when he became a student of the ,academy the keeper1 ,fuseli1 used to look about among the students and cry3 ,where is my little dog boy8 if ,landseer was not in his place4 ,the little chap's favourite dog was his own ,brutus1 which he painted lying at full length2 and though the picture was small1 it sold for seventy guineas4 ,this means an earning capacity indeed1 for a small boy4 ,when he was but seven years old he had made pictures of lions and tigers1 each with a different expression from the other and each with a character of its own4 ,critics spoke specially of the tiger's whiskers as admirable in the rendering of foreshortened curves4 ,tigers' whiskers were thought to be most difficult things to make1 but in ,landseer's pictures1 they were as natural as life4 ,the great success of the artist's animal pictures was that he made them seem to have human intelligence1 and it was also said that if one only saw the dog's collar1 as ,landseer painted it1 he would know it to be the work of a great artist1 that a great dog-picture must be attached to it4 ,at least one of his pictures had a remarkable history4 ,he had been commissioned by the ,hon4 ,h4 ,pierrpont to paint a white horse in a stable4 ,after the painting was ready for delivery it disappeared1 and for twenty-four years it could not be found4 ,at last it was discovered in a hay-loft6 ,it had been stolen by a servant and hidden there4 ,in spite of the long years that had passed1 ,landseer sent it at once to the man for whom it had been made1 with the message that he had not retouched it nor changed it in the least1 because1 said he1 ,i thought it better not to mingle the style of my youth with that of my old age4 ,one of ,landseer's early advisers had told him he must dissect animals to get the proper effects in painting them1 as it was necessary for him to understand their construction4 ,so1 one time1 when a famous old lion died in the ,exeter ,exchange menagerie ,landseer got its body and dissected it1 and immediately afterward he painted three great lion pictures3 ,the ,lion ,disturbed at ,his ,repast1 ,a ,lion ,enjoying ,his ,repast1 and ,a ,prowling ,lion4 ,sir ,walter ,scott became so enchanted with ,landseer's pictures that the great novelist came to ,london to take the young artist to his home at ,abbotsford4 ,his dogs are the most magnificent things ,i ever saw1 said ,scott1 leaping and bounding and grinning all over the canvas4 ,landseer lived in the centre of ,london till he was more than thirty years old1 and then1 looking for more quiet and space he bought a very small house and garden at ,no4 #a1 ,st4 ,john's ,wood4 ,there was not much room in the house but it had a stable attached which made a fine studio1 and there ,landseer lived with a sister of his1 for nearly fifty years4 ,when he first wished to rent the house1 the landlord asked him a hundred pounds premium which ,landseer felt that he could not pay and he was about to give it up1 when a friend declared that if the matter of money was all that prevented him1 he was to rent it immediately1 and he could repay him as he chose4 ,landseer then took the house1 his friend paying down the premium1 and ,landseer returned the money twenty-pounds at a time1 till all the debt was paid4 ,landseer made this a famous and hospitable house1 and it is said that more great people gathered under his roof than had ever gathered about any other artist with the exception of ,sir ,joshua ,reynolds4 ,that was the house in which ,landseer's loving old father spent his last days and finally died4 ,a story is told of the witty ,d',orsay1 who would call out at the door1 when he went to visit the artist3 ,landseer1 keep de dogs off me1 ,i want to come in and some of dem will bite me--and dat fellow in de corner is growling furiously4 ,on one of his several visits to ,abbotsford1 where he went many times after his first invitation1 to enjoy ,scott's delightful hospitality1 he painted a famous dog of ,sir ,walter's called ,maida1 which died six weeks afterward4 ,there are several such stories about dogs who died rather tragically and were also painted by ,landseer4 ,the two ,king ,charles spaniels which he painted both died soon after sitting to the great painter4 ,they had been pets of ,mr4 ,vernon1 who commissioned the painting1 and the white ,blenheim spaniel fell from a table and was killed1 while the ,king ,charles fell through the railings of a staircase and was picked up dead4 ,the great bloodhound1 ,countess1 belonging to ,mr4 ,bell who gave her picture to the ,academy1 was watching for her master's return one dark night and when she heard the wheels of his carriage1 then his voice1 she leaped from the balcony1 but missed her footing and fell nearly dead at ,mr4 ,bell's feet4 ,that gentleman loved the dog so much that he was distracted1 and taking her into his gig1 knowing that she must die1 he raced in to ,london again that same night1 and rousing ,sir ,edwin1 begged him to paint the dog before it was too late4 ,then and there was the sketch of the dying animal made4 ,sir ,edwin ,landseer was the most versatile and entertaining of artists4 ,he was a wit1 and could also perform all sorts of sleight of hand tricks1 besides being so quick with his pencil that his doings seemed miraculous4 ,one evening1 during a conversation with many friends1 someone declared that in point of time ,sir ,edwin could do a record-sketch4 ,one young woman spoke up and said3 ,there is one thing that even he cannot do--he cannot make two different pictures at the same time4 ,think not8 cried ,sir ,edwin4 ,let us see6 ,gaily taking two pencils1 he rapidly drew a stag's head with one hand and a horse's head with the other4 ,landseer became the guest of royalty1 a favourite of ,queen ,victoria1 whose dog ,dash was one of the many famous dogs painted by him4 ,dash was the favourite spaniel of the ,duchess of ,kent1 ,victoria's mother2 and the ,queen's biographer says that she too loved him very much4 ,on ,coronation ,day she had been away from him longer than usual1 and when the great state coach rolled up to the palace steps she could hear ,dash barking for her in the hall4 ,oh1 she exclaimed1 there's ,dash1 and throwing aside the ball and sceptre which she carried1 she hurried to change her fine robes1 in order to wash the dog4 ,this is a very homelike and picturesque story1 but it is possibly not true4 ,doubtless the little ,queen heard the dog bark--and was glad to see him4 ,at ,windsor ,landseer painted another royal dog1 ,islay1 the pet terrier of ,victoria2 also ,dandie ,dinmont1 belonging to the ,princess ,alice2 then ,eos1 who was ,prince ,albert's--,king ,edward's--dog4 ,all the last years of ,sir ,edwin ,landseer' life1 the royal family were his devoted and comforting friends4 ,the painter suffered much and during his visits to ,balmoral he wrote to his sister how the ,queen used to go several times a day to his room1 to look after his comfort and to inquire about his condition4 ,he wrote3 ,the ,queen kindly commands me to get well here4 ,she has to-day been twice to my room to show additions recently added to her already rich collection of photographs4 ,why1 ,i know not1 but since ,i have been in the ,high lands ,i have for the first time felt wretchedly weak1 without appetite4 ,the easterly winds1 and now again the unceasing cold rain1 may possibly account for my condition1 but ,i can't get out4 ,drawing tires me2 however1 ,i have done a little better to-day4 ,the doctor residing in the castle has taken me in hand1 and gives me leave to dine to-day with the ,queen and the rest of the royal family4444 ,flogging would be mild compared with my sufferings4 ,no sleep1 fearful cramp at night1 accompanied by a feeling of faintness and distressful feebleness4 ,when he was well1 he was gay and cheerful2 and ,dickens1 ,thackeray1 and many other noted men were his friends4 ,we are told that above all things4 ,sir ,edwin was a great mimic and that one night at dinner he threw everybody into fits of laughter by imitating his friend the sculptor ,sir ,francis ,chantry4 ,it was at the sculptor's table1 where a large party was assembled4 ,chantry called ,sir ,edwin's attention1 when the cloth was removed1 to the reflection of light in the highly polished table4 ,come here and sit in my place1 said ,chantry1 and see the perspective you can get4 ,then he went and stood by the fire1 while ,landseer sat in his place4 ,seated then in ,chantry's chair1 ,landseer called out in perfect imitation of his host3 ,come1 young man1 you think yourself ornamental2 now make yourself useful1 and ring the bell4 ,chantry did so1 and when the butler came in he was confused and amazed to hear his master's voice from where ,landseer sat in ,chantry's place at the table4 ,the voice of his master from the head of the table ordered claret1 while his master really stood before the fire with his hands under his coat-tails4 ,we are told that ,landseer stood his pictures on their heads1 or upon one corner or looked at them from between his legs1 any way1 every way1 to get a complete view of them from all quarters4 ,he went to bed very late and got up very late1 but in the mornings1 while lying in bed he mostly thought out the subjects of his pictures4 ,he was not much of a sportsman1 preferring to paint animals rather than to kill them1 and one day when hunting1 he saw a fine stag before him4 ,instead of firing at it1 he thrust his gun into a gillie's hands1 crying3 ,hold that6 hold that6 and whipping out his pencil and pad he began to sketch the stag4 ,whereupon the gillies were disgusted that he should miss so fine a shot1 and they said something to each other in ,gaelic1 which ,sir ,edwin must have understood1 for he became very angry4 ,it was a pity1 wrote one who knew all his qualities1 that ,landseer1 who might have done so much for the good of the animal kind1 never wrote on the subject of their treatment4 ,he had a strong feeling against the way some dogs are tied up1 only allowed their freedom now and then4 ,he used to say a man would fare better tied up than a dog1 because the former can take his coat off1 but a dog lives in his forever4 ,he declared a tied-up dog1 without daily exercise1 goes mad1 or dies1 in three years4 ,he had a wonderful power over dogs1 and he told one lady it was because he had peeped into their hearts4 ,a great mastiff rushed delightedly upon him one day and someone remarked how the dog loved him4 ,i never saw the dog before in my life1 the artist said4 ,while teaching some horses tricks for ,astley's1 he showed his friends some sugar in his hand and said3 ,here is my whip4 ,his studio was full of pets1 and one dog used as a model used to bring the master's hat and lay it at his feet when he got tired of posing4 ,this charming man suffered a great deal before his death1 and had dreadful fits of depression4 ,during one of these he wrote3 ,i have got trouble enough2 ten or twelve pictures about which ,i am tortured1 and a large national monument to complete4 ,that monument was the one in ,trafalgar ,square1 for which he designed the lions at the base4 ,if ,i am bothered about anything and everything1 no matter what1 ,i know my head will not stand it much longer4 ,later he wrote3 ,my health 7or rather condition71 is a mystery beyond human intelligence4 ,i sleep seven hours1 and awake tired and jaded1 and do not rally till after luncheon4 ,j4 ,l4 came down yesterday and did her best to cheer me444 ,i return to my own home in spite of kind invitations from ,mr4 and ,mrs4 ,gladstone to meet ,princess ,louise at breakfast4 ,of the many anecdotes told of this great man1 his introduction to the ,king of ,portugal furnishes the most amusing4 ,i am delighted to make your acquaintance1 the ,king said1 ,i am so fond of beasts4 ,before he died he had made a large fortune from his work1 and during his illness he was tended most lovingly by his friends and sister4 ,one day1 walking in his garden1 much depressed1 he said sadly3 ,i shall never see the green leaves again1 but he did live through other seasons4 ,he wished to die in his studio1 and at one time when he was much distracted the ,queen wrote him not to fear1 but to trust those who were doing all they could for him1 that her confidence in his physicians and nurses was complete4 ,at last with brother1 sister1 friends and fortune about him the great animal painter died1 and on ,october #aa1 #ahgc1 and was buried with great honours in ,st4 ,paul's ,cathedral4 ,,plate--,,the ,,old ,,shepherd',s ,,chief ,,mourner ,of all the dogs ,landseer loved to paint1 the sheep collie has the most character2 and here he shows us one expressing in every line of his face and form the most profound grief4 ,the ,glengarry bonnet on the floor beside the shepherd's staff1 the spectacles lying on the ,bible1 the ram's horn1 the vacant chair1 the black and white shawl known as a ,shepherd's plaid--all these things have failed to comfort this humble follower4 ,we can imagine him1 not bounding ahead with a joyous bark1 but walking staidly behind the coffin when it is borne away and laying himself down upon his master's grave1 perhaps to die of starvation1 as some of his kind have been known to do4 ,the painting is one of the ,sheepshanks ,collection in the ,south ,kensington ,museum4 ,among ,landseer's other famous dog pictures are ,low ,life and ,high ,life1 ,dignity and ,impudence and ,the ,sleeping ,bloodhound1 all in the ,national ,gallery4 ,,xxvi ,,claude ,,lorrain 7,,gellee7 ,classical ,french ,school #afjj-afhi ,pupil of ,godfrey ,wals ,of all the contrasts between the early and later lives of great artists1 ,claude ,lorrain gives us the most complete4 ,he was born to make pastry4 ,his family may have been all pastry cooks1 because people of ,lorrain were famous for that work2 anyway as a little chap he was apprenticed to one4 ,his parents were poor1 lived in the ,duchy of ,lorrain and from that political division the ,artist was named4 ,the town in which he was born was ,chamagne1 and his real name was ,gelle4 ,as a pastry cook's apprentice he served his time1 and then1 without any thought of becoming anything else in the world1 he set off with several other pastry cooks to go to ,rome1 where their talents were to be well rewarded4 ,but how strangely things fall out6 ,in ,rome he was engaged to make tarts for ,agostine ,tassi1 a landscape painter4 ,his work was not simply to furnish his master with desserts1 but to do general housekeeping1 and it fell to his lot to clean ,tassi's paint brushes4 ,so far as we know1 this was the first introduction of ,claude ,lorrain to art other than culinary4 ,from cleaning brushes it was but a step to trying to use them upon canvas1 and ,tassi being a good-natured man1 began to give ,lorrain instruction1 till the pastry cook became his master's assistant in the studio4 ,this led to a larger and larger life for the young ,frenchman1 and he copied great masters1 did original things1 and finally in his twenty-fifth year returned to ,france a full-fledged artist4 ,he remained there two years1 and then went back to ,italy1 where he lived till he died4 ,the visit to ,france turned out fortunately because on his way back he fell in with one of the original twelve members of the ,french ,academy1 ,charles ,errard1 who became the first director of the ,academy in ,rome4 ,a warm friendship sprang up between the men1 and ,errard was very helpful to the young artist4 ,nevertheless1 ,lorrain did not gain much fame till about his fortieth year1 when he was noticed by ,cardinal ,bentivoglio1 and was given certain commissions by him4 ,he grew in ,bentivoglio's favour so much that the ,cardinal introduced him to the pope4 ,the ,catholic ,church set the fashions in art1 politics1 and history of all sorts at that time1 so that ,lorrain could not have had better luck than to become its favourite4 ,the pope was ,urban ,,viii41 whose main business was to hold the power of the ,church and make it stronger if he could1 so that he was continually building fortresses and other fortifications1 and he had use for artists and decorators4 ,lorrain's fame outlasted the life of ,urban ,,viii41 and he became a favourite in turn with each of the three succeeding popes4 ,all this time he was doing fine work in ,italy and for ,italy1 besides receiving orders for pictures from ,france1 ,holland1 ,germany1 ,spain1 and ,england1 for his fame had reached throughout the world4 ,besides leaving many paintings behind him when he died1 he left half a hundred etchings2 also a more precise record of his work than most artists have left4 ,he executed two hundred sketches in pen or pencil1 washed in with brown or ,india ink1 the high lights being brought out with touches of white4 ,on the backs of them the artist noted the date on which the sketch was developed into a picture1 and for whom the latter was intended4 ,the story is that his popularity produced many imitators1 and that he adopted this means to establish the identity of his own work and distinguish it from the many copies made4 ,these sketches were collected in a volume by ,lorrain and called ,liber ,veritatis1 and for more than a hundred years the ,dukes of ,westminster have owned this4 ,,plate--,,acis ,,and ,,galatea ,this picture in the ,dresden ,gallery is a scene from the mythical story of a goddess who fell in love with the youthful son of a faun and a naiad4 ,thus she excited the jealous fury of the cyclops1 ,polythemus1 who is seen in the picture herding his flock of sheep upon the high cliff at the right4 ,soon he will rise and hurl a rock upon ,acis1 crushing the life out of him1 so that there will be nothing left for ,galatea to do but to turn him into the ,river ,acis1 but meanwhile the lovers are unconscious and happy4 ,venus is reposing near them on the waves and ,cupid is closer still1 while the sea in the background seems to be stirred with a fresh morning breeze4 ,some of the famous ,lorrains in the ,louvre are3 ,seaport at ,sunset1 ,cleopatra ,landing at ,tarsus1 and ,the ,village ,festival4 ,,xxvii ,,masaccio 7,,tommaso ,,guidi7 7,pronounced ,tome-mah'so ,mah'sahch'cheeo7 ,florentine ,school #adja-adbh ,pupil of ,ghibertio1 ,donatello1 and ,brunellesco ,this artist1 who lived and died within the century that witnessed the discovery of ,america1 was famous for more than his painting4 ,he was the original inventor who first learned and taught the mixing of colours with oils1 thus making the peculiar distemper unnecessary4 ,the story of ,italian artists includes a history of their names1 for the ,italians seem to have had most remarkable reasons for naming children4 ,for example1 this artist1 ,masaccio1 was born on ,st4 ,thomas's day1 hence1 his name of ,tommaso4 ,presently1 for short1 or for love1 he was called ,maso1 and to cap all1 being a careless lad1 his friends added the derogatory accio1 and there we have the artist completely named4 ,he owed nothing of this to his father1 who was plain1 or ornamentally1 ,ser ,giovanni di ,simone ,guidi1 of ,castello ,san ,giovanni1 in the ,valdamo4 ,as a very little boy1 it was plain to be seen that slovenly ,thomas was going to be a great artist1 and no time was lost in putting him to work with the best of masters4 ,he was a veritable inventive genius4 ,until his time difficulties in drawing had been overcome mostly by ignoring them4 ,since no artist had been able to draw a foreshortened foot1 it had been the fashion in art to paint people standing upon their tiptoes1 to make it possible for an artist to paint the foot4 ,the enterprising ,thomas came along and he decided that feet must be painted both flat and crossed1 on tiptoe or otherwise2 in short he did not mean to lose by a foot4 ,he worked at this problem day and night1 till at last the naturally poised foot came into existence for the artist4 ,never after ,masaccio's time did an artist paint the foot stretched upon the toes4 ,moreover1 until his time flesh had never been painted of a remotely natural colour1 so ,masaccio set about combining colours till he made one that had the tint of real flesh4 ,thus he was the first to overcome the difficulties of drawing and the first to discover a mixture that would not leave a glazed1 hard1 unnatural appearance and be likely to crack and destroy the finest effort of an artist4 ,he worked during his youth in ,pisa1 where the leaning tower stands2 then he worked in ,florence1 finally in ,rome1 but those early pictures are long since gone4 ,it was a century of adventure and discovery as well as of art1 and with so much change1 so many wars and rumours of wars1 many great art works were lost4 ,besides1 the horrible plague swept ,italy east1 west1 north1 and south4 ,who was to concern himself with saving works of art1 when human life was going out wholesale all over the land8 ,masaccio was certainly very poor most of his life4 ,he lived with his mother and his brother ,giovanni1 an artist like himself1 but not nearly so brilliant4 ,masaccio could not spend his life in painting but had to eke out the family fortunes by keeping a little shop near the old ,badia1 and being pestered day and night by his creditors he was forced again and again to go to the pawn shop4 ,somewhere about #adbb1 careless ,thomas painted his greatest picture which was doomed to destruction too early for us to know much about it2 but it was named ,san ,paolo and it was painted in the bell-room of the ,church of the ,carmine in ,florence4 ,the figure for his model was an illustrious personage1 ,bartoli d',angiolini1 who had held many honourable offices in ,florence for many years4 ,a critic and friend of artists tells us that the portrait was so great it lacked only the power of speech4 ,in this picture ,masaccio made his first great triumph in the foreshortening of feet4 ,he undertook to celebrate the consecration ,of the ,church of the ,carmine1 and for this he made many frescoes1 among which was a correct painting of the procession as it entered from the cloisters of the church4 ,among the citizens who followed in its wake1 portraits are introduced of ,brunellesco1 ,donatello1 ,masolino1 ,felice ,brancacci 7the founder of the chapel7 ,giovanni di ,bicci de' ,medici1 and others1 including the porter of the convent with the key of the door in his hand4 ,this work was thought to be very wonderful because the figures grew smaller in the distance1 thereby giving perspective for the first time4 ,imagine how crude a thing was painting in the day of careless ,thomas4 ,that fresco is long since gone1 but drawings of it still exist which tell us something of the people of ,christopher ,columbus's day--previous to their appearance1 and their conditions4 ,after ,masaccio had finished the procession he went back to his painting of the chapel and in the end covered three of its four walls with his works4 ,many of those paintings are scenes from the life of ,st4 ,peter1 and several were worked at by other artists than ,masaccio4 ,masaccio was greater than ,raphael1 greater than ,michael ,angelo in so far as he pointed the way that they were to go1 having solved for them all the problems that had kept artists from being great before him4 ,sir ,joshua ,reynolds says that he appeared to be the first who discovered the path that leads to every excellence to which the art afterward arrived2 and may therefore be justly considered one of the great fathers of modern art4 ,the artist lived but a little time1 and was most likely poisoned4 ,nobody knows1 but it is said that other painters were so wildly jealous of his original genius that they wished him out of the way1 and his death was at least mysterious4 ,he drew very rapidly and let the details go1 caring only to represent motion and action4 ,because he painted so many portraits into his pictures there was great life and animation in them1 and people said of him that he painted not only the body but the soul4 ,,plate--,,artist',s ,,portrait ,footnote3 ,many artists have left us portraits of themselves1 painted1 no doubt1 with the aid of a mirror1 in a group or alone4 ,this one of ,masaccio in the ,naples ,museum1 shows him to have been a picturesque model4 ,some of his known pictures are the frescoes in the church of ,st4 ,clemente in ,rome2 the frescoes in the ,brancacci ,chapel in the ,church of the ,carmine1 ,st4 ,peter ,baptising and the ,madonna and ,child1 with ,st4 ,anne1 which is in the ,accademia at ,florence4 ,,xxviii ,,jean ,,louis ,,ernest ,,meissonier 7,pronounced ,may-sohn-yay7 ,french ,school #ahae-ahia ,pupil of ,lon ,cogniet ,this artist was born at ,lyons4 ,his father was a salesman and an art-training seemed impossible for the young man because the ,meissoniers were poor people4 ,nevertheless1 he was so persevering that while still a young man he got to ,paris and began to paint in the ,louvre4 ,he was but nineteen at that time1 and his fate seemed so hard and bitter that later in life he refused to talk of those days4 ,he sat for many days in the ,louvre1 by ,daubigny's side1 painting pictures for which we are told he received a dollar a yard4 ,we can think of nothing more discouraging to a genius than having to paint by the yard4 ,it is said that his poverty permitted him to sleep only every other night1 because he must work unceasingly1 and someone declares that he lived at one time on ten cents a week4 ,this is a frightful picture of poverty and distress4 ,meissonier's first paying enterprise was the painting of bon-bon boxes and the decorating of fans1 and he tried to sell illustrations for children's stories1 but for these he found no market4 ,a brilliant compiler of ,meissonier's life has written that his first illustrations in some unknown journal were scenes from the life of ',the ,old ,bachelor4' ,in the first picture he is represented making his toilet before the mirror1 his wig spread out on the table2 in the second1 dining with two friends2 in the third1 on his death-bed1 surrounded by greedy relations and in the fifth1 the servants ransacking the death chamber for the property4 ,this was very likely a vision of his own possible fate1 for ,meissonier must have been at that time a lonely and unhappy man4 ,there are many stories of his first exhibited work1 which ,caffin declares was the ,visit to the ,burgomaster1 but ,mrs4 ,bolton1 who is almost always correct in her statements1 tells us that it was called ,the ,visitor1 and that it sold for twenty dollars4 ,at the end of a six years struggle in ,paris1 his pictures were selling for no more4 ,until this artist's time people had been used only to great canvases1 and had grown to look for fine work1 only in much space1 but here was an artist who could paint exquisitely a whole interior on a space said to be no larger than his thumb nail4 ,his work was called microscopic1 which meant that he gave great attention to details1 painting very slowly4 ,during the ,italian war of #ahei1 and in the ,german war of #ahgj1 this wonderful artist was on the staff of ,napoleon ,,iii4 ,during the siege of ,paris he held the rank of colonel1 and he lost no chance to learn details of battles which he might use later1 in making great pictures4 ,thus he gained the knowledge and inspiration to paint his picture ,friedland1 which was bought by ,a4 ,t4 ,stewart and is now in the ,metropolitan ,museum4 ,he1 himself1 wrote of that picture3 ,i did not intend to paint a battle--,i wanted to paint ,napoleon at the zenith of his glory2 ,i wanted to paint the love1 the adoration of the soldiers for the great captain in whom they had faith1 and for whom they were ready to die4444 ,it seemed to me ,i did not have colours sufficiently dazzling4 ,no shade should be on the imperial face4444 ,the battle already commenced1 was necessary to add to the enthusiasm of the soldiers1 and make the subject stand forth1 but not to diminish it by saddening details4 ,all such shadows ,i have avoided1 and presented nothing but a dismounted cannon1 and some growing wheat which should never ripen4 ,this was enough4 ,the men and the ,emperor are in the presence of each other4 ,the soldiers cry to him that they are his1 and the impressive chief1 whose imperial will directs the masses that move around1 salutes his devoted army4 ,he and they plainly comprehend each other and absolute confidence is expressed in every face4 ,this great work was sold at auction for #ff1jjj and given to the ,metropolitan ,museum4 ,it is said that when he painted the ,retreat from ,russia1 ,meissonier obtained the coat which ,napoleon had worn at the time1 and had it copied1 crease for crease and button for button4 ,he painted the picture mostly out of doors in midwinter when the ground was covered with snow1 and he writes3 ,sometimes ,i sat at my easel for five or six hours together1 endeavouring to seize the exact aspect of the winter atmosphere4 ,my servant placed a hot foot-stove under my feet1 which he renewed from time to time1 but ,i used to get half-frozen and terribly tired4 ,so attentive was he to truthfulness in detail that he had a wooden horse made in imitation of the white charger of the ,emperor2 and seating himself on this1 he studied his own figure in a mirror4 ,at last this conscientious man was made an officer of the ,legion of ,honour1 having already become ,president of the ,academy4 ,edmund ,about writes that to cover ,m4 ,meissonier's pictures with gold pieces simply would be to buy them for nothing2 and the practice has now been established of covering them with bank-notes4 ,meissonier seldom painted the figure of a woman in his pictures1 but all of his subjects were wholesome and fine4 ,one time an admirer said to him ,i envy you2 you can afford to own as many ,meissonier pictures as you please6 ,oh no1 ,i can't1 the distinguished artist replied4 ,that would ruin me4 ,they are a good deal too dear for me4 ,in his maturity he became very rich1 and his homes were dreams of beauty1 filled with rare possessions such as bridles of black leather once owned by ,murat1 rare silver designed by the artist himself1 great pictures1 and flowers of the rarest description besides valuable dogs and horses4 ,yet it was said that this man who lives in a palace is as moderate as a soldier on the march4 ,this artist1 whose canvases are valued by the half-million1 is as generous as a nabob4 ,he will give to a charity sale a picture worth the price of a house4 ,praised as he is by all he has less conceit in his nature than a wholesale painter4 ,on the #cast of ,january in his country house at ,poissy1 this great man1 whose life reads like a romance1 died1 after a short illness4 ,his funeral services were held in the ,madeleine1 and he was buried at ,poissy1 near ,versailles1 a great military procession following him to the grave4 ,,plate--,,retreat ,,from ,,moscow ,in the painting of this picture we have already told how every detail was mastered by actual experience of most of them4 ,meissonier made dozens of studies for it--a horse's head1 an uplifted leg1 cuirasses1 helmets1 models of horses in red wax1 etc4 ,he also prepared a miniature landscape1 strewn with white powder resembling snow1 with models of heavy wheels running through it1 that he might study the furrow made in that terrible march home from burning ,moscow4 ,all this work--hard1 patient1 exacting work4 ,some of his other pictures are ,the ,emperor at ,solferino1 ,moreau and ,his ,staff before ,hohenlinden1 ,a ,reading at ,diderot's and the ,chess ,players4 ,,xxix ,,jean ,,fran,,ois ,,millet ,fontainebleau-,barbizon ,school #ahad-ahge ,pupil of ,delaroche ,two great artists painted peasants and little else4 ,one was the artist of whom we shall speak1 and the other was ,jules ,breton4 ,one was realistic1 the other idealistic4 ,both did wonderful work1 but ,millet painted the peasant1 worn1 patient steadfast1 overwhelmed with toil2 ,breton1 a peasant full of energy1 grace1 vitality1 and joy4 ,millet painted peasants as he knew them1 and hardly any one could have known them better1 for he was himself peasant-born4 ,his youth was hard1 and the scenes of his childhood were such as in after life he became famous by painting4 ,millet lived in the department of ,manche1 in the village of ,gruchy1 near ,cherbourg4 ,manche juts into the sea1 at the ,english ,channel1 and whichever way ,millet looked he must have seen the sea4 ,his old grandmother looked after the household affairs1 while his father and mother worked in the fields and ,millet must have seen them hundreds of times1 standing at evening1 with bowed heads1 listening to the ,angelus bell4 ,he toiled1 too1 as did other lads in his position4 ,his grandmother was a religious old woman1 and nearly all the pictures he ever saw in his boyhood were those in the ,bible1 which he copied again and again1 drawing them upon the stone walls in white chalk4 ,the old grandmother watched him1 never doubting that her boy would become an artist4 ,it was she who had named him--,franois1 after her favourite saint1 ,francis1 and it was she1 who1 beside the evening fire1 would tell him legends of ,st4 ,francis4 ,it was she alone who had time and strength left1 after the day's work1 to teach him the little he learned as a boy and to fix in his mind pictures of home4 ,his father and mother were worn1 like pack-horses1 after their day in the fields4 ,the mother very likely had to hitch herself up with the donkey1 or the big dog1 after the fashion of these people1 as she helped draw loads about the field4 ,who can look for ,breton's ideal stage peasants from ,millet who knew the truth as he saw it every day8 ,many years after his life in the ,gruchy home1 ,millet painted the portrait of the grandmother whom he had loved so much that he cried out3 ,i wish to paint her soul6 ,no one could desire a better reward than such a tribute4 ,millet had an uncle who was a priest and he did what he could to give the boy a start in learning4 ,he taught him to read ,virgil and the ,latin ,testament2 and all his life those two books were ,millet's favourites4 ,besides drawing pictures on the walls of his home1 he drew them on his sabots4 ,pity some one did not preserve those old wooden shoes6 ,he did his share of the farm work1 doing his drawing on rainy days4 ,when he was about eighteen years old1 coming from mass one day1 he was impressed with the figure of an old man going along the road1 and taking some charcoal from his pocket he drew the picture of him on a stone wall4 ,the villagers passing1 at once knew the likeness2 they were pleased and told ,millet so4 ,old ,millet1 the father1 also was delighted for he1 too1 had wished to be an artist1 but fate had been against him4 ,seeing the wonderful things his son could do1 he decided that he should become what he himself had wished to be1 and that he should go to ,cherbourg to study4 ,franois set off with his father1 carrying a lot of sketches to show1 and upon telling the master in ,cherbourg what he wanted and showing the