,,old ,,world ,,masters ,,in ,,new ,,world ,,collections ,illustration ,,the ,,macmillan ,,company ,,new ,,york 4 ,,boston 4 ,,chicago 4 ,,dallas ,,atlanta 4 ,,san ,,francisco ,,macmillan ,,co41 ,,limited ,,london 4 ,,bombay 4 ,,calcutta ,,melbourne ,,the ,,macmillan ,,co4 ,,of ,,canada1 ,,ltd4 ,,toronto ,illustration3 ,collection of ,mr4 ,j4 ,p4 ,morgan ,,giovanna ,,tornabuoni --,domenico ,ghirlandaio ,,old ,,world ,,masters ,,in ,,new ,,world ,,collections ,,by ,,esther ,,singleton ,new ,york ,,the ,,macmillan ,,company #aibi ,,copyright1 #aibi1 ,,by ,,the ,,macmillan ,,company ,,set ,,up ,,and ,,electrotyped4 ,,published ,,january1 #aibi4 ,,set ,,up ,,and ,,electrotyped ,,by ,t4 ,,morey ,,son ,,printed ,,in ,,the ,,united ,,states ,,of ,,america ,,by ,,berwick ,,smith ,,co4 ,,preface ,it is noteworthy that the first book to be published in any country and in any language treating of ,old ,masters in private ,collections should be devoted exclusively to treasures in ,america4 ,old ,world ,masters in ,new ,world ,collections may be called a permanent loan exhibition of the greatest and most renowned examples of ,art in ,america1 which cannot be seen anywhere but in this volume4 ,it is owing to the gracious response and courtesy of the most distinguished ,american ,collectors that ,i am able to present between these covers a selection of a hundred and ten of the choicest paintings in the country1 representing portraits1 religious and mythological subjects1 and genre from the ,thirteenth through the ,eighteenth ,centuries4 ,one of the principal factors in the formation of many of these magnificent ,collections has been the outstanding influence of ,sir ,joseph ,duveen1 ,bart41 under whose guidance the foremost ,american ,collections have been raised to a dominating position in the world of art4 ,it is significant that among the paintings reproduced here1 the greater number have been brought to this country by ,sir ,joseph ,duveen2 and ,i am happy to express my thanks to ,sir ,joseph for his enthusiastic interest and encouragement to me throughout the entire preparation of this volume4 ,a very interesting feature in this book is the distinguished ownership of these paintings3 ,frederick the ,great1 for instance1 owned ,lancret's ,la ,camargo1 the celebrated ,french dancer2 ,queen ,christina of ,sweden1 ,raphael's ,agony in the ,garden2 ,madame de ,pompadour1 ,chardin's ,la ,serinette and ,boucher's ,les ,deux ,confidentes2 ,sir ,joshua ,reynolds1 ,rembrandt's ,standard-,bearer2 ,sir ,horace ,walpole1 ,rembrandt's ,simeon and ,mary2 and ,charles ,le ,brun1 ,poussin's ,jupiter and ,calisto4 ,fra ,filippo ,lippi's ,madonna della ,stella came directly to the present owner from the ,monastery of the ,carmine 7,florence7 for which it was painted2 ,raphael's ,niccolini ,madonna1 from the ,niccolini ,palace2 ,titian's ,caterina ,cornaro1 from the ,riccardi ,palace1 ,florence2 ,bartolommeo ,veneto's ,maximilian ,sforza1 from the ,sforza ,palace1 ,milan2 ,rubens's ,louis ,,xiii1 ,king of ,france1 from the ex-,emperor of ,germany's ,palace of ,charlottenburg2 and ,van ,dyck's ,ddalus and ,icarus1 from the famous ,collection of ,earl ,spencer at ,althorp and was consequently in the home of the ,duchess of ,devonshire1 whose beautiful eyes must have frequently looked upon it4 ,holbein's ,prince ,edward of ,england was painted for ,king ,henry ,,viii2 and with the portrait of ,sir ,thomas ,more1 ,holbein's great reputation began4 ,of all ,sir ,joshua ,reynolds's portraits ,mrs4 ,siddons as the ,tragic ,muse is considered the greatest2 and ,gainsborough's ,blue ,boy and the ,duchess of ,devonshire rank among the world's most famous pictures4 ,surpassing the ,blue ,boy in beauty and charm 7though not so famous7 and depicting withal a far lovelier personality1 is ,romney's ,john ,walter ,tempest2 and ,romney's ,lady ,derby and the ,hon4 ,mrs4 ,davenport will stand forever among the loveliest presentations of charming womanhood4 ,on a par with these are ,la ,marquise de ,villemomble1 by ,drouais2 ,la ,marquise de la ,fare1 by ,fragonard2 and ,la ,marquise de ,baglion by ,nattier4 ,many critics call the last named work the greatest ,french portrait of the ,eighteenth ,century4 ,we read with amazement of ,european ,collectors and ,collections of the past3 of the treasures owned by the wealthy ,dukes of ,burgundy2 by ,lorenzo the ,magnificent and by other members of the ,medici family2 by the ,sforzas1 ,gonzagas1 d',estes1 and other ,italian princes2 by the ,fuggers1 those wealthy bankers of ,augsburg2 by noble ,austrian and ,german barons2 by the great merchant-princes and lords of ,england from ,queen ,elizabeth's day to the present2 by ,cardinal ,richelieu1 ,cardinal ,mazarin and ,cardinal de ,rohan2 and by the ,rothschilds and other notable bankers4 ,yet1 in some respects--particularly in the high quality of their ,collections and the velocity with which these ,collections have been made--our ,american ,collectors surpass them all4 ,on this point ,sir ,joseph ,duveen remarks3 8,the particular thing that makes ,american ,collections so unique and so priceless is that their pictures are all masterpieces4 ,in ,europe you will find much larger ,collections and these will have1 like the ,bridgewater for instance1 a large number of very mediocre paintings and a few of supreme excellence--gems--magnificent6 ,many ,collections in ,england and also on the ,continent go into hundreds with just a few fine things4 ,in ,america1 on the contrary1 every ,collector wants the best4 ,he may have only thirty pictures1 but they will all be fine4 ,americans make ,collections of masterpieces4 ,that is why they are different4 ,that is why ,americans are a new race of ,collectors4 ,american ,collections are ,collections of ,masterpieces40 ,the ,blue ,boy purchased from the ,duke of ,westminster by ,sir ,joseph ,duveen for the late ,mr4 ,henry ,e4 ,huntington at the then unheard of sum of #hjj1jjj set the imagination of the ,american public aflame4 ,when exhibited at the ,national ,gallery1 ,london1 and afterwards at the ,duveen ,galleries1 ,new ,york1 for charity in #aibb1 the whole world flocked to see it4 ,the ,blue ,boy proved to be a 8sensation40 ,within a few months ,gainsborough's masterpiece was followed by ,sir ,joshua ,reynolds's ,mrs4 ,siddons as the ,tragic ,muse1 also purchased from the ,duke of ,westminster by ,sir ,joseph ,duveen for the late ,mr4 ,henry ,e4 ,huntington for #ejj1jjj4 ,mrs4 ,siddons was1 in her turn1 followed by eighteen superb examples of ,gainsborough1 ,romney1 ,reynolds1 and ,lawrence1 several of which appear in this book4 ,it was1 therefore1 the ,english ,school that started the ball rolling for a new type of ,collector1 who sought gems of the first water only4 ,from this period onward great paintings of all ,schools--,italian1 ,french1 ,dutch1 ,flemish1 and ,spanish1 as well as ,english--have been coming across the ,atlantic in amazing numbers1 and with eagerly awaiting purchasers to greet them4 ,the result is that ,america has become a great ,repository of ,art1 in which the entire country is beginning to take a personal and justifiable pride4 ,on this question of ,art-migration the noted critic and director of the ,berlin ,museum1 ,dr4 ,wilhelm von ,bode1 wrote not long ago3 8,any one who a decade ago had even hinted at the possibility of ,gainsborough's ,blue ,boy making its way across the ,atlantic to become the central gem in the ,huntington ,collection would have been thought mad4 ,he might as well have suggested the uprooting of ,england's century old oaks1 or the removal of the ,rock of ,gibraltar4 ,and yet the impossible has happened2 and not only the famous ,blue ,boy but many another of the world's masterpieces has travelled the same route4 8,this is the greatest transplantation of art-works the world has known since the ,roman plundering of ,grecian art and the rape of the churches and museums of ,europe whereby ,napoleon enriched the ,louvre4 8,no power on earth can turn back the pages of history to the first of ,august1 #aiad1 on which day forces were set in motion that were to result in a complete reversal of all hitherto existing political1 geographical1 social1 and economic values4 ,no one could have foreseen at the time that the world's accumulated art-treasures would also be affected by these sweeping changes40 ,from the amazing wealth that has been so generously placed at my disposition1 ,i have been guided by one principle of selection1--that of ,beauty6 ,art1 according to my way of thinking1 is something to be enjoyed1 something to delight the senses1 and something to refresh the mind2 and ,i feel sure that many connoisseurs will agree with me and gladly welcome a book devoted to ,old ,masters in which not the slightest suggestion of suffering enters4 ,therefore1 in this book there are no ,crucifixions1 ,piets1 martyrdoms1 nor tragedies4 ,nor in my definition of ,beauty do ,i recognize any distortion of the word that might include the cant phrase--the 8beauty of ugliness40 ,beauty1 when most subtle1 is always obvious2 and ,i agree heartily with ,bernard ,berenson's dictum3 8,and not what man knows but what man feels concerns ,art4 ,all else is science40 ,fashions may come and fashions may go1 but while these changing tides ebb and flow the great manifestations and expressions of genius shine with undimmed splendor as shine the stars of ,heaven over a world racked with dissension and controversy and troubled with many shell-shocked minds4 ,shakespeare and ,shelley and ,keats and ,tennyson will charm1 inspire1 and uplift generations to come when yawping vers libre has been thrown into the literary junk-heap2 ,beethoven and ,chopin and ,wagner will delight1 astound1 and refresh sensitive spirits when the scores of the ,twentieth ,century cacophonists will be unopened and coated with dust2 and ,raphael1 ,botticelli1 ,watteau1 ,fragonard1 ,chardin1 ,gainsborough1 ,reynolds1 and ,romney will fascinate1 enthrall1 and enrapture lovers of the beautiful when works of jostled planes and lurid color will have been hooted to extinction4 ,the ,torch of ,beauty burns brightly through all the confusion of tongues and wild ragings of ,twentieth ,century iconoclasts4 ,in this belief and hope ,i have the support of the noted ,french critic1 ,robert de la ,sizeranne1 who says3 8,art never dies1 even when all that has maintained it and served as the motive for its very existence--civilization1 society1 religious belief1 social authority--has fallen into irremediable decay4 ,for it has still another reason for existence1 which is the powerful one of ,beauty4 ,humanity is not rich enough to dispense with a vision of ,beauty4 ,the day comes when it will return to it gladly and acclaim it as if it were a living being40 ,some idea of the value of the paintings shown in this book will be had if ,i mention a few sums which were reached at the last sales1 although the figures have risen considerably since those sales4 ,here are1 for example1 twelve paintings3 ,gainsborough's ,harvest ,waggon1 #cfj1jjj2 ,lawrence's ,pinkie1 #cgg1jjj2 ,gainsborough's ,blue ,boy1 #hjj1jjj2 ,reynolds's ,mrs4 ,siddons1 #ejj1jjj2 ,raphael's ,small ,cowper ,madonna1 #gjj1jjj2 ,raphael's ,niccolini ,madonna1 #hge1jjj2 ,frans ,hals's ,laughing ,mandolin ,player1 #bej1jjj2 ,botticelli's ,giuliano de' ,medici1 #bdj1jjj2 ,raphael's ,agony in the ,garden1 #ejj1jjj2 ,gainsborough's ,the ,mall1 #ejj1jjj2 ,romney's ,the ,hon4 ,mrs4 ,davenport1 #cjd1gjj2 and ,romney's ,anne1 ,lady de la ,pole1 #bjf1hej4 ,hence it will be seen that these twelve paintings represent considerably more than #e1ejj1jjj4 ,with these figures in mind 7and ,i have not attempted to estimate the ,memlings1 ,holbeins1 ,bellinis1 ,crivellis1 ,titians1 ,rembrandts1 ,van ,dycks1 ,fragonards1 ,nattiers1 and others7 it will be easily appreciated that the value of the paintings shown in this book soars beyond millions into the billion dollar class6 ,it gives me pleasure to offer my thanks to all the ,collectors whose pictures are represented and very particularly to ,mrs4 ,herbert ,l4 ,satterlee1 ,mr4 ,j4 ,p4 ,morgan1 ,mr4 and ,mrs4 ,charles ,p4 ,taft1 and ,miss ,helen ,c4 ,frick who permitted me to have photographs especially taken of the ,duchess of ,devonshire1 and ,lady ,betty ,delm2 ,eliza ,farren1 ,countess of ,derby2 ,maria ,walpole1 ,duchess of ,gloucester and 8,the ,jessamy ,bride02 and ,sir ,thomas ,more4 ,i also wish to thank most cordially ,mr4 ,felix ,wildenstein for his valuable advice and approbation and for important material sent to me from ,paris and to express my appreciation to ,mr4 ,c4 ,r4 ,henschel of ,messrs4 ,knoedler ,co41 and to ,mrs4 ,paul ,reinhardt of the ,reinhardt ,galleries for their warm support and aid4 ,e4 ,s4 ,,new ,,york1 ,november #h1 #aibh4 ,,contents ,,chapter ,,pages ,i4 ,,italian #c-aec ,sienese ,florentine ,umbrian ,north ,italian ,venetian ,,ii4 ,,flemish #aeg-aif ,,iii4 ,,dutch #aii-bcb ,,iv4 ,,german #bce-bec ,v4 ,,spanish #beg-bgb ,,vi4 ,,french1 ,,eighteenth ,,century #bge-cbf ,,vii4 ,,english1 ,,eighteenth ,,century #cbi-dbh ,,illustrations ,,giovanna ,,tornabuoni ,domenico ,ghirlandaio ,frontispiece ,mr4 ,j4 ,p4 ,morgan4 ,,page ,,st4 ,,francis ,,and ,,the ,,beggar ,sassetta #g ,mr4 ,clarence ,h4 ,mackay4 ,,madonna ,,and ,,child ,,with ,,saints ,,and ,,angels ,matteo di ,giovanni #aa ,mr4 ,clarence ,h4 ,mackay4 ,,adoration ,,of ,,the ,,magi ,benvenuto di ,giovanni #ac ,sir ,joseph ,duveen1 ,bart4 ,,madonna ,,and ,,child ,giotto di ,bordone #bg ,mr4 ,henry ,goldman4 ,,the ,,annunciation ,masolino #bi ,mr4 ,henry ,goldman4 ,,gabriel1 ,,the ,,announcing ,,angel ,fra ,angelico #cc ,mr4 ,edsel ,b4 ,ford4 ,,the ,,virgin ,,receiving ,,the ,,divine ,,message ,fra ,angelico #ce ,mr4 ,edsel ,b4 ,ford4 ,,st4 ,,cosimas ,,and ,,st4 ,,damianus ,fra ,angelico #da ,mr4 ,albert ,keller4 ,,madonna ,,della ,,stella ,fra ,filippo ,lippi #dc ,mr4 ,carl ,w4 ,hamilton4 ,,madonna ,,and ,,child ,alesso ,baldovinetti #di ,mr4 ,clarence ,h4 ,mackay4 ,,portrait ,,of ,a ,,young ,,lady ,piero ,pollaiuolo #ec ,mr4 ,nils ,b4 ,hersloff4 ,,giuliano ,,de' ,,medici ,sandro ,botticelli #eg ,mr4 and ,mrs4 ,otto ,h4 ,kahn4 ,,portrait ,,of ,a ,,young ,,man ,sandro ,botticelli #fc ,mr4 ,clarence ,h4 ,mackay4 ,,madonna ,,and ,,child ,sandro ,botticelli #fe ,mr4 ,max ,epstein4 ,,giovanna ,,tornabuoni ,domenico ,ghirlandaio #fg ,mr4 ,j4 ,p4 ,morgan4 ,,francesco ,,sassetti ,,and ,,his ,,son ,,teodoro ,domenico ,ghirlandaio #ga ,mr4 ,jules ,s4 ,bache4 ,,madonna ,,and ,,child ,gentile da ,fabriano #ge ,mr4 ,henry ,goldman4 ,,madonna ,,and ,,child ,,with ,,angels ,benedetto ,bonfigli #gi ,mr4 and ,mrs4 ,otto ,h4 ,kahn4 ,,madonna ,,and ,,child ,perugino #ha ,mr4 ,clarence ,h4 ,mackay4 ,,the ,,niccolini ,,madonna ,raphael #he ,sir ,joseph ,duveen1 ,bart4 ,,the ,,small ,,cowper ,,madonna ,raphael #hg ,mr4 ,joseph ,e4 ,widener4 ,,agony ,,in ,,the ,,garden ,raphael #ia ,mr4 ,clarence ,h4 ,mackay4 ,,portrait ,,of ,a ,,lady ,pisanello #aja ,mr4 ,clarence ,h4 ,mackay4 ,,adoration ,,of ,,the ,,shepherds ,andrea ,mantegna #aje ,mr4 ,clarence ,h4 ,mackay4 ,,virgin ,,and ,,child ,,with ,,the ,,infant ,,st4 ,,john ,,and ,,angel ,francia #aji ,mr4 ,clarence ,h4 ,mackay4 ,,portrait ,,of ,a ,,lady ,luini #aaa ,the ,hon4 ,andrew ,w4 ,mellon4 ,,titian',s ,,schoolmaster ,moroni #aac ,mr4 ,joseph ,e4 ,widener4 ,,madonna ,,and ,,child ,antonello da ,messina #abc ,mr4 ,clarence ,h4 ,mackay4 ,,madonna ,,and ,,child ,crivelli #abg ,mr4 ,a4 ,w4 ,erickson4 ,,madonna ,,and ,,child ,crivelli #abi ,mr4 ,philip ,lehman4 ,,the ,,virgin ,,and ,,child ,,with ,,st4 ,,lucy1 ,,st4 ,,catherine1 ,,st4 ,,peter ,,and ,,st4 ,,john ,,the ,,baptist ,giovanni ,bellini #aca ,mr4 ,jules ,s4 ,bache4 ,,the ,,virgin ,,and ,,child ,giovanni ,bellini #acc ,mr4 and ,mrs4 ,nicholas ,f4 ,brady4 ,,madonna ,,and ,,child ,giovanni ,bellini #ace ,mr4 ,philip ,lehman4 ,,feast ,,of ,,the ,,gods ,giovanni ,bellini #aci ,mr4 ,joseph ,e4 ,widener4 ,,the ,,virgin ,,and ,,child ,titian #ada ,mr4 ,jules ,s4 ,bache4 ,,caterina ,,cornaro1 ,,queen ,,of ,,cyprus ,titian #ade ,mr4 ,john ,ringling4 ,,giorgio ,,cornaro ,,with ,,falcon ,titian #adg ,mr4 ,a4 ,w4 ,erickson4 ,,maximilian ,,sforza ,bartolommeo ,veneto #adi ,mr4 ,henry ,goldman4 ,a ,,scene ,,along ,,the ,,adriatic ,,coast ,francesco ,guardi #aec ,mrs4 ,charles ,b4 ,alexander4 ,,portrait ,,of ,a ,,lady ,roger van der ,weyden #afg ,the ,hon4 ,andrew ,w4 ,mellon4 ,,portrait ,,of ,a ,,carthusian ,,monk ,petrus ,christus #aga ,mr4 ,jules ,s4 ,bache4 ,,madonna ,,and ,,child ,,with ,,angels ,hans ,memling #agc ,the ,hon4 ,andrew ,w4 ,mellon4 ,,portrait ,,of ,a ,,young ,,gentleman ,hans ,memling #age ,mrs4 ,john ,n4 ,willys4 ,,louis ,,xiii1 ,,king ,,of ,,france ,peter ,paul ,rubens #agg ,sir ,joseph ,duveen1 ,bart4 ,,rinaldo ,,and ,,armida ,sir ,anthony ,van ,dyck #ahc ,mr4 ,jacob ,epstein4 ,d,,dalus ,,and ,,icarus ,sir ,anthony ,van ,dyck #ahe ,mr4 ,frank ,p4 ,wood4 ,,robert ,,rich1 ,,earl ,,of ,,warwick ,sir ,anthony ,van ,dyck #ahi ,mr4 ,jules ,s4 ,bache4 ,,queen ,,henrietta ,,maria ,,with ,,jeffrey ,,hudson ,,and ,a ,,monkey ,sir ,anthony ,van ,dyck #aic ,mr4 ,william ,randolph ,hearst4 ,,the ,,standard-,,bearer ,rembrandt van ,rijn #bje ,mr4 ,jules ,s4 ,bache4 ,,portrait ,,of ,a ,,young ,,officer ,rembrandt van ,rijn #bji ,mr4 ,a4 ,w4 ,erickson4 ,,an ,,old ,,lady ,,seated ,,in ,,an ,,armchair ,rembrandt van ,rijn #baa ,the ,hon4 ,andrew ,w4 ,mellon4 ,,simeon ,,and ,,mary ,,presenting ,,the ,,infant ,,christ ,,in ,,the ,,temple4 ,rembrandt van ,rijn #bac ,mr4 ,nils ,b4 ,hersloff4 ,,portrait ,,of ,,an ,,officer ,frans ,hals #bba ,mr4 ,henry ,goldman4 ,,the ,,laughing ,,mandolin ,,player ,frans ,hals #bbc ,mr4 ,john ,r4 ,thompson4 ,a ,,music ,,party ,pieter de ,hoogh #bbe ,mrs4 ,john ,n4 ,willys4 ,,the ,,lace-,,maker ,jan ,vermeer #bbi ,the ,hon4 ,andrew ,w4 ,mellon4 ,,portrait ,,of ,a ,,man ,albrecht ,drer #bci ,the ,hon4 ,andrew ,w4 ,mellon4 ,,prince ,,edward ,,of ,,england ,hans ,holbein the ,younger #bda ,the ,hon4 ,andrew ,w4 ,mellon4 ,,sir ,,thomas ,,more ,hans ,holbein the ,younger #bde ,the late ,mr4 ,henry ,clay ,frick4 ,,dirk ,,berck ,,of ,,cologne ,hans ,holbein the ,younger #bdg ,the ,hon4 ,andrew ,w4 ,mellon4 ,,jean ,,de ,,dinteville ,hans ,holbein the ,younger #bdi ,mr4 ,henry ,goldman4 ,,cardinal ,,albrecht ,,as ,,saint ,,hieronymus ,lucas ,cranach the ,elder #bec ,mr4 ,john ,ringling4 ,,cardinal ,,quiroga ,el ,greco #bfa ,the late ,mr4 ,henry ,clay ,frick4 ,,the ,,virgin ,,appearing ,,to ,,st4 ,,dominic ,el ,greco #bfc ,mr4 ,j4 ,horace ,harding4 ,,marianne ,,of ,,austria ,velasquez #bfe ,mr4 ,philip ,lehman4 ,,philip ,,iv ,,of ,,spain ,velasquez #bfg ,the late ,mr4 ,henry ,clay ,frick4 ,,general ,,nicolas ,,guye ,goya #bfi ,mr4 ,j4 ,horace ,harding4 ,,pepito ,,costa ,y ,,bonella ,goya #bga ,mrs4 ,william ,hayward4 ,,jupiter ,,and ,,calisto ,nicolas ,poussin #bgi ,mr4 ,carroll ,tyson4 ,,la ,,danse ,antoine ,watteau #bhc ,mr4 ,charles ,a4 ,wimpfheimer4 ,,madame ,,bonier ,,de ,,la ,,mosson ,jean ,marc ,nattier #bhg ,mr4 ,edward ,j4 ,berwind4 ,,la ,,marquise ,,de ,,baglion ,jean ,marc ,nattier #bhi ,mr4 ,a4 ,w4 ,erickson4 ,,la ,,camargo ,nicolas ,lancret #bic ,the ,hon4 ,andrew ,w4 ,mellon4 ,,le ,,duo ,nicolas ,lancret #bie ,mr4 and ,mrs4 ,emil ,j4 ,stehli4 ,,une ,f,,te ,,champ,,tre ,jean ,baptiste ,joseph ,pater #big ,mr4 ,jules ,s4 ,bache4 ,,une ,f,,te ,,galante ,jean ,baptiste ,joseph ,pater #bii ,mr4 ,edward ,j4 ,berwind4 ,,la ,,serinette ,jean ,baptiste ,simon ,chardin #cja ,the late ,mr4 ,henry ,clay ,frick4 ,,les ,,deux ,,confidentes ,franois ,boucher #cje ,mrs4 ,william ,r4 ,timken4 ,a ,,young ,,girl ,,reading ,a ,,letter ,jean ,baptiste ,greuze #cjg ,mr4 ,john ,mc,cormack4 ,,young ,,girl ,jean ,baptiste ,greuze #cji ,mr4 ,william ,randolph ,hearst4 ,,la ,,marquise ,,de ,,besons ,,tuning ,a ,,guitar ,jean ,baptiste ,greuze #caa ,dr4 and ,mrs4 ,henry ,barton ,jacobs4 ,,la ,,marquise ,,de ,,villemomble ,franois ,hubert ,drouais #cac ,mr4 ,jules ,s4 ,bache4 ,,mademoiselle ,,helvetius ,franois ,hubert ,drouais #cae ,mr4 ,mortimer ,l4 ,schiff4 ,l',,invocation ,l',,amour ,jean ,honor ,fragonard #cag ,mr4 ,mortimer ,l4 ,schiff4 ,,le ,,billet-,,doux ,jean ,honor ,fragonard #cai ,mr4 ,jules ,s4 ,bache4 ,,la ,,marquise ,,de ,,la ,,fare ,jean ,honor ,fragonard #cba ,mrs4 ,james ,b4 ,haggin4 ,,the ,,fountain ,,in ,,the ,,park ,hubert ,robert #cbc ,dr4 and ,mrs4 ,henry ,barton ,jacobs4 ,,madame ,,labille-,,guiard ,,and ,,two ,,pupils ,madame ,labille-,guiard #cbe ,mr4 ,edward ,j4 ,berwind4 ,,lady ,,betty ,,delm ,sir ,joshua ,reynolds #cci ,mr4 and ,mrs4 ,herbert ,l4 ,satterlee4 ,,the ,,strawberry ,,girl ,sir ,joshua ,reynolds #cdc ,mrs4 ,francis ,f4 ,prentiss4 ,,diana1 ,,viscountess ,,crosbie ,sir ,joshua ,reynolds #cde ,the late ,mr4 ,henry ,e4 ,huntington4 ,,mrs4 ,,siddons ,,as ,,the ,,tragic ,,muse ,sir ,joshua ,reynolds #cdi ,the late ,mr4 ,henry ,e4 ,huntington4 ,,georgiana1 ,,duchess ,,of ,,devonshire ,sir ,joshua ,reynolds #cee ,the late ,mr4 ,henry ,e4 ,huntington4 ,,the ,,cottage ,,door ,thomas ,gainsborough #cei ,the late ,mr4 ,henry ,e4 ,huntington4 ,,the ,,mall ,thomas ,gainsborough #cfe ,the late ,mr4 ,henry ,clay ,frick4 ,,maria ,,walpole1 ,,duchess ,,of ,,gloucester ,thomas ,gainsborough #cfg ,mr4 and ,mrs4 ,charles ,p4 ,taft4 ,,georgiana1 ,,duchess ,,of ,,devonshire ,thomas ,gainsborough #cgc ,mr4 and ,mrs4 ,herbert ,l4 ,satterlee4 ,,the ,,blue ,,boy ,thomas ,gainsborough #cgi ,the late ,mr4 ,henry ,e4 ,huntington4 ,,general ,,philip ,,honywood ,thomas ,gainsborough #chg ,mr4 ,john ,ringling4 ,,the ,,harvest ,,waggon ,thomas ,gainsborough #cia ,sir ,joseph ,duveen1 ,bart4 ,,john ,,walter ,,tempest ,george ,romney #cic ,mr4 and ,mrs4 ,marshall ,field4 ,,the ,,hon4 ,,mrs4 ,,davenport ,george ,romney #cii ,the ,hon4 ,andrew ,w4 ,mellon4 ,,lady ,,derby ,george ,romney #dja ,mr4 ,jules ,s4 ,bache4 ,,emma1 ,,lady ,,hamilton ,george ,romney #dje ,the late ,mr4 ,henry ,e4 ,huntington4 ,,anne1 ,,lady ,,de ,,la ,,pole ,george ,romney #dji ,the ,hon4 ,alvan ,t4 ,fuller4 ,,the ,,hon4 ,,mrs4 ,,grant ,,of ,,kilgraston ,sir ,henry ,raeburn #dac ,mr4 ,c4 ,fisher4 ,,quinton ,,mcadam ,sir ,henry ,raeburn #dae ,mr4 ,a4 ,w4 ,erickson4 ,,mary ,,horneck1 8,,the ,,jessamy ,,bride0 ,john ,hoppner #dag ,mr4 and ,mrs4 ,charles ,p4 ,taft4 ,,eliza ,,farren1 ,,countess ,,of ,,derby ,sir ,thomas ,lawrence #dba ,mr4 ,j4 ,p4 ,morgan4 ,,pinkie ,sir ,thomas ,lawrence #dbg ,the late ,mr4 ,henry ,e4 ,huntington4 ,,italian ,sienese ,florentine ,umbrian ,north ,italian ,venetian ,,sienese ,there are no beginnings of art in ,italy4 ,the old civilizations of ,etruria1 ,rome1 and ,byzantium never perished entirely2 and upon their surviving traditions 8,christian ,art0 was built4 ,old pictorial ideas and old decorative motives were absorbed1 rearranged1 and worked over again and again in conjunction with theological dogma until in the ,thirteenth ,century1 largely owing to the beautiful character1 ideals1 and influence of ,st4 ,francis1 to the intellectual teachings of ,dante1 and to the fervor aroused by the ,crusades1 8,christian ,art0 became a living movement1 which inspired1 among other important things1 the creation of magnificent ,cathedrals4 ,when the architects1 the carvers of wood and stone1 and the makers of the jewel-like windows had finished their work1 the best painters of the day were called on to produce altar-pieces that would stimulate religious devotion1 charm the worshippers by beauty1 and instruct the people 7unaccustomed to books7 by representation of saintly lives and scriptural stories4 ,italian ,painting in the ,thirteenth and ,fourteenth ,centuries thus shows many of the old ,byzantine traditions still lingering in the new 8,christian10 or 8,gothic ,art40 ,siena and ,florence were the chief early ,italian ,schools4 ,siena was at first the more important of the two and greatly influenced ,florentine and also ,french ,painting4 ,the leading early artists of ,siena were ,guido da ,siena1 ,duccio di ,buoninsegna1 ,ugolino da ,siena1 ,segna di ,bonaventura1 ,simone ,martini1 ,lippo ,memmi1 ,pietro ,lorenzetti1 ,ambrogio ,lorenzetti1 ,lippo ,vanni1 ,andrea ,vanni1 ,bartolo di ,fredi1 ,taddeo di ,bartolo1 and ,stefano di ,giovanni 7,sassetta74 ,the next group includes ,domenico di ,bartolo1 ,lorenzo ,vecchietta1 ,neroccio di ,landi1 ,benvenuto di ,giovanni1 ,girolamo di ,benvenuto1 and ,matteo di ,giovanni4 8,to understand and appreciate the painting of ,siena one should think of it as the culmination of the art of the ,middle ,ages rather than as a promise of anything modern4 ,therein lies the difference which caused so great a gulf between the art of ,siena and that of contemporary ,florence only forty miles away4 ,sienese ,art may be regarded as the most perfect expression of the ,byzantine ideal4 ,it was hieratic and mystic4 ,while ,giotto was forecasting the development of modern art by studying nature and making his figures act like the real people whom he saw about him1 ,duccio and ,simone ,martini were sounding the ,byzantine creed that the ,christian saints were not human but divine1 not vulgar but regal1 not approachable but aloof4 ,to the early ,sienese1 as to the ,byzantine1 the ,raphaelesque conception of the ,madonna as the most tender possible human mother would have been blasphemous bad taste4 8,although ,sienese ,art was founded on ,byzantine and was in a sense the culmination of ,byzantine1 it was1 nevertheless1 a ,gothic art4 ,in other words it belonged to its period1 but it selected certain elements of ,gothic style for emphasis4 8,in ,florence ,giotto was inspired by the plasticity of ,gothic ,art and its naturalism4 ,in ,siena ,duccio and his followers developed the ,gothic living line2 and1 later1 the emotionalism of ,gothic spirit4 ,thus both ,florentines and ,sienese were ,gothic1 but in a different way4 8,technically as well as spiritually1 the ,sienese approached the artistic abstractions of ,china and ,japan4 ,the analogies between ,sienese and ,oriental ,art have been observed by practically every writer on the ,sienese ,school4 ,they have been tacitly attributed however1 to accidental similarities in ideals and modes in ,siena and the ,east4 ,as yet no one has been bold enough to suggest an influence derived from actual contact with ,eastern ,art1 but such contact is not beyond the bounds of possibility4 ,in the ,thirteenth and ,fourteenth ,centuries overland communication with the ,near ,east and with ,china was common and secure4 ,merchants like the ,polos1 prelates like ,john of ,monte ,corsino1 ,andrew of ,perugia and ,friar ,odoric of ,friuli readily found the way to ,cathay1 as ,china was then called4 ,peking was made a ,roman ,catholic diocese and ,pegolotti of the ,bardi banking-house in ,florence was moved to write a traveller's itinerary1 remarkably like a modern ,baedeker1 giving the most minute instructions as to inns1 food1 servants1 and so forth1 on the route from ,constantinople to ,peking4 ,moslems like ,ibn ,batuta travelled as widely as ,christians1 and ,oriental travellers visited the ,occident4 ,thus ,bar ,sauma1 a ,nestorian of ,peking1 visited the ,pope in #abhg and passed through ,tuscany on his way to ,paris and ,bordeaux two years after ,duccio painted the ,rucellai ,madonna4 ,not only the ,near ,east and ,china1 but ,india1 was opened to the ,european and we hear of the martyrdom of one ,brother ,peter of ,siena at a place near ,bombay4 ,it was not until the end of the ,fourteenth and the beginning of the ,fifteenth ,century that the conversion of the western ,tartars to ,islam1 the advance of the ,seljuk ,turks1 and the overthrow of the broad-minded hospitable ,mongol dynasty in ,china closed the overland trade-routes4 ,during the next hundred and fifty years while the sea-routes were being discovered ,europe seems largely to have forgotten the existence of the ,orient4 ,wild as the theory may sound1 therefore1 it is possible that actual contact with ,oriental ,art may account not only for the occasional ,mongolian types and bits of ,oriental armor to be observed in ,sienese ,art1 but even for something of the spirit of the style40--,medival and ,renaissance ,paintings 7,fogg ,art ,museum1 ,cambridge1 #aibg74 ,,st4 ,,francis ,,and ,,the ,,beggar4 ,sassetta 7#acib-adej74 ,collection of ,mr4 ,clarence ,h4 ,mackay4 ,on ,september #e1 #adcg1 the ,minorites of ,siena ordered an altar-piece for the ,church of ,san ,francesco at ,borgo ,san ,sepolcro from ,stefano di ,giovanni1 better known as ,sassetta4 ,the artist promised 8to paint it with fine gold1 ultramarine1 and other good colors1 to employ all the subtleties of his art1 and to make it as beautiful as he could40 ,also he promised to complete it in four years4 ,sassetta1 however1 made a wrong calculation2 for the work occupied him seven1 instead of four1 years4 ,it was finished on ,june #e1 #addd1 and placed above the high altar at ,borgo ,san ,sepolcro1 where it remained until #ageb1 when the panels were dispersed4 ,from contemporary documents nine panels were proved in recent years to have been among the decorations of this famous altar-piece2 and these panels were shown at the ,retrospective ,exhibition of ,sienese ,art held in ,siena in #aijd4 ,seven of these nine panels are now in the ,collection of ,mr4 ,clarence ,h4 ,mackay3 ,st4 ,francis and the ,poor ,knight2 ,st4 ,francis ,renounces his ,heritage2 ,st4 ,francis and the ,wolf of ,gubbio2 ,st4 ,francis before the ,soldan2 ,st4 ,francis before ,pope ,honorius ,,iii2 ,st4 ,francis ,receiving the ,stigmata2 and ,the ,burial of ,st4 ,francis4 ,another panel1 ,the ,marriage of ,st4 ,francis to ,poverty1 is in the ,chantilly ,museum and the central panel of the altar-piece1 representing ,the ,glory of ,st4 ,francis1 is in the ,collection of ,mr4 ,bernard ,berenson4 ,the panel representing ,st4 ,francis and the ,wolf of ,gubbio was long in possession of the ,comte de ,martel at the ,chteau de ,beaumont1 near ,blois1 and the other six panels came from the ,collection of the late ,m4 ,georges ,chalandon1 ,paris4 ,it was obvious that for a church dedicated to ,st4 ,francis the story of his life should be told in paintings4 ,it is a little hard to realize that the frescoes by ,giotto and his companions depicting the ,life of ,st4 ,francis had been admired and worshipped for a hundred odd years before ,sassetta was called upon by the ,sienese ,minorites to tell the story again4 ,sassetta produced an entirely new version with regard to composition1 color1 and spiritual interpretation4 ,illustration3 ,collection of ,mr4 ,clarence ,h4 ,mackay ,,st4 ,,francis ,,and ,,the ,,beggar --,sassetta ,there is much to attract an artist in the story of ,st4 ,francis1 for although his life is not one of much variety1 it is full of striking episodes1 which afford splendid pictorial opportunities4 ,st4 ,francis1 founder of the great ,order of ,friars ,minor1 or ,franciscans1 and called 8the ,poor ,man of ,assisi10 was born in ,assisi in #aahb1 and died there in #abbf4 ,he was the son of a rich merchant1 who1 furious because his son lavished money on the starving poor of the vicinity1 demanded that he should renounce his inheritance4 ,this he did with a joyful spirit in public and before the ,bishop of ,assisi1 thereafter devoting himself to the service of the poor4 ,disciples flocked to his little chapel1 called the ,portiuncula2 and when the ,new ,order celebrated its ,general ,chapter in #abai1 five thousand friars assembled there4 ,the ,order was approved by ,pope ,innocent ,,iii and by his successor1 ,pope ,honorius ,,iii4 ,poverty was the leading characteristic of the ,franciscans1 or ,begging ,friars2 individually and collectively they refused to own anything whatsoever4 ,st4 ,francis journeyed about doing good4 ,his wanderings took him as far as ,egypt and ,palestine2 and it was in the year #abbd1 on the desolate ,mount ,alvernia1 that he received the ,stigmata1 or ,impression on the flesh of ,our ,lord's ,five ,sacred ,wounds1 in memory of which the ,church instituted a special festival4 ,st4 ,francis was canonized in #abbh1 two years after his death4 ,st4 ,francis and the ,beggar1 shown here1 tells two episodes of the story4 ,on the left and in the immediate foreground the young ,st4 ,francis1 having dismounted from his horse1 whose head 7very finely drawn7 appears above his shoulder1 is in the act of giving his cloak to a poor beggar2 and the latter1 very dramatically expresses his delight1 surprise1 and gratitude4 ,beyond these figures a winding road1 bordered with cypress trees1 leads to a handsome villa1 presumably the home of ,st4 ,francis1 beyond which little hills appear on the horizon4 ,the sky1 very expansive1 is silvery above these hills and grows gradually bluer and bluer until it reaches the top of the picture1 or dome of the sky1 where a strange castle is seen with banners of the ,holy ,cross floating from its battlements and turrets4 ,this castle really belongs to the second episode represented on the right1 which shows ,st4 ,francis sleeping in a little room4 ,this heavenly castle is the vision he has in his dreams4 ,it would appear that the ,angel1 standing over ,st4 ,francis and pointing to the mystical castle in the clouds1 is inspiring this mystical dream4 ,it is interesting to note here that ,giotto made at ,assisi two pictures of ,st4 ,francis and the ,beggar and ,the ,dream of ,st4 ,francis4 ,sassetta combined the two episodes into one picture4 8,even without documents10 says ,berenson1 8we should know that this ,borgo ,san ,sepulcro polyptych was painted by a contemporary of ,masolino1 ,pisanello1 ,jacopo ,bellini1 and ,antonio ,vivarini4 ,and that the master was a ,sienese we should know not only from his pure1 flat color and his devotion to line1 but in other ways as well4 ,at all events it is he1 ,stefano ,sassetta1 who has left us the most adequate rendering of the ,franciscan soul that we possess in the entire range of painting4 8,sassetta was not only one of the few masters in ,europe of imaginative design1 but the most important painter at ,siena during the second quarter of the ,fifteenth ,century1 the channel through which ,sienese ,trecento traditions passed and became transformed into those of the ,quattrocento1 for nearly all the later painters of ,siena were his offspring40 ,stefano di ,giovanni was born at ,siena in #acib4 ,he was a pupil of ,paolo di ,giovanni ,fei and was deeply influenced by the earlier ,sienese painters1 ,duccio1 ,simone ,martini1 and the ,lorenzetti brothers4 ,in #adbg he was asked to furnish a design for the font in the ,siena ,baptistery and he painted the altar-piece of the ,madonna ,enthroned with ,saints in the church1 since known as the ,osservanza1 built for ,st4 ,bernardine on the site of his hermitage4 ,sassetta's work for the ,borgo ,san ,sepulcro did much to popularize ,sienese ideas in ,umbria4 ,sassetta made many paintings in ,siena and at ,cortona1 where he was influenced by ,fra ,angelico4 ,in #addg he was commissioned to complete the frescoes on the ,porta ,romana at ,siena1 begun by ,taddeo di ,bartolo2 and he died in #adej from exposure while working on this gate4 ,fifteen years later the frescoes were finished by ,sano di ,pietro1 one of ,sassetta's many pupils and followers4 ,for a long time ,sassetta was forgotten2 but of late years there has been much interest in his works1 which are of great pecuniary as well as artistic value4 ,,madonna ,,and ,,child ,,with ,,saints ,,and ,,angels4 ,matteo di ,giovanni 7#adcj8-adie74 ,collection of ,mr4 ,clarence ,h4 ,mackay4 ,among the most important pupils of the famous ,sassetta was the painter and sculptor1 ,lorenzo ,vecchietta1 who in turn was the principal master of ,matteo di ,giovanni1 the most celebrated ,sienese painter of his time4 ,therefore we have direct artistic ancestry for ,matteo di ,giovanni through ,vecchietta to ,sassetta and to ,duccio4 ,matteo di ,giovanni1 also called ,matteo da ,siena1 was the son of a tradesman who came from ,siena to ,borgo ,san ,sepulcro1 where ,matteo was born about #adcj4 ,his first master is supposed to have been the ,umbrian1 ,piero della ,francesca 7or ,pier dei ,franceschi74 ,removing to ,siena1 ,matteo spent the rest of his days there4 ,his life was uneventful1 for he gave all his time to painting4 ,his domestic life must have been somewhat exciting for he was twice married--the second time to a countess--and he had a large family4 ,matteo was particularly famous for his ,madonnas1 tender and wistful1 with very decorative accessories4 ,the lovely ,madonna and ,child with ,saints and ,angels1 represented here1 shows this decorative quality of ,matteo in its highest expression4 ,the ,sienese love for ,oriental fabrics#a appears in the rich attire of the ,virgin4 ,here is no peasant woman in simple robe and mantle1 but a lady of high degree1 wearing a gown of handsome brocade with the significant pattern of the pomegranate4 ,a white veil1 soft and transparent1 lightly covers her forehead and her mantle is gracefully drawn up over her head to form a hood4 ,the ,holy ,child rests comfortably upon her left arm while her right hand1 large and firm1 gives ,him additional support4 ,a light drapery passes around the body of the ,holy ,child--the ,sienese were ,oriental enough in their discriminating taste to avoid uninteresting nudity and they also knew how to manage both heavy and light materials--who grasps the ,virgin's tunic with ,his right hand and has placed his left hand over that of ,his mother4 ,the golden nimbus of the ,virgin is inscribed 8,ave 7,maria7 ,gratia ,plena40 ,illustration3 ,collection of ,mr4 ,clarence ,h4 ,mackay ,,madonna ,,and ,,child ,,with ,,saints ,,and ,,angels --,matteo di ,giovanni ,st4 ,catherine of ,siena stands on the right1 also wearing a handsome brocade gown and a white veil4 ,she is holding a missal and a fragment of her wheel of torture4 ,on the left we see ,st4 ,anthony1 in monk's habit1 writing in a book4 ,behind this group two ,angels are singing loudly and joyfully4 ,the background and all the nimbi crowning the heads of the figures are of gold1 made the richer by burnished ornamentation4 ,this picture1 painted in tempera on a panel #bi #bj inches1 came from the ,collection of ,lord ,ashburnham1 ,ashburnham ,place1 ,battle1 ,surrey1 ,england4 ,of it ,berenson says3 8,it is not only his 7,matteo di ,giovanni7 most typical and his most characteristic1 but also his most impressive and beautiful work2 it has every advantage of ivory flesh1 golden tone1 and gorgeous brocade2 and with all these decorative qualities it possesses real humility40 ,among ,matteo di ,giovanni's other important paintings are3 the ,madonna ,enthroned 7#adgj7 in the ,accademia2 the ,madonna della ,neve 7#adgg7 and the ,coronation of ,st4 ,barbara in ,st4 ,domenico1 ,siena2 the ,assumption of the ,virgin in the ,national ,gallery1 ,london2 and ,st4 ,jerome in his ,cell1 in the ,fogg ,art ,museum1 ,cambridge1 ,massachusetts4 ,,adoration ,,of ,,the ,,magi4 ,benvenuto di ,giovanni ,collection of 7#adcf-aeah74 ,sir ,joseph ,duveen1 ,bart4 ,we have here a charming ,sienese version of the ever-popular subject--the ,adoration of the ,magi4 ,everything about this picture is radiant1 charming1 and decorative4 ,the groups in pyramidal form with masses at the base1 made rich and beautiful by means of the wise lighting and graceful arrangement of draperies1 balanced with lively animals on the right and left1 rise higher and higher with more and more delicacy of treatment that suggests the technique of old ivory carving or the miniature painting of ,medival manuscripts1 until the peak is reached in the charming presentation of a lovely walled town with spires lifted heavenward4 ,illustration3 ,collection of ,sir ,joseph ,duveen1 ,bart4 ,,adoration ,,of ,,the ,,magi --,benvenuto di ,giovanni ,the picture is full of movement1 life1 joy1 and expression4 ,the ,holy ,child is appreciative 7which is an unusual feature7 and the animals1 too1 are taking an enthusiastic part in the ceremony4 ,the tender and gentle ,virgin1 seated on a stone bench directly in front and wearing a red robe and a blue mantle1 has the ,holy ,child comfortably placed on her knee4 ,on her left hand she is holding one of the presents4 ,the ,holy ,child1 according to the ,sienese fashion1 is draped and the linen folded around ,him is embroidered in gold4 ,his expression is animated and very sweet and ,he is raising ,his little hand in blessing4 ,the eldest of the ,magi1#b ,melchior with white hair 7what there is left of it7 and white flowing beard1 is kneeling before the ,holy ,child and kissing ,his right foot1 wearing a rich golden mantle with a damask pattern in raised gold relief1 held by a jewelled girdle4 ,the second ,magus1 on the left1 ,balthasar1 is clothed in a red brocade mantle embroidered in gold4 ,he has a dark complexion and is removing his crown from his thick black hair and holds in his right hand a piece of gold plate4 ,the third ,king1 ,caspar1 on the right1 is the most attractive figure in the picture1--a typical young prince and dandy of the period dressed in a pale tunic1 cut with point in front showing a rich brocade undergarment1 and plaited and slashed and bordered according to the latest ,fifteenth ,century fashions4 ,the sleeves are slashed and ornamented with puffs and a rich girdle holds the dagger with hilt of gold4 ,lilac trunk-hose1 red shoes1 and a golden crown complete the costume4 ,his face is delicate and charming and his wavy hair is blonde4 ,he1 too1 is bringing a piece of gold plate4 ,this radiant figure looks as if he might have stepped from the pages of the ,romaunt of the ,rose4 ,st4 ,joseph1 behind ,balthasar1 leans his head on his hand as if he were puzzled4 ,each one of these six important figures has a flat golden nimbus4 ,behind ,st4 ,joseph1 on the left1 the ox and the ass1 by the intelligent gleam in their eyes1 allow us to believe in the legend that animals are endowed with the power of speech on ,christmas ,eve4 ,over the roof of their open shed sparkles and scintillates the ,star of the ,east and under the ,star we note a bush laden with fruit1--a real ,christmas tree6 ,on the right1 the group is that of the retinue of the three ,kings--people on foot1 wide-eyed and curious1 and knights on horseback4 ,a beautiful white horse arches his head majestically and surveys the scene2 behind him are a very superior horse and a very superior camel1 who gaze downward somewhat haughtily1 while a third horse looks backward at these companions to see what they are thinking of it all6 ,as in many ancient paintings1 the scene is enacted for us in two episodes4 ,if we look ardently we see the three ,magi on their approach to the shrine4 ,we can identify ,balthasar on the left2 ,caspar in the centre2 and ,melchior on the left of ,caspar1 followed by their retinue defiling through the gateway of the machicolated wall1 behind which the town1 with its towers and turrets1 domes and roofs1 stands out clearly and poetically from its golden horizon4 ,this painting1 tempera on panel 7#gj #ec inches71 came from the ,collection of ,sir ,william ,neville ,abdy1 ,bart41 ,dorking1 ,surrey1 and was exhibited in ,paris at the ,salle des ,etats1 ,muse du ,louvre1 in #ahhe4 ,benvenuto di ,giovanni di ,meo del ,guata1 also known as ,benvenuto da ,siena1 was1 like ,matteo di ,giovanni1 a pupil of ,vecchietta4 ,he was born in ,siena1 ,september #ac1 #adcf1 the son of a mason4 ,in #adec he was painting in the ,baptistery in ,siena4 ,he painted in ,siena all his life and aided in designing the inlaid marble pavement in the ,cathedral and he also decorated the cupola4 ,benvenuto di ,giovanni cared little about the scientific experiments the contemporary ,florentine painters were essaying1 content to paint in the decorative and charming traditional ,sienese manner1 of flat and ornamental designs beautifully enriched with gold4 ,it is very interesting to compare this painting with the pageants of ,benozzo ,gozzoli and ,gentile da ,fabriano4 ,it holds its own1 thereby1 for its high decorative quality and peculiar charm4 ,,florentine ,it is not strange when ,sienese ,painting was at its height that its influence should have been felt in ,florence1 which is only about forty miles distant4 ,the fame of ,cimabue 7#abdj8-acja71 the founder of the ,florentine ,school1 indeed1 rests chiefly on the ,madonna in the ,rucellai ,chapel of ,s4 ,maria ,novella1 which modern criticism attributes to ,duccio of ,siena4 ,vasari was responsible for accrediting the ,rucellai ,madonna to ,cimabue2 and ,vasari's story that when finished 8it was carried in solemn procession with the sound of trumpets and other festal demonstrations from ,cimabue's house to the church1 ,cimabue being highly rewarded and honored for it10 reads like an echo of the triumphal procession of ,duccio's great altar-piece--the ,majestas--from the house of that painter to the ,cathedral of ,siena4 ,cimabue1 whose name was ,cenni dei ,pepe1 transitional from ,byzantine to ,gothic1 is particularly famed for being the discoverer and teacher of ,giotto4 ,giotto di ,bordone 7#abgf-accf71 sculptor and architect as well as painter1 is the dominating personality in ,trecento ,art1 and the first ,gothic painter of ,florence4 ,giotto's influence lasted for a hundred years or more 7see page #be74 ,one of ,giotto's associates and followers was ,bernardo ,daddi1 son of ,daddo di ,simone1 a ,florentine4 ,the date of his birth is supposed to have been #abhj4 ,he died in #acdh4 ,about #acag he was admitted to the ,arte de ,medici e ,speziale1 the ,guild of ,doctors and ,apothecaries1 from whom the painters obtained their pigments4 ,according to the laws of the period no painter could pursue his art unless he took his degree in that confraternity4 ,the early painters became independent of the ,guild of ,doctors and ,apothecaries after the ,guild of ,st4 ,luke#c was formed--the special brotherhood of all painters1 which spread to every country and to every town--and there is a tradition that ,daddi was one of the founders of this ,compagnia di ,san ,luca1 which would show that this ,florentine ,guild of ,st4 ,luke was organized as early as #acdh4 ,daddi painted the fresco over the ,san ,giorgio ,gate of ,florence about #accj and he also painted the frescoes of the ,martyrdom of ,st4 ,stephen and ,st4 ,lawrence in ,santa ,croce4 ,daddi comes very close to ,giotto 7#abgf-accf71 in dates and in style1 although he shows great sympathy with the ,sienese painters4 ,giotto's followers--the ,giotteschi--worked from about #accj to #adcj and include3 ,taddeo ,gaddi1 ,andrea di ,cione 7better known as ,orcagna71 ,giovanni da ,milano1 ,agnolo ,gaddi1 ,cennino ,cennini1 ,andrea di ,firenze1 ,antonio ,veneziano1 ,spinello ,aretino1 and ,lorenzo ,monaco4 ,these painters prepared the way for greater changes by studying perspective and the human form and by gradually introducing ,classic ,architecture into their pictures in place of ,gothic decoration4 ,in studying ,fifteenth ,century ,art in ,florence we are struck by the great number of goldsmiths and other workers in metal who became painters4 ,there is a reason for this4 ,the most important work in ,florence for twenty-two years was the making of the four bronze doors for the ,baptistery1 the competition for which was won by ,ghiberti in #adja4 ,the undertaking was so vast that ,ghiberti engaged1 at one time or another1 nearly all the most talented artists and artisans of ,florence4 ,many painters and sculptors who acquired fame afterwards1 such as ,masaccio and ,donatello for instance1 received their early training under ,ghiberti4 ,of the last-mentioned painter ,leonardo da ,vinci wrote3 8,after the days of ,giotto1 painting declined again1 because everyone imitated the pictures that were already in existence2 and this went on until ,tommaso of ,florence1 nicknamed ,masaccio1 showed1 by his perfect works1 how artists who would take any teacher but ,nature--the mistress of all masters--labor in vain40 ,tommaso ,masaccio 7#adja-adbi87 and ,tommaso ,masolino 7#achc-addg7 worked together in the ,brancacci ,chapel4 ,masaccio was the son of a notary in the parish of ,castel ,s4 ,giovanni in ,val d',arno1 learned to draw and paint1 joined the ,guild of ,st4 ,luke in #adbd1 and became ,masolino's assistant for painting the frescoes in the new ,chapel built by ,felice ,brancacci in the ,carmine4 ,when ,masolino went to ,hungary1 ,masaccio worked there alone4 ,masaccio's frescoes made an epoch in art1 although the painter was little appreciated in his day4 ,he left his work suddenly and went to ,rome4 ,nothing more was ever heard of him4 ,he is thought to have died in ,rome in #adbi4 ,almost immediately ,masaccio's work began to be valued and all the ,florentines of the ,fifteenth ,century flocked to study these ,brancacci frescoes4 ,masolino 7#achc-addg7 was appointed in #adbc to paint frescoes in the new ,brancacci ,chapel in the ,carmine and two years later went to ,hungary4 ,returning home after several years1 he painted frescoes in various cities 7see page #bh74 ,gerardo1 better known as 8,starnina0 7#aced-adjh71 a pupil of ,antonio ,veneziano1 spent nine years in ,spain and on his return to ,florence1 achieved great fame by his frescoes in the ,carmine4 ,the name was taken from that of his father1 ,jacopo ,starna4 ,it is said that 8,starnina0 was the master of ,masolino and ,fra ,angelico4 ,fra ,angelico 7#achg-adee71 brings us to another transitional period1--this time from the ,gothic to the ,renaissance4 ,fra ,angelico1 or ,fra ,giovanni da ,fiesole1 the angelic and mystical painter and the most beloved of all the early artists1 spent his life painting frescoes and altar-pieces for churches and cloisters4 ,he was frequently called by the ,pope to ,rome1 where he died 7see page #cb74 ,to this period belong ,andrea del ,castagno 7#acij8-adeg71 a vigorous and austere painter1 and ,paolo ,uccello 7#acig-adge71 named ,paolo di ,dono1 but called ,uccello because he kept in his house and painted so many birds4 ,uccello began life as a goldsmith and assistant to ,ghiberti4 ,no survey of painting in ,florence in the ,fifteenth ,century1 however slight1 would be complete without reference to the ,medici4 ,art1 like all other branches of learning1 owed its splendid development to their intelligent sympathy and generous patronage4 ,the ,medici began this patronage early4 ,giovanni de ,bicci 7#acfj-adbh71 the founder of the family1 was one of the judges who selected ,ghiberti to make the ,baptistery doors and ,cosimo1 8the ,father of his ,country0 7#achi-adfd71 was so liberal a patron of ,fra ,angelico1 ,fra ,filippo ,lippi1 ,benozzo ,gozzoli1 ,paolo ,uccello1 ,domenico ,veneziano1 and many others1 that we may safely say the great flowering of ,florentine ,art is almost entirely due to his taste and encouragement4 ,the ,florentine artists1 too1 were greatly stirred by the meeting of the ,council of the ,eastern and ,western ,churches1 which was one of the most important gatherings ever held anywhere in the history of the world4 ,this ,council was invited by ,cosimo to ,florence and all the dignitaries and their suites were his personal guests1 entertained by him in his various palaces and villas4 ,picturesque and bizarre these dignitaries were2 and the painters had full opportunity to see them when they sat in the ,duomo under ,brunelleschi's newly completed dome 7then the ,eighth ,wonder of the ,world71 or when they moved about the streets with their suites4 ,in his delightful book1 ,the ,medici1 ,col4 ,g4 ,f4 ,young has called particular attention to the importance of this great ,council2 how it led ,cosimo to found the ,platonic ,academy2 and how the ,fall of ,constantinople1 fourteen years later1 changed the world so utterly that no such meeting could ever take place again4 ,in part he says3 8,this great gathering of #adci in ,florence had its effect also on ,art4 ,we are often inclined to wonder where such painters as ,fra ,angelico1 ,benozzo ,gozzoli1 and ,gentile da ,fabriano got the idea of the gorgeous robes and strange-looking head-dresses which we see in their pictures of ,eastern subjects4 ,it was all taken direct from the life of ,florence of this year4 ,during that summer the inhabitants of ,florence saw a perpetual succession of grand processions and imposing functions in which these visitors from the ,east appeared in every kind of magnificent and strange costume4 ,vespasiano da ,bisticci and other writers of the time dilate upon their rich silken robes1 heavy with gold1 and their fantastic-looking head-dresses1 regarded with deep interest by the learned on account of their ancient character4 ,and the painters reproduce these before us in pictorial records1 which are valuable to us on that very account1 and because this was the last occasion on which these costumes were destined to appear40 ,piero il ,gottoso 7#adaf-adfi71 ,cosimo's son1 8carried on0 the traditions of the ,medici1 encouraging ,art to such an extent that practically every great work produced in ,florence in his time was made for1 or inspired by1 him4 ,piero il ,gottoso and his cultured wife1 ,lucrezia ,tornabuoni1 recognizing ,botticelli's genius1 took him into their home and made him one of the family4 ,all of ,botticelli's early works1 therefore1 belong to the period he spent under the patronage of ,piero de' ,medici4 ,yet1 of course1 ,botticelli is recognized as the particular painter of ,lorenzo the ,magnificent 7#addi-adib71 son of ,piero1 and a friend and boyhood companion4 8,as had been the case with his father1 ,piero1 the leading artists of the day did most of their work for him1 and nearly every work of eminence in painting or sculpture belonging to ,lorenzo's time remaining in ,florence1 was commissioned by him4 ,verrocchio did almost all his work for him2 that sculptor's graceful tomb in ,san ,lorenzo over ,lorenzo's father and uncle1 his bronze ,david1 and his fountain of ,the ,boy with a ,dolphin were all executed for ,lorenzo4 ,botticelli he made his family painter as well as friend and all the pictures of ,botticelli's second period were painted for him4 ,it was ,lorenzo who caused ,ghirlandaio's frescoes in ,sta4 ,maria ,novella and ,santa ,trinit to be painted2 and it was he who selected and sent ,leonardo da ,vinci to ,milan to become #8,il ,moro's' great painter4 ,among others he also gave commissions to ,filippino ,lippi1 ,signorelli1 ,baldovinetti1 ,benedetto da ,majano1 ,andrea del ,castagno and the ,pollaiuoli4 ,the ,medici ,palace became1 ,symonds says1 #8a museum at that period unique in ,europe1 considering the number and value of its art-treasures2' and these he made available to all young artists for purposes of study4 ,there being at that time no school for sculpture1 ,lorenzo formed one in his garden near ,san ,marco1 collected there casts from many antique statues1 placed the school in charge of ,donatello's pupil1 ,bertoldo1 and invited all young sculptors to study there4 ,among those who did so were ,lorenzo di ,credi1 ,michelangelo1 and many others afterwards famous40--,,col4 ,g4 ,f4 ,,young1 ,the ,medici 7,london1 #aiji74 ,the roll-call is large and marvellous2 and when we think of the troubles of the time1--the quarrels1 the conspiracies1 the dangers of murder1 and the constant visitations of the ,plague1 we almost comprehend refuge in the cloister rather than such extraordinary activity in ,art and ,learning4 ,let us look at the greatest names4 ,domenico ,veneziano 7#adjj-adfa71 a native of ,venice1 as his name plainly shows1 but employed by ,piero il ,gottoso1 classed in his day with ,fra ,angelico and ,fra ,filippo ,lippi1 a delightful musician1 playing on the lute and singing well1 and said by ,vasari1 to have introduced into ,florence the ,flemish method of using oils4 ,veneziano taught ,piero della ,francesca1 the ,umbrian painter4 ,then there is ,fra ,angelico1 already mentioned1 and there is ,fra ,filippo ,lippi 7#adjf8-adfi71 a monk1 but not a saint like ,fra ,angelico1--wild and adventurous yet a superlative painter1 whose reputation continues to increase and whose ,madonnas1 usually with the face of ,lucrezia ,buti1 are justly admired 7see page #db74 ,francesco ,pesellino 7#adbb-adeg71 whose real name was ,francesco di ,stefano1 pupil of his grandfather1 ,giuliano1 and a follower of ,fra ,filippo ,lippi1 famous for his decorative qualities and his animals1 rare and valued to-day4 ,another painter of decorative taste1 charming and refined1 is ,alesso ,baldovinetti 7#adbe-adii71 a follower of ,domenico ,veneziano and teacher of ,ghirlandaio 7see page #dh74 ,then come the famous brothers1 workers in gold1 silver1 and bronze1 painters of heroic frescoes1 and celebrated as draughtsmen--,antonio ,pollaiuolo 7#adcb-adih7 and ,piero ,pollaiuolo 7#addc-adif71 sons1 too1 of a goldsmith1 all three busy1 at various times1 on the ,ghiberti doors 7see page #ea74 ,then there is ,pier ,francesco ,fiorentino1 an ,umbrian1 born in ,borgo ,san ,sepolcro about #adcj1 pupil of ,domenico ,veneziano1 and said to have assisted ,ghirlandaio at ,s4 ,giminiano in #adge4 ,next comes ,andrea ,verrocchio 7#adce-adhh71 goldsmith and sculptor1 pupil and assistant to ,donatello4 ,andrea di ,cione's nickname of 8,verrocchio0 7true eye7 is self-explanatory4 ,verrocchio was also an accomplished musician4 ,he was employed by the ,medici all his life2 and he trained in his workshop1 ,leonardo da ,vinci1 ,perugino1 and ,lorenzo di ,credi4 ,verrocchio also planned many of the splendid pageants1 for which ,florence was so famous1 and designed the artistic helmets worn by young ,lorenzo and ,giuliano at their tournaments4 ,when ,lorenzo became head of the ,medici he continued the family patronage to ,verrocchio4 ,cosimo ,rosselli 7#adci-aejg71 followed ,paolo ,uccello and ,alesso ,baldovinetti4 ,sandro ,botticelli 7#addd-aeaj71 who belongs to both ,piero and ,lorenzo de' ,medici1 was a pupil of ,fra ,filippo ,lippi and was influenced by ,antonio ,pollaiuolo before he blossomed forth in his full individuality4 ,for many centuries ,botticelli has charmed the world1 his prestige ever growing greater 7see page #ee74 ,botticelli leads us into another group4 ,here is ,domenico del ,ghirlandaio 7#addi-adid71 8the garland-maker10 first a goldsmith1 then a pupil of ,alesso ,baldovinetti and much influenced by ,botticelli and ,verrocchio4 ,into his decorative scenes this painter introduced portraits of distinguished ,florentines 7see page #gj74 ,then we have one of the world's greatest geniuses1 ,leonardo da ,vinci 7#adeb-aeai71 painter1 sculptor1 architect1 decorator1 designer of pageants and masques1 musician1 and engineer1 and1 moreover1 a personage of charm and many social gifts4 ,leonardo was apprenticed to ,verrocchio and patronized by ,lorenzo de' ,medici1 who sent him in #adhb to ,ludovico ,sforza1 ,duke of ,milan 7see page #ic74 ,filippino ,lippi 7#adeg-aejd71 son of ,fra ,filippo ,lippi and the nun1 ,lucrezia ,buti 7see page #dd71 a pupil of ,botticelli1 achieved a fine reputation as a painter and as a man4 ,lorenzo di ,credi 7#adeg-aecg71 fellow-pupil with ,perugino and ,leonardo da ,vinci in ,verrocchio's studio1 esteemed for his execution and careful finish1 was an especial favorite with ,verrocchio4 ,piero di ,cosimo1 or ,piero di ,lorenzo 7#adfb-aeba871 called ,cosimo after his master1 ,cosimo ,rosselli1 assisted the latter in decorating the ,sistine ,chapel in #adhj4 ,piero di ,cosimo is famed for his mythological pictures and for a portrait of ,simonetta ,vespucci 7see page #ei71 now in the ,chantilly ,museum4 ,fra ,bartolommeo 7#adgb-aeag71 whose name was ,baccio della ,porta1 an apprentice of ,cosimo ,rosselli1 became an ardent follower of ,savonarola4 ,it was1 therefore1 a natural step for him to become a ,dominican monk in #aejj2 but he continued to paint and had for a partner ,mariotto ,albertinelli 7#adgd-aeae71 a pupil of ,cosimo ,rosselli and ,piero di ,cosimo4 ,michelangelo 7#adge-aefd71 painter1 sculptor1 architect1 poet1 and military engineer1 was born at ,castel ,caprese1 where his father1 ,ludovico ,buonarroti1 was governor of the ,castle4 ,apprenticed to ,ghirlandaio1 he also worked in the ,medici ,gardens and became a favorite with ,lorenzo4 ,after ,lorenzo's death in #adib1 he worked for his son1 ,piero4 ,michelangelo's commanding work1 however1 was done in ,rome1 where he went in #aejh to paint the ceiling of the ,sistine ,chapel4 ,in #aedg ,michelangelo succeeded ,antonio di ,san ,gallo as architect of ,st4 ,peter's4 ,raphael ,santi 7#adhd-aebj7 has to be included among the ,florentine painters for he worked in ,florence during #aejd-aejh1 when he fell under the influence of ,leonardo da ,vinci and ,fra ,bartolommeo and painted several important pictures1 including the ,madonna del ,gran ,duca 7now in the ,pitti7 and the ,madonna del ,cardellino 7now in the ,uffizi74 7,see page #hf47 ,leonardo da ,vinci1 ,fra ,bartolommeo1 and ,michelangelo influenced ,andrea del ,sarto 7#adhf-aeca71 pupil of ,piero di ,cosimo4 ,his real name was ,andrea d',agnolo and because of his facile technique was called 8,andrea senza errori04 ,francis ,i had ,andrea come to ,fontainebleau in #aeah2 but he soon went home to ,florence and died of the ,plague4 ,franciabigio 7#adhb-aebe71 son of ,christoforo ,bigio1 partner of ,andrea del ,sarto and pupil of ,albertinelli and ,piero di ,cosimo1 noted for his religious pictures and portraits1 and ,bronzino 7#aejb-aegb71 poet and painter 7whose name was ,angelo ,allori71 pupil of ,jacopo da ,pontormo1 and famous for his portraits of the ,medici family1 bring us to the last quarter of the ,sixteenth ,century4 ,the great days of painting were over2 and they had been great days6 ,,madonna ,,and ,,child4 ,giotto di ,bordone 7#abgf-accf74 ,collection of ,mr4 ,henry ,goldman4 ,framed by a slightly pointed arch1 not sufficiently removed from the old ,romanesque curves to be full ,gothic1 and projected upon a background of gold1 appears this graceful ,madonna1 so unusual in type and of such amazing beauty4 ,her face1 with its almond-shaped eyes 7not set obliquely however7 and its sweet flower-like mouth1 has a ,chinese quality that bestows a great charm4 ,on the face there is also an ,oriental radiation of gentleness1 resignation1 and spiritual experience4 ,while looking at us this lovely ,madonna--who might answer as well for the ,chinese goddess ,kuan ,yin--seems to be trying to draw us into a contemplation of the ,infinite4 ,the dress1 too1 is unusual4 ,all that we see is a blue mantle lined with silk1 shaded in green1 white1 and pink1 decorated by a gold border with an ,arabic inscription4 ,this mantle is carried over the head to form a hood and one end is very gracefully thrown across the left arm4 ,on the right shoulder a conventionalized flower is embroidered in gold1 reminding us of the star that the ,sienese ,madonnas usually carry4 ,a white drapery1 also having an ,arabic border1 is folded around the ,holy ,child1 who grasps ,his mother's forefinger with ,his left hand1 while with ,his right ,he tries to take from her a white rose#d that she is holding upward4 ,each head is encircled by a nimbus3 that of the ,virgin is very large and very decorative with an interlaced pattern of ,oriental design2 and that of the ,holy ,child has a foliage design reminiscent of ,byzantine ornament4 ,on both sides of the ,virgin's face a pink veil is visible4 ,this picture1 painted on a panel 7#cd #be inches71 came from the ,collection of ,m4 ,eugne ,max of ,paris4 ,many legends have gathered around the name of the great ,florentine1 doubly famed as painter of marvellous frescoes and as the architect of the ,campanile in ,florence that is still called by his name4 ,the story of how ,giotto1 the little shepherd boy tending his father's flocks on the ,apennines1 was discovered drawing a sheep on a rock by ,cimabue and taken by him to ,florence and trained1 ultimately becoming the greatest painter of his time and founder of a ,school1 was told by ,ghiberti and ,leonardo da ,vinci many years before ,vasari's day4 ,giotto di ,bordone is supposed to have been born at ,colle di ,vespignano1 about twenty miles from ,florence1 in #abff and he died in ,florence in #accg4 ,he was a pupil of ,cimabue but surpassed him4 ,about #acjj he was in ,rome making the mosaics in the portico of ,st4 ,peter's1 a polyptych1 and some frescoes in the choir4 ,in #acjc-acjf ,giotto painted the frescoes in the ,arena ,chapel in ,padua2 at ,assisi he painted the scenes from the ,life of ,st4 ,francis in the ,upper ,church and also some of the frescoes in the ,magdalen ,chapel in the ,lower ,church4 ,after #acaf he decorated the ,bardi and the ,peruzzi ,chapels in ,s4 ,croce in ,florence4 ,illustration3 ,collection of ,mr4 ,henry ,goldman ,,madonna ,,and ,,child --,giotto di ,bordone 8,from the first10 says ,mrs4 ,cartwright1 8,giotto adopted a clear1 pale tone of coloring1 which forms a marked contrast to the dark and heavy tints in use among ,byzantine artists1 and produces the effects of water-color1 while that of the older painters more nearly resembles oils4 ,the technique which he used1 both for tempera and fresco-painting1 and which remained in use among ,florentine artists for the next hundred and fifty years1 was in reality founded on the old ,greek method which had been practiced during many centuries1 although the improvements which he introduced were sufficient to justify the ,giottesque artist1 ,cennino ,cennini1 in saying that ,giotto changed painting from the ,greek to the ,latin manner and brought in modern art4 ,yet more striking were the innovations which he introduced in his types1 the almond-shaped eyes1 long noses1 and oval countenances with square1 heavy jaws which he substituted for the staring eyes and round faces of ,byzantine artists4 ,the few and simple lines of his draperies give a majestic effect to his figures and at the same time sufficiently indicate the structure of the human form beneath2 so that in spite of his ignorance of anatomy and modelling1 the result is remarkably good40 ,giotto was working in ,naples for ,king ,robert in #accc when he was sent for by the ,signoria of ,florence and appointed ,chief ,architect of the ,state and ,master of the ,cathedral ,works1 succeeding ,arnolfo del ,cambio1 who had died in #acaj4 ,all work had stopped since that date2 but now the authorities had decided to erect a bell-tower and they announced3 8,for this purpose we have chosen ,giotto di ,bordone1 painter1 the great and dear master1 since neither in the city1 nor in the whole world1 is there any other to be found as well fitted for this and similar tasks40 ,the whole achievement of ,giotto's life was summed up more than a hundred years later when ,lorenzo the ,magnificent commanded ,angelo ,poliziano to write a ,latin inscription for a bust of ,giotto he was placing on ,giotto's tomb in the ,duomo3 8,lo1 ,i am he by whom dead ,painting was restored to life1 to whose right hand all was possible1 by whom ,art became one with ,nature4 ,no one ever painted more or better4 ,do you wonder at yon fair ,tower which holds the sacred bells8 ,know it was ,i who bade her first rise towards the stars4 ,for ,i am ,giotto--what need is there to tell of my work8 ,long as verse lives1 my name shall endure60 ,,the ,,annunciation4 ,masolino 7#achc-addg74 ,collection of ,mr4 ,henry ,goldman ,we have here a very interesting and important example of interior decoration4 ,the ,renaissance has arrived as well as the ,announcing ,gabriel6 ,the round arch of grey stone 7the spandrels of which contain rosettes7 frames a sumptuous room divided by a slender ,corinthian column4 ,the walls and the cassette ceiling are inlaid with mosaic of different colors and the archway leading into another room--the ,virgin's bedroom--has a blue sky sprinkled with gold stars4 ,in the centre of the background richly decorated doors lead into the adjoining room4 ,the general hues of the wall and ceiling are grey1 green1 and red4 ,the ,virgin is seated on the right upon a tall and not very comfortable ,italian settee4 ,she has on a light blue mantle which falls around her in graceful folds4 ,her parted light hair is surrounded by a golden nimbus of decorative design4 ,she holds an open prayer-book with one hand and with the other makes a gesture of submission and humility as she listens to the message of the ,angel4 ,whether she sees ,gabriel or not1 she evidently hears what he has to tell her4 ,the ,angel1 too1 expresses reverence with hands crossed upon his breast4 ,he wears a rich claret-colored1 velvet brocade embossed with gold flowers and above his fair hair1 which is tightly curled1 shines a golden nimbus decorated with flower-like rosettes4 ,his wings seem not to have quite quieted down from the flight from ,heaven to earth4#e ,of this picture 7painted on a panel #eh #de inches71 which came from the ,collection of ,lord ,wemyss at ,gosford ,house1 ,longniddry1 ,haddingtonshire1 ,scotland1 ,berenson says3 8,the decorative effect is so strong and so enchanting that like the rest of ,masolino's art it scarcely finds precedence in ,florence or even in ,italy4 ,the suavity1 the grace1 the splendor1 although paralleled in ,gentile da ,fabriano and in ,sassetta1 would seem inspired rather by the ecstatic mood of ,parisian painting toward #adjj with its figures of angelic candor and skies of heavenly radiance than by ,tuscan models40 ,illustration3 ,collection of ,mr4 ,henry ,goldman ,,the ,,annunciation --,masolino ,masolino1 the son of a house painter1 was born in ,panicale in #achc4 ,his real name was ,tommaso di ,cristoforo di ,fino1 and he was familiarly called ,masolino da ,panicale4 ,according to ,vasari he was a pupil of 8,starnina0 and worked under ,ghiberti4 ,he was admitted into the ,florentine ,guild of ,painters in #adbc4 ,in that year he was commissioned to paint the frescoes in the new chapel of the ,carmine1 built by ,felice ,brancacci1 and he took for his assistant1 ,masaccio1 who went on with the work when ,masolino was sent to ,hungary in #adbe to decorate a church at ,stuhlweissenburg4 ,when ,masolino returned to ,florence--after several years--he found that great changes had taken place in art1 for the painters had been busy with the new problems of perspective and light and shade and the substitution of ,classic for ,gothic architecture and decoration4 ,masolino availed himself of the new ideas1 but could not quite forget his ,giottesque traditions4 ,he painted frescoes in ,rome1 ,naples1 and ,lombardy4 8,masolino10 ,vasari wrote1 8was a man of rare intelligence and his paintings are executed with great love and diligence4 ,i have often examined his works and find his style to be essentially different from the styles of those before him4 ,he gave majesty to his figures and introduced finely designed folds in his draperies4 ,he began to understand light and shade and to give his forms relief and succeeded in some very difficult foreshortenings4 ,he also gave greater sweetness of expression to his women heads and gayer costumes to his young men1 and his perspective is tolerably correct4 ,but1 above all1 he excelled in fresco-painting4 ,this he did so well1 and with such delicately blending colors1 that his flesh tones have the utmost softness imaginable2 and if he could have drawn more perfectly1 he would deserve to be numbered among the best artists40 ,,gabriel1 ,,the ,,announcing ,,angel4 ,fra ,angelico 7#achg-adee74 ,collection of ,mr4 ,edsel ,b4 ,ford4 ,this panel and the one succeeding it1 ,the ,virgin ,receiving the ,divine ,message1 originally formed a diptych4 ,in treatment and expression they resemble the figures in ,fra ,angelico's ,annunciation in the ,oratorio del ,ges at ,cortona4 ,illustration3 ,collection of ,mr4 ,edsel ,b4 ,ford ,,gabriel1 ,,the ,,announcing ,,angel --,fra ,angelico ,the ,archangel1 according to ,dante's expression1 has brought the long-desired tidings and he stands on a background of gold with wings still extended like those of a dove1 just alighted from the heavens1 looking into ,mary's face very earnestly1 and pointing upward to emphasize to her that he comes from the spheres above4 ,this ,gabriel is one of the most beautiful of ,fra ,angelico's most beautiful angels1 his wings being of an extraordinary elegance of contour and a peculiar loveliness of color--rose1 violet1 green1 and yellow1 scintillating in iridescent play4 ,his crimson robe1 shading into high lights and fainter tones1 is richly1 although very simply1 decorated with bands of gold embroidery in the ,byzantine style4 ,the hair is blonde and beautifully curled and the head stands out in fine relief from the golden glory4 ,notice the beauty of the ear and the distinguished line of the neck1 the calm1 deep1 unattached gaze of the eye1 the refined and sensitive nose1 the pure and lovely mouth1 and the graceful1 strong1 and very psychic hands4 ,this figure perfectly fits ,ruskin's tribute to ,fra ,angelico in ,modern ,painters3 8,the art of ,fra ,angelico1 both in drawing and color1 is perfect1 and his work may be recognized at any distance by its rainbow play and brilliancy1 like a piece of opal among common marbles4 ,in order to effect clearer distinction between heavenly beings and those of this world1 he represents the former as clothed in draperies of the purest color1 crowned with glories of burnished gold and entirely shadowless2 the flames on their foreheads waving brighter as they move2 the sparkles streaming from their purple wings like the glitter of the sun upon the sea2 while they listen in the pauses of alternate song for the prolonging of the trumpet blast and the answering of psalm and harp and cymbal1 throughout the endless deep and from all the star-shores of ,heaven4 ,this mode of treatment1 combined as it is with exquisite choice of gesture and disposition of drapery1 gives perhaps the best idea of spiritual beings which the human mind is capable of forming40 ,,the ,,virgin ,,receiving ,,the ,,divine ,,message4 ,fra ,angelico 7#achg-adee74 ,collection of ,mr4 ,edsel ,b4 ,ford4 ,in an attitude of divine submission1 devout humility1 and serene grace1 the ,virgin ,mary is listening to the words of the ,angel ,gabriel4 ,her brow is almost as clear and pure as that of ,gabriel himself and her features are beautiful1 especially those heavy-lidded eyes4 ,her blonde hair is exquisitely arranged1 confined by a band of black velvet and encircled by a nimbus1 of which she is apparently unconscious4 ,mary wears a crimson robe with bands of gold around the neck and sleeves1 over which is a blue mantle lined with yellow4 ,her hands are capable1 exquisite1 and very high bred2 and in the left one she holds1 with rare grace1 a red book4 ,illustration3 ,collection of ,mr4 ,edsel ,b4 ,ford ,,the ,,virgin ,,receiving ,,the ,,divine ,,message --,fra ,angelico ,like the companion panel1 ,gabriel1 the ,announcing ,angel1 the background is gold4 ,the dimensions of each are #ad #aj inches4 ,both pictures were long in the ,collection of the ,duke of ,hamilton at ,hamilton ,palace2 and afterwards were in the ,collection of ,mr4 ,john ,edward ,taylor and in that of ,mr4 ,carl ,w4 ,hamilton4 ,in an unpublished letter regarding these works ,mr4 ,berenson writes3 8,they are among the sweetest1 purest1 and most candid of ,fra ,angelico's paintings4 ,i could not easily point to others which better justify the surname of #8,the ,angelic' given to this artist1 who was so great that he was child-like4 ,these panels date from about #adbe1 that is to say from the best year of ,fra ,angelico's maturity4 ,they show his best self1 emancipated from the cramping traditions he was heir to1 but not yet showing sign of spiritual fatigue leading finally to his painting a little by rote4 ,in coloring they are exquisite2 and for pictures five centuries old1 they are almost miraculously well preserved40 ,vasari's words show how deeply ,fra ,angelico was appreciated by men who lived closer to his time than we3 8,this truly angelic father spent his whole life in the service of ,god and his fellow-creatures4 ,he was a man of simple habits and most saintly in all his ways4 ,he kept himself from all worldliness and was so good a friend to the poor that ,i think his soul must be already in ,heaven4 ,he worked continually at his art1 but would never paint anything but sacred subjects4 ,he might have been a wealthy man1 but he did not care for money and used to say that true riches consist in being content with little4 ,he might have enjoyed high dignities both in his convent and in the world1 but he cared nothing for these things1 saying that he who would practice painting has need of quiet and should be free from worldly cares2 and that he who would do the work of ,christ must live continually with ,him4 ,he was never known to be impatient with the ,brothers1--a thing to me almost incredible6 ,when people asked him for a picture he always replied that1 with the ,prior's approval1 he would try and satisfy their wishes4 ,he never corrected or retouched his works1 but left them as he first painted them1 saying that such was the will of ,god4 ,he never took his pencil up without a prayer and could not paint a ,crucifixion without the tears running down his cheeks4 ,and the saints that he painted are more like saints in face and expression than those of any other master4 ,and since it seemed that saints and angels of beauty so divine could only be painted by the hand of an angel1 he was always called ,fra ,angelico40 ,fra ,angelico was born in #achg in a little hamlet called ,vicchio1 in the province of ,mugello in ,tuscany1 about twenty miles from ,florence4 ,his surname is unknown--if indeed he had one--for his father1 who lived in a cottage belonging to the lord of the ,castle of ,vicchio1 was simply known as ,pietro of ,mugello4 ,guido was the name his father gave him but he changed this to ,fra ,giovanni1 when he became a monk of the ,dominican ,order at ,fiesole in #adjf4 ,it is supposed that he had been thoroughly trained as a painter1 because he immediately began to paint frescoes for the monks2 and it is also supposed that 8,starnina0 was his master4 ,owing to religious troubles1 the ,dominican monks were driven from ,fiesole to ,foligno and thence to ,cortona1 where the earliest extant works--movable altar-pieces--of ,fra ,angelico are preserved4 ,in #adah the ,dominicans returned to ,fiesole1 where ,fra ,angelico1 or rather ,fra ,giovanni1 lived for the next few years and where he painted many of his most famous altar-pieces4 ,in #adcd ,cosimo de' ,medici was recalled from banishment and he immediately had the ,convent of ,san ,marco rebuilt for the ,dominican monks of ,fiesole4 ,when the new building was ready in #adcf he commissioned ,fra ,angelico to decorate the walls4 ,in a cell which ,cosimo de' ,medici had reserved for his own personal retreat from worldly cares1 he had ,fra ,angelico paint a large ,adoration of the ,magi1 for he desired to have 8this example of ,eastern kings laying down their crowns at the manger of ,bethlehem always before his eyes as a reminder for his own guidance as a ruler40 ,while ,fra ,angelico was busy on a series of small panels depicting the ,life of ,christ for a credenza in which the altar-plate was kept and which had been ordered by ,piero de' ,medici 7,cosimo's son71 ,pope ,eugenius ,,iv called him to ,rome1 to paint a chapel in ,st4 ,peter's4 ,three of the remaining panels of the credenza were painted by ,alesso ,baldovinetti4 ,after completing the chapel in ,st4 ,peter's1 ,fra ,angelico was invited to paint in the ,cathedral at ,orvieto2 and1 on finishing the work there1 he returned to ,rome to spend three years decorating the ,pope's ,oratory in the ,vatican4 ,in #adej he was back in ,florence1 and he began the new year of #adea as ,prior of his old monastery at ,fiesole4 ,again he went to ,rome and died there in the ,house of his ,order at ,santa ,maria sopra ,minerva on ,march #ah1 #adee4 ,he was buried in the monastery church by the high altar and not far from the tomb of ,st4 ,catherine of ,siena4 ,pope ,nicholas ,v wrote for him a ,latin epitaph1 the last line of which reads3 8,that city which is the flower of ,etruria bore me1 ,giovanni40 ,the paintings of ,fra ,angelico are noted for their fine composition1 beautiful coloring1 and variety and expression in the heads and faces of his persons and ,angels4 ,fra ,angelico's ,angels are particularly beautiful2 and it is reasonable to infer that it is because of these ,angels so many of his works have been preserved4 ,no other painter of the ,fifteenth ,century has been treated with so much reverence as ,fra ,angelico4 ,the consequence is that there are somewhere between two and three hundred of his compositions in existence4 ,the greater number are still in ,florence4 ,every large gallery1 however1 possesses one or more4 ,among the most famous ones that all the world knows and loves are ,the ,virgin and ,child surrounded by ,twelve ,angels1 ten of whom are playing musical instruments 7now in the ,uffizi72 ,christ with the ,banner of ,resurrection 7in the ,national ,gallery1 ,london72 and ,the ,coronation of the ,virgin 7in the ,louvre71 of which ,gautier said the figures represented 8visible souls rather than bodies--thoughts of human form enveloped in chaste draperies of white1 rose1 and blue1 sown with stars and embroidered1 clothed as might be the happy spirits who rejoice in the eternal light of ,paradise40 ,fra ,angelico's greatest frescoes are in the ,convent of ,san ,marco at ,florence and in the ,vatican at ,rome4 ,fra ,angelico is classed variously as a 8,primitive10 a 8,gothic10 an 8,international10 and an 8,early ,renaissance0 painter4 ,the fact is he stands between the old and the new4 ,his position in ,art is very definitively described by ,berenson3 8,yet simple though he was as a person1 simple and one-sided as was his message1 as a product he was singularly complex4 ,he was the typical painter of the transition from ,medival to ,renaissance4 ,the sources of his feeling are in the ,middle ,ages1 but he enjoys his feelings in a way which is almost modern2 and almost modern also are his means of expression4 ,moreover1 he was not only the first ,italian to paint a landscape that can be identified 7a view of ,lake ,trasimene from ,cortona7 but the first to communicate a sense of the pleasantness of ,nature40 ,as a tribute to his spiritual qualities let us listen to ,mrs4 ,cartwright's eulogy3 8,all the mystic thought of the ,medival world1 the passionate love of ,god and man that beat in the heart of ,st4 ,francis1 the yearnings of ,dante's soul after a higher and more perfect order1 the poetic dreams of the monks who sang of the ,celestial ,country are embodied in the art of ,angelico4 ,the depth and sincerity of his own religious feeling lent wings to his imagination and the exquisite purity of his soul breathes in every line of his painting3 it is his own sweet and gentle fancy that brings down these enchanted visions of ,paradise40 ,,st4 ,,cosimas ,,and ,,st4 ,,damianus4 ,fra ,angelico 7#achg-adee74 ,collection of ,mr4 ,albert ,keller4 ,about the year #adcf ,cosimo commissioned ,fra ,angelico to paint the altar-piece for the ,church of ,san ,marco in ,florence 7see page #cg74 ,underneath the group of the ,virgin and ,child ,fra ,angelico painted for the predella nine beautiful panels representing the legendary history of ,cosimas and ,damianus1 the patron saints of the ,medici family4 ,the panel1 shown here1 tempera on wood 7#ad #ah inches71 which comes from the collection of ,mr4 ,f4 ,bhler of ,munich1 is one of these nine pictures4 ,the companion pictures of this ,s4 ,marco altar-piece are now in ,dublin1 ,florence1 ,munich1 and ,paris4 ,this composition1 divided into two episodes in one building1 represents the traditional benevolence of the two ,saints1 ,cosimas and ,damianus4 ,in the scene at the left1 enacted within a room1 which we view through a large1 rounded1 door-like opening1 ,st4 ,cosimas and ,st4 ,damianus1 with golden nimbi1 are administering to a sick man sitting up in a bed which is elevated on a das4 ,the two ,saints1 in the blue robe1 red mantle1 and red and white biretta of the physicians1 are standing on either side of the bed1 offering nutriment to the invalid and giving their benediction4 ,kneeling behind the bed-head are a man and a woman1 the latter wearing a red mantle and white hood1 the former a turban-like cap4 ,over the bed stretches a deep1 square1 brown canopy with an olive-green curtain all around it4 ,on the das rests a tray with an ewer1 and beside it on the floor1 we see a round stool with three legs1 and a foot-stool4 ,the scene on the right1 takes place in a cobbled court-yard of a white house1 and here we see one of the ,saints1 in his physician's gown1 colored as in the first scene1 who has just handed to an aged woman a loaf of bread1 receiving no payment but raising his right hand in benediction4 ,the woman1 dressed in a mauve gown and white veil1 is cleverly and gracefully posed within a small doorway1 and behind her is a room with an open door still farther back1 through which flowering shrubs are seen2 and in this inner room a ray of light glints on the floor4 ,high on the top of the wall a large terra-cotta flower-vase is silhouetted against a blue sky1 and at the left of this there is a narrow slit window4 ,illustration3 ,collection of ,mr4 ,albert ,keller ,,st4 ,,cosimas ,,and ,,st4 ,,damianus --,fra ,angelico 8,cosimas and ,damianus were two brothers1 ,arabians by birth1 but they dwelt in g1 a city of ,cilicia4 ,their father having died while they were yet children1 their pious mother1 ,theodora1 brought them up with all diligence1 and in the practice of every ,christian virtue4 ,their charity was so great1 that they not only lived in the greatest abstinence1 distributing their goods to the infirm and poor1 but they studied medicine and surgery1 so that they might be able to prescribe for the sick1 and relieve the sufferings of the wounded and infirm2 and the blessing of ,god being on all their endeavors1 they became the most learned and the most perfect physicians that the world had ever seen4 ,they ministered to all who applied to them1 whether rich or poor4 ,even to suffering animals they did not deny their aid1 and they constantly refused all payment or recompense1 exercising their art only for charity and for the love of ,god2 and thus they spent their days4 ,at length those wicked ,emperors1 ,diocletian and ,maximian1 came to the throne1 in whose time so many saints perished4 ,among them were the physicians1 ,cosimas and ,damianus1 who1 professing themselves ,christians1 were seized by ,lycias1 the proconsul of ,arabia and cast into prison4 ,at first they were thrown into the sea1 but an ,angel saved them2 and then they were cast into fire1 but the fire refused to consume them2 and then they were bound on two crosses and stoned1 but of the stones flung at them1 none reached them1 but fell on those who threw them and many were killed4 ,so the proconsul1 believing that they were enchanters1 commanded that they should be beheaded1 which was done40 ,this ,oriental legend1 which is of great antiquity1 was transplanted into ,western ,europe in the first ages of ,christianity4 ,the ,emperor ,justinian1 having recovered1 as he supposed1 from a dangerous illness1 by the intercession of these saints1 erected a superb church in their honor4 ,among the ,greeks ,cosimas and ,damianus succeeded to the worship and attributes of sculapius2 and from their disinterested refusal of all pay or reward they are distinguished by the honorable title of ,anargyres1 which signifies moneyless1 or without fees4 ,,madonna ,,della ,,stella4 ,fra ,filippo ,lippi 7#adjf8-adfi74 ,collection of ,mr4 ,carl ,w4 ,hamilton4 ,this picture came directly from the ,monastery of the ,carmine ,brethren in ,florence to the present owner4 ,it is painted in tempera on a panel #cb #be inches4 ,the ,madonna1 with head half turned towards the right1 is standing at half length and holding the ,holy ,child very lovingly in her arms4 ,she wears a dark-green1 hooded mantle1 with wide gold border and fastened across the breast with two narrow straps of gold embroidery4 ,under this is seen a bright crimson robe falling in tight1 formal plaits from the neck4 ,the sleeve of the right arm shows a gold embroidered band at the wrist4 ,on the right shoulder of the mantle is embroidered a golden star 7reminiscent of the ,sienese decoration71 from which the picture takes the name of ,madonna della ,stella4 ,the head-dress1 which permits a little of the blonde hair to be seen1 is of a soft1 white muslin1 which is delicately folded and carried around the base of the long1 slender neck4 ,above the head-dress is a very large golden nimbus with lines radiating from the centre4 ,the ,holy ,child is firmly supported by both arms of the ,virgin and rests ,his left foot on her right arm1 while ,his right leg hangs down behind her wrist4 ,the ,holy ,child is swathed in a drapery of purple hue and ,his head is also encircled by a golden halo4 ,with ,his left hand ,he grasps the folds of ,his mother's head-dress1 where it falls upon her neck1 and with ,his right ,he supports ,his chin in a very mature and contemplative way4 ,the background is composed of a loosely hanging gold brocade of decorative pattern4 ,the extravagant use of gold produces a warm and lustrous gleam and glow and the deep colors stand out from the background with great richness and beauty4 ,illustration3 ,collection of ,mr4 ,carl ,w4 ,hamilton ,,madonna ,,della ,,stella --,fra ,filippo ,lippi ,it is generally accepted that ,lucrezia ,buti1 the young nun whom ,fra ,filippo ,lippi stole from the ,convent of ,santa ,margherita1 served as the model for this ,madonna and that the ,infant ,jesus is none other than ,fra ,filippino ,lippi1 the future painter4 ,comparison with the tondo in the ,pitti ,palace1 representing the ,madonna with ,saints1 in which ,lucrezia ,buti is known to appear1 shows the same oval face1 slender neck1 expressive eyes1 dilated nostrils1 full lips1 slightly dimpled chin1 and wistful glance4 ,fra ,filippo ,lippi is one of the strangest personalities in the history of art4 ,he became a ,carmelite monk from circumstance rather than choice2 and nobody was ever less fitted to belong to ,holy ,orders than this gay1 adventure-loving ,florentine4 8,lippi was very fond of good company10 ,vasari notes1 8and led a free and joyous life40 ,fra ,filippo ,lippi presents a strange contrast to the saintly ,fra ,angelico1 who was his contemporary and fellow-worker4 ,filippo ,lippi1 son of a butcher1 was born in or about #adjf1 in a street behind the ,carmine ,church in ,florence2 and1 being left an orphan1 was cared for by an aunt1 who took him at the age of eight to the ,convent of ,sta4 ,maria del ,carmine and gave him to the ,friars to rear4 ,the ,friars soon discovered the boy's extraordinary talent for drawing1 and1 fortunately1 encouraged it1 sending him to study under ,lorenzo ,monaco4 ,at this time ,masaccio was at work in the ,brancacci ,chapel of the ,carmine ,church1 and young ,lippi used to watch him with profound interest and delight4 ,in #adba ,filippo ,lippi became a ,carmelite monk2 but he was permitted to continue his painting and he executed many frescoes for church and cloister4 ,in ten years' time he left the monastery to give his whole life to his art4 ,however1 he always signed his pictures 8,frater ,philippus40 ,though not a copyist1 by any means1 ,fra ,filippo ,lippi shows in his works how much he admired and how much he learned from ,masaccio1 ,masolino1 ,domenico ,veneziano1 and ,fra ,angelico4 ,adventures of many kinds filled his life2 for instance1 there is a story that he was captured by ,moorish pirates one day while sailing for pleasure1 and taken to ,barbary as a slave and that because he drew his master's portrait so cleverly1 he was given his freedom a year or so later4 ,this--if it happened at all--happened in #adca-adcd4 ,about the last-named date ,fra ,filippo ,lippi was employed by ,cosimo de' ,medici1 who took a great fancy to the lively ,friar and was most indulgent to his pranks and misdemeanors1 excusing everything he did because of his genius and his attractive personality4 ,fra ,filippo ,lippi decorated many churches1 palaces1 and villas for his patron4 ,among the first works that ,lippi painted for the ,medici ,palace 7now the ,riccardi7 were the ,annunciation and ,st4 ,john the ,baptist with ,six ,other ,saints 7both in the ,national ,gallery1 ,london74 ,lippi's most important picture in ,florence is his ,coronation of the ,virgin4 8,lippi's character1 however1 only affects his credit as a painter by accounting for the kind of success he achieved4 ,he had1 as was to be expected1 no ears for the message which ,donatello was at this time teaching1 and consequently his pictures on religious subjects have an exceedingly mundane character4 ,nevertheless1 the sweet seriousness of his ,madonnas falls in no way short of those of ,fra ,angelico1 and the faces of his children are full of a quaint1 mischievous character which is delightful1 while in both drawing and coloring he shows the immense advance which had now taken place in ,painting4 ,and it is here that ,lippi's true claim to fame lies4 ,masaccio1 the only man who up to that time had found out the true methods of the art of ,painting1 had died too soon to be able to make known his discovery1 except to the few who could visit ,florence and the ,brancacci ,chapel4 ,it was left for ,lippi1 the rough boy whom he had taught1 to show the world ,masaccio's discovery4 ,and ,lippi did so4 ,vasari says3 #8,taught as he had been by ,masaccio1 he was a faithful follower of ,masaccio's style2' and he adds that he followed the latter's methods so faithfully1 that it appeared that the spirit of ,masaccio had entered ,lippi's body4 ,thus what ,masaccio had done for the art of ,painting is chiefly to be seen by a comparison of ,lippi's pictures with those of ,masaccio's immediate predecessors1 the ,giotteschi4 ,lippi's principal picture in ,florence is his ,coronation of the ,virgin painted for ,cosimo and now in the ,accademia delle ,belle ,arti2 but his best work is considered to be his frescoes in the ,cathedral at ,prato painted between #adef and #adfe4 8,it was not an easy thing to get any work out of ,lippi4 ,there is an amusing story of how1 when he was painting this picture for ,cosimo1 the latter being at last in despair 7owing to ,lippi's lazy ways7 of ever seeing the picture finished1 had him locked up in the room in the ,medici ,palace where it was being painted1 declaring that he should not be let out until the work was done4 ,whereupon ,lippi tied his bedclothes into a rope1 let himself down from the window into the street and disappeared into the slums of ,florence1 not to be found again for many days40#f ,lippi's drunkenness and his unscrupulous behavior brought him many times before the magistrates and on one occasion he was flogged for embezzlement4 ,however1 the ,medici family always came to the rescue and helped him out4 ,in #adeb he was made ,chaplain of ,san ,niccol de ,fieri1 ,florence1 and in #adef ,chaplain of ,santa ,margherita1 ,prato1 and here again it was ,cosimo de' ,medici1 who obtained these posts for him4 ,at ,prato he painted some of his finest pictures4 ,requested by the ,abbess of ,sta4 ,margherita to paint a picture for the ,chapel1 the gay ,friar1 who was now over fifty1 fell in love with a young nun of twenty-one1 ,lucrezia ,buti1 who had taken the vows two years previously4 ,at the ,festival of the ,holy ,girdle in #adef1 ,fra ,filippo ,lippi managed to carry off the pretty nun and take her to his house in the vicinity4 ,the next year ,filippino ,lippi was born1 who appears in the arms of ,lucrezia ,buti in the ,madonna della ,stella represented here4 ,two years later ,lucrezia ,buti re-entered the ,convent2 but she soon tired of it and returned to ,fra ,filippo ,lippi4 ,a charge of abduction was then brought against the painter1 who again appealed to ,cosimo de' ,medici2 and1 through the latter's influence1 ,pope ,pius ,,ii absolved monk and nun from their religious vows and declared them lawfully married4 8,i laughed heartily when ,i heard of ,fra ,filippo's escapade10 ,giovanni de' ,medici1 ,cosimo's younger son1 remarked2 and that remark shows exactly how the ,medici felt towards ,fra ,filippo ,lippi4 ,they adored him as an artist and they did not take him seriously as a man4 ,about #adfe ,fra ,filippo ,lippi left ,prato and went to ,spoleto1 taking ,lucrezia and his two children 7there was now a daughter72 and there1 still under the patronage of the ,medici1 the energetic painter-monk produced a splendid series of frescoes depicting one of his favorite subjects1 the ,coronation of the ,virgin4 ,fra ,filippo was working on the ,duomo at ,spoleto when he died in #adfi4 ,fra ,filippo ,lippi gains additional fame for having been the first master of ,botticelli4 ,his contemporaries--without dissent--regarded ,fra ,filippo ,lippi as the 8rarest master of the time40 ,fra ,filippo ,lippi was one of the first to use the tondo form4 8,his dreams were all of the earth and his thoughts never soared beyond the gladness and beauty of the natural world4 ,he paints the merry1 curly-headed boys whom he met in the streets of ,florence as cherubs1 takes his mistress as a model for his ,madonnas1 and peoples the court of heaven with fair maidens in rich attire and dainty head-gear4 ,a thorough-going realist at heart1 his naturalism differed wholly from that of his contemporaries1 ,paolo ,uccello1 or ,andrea del ,castagno4 ,he never troubled his head with scientific problems1 or new technical methods4 ,the old tempera painting was good enough for him and he carried this form of art to the highest perfection1 while at the same time he profited by all the advance which ,masaccio and his followers had made1 and gave a marked impulse to the new realism by the strong human element which he introduced in his works4 ,his genial delight in all bright and pleasant things1 in the daisies and the springtime1 in rich ornament and glowing color1 in splendid architecture and sunny landscapes1 in lovely women and round baby faces1 fitted him in especial manner to be the herald of that fuller and larger life which was dawning on the men and women of the ,renaissance40#g ,fra ,filippo ,lippi's son1 ,filippino ,lippi 7#adeg-aejd71 inherited his father's talent and was trained by ,botticelli4 ,it was ,lorenzo de' ,medici1 who recommended to the ,friars of the ,carmine that they should employ ,fra ,filippo ,lippi's son to finish ,masaccio's frescoes in the ,brancacci ,chapel4 ,filippino did this to everyone's satisfaction and in ,the ,trial of ,st4 ,peter and ,st4 ,paul he introduced portraits of ,antonio ,pollaiuolo1 ,botticelli1 and himself4 ,filippino achieved an enormous reputation and was beloved for his modesty and gentleness of character4 ,as in the case of his father1 the next generation of the ,medici continued their patronage to a ,lippi4 ,,madonna ,,and ,,child4 ,alesso ,baldovinetti 7#adbe-adii74 ,collection of ,mr4 ,clarence ,h4 ,mackay4 ,in the charming picture represented here1 on canvas transferred from panel 7#bi #ba inches71 which was formerly in the possession of ,arnoldo ,corsi in ,florence and afterwards in the ,collection of ,mr4 ,william ,solomon in ,new ,york1 the ,madonna1 seen at three-quarter length1 is seated in a chair4 ,she is turned slightly to the left and wears a red tunic edged with gold and a blue mantle4 ,over the white veil1 which covers her temples and hides her ears1 is folded a golden-brown head-dress that descends to her shoulders4 ,her head is encircled by a gold nimbus4 ,she is gazing at the ,holy ,child in her lap with downcast eyes and pensive expression4 ,the ,holy ,child1 who is nude1 wears a red coral necklace1 from which a 8charm0 hangs4 ,around ,his head is a very decorative cruciform nimbus4 ,in ,his right hand ,he holds a narrow piece of white drapery and ,he raises ,his left hand in a benediction in the ,greek manner4 ,the landscape in the background recedes gently towards a distant range of hills1 showing scanty vegetation beneath a light-blue sky4 ,bernhard ,berenson has pronounced this a very characteristic work of ,baldovinetti's middle years1 painted before the pictures now in the ,uffizi4 ,illustration3 ,collection of ,mr4 ,clarence ,h4 ,mackay ,,madonna ,,and ,,child --,alesso ,baldovinetti ,alesso ,baldovinetti1 born in ,florence in #adbe1 was a pupil of ,domenico ,veneziano and became a member of the ,painters ,guild in #addh1 when he was twenty-three4 ,his entry-book1 a copy of which is preserved in the ,archives of ,s4 ,maria ,nuova1 containing his accounts and orders1 begins with the date #addi4 ,one of his first commissions was to finish some panels begun by ,fra ,angelico for a credenza in the ,medici ,chapel of the ,annunziata 7see page #cg71 and some paintings on the doors of the vestry of ,santa ,annunziata 7now in the ,museum of ,san ,marco71 which also completed a series begun by ,fra ,angelico4 ,thenceforward he painted frescoes and altar-pieces1 including an altar-piece representing the ,annunciation for the ,chapel of the ,medici villa at ,caffagiuolo 7now in the ,uffizi7 and the fresco representing the ,birth of ,christ in ,santa ,annunziata 7#adfj-adfb74 ,in #adgj-adgc he was busy on the altar-piece in the ,san ,ambrogio and the ,trinita 7now in the ,accademia74 ,of the frescoes of ,santa ,trinit1 on which he worked until #adig1 only a small portion remains4 ,other unquestionable works by ,baldovinetti are the ,madonna and ,saints 7in the ,uffizi7 and a few pictures in private collections4 ,baldovinetti also painted a great number of panels for private altars and he frequently turned from religious subjects to decorate marriage-chests and other sumptuous furniture4 ,he also worked in mosaics1 made cartoons for stained glass1 and produced designs for intarsia1--all of which developed his delightful1 decorative qualities4 ,baldovinetti's entire life seems to have been absorbed in painting4 ,he married late4 ,after the death of his wife1 he entered the hospital of ,s4 ,paolo of the ,third ,order of ,st4 ,francis and bequeathed what few possessions he had to this house of charity4 ,after his death in ,florence in #adii1 a large chest that belonged to him was opened2 but the monks1 instead of seeing the hoped-for gold1 only found a book on mosaic-work and some drawings4 8,no one was really surprised10 says ,vasari1 who tells the story1 8for ,baldovinetti was so kind and courteous that he shared everything he possessed with his friends4 ,alesso was a very diligent artist1 who tried to copy minutely every detail in ,mother ,nature4 ,he loved painting landscapes exactly as they are1 and you see in his pictures rivers1 bridges1 rocks1 plants1 fruit-trees1 roads1 fields1 towns1 castles1 and an infinite number of similar objects4 ,in his ,nativity you can count the separate straws and knots in the thatched roof of the hut and you see the stones in the ruined house behind1 worn away by rain1 and the thick root of ivy growing up the wall is painted with so much accuracy that the green leaves are differently shaded on either side2 and among the shepherds he introduced a snake crawling in the most natural manner along the wall40 ,,portrait ,,of ,a ,,young ,,lady4 ,piero ,pollaiuolo 7#addc-adif74 ,collection of ,mr4 ,nils ,b4 ,hersloff4 ,in profile to the right1 with features clear-cut and strongly outlined against a light-green background1 appears a young ,florentine lady1 whose dress and bearing proclaim her to be a patrician4 ,she has not been as yet identified2 but doubtless she was one of those elegant and gay ,florentines whom we meet with in song and story4 ,we are very safe to guess that she was a friend of the ,medici and ,tornabuoni group and played her part in the brilliant life of the period4 ,her dress1 pink brocade with a floral pattern1 is edged with white around the neck4 ,her hair is fancifully plaited with pale blue ribbons and partly covered with a head-dress of thin white gauze1 which falls over the right ear on to her neck2 and her hair is also decorated with a jewel set in pearls4 ,according to the fashion of the time1 her forehead and the nape of her neck are shaven2 for the long line of the neck was considered of the greatest importance4 ,it was also important to hold the head properly2 and this young lady has certainly acquired the correct and noble carriage of the head4 ,an unpublished letter of ,berenson exclaims enthusiastically3 8,this profile portrait of a ,young ,lady by ,piero ,pollaiuolo ,i believe to be one of the most delightful of the series of female profiles which1 from ,paolo ,uccello and ,domenico ,veneziano down to ,botticelli and ,amico di ,sandro1 glorifies the art of ,florence during the ,fifteenth ,century4 ,few of them have survived to our own time4 ,with the exception of one in the ,poldi ,collection at ,milan1 this is the most satisfactory of them all2 for besides representing an extraordinarily attractive personality of the highest ,florentine society of the time 7as1 indeed is confirmed by the dress and the jewels71 it is a work of art of exquisite draughtsmanship1 subtle modelling1 and delicate1 pure color40 ,the painting in tempera is on a panel1 #ah #ac inches1 and came from several important ,collections1--that of the ,conte ,isolani ,bologna2 ,baron ,lazzaroni1 ,rome2 and the late ,mr4 ,william ,solomon1 ,new ,york4 ,mr4 ,berenson notes the fine draughtsmanship in this picture4 ,unusual drawing is to be expected from the brothers ,pollaiuolo4 ,benvenuto ,cellini called ,antonio 8the best draughtsman of his day in ,florence0 and tells us that all the goldsmiths worked from his designs2 and1 as ,antonio trained his youngest brother1 ,piero1 we cannot be surprised at the simple1 direct1 and commanding lines and these telling effects produced by such economical methods4 ,the real name of the talented brothers was ,benci4 ,their father1 ,jacopo d',antonio ,benci1 was nicknamed by his friends1 ,pollaiuolo1 because his father kept a poulterer shop4 ,jacopo was a goldsmith and was employed by ,lorenzo ,ghiberti2 and it is said that he made a remarkable quail on one of the ,baptistery ,gates4 ,illustration3 ,collection of ,mr4 ,nils ,b4 ,hersloff ,,portrait ,,of ,a ,,young ,,lady --,piero ,pollaiuolo ,antonio 7#adcb-adih7 was apprenticed to ,bartoluccio ,ghiberti1 a goldsmith1 and soon achieved fame in ,florence as a worker in jewelry and niello4 ,lorenzo ,ghiberti called him to work on the ,baptistery 8,gates of ,paradise0 and the ,bronze ,doors4 ,in #adei he started to work independently and became renowned as a painter1 sculptor1 and master goldsmith4 ,his bottega near the ,ponte ,vecchio was the most popular workshop in ,florence2 and here he remained until he went to ,rome in #adhd4 ,piero ,pollaiuolo helped ,antonio in his work and was also very versatile4 ,engravings1 drawings1 niello1 sculpture1 and painting1 besides a vast amount of gold-work1 silver-work1 and bronze-work prove these men to be as industrious as they were talented4 ,they also followed ,alesso ,baldovinetti in trying out new oil glazes and varnishes4 ,in #adfj the ,pollaiuoli painted in the ,medici ,palace1 and about the same time executed the six life-sized ,virtues for the ,tribunal of the ,mercatanzia4 ,in #adga ,piero painted a portrait of ,galeazzo ,sforza1 ,duke of ,milan1 who was visiting ,florence2 and this portrait1 which hung for many years in the ,medici ,palace1 is now in the ,uffizi4 ,piero's fresco of ,st4 ,christopher1 painted at ,san ,miniato outside the gates1 is considered by most authorities to be the same ,st4 ,christopher now preserved in the ,metropolitan ,museum1 ,new ,york4 ,piero also painted a very fine ,annunciation 7now in the ,berlin ,gallery71 which has a view of ,florence and the ,val d',arno through the open windows and which is remarkable for its ,renaissance architecture2 for the profusion of pearls and other jewels adorning the ,virgin's chair and the robes of the ,angels2 and for three ,cherubs playing the lute1 viol1 and organ4 ,in #adhi ,antonio was called to ,rome by ,pope ,innocent ,,viii to make the bronze tomb of ,sixtus ,,iv1 and a monument for himself in ,st4 ,peter's4 ,he was joined by ,piero4 ,the ,pollaiuoli never saw ,florence again2 for1 on account of the raging ,plague1 no travellers were allowed to come within twenty miles of ,florence4 ,piero died in #adif and ,antonio in #adih2 and at the request of the latter he was buried in the same tomb with ,piero in the church of ,s4 ,pietro in ,vincula4 ,the ,pollaiuoli were closely associated with ,botticelli1 ,leonardo da ,vinci1 ,ghiberti1 and ,verrocchio4 ,,giuliano ,,de' ,,medici4 ,sandro ,botticelli 7#addd-aeaj74 ,collection of ,mr4 and ,mrs4 ,otto ,h4 ,kahn4 ,this proud1 intellectual1 refined1 and cold face is painted almost in profile2 but1 notwithstanding that we see only a part of the face1 we seem to see it all4 ,never did painter achieve a more complete presentation of personality and of character4 ,moreover1 ,botticelli has painted the whole of ,florentine ,society in this portrait4 ,and with what amazingly simple means6 ,there is practically no costume1--a black doublet1 giving a glimpse of a red tunic below1 and a severe white linen band doing duty for a collar4 ,even the background is neutral6 ,the simplicity of presentation and the economy of line are almost ,japanese in their severity4 ,the skillful handling is almost ,oriental1 too4 ,nothing seems to have been done here for effect1--yet what effect is here6 ,there is almost no color2 and the hair1 too1 which falls to the neck1 is black4 ,if we did not know that ,giuliano de' ,medici was a dashing young ,florentine of high mettle and full of the zest of life1 we might easily mistake him for a priest4 ,the picture1 painted on wood 7#ba #ac inches71 gives us the impression of a life-size portrait4 ,it was formerly in the ,collection of ,conte ,procolo ,isolani1 in ,bologna4 ,giuliano de' ,medici was one of the most romantic characters in history2 and the tragedy that cut the thread of his life at the age of twenty-five adds no little to the romantic appeal he makes to us to-day4 ,yet even at this age1 he had so perfected himself in all the accomplishments that belonged to a gentleman of the ,fifteenth ,century that he stands as the very type of the elegant young man of his period4 ,giuliano was1 like his brother1 ,lorenzo1 proficient in the arts1 a lover of pictures1 music1 and poetry2 he wrote charming love-songs and other lyrical verse2 he was intellectual and witty and talked extremely well2 and he was a brilliant jouster and a well-trained all-round athlete and devoted to the chase4 ,for all these things the ,florentines admired him2 but they loved him for his character1 his high-mindedness1 and his courtesy4 ,he adored his brother2 and ,lorenzo1 who was far from handsome1 had no jealousy for the admiration that his younger brother inspired4 ,the terrible murder of this public idol at ,high ,mass in the ,cathedral first shocked and then grieved the entire community4 ,the grief manifested at the great public funeral in the church of the ,medici family1 ,san ,lorenzo1 was violent and sincere1 for ,giuliano de' ,medici was the beloved of both high and low4 ,in his book1 ,the ,medici1 ,col4 ,young writes3 8,giuliano de' ,medici1 the youngest of the five children of ,piero il ,gottoso and ,lucrezia ,tornabuoni1 was1 unlike his brother ,lorenzo1 exceedingly good-looking2 he was gifted with considerable abilities1 and for his many endearing qualities was greatly beloved1 not only in his own family but also by the people of ,florence4 ,before his early death he had already shown on several occasions that he possessed plenty of political capacity and could give valuable advice to his brother4 8,the relations which existed between these two brothers is one of the pleasantest things in the history of the ,medici4 ,at that epoch jealousy between brothers placed in such a position as ,lorenzo and ,giuliano were was the normal state of things4 ,that it was entirely absent in their case speaks well for both of them4 8,giuliano was twenty-five at the time of his death4 ,he left an illegitimate son1 born just at that time4 ,lorenzo took the child and brought him up with his own sons2 and this child became in the next generation the well-known ,giulio de' ,medici1 afterwards ,clement ,,viii40 ,alessandro di ,mariano ,filipepi was born in ,florence in #addd1 the son of a prosperous tanner who had four sons1 the eldest of whom1 ,giovanni1 was called 8,bottecello0 from the sign of a barrel which hung over his shop1 and which name was given to all the other members of the family4 ,sandro ,botticelli1 like so many other ,florentine painters began life as a goldsmith4 ,then he was apprenticed to ,fra ,filippo ,lippi1 who was1 of course1 able to hand on to him the old ,giottesque tradition4 ,botticelli next fell under the influence of the ,pollaiuoli1 with whom he worked4 ,it was not long1 however1 before the young painter began to exhibit his originality4 ,illustration3 ,collection of ,mr4 and ,mrs4 ,otto ,h4 ,kahn ,,giuliano ,,de' ,,medici --,sandro ,botticelli ,soon after returning from ,prato1 where he had gone to help ,fra ,filippo ,lippi with the frescoes in the ,cathedral1 he was immediately employed by ,piero il ,gottoso1 who with his wife1 ,lucrezia ,tornabuoni1 recognized the genius and peculiar charm of the young painter1 and took him into the ,casa ,medici almost like a son4 ,botticelli was at this time about twenty-one1 only five years older than ,lorenzo1 the eldest son4 ,consequently1 ,botticelli was on the most intimate terms with ,lorenzo and ,giuliano4 ,all the pictures of this period except ,fortitude were painted for ,piero1 who bestowed large rewards on the painter4 ,the ,madonna of the ,magnificat1 one of his most beautiful pictures 7now in the ,uffizi7 was painted in #adfe 7when ,lorenzo and ,giuliano were about sixteen and twelve72 and it must have been done especially to please ,lucrezia ,tornabuoni1 for her two sons are represented as ,angels kneeling before the ,madonna and holding the inkstand and the book4 ,giuliano is the one facing us with the conspicuous lock of hair on his forehead1 while ,lorenzo1 of darker complexion1 is in profile and in full light4 ,the ,adoration of the ,magi1 painted in #adfg for ,sta4 ,maria ,novella 7now in the ,uffizi7 is also a ,medici family group surrounded by their protgs in art and letters4 ,cosimo1 8,pater ,patri0 7then dead71 is kneeling before the ,holy ,child2 ,giovanni1 brother of ,piero il ,gottoso 7then dead71 stands at the left in a red and black costume2 ,piero il ,gottoso is kneeling in the centre with back to the spectator2 ,giuliano1 in a robe of white and gold1 is kneeling at the latter's right and ,lorenzo1 aged seventeen1 stands at his left1 holding a sword4 ,the last figure1 standing on the right1 is ,botticelli himself4 ,botticelli's portrait of ,lucrezia ,tornabuoni is in the ,kaiser ,friedrich ,museum1 ,berlin4 ,when ,lorenzo1 destined to become known as the 8,magnificent10 became1 on the death of his father1 head of the ,medici and ruler of ,florence1 he continued the ,medici patronage to ,botticelli4 8,it was a period when the exuberant vitality of the ,renaissance was at its height2 and the first nine years of his rule1 when he was from twenty to twenty-nine and his brother1 ,giuliano1 from sixteen to twenty-five1 was a time in ,florence of constant festivities of music1 art1 and poetry1 of joy and laughter and all the bright side of life4 ,it was the fashion of the day to import into all amusements an imitation of the ,classic times of ancient ,greece1 and the ,florence of that time appears set before us as a city #8with youth at the prow and pleasure at the helm' and full of all the life1 joy1 and pleasure of the old pagan ideal of ,greece set in a ,fifteenth ,century dress4 ,besides all his duties in regard to ,state affairs and labors in the founding of institutions to advance ,learning1 not to mention his own literary work1 ,lorenzo with his brother led these festivities organizing pageants and other spectacles of the most costly description 7permeated with classical learning and poetical allusions7 for the popular amusement40#h ,these entertainments took the form of masques1 tableaux1 and tournaments4 ,young ,lorenzo1 too1 gathered at his villa in ,fiesole and even more particularly in that of ,careggi the literati of the day and read classical authors with these scholars1 particularly commemorating once a year the birthday of ,plato4 ,in #adfi ,lorenzo held a magnificent tournament for his own glorification and in #adge an even more elaborate one in honor of ,giuliano in the ,piazza ,sta4 ,croce1 with the beautiful ,simonetta ,cattaneo1 who had lately been married at the age of sixteen1 to ,marco ,vespucci1 as the ,queen of ,beauty4 ,giuliano1 now just twenty-two1 wore a suit of silver armor and ,verrocchio designed his helmet1 and ,lorenzo's also4 ,botticelli1 of course1 witnessed this tournament and did for it in painting what ,politian did in his poem1 ,la ,giostra di ,giuliano de' ,medici4 ,the ,primavera or ,return of ,spring 7now in the ,accademia1 ,florence71 the ,birth of ,venus 7in the ,uffizi7 and ,mars and ,venus 7in the ,national ,gallery1 ,london71 were all three painted for ,lorenzo4 ,all the elaborate imagery of ,politian's verse is reproduced in ,botticelli's painting representing the ,birth of ,venus in allusion to the ,queen of ,beauty1 ,simonetta1 of ,giuliano's ,tournament4 ,in the second picture1 ,mars and ,venus1 ,botticelli again follows ,politian's poem4 8,and then having devoted one picture to the tournament's ,queen of ,beauty1 and one to the victor in its mimic warfare1 ,botticelli makes his third picture 7the most important of the three7 relate to ,lorenzo and his part in all this1 gathering up in one view the whole subject of these pastimes4 ,this ,botticelli does with great talent and in a manner all his own4 ,he takes for his text the celebrated standard which had been borne in front of ,lorenzo at both his and ,giuliano's tournaments1 with its motto of ,le temps revient1 its device of the bay-tree1 which had appeared dead1 again putting forth its leaves1 and its allusion to the new era of youth and joy which ,lorenzo had inaugurated1 and had likened to the ,return of ,spring after the gloomy months of winter4 ,making the leading thought of his picture the theme on ,lorenzo's standard1 ,botticelli paints for him the ,return of ,spring 7the ,primavera71 perhaps the most widely admired of all ,botticelli's pictures4 8,and so ,botticelli depicts for us a scene of light-hearted1 youthful joy1 representing the return of spring1 and by his great talent contrives that the entire picture shall speak of ,lorenzo and breathe the very spirit of the poems in which the latter had sung of the joys of ,may-time in ,tuscany4 ,shielded from rough winds and scorching sun by a grove of orange trees1 backed by the ever-present laurel 7always representing ,lorenzo from the play on the ,latin form of his name1 ,laurentinus71 ,queen ,venus 7,simonetta7 stands presiding over the return of spring to ,tuscany2 the ,graces dance before her2 from out a laurel grove at her side the three spring months1 ,march1 ,april and ,may 7or it may be ,zephyr1 ,fertility and ,flora71 come bringing flowers of every hue2 ,mercury 7,giuliano7 scatters the clouds of winter2 and the little blind ,god of ,love aims his arrows recklessly around4 8,these pictures relating to ,giuliano's tournament could not have been painted until some time afterwards1 as in any case they could not have been so until ,politian's poem had appeared2 and they may have been executed at any time during ,lorenzo's life4 ,if painted1 as is most probable1 subsequently to ,giuliano's death in #aegh1 they would remind ,lorenzo of a time of bygone joys2 and would be all the more prized by him on that account40#i ,a few months after ,giuliano's grand tournament the beautiful ,simonetta was lying dead and three years later ,giuliano was foully murdered1 victim of the ,pazzi conspiracy4 ,in #adha ,botticelli was sent for by ,pope ,sixtus to assist ,perugino and ,ghirlandaio in painting frescoes in the newly erected ,sistine ,chapel2 and when this work was completed ,botticelli returned to ,florence with an added lustre to his name4 ,it was the fashionable thing for wealthy owners of villas to have frescoes painted in these country-houses2 and among many orders that ,botticelli filled was an important series of frescoes for ,lorenzo ,tornabuoni in the villa of the ,tornabuoni family 7now ,villa ,lemmi7 at ,rifredi representing scenes in reference to the marriage of ,lorenzo ,tornabuoni and ,giovanna degli ,albizzi in #adhf 7see page #fh74 ,these frescoes1 recently discovered under whitewash1 are now in the ,louvre4 ,the death of ,lorenzo the ,magnificent1 the banishment of the ,medici1 and the rule of ,savonarola changed ,botticelli's life and his style of painting4 ,in this third period the painter of nymphs and goddesses paints his charming and wistful ,madonnas with many suggestions of ,venus and ,simonetta and the grace and loveliness of the pagan world4 ,to the last period1 when ,botticelli had emerged from the ,savonarola influence1 the great painter produced ,calumny 7in the ,uffizi7 and the ,nativity 7in the ,national ,gallery1 ,london72 and with these two works the career of ,botticelli ends4 ,the theory that the ,birth of ,venus1 ,mars and ,venus and the ,primavera were painted for ,lorenzo di ,pier ,francesco has been thoroughly examined and disproved by ,col4 ,g4 ,f4 ,young in his splendid history of ,the ,medici4 ,,portrait ,,of ,a ,,young ,,man4 ,sandro ,botticelli 7#addd-aeaj74 ,collection of ,mr4 ,clarence ,h4 ,mackay4 ,standing behind a balustrade and looking wistfully toward the observer1 this handsome young ,florentine appears at half-length with his head inclined towards the left4 ,how we should like to penetrate his secret and help him away from the melancholy mood that has overwhelmed him6 ,although we see that he is a dreamer 7and most probably a lute-player as his hands might seem to indicate71 something has touched him very deeply--far too deeply to be classed as a momentary sorrow4 ,we should also like to know his identity4 ,it is unlikely that it will ever be revealed4 ,but of one thing we can be well assured1--he is an aristocrat and a young gentleman of wealth1 for he has all the air of savoir faire and sureness of his position4 ,we might make a guess that he is one of the ,medici family4 ,could it be ,giuliano8 ,look again at the ,madonna of the ,magnificat1 at ,giuliano immediately below the bending ,angel6 ,the resemblance is quite surprising and grows stronger as we study the two faces1 only in the ,madonna of the ,magnificat ,giuliano is younger and is seen with the characteristic lock on his forehead4 ,his costume in this portrait shows up well from the black background3 the coat is purplish brown edged with fur with white puffs at the shoulders2 and a red cap contrasts well with his light-yellow hair4 ,this picture1 a tempera painting on panel 7#ae #aa71 was long in the ,collection of ,baron ,arthur de ,schickler in ,martinvast1 ,normandy1 where it was attributed to ,masaccio4 8,there can be no question10 ,berenson thinks1 8that this portrait is ,botticelli's own handiwork4 ,the glamor it cast when ,i first saw it frightened me into doubts that were dispelled directly ,i could study the painting at my leisure4 ,there is no one1 using this formula and technique1 but ,sandro himself who has the sinuous line1 the inevitable contours1 the structural articulation1 the firmness1 convincingness1 and delicacy of modelling this work possesses2 nobody else who could produce a rhythm so subtly vibrant1 or could give this limpid1 radiant1 and ethereal coloring4 ,illustration3 ,collection of ,mr4 ,clarence ,h4 ,mackay ,,portrait ,,of ,a ,,young ,,man --,sandro ,botticelli 8,true1 it is more ,botticellian than any other ,botticelli in existence4 ,he must have uttered this completest note of his own music just before he was seized by the ,savonarolian madness1 from which he never recovered1 just at the moment when he was most peculiarly and poignantly1 and1 if ,i may say so1 most extravagantly1 himself4 ,the isolation of this head1 too1 exaggerates the impression4 ,perhaps if we found it as an ,angel in a ,magnificat1 or a ,madonna with the ,pomegranate1 in a ,tobias or some ,allegory1 the other figures1 the landscape and all the accessories would prevent our attention from concentrating on what is almost uncannily characteristic of the master's style40 ,berenson also notes the important hand1 which1 by the way1 is especially lighted as if to draw our attention to it most particularly4 8,perhaps the most interesting thing about this portrait10 he observes1 8is the manifest competition of the hand with the face4 ,the hand is studied just as carefully1 drawn1 and modelled with as much intention1 as the face itself4 ,its action reveals the automatic nervous tension of an overstrung physique that the conscious mind1 controlling the expression1 tries to keep in order4 ,it thus becomes1 in a sense1 the most important clue to understanding the character4 ,if you think it away1 the expression1 of course1 remains1 but what makes it comprehensible disappears40 ,it is this peculiar intelligence and sensitiveness of the hand that makes me suspect the musician4 ,,madonna ,,and ,,child4 ,sandro ,botticelli 7#addd-aeaj74 ,collection of ,mr4 ,max ,epstein4 ,this picture is the latest ,botticelli to have been brought to this country for it arrived only in ,may1 #aibh4 ,it was painted in ,botticelli's early period1 about #adgj or #adgb4 ,the ,holy ,child is handsome1 although robust1 and ,his embrace of the ,madonna is touchingly affectionate and human4 ,in this picture the ,madonna would seem to have had a vision of the coming tragedy and she is not yet resigned4 ,she loves her ,child too well4 ,that her eyes are full of tears we can feel in those heavily drooping lids4 ,her face is full of pain4 ,but even in her suffering and quiet anguish this ,madonna is beautiful and graceful2 and we cannot fail to see in her face some little resemblance to ,botticelli's ,venus in the ,primavera and ,venus in her scallop-shell borne over the waves in the early morning in the ,birth of ,venus4 ,illustration3 ,collection of ,mr4 ,max ,epstein ,,madonna ,,and ,,child --,sandro ,botticelli ,in this picture the ,holy ,child seems to have little or no consciousness of ,his ,divinity4 ,the ,mother here is the enlightened one4 ,the picture is tempera on panel 7#ce #bc inches7 and came into possession of ,m4 ,fral in ,paris in #aijg4 ,it has been accepted by ,bode and ,jashiro as a genuine and an early ,botticelli4 ,the ,madonna's robe is deep blue with a lining of dull green1 which shows at the left wrist and slightly down the front and on the left shoulder a star is embroidered4 ,she wears a closely folded diaphanous veil and a red scarf1 one end of which is gracefully thrown around the ,holy ,child4 ,the sleeve of the dress has a band of golden embroidery at the wrist4 ,the cruciform nimbus of the ,holy ,child foretells ,his destiny4 ,the nimbus of the ,virgin is plain4 ,the ,angel wears a tunic of deep cream white ornamented with gold on the sleeves and a black band ornamented with gold at the throat4 ,on the parapet stands a vase apparently of alabaster containing myrtle leaves and white star-shaped flowers1 probably jasmine 7see page #be74 ,through the open arch we see a gentle landscape1 with a river winding around distant hills4 ,,giovanna ,,tornabuoni4 ,domenico ,ghirlandaio 7#addi-adid74 ,collection of ,mr4 ,j4 ,p4 ,morgan4 ,with this picture1 which is considered 8one of the finest ,italian portraits in existence10 we step back into the period of the ,renaissance and into the very presence of one of the most gifted and celebrated of the younger women of the ,fifteenth ,century4 ,illustration3 ,collection of ,mr4 ,j4 ,p4 ,morgan ,,giovanna ,,tornabuoni --,domenico ,ghirlandaio 8,art coulds't thou but portray character and the mind1 then there would be no picture in the whole world more beautiful than this40 ,such is the translation of the legend inscribed in capital letters on the cartel3 8,ars ultinam mores animumque effingere posses ,pulchrior in terris nulla tabella foret0 with the date ,,mcccclxxxviii4 ,the charms of ,giovanna degli ,albizzi1 who was married to ,lorenzo ,tornabuoni in #adhf1 were sung by all the poets of ,florence4 ,giovanna came of the noted ,albizzi family1 famous for wealth and rank and for leading the party of ,nobles 7,grandi7 against the ,medici1 whom they considered upstarts and enemies of the aristocratic faction in ,florence4 ,by a former marriage1 however1 the ,albizzi had become connected with the ,medici1 for the wife of ,piero de' ,medici 7il ,gottoso7 was ,lucrezia ,tornabuoni1 one of the most accomplished women of the age and whose portrait by ,botticelli hangs to-day in the ,kaiser ,friedrich ,museum in ,berlin4 ,giovanna's husband1 ,lorenzo ,tornabuoni 7,lucrezia ,tornabuoni's nephew71 was1 therefore1 the first cousin of ,lorenzo and ,giuliano de' ,medici4 ,subsequent to the ownership by the ,tornabuoni and ,pandolfini families1 the portrait represented here passed to a private ,collection in ,paris and thence to the late ,mr4 ,henry ,willett of ,brighton1 ,england2 to the famous ,collection of ,mr4 ,rodolphe ,kann of ,paris and1 finally1 to that of ,mr4 ,j4 ,p4 ,morgan4 ,the picture is painted on a wooden panel 7#bi #ai inches74 ,standing in profile to the left and against an architectural background1 the lady appears at half-length4 ,she wears a rich dress of gold brocade of a handsome and decorative pattern with square neck1 the sleeves of a different material1 dark-red in color and having yellow diamond-shaped compartments bearing a floral design in the centre4 ,a handsome pendant1 consisting of a ruby with three pearls1 hangs from a fine black silk cord around her neck4 ,her hair falls in light1 wavy tresses over her temples and covers her ears4 ,in the recess at the back is placed a cluster of precious stones4 ,on the right is a ,book of ,hours1 and above is looped a necklace of coral beads4 ,all of these things undoubtedly have some particular and sentimental association for ,giovanna4 ,giovanna died the same year this portrait was painted2 in this year her father-in-law1 ,giovanni ,tornabuoni1 also uncle of ,lorenzo de' ,medici1 commissioned ,ghirlandaio to decorate the walls of the choir of ,sta4 ,maria ,novella with the ,lives of ,john the ,baptist and the ,virgin2 and here again the portrait of ,giovanna degli ,albizzi appears4 ,let us turn to ,mrs4 ,cartwright for a description of this remarkable series of frescoes3 8,these twenty-one subjects have been much injured by damp and restoration and the hand of inferior assistants is plainly seen in many of the best preserved portions4 ,but as a splendid illustration of ,florentine life the whole series is of rare interest4 ,on the one hand we have the public and official life of the ,tornabuoni1 their stately banquets and processions2 on the other1 we catch a glimpse of their private and domestic history4 ,in the guests seated at ,herod's ,feast1 in the crowds who throng the temple court1 we recognize the ,tornabuoni and their kinsmen1 the partners of the ,medici bank1 ,gianfrancesco ,ridolfi1 ,roderigo ,sassetti1 and ,andrea de' ,medici4 ,on one side we have a group of famous humanists--,angelo ,poliziano1 ,marsilio ,ficino1 ,cristoforo ,landino1 and ,lorenzo's tutor1 ,gentile de' ,becchi2 on the other1 we see the painter with his aged father and his brother1 ,david1 and brother-in-law1 ,sebastiano ,mainardi1 the assistants who helped in the decoration of the choir4 ,giovanna degli ,albizzi1 the fair maiden who on the #afth of ,june1 #adhf1 became the bride of ,lorenzo ,tornabuoni1 is here in her stiff brocades and rich jewels with her young sister-in-law1 ,lodovica1 and many noble dames on their way to visit the mother and new-born babe4 ,these frescoes1 which were finally completed in #adij1 filled the ,tornabuoni family with delight and wonder1 and ,ghirlandaio was next employed to paint the chapel of their villa near ,fiesole1 which was unfortunately destroyed by floods in the next century40 ,as in the case of so many ,italian painters1 the name by which ,ghirlandaio is known is only a nickname3 it means 8,garland-maker10 and was given to him because his first reputation was derived from the beautiful gold and silver garlands and wreaths he made for the wealthy ladies of fashion4 ,ghirlandaio1 son of ,tommaso ,bigordi1 a silk merchant of ,florence1 was born in that city in #addi4 ,he began his life as apprentice to a goldsmith--as so many superlative painters have done--and early showed talent for drawing and sketching4 ,before long he left the goldsmith and entered the studio of ,alesso ,baldovinetti 7see page #dh72 and he undoubtedly owed much to this painter in his fondness for decorative effects4 ,ghirlandaio was tremendously industrious and always worked with the best artists of his time4 ,at ,san ,gimigniano in #adge he worked with ,pier ,francesco ,fiorentino and he assisted ,botticelli in the ,sistine ,chapel in #adha4 ,his own independent work was stupendous4 ,ghirlandaio devoted himself almost exclusively to sacred subjects and his frescoes are practically scenes of the ,florentine world he knew so well4 ,whether he painted scenes from the life of ,st4 ,francis1 or of the ,virgin1 or ,herod1 or ,st4 ,zenobius1 the characters represented are members of the ,medici1 the ,tornabuoni1 the ,sassetti1 the ,albizzi1 and other important ,florentine families4 ,in fact1 his attention to details and the careful way he rendered them1 show that he had some knowledge of contemporary ,flemish paintings2 and consequently ,ghirlandaio is regarded as chief of the ,florentine realists4 ,however1 ,ghirlandaio ranked in his day with ,botticelli and ,filippino ,lippi1 and he enjoyed the patronage and friendship of the ,medici4 ,ghirlandaio's most important frescoes are those in ,sta4 ,maria ,novella representing ,lives of the ,virgin and ,john the ,baptist1 commissioned by ,giovanni ,tornabuoni1 described above1 and those in ,santa ,trinit depicting the ,life of ,st4 ,francis1 ordered by ,francesco ,sassetti described on page #gb4 ,ghirlandaio died in #adid of the ,plague1 comparatively young1 but having accomplished a vast amount of work and having trained a number of painters1 the most important of whom was ,michelangelo4 ,ghirlandaio's son1 ,ridolfo ,ghirlandaio 7#adhc-aefa71 became a painter and was an intimate friend of ,raphael4 ,,francesco ,,sassetti ,,and ,,his ,,son ,,teodoro4 ,domenico ,ghirlandaio 7#addi-adid74 ,collection of ,mr4 ,jules ,s4 ,bache4 ,francesco ,sassetti1 a wealthy banker and ,lorenzo de' ,medici's agent at ,lyons1 is shown here slightly under life-size1 wearing a purple skull cap and a red robe lined with fur and held at the waist by a black cord1 from which hangs a pouch1 or purse4 ,his right hand rests upon the arm of the chair in which he is seated4 ,his eyes look downward upon his son1 who stands at his left1 in profile1 gazing upward into his father's face4 ,his hands are clasped and he is wearing a costume of silvery grey brocade trimmed with white fur1 undersleeves of dark-green and slashed1 and a scarlet cap4 ,through the window we have an interesting view of an inlet of the sea 7or a large river7 with mountains and buildings4 ,on the top of the window-frame there is an inscription3 8,franciscos ,saxettvs ,theodorus ,,qve40 ,the picture is an oil painting on panel 7#bi #bj inches7 and is supposed to have been executed in #adhg-adhi4 ,francesco ,sassetti was born about #adbj and died in #adia4 ,teodoro was born on ,march #aa1 #adgi1 and is seen here at about the age of eight or nine1 which fixes the date of the picture4 ,it is interesting to note that ,teodoro ,sassetti was the grandfather of ,filippo ,sassetti1 an early traveller in ,india 7see ,marencci1 ,lettere di ,filippo ,sassetta1 ,firenze1 #ahee74 ,illustration3 ,collection of ,mr4 ,jules ,s4 ,bache ,,francesco ,,sassetti ,,and ,,his ,,son ,,teodoro --,domenico ,ghirlandaio ,this picture comes from the ,benson ,collection and was formerly owned by ,mr4 ,william ,graham4 ,francesco ,sassetti also appears in the frescoes depicting the ,life of ,st4 ,francis1 which ,ghirlandaio painted in the ,sassetti ,chapel in the ,trinit in ,florence4 ,ghirlandaio introduced into this series other members of the ,sassetti family1 as well as many of his illustrious contemporaries and friends1 including ,lorenzo de' ,medici1 ,pope ,honorius1 ,maso degli ,albizzi1 ,palla ,strozzi1 and ,angelo ,acciaiuoli4 ,in the fifth fresco1 where ,st4 ,francis is bringing a dead child to life1 ,ghirlandaio has painted his own portrait4 ,he is conspicuous in a red cap and resting his hand upon his hip4 ,,the ,,umbrian ,,school ,the ,umbrian ,school occupied the relative place in the ,early ,renaissance that the ,sienese ,school held in the ,middle ,ages4 ,at first1 ,umbrian painting was the offspring of ,siena1 but it fell under and developed under the influence of ,florence4 ,florentine artists came to ,umbria and ,umbrian artists went to ,florence1 and gradually the ,umbrian ,school1 which had certain qualities of its own1 developed and reached full flower in the beloved of all the world1--,raphael4 ,the word ,umbrian is used rather loosely by critics to include many ,tuscan painters who have to be gathered into this group1 which dates from the end of the ,fourteenth and beginning of the ,fifteenth ,century4 ,one particular quality of the ,umbrians was their essentially deep religious feeling4 8,whereas the devotion of ,sienese art had been hieratic1 aristocratic1 and akin to the ideals of ,medival ,byzantium1 that of ,umbria became ecstatically human4 ,the ,renaissance trend towards bringing to earth the regal ,christian gods of the ,middle ,ages was nowhere so strong as in ,umbria2 and it is not an exaggeration to say that we owe to the ,umbrians our modern visual images of the ,eternal1 the ,madonna1 and the other important members of the ,christian ,pantheon4 ,the piety and humility of the figures was deepened and dignified by a specially emphasized space-composition1 both architectural and landscape4 ,landscape backgrounds were given unusual importance and delicate beauty4 ,the ,umbrian ,school thus became the most charming1 the tenderest1 and the most intimately human of ,renaissance ,italy40--,medival and ,renaissance ,paintings 7,fogg ,art ,museum1 ,cambridge1 #aibg74 ,the first great ,umbrian painter was ,gentile da ,fabriano 7#acgj8-adbg71 pupil of an earlier ,umbrian painter1 ,allegretto ,nuzi 7active from #acdf to #acgc71 in turn a pupil of the ,florentine ,bernardo ,daddi4 ,the next important ,umbrian was ,piero della ,francesca or ,pier dei ,franceschi 7#adaf8-adib71 pupil of ,domenico ,veneziano of ,florence1 important in his own work and important as a master1 forming ,luca ,signorelli1 who in turn influenced ,michelangelo4 ,piero della ,francesca was also influenced by the ,florentine1 ,paolo ,uccello1 whose scientific leanings towards perspective he shared4 ,as a colorist1 as a painter of light and atmosphere1 and as a master of composition1 ,piero della ,francesca ranks with the greatest ,italian masters of the ,early ,renaissance4 ,by this time ,perugia had become the most important centre of painting in ,umbria4 ,among its conspicuous artists was ,benedetto ,bonfigli 7#adbe-adif72 ,fiorenzo di ,lorenzo 7#addj-aeba71 the supposed master of ,perugino and ,pintoricchio2 ,perugino1 whose real name was ,pietro ,vannucci 7#addf-aebc72 ,bernard ,pintoricchio 8the little painter0 7#aded-aeac71 whose real name was ,bernard di ,betto1 or ,biagio2 and the great ,raphael 7#adhc-aebj71 son of the painter ,giovanni ,santi of ,urbino2 and with this painter of the world's favorite ,madonnas the ,umbrian ,school practically ends4 ,,madonna ,,and ,,child4 ,gentile da ,fabriano 7#acgj-adbg74 ,collection of ,mr4 ,henry ,goldman4 ,no little suggestion of the ,giotto ,madonna 7shown on page #bg71 appears in the ,madonna and ,child by ,gentile da ,fabriano1 which1 according to ,colosanti1 was painted in the best period of the artist1 shortly before he produced the ,adoration of the ,kings1 now in the ,uffizi4 ,in comparing it with the ,giotto ,madonna1 we see that the arch has become slightly more pointed than the one in the ,giotto picture and we find also a gold background2 but in the ,fabriano painting a graffito design of two winged ,angels with flowing robes on either side is slightly visible4 ,as in the ,giotto picture the two nimbi are different2 the ,virgin's nimbus having an ,arabic inscription and the nimbus of the ,holy ,child having a ,gothic foliage4 ,the ,virgin is seated on a cassone1 or chest 7a not unusual but hardly very comfortable seat in the ,fourteenth ,century71 covered with a dark-brown cloth with floral figure behind which a tiled floor is seen4 ,the ,virgin wears a long tunic of claret-colored damask with gold border1 on which appears the motto 8,ave ,maria ,plena ,dom---- ,tecu---- ,ben40 ,on the border around the neck the word 8,mater0 appears4 ,the mantle is slit at the sides through which the arm protrudes in a long sleeve of rich gold brocade with the pomegranate pattern4 ,a scarf of thin yellow woollen material1 decorated with red and blue flowers and red fringe1 is worn around her head and neck4 ,the ,holy ,child has on a little dress1 very neatly made and fitting very snugly1 of dark-blue trimmed with a border of red and gold4 ,he is standing with ,his left foot on ,his mother's knee and is stepping forward with the other4 ,he has raised ,his right hand as if to emphasize the words ,he is speaking and to which ,his mother is listening with rapt admiration4 ,this movement of the ,child takes something away from the solemnity of the picture and the ,virgin's maternal pride shows her to be more of this earth than the ,giotto ,madonna whose calm1 impassive yet tender beauty1 proclaims her to belong to a higher sphere than does the ,fabriano4 ,illustration3 ,collection of ,mr4 ,henry ,goldman ,,madonna ,,and ,,child --,gentile da ,fabriano ,the picture1 tempera on panel 7#ch #bb inches71 belonged to the ,alexander ,baker ,collection1 ,london1 and to the ,collection of ,madame ,e4 ,j4 ,sartoris1 ,paris4 ,gentile da ,fabriano's full name was ,gentile di ,nicola di ,giovanni di ,masso and he was born at ,fabriano about #acgj4 ,he was a pupil of ,allegretto ,nuzi and possibly of ,ottaviano ,nelli4 ,vasari says1 too1 that he studied under ,fra ,angelico4 ,he worked in ,fabriano1 ,brescia1 and ,venice2 and in #adbb he became a member of the ,guild in ,florence4 ,later he painted in ,orvieto1 ,siena1 and ,rome1 where ,pope ,martin ,v called him to paint in ,san ,giovanni ,laterano4 ,subsequently ,gentile painted in ,venice1 ,florence and other places1 learning all that was new from other painters he met and everywhere attracting followers2 but never forgetting his early ,sienese inheritance in his love for beauty and for decoration4 ,gentile da ,fabriano became so much of a traveller and cosmopolitan that he has to be classed as an 8,internationalist0 as well as a ,sienese painter4 ,gentile had a marvellous talent for presenting brilliant and beautiful pictures of the courtly life he saw around him and which was fast passing away for the styles and fashions of the approaching ,renaissance4 ,his ,adoration of the ,magi1 now in the ,accademia delle ,belle ,arti1 ,florence1 is a gorgeous representation of a procession such as the painter had doubtless many times witnessed4 ,it is while thinking of this brilliant ,adoration of the ,magi that ,berenson exclaims3 8,fair knights and lovely ladies1 spurs of gold1 jewelled brocade1 crimson damasks1 gorgeous trains on regal steeds ride under golden skies wherein bright suns flatter charmed mountain tops4 ,all the faces are aglow with blitheness4 ,why are they so happy8 ,have they waked from nightmare hauntings of ,purgatory and ,hell8 ,so it would seem2 and they rejoice in the blood tickling their veins1 in the cool breezes1 in the smell of flowers4 ,and what a love of flowers6 ,gentile fills with them even the nooks and crannies of the woodwork enframing his gorgeous ,epiphany40 ,gentile died in #adbg1--the one great ,umbrian of the ,middle ,ages4 ,michelangelo remarked of ,gentile that his name was in perfect harmony with the tone of his works4 ,,madonna ,,and ,,child ,,with ,,angels4 ,benedetto ,bonfigli 7#adbe-adif74 ,collection of ,mr4 and ,mrs4 ,otto ,h4 ,kahn4 ,we have here a very unusual background1 reminding us of the ,arabian desert1--tall1 barren rocks2 and against these the ,virgin is seated4 ,her costume is very lovely1 consisting of a red tunic cut square across the neck and finished with a broad band of gold embroidery1 and a blue mantle lined with yellow4 ,over her blonde hair1 which is arranged in the style favored by ,italian ladies of fashion1 waved and parted and falling down at the sides of the cheeks1 a white veil is folded in intricate plaits and made to ripple gracefully down over the shoulders4 ,above this complicated head-dress is a golden nimbus4 ,the ,holy ,child1 resting on her lap1 steadied by the ,virgin's hand and additionally supported by the graceful hand of the little ,angel1 is partly swathed in muslin4 ,one of ,his little hands rests on ,his mother's veil and the other reaches for a pomegranate1#aj which she is holding4 ,the dress of the ,angel is red bordered with ermine and the bottom of the tunic is edged with a deep gold band of ,cufic lettering4 ,the nimbi are tooled in gold and that of the ,holy ,child is cruciform4 ,the strong wings of the ,angels soar up boldly above their heads and make a perfect balance to the rocks behind the ,virgin4 ,illustration3 ,collection of ,mr4 and ,mrs4 ,otto ,h4 ,kahn ,,madonna ,,and ,,child ,,with ,,angels --,benedetto ,bonfigli ,the picture is tempera on wood 7#ca #ba inches74 ,bonfigli is regarded as the founder of the ,school of ,perugia which became so famous through ,perugino1 who perpetuates the name of the town4 ,little is known of ,benedetto ,bonfigli1 who was born about #adbe1 in ,perugia1 and was buried there in the ,church of ,st4 ,domenico in #adif4 ,bonfigli shows in his work the influences of ,piero della ,francesca1 ,fra ,angelico1 ,camillo ,boccatis1 and ,benozzo ,gozzoli4 ,bonfigli was in ,rome in #adec working for ,pope ,nicholas ,v1 and in the following year he was back in ,perugia painting a series of frescoes for the ,capella dei ,priori in the ,palazzo del ,consiglio depicting ,st4 ,louis of ,toulouse and ,st4 ,ercolano1 which were unfinished at the time of his death4 ,bonfigli painted processional banners and small pictures as well as frescoes4 ,many of ,bonfigli's works are now in the ,gallery at ,perugia4 8,as an artist ,bonfigli scarcely ranks as high as ,niccol da ,foligno1 his fellow-pupil under ,benozzo ,gozzoli4 ,he was a much more dependent person1 but being more imitative1 with the models of ,fra ,angelico or ,benozzo before him1 he at times painted exquisite things and by nature he was gifted with that sense of the charming wherewith ,perugia was later to take the world captive4 ,some of the freshest and loveliest of all angel faces may be seen in ,bonfigli's altar-pieces and standards4 ,his color has almost always that tint of gold which never fades from ,umbrian art40#aa ,,madonna ,,and ,,child4 ,perugino 7#addf-aebc74 ,collection of ,mr4 ,clarence ,h4 ,mackay4 ,in red robe and blue mantle the ,virgin appears seated three quarters to the left and supporting the ,holy ,child on her left knee with both hands4 ,her head is slightly inclined and the hair1 parted above her forehead1 is brushed plainly down either side and looped up rather curiously at the back and tied there by a narrow veil4 ,the ,holy ,child looks away towards the left4 ,behind the figures is seen one of those delightful ,umbrian landscapes made so famous by ,perugino and ,raphael4 ,this picture1 an oil painting on panel 7#bg #ai inches71 has an interesting pedigree4 ,from the family of the ,marquis of ,villafranca it came into possession of the ,marquis de la ,romana from the ,palace of ,anglona1 ,madrid1 and then belonged to the ,collection of the ,marquis de ,villamajor1 ,madrid4 ,the wife of the latter says3 8,this painting of the ,madonna and ,child by ,perugino has been for many generations in my husband's family4 ,it comes from the family of the ,marquises de ,villafranca who lived in ,italy in the ,sixteenth ,century and of which several members were ,viceroys of ,naples 7,alvarez de ,toledo74 ,the ,marquis of ,romana1 having acquired the ,palace of the ,prince d',anglona in ,madrid1 assembled all the pictures and works of art inherited from his ancestors which were in the ,palaces of ,valencia1 ,palma de ,mallorque1 and in ,italy1 thus forming a fine and important ,collection in which were paintings by ,goya1 ,cameron1 ,ribera1 ,velasquez1 and many paintings of the ,italian1 ,flemish1 and ,french ,schools4 ,on the death of the ,marquis de la ,romana1 his son1 the ,marquis de ,villamajor1 received a part of this ,collection 7which was divided between him and his brothers71 and this ,perugino comes from the ,marquis de ,villamajor's heritage40 ,illustration3 ,collection of ,mr4 ,clarence ,h4 ,mackay ,,madonna ,,and ,,child --,perugino ,perugino was born at ,citt della ,pieve1 near ,perugia1 about #addf1 and died 7probably of the ,plague71 at ,castello di ,fontignano1 also near ,perugia1 in #aebc4 ,his real name was ,pietro ,vannucci and he was also called ,pier della ,pieve2 but he is known always and everywhere as ,perugino from ,perugia1 where he spent his early life and learned his art4 ,it is uncertain under whom he studied before he went to ,florence1 but he certainly assisted ,piero della ,francesca at ,arezzo4 ,at ,florence1 he worked in ,verrocchio's studio1 having ,leonardo da ,vinci and ,lorenzo di ,credi for fellow-students4 ,then in #adge he was commissioned to paint in the ,palazzo ,pubblico1 ,perugia4 ,in #adha-adhb he was working in ,rome in the ,sistine ,chapel with ,botticelli1 ,ghirlandaio1 ,cosimo ,rosselli1 and ,signorelli4 ,of his four frescoes here only one remains1 ,delivery of the ,keys to ,st4 ,peter2 the other three were destroyed to make room for ,michelangelo's ,last ,judgment4 ,perugino also painted in the ,vatican and remained about ten years in ,rome4 ,then he returned to ,florence and had a studio there and also in ,perugia4 ,besides1 he travelled about a great deal to execute commissions in various cities4 ,in #adij1 for instance1 he was in ,rome again painting for ,cardinal della ,rovere an altar-piece now in the ,villa ,albani2 in #adid he was in ,venice and ,cremona2 and in #adif in ,pavia1 working for 8,il ,moro10 ,duke of ,milan4 ,the three principal pictures of the beautiful altar-piece that ,perugino painted for the ,certosa1 or ,carthusian ,convent near ,pavia--,the ,virgin adoring the ,infant ,christ2 ,tobias and the ,angel ,raphael2 and the ,archangel ,michael--are now in the ,national ,gallery1 ,london4 ,in #adie ,perugino was again working in ,perugia2 and it was then that ,raphael1 a boy of about twelve1 became his pupil4 ,at this time ,perugino was the most celebrated of all the ,umbrian painters4 ,his best work was accomplished between #adij and #aeje4 ,to this period belongs ,the ,marriage of the ,virgin1 now in the ,museum of ,caen1 ,normandy1 a picture that ,raphael very closely followed1 but eclipsed in beauty1 in his ,sposalizio1 now in the ,brera1 ,milan4 ,about #aeij ,perugino painted his famous frescoes in the ,sala di ,cambio1 ,perugia1 in which he introduced his own portrait2 and in #aeje he painted ,the ,triumph of ,chastity for the ,marchese ,isabella of ,mantua1 which is now in the ,louvre4 ,after another visit to ,rome he worked principally in churches in the neighborhood of ,perugia1 the last of which is supposed to be ,the ,nativity1 painted for the ,church of ,fontignano 7where he died71 and which is now in the ,south ,kensington ,museum4 ,perugino was one of the earliest of the ,italians who mastered the use of oil1 then a new medium4 ,in his constant moving around and visiting so many important cities1 ,perugino had every opportunity of seeing what the other artists of his day were doing4 ,however1 although he worked with the latest materials1 ,perugino remained faithful to the style of art known as the ,quattrocento1 which before his death was being rapidly superseded by the ,cinquecento1 of which ,leonardo da ,vinci and ,michelangelo were the chief exponents4 ,like ,piero della ,francesca he also advanced the science of perspective4 ,for a time ,perugino adopted the ,florentine style1 especially with regard to composition2 but eventually he developed his own manner of grace1 softness1 delicacy1 tenderness of color1 great expression in faces and figures1 and his unusually charming landscapes4 ,berenson speaks particularly of ,perugino's 8space composition30#ab and in this art 8,perugino surpassed all who ever came before him1 and indeed all who came after him1 excepting1 however1 his own pupil1 ,raphael1 by whom even he was left far behind4 ,perugino had a feeling for beauty in women1 charm in young men1 and dignity in the old1 seldom surpassed before or since4 ,then there is a well-ordered seemliness1 a sanctuary aloofness in all his people which makes them things apart1 untouched1 and pure4 ,great reserve also does much for him4 ,violent action he doubtless avoided because he felt himself unequal to the task--indeed1 so little did he ever master movement that his figures when walking dance on tiptoe and on their feet they never stand2 but he as carefully kept away from unseemly expression of emotion4 ,how refreshingly quiet are his ,crucifixions and ,entombments6 ,the still air is soundless and the people wail no more2 a sigh inaudible1 a look of yearning1 and that is all4 ,how soothing must such paintings have been after the din and turmoil and slaughter of ,perugia1 the bloodiest town in ,italy6 ,can it be wondered that men1 women1 and children ran to see them8 ,nor yet is life so free from sordid cares and meaningless broils that we can forego such balm for the soul as ,perugino brings40 ,,the ,,niccolini ,,madonna4 ,raphael 7#adhc-aebj74 ,collection of ,sir ,joseph ,duveen1 ,bart4 ,this picture came directly from the ,niccolini ,palace where it was purchased in #aghj by ,george ,nassau1 third ,earl ,cowper1 who was at that time ,his ,majesty's ,ambassador to the ,court of ,tuscany2 and it was so prized that in order to get the picture out of ,florence without any disturbance it had to be hidden in the lining of the ,ambassador's carriage4 ,another name for the picture is ,the ,cowper ,madonna of #aejh4 ,the picture now comes from the ,collection of ,lady ,desborough1 of ,panshanger1 ,hertfordshire1 who inherited it from her brother1 ,francis ,thomas1 seventh ,earl ,cowper4 ,the painting1 an oil on panel 7#cj #bb inches71 represents the ,madonna seated in the open air in a dark1 rose-red robe with long close-fitting undersleeves of yellow-green1 ultramarine-blue mantle1 and diaphanous veil4 ,around the neck of the dress and the hem of the mantle what appears to be a decorative band of golden embroidery is really the signature of the painter 8,m7,d or ,,cccc7,,viii4 ,r4 ,u4 ,pin10 meaning #aejh ,raphael of ,urbino ,pinxit4 ,and1 by the way1 is it not possible that ,sir ,joshua ,reynolds got the idea from this picture of painting his name on the robe of ,mrs4 ,siddons as the ,tragic ,muse8 ,it will be remembered that ,mrs4 ,siddons sat for that magnificent portrait in #aghd4 ,the ,niccolini ,madonna was bought by ,earl ,cowper in #aghj and1 undoubtedly1 ,sir ,joshua was very familiar with it4 ,moreover1 at this date1 ,raphael's masterpiece was also very fresh in the mind of the ,english picture-world4 ,illustration3 ,collection of ,sir ,joseph ,duveen1 ,bart4 ,,the ,,niccolini ,,madonna --,raphael ,the ,holy ,child is seated on a white cushion in the ,virgin's lap gently supported by her hand1 which also lightly holds an end of her floating veil4 ,the suggestion of a light breeze rippling the veil is an exquisite thought4 ,the nimbi of both ,mother and ,child are very delicate4 ,the background consists of a blue sky4 ,it is very interesting to compare this picture with the other ,cowper ,madonna and on doing so we find that the same model was used for the ,child1 although the women are different4 ,the hand of the ,small ,cowper ,madonna is noticeably more refined than the hand in the ,niccolini ,madonna1 yet1 on the whole1 the model used for the ,niccolini ,madonna seems to be of a slightly higher social status4 ,in the latter1 we find the plucked eyebrows and forehead which ,raphael's taste has softened by the hair1 lightly blown about1 like the veil1 by the breeze4 ,the ,niccolini ,madonna was one of the last pictures painted by ,raphael in ,florence1 as he went to ,rome in #aejh1 the date given on this painting4 ,it may be noted here that the ,madonna del ,granduca 7which belonged to the ,grand ,duke ,ferdinand ,,iii1 who carried it with him wherever he went71 was the first picture ,raphael painted in ,florence4 ,the ,madonna del ,cardellino 7of the ,goldfinch71 in the ,uffizi1 and ,la ,belle ,jardinire 7in the ,louvre71 also date from the ,florentine period--painted when ,raphael was about twenty-five1--which seems almost incredible4 ,,the ,,small ,,cowper ,,madonna4 ,raphael 7#adhc-aebj74 ,collection of ,mr4 ,joseph ,e4 ,widener4 ,this ,madonna was painted in #aeje1 soon after the ,granduca ,madonna 7now in the ,pitti74 ,it was purchased in ,florence about #aghj by ,lord ,cowper and was one of the ornaments of his ,collection at ,panshanger4 ,illustration3 ,collection of ,mr4 ,joseph ,e4 ,widener ,,the ,,small ,,cowper ,,madonna --,raphael ,the ,madonna is seated on a stone bench and wears a red dress and a mantle of blue lined with green4 ,the ,holy ,child throws ,his arms lovingly around ,his mother's neck and steadies ,himself by planting ,his left foot against her right hand4 ,the hair of both mother and ,child are blonde and encircled by a thin golden nimbus4 ,the eyes are1 in both subjects1 of a warm and deep brown4 ,a lovely ,umbrian landscape carries us many miles away to the left2 and nearer the figures on the right1 there appears a building1 identified as ,san ,bernardino1 a ,franciscan ,convent near ,urbino4 ,the picture is painted on wood 7#bc #ag inches74 ,the original drawing is in the ,uffizi ,gallery in ,florence4 8,and now we are face to face with the most famous and beloved name in modern art--,raphael ,sanzio4 ,raphael was endowed with a visual imagination1 which has never even been rivalled for range1 sweep1 and sanity4 ,when it has been surpassed1 it has been at single points and by artists of more concentrated genius4 ,thus gifted and coming at a time when form had1 for its own sake1 been recovered by the ,naturalists and the essential artists1 when the visual imagery1 of at least the ,italian world1 had already suffered along certain lines1 the transformation from the ,medival into what ever since has been for all of us the modern1 when the ideals of the ,renaissance were for an ineffable instant standing complete1 ,raphael1 filtering and rendering lucid and pure all that had passed through him to make him what he was1 set himself the task of dowering the modern world with the images that to this day1 despite the turbulent rebellion and morose secession of recent years1 embody for the great number of cultivated men their spiritual ideals and their spiritual aspirations4 #8,belle comme une madonne de ,raphael' is1 among the most artistic people in ,europe1 still the highest praise that can be given to female beauty4 ,and1 in sooth1 where shall one find greater purity1 more utter loveliness than in the ,granduca ,madonna1 or a sublimer apparition of woman than appeared to ,st4 ,sixtus8 8,when looking at the ,granduca ,madonna1 has it ever occurred to you to note that the whole of her figure was not there8 ,so perfect is the arrangement that the attention is entirely absorbed by the grouping of the heads1 the balance of the ,virgin's draped arm and the ,child's body4 ,you are not allowed to ask yourself how the figure ends4 ,and observe how it holds its own1 easily poised1 in the panel which is just large enough to contain it without crowding1 without suggesting room for aught besides4 8,but great as is the pleasure in a single group perfectly filling a mere panel1 it is far greater when a group dominates a landscape4 ,raphael tried several times to obtain this effect--as in the ,madonna del ,cardellino1 or the ,madonna del ,prato1 but he attained to supreme success once only--in the ,belle ,jardinire4 ,here you have the full negation of the plein-air treatment of the figure4 ,the ,madonna is under a domed sky1 and she fills it completely1 as subtly as in the ,granduca panel1 but here it is the whole out-of-doors1 the universe1 and a human being supereminent over it4 ,what a scale is suggested6 ,surely the spiritual relation between man and his environment is here given in the only way man--unless he becomes barbarized by decay or non-humanized by science--will ever feel it4 ,and not what man knows but what man feels1 concerns art4 ,all else is science40 ,raphael ,santi--everybody's ,raphael1--best beloved of all painters1 was born in ,urbino in #adhc1 the day unknown4 ,he was the son of ,giovanni ,santi1 a painter1 and was first taught by him4 ,then it is supposed that he studied under ,evangelista di ,pian di ,meleto1 with whom he painted an altar-piece and worked afterwards with ,evangelista's partner1 ,timoteo ,viti4 ,next we find him assisting ,perugino at ,perugia and also ,pintoricchio4 ,in #aejd he went to ,florence and fell under the influence of ,leonardo da ,vinci and ,fra ,bartolommeo4 ,during his four years in ,florence1 ,raphael painted a number of important works including the ,terranuova ,madonna 7,berlin ,museum72 the ,small ,cowper ,madonna and the ,niccolini ,madonna 7on page #hg and page #he72 the ,madonna del ,cardellino 7,uffizi72 the ,madonna in the ,meadow 7,belvedere1 ,vienna72 ,la ,belle ,jardinire 7,louvre72 and a number of portraits including the famous self-portrait 7,uffizi74 ,he was but twenty-five6 ,called to ,rome in #aejh to decorate the ,stanze in the ,vatican this immense work occupied him until #aead4 ,in the meantime1 he was given the decoration of the ,loggia1 but while he made the designs1 the actual painting of 8,raphael's ,bible0 was done by his pupils4 ,in the pressure of all this stupendous work he found time to paint ,the ,triumph of ,galatea for ,agostino ,chigi in the ,farnesina ,palace1 ,the ,madonna della ,seggiola 7,pitti71 the ,portrait of ,tommaso ,inghirami and many portraits4 ,in #aeaf he painted ,baldassare ,castiglione 7,louvre72 in #aeag the ,madonna di ,san ,sisto1 for the convent of ,san ,sisto at ,piacenza 7,dresden ,gallery7 and the ,st4 ,cecilia 7,bologna ,gallery74 ,in #aeah he began ,the ,transfiguration1 which was unfinished at the time of his death and which was placed beside his bier4 ,all this magnificent work which expresses such high creative power and such vast technical knowledge is the performance of a young man of twenty-seven6 ,had he painted but three pictures1 ,la ,belle ,jardinire1 the ,madonna of the ,chair1 and the ,sistine ,madonna1 ,raphael's place would have been with the greatest of the immortals4 ,taking his entire list of works into consideration ,raphael1 perhaps1 comes nearer than any other painter to the term 8inspired40 ,,agony ,,in ,,the ,,garden4 ,raphael 7#adhc-aebj74 ,collection of ,mr4 ,clarence ,h4 ,mackay4 ,this panel 7#i #aa inches71 was one of four belonging to the ,predella of the large altar-piece representing the ,madonna ,enthroned with ,saints1 painted by ,raphael in #aeje for the ,nuns of ,s4 ,antonio1 ,perugia4 ,it is1 therefore1 one of ,raphael's early works4 ,illustration3 ,collection of ,mr4 ,clarence ,h4 ,mackay ,,agony ,,in ,,the ,,garden --,raphael ,the ,saviour in a grey robe kneels in prayer at the right near a tree and towards him an ,angel holding a chalice descends from the clouds4 ,the other characters are sleeping3 ,st4 ,john the ,evangelist in a green and red robe lies upon a grassy bank at the left2 ,st4 ,peter reclines against a grassy mound at the right2 and ,st4 ,james1 in a green and yellow robe1 has propped himself against the tree in the centre4 ,trees and low-lying hills form the background4 ,all four panels forming the ,predella were purchased from the ,nuns of ,st4 ,anthony in #affc by ,christina1 ,queen of ,sweden4 ,this particular panel--,the ,agony in the ,garden--passed from the ,queen of ,sweden's possession into that of ,cardinal ,azzolini1 and thence into the ,collection of ,don ,livio ,odescalchi1 whose heirs sold it to the ,regent1 the ,duc d',orleans4 ,the ,orleans ,collection was sold in ,london in #agih and ,the ,agony in the ,garden then went into the ,bryant ,collection4 ,lord ,eldin bought it next and subsequently the poet1 ,samuel ,rogers1 at whose sale in #ahef the panel was purchased by the ,baroness ,burdett-,coutts4 ,after the sale of the ,w4 ,burdett-,coutts ,collection at ,christie's in #aiag1 the panel found its way to ,new ,york4 ,the other three panels are3 ,st4 ,anthony of ,padua and ,st4 ,francis 7now in the ,dulwich ,gallery72 the ,procession to ,calvary 7in the ,national ,gallery1 ,london72 and a ,piet 7in the ,gardner ,collection1 ,boston74 ,the altar-piece--,the ,madonna ,enthroned with ,saints--was presented to the ,metropolitan ,museum by the late ,mr4 ,j4 ,pierpont ,morgan4 ,,north ,,italian ,the greatest painters of ,northern ,italy were ,altichiero ,altichieri 7#accj8-acie71 ,pisanello 7#acig-adee71 ,domenico ,morone 7#addb-aejc71 ,liberale 7#adea-aecf71 ,girolamo dai ,libri 7#adgd-aejc71 and ,paolo ,veronese 7#aebh-aehh71 in ,verona2 ,andrea ,mantegna 7#adca-aejf71 in ,padua2 and ,cosimo ,tura 7#adbj8-adie71 in ,ferrara2 ,vincenzo ,foppa 7#adbg8-aeae-af71 ,bramante da ,milano 7died about #adgj71 ,bartolommeo ,suardi1 called ,bramantino 7#adej8-aecf71 and ,bernardino ,luini 7#adge8-aeca-b71 in ,milan2 ,lorenzo ,costa 7#adfj8-aece71 and ,francesco ,francia 7#adej8-aeag71 in ,bologna2 ,moretto da ,brescia 7#adih-aeed71 and ,giambattista ,moroni 7#aebj-e-aegh71 in ,brescia2 and ,antonio ,allegri1 better known as ,correggio 7#adid-aecd71 in ,parma4 ,the towns of ,northern ,italy were more or less influenced by ,florentine artists who worked in various towns and who naturally attracted pupils and local assistants4 ,painters travelled too1 a great deal1 wishing1 as they do now1 to see the famous works of painters both living and dead and of learning the newest and latest technique4 ,lords and dukes also attracted celebrated painters to their courts2 and1 if they liked them1 bestowed lavish orders for portraits1 for their relatives and friends2 small devotional pictures for their own cabinets2 wall-paintings for their villas2 and altar-pieces and frescoes for their local churches or cathedrals4 ,lodovico ,sforza1 ,duke of ,milan1 sent to ,lorenzo de' ,medici on two or three occasions to recommend painters from ,florence for work that he wished to have done4 ,the great intellectual and artistic activity of ,lombardy at the end of the ,fifteenth ,century was largely owing to ,lodovico ,sforza1 whose ,court was one of the most brilliant of the day4 8,here10 an enthusiastic contemporary exclaimed1 8here the muses of poetry and the masters of sculpture reigned supreme2 here came the most distinguished painters from distant regions2 here1 night and day1 were heard sounds of such sweet singing and such delicious harmonies of music that they seemed to descend from heaven itself40 ,new churches and palaces arose in ,milan1 ,pavia1 ,como1 ,cremona1 ,piacenza1 ,lugano1 and other places1 and artists were necessary for decorating them4 ,in #adif1 ,leonardo having all he could do1 ,lodovico wrote to ,florence for a description of the best painters of the day4 ,this is what he received2 and it is very interesting as showing the estimation of the men mentioned while they were living3 8,sandro de ,botticello--a most excellent master1 both in panel and wall-painting4 ,his figures have a manly air and are admirable in conception and proportion4 8,filippino di ,frati ,filippo--an excellent disciple of the above-named and a son of the rarest master of our times4 ,his heads have a gentler and more suave air2 but1 we are inclined to think1 less art4 8,il ,perugino--a rare and singular artist1 most excellent in wall-painting4 ,his faces have an air of the most angelic sweetness4 8,domenico de ,girlandaio--a good master in panels and a better one in wall-painting4 ,his figures are good and he is an industrious and active master who produces much work4 8,all of these masters have given proof of their excellence in the ,chapel of ,pope ,sixtus1 excepting ,filippino1 and also in the ,spedaletto of the ,magnificent ,laurentio1 and their merit is almost equal4#ac ,the glimpse ,leonardo da ,vinci has given us of his life charms us across the long shadow of four centuries and more3 8,the painter describes himself as living in a fine house1 full of beautiful paintings and choice objects surrounded by musicians and poets4 ,here he sits at his work1 handling a brush full of lovely color1 never so happy as when he can paint listening to the sound of sweet melodies4 ,the spacious atlier is full of scholars and apprentices employed in carrying out their master's ideas1 or making chemical experiments1 but careless of the noise of tools and hammers1 the fair-haired boy1 ,angelo1 sings his golden song1 and1 ,serafino1 the wondrous improvisatore1 chants his own verses to the sound of the lyre4 ,visitors come and go freely--,messer ,jacopo of ,ferrara1 the architect1 who was so dear to ,leonardo as a brother1 the courtly poet1 ,gaspare ,visconti1 and ,vincenzo ,calmeta1 ,duchess ,beatrice's secretary1 or1 it may be1 the great ,messer ,galeaz himself1 whose big jennet and ,sicilian horse the master has been drawing as models for the great equestrian statue standing outside in the ,corte ,vecchia4 ,there1 among them all1 the painter bends over his canvas seeking to perfect the glazes and scrumbles of his pearly tints1 or trying to realize some dream of a face that haunts his fancy with its exquisite smile4 ,he has1 it is true1 many labors--7a tanta faccenda67 as he wrote to the councillors of ,piacenza--and at times he hardly knows which way to turn2 but he is his own master1 free to work as he will1 now at one1 now at another4 ,he has no cares nor anxiety4 ,he can dress as he pleases1 wear rich apparel if he is so minded1 or don the plain clothes and sober hues that he prefers4 ,he has gold enough and to spare2 he can help a poorer friend and educate a needy apprentice1 or save his money for a rainy day2 and1 above all1 he has plenty of books and leisure to meditate on philosophical treatises1 or ponder over the scientific problems in which his soul delights4 ,he can find time to jot down his thoughts on many things1 to write his great treatise on painting1 and to draw the wonderful interlaced patterns inscribed with the strange words which have puzzled so many generations of commentators4 ,and he has friends1 too1 dear to his heart--,messer ,jacopo and the wise ,lorenzo da ,pavia1 that master of organs whose hands were as deft in fashioning lyres and viols as in drawing out sweet sounds--with whom he loved to commune of musical instruments and eternal harmonies1 and the boy1 ,andrea ,salai1 with the beautiful1 curling hair1 whom he loved to dress up in green velvet mantles and shoes with rose-colored ribbons and silver buckles4 #8,such1' he tells us #8was ,i1 ,leonardo the ,florentine1 at the ,court of the most illustrious ,prince1 ,signor ,lodovic4'0#ad ,in such surroundings ,leonardo da ,vinci spent sixteen happy years1 during which he exercised all his talents as architect1 engineer1 sculptor1 musician1 and painter1 also designing ingenious settings for masques and tournaments and superintending decorations for weddings and for other festivities4 ,here1 too1 he painted the ,last ,supper in the refectory of the ,dominican ,friars of ,s4 ,maria delle ,grazie1 which 8,il ,moro0 had taken under his special protection2 the ,virgin of the ,rocks 7now in the ,louvre71 originally for the ,church of ,s4 ,francesco of ,milan1 and many portraits1 including those of ,ludovico ,sforza and of his talented young wife1 ,beatrice d',este4 ,when the ,french entered ,milan in #adii ,leonardo returned to ,italy4 ,the presence of the supreme and superlative ,leonardo in ,milan for so long a time naturally stimulated art and artists of all kinds and even more particularly that of painting and painters4 ,his style dominated the ,milanese ,school of painters just as ,richard ,wagner dominated the musical composers of the ,nineteenth ,century2 and we find1 particularly in the case of ,luini1 some of the ,master's most engaging qualities appreciated and imitated 7see page #aaj74 8,it has often been asked10 ,marcel ,reymond notes in a finely thought-out criticism of the ,milanese painters1 8how it came to pass that ,leonardo left no disciples in ,florence when he created such a strong ,school in ,milan4 ,the first cause1 in my opinion1 should be sought for in the laws that presided over the formation and development of the ,florentine ,school of painting4 ,this ,school1 created by fresco-painters accustomed to works of vast dimensions1 did not care to tarry over the finesse of execution1 or the enumeration of minute details2 it simplified its vision1 attaching itself particularly to the broad lines and only retaining of the forms what was essentially expressive in them4 ,this character will be noticed at all periods of ,florentine painting from ,giotto1 ,masaccio1 ,ghirlandaio1 and ,andrea del ,sarto4 ,when the ,florentine painters depart from this general conception1 it is only by accident and almost always in consequence of foreign action1 an action that will be sometimes that of ,flemish painters1 such as ,van der ,weyden1 or ,van der ,goes1 and sometimes that of the ,florentine sculptors1 who1 at a given moment1 about the middle of the ,fifteenth ,century1 exercised so powerful an influence upon the painters who were their contemporaries4 ,the action of ,verrocchio in particular was such as to transform the style of the ,florentine ,school of ,painting and to give birth to the so entirely individual1 and in certain respects so little ,florentine1 of ,leonardo da ,vinci4 8,but the fact that this new style was outside the traditions of the ,florentine ,school of ,painting must have hindered its development1 and in reality ,leonardo had no disciple in ,florence4 ,with ,fra ,bartolommeo and ,andrea del ,sarto1 it is the old character of the ,school that reappears to follow out its natural evolution through the whole course of the ,sixteenth ,century4 8,in the ,north of ,italy1 on the contrary1 the precision of line and observation of detail form a predominant character of those ,schools of which ,mantegna is the most illustrious representative4 ,these ,schools1 therefore1 found in ,leonardo a teaching that responded to their ancient traditions2 and we may thus understand how the seed planted by ,leonardo in the soil of ,milan struck such deep root and produced such beautiful flowers there4 8,but however this may be and whatever may have been the causes of this admirable blossoming of ,milanese ,art in the early years of the ,sixteenth ,century1 we may say that it represents in a highly learned form one of the researches that have the most occupied ,italian genius1--,i mean the seeking after beauty pursued in the harmonious accord between form and poetry40 ,francesco ,squarcione 7#acid-adgd71 was a native of ,padua1 the son of a notary4 ,beginning life as a tailor and embroiderer1 he chose to become a painter1 but first he decided to travel4 ,he made a tour through ,italy and1 it is said1 visited ,greece4 ,it is in #adda that his name first appears in the ,paduan ,guild of ,painters4 ,squarcione achieved more reputation as a teacher than as a painter2 and it seems that in executing what commissions came to him he either gave over his orders to his talented pupils1 or had them1 indeed1 do most of the work under his name4 ,it is now thought that it was ,mantegna's refusal to continue painting for ,squarcione that led to the rupture between master and pupil and not ,squarcione's anger at ,mantegna's marrying ,nicolosia ,bellini1 which has long been a favorite legend4 ,squarcione's school1 however1 was the most famous of its time and brought him the title of 8,father of ,painters40 ,the list of his pupils runs to about a hundred and thirty-seven4 ,one of the features of ,squarcione's workshop was his fine collection of fragments of statues which he used as models4 ,it is also said on good authority that ,squarcione was a dealer in antiquities4 ,in ,padua also lived ,jacopo ,bellini1 with whom ,mantegna worked and whose daughter ,nicolosia he married1 a relation that made him1 of course1 brother-in-law to ,giovanni and ,gentile ,bellini4 ,for a number of years--presumably from #addd to #adfj--;,jacopo ,bellini had a workshop in ,mantua and1 here1 himself a pupil of ,gentile da ,fabriano1 he trained and worked with his two gifted sons and also ,andrea ,mantegna4 ,this bottega became quite a rival of ,squarcione's4 ,indeed such a combination as the three ,bellini artists and ,andrea ,mantegna would certainly offer a formidable competition to any rival1 at any time1 or in any place4 ,the founder of the ,ferrarese ,school was ,cosimo ,tura 7#adbj8-adie71 also a pupil of ,squarcione1 the first ,ferrarese painter of eminence2 and1 from #adea1 in permanent service of the ,dukes at ,ferrara4 ,tura had certain affinities for ,carlo ,crivelli1 ,melozzo da ,forli1 and ,andrea ,mantegna4 ,at ,bologna1 in #adhe1 ,lorenzo ,costa 7#adfj8-aece71 a supposed pupil of ,tura1 established himself1 thus forming one of the main links between the ,schools of ,ferrara and ,bologna2 and it was another pupil--also a fellow-worker of ,costa1 ,francesco ,francia 7#adej8-aeag71 who is the chief glory of the ,bolognese ,school 7see page #ajg74 ,in ,verona1 first comes the ,medival painter1 ,altichiero ,altichieri and next the greater ,antonio 7or ,vittore7 ,pisano 7#acig-adee71 called ,pisanello1 worker in medals1 painter of portraits1 and mural decorator 7see page #ii74 ,the ,school of ,brescia is represented by ,alessandro ,bonvicino1 called ,moretto da ,brescia 7#adih-aeed71 influenced by ,titian and ,raphael and considered the greatest provincial painter in ,northern ,italy of his time4 ,moretto is also famous for having formed ,moroni1 the great portrait-painter 7#aebj-e-aegh74 ,moretto and ,moroni are regarded as ranking among the greatest portrait-painters of the ,sixteenth ,century4 ,in mode and technique they closely follow the greatest ,venetian ,masters2 but the ,brecians have a more silvery and a much 8cooler0 tone than ,titian and ,tintoretto 7see page #aab74 ,we have now come to the ,high ,renaissance1 where ,antonio ,allegri1 called ,il ,correggio1 from his birthplace1 a small town near ,modena 7#adid-aecd71 is the dominating personality of the ,school of ,parma4 ,francesco ,bianchi 7#adeg-aeaj71 of ,ferrara1 is his traditional master2 but he was influenced by ,lorenzo ,costa1 ,francesco ,francia1 and ,andrea ,mantegna4 ,correggio has been called 8an isolated phenomenon in ,italian art--we look in vain1 after his earliest years of practice for any true affinity between him and other masters4 ,in his treatment of light and shades and of atmosphere he contributed something new to ,italian art40 ,as the ,sixteenth ,century progressed the ,north ,italians fell more and more under the spell of the ,venetians4 ,dosso ,dossi 7#adgi-aeda71 for instance1 a painter of ,ferrara and a pupil of ,lorenzo ,costa1 went to ,venice and was charmed by ,giorgione and ,titian before he became court-painter of ,alphonso ,i1 ,duke of ,ferrara1 and his wife1 ,lucrezia ,borgia4 ,northern ,italy also claims ,paolo ,caliari1 better known as ,paolo ,veronese 7#aebh-aehh71 a native of ,verona1 whence his name2 but