sketches1 he was encouraged to stay and begin study in earnest4 ,so back the old father went1 with the news to the mother and grandmother and the priest uncle1 that ,franois had begun his career4 ,he stayed in ,cherbourg studying till his father died1 when he thought it right to go home and do the work his father had always done4 ,he returned1 but the women-folk would not agree to him staying4 ,you go back at once1 said the grandmother1 and stick to your art4 ,we shall manage the farm4 ,she sewed up in his belt all the money she had saved1 and started him off again1 for he had then been studying only two months4 ,now he remained till he was twenty-three1 a fine1 strapping1 broad-shouldered country fellow4 ,he had long fair hair and piercing dark blue eyes4 ,all the time he was with ,delaroche he was dissatisfied with his work--and with his master's1 which seemed to ,millet artificial1 untrue4 ,he knew nothing of the classical figures the master painted and wished him to paint1 for his heart and mind were back in ,gruchy among the scenes that bore a meaning for him4 ,he wished to study elsewhere1 and by this time he had done so well that one of the artists with whom he had studied went to the mayor of ,millet's home town1 and begged him to furnish through the town-council money enough to send ,millet to ,paris4 ,this was done1 and ,millet began to hope4 ,he was very shy and afraid of seeming awkward and out of place4 ,the night he got to ,paris was snowy1 full of confusion and strange things to him1 and an awful loneliness overwhelmed him4 ,the next morning he set out to find the ,louvre1 but would not ask his way for fear of seeming absurd to some one1 so that he rambled about alone1 looking for the great gallery till he found it unaided4 ,he spent most of the days that followed gazing in ecstasy at the pictures4 ,he liked ,angelo1 ,titian1 and ,rubens best4 ,he had come to ,paris to enter a studio1 but he put off his entrance from day to day1 for his shyness was painful and he feared above all things to be laughed at by city students4 ,at last one day1 he got up enough courage to apply to ,delaroche1 whose studio he had decided to enter if he could1 as he liked his work best4 ,the students in that studio were full of curiosity about the new chap1 with his peasant air1 his bushy hair and great frame1 so sturdy and awkward4 ,they at once nicknamed him the man of the woods1 and they nagged at him and laughed at the idea that he could learn to paint1 till one day1 exasperated nearly to death1 he shook his fist at them4 ,from that moment he heard no more from them1 for they were certain that if he could not paint he could use his fists a good deal better than any of them4 ,delaroche liked the peasant but did not understand him very well1 and ,millet was not too fond of his painting1 so after two years he and a friend withdrew from that studio and set up one for themselves4 ,thus eight years passed1 the friends living from hand to mouth1 doing all sorts of things3 sign-painting1 advertisements1 and the like2 and ,millet1 in the midst of his poverty1 got married4 ,he went home1 returning to ,paris with his wife1 and after starving regularly1 he became desperate enough to paint a single picture as he wished4 ,it seemed at the time the maddest kind of thing to do4 ,who would see ugly1 toil-worn peasants upon his salon walls8 ,paris wanted dainty1 aesthetic art1 and an ,academy artist would have scoffed at the idea2 but the ,millets were starving anyway1 so why not starve doing at least what one chose4 ,so ,millet painted his first wonderful peasant picture ,the ,winnower1 and just as the family were starving he sold it--for #ajj4 ,he had done at last the right thing1 in doing as he pleased4 ,this was a sign to him that there was after all a place for truth and emotion in art4 ,but the ,millets must change their place of living1 and go to some place where the money made would not at once be eaten up4 ,jacque--the friend with whom ,millet had set up shop1 and who also became famous1 later--advised them to go to a little place he knew about1 which had a name ending in zon4 ,it was near the forest of ,fontainebleau1 he said and they could live there very cheaply1 and it was quiet and decent4 ,the ,millets got into a rumbling old cart and started in search of the place which ended in zon near the forest of ,fontainebleau4 ,jacque had also decided to take his family there and they all went together4 ,when they got to ,fontainebleau they got down from the car and went a-foot through the forest4 ,they arrived tired and hungry toward evening1 and went to ,ganne's ,inn1 where there were ,rousseau1 ,diaz1 and other artists who like themselves had come in search of a nice1 clean1 picturesque place in which to starve1 if they had to4 ,those who were just sitting down to supper welcomed the newcomers1 for they had been there long enough to form a colony and fraternity ways4 ,one of these was to take a certain great pipe from the wall1 and ask the newcomer to smoke2 and according to the way he blew his rings he was pronounced a colourist or classicist4 ,the two friends blew the smoke1 and at once the other artists were able to place ,jacque4 ,he was a colourist2 but what were they to say about ,millet who blew rings after his own fashion4 ,oh1 well6 he cried4 ,don't trouble about it4 ,just put me down in a class of my own6 ,a good answer6 ,diaz answered4 ,and he looks strong and big enough to hold his own in it6 ,thus the newcomers took their places in the life of ,barbizon--the place whose name ended in zon1 and ,millet's real work began4 ,his first wife lived only two years1 but he married again4 ,all this time he was following his conscience in the matter of his work1 and selling almost nothing4 ,in a letter to a friend he tells how dreadfully poor they are1 although his new wife was the most devoted helpful woman imaginable1 known far and near as ,mre ,millet4 ,the artist wrote to ,sensier1 his friend1 who aided him3 ,i have received the hundred francs4 ,they came just at the right time4 ,neither my wife nor ,i had tasted food in twenty-four hours4 ,it is a blessing that the little ones1 at any rate1 have not been in want4 ,the revolution of #ahdh had come before ,millet went to ,barbizon1 and he like other men had to go to war4 ,then the cholera appeared1 and these things interrupted his work2 and after such troubles people did not begin buying pictures at once4 ,rousseau was famous now1 but ,millet lived by the hardest toil until one day he sold the ,woodcutter to ,rousseau himself1 for four hundred francs4 ,rousseau had been very poor1 and it grieved him to see the trials and want of his friend1 so he pretended that he was buying the picture for an ,american4 ,that picture was later sold at the ,hartmann sale for #acc1jjj francs4 ,millet was now forty years old1 and had not yet been recognised as a wonderful man by any but his brother artists4 ,he was truly in a class of his own4 ,he had learned to love ,barbizon1 and cried3 ,better a thatched cottage here than a palace in ,paris6 and we have the picture in our minds of ,millet followed patiently and lovingly by ,mre ,millet in the peasant dress which she always wore1 that she might be ready at a moment's notice to pose for his figures4 ,then there were his little children and his sunny1 simple1 fraternal surroundings1 which make his life the most picturesque of all artists4 ,his paintings had the simplest stories with seldom more than two or three figures in them4 ,it was said that he needed only a field and a peasant to make a great picture4 ,when he painted the ,man with the ,hoe1 he did it so truthfully1 in a way to make the story so well understood by all who looked upon it1 that he was called a socialist4 ,no one was so much surprised as ,millet by that name4 ,i never dreamed of being a leader in any cause1 he said4 ,i am a peasant--only a peasant4 ,of his picture ,the ,reaper a critic wrote1 ,he might have reaped the whole earth4 ,all his pictures were sermons1 he called them epics of the fields4 ,he pretended to nothing except to present things just as they were1 as he writes in a letter to a friend about ,the ,water ,carrier3 ,in the woman coming from drawing water ,i have endeavoured that she shall be neither a water-carrier nor a servant1 but the woman who has just drawn water for the house1 the water for her husband's and her children's soup2 that she shall seem to be carrying neither more nor less than the weight of the full buckets2 that beneath the sort of grimace which is natural on account of the strain on her arms1 and the blinking of her eyes caused by the light1 one may see a look of rustic kindliness on her face4 ,i have always shunned with a kind of horror everything approaching the sentimental4 ,i have desired on the other hand1 that this woman should perform simply and good-naturedly1 without regarding it as irksome1 an act which1 like her other household duties1 is one she is accustomed to perform every day of her life4 ,also ,i wanted to make people imagine the freshness of the fountain1 and that its antiquated appearance should make it clear that many before her had come to draw water from it4 ,at forty he was in about the same condition as he had been on that evening ten or twelve years before1 when he had entered ,barbizon carrying his two little daughters upon his shoulders1 his wife following with the servant and a basket of food1 to settle themselves down to hardship made sweet by kind comradeship and hope4 ,now a change came4 ,millet painted ,the ,angelus4 ,he was dreadfully poor at that time and sold the picture cheaply1 but it laid the foundation of his fame and fortune4 ,he had worked upon the canvas till he said he could hear the sound of the bell4 ,although its first purchaser paid very little for it1 it has since been sold for one hundred and fifty thousand dollars4 ,at last1 having struggled through his worst days1 without recognition1 and with nine little children to feed and clothe1 he was given the white cross of the ,legion of ,honour2 and as if to make up for the days of his starvation1 he was nearly feasted to death in ,paris4 ,he was placed upon the hanging committee of the ,salon1 and took a dignified place among artists4 ,he and ,mre ,millet travelled a little1 but always he returned to ,barbizon1 till the war came and he had to move to ,normandy to work4 ,afterward he returned to ,barbizon1 to the scenes and the old friends he loved so well1 and there he died4 ,he had come back ill and tired with the long struggle1 and he instructed his friends to give him a simple funeral4 ,this was done4 ,they carried his coffin1 while his wife and children walked beside him to the cemetery1 and he was buried near the little church of ,chailly1 whose spire is seen in ,the ,angelas1 and where ,rousseau1 whom he loved1 had already been laid4 ,there in ,barbizon1 to-day1 may be seen ,rousseau's cottage and ,millet's studio4 ,the peasants sow and reap and glean as in the days of ,millet2 ,troyon's oxen and sheep are still standing in the meadow2 ,jacque's poultry are feeding in the barnyard4 ,the leaves on ,rousseau's grand old trees are trembling in the forest2 ,corot's misty morning is as fresh and soft as ever2 while ,diaz's ruddy sunsets still penetrate the branches2 and the peasant pauses daily as the ,angelus from the ,chailly church calls him to silent prayer4 ,,plate--,,the ,,angelus ,in ,the ,angelus you may see far-off the spire of the church at ,chailly1 from which the bell sounds4 ,the day's work is drawing to a close4 ,the peasant man and woman have been digging potatoes--the man uncovering them1 while his wife has been putting them in the basket4 ,as the ,angelus floats across the fields1 the two pause and bow their heads in prayer4 ,the man has dropped his fork and uncovered his head1 and his wife has clasped her hands devoutly before her4 ,all the air seems still and full of tender sound and colour1 and we1 like ,millet1 seem to hear the bell4 ,this is the only picture he painted which is full of the sentimentality he so much disliked4 ,it is a great picture1 but we need to know the title in order to interpret it4 ,besides this one1 ,millet painted ,the ,gleaners1 ,the ,woodcutters1 ,the ,sower1 ,the ,man with the ,hoe2 ,the ,water ,carrier1 ,the ,reaper1 and many other stories of the peasant poor4 ,,xxx ,,claude ,,monet 7,pronounced ,claude ,mo-nay7 ,impressionist ,school of ,france #ahdj-- ,another--,manet--was the founder of this school among modern painters1 but ,monet is always considered his most conspicuous follower4 ,monet's remarkable method of putting his colours upon canvas does not mean impressionism4 ,he is an impressionist but also ,monet--an artist with a method entirely different from that of any other4 ,he belongs to what in ,france is called the pointillistes4 ,the word means nothing more nor less than an effort to accomplish the impossible4 ,if you stand a little way from a very hot stove you may be able to see a kind of movement in the air1 a quivering of particles or molecular motion1 and this is what the pointillistes try to show in their paintings--,monet most of all4 ,the theory is that by putting little dabs of primitive colours1 close together upon canvas1 without mixing them1 just separate dabs of red1 yellow1 blue1 etc41 the effect of movement is produced4 ,needless to say1 none of them ever have produced such an effect1 but they have made such grotesque1 ugly pictures that they have attracted attention even as a humpbacked person does4 ,the first who painted thus was a ,frenchman named ,seurat1 who tried it after closely studying experiments made in light and colour by ,professor ,rood1 of ,columbia ,university4 ,after him came ,pissarro1 and then ,monet4 ,america also has such a painter1 ,childe ,hassam1 but nobody is so grotesque as ,monet4 ,he was born in ,paris but spent most of his youth in ,havre1 where he met a painter of harbours and shipping scenes called ,boudin4 ,through his influence ,monet studied out-of-door effects1 and was beginning to do fairly good work1 when he was drawn as a conscript and sent to ,algeria4 ,it is written that ,monet discovered that green1 seen under strong sunshine is not green1 but yellow2 that the shadows cast by sunlight upon snow or upon brightly lighted surfaces are not black1 but blue2 and that a white dress1 seen under the shade of trees on a bright day1 has violet or lilac tones4 ,this only means that these things have been scientifically determined1 not that the naked eye ever perceives them1 and it is for the natural1 unscientific eye that art exists4 ,none of us see the separate colours of the spectrum1 as we look about in every-day fashion upon every-day objects4 ,professor ,rood managed to produce an intelligent effect by putting separate colours on discs and whirling these round so that the colours mingled4 ,monet tried to do the same by dotting his original colours close together1 and leaving the picture to its own destruction4 ,it ought to revolve1 if the scientific idea is to be carried out4 ,nothing desirable can be made out of his pictures even when viewed from far off1 while at close range they are simply grotesque1 and photographs of them give the impression that the entire landscape is wabbling to the ground4 ,i wonder if anyone1 small or grown up1 can understand this3 ,it was indeed a higher kind of impressionism that ,monet originated1 one that reveals a vivid rendering1 not of the natural and concrete facts1 but of their influence upon the spirit when they are wrapped in the infinite diversities of that impalpable1 immaterial1 universal medium which we call light1 when the concrete loses itself in the abstract1 and what is of time and matter impinges on the eternal and the universal4 ,monet's pictures look just as that explanation of them sounds6 ,the same writer says that ,monet was greater than ,corot because he was more sensitive to colour2 but if ,monet had been as sensitive to colour as ,corot1 he could not have lived and looked at his own pictures4 ,,plate--,,haystack ,,in ,,sunshine ,the main feature of this picture is such a hay stack as never existed anywhere1 of indescribable lurid colour1 against a background of blue such as never was seen4 ,all about there are violet and rose-coloured trees1 and it is a picture that every child should know1 because he is likely never to have another such opportunity4 ,monet has made two interesting pictures of churches1 one at ,vernon1 the other at ,varangeville4 ,,xxxi ,,murillo 7,,bartolome ,,esteban7 7,pronounced ,moo-reel'oh ,bar-tol-o-may' ,a-stay'bahn7 ,andalusian ,school #afag-afhb ,pupil of ,juan del ,castillo ,the story of ,murillo has been delightfully told by ,mrs4 ,sarah ,bolton4 ,like ,velasquez1 he was born in ,seville1 a city called the glory of the ,spanish realms1 and was baptised on ,new ,year's day1 #afah1 in the ,church of the ,magdalen4 ,murillo's father paid his rent in work1 instead of in money4 ,he made a bargain with the convent who owned his house that he would keep it in repair if he might have it free of rent1 so there ,gaspar ,estban and his wife1 ,maria ,perez1 settled4 ,perez was the family name of ,murillo's mother1 who had very good connections2 one of her brothers1 ,juan del ,castillo1 being a man who encouraged all art and had an art school of his own4 ,little ,murillo therefore had encouragement from the start1 an unusual circumstance at a time when parents rarely wished to think of their sons as painters4 ,as a matter of fact1 his mother would have preferred that he should become a priest1 but she was kind and sensible1 and put no difficulties in the way of the little ,murillo doing as he wished4 ,the story goes that the ,perez family had been very rich1 but1 however it may have been1 that was not the case when the artist was born4 ,one day after his mother had gone to church1 ,murillo being left at home alone1 retouched a picture that hung upon the wall4 ,it was a picture of sacred subject--,jesus and the ,lamb4 ,he thought he could make some improvements in it1 so he painted his own hat upon the head of ,jesus and changed the lamb into a little dog4 ,his mother was a good deal shocked at what seemed to her an irreligious act1 though it showed the family genius4 ,after that the boy was found to be painting upon the walls of his schoolroom1 and making sketches upon the margins of his books1 though he did little else at school4 ,he had one sister1 ,therese1 and they were left without father or mother before the artist was eleven years old4 ,it was at that time that he received the name of ,murillo by which he is known4 ,it came about thus3 ,after the death of his parents he went to live with his mother's sister1 the ,doa ,anna ,murillo1 who had married a surgeon called ,juan ,agustin ,lagares1 and since the little artist was to live with his aunt1 he soon became known by her family name4 ,there1 in her home1 he and his sister ,therese1 were brought up1 but he was not to become a surgeon like his uncle-in-law1 but an artist like his uncle ,juan1 the teacher in ,seville4 ,that uncle took him in hand1 taught the boy to draw1 to mix colours1 to stretch his canvas1 and soon ,murillo's genius won the love of master and pupils4 ,in peace and reasonable comfort he served a nine years apprenticeship1 and painted his first important1 if not especially great1 pictures4 ,these were two ,madonnas1 one of them ,the ,story of the ,rosary4 ,st4 ,dominic had instituted the rosary2 using fifteen large and one hundred and fifty small beads upon which to keep record of the number of prayers he had said2 the large beads representing the ,paternosters and ,glorias and the small ones1 the ,aves4 ,this practical way of indicating duties helped the heedless to concentrate their attention1 and did much to increase the number of prayers offered4 ,indeed1 it is said that by this single expedient ,dominic did more to excite the devotion of the lower orders1 especially of the women1 and made more converts1 than by all his orthodoxy1 learning1 arguments1 and eloquence4 ,it was this incident in the history of the ,catholic ,church that ,murillo commemorated4 ,when the artist was twenty-two years old1 his uncle1 ,juan del ,castillo1 broke up his home and went elsewhere to live1 leaving the artist without home or means1 and with his little sister to take care of4 ,without vanity or ambition1 but with only the wish to care for his sister and to get food1 the marvellous painter took himself to the market place1 and there1 wedged in between stalls1 old clothes1 vegetables1 all sorts of wares1 like a wanderer and a gypsy1 he began his career4 ,at the weekly market--the ,feria or fair1 opposite the ,church of ,all ,saints--his brotherly1 kindly feeling for the vagabonds he daily met is shown in the treatment he gives them in his wonderful pictures4 ,during the two years that he worked in that open-air studio he had flower-girls1 muleteers1 hucksters all about him1 and he painted dozens of rough pictures which found quick sale among the patrons of the market4 ,what ,velasquez was doing in the court of ,madrid1 ,murillo was doing in the streets of ,seville2 the one painting cardinals1 kings1 and courtiers2 the other painting beggars1 gamins1 and waifs4 ,between the two1 the world has been shown the social history of ,spain as it then existed4 ,through a peculiar happening1 the ,american ,indian saw the beauties of ,murillo's work before ,europe was even conscious there was such a man4 ,in his old home1 his uncle's studio1 ,murillo had had a dear comrade1 ,moya4 ,they had not met for two years or more1 and when they did come together again ,moya told ,murillo he had been travelling1 that he had been to ,flanders with the ,spanish army1 and thence to ,london1 in both places seeing gorgeous paintings and other inspiring things4 ,he opened the eyes of ,murillo to the splendours the world contained1 and the artist became wild with desire to go and see them for himself1 but he had no money4 ,he was painting pictures in the market place of ,seville and getting so little for his hasty work that he could barely support himself and little ,therese4 ,what must he do in order to get to ,london and see the world8 ,what he did do was to buy a piece of linen1 cut it into six pieces and hide himself long enough to paint upon them saints1 flowers1 fruit and landscapes1 and then he went forth to sell them4 ,he actually sold those pictures to a ship-owner who was sending his ship to the ,west ,indies4 ,eventually they were hung upon the walls of a mission in wild1 far off ,america4 ,it is said that after this ,murillo made no little money by painting such pictures1 destined to give the ,american savage an idea of the ,christian religion4 ,one cannot but wonder if there may not be1 all unknown to us1 ,murillo pictures1 made in the market-place of ,seville nearly three hundred years ago1 hidden away in the remains of those old ,spanish missions1 even to-day4 ,such a picture would be more rare than the greatest that he ever painted4 ,after selling his six pictures ,murillo started a-foot1 not to ,london but on a terrible journey across the ,sierra ,mountains1 to ,madrid--the home of ,velasquez4 ,murillo knew that this native of ,seville had become a famous artist4 ,he was powerful and rich and at the court of ,philip ,,ii41 while ,murillo had no place to lay his head1 and besides he had left ,therese behind in ,seville in the care of friends4 ,he had no claim upon the kindness of ,velasquez but he determined to see him2 to introduce himself and possibly to gain a friend4 ,it was under these forlorn circumstances he made himself known to the great ,spanish court painter4 ,the story of their meeting is a fine one4 ,for ,murillo ,velasquez had a warm embrace1 a kind and hospitable word4 ,the stranger told ,velasquez how he had crossed the mountains on foot1 was penniless1 but could use his brush4 ,instead of jealousy and suspicion1 the young man met with nothing but the most cheerful encouragement1 found the ,velasquez home open to him1 took up his lodging there and established his workshop with nothing around him but friendship and the sympathy his nature craved4 ,from the market-place to the home of ,velasquez and the ,palace of ,philip ,,ii46 ,it was a beautiful dream to ,murillo4 ,with what splendour of colour and mastery of design he illuminated the annals of the poor6 ,coming forth from some dim chancel or palace-hall in which he had been working on a majestic ,madonna picture1 he would sketch in1 with the brush still loaded with the colours of celestial glory1 the lineaments of the beggar crouching by the wall1 or the gypsy calmly reposing in the black shadow of an archway4 ,such versatility had never before been seen west of the ,mediterranean1 and it commanded the admiration of his countrymen4 ,all his beggarly little children1 neglected and houseless1 appeared only to be full of cheer and merriment1 with soft eyes and contented faces4 ,it was a happy1 care-free1 gay1 and kindly beggardom that he painted1 with nothing in it to sadden the heart4 ,thus he lived for three years2 working in the galleries of the king1 making friends at court1 painting beautiful women1 gallant cavaliers and fascinating little beggars4 ,in the course of time1 however1 he grew restless1 and ,velasquez wished to give him letters of introduction to ,roman artists and people of quality1 advising him to go to ,rome to study the greatest art in the world4 ,this was an alluring plan to ,murillo1 but after all he longed for his own home and chose to return there rather than go to ,rome4 ,besides1 his sister ,therese was still in ,seville4 ,once more in his home1 at one stroke of his magic brush ,murillo raised himself and a monastic order from obscurity to greatness4 ,in his native city was the order of ,san ,francisco4 ,the monks had long wished to have their convent decorated in a worthy manner by some artist of repute2 but they were poor and had never been able to engage such a painter4 ,when ,murillo got back home1 he was as badly in need of work as the ,franciscans were in want of an artist4 ,the monks held a council and finally agreed upon a price which they could pay and which ,murillo could live upon4 ,then he began a wonderful set of eleven large paintings4 ,among them were many saints1 dark and rich in colouring1 and no sooner was it known that the paintings were being made than all the rich and powerful people of ,seville flocked to the convent to see the work4 ,they gathered about the young artist1 overwhelmed him with honours and praise1 and the monastery was crowded from morning till night with those who wished to study his work4 ,from that moment ,murillo's fame1 if not his fortune1 was made4 ,he married a rich and noble lady with the tremendous name of ,doa ,beatriz de ,cabrera y ,sotomayer4 ,he had fallen in love with her while painting her as an angel4 ,about that time he formed a strange partnership with a landscape painter1 who agreed to supply the backgrounds that his pictures needed1 if ,murillo would paint figures into his landscapes4 ,this plan did very well for a little time1 but it did not last long4 ,murillo painted in three distinct styles1 and these have come to be known as the warm1 the cold1 and the vaporous4 ,he painted pictures in the great cathedral of the ,escorial and the ,guardian ,angel was one of them4 ,also1 he painted ,st4 ,anthony of ,padua1 and of this picture there is one of those absurd stories meant to illustrate the perfection of art4 ,it is said that the lilies in it are so natural that the birds flew down the cathedral aisles to pluck at them4 ,many artists have painted this saint1 but ,murillo's is the best picture of all4 ,when the nephew of his first master1 ,murillo's cousin1 saw that work he said3 ,it is all over with ,castillo6 ,is it possible that ,murillo1 that servile imitator of my uncle1 can be the author of all this grace and beauty of colouring8 ,the ,duke of ,wellington offered for this picture as many gold pieces as would cover its surface of fifteen square feet4 ,this would have been about two hundred and forty thousand dollars2 but we need not imagine that ,murillo received any such sum for the work4 ,this picture has a further interesting history4 ,the canvas was cut from the frame by thieves in #ahgd1 and later it was sold to ,mr4 ,schaus1 the connoisseur and picture dealer of ,new ,york4 ,he paid #bej for it1 and at once put it into the hands of the ,spanish consul1 who restored it to the cathedral4 ,the story of the saint whom ,murillo painted is as interesting as ,murillo's own4 ,among the many wonderful things said to have happened to him was that a congregation of fishes hearing his voice as he preached beside the sea1 came to the top and lifted up their heads to listen4 ,while ,murillo was doing his work1 he was living a happy1 domestic life4 ,he had three children1 and doubtless he used them as models for his lively cherubs1 as he used his wife's face for madonnas and angels4 ,he founded an academy of painting in ,seville1 for the entrance to which a student could not qualify unless he made the following declaration3 ,praised be the most ,holy ,sacrament and the pure conception of ,our ,lady4 ,the most delightful stories are told of ,murillo's kindness and sweetness of disposition4 ,he had a slave who loved him and who1 one day while ,murillo was gone from the studio1 painted in the head of the ,virgin which the master had left incomplete4 ,when ,murillo returned and saw the excellent work he cried3 ,i am fortunate1 ,sebastian--the slave's name--,for ,i have not created only pictures but an artist6 ,this slave was set free by ,murillo and in the course of time he painted many splendid pictures which are to-day highly prized in ,seville4 ,this is a description of ,murillo's house which is still to be seen near the ,church of ,santa ,cruz3 ,the courtyard contains a marble fountain1 amidst flowering shrubs1 and is surrounded on three sides by an arcade upheld by marble pillars4 ,at the rear is a pretty garden1 shaded by cypress and citron trees1 and terminated by a wall whereon are the remains of ancient frescoes which have been attributed to the master himself4 ,the studio is on the upper floor1 and overlooks the ,moorish battlements1 commanding a beautiful view to the eastward1 over orange groves and rich corn-lands1 out to the gray highlands about ,alcala4 ,murillo's fame brought fortune to his little sister1 ,therese4 ,she married a nobleman of ,burgos1 a knight of ,santiago and judge of the royal colonial court4 ,he became the chief secretary of state for ,madrid4 ,murillo made money1 but gave almost all that he made to the poor1 though he did not make money in the service of the ,church1 as ,velasquez made it in the service of the king4 ,his work of more than twenty pictures in the ,capuchin ,church of ,seville occupied him for three years1 and in that time he did not leave the convent for a single day4 ,of all the charming stories told of this glorious artist1 one which is connected with his work in that church is the most picturesque4 ,it seems that every one within the walls loved him1 and among others a lay brother who was cook4 ,this man begged for some little personal token from ,murillo and since there was no canvas at hand1 the artist bade the cook leave the napkin which he had brought to cover his food1 and during the day he painted upon it a ,madonna and child1 so natural that one of his biographers declares the child seems about to spring from ,mary's arms4 ,this souvenir made for the cook of the ,capuchin1 convent has been reproduced again and again1 as one of the artist's greatest performances4 ,toward the close of his happy life1 he became more and more devout1 spending many hours before an altar-piece in the ,church of ,santa ,cruz where was a picture of ,the ,descent from the ,cross1 by ,pedro ,campana4 ,why do you always tarry before ',the ,descent from the ,cross8' the sacristan once asked of him4 ,i am waiting till those men have brought the body of our blessed ,lord down the ladder4 ,murillo answered4 ,his wife had died1 his daughter had become a nun1 and all that was left to him was his dear son ,gaspar1 when in his sixty-third year he began his last work1 ,the ,marriage of ,st4 ,catherine4 ,he had not finished this when he fell from the scaffolding upon which he was working1 and fatally hurt himself4 ,he died1 with his son beside him4 ,he was a much loved man1 and when he was buried1 his bier was carried by two marquises and four knights and followed by a great concourse of people4 ,he chose to be buried beneath the picture he loved so much--,the ,descent from the ,cross1 and upon his grave was laid a stone carved with his name1 a skeleton and an inscription in ,latin which means ,live as one who is about to die4 ,the church has since been destroyed1 and on its site is the ,plaza ,santa ,cruz1 but ,murillo's grave is marked by a tablet4 ,each country seems to have had at least one man of beautiful heart and mind1 to represent its art4 ,raphael in ,italy1 ,murillo in ,spain1 were types of gentle and greatly beloved men4 ,leonardo in ,italy and ,drer in ,nuremberg1 were types of forceful1 intellectual men1 highly respected and of great benefit to the world4 ,of all the painters who ever lived1 ,murillo was the one who painted little children with the most loving and fascinating touch4 ,,plate--,,the ,,immaculate ,,conception ,besides the little angels in this picture1 we have a bewildering choice among many other beauties4 ,many pictures of this subject have been painted1 and many were painted by ,murillo1 but the one presented here is the greatest of all4 ,it hangs in the ,louvre1 ,salle ,,vi4 ,mary seems to be suspended in the heavens1 not standing upon clouds4 ,under the hem of her garments is the circle of the moon1 while there is the effect of hundreds of little cherub children massed about her feet1 in a little swarm at the right1 where the shadow falls heaviest1 and still others1 half lost in the vapoury background at the left1 where the heavenly light streams upon them1 and brilliantly lights up the ,virgin's gown4 ,in this picture are all ,murillo's beloved child figures1 some carrying little streamers1 their tiny wings a-flutter and all crowding lovingly about ,mary4 ,far below this gorgeous group we can imagine the dark and weary earth lost in shadow4 ,among ,murillo's most famous paintings are3 ,the ,birth of the ,virgin1 ,two ,beggar ,boys1 ,the ,madonna of the ,rosary1 ,the ,annunciation1 ,adoration of the ,shepherds1 ,holy ,family1 ,education of ,mary1 ,the ,dice ,players1 and ,the ,vision of ,st4 ,anthony4 ,,xxxii ,,raphael 7,,sanzio7 7,pronounced ,rah'fay-el 7,sahnt'syoh77 #adhc-aeij ,umbrian1 ,florentine1 and ,roman ,schools ,pupil of ,perugino ,it was said of ,raphael that every evil humour vanished when his comrades saw him1 every low thought fled from their minds2 and this was because they felt themselves vanquished by his pleasant ways and sweet nature4 ,imagine his beautiful face1 with its sunny eyes1 reflecting no shadow of sadness or pain4 ,such a one was sure to be beloved by all4 ,the father of ,raphael was ,giovanni ,santi1 himself an able artist4 ,both he and ,raphael studied in many schools and took the best from each4 ,the son was brought up in an ,italian court1 that of ,guidobaldo of ,urbino1 where the father was a favourite poet and painter1 so that he had at least one generation of art-lovers behind him1 at a time when learning and art were much prized4 ,nothing ever entered into his life that was sad or sorrowful2 his whole existence was a triumph of beautiful achievements4 ,there were three great artists of that time1 the other two being ,michael ,angelo and ,leonardo da ,vinci1 both of whom were absolutely unlike ,raphael in their art and in their characters4 ,raphael was born on ,april #fth at ,contrada del ,monte in the ducal city of ,urbino4 ,his mother's name was ,magia ,ciarla1 and she was the daughter of an ,urbino merchant4 ,she had three children besides the great painter1 all of whom died young1 and when ,raphael was but eight years old his mother died also4 ,it is said that it was from her ,raphael inherited his beauty1 goodness1 mildness1 and genius4 ,his father's patron1 the ,duke of ,urbino1 was a fine soldier1 but he also cherished scholarship and art1 and kept at his court not less than twenty or thirty persons at work copying ,greek and ,latin manuscript which he wished to add to his library4 ,raphael had a stepmother1 ,bernardina1 the daughter of a goldsmith1 a good and forceful woman1 but not gentle like the first wife2 and when ,raphael was eleven years of age his father1 too1 died4 ,by his father's will ,raphael became the charge of his uncle ,bartolommeo1 a priest1 but the property was left to the stepmother so long as she remained unmarried4 ,almost at once the priest and the stepmother fell to quarreling over the spoils1 and thus ,raphael was left pretty much to his own devices1 but just when life began to look dark and sad for him1 his mother's brother took a hand in the situation4 ,he settled the dispute between the priest and the second wife1 and arranged that ,raphael should be placed in the studio of some great painter1 for the loving lad had already worked in his father's studio1 and had given promise of his wonderful gifts4 ,so he became the pupil of ,perugino1 a painter noted for his fine colouring and sympathetic handling of his subjects4 ,at that time1 ,italian schools were less wonderful in colouring than in other matters of technique4 ,let him become my pupil1 said ,perugino1 when ,raphael was brought to him and some of his work was exhibited2 soon he will be my master4 ,a very different attitude from that of ,ghirlandajo toward ,michael ,angelo4 ,raphael and his master became friends and worked together for nine years4 ,his first work was not conceived until ,raphael was seventeen4 ,it was to be a surprise to his master who had gone to ,florence4 ,a banner was wanted for the ,church of ,s4 ,trinita at ,citta di ,castello1 and ,raphael undertook it1 painting the ,trinity1 on one canvas and the ,creation of ,man on another4 ,then he painted the ,crucifixion1 which was bought by ,cardinal ,fesch1 who lived in ,rome4 ,that painting is now in a collection of the ,earl of ,dudley4 ,it was sold away from ,rome in #ahde1 for twelve thousand dollars--or a little more4 ,no one will deny that this is an unusual sum for an artist's first work1 but about the same time he did a much more wonderful thing4 ,he painted a little picture1 six and three-quarter inches square4 ,it was of the ,virgin walking in the springtime1 before the leaves had appeared upon the trees1 and with snow-capped mountains behind her4 ,she holds the infant ,jesus in her arms while she reads from a small book1 and the little child looks upon the page with her4 ,this six inches of beauty sold to the ,emperor of ,russia1 in #ahga1 for sixty thousand dollars4 ,before ,raphael was twenty-one1 he had left his master's studio and had gone into the splendid world of ,rome1 where ,angelo was straining at his bonds4 ,but how differently each accepted his life6 ,the gentle ,raphael1 who took the best of the ideas of all great painters1 and gave to them his own exquisite characteristics1 was beloved of all1 shed light upon art and friends alike4 ,to such a one all life was joyous4 ,michael ,angelo1 trying ever to do the impossible1 betraying his hatred of limitations in all that he did1 doing always that which aroused horror1 distress1 longing1 elemental feelings1 in those who studied his wonderful work1 and giving hope and satisfaction and peace to none--to such as he life must ever have been hateful and painful4 ,these men lived at the same time1 among the same people4 ,one of ,raphael's greatest pictures came into the possession of a poor widow1 who being hard pressed by poverty1 sold it to a bookseller for twelve scudi4 ,in time it was bought from the bookseller by ,grand ,duke ,ferdinand ,,iii4 of ,tuscany1 who prayed before it night and morning1 taking it with him on his travels4 ,that picture is now in the ,pitti ,palace at ,florence and it is called the ,madonna del ,granduca4 ,the ,berlin ,museum purchased a ,raphael ,madonna for #cd1jjj which was painted about the same time as these others1 but after a little the artist left ,florence where he had been studying the methods of ,leonardo and ,angelo and returned to ,urbino1 the home he loved1 where his conduct was such that all the world seems to have become his lover4 ,it is written that he was the only very distinguished man of whom we read1 who lived and died without an enemy or detractor6 ,no better can ever be said of any one4 ,while he dwelt in ,perugia and ,urbino he had painted the ,ansidei ,madonna1 so called because that was the name of the family for which it was painted4 ,that ,madonna was sold in #ahhd to the ,national ,gallery1 by the ,duke of ,marlborough for #cej1jjj4 ,a ,madonna on a round plaque-like canvas1 #db-c_/d inches in diameter1 was bought by the ,duke of ,bridgewater for #fj1jjj4 ,it is the ,holy ,family under a ,palm ,tree1 painted originally for a friend1 ,taddeo ,taddei1 who was a ,florentine scholar4 ,many of the pictures which after many vicissitudes have landed far from home and been bought for fabulous sums were painted for love of some friend1 or were paid for by modest sums at the time the artist received the commissions4 ,lord ,ellesmere in ,london now owns the ,holy ,family under a ,palm ,tree4 ,it is said of ,raphael that whenever another painter1 known to him or not1 requested any design or assistance of any kind at his hands1 he would invariably leave his work to perform the service4 ,he continually kept a large number of artists employed1 all of whom he assisted and instructed with an affection which was rather that of a father to his children than merely of an artist to artists4 ,from this it followed that he was never seen to go to court1 except surrounded and accompanied1 as he left his house1 by some fifty painters1 all men of ability and distinction1 who attended him1 thus to give evidence of the honour in which they held him4 ,he did not1 in short1 live the life of a painter1 but that of a prince4 ,there is something wonderfully inspiring about such a life4 ,we read of emperors and the homage paid to them2 of the esteem in which men who accomplish deeds of universal value are held1 but nowhere do we behold the power of a beautiful and exquisite personality and character1 allied with a single art1 so impressively exhibited4 ,he urged nothing1 yet won all things by the force of his loving and sympathetic mind4 ,how is it1 dear ,cesare that we live in such good friendship1 but that in the art of painting we show no deference to each other8 he asked of ,cesare da ,sesto1 who was ,da ,vinci's greatest pupil4 ,in discussing the great ones of the earth1 ,herman ,grimm1 son of the collector of fairy tales1 says3 ,can we mention a violent act of ,raphael's1 ,goethe's or ,shakespeare's8 ,no1 it is restful only to recall these wonderful men4 ,one of ,raphael's most beautiful ,virgins was modeled from a beautiful flower-girl whom he loved1 ,la ,belle ,jardinire4 ,raphael as well as ,michael ,angelo was summoned by ,pope ,julius ,,ii41 but how different were the two occasions6 ,michael ,angelo had stood with dogged1 gloomy self-assertiveness before the pope1 head covered1 knee unbent4 ,uncompromising1 while yet no injury had been done him1 resentful before he had received a single cause for resentment1 the attitude was typical of his art and his unhappy life4 ,when ,raphael appeared1 his bent knee1 his chestnut locks falling upon his shoulders1 the pope exclaimed3 ',he is an innocent angel4 ,i will give him ,cardinal ,bembo for a teacher1 and he shall fill my walls with historical pictures4' ,the artist's behaviour was no sign of servility1 but the simple recognition of forms and customs which the people themselves had made and by which they had decided they should graciously be bound4 ,the attitude of ,angelo was not heroic but vulgar2 that of ,raphael not servile1 but in good taste1 showing a reasonable mind4 ,pope ,julius had summoned ,raphael for a special reason4 ,alexander ,,vi41 his predecessor in the ,vatican1 had been a depraved man4 ,the fair and virile ,julius had a healthy sentiment against occupying rooms which must continually remind him of the notorious ,alexander's mode of life4 ,some one suggested that he have all the portraits of the former pope removed1 but ,julius declared3 ,even if the portraits were destroyed1 the walls themselves would remind me of that ,simoniac1 that ,jew6 ,the word ',jew' was then execrated by all ,christians1 for the world was not yet ,christian enough to know better4 ,raphael was summoned to decorate the ,vatican1 that ,julius might have a place which reminded him not at all of ,alexander4 ,it is said that when ,raphael had completed one of his masterpieces the pope threw himself upon the ground and cried1 ,i thank ,thee1 ,god1 that ,thou hast sent me so great a painter6 ,while at work upon his first fresco at the ,vatican--,la ,disputa1 the dispute over the ,holy ,sacrament--,raphael met a woman with whom he fell deeply in love4 ,her father was a soda manufacturer and her name was ,margherita4 ,missirini relates this incident in ,raphael's career4 ,she lived on the other side of the ,tiber4 ,a small house1 ,no4 #bj1 in the street of ,santa ,dorothea1 the windows of which are decorated with a pretty frame work of earthenware1 is pointed out as the house where she was born4 ,the beautiful girl was very frequently in a little garden adjoining the house1 where1 the wall not being very high1 it was easy to see her from the outside4 ,so the young men1 especially artists--always passionate admirers of beauty--did not fail to come and look at her1 by climbing up above the wall4 ,raphael is said to have seen her for the first time as she was bathing her pretty feet in a little fountain in the garden4 ,struck by her perfect beauty1 he fell deeply in love with her1 and after having made acquaintance with her1 and discovered that her mind was as beautiful as her body1 he became so much attached as to be unable to live without her4 ,she is spoken of to-day as the ,fornarina1 because at first she was supposed to have been the daughter of a baker 7fornajo74 ,raphael made many rough studies for his picture ,la ,disputa1 and upon them he left three sonnets1 written to the woman so dear to him4 ,these sonnets have been translated by the librarian of l',ecole ,nationale des ,beaux-,arts1 as follows3 ,love1 thou hast bound me with the light of two eyes which torment me1 with a face like snow and roses1 with sweet words and tender manners4 ,so great is my ardour that no river or sea could extinguish my fire4 ,but ,i do not complain1 for my ardour makes me happy4444 ,how sweet was the chain1 how light the yoke of her white arms about my neck4 ,when these bonds were loosed1 ,i felt a mortal grief4 ,i will say no more2 a great joy kills1 and1 though my thoughts turn to thee1 ,i will keep silence4 ,although he had been a man of many loves1 ,raphael must have found in the manufacturer's daughter his best love1 because he remained faithful and devoted to her for the twelve years of life that were left to him4 ,it was said some years later1 while he was engaged upon a commission for a rich banker1 that ,raphael was so much occupied with the love that he bore to the lady of his choice that he could not give sufficient attention to his work4 ,agostino 7the banker7 therefore1 falling at length into despair of seeing it finished1 made so many efforts by means of friends and by his own care that after much difficulty he at length prevailed on the lady to take up her abode in his house1 where she was accordingly installed1 in apartments near those which ,raphael was painting2 ,in this manner the work was ultimately brought to a conclusion4 ,raphael painted this beautiful lady-love many times1 and in a picture in which she wears a bracelet he has placed his name upon the ornament4 ,after this time he painted the ,madonna della ,casa d',alba1 which the ,duchess d',alba gave to her physician for curing her of a grave disorder4 ,she died soon afterward1 and the physician was arrested on the charge of having poisoned her4 ,in course of time the picture was purchased for #gj1jjj by the ,russian ,emperor1 and it is now in ,the ,hermitage1 ,st4 ,petersburg4 ,a writer telling of that time1 relates the following anecdote3 ,raphael of ,urbino had painted for ,agostino ,chigi 7the rich banker already mentioned7 at ,santa ,maria della ,pace1 some prophets and sibyls1 on which he had received an advance of five hundred scudi4 ,one day he demanded of ,agostino's cashier 7,giulio ,borghesi7 the remainder of the sum at which he estimated his work4 ,the cashier1 being astounded at this demand1 and thinking that the sum already paid was sufficient1 did not reply4 ',cause the work to be estimated by a judge of painting1' replied ,raphael1 'and you will see how moderate my demand is4' ,giulio ,borghesi thought of ,michael ,angelo for this valuation1 and begged him to go to the church and estimate the figures of ,raphael4 ,possibly he imagined that self-love1 rivalry1 and jealousy would lead the ,florentine to lower the price of the pictures4 ,michael ,angelo went1 accompanied by the cashier1 to ,santa ,maria della ,pace1 and1 as he was contemplating the fresco without uttering a word1 ,borghesi questioned him4 ',that head1' replied ,michael ,angelo1 pointing to one of the sibyls1 'that head is worth a hundred scudi4' 444 'and the others8' asked the cashier4 ',the others are not less4' ,someone who witnessed this scene related it to ,chigi4 ,he heard every particular and1 offering in addition to the five hundred scudi for five heads a hundred scudi to be paid for each of the others1 he said to his cashier1 'go and give that to ,raphael in payment for his heads1 and behave very politely to him1 so that he may be satisfied2 for if he insists on my paying also for the drapery1 we should probably be ruined6' ,by the time ,raphael was thirty-one he was a rich man1 and had built himself a beautiful house near the ,vatican1 on the ,via di ,borgo ,nuova4 ,naught remains of that dwelling except an angle of the right basement1 which has been made a part of the ,accoramboni ,palace4 ,his friends wished him above all things to marry1 but he was still true to ,margherita though he had become engaged to the daughter of his nephew4 ,he put the marriage off year after year1 till finally the lady he was to have married died1 and was buried in ,raphael's chapel in the ,pantheon4 ,margherita was with him when he died1 and it was to her that he left much of his wealth4 ,in the time of ,raphael excavations were being made about ,rome1 and many beautiful statues uncovered1 and he was charged with the supervision of this work in order that no art treasure should be lost or overlooked4 ,the pope decreed that if the excavators failed to acquaint ,raphael with every stone and tablet that should he unearthed1 they should be fined from one to three hundred gold crowns4 ,raphael had his many paintings copied under his own eye and engraved1 and then distributed broadcast1 so that not only men of great wealth but the common people might study them4 ,henry ,,viii4 invited him to visit ,england1 and become court painter1 and ,francis ,i4 wished him to become the court painter of ,france4 ,he loved history1 and wished to write certain historical works4 ,he loved poetry and wrote it4 ,he loved philosophy and lived it--the philosophy of generous feeling and kindly thought for all the world4 ,he kept poor artists in his own home and provided for them4 ,raphael died on ,good ,friday night1 ,april #fth1 in his thirty-seventh year1 and all ,rome wept4 ,he lay in state in his beautiful home1 with his unfinished picture of the ,transfiguration1 as background for his catafalque4 ,that painting with its colours still wet1 was carried in the procession to his burial place in the ,pantheon4 ,when his death was announced1 the pope1 ,leo ,x41 wept and cried ,ora pro nobis6 while the ,ambassador from ,mantua wrote home that nothing is talked of here but the loss of the man who at the close of his six-and-thirtieth year has now ended his first life2 his second1 that of his posthumous fame1 independent of death and transitory things1 through his works1 and in what the learned will write in his praise1 must continue forever4 ,raphael painted two hundred and eighty-seven pictures in his thirty-seven years of life4 ,,plate--,,the ,,sistine ,,madonna ,it is said that the ,sistine ,madonna1 while painted from an ,italian model--doubtless the lady whom ,raphael so dearly loved--has universal characteristics1 so that she may be understood by everyone4 ,he lived only three years after painting this picture and it was the last ,holy ,family painted by him4 ,the ,madonna stands upon a curve of the earth1 which is scarcely to be seen1 and looming mistily in front of her is a mass of white vaporous clouds4 ,on either side are figures1 ,st4 ,sixtus 7for whom the picture was named7 and ,st4 ,barbara4 ,beside ,st4 ,sixtus we see a crown or tiara2 and the little tower at ,st4 ,barbara's side is a part of her story4 ,barbara was the daughter of an ,eastern nobleman who feared that her great beauty might lead to her being carried off2 therefore he caused her to be shut up in a great tower4 ,while thus imprisoned ,barbara became a ,christian through the influence of a holy man1 and she begged her father to make three windows in her gloomy tower3 one1 to let the light of the ,father stream upon her1 another to admit the light of the ,son1 and the third that she might bathe in the light of the ,holy ,ghost4 ,both ,st4 ,barbara and ,st4 ,sixtus were martyrs for their faith4 ,this ,madonna is painted as if enclosed by green velvet curtains1 which have been drawn aside1 letting the golden light of the picture blaze upon the one who looks2 then upon a little ledge below1 looking out from the heavens1 are two little cherubs--known to all the world4 ,they look wistful1 wise1 roguish1 and beautiful1 with fat little arms resting comfortably upon the ledge4 ,raphael is said to have found his models for these little angels in the street1 leaning wistfully upon the ledge of a baker's window1 looking at the good things to eat1 which were within4 ,raphael took them1 put wings to them1 placed them at the feet of ,mary1 and made two little images which have brought smiles and tears to a multitude of people4 ,the ,sistine ,madonna hangs alone in a room in the ,dresden ,gallery4 ,among ,raphael's greatest works are3 ,the ,madonna della ,sedia 7of the chair71 ,la ,belle ,jardinire1 ,the ,school of ,athens1 ,saint ,cecilia1 ,the ,transfiguration1 ,death of ,ananias 7a cartoon for a series of tapestries71 ,madonna del ,pesce1 ,la ,disputa1 ,the ,marriage of ,mary and ,joseph1 ,st4 ,george ,slaying the ,dragon1 ,st4 ,michael ,attacking ,satan and the ,coronation of the ,virgin4 ,,xxxiii ,,rembrandt 7,,van ,,rijn7 ,dutch ,school #afjf-affi ,pupil of ,van ,swanenburch ,here are a few of the titles that have been given to the greatest ,dutch painter that ever lived3 ,the ,shakespeare of ,painting2 the ,prince of ,etchers2 the ,king of ,shadows2 the ,painter of ,painters4 ,muther calls him a hero from cloudland1 and not only does he alone wear these titles of greatness1 but he alone in his family had the name of ,rembrandt4 ,one writer has said that the great painter was born in a windmill1 but this is not true4 ,he was born in ,leyden for certain1 though not a great deal is known about his youth2 and his father was a miller1 his mother a baker's daughter4 ,when the ,pilgrim ,fathers1 who had sought safety in ,leyden1 were starting for ,america1 where they were going to oppress others as they had been oppressed1 ,rembrandt was just beginning his apprenticeship in art4 ,he was born at ,no4 #c1 ,weddesteg1 a house on the rampart looking out upon the ,rhine whose two arms meet there4 ,in front of it whirled the great arms of his father's windmill1 though he was not born in it2 and of all the women ,rembrandt ever knew1 it is not likely that he ever admired or loved one as passionately as he admired and loved his mother4 ,he painted and etched her again and again1 with a touch so tender that his deepest emotion is placed before us4 ,rembrandt had brothers and sisters--five3 ,adriaen1 ,gerrit1 ,machteld1 ,cornelis1 and ,willem4 ,of these1 ,adriaen became a miller like his father1 and presumably the old historic windmill fell to him2 ,willem became a baker1 but ,rembrandt1 the fourth child1 it was determined should be a learned man1 and belong to one of the honoured professions1 such as the law4 ,so he was sent to the ,leyden ,academy1 but here again we have an artist who decided he knew enough of all else but art before he was twelve years old4 ,he found himself at that age in the studio of his first art-master1 ,jacob van ,swanenburch1 a relative1 who had studied art in ,italy1 and was a good master for the lad2 but ,rembrandt became so brilliant a painter in three years' time1 that he was sent to ,amsterdam to learn of abler men4 ,the lad could not in those days get far from his adored mother2 so he stayed only a little time1 before he went back to ,leyden where she was4 ,there was his heart1 and1 painting or no painting1 he must be near it4 ,until the past thirty years no one has seemed to know a great deal of ,rembrandt's early history1 but much was written of him as a boorish1 gross1 vulgar fellow4 ,those stories were false4 ,he was a devoted son1 handsome1 studious in art1 and earnest in all that he did1 and after he had made his first notable painting he was compelled by the demands of his work to move to ,amsterdam for good4 ,he hired an apartment over a shop on the ,quay ,bloemgracht2 it is probable that his sister went with him to keep his house1 and that it is her face repeated so frequently in the many pictures which he painted at that time4 ,this does not suggest coarse doings or a careless life1 but permits us to imagine a quiet1 sober1 unselfish existence for the young bachelor at that time4 ,soon1 however1 he fell in love4 ,he saw one other woman to place in his heart and memory beside his mother4 ,his wife was ,saskia van ,ulenburg1 the daughter of an aristocrat1 refined and rich4 ,he met her through her cousin1 an art dealer1 who had ordered ,rembrandt to paint a portrait of his dainty cousin4 ,rembrandt could have been nothing but what was delightful and good1 since he was loved by so charming a girl as ,saskia4 ,he painted her sitting upon his knee1 and used her as model in many pictures4 ,first1 last1 and always he loved her tenderly4 ,in one portrait she is dressed in red and gold-embroidered velvets2 the mantle she wore he had brought from ,leyden4 ,in another picture she is at her toilet1 having her hair arranged2 again she is painted in a great red velvet hat1 and then as a ,jewish bride1 wearing pearls1 and holding a shepherd's staff in her hand4 ,again1 ,rembrandt painted himself as a giant at the feet of a dainty woman1 and in every way his work showed his love for her4 ,after he married her1 in ,june #afcd1 he painted the picture1 ,samson's ,wedding1 ,saskia1 dainty and serene1 sitting like a princess in a circle of her relatives1 he himself appearing as a crude plebeian1 whose strange jokes frighten more than they amuse the distinguished company4 444 ,the early years of his marriage were spent in joy and revelry4 ,surrounded by calculating business men who kept a tight grasp on their money bags1 he assumed the rle of an artist scattering money with a free hand2 surrounded by small townsmen most proper in demeanour1 he revealed himself as the bold lasquenet1 frightening them by his cavalier manners4 ,he brought together all manner of ,oriental arms1 ancient fabrics1 and gleaming jewellery2 and his house became one of the sights of ,amsterdam4 ,his existence reads like a fairy tale4 ,it is said that ,saskia strutted about decked in gold and diamonds1 till her relatives shook their heads in alarm and amazement at such wild goings on4 ,before he married ,saskia he had painted a remarkable picture1 named the ,school of ,anatomy4 ,it represents a great anatomist1 the friend of ,rembrandt--,nicholaus ,tulp1--and a group of physicians who were members of the ,guild of ,surgeons of ,amsterdam4 ,it is so wonderful a picture that even the dead man1 who is being used as a subject by the anatomist1 does not too greatly disturb us as we look upon him4 ,the thoughtful1 interested faces of the surgeons are so strong that we half lose ourselves in their feeling1 and forget to start in repulsion at sight of the dead body4 ,a fine description of this painting can be found in ,sarah ,k4 ,bolton's book ,famous ,artists and it includes the description given by another excellent authority4 ,the artist was twenty-six years old when he painted the ,school of ,anatomy4 ,this picture is now at ,the ,hague and two hundred years after it was painted the ,dutch ,government gave #cj1jjj florins for it4 ,rembrandt painted a good many ,samsons first and last--himself evidently being the strong man2 and the pictures beyond doubt express his own mood and his idea of his relation to things4 ,after a little son was born to the artist1 he painted still another ,samson--this time menacing his father-in-law but as the artist had named his son after his father-in-law1--,rombertus--we cannot believe that there was any menace in the heart of ,rembrandt--,samson4 ,soon his son died1 and ,rembrandt thought he should never again know happiness1 or that the world could hold a greater grief1 but one day he was to learn otherwise4 ,a little girl was born to the artist1 named ,cornelia1 after ,rembrandt's mother1 and he was again very happy4 ,meantime his brothers and sisters had died1 and there came some trouble over ,rembrandt's inheritance1 but what angered him most of all1 was that ,saskia's relatives said she had squandered her heritage in ornaments and ostentation4 ,this made ,rembrandt wild with rage1 and he sued her slanderers1 for he himself had done the squandering1 buying every beautiful thing he could find or pay for1 to deck ,saskia in1 and he meant to go on doing so4 ,at this time he painted a picture of ,the ,feast of ,ahasuerus 7or the ,wedding of ,samson7 and he placed ,saskia in the middle of the table to represent ,esther or ,delilah as the case might be1 dressed in a way to horrify her critical relatives1 for she looked like a veritable princess laden with gorgeous jewels4 ,one of his pictures he wished to have hung in a strong light1 for he said3 ,pictures are not made to be smelt4 ,the odour of the colours is unhealthy4 ,the first baby girl died and on the birth of another daughter she too was named ,cornelia1 but that baby girl also died1 and next came a son1 ,titus1 named for ,saskia's sister1 ,titia1 and then ,saskia died4 ,thus ,rembrandt knew the deepest sorrow of his life4 ,he painted her portrait once again from memory1 and that picture is quite unlike the others for it is no longer full of glowing life1 but daintier1 suggestive of a more spiritual life1 as if she were growing fragile4 ,it is written that from this time1 while he did much remarkable work1 he seemed like a man on a mountain top1 looking on one side to sweet meadows filled with flowers and sunlight1 and on the other to a desolate landscape over which a clouded sun is setting4 ,with ,saskia died the best of ,rembrandt4 ,he made only one more portrait of himself--before this he had made many2 and in it he makes himself appear a stern and fateful man4 ,it was after ,saskia's death that he painted the ,night ,watch1 or more properly1 ,the ,sortie4 ,rembrandt's home1 where he and ,saskia were so happy1 is still to be seen on a quay of the ,river ,amstel4 ,it is a house of brick and cut stone1 four stories high4 ,the vestibule used to have a flag-stone pavement covered with fir-wood4 ,there were also black-cushioned1 ,spanish chairs for those who wait1 and all about were twenty-four busts and paintings4 ,there was an ante-chamber1 very large1 with seven ,spanish chairs covered with green velvet1 and a walnut table covered with a ,tournay cloth2 there was a mirror with an ebony frame1 and near by a marble wine-cooler4 ,upon the wall of this salon were thirty-nine pictures and most of them had beautiful frames4 ,there were religious scenes1 landscapes1 architectural sketches1 works of ,pinas1 ,brouwer1 ,lucas van ,leyden1 and other ,dutch masters2 sixteen pictures by ,rembrandt2 and costly paintings by ,palma ,vecchio1 ,bassano1 and ,raphael4 ,in the next room was a real art museum1 containing splendid pictures1 an oaken press and other things which suggest that this was the workroom where ,rembrandt's etchings were made and printed4 ,in the drawing-room was a huge mirror1 a great oaken table covered with a rich embroidered cloth1 six chairs with blue coverings1 a bed with blue hangings1 a cedar wardrobe1 and a chest of the same wood4 ,the walls were literally covered with pictures1 among which was a ,raphael4 ,above was a sort of museum and ,rembrandt's studio4 ,there was rare glass from ,venice1 busts1 sketches1 paintings1 cloths1 weapons1 armour1 plants1 stuffed birds and shells1 fans1 and books and globes4 ,in short1 this was a most wonderful house and no other interior can we reconstruct as we can this1 because no other such detailed inventory can be found of a great man's effects as that from which these notes are taken3 a legal inventory made in #afef1 long after ,saskia had died and possibly at a time when ,rembrandt wished to close his doors forever and forget the scenes in which he had been so happy4 ,holland being truly a ,protestant country1 its artists have given us no great ,madonna pictures1 although they painted loving1 happy ,dutch mothers and little babes1 but on the whole their subjects are quite different from those of the painters of ,italy1 ,france1 and ,spain4 ,rembrandt's studio was different from any other4 ,when he first began to work independently and to have pupils1 he fitted it up with many little cells1 properly lighted1 so that each student might work alone1 as he knew far better work could be done in that way4 ,it is said that his pictures of beggars would1 by themselves1 fill a gallery4 ,he had a kindly sympathy for the poor and unfortunate1 and tramps knew this1 so that they swarmed about his studio doors1 trying to get sittings4 ,there is a story which doubtless had for its germ a joke regarding the slowness of an errand boy in a friend's household1 but which at the same time shows us how rapidly ,rembrandt worked4 ,the artist had been carried off to the country to lunch with his friend ,jan ,six1 and as they sat down at the table1 ,six discovered there was no mustard4 ,he sent his boy1 ,hans1 for it1 and as the boy went out1 ,rembrandt wagered that he could make an etching before the boy got back4 ,six took the wager1 and the artist pulled a copper plate from his pocket--he always carried one--and on its waxed surface began to etch the landscape before him4 ,just as ,hans returned1 ,rembrandt gleefully handed ,six the completed picture4 ,he was a great portrait painter1 but he loved certain effects of shadow so well that he often sacrificed his subject's good looks to his artistic purpose1 and very naturally his sitters became displeased1 so that in time he had fewer commissions than if he had been entirely accommodating4 ,his meals in working time were very simple1 often just bread and cheese1 eaten while sitting at his easel1 and after ,saskia died he became more and more careless of all domestic details4 ,rembrandt finally married again1 the second time choosing his housekeeper1 a good and helpful woman1 who was properly bringing up his little son1 and making life better ordered for the artist1 but he had grown poor by this time for he was never a very good business man4 ,his beautiful house was at last sold to a rich shoemaker4 ,every picture latterly reflected his condition and mood4 ,he chose subjects in which he imagined himself always to be the actor1 and when his second wife died he painted a picture of ,youth ,surprised by ,death2 he had not long to live4 ,he became more and more melancholy2 and sleeping by day1 would wander about the country at night1 disconsolate and sad4 ,finally1 when he died1 an inventory of his effects1 showed him to be possessed of only a few old woollen clothes and his brushes ,the miracle in ,rembrandt's painting is the deep1 impenetrable shadow1 in which nevertheless one can see form and outline1 punctuated with wonderful explosions of light4 ,nothing like it has ever been seen4 ,it is the most dramatic work in the world1 and the most powerful in its effect4 ,other men have painted light and colour2 ,rembrandt makes gloom and shadow living things4 ,this miracle-worker's funeral cost ten dollars2 he died in ,amsterdam and was buried in the ,wester ,kirk4 ,,plate--,,the ,,sortie ,this picture is generally known as ,the ,night ,watch1 but it is really ,the ,sortie of a company of musketeers under the command of a standard bearer4 ,captain ,frans ,banning-,cock and all his company were to pay ,rembrandt for painting their portraits in a group and in action1 and they expected to see themselves in heroic and picturesque dress1 in the full blaze of day1 but ,rembrandt had found a magnificent subject for his wonderful shadows1 and the artist was not going to sacrifice it to the vanity of the archers4 ,this picture was called the ,patrouille de ,nuit1 by the ,french and the ,night ,watch1 by ,sir ,joshua ,reynolds because upon its discovery the picture was so dimmed and defaced by time that it was almost indistinguishable and it looked quite like a night scene4 ,after it was cleaned up1 it was discovered to represent broad day--a party of archers stepping from a gloomy courtyard into the blinding sunlight4 ,how this different light is painted1 which encircles the figures1 here sunny1 there gloomy6444 ,rembrandt runs through the entire range of his colours1 from the lightest yellow through all shades of light and dark red to the gloomiest black4 ,one writer describes it thus3 ,it is more than a picture2 it is a spectacle1 and an amazing one444 ,a great crowd of human figures1 a great light1 a great darkness--at the first glance this is what strikes you1 and for a moment you know not where to fix your eyes in order to comprehend that grand and splendid confusion444 ,there are officers1 halberdiers1 boys running1 arquebusiers loading and firing1 youths beating drums1 people bowing talking1 calling out1 gesticulating--all dressed in different costumes1 with round hats1 plumes1 casques1 morions1 iron corgets1 linen collars1 doublets embroidered with gold1 great boots1 stockings of all colours1 arms of every form2 and all this tumultuous and glittering throng start out from the dark background of the picture and advance toward the spectator4 ,the two first personages are ,frans ,banning-,cock1 ,lord of ,furmerland and ,ilpendam1 captain of the company1 and his lieutenant1 ,willem van ,ruijtenberg1 ,lord of ,vlaardingen1 the two marching side by side4 ,the only figures that are in full light are this lieutenant1 dressed in a doublet of buffalo-hide1 with gold ornaments1 scarf1 gorget1 and white plume1 with high boots1 and a girl who comes behind1 with blond hair ornamented with pearls1 and a yellow satin dress2 all the other figures are in deep shadow1 excepting the heads1 which are illuminated4 ,by what light8 ,here is the enigma4 ,is it the light of the sun8 or of the moon8 or of the torches8 ,there are gleams of gold and silver1 moonlight coloured reflections1 fiery lights2 personages which1 like the girl with blond tresses1 seem to shine by a light of their own4444 ,the more you look at it1 the more it is alive and glowing2 and1 even seen only at a glance1 it remains forever in the memory1 with all its mystery and splendour1 like a stupendous vision4 ,charles ,blanc has said3 ,to tell the truth1 this is only a dream of night1 and no one can decide what the light is that falls on the groups of figures4 ,it is neither the light of the sun or of the moon1 nor does it come from the torches2 it is rather the light from the genius of ,rembrandt4 ,this wonderful picture was painted in #afdb and many of the archer's guild who gave ,rembrandt the commission would not pay their share because their faces were not plainly seen4 ,this picture which alone was enough to make him immortal1 was the very last commission that any of the guilds were willing to give the artist1 because he would not make their portraits beautiful or fine looking to the disadvantage of the whole picture4 ,this work hangs in the ,rijks ,museum in ,amsterdam4 ,he painted more than six hundred and twenty-five pictures and some of them are3 ,the ,anatomy ,lesson1 ,the ,syndics of the ,cloth ,hall1 ,the ,descent from the ,cross1 ,samson ,threatening ,his ,step ,father1 ,the ,money ,changer1 ,holy ,family1 ,the ,presentation of ,christ in the ,temple1 ,the ,marriage of ,samson1 ,the ,rape of ,ganymede1 ,susanna and the ,elders1 ,manoah's ,sacrifice1 ,the ,storm1 ,the ,good ,samaritan1 ,pilate ,washing ,his ,hands1 ,ecce ,home1 and pictures of his wife1 ,saskia4 ,,xxxiv ,,sir ,,joshua ,,reynolds ,english ,school #agbc-agib ,pupil of ,thomas ,hudson ,when ,reynolds was little ,josh1 instead of ,sir ,joshua he grew tired in church one day1 and sketched upon the nail of his thumb the portrait of the ,rev4 ,mr4 ,smart who was preaching4 ,after service he ran to a boat-house near1 and with ship's paint1 upon an old piece of sail1 he painted in full and flowing colours that reverend gentleman's portrait4 ,after that there was not the least possible excuse for his father to deny him the right to become an artist4 ,the father himself was a clergyman with a good education1 and he had meant that his son should also be well educated and become a physician2 but a lad who at eight years of age can draw the ,plympton school house--he was born at ,plympton ,earl1 in ,devonshire--has a right to choose his own profession4 ,at twenty-three years of age ,sir ,joshua was painting the portraits of great folk1 and being well paid for it1 as well as lavishly praised4 ,his first real sorrow came at a ,christmas time when he was summoned home from ,london where he was working1 to his father's deathbed4 ,after that the artist turned his thoughts toward ,italy1 but where was the money to come from8 ,earning a living did not include travelling expenses1 but a good friend1 ,captain ,keppel1 was going out to treat with the ,dey of ,algiers about his piracies1 and learning that the artist wished to go to ,italy he invited him to go with him on his own ship1 the ,centurion4 ,so while the captain was discussing pirates with the dey1 ,sir ,joshua stopped with the ,governor of ,minorca and painted many of the people of that locality4 ,thence on to ,rome6 ,strange to say1 ,raphael's pictures disappointed the ,english artist1 and he said so2 but ,michael ,angelo was to ,reynolds the most wonderful of painters1 and he said that his pictures influenced him all the rest of his life4 ,he wished his name to be the last upon his lips1 and while that was not so1 yet it was the last he pronounced to his fellow ,academicians in his final address4 ,it was in ,italy that a distressing misfortune came upon ,sir ,joshua4 ,he meant to learn all that a man could learn in a given time of the art treasures there1 and while he was working in a draughty corridor of the ,vatican1 he caught a severe cold which rendered him deaf4 ,he continued deaf till the end of his life and had to use an ear-trumpet when people talked with him4 ,when he got back to ,england1 ,hudson1 his old master1 said discouragingly3 ,reynolds1 you don't paint as well as when you left ,england4 ,on the whole his reception at home1 after his long absence1 was not all that he could have wished1 but he took a place in ,leicester ,square1 settled down to live there for the rest of his life1 and went at painting in earnest4 ,although artists criticised him more or less after his return1 the public appreciated him and very soon orders for portraits began to pour in upon him1 and the flow of wealth never ceased so long as he lived4 ,it was said that all the fashionables came to him that did not go to ,gainsborough1 but those who were partial to ,sir ,joshua declared that all who could not go to him went to ,gainsborough4 ,the two great artists controlled the art world in their time1 dividing honours about equally4 ,it was said that all those women and men sat to ,sir ,joshua for portraits who wished to be transmitted as angels444 and who wished to appear as heroes or philosophers4 ,sir ,joshua was a charming man1 generous in feeling--as ,gainsborough was not--and his closest friend was ,dr4 ,johnson1 the most different man from the artist imaginable1 but ,reynolds's art and ,johnson's philosophy made a fine combination1 each giving the other great pleasure4 ,besides ,johnson1 his friends were ,goldsmith1 ,garrick1 ,bishop ,percy1 and other famous men of the time4 ,these and others formed the ,literary ,club at ,sir ,joshua's suggestion4 ,about that time there was the first public exhibition of the work of ,english artists1 and ,sir ,benjamin ,west and ,sir ,joshua ,reynolds built the ,royal ,academy for that first exhibition1 with the help of ,king ,george's patronage4 ,joshua ,reynolds was knighted when he was made the first president of that great body4 ,soon after the ,academy was established1 ,reynolds began a series of discourses1 which in time became famous for their splendid literary quality1 and some people1 knowing his close friendship with ,burke and ,dr4 ,johnson1 declared that the artist got one of them to write his discourses for him4 ,this threw ,johnson and ,burke into a fury of resentment for their friend1 and the doctor declared indignantly that ,sir ,joshua would as soon get me to paint for him as to write for him6 ,burke denied the story no less emphatically4 ,besides these speeches1 which were a great advantage to the members of the ,academy1 ,sir ,joshua instituted the annual banquet to the members1 and ,king ,george--who just before had given the commission of court painter to one less talented than ,sir ,joshua--bade him paint his portrait and the queen's1 to hang in the ,academy4 ,this was a great thing for the new society and advanced its fortunes very much4 ,barry and ,gainsborough were both churlish enough to envy ,sir ,joshua and to quarrel with his good feeling for them1 but both men had the grace to be sorry for behaviour that had no excuse1 and both made friends with him before they died--,gainsborough on his death-bed4 ,toward his last days the artist was attacked with paralysis1 but grew better and was able to paint again2 then he began to go blind--he was already deaf--and this affliction made painting impossible4 ,shortly before his death1 he undertook to raise funds for a monument to his dead friend1 ,dr4 ,johnson1 but he grew more and more ill1 and on the #bc;d ,february1 #agib1 this great artist and blameless gentleman passed peacefully away4 ,that he was very painstaking in his work is shown by an anecdote about his infant ,hercules4 ,how did you paint that part of the picture8 some one asked him4 ,how can ,i tell6 ,there are ten pictures below this1 some better1 some worse--showing that in his desire for perfection he painted and repainted4 ,so untiring was he in seeking out the secrets of the old masters that he bought works of ,titian and ,rubens1 and scraped them1 to learn their methods1 insisting that they had some secret underlying their work4 ,so anxious was he to get the most brilliant effects of colours that he mixed his paints with asphaltum1 egg1 varnish1 wax1 and the like1 till one artist said3 ,the wonder is that the picture did not crack beneath the brush4 ,many of these great pictures did go to pieces because of the chances ,sir ,joshua took in mixing things that did not belong together1 in order to make wonderful results4 ,sir ,george ,beaumont recommended a friend to go to ,reynolds for his portrait and the friend demurred1 because his colours fade and his pictures die before the man4 ,never mind that6 ,sir ,george declared2 a faded portrait by ,reynolds is better than a fresh one by anybody else4 ,the same tender1 sensitive and devoted nature which caused ,sir ,joshua's mother to weep herself blind upon her husband's death1 belonged to the artist4 ,all of his life he was surrounded by loving friends1 and his devotion to them was conspicuous4 ,he1 like ,drer and several other painters1 was a seventh son1 and his father's disappointment was keen when he took to art instead of to medicine4 ,so little did his father realise what his future might be1 that he wrote under the sketch of a wall with a window in it1 drawn upon a ,latin exercise book3 ,this is drawn by ,joshua in school1 out of pure idleness4 ,but by the time ,joshua was eight years old and had drawn a fine sketch of the grammar-school with its cloister444 the astonished father said3 ',now1 this exemplifies what the author of perspective says in his preface3 that1 by observing the rules laid down in this book1 a man may do wonders--for this is wonderful4' ,sir ,joshua laid down--even wrote out--a great many rules of conduct for himself4 ,some of these were3 ,the great principle of being happy in this world is not to mind or be affected with small things4 ,also3 ,if you take too much care of yourself1 nature will cease to take care of you4 ,when ,samuel ,reynolds1 ,joshua's father1 consulted with his friend ,mr4 ,craunch1 as to whether a boy who made wonderful paintings at twelve years of age1 would be likely to be a successful apothecary1 he told ,craunch that ,joshua himself had declared that he would rather be a good apothecary than a poor artist1 but if he could be bound to a good master of painting he would prefer that above everything in the world4 ,this was how he came to be apprenticed to ,hudson1 the painter4 ,young ,reynolds's sister paid for his instruction at first--or for half of it1 with the understanding that ,reynolds was to pay her back when he was earning4 ,at that time ,reynolds wrote to his father3 ,while ,i am doing this ,i am the happiest creature alive4 ,one day1 while in an art store1 buying something for ,hudson1 ,reynolds saw ,alexander ,pope1 the poet1 come in1 and every one bowed to him and made way for him as if for a prince4 ,pope shook hands with young ,reynolds1 and in writing home1 describing the poet1 the artist said that he was about four feet six inches high2 very humpbacked and deformed4 ,he wore a black coat and according to the fashion of that time1 had on a little sword4 ,he had a large and very fine eye1 and a long handsome nose2 his mouth had those peculiar marks which are always found in the mouths of crooked persons1 and the muscles which run across the cheeks were so strongly marked that they seemed like small cords4 ,this is a masterly description of one famous man by another4 ,he finally was dismissed from his master's studio on the ground that he had neglected to carry a picture to its owner at the time set by ,hudson1 but the fact was the older artist had become jealous of the work of his pupil1 and would no longer have him in his studio4 ,afterwards1 while he was painting down in ,devonshire--thirty portraits of country squires for fifteen dollars apiece--he said3 ,those who are determined to excel must go to their work whether willing or unwilling1 morning1 noon1 and night1 and they will find it to be no play1 but1 on the contrary1 very hard labour4 ,this shows that ,reynolds's idea of genius was an infinite capacity for hard work4 ,while ,reynolds was on his memorable journey to ,rome1 he made several volumes of notes about the pictures of great ,italian artists--,raphael1 ,titian1 etc4 ,and one of those volumes is in the ,lenox ,library1 ,new ,york ,city4 ,he made a most characteristic and delightful remark in regard to his disappointment in ,raphael's pictures4 ,i did not for a moment conceive or suppose that the name of ,raphael1 and those admirable paintings in particular1 owed their reputation to the ignorance 444 of mankind2 on the contrary1 my not relishing them1 as ,i was conscious ,i ought to have done was one of the most humiliating things that ever happened to me4 ,he loved home and country so much that while in ,venice he heard a familiar ballad sung in an opera1 and it brought the tears to his eyes because of its association with home4 ,his young sister1 was so undecided in her ways and opinions as to make it impossible for ,reynolds long to live with her1 but she undertook to be his housekeeper when he returned to ,london1 and she also tried to copy his pictures ,reynolds said the results made other people laugh1 but they made me cry4 ,reynolds painted the portraits of two ,irish sisters--the ,countess of ,coventry and the ,duchess of ,hamilton--two of the most beautiful women in all the ,british ,empire4 ,seven hundred people sat up all night1 in and about a ,yorkshire inn1 to see the ,duchess of ,hamilton get into her postchaise in the morning1 while a ,worcester shoemaker made money by showing the shoe he was making for the ,countess of ,coventry4 ,sir ,joshua declared that whenever a new sitter came to him1 even till the last years of his life1 he always began his portrait with the determination that that one should be the best he had ever painted4 ,success was bound to attend that sort of man4 ,he painted every picture almost as an experiment2 meaning to learn something new with every work1 and he spent more than he made in perfecting his art4 ,as he said3 ,he would be content to ruin himself in order to own one of the best works of ,titian4 ,his deeds of kindness are beyond counting4 ,he rescued his friend ,dr4 ,johnson from debt--thereby saving him from prison2 and when a young lad1 a son of ,dr4 ,mudge1 who was very anxious to visit his father on the occasion of his sixteenth birthday1 grew too ill to make the journey4 ,reynolds said gaily3 ,no matter my boy4 ,i will send you to your father4 ,he painted a splendid portrait of the boy and sent it to ,dr4 ,mudge4 ,this gift of a picture1 however1 was very unusual with ,reynolds1 who1 unlike ,gainsborough who gave his by the bushel to everyone1 declared that his pictures were not valued unless paid for4 ,when ,sir ,william ,lowther1 a gay and rich young man of ,london1 died1 he left twenty-five thousand dollars to each of thirteen friends1 and each of the thirteen commissioned the painter to make a portrait of ,lowther1 their benefactor4 ,his work room was of interest3 ,the chair for his sitters was raised eighteen inches from the floor1 and turned on casters4 ,his palettes were those which are held by a handle1 not those held on the thumb4 ,the stocks of his pencils were long1 measuring about nineteen inches4 ,he painted in that part of the room nearest to the window1 and never sat down when he painted4 ,the chariot in which he drove about had the four seasons allegorically painted upon its panels1 and his liveries were laced with silver2 while the wheels of his coach were carved with foliage and gilded4 ,sir ,joshua knew that it paid to advertise1 and as he had no time to go about in that gorgeous chariot he made his sister go1 for he declared that people seeing that magnificent coach would ask3 ,whose chariot is that8 and upon being told could not fail to be impressed with his prestige4 ,the comical inconsequence of this anecdote concerning a man so important robs it of vulgarity4 ,the graceful anecdotes told of ,reynolds are without number1 but one and all are to his advantage and show him to have been good and gentle1 a devoted and high-bred man4 ,,plate--,,the ,,duchess ,,of ,,devonshire ,,and ,,her ,,daughter ,this is generally considered one of the finest of ,sir ,joshua's pictures1 if not the most beautiful of all4 ,he was such a welcome guest at the houses of grandees that perchance he had noticed the lovely duchess playing with her still more lovely baby1 and thought what a charming picture the two would make4 ,as a representation of the artist's ability to portray grace and sweetness it can hardly be surpassed4 ,he painted it in #aghf1 half a dozen years before his death1 and it now hangs in ,chatsworth1 the home of the present ,duke of ,devonshire4 ,other well known ,reynolds paintings are ,the ,hon4 ,ann ,bingham1 ,the ,countess of ,spencer1 the ,nieces of ,sir ,horace ,walpole1 and the ,angels' ,heads in the ,national ,gallery4 ,,xxxv ,,peter ,,paul ,,rubens4 ,flemish ,school #aegg-afdj ,pupil of ,tobias ,verhaecht ,the story of ,peter ,paul ,rubens1 whose birthday falling upon the saint days of ,peter and ,paul gave to him his name1 is hardly more interesting than that of his parents1 although it is quite different4 ,the story of ,rubens's parents seems a part of the artist's story1 because it must have had something to do with influencing his life1 so let us begin with that4 ,john ,rubens was ,peter ,paul's father1 and he was a learned man1 a druggist1 but he had also studied law1 and had been town councillor and alderman in the town where he was born4 ,life went easily enough with him till the reformation wrought by ,martin ,luther began to change ,john ,rubens's way of thinking1 and he turned from ,catholic to ,lutheran4 ,from being a good ,catholic ,john ,rubens became a rabid reformer2 and when1 under the new faith1 the ,antwerp churches were stripped of their treasures1 the magistrates were called to account for it4 ,john ,rubens1 as councillor1 was among those summoned4 ,the magistrates declared that they were all good ,catholics1 but a list of the reformers fell into the ,duke of ,alva's hands and ,rubens's name was there4 ,this meant death unless he should succeed in flying from the country1 which he instantly did4 ,that was in #aefh1 when he had four children1 but ,peter ,paul was not one of them--since he was a seventh son4 ,the ,rubens family went to live in ,cologne1 where the father found his learning of great use to him1 and he was honoured by being made legal adviser to ,anne of ,saxony who was ,william the ,silent's second queen4 ,john ,rubens's behaviour was not entirely honourable and before long he was thrown into prison1 but his good wife1 ,maria ,pypelincx undertook to free him4 ,he had treated her very badly1 but her devotion to his cause was as great as if he had treated her well4 ,despite his wife's efforts he was kept a prisoner in the dungeon at ,dillenburg for two years1 and afterward he was removed to ,siegen1 the place where ,peter ,paul was born4 ,in the sixteenth century there were no records of any sort kept in the town of ,siegen1 and so we cannot be absolutely sure that ,peter ,paul was born there1 but his mother was certainly there just before and after the date of his birth1 which was the #bith of ,june #aegg4 ,after his birth1 his father was set free in ,siegen and allowed to go back to the city in which he had misbehaved himself4 ,in ,cologne he became once more a ,catholic1 and he died in that faith4 ,meantime1 ten years had passed since ,peter ,paul's birth1 and both his father and mother were determined above all things their son should have a fine education1 quite unlike other artists1 for the boy seemed capable of learning4 ,while he was still very small he could speak to his tutor in ,french1 to his mother in ,flemish1 and to his father in ,latin4 ,besides these languages he spoke also ,italian and ,english4 ,before he was an artist1 ,rubens1 like ,drer and ,leonardo da ,vinci1 was a child of rare intelligence4 ,as a little chap he went to ,antwerp with his mother--this was after his father's death--and in ,belgium he took for the first time the rle of courtier1 in which he was to become so successful later in life4 ,the charming little fellow1 dressed in velvet and lace1 took his place in the household of the ,countess of ,lalaing1 in ,brussels4 ,very soon after entering that household1 ,rubens was permitted by his mother to leave it for the studio of the painter who was his first master1 though not the one who really taught him much4 ,rubens did not stay there long1 but went instead to the studio of ,adam van ,noort1 an excellent painter of the time4 ,after that he studied under another artist1 who was both a scholar and a gentleman1 ,van ,veen1 and with him ,peter ,paul was able to speak in ,latin and in his many other languages1 while learning to paint at the same time4 ,thus we find ,rubens's lot was always cast1 not among the rich1 but among the intelligent1 the well bred1 and the cultivated4 ,this fact alone would prepare us to anticipate pleasant things for him and from him4 ,in those days of guilds1 there were many rules and regulations4 ,van ,noort1 ,rubens's teacher1 was dean of the painters' guild and through his influence the guild recognised ,rubens as master1 which meant that he was qualified to take pupils2 thus he was pupil and teacher at the same time4 ,one is unable to think of ,rubens as having low tastes1 as being morose1 erratic1 or anything but a refined1 gracious1 and brilliant gentleman4 ,he began well1 lived well1 and ended well4 ,none of his teachers really impressed their style of art upon him4 ,he was the model for others4 ,rubens became nothing but ,rubens1 but all the art world wished to become ,rubenesque4 ,rubens went to ,mantua to see the art of ,italy1 and while there he met the ,duke of ,mantua who was ,vincenzo ,gonzaga1 the richest1 most powerful personage of that region and time4 ,the duke engaged ,rubens to paint the portraits of many beautiful women--just the sort of commission that ,rubens's pupil1 ,van ,dyck1 would have loved2 but ,rubens's art was of sterner stuff1 and the work by no means delighted him4 ,he had great ideas1 profound purposes1 and wished to undertake them1 but just then it seemed best that he perform that which the ,duke of ,mantua wanted him to do2 hence he set about it4 ,later ,rubens went to the ,spanish court1 not as a painter1 but as a cavalier upon a diplomatic mission4 ,bearing many beautiful presents to ,king ,philip ,,iii41 he went to ,madrid1 where his elegance1 manly beauty1 dashing manner1 and ability to speak several languages made him a wonderful success4 ,he remained for three years at the court and studied the methods of ,spanish painters4 ,he also painted the members of the ,spanish court1 as ,velasquez had done1 but they looked like people of another world4 ,the ,spanish aristocracy had always been painted with pallid faces1 languid and elegant poses2 but ,rubens gave them a touch of the life he loved--made them robust and apparently healthy-minded4 ,of all great colourists1 ,rubens took the lead4 ,titian with his golden hues and warm haired women was very great1 but ,rubens1 the ,fleming as he was called1 revelled in richness of colouring1 and flamed through art like a glorious comet4 ,rubens had long been wanted in his own country4 ,his sovereigns1 ,albert and ,isabella1 wished him to return and become their painter1 but they were unable to free him from his engagements in ,italy and ,spain4 ,at last ,rubens received word that his mother1 whom he loved devotedly1 was likely to die1 and what kings could not do his love for her accomplished4 ,although his patron1 the ,duke of ,mantua1 was absent1 and his consent could not be secured1 ,rubens set off post-haste to his mother's home4 ,he arrived in ,antwerp too late to see ,maria ,pypelincx1 who had died before he reached her4 ,once more on his native soil1 ,albert and ,isabella determined to induce him to remain4 ,he had intended to go back to ,mantua and continue his work under the duke1 but since he was now in ,belgium he decided to stay there1 and thus he became the court painter in his own country1 which after all he greatly preferred to any other4 ,he was to have a salary of five hundred livres 7#if7 a year1 also the rights1 honours1 privileges1 exemptions1 etc4 that belonged to those of the royal household2 and he was given a gold chain4 ,in this day of large doings there is something about such details that seems childish1 but a gold chain was by no means a small affair at a time when #if was considered an ample money-provision for an artist4 ,that gorgeous gold chain1 a mark of distinction rather than a reward1 is to be seen in all its glory in one of ,rubens's great paintings4 ,the artist himself is mounted upon a horse1 the chain about his neck1 while he is surrounded by no fewer than eight-and-twenty life-size figures1 many in gorgeous attire1 warriors in steel armour1 horsemen1 slaves1 camels1 etc4 ,this picture1 ,the ,adoration of the ,magi1 was twelve feet by seventeen1 and was painted at the town's expense4 ,it was later sent to ,spain and placed in the ,madrid ,gallery4 ,one of the greatest honours that could come to students of that day1 was to be admitted to ,rubens's studio to paint under his direction1 and it is said that hundreds of young men waited their turn1 painting meanwhile in the studios of inferior artists1 till they should be admitted to the studio of the great master4 ,rubens was a king among painters1 as well as a painter patronised by kings4 ,he had two wives1 and he married the first one in #afji4 ,her name was ,isabella ,brant4 ,sir ,joshua ,reynolds said of her3 ,his wife is very handsome and has an agreeable countenance1 but the picture is rather hard in manner--by which he meant a picture which ,rubens had painted of her4 ,one of his greatest privileges when he was engaged at the court of ,albert and ,isabella1 had been that he need obey none of the exactions of the ,guild of ,st4 ,luke1 none of their rigid rules concerning the employment of art students4 ,rubens could take into his service whom he pleased1 whether they had been admitted as members of the guild or not1 though to be a member of the guild was a testimony to their qualifications4 ,in the end1 this did a good deal of harm1 for ,rubens employed students to do the preliminary work of his pictures1 who had not been his pupils and who were not otherwise qualified4 ,thus we read criticisms like that of ,sir ,joshua's2 and many of ,rubens's pictures are marred in this manner4 ,a story is told of ,van ,dyck and other pupils of ,rubens breaking into the master's studio and smudging a picture which ,van ,dyck afterward repaired by painting in the damaged portion most successfully4 ,we are also told in connection with ,rubens's picture1 ,the ,descent from the ,cross1 that ,van ,dyck restored an arm and shoulder of ,mary of ,magdala1 but certainly ,van ,dyck did not become a pupil of ,rubens till some time after that picture was painted4 ,the work of a wonderful period in ,rubens's art was completely destroyed4 ,in two years time he painted forty ceilings of churches in ,antwerp1 all of which were burned1 but there is a record of them in the copies made by ,de ,witt1 in water colours from which etchings were afterward made4 ,this work of ,rubens was the first example of foreshortening done by a ,flemish painter4 ,above all things ,rubens liked to paint big pictures1 on very large surfaces1 as did ,michael ,angelo4 ,the large size of picture gives us painters more courage to present our ideas with the utmost freedom and semblance of reality4 444 ,i confess myself to be1 by a natural instinct1 better fitted to execute works of the largest size4 ,he wrote this to the ,english diplomat ,trumbull in #afba4 ,in the midst of ,rubens's greatest success as a painter came his diplomatic services4 ,it was desirable that ,spain and ,england should be friends1 and ,rubens always moving about because of his work1 and being so very clever1 the ,spanish powers thought him a good one to negotiate with ,england4 ,while on a professional visit to ,paris1 the ,english ,duke of ,buckingham and the artist met1 and this seemed to open a way for business4 ,the ,infanta consented to have ,rubens undertake this delicate piece of statesmanship1 but ,philip of ,spain did not like the idea of an artist--a wandering fellow1 as an artist was then thought to be--entering into such a dignified affair4 ,the real negotiator on the ,english side1 was ,gerbier1 by birth also a ,fleming1 and strange to tell1 he too had been an artist4 ,the ,english engaged him to look after their interests in the affair1 and as soon as ,philip learned that their diplomat was also an artist1 his prejudices against ,rubens as a statesman1 disappeared4 ,so it was decided that the two ,flemings1 artists and diplomats1 should meet in ,holland to discuss matters4 ,about that time ,sir ,dudley ,carleton wrote to ,lord ,conway3 ,rubens is come hither to ,holland1 where he now is1 and ,gerbier in his company1 walking from town to town1 upon their pretence of taking pictures1 which may serve him for a few days if he dispatch and be gone2 but yf he entertayne tyme here long1 he will infallibly be layd hold of1 or sent with disgrace out of the country 444 this ,i have made known to ,rubens lest he should meet with a skorne what may in some sort reflect upon others4 ,the two clever men got through with their talk1 nothing unfortunate happened1 and ,rubens got off to ,spain where he laid the result of his talk with ,gerbier before the ,spanish powers4 ,he was given a studio in ,philip's palace1 where he carried on his art and his diplomacy4 ,the king became delighted with him as a man and an artist1 and as well as attending to state business1 he did some wonderful painting while in ,madrid4 ,he was there nine months or more1 and then started off for ,england to tell ,charles ,i4 of ,philip ,,iii4's wishes4 ,but upon his arrival he learned that a peace had just been concluded between ,france and ,england1 and all was excitement4 ,he was received in ,england as a great artist2 every honour was showered upon him1 and when he made ,philip's request to ,charles1 that he should not act in a manner hostile to ,spain1 ,charles agreed1 and kept that agreement though ,france and ,venice urged him to break it4 ,charles knighted ,rubens while he was in ,england1 and the ,university of ,cambridge made him ,master of ,arts4 ,the sword used by the king at the time he gave the accolade is still kept by ,rubens's descendants4 ,while he was in ,london ,rubens was very nearly drowned in the ,thames going down to ,greenwich in a boat4 ,when he first went from ,italy to ,spain on a mission of state1 he carried a note or passport bearing the following lines3 ,with these presents 7he took magnificent gifts to ,philip1 among them a carriage and six ,neapolitan horses7 comes ,peter ,paul1 a ,fleming4 ,peter ,paul will say all that is proper1 like the well informed man that he is4 ,peter ,paul is very successful in painting portraits4 ,if any ladies of quality wish their pictures1 let them take advantage of his presence4 ,when he visited ,england there was no longer need of such introduction2 he went in all the magnificence that his genius had earned for him4 ,rubens was always a happy man1 so far as history shows4 ,he married the first time1 a woman who was beautiful and who loved him1 as he loved her4 ,he was able to build for himself a beautiful house in ,antwerp4 ,in the middle of it was a great salon1 big enough to hold all his collection of pictures1 vases1 bronzes1 and beautiful jewels4 ,there was also a magnificent staircase1 up which his largest pictures could be easily carried1 for it was built especially to accommodate the requirements of his work4 ,rubens's greatest picture was painted through a strange happening when this beautiful house was being built4 ,the land next to his belonged to the ,archers' ,guild and when the workmen came to dig ,rubens's cellar1 they went too far and invaded the adjoining property4 ,the archers made complaint1 and there seemed no way to adjust the matter1 till some one suggested that ,rubens make them a picture which should be accepted as compensation for the harm done4 ,this ,rubens did1 and the picture was to be ,st4 ,christopher--the archers' patron saint2 but when the work was done ,rubens surprised them by exhibiting a picture of all who could ever have been called ',christ-bearers4' ,this was ,the ,descent from the ,cross--not a single picture but a picture within a picture1 for there were shutters folding in front of it1 and on these was painted the archers' patron1 ,st4 ,christopher4 ,rubens's daily life is described thus3 ,his life was very methodical4 ,he rose at four1 attended mass1 breakfasted1 and painted for hours2 then he rested1 dined1 worked until late afternoon2 then1 after riding for an hour or two one of his spirited horses1 and later supping1 he would spend the evening with his friends4 ,he was fond of books1 and often a friend would read aloud to him while he worked4 ,this is a pleasant picture of a reasonable and worthy life4 ,it is said that once he painted eighteen pictures in eighteen days1 and it is known that he valued his time at fifty dollars a day4 ,his pupil1 ,van ,dyck1 being pushed for money1 turned alchemist and tried to manufacture gold1 but when ,rubens was approached by a visionary who wanted him to lend him money by which he might pursue such a work1 promising ,rubens a fortune when he should have discovered how to make his gold1 the artist laughed and said3 ,you are twenty years too late1 friend4 ,when ,i wield these1 indicating his palette and brush1 ,i turn all to gold4 ,many are the delightful anecdotes told of ,rubens4 ,it is said that while he was at the ,english court he was painting the ceiling of the king's banqueting hall1 and a courtier who stood watching1 wished to say something pour passer le temps1 so he asked3 ,does the ambassador of his ,catholic ,majesty sometimes amuse himself with painting8 ,no--but he sometimes amuses himself with being an ambassador1 was the witty retort1 which showed how he valued his two commissions4 ,when ,king ,charles ,i4 knighted ,rubens he gave him1 beside the jewelled sword1 a golden chain to which his miniature was attached4 ,if ,rubens had gone about with all the chains and decorations given him by kings and other great ones of the earth he would have been weighted down1 and would have needed two pairs of shoulders on which to display them4 ,rubens's first wife died2 and when he married again1 he was as fond of painting pictures of the second wife as he had been of the first4 ,the name of the second was ,helena ,fourment1 and she is called by one author a spicy blonde4 ,certainly she was very gay1 big1 and robust1 and only sixteen years old when she married ,rubens who was then a man of fifty-three4 ,of one picture1 ,the ,straw ,hat1 for which he is supposed to have used his wife's sister as model1 he was so fond that he would not sell it at any price4 ,rubens had a rare mother1 as shown in her letters to her husband1 ,john1 when he was in prison for his wrongdoing4 ,it would seem that such a mother must have a strong1 forceful son1 and ,rubens is less of a surprise than many artists who had no such influence in their childhood4 ,the history of ,rubens's mother is worthy of being told even had she not had a famous son who painted a beautiful picture of her4 ,rubens's ,holy ,families are like those of no other painter4 ,the ,virgin1 the ,child1 all the others in the picture1 are quite different from the ,italian figures4 ,these are human beings1 good to look upon2 full of love and joy1 softness and beauty4 ,it was his learning that first won favour for him in ,italy4 ,the ,duke of ,mantua hearing him read from ,virgil1 spoke to him in ,latin1 and being answered in that tongue was so charmed that the foundation of their friendship and the duke's patronage was laid4 ,in ,italy he was called the antiquary and ,apelles of our time4 ,his nephew-biographer writes of him3 ,he never gave himself the pastime of going to parties where there was drinking and card-playing1 having always had a dislike for such4 ,as ,rubens grew in fame1 he found that many were jealous of him1 and on one occasion a rival proposed that he and ,rubens each paint a picture upon a certain subject and leave it to judges to decide which work was the best--,rubens's or his own4 ,no1 said ,rubens4 ,my attempts have been subjected to the scrutiny of connoisseurs in ,italy and ,spain4 ,they are to be found in public collections and private galleries in those countries2 gentlemen are at liberty to place their works beside them1 in order that comparison may be made4 ,this was a dignified way of disposing of the case4 ,rubens loved to paint animals1 and he had a great lion brought to his home1 that he might study its poses and movements4 ,the flesh of his figures was so lifelike that ,guido declared he must mix blood with his paints4 ,he was called the painter of life4 ,rubens1 a seventh child1 had also seven children1 two belonging to his first wife1 five to the second4 ,many stories are told of his patience and his kindness4 ,it is said that at one time his old pupil1 ,van ,dyck1 returned to ,antwerp after an absence1 greatly depressed and in need of money4 ,rubens bought all his unsold pictures1 and he did this charitable act more than once1 and is known to have done the same thing for a rival and enemy1 out of sheer goodness of heart4 ,kings and queens came to the ,rubens house1 people of many nations did him honour2 and toward his closing days1 when gout had disabled him1 ambassadors visited him1 since he could not go to them4 ,in a description of his death and burial which took place at ,antwerp we read3 ,he was buried at night as was the custom1 a great concourse of citizens 444 and sixty orphan children with torches followed the body4 ,he was placed in the vault of the ,fourment family1 and as he had requested1 ,the ,holy ,family was hung above him4 ,in that picture1 we find the ,st4 ,george to be ,rubens himself2 ,st4 ,jerome1 his father2 an angel1 his youngest son1 while ,martha and ,mary are ,isabella and ,helena1 his two wives4 ,he left many sketches to whichever of his sons became an artist1 or to the husband of his daughter who should marry an artist4 ,but there were none such to claim the bequest4 ,,plate--,,the ,,infant ,,jesus ,,and ,,st4 ,,john ,the little girl behind ,jesus is supposed to represent his future bride1 the ,christian ,church4 ,the thoughtful1 far-seeing look upon the face of the ,christ-child1 though it does not clash with ,his youthful charm1 is meant to suggest that ,he has a premonition of ,his work in the world4 ,the other joyous little figures also demonstrate the artist's love for children4 ,he brings them into his pictures1 as cherubs1 wherever he can1 and they are frequently just as well painted and more universally appreciated than his stout women4 ,in this picture he has a good opportunity to show his adorable flesh tints1 combined with the movement and freedom naturally associated with child life4 ,the original painting is in the ,court ,museum at ,vienna1 but it has always been so popular that many copies of it have been made1 and one of these is in the ,berlin ,gallery4 ,,plate--,,the ,,artist',s ,,two ,,sons 7,see ,frontispiece7 ,this picture hangs in the ,lichtenstein ,gallery at ,vienna2 the two boys1 eleven and seven years of age1 are the sons of ,rubens by his first wife1 ,isabella ,brant2 and ,albert1 the elder of the two1 greatly resembles his mother4 ,he is evidently a student1 for he wears the dress of one and carries a book in one hand4 ,the other is placed affectionately upon the shoulder of his little brother1 ,nicolas1 whose face1 figure1 and attire are all much the more childish of the two4 ,critics consider this painting to mark the ,highest point which ,rubens reached in portraiture4 ,it has all the colour1 character1 and vitality of his best work4 ,some of his other pictures are3 ,coronation of ,marie de ,medicis1 ,the ,kirmesse1 ,slaughter of the ,innocents1 ,susanna's ,bath1 ,capture of ,samson1 ,a ,lion ,hunt and ,the ,rape of the ,daughters of ,leucippus4 ,,xxxvi ,,john ,,singer ,,sargent ,american and ,foreign ,schools #ahef-aibf ,pupil of ,carolus ,durand ,this artist was born in ,europe1 of ,american parents2 thus we may say that he was ,american1 though he owed nothing but dollars to the ,united ,states1 since his instruction was obtained in ,italy and ,france1 and all his associations in art and friendship were there4 ,he was probably the most brilliant of the artists termed ,american4 ,his great mural work in the ,boston ,public ,library1 is hardly to be surpassed4 ,above all1 ,sargent's portraits are masterly4 ,he was famous in that branch of art before he was twenty-eight years old4 ,among his finest portraits is that of ,carmencita1 a ,spanish dancer1 who for a time set the world wild with pleasure4 ,the list of his famous portraits is very long4 ,sargent's father was a ,philadelphia physician2 who originally came from ,new ,england1 but the artist himself was born in ,florence4 ,he was given a good education and grew up with the beauties of ,florence all about him1 in a refined and charming home4 ,he was the delight of his master1 ,carolus ,durand for he was modest and refined1 yet full of enthusiasm and energy4 ,in his twenty-third year he painted a fine picture of his master4 ,sargent was a musician as well as a painter2 a man of great versatility1 as if the gods and all the muses had presided at his birth4 ,,plate--,,carmencita ,in this picture of the famous ,spanish dancer ,sargent shows all the life and character he can put into a portrait4 ,the girl seems on the point of springing into motion4 ,she is poised1 ready for flight and the proud lift of her head makes one believe that she will accomplish the most difficult steps she attempts4 ,the painting is in the ,luxembourg1 ,paris4 ,other noted ,sargent portraits are ,mr4 ,marquand in the ,metropolitan ,museum of ,art1 ,lady ,elcho1 ,mrs4 ,arden1 ,mrs4 ,tennant1 ,mrs4 ,meyer and ,children1 ,homer ,st4 ,gaudens1 ,henschel1 and ,mr4 ,penrose4 ,,xxxvii ,,tintoretto 7,,jacopo ,,robusti7 ,venetian ,school #aeah-aeid ,pupil of ,titian ,tintoretto was born with an ideal4 ,as a young boy he wrote upon his studio wall3 ,the drawing of ,michael ,angelo1 the colouring of ,titian1 and that was the end he tried to reach4 ,his father was a tintore--a dyer of silk1 a tinter--and it was from the character of that work the artist took his name4 ,he helped his father with the dyeing of silks1 while he was still a child1 and was called ,,ii tintoretto1 little dyer4 ,as the little tinter showed great genius for painting1 his father placed him in ,titian's studio1 but for some reason he only stayed there a few days1 long enough1 however1 to permit us to call him a pupil of ,titian2 especially as he wrote that master's name upon his wall and determined to imitate him4 ,after his few days with ,titian1 ,tintoretto studied with ,schiavone and afterward set up a studio for himself4 ,as a determined lad in this studio of his1 ,tintoretto tried every means of developing his art4 ,he studied the figures upon ,medicean tombs made by ,michael ,angelo1 taking plaster casts of them and copying them in his studio4 ,he used to hang little clay figures up by strings attached to his ceiling1 that he might get the effect of them high in air4 ,by looking at them thus from below he gained an idea of foreshortening4 ,although this artist nearly succeeded in getting into line with ,michael ,angelo1 he did not colour after the fashion of his master1 ,titian4 ,tintoretto was about twenty-eight years old before he got any very big commission1 but at that age a chance came to him4 ,in the church of ,santa ,maria del ,orto were two great bare spaces1 unsightly and vast1 about fifty feet high and twenty broad4 ,in that day anything and everything was decorated with masterpieces1 and it was almost disgraceful for a church to let such a space as that go unfrescoed4 ,tintoretto saw an opportunity1 and finally offered to paint pictures there for nothing if the church would agree to pay for the materials he needed4 ,the church certainly was not going to refuse such an offer1 even if ,tintoretto was not thought to be much of an artist at the time4 ,if the work was poor1 one day they could choose to have it repainted4 ,thus ,tintoretto got his first great opportunity4 ,he painted on those walls ,the ,last ,judgment and ,the ,golden ,calf4 ,they made him famous1 and gained him the commission to paint the picture which is used as an illustration here4 ,the brothers of the ,scuola di ,san ,rocco asked him to compete with ,veronese1 in painting the ceilings after he had done four pictures for their walls4 ,tintoretto consented1 and ,veronese and two others who were in the competition set about making their sketches which they were to present for the brothers' consideration4 ,finaly the day of decision came4 ,all were assembled1 the artists armed with sketches of their plans4 ,where are yours1 ,tintoretto8 the others asked4 ,we expect a drawing of your idea4 ,well1 there it is1 the artist answered1 drawing a screen from the ceiling4 ,behold6 he had already painted it to suit himself4 ,the work was complete4 ,that is the way ,i make my sketches1 he said4 ,though the work was magnificent it had not been done according to the monks' ideas of business and order4 ,they objected and objected4 ,very well1 the artist cried2 ,i will make the ceiling a present to you4 ,as there was a rule of their order forbidding them to refuse a present1 they had to accept ,tintoretto's4 ,this did not promise very good business at the time1 but the work was so splendid and ,tintoretto so reasonable that they finally agreed to give him all the work of their order--nearly enough to keep him employed during a lifetime4 ,after that he painted sixty great pictures upon their walls4 ,he painted so much and so fast that he did not always do good work1 and one critic declares that while ,tintoretto was the equal of ,titian1 he was often inferior to ,tintoretto--which after all is a very fine compliment4 ,his life was so tranquil and uneventful that there is little to say of it2 but there is much to say of his art4 ,he lived mostly in his studio1 and when he died he was buried in the ,santa ,maria del ,orto--the church in which he had done his first work4 ,veronese had given to ,venice a brilliant1 glowing1 rich1 ravishing riot of colour and figures1 but ,tintoretto was said to rise up against the joyful ,veronese as the black knight of the ,middle ,ages1 the sombre priest of a gloomy art4 ,tintoretto was of stormy temperament1 and upon one occasion he proved it by thrusting a pistol under a critic's nose1 after he had invited him to his studio2 it is this half savage spirit that may be seen in his paintings4 ,he had deep-set1 staring eyes1 it is said1 a furrowed brow and hollow cheeks1 indicative of his passionate spirit4 ,he painted very few female figures1 but mostly men4 ,when he did paint a woman1 she looked mannish and not beautiful4 ,when he painted gorgeous subjects1 like doges and senators1 he gave to them gloomy backgrounds1 awe-inspiring poses1 and he seldom painted a figure full-face but three-quarter1 or half1 so that he did not give himself a chance to present human figures in beautiful postures4 ,he is said to have been the first who painted groups of well-known men in pictures intended for the decoration of public buildings4 ,one great critic has written that while the ,dutch1 in order to unite figures1 represented them at a banquet1 ,tintoretto's nobili 7aristocrats7 were far too proud to show themselves to the people in so gay and informal a situation4 ,with the coming of ,tintoretto it was said a dark cloud had overcast the bright heaven of ,venetian art4 ,instead of smiling women1 bloody martyrs and pale ascetics were painted by him4 ,he dissected the dead in order to learn the structure of the human body4 ,in his paintings his women1 especially1 with their pale livid features and encircled eyes1 strangely sparkling as if from black depths1 have nothing in common with the soft painted flesh which he pictured in his youth while he was following ,titian as closely as he could4 ,as he grew older and his art more fixed1 he followed ,michael ,angelo more and more4 ,titian's colouring was that of an autumn day but ,tintoretto's that of a dismal night4 ,yet these very qualities in ,tintoretto's work made him great4 ,,plate--,,the ,,miracle ,,of ,,st4 ,,mark ,this painting in the ,academy at ,venice tells the story of how a ,christian slave who belonged to a pagan nobleman went to worship at the shrine of ,st4 ,mark4 ,that was unlawful4 ,the nobleman had his slave taken before the judge1 who ordered him to be tortured4 ,just as the executioner raised the hammer with which he was finally to kill the slave1 ,st4 ,mark himself came down from heaven1 broke the weapon and rescued the slave4 ,the figure of the patron saint of ,venice is swooping down1 head first1 above the group1 his garments flying in the air4 ,a bright light touches the slave's naked body1 as he lies upon his back1 the executioner having turned away and raised his hammer aloft1 while others have drawn back in fright at the appearance of the patron saint4 ,we may imagine that ,tintoretto was trying to acquire this power of painting wonderful figures hovering in the air when he hung his little clay images from the ceiling of his studio years before4 ,other pictures of his are3 ,the ,marriage of ,bacchus and ,ariadne1 ,martyrdom of ,st4 ,agnes1 ,st4 ,rocco ,healing the ,sick1 ,the ,annunciation1 ,the ,crucifixion1 and many others4 ,,xxxviii ,,titian 7,,tiziano ,,vecelli7 7,pronounced ,tit-zee-ah'no 7,vay-chel'lee77 ,venetian ,school #adgg-aegf ,pupil of ,giovanni and ,gentile ,bellini ,titian was a child of the ,tirol ,mountains1 handsome1 strong1 full of health and fine purposes1 even as a boy4 ,he was born in a little cottage at ,pieve1 in the valley of ,cadore1 through which flows the ,river ,piave2 and he wandered daily beside its banks1 gathering flowers from which he squeezed the juices to paint with4 ,when he grew up he became a wonderful colourist1 and from his boyhood nothing so much delighted him as the brilliant colours flaunted by the flowers of wood and field4 ,gathered about his good father's hearth were many children1 ,caterina1 ,francesco1 ,orsa1 and the rest1 living in peace and happiness1 closely bound together by love4 ,titian had a gentle1 loving mother named ,lucia1 while his father was a soldier and an honoured man4 ,in the little town where they lived1 he was councillor and also superintendent of the castle and inspector of mines1 no light honours among those simple country people4 ,doubtless ,titian inherited his splendid bearing and his determined character from his soldier father4 ,even while a little child1 the man who was destined to become a great artist began his work with the juices of the wild-flowers1 which he daubed upon the wall of the humble home in the ,tirol valley1 making a ,madonna with angels at her feet and a little ,jesus upon her knee4 ,but if ,titian was a great painter1 he was never even a fair scholar4 ,he went to school1 but would not1 or could not1 study4 ,his father soon saw that he was wasting his time and being made very unhappy through being forced to do that for which he had no ability2 so he was soon released from book-learning and sent to ,venice1 seventy-five miles from home1 to learn art4 ,in ,venice1 the ,vecelli family had an uncle1 and it was with him that ,titian lived1 though he studied first with ,sebastian ,zuccato1 the head of the ,venetian guild of mosaic workers1 and a pretty good teacher in his way4 ,he was not able to teach ,titian very much1 for the boy was an inspired artist and needed a good master2 so1 after a little1 the family held a consultation and it was decided that ,titian should become the pupil of ,gentile ,bellini1 a very clever artist indeed4 ,there was an interesting story told about this master which made the ,vecellis feel that their boy would do well to be under the influence of a kind-hearted man1 as well as a genius4 ,it seems that ,bellini's fame had become so great that the ,sultan had sent for him to paint the portraits of himself and the ,sultana4 ,bellini went gladly to ,turkey to do this2 but he took with him certain pictures to show his patron4 ,among them was one of ,st4 ,john the ,baptist having his head cut off4 ,the ,sultan looked at it1 and cutting heads off being a large part of his business1 he saw that ,bellini had not scientifically painted it1 and in order to show him the true way to conduct such matters1 he sent for a slave and ordered his head chopped off in ,bellini's presence4 ,bellini was so terrified and sickened by the dreadful sight that he fled from ,turkey and would not paint its ruler1 the ,sultana nor anyone else who had to do with such cruel things as he had witnessed4 ,it was into this man's studio that ,titian went as a young boy1 but after a little he displeased ,gentile ,bellini1 who complained that his pupil worked too fast1 and therefore could not expect to do great work4 ,he declared that picture painting was serious and careful work1 and that ,titian was too careless and quick4 ,as a matter of fact1 ,titian was too wonderful for ,bellini ever to do much for2 and since he could not get on with him1 he went to another master--,gentile ,bellini's brother1 ,giovanni4 ,one of ,titian's chief troubles in the studio of ,gentile had been that he was not allowed to use the gorgeous colouring he loved1 but in the brother's studio he found to his joy that colour was more valued1 and he was given more freedom to use it4 ,also there was a young peasant pupil with ,giovanni1 who1 like ,titian1 loved to use beautiful colours1 and he and the newcomer became fast friends4 ,the other artist's name was ,giorgione1 and he had the most delightful ways about him1 winning friends wherever he went1 so it was no wonder that the warm-hearted ,titian sought his companionship4 ,one day those two young comrades left their master's studio1 to have a good time off by themselves4 ,there was a stated hour for their return2 but they had spent all their money1 and forgot that ,giovanni ,bellini was expecting them home4 ,when they did return the door was closed and locked4 ,what were they to do8 ,they did the only thing they could4 ,as comrades in misfortune they joined forces1 set up a studio of their own1 and went to work to earn their living as best they might4 ,at first it was hard sledding1 but in time they got a good job1 namely to decorate the walls of a public building in ,venice which was used by foreign merchants for the transaction of their business1 a sort of exchange1 as we understand it4 ,this was the ,fondaco de' ,tedeschi1 and it had two great halls1 eighty rooms1 and twenty-six warehouses4 ,it was indeed a big undertaking for the two young men1 and they divided the business between them4 ,their joy was great1 their cartoons successfully made and the work well begun1 when1 alas1 they fell to quarreling simply because someone had declared that ,titian's work upon the building was a little better than ,giorgione's4 ,this dispute parted the two friends1 who had had good times together1 and it must have been ,giorgione's fault1 because ,ludovico ,dolce1 one who knew ,titian well1 said that he was most modest 444 he never spoke reproachfully of other painters 444 in his discourse he was ever ready to give honour where honour was due 444 he was1 moreover1 an eloquent speaker1 having an excellent wit and perfect judgment in all things2 of a most sweet and gentle nature1 affable and most courteous in manner2 so that whoever once conversed with him could not choose but love him henceforth forever4 ,that is a most loving and splendid tribute for one man to pay another4 ,not long after ,giorgione died1 and ,titian took up his unfinished work1 doing it as well as his own4 ,there was a brilliant and mature artist called ,palma ,vecchio1 in ,venice1 and ,titian painted in his studio1 where he saw and loved ,vecchio's daughter1 ,violante4 ,the young artist was not very well off financially1 and therefore could not marry2 hence he was not specially happy over his love affair4 ,about that time he took to painting after the manner of ,vecchio1 through being so much influenced by his soft feelings for the older artist's daughter4 ,he used the lovely ,violante again and again for his model1 and many of the beautiful faces which ,titian painted at that time show the features of his lady-love4 ,with his new love ,titian's serious work seemed to begin1 and at twenty-one he painted his first truly great picture1 ,sacred and ,profane ,love4 ,to day this picture hangs upon the walls of the ,borghese ,palace1 in ,rome4 ,raphael painted a great many pictures1 but ,titian must have painted more4 ,at least one thousand have his signature4 ,now came wars and troubles for ,venice4 ,the ,turks1 ,french1 and ,venetians became at odds1 and during the strife many fine works of art were lost1 among them many of ,titian's pictures4 ,he had painted bishops1 also the wicked ,borgias1 and many other great personages1 but all of these are gone and to this day1 no one knows what became of them4 ,at last ,titian began one of his greatest paintings1 ,the ,tribute ,money1 and he set about it because he had been criticised4 ,some ,german travellers in ,venice visited ,titian's studio1 and though they found his work very fine1 one of them said that after all there was only one master able to finish a painting as it should be finished1 and that was the great ,drer4 ,the ,german pointed out the differences between ,titian's method and ,drer's1 and declared that ,venetian painters never quite came up to the promise of their first pictures4 ,drer's wonderful pictures were quite different from ,titian's1 inasmuch as his work was fuller of detail and careful finishing1 but ,titian was as great in another way4 ,his effects were broader1 but quite as satisfying4 ,however1 the ,german criticism put him on his mettle1 and he answered that if he had thought the greatest value of a painting lay in its fiddling little details of finishing1 he too would have painted them4 ,to show that he could paint after ,drer's fashion1 as well as his own1 he undertook the ,tribute ,money1 and the result was a wonderful picture4 ,soon ,rome sent for ,titian4 ,the ,florentines1 ,raphael and ,michael ,angelo1 were already there doing marvellous things1 but the pope wished to add the genius of ,titian to theirs and made him a great offer to go and live in ,rome and do his future work for that city4 ,this was an honour1 but amid all his fame and the homage paid him1 ,titian had remembered the old home in the vale of ,cadore4 ,it was there his heart was1 and he determined to return to the home of his boyhood to do his best work4 ,so he sent his thanks and refusal to the pope1 and he wrote as follows to his home folks1 through the council of his town3 ,i1 ,titian of ,cadore1 having studied painting from childhood upward1 and desirous of fame rather than profit1 wish to serve the doge and signorini1 rather than his highness the pope and other signori1 who in past days1 and even now1 have urgently asked to employ me4 ,i am therefore anxious1 if it should appear feasible to paint the hall of council1 beginning1 if it pleases their sublimity1 with the canvas of the battle on the side toward the ,piazza1 which is so difficult that no one as yet has had the courage to attempt it4 ,then in stating his terms he asked for a very moderate sum of money and a brokerage for life4 ,the ,government did not have to think over the matter long4 ,titian's father had been honoured among them1 ,titian's genius was well known1 and the commission was gladly given him4 ,as soon as he got this business affair settled he moved into the palace of the ,duke of ,milan at ,san ,samuele2 on the ,grand ,canal1 where he remained for sixteen years1 so says his biographer4 ,titian's affairs were not yet entirely smooth1 because both of the ,bellinis having painted for his patrons1 they naturally considered ,titian an intruder1 and thought that the work should have been given to them4 ,they did all they could to make trouble for the younger artist1 but after a time ,titian came into his rights1 receiving his brokerage which gave to him a yearly sum of money #abj crowns1 #abf4jd4 ,his taxes were taken off for the future1 provided he would agree to paint all the doges that should rule during his lifetime4 ,titian undertook to do this1 but he did not keep his word1 for he painted only five doges1 though many more followed4 ,he had no sooner received his commission from the council of his native place than he began to neglect it1 and to paint for the husband of the wicked poisoner--,lucretia ,borgia--whose name was ,alfonso d',este1 the ,duke of ,ferrara4 ,it was for him he painted the ,venus ,worship1 now in the ,museum of ,madrid1 also ,the ,three ,ages1 which belongs to ,lord ,ellesmere1 and the ,virgin's ,rest near ,bethlehem1 now in the ,national ,gallery4 ,afterward he painted ,noli ,me ,tangere1 which is in the same ,london ,gallery4 ,there is a picture of great size in the ,academy of ,arts in ,venice1 which was first seen on a public holiday nearly four hundred years ago4 ,it is the ,assumption of the ,virgin1 first shown on ,st4 ,bernardino's day1 when all the public offices were closed by order of the ,senate1 and the whole city had a gay time4 ,this occasion made ,titian the most honoured artist of his time1 but still the ,venetians had cause to complain2 because now their painter took so much work in hand that he nearly ceased doing the work on the council hall4 ,the council sent him word that unless he attended to business the paintings should be finished by some one else and he would have to pay the new artist out of his own pocket2 but in waywardness he paid no attention to this summons4 ,lucretia ,borgia died1 and her husband having never loved her1 fell at once in love with a girl of a lower class1 who was very good and worthy to be loved4 ,the duke wanted ,titian to paint them both1 and so once more the great painter neglected his contract with the council4 ,the girl's name was ,laura1 and ,titian painted her and the duke in one picture1 which now hangs in the ,louvre4 ,at last1 after seven years of his neglecting to do his promised work the council became enraged and threatened to take the artist's property away from him4 ,that frightened ,titian very much1 and he began frantically to work on the battle piece on the hall wall4 ,it was about this time that he married4 ,he had probably forgotten ,violante in the passing of so many years2 at any rate it was not she whom he married1 but a lady whose first name was ,cecilia4 ,soon he had a little family of children1 but one of them was destined to make ,titian very unhappy4 ,this was ,pomponic who became a priest1 but he was also a wicked spendthrift1 and kept his father forever in trouble1 trying to pay his debts and keep him out of scrapes4 ,another son became an artist2 not great like his father1 but very helpful and a comfort to him4 ,then his wife died1 and ,titian had loved her so dearly that for a long time he had not the heart to paint much4 ,his sister1 ,orsa1 came to live at his home and take care of his motherless children4 ,he left the palace on the ,grand ,canal and bought a home north of ,venice1 with beautiful gardens attached1 and there he lived and worked1 entertaining the most illustrious men4 ,titian's house and gardens became the show place of the country1 so many geniuses and famous people visited there4 ,it was there that he painted ,the ,martyrdom of ,saint ,peter1 and the picture was so loved by the ,venetians that the signori threatened with death any one who should take the picture from the chapel where it hung4 ,in spite of this caution the picture was burned in the fire that destroyed the chapel in #ahfg4 ,titian was now getting to be old1 but he was yet to do great work and to have kingly patrons4 ,charles ,v4 visited ,bologna1 and1 seeing ,titian's great work1 wanted him to paint his portrait4 ,so the artist went to ,bologna and painted the portrait of the king1 clothed in armour1 but without any head-covering1 making ,charles ,v4 look so fine a personage1 that he was delighted4 ,charles said he had always been painted to look so much uglier than he really was that when people who had seen his portraits1 actually saw himself they were pleasantly disappointed4 ,while ,titian was painting his picture1 ,lombardi1 the sculptor1 wished above all things to see ,charles1 so ,titian said3 ,you come with me to the sittings1 and act as if you were some apprentice1 carrying my colours and brushes1 and then you can watch the king as easily as possible4 ,lombardi did as ,titian suggested1 but he hid in his big and baggy sleeve a tablet of wax1 on which to make a relief picture of ,charles4 ,one day the king surprised the sculptor and demanded to be shown what he was doing4 ,thereupon he was so much pleased that he commissioned ,lombardi to make the model in marble4 ,while the king was sitting for two portraits to ,titian1 the artist one day dropped his brush4 ,the king looked at the courtiers who were lounging about watching the work1 but none of them picked it up1 so the king himself did so4 ,titian was distressed over this and apologised to the king4 ,there may be many kings1 said ,charles1 but there will never be more than one ,titian--and he deserves to be served by ,caesar himself4 ,after that he would allow no other artist to paint his portrait1 declaring that ,titian alone could do it properly1 and for the two pictures ,titian received two thousand scudi in gold1 was made a ,count of the ,lateran ,palace1 of the ,aulic ,council and of the ,consistory2 with the title of ,count ,palatine and all the advantages attached to those dignities4 ,his children were thereby raised to the rank of nobles of the empire1 with all the honours appertaining to families with four generations of ancestors4 ,he was also made ,knight of the ,golden ,spur1 with the right of entrance to court4 ,this was great return for two portraits of a king1 but it shows what a king could do if he chose4 ,titian had a brother who also became an artist1 less famous than himself1 and it was that brother1 who1 when their father died in the ,cadore home1 went back to care for the old place and to keep it in readiness so that the famous ,titian might return to it for rest and peace4 ,foreign sovereigns had invited ,titian to end his days with them1 but they could not tempt him from that vale of ,cadore nor his country home in ,venice4 ,all this time he had been neglecting the work upon the hall of council1 and at last1 the councillors gave the work to another1 took away ,titian's brokerage and told him he must return to ,venice all the moneys they had given him for twenty years back4 ,this finally cured him of his neglect1 and he went to work in earnest painting so rapidly that he finished the work in two years4 ,before he died ,titian went to ,rome1 where he painted ,pope ,paul's portrait1 and the story is told that when the portrait was set to dry upon the terrace--which it probably was not1--the people who passed took off their hats to it1 thinking