classed with the ,venetian ,school1 as he spent the greater part of his life in ,venice1 gorgeously decorating its palaces1 churches1 and monasteries4 ,,portrait ,,of ,a ,,lady4 ,pisanello 7#acig-adee74 ,collection of ,mr4 ,clarence ,h4 ,mackay4 ,this is a particularly rare picture as it is one of only three portraits of this painter so far known1 the other two being a female portrait in the ,louvre and a male portrait in ,bergamo4 ,berenson says of this portrait3 8,it is in the most mature and the most sumptuous manner of this greatest master of the fascinating epoch between ,gothic and ,renaissance4 ,it has all the direct simplicity of that happy moment when art had recovered from the mannerisms of the late ,gothic style and was still far from the modishness of the ripe ,renaissance4 ,how fascinating are its qualities of pure decoration60 ,the lady is dressed in dark-blue velvet with a curious collar of white lawn and grey fur with another collar at its base of spangled embroidery and around the waist a narrow girdle to match4 ,the dress is profusely decorated with gold filigree beads4 ,gold pins are placed in her blonde hair1 over which is a head-dress of curiously puffed and twisted material decorated by blue and gold sequins4 ,the background is black4 ,this portrait1 painted in tempera on a panel 7#bj #ad71 was purchased by ,m4 ,veil-,picard of ,paris at the ,villeroy ,sale in ,paris in #aibb4 ,adolfo ,venturi writes in ,l',arte 7,april1 #aibe73 8,the ,mackay portrait cut off below the waist1 rises in the canvas with ,gothic grace4 ,picturesqueness is the keynote4 ,the relief1 even in its slightest parts1 has an ideal softness of planes4 ,but in this picture ,pisanello's genius has attained its maximum of expression4 ,everything shows an advance on the ,louvre picture--the eye sunk deep in its socket2 the eyebrow like the valve of a shell molded over the round1 while in the ,louvre picture it is a mere silken strip2 the ear1 no longer a mere piece of cartilage1 is downy velvet2 above all1 the superb decorative effect of the oval face between the strange volutes of the turban and the chains of perforated gold beads4 8,in the other portraits the decorative effect is helped by the fantastic blossoms standing out against the dark background of the hedge1 making a greater contrast with the background than with the face4 ,in the ,mackay portrait the background is equally dark throughout4 ,the interest of the face itself is accentuated by the myriad gold lights in the gilded trefoils on the dress and in the golden beads of the chains 7light as balls of silk7 and in the nebulous phosphorescence of the little balls which adorn the neck of the dress and the dark enamel of the ivy on the turban of ,oriental splendor4 ,the effect1 carefully prepared to isolate the face from the surrounding shadow1 acquires an intensity of refinement4 ,the contrast between the dark background and the phosphorescent dress is repeated in that between the dark blue material of the dress and in the high lights of this2 the icy brilliance of the collar cuts into the softness of the fur with unexpected suddenness2 and the ivory of the flesh contrasts sharply with the delicate softness of tone4 ,illustration3 ,collection of ,mr4 ,clarence ,h4 ,mackay ,,portrait ,,of ,a ,,lady --,pisanello 8,the highest pictorial and decorative value in the art of ,pisanello as a colorist is reached in this ,mackay portrait1 which represents1 moreover1 one of the most acute character-readings of the penetrating eye of the medallist4 ,the proud carriage accentuated by the rigid cut of the high velvet collar2 the clear-cut outlines of the profile2 the ram's horn head-dress2 the splendid cap2 the well-defined lips1 from which one expects to hear the sibilant breath issue2 above all1 the keen glance directed downwards under the heavy-veiled eyelids render this a picture of frigid haughtiness4 ,the fine lines of the mouth and the narrow opening of the eyes are executed with an extraordinary penetrating observation and the contour of the face is drawn with a delicacy that does all honor to this great master of the silhouette4 8,the lines of the face are in complete harmony with the contours of the whole figure4 ,the curves repeat themselves in the fantastic coiffure1 in the fur border of the collar1 in the lines of the arm and in the chains hanging from the shoulders4 ,and1 contrarily1 these general sweeping curves of coiffure and costume lead up to the finely concentrated line of the profile which stands out sharply against a black background1 as in ,pisanello's painting of ,saint ,eustace1 in ,london 7,national ,gallery74 ,the artist has understood perfectly the value of contrast between the plastic and the decorative elements4 ,the flat planes of the delicate ivory-like face are emphasized by the sculpturesque coiffure with its gold ornaments2 and just where we would naturally look for an accentuation of the physical attributes--on the bust and arms--the artist has1 through the broad curves of the chains and the spacing of the patterns of the dress1 emphasized the decorative design4 ,finally1 the color of this most decorative masterpiece is of the greatest charm4 ,there are tiny lines recalling the delicate technique of a piece of ,satsuma-ware on the surface of the ivory-tinted face that rises from a white collar resting on grey fur while a delightful blue predominates in the coiffure and the costume1 which is enhanced with yellow and gold ornaments4 8,the dress itself is of no little charm and belongs to a period when costume and figure were attuned to a harmonious whole as has seldom happened in the history of costume design4 ,by plucking out the hair from her forehead and eyebrows this young woman has created a high-domed brow for herself and further emphasized the up-sweeping lines by high-arched eyebrows applied with cosmetic4 ,what a burden that towering coiffure must have been and how uncomfortable the high collar and the girdle drawn tight beneath the breast6 ,nevertheless she suffers these discomforts in the name of fashion with dignity and equanimity40 ,pisanello 7whose real name was ,antonio ,pisano71 born about #acig 7some authorities say #achj and some #ache71 was a renowned painter of portraits and religious pictures of highly decorative character as well as a famous medallist4 ,pisanello was a follower of ,altichiero and was also greatly influenced by ,gentile da ,fabriano4 ,of his early life little or nothing is known2 but the rest of his days he spent wandering throughout ,italy1 now in ,mantua1 now in ,verona1 now in ,venice1 now in ,rome1 now in ,naples1 and now in ,ferrara1 cutting medals and painting portraits of distinguished personages4 ,in #adci he was in ,mantua as an intimate friend of the ,marchese ,francesco ,gonzaga1 whom he followed at the capture of ,verona4 ,therefore he had to come under the ,tribunal of the ,council of ,ten at ,venice in #addb4 ,pisanello's career coincides almost precisely in date with ,fra ,angelico1 ,donatello1 ,ghiberti1 and ,brunelleschi4 ,as a medallist ,pisanello was unexcelled4 ,in his paintings he shows the spirit of a miniaturist rather than that of a mural decorator4 ,he shares with ,gentile da ,fabriano the charming quality of chivalric grace and attention to interesting detail4 ,pisanello must have been especially fond of animals1 as his rarely beautiful drawings of them preserved in various galleries would seem to prove2 and1 moreover1 he was fond of introducing them into his pictures4 ,in the ,vision of ,saint ,eustace1 for instance 7,national ,gallery1 ,london71 in addition to the stag bearing the cross upon his horns1 there are various animals and birds as well as the fine horse with its gay trappings1 on which the handsome ,eustace is mounted4 8,altichiero had scarcely ceased covering wall-spaces with pomp and circumstance of ,medival life10 writes ,berenson1 8when the task was taken up by his better-known ,renaissance follower1 ,vittorio ,pisanello4 ,the larger part of this artist's work1 in fact all his decoration of great houses and public palaces1 has perished4 ,even now1 after earnest efforts to gather together the strewn limbs of his art1 only six paintings of his can be discovered3 two frescoes1 two sacred subjects1 and two portraits4 ,his renown as a painter has1 therefore1 been eclipsed by his fame as a medallist4 ,and1 in truth1 never1 since the days when ,greek craftsmen modelled coins for proud city states1 has there been such a moulder of subtle reliefs in miniature4 ,yet ,pisanello himself never signed his name without the addition of the word ,pictor and it was as a painter that he received the stipends of princes and the adulation of poets4 8,although he was much more modern than his master1 there was nothing in his paintings to startle princes and poets1 or even less distinguished persons1 whose education in art consisted then1 no doubt1 as it does now1 in confirming a fondness for the kind of picture to which their eyes had grown accustomed during childhood and youth4 ,pisanello1 although counting as one of the great geniuses of the ,renaissance1 by no means broke with the past4 ,he went1 it is true1 as far beyond ,altichiero as ,altichiero had gone from his immediate precursors1 but he betrays no essential difference of intention or spirit4 ,in him art-evolution produced a painter most happily fitted to hold up an idealizing mirror to a parallel product of social evolution1 the sunset of ,chivalry4 ,no wonder that he was employed along with the kindred ,gentile da ,fabriano by the rich and noble and that he was chosen to continue the courtly ,umbrian's tasks40 ,,adoration ,,of ,,the ,,shepherds4 ,andrea ,mantegna 7#adca-aejf74 ,collection of ,mr4 ,clarence ,h4 ,mackay4 ,it is more than likely this is the picture described in #aehf as 8,presepe0 7manger7 in the ,este ,palace1 ,ferrara4 ,at all events it is an early work4 ,the ,virgin surrounded by cherubs is kneeling in adoration before the ,holy ,child1 who is asleep on the bottom of her gown4 ,near her ,st4 ,joseph is seated1 fast asleep4 ,on the right two ,shepherds are approaching and1 behind them1 a ,man and a ,woman are crossing a bridge4 ,high up on the rocks1 on the right1 two ,angels are watching over the scene4 ,behind the simple wooden building1 which shelters the group1 stretches a landscape4 ,illustration3 ,collection of ,mr4 ,clarence ,h4 ,mackay ,,adoration ,,of ,,the ,,shepherds --,andrea ,mantegna ,the panel transferred to canvas 7#ae #ba inches71 was formerly in the ,collection of ,mr4 ,c4 ,a4 ,rouse-,boughton-,knight of ,downton ,castle1 ,ludlow1 ,herefordshire1 ,england4 ,andrea ,mantegna was born in ,vicenza in #adca4 ,he was inscribed in the ,guild at ,padua as pupil and adopted son of ,squarcione 7see page #ig7 in #adda and made the most extraordinary progress in his studies1 perfectly fascinated with 8the antique04 8,at a little more than ten years of age10 ,berenson writes1 8,mantegna was adopted by a contractor named ,squarcione4 ,how much of a painter ,squarcione was1 we do not know1 but we do know that he undertook designing and painting to be executed by people in his employ4 ,he was also a dealer in antiquities and his shop was frequented by the distinguished people who passed through ,padua1 and by the ,humanists teaching in the famous ,university4 ,it happened to be a moment when in ,italy ,antiquity was a religion1 nay1 more1 a mystical passion1 causing wise men to brood over fragments of ,roman statuary as if they were sacred relics1 and to yearn for ecstatic union with the glorified past4 ,to complete the spell1 this glorified past happened to be the past of their own country40 ,another influence was ,donatello1 who was working in ,padua in #agej and after2 and still another was ,jacopo ,bellini4 ,after his marriage to ,bellini's daughter and his break with ,squarcione1 ,mantegna went to ,venice to have his contract with ,squarcione cancelled in the ,law ,courts2 and1 returning to ,padua1 he continued his work on important frescoes4 ,in #adfj ,mantegna removed to the ,court of ,mantua at the invitation of the ,marchese ,lodovico ,gonzaga and in addition to his painting he designed for pageants and festivals1 and decorated villas and palaces1 just as ,leonardo da ,vinci was destined to do a few years later for another ,lodovico1--8,il ,moro10 ,regent and1 later1 ,duke of ,milan4 ,mantegna also at this period designed for goldsmiths4 ,when ,francesco ,gonzaga succeeded his father1 ,mantegna remained at the ,court of ,mantua and became the supreme arbiter of the taste of the day4 ,for ,francesco's wife1 ,isabella d',este 7sister of 8,il ,moro's0 wife1 ,beatrice d',este7 and for her mother1 the ,duchess of ,ferrara1 ,mantegna painted some of his most famous pictures1 such as the ,triumph of ,csar 7now at ,hampton ,court ,palace7 and the ,madonna and ,child with ,singing ,cherubs 7now in the ,brera74 ,on leaving for ,rome in #aghh ,mantegna was knighted4 ,in ,rome he decorated the ,belvedere ,chapel for ,pope ,innocent ,,viii4 ,to his last period belong delicate and lovely mythological pieces1 including the ,parnassus 7now in the ,louvre7 and the strong and decorative painting of ,judith with the ,head of ,holofernes 7now in the ,widener ,collection74 ,when ,mantegna died in #aejf1 ,lorenzo da ,pavia 7see page #ie7 wrote to ,isabella d',este3 8,the death of our ,master ,andrea causes me great sorrow1 for in him a second ,apelles has passed away2 ,i do believe that the ,lord ,god wishes to employ him for the creation of some beautiful work4 ,i can never hope to meet a finer draughtsman nor a more original artist40 ,padua1 ,mantua1 ,venice1--all felt ,mantegna's influence4 ,,virgin ,,and ,,child ,,with ,,the ,,infant ,,st4 ,,john ,,and ,,angel4 ,francia 7#adej8-aeag74 ,collection of ,mr4 ,clarence ,h4 ,mackay4 ,this picture came from the ,collection of the ,comtesse ,edmond de ,pourtales of ,paris and shows the ,virgin seated and holding the nude ,infant ,jesus on her right knee4 ,she is wearing a crimson dress edged with gold embroidery and a blue mantle1 also edged with gold embroidery1 which is drawn over her head4 ,beneath this a white gauze veil covers her hair4 ,the ,holy ,child has raised ,his right hand in benediction while in ,his left he holds a blue ball4 ,the ,angel on the right wears a rose-colored tunic and yellow mantle and is adorned with jewels4 ,by his side and with one foot on a balustrade stands the ,infant ,st4 ,john1 dressed in blue and carrying a slender cross over his left shoulder4 ,illustration3 ,collection of ,mr4 ,clarence ,h4 ,mackay ,,virgin ,,and ,,child ,,with ,,the ,,infant ,,st4 ,,john ,,and ,,angel --,francia ,of this panel 7#bc #ai inches71 painted in oil1 ,berenson says3 8,if this most famous of the ,bolognese artists ever painted a more delightful picture than the present one1 it remains unknown to me4 ,perhaps its only rival in my affections would be the ,munich picture of the ,virgin in the ,rose ,garden where1 however1 it is not the faces but the pale roses against the flat green that give the work its special charm40 ,francesco ,raibolini1 who took the name ,francia from a master-goldsmith to whom he was apprenticed1 was born in ,bologna in #adej1 the son of a carpenter4 ,he spent his early years working in metals and settings for jewels and became very expert in niello1 gold and silver enamels1 and designs for jewelry4 ,he also acquired a reputation for his coins and medals1 so much so indeed that ,giovanni ,bentivoglio ,,ii1 who became his patron1 appointed him his master of the mint4 ,moreover1 in #aeaa ,francia was elected one of the ,golfalonieri of the people2 in #aeab re-elected to the mastership of the ,goldsmith's ,guild2 and in #aead he became 8,master of the ,four ,arts40 ,it is thought that he began to paint about #adhc1 when ,lorenzo ,costa came to ,bologna and formed a friendship with ,francia4 ,be this as it may1 he worked with ,costa on an altar-piece for the ,church of the ,misericordia and the influence of ,costa is apparent in much of his work4 ,francia also painted with ,costa in #aeje-aejg the series of frescoes in the ,chapel of ,st4 ,cecilia and the ,madonna del ,terremoto in the ,palazzo ,communale1 ,bologna4 ,francia painted ,madonnas all his life2 and in addition to these religious pictures1 he painted a number of splendid portraits4 ,he died in ,bologna in #aeag4 ,one of his pupils was ,timoteo ,viti1 who in turn was ,raphael's early teacher and imparted to him some of ,francia's quality1 particularly in the general appearance of the ,madonna and the full rounded contours of the figures4 ,about #aejj ,francia began to develop his own personal style4 ,,portrait ,,of ,a ,,lady4 ,bernardino ,luini 7#adge8-aeca-b74 ,collection of the ,hon4 ,andrew ,w4 ,mellon4 ,the first thing we notice in this picture is a very peculiar head-dress--large and round and fleecy4 ,the figure is half-length1 life-size1 and faces us so that we gain a very good idea of the unknown lady1 so boldly set forth from the background of a green curtain4 ,she wears a dark-grey dress1 a white embroidered chemisette and a jewelled cross hanging from a gold chain which she is fingering lightly4 ,in her right hand is a pet marten4 ,the hands1 it should be noted1 are beautifully drawn4 ,this1 an oil painting on panel 7#bi #ba71 came from the ,benson ,collection1 having been previously in the ,collection of ,mr4 ,f4 ,r4 ,leyland4 ,bernardino ,luini was born at ,luini1 near the ,lago ,maggiore about #adge1 and died in ,milan in #aeca or #aecb4 ,luini worked chiefly in the vicinity of ,milan and painted a great many frescoes4 ,he is said to have been a pupil of ,borgognone2 but whether that be true or not1 most certainly ,leonardo da ,vinci was his real master4 ,it was assuredly from the painter of the ,mona ,lisa that ,luini learned how to paint a charming woman with refined features breaking into a radiant and enchanting smile4 ,luini painted many notable religious pictures1 including admirable ,madonnas1 but his loveliest work is the portrait of a ,milanese lady known as ,the ,columbine1 in ,the ,hermitage ,gallery1 gazing at the flower she is holding in her hand1 from which the picture takes its name4 ,illustration3 ,collection of the ,hon4 ,andrew ,w4 ,mellon ,,portrait ,,of ,a ,,lady --,luini 8,luini's female creations are so exquisite that for a long time people supposed that ,leonardo alone was capable of conceiving them10 writes ,marcel ,reymond1 8and permanently recording their loveliness2 but now this injustice has come to an end and ,luini's art appears before us with sharply determined characteristics that prevent us from confounding it with ,leonardo's art2 first of all1 from the point of view of technique1 it must be remembered that ,leonardo works like a master born about #adej and ,luini like one born after #adgj4 ,with ,luini the workmanship is less precise than with ,leonardo1 while the stroke is less restrained and the modelling freer40 ,,titian',s ,,schoolmaster4 ,giambattista ,moroni 7#aebj-e-aegh74 ,collection of ,mr4 ,joseph ,e4 ,widener4 ,in the ,national ,gallery1 ,london1 there is a striking portrait of a ,tailor--known as the ,tagliapanni--standing behind his board1 at half-length1 with shears in his right hand and a piece of cloth in his left1 looking inquiringly at the spectator4 ,it is forceful1 attractive1 commands attention1 and lives in the memory of all who have looked upon it4 ,moroni's ,tailor is one of the great portraits of the world4 ,the merest glance at the picture represented here would tell you that it is by the same hand4 ,the means of producing a striking effect are even simpler than in the ,london portrait4 ,the title is entirely fanciful1 but it accords well with the subject1 a pleasant1 genial man with an intellectual countenance4 ,he seems to be about sixty years of age and is dressed in black with white linen collar and a black cap4 ,his beard is grey4 ,he is sitting sideways in a chair that is often described to-day 7and for no reason whatever7 as a 8,savonarola ,chair10 resting his left arm on the arm of the chair and holding a book in his right4 ,it would appear that he has just been interrupted in his reading--pleasantly1 too1 it would seem--and is keeping the page he has left off reading with one finger between the leaves4 ,the hands are marvellously drawn and painted1 as is also the ring on the left hand4 ,van ,dyck admired this picture so much that he made a sketch of it in his ,italian sketch-book 7which is now at ,chatsworth74 ,this portrait in oils on canvas 7#ch #bi inches7 was long in the ,borghese ,gallery at ,rome1 and then at the beginning of the ,nineteenth ,century it was purchased by the ,marquis of ,stafford4 ,from the ,duke of ,northumberland's ,collection1 ,stafford ,house1 it passed to the present owner4 ,illustration3 ,collection of ,mr4 ,joseph ,e4 ,widener ,,titian',s ,,schoolmaster --,moroni ,moroni's great fame1 even in his own day1 was as a portrait-painter2 and it is said that when people from ,bergamo and its vicinity went to ,titian to have their portraits painted1 he told them to go home and sit to their own countryman4 ,moroni was a pupil of ,moretto at ,brescia1 was influenced by ,lotto and ,titian1 and he1 in his turn1 influenced ,van ,dyck4 ,moroni was born at ,bondo in ,bergamo between #aebj and #aebe and died at ,bergamo in #aegh4 ,,venetian 8,it is evident10 wrote ,taine1 8that1 while following a path of its own1 ,venetian ,painting developed as in the rest of ,italy4 ,it issued here1 as elsewhere1 from missals and mosaics and was at first in sympathy with purely ,christian emotion2 then1 by degrees1 the feeling for beautiful human life introduced into the altar-frames vigorous and healthy bodies taken from contemporary types2 and we wonder at the placid1 expressions and religious physiognomies on the blooming faces in which the youthful blood circulates and sustains innate temperament4 ,this is the confluence of two spirits and two ages3 one1 the ,christian1 which is fading away2 the other1 the ,pagan1 which is in the ascendant4 ,in ,venetian ,art special traits are distinguished4 ,the people are more closely copied from life and are less transformed by ,classic or mystic sentiment1 not so pure as at ,perugia1 not so noble as at ,florence3 they are addressed more to the senses than to the mind or the heart2 they are more quickly recognized as men and give greater pleasure to the eye4 ,strong and lively tones color their muscles and their faces2 living flesh is soft on their shoulders and on the thighs of little children2 clear landscapes open into the distance to make the deeper tints of the figure stand out2 saints gather around the ,virgin in a variety of attitudes unknown to the other ,primitive ,schools with their uniform processions4 ,at the height of its fervor and faith the national spirit1 fond of diversity and joy1 allows a smile to escape40 ,venice was slow in abandoning ,byzantine tradition4 ,changes begin to be apparent in the ,fourteenth ,century4 ,walter ,pater notes3 8,the beginnings of ,venetian ,painting link themselves to the last1 stiff1 half-barbaric splendors of ,byzantine decoration and are but the introduction into the crust of marble and gold on the walls of the ,duomo of ,murano1 or of ,st4 ,mark's1 of a little more of human expression4 ,and throughout the course of its later development1 always subordinate to architectural effect1 the work of the ,venetian ,school never escaped from the influence of its beginnings4 ,unassisted1 and therefore1 unperplexed by naturalism1 religious mysticism1 philosophical theories1 it had no ,giotto1 no ,fra ,angelico1 no ,botticelli4 ,except from the stress of thought or sentiment1 which taxed so severely the resources of the generations of ,florentine artists1 those earlier ,venetian painters1 down to ,carpaccio and the ,bellini1 seem never for a moment to have been tempted even to lose sight of the scope of their art in its strictness1 or to forget that painting must be before all things decorative1 a thing for the eye1 a space of color on the wall1 only more dexterously blent than the marking of its precious stone1 or the chance interchange of sun and shade upon it--this to begin and end with--whatever higher matter of thought1 or poetry1 or religious reverie1 might play its part therein1 between40 ,during the ,fifteenth ,century ,venice began to be influenced by painters from other cities1 particularly by ,gentile da ,fabriano 7see page #gd7 and ,pisanello 7see page #ii71 who were sent for to decorate the ,doge's ,palace4 ,gentile da ,fabriano represented all the latest 8modernistic0 ideas of his day4 ,among the ,venetians who were most profoundly influenced by him was ,jacopo ,bellini 7who later went to ,padua74 ,jacopo1 in spite of his contact with ,squarcione and ,andrea ,mantegna 7who married his daughter71 remained 8,gothic0 in essentials4 ,jacopo ,bellini had one of the largest bottegas in ,venice2 and this bottega was continued by his gifted sons1 ,giovanni and ,gentile4 ,jacopo was a talented painter who had worked in ,florence as well as ,padua1 but who really belongs to ,venice4 ,the great rivals of the ,bellini painters were the ,vivarini on the ,island of ,murano4 ,the ,vivarini1 the first of whom was ,antonio da ,murano 7active #addj-adgf or #adhd71 who played a great part in the development of the ,venetian ,school and whose work consisted of enormous altar-pieces of many compartments set in ,gothic framework of very ornate character and profusely adorned with gold2 ,bartolommeo ,vivarini1 ,antonio's younger brother 7#adca8-adii871 in whose work the influence of the ,paduan ,school of ,squarcione is marked and also that of ,antonello da ,messina2 and ,antonio's son1 ,alvise ,vivarini 7#addg-aejd71 a pupil of his father and uncle1 who was working in #adgd with ,giovanni ,bellini in the ,scuola di ,san ,girolamo in ,venice and whose portraits show the influence of ,antonello da ,messina4 ,carlo ,crivelli 7#adcj8-adic871 if not a ,venetian by birth1 which is most probable1 is classed as belonging to the ,venetian ,school4 ,crivelli was a fellow-pupil of ,bartolommeo ,vivarini under ,antonio da ,murano 7,vivarini71 and ,squarcione4 ,like ,mantegna1 ,crivelli kept to tempera painting2 ,crivelli stands alone for his wonderful decorative qualities 7see page #abe and page #abh74 ,antonello da ,messina 7#adcj-adgi7 was a contemporary of ,crivelli and is particularly distinguished for introducing into ,italy the ,flemish system of painting with oils4 ,in his pictures the influence of the ,bellini is apparent 7see page #abd74 ,giovanni ,bellini 7#adbh-cj-aeaf71 one of the greatest painters of the ,fifteenth ,century1 was trained by his father1 ,jacopo ,bellini4 ,next he followed in the footsteps of ,squarcione and ,andrea ,mantegna2 but he changed his style1 as well as his technique1 gradually abandoning tempera for the new practice in oils1 which he was one of the first to master4 ,in some respects ,giovanni ,bellini was influenced by his own pupil1 ,giorgione 7see page #aah74 ,gentile ,bellini 7#adbf-i-aejg71 was named1 it is interesting to note1 for ,gentile da ,fabriano1 his father's master and friend4 ,gentile1 trained by his father1 ,jacopo1 was called upon to paint the organ-shutters at ,st4 ,mark's with colossal figures of ,st4 ,mark1 ,st4 ,theodore1 ,st4 ,jerome1 and ,st4 ,francis2 was knighted by ,frederic ,,iii in #adfi2 and was employed to restore the frescoes of ,gentile da ,fabriano in the ,hall of the ,grand ,council in the ,doge's ,palace1 a commission which carried with it the honor of painting the portrait of every new ,doge4 ,sent for by the ,sultan of ,constantinople1 ,mohammed ,,ii1 to paint his portrait1 ,gentile sailed for ,constantinople in #adgi and returned in #adhj with the title of ,bey4 ,gentile then joined his brother1 ,giovanni1 who was working on the ,fabriano frescoes4 ,the ,bellini brothers also painted on canvas a series of pictures portraying the legend of ,frederic ,barbarossa and ,pope ,alexander ,,iii1 which perished in the fire of #aegg4 ,gentile's ,procession of ,corpus ,christi of #adif has been pronounced 8the most important extant work of the ,venetian ,school previous to the advent of ,titian40 ,the bottegas of the ,bellini and ,vivarini naturally produced a host of able painters1 among whom were ,marco ,basaiti 7active #aejj-aeba72 ,lazzaro ,bastiani 7active #addi-aeab72 ,cima da ,conegliano 7#adfj8-aeag872 and ,jacopo ,bassano 7#aeaj8-aeib74 ,vittore ,carpaccio 7#adej8-aebf871 was a follower of ,gentile ,bellini2 and the stories he told in paint1 such as the series depicting the ,life of ,saint ,ursula1 belong to the great works of ,venice4 ,giorgione 7#adgg-aeaj7 is the next important name4 ,little or nothing is known of his life1 except that he was born of humble parents at ,castelfranco4 ,by #aejj his reputation was established1 for he was then painting important works4 ,among these was a picture for the ,hall of ,audience in the ,doge's ,palace and some fresco decorations for the exterior of the ,fondaco dei ,tedeschi1 the bank of the ,german merchants in ,venice4 ,giorgione was a pupil and follower of the ,bellini and had much influence upon ,giovanni ,bellini4 ,giorgione died of the ,plague in his thirty-fourth year4 ,giorgione stands alone for his romantic and lyrical qualities and for his penetrating charm4 ,he is notable1 too1 for having introduced music into his pictures1 or rather persons who are playing upon instruments4 ,apart from his delightful qualities ,giorgione is of the greatest importance in the evolution of painting4 ,walter ,pater writes3 8,giorgione is the inventor of genre1 of those easily movable pictures which serve for uses1 neither of devotion nor of allegorical1 or historical teaching--little groups of real men and women1 amid congruous furniture or landscape--morsels of actual life1 conversation1 or music1 or play1 refined upon or idealized1 till they come to seem like glimpses of life from afar4 ,those spaces of more cunningly blent color1 obediently filling their place1 hitherto1 in a mere architectural scheme1 ,giorgione detaches from the wall2 he frames them by the hands of some skillful carver1 so that people may move them readily and take with them where they go1 like a poem in manuscript1 or a musical instrument1 to be used1 at will1 as a means of self-education1 stimulus or solace1 coming like an animated presence1 into one's cabinet1 to enrich the air as with some choice aroma1 and1 like persons1 live with us1 for a day or a lifetime4 ,of all art like this1 art which has played so large a part in men's culture since that time1 ,giorgione is the initiator40 ,titian1 or rather ,tiziano ,vecello 7#adgg8-aegf71 fellow-pupil of ,giorgione1 of ,gentile and ,giovanni ,bellini and assistant to ,giorgione in decorating the ,fondaco dei ,tedeschi 7which established a new era in ,italian painting71 was the leading painter of his day 7see page #adj74 ,bartolommeo ,veneto1 of ,veneziano 7#adhj-aeee71 pupil of ,giovanni ,bellini1 became a famous portrait-painter4 7,see page #adh47 ,tintoretto1 the magnificent ,venetian1 was nicknamed 8,il ,furioso10 because of his great technical powers that include astonishing display of foreshortening and many curious effects in light and color1 as well as in form4 ,ruskin says ,tintoretto 7or ,tintoret1 call him as you please7 made 8figures lovely in themselves1 content that they should deserve not demand1 your attention40 ,playing with a full orchestra of color and understanding how to produce the most luminous effects of light1 the great ,venetian filled ,venice with marvellous pictures4 ,tintoretto was equal to the immense work he undertook and his noble brush never left anything that was unworthy of it4 ,tintoretto1 whose real name was ,jacopo ,robusti 7#aeah-aeid71 was apprenticed to ,titian and was influenced by ,titian1 ,palma ,vecchio1 ,michelangelo1 and ,parmigiano 7of the ,school of ,palma and follower of ,correggio74 8,there is one only--the last and greatest of the ,venetians of the ,renaissance--who could sound all the notes of tragedy and pathos as well as notes of joy4 ,tintoretto1 the supreme ,venetian1 the greatest exponent of the essential spirit of ,venice1 is the son of a wider kingdom than hers and of a greater age than the ,renaissance4 ,unsurpassed as a designer and colorist1 he is endowed throughout with the peculiar gifts of ,venice2 but during those years of passionate study1 in which he was winning here and there the secrets of his art1 hungry for knowledge1 careless of gain1 and bargaining only for material in which to realize his conceptions1--during those years in which he lived alone in continual meditation on some fresh labor1 he was probing the deep and passionate things of humanity as no ,venetian artist had ever probed them before4 ,the streets and churches of the city seem to echo still to the steps of this genius at once so robust1 so tender1 so profound1 and so joyous40#ae ,paolo ,veronese1 or rather ,paolo ,caliari 7#aebh-aehh71 a native of ,verona1 whence his name1 is one of the most delightful of painters4 ,j4 ,buisson considers ,veronese of all the painters of ,italy 8the one whose work best serves to particularize the art of painting0 and this able ,french critic goes on to say that 8,veronese painted the ,venetian ,beautiful as the ,greeks sculptured the ,hellenic ,beautiful0 and that 8,paul ,veronese is of all the colorists1 without a single exception1 the one who has most unity4 ,he is the most ethereal of the colorists4 ,he is the painter of the air1 both out-of-doors and in-doors4 ,his values are impeccable and his shadows are at once transparent and full of color1 without any artifice1 such as ,rubens's exaggerated reflections1 or the excessive sacrifices1 which in ,rembrandt are almost equivalent to a monotone in those parts that are lacking in light4 ,his lights are broad and steady although modelled without any gleams1 but of so shining a quality that they are positively radiant4 ,happy artist6 ,he had the eye of the most perfect colorist ever known1 able to perceive at the same time the different qualities of light and color and their variations in intensity and values and he possessed the gift to reveal them with marvellous art to ordinary mortals4 ,optics applied to his pictures show no law that he did not know and practice4 ,moreover1 around his perfect visions of color are grouped other qualities1 such as imagination1 taste1 rhythm1 elegance1 nobility1 and magnificence in decoration4 ,his hand is the equal of his eye4 ,the rapidity of his brush may be compared only to that of ,velasquez and to that of ,rubens40 ,this great period1 ,taine sums up as follows3 8,the more we consider the ideal figures of ,venetian ,art1 the more we feel the breath of an heroic age behind us4 ,those great1 toga-draped1 old men with the bald foreheads are the ,patrician ,kings of the ,archipelago1 ,moorish ,sultans1 who1 trailing their silken simars1 received tribute and ordered executions4 ,the superb women in sweeping robes1 bedizened and jewelled1 are ,empress-daughters of the ,republic1 like that ,caterina ,cornaro from whom ,venice received ,cyprus4 ,there are the muscles of fighters in the bronzed breasts of the sailors and captains2 their bodies1 reddened by the sun and the wind1 have dashed against the athletic bodies of ,janizaries2 their turbans1 their pelisses1 their furs1 their sword-hilts constellated with precious stones--all the magnificence of ,asia is mingled on their bodies with the floating draperies of ,classic times and the nudities of ,pagan tradition40 ,sebastian del ,piombo 7#adhe8-aedg71 pupil of ,giovanni ,bellini and ,giorgione1 preferred oil to fresco and this led to a famous quarrel between him and ,michelangelo4 ,palma ,vecchio 7#adhj-aebh71 standing first in the second rank of ,bellini-,giorgione followers1 is another important painter4 ,lorenzo ,lotto 7#adhj-aeef71 pupil of ,alvise ,vivarini1 painted with ,raphael in the ,vatican in #aejh-i and naturally fell under ,raphael's spell4 ,lotto spent much time in ,bergamo2 was touched by ,correggio's spirit2 and1 after #aebi1 was affected by ,titian4 ,paris ,bordone 7#aejj-aega71 a gorgeous colorist1 pupil and follower of ,giorgione and ,titian 7and slightly touched by ,palma ,vecchio71 was famous for his portraits1 mythological pictures1 and for that masterpiece entitled ,the ,fisherman ,presenting the ,ring of ,st4 ,mark to the ,doge 7now in the ,accademia at ,venice74 8,these ,venetian artists of the ,renaissance10 says d',annunzio1 8create in a medium that is itself a joyous mystery--in color1 the ornament of the world1 in color which seems to be the striving of the spirit to become light4 ,and the entirely new musical understanding they have of color acts in such a way that their creation transcends the narrow limits of the symbols it represents and assumes the lofty1 revealing faculty of an infinite harmony40 ,to the ,eighteenth ,century belongs ,giovanni ,battista ,tiepolo 7#afif-agfi71 famous as a designer and colorist1 influenced by ,veronese1 and a decorator of palaces and villas in ,venice1 ,genoa1 ,milan1 ,wrzburg1 and ,madrid1 where he died4 ,tiepolo married ,guardi's sister in #agae4 ,canaletto1 or ,giovanni ,antonio da ,canale 7#afig-agfh71 son of ,bernardo da ,canale1 a scene-painter1 is famous for his views of ,venice and for being the teacher of ,guardi4 ,francesco ,guardi 7#agab-agic71 a native ,venetian1 but of ,austrian stock1 a follower of his master ,canaletto1 was also celebrated for his ,venetian views 7see page #aec74 8,venice herself0 writes ,berenson1 8had not grown less beautiful in her decline4 ,indeed1 the building which occupies the very centre of the picture ,venice leaves in the mind--the ,salute--was not built until the ,seventeenth ,century4 ,this was the picture that the ,venetian himself loved to have painted for him and that the stranger wanted to carry away4 ,canale painted ,venice with a feeling for space and atmosphere1 with a mastery over the delicate effects of mist peculiar to the city1 that make his view of the ,salute1 the ,grand ,canal1 and the ,piazzetta still seem more like ,venice than all the pictures that have been painted since4 ,later in the century ,canale was followed by ,guardi1 who executed smaller views with more of an eye for the picturesque1 and for what may be called instantaneous effects1 thus anticipating both the ,romantic and the ,impressionist painters of our own century40 ,to the ,eighteenth ,century also belongs ,pietro ,longhi 7#agjb-aghe871 influenced by ,guardi1 but called 8,the ,goldini of painters10 because of his bright comedies of manners1 somewhat in the genre of ,watteau1 ,pater1 and ,lancret4 8,longhi painted for the picture-loving ,venetians10 says ,berenson1 8their own lives in all their ordinary domestic and fashionable phases4 ,in the hair-dressing scenes we hear the gossip of the periwigged barber2 in the dressmaking scenes the chatter of the maid2 in the dancing-school1 the pleasant music of the violin4 ,there is no tragic note anywhere4 ,everybody dresses1 dances1 makes bows1 takes coffee1 as if there were nothing else in the world that wanted doing4 ,a tone of high courtesy1 of great refinement1 coupled with an all-pervading cheerfulness1 distinguishes ,longhi's pictures from the works of ,hogarth1 at once so brutal and so full of presage of change40 ,,madonna ,,and ,,child4 ,antonello da ,messina 7#adcj-adgi74 ,collection of ,mr4 ,clarence ,h4 ,mackay4 ,the ,virgin1 slightly under life-size1 stands behind a stone parapet1 three-quarter face to left1 apparently in a reverie with half-closed eyelids4 ,she wears a red and gold brocade gown and a blue mantle carried up over her head and falling in a straight line1 but for one small plait1 to her left arm4 ,the ,holy ,child is seated upon a green cushion on the parapet and is wrapped in a brick-red shawl4 ,with ,his left arm around ,his mother's neck and right hand in her bosom1 ,he gazes straight ahead4 ,the flesh-tones are pale with clear1 light-brown shadows and the rose-leaf lips and cylindrical fingers with filbert-shaped nails are to be noticed and admired4 ,illustration3 ,collection of ,mr4 ,clarence ,h4 ,mackay ,,madonna ,,and ,,child --,antonello da ,messina ,this oil painting on panel 7#bc #af inches71 comes from the ,benson ,collection4 ,antonello da ,messina1 also known as ,antonello di ,giovanni degli ,antoni1 holds a very important place in the development of ,painting1 because it is owing to him that the ,flemish system of painting in oil was adopted in ,italy1 although ,italian painters had been previously acquainted with the process1 for they knew the works of the ,van ,eycks and ,roger van der ,weyden4 ,it is supposed that ,antonello1 who was born in ,messina in #adcj1 visited ,flanders4 ,it is certain1 however1 that ,antonello was travelling in ,italy in #adeg-adfj and he may have met ,roger van der ,weyden1 who visited ,italy in #adej4 ,antonello da ,messina was certainly in ,venice in #adge-adgf4 ,he died in #adgi1 leaving a son1 ,jacobello1 or ,jacopo degli ,antoni1 and a nephew1 ,antonello di ,saliba1 both of whom were painters4 ,it seems that ,antonello da ,messina and the ,bellini exchanged many ideas and were of great mutual benefit4 ,it is supposed that ,antonello da ,messina encouraged ,giovanni ,bellini to try painting in oils4 ,st4 ,jerome in his ,study in the ,national ,gallery1 ,london1 shows the new character that ,antonello brought into the ,italian painting of his day4 ,,madonna ,,and ,,child4 ,carlo ,crivelli 7#adcj8-adic874 ,collection of ,mr4 ,a4 ,w4 ,erickson4 ,before analysing this delightful picture1 let us read an appreciation of a most fascinating and not too well-understood painter by ,cosmo ,monkhouse3 8,carlo ,crivelli is a ,venetian artist of whom we know little but what can be gathered from pictures4 ,he is supposed to have been born about #adcj and his dated works range from #adfh to #adic4 ,he was a ,venetian by birth and from his mode it would appear certain that he studied under ,squarcione at ,padua and probably also under ,vivarini at ,venice4 ,but he perfected a style and one marked by so many peculiarities that despite all affinities which may be traced with other masters he stands out clear and distinct by himself4 8,in the first place1 he is unique as a colorist4 ,he belongs1 indeed1 to the old mosaic and illumination school of color1 not to the school of #8great schemes1' in which the masses are blent into one great harmony4 ,the masses1 or patches1 of color are isolated and produce a pleasant variegation without fusion4 ,his color is thin1 also1 as of a superficial tinting1 not affecting the substance4 ,his flesh is hard and opaque1 his flowers leathery1 his fruit1 though finely drawn and beautifully colored1 of a stony texture1 his draperies anything but soft4 ,it is only in hard smooth things1 like pottery and glass1 that you get the true consistency as well as the true color4 ,yet his color is exquisite of its kind1 brilliant and transparent like enamel1 and the different tints in themselves are lovely and varied4 ,such reds and greens and lilacs and salmon-pinks and a hundred other combinations of the primaries are scarcely to be matched in the work of any other artist4 ,nor has anyone been more skillful in the use of gold in connection with color4 8,there is scarcely any need to call attention to ,crivelli's special gift as a designer of decoration4 ,almost every square inch of his canvas attests the inexhaustible richness of his invention--an invention fed no doubt from the rich products of ,oriental looms of which ,venice was the emporium4 8,crivelli wrought only for the ,church and appears to have spent most of his life at ,ascoli1 but neither restriction of subject and feeling1 nor provincial residence1 could fetter his genius4 ,there is1 indeed1 no artist of more striking individuality than ,carlo ,crivelli1 no one who had more complete mastery over his means of expression1 or attained more nearly to his ideal4 ,this ideal was not the #8beau ideal'--that is to say1 the perfection of physical beauty--it was an ideal of character1 the embodiment of the essential qualities of his subject4 ,one cannot help regarding ,crivelli as a man of knowledge and intellect1 of charming manners1 refined almost to fastidiousness1 delighting in all things dainty and beautiful1 a lover of animals and of his kind40 ,this picture1 an oil painting on panel 7#ch #ag inches71 came from the ,benson ,collection1 having been previously in the ,collection of ,mr4 ,g4 ,h4 ,marland 7sold in #ahfc71 and in the ,collection of ,mr4 ,william ,graham 7sold in #ahhf74 ,the ,virgin1 a small full-length figure1 is seated on a red and white marble throne1 wearing a pale-red robe and a gold brocade mantle lined with green carried up over the head1 which is adorned with a white veil4 ,the ,holy ,child1 standing on her lap1 has on a gold dress and a white sash4 ,behind these two figures there is a hanging of pale-red1 watered silk and behind the throne again there is a gold hanging with the pomegranate pattern4 ,the ,holy ,child turns to the right in the act of blessing4 ,on the step of the throne1 which has a conspicuous crack1 two pears#af are lying2 and they have attracted a fly4 ,the step is inscribed3 8,carolvs ,crivellvs ,venetvs ,pinsit1 #adgb40 ,illustration3 ,collection of ,mr4 ,a4 ,w4 ,erickson ,,madonna ,,and ,,child --,crivelli 8,the effect is archaic and almost ,byzantine10 ,g4 ,mc,neil ,rushforth writes in his ,carlo ,crivelli 7,london1 #aijj71 8but its merits are very great40 8,though on a comparatively small scale the decorative effect is superb4 ,the ,child's head is heavy and inferior to that of the ,virgin1 but the action is lively and realistic4 ,the great charm1 however1 of the picture is the ,virgin4 ,her features are not beautiful and the drawing of the hands might be criticized4 ,but if ever grace and dignity were conceived and executed by ,crivelli1 they are here4 ,preminently does this ,virgin possess all that we understand by distinction4 ,taken separately1 the turn of the head and the action of the fingers might be called affected4 ,but they do not offend as parts of the whole1 so perfectly has the artist defined the ideal that was before his mind4 ,a curious feature in the picture is the treatment of the drapery4 ,the folds of the brocaded mantle are more elaborate than anything which ,crivelli had yet attempted1 and they are expressed by clear-cut lines without any shadow40 ,,madonna ,,and ,,child4 ,carlo ,crivelli 7#adcj8-adic874 ,collection of ,mr4 ,philip ,lehman4 ,this beautiful picture belongs to ,crivelli's greatest period1 when the artist had reached the height of his powers1 had attained perfect command of the problems of composition1 and had gained the technique to represent those materials he delighted in1--such as brocades1 marbles1 and garlands of fruit1 which he always combined with such decorative beauty4 ,roger ,fry says of this picture3 8,it has1 in a supreme degree1 the delicacy and the almost metallic incisiveness of ,crivelli's contour as well as the firmness and brilliance of his painting4 ,the ,madonna supporting the ,child upon her right arm1 is seated in one of those sumptuous ,renaissance thrones1 which ,crivelli loved to elaborate with every conceivable ingenuity of invention4 ,though the forms are intended to be ,classic1 it is evident from the proportions of the mouldings and something in the character of the detail that ,crivelli is still essentially an old ,venetian artist1 one who uses ,classical conventions with a ,gothic exuberance4 ,illustration3 ,collection of ,mr4 ,philip ,lehman ,,madonna ,,and ,,child --,crivelli 8,this is a work of ,crivelli's prime4 ,indeed1 it would be hard to name another design in which he shows quite such mastery as he does here4 ,there is hardly another work in which the sequence of lines is so suave1 its flow so uninterrupted1 or in which the movements of the figures harmonize so perfectly4 ,it is already almost a cinque-cento work as regards the amplitude of its forms and the breadth of its divisions4 ,one notes1 for instance1 that the fruits hanging on the throne are even more enlarged and more massed than usual1 so that the quantities of relief support and carry out the relief of the figures in a remarkable manner4 ,much of the earlier intensity of feeling has undoubtedly gone4 ,this has none of the strange1 brooding pathos of the early ,madonnas1 nor has it the sharp individual accent of their faces4 ,the works with which it appears to be most akin are the ,vatican ,madonna and the ,triptych in the ,brera1 both of #adhb40 ,,the ,,virgin ,,and ,,child ,,with ,,st4 ,,lucy1 ,,st4 ,,catherine1 ,,st4 ,,peter ,,and ,,st4 ,,john ,,the ,,baptist4 ,giovanni ,bellini 7#adbh-cj-aeaf74 ,collection of ,mr4 ,jules ,s4 ,bache4 ,this is the type of group picture known as a 8,holy ,conversation0 and represents the ,virgin and ,child with ,saints4 ,it seems to have been painted when ,bellini was between seventy-two and seventy-seven years of age and between the years #aejj and #aeje4 ,the figures are three-quarter length and under life-size and the picture1 which is an oil painting on canvas1 measures #ch #fj inches4 ,the ,virgin is seated in the centre with a dark-grey curtain behind her and a marble balustrade in front of her4 ,she wears a rose-colored tunic and a blue mantle lined with a changeable green and yellow silk4 ,the ,holy ,child leans back against her right arm4 ,on her right stands ,st4 ,catherine with a rope of pearls twisted in her hair and ,st4 ,lucy1 on her left1 wearing a myrtle wreath and holding a tall standing-cup of ,venetian glass4 ,st4 ,john the ,baptist1 wearing a green mantle1 stands on the right1 looking downward with bended head2 and ,st4 ,peter1 in orange-brown cloak with book and key1 stands on the left4 ,a very decorative effect is derived from the palm-branches1 which curve upwards into the top corners of the picture4 ,a range of distant hills appears in the background and on the cartellino on the balustrade is the signature in script1 8,ioannes ,bellinus40 ,illustration3 ,collection of ,mr4 ,jules ,s4 ,bache ,,the ,,virgin ,,and ,,child ,,with ,,st4 ,,lucy1 ,,st4 ,,catherine1 ,,st4 ,,peter ,,and ,,st4 ,,john ,,the ,,baptist --,giovanni ,bellini ,authority for dating the picture is derived from the fact that the features of ,st4 ,lucy reappear in the ,san ,zaccaria altar-piece1 which is dated #aeje1 and the features of ,st4 ,john the ,baptist occur in the ,baptism of ,christ in ,santa ,corona1 ,vicenza1 supposed to have been begun in #aejj4 ,the picture came from the ,benson ,collection1 having been formerly in the ,wynn ,ellis ,collection and in the ,collection of ,mr4 ,william ,graham4 ,illustration3 ,collection of ,mr4 and ,mrs4 ,nicholas ,f4 ,brady ,,the ,,virgin ,,and ,,child --,giovanni ,bellini ,the date of ,giovanni ,bellini's birth is not known4 ,he was working with his brother1 ,gentile1 in his father's studio in ,padua and was painting in ,venice in #adfd1 where he produced two pictures for the ,scuola di ,san ,girolamo4 ,in #adge he met ,antonello da ,messina1 who came to ,venice1 and seems to have adopted then his method of painting in oil4 ,in #adgi1 when ,gentile ,bellini went to ,constantinople1 ,giovanni was appointed to carry on his work in the ,doge's ,palace2 and when ,gentile returned the two brothers worked together4 ,giovanni was essentially a religious painter and his ,madonnas stand among the finest ever created4 ,most of his portraits are lost2 but one1 the ,doge ,loredano 7in the ,national ,gallery1 ,london71 ranks as one of the finest of all known portraits4 ,this dates from #aeja1 painted when ,giovanni was over eighty6 ,giovanni died in #aeaf4 ,,the ,,virgin ,,and ,,child4 ,giovanni ,bellini 7#adbh-cj-aeaf74 ,collection of ,mr4 and ,mrs4 ,nicholas ,f4 ,brady4 ,the ,madonna at half-length turned towards the left1 supports the ,holy ,child with both arms as ,he reclines in her lap against her right knee1 which is raised4 ,she is dressed in a blue mantle arranged to form a hood1 with embroidered border4 ,a graceful white veil1 also embroidered1 covers the head and falls below the neck4 ,the ,holy ,child gazes upward into his mother's face and she1 with eyes slightly veiled by drooping lids1 looks tenderly downward towards him4 ,the background is hilly1 with a castle on the left4 ,the picture1 oil on a panel 7#bh #bc7 is signed 8,joannes ,bellinus40 ,this ,bellini ,madonna comes from the ,collection of the ,grand ,dukes of ,oldenburg1 ,oldenburg ,castle1 near ,bremen1 ,germany1 and was also formerly in the ,collection of ,count ,montija in ,madrid4 ,much has been written about ,bellini's ,madonnas4 ,they differ greatly from those painted by the ,florentines2 and the following sympathetic note tells us why3 8,if we turn to the religious art of ,venice1 we shall be struck by a lack of anything like mystic rapture1 or absorption in the sufferings of ,christ4 ,we have but two examples in ,venice of ,bellini's portrayal of the facts of ,christ's mature life1 but he has treated the theme of the ,madonna and ,child with a unique profundity4 ,the mystery of life seems to be shadowed in the face of the ,madonna2 his saints and apostles1 so striking in their individuality1 so virile in their piety1 have a significance beyond their perfect act of worship4 ,no ,venetian religious painter before ,tintoretto equalled ,bellini in solemnity and depth of conception2 but in all we find the same pervading calm1 the same absence of tumult1 or the disturbing elements of pain or agony40#ag ,is it not the quietness of ,bellini's ,madonnas that give them their peculiar charm8 ,,madonna ,,and ,,child4 ,giovanni ,bellini 7#adbh-cj-aeaf74 ,collection of ,mr4 ,philip ,lehman4 ,this picture came from the ,collection of ,prince ,potenziani1 of ,rieti1 ,italy1 and represents the ,virgin standing behind a parapet and supporting the ,holy ,child who is standing upon it4 ,her mantle and tunic are decorated with a border of embroidery and over the mantle falls her heavy white veil which might be described as a hood1 showing a little of her wavy hair4 ,the face of the ,virgin is a perfect oval1 her eyes are set far apart1 her nose is long and aquiline1 and her mouth a little discontented4 ,her arm and wrist are beautifully modelled and so is the thumb of her right hand4 ,this hand is noticeably wide4 ,the left hand does not seem to match the right2 it is coarser4 ,the ,holy ,child is leaning against ,his mother's left shoulder and looking out of the picture4 ,he wears a little tunic over a white shirt with sleeves and a wide1 blue sash with a striped pattern4 ,a close-fitting cap is tied with ribbons under ,his chin4 ,his right hand is lifted in blessing and ,his left is clasping the fingers of ,his mother's right hand4 ,on the right of the parapet a crystal ball is lying and on the left a capsicum-pod1 and behind the ,madonna's head hangs a heavy swag of capsicum4 ,the landscape in the background is noticeably fine4 ,on the left1 a road winds through trees to the gates of a city with high ,gothic towers2 on the right1 a river flows past hills crowned with castles4 ,clouds fill the sky4 ,the nimbi are quite unusual4 ,this is evidently an early work and not a little of ,mantegna's influence is apparent in it4 ,illustration3 ,collection of ,mr4 ,philip ,lehman ,,madonna ,,and ,,child --,giovanni ,bellini ,,the ,,feast ,,of ,,the ,,gods4 7,,il ,,baccanale47 ,giovanni ,bellini 7#adbh-cj-aeaf74 ,collection of ,mr4 ,joseph ,e4 ,widener4 8,in the year #aead0--this is ,vasari's narrative--8,duke ,alfonso of ,ferrara had caused a little chamber to be decorated and had commissioned ,dosso1 the painter of ,ferrara1 to execute in certain compartments stories of neas1 ,mars1 and ,venus and1 in a grotto1 ,vulcan with two smiths at the forge2 and he desired that there should also be there pictures by the hand of ,gian ,bellini4 ,bellini painted on another wall a vat of red wine with some ,bacchanale around it and ,satyrs1 musicians and other men and women all drunk with wine1 and near them a nude and very beautiful ,silenus riding on his ass1 with figures about him that have their hands full of fruits and grapes2 which work was in truth executed and colored with great diligence1 inasmuch that it is one of the most beautiful pictures that ,gian ,bellini ever painted1 although in the manner of the draperies there is a certain sharpness after the ,german manner 7nothing1 indeed1 of any account7 because he imitated a picture by the ,fleming1#ah ,albrecht ,drer1 which had been brought in those days to ,venice and placed in the ,church of ,s4 ,bartolommeo1 a rare work and full of most beautiful figures painted in oils4 ,on that vat ,gian ,bellini wrote these words3 #8,joannes ,bellinus ,venetus ,p4 #aead4' ,that work he was not able to finish completely1 because he was old1 and ,tiziano1 as the most excellent of all the others1 was sent for to the end that he might finish it40 ,titian's work is to be found in the landscape-background1--which is an exact view of ,titian's own ,cadore4 ,this landscape1 with its valley and rocky hill surmounted by a castle with towers1 bathed in warm1 luminous light1 was the finest that had ever been painted up to that time4 ,bellini only lived two years after painting ,the ,feast of the ,gods4 ,in #aeae he painted the so-called ,venus of the ,belvedere and he died in the following year4 8,so easy is the passage from ,bellini's art to ,titian's1 that the transition creates no contrast4 ,the tone throughout is harmonized1 and the art of the ,fifteenth and ,sixteenth ,centuries meets and mingles in perfect fellowship10 ,crowe and ,cavalcaselle note4 ,this picture1 an oil painting on canvas 7#fg #gd inches7 came from the ,collection of the ,duke of ,northumberland at ,alnwick ,castle1 ,england1 having been previously in the ,collection of ,cardinal ,pietro ,aldobrandini and in that of ,cardinal ,ludovico ,ludovisi1 ,rome4 ,these two villas1 upon whose walls ,the ,feast of the ,gods hung for so many years1 are very celebrated4 ,the ,villa ,aldobrandini is one of the most notable residences near ,rome4 ,it is situated on the slope of a mountain overlooking ,frascati and was built by ,cardinal ,pietro ,aldobrandini1 who entrusted its decoration to the most eminent artists of his day1 such as ,jacopo della ,porta1 ,domenichino1 ,giuseppe ,gesari1 and ,giovanni ,fontana4 ,here1 too1 were gathered the most precious relics of ancient art1 while the gardens1 adorned with vases1 statues1 colonnades1 and sparkling fountains1 made the exterior a place of marvellous beauty and charm4 ,the view of mountains and sea suggested the name of ,belvedere4 ,the ,villa belongs to-day to the ,borghese family1 who inherited it from the ,aldobrandini4 ,illustration3 ,collection of ,mr4 ,joseph ,e4 ,widener ,,feast ,,of ,,the ,,gods --,giovanni ,bellini ,the ,villa ,ludovisi1 frequently called the ,piombino ,palace1 is situated on the site of the ancient gardens of ,sallust4 ,this palace was erected in #afbb by ,cardinal ,ludovico ,ludovisi1 nephew of ,pope ,gregory ,,xv1 who selected ,domenichino for his architect and the famous ,le ,ntre for his landscape-gardener4 ,the property passed by inheritance to the ,princess of ,piombino 7,buonocampagni-,ludovisi74 ,art-lovers know the name in connection with the colossal and magnificent head of the ,juno ,ludovisi 7,fifth ,century1 ,b4 ,c472 and it will be remembered that the ,juno ,ludovisi and other antiques from the ,villa ,ludovisi formed the ,museo ,buonocompagni4 ,,the ,,virgin ,,and ,,child4 ,titian 7#adgg8-aegf74 ,collection of ,mr4 ,jules ,s4 ,bache4 ,the ,virgin1 in profile1 seated on a stone seat1 has auburn hair--8,titian hair0--which is relieved against a dark-green curtain4 ,her robe is pale rose-color with slashes of white and her mantle of cobalt blue like the landscape1 8which resembles the sea at midday40 ,she also wears a white veil4 ,she is looking with great tenderness at the ,holy ,child1 lying at full length on her lap and smiling at her4 ,the composition is most beautiful and the introduction of the trees gives perpendicular lines which contrast delightfully with the general horizontal effects4 ,lionel ,cust calls it a picture of great charm1 as indeed it is1 and says3 8,the ,virgin leans tenderly over the ,child lying upon her knees4 ,this composition is treated in the same manner as the picture at ,bergamo1 the ,virgin and ,child with ,st4 ,bridgit and ,st4 ,ulphus1 in the ,prado at ,madrid1 and a few others4 ,in all of these works the sentiment is that of ,giorgione1 even though the execution is of the hand of ,titian2 and one could not think of attaching another name than his to this picture and to that at ,madrid4 ,it will be noticed also that the two tree-trunks1 so much in evidence at the back of the picture1 constitute a leit-motiv1 which ,giorgione first employed and which ,titian imitated40 ,illustration3 ,collection of ,mr4 ,jules ,s4 ,bache ,,the ,,virgin ,,and ,,child --,titian ,herbert ,f4 ,cook in his ,giorgione 7,london1 #aijg71 gives this painting to ,giorgione1 sustaining the claim by the following3 8,the marble parapet is a feature in ,giorgione's work1 but not in ,titian's4 ,but the most convincing evidence to those who know the master lies in the composition1 which forms an almost equilateral triangle1 revealing ,giorgione's supreme sense of beauty in line4 ,the splendid curves made by the drapery1 the pose of the ,child1 so as to obtain the same unbroken sweep of line1 reveal the painter of the ,dresden ,venus4 ,the painting of the ,child's hand over the ,madonna's is precisely as in the ,madrid picture1 where1 moreover1 the pose of the ,child is singularly alike4 ,the folds of drapery on the sleeve recur in the same picture1 the landscape with the small figure seated beneath the tree is such as can be found in any ,giorgione background4 ,the oval of the face and the delicacy of the features are thoroughly characteristic1 as is the spirit of calm reverie and tender simplicity which ,giorgione has breathed into his figures40 ,whether by ,titian1 or by ,giorgione1 or by both1 the painting is a gem4 ,if by ,giorgione1 it would be even more valuable1 as this master is so rare4 ,the painting1 oil on panel 7#ah #bb inches71 came from the ,benson ,collection and was formerly at ,burghley ,house1 ,stamford1 ,northamptonshire1 having been acquired in ,italy between #afij and #agjj by the ,earl of ,exeter4 ,tiziano ,vecellio was born about #adgg at ,pieve di ,cadore1 the son of ,gregorio ,vecelli1 and was taken to ,venice at the age of ten and apprenticed to a mosaic-worker4 ,after this he studied in ,giovanni ,bellini's bottega1 where he had for a fellow-pupil1 ,giorgione1 with whom he was associated in decorating the ,fondaco dei ,tedeschi4 ,titian visited ,padua1 ,rome1 and1 in #aeaf1 ,ferrara4 ,commissions of all kinds followed rapidly and ,titian became the most famous painter of his time4 ,he lived in splendid style and his long life was filled with magnificent painting and magnificent results4 ,titian died of the ,plague in #aegf4 ,in his long life1 crowned with every kind of success1 ,titian painted with superlative skill every sort of subject4 ,titian was one of the greatest masters the world has ever known4 8,in attempting to picture ,titian10 writes ,taine1 8we imagine a happy man1 the happiest and the healthiest of his species1 ,heaven having bestowed upon him nothing but favors and felicities3 the first among his rivals2 visited in his house by the ,kings of ,france and ,poland2 a favorite of the ,emperor1 of ,philip ,,ii1 of the ,doges1 of ,pope ,paul ,,iii1 of all the ,italian princes2 created a knight and a count of the ,empire2 overwhelmed with orders2 liberally paid1 pensioned1 and worthily enjoying his good fortune4 ,he kept house in great state1 dressed himself splendidly1 and entertained at his table cardinals1 lords1 the greatest artists and the ablest writers of his day4 ,beauty1 taste1 cultivation1 and talent play and reflect back upon him1 as if from a mirror the brightness of his own genius4 ,his brother1 his son1 ,orazio1 his two cousins1 ,cesare and ,fabrizio1 and his relative1 ,marco di ,tiziano1 were all excellent painters4 ,his daughter1 ,lavinia1 dressed as ,flora1 with a basket of fruit on her head1 supplied him with a model of fresh complexion and ample form4 ,his talent flows on like a great river in its bed1 nothing disturbs its course1 and its own increase is sufficient4 ,like ,leonardo and ,michelangelo1 ,titian sees nothing outside of his art40 ,,caterina ,,cornaro1 ,,queen ,,of ,,cyprus4 ,titian 7#adgg-aegf74 ,collection of ,mr4 ,john ,ringling4 ,proud and handsome this famous ,queen and beauty looks down upon us from the centuries4 ,she is wearing a dress of gold and green striped velvet with a pink camelia at her neck and one of those fashionable1 tall1 sugar-loaf head-dresses--called in ,france the hennin--with jewelled band around the rim and a floating veil4 ,very beautifully are her pearls painted2 and1 fastened by a chain to a bracelet on her left wrist1 is a pet chameleon4 ,this portrait1 oils on canvas 7#dc #ch inches71 came from the ,ricardi ,palace1 ,florence1 and from the ,collection of ,r4 ,s4 ,holford1 ,esq41 ,dorchester ,house4 ,caterina ,cornaro1 8,la ,reine de ,chypre10 famous in song and story1 was the daughter of ,marco ,cornaro1 a noble ,venetian and descendant of the ,doge of the same name1 and ,florence1 daughter of ,niccol ,crispo1 ,duca dell' ,archipelago4 ,caterina was born in ,venice in #aded1 educated at the ,convent of ,san ,benedetto in ,padua1 and reared in all the wealth and elegance of the time4 ,at an early age she was married to the ,king of ,cyprus1 ,jerusalem1 and ,armenia 7,jacques de ,lusignan71 who chose her from sixty-two of the most beautiful women of ,venice4 ,the ,senate1 having adopted ,caterina ,cornaro as a daughter of the ,republic1 gave her a dowry of a hundred thousand golden ducats and agreed to defend the ,kingdom of ,cyprus against all enemies4 ,the wedding took place by proxy in ,venice in #adgb and was celebrated with great magnificence4 ,the ,doge1 himself1 ,cristoforo ,moro1 called for the bride at her palace in the ,bucentaur and accompanied her to the ,venetian ship in which she embarked with a regal suite for her new home4 ,after experiencing several accidents at sea1 the beautiful ,venetian lady arrived in ,cyprus1 where her rare beauty and charming manners captivated the entire population4 ,within two years her husband died and ,caterina then reigned over ,cyprus for fourteen years1 subject1 however1 to the strict surveillance of ,venice4 ,at last1 wearied by restrictions and intrigues1 the ,queen of ,cyprus in #adhi returned to ,venice with her beloved brother1 ,giorgio ,cornaro1 and made a solemn transfer of all her claims in ,cyprus to the ,doge4 ,caterina then went to ,frattalonga1 situated at the foot of the ,asolani mountains1 to meet the ,emperor ,maximilian1 who was on his way home from ,milan to ,vienna2 and the place pleased her so much that she obtained from the ,doge1 ,agostino ,barbarigo1 the investiture of ,asolo and its district4 ,a few months later--in ,october #adhi--;,caterina returned to ,asolo with a suite of four thousand persons and established a ,court in the ,castle1 where she lived for twenty-one years1 protected by troops granted to her by the ,republic of ,venice4 ,in this beautiful residence ,caterina was said to have held three ,courts--that of the ,muses2 that of ,love2 and that of her own1 which was of great magnificence4 ,the leading spirit there was the celebrated poet1 ,pietro ,bembo1 7in later years ,cardinal ,bembo71 who wrote his famous dialogues of love1 ,gli ,asolani1 here in #adij1 for the superb marriage festivities of one of ,caterina's maids-of-honor4 ,every illustrious personage of the period visited the ,court at ,asolo4 ,illustration3 ,collection of ,mr4 ,john ,ringling ,,caterina ,,cornaro ,,queen ,,of ,,cyprus --,titian ,during the wars occasioned by the ,league of ,cambrai 7#aejh71 ,caterina returned for safety to ,venice and died there in #aeaj1 in the palace of her brother1 ,giorgio1 who was then procurator of ,st4 ,mark's4 ,titian painted several other portraits of ,caterina ,cornaro1 of which the one in the ,uffizi is the most famous1 representing the ,queen of ,cyprus with her golden crown studded with large pearls and an over-dress or coat of rich green brocade4 ,,giorgio ,,cornaro ,,with ,,falcon4 ,titian 7#adhi-aegf74 ,collection of ,mr4 ,a4 ,w4 ,erickson4 ,we have here a famous ,venetian statesman and general of the ,sixteenth ,century1 beloved brother of ,caterina ,cornaro1 ,queen of ,cyprus 7see page #adc71 representing him probably in the habit he liked best of all--that of a sportsman with his pet falcon4 ,here he stands1 three quarters to the right1 in a slate-colored hunting coat with brown fur collar and with a black belt at the waist from which hangs a sword1 bound with a crimson sash4 ,his curly hair and beard are chestnut color and his eyes are very bright4 ,his head is raised and he looks intently at his falcon perched upon his left gloved hand1 with hood1 bill and jacket attached1 and with his right hand grasps the bird's breast4 ,from the left hand corner the head of a white1 liver-spotted hound looks up4 ,the background is dark4 ,the painting1 an oil on canvas 7#dc #ch inches7 was formerly in the ,collections of the ,carignan branch of the ,royal ,house of ,piedmont2 ,louis ,franois de ,bourbon1 ,prince de ,conti2 the ,earl of ,carlisle1 ,castle ,howard1 ,yorkshire1 ,england2 and ,dr4 ,edward ,simon1 ,berlin4 ,crowe and ,cavalcaselle in their ,life and ,times of ,titian 7,london1 #ahha7 say of this work3 8,titian never produced a finer picture than which now adorns the gallery of ,castle ,howard4 ,this beautiful work is modelled with all the richness of tone and smoothness of surface which distinguishes polished flesh4 ,the attitude is natural1 the complexion warm and embrowned by the sun2 and every part is blended with the utmost finish without producing want of flexibility40 ,illustration3 ,collection of ,mr4 ,a4 ,w4 ,erickson ,,giorgio ,,cornaro ,,with ,,falcon --,titian ,giorgio ,cornaro succeeded his father1 ,marco ,cornaro in #adgi1 he being about twenty-five4 ,italian historians are fond of attributing the ,victory of ,cadore to ,giorgio ,cornaro1 who lived until #aebg1 having played an important part all his life in ,venetian politics4 ,,maximilian ,,sforza1 ,,duke ,,of ,,milan4 ,bartolommeo ,veneto 7#adhj-aeee74 ,collection of ,mr4 ,henry ,goldman4 ,this portrait1 oil on panel 7#cj #bc inches71 was formerly in the ,palazzo ,sforza and later hung in the ,casa ,perego1 ,milan1 until the entire ,casa ,perego ,collection was bought in the early ,nineteenth ,century by ,senator ,crespi of ,rome1 in whose gallery it remained until the ,crespi ,collection was sold4 ,it is doubly interesting as a work of art and as the representation of an important character in ,italian history4 ,bernhard ,berenson calls it 8one of the most manly portraits and one of the most beautiful paintings of the ,italian ,renaissance40 ,the half-length figure is seen almost full front1 but the head is turned slightly to the left4 ,all the ,italian ,renaissance seems to be expressed in this proud1 distinguished person and in his rich dress1 which consists of a coat of green velvet trimmed with bands of gold1 a finely embroidered white shirt1 black waistcoat with horizontal gold stripes and a rich fur collar1 which he clasps with his right hand on the index finger of which is a handsome ring4 ,his dark hair falls to the shoulders and is surmounted by a black velvet cap1 on the side of which is a gold and enamelled medal showing an allegorical female figure with the date #aeab1 of the kind that all the fashionable gentlemen were wearing at that period4 ,a red curtain falls behind the figure and on the wall hangs a picture in which are introduced figures from ,drer's famous woodcut1 ,the ,knight and the ,lansquenet4 ,in front of the sitter is a narrow ledge1 or balustrade1 with a card in the centre1 which originally carried the signature of ,bartolommeo ,veneto4 ,illustration3 ,collection of ,mr4 ,henry ,goldman ,,maximilian ,,sforza --,bartolommeo ,veneto ,maximilian ,sforza was the son of ,ludovico ,sforza1 8,il ,moro10 ,duke of ,milan1 the most illustrious prince of ,italy1 and ,beatrice d',este1 one of the most fascinating and brilliant women of the ,italian ,renaissance4 ,maximilian was born on ,january #be1 #adic1 in the ,castello of ,milan1 and was named ,ercole out of compliment to his grandfather1 ,duke ,ercole of ,ferrara4 ,he was brought up in the most brilliant of ,courts and his education and training were of the very best4 ,his mother was devoted to him and constantly mentions him in her letters4 ,ercole appears in the great altar-piece attributed to ,zenale1 now in the ,brera1 kneeling by the side of his father4 ,the portrait of this little child must be a good one1 for we see the same face grown older in the ,veneto portrait before us4 ,on the altar-piece1 just mentioned1 ,ercole's younger brother kneels by the side of ,beatrice d',este4 ,it was during a visit of the ,emperor ,maximilian to ,ludovico and his wife in #adif that ,ercole received his new name4 ,the ,emperor1 again charmed by ,beatrice1 took great interest in her two sons and requested that the elder should be called ,maximilian4 ,but the brilliant days passed and sorrows came4 ,the beautiful1 gifted mother died in ,january1 #adig1 and the ,french invaded ,milan4 ,ludovico determined to seek safety in flight and sent his two sons to ,germany under the care of his brother1 ,cardinal ,ascanio ,sforza1 ,cardinal ,sanseverino1 and their kinswoman1 ,camilla ,sforza4 8,a truly piteous and heart-breaking sight it was10 wrote an eye-witness1 8to see these poor children embrace their beloved father1 whose face was wet with their tears40 ,twenty mules laden with baggage and a large chariot drawn by eight horses and containing ,ludovico's precious jewels and #bdj1jjj gold ducats followed in the train of the young princes4 ,these young gentlemen never saw their father again1 for 8,il ,moro0 was captured1 taken to ,paris1 and imprisoned in the castle of ,loches1 where he died in #aejh4 ,an ,italian writer1 ,marino ,sanuto1 exclaimed on the terrible fate of ,ludovico3 8,only think1 reader1 what grief and shame so great and glorious a lord1 who had been held to be the wisest of monarchs and ablest of rulers1 must have felt at losing so splendid a state in these few days1 without a single stroke of the sword4 ,let those who are in high places take warning1 considering the miserable fall of this lord1 who was held by many to be the greatest prince in the world1 and let them remember that when ,fortune sets you on the top of her wheel1 she may at any moment bring you to the ground40 ,the rest of the story is well told in ,mrs4 ,cartwright's ,beatrice d',este 7,london1 #ahhi73 8,meanwhile ,beatrice's sons grew up at ,innsbrck1 under the care of their cousin1 the ,empress ,bianca4 ,it was a melancholy life for these young princes1 born in the purple and reared in all the luxury and culture of ,milan4 ,and when their cousin1 ,bianca1 died in #aeaj1 they lost their best friend4 ,but a sudden and unexpected turn of the tide brought them once more to the front4 ,that warlike pontiff1 ,julius ,,ii1 who1 as ,cardinal della ,rovere1 had been one of the chief instruments in bringing the ,french into ,italy1 entered into a league with ,maximilian to expel them and reinstate the son of the hated ,moro on the throne of ,milan4 ,they succeeded so well that in #aeab1 four years after ,ludovico's death at ,loches1 young ,maximilian ,sforza entered ,milan in triumph amidst the enthusiastic applause of the people4 ,once more he rode up to the gates of the ,castello1 where he was born1 and took up his abode there as reigning duke4 ,but his rule over ,lombardy was short4 ,a handsome1 gentle youth1 without either his father's talents or his mother's high spirit1 ,maximilian was destined to become a passive tool in the hands of stronger and more powerful men4 ,his weakness and incapacity soon became apparent1 and when1 three years later1 the new ,french ,king1 ,francis ,i1 invaded the ,milanese and defeated the ,italian army at ,marignano1 the young duke signed an act of abdication and consented to spend the rest of his life in ,france4 ,there he lived in honorable captivity1 content with a pension allowed him by ,king ,francis and with the promise of a ,cardinal's hat held out to him by the ,pope1 until he died in ,may1 #aecj40 ,bartolommeo ,veneto 7or ,bartolommeo ,veneziano71 born in #adhj1 was a pupil of ,giovanni ,bellini1 whose influence is apparent in ,veneto's early pictures4 ,in #aejf-aejh ,veneto was painting for ,lucrezia ,borgia in ,ferrara and after that he was engaged at the ,court of ,milan1 where he painted this portrait of ,maximilian ,sforza4 ,the picture bears the date #aeab1 which was the year the young ,duke returned to ,milan4 ,bartolommeo ,veneto was famous for his portraits4 ,he lived for sometime in ,lombardy and1 like all the painters of the time and place1 fell under the influence of ,leonardo da ,vinci4 ,as the last trace of him appears on a portrait in the ,uffizi1 dated #aeee1 it is supposed that ,veneto died in that year4 ,a ,,scene ,,along ,,the ,,adriatic ,,coast4 ,francesco ,guardi 7#agab-agic74 ,collection of ,mrs4 ,charles ,b4 ,alexander4 ,guardi1 a pupil of ,canaletto1 devoted himself to the study of his native city1 ,venice1 where he was born in #agab and where he painted steadily until his death in #agic4 ,guardi ranks with ,canaletto and ,turner as one of the three greatest painters of the 8,dream ,city0 as ,charles ,dickens called ,venice4 ,in ,guardi's long list of pictures we have a perfect history in paint of the 8,queen of the ,adriatic0 during the ,eighteenth ,century4 ,there are innumerable views of the ,grand ,canal2 of both the exterior and the interior of ,san ,marco2 of ,san ,giorgio1 the ,salute1 ,san ,zaccaria1 and other churches2 of the ,fondaco dei ,tedeschi 7the ,german banking-house72 the ,doges ,palace2 the ,piazza and the ,piazzetta2 scenes on the outlying islands2 views on the ,lagoons2 and pictures of processions of the ,doges and of festivals of the church4 ,the picture presented here shows a scene outside of ,venice1 but not far away2 and it is a beautiful and characteristic work of ,guardi1 both as to composition and color4 ,the painting came from the ,collection of the ,baron ,maurice de ,rothschild of ,paris to its present owner1 ,mrs4 ,charles ,b4 ,alexander of ,new ,york4 ,illustration3 ,collection of ,mrs4 ,charles ,b4 ,alexander ,a ,,scene ,,along ,,the ,,adriatic ,,coast --,francesco ,guardi ,,flemish ,,painting ,,flemish ,,painting ,flemish ,painting in the ,fourteenth ,century was based on the miniature-painting that illustrated the ,medival manuscripts3 indeed1 many of the early paintings look like enlarged versions of the little pictures that adorn the vellum pages of missals and old romans4 ,the early painters were influenced by the ,school of ,cologne until the two ,van ,eycks 7,hubert1 #acff-adbf1 and ,jan1 #achj-adda71 by their marvellous painting and by the followers they attracted1 raised ,flemish ,art into importance and gave it a standing by itself as the ,school of ,bruges4 ,little is known of the lives of these painters except that they stood high in the favor of ,philip the ,good1 ,duke of ,burgundy1 who frequently sent ,jan on missions to foreign countries1 and that the brothers painted the great and famous altar-piece1 the ,adoration of the ,lamb1 for the ,cathedral of ,st4 ,bavon in ,ghent4 ,this great work1 which is one of the most celebrated of all altar-pieces1 is a landmark in the history of painting4 ,it may be said to have inaugurated the ,flemish ,school2 and it marks an innovation as well4 ,this ,adoration of the ,lamb was ordered by ,jodocus ,vydts1 a burgomaster of ,ghent1 and his wife1 ,isabella ,borluut1 for their mortuary chapel in the ,cathedral of ,st4 ,bavon2 and ,van ,mander relates that when it was finished 8swarms of people0 came to gaze upon it2 but1 as the wings were closed except on special festivals1 8few but the high-born and those who could afford to pay the custos saw it40 ,it must be remembered that at this period changes were also taking place in ,italy under ,gentile de ,fabriano1 ,pisanello1 and ,masaccio4 ,whether the ,van ,eycks invented oil-painting or not1 they had much to do with perfecting the process and influencing others to the use of the new method4 ,the ,van ,eycks had as pupils and followers all the ,flemish and ,german painters of the day and their influence was even felt in ,italy1 where their pictures sold for their weight in gold4 ,in #adbe ,philip the ,good1 ,duke of ,burgundy1 took ,jan van ,eyck into his service as painter and 8varlet de chambre20 and ,jan1 thereafter1 seems to have spent his life at the ,court1 painting portraits and designing variously1 going on embassies for the ,duke1 and painting in ,bruges and in ,lille4 ,as a portrait-painter ,jan van ,eyck is ranked with ,drer1 ,holbein1 ,raphael1 ,titian1 ,van ,dyck1 and the other great ones in this line4 ,undoubtedly1 ,jan van ,eyck moved about a good deal through the ,duke of ,burgundy's immense domain1 which included all the ,low ,countries and a great part of what is now ,france4 ,we are apt to think of these early painters who laid the foundations of modern art as living in a much simpler day than our own4 ,it is true that in the ,fifteenth ,century the ,middle ,ages were still holding their own in ,flanders--the ,renaissance moved very slowly northward--but it was a time of great prosperity and great luxury1 especially in the ,burgundian country4 ,philip the ,bold1 ,duke of ,burgundy1 son of the ,king of ,france1 was the most luxurious prince of his time4 ,his titles show his power4 ,he was ,duke of ,burgundy1 of ,brabant1 of ,lothier and of ,luxembourg2 ,count of ,flanders1 of ,artois1 and of ,burgundy2 ,palatine of ,hainault1 of ,holland1 of ,zeeland1 of ,namur1 and of ,charolais2 ,marquis of the ,holy ,empire2 and ,lord of ,friesland1 of ,salins1 and of ,mechlin4 ,the ,house of ,burgundy1 therefore1 by its inheritances1 alliances and conquests1 had attained such power as even to overshadow the ,french throne4 ,philip the ,good 7#acif-adfg7 was even more luxurious than his grandfather1 ,philip the ,bold4 ,his ,court was unequalled in ,europe and was subject to the strictest rules of etiquette4 ,his palaces in ,brussels1 ,dijon1 and ,paris were sumptuously furnished and his collections of tapestries1 gold-work1 silver-work1 jewels1 embroideries1 illuminated manuscripts1 and printed books excited the admiration of such travellers and chroniclers as were privileged to see them and who1 fortunately for us1 have left accounts for us to read4 ,at this period1 too1 the ,flemings were the great craftsmen of ,europe and they produced every kind of article required for the tastes and comfort of the wealthy ,burgundians4 ,brussels and ,dijon became veritable ,meccas for ,medival artists1 while ,bruges1 ,tournay1 ,arras1 ,ypres1 ,ghent1 and ,dinant held a welcome for any able craftsman or artist1 who1 driven from ,england1 ,france1 or ,italy by the civil wars1 sought refuge and work4 ,and there was plenty of work to be done6 ,artistic designs of all kinds were needed for tapestry-workers1 for the goldsmiths and silversmiths1 for the furniture-makers1 and for craftsmen busy in making articles for household use or for personal decoration4 ,moreover1 for the great entertainments1 such as weddings1 receptions of princes1 or celebrations in honor of the ,knights of the ,golden ,fleece1 and other important functions1 a veritable army of painters1 sculptors1 illuminators1 carvers1 and machinists was needed to design1 plan1 and execute the entremets exhibited during the banquets and the grand decorations erected in the streets through which the processions passed4 ,we shall gain a better idea of the spirit of early ,flemish ,art if we pause for a moment to look into the palace at ,lille1 in #aded1 when ,philip the ,good was celebrating the 8,feast of the ,pheasant40 ,the large hall was hung with tapestry representing the ,labors of ,hercules4 ,the dressoir of enormous size was adorned with magnificent gold and silver vessels and there were three large tables1 splendidly laden with viands artistically decorated4 ,one of the guests wrote3 8,on a raised platform at the head of the first table sat the ,duke4 ,he was arrayed in his accustomed splendor--his dress of black velvet serving as a dark ground that heightened the brilliancy of the precious stones1 valued at a million of gold crowns1 with which it was profusely decked4 ,among the guests was a numerous body of knights1 who had passed the morning in the tilting-field1 and fair ,flemish ladies1 whose flaunting beauty had inspired these martial sports4 ,each course was composed of forty-four dishes1 which were placed on chariots painted in gold and azure and which were moved along the tables by concealed machinery4 ,as soon as the company was seated1 the bells began to peal from the steeple of a huge pastry church with stained windows that concealed an organ and choir of singers2 and three little choristers issued from the edifice and sang a very sweet chanson4 ,twenty-eight musicians1 hidden in a mammoth pie1#ai performed on various instruments and the fine viands and wines were circulated40 ,after the exhibition of entremets1 the pheasant was brought in1 the ,crusade proclaimed against the ,sultan1 and the vows registered4 ,it is safe to conjecture that ,hubert and ,jan van ,eyck were among the painters who were employed to design the entremets1 triumphal arches1 and curiosities executed in pastry and in confections made of sugar1 as well as to paint portraits of distinguished ,flemings and altar-pieces for their churches4 ,the ,flemish ,primitives certainly had many occasions to feast their eyes upon magnificence6 ,john ,paston1 who went to ,bruges to attend ,charles the ,bold's second marriage in #adfh to ,margaret of ,york1 was overwhelmed and dazed by what he saw4 8,nothing was like it save ,king ,arthur's ,court10 he wrote home4 ,the streets were hung with tapestries and cloth-of-gold1 triumphal arches were erected and at intervals along her way the bride was entertained by 8,histories10 the joint production of painters1 decorators1 dramatists1 and machinists4 ,the banquet-hall was superbly decorated and the chroniclers say 8lighted by chandeliers in the form of castles surrounded by forest and mountains with revolving paths on which serpents1 dragons1 and other monstrous animals seemed to roam in search of prey1 spouting forth jets of flame that were reflected in huge mirrors1 so arranged as to catch and multiply the rays4 ,the dishes containing the principal meats were ships1 seven feet long and completely rigged1 the masts and cordage gilt1 the sails and streamers of silk1 each floating in a silver lake between shores of verdure and enamelled rocks and attended by a fleet of boats laden with lemons1 oranges1 and condiments4 ,there were thirty of these vessels and as many huge pastries in the shape of castles with banners waving from their battlements and towers2 besides tents and pavilions for the fruit2 jelly-dishes of crystal supported by figures of the same material dispensing streams of lavender and rose-water2 and an immense profusion of gold and silver plate40 ,when ,charles the ,bold was killed on the battlefield of ,nancy 7#adgg71 a ,new ,era was about to dawn4 ,america was soon to be discovered2 ,vasco da ,gama was to find an ocean route to the ,east ,indies2 the ,moors were to be expelled from ,spain2 the ,wars of the ,roses were to end in ,england2 ,ferdinand and ,isabella were to marry their daughter1 the 8mad ,joanna10 to ,philip the ,fair of ,austria1 heir through his mother1 ,mary of ,burgundy1 to the ,burgundian dominions 7the issue being ,charles ,v1 born in ,ghent in #aejj74 ,of still more importance to the world of ,art than these important events was the discovery of ,italy by the ,french1 who crossed the ,alps with ,charles ,,viii4 ,the ,french were dazzled by what they saw in ,italy4 ,on their return the ,renaissance in ,france and the ,netherlands may be said to have begun to blossom4 ,the ground had already been prepared by the art-loving ,dukes of ,burgundy4 ,let us return1 however1 to the ,bruges painters3 8,the rise of the ,school was aided by the ,fourteenth ,century ,art of ,cologne best shown in the work of ,meister ,wilhelm4 ,the ,art of the movement was1 for the period1 strongly realistic4 ,natural objects were painted with the utmost fidelity1 interest in still-life and genre begin to appear1 and details of architecture and landscape were rendered as carefully as the heads of the most sacred personages in the compositions4 ,so pronounced was this tendency that superficial observers are led to consider ,flemish painting fundamentally material2 but a thoughtful analysis will reveal a spirituality in the art quite as sincere1 if not so obvious1 as in the painting of contemporary ,italy4 ,in the early ,school1 the painting was almost wholly religious1 and scenes and actors were handled with reverence and deep feeling4 8,the ,flemings1 however1 inherited from earlier art a religious type to which they clung with great tenacity and which to the modern eye is ugly4 ,the exaggeratedly-domed forehead of the ,madonna1 a symbol of intellect to the ,fleming1 is to the modern a distortion4 ,similarly the tiny mouth1 the eyes almost without brows1#bj and the other features which ,flemish symbolism demanded1 are now somewhat disturbing to the eye4 ,when native realism and symbolism were coupled1 as in the over realistic rendering of the ascetic ,christ-,child1 the effect is sometimes startling to the layman2 and the beginner in the study of ,flemish ,art should beware of mistaking accidents of convention for artistic defects4 ,if the conventions of ,flemish ,art make it at first difficult to appreciate1 the technical perfection of the work must appeal to any one4 ,oil-painting1 perfected if not necessarily invented in ,flanders1 gave a richness of color and a lustre of surface which specially distinguished the style4 ,the play and delicate gradation of light over richly-colored surfaces was rendered so skillfully that the artists approached the expression of a complete visual effect1 finally reached in ,seventeenth ,century ,holland in the work of ,vermeer4--,medival and ,renaissance ,paintings 7,fogg ,art ,museum1 ,cambridge1 #aibg74 ,next in importance to the ,van ,eycks comes ,roger van der ,weyden 7#adjj8-adfd74 ,by #adcb ,roger had made a name for himself1 for he had become a master painter in the ,tournay ,guild4 ,in #adej he went to ,italy and seems to have visited ,cologne on his way home 7see page #aff74 ,the ,matre de ,flmalle 7,robert ,campin871 who showed a great interest in still-life1 is thought to have been the master of ,roger van der ,weyden4 ,petrus ,christus 7#adaj8-adgc71 a native of ,baerle1 ,holland1 free citizen of ,bruges in #addd1 is regarded as one of the ancestors of genre painting 7see page #afi74 ,hans ,memling 7#adcj-e-adid71 a native of ,holland1 was a supposed pupil of ,roger van der ,weyden4 ,it is believed that ,roger van der ,weyden took ,memling with him to ,italy in #adej4 ,memling was closely associated with his master ,roger van der ,weyden and sometimes painted the wing-panels for ,roger's great altar-pieces4 ,memling's chief painting was done in ,bruges 7see page #agb74 ,taine thus sums up the ,flemish ,primitives3 8,a ,flemish ,renaissance underneath ,christian ideas1 such1 indeed1 is the two-fold nature of art under ,hubert and ,jan van ,eyck1 ,roger van der ,weyden1 ,memling1 and ,quentin ,massys2 and from these two characteristics proceed all the others4 ,on the one hand1 artists take interest in actual life2 their figures are no longer symbols like the illuminations of ancient missals1 nor purified spirits like the ,madonnas of the ,school of ,cologne but living beings and bodies4 ,they attend to no anatomy1 the perspective is exact1 the minutest details are rendered regarding stuffs1 architecture1 accessories1 and landscape2 the relief is strong and the entire scene stamps itself on the eye and on the mind with extraordinary force and sense of stability2 the greatest masters of coming times are not to surpass them in all this1 nor even go so far4 ,nature is now discovered4 ,the scales fall from their eyes2 they have just mastered almost in a flash1 the proportions1 the structure1 and the coloring of visible realities2 and1 moreover1 they delight in them4 ,consider the superb copes wrought in gold and bedecked with diamonds1 the embroidered silks1 the flowered and dazzling diadems with which they ornament their saints and divine personages1 all of whom represent the pomp of the ,burgundian ,court4 ,look at the calm and transparent water1 the bright meadows1 the red and white flowers1 the blossoming trees and the sunny distances of their admirable landscapes4 ,observe their coloring--the strongest and richest ever seen1 the pure and full tones side by side as in a ,persian carpet and united solely through their harmony1 the superb breaks in the folds of purple mantles1 the deep azure of long1 falling robes1 the green draperies like a summer field permeated with sunshine1 the display of gold skirts trimmed with black1 the strong light which warms and enlivens the whole scene--and you have a concert in which each instrument sounds its proper note4 ,they see the world on the bright side and make a holiday of it1 a genuine fte1 similar to those of this day1 glowing under a more bounteous sunlight and not a heavenly ,jerusalem suffused with supernatural radiance such as ,fra ,angelico painted4 ,they are ,flemings and they stick to the earth40 ,contemporary with ,memling is ,hugo ,van der ,goes 7#adcj-adhb71 one of the last important figures in the ,van ,eyck ,school1 more celebrated in his day than in ours1 but powerful and austere1 and painter of an altar-piece in #adgf for ,tommaso ,portinari1 which was placed in the ,church of ,santa ,maria ,nuova in ,florence and was greatly admired by ,ghirlandaio and ,piero di ,cosimo4 ,with ,gerard ,david 7#adej-aebc71 a follower of ,memling and ,massys1 we leave the ,flemish ,primitives for a world of newer ideas4 ,quentin ,massys 7#adfj-aecj71 creator of the ,antwerp ,school1 belongs to an intermediate epoch4 ,he is herald of the ,italianiate ,flemings--,jan ,mabuse1 ,bernard van ,orley1 ,lambert ,lombard1 ,jan ,mostrt1 ,bellegambe1 ,launcelot ,blondeel1 and others--all of whom1 dazzled by the ,renaissance1 tried to combine their ,flemish coldness with ,italian grace4 ,some of them lived to see the triumph of ,rubens and the rise of another ,school4 ,peter ,paul ,rubens 7#aegg-afdj71 is the recognized head of the ,flemish ,school of ,painting4 ,his power was felt throughout ,europe and he had more influence on taste in the ,seventeenth ,century than any other artist4 ,rubens painted more than two thousand pictures and made nearly five hundred drawings4 ,in every style he proved himself a great master 7see page #agf74 ,anthony ,van ,dyck 7#aeii-afda7 studied under ,hendrik van ,balen and then became assistant to and pupil of ,rubens4 ,after a long stay in ,italy he returned to ,antwerp and thence settled in ,england where he became ,court-,painter to ,charles ,i4 ,in his short life he painted nearly a thousand pictures and acquired such proficiency in portraiture that he is ranked among the greatest in this line 7see page #aha74 ,the important ,brueghel 7or ,breughel7 family affords an example of heredity in painting and how in the course of generations there was transition from the old to the new art4 ,pieter 7,peasant7 ,brueghel 7#aecj-af--87 received lessons from ,van ,orley and ,jerome ,cck1 but his real master was the long dead ,jerome ,bosch1 whose fantastic works fascinated him4 ,brueghel went to ,italy and was delighted with the ,alpine scenery2 but1 on his return he tried to preserve the ,flemish ideas that were fast dying under the ,italian cult4 ,he persisted in portraying the familiar scenes of his boyhood and familiar humorous situations4 ,therefore1 he received the sobriquets of 8,peasant ,brueghel0 and 8,droll ,brueghel40 ,his two sons were equally famous4 ,jan or 8,velvet ,brueghel0 7#aefh-afbe71 so-called from his fondness for wearing velvet1 was famous for his flowers2 and he frequently painted garlands in the pictures of ,rubens4 ,pieter ,brueghel 7#aegd-afcg71 so loved painting infernal scenes that he was nicknamed 8,hell-fire ,brueghel40 ,their sons continued their names and professions until the close of the ,seventeenth ,century4 ,pieter ,pourbus 7#aeaj-aehd7 and his son ,frans 7#aedj-aehj7 are among the best portrait-painters of the ,sixteenth ,century4 ,frans ,snyders 7#aegi-afeg7 studied under ,peter ,brueghel and ,hendrik van ,balen1 became the friend and associate of ,rubens1 and a brilliant and unsurpassed painter of fruits and animals4 ,jacob ,jordaens 7#aeic-afgh71 born in ,antwerp1 son of a cloth merchant1 depicted scenes from domestic life and popular festivities4 ,he was astonishingly able to render mirth and jollity4 ,jordaens is distinguished for his unrestrained and boisterous humor and he often repeated his somewhat crazy home-concert1 8,as the old ones sing1 so will the young ones twitter40 ,jordaens sometimes collaborated with ,frans ,snyders1 ,jan ,fyt1 ,adriaen van ,utrecht1 and others4 ,jordaens was entirely ,flemish1 absolutely unaffected by the foreign influences that charmed ,rubens and ,van ,dyck4 ,david ,teniers the ,younger 7#afaj-afij7 is the greatest genre painter of the southern ,netherlands4 ,teniers is one of those ,flemish painters who were sought after in ,holland during their lifetime4 ,this may have arisen from the fact that he was closely allied with the ,dutch ,school and with ,brouwer who lived and worked in ,antwerp4 ,teniers was an indefatigable painter and left more than eight hundred pictures1--inn-interiors1 kermesses1 hawking-parties1 drinkers1 bagpipe-players and other musicians1 8conversations10 bowling-games1 kitchens1 ,temptations of ,st4 ,anthony1 and monkey-scenes4 ,sir ,joshua ,reynolds admired him and said3 8,the works of ,david ,teniers1 jun41 are worthy of the closest attention of a painter who desires to excel in the mechanical knowledge of his art4 ,his manner of touching1 or what we call handling1 has perhaps never been equalled3 there is in his pictures that exact mixture of softness and sharpness which is difficult to execute40 ,one of the best artists of the second period of the ,antwerp ,school is ,gonzales ,coques 7#afad-afhd71 a painter of interiors of elegance1 wealth1 gaiety1 and happy serenity1 and also portraits4 ,his distinction he borrows from ,van ,dyck and his color is inspired by ,rubens4 ,however1 in the dimensions of his pictures and their minuteness of detail and finish1 ,coques is reminiscent of the ,dutch ,school1--particularly ,terborch and ,metsu4 ,in the ,eighteenth ,century there is little painting to claim attention4 ,charles ,blanc has put the matter most succinctly3 8,for the ,flemish ,school the ,eighteenth ,century is a long entr'acte during which the stage1 so nobly occupied of old1 is sad and deserted4 ,here and there an artist appears to remind us what ,flanders was in color and decoration for two centuries4 ,france was triumphing in spirit and grace2 ,italy1 though decadent1 was still ingenious and smiling2 ,england at last was producing original masters2 but ,flanders was asleep40 ,,portrait ,,of ,a ,,lady4 ,roger van der ,weyden 7#adjj8-adfd74 ,collection of the ,hon4 ,andrew ,w4 ,mellon4 ,this very striking portrait1 an oil painting on panel 7#ad #aj71 came from the ,collection of the ,duke of ,anhalt1 ,ducal ,castle of ,dessau1 and was previously in the ,gothic ,palace1 ,wrlitz1 ,germany4 ,illustration3 ,collection of the ,hon4 ,andrew ,w4 ,mellon ,,portrait ,,of ,a ,,lady --,roger van der ,weyden ,the subject is a ,flemish lady of high birth4 ,she is not beautiful1 but she has an air of great distinction4 ,her half-figure is turned three-quarters to the left and dressed in a dark robe with a turned-over collar1 opening at the throat1 where a transparent piece of soft1 white muslin is arranged into a ,v-shape1 and over this hangs a fine gold chain4 ,a crimson girdle fastened with a gold clasp encircles her waist4 ,the hair is brushed back from the forehead1 or rather the forehead is rendered bald by the fashionable style of plucking out the hair1 and covered by a close-fitting cap1 composed of interlaced bands edged with a black ribbon1 holding in place a thin veil2 and over this a transparent white 8wimple0 is pinned to the cap1 passing over the forehead and fastened at the back where it spreads in a wing on either shoulder4 ,the right hand is placed over the left1 presumably resting on a parapet1 and a simple gold ring is on a finger of each hand4 ,dr4 ,max ,friedlnder writes in ,meisterwerke der ,niederlndischen ,malerei des ,,xv u4 ,,xvi ,jahrhunderts auf der ,ausstellung zu ,brgge 7#aijb73 8,this simple1 proud1 and very well preserved portrait1 which has up to the present time not received a great deal of attention1 in my estimation appears to be characteristic of ,roger van der ,weyden1 in the severe and somewhat ,moorish outline of the face1 in the economic modelling of the shadows1 and in the drawing of the lean hands4 ,similar women's portraits are in the ,national ,gallery1 ,london1 and in ,adolphe de ,rothschild's ,collection 7from the ,nieuwenhuij's ,sale74 ,roger van der ,weyden1 or ,rogier de la ,pasture1 the son of ,henri de la ,pasture1 was born in #adjj in ,tournai1 where the family had been settled since #abfj4 ,his father was a sculptor and gave ,roger his first training4 ,next he was apprenticed to the ,matre de ,flmalle 7,robert ,campin7 and later went to ,brussels to live4 ,here he quickly gained a great reputation1 for in #adcf he was appointed painter to the city of ,brussels4 ,while busy on his great ,last ,judgment1 commissioned by ,nicholas ,rolin for the ,hospital at ,beaune 7a polyptych1 which has been classed with the ,van ,eyck ,adoration of the ,lamb71 ,roger went on a long trip to ,italy4 ,visiting ,rome1 he greatly admired the frescoes begun by ,gentile da ,fabriano in ,st4 ,john ,lateran4 ,he also went to ,florence1 ,ferrara1 and1 it is supposed1 ,venice4 ,roger painted a good deal in ,italy and even had orders4 ,among other things he painted a ,madonna and ,child for ,cosimo de' ,medici4 ,roger returned home1 it is thought1 by way of ,cologne4 ,while on this trip1 ,roger was commissioned by ,leonello d',este to paint a picture4 ,roger van der ,weyden left as much in ,italy as he brought home4 ,his influence is seen in many of the contemporary ,italians4 ,in like manner1 the influence of the ,italians appears in the pictures that ,roger van der ,weyden painted on his return4 ,german artists1 too1 fell under the spell of ,roger van der ,weyden1 particularly ,martin ,schngauer1 the greatest ,german painter of the ,fifteenth ,century4 ,roger van der ,weyden was extremely versatile3 he produced paintings in oil and painted miniatures1 designed cartoons for tapestry-weavers1 and made wood-engravings4 ,fierens-,gevaert1 the greatest authority on ,flemish ,primitives1 says of ,roger van der ,weyden3 8,his figures1 among which males predominate1 both in number and interest1 do not all possess the impassibility sometimes attributed to them4 ,their beauty1 or their moral significance1 is merely restrained1 just like the artist's own emotions4 ,both need to be discovered4 ,as for the expression of the color1 the novel truth of the light1 the profound feeling of the landscape--these are the incontestable merits in the ,louvain painter4 ,they explain his profound influence upon ,memling1 ,gerard ,david1 ,quentin ,massys1 the ,master of the ,death of ,mary1 his prestige with the ,sixteenth ,century ,renaissants1 and the growing admiration of modern criticism for his genius40 ,roger van der ,weyden died in ,brussels1 ,june #af1 #adfd1 leaving many pupils and followers1 the most noteworthy of whom was ,hans ,memling4 ,,portrait ,,of ,a ,,carthusian ,,monk ,,as ,a ,,saint4 ,petrus ,christus 7#adaj8-adgc74 ,collection of ,mr4 ,jules ,s4 ,bache4 ,this interesting panel 7#h #aa inches7 came to ,america by way of ,spain1 having been in the ,collections of ,don ,ramon de ,oms1 ,majorca1 and the ,marquis de ,dos ,aguas1 ,valencia4 ,the picture is signed and dated #addf at the base of the portrait1 below a ledge1 on which an insect is slowly walking4 ,the identity of the subject and the reason for the presence of the fly1 or grasshopper 7or whatever it is71 are equally unknown4 ,however1 we have here a marvellous human document1 which grows more amazing the longer it is studied4 ,the portrait preserves the personality and features of a strong1 kindly1 and interesting man1 who must have been beloved and honored1 or he would not have been represented with a golden ring around his head1 proclaiming him a saint4 ,and the painter has done more than this3 he has thrown such atmosphere around the man that the interesting life in the old abbeys seems to rise before us4 ,we see the picturesque buildings set in emerald swards and shaded by leafy trees1 and surrounded by cloisters where the monks take exercise1 or read in some traceried recess2 and we peer into the halls where the artistic members of the community are writing1 composing music1 copying1 or painting and illuminating beautiful miniatures in manuscripts1 destined--although undreamed of by these painters and gold-leaf workers--to bring thousands of dollars at auction-sales five hundred years in the future and to be prized as treasures in a then undiscovered country across the ,atlantic ,ocean1 whose waters were thought by those very monks to break upon the shores of ,far ,cathay6 ,our ,carthusian ,monk1 in his white cassock1 carries us into the ,chapel1 where we see him and others of his ,order in prayer at midnight1 at early dawn1 or at the vesper hour2 and again with him we stroll to the near-by river in the golden sunlight of the afternoon and sit under the soft willows1 dangling a line from a long fishing-pole until we have a sufficient catch for supper4 ,on our return to the abbey we notice how heartily our ,carthusian ,monk welcomes a group of arriving travellers--for the abbeys were the hostelries in the ,middle ,ages--and we join them at supper in the refectory4 ,doubtless1 too1 our ,carthusian gives us a petit verre of golden ,chartreuse of his own making4 ,while the rules in the ancient abbeys were rigid and inflexible and religion1 of course1 the chief business1 it was in these secluded places that art and learning were preserved and fostered4 ,the world to-day is apt to forget what civilization owes to the ,medival ,abbey1 and ,petrus ,christus has brought this ,carthusian ,monk to tell us something of what that is4 ,illustration3 ,collection of ,mr4 ,jules ,s4 ,bache ,,portrait ,,of ,a ,,carthusian ,,monk ,,as ,a ,,saint --,petrus ,christus ,petrus ,christus was born at ,baerle1 on the southern border of ,holland1 in #adaj 7it is thought74 ,in #addd he became a free citizen of ,bruges and1 as he was a follower and probably a pupil of ,jan van ,eyck and ,roger van der ,weyden1 he is classed as belonging to the ,school of ,bruges4 ,petrus ,christus painted religious pictures and portraits and is regarded as one of the direct ancestors of genre painting4 ,he died in #adgc4 ,of late years his pictures have come into special prominence4 ,,madonna ,,and ,,child ,,with ,,angels4 ,hans ,memling 7#adcj-e-adid74 ,collection of the ,hon4 ,andrew ,w4 ,mellon4 ,this painting1 an oil on panel 7#bc #ai inches71 came from the ,collection of the ,duke of ,anhalt1 ,gothic ,palace1 ,wrlitz1 near ,dessau1 ,germany4 ,the ,virgin in a blue robe and red mantle is seated on a canopied throne1 behind which is an embroidered hanging4 ,her eyes are looking downward upon a missal which she holds in her left hand4 ,on her right knee1 and supported by her right arm1 is seated the ,holy ,child1 who reaches out for an apple1 offered to ,him by a kneeling ,angel4 ,this ,angel holds in his left hand a viol and bow4 ,at the right1 another kneeling ,angel is playing a harp4 ,the scene is framed in a ,gothic arch1 flanked on either side by a circular column1 each column supporting a single male figure in a sculptured niche3 on the right1 ,st4 ,simon the ,apostle is holding a saw1 and on the left1 the ,prophet ,david is holding a harp4 ,on each spandrel of the arch a cherub is holding a globe4 ,beyond this again1 on either side of the throne1 we see a landscape with a castle on the left and a church and river on the right4 ,in the foreground there is a tessellated floor covered with an ,oriental rug4 ,this idea of angels playing instruments#ba ,memling may have learned from ,italy4 ,illustration3 ,collection of the ,hon4 ,andrew ,w4 ,mellon ,,madonna ,,and ,,child ,,with ,,angels --,hans ,memling ,hans ,memling 7or ,memlinc71 was born in #adcj or #adce1 supposedly in ,memelynck 7whence his name7 near ,alkmaar in ,holland4 ,tradition says that his family removed to the diocese of ,mainz when he was fifteen4 ,memling seems to have painted in ,cologne before he went to ,bruges about #adfe1 where it is thought he was a pupil of ,roger van der ,weyden4 ,it is certain that he was a master painter in ,bruges in #adfg4 ,in #adgi he painted his masterpiece1 ,the ,marriage of ,st4 ,catherine1 ordered by ,jan ,floreins for the ,st4 ,john's ,hospital1 ,bruges1 and also a smaller triptych1 ,the ,adoration of the ,magi1 for the same building4 ,another great work was the ,shrine of ,st4 ,ursula1 ordered by the ,hospital in #adhj to enclose some relics of ,st4 ,ursula brought from the ,holy ,land1--a miniature ,gothic chapel adorned with finials1 statuettes1 and medallions representing episodes in the life of ,st4 ,ursula4 ,memling died in #adid in ,bruges1 which contains to-day a great number of his works4 ,memling1 in common with the ,van ,eycks and ,roger van der ,weyden was fond of enamelling his grassy swards1 where the people sit or walk1 with beautifully painted flowers2 such as the daisy1 the anemone1 and the iris4 ,hans ,memling is the most attractive of all the painters of the ,netherlandish ,school1 the most human1 the most poetic1 most graceful and the tenderest1 merging1 as did ,fra ,angelico 7#achg-adee71 his contemporary1 from ,medival to ,renaissance4 ,indeed ,hans ,memling is often called the 8,flemish ,fra ,angelico40 ,,portrait ,,of ,a ,,young ,,gentleman4 ,hans ,memling 7#adcj-adid74 ,collection of ,mrs4 ,john ,n4 ,willys4 ,here we have the portrait of a young gentleman nearly full face1 and clad in a black doublet which is open at the neck showing a white linen shirt with a narrow black circular band around the top4 ,on his head is a circular black felt cap with narrow brim4 ,the dense masses of his brownish red hair fall over his shoulders and completely cover his forehead to the top of his eyebrows4 ,he has blue eyes and an intensely thoughtful and serious expression1 and he holds in his left hand a scroll of paper1 which might seem to indicate that he is a poet4 ,the background consists of a woody landscape1 and on the left is a river with two swans4 ,illustration3 ,collection of ,mrs4 ,john ,n4 ,willys ,,portrait ,,of ,a ,,young ,,gentleman --,hans ,memling ,dr4 ,max ,j4 ,friedlnder1 of ,berlin1 after examining the picture wrote to the present owner3 8,i was greatly interested in the ,memling portrait from the ,taylor ,collection which ,i saw at your place4 ,it is positively a characteristic work of the hand of the ,master40 ,this picture painted on panel 7#ac #i inches7 came from the ,john ,edward ,taylor ,collection1 ,london1 in #aiab4 ,,louis ,,xiii ,,king ,,of ,,france4 ,peter ,paul ,rubens 7#aegg-afdj74 ,collection of ,sir ,joseph ,duveen1 ,bart4 ,this interesting oil painting on canvas 7#df #ch inches7 came from the ,collection of the ,emperor of ,germany1 ,palace of ,charlottenburg near ,berlin1 and was originally in the ,collection of the ,archduke ,leopold ,william of ,austria at the ,ducal ,palace1 ,brussels4 ,it was painted between #afbb and #afbe1 and is supposed to be a companion to the portrait of ,anne of ,austria 7now in the ,prado74 ,louis ,,xiii is represented about the age of twenty-five1 life-size1 and three-quarter length1 looking at the observer from a background of sky1 portico1 and red drapery4 ,he has a slight moustache and his hair is curled and falls down to the fine lace ruff around his neck4 ,he is dressed in a polished steel suit of armor and rests his left hand1 wearing a gauntlet1 on a table covered by a cloth4 ,a marshal's bton is in his right hand4 ,the ,cross of the ,order of the ,holy ,spirit hangs from a ribbon at his right side and on his left hangs a sword from a belt4 ,over his shoulder is thrown a bright blue velvet and ermine mantle embroidered with fleur-de-lys and on the table is seen his helmet surmounted by rich plumes of ostrich feathers4 ,illustration3 ,collection of ,sir ,joseph ,duveen1 ,bart4 ,,louis ,,xiii1 ,,king ,,of ,,france --,peter ,paul ,rubens ,louis ,,xiii1 son of ,henri ,,iv and his second wife1 ,marie de' ,medici1 was born in #afja and became king at the age of nine1 on his father's assassination in #afaj4 ,marie de' ,medici1 then becoming ,regent1 determined to bring ,france into close relation with the ,house of ,austria and ,spain1 and1 consequently1 brought about the marriage of her son in #afae with ,anne of ,austria1 daughter of the ,spanish ,king1 ,philip ,,iii4 ,louis does not seem to have inherited any of the talents of the ,medici family1 nor any of the dashing charm of his father1 the gallant 8,king ,henry of ,navarre40 ,he acquiesced for a time in his mother's government and in the rule of her favorites1 among whom the ,marshall d',ancre was notable2 but in #afag he had the latter assassinated with the help of ,charles d',albert1 ,sieur de ,luynes4 ,this caused a breach between him and his mother and their relations continued hostile until death4 ,in #afbd ,cardinal ,richelieu1 who had been ,marie de' ,medici's chief adviser1 entered into the ,king's council1 and1 thereafter1 ,richelieu directed the policy of ,france and controlled ,louis ,,xiii4 ,many conflicts resulted between the ,protestants and the nobles of ,france2 and ,louis was made the enemy of his mother1 ,gaston d',orlans 7his brother7 and1 frequently1 of his wife1 ,anne of ,austria4 ,on one occasion the ,queen ,mother and ,gaston d',orlans gained influence over ,louis and he was about to dismiss ,richelieu2 but the ,cardinal regained his power and immediately punished his enemies4 ,the ,queen ,mother was forced to flee to ,brussels and ,gaston d',orlans to ,lorraine4 ,towards the end of his reign ,louis is quoted as having said to ,richelieu3 8,we have lived together too long to be separated40 ,cardinal ,richelieu died in ,december1 #afdb1 and ,louis died a few months later1 in ,may1 #afdc4 ,peter ,paul ,rubens was born in ,siegen1 ,westphalia1 in #aegg1 and received his first education in the ,jesuit ,college in ,antwerp1 and1 for a few years1 thereafter1 was page to a noble lady4 ,at the age of thirteen he began to study painting under ,tobias ,verhaagt1 whom he left to study under ,adam van ,noort4 ,next he worked under ,otto van ,veen4 ,in #afjj he went to ,italy1 entering the service of ,vincenzo ,gonzaga1 ,duke of ,mantua1 with whom he remained for eight years1 interrupted by missions to various courts4 ,in #afjc he visited ,madrid and went to ,venice1 ,rome1 and ,genoa4 ,in #afji1 on the death of the ,duke of ,mantua1 ,rubens returned to ,antwerp and became ,court-,painter to ,albert and ,isabella1 ,regents of the ,netherlands4 ,in that year also ,rubens married ,isabella ,brandt4 ,his studio at ,antwerp now became famous and attracted students from every town in ,europe4 ,he had barely established himself when he wrote to a friend in #afaa3 8,on every side ,i am overwhelmed with solicitations4 ,without the least exaggeration1 ,i may assure you that ,i have already had to refuse more than a hundred pupils40 ,in #afba ,rubens was called by ,marie de' ,medici to ,paris to decorate the gallery in the ,palace of the ,luxembourg4 ,at this period the style ,rubens1 which he introduced on his return from ,italy and which was inspired by the late ,italian ,renaissance1 was all the rage4 ,in #afbb he published a book on the ,palaces of ,genoa2 and from the preface we learn that he was perfectly delighted to see the 8old style known as barbarous1 or ,gothic1 go out of fashion1 to the great honor of the country1 and disappear from ,flanders1 giving place to symmetrical buildings designed by men of better taste and conforming to the rules of the ,greek and ,roman antique40 ,rubens was a favorite with several kings and when he was neither painting nor teaching1 he was visiting some foreign court on an embassy4 ,on one of these visits to ,london in #afbi-cj he was knighted by ,charles ,i4 ,in #afcj he married again 7,isabella ,brandt having died in #afbf71 uniting himself to his first wife's niece1 ,helena ,fourment1 who was but sixteen4 ,rubens now built a palatial house in ,antwerp1 where1 as well as in his ,chteau de ,steen in the vicinity1 he lived a happy1 industrious1 and splendid life1 having everything the world could give in the way of honors and joys4 ,rubens's influence upon the artists of his own time was very great and he dominated the entire art taste of ,europe during the first three quarters of the ,seventeenth ,century4 ,religious subjects1 mythological subjects1 landscapes1 hunting scenes1 portraits1 and still-life1--everything came easily to his brush4 ,sir ,joshua ,reynolds wrote a fine analysis of ,rubens1 in which he says3 8,the striking brilliancy of his colors1 and their lively opposition to each other1 the flowing liberty and freedom of his outline1 the animated pencil with which every object is touched1 all contribute to awaken and keep alive the attention of the spectator2 awaken in him1 in some measure1 correspondent sensations1 and make him feel a degree of that enthusiasm with which the painter was carried away4 ,to this we may add the complete uniformity in all the parts of the work1 so that the whole seems to be conducted and grow out of one mind3 everything is of a piece and fits its place4 8,besides the excellency of ,rubens in these general powers1 he possessed the true art of imitating4 ,he saw the objects of nature with a painter's eye2 he saw at once the predominant feature by which every object is known and distinguished2 and as soon as seen1 it was executed with a facility that is astonishing4 ,rubens was1 perhaps1 the greatest master in the mechanical part of the art1 the best workman with his tools1 that ever exercised a pencil4 8,this power which ,rubens possessed in the highest degree enabled him to represent whatever he undertook better than any other painter4 ,his animals1 particularly lions and horses1 are so admirable that it may be said they were never properly represented but by him4 ,his portraits rank with the best works of the painters who have made that branch of art the sole business of their lives2 and of those he has left a great variety of specimens4 ,the same may be said of his landscapes4 8,the difference of the manner of ,rubens from that of any other painter before him is in nothing more distinguishable than in his coloring1 which is totally different from that of ,titian1 ,correggio1 or any of the great colorists4 ,the effect of his pictures may be not improperly compared to clusters of flowers2 all his colors appear as clear and as beautiful2 at the same time he has avoided that tawdry effect which one would expect such gay colors to produce2 in this respect resembling ,barocci more than any other painter4 ,what was said of an ancient painter may be applied to those two artists1 that their figures look as if they fed upon roses40 ,,rinaldo ,,and ,,armida4 ,sir ,anthony ,van ,dyck 7#aeii-afda74 ,collection of ,mr4 ,jacob ,epstein4 ,this picture1 oils on canvas 7#ij #if inches71 came from the ,collection of the ,duke of ,newcastle1 ,clumber ,park1 ,nottinghamshire1 to its present home in ,baltimore4 ,rinaldo is in shining1 silver-blue armor with a flowing mantle of golden yellow1 which is clasped at the shoulder4 ,armida wears a blue robe and a red mantle4 ,the sky is blue with white clouds and there is a tree in the background and an enchanted lake at the right4 ,the influence of ,van ,dyck's master1 ,rubens1 is very apparent in this gorgeous picture1 where all the delights of the ,garden of ,armida are set forth--that magic garden that ,tasso described in his ,jerusalem ,delivered1 to which many a ,crusader was lured4 ,illustration3 ,collection of ,mr4 ,jacob ,epstein ,,rinaldo ,,and ,,armida --,sir ,anthony ,van ,dyck ,another ,rinaldo and ,armida by ,van ,dyck is in the ,louvre4 ,armida was a beautiful sorceress2 and it was difficult to resist her enchantment4 ,two messengers were sent from the ,christian ,army with a talisman to effect ,rinaldo's escape4 ,armida followed ,rinaldo and1 not being able to regain her power over him1 rushed into the combat and was killed4 ,rinaldo came of the noble ,este family and ran away at the age of fifteen to join the ,crusaders4 ,he was enrolled in the 8,adventurers ,squadron0 and is often called the 8,achilles of the ,christian ,army40 ,anthony1 or ,antoon1 van ,dyck1 was born at ,antwerp in #aeii1 son of a silk-merchant4 ,at the age of ten he became the pupil of ,henrik van ,balen and entered ,rubens's studio as assistant in #afah1 when only seventeen4 ,he soon achieved a reputation for his portraits and visited ,england4 ,in #afba1 by ,rubens's advice1 he went to ,italy1 having already acquired a reputation4 ,after a five years' stay1 much of which time was spent in ,genoa1 ,van ,dyck returned home and painted his celebrated picture of the ,crucifixion for the ,church of ,st4 ,michael in ,ghent1 which established his reputation4 ,in #afcj he again visited ,england2 but1 not meeting with the reception he had anticipated1 he returned to ,antwerp4 ,however1 in #afcb1 ,charles ,i1 who had seen a portrait of his ,chapelmaster by ,van ,dyck1 sent for him to come to ,england4 ,on this occasion the painter was warmly welcomed1 lodged by the ,king at ,blackfriars1 and1 in the following year was knighted and given a pension for life4 ,van ,dyck was the second painter to have an ,english ,knighthood4 ,thenceforward ,van ,dyck lived very grandly1 having a town house and also a country house at ,eltham4 ,he was always magnificently dressed1 had numerous coaches and horses1 and kept so good a table that few princes were better served4 ,van ,dyck died in ,london in #afda1 at the age of forty-two1 having left a prodigious amount of work and a fortune of #bj1jjj sterling1 notwithstanding his expensive manner of living4 ,he was buried in ,old ,st4 ,paul's1 near the tomb of ,john of ,gaunt2 but his remains1 of course1 perished in the ,great ,fire of #afff4 ,in the short span of his life--forty-two years--he painted nearly a thousand pictures4 ,van ,dyck has three styles4 ,the first is his ,italian period2 the second1 his ,flemish period1 dating from his return from ,italy in #afbf to his departure for ,england in #afca2 and the third1 his ,english period1 from #afca to #afda4 ,the latter period is the greatest and the most distinguished for grace1 elegance1 and aristocratic quality4 8,more noble than ,rubens in his choice of form10 writes ,charles ,blanc1 8,van ,dyck had fewer faults than his master1 but perhaps also less grandeur4 ,his color was as charming without being so splendid4 ,his design was learned1 but without pedantry2 and his contours were always governed by the sentiment of grace1 or fire of genius4 ,very nearly the equal of ,titian in portraiture1 ,van ,dyck has sometimes risen to a great height in his historical compositions1 in which the beauty of the expression is often as admirable as the excellence of the touch40 ,d,,dalus ,,and ,,icarus4 ,sir ,anthony ,van ,dyck 7#aeii-afda74 ,collection of ,mr4 ,frank ,p4 ,wood4 ,a treasure of art1 long in ,england in the famous ,collection of the late ,earl ,spencer1 ,k4 ,g41 at ,althorp1 ,northumberland1 is ,van ,dyck's poetic version of the ancient ,greek myth regarding man's attempt at flight4 ,van ,dyck was so fond of this subject that he painted it more than once4 ,this work is an oil painting on canvas 7#df #ce inches74 ,the figures are nearly life-size and very finely modelled4 ,icarus is nude save for a red drapery caught around the waist by a narrow band of bluish green1--a rather strange aviator's suit to our way of thinking to-day6 ,the position of his right hand would seem to tell us that ,icarus is about to speak to his father1 who1 standing behind him1 has apparently just fastened on his son's wings and who appears to be giving him that sage advice about flying too near the sun4 ,the flashing eyes and knitted brow of young ,icarus indicate that this advice is not relished4 ,max ,rooses has noted that ,icarus is not unlike the ,angels that ,van ,dyck was fond of painting2 calls attention to his beautiful1 waving1 golden hair2 and finds a strong likeness between ,icarus and the artist himself in his youth4 ,one of the wings shows a white interior and the other1 in the shadow1 a bluish green exterior4 ,illustration3 ,collection of ,mr4 ,frank ,p4 ,wood ,d,,dalus ,,and ,,icarus --,sir ,anthony ,van ,dyck ,ddalus was a mythical personage under whom the ,greek writers personified the earliest development of human flight and also the arts of sculpture and architecture4 ,some traditions represent ,ddalus as of the royal race of the ,erechthid and others make him a ,cretan4 ,ddalus devoted himself to sculpture and taught his sister's son1 ,talus1 who soon surpassed him4 ,consequently1 in envy ,ddalus killed this young rival4 ,condemned to death in ,athens for this murder1 ,ddalus fled to ,crete1 where his fame won him the friendship of ,king ,minos4 ,when ,queen ,pasiphae gave birth to the ,minotaur1 ,ddalus constructed the ,labyrinth at ,cnossus in which the ,minotaur was kept2 and for doing this ,king ,minos imprisoned him4 ,however1 ,pasiphae released him4 ,this was of not much advantage1 however1 because ,king ,minos had seized all the ships on the coast of ,crete4 8,necessity is the mother of invention30 ,ddalus had to get away4 ,the question was 8how804 ,the result was that ,ddalus made wings for himself and for his son1 ,icarus1 and fastened them on the shoulders with wax1 cautioning the youth not to fly too close to the sun4 ,icarus would not pay attention to this advice and1 flying too high1 the wax melted and he dropped down and was drowned in that part of the gean ,sea1 which is now called after him the ,icarian ,sea4 ,ddalus1 however1 flew safely over the gean and reached ,sicily1 where he was protected by ,cocalus1 ,king of that ,island4 ,when ,king ,minos heard where ,ddalus had taken refuge he sailed with a great fleet to ,sicily2 but was murdered there by ,cocalus4 ,according to some accounts1 ,ddalus alighted on his flight from ,crete at ,cum in ,italy1 where he erected a temple to ,apollo in which he offered the wings with which he had flown4 ,like ,lindberg1 his descendant1 he placed his 8,we0 in a museum6 ,many works of art were attributed to ,ddalus in ,greece1 ,italy1 ,egypt1 and the islands of the ,mediterranean4 ,also the ,greeks gave the name of ,ddala to the ancient wooden statues of the gods ornamented with gilding1 bright colors1 and real drapery4 ,it is appropriate to add here a sonnet by an old ,french poet1 ,philippe ,desportes 7#aede-afjf7 entitled 8,icare03 ,,icare ,icare est chut ici1 le jeune audacieux1 ,qui pour voler au ciel eut assez de courage3 ,ici tomba son corps dgarni de plumage1 ,laissant tous braves curs de sa chute envieux4 ,o bienheureux travail d'un esprit glorieux1 ,qui tire un grand gain d'un si petit dommage6 ,o bienheureux malheur plein de tant d'avantage1 ,qu'il rende le vaincu des ans victorieux6 ,un chemin si nouveau n'tonna sa jeunesse1 ,le pouvoir lui faillit1 mais non le hardiesse2 ,il eut pour le brler des astres le plus beau2 ,il mourut poursuivant une haute aventure2 ,le ciel fut son dsir1 la mer sa spulture2 ,est-il plus beau dessein1 ou plus riche tombeau8 ,,robert ,,rich1 ,,earl ,,of ,,warwick4 ,sir ,anthony ,van ,dyck 7#aeii-afda74 ,collection of ,mr4 ,jules ,s4 ,bache4 ,in silver doublet with slashed sleeves embroidered with flowers1 crimson knee-breeches edged with gold braid1 pink silk stockings and white shoes with lace rosettes 7or 8shoe roses10 as they were called in those days71 a crimson cloak thrown over his left shoulder and held by his gloved hand1 white lawn collar and cuffs edged with handsome lace1 ,robert ,rich1 ,earl of ,warwick1 stands before us1 a picture of elegance1 manly beauty1 and aristocratic hauteur4 ,he is standing full front with his head turned three-quarters to the left1 in which direction he is also looking1 and he is holding his black felt hat in his right hand4 ,his armor and bton of command are lying on the ground by his side4 ,the embroidered curtain in the background does not prevent us from seeing a naval engagement on his right4 ,robert ,rich1 ,earl of ,warwick1 came of very distinguished ancestry on the maternal line1 for his mother was ,penelope ,devereux1 the sister of ,essex1 whose mother1 ,lettice ,knollys1 had been ,maid of ,honor to ,queen ,elizabeth 7and who captivated the ,earl of ,leicester71 and whose father1 ,walter ,devereux1 was first ,earl of ,essex 7died #aegf74 ,penelope's father had wished her to marry ,sir ,philip ,sidney2 but the ,earl of ,huntingdon1 ,penelope's guardian1 ruled otherwise and forced her to marry ,lord ,rich1 8a man of independent fortune and a known estate but otherwise of an uncourtly disposition1 unsociable1 austere1 and of no agreeable conversation to her40 ,lady ,rich1 the most beautiful woman in all ,london1 particularly famous for her sparkling black eyes1 plunged wildly into society and was the most admired and courted woman of the ,court4 ,she played1 too1 a leading part in the rebellion of her distinguished brother1 ,essex4 ,lady ,rich lives in literature as ,sidney's ,stella4 ,the romance between these lovers1 8,astrophel and ,stella10 never cooled4 ,when ,sidney learned of ,penelope's marriage to 8the rich ,lord ,rich10 he played with her new name as follows3 8,towards ,aurora's court a nymph doth dwell1 ,rich in all beauties which man's eye can see2 ,beauties so far from reach of words that we ,abase her praise saying she doth excel3 ,rich in those gifts which give the eternal crown2 ,who1 though most rich in these and every part ,which makes the patents of true worldly bliss1 ,hath no misfortune but that ,rich she is40 ,lord ,rich was created ,earl of ,warwick in #afah2 but he had been divorced from ,lady ,rich in #afje1 thirteen years before he succeeded to this title4 ,on obtaining her divorce ,lady ,rich then married ,charles ,blount1 ,earl of ,devonshire and eighth ,baron ,mountjoy1 who1 in defense of his marriage1 wrote the following3 8,a lady of great birth and virtue being in the power of her friends1 was by them married against her will unto one against whom she did protest at the very solemnity and ever after2 between whom1 from the first day1 there ensued continued discord1 although the same fears that forced her to marry constrained her to live with him4 ,instead of a comforter1 he did study in all things to torment her2 and by fear and fraud1 did practice to deceive her of her dowry40 ,sidney was always writing of ,stella's marvellous black eyes and their shining rays3 8,when nature made her chief work1 ,stella's eyes1 ,in color black1 why wrapt she beams so bright8 ,would she in beauty black1 like painter wise1 ,fame daintiest lustre1 mixt of shades and light8 ,or did she else that sober hue devise ,in object best to knit and strength our sight2 ,least1 if no veil these brave gleams did disguise1 ,they1 sunlike1 should more dazzle than delight8 ,or would she her miraculous power show1 ,that1 whereas black seems ,beauty's contrary1 ,she even in black doth make all beauties flow8 ,both so1 and thus--she1 minding ,love should be ,placed even there1 gave his this mourning weed ,to honor all their deaths who for her bleed40 ,there is every reason1 therefore1 why the subject of this picture should be so handsome1 so distinguished1 and so fascinating4 ,illustration3 ,collection of ,mr4 ,jules ,s4 ,bache ,,robert ,,rich1 ,,earl ,,of ,,warwick --,sir ,anthony ,van ,dyck ,robert ,rich was born in #aehg and was admitted to ,emmanuel ,college1 ,cambridge1 in #afjc and in that year was created a ,knight of the ,bath4 ,he was quite old enough to have remembered the exciting days of the ,essex conspiracy1 the part his mother took in this1 her imprisonment and release1 and his uncle's execution in #afja4 ,at the age of twenty-three he was elected to ,parliament and was again elected in #afad4 ,in #afai he succeeded to the title4 ,robert ,rich was one of the original members of the ,company for the ,plantation of the ,bermudas in #afad and was granted a seat on the ,council of the ,new ,england ,company in #afbj1 which two great enterprises connect this handsome lord with our own country4 ,also in #afbd ,robert ,rich was made a member of the ,council of the ,virginia ,government4 ,yet this was not all4 ,warwick's ,colonial interests brought him into close relation with the leading men of the ,puritan ,party and link his name with the early history of the ,new ,england ,colonies4 ,he was closely associated with the origin of ,connecticut1 for in #afcb he granted to ,lord ,say1 ,lord ,brooke1 ,john ,hampden1 and others what is known as 8the old patent of ,connecticut10 under which the town of ,saybrook 7named for ,lord ,say and ,lord ,brooke7 was founded4 ,in ,english politics ,warwick opposed the policy of ,charles ,i and1 consequently1 after the dissolution of the ,short ,parliament1 he was arrested by the ,king's order4 ,as temporal head of the ,puritans and opposed to the party in the ,established ,church led by ,archbishop ,laud1 ,warwick concurred in the prosecution of ,archbishop ,laud and the ,earl of ,strafford4 ,in #afdc ,warwick was appointed ,lord ,high ,admiral of the ,fleet1 serving ,parliament in opposition to ,charles ,i1 and he bore the title of ,governor-in-,chief of all the islands and other plantations subject to the ,english ,crown1 on which authority he became associated with the founding of the ,colony of ,rhode ,island4 ,after the monarchy and the ,house of ,lords had both been swept away1 the ,earl of ,warwick gave his support and encouragement to ,oliver ,cromwell4 ,the marriage of ,cromwell's daughter to ,warwick's grandson proves the strength of the friendship4 ,the ,earl of ,warwick died on ,april #ai1 #afeh1 and was buried at ,felsted1 ,essex4 ,he had been three times married4 ,this picture1 in oils on canvas 7#hc #di inches71 belonged in the ,collection of the ,marquess of ,breadalbane1 ,taymouth ,castle1 ,scotland1 and to the ,collection of the ,hon4 ,mrs4 ,robert ,baillie-,hamilton1 ,langton1 ,duns1 ,scotland4 ,,queen ,,henrietta ,,maria ,,with ,,jeffrey ,,hudson ,,and ,a ,,monkey4 ,sir ,anthony ,van ,dyck 7#aeii-afda74 ,collection of ,mr4 ,william ,randolph ,hearst4 ,this full-length portrait in oils on canvas 7#he #eb inches7 was painted in #afcc1 the year that ,van ,dyck was knighted and when he had been about a year in the service of ,charles ,i4 ,its pedigree is interesting4 ,the painting was in the possession of the ,newports1 ,earls ,bradford of the first creation1 and was left in #agfb1 on the death of the fifth ,earl1 to his sister1 ,diana1 ,countess of ,mountrath4 ,from the ,countess of ,mountrath it descended to her son1 the last ,earl of ,mountrath1 and from him to the first ,earl of ,dorchester1 of ,milton ,abbey1 where it remained until removed by the ,earl of ,portarlington to ,emo ,park1 ,queen's ,county1 ,ireland4 ,in #ahha ,thomas ,george1 first ,earl of ,northbrook1 acquired it by exchange from the ,earl of ,portarlington2 and from the latter it was inherited by ,francis ,george1 the second ,earl of ,northbrook1 whence it came to the present owner4 ,the ,queen of ,charles ,i1 proud and handsome1 is very ,french and ,italian in general style2 for be it remembered that ,henrietta ,maria was the daughter of the gallant ,king ,henry of ,navarre and his second wife1 ,marie de' ,medici1 and that she was1 consequently1 the sister of ,louis ,,xiii 7see page #agf74 ,the ,queen has brown hair curled in 8ringlets0 and one 8ringlet0 falls on her shoulder4 ,her face is oval and delicate and her eyes are brown4 ,she is standing at full length on a step with her head slightly turned to the left1 dressed in a blue silk gown 7of the shade we now call 8,alice blue071 trimmed with narrow gold braid1 and a large black felt hat with a white plume1 lace collar and a kerchief over her shoulders with two pink bows in front4 ,beautifully painted frills of lace adorn the elbow sleeves4 ,with her left hand she touches a stiff fold in her dress and with her right hand she caresses a little brown monkey perched on the shoulder of ,jeffrey ,hudson1 the famous dwarf4 ,the little dwarf is about thirteen years of age and is much under size4 ,he has light hair and the slightly wizened face that usually goes with this kind of freak4 ,indeed our little ,jeffrey looks not unlike the pictures of the famous 8,gen4 ,tom ,thumb0 of ,barnum days in the mid-,nineteenth ,century4 ,jeffrey ,hudson wears a suit of brick-dust red velvet1 a lace collar1 and long1 brown boots4 ,in the background1 to the left1 there is a stone wall and upon it a flower-pot holding an orange tree1 and farther away we note some trees and1 still farther beyond1 the sky4 ,to the right of the fluted pillar on the right1 there is a sort of ledge or shelf covered with a brilliant orange silk curtain on which rests a crown of gold studded with pearls1 which informs us of the presence of ,royalty4 ,queen ,henrietta ,maria was born in #afji1 the year before her father1 ,henri ,,iv1 ,king of ,france1 was assassinated4 ,in #afbd1 when she was about fifteen1 the ,prince of ,wales offered marriage2 and this was consented to by her brother1 ,louis ,,xiii1 on condition that the ,english ,roman ,catholics should be relieved from the enforcement of the penal laws4 ,in ,june1 #afbe1 ,henrietta ,maria was married by proxy and went to ,england1 thus encumbered with political and religious pledges that were certain to bring unpopularity upon everybody concerned4 ,the ,prince of ,wales had now become ,king of ,england and he soon found an excuse for breaking his promise to relieve the ,english ,roman ,catholics4 ,this course of action offended the ,queen deeply4 ,the early years of ,charles's married life were very unhappy and the favorite1 the dashing ,buckingham1 fanned the flames of the ,king's discontent4 ,after the assassination of ,buckingham in #afbh1 the ,king and ,queen became deeply attached to each other2 and from that moment the bond of affection that united them was never loosened4 ,illustration3 ,collection of ,mr4 ,william ,randolph ,hearst ,,queen ,,henrietta ,,maria ,,with ,,jeffrey ,,hudson ,,and ,a ,,monkey --,sir ,anthony ,van ,dyck ,for a number of years ,henrietta ,maria's chief interests lay with her young family4 ,her children were3 ,charles ,,ii 7born #afcj72 ,mary1 ,princess of ,orange 7born #afca72 ,james1 ,duke of ,york1 afterwards ,james ,,ii1 7born #afcc72 ,elizabeth 7born #afcf72 ,henry1 ,duke of ,gloucester 7born #afdj72 and ,henrietta1 ,duchesse d',orlans 7born #afdd74 ,the ,queen also delighted in the amusements of the gay and brilliant ,court4 ,with political matters she had nothing to do until #afcg1 when she opened a diplomatic communication with the ,see of ,rome1 to help her co-religionists4 ,she appointed an agent to reside in ,rome and ,rome sent to her a ,papal agent 7a ,scotchman named ,george ,conn71 who soon made many converts among the ,english nobility and gentry4 ,protestant ,england took alarm and1 therefore1 the ,queen became very unpopular4 ,when the ,scottish troubles broke out ,queen ,henrietta ,maria raised money from her fellow ,catholics to support the ,king's army on the ,borders in #afci2 and in #afdj1 during the sitting of the ,short ,parliament1 the ,queen urged her husband to oppose himself to the ,house of ,commons in defence of the ,catholics4 ,when the ,long ,parliament met1 the ,catholics were believed to be the authors and agents of every arbitrary scheme supposed to have entered into the plans of ,strafford or ,laud4 ,during the ,long ,parliament ,henrietta ,maria urged the ,pope to lend money to enable her to restore her husband's authority and she threw herself heart and soul into the schemes for rescuing ,strafford and coercing ,parliament4 ,the ,army ,plot1 the schemes for using ,scotland against ,england1 and the attempt upon the five members--,pym1 ,hampden1 ,haselrig1 ,hoiles1 and ,strode--were the fruits of her political activity4 ,next the ,queen effected her passage to the ,continent and in ,february1 #afdc1 she returned and1 landing at ,burlington ,quay1 placed herself at the head of a band of ,loyalists and marched through ,england to join the ,king near ,oxford4 ,after little more than a residence there of a year1 on the #c;d of ,april1 #afdd1 she parted from her husband to see his face no more2 but as long as ,charles ,i was alive she never ceased to encourage him to resistance4 ,henrietta ,maria found refuge in ,france1 for ,richelieu was then dead and ,anne of ,austria proved compassionate1 yet she had much to suffer in her exile4 ,the execution of her husband was a terrible distress4 ,there is a story with some truth that she married her equerry1 ,lord ,jermyn1 which may account for the estrangement of her children4 ,when ,henrietta ,maria returned to ,england after the ,restoration1 she found that she had no place in the new ,court4 ,parliament gave her a grant of #cj1jjj a year in compensation for the loss of her dower-lands and her son1 ,charles ,,ii1 added a similar sum as a pension from himself4 ,in ,january1 #affa1 ,henrietta returned to ,france to be present at the marriage of her daughter1 ,henrietta1 to the ,duc d',orlans1 but in ,july1 #affb1 she was back in ,england1 taking up her residence at ,somerset ,house4 ,three years later she returned to ,france and died at ,colombes1 near ,paris1 in #afff4 ,the other personage in this double portrait1 ,jeffrey ,hudson1 was born at ,oakham1 ,rutland1 in #afai4 ,his father was a butcher1 who kept and baited bulls for ,george ,villiers1 first ,duke of ,buckingham4 ,neither of his parents was undersized4 ,when he was nine years old his father carried ,jeffrey to ,burleigh-on-the-,hill and offered him to the ,duchess of ,buckingham1 who took him into her service4 ,at that time he was scarcely eighteen inches in height and1 if we may believe ,fuller1 8without any deformity1 wholly proportioned40 ,shortly afterwards ,charles ,i and ,henrietta ,maria passed through ,rutland and the ,duke of ,buckingham gave a dinner in their honor4 ,during one of the courses an enormous pie#bb was served2 and when it was cut1 out jumped ,jeffrey ,hudson6 ,the ,queen was so delighted with the sprightly little dwarf that she appropriated him at once and he became a ,court favorite4 ,jeffrey had a number of adventures4 ,on one occasion1 when he was sent to ,france to procure a nurse for the ,queen1 the ship was captured on the return voyage by a ,flemish pirate and ,jeffrey1 the nurse1 and the ,queen's dancing-master were all taken to ,dunkirk4 ,then ,jeffrey also saw some military service4 ,when the ,prince of ,orange besieged ,breda in #afcg1 8,strenuous ,jeffrey0 was in the ,prince's camp in company with the ,earl of ,warwick 7see page #ahg7 and the ,earl of ,northampton1 who were volunteers in the ,dutch ,service4 ,during the ,civil ,wars ,jeffrey ,hudson is said to have been a ,captain of the ,horse4 ,it is certain that he followed the ,queen1 for he was with her in the flight to ,pendennis ,castle1 in ,june1 #afdd1 and he went with her to ,paris4 8,he was10 says ,fuller1 8though a dwarf1 no dastard02 and1 accordingly1 when insulted by ,crofts at ,paris in #afdi1 he shot him dead with a pistol in a duel4 ,crofts had rashly armed himself only with a squirt4 ,in consequence of this1 ,jeffrey had to leave ,paris1 although ,henrietta ,maria saved him from imprisonment1 which1 however1 he had frequently experienced4 ,at sea ,jeffrey was captured by a ,turkish rover1 carried to ,barbary1 and sold as a slave4 ,his miseries1 according to his own account1 made him grow taller4 ,jeffrey managed to get back to ,england about #afeh1 at which time ,heath addressed some lines to him in his ,clarastella4 ,after the ,restoration1 ,jeffrey ,hudson lived quietly in the country for some time on a pension subscribed by the ,duke of ,buckingham and others2 but1 on coming up to ,london to push his fortunes at ,court1 he1 being a ,roman ,catholic1 was suspected of complicity in the ,popish ,plot 7#afgi7 and was confined in the ,gatehouse at ,westminster4 ,in ,june1 #afhj1 and ,april1 #afha1 8,captain ,jeffrey ,hudson0 received respectively #ej and #bj from ,charles ,,ii's secret service fund4 ,jeffrey ,hudson died in #afhb4 ,accounts of his height vary1 but1 according to his own statement 7as made to ,wright1 the historian of ,rutland71 after reaching the age of seven1 when he was eighteen inches high1 he did not grow at all until he was thirty1 when he shot up three feet1 six or nine4 ,hudson's waistcoat1 breeches1 and stockings are preserved in the ,ashmolean ,museum1 ,oxford4 ,,dutch ,,painting ,,dutch ,,painting ,it is not until we come to the ,seventeenth ,century that ,painting in that part of the ,spanish and ,austrian ,netherlands now known as ,holland took on the national character of the ,dutch race4 ,the new political and economic views inculcated by the ,states-,general1 and even more particularly through the bias of the ,protestant faith1 produced an entirely new kind of painting4 ,the sacred subjects inspired by the ,roman ,catholic religion1 as well as the mythological and historical subjects 7made so popular by ,rubens7 were rejected for more prosaic and literal interpretations of ,biblical stories2 for representations of popular heroes in the late wars that overthrew ,spanish tyranny2 for portrait groups of civic dignitaries1 such as ,regents and ,presidents of guild-halls1 shooting-galleries1 hospitals and other charitable institutions 7known as 8,regent0 and 8,doelen0 pictures72 and for those domestic scenes and social parties called 8,conversation ,pieces10 in which are mirrored the ,dutch home and its simple pleasures with detailed representation of furniture1 rugs1 china1 glass1 brass-ware1 musical instruments1 birds1 animals1 food1 fruit1 and flowers4 ,landscapes and marines were also in harmony with the new choice of subject1 and1 of course1 portraiture of the most realistic kind4 ,this matter-of-fact art was given a somewhat 8romantic0 quality by the extraordinary treatment of dark masses of shadow and of sunlight effects and also by a fine use of color4 ,artists have always appreciated these characteristics1 agreeing with ,sir ,joshua ,reynolds1 who wrote after his visit to the ,netherlands3 8,a market-woman with a hare in her hand1 a man blowing a trumpet1 or a boy blowing bubbles1 a view of the inside or outside of a church1 are the subjects of some of their most valuable pictures2 but there is still entertainment1 even in such pictures--however uninteresting their subjects1 there is some pleasure in the contemplation of the imitation4 ,but to a painter they afford likewise instruction in his profession2 here he may learn the art of coloring and composition1 a skillful management of light and shade and indeed all the mechanical parts of the art as well as in any other ,school whatever4 8,the same skill which is practised by ,rubens and ,titian in their large works is here exhibited1 though on a smaller scale4 ,painters should go to the ,dutch ,school to learn the art of painting as they would go to a grammar-school to learn languages4 ,they must go to ,italy to learn the higher branches of knowledge40 ,in the long list of great and noteworthy ,dutch painters the two greatest names are ,rembrandt and ,frans ,hals4 ,rembrandt van ,rijn 7#afjf-affi71 a powerful giant1 excelling in painting1 etching1 and drawing1 producing masterpiece after masterpiece and standing alone as an interpreter of ,bible stories1 profound searcher for character in portraiture1 and dramatist in light and shade 7see page #bjd74 ,frans ,hals 7#aehj8-afff71 painter of portraits1 corporations and military companies1 and characters of low life1 with an uncanny analysis of the eye and an uncanny technique to register surely and rapidly what his eye saw1 whose pictures1 long neglected1 are of high value to-day 7see page #bbj74 ,not far below ,frans ,hals and ,rembrandt as a painter of great civic group pictures comes ,bartholomew van der ,helst 7#afab-afgj71 whose enormous ,civic ,guard ,banquet1 painted in #afdh in celebration of the ,peace of ,mnster1 with its twenty-four life-size portraits1 ranks as one of the great pictures of the world4 ,van der ,helst's ,company of ,captain ,roelof ,bicker1 in the same gallery1 with its thirty-two portraits1 is its equal although not quite so renowned4 ,dutch ,painting1 however1 did not leap into being with ,rembrandt1 ,frans ,hals1 and ,bartholomew van der ,helst4 ,there were ,dutch ,primitives1 as there were ,flemish ,primitives1 and they are not always to be distinguished from one another4 ,the famous ,hubert and ,jan van ,eyck1 for instance1 are thought to have been natives of ,maaseyck on the ,maas and ,hans ,memling is supposed to have been born in ,memelynck1 near ,alkmaar4 ,the greatest of the ,dutch painters was ,lucas van ,leiden 7#adid-aecc71 who knew ,italian ,art well and who was a follower of ,albrecht ,drer4 ,some of his paintings are very decorative and his chess and card-players may almost be said to begin ,dutch genre painting1 brought to such perfection by the ,little ,dutch ,masters4 ,by the end of the ,fifteenth ,century a great many ,dutch painters had visited ,italy2 some of them had studied there2 and some of them had worked there4 ,jan van ,scorel 7#adie-aefb71 for instance1 was kept in ,rome for five years by ,pope ,adrian ,,vi1 who was1 himself1 a native of ,utrecht4 ,jan van ,scorel was the master of ,antonio ,moro1 or ,antonis ,mor 7#aeab-aegg71 who went to ,rome1 was admitted to the ,guild of ,painters in ,utrecht in #aedg1 and leaped into fame with a portrait of ,cardinal ,granvella1 who took ,moro in his train to ,brussels4 ,moro soon became ,court-,painter to the ,house of ,hapsburg and travelled about to various courts1 painting portraits of ,royalty4 ,michiel ,jansz ,mierevelt 7#aefg-afda71 was portrait-painter to the ,house of ,orange and ,nassau and his pupil1 ,paulus ,moreelse 7#aega-afch71 a native of ,utrecht1 was hardly less popular4 ,the greatest painter of ,corporation ,pictures before ,frans ,hals was ,jan van ,ravensteyn 7#aegb-afeg74 ,the early ,dutch landscape-painters travelled to ,italy1 ,switzerland1 and even ,norway2 but none of them acquired the reputation of two ,dutchmen who found inspiration at home4 ,jan van ,goyen 7#aeif-afef71 and ,jan ,wynants 7#afbj8-afhb71 were the first to take pleasure in their own country4 ,van ,goyen loved the water1 the boats1 the clouds1 the mist1 and distant towns silhouetted against the sky4 ,wynants showed the charm of the lonely walk that led through the dunes to the sea4 ,wynants formed ,adriaen van de ,velde 7#afce-afgb71 who carried landscape-painting so far that he comes very close to the ,barbizon ,school of the ,nineteenth ,century4 ,then there are two ,dutch artists who are doubly famous for their landscapes and animals3 ,aelbert ,cuyp 7#afbj-afia71 8the ,king of ,dutch landscape-painters10 noted for his golden light and elegant cavaliers riding fine horses2 and ,paul ,potter 7#afbe-afed71 known far and wide for his ,bull1 in the ,hague ,gallery1 painted when the artist was only twenty-two2 but not so fine a work as ,la ,vache qui se mire 7,the ,mirrored ,cow7 in the same gallery4 ,of these two pictures the ,french critic1 ,burger1 wittily remarked3 8,la ,vache qui se mire is a chef-d'uvre and not a hors d'uvre1 like the ,bull60 ,supreme as landscape-painters stand ,jacob ,ruisdael 7#afbh-i-afhb71 who used as a rule a very dark green and who was able to suggest immense perspectives in very small compass1 also for his harmonious relation of earth and sky1 and ,meindert ,hobbema 7#afch-agji71 supposed to have been his pupil1 and whose long neglected pictures of long1 straight roads beneath tall trees now bring high prices4 ,adriaen van ,ostade 7#afaj-afhe71 a pupil of ,frans ,hals1 wandered about the country finding material along the roads4 ,ostade often caught the poetic side of a rustic scene and he had a commanding knowledge of light4 ,the ,dutch1 with their love of home and their simple pleasures1 excelled in depicting scenes of intimate life1 8,conversation ,pieces10 and genre4 ,the list of these worthy painters is long4 ,a few1 however1 stand out prominently1--,gerard ,dou1 ,gerard ,terborch1 ,jan ,steen1 ,pieter de ,hoogh1 ,jan ,vermeer of ,delft1 ,gabriel ,metsu1 ,nicholas ,maes1 and ,frans van ,mieris--all painters of the ,seventeenth ,century1 portraying life as they saw it around them1 according to the class in which they moved4 ,terborch1 ,metsu1 and van ,mieris showed ladies and gentlemen1 beautifully dressed1 enjoying music1 or playing cards1 or having a light afternoon repast1 or writing letters1 or making love1 or talking in the garden1 or sitting quietly in a comfortably furnished room2 ,jan ,steen depicted feasts1 merry-making1 weddings1 ,st4 ,nicholas celebrations1 tavern-scenes1 drunken brawls and quack doctors2 and ,gerard ,dou produced simple scenes in the home where servants are at work and mothers sit by the cradle1 and sometimes scenes by candle-light with strange reflections1 for ,gerard ,dou was a pupil of ,rembrandt and liked to play tricks with chiaroscuro4 ,another painter1 who was a magician with light1 is ,jan ,vermeer of ,delft 7#afcb-afge71 who was a pupil of ,rembrandt's pupil1 ,carel ,fabritius1 and whose pictures are rare and famous 7see page #bbh74 ,still another artist1 remarkable for his knowledge of the complex problems of light1 is ,pieter de ,hoogh or ,hooch 7#afbi-afgg871 hardly less remarkable for his solid and splendid rendering of architecture1 exterior as well as interior 7see page #bbf74 ,moreover1 the ,dutch excelled in two other genres1--birds and flowers4 ,melchior d',hondecoeter 7#afcf-afie71 caught all the beauties of the feathered world and had an insight into its society4 ,the ,floating ,feather1 in the ,rijk's ,museum1 is very celebrated4 ,burger delightfully wrote of it3 8,no one has painted better than ,hondecoeter the cocks and hens1 ducks and drakes1 and particularly little chicks and ducklings4 ,he has understood such families as the ,italians have the mystical ,holy ,family2 he has expressed the motherhood of the hen as ,raphael has the motherhood of the ,madonna4 ,in fact1 the subject is more naturally treated because it has less sublimity4 ,hondecoeter gives us here a mother-hen who could face the ,madonna of the ,chair4 ,she bends over with solicitude with outspread wings1 beneath which peep the excited heads of the little chickens2 while on her back is perched the privileged bambino--she does not dare move1--the good mother60 ,melchior d',hondecoeter was taught by ,jan ,baptiste ,weenix 7#afba8-affj71 painter of dead game1 and teacher of his son1 ,jan ,weenix 7#afdj-agai71 who often arranged his dead game around the base of a large urn in a private park4 ,of fruits and flowers--important subjects in ,holland--come the two de ,heems1 father and son1 ,jan ,davidsz de ,heem 7#afjf-afhd71 the first ,dutchman to excel with fruit2 ,rachel ,ruysch 7#affd-agej71 painter of flowers1 fruits1 bouquets with butterflies and moths fluttering about1 old logs and tree stumps in the forest1 and deserted birds' nests4 ,jan van ,huysum 7#afhb-agdi7 8the ,correggio of fruits and flowers10 was famed for his skill in depicting a transparent dewdrop trickling down a satiny petal2 and ,abraham ,mignon 7#afdj-afgi71 pupil of ,jan ,davidsz de ,heem was a brilliant painter of flowers1 fruits1 butterflies1 insects1 and dewdrops4 ,with ,cornelis ,troost 7#afig-agej71 called 8the ,dutch ,hogarth10 because of his familiar scenes of comedy1 the ,decadence begins2 and ,dutch ,painting ceased to be interesting until the middle of the ,nineteenth ,century4 ,,the ,,standard ,,bearer4 ,rembrandt van ,rijn 7#afjf-affi74 ,collection of ,mr4 ,jules ,s4 ,bache4 ,this picture1 oils on canvas 7#ee #de inches71 has the distinction of having belonged to ,sir ,joshua ,reynolds and1 after him1 to the ,earl of ,warwick at ,warwick ,castle4 ,it is signed on the left at the bottom1 8,rembrandt fe #afed40 ,consequently it was painted the same year as the famous ,burgomaster ,jan ,six4 ,the person has never been identified2 but it is supposed that he was the standard-bearer of one of the ,amsterdam ,shooting ,companies4 ,the man is life-size1 three-quarter length1 with full light falling from the left foreground upon the whole figure4 ,a grey wall with a rusticated pillar at the right forms the background from which the elderly ,standard ,bearer stands out boldly4 ,he wears a dark-brown coat with gold buttons1 a dark bluish green sash1 and a rich gold-embroidered sword-belt crossing the chest from the right shoulder4 ,a black hat with a large white plume covers his grey hair1 but does not hide his face4 ,in his gloved left hand he carries a red and yellow banner bearing the ,arms of the ,city of ,amsterdam and he holds a glove in his right hand4 ,the picture is rich in color and fine in its illumination4 ,from the ,earl of ,warwick it passed through the ,collections of ,mr4 ,charles ,sedelmeyer of ,paris1 ,mr4 ,charles ,j4 ,wertheimer of ,london1 and ,mr4 ,george ,j4 ,gould of ,new ,york into that of its present owner4 ,rembrandt van ,rijn was born in ,leiden in #afjf1 the son of a miller1 who sent him to the ,leiden ,university4 ,young ,rembrandt1 however1 preferred painting and for three years studied under ,jacob van ,swanenburch1 a ,leiden painter1 who had studied in ,italy4 ,rembrandt had painted a good many pictures before he removed to ,amsterdam at the age of twenty-three4 ,he soon became famous in ,amsterdam4 ,from the year #afcc the face of a good-natured1 buxom young woman1 ,saskia van ,ulenburgh1 daughter of a ,friesland lawyer1 appears on his canvases4 ,in #afcd ,rembrandt married ,saskia2 and ,fortune smiled thereafter on everything he did4 ,his orders made him rich and he had a splendid home1 filled with collections of many kinds1 including antique busts1 costumes1 curios1 and paintings4 ,at this period ,rembrandt loved to dress ,saskia and himself in fantastic array and paint gay and somewhat theatrical portraits of themselves4 ,illustration3 ,collection of ,mr4 ,jules ,s4 ,bache ,,the ,,standard ,,bearer --,rembrandt van ,rijn ,who does not know the famous picture of ,saskia seated on ,rembrandt's knee in the ,dresden ,gallery1 the artist clasping his wife's waist with his left hand and brandishing in his right hand a long glass of sparkling wine1 before them a table covered with an ,oriental rug on which is a pastry surmounted by a peacock8 ,not so familiar but more beautiful is the portrait in the ,hermitage of ,saskia dressed as a fanciful shepherdess with a mantle of pale green thrown over her white brocaded gown1 in her hand a flower-twined crook1 and on her head a heavy1 thick wreath of ranunculus1 anemones1 iris1 columbine1 and striped red and white tulips4 8,innocent and engaging in her brilliant draperies and gaily tinted flowers10 says ,emile ,michel1 8she stands a graceful apparition1 the light falling full upon her4 ,spring itself seems to be singing a paean of love and poetry from the master's palette1 at the dawn of that year which was to bring about the propitious union40 ,rembrandt's life changed entirely after ,saskia's death in #afdb1 which1 by the way1 was the year he painted his most famous picture1 ,the ,night ,watch 7in the ,rijks ,museum71 more properly called ,the ,sortie of the ,company of ,captain ,banning ,cock4 ,rembrandt became bankrupt in #afef and his collections of antiques and paintings were sold for a mere #ejjj florins6 ,in the following year his house and collection of engravings came also to the hammer4 ,thenceforward ,rembrandt lived with his son1 ,titus1 in a modest dwelling in the ,rozengracht1 attended by his servant1 ,hendrickje ,stoffels 7his reputed wife7 until the latter's death in #affd4 ,the close of ,rembrandt's life in #affi found him poor1 but as industrious as ever4 ,rembrandt is said to have painted about #eej pictures and to have made more than #bej etchings and #aejj drawings4 ,the ,hague is the place to see the great works of ,rembrandt's early period1 such as ,the ,anatomy ,lesson1 the ,presentation in the ,temple or ,simeon in the ,temple1 and several portraits of himself and others2 and the ,rijks ,museum has the great productions of his middle and last period1 including ,the ,syndics and ,the ,night ,watch4 ,apart from his individual and amazing portrayal of shadows and light effects1 ,rembrandt stands alone as the interpreter of the ,bible story4 ,in portraiture he is profoundly searching2 and no one ever painted more forcible self-portraits than ,rembrandt van ,rijn4 ,of all the qualities that ,rembrandt possesses the most striking one is understanding of light and shadow4 ,fromentin very aptly defines this ,rembrandtesque chiaroscuro in his ,matres d'autrefois 7,paris1 #ahgf73 8,to envelop and immerse everything in a bath of shadow2 to plunge light itself into it only to withdraw it afterwards in order to make it appear more distant and radiant2 to make dark waves revolve around illuminated centres1 grading them1 sounding them1 thickening them2 to make the obscurity nevertheless transparent1 the half gloom easy to pierce1 and1 finally1 to give a kind of permeability to the strongest colors that prevents their becoming blackness1--this is the prime condition and the difficulties of this very special art4 ,it goes without saying that if any one ever excelled in this it was ,rembrandt40 ,,portrait ,,of ,a ,,young ,,officer4 ,rembrandt van ,rijn 7#afjf-affi74 ,collection of ,mr4 ,a4 ,w4 ,erickson4 ,this picture signed lower right1 8,rembrandt f4 #afcf0 is painted on a panel1 #bj #be inches4 ,it is one of ,rembrandt's finest and most pleasing portraits4 ,with masterly skill the artist has painted the light in the eyes and the fine lines and texture of the lips4 ,the subject is supposed to be ,franois ,copal1 the brother-in-law of ,saskia van ,ulenburgh1 ,rembrandt's wife1 and there is abundant evidence in support of the theory4 ,dr4 ,bode in his ,rembrandt notes3 8,there is a pair of portraits in the ,liechtenstein ,gallery at ,vienna1 dated #afcf1 of a ,young ,officer with ,thick ,black ,hair and ,his ,wife1 in costumes like those in which ,rembrandt painted ,saskia and himself4 ,the young couple here represented was probably closely connected with the artist and his bride4 ,the husband1 whose features are regular1 almost handsome1 and who has a slight moustache wears a steel gorget and a small gaily-colored neck cloth over his finely plaited silk shirt1 a greenish blue cloak hangs from his right shoulder1 and his gloved hand rests on the hilt of his sword4 8,portraits of the artist himself and of his relations and friends1 are nearly all executed with as much care as the numerous portraits of other persons painted to order at this time4 ,some few may have been presents to friends and relations2 but the majority produced at this period 7#afcc-afce71 and that immediately following it were very probably commissions from friends and patrons of the master1 the most renowned artist in ,holland whose name was soon to be associated with those of the greatest painters in ,europe4 ,these pictures had a special attraction over and above their interest as portraits1 by virtue of the highly individual costume and conception which add so much to their picturesque effect40 ,dr4 ,w4 ,r4 ,valentiner1 also believing this to be a likeness of ,saskia's brother-in-law1 says3 8,the portrait of a cavalier1 possibly ,franois ,copal1 is one of the most imposing and impressive of the portraits which ,rembrandt painted in the middle of the thirties1 at the time when he was approaching the height of his fame as a portrait-painter at ,amsterdam4 ,among the considerable number of portraits which the artist painted to order during these years1 the present one 7and a companion piece in the ,liechtenstein ,gallery1 ,vienna7 stand out through the vivid1 passionate expression and the personal touch which undoubtedly reflects the artist's own mood4 ,at no time ,rembrandt expresses so much of a youthful1 almost wild1 temperament in his compositions1 at no time he endeavors to give to them such an overpowering force and such an intense1 almost sensuous feeling of life1 as in these stormy years of his first successes at ,amsterdam1 which were accompanied by a happy marriage1 by social connections1 by acquiring riches and almost luxury4 ,illustration3 ,collection of ,mr4 ,a4 ,w4 ,erickson ,,portrait ,,of ,a ,,young ,,officer --,rembrandt van ,rijn 8,something of young ,samson1 of whom the artist was so fond in these years1 we feel also in the portrait of a handsome cavalier4 ,we feel the lion's force behind those glowing1 piercing eyes1 behind the energetic chin and cheek bones1 and the exuberantly flowing1 broad waves of the bushy1 dark hair remind us of a lion's mane4 8,we easily recognize in ,rembrandt's work those portraits of which the sitters were strangers to him4 ,the present one1 in which he put so much of his own self1 as he did only with friend's portraits1 does not belong to these4 ,he has ornated the young cavalier with a costume which appealed to his imagination1 the details of which we know from portraits of persons in his surroundings and self-portraits3 the breast-plate1 the colored scarf around the neck1 the golden chain with medal-lion1 the green velvet mantle with gold-embroidered border4 ,on the companion-piece1 on the other hand1 the lady wears a costume and pieces of jewelry which we find also in ,saskia's portraits4 8,strange to say1 the female figure itself has so much likeness to ,saskia that we would be tempted to believe it to be a portrait of her1 if there was not the portrait of the cavalier as the companion-picture preventing us from this supposition4 ,but we know that ,saskia had a sister1 ,titia1 who visited the ,rembrandt family frequently within these years 7a portrait-sketch1 a pen-drawing made of her in #afci by ,rembrandt is in the ,stockholm ,museum74 ,she and her husband ,franois ,copal1 were witnesses at the baptism of ,saskia's first children4 ,we know also a portrait of ,franois ,copal's brother1 ,antoni1 in the ,rothschild ,collection1 ,vienna1 which ,rembrandt painted in #afce4 ,the sitter of this portrait undoubtedly has a resemblance to the gentleman in our picture1 almost as much as the companion-piece resembles ,saskia4 ,is thus the theory too bold that the present portrait represents ,franois ,copal and the companion-piece at ,vienna1 ,titia1 his wife80 ,the portrait came to the present owner1 ,mr4 ,erickson1 directly from the famous ,liechtenstein ,collection1 ,vienna1 purchased by ,prince ,liechtenstein from the ,marchesa ,incontri1 ,florence4 ,previously the picture had been in the ,collections of the ,comte ,koucheleff ,besborodko1 ,paris2 the ,duc de ,choiseul ,praslin1 ,paris 7#agic71 and ,b4 da ,costa1 ,the ,hague 7#ageb74 ,,an ,,old ,,lady ,,seated ,,in ,,an ,,armchair4 ,rembrandt van ,rijn 7#afjf-affi74 ,collection of the ,hon4 ,andrew ,w4 ,mellon4 ,this splendid portrait1 oils on canvas 7#db #ce inches71 takes rank with ,rembrandt's famous study of ,elizabeth ,bas1 widow of ,admiral ,swartenhout1 in the ,rijks ,museum1 ,amsterdam4 ,it is three-quarters length1 life-size1 and signed on the left 8,rembrandt ,f4 #afdc40 ,the subject is seated in an arm-chair of red leather with her head turned slightly to the left and she is looking in the same direction4 ,she wears a black costume with a tightly fitting jacket lined with fur1 a large flat1 round1 and gauffered ruff1 and a flat1 dark velvet cap4 ,her arms rest easily on the arms of the chair and in the right hand she is holding her eyeglasses1 while the fingers of her left hand are placed between the leaves of a large book--presumably a ,bible1 with silver clasps and gilt edges1--a marvellous piece of still-life painting4 ,the background is dark of the brownish ,rembrandt tone and the light falls from the left upon the face of the sitter and upon her large ruff4 ,dr4 ,bode1 in speaking of the lighting of this remarkable portrait1 says3 8,a strong light falls on the broad1 gauffered ruff and is reflected on the more softly illuminated face2 another ray of light touches the hands with their small white cuffs4 ,the dull red of the chair-back1 the subdued glint of the gold edges and silver clasps of the book relieve the blackish tone of the picture almost imperceptibly4 ,it takes a special place among ,rembrandt's portraits by reason of its peculiarly distinguished harmony4 ,in arrangement and illumination it stands midway between the ,st4 ,petersburg ,portrait of the ,old ,woman and the numerous studies of old women painted between #afej and #affj40 ,illustration3 ,collection of the ,hon4 ,andrew ,w4 ,mellon ,,an ,,old ,,lady ,,seated ,,in ,,an ,,armchair --,rembrandt van ,rijn ,the picture was sold in ,amsterdam in #agfd and has passed through the ,collections of ,j4 van der ,march1 ,amsterdam1 #aggc2 ,m4 ,thelluson1 ,paris1 #aggg2 an anonymous ,parisian collection1 #aghh2 ,m4 ,c4 ,a4 de ,calonne1 ,london1 #agie2 ,mr4 ,j4 ,allmutt1 ,london1 #ahfc2 and ,m4 ,louis ,lebeuf de ,montsgermont1 ,paris4 ,,simeon ,,and ,,mary ,,presenting ,,the ,,infant ,,christ ,,in ,,the ,,temple4 ,rembrandt van ,rijn 7#afjf-affi74 ,collection of ,mr4 ,nils ,b4 ,hersloff4 ,this picture is interesting for two reasons4 ,one1 that it belonged to ,horace ,walpole and hung for many years in ,strawberry ,hill2 and the other1 that it is a recently discovered ,rembrandt4 ,it would seem from the present documents that the picture is not many stages away from the painter's studio4 ,in a case like this1 it is best to tell the story of the identification of this ,strawberry ,hill picture with the ,rembrandt studio picture in the words of those most concerned in the matter4 ,illustration3 ,collection of ,mr4 ,nils ,b4 ,hersloff ,,simeon ,,and ,,mary ,,presenting ,,the ,,infant ,,christ ,,in ,,the ,,temple --,rembrandt van ,rijn ,but first let us read the interesting analysis written by the ,rembrandt specialist1 ,dr4 ,jan ,veth1 author of the ,life and ,art of ,rembrandt1 published on the commemoration of the #cjjth anniversary of his birth4 ,this essay is dated ,amsterdam1 ,august #b1 #aiaf1 when this picture from the ,walpole ,collection was discovered and sent to ,holland4 ,dr4 ,veth speaking3 8,a rather large-sized picture1 about #ci #ca inches1 has recently been imported from ,england1 a picture which one recognized without any difficulty as being a late work by ,rembrandt4 ,this unknown work was at first thought to be in a rather dilapidated condition4 ,evidently long ago it had been relined by an unskilled hand1 leaving the canvas badly wrinkled in places4 ,these have been easily removed1 the picture slightly restored and apart from a few local blemishes 7nowhere occurring in the vital parts7 the beautifully crackled and original coat of paint appears unimpaired4 ,many a museum piece giving the impression of being in a perfect state of preservation is1 in reality1 much less intact than this ,rembrandt4 8,the figure of ,simeon in the picture reminds us to a certain extent of the figure of ,homer in the ,collection of ,dr4 ,bredius1 but the handling of the paint is more certain1 the head firmer and more plastic4 ,in his later period1 where his old men bear so much of a resemblance to each other1 it was not necessary that ,rembrandt should always use the same models4 ,the character1 however1 of this ,simeon is akin to that of ,st4 ,matthew in the ,louvre1 to the father in the ,prodigal ,son in ,petrograd1 to the man behind ,pilate in the picture in ,new ,york1 ,altman ,collection1 and to the ,haman in the ,collection of the ,king of ,roumania4 8,for the rest1 the peculiar expression of ,simeon's rugged and full bearded countenance can be traced quite easily in that dark1 majestic etching of the ,presentation in the ,temple with the exception that the head in the etching leans slightly more backward4 ,simeon's expression depicts in a striking manner the decrepit old man to whom the divine revelation was made1 and who1 after walking into the ,temple1 seeing the ,child and taking ,him into his arms1 said3 #8,lord1 now lettest ,thou ,thy servant depart in peace1 according to ,thy word3 ,for mine eyes have seen ,thy salvation1 which ,thou hast prepared before the face of all people3 ,a light to lighten the ,gentiles1 and the glory of ,thy people1 ,israel4' ,luke ,,ii1 #bi-cb4 8,the hermit-like old man wears a wide gold-colored leather mantle4 ,full of devotion he is holding the ,christ ,child1 without touching ,him with his long and stiffened hands4 8,the little face appears foreshortened and recalls to one's mind the strange drawing of the uplifted face of the young ,jesus where he walks between his parents in that remarkable etching of the ,return from the ,temple4 ,close to ,simeon and behind1 stands ,mary1 the inclination of the head and attitude identical with the ,virgin in the etching of the ,presentation4 ,over her head she wears a wide1 drooping hood1 and the greater part of her face--a face of no ordinary maternity and with something of the grandeur so characteristic in ,mantegna's ,madonnas--is deeply enveloped in shadows4 ,in contrast with the bronze-like1 warm color of the ancient man1 she appears cool in tone1 the neck only illuminated like enamel against the sombre purple of her frock4 8,the group is composed without any additional accessory to distract or allure the spectator1 being placed against a background deep and sombre1 a great and connected whole4 ,throughout1 the handling of the paint is full and direct without any small or useless accents1 a great design treated like sculpture4 ,the stronger colors of brown and red are dissolved in a sombre tone of bronze and with that singular mixture of smothered lights and cave-like half-tones and shadows which give the true expression of the quiet and pathetic event4 8,out of the whole tonality emerges first the powerful head of the old ,seer1 then the suppressed light of the strange ,infant1 and finally the beautiful sibyl-like ,mary4 ,the picture is full of that inner power of expression which ,millet would have admired and ,israels would have revelled in4 8,in ,holland we can point to more complete1 perhaps more pompous and more brilliant1 ,rembrandts1 but a picture by the master of such wonderful simplicity and at once of such great eloquence we hardly know of in this country40 ,turning to the ,dutch records we learn the following3 8,the desire to obtain the minutest detail of information about ,rembrandt's life and works1 and perhaps with a wish to discover some allusion to his pictures1 has led such men as ,dr4 ,bredius to search among the old ,dutch archives for records of ancient deeds in the registries of ,amsterdam and near-by towns and villages4 ,this has been no light task1 for besides the numberless documents to be examined1 the difficulties of deciphering the curious legal language used in the ,seventeenth ,century had to be combatted4 ,dr4 ,bredius's efforts1 however1 were rewarded1 when1 about ten years ago he discovered an ancient deed relating directly to a painting by ,rembrandt1 and dated ,may #ab1 #afga 7two years after his death71 signed before a notary named ,j4 ,de ,winter of ,amsterdam4 ,the document so unearthed threw light upon a picture entitled ,simeon1 of which no record had up to the time of ,dr4 ,bredius's discovery1 been known4 ,dr4 ,bredius deemed the subject so interesting that he wrote an article dealing with ,the ,last ,year of ,rembrandt's ,life1 which appeared in ,oud-,holland in #aiji40 ,now we go to the number of ,oud-,holland and take this extract4 ,dr4 ,bredius speaking3 8,although we have learned much of the last years of ,rembrandt's life1 of the very last and perhaps the saddest year of that rich life1 we have learned little up to the present time4 ,only one work1 that of his own portrait in the collection of ,sir ,audley ,neeld in ,griffleton ,house1 seems to bear the date of #affi4 ,we have no other picture and no etching1 and in this portrait the master appears so feeble that we had begun to believe that ,rembrandt worked but little in the last year of his life4 8,that he was1 however1 still working and planned to do some etchings and also that there was a picture on his easel shortly before he died1 is proven by an old deed ,i have recently discovered4 ,short as this may be1 it nevertheless gives us much important information4 ,among other things it is new to us that ,rembrandt was working up to the time of his death1 and that ,dirck van ,cattenburch1 a gentleman dealer with his brother1 ,otto1 as far back as #afed1 had business connections with ,rembrandt4 ,and here we see the aged master1 as often happened and still happens with artists1 more or less in the hands of the ,art-dealer1 who pays for the work before it is finished4 8,perhaps ,rembrandt really considered his ,simeon a finished picture1 but the buyers probably did not1 and looked upon his broadly painted canvases of his latest period as not being #8entirely finished4' ,we are not acquainted with any ,simeon of his last period4#bc ,it is also interesting to note from the deed that the artist planned to make a series of etchings of the ,passion1 a subject which always attracted him and of which he made some of his most wonderful plates4 ,deed3 ,may #ab1 #afga1 ,appeared before me1 ,allart van ,everdingen1 age about fifty years and ,cornelius van ,everdingen1 age twenty-five years1 both artists living in this town1 and on request of ,dirck van ,cattenburch1 do hereby declare that ,allart van ,everdingen1 a few months before the death of ,rembrandt van ,rijn1 artist1 had a conversation as to the settling of a painting representing ,simeon1 painted by the aforesaid ,rembrandt van ,rijn1 not yet entirely finished1 owned by ,dirck van ,cattenburch and being in ,rembrandt's house4 8,that he1 witness1 went to see and examine the aforesaid picture in the house of van ,rijn1 who told him at the time that the picture was owned by said ,dirck van ,cattenburch4 ,the aforesaid ,cornelius van ,everdingen further declares that he went up to ,rembrandt's studio several times1 where1 on each occasion1 he saw and examined the said picture1 which was discussed by them1 ,rembrandt declaring that the picture was owned by ,dirck van ,cattenburch4 ,also that ,rembrandt had several polished plates owned by ,dirck van ,cattenburch in order to engrave the ,passion4 ,signed ,allart van ,everdingen ,signed ,cornelius van ,everdingen40 8,it is interesting to note that ,allart van ,everdingen was a well-known painter of the time of ,rembrandt and that he was born in #afab4 ,he excelled in painting rocky landscapes4 ,he also executed sea-pieces and storms with such surprising effect and spirit that his work entitled him to the appellation1 the #8,salvator ,rosa of the ,north4' ,allart van ,everdingen was also an etcher of repute and in this work there must have existed a bond of sympathy between ,rembrandt and himself4 ,he died in #afge1 six