it was the pope himself4 ,besides his bad son and his good one1 ,titian had a beautiful daughter whom he painted again and again4 ,he went to ,augsburg once more to paint ,king ,charles1 who for that work added a pension of five hundred scudi to what he had already done for him4 ,this made the artist as rich as a prince1 instead of poor as a painter4 ,king ,philip ,,ii4 loved art as his father had1 and he took a painting of ,titian's with him to the convent of ,yuste1 where he went to die1 wishing to have it near to console him4 ,in those days art had become a religion for high and low4 ,great personages still went to ,casa ,grande1 ,titian's ,venetian home1 where he entertained like a prince4 ,no one knew better than he how princes behaved1 and when a cardinal came to dine with him1 he threw his purse to his servant1 crying3 ,prepare a feast1 for all the world is dining with me6 ,henry ,,iii4 of ,france visited ,titian and ordered sent to him every picture of which he had asked the price4 ,his friends stood by him all his life1 but in his old age his beautiful daughter1 ,lavinia1 died1 leaving behind her six children for him to love as his own4 ,the brother had died before that1 in the old home at ,cadore1 and at more than eighty years of age ,titian was still painting from morning till night4 ,about this time he sent to ,king ,philip ,the ,last ,supper1 which was to be hung in the ,escorial4 ,the monks found it too high to fill the space1 and though the artist in charge1 ,navarrette1 begged them to let it be1 they cut a piece off the top1 that it might be hung where they wanted it4 ,titian had so far had to pay no taxes1 but at that time an account of his property was demanded and this is what he owned3 ,several houses1 pieces of land1 sawmills1 and the like1 and he was blamed because he did not state the full value of his possessions4 ,at ninety-one he painted a picture which became the guide of ,rubens and his brother artists1 so wonderful was it4 ,again1 at ninety-nine he began a picture1 which was to be given to the monks of the ,frari in return for a burial place for the artist within the convent walls1 but he never finished it4 ,he died during the time of the plague1 but of old age alone1 though his son1 ,orzio1 died of the disease4 ,the alarm of the people was so great that a law had been passed to bury all who died at that time1 instantly and without ceremony1 but that law was waived for the painter4 ,titian1 in the midst of a nation's tragedy was borne to the convent of the ,frari1 with honours4 ,two centuries later the ,austrian ,emperor commanded the great sculptor1 ,canova1 to make a mausoleum above the tomb4 ,it was said that shortly before he died ,titian began to be less sure in his use of colours1 and would often daub on great masses1 but his students came in the night and rubbed them off1 so that the master never felt his failing4 ,as ,king ,charles had said1 there was never but one such artist in the world4 ,titian prepared his canvas by painting upon it a solid colour to serve for the bed upon which the picture itself was to be painted4 ,to quote more exactly from a good description--some of these foundation colours were laid on with resolute strokes of his brush which was heavily laden with colour1 while the half-tints were made with pure red earth1 the lights with pure white1 softened into the rest of the foundation painting with touches of the same brush dipped into red1 black1 and yellow4 ,in this way he could give the promise of a figure in four strokes4 ,after laying this foundation1 he turned his picture toward the wall and left it there for months at a time1 frequently turning it around that he might criticise it4 ,if1 during this time of waiting1 he thought any part of the work already done was poor1 he made it right1 changing the shape of an arm1 adding flesh where he thought it was needed1 reducing flesh where it seemed to him out of proportion1 and then he would again turn the canvas face to the wall4 ,after months of self-criticism and retouching he would have the first layer of flesh painted upon his figures1 and a good beginning made4 ,it was contrary to his habit to finish at one painting1 and he used to say that a poet who improvises cannot hope to form pure verses4 ,he would often produce a half-light with a rub of his finger1 or with a touch of the thumb he would dab a spot of dark pigment into some corner to strengthen it2 or throw in a reddish stroke--a tear of blood so to speak--to break the parts 444 in fact when finishing he painted more with his fingers than with his brush4 ,he used to say1 ,white1 red1 and black1 these are all the colours that a painter needs1 but one must know how to use them4 ,,plate--,,the ,,artist',s ,,daughter1 ,,lavinia4 ,previous to the time of ,titian1 it had been the custom to paint portraits of beautiful ladies merely to their waists1 just far enough to show their hands4 ,he went further1 and produced knee portraits1 which gave him an opportunity to paint their gorgeous gowns as well4 ,he has done so in making this picture of his daughter ,lavinia1 probably just before her marriage to ,cornelio ,sarcinelli which took place in #aeee4 ,she is attired in gold-coloured brocade with pearls about her neck4 ,her dress1 combined with the dish of fruit she holds so high1 gives ,titian the colour effects he always sought4 ,a yellow lemon is specially striking1 and the red curtain to the left harmonises with the whole4 ,the uplift of the arms and the turn of the head give the desired amount of action4 ,it is not ,titian's customary style of work2 he seldom did anything so intimate and personal1 and the picture is the more interesting on that account4 ,it is in the ,berlin ,gallery4 ,some of ,titian's famous pictures are3 his own portrait2 ,flora1 ,holy ,family and ,st4 ,bridget1 ,the ,last ,judgment1 ,the ,entombment1 ,the ,magdalene1 ,bacchanal1 ,st4 ,sebastian1 ,bacchus and ,ariadne1 and ,the ,sleeping ,venus4 ,,xxxix ,,joseph ,,mallord ,,william ,,turner ,english #agge-ahea ,pupil of the ,royal ,academy ,if the occupation of a shepherd produced a poet1 no less did an artist of the first water come out of a barber shop4 ,turner's father was a jolly little fellow who dressed hair for ,english dandies and did all of those things which in those days fell to men of his profession4 ,it was in this little shop that the great artist grew up4 ,father ,turner was ambitious for his son1 who was anxious to study art4 ,the less said of the artist's mother the better1 for she was a termagant and finally went crazy1 so that the father and his little boy were soon left alone1 to plan and work and strive to make each other happy4 ,the pair were never apart4 ,turner's art beginning was at six years of age1 on the occasion of a visit his father paid to a goldsmith of whose hair curling and peruquing he had charge4 ,perched upon a chair too high for a little boy's comfort1 and feeling that it took his father very long indeed to satisfy the customer1 ,joseph's eye lighted upon a silver lion which ornamented a silver tray4 ,he studied every detail of that lion while waiting for his father1 and finally when they got home1 he sat down and drew it from memory4 ,by tea time he had a lion in full action upon the paper4 ,this delighted his father above everything1 and it was settled then and there that the little fellow should have a chance to learn art4 ,the father could not give much time to his upbringing1 but he taught him to be honest and kind-hearted and to save his money4 ,his playground was generally the bank of the ,thames1 and under ,london ,bridge where1 roving with the sailors1 he learned to love the ships1 the setting-suns and evening waters from a daily study of them4 ,he did not do much at school1 because the other pupils at ,new ,brentford1 learning that he could draw wonderful things upon the schoolroom walls1 used to do his sums for him1 while he sketched for them4 ,after a while father ,turner began to hang up some of his son's sketches upon the walls of the barber shop1 among the wigs and curls and toupes1 and he put little tags upon them1 telling the price4 ,the extraordinary work of his little boy began to attract the attention of the jolly barber's patrons1 and by the time he was twelve years old the child had a picture upon the walls of the ,royal ,academy--a far-cry from barber shop to ,academy6 ,one authority says that this first exhibition occurred in his fourteenth year1 but by that time he was a pupil of the ,academy1 and it is not unlikely that he had shown his mettle before4 ,he now began to earn his own living1 but he still dwelt in the barber shop with his father4 ,while in the ,academy he coloured prints1 made backgrounds for other painters1 drew architect's plans1 and in that way made money4 ,he had been sent to a drawing master to study the art of perspective1 but having no mathematical knowledge he had been unable to learn it1 and the teacher had advised his father to put little ,turner to cobbling or making clothes4 ,however1 ,william was to learn perspective1 and even to be made master of that branch of art in the ,academy itself4 ,in after years1 when he had become a great artist1 someone spoke pityingly of the drudgery he had had to do to make money as a young boy--referring to his painting of backgrounds and the like4 ,well6 and what could be better practice8 ,turner answered cheerfully4 ,he used to go to the house of ,dr4 ,munro1 who lived in fine style on the ,strand4 ,this gentleman owned ,rembrandts1 ,rubenses1 ,titians1 and other great masterpieces1 and in that house the little barber had a chance to see the best of art1 and also to copy it4 ,this was a great opportunity for him and he made the most of it4 ,besides the chance for study1 he earned about half a crown an evening and his supper1 for his copying4 ,turner was the first painter to make warm moonlight4 ,all other artists had given cold1 silvery effects to a moonlit atmosphere1 but ,turner had seen a mellow1 sympathetic moon1 and he first showed it to others4 ,about this time he went travelling2 for an engraver of the ,copper ,plate ,magazine had engaged the young boy to go into ,wales and make sketches for his work4 ,turner set off on a pony which a friend had lent him1 with his baggage done up in a bundle--it did not make a very big one--and thus he voyaged4 ,it was a fine experience1 and he came home with many beautiful scenes on paper1 which he in after years made into complete pictures4 ,next he made the acquaintance of ,thomas ,girtin1 the first in his country of a fine school of water-colour painters1 and this acquaintance grew into a close friendship4 ,the two were devoted to each other and worked together at any sort of mechanical art work that would bring them a living4 ,when ,girtin died ,turner said3 ,had ,tim ,girtin lived1 ,i should have starved1 showing how highly he valued ,girtin's work4 ,turner is said to have been a stout1 clumsy little fellow1 who never cared how he looked4 ,he wore an ill-fitting suit1 and his luggage tied up in a handkerchief was slung over his shoulder on a cane4 ,sometimes he carried a small valise and an old umbrella1 the handle of which he converted into a fishing rod1 for ,turner dearly loved both hunting and fishing4 ,the hero travelled a great deal1 because above every thing he loved the fields and streams1 and to tramp alone4 ,it is said that it was his habit to walk twenty-five miles a day1 seeing everything on the way1 letting no peculiarity of nature escape him4 ,his sketchbook was a curiosity1 because he not only made sketches in it1 but jotted down his travelling expenses1 what he thought about things that he saw1 and all the gossip he heard in the towns through which he passed4 ,because he liked best to travel alone he was called the ,great ,hermit of ,nature4 ,one memorable day--of which he thought but little at the time--he stopped on the road to make a sketch of ,norham ,castle4 ,later he completed the picture1 and it became famous1 so successful that from that hour he had all the work he could do4 ,years afterward1 when passing that way again in company with a friend1 he was seen to take off his hat to the castle4 ,why are you doing that8 his friend asked1 in amazement4 ,well1 that castle laid the foundation of my success1 he answered1 and ,i am pleased to salute it4 ,during his young manhood ,turner had fallen in love with a girl1 and planned to marry1 but after he returned from one of his country trips he found she had married another1 and from that moment the artist was a changed man4 ,he had been generous and gay before1 now he began to save his money1 so that people thought him miserly--but he was forgiven when it became known what he finally did with his fortune4 ,after the young woman deserted him he wandered more than ever1 and one of his fancies was to keep boys from robbing birds' nests4 ,he looked after the little birds so carefully that the boys named him old ,blackbirdy4 ,he had already begun those wonderful pictures of ships and seas1 and his house was ornamented with full-rigged little ships and water plants1 which he carefully raised to put into his pictures4 ,by that time he had bought a home of his own in the country1 and his father the barber went to live with him4 ,the old man's trade had fallen off1 because the fashions had changed1 wigs were less worn1 and hair was not so elaborately dressed4 ,in the country home the old man took charge of all the household affairs1 prepared his son's canvases for him1 and after the pictures were painted it was the ex-barber who varnished them1 so that ,turner said1 ,father begins and finishes all my pictures4 ,there the father and son lived1 in perfect peace and affection1 till ,turner decided to sell the place and move into town1 because1 said he1 ,dad is always working in the garden and catching cold4 ,meanwhile he had been made master of perspective in the ,academy1 and it was expected that he would lecture to the students1 but he was not cut out for a lecturer4 ,he was not elegant in his manners1 nor impressive in his speech4 ,on one occasion1 when he had risen to deliver a speech1 he looked helplessly about him and finally blurted out3 ,gentlemen6 ,i've been and left my lecture in the hackney coach6 ,during these years he had tried to establish a studio like other masters and to have pupils and apprentices about him2 but the stupid ones he could not endure1 having no patience with them1 and he treated all the fashionable ones so bluntly they would not stay2 so the idea had to be given up4 ,he became a visitor at ,farnley ,hall in ,yorkshire1 where a friend1 ,mr4 ,hawksworth ,fawkes lived1 and in the course of his lifetime ,fawkes put fifty thousand dollars worth of ,turner's pictures upon his walls4 ,the ,fawkes family described ,turner as a most delightful man3 ,the fun1 frolic1 and shooting we enjoyed together1 and which1 whatever may be said by others of his temper and disposition1 have proved to me that he was1 in his hours of distraction from his professional labours as kindly hearted a man and as capable of enjoyment and fun of all kinds as any ,i ever knew4 ,another friend writes3 ,of all light-hearted1 merry creatures ,i ever knew1 ,turner was the most so2 and the laughter and fun that abounded when he was an inmate of our cottage was inconceivable1 particularly with the juvenile members of our family4 ,the story of his disappointment in marriage is an interesting one4 ,it is said that the young lady whom he loved was the sister of a schoolmate4 ,they had been engaged for some time1 but while he was on one of his travels his letters were stolen and kept from the young woman4 ,she believed he had forgotten her1 and her stepmother1 who had taken the letters1 persuaded the girl to engage herself to another4 ,turner returned just a week before her marriage and tried to win her back1 but although she loved him1 she felt herself then bound to her new suitor and therefore married him4 ,her marriage was very unhappy and her misery1 as well as his own1 distressed the artist till his death4 ,almost all his life1 in spite of his seeming gaiety1 he worked like a slave1 rising at four o'clock in the morning and working while light lasted4 ,when remonstrated with about this he would sadly say3 ,there are no holidays for me4 ,all his ways were honest and simple1 and his election to the ,academy was very exceptional in the way it came about4 ,most ,academicians had graces and airs and good fellowship to commend them1 as well as their works1 but ,turner had none of these things4 ,he had given no dinners1 nor played a social part in order to get the membership4 ,when the news was brought him that he was elected1 some one advised him to go and thank his fellow ,academicians for the honour1 as that was the custom2 but ,turner saw no reason in it4 ,since ,i am elected1 it must have been because they thought my pictures made me worthy4 ,why1 then should ,i thank them8 ,why thank a man for performing a simple duty4 ,in half a century ,turner was absent only three times from the ,academy exhibitions1 and his membership was of very great value to him4 ,at this time ,turner had an idea for an art publication to be called ,liber ,studiorum4 ,he meant to issue this in dark blue covers and to include in each number five plates4 ,there was to be a series of five hundred plates altogether1 and these were to be divided1 according to subject1 into historical1 landscape1 pastoral1 mountainous1 marine1 and architectural studies4 ,after seventy plates had been1 published1 the enterprise fell through1 because no one bought the periodical1 and there was no money to keep it going4 ,the engraver of the plates1 ,charles ,turner1 became so disgusted with the failure that he even used the proofs of these wonderful studies to kindle the fire with4 ,many years later1 a great print-dealer1 ,colnaghi1 made ,turner1 the engraver1 hunt up all the proofs that he had not used for kindling paper1 and these he bought for #a1ejj4 ,good ,god6 cried ,charles ,turner1 ,i have been burning banknotes all my life4 ,some years later still #c1jjj was paid for a single copy of the ,liber ,studiorum4 ,turner was a most conscientious man1 and many stories are told of his manner of teaching4 ,he could not talk eloquently nor give very clear instructions1 talking not being his forte1 but he would lean over a student's shoulder1 point out the defects in his work1 and then on a paper beside him make a few marks to illustrate what he had said4 ,if the artist had genius enough then to imitate him1 well and good2 if not1 ,turner simply went away and left him4 ,his own ways of working were remarkable4 ,he often painted with a sponge and used his thumbnail to tear up a sea4 ,it mattered little to him how he produced his effects so long as he did it4 ,his impressionistic style confused many of his critics1 and it is told how a fine lord once looked at a picture be had made1 and snorted3 ,nothing but daubs1 nothing but daubs6 ,then catching the inspiration1 he leaned close to the canvas1 and said3 ,no6 ,painting6 so it is6 ,i find1 ,mr4 ,turner1 said a lady1 that in copying your pictures1 touches of red1 blue and yellow appear all through the work4 ,well1 madam1 don't you see that yourself1 in nature8 ,because if you don't1 heaven help you6 was the reply4 ,once1 after painting a summer evening1 he thought that the picture needed a dark spot in front by way of contrast2 so he cut out a dog from black paper and stuck it on4 ,that dog still appears in the picture4 ,another time he painted ,a ,snow-storm at ,sea1 which some critics called ,soap-suds and ,whitewash4 ,turner1 who had been for hours lashed to the mast of a ship in order to catch the proper effect1 was naturally much hurt by the criticism4 ,what would they have6 he exclaimed4 ,i wonder what they think a storm is like4 ,i wish they'd been in it4 ,turner was conscientiously fond of his work1 and when he sold a picture he said that he had lost one of his children4 ,he grew rich1 but he never was knighted1 because his manners were not fine enough to suit the king4 ,he wished to become ,president of the ,royal ,academy1 but that was impossible because he was not polished enough to carry the honour gracefully4 ,after selling his place in the country ,turner bought a house in ,harley ,street1 where he lived a strange and lonely life4 ,a gentleman has written about this incident1 which shows us his manner of living3 ,two ladies called upon ,turner while he lived in ,harley ,street4 ,on sending in their names1 after having ascertained that he was at home1 they were politely requested to walk in1 and were shown into a large sitting-room without a fire4 ,this was in the depth of winter2 and lying about in various places were several cats without tails4 ,in a short time our talented friend made his appearance1 asking the ladies if they felt cold4 ,the youngest replied in the negative2 her companion1 more curious1 wished she had stated otherwise1 as she hoped they might have been shown into his sanctum or studio4 ,after a little conversation he offered them biscuits1 which they partook of for the novelty--such an event being almost unprecedented in his house4 ,one of the ladies bestowing some notice upon the cats1 he was induced to remark that he had seven1 and that they came from the ,isle of ,man4 ,thus we learn that ,turner's desolate house was full of ,manx cats1 and of many other pets4 ,when he had moved elsewhere--to #dg ,queen ,anne ,street--one of the pictures he cared most for1 ,bligh ,shore1 was put up as a covering to the window and a cat wishing to come in1 scratched it hopelessly4 ,the housekeeper started to punish it for this but ,turner said indulgently1 ,oh1 never mind6 and saved the cat from chastisement4 ,the place he lived in1 where his dad was always working in the garden and catching cold1 he called ,solus ,lodge1 because he wished his acquaintances to understand that he wanted to be alone4 ,one picture painted by him to order1 was to have brought him #b1ejj2 but when it was finished the man was disappointed with it and would not take it4 ,later1 ,turner was offered #h1jjj for it1 but would not sell it4 ,turner again fell in love1 but his bashfulness ruined his chances4 ,he wrote to the brother of the lady4 ,if she would only waive her bashfulness1 or1 in other words1 make an offer instead of expecting one1 the same 7,solus ,lodge7 might change occupiers4 ,faint heart certainly did not win fair lady in this case1 for she married another4 ,before he died ,turner was offered #be1jjj for two pictures which he would not sell4 ,no he said4 ,i have willed them and cannot sell them4 ,he disposed of several great works as legacies4 ,one picture of which he was very fond1 ,carthage1 was the occasion of an amusing anecdote4 ,chantry1 he said to his friend the sculptor1 ,i want you to promise that when ,i am dead you will see me rolled in that canvas when ,i'm buried4 ,all right1 said ,chantry1 ,i'll do it1 but ,i'll promise to have you taken up and unrolled1 also4 ,a remarkable incident of generosity is told of ,turner4 ,in #ahbf he hung two exquisite pictures in the ,academy4 ,one1 ,cologne1 having a most beautiful1 golden effect4 ,this was hung between two portraits by ,sir ,thomas ,lawrence4 ,the golden colouring of ,turner's picture entirely destroyed the effect of the ,lawrence pictures1 and without a word1 ,turner washed his lovely picture over with lampblack4 ,this gave the ,lawrence1 pictures their full colour value4 ,a friend who had been enthusiastic about the ,cologne was provoked with ,turner4 ,what in the world did you do that for8 he demanded4 ,well1 poor ,lawrence was so unhappy4 ,it will all wash off after the exhibition4 ,turner had his reward in cash1 for the picture sold for #b1jjj guineas4 ,above all things ,turner hated engravings1 or any process that cheapened art1 and one day he stated this to his friend ,lawrence4 ,i don't choose to be a basket engraver1 he declared4 ,what do you mean by that1 ,sir ,thomas inquired4 ,why when ,i got off the coach t' other day at ,hastings1 a woman came up with a basket of your ',mrs4 ,peel1' and offered to sell me one for a sixpence4 ,turner dearly loved his friends1 and the story of ,chantry's death1 illustrates it4 ,he was in his room when the sculptor breathed his last1 and just as he died1 the artist turned to another friend1 ,george ,jones1 and with tears streaming down his face1 wrung ,jones's hand and rushed from the room1 unable to speak4 ,again1 when ,william ,frederick ,wells1 another friend1 died1 ,turner rushed to the house of ,clara ,wells1 his daughter1 and cried3 ,oh ,clara1 ,clara6 these are iron tears4 ,i have lost the best friend ,i ever had in my life4 ,in his old age ,turner suddenly disappeared from all his haunts1 and his friends could not find him4 ,they were much troubled1 but one day his old housekeeper found a note in a pocket of an old coat1 which made her think he had gone to ,chelsea4 ,she looked there for him1 and found him very ill1 in a little cottage on the ,thames ,river4 ,everybody about called him ,admiral ,booth1 believing him to be a retired admiral4 ,he had felt his death near and had tried to meet it quite alone4 ,he died the very day after his friends found him1 as he was being wheeled by them to the window to look out upon the river for the last time4 ,he was buried in ,st4 ,paul's ,cathedral between ,sir ,joshua ,reynolds and ,james ,barry4 ,he left his drawings and pictures to a ,turner ,gallery1 and #ajj1jjj to the ,royal ,academy1 to be used for a medal to be struck every two years for the best exhibitor4 ,the rest of his fortune went to care for poor and decayed male artists born in ,england and of ,english parents only4 ,this was to be known as ,turner's ,gift1 and that is why he had saved money all his life4 ,a few more of the numberless stories of his generosity should be told4 ,a picture had been sent to the ,academy by a painter named ,bird ,it was very fine1 and ,turner was full of its praise1 but when they came to hang it no place could be found4 ,it can't be hung1 the others of the committee said4 ,it must be hung1 returned ,turner1 but nothing could be done about it1 for there was absolutely no place4 ,then ,turner went aside with the picture and sat studying it a long time4 ,finally he got up1 took down a picture of his own and hung ,bird's in its place4 ,there6 he said4 ,it is hung6 ,again1 an old drawing-master died and ,turner who had known the family for a long time1 was aware that they were destitute1 so he gave the widow a good sum of money with which to bury her husband and to meet general expenses4 ,after some time she came to him with the money2 but ,turner put his hands in his pockets4 ,no1 he said2 keep it4 ,use it to send the children to school and to church4 ,on one occasion when he had irritably sent a beggar from his house1 he ran out and called her back1 thrusting a #e note into her hand before letting her go4 ,there was a man who in ,turner's youth1 while the little fellow was making pictures in the cheerless barber shop bought all of these drawings he could find4 ,he often raised the price and in every way tried to help ,turner4 ,in after years that old patron went bankrupt4 ,turner heard that his steward had been instructed to cut down some fine old trees on this man's estate1 and sell them4 ,turner1 without letting himself be known in the matter1 at once stopped the cutting and put into his old patron's hands about #bj1jjj4 ,the rescued man1 afterward1 through the same channels that he had received the money1 paid it all back4 ,years passed1 and the son of that same man got into the same difficulties1 and again1 without being known in the matter1 ,turner restored his fortune4 ,that son1 in his turn1 honestly paid back the full amount4 ,this was the miser who saved all his money--to do good deeds to his friends4 ,ruskin wrote that in all his life he had never heard from ,turner one unkind or blameful word for others4 ,,plate--,,the ,,fighting ,t,m,,raire ,this was the picture which ,turner loved best of all1 the one he would never sell2 but at his death ho gave it to the ,english nation4 ,many years before he painted it1 he had gone down to ,portsmouth one day to see ,nelson's fleet come in after the glorious victory of ,trafalgar4 ,the ,tmraire was pointed out to him--a battle ship that had very proudly borne the ,english flag1 for during the battle it had run in between two ,french frigates and captured them both4 ,and now between thirty and forty years later1 he lingered one afternoon on the banks of the ,thames4 ,as he looked over the water he saw the grand old hulk being towed down the river by a noisy little tug to be broken up at ,deptford4 ',there's a fine subject6' he exclaimed as he looked at the heroic ship that had known many glorious years2 and in his thought he compared it to 'a battle-scarred warrior borne to the grave4' ,then he painted the picture4 ,the glow of the setting sun irradiates the scene and bids farewell to the old ship4 ,twilight is coming on1 and the new moon has just risen in its pearly light4 ,it is a pathetic picture1 and well illustrates how truly a master of sunsets and waves the artist was4 ,among his other paintings are several of ,venice2 ,the ,slave ,ship and many other sea pieces4 ,,xl ,,sir ,,anthony ,,van ,,dyck ,flemish ,school #aeii-afda ,pupil of ,rubens ,anthony ,van ,dyke's father was neither a gentleman nor an ill-born person4 ,he was betwixt-and-between1 being a silk merchant1 who met so many fine folk that he seemed to be fine folk himself2 and by the time ,anthony had grown up1 he actually believed himself to be one of them4 ,if manners stand for fineness ,sir ,anthony must have been superfine1 because he was almost overburdened with manners4 ,he became a wonderful1 be-laced1 perfumed1 shiny gentleman who never stooped to paint anything less than royalty and its associates1 nor in anything less than velvets and laces4 ,like ,rembrandt and ,gainsborough1 he set a fashion--or rather the style in which he painted came to be known after his name4 ,we are all familiar with the kind of ornamentation on clothes called ,van ,dyck--pointed lace1 or trimmings--and pointed beards4 ,as a very young lad he was almost too dainty to be liked by healthy boys2 and the worst of it was he did not care whether healthy1 robust chaps liked him or not2 certainly he did not care for them4 ,he liked to sit in his father's shop and be smiled upon by the great ladies who came to buy1 and in turn to smile shyly at them2 this tendency became stronger as he grew to be a man4 ,anthony's mother made the most exquisite embroideries1 and this may mean that some part of his art was inherited4 ,she handled lovely colours1 and tried to fashion beautiful flower shapes for customers4 ,she was a fragile1 tender sort of woman1 while the father was doubtless a dapper1 over-nice little fellow4 ,anthony was born in ,antwerp1 and the facts concerning his education1 as in the case of most artists1 are lost to our knowledge4 ,he probably had a little of some sort outside of painting1 but it certainly was not enough to hurt him1 nor to make a fine healthy man of him4 ,he was very beautiful1 in a lady-like1 faint-coloured way1 not in the least resembling the handsome1 gorgeous1 elegant1 robust ,rubens1 a true cavalier1 of a dashing sort4 ,he was apprenticed to a painter when he was ten years old1 and later on became the pupil of ,rubens4 ,he painted a whole series of ,apostles' heads1 about which a lawsuit took place4 ,the papers relating to this were found about twenty years ago1 though the lawsuit occurred as far back as #afae4 ,several of the ,apostles' heads that brought about the suit are to-day to be seen in the gallery at ,dresden4 ,everything in those days--especially in ,germany and ,holland--was represented by a guild4 ,in reading about the ,mastersingers of ,nuremberg we are told that on the day when the trial of singers was to take place1 dozens of guilds assembled in the meadow--guilds of bakers1 of shoemakers--of which ,hans ,sachs was the head--guilds of goldsmiths1 etc4 ,van ,dyck was a member of the painters' guild when he was no more than nineteen4 ,his work at that time showed so much strength that there is a picture of his1 an old gentleman and lady1 in the ,dresden gallery1 which for a long time was supposed to have been painted by his master1 ,rubens4 ,an intimate friend of ,van ,dyck1 ,kenelm ,digby1 says that ,van ,dyck's first relations with ,rubens came about by ,van ,dyck being employed to make engravings for the reproduction of ,rubens's great works4 ,after that he studied painting with him4 ,one of his friends of that time wrote that at twenty ,van ,dyck was nearly as great as ,rubens1 though this is hardly substantiated by the verdict of time1 and that being a man with very rich family connections1 he could hardly be expected to leave home4 ,on every hand we have signs of the artist's affected feeling about himself and other people4 ,however1 an annual pension from the ,king of ,england seems to have made travelling possible to this fine gentleman of lace ruffles1 pale face1 and lady-like ways4 ,there is an entry about him on the royal account book of ,special service 444 performed for ,his ,majesty4 ,also ,antonio ,van ,dyck1 gent41 ,his ,majesty's servant1 is allowed to travaile #h months1 he havinge obtayneid his ,majesty's leave in that behalf1 as was signified to the ,e4 of ,arundel4 ,certainly by that time ,van ,dyck had become a truly great portrait painter2 not the greatest1 because every picture showed the same characteristics in its subject--elegance1 fine clothes1 languid manners1 without force of great truth or any excellent moral quality to distinguish one from another4 ,nevertheless1 the kind of painting that he did1 he did better than anyone else had ever done1 or probably ever will do4 ,while in ,england he painted all the royalties and many aristocrats1 and wherever he went he was always painting pictures of himself4 ,he travelled about a good deal1 always painting people of the same class--kings and queens and fine folk1 and painting them pretty nearly all alike4 ,when he went to ,italy he was everywhere received as a great painter1 but while artists agreed that his work was excellent he was not much liked by them1 and many tales are told about that journey which are interesting1 if not entirely true4 ,van ,dyck was the sort of man about whom tales would be made up4 ,one1 however1 sounds true4 ,it is said that he fell in love--which of course he was always doing--with a beautiful country girl1 and that for love of her he painted an altar piece into which he put himself1 seated on the great gray horse which ,rubens had given him4 ,that picture is in ,st4 ,martin's ,church at ,saventhem1 near ,brussels1 but although one is inclined to believe this story because it was quite the sort of thing which might be expected of ,van ,dyck1 even this is not true1 because the painting was done long after the artist had made his ,italian journey1 and it was commissioned by a gentleman living at ,saventhem1 whose daughter ,van ,dyck undoubtedly liked pretty well2 but he made the picture for money1 not for love4 ,while he was in ,italy he lived with a cardinal1 and painted languid pictures of sacred subjects1 which were far from being his best work4 ,the best that he did was in portraiture4 ,distinguished though he was1 he did not have a very good time in ,italy1 because he would not join the artists who worked there1 nor associate with them in the least1 and naturally this made him disliked4 ,we see a good many portraits painted by ,van ,dyck1 of persons mounted upon or standing beside the gray horse1 and these were painted about the time of that ,italian journey4 ,he used the ,rubens horse in many paintings4 ,of all the people with whom he painted1 he most valued the knowledge he got from a blind woman painter of ,sicily1 called ,sofonisba ,anguisciola1 and he often said that he had learned more from a blind woman than from all the open-eyed men he ever knew4 ,this woman artist was over ninety years old at the time he learned from her4 ,while he was in ,italy the plague broke out1 and ,van ,dyck fled for his life1 leaving an unfinished picture behind him1 one ordered by the ,english king1 the subject being ,rinaldo and ,armida1 which had gained for the artist his knighthood pension4 ,it is said that during his first year in ,england he painted the king and queen twelve times4 ,he had an extraordinary record for industry1 and painted very quickly1 as he had need to do1 because it took a great deal of money to buy the sort of things ,van ,dyck liked--fine laces and velvets1 perfumes and satins4 ,his plan was to sketch his subject first on gray paper with black and white chalk1 and after that he gave the sketch to an assistant who increased it to the size he wished to paint4 ,the next step was to set his painter to work upon the clothing of his figures4 ,this was painted in roughly1 together with background and any architectural effect ,van ,dyck wanted4 ,after this the artist himself sat down and in three or four sittings1 of not more than an hour each1 he was able to finish a picture worth to-day thousands of dollars4 ,he painted hands specially well1 and kept certain models for them alone4 ,van ,dyck had eleven brothers and sisters1 whom he always kept in mind4 ,some of his sisters had become nuns while some of his brothers were priests1 and ,van ,dyck's influence got a monkish brother called to the ,dutch court to act as chaplain to the queen4 ,by this time every royal personage in the world1 nearly1 had sent for ,van ,dyck to paint his portrait1 for he could make one look handsomer than could any other painter in existence4 ,if the king was very ugly1 ,van ,dyck painted such beautiful clothes upon him that nobody noticed the plainness of the features4 ,when ,van ,dyck was about thirty-six years old he married a great lady1 the ,lady ,mary ,ruthven1 granddaughter of the ,earl of ,gowrie1 but before that he had had a lady-love1 ,margaret ,lemon1 whom he painted as the ,virgin and in several other pictures4 ,when he married ,lady ,mary1 ,margaret ,lemon was so furiously jealous that she tried to injure ,van ,dyck's right hand so that he could paint no more4 ,about this time ,rubens died in ,flanders1 leaving behind him an unfinished series of pictures which had been commissioned by the king of ,spain4 ,van ,dyck was asked to finish these1 but declined until he was asked to make an independent picture1 to complete the series1 and this he was delighted to do4 ,ferdinand of ,austria wrote to the king of ,spain that ,van ,dyck had returned in great haste to ,london to arrange for his change of home1 in order to do the work4 ,possibly he may still change his mind1 he added1 for he is stark mad4 ,this shows how ,van ,dyck's erratic ways appeared to some people4 ,he had a sister1 ,justiniana1 who was also something of an artist and she married a nobleman when she was about twelve years old4 ,when ,van ,dyck died he was buried in ,st4 ,paul's1 ,london1 and ,charles ,i4 placed an inscription on his tomb4 ,in the ,young ,people's ,story of ,art1 is the following anecdote3 ,a visit was once paid by a courtly looking stranger passing through ,haarlem1 to ,franz ,hals1 the distinguished ,dutch painter4 ,hals was not at home but he was sent for to the tavern and hastily returned4 ,the stranger told him that he had heard of his reputation--had just two hours to spare--and wished to have his portrait painted4 ,hals1 seizing canvas and brushes fell vigorously to work2 and before the given time had elapsed1 he said1 ',have the goodness to rise1 sir1 and examine your portrait6' ,the stranger looked at it1 expressed his satisfaction1 and then said1 ',painting seems such a very easy thing1 suppose we change places and see what ,i can do6' ,hals assented1 and took his position as the sitter4 ,the unknown began1 and as ,hals watched him1 he saw that he wielded the brush so quickly1 he must be a painter4 ,his work1 too1 was rapidly finished1 and as ,hals looked at it he exclaimed1 ',you must be ,van ,dyck6 ,no one else could paint such a portrait6' ,no two portraits could have been more unlike4 ,the story adds that the famous ,dutch and ,flemish masters heartily embraced each other4 ,the stories of ,van ,dyck's youth are interesting1 and probably true4 ,it is said that he drew so well when he was a pupil of ,rubens that the great master often allowed him to retouch his own works4 ,once in ,rubens's studio1 some of the students got the key and went in to see what the master was doing1 when he was absent4 ,rubens had left a painting fresh upon the easel1 and in looking about them one of the boys rubbed against it4 ,this frightened them all4 ,what should they do8 ,rubens would find his picture ruined and know that they had broken in4 ,after consultation they decided there was no one with them who could repair the damage as well as ,van ,dyck1 who set about it1 and soon he had painted in the smudged part so perfectly that when ,rubens saw it1 he did not for some time know that anything had happened to his picture4 ,later he suspected something1 and when he learned of the prank and its outcome1 he was so delighted with ,van ,dyck's work that he praised him instead of blaming him for it4 ,van ,dyck had a very precise method of working4 ,when sitters came to him he would paint for just one hour4 ,then he would politely dismiss them1 and his servant would wash his brushes1 and clear the way for the next sitter4 ,he dined with his sitters often that he might surprise in them the expression which he wanted to paint4 ,also1 he had their clothing sent to his studio1 that it might be exactly imitated by himself or by those assistants who painted in the foundation for his finished work4 ,while attached to ,king ,charles ,i4's court1 ,van ,dyck was given a fine house at ,blackfriars1 on the ,thames1 and he had a private landing place made for boats1 so that the royal family might visit him at their convenience4 ,charles ,i4 used often to go to ,van ,dyck's studio to escape his many troubles1 and thus the artist's home became as fashionable a gathering place1 as ,gainsborough's studio was in ,bath4 ,he painted ,queen ,henrietta not less than twenty-five times4 ,he often furnished concerts for his sitters1 for he himself was passionately fond of music1 and moreover he believed that music often brought to the faces of his sitters1 an expression that he loved to paint4 ,he painted so many pictures of a certain kind of little dog1 in the pictures of ,king ,charles ,i4 that ever since that breed has been known as the ,king ,charles spaniel4 ,after a while ,van ,dyck got heavily into debt4 ,king ,charles himself was in great trouble1 and he had no money with which to pay his painter's pension4 ,the artist had lived so extravagantly that he did not know at last which way to turn1 so in desperation he thought to try alchemy and maybe to learn the secret of making gold4 ,he wasted much time at this1 as cleverer men have done1 but at last he became too ill for that or for his own proper work1 and badly off though ,charles was himself1 he offered his court physician a large sum if he could cure his court painter4 ,but ,van ,dyck had enjoyed life too well1 and nothing could be done for him4 ,he was the seventh child of his parents--which some have thought had something to do with his genius and success2 he lived gaily all the years of his life1 going restlessly from place to place1 and having many acquaintances but probably few friends1 outside of his old master1 ,rubens1 who loved him for his genius4 ,,plate--,,children ,,of ,,charles ,,the ,,first ,van ,dyck painted the family of the unfortunate king of ,england four times4 ,there are five children in the ,windsor ,castle picture1 and this one1 which hangs in the ,turin ,gallery1 was probably painted before the birth of the fourth child in #afcf4 ,it is celebrated for its colouring as well as for its great artistic merit4 ,the children are surely childlike enough1 despite their stately attire1 and they little dream of the sad fate awaiting the whole of the ,stuart family to which they belong4 ,other ,van ,dycks are3 ,the ,blessed ,herman ,joseph1 ,lords ,digby and ,russell1 ,lord ,wharton1 ,countess ,folkestone1 and ,william ,prince of ,orange4 ,,xli ,,velasquez 7,,diego ,,rodriguez ,,de ,,silva7 7,pronounced ,vay-lahs'keth7 ,castilian ,school #aeii-affi ,pupil of ,herrera ,it is pretty difficult to find out why a man was named so-and-so in the days of the early ,italian and ,spanish painters4 ,more likely than not they would be called after the master to whom they had been first apprenticed2 or after their trade2 after the town from which they came1 and rarely because their father had had the name before them4 ,in ,velasquez's case1 he was named after his mother4 ,no one seemed to be certain what to call him1 but he generally wrote his name ,diego de ,silva ,velasquez4 ,his father was ,rodriguez de ,silva1 a lawyer1 but in calling the boy ,velasquez the family followed a universal ,spanish custom of naming children after their mothers4 ,little ,velasquez was well taught in his childhood2 he studied many languages and philosophy1 for he was intended to be a lawyer or something learned1 anything but a painter4 ,the disappointment of parents in those days1 when they found a child was likely to become an artist is touching4 ,despite his equipment for a useful life1 according to the ideas of his parents1 this little chap was bound to become nothing but a maker of pictures4 ,herrera was a bad-tempered master and little ,velasquez could not get on with him1 so after a year of harsh treatment1 he went to another master1 ,pacheco1 but by that time he had learned a secret that was to help make his work great4 ,herrera had taught him to use a brush with very long bristles1 which had the effect of spreading the paint1 making it look as if his colours had floated upon the canvas1 in a way that was the despair of those who came after him4 ,velasquez was born in ,seville at a time when about all the art of the world was ,italian or ,german2 thus he became the creator of a new school of painting4 ,he stayed five years in ,pacheco's studio and pupil and master became very fond of each other4 ,pacheco was not a great master--not so good as ,herrera--but he was easy to get on with1 and knew a good deal about painting1 so that as ,velasquez had the genius1 he was as well placed as he needed to be4 ,in ,pacheco's studio there was a peasant boy whose face was very mobile1 showed every passing feeling2 and ,velasquez used to make him laugh and weep1 till1 surprising some good expression1 he would quickly sketch him4 ,with this excellent model1 ,velasquez did a surprising amount of good work4 ,spain had just then conquered the far-off provinces of ,mexico and ,peru1 and was continually receiving from its newly got lands much valuable merchandise4 ,rapidly growing rich1 this ,latin country loved art and all things beautiful1 so its money was bound to be spent freely in such ways4 ,madrid had been made its capital1 and at that time there were few fine pictures to be found there4 ,the ,moors who had conquered ,spain had forbidden picture making1 because it was contrary to their religion to represent the human figure1 or even the figures of birds and beasts4 ,then the ,inquisition had hindered art by its rules1 one of which was that the ,virgin ,mary should always be painted with her feet covered2 another1 that all saints should be beardless4 ,there were many more exactions4 ,while cathedrals were being built elsewhere1 the ,moors had been in control of ,spanish lands1 so that no cathedral had been built there1 and when ,velasquez came upon the scene the time of great cathedral building was past4 ,it had ceased to be the fashion4 ,although there had been such painters as ,beneguette1 ,morales1 ,navarrette1 and ,ribera1 all ,spanish and of considerable genius1 they had been too badly handicapped to make painting a great art in ,spain4 ,when ,madrid became the capital of ,spain1 it had no unusual buildings1 unless it was an old fortress of the ,moors1 the ,alcazar1 ,caesar's house1 but the nation was buying paintings from ,italy1 and it began to beautify ,madrid1 which had the advantage of the former ,moorish luxury and art1 very beautiful1 though not pictorial4 ,in ,madrid1 then1 there seemed to be great opportunity for a fine artist like ,velasquez1 and his master urged him to go there and try his fortune4 ,so he set out on mule-back1 attended by his slave1 but unless he could get the ear of the king1 it was useless for him to seek advancement in ,madrid4 ,without the king as patron at that time1 an artist could not accomplish much4 ,after trying again and again1 ,velasquez had to return to his old master1 without having seen the king2 but after a time a picture of his was seen by ,philip ,,iv41 and he was so much pleased with it that he summoned the artist4 ,through his minister1 ,olivares1 he offered him #aac4dj in gold 7fifty ducats7 to pay his return expenses4 ,the next year he gave him #fhj4dj to move his family to ,madrid4 ,at last the artist had found a place in the rich city1 and he went to live at the court where the warmest friendship grew between him and the king4 ,the latter was an author and something of a painter1 so that they loved the same things4 ,this friendship lasted all their lives1 and they were together most of the time1 the king always being found1 in ,velasquez's studio in the palace when his duties did not call him elsewhere4 ,during the many many years--nearly thirty-seven--that ,velasquez lived with ,philip ,,iv4 he employed himself in painting the scenes at court4 ,thus he became the pictorial historian of the ,spanish capital4 ,he was a man of good disposition1 kindly and generous in conduct and in feeling1 so that he was always in the midst of friends and well-wishers4 ,philip ,,iv4 was indeed a noble companion1 but he was not a gay one1 being known as the king who never laughed--or at least whose laughter was so rare1 the few times he did laugh became historic4 ,one would expect this serious and depressing atmosphere to have had an effect upon a painter's art2 but it chanced that ,rubens visited ,spain1 and there1 ,velasquez being the one famous artist1 it was natural they should become interested in each other4 ,rubens told ,velasquez of the wonders of ,italian painting1 till the ,spaniard could think of nothing else1 and finally he begged ,philip to let him journey to ,italy that he might see some of those wonders for himself4 ,the request made the king unhappy at first1 but at last he gave his consent and ,velasquez set out for ,italy4 ,the king gave him money and letters of introduction1 and he went in company with the ,marquis of ,spinola4 ,after ,velasquez had stayed eighteen months in ,italy1 ,philip began to long for his friend and sent for him to return4 ,he came back full of the stories of brilliant ,italy1 and charmed the king completely4 ,there is as absurd a story of ,velasquez's perfection in painting as that of ,raphael's1 whose portrait of the pope1 left upon the terrace to dry1 imposed upon passers by4 ,it is said of ,velasquez's work that when he had painted an admiral whom the king had ordered to sea1 and left it exposed in his studio1 the king1 entering1 thought it was the admiral himself1 and angrily inquired why he had not put to sea according to orders4 ,on the face of them these stories are false1 but they serve to suggest the perfection of these artists' paintings4 ,philip1 being a melancholy man1 had his court full of jesters1 poor misshapen creatures--dwarfs and hunchbacks--who were supposed to appear funny1 and ,velasquez1 as court painter1 painted those whom he continually saw about him1 who formed the court family4 ,thus we have pictures of strange groups--dwarfs1 little princesses1 dressed precisely as the elders were dressed1 favourite dogs1 and ,velasquez himself at his easel4 ,in #afah1 while still with his master1 ,pacheco1 he had married the master's daughter1 a big1 portly woman4 ,before he left ,seville he bad two daughters4 ,these were all the children he had1 although he painted a picture of ,velasquez's ,family which includes a great number of people4 ,the figures in that painting are the children of his daughter1 not his own2 and this may account for one biographer's statement that the artist had seven children4 ,he was devoted to and happy in his family of children and grandchildren4 ,he did not grow rich1 but received regularly during his life in ,madrid1 twenty gold ducats 7#de4cf7 a month to live upon1 and besides this his medical attendance1 lodging1 and additional payment for every picture4 ,the one which brought him this good fortune was an equestrian portrait of ,philip2 first uncovered on the steps of ,san ,felipe4 ,everywhere the people were delighted with it1 poets sung of it1 and the king declared no other should ever paint his portrait4 ,this picture has long since disappeared4 ,in #afbg ,velasquez won the prize for a picture representing the expulsion of the ,moors from ,spain and was rewarded by being appointed gentleman usher4 ,to this was shortly afterward added a daily allowance of twelve reals--the same amount which was allowed to court barbers--and ninety gold ducats 7#bjd4ab7 a year for dress1 which was also paid to the dwarfs1 buffoons1 and players about the king's person--truly a curious estimate of talent at the court of ,spain4 ,the record of ,philip ,,iv4 with unpleasing1 even degenerate characters1 about him1 is brightened by the thought of his loyalty to his court painter and life-long friend4 ,when the king's favourites fell1 those who had been the friends of ,velasquez1 the artist loyally remained their friend in adversity as he had been while they were powerful4 ,this constancy1 even to the royal enemies1 was never resented by ,philip4 ,he honoured the faithfulness of his artist1 even as he himself was faithful in this friendship4 ,philip's court was such that there was little to paint that was ennobling1 and so ,velasquez lacked the inspiration of such surroundings as the ,italian painters had4 ,philip ,,iv4 was hail-fellow-well-met with his stablemen1 his huntsmen1 his cooks1 and yet he seems to have had no sense of humour1 was long faced and forbidding to look at1 and despite his strange habits considered himself the most mighty and haughty man in the world4 ,he felt himself free to behave as he chose1 because he was ,philip of ,spain2 and he chose to do a great many absurd and outrageous things4 ,in all ,philip's portraits1 painted by ,velasquez1 he wears a stiff white linen collar of his own invention1 and he was so proud of this that he celebrated it by a festival4 ,he went in procession to church to thank ,god for the wonderful blessing of the ,golilla--the name of his collar4 ,this unsightly thing became the fashion1 and all portraits of men of that time were painted with it4 ,in regard to the wonderful structure of ,philip's moustaches it is said1 that1 to preserve their form they were encased during the night in perfumed leather covers called bigoteras4 ,such absurdities in a king1 who had the responsibilities of a nation upon him1 seem incredible4 ,velasquez made in all three journeys to ,italy1 and the last one was on a mission for the king1 which was much to the latter's credit4 ,philip had determined to have a fine art gallery in ,madrid1 for ,spain had by this time many pictures1 but no statuary2 so he commissioned his painter to buy whatever he thought well of and could buy1 in ,italy4 ,hence the artist set off again with his slave--the same one with whom he had journeyed to ,madrid so long before4 ,his name was ,pareja1 and his master had already made an excellent artist of him4 ,they went to ,genoa1 thence to the great art-centres of ,italy1 were received everywhere with honour1 and the artist bought wisely4 ,velasquez did not care for ,raphael's paintings as much as for ,titian's1 and he said so to ,salvator ,rosa1 an honoured painter in ,italy4 ,while in ,rome ,velasquez painted the pope1 also his own slave1 ,pareja4 ,when he returned to ,spain he took with him three hundred statues1 but a large number of them were nude1 and the ,spanish court1 not over particular about most things1 was very particular about naked statues1 so that after ,philip's death1 they nearly all disappeared4 ,after his return1 and after the queen had died and ,philip had married again1 ,velasquez was made quartermaster-general1 no easy post but not without honour1 though it interfered with his picture painting a good deal4 ,he had to look after the comfort of all the court1 and to see that the apartments it occupied1 at home or when it visited1 were suitable4 ,even the powerful king of ,spain could not make his favourite a belted knight without a commission to inquire into the purity of his lineage on both sides of the house4 ,fortunately1 the pedigree could bear scrutiny1 as for generations the family was found free from all taint of heresy1 from all trace of ,jewish or ,moorish blood1 and from contamination from trade or commerce4 ,the difficulty connected with the fact that he was a painter was got over by his being painter to the king and by the declaration that he did not sell his pictures4 ,the red ,cross of ,santiago conferred upon him by ,philip1 made ,velasquez a knight and freed him also from the rulings of the ,inquisition1 which directed so largely what artists could and could not do4 ,thus it is that we come to have certain great pictures from ,velasquez's brush which could not otherwise have been painted4 ,this action of the king1 setting free the artist1 made two schools of art1 of which the court painter represented one2 and ,murillo the other1 under the command of the ,church4 ,although not so rich perhaps as ,raphael1 ,velasquez lived and died in plenty1 while ,murillo1 the artist of the ,church of ,rome1 was a poverty-stricken man4 ,finally1 while in the midst of honours1 and fulfilling his official duty to the court of ,spain1 ,velasquez contracted the disease which killed him4 ,the ,infanta1 ,maria ,theresa1 was to wed ,louis ,,xiv41 and the ceremony was to take place on a swampy little island called the ,island of ,pheasants4 ,there he went to decorate a pavilion and other places of display4 ,he became ill with a fever and died soon after he returned to ,madrid4 ,he made his wife1 his old master ,pacheco's daughter1 his executor1 and was buried in the church of ,san ,juan1 in the vault of ,fuensalida2 but within a week his devoted wife was dead1 and in eight days' time she was buried beside him4 ,he left his affairs--accounts between him and the court--badly entangled1 and it was many years before they were straightened out4 ,his many deeds of kindness lived after him4 ,he made of his slave a good artist and a devoted friend1 and by his efforts the slave became a freedman4 ,the story of his kindly help to ,murillo when that exquisite painter came1 unknown and friendless to ,madrid1 has already been told4 ,the ,church where ,velasquez was buried was destroyed by the ,french in #ahaa1 and all trace of the resting place of the great ,spanish artist is forever lost to us4 ,he is called not only painter to the king1 but king of painters4 ,,plate--,,equestrian ,,portrait ,,of ,,don ,,balthasar ,,carlos4 ,philip of ,spain had long prayed for a son and when at last one was granted him his pride in his young heir was unbounded4 ,the little ,don ,carlos was not unworthy1 for he was a cheerful1 hearty boy1 trained to horsemanship1 from his fourth year1 for his father was a noted rider and had the best instructors for his son4 ,the prince was a brave hunter too and we are told that he shot a wild boar when he was but nine years of age4 ,in this portrait which is in the ,museo del ,prado he is six years old1 and it was neither the first nor the last that ,velasquez made of him4 ,it was one of the court painter's chief duties to see that the heir to the throne was placed upon canvas at every stage of his career1 and he painted him from two years of age till his lamented death at sixteen4 ,the young prince wears in this picture a green velvet jacket with white sleeves and his scarf is crimson embroidered with gold4 ,the lively pony is a light chestnut and the foreshortening of its body must be noticed4 ,the steady grave eyes of the lad are gazing far ahead as they would naturally be if he were riding rapidly1 but his princely dignity is shown in his firm seat in the saddle and his manner of holding his marshal's batn4 ,the great art of the painter is also shown in the way he subordinates the landscape to the figure4 ,he will not allow even a tree to come near the young horseman1 but brings his young activity into vivid contrast with the calm peacefulness of the distant view4 ,with the death of ,don ,carlos the downfall of his father's dynasty was assured1 though for a time his little sister1 the ,infanta ,maria ,theresa1 was upheld as the heiress4 ,she married ,louis ,,xiv4 and had a weary time of it in ,france4 ,velasquez painted her picture too1 in the grown up dress of the children of that day4 ,it is in the ,vienna ,gallery4 ,among his best known pictures are ,the ,surrender of ,breda1 ,alessandro del ,borro1 and ,philip ,,iv4 ,,xlii ,,paul ,,veronese 7,,paolo ,,cagliari7 7,pronounced ,vay-ro-nay'zay and pah'o-lah cal-ee-ah'ree7 ,venetian ,school #aebh-aehh ,pupil of ,titian ,one has never done well enough1 when one can do better2 one never knows enough when he can learn more6 ,this was the motto of ,paul ,veronese4 ,this artist was born in ,verona--whence he took his name--and spent much of his life with the monks in the monastery of ,st4 ,sebastian4 ,his father was a sculptor1 and taught his son4 ,veronese himself was a lovable fellow1 had a kind feeling for all1 and in return received the good will of most people4 ,when he first went to ,venice to study he took letters of introduction to the monks of ,st4 ,sebastian1 and finally went to live with them1 for his uncle was prior of the monastery1 and it was upon its walls that he did his first work in ,venice4 ,his subject was the story of ,esther1 which he illustrated completely4 ,he became known in time as the most magnificent of magnificent painters4 ,he loved the gaieties of ,venice2 the lords and ladies2 the exquisite colouring2 the feasting and laughter1 and everything he painted1 showed this taste4 ,when he chose great religious subjects he dressed all his figures in elegant ,venetian costumes1 in the midst of elegant ,venetian scenes4 ,his ,virgins1 or other ,biblical people1 were not ,jews of ,palestine1 but ,venetians of ,venice1 but so beautiful were they and so inspiring1 that nobody cared to criticise them on that score4 ,he loved to paint festival scenes such as1 ,the ,marriage at ,cana1 ,banquet in ,levi's ,house1 or ,feast in the ,house of ,simon4 ,he painted nothing as it could possibly have been1 but everything as he would have liked it to be4 ,into the ,wedding ,feast at ,cana1 where ,jesus was said to have turned the water into wine1 he introduced a great host of his friends1 people then living4 ,titian is there1 and several reigning kings and queens1 including ,francis ,i4 of ,france and his bride1 for whom the picture was made4 ,this treatment of the ,bible story startles the mind1 but delights the eye4 ,it was said that his red recurred like a joyful trumpet blast among the silver gray harmonies of his paintings4 ,muther1 one who has written brilliantly about him1 tells us that ,veronese seems to have come into the world to prove that the painter need have neither head nor heart1 but only a hand1 a brush1 and a pot of paint in order to clothe all the walls of the world with oil paintings and that if he paints ,mary1 she is not the handmaid of the ,lord or even the ,queen of ,heaven1 but a woman of the world1 listening with approving smile to the homage of a cavalier4 ,in light red silk morning dress1 she receives the ,angel of the ,annunciation and hears without surprise--for she has already heard it--what he has to say2 and at the ,entombment she only weeps in order to keep up appearances4 ,such criticism raises a smile1 but it is quite just1 and what is more1 the ,veronese pictures are so beautiful that one is not likely to quarrel with the painter for having more good feeling than understanding4 ,his joyous temperament came near to doing him harm1 for he was summoned before the ,inquisition for the manner in which he had painted ,the ,last ,supper4 ,after the ,esther pictures in ,st4 ,sebastian1 the artist painted there the ,martyrdom of ,st4 ,sebastian1 and there is a tradition that he did his work while hiding in the monastery because of some mischief of which he had been guilty4 ,at that time he was not much more than twenty-six or eight1 while the great painter ,tintoretto was forty-five1 yet his work in ,st4 ,sebastian made him as famous as the older artist4 ,there is very little known of the private affairs of ,veronese4 ,he signed a contract for painting the ,marriage at ,cana1 for the refectory of the monastery of ,st4 ,giorgio ,maggiore1 in ,june #aefb1 and that picture1 stupendous as it is1 was finished eighteen months later4 ,he received #ggg4fj for it1 as well as his living while he was at work upon it1 and a tun of wine4 ,one picture he is supposed to have left behind him at a house where he had been entertained1 as an acknowledgment of the courtesy shown him4 ,paul had a brother1 ,benedetto1 ten years younger than himself1 and it is said that he greatly helped ,paul in his work1 by designing the architectural backgrounds of his pictures4 ,if that is so1 ,benedetto must have been an artist of much genius1 for those backgrounds in the paintings are very fine4 ,veronese married1 and had two sons2 the younger being named ,carletto4 ,he was also the favourite1 and an excellent artist1 who did some fine painting1 but he died while he was still young4 ,gabriele the elder son1 also painted1 but he was mainly a man of affairs1 and attended to business rather than to art4 ,veronese was a loving father and brother1 and beyond doubt a happy man4 ,after his death both his sons and his brother worked upon his unfinished paintings1 completing them for him4 ,he was buried in the ,church of ,st4 ,sebastian4 ,,plate--,,the ,,marriage ,,at ,,cana ,this painting is most characteristic of ,veronese's methods4 ,he has no regard for the truth in presenting the picture story4 ,at the marriage at ,cana everybody must have been very simply dressed1 and there could have been no beautiful architecture1 such as we see in the picture4 ,in the painting we find courtier-like men and women dressed in beautiful silks4 ,some of the costumes appear to be a little ,russian in character1 the others ,venetian2 and ,jesus ,himself wears the loose every-day robe of the pastoral people to whom he belonged4 ,we think of luxury and rich food and a splendid house when we look at this painting1 when as a matter of fact nothing of this sort could have belonged to the scene which ,veronese chose to represent4 ,perhaps no painter was more lacking in imagination than was ,veronese in painting this particular picture4 ,he chose to place historical or legendary characters1 in the midst of a scene which could not have existed co-incidently with the event4 ,among his other pictures are ,europa and the ,bull1 ,venice ,enthroned1 and the ,presentation of the ,family of ,darius to ,alexander4 ,,xliii ,,leonardo ,,da ,,vinci 7,pronounced ,lay-o-nar'do dah ,veen'chee7 ,florentine ,school #adea-aeai ,pupil of ,verrocchio ,leonardo da ,vinci was the natural son of a notary1 ,ser ,pier1 and he was born at the ,castello of ,vinci1 near ,empoli4 ,from the very hour that he was apprenticed to his master1 ,verrocchio1 he proved that he was the superior of his master in art4 ,da ,vinci was one of the most remarkable men who ever lived1 because he not only did an extraordinary number of things1 but he did all of them well4 ,he was an engineer1 made bridges1 fortifications1 and plans which to this day are brilliant achievements4 ,he was a sculptor1 and as such did beautiful work4 ,he was a naturalist1 and as such was of use to the world4 ,he was an author and left behind him books written backward1 of which he said that only he who was willing to devote enough study to them to read them in that form1 was able to profit by what he had written4 ,finally1 and most wonderfully1 he was a painter4 ,he had absolute faith in himself4 ,before he constructed his bridge he said that he could build the best one in the world1 and a king took him at his word and was not disappointed by the result4 ,he stated that he could paint the finest picture in the world--but let us read what he himself said of it1 in so sure and superbly confident a way that it robbed his statement of anything like foolish vanity4 ,such as he could afford to speak frankly of his greatness1 without appearing absurd4 ,he wrote3 ,in time of peace1 ,i believe ,i can equal anyone in architecture1 in constructing public and private buildings1 and in conducting water from one place to another4 ,i can execute sculpture1 whether in marble1 bronze1 or terra cotta1 and in painting ,i can do as much as any other man1 be he who he may4 ,further1 ,i could engage to execute the bronze horse in eternal memory of your father and the illustrious house of ,sforza4 ,he was writing to ,ludovico ,sforza whose house then ruled at ,milan4 ,if any of the above-mentioned things should appear to you impossible or impracticable1 ,i am ready to make trial of them in your park1 or in any other place that may please your excellency1 to whom ,i commend myself in proud humility4 ,leonardo's experiments with oils and the mixing of his pigments has nearly lost to us his most remarkable pictures4 ,his first fourteen years of work as an artist were spent in ,milan1 where he was employed to paint by the ,duke of ,milan1 and never again was his life so peaceful2 it was ever afterward full of change4 ,he went from ,milan to ,venice1 to ,rome1 to ,florence1 and back to ,milan where his greatest work was done4 ,while ,leonardo was a baby he lived in the ,castle of ,vinci4 ,he was beautiful as a child and very handsome as a man4 ,when a child he wore long curls reaching below his waist4 ,he was richly clothed1 and greatly beloved4 ,his body seemed no less wonderful than his mind4 ,he wished to learn everything1 and his memory was so wonderful that he remembered all that he undertook to learn4 ,his muscles were so powerful that he could bend iron1 and all animals seemed to love him4 ,it is said he could tame the wildest horses4 ,indeed his life and accomplishments read as if he were one enchanted4 ,one writer tells us that he never could bear to see any creature cruelly treated1 and sometimes he would buy little caged birds that he might just have the pleasure of opening the doors of their cages1 and setting them at liberty4 ,the story told of his first known work is that his master1 being hurried in finishing a picture1 permitted ,leonardo to paint in an angel's head1 and that it was so much better than the rest of the picture1 that ,verrocchio burned his brushes and broke his palette1 determined never to paint again1 but probably this is a good deal of a fairy tale and one that is not needed to impress us with the artist's greatness1 since there is so much to prove it without adding fable to fact4 ,leonardo was also a very far seeing inventor and most ingenious4 ,he made mechanical toys that worked when they were wound up4 ,he even devised a miniature flying machine2 however1 history does not tell us whether it flew or not4 ,he thought out the uses of steam as a motive power long before ,fulton's time4 ,leonardo haunted the public streets1 sketchbook in hand1 and when attracted by a face1 would follow till he was able to transfer it to paper4 ,ida ,prentice ,whitcomb1 who has compiled many anecdotes of da ,vinci1 says that it was also his habit to invite peasants to his house1 and there amuse them with funny stories till he caught some fleeting expression of mirth which he was pleased to reproduce4 ,as a courtier ,leonardo was elegant and full of amusing devices4 ,he sang1 accompanying himself on a silver lute1 which he had had fashioned in imitation of a horse's skull4 ,after he attached himself to the court of the ,duke of ,milan1 his gift of invention was constantly called into use1 and one of the surprises he had in store for the ,duke's guests was a great mechanical lion1 which being wound up1 would walk into the presence of the court1 open its mouth and disclose a bunch of flowers inside4 ,leonardo worked very slowly upon his paintings1 because he was never satisfied with a work1 and would retouch it day after day4 ,then1 too1 he was a man of moods1 like most geniuses1 and could not work with regularity4 ,the picture of the ,last ,supper was painted in ,milan1 by order of his patron1 the ,duke1 and there are many picturesque stories written of its production4 ,it was painted upon the refectory wall of a ,dominican convent1 the ,santa ,maria delle ,grazie2 and at first the work went off well1 and the artist would remain upon his scaffolding from morning till night1 absorbed in his painting4 ,it is said that at such times he neither ate nor drank1 forgetting all but his great work4 ,he kept postponing the painting of two heads--,christ and ,judas4 ,he had worked painstakingly and with enthusiasm till that point1 but deferred what he was hardly willing to trust himself to perform4 ,he had certain conceptions of these features which he almost feared to execute1 so tremendous was his purpose4 ,he let that part of the work go1 month after month1 and having already spent two years upon the picture1 the monks began to urge him to a finish4 ,he was not the man to endure much pressure1 and the more they urged the more resentful he became4 ,finally1 he began to feel a bitter dislike for the prior1 the man who annoyed him most4 ,one day1 when the prior was nagging him about the picture1 wanting to know why he didn't get to work upon it again1 and when would it be finished1 ,leonardo said suavely3 ,if you will sit for the head of ,judas1 ,i'll be able to finish the picture at once4 ,the prior was enraged1 as ,leonardo meant he should be2 but ,leonardo is said actually to have painted him in as ,judas4 ,afterward he painted in the face of ,christ with haste and little care1 simply because he despaired of ever doing the wonderful face that his art soul demanded ,christ should wear4 ,the one bitter moment in ,leonardo's life1 in all probability1 was when he came in dire competition with ,michael ,angelo4 ,when he removed to ,florence he was required to submit sketches for the ,town ,hall--the ,palazzo ,vecchio--and ,michael ,angelo was his rival4 ,the choice fell to ,angelo1 and after a life of supremacy ,leonardo could not endure the humiliation with grace4 ,added to disappointment1 someone declared that ,leonardo's powers were waning because he was growing old4 ,this was more than he could bear1 and he left ,italy for ,france1 where the king had invited him to come and spend the remainder of his life4 ,francis ,i4 had wished to have the picture in the ,milan monastery taken to ,france1 but that was not to be done4 ,doubtless the king expected ,leonardo to do some equally great work after he became the nation's guest4 ,before leaving ,italy1 ,leonardo had painted his one other greatest picture--,la ,gioconda 7,mona ,lisa7-and he took that wonderful work with him to ,france1 where the ,king purchased it for #i1jjj1 and to this day it hangs in the ,louvre4 ,but ,leonardo was to do no great work in ,france1 for in truth he was growing old4 ,his health had failed1 and although he was still a dandy and court favourite1 setting the fashion in clothing and in the cut of hair and beard1 he was no longer the brilliant1 active ,leonardo4 ,bernard ,berensen1 has written of him3 ,painting 444 was to ,leonardo so little of a preoccupation that we must regard it as merely a mode of expression used at moments by a man of universal genius4 ,by which ,berensen means us to understand that ,leonardo was so brilliant a student and inventor1 so versatile1 that art was a mere pastime4 ,no1 let us not join in the reproaches made to ,leonardo for having painted so little2 because he had so much more to do than to paint1 he has left all of us heirs to one or two of the supremest works of art ever created4 ,another author writes that in ,leonardo da ,vinci every talent was combined in one man4 ,leonardo was the third person of the wonderful trinity of ,florentine painters1 ,raphael and ,michael ,angelo being the other two4 ,he knew so much that he never doubted his own powers1 but when he died1 after three years in ,france1 he left little behind him1 and that little he had ever declared to be unfinished--the ,mona ,lisa and the ,last ,supper4 ,he died in the ,chteau de ,cloux1 at ,amboise1 and it is said that sore wept the king when he heard that ,leonardo was dead4 ,in ,milan1 near the ,cathedral1 there stands a monument to his memory1 and about it are placed the statues of his pupils4 ,to this day he is wonderful among the great men of the world4 ,,plate--,,the ,,last ,,supper ,this1 as we have said1 is in the former convent of ,santa ,maria delle ,grazie1 in ,milan4 ,it was the first painted story of this legendary event in which natural and spontaneous action on the part of all the company was presented4 ,to-day the picture is nearly ruined by smoke1 time1 and alterations in the place1 for a great door lintel has been cut into the picture4 ,leonardo used the words of the ,christ3 ,verily1 ,i say unto you that one of you shall betray me1 as the starting point for this painting4 ,it is after the utterance of these words that we see each of the disciples questioning horrified1 frightened1 anxious1 listening1 angered--all these emotions being expressed by the face or gestures of the hands or pose of the figures4 ,it is a most wonderful picture and it seems as if the limit of genius was to be found in it4 ,the company is gathered in a half-dark hall1 the heads outlined against the evening light that comes through the windows at the back4 ,we look into a room and seem to behold the greatest tragedy of legendary history3 treachery and sorrow and consternation brought to ,jesus of ,nazareth and his comrades4 ,this great picture was painted in oil instead of in distemper1 the proper kind of mixture for fresco1 and therefore it was bound to be lost in the course of time4 ,besides1 it has known more than ordinary disaster4 ,the troops of ,napoleon used this room1 the convent refectory1 for a stable1 and that did not do the painting any good4 ,the reason we have so complete a knowledge of it1 however1 is that ,leonardo's pupils made an endless number of copies of it1 and thus it has found its way into thousands of homes4 ,the following is the order in which ,leonardo placed the disciples at the table3 ,jesus of ,nazareth in the centre1 ,bartholomew the last on the left1 after him is ,james1 ,andrew1 ,peter1 ,judas--who holds the money bag--and ,john4 ,on the right1 next to ,jesus1 comes ,thomas1 the doubting one2 ,james the ,greater1 ,philip1 ,matthew1 ,thaddeus1 and ,simon4 ,jesus has just declared that one of them shall betray him1 and each in his own way seems to be asking ,lord1 is it ,i8 ,in the ,south ,kensington ,museum in ,london will be found carefully preserved a description1 written out fairly in ,leonardo's own hand1 to guide him in painting the ,last ,supper4 ,it is most interesting and we shall quote it3 ,one1 in the act of drinking puts down his glass and turns his head to the speaker4 ,another twisting his fingers together1 turns to his companion1 knitting his eyebrows4 ,another1 opening his hands and turning the palm toward the spectator1 shrugs his shoulders1 his mouth expressing the liveliest surprise4 ,another whispers in the ear of a companion1 who turns to listen1 holding in one hand a knife1 and in the other a loaf1 which he has cut in two4 ,another1 turning around with a knife in his hand1 upsets a glass upon the table and looks2 another gasps in amazement2 another leans forward to look at the speaker1 shading his eyes with his hand2 another1 drawing back behind the one who leans forward1 looks into the space between the wall and the stooping disciple4 ,other paintings of ,leonardo's are3 ,mona ,lisa1 ,head of ,medusa1 ,adoration of the ,magi1 and the ,madonna della ,caraffa4 ,,xliv ,,jean ,,antoine ,,watteau 7,pronounced in ,french1 ,vaht-toh2 ,english1 ,wot-toh7 ,french 7,genre7 ,school #afhd-agba ,pupil of ,gillot and ,audran ,watteau's father was a tiler in a ,flemish town--,valenciennes4 ,he meant that his son should be a carpenter1 but that son tramped from ,valenciennes to ,paris with the purpose of becoming a great painter4 ,he did more1 he became a school of painting1 all by himself4 ,there is no sadder story among artists than that of this lowly born genius4 ,he was not good to look upon1 being the very opposite of all that he loved1 having no grace or charm in appearance4 ,he had a drooping mouth1 red and bony hands1 and a narrow chest with stooping shoulders4 ,because of a strange sensitiveness he lived all his life apart from those he would have been happy with1 for he mistrusted his own ugliness1 and thought he might be a burden to others4 ,such a man has painted the gayest1 gladdest1 most delicate and exquisite pictures imaginable4 ,he entered ,paris as a young man1 without friends1 without money or connections of any kind1 and after wandering forlornly1 about the great city1 he found employment with a dealer who made hundreds of saints for out-of-town churches4 ,it is said that for this first employer ,watteau made dozens and dozens of pictures of ,st4 ,nicholas2 and when we think of the beautiful figures he was going to make1 pictures that should delight all the world1 there seems something tragic in the monotony and common-placeness of that first work he was forced by poverty to do4 ,certainly ,st4 ,nicholas brought one man bread and butter1 even if he forgot him at ,christmas time4 ,after that hard apprenticeship1 ,watteau's condition became slightly better4 ,he had been employed near the ,pont ,notre ,dame1 at three francs a week1 but now in the studio of a scene painter1 ,gillot1 he did work of coarse effect1 very different from that exquisite school of art which he was to bring into being4 ,after ,gillot's came the studio of ,claude ,audran1 the conservator of the ,luxembourg1 and with him ,watteau did decorative work4 ,in reality he had no master1 learned from nobody1 grovelled in poverty1 and at first1 forced a living from the meanest sources4 ,with this in mind1 it remains a wonder that he should paint as no other ever could1 scenes of exquisite beauty and grace2 scenes of high life1 courtiers and great ladies assembled in lovely landscapes1 doing elegant and charming things1 dressed in unrivalled gowns and costumes4 ,until ,watteau went to the ,luxembourg he had seen absolutely nothing of refined or gracious living4 ,he had come from country scenes1 and in ,paris had lived among workmen and bird-fanciers1 flower sellers1 hucksters and the like4 ,this is very likely the secret of his peculiar art4 ,watteau would have been a wonderful artist under any circumstances1 no matter what sort of pictures he had painted2 but circumstances gave his imagination a turn toward the exquisite in colourand composition4 ,doubtless when he first looked down from the palace windows of the ,luxembourg and saw gorgeous women and handsome men languishing and coquetting and revelling in a life of ease and beauty1 he was transported4 ,he must have thought himself in fairyland1 and the impulse to paint1 to idealise the loveliness that he saw1 must have been greater in him than it would have been in one who had lived so long among such scenes that they had become familiar with them4 ,after ,watteau there were artists who tried to do the kind of work he had done1 but no one ever succeeded4 ,watteau clothed all his shepherdesses in fine silken gowns1 with a plait in the back1 falling from the shoulders1 and to-day we have a fashion known as the ,watteau back--gowns made with this shoulder-plait4 ,he put filmy laces or softest silks upon his dairy maids1 as upon his court ladies1 dressing his figures exquisitely1 and in the loveliest colours4 ,he had suffered from poverty and from miserable sights1 so when he came to paint pictures1 he determined to reproduce only the loveliest objects4 ,at that time ,french fashions were very unusual1 and it was quite the thing for ladies to hold a sort of reception while at their toilet4 ,a description of one of these affairs was written by ,madame de ,grignon to her daughter3 ,nothing can be more delightful than to assist at the toilet of ,madame la ,duchesse 7de ,bourgoyne71 and to watch her arrange her hair4 ,i was present the other day4 ,she rose at half past twelve1 put on her dressing gown1 and set to work to eat a mringue4 ,she ate the powder and greased her hair4 ,the whole formed an excellent breakfast and charming coiffure4 ,watteau has caught the spirit of this strange airy1 artificial1 incongruous existence4 ,his ladies seem to be eating meringues and powdering their hair and living on a diet of the combination4 ,one hardly knows which is toilet and which is real life in looking at his paintings4 ,he quarreled with ,audran at the ,luxembourg1 and having sold his first picture1 he went back to his ,valenciennes home1 to see his former acquaintances1 no doubt being a little vain of his performance4 ,after that he painted another picture which sold well enough to keep him from poverty for a time1 and on his return to ,paris he was warmly greeted by a celebrated and influential artist1 ,crozat4 ,watteau tried for a prize1 and though his picture came second it had been seen by the ,academy committee4 ,his greatness was acknowledged1 and he was immediately admitted to the ,academy and granted a pension by the crown1 with which he was able to go to ,italy1 the ,mecca of all artists the world over4 ,from ,italy he went to ,london1 but there the fogs and unsuitable climate made his disease much worse and he hurried back to ,france1 where he went to live with a friend who was a picture dealer4 ,it was then that he painted a sign for this friend1 ,gersaint1 a sign so wonderful that it is reckoned in the history of ,watteau's paintings4 ,soon he grew so sensitive over his illness1 that he did not wish to remain near his dearest friends1 but one of them1 the ,abb ,haranger1 insisted upon looking after his welfare1 and got lodgings for him at ,nogent1 where he could have country air and peace4 ,watteau died very soon after going to ,nogent in ,july1 #agba1 and he left nine thousand livres to his parents1 and his paintings to his best friends1 the ,abb1 ,gersaint1 ,monsieur ,henin1 and ,monsieur ,julienne4 ,he is called the first ,french painter and so he was--though he was ,flemish1 by birth4 ,,plate--,f,,te ,,champ,,tre ,this exquisite picture displays nearly all the characteristics of ,watteau's painting4 ,he was said to paint with honey and gold1 and his method was certainly remarkable4 ,his clear1 delicate colours were put upon a canvas first daubed with oil1 and he never cleaned his palette4 ,his oil-pot was full of dust and dirt and mixed with the washings of his brush4 ,one would think that only the most slovenly results could come from such habits of work1 but the artist made a colour which no one could copy1 and that was a sort of creamy1 opalescent white4 ,this was original with ,watteau1 and most beautiful4 ,in this ,fte ,champtre1 which is now in the ,national ,gallery at ,edinburgh1 he paints an elegant group of ladies and gentlemen indulging in an open air dance of some sort4 ,one couple are doing steps facing one another1 to the music of a set of pipes1 while the rest flirt and talk1 decorously1 round about4 ,there is no boisterous rusticity here2 all is dainty and refined4 ,the same characteristics are to be found in ,watteau's other pictures such as1 ,embarkation for the ,island of ,cythera1 ,the ,judgment of ,paris1 and ,gay ,company in a ,park4 ,,xlv ,,sir ,,benjamin ,,west ,american #agch-ahbj ,pupil of the ,italian ,school ,the beautiful smile of his little niece helped to make this man an artist4 ,this is the story3 ,benjamin ,west was born down in ,pennsylvania1 at ,westdale1 a small village in the township of ,springfield1 of ,quaker parentage4 ,the family was poor perhaps1 but in ,america at a time when everybody was struggling with a new civilisation it did not seem to be such binding poverty as the same condition in ,europe would have been4 ,benjamin had a married sister whose baby he greatly loved1 and he gave it devoted attention4 ,one day while it was sleeping and the undiscovered artist was sitting beside it he saw it smile1 and the beauty of the smile inspired him to keep it forever if he could4 ,he got paper and pencil and forthwith transferred that angel's whisper4 ,no child of to-day can imagine the difficulties a boy must have had in those days in ,america1 to get an art education1 and having learned his art1 how impossible it was to live by it4 ,men were busy making a new country and pictures do not take part in such pioneer work2 they come later4 ,still1 there were bound to be born artistic geniuses then1 just as there were men for the plough and men for politics and for war4 ,he who happened to be the artist was the ,quaker boy1 ,west4 ,he took his first inspiration from the ,cherokees1 for it was the ,indian in all the splendour of his strength and straightness that formed ,west's ideal of beautiful physique4 ,when he first saw the ,apollo ,belvedere1 he exclaimed3 ,a young ,mohawk warrior6 to the disgust of every one who heard him1 but he meant to compliment the noblest of forms4 ,europeans did not know how magnificent a figure the young ,mohawk warrior could be2 but ,west knew4 ,after his ,indian impetus toward art he went to ,philadelphia1 and settled himself in a studio1 where he painted portraits4 ,his sitters went to him out of curiosity as much as anything else1 but at last a ,philadelphia gentleman1 who knew what art meant1 recognised ,benjamin ,west's talent1 and made some arrangement by which the young man went to ,italy4 ,life began to look beautiful and promising to the ,pennsylvanian4 ,he was in ,italy for three years1 and in that home of art the young man who had made the smile of his sister's sleeping baby immortal was given highest honours4 ,he was elected a member of all the great art societies in ,italy1 and studied with the best artists of the time4 ,he began to earn his living1 we may be sure1 and then he went to ,england1 where1 in spite of the prejudice there must have been against the colonists1 he became at once a favourite of ,george ,,iii41 a friend of ,reynolds and of all the ,english artists of repute--unless perhaps of ,gainsborough1 who made friends with none4 ,west was appointed historical painter to his ,majesty1 ,george ,,iii41 and he was chosen to be one of four who should draw plans for a ,royal ,academy4 ,he was one of the first members of that great organisation1 and when ,sir ,joshua ,reynolds1 the first president1 died1 ,west became president1 remaining in office for twenty-eight years4 ,about that time came the ,peace of ,amiens1 and ,west was able to go to ,paris1 where he could see the greatest art treasures of ,europe1 which had been brought to ,france from every quarter as a consequence of the war4 ,at that time1 before ,paris began to return these1 and when she had just pillaged every great capital of ,europe1 artists need take but a single trip to see all the art worth seeing in the whole world4 ,after a long service in the ,academy1 ,west quarreled with some of the ,academicians and sent in his resignation2 but his fellow artists had too much sense and good feeling to accept it1 and begged him to reconsider his action4 ,he did so1 and returned to his place as president4 ,when ,west was sixty-five years old he made a picture1 ,christ ,healing the ,sick1 which he meant to give to the ,quakers in ,philadelphia1 who were trying to get funds with which to build a hospital4 ,this picture was to be sold for the fund2 but it was no sooner finished and exhibited in ,london before being sent to ,america1 than it was bought for #c1jjj guineas for ,great ,britain4 ,west did not contribute this money to the hospital fund1 but he made a replica for the ,quakers1 and sent that instead of the original4 ,west was eighty-two years old when he died and he was buried in ,st4 ,paul's ,cathedral after a distinguished and honoured life4 ,since ,europe gave him his education and also supported him most of his life1 we must consider him more ,english than ,american1 his birth on ,american soil being a mere accident4 ,,plate--,,the ,,death ,,of ,,wolfe ,this death scene upon the ,plains of ,abraham1 without the walls of ,quebec in #agei1 must not be taken as a realistic picture of an historic event4 ,west drew upon his imagination and upon portraits of the prominent men supposed to have been grouped around the dying general1 and he has produced a dramatic effect4 ,one can imagine it is the two with fingers pointing backward who have just brought the memorable tidings1 ,they run6 ,they run6 ,who run8 asks ,wolfe1 for when he had fallen the issues of the fight were still undecided4 ,the ,french1 sir4 ,they give way everywhere4 ,thank ,god6 ,i die in peace1 replied the ,english hero4 ,at a time when the momentous results of this battle had set the whole of ,great ,britain afire with enthusiasm it is easy to understand the popularity of a picture such as this4 ,it was sold in #agia for #bh1 and now belongs to the ,duke of ,westminster4 ,there is a replica of it in the ,queen's drawing-room at ,hampton ,court4 ,another famous historical picture by ,west is ,the ,battle of ,la ,hogue4 ,,index ,about1 ,edmund ,academia1 ,florence ,academy1 ,french ,rome1 ,royal1 ,london1 ,venice ,acis and ,galatea ,adoration of the ,magi ,adoration of the ,shepherds ,after a ,summer ,shower ,afternoon ,albert1 ,king ,alessandro del ,borro ,alexander ,,vi4 ,alice1 ,princess ,allegri1 ,antonio4 ,see ,correggi ,allegri1 ,pompino ,ambassadors1 ,the ,american ,mustangs ,anatomy ,lesson1 ,the ,andrea del ,sarto ,angelo1 ,michael ,angels' ,heads ,angelas1 ,the ,anguisciola1 ,sofonisba ,anne of ,cleves ,anne of ,saxony ,annunciata1 cloister of the ,annunciation1 ,the ,ansidei ,madonna1 ,the ,antiope ,apocalypse ,apollo ,belvedere ,apostles1 the ,four ,apostles' ,heads ,appelles ,archipelago ,arena ,chapel ,arrivabene ,chapel ,artist's ,two ,sons1 ,the ,arundel ,castle and ,mill ,assumption of the ,virgin ,at the ,well ,audran ,augusta1 ,princess ,avenue1 ,middelharnis1 ,holland ,awakened ,conscience1 ,the ,bacchanal ,bacchus and ,ariadne ,balzac ,banquet in ,levi's ,house ,baptism of ,christ1 ,the ,barbizon ,barile ,barry1 ,james ,bartoli d',angiolini ,bartolommeo1 ,fra ,bassano ,bathers ,battle of ,la ,hogue ,beaumont1 ,sir ,george ,beaux-,arts1 l',ecole des ,begarelli ,bellini1 ,gentile ,bellini1 ,giovanni ,bembo1 ,cardinal ,beneguette ,bent ,tree ,bentivoglio1 ,cardinal ,berck1 ,derich ,berensen1 ,bernard ,bergholt1 ,east ,berkshire ,hills ,bianca ,bicknell1 ,maria ,bigio1 ,francia ,bigordi4 ,see ,ghirlandajo ,bird ,birth of the ,virgin 7,andrea del ,sarto7 7,murillo7 ,birth of ,venus ,blanc1 ,charles ,blessed ,herman ,joseph1 ,the ,bligh ,shore ,blue ,boy1 ,the ,bcklin1 ,arnold ,boat-,building ,boleyn1 ,anne ,bolton1 ,mrs4 ,sarah ,k4 ,bonheur1 ,marie-,rosea ,bonheur1 ,raymond ,b4 ,bordeaux ,bordone4 ,see ,giotto ,borghese ,palace ,borgia family ,borgia1 ,lucretia ,botticelli ,boudin ,bouguereau1 ,william ,adolphe ,boy at the ,stile1 ,the ,brancacci ,chapel ,brant1 ,isabella ,breton1 ,jules ,brice1 ,j4 ,b4 ,brouwer ,browning ,brunellesco ,brutus ,buckingham1 ,duke of ,buonarroti4 ,see ,angelo ,michael ,burgundy1 ,duchess of ,burke1 ,edmund ,burne-,jones1 ,sir ,edward ,burr1 ,margaret ,caffin ,cagliari1 ,benedetto ,cagliari1 ,carletto ,cagliari1 ,gabriele ,cagliari1 ,paolo4 ,see ,veronese ,cambridge1 ,university of ,camels at ,rest ,campagna ,campana1 ,pedro ,campanile1 ,florence ,canova ,caprese ,capture of ,samson ,capuchin ,church ,capuchin ,convent ,carlos1 ,don ,carmencita ,carmine1 ,church of the ,carthage ,castillo1 ,juan del ,cecelia1 wife of ,titian ,cellini ,centennial ,exhibition ,chamberlain1 ,arthur ,chant d',amour ,chantry1 ,sir ,francis ,charity ,charles1 ,i4 ,charles ,v4 ,charles ,x4 ,cherokees ,chess ,players1 ,the ,children of ,charles ,i4 ,christ ,healing the ,sick ,christ in the ,temple ,christina of ,denmark ,church ,cibber1 ,theophilus ,cimabue ,claude ,cleopatra ,landing at ,tarsus ,cock ,fight ,cogniet1 ,lon ,colnaghi ,cologne ,constable1 ,john ,copley1 ,john ,singleton ,copper ,plate ,magazine ,cornelia1 ,rembrandt's daughter ,cornelissen1 ,cornelis ,cornfield ,coronation of ,marie de ,medicis ,coronation of the ,virgin 7,ghirlandajo7 7,raphael7 ,corot1 ,jean ,baptiste ,camille ,correggio ,cosimo1 ,piero di ,cottage1 ,the ,countess ,folkstone ,countess of ,spencer ,coventry1 ,countess of ,creation of ,man1 ,the ,creation of the ,world1 ,the ,crozat ,crucifixion1 ,the 7,raphael7 7,tintoretto7 ,dana ,dandie ,dinmont ,daniel ,dante ,daphnis and ,chloe ,daubigny ,david ,dead ,christ1 ,the ,dead ,mallard ,death of ,ananias1 ,the ,death of ,wolfe1 ,the ,dedham ,mill ,dedham ,vale ,delaroche ,deluge1 ,the ,descent from the ,cross1 ,the 7,campana7 7,rembrandt7 7,rubens7 ,de ,witt ,diaz ,dice ,players1 ,the ,dickens1 ,charles ,digby1 ,kenelm ,dignity and ,impudence ,divine ,comedy ,dolce1 ,ludovico ,donatello ,don ,quixote ,dor1 ,paul ,gustave ,d',orsay ,duchess of ,devonshire and ,her ,daughter1 ,the ,duel ,after the ,masked ,ball ,dunthorne1 ,john ,dupr ,durand1 ,carolus ,drer1 ,albrecht ,dyce ,ecce ,homo ,education of ,mary1 ,the ,edward1 ,king ,egyptian art ,elizabeth1 ,cousin of the ,virgin ,elizabeth1 ,princess ,embarkation for the ,island of ,cythera ,emperor at ,solferino1 ,the ,engravers and engraving ,entombment1 ,the 7,titian7 7,veronese7 ,eos ,equestrian ,portrait of ,don ,balthasar ,carlos ,errard1 ,charles ,escorial1 the ,estban1 ,bartolom4 ,see ,murillo ,estban1 ,gaspar ,estban1 ,therese ,etchers and etching ,europa and the ,bull ,eve of ,st4 ,agnes1 ,the ,fallen1 ,ambrose ,fall of ,man1 ,the ,fantasy of ,morocco ,fawkes1 ,hawksworth ,feast in the ,house of ,simon ,feast of ,ahasuerus ,ferdinand of ,austria ,ferdinand ,,iii41 ,grand ,duke ,ferrara1 ,duke of ,fte ,champtre ,fighting ,tmraire1 ,the ,filipepi1 ,mariano ,finding of ,christ in the ,temple1 ,the ,flamborough1 ,miss ,flatford ,mill on the ,river ,stour ,flora 7,bcklin7 7,titian7 ,foal of an ,ass1 ,the ,fondato de' ,tedeschi ,fontainebleau ,fool1 ,the ,fornarina1 ,the ,fortuny1 ,mariano ,fourment family ,fourment1 ,helena ,four ,saints ,francis ,i4 ,frari1 monks of the ,frey1 ,agnes ,friedland ,gainsborough1 ,mary ,gainsborough1 ,thomas ,gallery1 ,berlin ,dresden ,grosvenor ,hague1 ,the ,hermitage1 ,the ,lichtenstein1 ,vienna ,louvre ,luxembourg ,madrid ,naples ,national1 ,edinburgh ,national1 ,london ,old ,pinakothek1 ,munich ,parma ,pitti ,palace ,uffizi ,vienna ,garrick ,gay ,company in a ,park ,gelle4 ,see ,claude ,lorrain ,george ,,iii4 ,georgia ,pines ,gerbier ,germ1 ,the ,grme1 ,jean ,lon ,gersaint ,ghibertio ,ghirlandajo ,gibeon ,farm ,gignoux1 ,regis ,gillingham ,mill ,gillot ,giorgione ,giotto ,giovanna degli ,albizi ,girten1 ,thomas ,gisze1 ,gorg ,gladstone1 ,mr4 and ,mrs4 ,gleaners1 ,the ,glebe ,farm ,goethe ,golden ,calf1 ,the ,golden ,stairs1 ,the ,goldsmith1 craft of the ,goldsmith1 ,oliver ,gonzaga1 ,vincenzo ,good ,samaritan1 ,the ,graham1 ,judge ,granacci ,gravelot ,grignon1 ,madame de ,gualfonda ,guardian ,angel1 ,the ,guidi1 ,giovanni ,guidi1 ,simone ,guidi4 ,tommaso4 ,see ,masaccio ,guido ,guidobaldo of ,urbino ,guilds ,gust of ,wind ,haarlem ,town ,hall ,haarlem's ,little ,forest ,hadleigh ,castle ,hals1 ,franz ,hamerton ,hamilton1 ,duchess of ,hampstead ,heath ,hancock1 ,john ,hans of ,antwerp ,haranger1 ,abb ,hark6 ,harvest ,waggon1 ,the ,hassam1 ,childe ,hastings1 ,warren ,haunt of the ,gazelle1 ,the ,hayman ,haystack in ,sunshine ,hay ,wain1 ,the ,head of ,christ ,head of ,medusa ,hearn1 ,george ,a4 ,henin ,henrietta1 ,queen ,henry ,,iii4 ,henry ,,viii4 ,henschel ,hercules ,herrera ,highland ,sheep ,hille ,bobbe1 the ,witch of ,haarlem ,hill1 ,jack ,hireling ,shepherd1 ,the ,hobbema1 ,meindert ,hogarth1 ,william ,holbein1 ,ambrosius ,holbein1 ,hans1 the ,younger ,holbein1 ,michael ,holbein1 ,philip ,holbein1 ,sigismund ,holbein1 the ,elder ,holofernes ,holper1 ,barbara ,holy ,family and ,st4 ,bridget ,holy ,family in art1 ,the ,holy ,family under a ,palm ,tree1 ,the ,holy ,night1 ,the ,homer ,st4 ,gaudens ,hon4 ,ann ,bingham1 ,the ,hood1 ,admiral ,horse ,fair1 ,the ,howard1 ,catherine ,hudson1 ,thomas ,hunt1 ,william ,holman ,,ii ,giorno ,,ii ,medico del ,correggio ,immaculate ,conception1 ,the ,indian pottery ,infanta ,infant ,jesus and ,st4 ,john1 ,the ,inman ,inness ,innocence ,in ,paradise ,inquisition1 ,spanish ,interior of the ,mosque of ,omar ,isabella1 ,queen ,islay ,isle of the ,dead1 ,the ,ivybridge ,jacopo da ,empoli ,jacque ,jane ,seymour ,jerusalem by ,moonlight ,jesus and the ,lamb ,jesus in art ,johnson1 ,dr4 ,jones1 ,george ,joseph in art ,joseph in ,egypt ,joseph's ,dream ,judgment of ,paris1 ,the ,judith ,julienne ,julius ,,ii4 ,justiniana ,kann1 ,rudolf ,king ,cophetua and the ,beggar ,maid ,king of ,hearts ,kirmesse1 ,the ,knackfuss ,knight1 ,death and the ,devil1 ,the ,la ,belle ,jardinire ,la ,disputa ,lady ,elcho1 ,mrs4 ,arden1 ,mrs4 ,tennant ,la ,gioconda ,landscape with ,cattle4 ,landseer1 ,john ,landseer1 ,sir ,edwin ,henry ,landseer1 ,thomas ,la ,primavera ,last ,judgment1 ,the 7,angelo7 7,tintoretto7 7,titian7 ,last ,supper1 ,the 7,andrea del ,sarto7 7,ghirlandajo7 7,veronese7 7,leonardo da ,vinci7 ,laughing ,cavalier1 ,the ,laura ,lavinia1 daughter of ,titian ,lavinia1 the ,artist's ,daughter ,lawrence1 ,sir ,thomas ,leda 7,correggio7 7,grome7 ,lee1 ,jeremiah ,legion of ,honour ,lemon1 ,margaret ,leonardo4 ,see da ,vinci ,leo ,x4 ,lewis1 ,j4 ,f4 ,liber ,studiorium ,liber ,veritas ,library1 ,boston ,public ,light of the ,world1 ,the ,linley1 ,thomas ,linley1 ,samuel ,lion ,disturbed at ,his ,repast ,lion ,enjoying ,his ,repast ,lioness1 ,the ,study off a ,lion ,hunt1 ,a ,lippi1 ,fra ,filippo ,lock on the ,stour ,lombardi ,lords ,digby and ,russell ,lord ,wharton ,lorenzalez1 ,claudio ,lorrain1 ,claude ,lott1 ,willy ,louis ,,xiv4 ,louise1 ,princess ,love ,among the ,ruins ,low ,life and ,high ,life ,lowther1 ,sir ,william ,lucas van ,leyden ,lucia1 mother of ,titian ,lucretia1 wife of ,andrea del ,sarto ,luther1 ,martin ,madonna and ,child ,madonna and ,child with ,st4 ,anne ,madonna and ,child with ,saints ,madonna del',arpie ,madonna della ,caraffa ,madonna della ,casa d',alba ,madonna della ,sedia ,madonna del ,granduca ,madonna del ,pesce ,madonna del ,sacco ,madonna of the ,palms ,madonna of the ,rosary4 ,madrazo ,magdalene1 ,the ,manet ,manoah's ,sacrifice ,mantegna ,mantua1 ,duke of ,mantua1 ,duke ,frederick ,,ii4 of ,man with the ,hoe1 ,the ,man with the ,sword1 ,the ,margherita ,maria ,theresa ,marriage la ,mode ,marriage at ,cana1 ,the ,marriage ,contract1 ,the ,marriage of ,bacchus and ,ariadne1 ,the ,marriage of ,mary and ,joseph1 ,the ,marriage of ,st4 ,catherine1 ,the ,marriage of ,samson1 ,the ,martineau ,martyrdom of ,st4 ,agnes1 ,the ,martyrdom of ,st4 ,peter1 ,the ,martyrdom of ,st4 ,sebastian1 ,the ,mary1 the ,virgin1 in art ,masaccio 7,tommasco ,guidi7 ,masoline ,mastersingers1 ,nuremberg ,maximillian1 ,emperor ,medici family ,medici1 ,giovanni di ,bicci de' ,medici1 ,lorenzi de' ,medici1 ,ottaviano de' ,medici1 ,pietro de' ,meeting of ,st4 ,john and ,st4 ,anna at ,jerusalem ,meissonier1 ,jean ,louis ,ernest ,melancholy ,merlini1 ,girolama ,meyer ,madonna1 ,the ,michallon ,midsummer ,noon ,millais ,millet1 ,jean ,franois ,millet1 ,mre ,mill ,stream ,miracle of ,st4 ,mark1 ,the ,missions1 ,spanish ,missirini ,mr4 ,marquand ,mr4 ,penrose ,mrs4 ,meyer and ,children ,mrs4 ,peel ,mohawk ,mona ,lisa ,monet1 ,claude ,money ,changers1 ,the ,moonlight at ,salerno ,morales ,moreau and ,his ,staff before 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