years after the death of the master4 ,his works are represented in all the great museums4 ,cornelius van ,everdingen1 his son1 was also an artist1 but not so universally known as his more brilliant father40 ,now then we turn to another ,dutch authority to continue the story3 8,dr4 ,bredius1 by the remarkable discovery of the ancient deed1 had established the fact that a certain picture of ,simeon 7always identified in ,art with ,the ,presentation in the ,temple7 was in ,rembrandt's studio a few months before his death4 ,but what had become of the picture there was nothing to show1 none of the great biographers of the artist has ever classified a work of this subject dating from his last period4 8,and now commence the most interesting events connected with the picture under consideration4 ,many inquiries were instituted4 ,dr4 ,bredius1 from his rich stock of material bearing upon the master1 searched exhaustively for some indication where the picture might be found4 ,the known and unknown private and public collections of ,europe and even ,america were examined through and through1 until at last his efforts were rewarded and nine years after the discovery of the deed and his subsequent article1 the picture was recognized and acclaimed as the lost ,simeon4 8,the painting was found in the collection of a nobleman in ,england1 and although it had lain neglected for centuries there could be no possible doubt that it was the picture of ,simeon referred to in the deed4 8,this discovery occurred in the year #aiaf1 at a time when the world was in the midst of the ,great ,war2 but such was the importance of the find that the masterpiece was sent at once to ,holland1 there to be admired by all of the great ,rembrandt authorities40 ,critics have called attention to the fact that the first important picture painted by ,rembrandt was ,simeon in the ,temple which is now in the ,mauritshuis1 ,the ,hague1 and which is also called ,presentation in the ,temple4 ,it is a little strange that the last picture should have been on the same subject4 ,yet any one can see they are by the same hand4 ,in the ,hague picture it is beneath the high roof of a temple that the ,virgin and ,st4 ,joseph make the offering and present the ,holy ,child to the ,lord4 ,simeon1 in a robe glittering with gold1 holds the ,holy ,child and the ,high ,priest stands in front of the group1 his hands lifted in ecstasy4 ,the latter's robe of violet makes a beautiful note of color which is carried through the lights and shadows and which contrasts and harmonizes1 too1 with the ,virgin's dress of light blue4 ,in the vaporous distance persons are seen ascending and descending the steps4 ,all the light is concentrated on the central group and the cold1 mysterious depths of the vast fane are expressed with marvellous skill4 ,homer ,reciting his ,poems1 also in the ,hague ,gallery1 representing an old man in a yellow robe1 has the face of the ,strawberry ,hill ,simeon and ,homer was painted in #affc4 ,it could be possible that the same model was used for ,homer and the ,strawberry ,hill ,simeon4 ,how did ,horace ,walpole get this ,rembrandt8 ,the information that we gain from the ,catalogue of the ,strawberry ,hill ,collection issued when ,earl ,waldegrave sold the contents of ,strawberry ,hill at ,covent ,garden in #ahdb is rather tantalizing than otherwise4 ,the items read as follows4 ,on ,page ,,xvii of prefatory remarks3 8,a ,fine ,rembrandt 7,no4 #ajj7 and a ,nicholas ,poussin adorn this end of the chamber4 ,page #bjd4 ,the great ,north ,bed ,chamber3 ,no4 #ajj4 ,the ,presentation in the ,temple1 displaying all the power of light and shade so peculiar to this great master1 ,rembrandt4 8,the above two pictures ,no4 #ii and #ajj were bought from a very old gentlewoman for whose grandfather they had been painted1 and till then had never been taken out of their old black frames and are still in their pure and genuine state40 ,was the 8very old gentlewoman0 the grand-daughter of ,dirck van ,cattenburch8 ,,portrait ,,of ,,an ,,officer4 ,frans ,hals 7#aehj8-afff74 ,collection of ,mr4 ,henry ,goldman4 ,the subject1 which we might almost call a ,dutch ,falstaff1 is seated in a chair on the arm of which he rests his right elbow1 while he seems to be grasping a stick with his hand4 ,the left hand is hidden4 ,beneath his large grey felt hat with its wide turned-up brim a few locks of straggly grey hair are visible4 ,his doublet is of grey silk with a dotted pattern 7long anticipating the 8,polka ,dot0 of the early ,nineteenth ,century71 a surcoat of buff leather1 and a broad1 flat collar1 trimmed with handsome and heavy lace1 worn over a metal breast-plate4 ,the ,officer looks directly at us with a half-humorous1 half-suspicious glance1--one of those characteristic ,frans ,hals's expressions4 ,the picture1 oils on canvas 7#cb #be7 bears the monogram ,f4 ,h4 and the words 8tat #ee4 ,a4 #afcg40 ,it was sold from the ,collection of ,mr4 ,j4 ,h4 ,tpfer in ,amsterdam in #ahda and then it was in the ,collection of ,sir ,edgar ,vincent 7,lord d',abercorn7 at ,esher4 ,illustration3 ,collection of ,mr4 ,henry ,goldman ,,portrait ,,of ,,an ,,officer --,frans ,hals ,frans ,hals 7#aehj8-afff71 one of the greatest masters of painting1 was born in ,antwerp1 where his parents 7natives of ,haarlem1 and of good lineage71 are supposed to have gone because of political disturbances of the time4 ,it seems that ,hals was settled in ,haarlem before #aeia1 busily painting1 and he lived there all the rest of his life4 ,in #afcg he came under ,rembrandt's influence in ,amsterdam4 ,hals's life was rather disgraceful and went from bad to worse until poverty and comparative oblivion compelled him to accept charity4 ,he died in ,haarlem in #afff1 leaving a great many followers4 ,the real life of the man is to be found in such works as ,the ,laughing ,cavalier in the ,wallace ,collection and those vagabonds1 lute-players1 topers1 and other rascals that belong to the same class as ,autolycus1 ,launcelot ,gobbo1 ,touchstone1 ,dogberry1 ,sir ,toby ,belch1 ,falstaff and our other much-prized1 although disreputable1 ,shakespearian low-comedy characters4 ,hals always accomplished his work by the greatest economy of means4 ,a few broad1 rapid1 and unhesitating strokes1 or swipes1 of the brush1 a dot here and there of light1--and that is all6 ,everything that ,hals painted shows his dazzling genius1 his astounding instinct for striking effects1 and his marvellous ability for catching a likeness4 ,hals never worked out his ideas3 he left no sketches1 nor studies4 ,his extraordinary power of quick analysis with the eye and the gift his hand had for expressing what his eye had seen1 combined with a rapid1 sure1 and skilled technique rank ,hals as a master among masters4 ,moreover1 he had a keen and gay humor4 ,no painter has ever been able like ,hals to render the face in action and to fix forever1 a rapid and fleeting expression on canvas4 ,he loved to catch and make permanent a wink1 a smile1 a leer1 or even hearty laughter4 ,frans ,hals was a genius at portraiture4 ,those who have seen the large number of ,hals's ,doelen pictures in the ,town ,hall of ,haarlem1 each canvas containing from fourteen to twenty life-size portraits1 stand aghast at the power represented in just this one phase of his art4 ,when we look upon these pictures we feel as if we were entering a hall full of convivial officers1 laughing1 jesting and making merry over their fine wines and choice food4 ,they are richly dressed4 ,many of them wear lace cuffs and ruffs and bright scarves4 ,flags flutter1 spears glitter1 spurs and swords clink and rattle and flash in the sunlight2 and plumes on the large hats nod in the breeze1 or with the motions of these men's bodies4 ,loud talk and bursts of laughter seem to issue from the frames4 ,these convivial men have fought against the hated ,spaniard and are ready 8to trail a pike0 again at any moment4 ,a gallant and a jovial crowd1--these ,arquebusiers of ,st4 ,george and ,st4 ,andrew6 ,the artist was commanded to paint each man accurately and according to his rank in the ,company2 and ,hals did more than fill his order1--he made each and every man live4 ,,the ,,laughing ,,mandolin ,,player4 ,frans ,hals 7#aehj-afff74 ,collection of ,mr4 ,john ,r4 ,thompson4 ,here is a half-figure of a young man seated1 turning his head towards the spectator1 and laughing merrily as he holds up a glass of wine in his right hand4 ,his mandolin is lying on the table beside him and his left fingers close around its neck4 ,he wears a dark cloak lined with blue and a large black cap thrown carelessly at the side of his head and his hair is unkempt and straggly4 ,but what cares he8 ,he has sung his song and played his tune and has been rewarded well1--well enough1 indeed1 to have a glass of good wine4 ,so no wonder he laughs6 ,life is a joke anyway--8,so here's to the company and thank you1 gentlemen60 ,illustration3 ,collection of ,mr4 ,john ,r4 ,thompson ,,the ,,laughing ,,mandolin ,,player --,frans ,hals ,the picture is an oil painting on panel 7#cf #cj inches71 and is signed with the monogram ,f4 ,h4 ,the ,laughing ,mandolin ,player belonged to the ,capello ,collection1 ,amsterdam1 from which it was sold in #agfg1 and then it passed to ,count ,bonde1 ,stockholm2 to ,jules ,porges1 ,paris2 to the late ,baron ,ferdinand de ,rothschild1 ,waddeston ,manor1 ,england2 and to ,m4 ,a4 ,veil-,picard1 ,paris4 ,a ,,music ,,party4 ,pieter de ,hoogh 7#afbi-afgg874 ,collection of ,mrs4 ,john ,n4 ,willys4 ,here are six figures in the reception bedroom of a prosperous merchant or citizen4 ,the dominant note of the apartment is red4 ,the floor is paved with square blocks of marble4 ,the primary interest of the picture is in the group on the left1 consisting of two fashionably dressed gentlemen and an elegantly attired lady at a table over which is spread an ,oriental 8table-carpet40 ,the lady1 dressed in a scarlet skirt1 an old-gold overskirt and bodice and a deep white lace collar1 is looking at the spectator and singing from a piece of music which she is holding in her left hand1 her right being raised as if to beat time4 ,standing near her and smilingly accompanying her in her song is a young gentleman with long hair and wearing a white jacket and a broad-brimmed hat4 ,with his right hand he is holding a long funnel-shaped glass partly filled with wine4 ,seated opposite and looking intently at the lady is a middle-aged gentleman with long hair and yellow jacket1 holding a flageolet with both hands1 and apparently waiting for the note at which he may join in the accompaniment4 ,on the table are the flageolet player's high-crowned hat with red feathers1 an open book of music and a glass4 ,in the background are standing figures of a lady and gentleman in conversation1 and near-by is an attendant in brown dress holding a wine-jar in his left hand and abstractedly looking out of the window4 ,in the background is a bed enclosed with curtains4 ,two windows to left and right open on to a garden1 a portion of which1 adorned with statues1 is seen through an open doorway on the extreme right4 ,illustration3 ,collection of ,mrs4 ,john ,n4 ,willys ,a ,,music ,,party --,pieter de ,hoogh ,the picture1 oil on a panel 7#bd #bh inches71 was formerly in the ,collections of ,edmund ,higginson of ,saltmarshe ,castle1 ,england1 #ahdf2 ,george ,h4 ,morland1 ,esq41 ,london1 a well-known amateur1 a descendant of ,george ,morland1 the artist1 #ahfc2 and ,albert ,levy1 ,london1 #ahgd4 ,pieter de ,hoogh 7or ,hooch7 is thought to have been born in ,rotterdam4 ,little is known of his life4 ,he seems to have been a servant in his early years employed by ,justus de la ,grange and to have lived in ,delft1 in ,leiden and in ,the ,hague4 ,in some way he learned to paint2 some authorities say he studied under ,rembrandt's pupil ,carel ,fabritius1 ,houbraken says he was a fellow-student with ,jacob ,ochtevelt under ,nicholaes ,berchem4 ,in #afec ,pieter de ,hoogh became a member of the ,guild of ,painters in ,delft and he married in that city and lived there ,until #affd4 ,next he is living in ,the ,hague and after that in ,amsterdam4 ,pieter de ,hoogh is ranked as one of the best of the 8,little ,dutch ,masters40 ,his pictures show a particularly fine mastery in the action of light4 ,he almost invariably opens a door in the background leading into a garden or into an adjoining room4 ,he groups his figures interestingly and tells his simple story in paint graphically and convincingly4 ,his architecture is always remarkably fine and his drawing is second to none4 ,pieter de ,hoogh was neglected for many years1 but to-day he is deeply appreciated4 ,burger says he never saw any picture by de ,hoogh that was not of the first rank3 8,sometimes he paints interiors--people are playing cards1 or having a family concert1 or reading1 or drinking1 or conversing4 ,sometimes he paints exteriors2 and then the painter introduces us to domestic occupations and the innocent recreations of private life1 as1 for instance1 a servant washing linen in a backyard1 or cleaning fish1 or plucking fowl1 or perhaps there are ladies and their cavaliers playing at bowls in a garden with trim gravelled walks4 8,when he paints interiors this artist rarely neglects to show1 on the right or left1 doors opening on a staircase or revealing a leafy alley1 or the trees along a quay1 so that his pictures always seem to be the antechamber of another picture4 ,in this characteristic style of de ,hoogh when the interior of the apartment is moderately lighted the sun shines outside4 ,pieter de ,hoogh seems to have been in ,rembrandt's secrets40 ,,the ,,lace-,,maker4 ,jan ,vermeer 7#afcb-afge74 ,collection of the ,hon4 ,andrew ,w4 ,mellon4 ,this delightful picture on panel 7#ag #ae inches7 was only discovered in #aibf4 ,on its exhibition at the ,kaiser ,friedrich ,museum in #aibf-aibg in ,berlin1 ,dr4 ,wilhelm ,bode wrote3 8,i consider it a genuine1 perfect1 and very characteristic work of ,jan ,vermeer of ,delft4 ,not only has it the true ,vermeer charm as to the lighting and coloring1 but at the same time there is an extraordinary fascination in the expression of the face1 still half that of a child40 ,dr4 ,max ,j4 ,friedlnder also pronounced it 8a genuine and highly characteristic work by ,vermeer of ,delft40 ,the young girl is seen at half-length with her head turned towards the observer and her eyes looking straight out of the picture4 ,she is busy making lace on a pillow1 or cushion1 which is supported on a frame with two upright posts4 ,in her left hand she is holding a bobbin4 ,her costume is a yellow jacket1 or bodice1 with broad white collar and broad white cuffs4 ,her brown hair1 arranged very simply1 is adorned with a tiny knot of blue ribbon4 ,the handsome pear-shaped pearls in her ears proclaim that she is in more than affluent circumstances and that she is a young ,dutch lady of some position1 making lace for her pleasure and not to earn a living4 ,at her left elbow is a blue cushion and a large pewter dish4 ,the ,lace-,maker is in every way a picture of charm and one of the most thoroughly attractive that ,vermeer ever produced4 ,illustration3 ,collection of the ,hon4 ,andrew ,w4 ,mellon ,,the ,,lace-,,maker --,jan ,vermeer ,when it came to light in #aibf it was cordially welcomed4 ,seymour de ,ricci published a long article under the title of ,le ,quarante-et-,unime ,vermeer in the ,gazette des ,beaux-,arts 7,december1 #aibg71 which says in part3 8,seated1 with her work on her knees and her bobbins in her hand1 she stops in her occupation for a moment to look at the spectator4 ,on the right1 upon the corner of a table1 covered with an ,oriental rug1 a flat dish of pewter and a blue cushion ornamented with three rows of gold braid and two gold tassels--that is the entire subject of the picture6 8,it needed the consummate art of a ,vermeer to produce with this slender material such a veritable chef-d'uvre4 ,many painters would doubtless have tried to place this fresh figure in a striking setting4 ,a ,gerard ,dou would have framed her in a window2 a ,metsu would have surrounded her with furniture2 and a ,pieter de ,hoogh would have felt compelled to let us see through an open door into the next room1 or into a bright flower garden4 ,the bolder and much greater painter1 ,vermeer1 places his model before a white wall1 the plaster of which in the course of two centuries has combined ivory reflections with the pearly gray of clouds in springtime4 ,upon the clearness of this wall this youthful figure stands out with striking clarity3 the faint rosy tints of the complexion1 the whiteness of the broad flat collar and cuffs and the bright yellow of the bodice form a scale of colors that are juxtaposed with singular frankness and boldness4 ,it is only in the flesh tints that the painter allows himself to bring the model into relief3 in everything else he shows an affection for flat surfaces and flat tints4 ,his touch is so light that in places--noticeably in the whites--each stroke of the brush has left its trace4 ,the artist has proceeded by circular blots juxtaposed1 announcing therefore a technique which certain ,french artists pretend to have discovered at the end of the ,nineteenth ,century4 8,in everything here ,vermeer the colorist takes precedence of ,vermeer the draughtsman4 ,there is not a line in the entire picture1--nothing but the juxtaposition of color-tones4 ,a magnifying glass is impotent to make us discover the bridge of the nose1 the profile of the cheek or the fingers4 ,the eyebrows are barely indicated1 the brown hair is treated in large luminous masses1 and even the bobbins which to the naked eye seem to be drawn with such punctilious exactitude are merely indicated1 but with such correctness and such prodigious skillfulness of touch that the illusion of the detail is most complete1 even for the instructed spectator4 8,in this charming composition1 the greatest of ,dutch colorists has taken pleasure in playing the entire scale of his favorite colors4 ,in the brown masses of the hair he has placed a tiny blue ribbon1 echoing the large blue surface of the cushion4 ,on the other hand1 on this same cushion three rows of dark yellow braid echo the bright ochre of the bodice4 ,in the very centre of the picture the cherry red of the little smiling mouth throws a note more brilliant than the artist dared to place on the rose cheeks of his model white with the reflections from the large starched collar4 ,all the lower part of the picture is in deep half-light which is brightened by the red and blue tones of the table-carpet and the luminous reflections of the pewter dish4 ,the curious observer will notice that the painter was not afraid to change the centre of his composition towards the right1 indifferent to the traditions of its accepted place1 just as he was to the methods of his fore-runners with regard to the use of color4 8,it has been attempted more than once to elucidate the mystery of the technical methods to which is due the incredible luminosity of ,vermeer's pictures4 ,it has even been thought that he painted on a groundwork of some very bright color2 but it has been correctly remarked that such a groundwork--if he had employed it--would at the end of two centuries have become visible under the painting and would have necessarily assimilated the colors4 ,others have suggested a preliminary preparation of water colors or gum4 ,but1 in truth1 we are perfectly ignorant of how this amazing and incontestable result has been attained4 ,this newly discovered picture reveals nothing to us relative to ,vermeer's technique1 and although the painting is so lightly done and of so thin a coating1 it has taken on its surface something of the hardness and brilliance of porcelain2 and fine crackles have broken all through this suggesting the paste of porcelain4 ,the ,lace-,maker was in the ,collection of ,harold ,r4 ,wright1 ,esq41 of ,london1 before it passed to the ,hon4 ,andrew ,w4 ,mellon4 ,jan ,vermeer of ,delft 7#afcb-afge7 was a pupil of ,carel ,fabritius1 who was a pupil of ,rembrandt--consequently ,vermeer had the best training4 ,lemke's eulogy is worth reading3 8,vermeer was a painter of the light and sun school2 and this was his chief study--to catch and hold fast the moment4 ,what ,frans ,hals did for the physiognomy1 grasping the flying moment in an incomparable manner with winks1 smiles1 leers1 gesticulation1 etc41 and fixing it in paint1 ,vermeer as a landscape painter1 delighted to do for the sunshine4 ,he shows its rays streaming into a room1 or the play of light and shadow when the light with the moving air falls through heavy foliage against a bright house and paints it with rays of light and shade4 ,unlike the moment of ,rembrandt and ,ruisdael1 which is fixed for all eternity1 with ,vermeer the moment vibrates in the light4 ,the shadows lose their sharp outlines and the fine brush-work suggests the living change and play of the light4 ,rembrandt paints light in darkness and lets it glow in the dark or streaming into it1 or in a broad flood of brilliance2 but ,vermeer prefers to set darkness or twilight against the light40 ,,german ,,painting ,,german ,,painting ,painting reached its greatest development in ,germany from the middle of the ,fifteenth to the middle of the ,sixteenth ,century during the ,renaissance and the ,reformation4 ,the dominating personalities were ,albrecht ,drer and ,hans ,holbein the ,younger4 ,the early ,german painters devoted their talents almost exclusively to altar-pieces4 ,the chief centres of activity were ,cologne1 ,colmar1 ,ulm1 ,nuremberg1 and ,augsburg4 ,cologne was the most important and had much influence upon the neighboring ,flemings4 ,as early as the ,thirteenth ,century ,wolfram van ,eschenbach1 describing his handsome ,knight in ,parsifal1 declares that 8,from ,koln nor from ,maestricht ,no limner could excel him40 ,the first important ,cologne painter is ,meister ,wilhelm1 first half of the ,fourteenth ,century1 followed by ,meister ,stephan ,lochner 7active #adcj-adea71 possibly his pupil1 painter of the great altar-piece in the ,cologne ,cathedral1 the 8,dom-bild01 which every painter tried to see4 ,albrecht ,drer1 for instance1 wrote in his ,journal3 8,item4 ,i have paid two silver pennies to have the picture opened1 which ,meister ,stephan painted at ,cologne40 ,heine1 many years later1 sang of the wondrous eyes of the ,madonna in that picture in the ,cologne ,cathedral that reminded him of his beloved2 and the idea is most beautifully emphasized in the musical setting of that little song by ,robert ,franz1 who expresses in his accompaniment all of the emotion aroused by the painting4 ,the ,cologne painters were much influenced by ,roger van der ,weyden1 who seems to have visited ,cologne in #adej4 ,certainly ,martin ,schngauer 7about #adde-adia7 was a follower of ,roger1 if not a personal pupil4 ,schngauer is remarkable among other things for the weird and fantastic creatures he frequently introduced into his pictures4 ,martin ,schngauer1 regarded as the precursor of ,drer1 was much admired by the ,italian painters1 who called him 8,il bel ,martino40 ,michelangelo is said to have copied in oils his celebrated print of ,saint ,anthony tormented by ,demons and he was a friend of ,perugino and exchanged drawings with him4 ,the two ,germans of next importance were ,bartholomus ,zeitblom of ,ulm 7#adej8-aeba71 who1 like ,martin1 belongs to the ,swabian ,school1 and ,michael ,wohlgemut 7#adcd8-aeai871 the leading spirit of the ,franconian ,school1 who worked especially in the ,nuremberg churches4 ,in the picturesque town of ,nuremberg1 with its peaked gables1 overhanging balconies1 and quaint faades1 town of wood-carvers1 goldsmiths1 and toy-makers1 town of ,hans ,sachs and the ,meistersinger1 the house of ,drer is still shown to tourists4 ,albrecht ,drer 7#adga-aebh71 one of the giants in art1 was supreme master in wood-cuts1 etchings1 and drawings as well as in paintings4 ,drer1 too1 is one of the greatest portrait-painters 7see page #bcg74 ,in ,augsburg1 the leading commercial city of ,southern ,germany1 there were many wealthy art-lovers1 such as the ,fuggers1 famous merchant-princes of the ,fifteenth and ,sixteenth ,centuries4 ,the leading painter was ,hans ,holbein the ,elder 7#adgj8-aebd71 much influenced by ,martin ,schngauer and also by the ,italians4 ,he trained his gifted son1 ,hans ,holbein the ,younger 7#adig-aedc71 who completely overshadowed him4 ,the latter went to ,basle and eventually to ,london1 where he became ,court-,painter to ,henry ,,viii 7see page #bdj74 ,lucas ,cranach the ,elder 7#adgb-aeec71 leader of the ,saxon ,school1 was a contemporary of ,drer and ,holbein1 pupil of his father1 and1 in common with most ,german artists1 excelled as an engraver on wood and copper and designer1 as well as a painter4 ,cranach was ,court-,painter to three ,saxon ,electors 7see page #bea74 ,lucas ,cranach the ,younger 7#aeae-aehf7 was a pupil of his father1 but was far below him in talent and performance4 ,,portrait ,,of ,a ,,man4 ,albrecht ,drer 7#adga-aebh74 ,collection of the ,hon4 ,andrew ,w4 ,mellon4 ,we should like to know--but we never shall--the name of the man who looks so keenly from this picture 7#ab #ae inches74 ,all that is known of it is that it belonged to the ,collection of ,count ,bonde1 of ,stockholm1 before it found its present home4 ,albrecht ,drer was a great painter of portraits4 ,he began early4 ,indeed the first authentic drawing by him is a portrait of himself at the age of thirteen1 which is preserved in the ,albertina1 ,vienna4 ,at all periods of his life1 ,drer painted and drew portraits4 ,to the early ,nuremberg period belongs ,frederic the ,wise1 tempera on linen 7,berlin71 and he painted a ,portrait of his ,father in #adig 7of which there are several versions74 ,then there is ,oswald ,krell in the ,munich ,gallery and a ,portrait of ,himself1 a ,portrait of a ,young ,man at ,hampton ,court ,palace and the very famous ,hieronymus ,holtzschuher in ,berlin4 ,drer's one idea was to give as exact a representation of the sitter as possible2 and if he painted character as well as the features1 it was because his penetrating eye saw directly through the person4 ,there was no conscious analysis or deep ponderings of any kind4 ,drer simply saw the person and painted him2 and he painted him so well that we see him1 too1 just the man he was4 ,drer was like a camera2 he depicted every wrinkle and every hair with an amazing effect of reality and he caught the personality as well4 ,nothing seems to have been hidden from his eyesight and nothing seems to have been beyond the power of his brush4 ,albrecht ,drer was the son of a goldsmith of ,hungarian origin who had spent some time in the ,netherlands4 ,in #adee he settled in ,nuremberg1 where ,albrecht was born in #adga1 the third of eleven children4 ,his father intended him for a goldsmith1 but1 seeing his talent1 apprenticed him to ,michael ,wolgemuth to serve three years4 ,of this period ,drer wrote3 8,god gave me diligence so that ,i learned well4 ,and when ,i had served my time1 my father sent me away and ,i was absent four years until my father needed me again2 and ,i set out in #adij after ,easter1 so ,i returned in #adid after ,whitsuntide4 ,and when ,i returned home ,hans ,frey treated with my father and gave me his daughter1 ,agnes1 and he gave me with her two hundred florins2 and the marriage was celebrated on the ,monday before ,st4 ,margaret's ,day in the year #adid40 ,illustration3 ,collection of the ,hon4 ,andrew ,w4 ,mellon ,,portrait ,,of ,a ,,man --,albrecht ,drer ,the story that ,drer's wife was a shrew who led him an unhappy life is now exploded4 ,in #aeje ,drer went to ,italy and spent some time in ,venice1 where he painted for the ,guild of ,german merchants and their ,fondaco dei ,tedeschi1 ,the ,feast of the ,rosary1 which is now in the monastery of ,strahow near ,prague4 ,returning to ,nuremberg in #aejg ,drer painted some of his finest altar-pieces4 ,in #aeaa he began his fine sets of wood-cuts and etchings--the ,apocalypse1 the ,great ,passion1 the ,little ,passion1 the ,life of the ,virgin and ,st4 ,jerome in his ,study4 ,to this period belongs the large altar-piece ,adoration of the ,trinity1 in the ,belvedere at ,vienna4 ,in #aeah ,drer was in ,augsburg and in #aebj-aeba he travelled in the ,low ,countries4 ,once back in ,nuremberg1 he seems to have worked quietly and industriously until his death in #aebh4 ,in forming any estimate of ,drer it is essential to remember that ,drer was a great expression and a great flowering of the ,german race4 ,mrs4 ,heaton has well summed up his characteristics3 8,we do not find10 she says1 8in ,drer's art the classic ideal of the perfection of man's physical nature1 nor the spiritual ideal of the early religious painters1 nor the calm dignity and rich sensuous beauty of the great masters of the ,italian ,renaissance1 but in it we find a noble expression of the ,german mind1 with its high intellectual powers1 its daring speculative philosophy1 its deep-seated reverence1 its patient laboriousness1 and above all its strange love for the weird and grotesque4 ,drer was the companion of some of the most learned and thoughtful men of his day4 ,luther and ,melancthon were among the number of his friends1 and there is no doubt but the reforming spirit of the age was powerfully at work within him1 affecting his thought and art4 ,melancthon bears testimony to his rare worth as a man by saying3 #8his least merit was his art4'0 ,,prince ,,edward ,,of ,,england4 ,hans ,holbein the ,younger 7#adig-aedc74 ,collection of the ,hon4 ,andrew ,w4 ,mellon4 ,this portrait is one of the finest that ,holbein ever painted4 ,the artist had every reason to do his best1 for the picture was intended as a ,new ,year's ,gift to ,henry ,,viii of his little son1 the ,prince of ,wales1 who was nearly two years old4 ,the ,king was so delighted with the picture that he presented ,holbein with a magnificent gold standing-cup with cover4 ,prince ,edward 7who became ,edward ,,vi7 was the son of ,jane ,seymour1 the third wife of ,henry ,,viii1 who only lived twelve days after ,prince ,edward's birth at ,hampton ,court ,palace on ,october #ab1 #aecg4 ,by the ,peace ,treaty of ,scotland in #aedc1 it was arranged that ,prince ,edward should marry ,mary1 ,queen of ,scots1 at that time but a few months old2 but this came to nothing1 owing to 8the grasping greed0 of ,henry ,,viii1 whose ambition was to absorb the ,crown of ,scotland and whose purpose was discovered by the patriotic ,scotch4 ,on the death of ,henry ,,viii in ,january #aedg1 the ,prince of ,wales succeeded to the throne and was crowned on ,february #bj1 #aedg1 as ,edward ,,vi4 ,edward1 on the point of death1 bequeathed the ,crown in #aeec to ,lady ,jane ,grey1 daughter of his cousin1 ,frances ,grey1 eldest daughter of ,mary1 the daughter of ,henry ,,vii1 and who was married to the son of the ,duke of ,northumberland4 ,on ,july #f1 #aeec1 the young ,king ,edward ,,vi died and was buried the next day in ,henry ,,vii's ,chapel1 ,westminster ,abbey4 ,the portrait in oil on a panel 7#ba #ag inches7 was painted in #aech4 ,the little prince is wearing a red and gold costume and red and gold hat with white feather4 ,the background is gold4 ,his hands are marvellously painted1 particularly the right1 which is a triumph of foreshortening4 ,the left hand holds a silver rattle4 ,illustration3 ,collection of the ,hon4 ,andrew ,w4 ,mellon ,,prince ,,edward ,,of ,,england --,hans ,holbein the ,younger ,the ,latin inscription painted at the base was written by ,sir ,richard ,morysin 7who became ,english ,ambassador to the ,hanse towns in #afdf and to the ,court of the ,emperor ,charles ,v in #aeej74 ,the eulogy is addressed to ,henry ,,viii1 through the child2 and it is well for ,edward ,,vi that he did not live to learn the verdict that time has passed upon this ,bluebeard of ,history4 ,translated it reads3 8,little one1 imitate thy father and be the heir of his virtue1 the world contains nothing greater4 ,heaven and ,nature could scarcely give a son whose glory should surpass that of such a father4 ,do thou but equal the deeds of thy parent3 the desires of man cannot go beyond this4 ,surpass him and thou hast surpassed all the kings the world has ever worshipped and none will ever surpass thee40 ,can flattery go beyond this8 ,for many years this portrait hung in the ,royal ,picture ,gallery at ,hanover in ,germany1 probably taken there by one of the ,georges1 all of whom preferred their ,hanoverian ,court to that of ,england4 ,in late years the picture belonged to the ,duke of ,cumberland1 whose father was ,king of ,hanover until ,prussia absorbed that kingdom in #ahff4 ,hans ,holbein1 born in ,augsburg in #adig1 was taught by his father1 ,hans ,holbein the ,elder1 as was also his elder brother1 ,ambrose4 ,about #aeae these two young ,holbeins went to ,basle1 where there was plenty of work for artists1 for ,basle had long been a centre of intellectual and artistic life4 ,holbein's talents won recognition2 and among other kinds of work he drew designs for title-pages and various decorations for books4 ,some marginal drawings for ,the ,praise of ,folly by ,erasmus1 led to a friendship with that distinguished personage1 which was destined eventually to change his entire life4 ,holbein also painted in fresco the council chamber of the new ,rathaus in ,basle and also the famous votive picture ,the ,meier ,madonna1 representing the ,burgomaster1 ,jacob ,meier of ,basle1 kneeling with his family before the ,virgin4 ,he also painted several portraits of ,erasmus4 ,in #aebf ,holbein decided to visit ,england1 taking a letter of introduction from ,erasmus to ,sir ,thomas ,more and stopping on the way at ,antwerp to visit ,quentin ,massys4 ,holbein remained in ,london two years1 returned to his family in ,basle in #aebh1 bought a house1 designed for goldsmiths1 worked again on his unfinished frescoes in the ,rathaus1 made another portrait of ,erasmus and painted the faces of clocks4 ,in #aecb ,holbein decided to return to ,london1 where1 after a period of working in the ,german colony1 he became ,court-,painter to ,henry ,,viii with a salary of thirty pounds a year and rooms in the ,palace4 ,from that time onward ,holbein painted everybody of importance in ,tudor ,england4 ,he also aided in the street decorations for ,anne ,boleyn's ,coronation procession and festivities4 ,holbein was also sent on various missions by ,henry ,,viii to paint portraits2 also in #aech to ,brussels1 to paint the portrait of the young widow1 ,christina of ,denmark1 ,duchess of ,milan2 and in #aeci1 to ,cleves1 to paint ,anne1 sister of the ,duke4 ,these two portraits were ordered by the ,king with a view to matrimony1 in case they met with his favor4 ,the first portrait 7now in the ,national ,gallery1 ,london7 representing1 in her mourning garb of black satin1 ,christina the young widow of ,francesco ,sforza1 brother of ,maximilian ,sforza 7see page #adh7 and who was1 moreover1 niece of the ,emperor ,charles ,v1 in every way1 therefore1 a distinguished and desirable bride1 pleased ,henry ,,viii so well that he offered his royal hand on seeing it4 ,but the wise young ,duchess1 declining the hand replied sarcastically 8that unfortunately she had only one head2 if she had two1 one would be at ,his ,majesty's service40 ,the other portrait of ,anne of ,cleves 7now in the ,louvre71 in purple velvet flashing with jewels1 standing full face1 with beautifully painted hands laden with rings and clasped gracefully1 gained for this lady the ,royal ,bluebeard2 but only for a short time4 ,the portrait was too flattering of the 8,flanders ,mare01 as ,henry ,,viii called her1 and the fourth wife was soon divorced4 ,in #aech ,holbein went to ,basle on a mission for the ,king1 visited his wife and children and1 refusing liberal offers from the municipality of ,basle to remain there1 returned to ,london4 ,back again in his ,english quarters1 he continued his painting until he died in #aedc1 supposedly of the ,plague1 which was then raging4 ,,sir ,,thomas ,,more4 ,hans ,holbein 7#adig-aedc74 ,collection of the late ,mr4 ,henry ,clay ,frick4 ,this was one of the first portraits that ,holbein painted in ,england and was done in #aebf-aebg1 while ,holbein was a guest in ,sir ,thomas's delightful home at ,chelsea4 ,it is a life-size1 half-length portrait on panel 7#bc #bi inches71 representing ,sir ,thomas in a dark-green coat with purple velvet sleeves1 fur collar1 and large hat4 ,the conspicuous and heavy double ,s-chain of gold with a double rose pendant1 significant of the union of the ,red and ,white ,roses of ,lancaster and ,york1 was only permitted to ,knights4 ,his right hand holds a paper and the arm rests on a table1 on which the date is inscribed4 ,this portrait was painted before ,sir ,thomas ,more became ,lord ,chancellor in #aebi4 8,his face10 says ,dr4 ,alfred ,woltman1 8shows that calm repose which indicated the utmost harmony of nature and inward peace2 but the expression is one of the deepest seriousness1 though gentleness is linked with it4 ,the finely-cut lips are firmly closed2 there is something almost visionary in the bright and penetrating glance1 though otherwise the features betoken clear judgment1 combined with moral strictness and nobility of feeling4 ,in looking at the picture the words occur to us with which ,erasmus in another passage concisely sums up ,more's characteristics3 #8,he possessed that beautiful ease of mind1 or1 still better1 that piety and prudence with which he joyfully adapts himself to everything that comes1 as though it were the best that could come4'0 ,sir ,thomas ,more was born in #adgh in ,cheapside1 ,london1 the son of ,sir ,john ,more1 and was beheaded in #aece for refusing to support the ,act of ,supremacy4 ,more was one of the most intellectual and highly cultured men of his time4 ,he wrote one of the most famous of books1 ,utopia4 ,sir ,thomas was also a fine critic of painting4 ,he was knighted in #aeba4 ,illustration3 ,collection of the late ,mr4 ,henry ,clay ,frick ,,sir ,,thomas ,,more --,hans ,holbein the ,younger ,erasmus gives a picture of ,sir ,thomas and his home in a letter to ,ulrich von ,hutten1 written from ,chelsea4 ,he says3 8,more has built near ,london upon the ,thames a modest but commodious house4 ,there he lives surrounded by his large family--his wife1 his son1 his son's wife1 his three daughters and their husbands with eleven grand-children4 ,there is not any man living so affectionate to his children as he1 and he loveth his old wife as if she were a girl of fifteen4 ,such is the goodness of his nature that whatsoever cometh about which cannot be helped he is as cheerful and well satisfied as if the best had happened4 ,in ,more's house you would say that the ,academy of ,plato lived again save that whereas in the ,academy the conversation turned upon geometry and the power of numbers1 the house at ,chelsea is a true school of ,christian religion4 ,in it is no one1 man or woman1 but studdieth the liberal arts1 yet above all piety is their care4 ,there is never any seen idle2 the head of the house governs it1 not by lofty demeanor and frequent rebukes1 but by gentle and lovable manners4 ,everyone is busy in his place doing his business with diligence2 nor is sober mirth absent40 ,,dirk ,,berck ,,of ,,cologne4 ,hans ,holbein 7#adig-aedc74 ,collection of the ,hon4 ,andrew ,w4 ,mellon4 ,when ,holbein returned to ,england on his second trip in #aecb1 his friend and patron1 ,sir ,thomas ,more1 was out of favor4 ,however1 he found a cordial welcome among his compatriots--the ,german merchants of the ,steelyard4 ,these ,german merchants had formed themselves into an association of real power3 indeed1 they had made a little city of their own1 which went by the name of ,stahlhof1 where they managed all their business1 kept their stores1 had their counting-houses1 their ,bourse1 their ,guildhall1 and their homes2 and1 being ,germans1 of course they had a festival-hall and spacious gardens on the bank of the ,thames1 where they could enjoy themselves4 ,the company1 forming a part of the great ,hanseatic ,league1 was opulent and dealt largely in iron and precious metals4 ,illustration3 ,collection of ,the ,hon4 ,andrew ,w4 ,mellon ,,dirk ,,berck ,,of ,,cologne --,hans ,holbein the ,younger ,consequently1 among the group were skilled goldsmiths1 watch-makers1 armorers1 and many other prosperous artisans as well as bankers4 ,the brilliant painter had no difficulty in getting orders for portraits2 and we may be very sure that after he had produced such a masterly likeness as that of ,georg ,gisze 7now in the ,berlin ,museum71 he must have been in even greater demand1 as the numbers of 8steelyard portraits0 scattered in various galleries attest4 ,this particular portrait in oils on panel 7#ba #af inches7 was painted in #aecf1 as we learn from the right hand corner1 which bears the date and the sitter's age1 8,an #aecf ,aeta4 #cj40 ,dirk ,berck of ,cologne appears at half-length facing us full face from a background of blue relieved by a green curtain with red strings4 ,dirk ,berck is dressed in a heavy1 black1 and lustrous silk cloak with a wide collar1 an embroidered shirt showing at the opening at the neck1 a flat cap 7something like a biretta7 at a slight angle on his head1 with his hair cut in a fringe 7or 8bobbed07 that nearly covers his ears4 ,he has a slight moustache and a full square-cut beard1 which makes him appear older than his thirty years4 ,his small eyes are dark blue and intelligent1 his brows are black1 his cheek bones are prominent1 and his general expression is serious and rather kindly4 ,his hands rest one upon the other1 the right one on top1 while the left1 placed on the table1 holds a letter addressed to himself3 8,dem ,ersame ',u 7,n7 d fromen ,derick berk i4 ,london upt4 ,stalhof0 with the trademark of his house and the motto1 8besad dz end0 7consider the end74 ,a small piece of paper lying on the red-covered table bears this ,latin sentence from ,virgil3 8,olim meminisse juvabit0 7,hereafter ,i shall be remembered7 which speaks well for ,dirk ,berck's estimation of ,holbein and his intelligent forecast of ours4 ,the portrait came from the ,collection of ,lord ,leconfield1 ,petworth1 ,sussex1 and was formerly in the ,collection of ,colonel ,egremont ,wyndham1 also of ,petworth1 ,sussex1 and the ,earls of ,egremont4 ,,jean ,,de ,,dinteville4 ,hans ,holbein 7#adig-aedc74 ,collection of ,mr4 ,henry ,goldman4 ,this gentleman in black costume with black cap and white shirt sits at a table covered with a red cloth 7one of ,holbein's favorite arrangements71 and in front of an apple-green curtain4 ,around his neck he wears a fine gold chain and a black ribbon1 to which is attached a little case of gold studded with jewels4 ,his eyes are very blue but rather cold1 giving one the idea that ,jean de ,dinteville is something of a dreamer4 ,his hands1 beautifully drawn and painted1 gain additional grace from the fine ruffles at his wrists4 ,in his right hand he holds a roll of paper 7most likely a musical composition71 and the left fingers close around the neck of a lute4 ,on the table before him two books are lying--one shut and one open--and both books are supplied with green book-marks1 that draw the rest of the picture into harmony with the green curtain at the back4 ,illustration3 ,collection of ,mr4 ,henry ,goldman ,,jean ,,de ,,dinteville --,hans ,holbein the ,younger ,this portrait1 in oils on panel 7#ag #ag inches71 is supposed to be the same one listed in the inventory of ,alethea1 ,countess of ,arundel1 in #afed as ,ritratto d'un ,musico4 ,it was in the ,collection of ,ralph ,bernal1 ,london1 and sold at ,christie's in #ahee to ,mr4 ,morant for #ajj guineas2 subsequently1 the picture was in the ,collection of ,sir ,john ,ramsden1 ,bart41 ,bulstrode ,park1 ,buckinghamshire1 having been purchased by him at an auction in ,scotland in #ahfj4 ,jean de ,dinteville1 ,lord of ,polisy and ,bailly of ,troyes1 was born in #aejd and died in #aeee4 ,after having served as a diplomat in the ,court of ,francis ,i1 he was sent as ,ambassador to ,england in #aeec1 in which year ,holbein painted him with ,george de ,selve in the large picture known as ,the ,ambassadors1 now in the ,national ,gallery1 ,london4 ,in this picture ,jean de ,dinteville stands on the left1 wearing a black kilted costume1 which includes a cloak lined with white fur4 ,around his neck is a heavy gold chain with the ,french ,order of ,saint ,michel1 at his side is a dagger with gold hilt and sheath1 and his black cap is ornamented with a silver skull set in gold4 ,a lute1 a case of flutes1 and a music-book near him proclaim the musician4 ,this picture is dated #aeec4 ,,cardinal ,,albrecht ,,as ,,saint ,,hieronymus4 ,lucas ,cranach the ,elder 7#adgb-aeec74 ,collection of ,mr4 ,john ,ringling4 ,this picture 7#di #ce inches71 came into possession of the present owner from ,baron ,viehweg of ,hanover1 in whose family it had been since the time of ,cranach4 ,all of ,cranach's delightful characteristics are represented here4 ,it is interesting to compare this painting with ,drer's print of ,st4 ,jerome in his ,study1 the latter so serious and the one represented here so merry4 ,cranach's ,st4 ,jerome reminds us of a jolly old ,german folksong4 ,in this perfectly ,teutonic setting with characteristic ,german furniture and the favorite 8antler0 chandelier1 nothing has been forgotten2 and ,st4 ,jerome in his red ,cardinal's robe and biretta sits propped up before his reading-desk truly monarch of all he surveys4 ,his crucifix and devotional books are placed conveniently on his table and he has just looked up for a moment from his task of translating the ,scriptures4 ,his big red ,cardinal's hat1 too1 is placed in the foreground1 so that we cannot miss it and the picture of the ,madonna and ,child on the wall is purposely turned out of proper perspective so that we cannot lose any of its 8beauties40 ,st4 ,jerome takes good heed of time2 for on the wall1 at his left1 an hour-glass trickles away the minutes4 ,it is to be hoped that he feeds his birds and animals regularly6 ,and how deliciously these little friends are painted4 ,every member of ,st4 ,jerome's menagerie looks happy except the lion4 ,there is still the 8call of the wild0 in his eye and he seems to be trying to control himself2 but if ,st4 ,jerome does not watch his hour-glass and should happen to delay the dinner-hour1 it looks as if things might go very badly for the pheasant family4 ,there were three traditional ways of representing ,st4 ,jerome3 ,st4 ,jerome as ,penitent in the ,desert2 ,st4 ,jerome as ,patron ,saint and ,doctor of the church2 and ,st4 ,jerome as ,translator and ,commentator of the ,scriptures4 ,when ,st4 ,jerome is seen translating the ,bible1 the lion is so frequently present that he seems to be an editorial necessity2 and almost invariably the ,cardinal's hat is lying somewhere near ,st4 ,jerome4 ,there is no authority for making ,st4 ,jerome a ,cardinal2 because ,cardinals were not ordained until three centuries after ,st4 ,jerome's death4 ,lucas ,cranach the ,elder was born in ,kronach in ,franconia in #adgb and died in ,weimar in #aeec4 ,cranach was the first painter of importance of the ,saxon ,school and took his name from his native town4 ,he was a pupil of his father and has as important a reputation for his engravings on wood and copper as for his paintings4 ,cranach seems to have lived in ,vienna1 ,innsbrck1 ,augsburg1 ,wittenberg1 and ,weimar2 and it is said that he visited the ,holy ,land in #adic1 with the ,elector ,frederic the ,wise4 ,in #aejd he settled permanently in ,wittenberg as ,court-,painter to the ,elector ,frederic the ,wise2 and he continued as ,court-,painter to the three succeeding ,electors4 ,in #aeji he was sent by the ,elector on an embassy to the ,emperor ,maximilian2 and on this visit he painted the portrait of his son1 the ,archduke ,philip 7father of ,charles ,v74 ,cranach was evidently of importance in ,wittenberg1 for he was ,burgomaster in #aecg and #aedj4 ,he had an art-studio1 a book-printing business1 and an apothecary-shop4 ,his house1 called the 8,adler10 was burned down in #ahga4 ,illustration3 ,collection of ,mr4 ,john ,ringling ,,cardinal ,,albrecht ,,as ,,saint ,,hieronymus --,lucas ,cranach the ,elder ,cranach was an intimate friend of ,luther and ,melancthon and1 consequently1 was greatly affected by the ,reformation4 ,he painted ,luther many times4 ,cranach always painted with oils on panels of wood and his coloring is warm and rich4 ,his drawing is somewhat archaic2 but often very amusing4 ,his cheerful fancy led him to introduce birds and animals into his pictures4 ,cranach excelled in portraiture and always gives a realistic and somewhat gay presentation of the ,german people of his day4 ,,spanish ,,painting ,,spanish ,,painting ,spanish ,painting developed slowly although there were schools in all the provinces4 ,even in the ,fourteenth ,century little was known about ,spanish ,art in other countries4 ,starnina1 who spent nine years in ,spain 7having taken refuge from his part in civil disturbances in ,florence71 painting pictures in the ,escurial for ,john of ,castile1 had much to tell when he returned to ,florence in #achg and introduced ,spanish costumes into the frescoes he made in the ,carmine4 ,other ,italian painters followed ,starnina and ,italian ideas dominated ,spanish ,art until the ,emperor ,charles ,v became ,king of ,spain4 ,charles1 although heir of ,maximilian and of the ,holy ,roman ,empire1 was also a direct descendant of the ,dukes of ,burgundy1 the great-grandson of ,charles the ,bold4 ,charles ,v was born in ,ghent and spent his first sixteen years in the ,netherlands1 brought up by his aunt1 ,margaret of ,austria4 ,charles's devotion to his birthplace is well-known2 and his pun that he could put the whole of ,paris into his ,gant 7glove71 shows how far superior he considered ,ghent to ,paris4 ,charles took with him to ,spain a vast horde of artists and artisans from the ,low ,countries2 and he also imported the punctilious and traditional etiquette of the old ,burgundian ,court1 which1 absorbed into ,spain1 eventually became known as 8,spanish etiquette40 ,spanish artists were profoundly affected with ,flemish technique and realism4 ,the leading early ,spanish painters are ,bartolom ,vermejo1 active in the late ,fifteenth ,century1 a native of ,cordova in ,andalusia1 who combined ,flemish and ,arabian ideas with native traditions2 ,pedro ,berruguete 7active #adhc-aejd72 ,luis de ,vargas 7#aejb-aefh72 and ,luis de ,morales 7#aeji8-aehf74 ,then again an important foreigner arrived--,antonio ,moro 7or ,mor71 who1 after serving ,cardinal ,granvella1 was sent by ,mary of ,hungary to ,madrid1 where he became ,court-,painter to the ,house of ,hapsburg4 ,thenceforward ,moro was constantly employed by ,philip ,,ii to paint portraits in various ,courts1 although his headquarters seem to have been in ,utrecht4 ,moro trained the ,spaniard1 ,alonso ,sanchez ,coello 7#aeae8-aeij71 who1 like himself1 was rather stiff and hard1 but able to paint a satisfactory portrait4 ,then in #aege another foreign painter arrived4 ,this time it was a ,greek1 ,domenico ,theotocopoulos 7#aede8-afad71 a native of ,crete and said to have studied under ,titian in ,venice4 8,el ,greco10 however1 caught none of the glowing colors of ,venice on his palette4 ,austere and gloomy1 he settled in austere and gloomy ,toledo1 where he lived all the rest of his life painting religious pictures and portraits from a strange and morbid point of view4 ,francisco de ,ribalta 7#aeea8-afbh71 revolting against ,classic taste1 founded his style on ,caravaggio and painted darkly in the 8tenebroso0 manner4 ,his pupil1 ,jusefe ,ribera 7#aehi-afeb71 called 8,lo ,spagnoletto10 born near ,valencia1 settled in ,naples1 where he filled many orders for ,philip ,,iv4 ,francisco ,pacheco 7#aega-afed71 and ,francisco de ,herrera the ,elder 7#aegf-afef7 are chiefly notable because they were the masters of ,velasquez4 ,herrera originated the 8bodegones0 7shop-pictures71 which are scenes of popular life4 ,francisco ,zurbaran 7#aeih-affb71 of the ,school of ,seville1 was called 8the ,spanish ,caravaggio40 ,through the influence of his friend1 ,velasquez1 he entered the service of the ,king4 ,it is said that ,philip ,,iv called him 8,pintor del ,rey y ,rey de los ,pintores0 7,painter of the ,king and ,king of the ,painters74 ,zurbaran painted the great altar-piece in the ,cathedral of ,seville4 ,don ,diego de ,silva y ,velasquez 7#aeii-affj71 a native of ,seville1 became painter to ,philip ,,iv in #afbc and continued in his service all his life4 ,his works range from such groups as ,las ,meninas and ,las ,hilanderas to portraits of kings1 queens1 princes1 princesses1 ladies1 gentlemen1 dwarfs1 and idiots4 ,bartolom ,estban ,murillo 7#afag-afhb71 a native of ,seville1 came of the poor1 laboring class and developed into a beloved painter1 particularly famous for his ,holy ,families and ,immaculate ,conceptions4 ,after ,velasquez and ,murillo there was no important painter until the original1 versatile1 and prolific ,goya y ,lucientes 7#agdf-ahbh71 a native of ,aragon1 who rose from a laborer in the fields to ,court-,painter4 ,goya had a profound influence on modern art1 greatly affecting1 for instance1 ,manet and ,john ,singer ,sargent4 ,,cardinal ,,quiroga4 ,el ,greco 7#aede8-afad74 ,collection of the late ,mr4 ,henry ,clay ,frick4 ,this picture1 oil on canvas 7#cg #dc inches71 was discovered1 coated with the dust and dirt of ages1 in a dark corner of the sacristy of the ,cathedral of ,valladolid1 where it had evidently been hidden for centuries4 ,a ,parisian dealer1 having heard of it1 purchased it1 and from him it passed through several hands until it reached its present home4 ,the subject represents a ,cardinal seated before a table on which a volume is lying and the ,cardinal's hands are conspicuously posed upon opposite pages4 ,the right thumb pointed downwards emphatically upon a certain verse might possibly point to a special text that the ,cardinal was associated with as betokening a famous sermon delivered by him1 or1 perhaps1 an important controversy with which his name was associated4 ,the figure1 face1 and hands are very elongated1 as in all of ,el ,greco's performances2 but the general effect is more reposeful than usual with this painter4 ,perhaps ,el ,greco pulled the ,cardinal out on his bed of ,procrustes as far as he dared1 but the ,cardinal was long and thin and attenuated anyway1 so that he was a model1 as it were1 ready made4 ,it is one of ,el ,greco's best works4 ,the silvery hair and mist of beard are marvellously painted1 as are also the piercing eyes1 keen and searching1 yet betraying the philosopher and man of much reading4 ,the face is intensely intellectual1 but hard and cruel4 ,no one would care to attempt to break a lance with this gentleman in any kind of an argument4 ,with all his high-bred atmosphere1 as both gentleman and student1 ,quiroga expresses a narrow bigotry and remorseless cruelty4 ,the picture is also known as ,st4 ,jerome2 and there are five replicas of it1 one of them being in the ,national ,gallery1 ,london4 ,illustration3 ,collection of the late ,mr4 ,henry ,clay ,frick ,,cardinal ,,quiroga --,el ,greco 8,el ,greco0 is the name by which ,domenico ,theotocopoulos became known to his contemporaries4 ,he was born in ,crete1 and in #aegj1 when he was about twenty-five or thirty1 he went to ,venice1 and1 it is said1 studied under ,titian4 ,about #aege he settled in ,toledo1 where he lived for thirty-four years until his death in #afad1 and where 8,la casa del ,greco0 is still shown to tourists4 ,el ,greco painted a number of pictures1 chiefly religious1 notwithstanding the fact that 8the individuality and strangeness of his work always more or less disconcerted his patrons40 ,el ,greco also painted portraits and seems to have elongated every sitter to conform to his own ideas4 ,everything that he painted proclaims his own fervor and love of motion4 ,el ,greco also designed the dome for the then unfinished tower of the west front of the ,toledo ,cathedral1 which presents a very strange contrast with its companion1 the ornate ,gothic tower4 ,hugh ,stokes says3 8,el ,greco stands apart1 both in his portraiture and his large subject compositions4 ,a ,greek by family1 ,theotocopoulos does not fail to remind us of the archaic ,byzantines4 ,at first his limited palette1 his crudity1 his angularity excite repulsion4 ,all his figures are muscularly distended as if they had recently passed the ordeal of the rack4 ,gradually these very defects attract4 ,there is a movement and passion in his pictures which can be found in very few purely ,spanish works4 ,these agitated patriarchs and apostles1 with draperies caught by every wind of heaven1 are almost demoniac4 ,nature herself assists1 for each horizon in the background frowns with a gathering maelstrom of black thunderclouds40 ,,the ,,virgin ,,appearing ,,to ,,st4 ,,dominic4 ,el ,greco 7#aede8-afad74 ,collection of ,mr4 ,j4 ,horace ,harding4 ,the ,virgin1 in the traditional red robe and blue mantle1 has floated on a cloud into the church where ,st4 ,dominic has been praying4 ,the vision1 as told here by ,el ,greco1 seems as real to us as it does to the astonished monk4 ,dominic de ,guzman1 who founded the ,dominican ,order of ,preaching ,friars in #abae1 was born in ,calaroga1 ,old ,castile1 in #aagj4 ,st4 ,dominic went on a mission to the ,albigenses in ,languedoc4 and the ,dominican ,order grew out of the volunteers who joined him there4 ,the rest of his life was spent in ,toulouse and ,rome4 ,he died in #abba and was canonized in #abcd by ,gregory ,,ix4 ,the ,dominican ,order was known in ,england as the ,black ,friars 7from their black habit7 and in ,france as ,jacobins1 because their chief house in ,paris was in the rue ,st4 ,jacques4 ,illustration3 ,collection of ,mr4 ,j4 ,horace ,harding ,,the ,,virgin ,,appearing ,,to ,,st4 ,,dominic --,el ,greco ,this picture1 oils on canvas 7#bd #ci inches7 came from the ,collection of ,henri ,rouats of ,paris and shows ,el ,greco's ecstasy with less exaggeration and eccentricity than is customary with him4 ,elie ,faure has well defined the characteristics of ,el ,greco3 8,remorse at having been born10 he says 8pursues the painter until the end1 but when he expresses it in his art1 the magnificence which it takes on atones for his terrors4 ,at the end of his life he painted like one in an hallucination1 in a kind of ecstatic nightmare1 where preoccupation with expressing the spirit engrossed him4 ,deformation appears in his pictures more and more1 lengthening the bodies1 attenuating the fingers1 and hollowing the faces4 ,his blues1 his wine-like reds1 and his greens seem lit by some livid reflection sent to him from the near-by tomb and from ,hell1 caught sight of from eternal bliss4 ,if there is a place where shadows wander1 if in some sinister valley there are corpses that stand upright and living spectres that have not yet lost their form1 ,domenico ,theotocopoulos alone after ,dante has found it4 ,one would say that he is exploring a dead planet1 that he is descending into extinct volcanoes1 where ashes accumulate and a pale half moon sheds her light40 ,,marianne ,,of ,,austria4 ,velasquez 7#aeii-affj74 ,collection of ,mr4 ,philip ,lehman4 ,this picture 7#ad #ai inches7 was for many years a valued possession of the ,zenon ,gallery1 ,cadiz1 and represents the little girl1 daughter of ,ferdinand ,,ii1 who became the wife of ,philip ,,iv in #afdi and who had first been betrothed to ,philip's son1 ,don ,balthazar ,carlos4 ,the latter died in #afdf4 ,three years later ,philip ,,iv sent for the little ,grand ,duchess to be his second wife4 ,the reason for this marriage was a dynastic one1 for it united the ,spanish branch of the ,house of ,hapsburg with the ,german branch of the ,house of ,hapsburg1 ,marianne being a descendant of ,ferdinand1 brother of ,charles ,v1 and1 therefore1 of exactly the same blood as ,philip ,,iv4 ,illustration3 ,collection of ,mr4 ,philip ,lehman ,,marianne ,,of ,,austria --,velasquez ,velasquez was one of those painters favored by the gods4 ,like ,rubens1 he early attracted ,royal patronage and held it all his life4 ,there were no struggles of genius for recognition3 all he had to do was to complete and develop his gifts and talents4 ,in #afbc he was introduced to ,philip ,,iv by ,olivares and ,philip took him into his service4 ,rubens1 visiting ,madrid in #afbh1 begged ,velasquez to go to ,italy4 ,velasquez did so and spent a year in ,rome1 visited ,naples1 where he met his countryman1 ,ribera4 ,on his return to ,madrid1 he was given a painting-room in the ,royal ,palace4 ,velasquez visited ,italy several times in the future2 and on one visit to ,rome painted the famous portrait of ,pope ,innocent ,x1 now in the ,doria ,gallery 7with a replica in ,the ,hermitage74 ,back again in ,madrid1 ,velasquez was decorated with the ,cross of ,st4 ,iago by ,philip ,,iv1 who made him ,aposentador ,major 7grand marshal of the palace74 ,to the last period belong his most important portraits1 the series of court freaks1 and the famous ,las ,hilanderas and ,las ,meninas4 ,velasquez died in ,madrid in #affj4 ,,philip ,,iv ,,of ,,spain4 ,velasquez 7#aeii-affj74 ,collection of the late ,mr4 ,henry ,clay ,frick4 ,this portrait known as the 8,parma ,velasquez10 because it belonged to the ,grand ,duke of ,parma1 is painted in oils on canvas 7#ch #eb inches74 ,it was painted in #afdd in ,cataluna1 where ,philip had gone to try to raise the siege of ,lerida invested by the ,french4 ,velasquez went with the ,king and painted the picture in a dilapidated hovel1 which was fitted up for the purpose of a studio4 ,a contemporary record says3 8,the ,king dressed as a soldier posed to ,velasquez in fitted hose edged with silver embroidery1 sleeves of same1 plain buck jerkin1 red sash edged with silver1 cape of red fustian1 falling collar1 and black sombrero with crimson plumes40 ,the ,king was kept amused by his dwarf1 ,el ,primo1 while the portrait was being painted4 ,the costume is the one that ,philip usually appeared in before his army as commander-in-chief4 8,from the figure itself10 says ,carl ,justi1 8it is evident that it was taken far from the atmosphere of the ,alcazar4 ,it is freer than those tall figures in black1 which are perpetually receiving despatches1 and which are the incarnation of unrelenting monotony1 of the weariness of etiquette4 ,to this effect the color contributes much1 for the picture is all light and brightness4 ,the legs seem to stand in profile1 but the body and head face to the right2 the white bton in the right hand is planted against the hip2 the elbow of the left which holds the hat1 rests on the hilt of the sword1 and1 curiously enough1 both arms are disposed in a somewhat parallel position4 ,the lines of the ,king's features1 now in his thirty-ninth year1 are firmer1 the color fresher than hitherto4 ,the otherwise inseparable golilla is here replaced by a broad lace collar falling on the shoulders2 the hands are white in unison with the white sleeves1 the most luminous parts of the whole picture--well nurtured1 royal hands1 ringless1 but by no means #8washed out1' as has been supposed by those unacquainted with the master's habit of dispensing with shade to indicate the fingers4 ,illustration3 ,collection of the late ,mr4 ,henry ,clay ,frick ,,philip ,,iv ,,of ,,spain --,velasquez 8,philip wears a rich1 light red doublet with hanging sleeves1 the narrow opening showing the leather jerkin underneath4 ,of like color and also covered with silver embroidery are the bandolier and hose4 ,the only patch of gold is the ,golden ,fleece1 all else--collar1 sleeves of jerkin 7pearl tone71 lace cuffs1 lace ruffle of boots1 silver sheath--being white4 ,this white on the red produces the well-known effects of a lighter or #8camellian red4' ,the hat alone is black1 which is not in keeping with the costume1 and may probably be due to license on the part of the artist1 who here wished to avoid white on white1 and who needed a dark part in softening contrast to the silvery red of the whole4 ,at the same time the red of the bandolier and plume on the red of the doublet shows the painter's indifference to such matters4 ,to all this must be added the full flood of daylight which even projects an oblique shadow from the mustachios on to the cheek4 ,the stupendous relief is effected by the empty1 dark-grey surface of the ground and by the spare brown shadows1 which help to bring out the collar1 arm1 and hat40 ,when the portrait was finished 8it was hung in the church under a canopy embroidered in gold where much people congregated to see it40 ,the record adds that 8copies thereof are already being made40 ,the one in the ,dulwich ,gallery1 ,england1 is one of these4 ,the picture was sent by ,ferdinand ,,vi1 ,king of ,spain1 to his step-brother1 the ,grand ,duke of ,parma2 and it remained in the ,parma ,palace until recent times1 when it was sold by ,prince ,elias4 ,philip ,,iv was born in #afje1 died in #affe1 and ascended the throne when he was only sixteen4 ,he was a solemn person1 with coarse tastes and was fond of horse-play4 ,he1 however1 gave his patronage to ,velasquez1 ,calderon1 and ,lope de ,vega1 which is much to his credit4 ,,general ,,nicolas ,,guye4 ,goya 7#agdf-ahbh74 ,collection of ,mr4 ,j4 ,horace ,harding4 ,the ,spanish ,general represented in oils on canvas 7#cc #da inches7 wears a brilliantly colored uniform resplendent with gold lace and decorated with medals4 ,his knee-breeches are white1 and he holds his chapeau bras in his hand4 ,the picture was given to ,vincent ,guye1 the ,general's brother1 in #ahaj4 ,francisco ,jos de ,goya y ,lucientes was born in ,fuendetodos in ,aragon1 ,march #cj1 #agdf4 ,his parents were humble cottagers and he worked in the fields until he was eighteen4 ,through the interest of a monk he was sent to ,zaragoza to the studio of ,jos ,martinez4 ,goya distinguished himself both in the studio and in quarrels1 which sometimes resulted in bloodshed4 ,after a fight ,goya fled to ,madrid1 where he copied ,velasquez and became embroiled in more disturbances4 ,he escaped to ,italy2 and in #aggb took the second prize for painting at the ,academy in ,parma4 ,back in ,zaragoza in #agga1 he painted a fresco in the ,cathedral4 ,revisiting ,italy he formed a friendship with ,jacques ,louis ,david4 ,in #aggd he returned to ,spain1 married the sister of a painter1 and began to paint furiously4 ,in #aghi ,goya became painter of the ,chamber--8pinter de camera0--to ,charles ,,iv1 with a large salary4 ,during the occupation of ,spain by the ,french and the expulsion of the latter by ,wellington1 ,goya lived quietly without taking any part in the exciting events2 but he had been observing4 ,on the return of ,ferdinand ,,vii1 he published his series of ,desastres de la ,guerra1 in which the horrors and bestialities of war are set forth in so frank a manner and with such commanding technique that they make a magnificent appeal for the abolition of war4 ,illustration3 ,collection of ,mr4 ,j4 ,horace ,harding ,,general ,,nicolas ,,guye --,goya ,goya had previously published his series of prints1 ,los ,caprichos1 a most amazing presentation of humanity in brutal and revolting caricatures1 the origin and significance of which are neither fully known nor understood2 but1 mingled with the demonology and repulsiveness1 there are occasional gleams of beauty4 ,equally celebrated are his plates1 the ,tauromachia1 dealing with the bull-ring4 ,goya had an uncanny facility for every medium1--etching1 lithographs1 drawings1 and aquatints1 as well as oil-paintings4 ,goya spent the year #ahbe in ,bordeaux and returned to ,madrid1 where he died in #ahbh4 8,my only masters have been ,nature1 ,velasquez1 and ,rembrandt10 ,goya said4 ,being so independent ,goya left no pupils and founded no school4 ,he was always hostile to the academic3 8,always lines and never body10 he exclaimed when criticising his contemporaries1 8but where do we find these lines in ,nature8 ,i can only see masses in light and masses in shadow1 planes which advance or planes which recede1 reliefs or backgrounds4 ,my eye never catches outlines or details4 ,i do not count the hairs on the head of the man who passes me in the street4 ,the buttons on his coat are not the chief object to catch my glance4 ,my brush ought not to have better eyesight than its master60 ,,pepito ,,costa ,y ,,bonella4 ,goya 7#agdf-ahbh74 ,collection of ,mrs4 ,william ,hayward4 ,this delightful picture1 oils on canvas 7#cc #da inches71 is brilliant with many colors delightfully harmonized and contrasted4 ,the little boy1 with fair hair and dark complexion1 wears a green velvet jacket with gilt braid1 lace collar1 white trousers1 rose-colored stockings1 light-yellow slippers1 and red and white plumes in his dark hat4 ,the drum is blue4 ,illustration3 ,collection of ,mrs4 ,william ,hayward ,,pepito ,,costa ,y ,,bonella --,goya ,the picture comes from the ,collection of the ,countess ,uda de ,gandomar of ,madrid4 ,,french1 ,,eighteenth ,,century ,,french1 ,,eighteenth ,,century ,we have now come to the age of elegance in painting4 ,in the preceding sections of this book we have passed through many periods and many schools and have brought forward superb examples of great masters of several countries1 but we now come to a time when the ,art of ,painting may be said to have reached perfection4 ,the ,french ,painters of the ,eighteenth ,century show us something entirely new in manner and in subject4 ,they have grace1 elegance1 delicacy1 style1 beauty1 brilliancy1 clarity1 and translucence of color4 ,what can1 for instance1 equal the lightness of ,watteau and ,fragonard1 or the dewy freshness of ,greuze8 ,there are such things as the floating silk of the thistle's parachute2 such things as the feathery dust on the wings of 8painted butterflies02 such things as the velvet pile on the petals of flowers2 such things as the purple bloom on the plum and the grape2 such things as the down on the breast of the cygnet2 such things as the roseate gleam of the ,oriental pearl2 such things as the prismatic twinkle of the morning dew2 and such things as the liquid silver of the moon's bright ray4 ,all these most precious and evanescent beauties ,watteau1 ,lancret1 ,pater1 ,fragonard1 ,drouais1 ,chardin1 and other painters of the ,eighteenth ,century caught upon their palettes4 ,it was the genius ,antoine ,watteau 7#afhd-agba7 who opened the magic casements into this new world of fairy-like color and fairy-like lightness4 ,in the reaction from the heavy solemnity and gloom of the last years of ,louis ,,xiv1 when the ,sun-,king was setting under the dark clouds of the bigoted and severe ,madame de ,maintenon's influence1 ,french taste swung to the other extreme of gaiety1 fancy1 gallantry1 and caprice4 ,law's ,mississippi ,bubble1 while it lasted1 enabled a great many persons to become suddenly rich2 and1 as is always the case with a new state of society1 new styles of fashion came to meet its requirements4 ,moreover1 the tastes of the ,regent--the ,duc d',orlans--and the young ,king ,louis ,,xv were gay and playful2 and1 consequently1 they were both glad to see all the traditions of ,louis ,,xiv swept away4 ,the ,art nouveau of the period was most graceful and charming in its early expression4 ,the playful curves and fantastic motifs from the ,far ,east--pagodas1 mandarins1 umbrellas1 monkeys1 little bells1 dripping water1 and strange1 wreathing vines1 were all transmuted by the great decorative artists and designers into that delicious and delightful ,french mlange known as ,chinoiserie1 which is1 perhaps1 more ,french than ,chinese4 ,the riotous curves1 most of which were derived from the volutes of the shell1 the shell itself1 and the dripping water 7or hanging icicles71 were used so prolifically and so universally that their name rocaille 7rock and shell7 or rococo1 is almost synonymous with that of the 8style ,louis ,quinze10 although it does not include all the motifs nor all the spirit of the age4 ,watteau was followed in his fascinating portrayal of pastorales galantes1 ftes champtres1 and all the light pleasures of society and its beautifully dressed men and women1 by ,nicolas ,lancret 7#afij-agdc7 and ,jean ,baptiste ,joseph ,pater 7#afie-agcf72 and to this group belongs ,jean ,baptiste ,huet 7#agde-ahaa71 who in his first years followed ,watteau closely2 and as a decorative designer1 he also expressed the taste of the ,directoire and ,empire period through which he lived4 ,of the portrait painters1 ,jean ,marc ,nattier 7#afhe-agff7 stands first as ,court-,painter and portrayer of lovely ladies in flowing draperies1 rose-colored or blue scarfs1 and wreaths and garlands of flowers1 appearing as ,hebe1 ,diana1 ,flora and other goddesses of ,grecian mythology4 ,close to him comes ,maurice ,quentin de la ,tour 7#agjd-aghh71 who early abandoned oil-painting for pastels 7his masterpiece1 the portrait of ,madame de ,pompadour is now in the ,louvre71 was called a magician by ,diderot and his work is described by de ,goncourt as 8a magic mirror1 in which is seen all the talent1 all the glory1 all the wit1 and all the grace of the reign of ,louis ,,xv40 ,carle ,van ,loo 7#agje-agfe7 is another portrait-painter of delicate and distinguished taste and performance4 ,franois ,hubert ,drouais 7#agbg-agge7 also expresses all the beauty1 charm1 and grace of the day in his presentations of the fashionable world4 ,franois ,boucher 7#agjc-aggj71 the friend and successor of ,carle ,van ,loo as first painter to the ,king1 is so idyllic and fanciful that he has been characterized as the 8,anacreon of ,painting40 ,alexandre ,franois ,desportes 7#affa-agdc71 painter of hunting-scenes and animals1 and ,jean ,baptiste ,oudry 7#afhf-agee71 painter of hunting-scenes1 animals1 flowers1 fruit1 and still-life1 blazed the trail for ,jean ,baptiste ,simon ,chardin 7#afii-aggi71 one of the greatest colorists in the entire history of painting4 ,jean ,baptiste ,greuze 7#agbe-ahje71 full of grace1 charm1 and freshness1 painter par excellence of pretty girls1 and ,jean ,honor ,fragonard 7#agcb-ahjf71 pupil of ,chardin and ,boucher1 famous for his delicate color and lightness of touch1 lived into the new rgime and their work became unappreciated4 ,hubert ,robert 7#agcc-ahjh71 painter of delicate and highly decorative garden-scenes and classical ruins1 and ,madame ,labille-,guiard 7#agdi-ahjc7 also lived into the ,directoire and ,napoleonic period when they were forced to leave their quarters in the ,louvre formerly accorded to them by ,royal permission4 ,madame ,labille-,guiard was in her day ranked with ,madame ,vige ,le,brun 7#agee-ahdb71 wife of the grand-nephew of the great painter1 ,charles ,le,brun1 who won distinction for her portraits1 her brilliant salon1 and her charming personality4 ,,jupiter ,,and ,,calisto4 ,nicolas ,poussin 7#aeid-affe74 ,collection of ,mr4 ,carroll ,tyson4 ,this famous picture was first owned by the great painter ,charles ,le,brun4 ,it subsequently belonged to the ,collections of ,baron ,holback1 #aghi2 ,baron ,clary1 #ahfh2 and ,baron de ,tournelle in ,paris4 ,painted about #afce1 this large canvas 7#ec #gj inches71 is in a fine state of preservation1 the colors1 in consequence1 appearing richer than is usual in ,poussin's works4 ,the greens1 browns1 and pinks are warm2 the flesh tints are glowing2 and the draperies and the sky are a deep lapis-lazuli blue4 ,the puzzle is to find ,jupiter6 ,in ,smith's ,catalogue raisonn we read3 8,the god under the form of ,diana is represented sitting on a shady bank embracing the beautiful nymph1 who sits by his side with a spear in her hand2 seven ,cupids are sporting around them1 one of which1 while flying1 is discharging an arrow from his bow2 a second is playing with the hounds of the supposed huntress2 a third holds up the blazing torch of love2 and two others1 buoyant among the trees1 are casting flowers on the heads of the lovers4 8,in his very beautiful pictures illustrative of ancient mythology ,poussin has treated the various subjects in a style that proves he perfectly understood the mystery of the allegories therein contained and employed with the happiest effect the numerous symbolical figures to denote qualities1 places1 and things4 ,his style1 although unquestionably of ,french origin1 owes all its beauty to his subsequent study of a few of the great ,italian ,masters1 and of ancient sculpture4 ,to such an extent was he carried in his enthusiastic admiration of the latter1 that most of the celebrated statues and monuments1 both of ,greek and ,roman origin1 may be recognized in his pictures4 ,this fondness for the chaste beauty of the antique may have led him in some instances so far as to give to his figures a rigidity which ill accords with the elasticity of nature4 ,this defect 7if it be one71 is amply compensated by the grace and dignity of attitude and the chaste correctness of drawing which pervades his works4 ,execution1 that medium by which the conceptions of a painter are embodied1 and by which the connoisseur is frequently enabled to judge of the originality of a picture1 is distinguished in the ,artist 7in his best period7 by breadth and precision of hand1 and a firm and decided outline2 every touch of the pencil appears the result of consideration and profound knowledge1 and in this respect it is the very reverse of that rapidity and dexterous freedom of hand observable in the works of ,rubens1 ,paul ,veronese1 and ,giordano40 ,illustration3 ,collection of ,mr4 ,carroll ,tyson ,,jupiter ,,and ,,calisto --,nicolas ,poussin ,poussin spent almost his entire life in ,rome4 ,born at ,villiers near ,les ,andelys in ,normandy in #aeid1 he went to ,paris at the age of eighteen to study art1 having had some training under ,quentin ,varin at ,les ,andelys4 ,in ,paris he studied under ,ferdinand ,elle1 a ,flemish portrait-painter1 and ,l',allemand1 a native of ,lorraine4 ,in #afbj he started for ,rome1 but only got as far as ,florence4 ,compelled to return to ,paris he now formed a friendship with ,philippe de ,champaigne 7also a pupil of ,l',allemand7 and worked with him on the decorations of the ,luxembourg under ,duchesne4 ,four years later ,poussin arrived in ,rome1 his long desired goal1 and plunged enthusiastically into the study of ancient art1 also working in the studio of ,domenichino4 ,for a long time ,poussin had to struggle with poverty1 illness1 and ,italian hatred1--for the ,italians and ,french were enemies at this time4 ,marriage with the daughter of a wealthy compatriot changed matters and ,poussin bought with his bride's dowry a handsome house on the ,pincian ,hill4 ,cardinal ,barberini's patronage now brought ,poussin fame1 for the ,cardinal commissioned two paintings1 ,the ,death of ,germanicus and ,the ,capture of ,jerusalem--besides other important orders4 ,poussin's reputation soared rapidly and in #afdj ,louis ,,xiii called him to ,paris1 appointed him first painter-in-ordinary1 and gave him a residence in the garden of the ,tuileries for life4 ,for two years ,poussin worked industriously1 producing many paintings1 cartoons for tapestries1 and illustrations for books2 but he longed for his beloved ,rome and in #afdb returned to that city1 where he spent the remainder of his life in the tranquil pursuit of his art4 ,poussin painted for twenty-three more years and died in ,rome in #affe4 ,his works are numerous2 and1 with the exception of a few portraits1 are chiefly devoted to mythological1 classical1 historical1 and ,biblical subjects4 ,titian was his idol4 ,however1 despite his ,italian inspiration and taste1 ,poussin is regarded as the head of the ,french ,school4 ,his devotion to classical subjects and his deep study of the antique in all its expressions make ,poussin one of the most scholarly of painters4 ,sir ,joshua ,reynolds says3 8,in contemplating his classical pictures the mind is thrown back into antiquity or remote ages2 and it would be no difficult matter for the spectator to imagine that such pictures were coeval1 or nearly so1 in their production with the mythological metamorphosis and ,bacchanalian festivals that are set before him4 ,his shepherds1 fauns1 nymphs1 satyrs1 and ,bacchanals appear a primitive progeny1 the native inhabitants of the mountains and woodlands of the genial climate of ,greece and of that ,golden ,age when ,hellas and ,asia ,minor may be supposed to have been overspread with aboriginal forests and life was careless resignation to present enjoyment40 ,from ,nicolas ,poussin and ,claude ,lorrain 7#afjj-afhb71 landscape-painter of idealized ,classic scenes1 poetic in spirit and suffused with dreamful1 golden light1 the ,eighteenth ,century ,french painters may be said to have found their fountain-head of inspiration4 ,,la ,,danse4 ,antoine ,watteau4 7#afhd-agba74 ,collection of ,mr4 ,charles ,a4 ,wimpfheimer4 ,with the exception of the superb ,embarquement pour l',ile de ,cythre1 we do not think of individual paintings of ,watteau4 ,we consider his work as a whole and we have a composite picture in our minds of assembles galantes under the trees in beautiful parks and gardens4 ,although he derived his themes from his master1 ,gillot1 who was painting all the fashionable follies and fancies of the time1 ,watteau surpassed him so entirely in his approach to these subjects1 as well as in his technique1 that we are wont to look upon ,watteau as the originator of ftes champtres1 pastorales galantes1 concerts champtres1 monkeys in all kinds of attitudes and costumes satirizing the modes and manners of the day1 ladies and gentlemen playing ,blind ,man's ,buff 7,colin ,maillard7 under the trees1 ladies swinging or flirting with their fans1 love-scenes beside statues in leafy dells1 members of the ,italian ,comedy--,pierrot1 ,arlequin1 ,scaramouche1 ,mezetin1 ,columbine1 and ,scalpin--and charming people making music or dancing under the trees4 ,this characteristic picture which came from the ,s4 ,r4 ,bertron ,collection to its present owner1 is a charming illustration of ,watteau's style4 ,here we have dancing and music and merry conversation4 ,the light is concentrated on the chief figure--the dancer--clad in that white satin that ,watteau painted so marvellously4 ,but why single out any special object for that facile and versatile brush8 ,did not an eminent critic of the ,nineteenth ,century proclaim that ,watteau was 8the most brilliant and vivid painter the world has ever seen08 ,watteau created an ,arcadia of his own--a ,watteau world2 and it is not without reason that another critic called him 8the ,shakespeare and the ,aristophanes of ,art40 ,the world has long recognized that ,watteau was a poet4 lie ,faure asks why it is that the ensemble always produces the sensation so near to sadness1 and then he gives the reason3 8,the spirit of the poet is present4 ,watteau had brought back from his ,flemish country and from a visit he had made to ,england the love of moist landscape1 where the colors in the multiplied prism of the tiny suspended drops take on their real depth and splendor4 ,music and trees1 the whole of ,watteau is in them4 ,the sound does not interrupt the silence1 but rather increases it4 ,barely1 if at all1 a whispered echo reaches us from it4 ,we do indeed see the fingers wandering from the strings3 the laughter and the phrases exchanged are to be guessed from bodies bending forward or turning backward and from fans that tap on hands4 ,the actors in the charming dramas are at a distance from their painter and are dispersed in the depths of the open spaces4 ,watteau fears to come near them1 to penetrate their mystery2 for to see them too close would destroy the arial veil that trembles between them and himself4 ,he caresses them only with his delicate tones that hover here and there as would some bee from the north flying about in the damp forests or under the lights of the fte1 among the powdered gold of the hair1 the rose of the costumes1 the bluish1 milky haze1 the flower-sprinkled moss1 the grass on which rest skirts and mantles of silk and satin1 and the nocturnal phosphorescence given to jewels and velvets by the gleam of moonlight and the flare of waving torches4 ,it is the irised air which makes the marble statues seem to quiver1 which gives agitation to the sprightly and piquant faces1 movement to the fingers plucking guitars1 and to delicate fine legs in stockings of transparent silk4 ,watteau never comes near the scene3 the vision is as distant as an old dream4 ,observe it in detail4 ,the structure of the figures--solid1 moving1 and substantial--makes them appear as if on the plane of man4 ,watteau's little personages are as large as his conception of them3 he paints with the breadth1 the fire1 and the freedom of ,veronese1 of ,rubens1 of ,velasquez1 and of ,rembrandt40 ,illustration3 ,collection of ,mr4 ,charles ,a4 ,wimpfheimer ,,la ,,danse --,antoine ,watteau ,antoine ,watteau1 born at ,valenciennes1 ,oct4 #aj1 #afhd1 was turned adrift by his father1 a tile-maker1 and he went to ,paris1 where he gradually became a fine draughtsman4 ,he entered the studio of ,claude ,gillot 7#afgc-agbb71 well known for his mythological pictures1 his ,chinoiserie1 his ftes galantes1 his singerie1 and his buffoonery of the ,italian ,comedy4 ,watteau soon surpassed his teacher and left him to study for a short time with ,claude ,audran 7#afeh-agcd74 ,in #agag ,watteau became a member of the ,academy2 in #agai he visited ,england2 and in #agba he died at ,nogent1 near ,paris4 ,the de ,goncourts have summed up his qualities so well that no excuse is needed for placing their analysis here3 8,it is doubtless owing to the early decorative work executed by ,watteau that he acquired a taste for the theatre of which in after days his cunning brush drew so many pleasing representations1 so many curious pictures and that he so often depicted the ,italian and ,french ,comedians1 those friends and intimates of his brush1 whose motley family he painted in that beautiful and striking picture which is a companion to ,comdiens ,franais4 ,he painted their companion picture when ,madame de ,maintenon drove them out of ,france in #afig2 he painted their amusements1 their nocturnal amours and serenades1 their holidays1 their open-air sports4 ,mezetin and ,columbine appear on a hundred panels4 ,but there would be little reason to thank the chance that led ,watteau at the outset of his career to work under an obscure decorator if he had only copied the silken folds of their costumes and had not conceived the idea of using these ,trans-alpine types as the poetic habitants of his scnes galantes and scnes champtres4 ,in fact1 by the introduction of these ,merry ,andrews1 these gracious mummers1 these elegant incarnations of dainty laughter and fine comedy1 these men and women whose materiality is so vague and their reality so veiled beneath symbol and myth1 the compositions of the painter no longer seem like pictures of a real world4 ,the greensward of his scnes galantes seems peopled with mythical beings to whom ,watteau's imagination and lightness of touch have left nothing of the actors who served as his models2 and we have the illusion of looking into a verdant country inhabited by creations of whim and fancy40 ,,madame ,,bonier ,,de ,,la ,,mosson4 ,jean ,marc ,nattier 7#afhe-agff74 ,collection of ,mr4 ,edward ,j4 ,berwind4 ,nolhac calls the portrait of ,madame ,bonier de la ,mosson 8une des plus belles de ses ,dianes ou de ses ,nymphes chasseresses40 ,the picture 7#ea #ch inches7 was exhibited in the ,salon of #agdb4 ,from the ,collections of ,debatz1 ,reims1 and ,tamvaco1 ,cairo1 it passed into that of ,mr4 ,berwind4 ,this handsome lady1 radiant in her leopard skin and flowers1 was the wife of ,m4 ,bonier de la ,mosson1 who was also painted by ,nattier four years later 7#agdf71 in his 8cabinet of curiosities10 for ,m4 ,bonier de la ,mosson was one of those amateur scientists of the age4 ,in his rich htel in the rue ,saint ,dominique in ,paris1 he had a laboratory and an 8apothicairerie10--his pots1 bottles1 mortars and pestles and crucibles surrounded by furniture of the most superb description4 ,the portrait of ,m4 ,bonier de la ,mosson was in great contrast to that of his beautiful wife4 ,the portrait of the gentleman is a fine work1 but the portrait of the lady shows ,nattier in his most characteristic aspect4 ,here is the real ,nattier1 for ,nattier specialized in what was called in his day the 8historic portrait10--that is to say the sitter was represented as a mythological1 or historical1 personage with all the attractive symbolical and picturesque accessories4 ,nattier's vogue during his lifetime was very great and all the aristocratic and fashionable ladies wanted1 above all things1 to have themselves perpetuated as ,dianas1 ,floras1 ,hebes1 and ,auroras4 ,consequently1 many old families in ,france cherish a fine allegorical portrait of a handsome ancestress caught as it were on ,mount ,olympus with the gods and goddesses4 8,nattier l'lve des ,graces1 ,et le peintre de la beaut0 is a tribute in some verses in #agbg4 8,it may seem fantastic10 ,sir ,walter ,armstrong writes1 8to bracket ,van ,eyck with a painter like ,nattier1 but a little consideration will show that in a sense they belonged to the same faction1 that is to say that if ,van ,eyck had lived in ,paris in #agfj1 he would have conceived a portrait much in the same way as ,nattier1 and so mutatis mutandis with the ,frenchman4 ,the conscious desire of both was to reproduce their sitter1 choosing a moment when he or she was thinking of nothing in particular1 and surrounding him with his familiar properties carefully marshalled into a design40 ,jean ,marc ,nattier came of a family of artists4 ,his father1 ,marc ,nattier1 was an ,academician1 his mother1 ,marie ,courtois1 was a miniature-painter of reputation1 and his brother1 ,j4 ,b4 ,nattier1 was also a painter4 ,jean ,marc ,nattier was born in ,paris1 ,march #ag1 #afhe1 and was trained at a very early age by his father4 ,admitted to the classes at the ,acadmie1 he won a prize in drawing and at the age of fifteen was given a stipend4 ,in #agae ,nattier went to ,holland1 where ,peter the ,great was staying1 and painted the ,czar1 the ,empress ,catherine ,,ii1 and several members of the ,russian ,court2 but he declined all inducements to follow the ,czar to ,russia and returned to ,paris4 ,in #agah ,nattier was received at the ,acadmie and1 thenceforth1 devoted himself to portraiture4 ,in #agbd he married ,mademoiselle de la ,roche1 daughter of an old mousquetaire of the ,king2 and it was not long before he became official painter of the court and1 in consequence1 the most fashionable portrait-painter in ,france4 ,nattier was made assistant professor of the ,acadmie in #agde and full professor in #ageb4 ,every year brought him more fame and more honors until his death in ,paris in #agff4 ,nattier depicts the delicate1 charming1 and aristocratic beauty of the early ,louis ,,xv period and has the gift of expressing also grace and alluring qualities4 ,louis ,,xv had ,nattier make replicas of many of the court portraits most pleasing to him1 which he sent to ,european ,courts2 and this explains how it is that so many splendid ,nattiers are hanging to-day in ,european galleries4 ,illustration3 ,collection of ,mr4 ,edward ,j4 ,berwind ,,madame ,,bonier ,,de ,,la ,,mosson --,jean ,marc ,nattier ,nattier has a unique place as the painter of beautiful women1 yet1 although he painted individuals1 his work1 taken as a whole1 presents the ,french ,society woman of the ,eighteenth ,century with her peculiar charm1 elegance1 and finesse1 appearing in his portraits as she really was1--experienced1 flexible1 high-bred1 gay1 witty1 and accomplished1 graceful in manner and in speech1 perfect in the arts of the toilet and in dress1 conscious of her charm1 and tactful1 polished1 and fascinating in society4 ,,la ,,marquise ,,de ,,baglion ,,as ,,flora4 ,jean ,marc ,nattier 7#afhe-agff74 ,collection of ,mr4 ,a4 ,w4 ,erickson4 ,this masterpiece is also known as the 8,chaponay ,nattier10 from having been long in the ,collection of the ,marquis de ,chaponay in ,paris4 ,previously the picture graced the ,collection of la ,comtesse ,armand ne ,gontoud-,biron and subsequently that of ,m4 ,nicolas ,ambatielos in ,london4 ,many critics regard ,la ,marquise de ,baglion as the finest ,french portrait of the ,eighteenth ,century4 ,its first appearance in public was at the ,salon of #agdf and it was shown in the ,paris ,exhibition of the ,one ,hundred ,masterpieces in #ahib 7,no4 #bh7 and in the ,paris ,exhibition of the ,one ,hundred ,portraits of ,women of the ,french and ,english ,schools in #aiji 7,no4 #he74 ,illustration3 ,collection of ,mr4 ,a4 ,w4 ,erickson ,,la ,,marquise ,,de ,,baglion --,jean ,marc ,nattier ,the picture 7#ec #da inches7 is signed and dated #agdf1 hence it was shown as soon as it was finished4 ,the subject of the picture1 ,anglique ,louise ,sophie d',allouville de ,louville was born ,feb4 #aj1 #agaj1 daughter of ,charles ,augustin d',allouville1 ,marquis de ,louville1 ,gentleman-in-waiting to the ,king of ,spain1 ,lieutenant-,general of his armies and ,governor-,general of ,courtray4 ,her mother was ,hyacinthe ,sophie de ,bechameil de ,nointel4 ,on ,june #aj1 #agcc1 ,anglique ,louise ,sophie was married to ,pierre ,franois ,marie de ,baglion1 ,comte de la ,salle4 ,after twenty-three years of marriage the ,marquise de ,baglion died in #agef4 ,her only daughter1 ,franoise ,sophie ,scholastique de ,baglion 7who was married to ,denis ,auguste ,grimoard de ,beauvoir1 ,marquis du ,roure1 ,colonel of the ,grenadiers of ,france of ,saintonge1 of ,dauphine1 and later brigadier71 was lady-in-waiting to the ,dauphine 7,marie ,antoinette71 and was a great friend of ,madame de ,pompadour1 whom she usually accompanied on her visits to ,choisy4 ,in this exquisite picture1 ,la ,marquise de ,baglion1 an unusually beautiful woman1 who has great intelligence in her face1 as well as beauty1 appears in a very dcollet dress1 which shows her dazzling neck and shoulders4 ,her aristocratic hand1 long and beautifully shaped1 lightly holds a blue scarf--8,nattier blue0--filled with lovely flowers4 ,flowers are as nearly important as the ,goddess of ,flowers herself2 and1 consequently1 ,nattier has shown himself here the equal of any painter who specialized in flowers4 ,the picture was much talked of in its day at ,versailles2 in the boudoirs2 at the toilet of the marquise2 and at the petits soupers of the ,king1 ,louis ,,xv4 ,many poets have sung its praises4 ,one of the latest and best tributes is by ,roger ,mils called a ,madrigal for a ,portrait of the ,marquise de ,baglion painted by ,nattier4 ,in reading it we cannot help regretting that the beautiful ,flora could not have read these sympathetic verses3 ,,madrigal 7,pour un ,portrait de la ,marquise de ,baglion peint par ,nattier7 ,ds le matin1 dans la rose1 au fond du parc1 ,la ,marquise s'en fut1 pour saluer l',aurore1 ,et les cerfs inquiets qui sommeillaient encore1 ,pour ,diane la prenant1 des yeux cherchaient son arc4 ,mais elle n'tait pas la ,desse farouche ,et1 si parfois ses yeux ont pu lancer ces traits1 ,ses victimes devaient y trouver des attraits1 ,tant le sourire avait de douceur sur sa bouche4 ,elle allait simplement1 fire de sa beaut1 ,humilier les fleurs closes pour lui plaire1 ,sachant leur jalousie aimable et sans colre1 ,ames o des parfums chantent la volupt4 ,et voici que ses mains cruelles et clines ,ont fait leur choix parmi la fraicheur des buissons1 ,pour les encourager1 de leurs nids1 les pinsons ,raillaient plein gosier les branches orphelines4 ,et de ses belles mains dborde son butin4 ,sa cueillette fut bonne1 et ses touffes fleuries4 ,suffiraient parer la mousse des prairies ,quant la ,nature dit sa prire au ,matin4 ,sur un banc1 souriante1 elle s'est repose1 ,une rose retient l'paulette qui fuit1 ,et le ,zephyr qui passe en balayant la nuit1 ,s'attarde la splendour de sa gorge rose4 ,l'toffe la possde entre ses plis lgers1 ,des joyaux prcieux se serrent sa hanche1 ,et1 sur un chiffonn de mousseline blanche1 ,ses genoux par un tissu bleu sont assigs4 ,mais un charme divin s'epanouait en elle1 ,et l'on tremble1 en voyant son pur rayonnement1 ,que ,dieu pour nous ravir cet enchantement1 ,ne fasse palpiter son paule 444 une aile4 ,,la ,,camargo4 ,nicolas ,lancret 7#afij-agdc74 ,collection of the ,hon4 ,andrew ,w4 ,mellon4 ,this painting came into this country directly from the ,collection of the ,emperor of ,germany1 having long hung in ,potsdam ,palace1 8,sans ,souci10 near ,berlin4 ,it was originally in the ,collection of the ,prince de ,carignan in ,paris1 from whom it was acquired in #agdd by the ,count von ,rothenburg1 ,prussian ,ambassador1 for ,frederick the ,great 7#agab-aghf71 to adorn his castle at ,rheinsberg4 ,the picture is in oils on canvas 7#cj #da inches74 ,we have here a typical scene of ,french ,eighteenth ,century life1 laid in a beautiful park of emerald swards1 lovely trees1 and graceful foliage1 a 8terminal0 figure of a ,muse in the middle distance1 and a fountain tossing its spray at the extreme right4 ,mademoiselle ,camargo and her partner occupy the left centre of the picture dancing to music played by a small orchestra on the left4 ,seated and standing around them beneath the trees are groups of interested spectators2 and among them at the extreme left ,lancret has painted his own portrait4 ,he is wearing a dark mantle and a biretta1 and looks directly toward the observer4 ,the dancer1 who gives the name to the picture1 is the celebrated ,marie ,anne de ,cuppi de ,camargo1 born in ,brussels in #agaj4 ,the ,princess de ,ligne became interested in her and sent her to ,paris at the age of ten to be trained for a dancer4 ,under ,madame ,prevost1 a dancer at the ,opra1 her progress was so rapid that she made her dbut at the ,opra at the age of seventeen1 when her extraordinary grace and her wonderful clothes caused her to be acclaimed as a star4 ,through the lessons of ,blondy and ,dupr she perfected her talents and became the most famous ,parisian dancer of her time4 ,a liaison with the ,comte de ,clermonte ,abb of ,saint-,germain-des-,prs caused her to leave the ,opra in #agcd2 but she returned in #agdj and regained her former triumphs4 ,this was the time when ,lancret painted some wonderful portraits of the great danseuse1 including the fine picture presented here4 ,mademoiselle ,camargo retired permanently in #agea and died in ,paris in #aggj4 ,illustration3 ,collection of the ,hon4 ,andrew ,j4 ,mellon ,,la ,,carmargo --,nicolas ,lancret ,nicolas ,lancret was born in ,paris in #afij and died there in #agdc4 ,he was a pupil of ,pierre d',ulin and ,claude ,gillot2 but he adopted ,watteau as his model4 ,indeed1 his close imitations of ,watteau estranged the latter4 ,lancret1 however1 won a great reputation for his beautiful sense of composition1 his fine design1 and his charming color4 ,he was elected a member of the ,french ,academy of ,painting in #agai4 ,his landscapes are always delicate and romantic1 and as a painter of ,ftes galantes he almost equals ,watteau and ,pater4 ,,le ,,duo4 ,nicolas ,lancret 7#afij-agdc74 ,collection of ,mr4 and ,mrs4 ,emil ,j4 ,stehli4 ,at first glance we might take this painting for a ,watteau1 for ,lancret has shown in it the same appreciation of park scenery1 leafy and fresh foliage1 charming figures of grace and refinement1 and1 even more particularly1 the suggestion of music4 ,we seem to hear the liquid1 silvery1 cool notes of the flute and the sweet1 clear voice of the pretty young lady who is singing from a book of music while the young gallant looks over her shoulder and plays his part in the duet4 ,the costumes are lovely2 the young lady is dressed in white and the flute-player wears a brownish-red suit4 ,the flute-player's pose is interesting3 all his weight is placed on his right foot4 ,note his hands3 they are properly placed on the holes of his instrument1 which he is holding as a musician4 ,the ,french have always been superlative flute-players and it was only natural that ,lancret would select a capable musician for his model4 ,we can make a safe guess that the music we are hearing from these musicians is an air by ,rameau1 whose operas and ballets were enjoying great vogue when this picture was painted4 ,the work1 oils on canvas 7#ai #af inches71 belonged to the ,collection of ,sir ,william ,knighton1 ,bart41 and came from that of ,mr4 ,pitt ,rivers of ,london to the present owner1 ,mr4 ,emil ,j4 ,stehli of ,new ,york4 ,comparing ,lancret with ,watteau1 ,eugne ,langevin writes3 8,first the style of the master was not adopted by him in its entirety2 he modified it in accordance with his own disposition2 he has played some of ,watteau's melodies1 but in a lower key and with a slower movement4 ,it is conversations galantes rather than ftes galantes that he paints4 ,he seems to feel that he does not possess the fire1 the caprice1 the vivacity1 the imagination1 and the supreme poetic distinction that are required for ,departures for the ,enchanted ,isle4 ,he halts half-way4 ,where ,watteau painted sumptuous and impassioned eclogues1 ,lancret portrays rural amusements1 richly adorned and at the same time frolicsome as he had seen them on the boards4 ,watteau revels in the most magical of fictions3 he is the ,shakespeare1 the ,aristophanes of ,art4 ,illustration3 ,collection of ,mr4 and ,mrs4 ,emil ,j4 ,stehli ,,le ,,duo --,nicolas ,lancret 8,like ,watteau1 ,lancret broke with the academic traditions of the day1 which were all for reddish or brown tints3 he acknowledged a wholesome horror of burnt colors4 ,and if he lacks that distinction which his master owed to his constant practice of ,flemish and ,venetian ,art and to his own natural gifts1 if he cannot produce those glowing and rutilant tonalities full of golden sheen1 those rich colors1 and those subtle harmonies of infinitely delicate beauty1 he1 at least1 possessed a palette both rich and refined40 ,,une ,f,,te ,,champ,,tre4 ,jean ,baptiste ,joseph ,pater 7#afie-agcf74 ,collection of ,mr4 ,jules ,s4 ,bache4 ,this brilliant picture1 painted in #agcc1 the height of the ,regency period1 came from the ,collection of ,lady ,carnarvon1 having been bequeathed to her by ,alfred ,charles de ,rothschild of ,seymour ,place1 ,london4 ,the scene is laid in a romantic landscape with the ruins of an old chteau and other ancient buildings surrounded by beautiful1 feathery trees4 ,upon the green sward groups of men1 women1 and children have gathered to enjoy themselves in various ways4 ,the merry assemblage1 dressed in brilliant costumes of delightful colors1 charmingly harmonized and contrasted1 are dancing1 feasting1 making love1 and watching actors and mountebanks perform4 ,even two little dogs in the foreground have partaken of the general gaiety4 ,the movement1 brio and general joie de vivre make this a veritable panorama of the ,eighteenth ,century4 ,the picture is also noteworthy for being the largest ever painted by ,pater4 ,illustration3 ,collection of ,mr4 ,jules ,s4 ,bache ,,une ,f,,te ,,champ,,tre --,j4 ,b4 ,j4 ,pater ,jean ,baptiste ,joseph ,pater was born at ,valenciennes in #afie1 the son of a wood-carver who appreciated his son's talent1 taught him what he could1 and then took him to ,paris1 where he became a pupil of his fellow-townsman1 ,watteau4 ,the irritable temper of ,watteau caused a separation2 but in #agba ,watteau sent for ,pater to come to him at ,nogent-sur-,marne and gave him daily instruction4 ,pater was very 8modernistic0 in his time1 for in #agbh he was received into the ,academy as a member of the new class of 8peintres de sujets modernes40 ,pater was entirely absorbed in his art4 ,he rarely left his studio1 formed no friendships1 painted all day and every day1 and gave himself no pleasures4 ,his feverish industry coupled with his parsimonious living--he was haunted by the fear of poverty in old age--at last told upon him and he died in ,paris in #agcf4 ,pater is a very close follower of ,watteau in subject and composition as well as in his charming and delicate color4 ,,une ,f,,te ,,galante4 ,jean ,baptiste ,joseph ,pater 7#afie-agcf74 ,collection of ,mr4 ,edward ,j4 ,berwind4 ,it is interesting to compare this picture with the ,fte ,champtre preceding it4 ,we have two characteristic examples of ,pater's work4 ,in the ,fte ,champtre we look upon a large gathering and a miscellaneous crowd4 ,in the picture represented here we have a more intimate group4 ,there are certain elements in this picture that suggest ,watteau2 others that suggest ,lancret2 and still others that show us that the later ,boucher and ,fragonard did not deign to take a few ideas from ,pater4 ,the picture is very individual4 ,the colors are soft and delicate--8pastel0 tints we like to call them to-day--pale blues1 and pinks1 and yellows1 and rich mauves1 contrasting beautifully with the exquisite green of the foliage4 ,pater never produced a more artistic background1 with its distant hills and picturesque buildings4 ,the painting came from the ,wertheimer ,collection1 ,london1 to the present owner4 ,illustration3 ,collection of ,mr4 ,edward ,j4 ,berwind ,,une ,f,,te ,,galante --,j4 ,b4 ,j4 ,pater ,,la ,,serinette4 ,jean ,baptiste ,simon ,chardin 7#afii-aggi74 ,collection of the late ,mr4 ,henry ,clay ,frick4 ,madame de ,pompadour1 whose taste in art was always superlatively good1 was the first owner of this charming picture1 which has passed through many notable collections4 ,the work is known under three titles3 ,la ,serinette 7the ,bird-,organ72 the ,education of a ,canary2 and ,the ,diversions of a ,lady4 ,according to tradition this lady is ,madame ,chardin1 wife of the painter4 ,the sitting-room gives us an idea of her varied occupations and it would appear that she has just left her tapestry-work to give her canary a singing-lesson4 ,the bird is seen in a cage1 which stands on a little table near the window1 and ,madame ,chardin is turning the handle of the bird-organ4 ,we would like to know the tune the little music-box produces4 ,both as regards subject and treatment the picture is a masterpiece4 ,jean ,guiffrey considers the work most charming and admires the way all the many accessories are brought into perfect harmony4 8,it would be impossible to find10 he says1 8a more correct design and a better color scheme and tonality40 ,chardin sent this picture to the ,salon of #agea and again to that of #agee4 ,after ,madame de ,pompadour's death ,la ,serinette passed into the notable ,collections of ,monsieur de ,vandires1 director of the ,royal ,buildings2 the ,marquis de ,menars1 ,madame de ,pompadour's brother 7sold in #aghc72 ,baron ,denon1 ,director of ,museums 7sale #ahbf72 ,count d',houdetot 7sale #ahei72 ,duke de ,morny 7sale #ahfe72 ,mr4 ,g4 du ,tillet of ,paris2 and1 finally1 to the late ,mr4 ,henry ,clay ,frick4 ,the picture was shown in #ahfj at the ,exposition of the ,association for the ,mutual ,relief of ,artists1 ,painters1 ,sculptors1 and ,architects 7,no4 #ib74 ,chardin was one of the greatest colorists of the ,french ,school and one of the greatest painters of the ,eighteenth ,century4 ,few painters have equalled him in his broad and free style and in his luminous effects of color and light4 ,illustration3 ,collection of the late ,mr4 ,henry ,clay ,frick ,,la ,,serinette --,j4 ,b4 ,s4 ,chardin ,chardin was born in ,paris1 ,nov4 #b1 #afii1 the son of a master-carpenter and upholsterer1 who was employed to make billiard-tables for ,louis ,,xiv4 ,after studying under ,pierre ,jacques ,cazes1 ,chardin entered the studio of ,nol ,nicolas ,coypel4 ,before he was thirty he had made a name as a painter of still-life4 ,in #agbh ,chardin was admitted to the ,acadmie ,royale and eventually became its treasurer4 ,in #ageb ,louis ,,xv bestowed a pension upon him and in #ageg gave him rooms in the ,louvre4 ,in his middle period ,chardin struck out in a new path--that of frank realism1 selecting for subjects scenes from the domestic life of the bourgeoisie2 but he treats everything1 however1 with the distinction and taste that belonged to ,france in the ,eighteenth ,century4 ,therefore1 he throws a poetic glamour around a loaf of bread1 a bunch of grapes1 a plate of peaches1 a sleeping cat1 or a copper casserole4 ,consequently1 while his subjects are similar to those of the 8,little ,dutch ,masters10 ,chardin introduces an elegance and a quality of which those painters never dreamed4 ,neither ,pieter de ,hoogh1 nor ,vermeer1 excelled ,chardin in effects of light1 atmosphere1 and iridescence4 8,chardin10 lie ,faure writes1 8did not paint much because he paints slowly with a laborious and passionate application4 ,he has no models1 but his wife1 children1 a few familiar animals1 the everyday tableware1 and cooking-utensils and then there are meat1 vegetables1 bread1 and wine brought that same day from the butcher1 the meat-roaster1 the baker1 and the vegetable seller4 ,with these he writes the legend of domestic labor and of obscure life3 his images speak to us after the manner of ,la ,fontaine's words and he is1 with ,watteau and ,goya1 the greatest painter there is in ,europe between the death of ,rembrandt and the maturity of ,corot and of ,delacroix40 ,chardin is an artist beloved by artists4 ,in a sympathetic criticism1 ,armand-,dayot writes3 8,it is not by accident that ,i am using this word mtier3 beaut du mtier--all is comprised in that phrase4 ,by this phrase the greater number of the ,french artists of the ,eighteenth ,century should be judged4 ,la beaut du mtier--that expresses all their efforts4 ,and1 indeed1 what formula could better define ,chardin than the beaut du mtier8 ,an illumination1 meticulous and systematic1 because it has been so well ordered and arranged2 light departing from one point to appear at another and showing the various objects according to the place they occupy with relation to the distance from the luminous centre2 a beautiful paste of the best composition in its own day and which time has converted into a transparent and limpid enamel2 and1 above all1 that classical arrangement1 which is like that of ,poussin1 ,le ,brun1 ,le ,sueur and ,claude ,lorrain1 add to the play of great sweeps of color2 the enchanting reflections that cross one another and that are superimposed without breaking the original balance of the contrasting colors2 and the rigorous drawing--such are the reasons why we class ,chardin high in the ,french traditions of clarity and beautiful arrangement of light4 ,in his richness of color he is derived from the ,venetians and he became the ancestor of ,fantin-,latour40 ,chardin's vogue is increasing day by day1 for he belongs to that small group of great masters who have played with light4 ,perhaps1 more than any other painter1 ,chardin succeeded in producing the most subtle overtones of color4 ,m4 ,armand-,dayot1 as we have just seen1 claims ,chardin as the ancestor of ,fantin-,latour4 ,may we not also suggest that in ,chardin1 ,matisse has found inspiration for his delicate and tenuous effects in the upper reaches of the color scale8 ,we get a glimpse of ,chardin at work from ,diderot who1 after a visit to his atelier1 wrote3 8,chardin1 who has such a keen feeling for color1 keeps his eyes glued upon his canvas3 his mouth is half-open2 and he breathes heavily4 ,his palette is a picture of chaos and into this chaos he dips his brush4 ,from it he draws his work of real creation1--birds with all the delicate nuances of tint in their plumage2 flowers with velvet petals2 trees of varied foliage and greenery1 the blue of the sky1 the spray of water1 animals with their soft fur and the fire flaming from their brilliant eyes4 ,the painter rises1 walks some distance away1 and throws a rapid glance upon his picture2 then he seats himself again before this canvas and you soon see appear flesh tints1 cloth1 velvet1 damask1 taffetas1 transparent muslin1 or heavy linen4 ,you also see the ripe yellow pear falling from the tree and the green grapes hanging on the vine40 ,,les ,,deux ,,confidentes4 ,franois ,boucher 7#agjc-aggj74 ,collection of ,mrs4 ,william ,r4 ,timken4 ,madame de ,pompadour was the first owner of this picture and it looks as if it might have been painted at her suggestion4 ,it is signed and dated #agej and measures #cb #bi inches1--a perfect size for a boudoir or a small salon4 ,next the picture was in the ,collections of ,pillet-,will1 the ,marquis de ,marigny1 and the ,marquis de ,menars4 ,here we have two young ladies of high degree playing at pastoral life4 ,their bare feet and the presence of sheep are the only suggestion that they are shepherdesses4 ,they are1 however1 shepherdesses of the kind we read of in the eclogues of poets4 ,in every way the picture is charming4 ,the composition is faultless1 the lights splendidly concentrated and diffused1 and the colors are of exquisite beauty4 ,against the green of the feathery trees in the background and the verdant turf in the foreground the lustrous silken dresses--palest blue and palest rose--of the young ladies who are exchanging confidences 7doubtless of faithful or faithless lovers7 appear to the greatest advantage4 ,the flowers1 tumbling out of the basket which has fallen down1 are most sympathetically painted by one who rarely1 if ever1 omitted roses in any picture4 ,all the colors melt and mingle in perfect harmony4 ,boucher painted at the height of the ,louis ,,xv period and of this period lie ,faure says3 8,franois ,boucher is its soul4 ,fashion is always present in his facile and fecund work--on ceilings1 screens1 carriage-panels1 dessous portes1 boxes and fans--shepherdesses and pastorales everywhere and on every thing4 ,charming in manner1 generous1 pleasure-loving and adored by both men and women1 ,boucher stands with the ,king's mistress1 ,madame de ,pompadour1 as the centre of his own revolving circle of winged ,cupids and garlands of flowers40 ,illustration3 ,collection of ,mrs4 ,william ,r4 ,timken ,,les ,,deux ,,confidentes --,franois ,boucher ,franois ,boucher1 born in ,paris1 ,sept4 #bi1 #agjc1 began his career as an illustrator and engraver and went to ,italy with ,carle ,van ,loo4 ,returning to ,paris in #agca he frequented the gay society of operatic and theatrical circles and acquired reputation4 ,in #agcd he was admitted to the ,academy with his picture of ,rinaldo and ,armida now in the ,louvre4 ,boucher became associated with the tapestry-manufactory at ,beauvais and also at the ,gobelins and in #agfe succeeded ,carle ,van ,loo as first painter to ,louis ,,xv4 ,boucher attracted the attention of ,madame de ,pompadour and decorated her boudoirs and salons1 and painted several portraits of this handsome lady4 ,boucher died in the ,louvre in #aggj1 while painting ,venus at her ,toilet4 ,according to his own record ,boucher painted a thousand pictures and made ten thousand drawings and sketches4 ,a ,,young ,,girl ,,reading ,a ,,letter4 ,jean ,baptiste ,greuze 7#agbe-ahje74 ,collection of ,mr4 ,john ,mc,cormack4 ,this picture1 an oil painting on canvas 7#bg #ba inches71 comes from the ,collection of ,alfred ,charles de ,rothschild1 ,seamore ,place1 ,london1 and represents a young girl seated in an upholstered chair wearing a white chemise1 which has slipped from her shoulders4 ,an open letter is spread on her lap1--a letter before envelopes were known1 for this has the seal still attached4 ,however1 letters bring tidings of delight or sorrow1 with or without envelopes1 and we have no clue to the contents of this one4 ,we gather1 however1 that the missive is a love-letter4 ,illustration3 ,collection of ,mr4 ,john ,mc,cormack ,a ,,young ,,girl ,,reading ,a ,,letter --,jean ,baptiste ,greuze ,jean ,baptiste ,greuze was born at ,tournous1 near ,macon1 ,burgundy1 and was the son of a thatcher4 ,he first studied painting with a travelling picture-pedlar named ,grondon and went with him to ,lyons and lived there for eight years1 painting pictures and hawking them about the country4 ,however1 ,grondon was the father of the wife of ,grtry1 the composer1 so ,greuze probably had a little taste of art4 ,in #agdf he went to ,paris and worked at the ,academy1 making some progress in historical painting and portraits4 ,one day he astonished everybody by his picture of ,un pre de famille expliquant la ,bible ses enfants and ,le ,paralytique servi par ses enfants1 which caused him to be received as an ,acadmicien4 ,others of this type of pathetic1 or homely1 story-telling in paint followed4 ,this1 then new style of art1 won ,greuze many admirers1 among them ,diderot4 ,in #agef ,greuze went to ,rome for two years and on his return to ,paris began to exhibit his now famous busts and heads of beautiful young girls4 ,between #agee and #agfi ,greuze exhibited about one hundred and twenty pictures at the ,louvre and1 after the ,revolution1 about thirty works4 ,he was entirely broken by the ,revolution and died in #ahje in poverty and oblivion4 ,,young ,,girl4 ,jean ,baptiste ,greuze 7#agbe-ahje74 ,collection of ,mr4 ,william ,randolph ,hearst4 ,we hardly know which face to admire the most--that of the little girl or that of her little dog with the bright1 intelligent eyes1 so loving and so trustful4 ,illustration3 ,collection of ,mr4 ,william ,randolph ,hearst ,,young ,,girl --,jean ,baptiste ,greuze ,this picture 7#ad #ad inches7 ,greuze has painted with the tenderest care1--depicting the budding beauty of the child2 and he has1 moreover1 used the swirling curves in such a distinguished manner that we think of the circles and the curves in ,raphael's ,madonna della ,sedia in the ,pitti4 ,there is a gentle sadness in the face of the little girl of which the little companion and friend1 so confidently nestled in her loving arms1 seems to be conscious2 and1 perhaps1 a little worried as well4 ,,la ,,marquise ,,de ,,besons ,,tuning ,a ,,guitar ,jean ,baptiste ,greuze 7#agbe-ahje74 ,collection of ,dr4 and ,mrs4 ,henry ,barton ,jacobs4 ,at the ,salon of #ageg ,greuze exhibited this portrait under the title of ,madame ,x ,tuning a ,guitar4 ,many who saw the picture recognized ,madame ,x as ,anne de ,bricqueville de la ,luzerne1 wife of ,jacques ,bazin1 ,marquis de ,besons1 a very prominent and powerful lord of the ,houses of ,hupin1 ,neuvill1 etc41 and ,lieutenant-,general of the ,king's armies4 ,madame de ,besons is wearing a pale pink silk dress with a deep flounce with sleeves of the favorite ,mechlin lace and a large cape with collar4 ,her hair is waved in fine shells and adorned with the little spray of flowers that ,madame de ,pompadour had made the fashion at this moment4 ,a necklace consisting of three rows of perfectly matched pearls proclaim ,madame de ,besons a lady of wealth4 ,the chair in which ,madame de ,besons is sitting is a handsome example of ,louis ,,xv furniture1 gold frame upholstered in light green brocade4 ,the background is dark grey4 ,the painting 7#cg #bi inches7 is an unusual and a most artistic work of ,greuze4 ,,la ,,marquise ,,de ,,villemonble4 ,franois ,hubert ,drouais 7#agbg-agge74 ,collection of ,mr4 ,jules ,s4 ,bache4 ,one is often asked to define the style ,louis ,,xv4 ,could there possibly be a better definition than is expressed in this exquisite portrait of an exquisite lady1--,la ,marquise de ,villemonble8 ,is not the very essence1 the spirit1 the perfume of the ,eighteenth ,century seen in the face1 the dress1 the pose1 the manner1 the charm1 and the 8grand style0 of the ,marquise8 ,illustration3 ,collection of ,dr4 and ,mrs4 ,henry ,barton ,jacobs ,,la ,,marquise ,,de ,,besons ,,tuning ,a ,,guitar --,jean ,baptiste ,greuze ,it is very evident that ,drouais took deep delight in painting this aristocratic lady and her beautiful costume as well4 ,we can see with what pleasure the painter's brush swept into being the lustre and the folds of the pale lemon satin dress2 traced the delicate pattern of the ,mechlin lace that forms the ruffles of the bell-sleeves and the garniture of the neck2 tied the bows of rich pink satin adorning the corsage and holding the lace at the sleeves2 touched up the cluster of shaded grey feathers and rounded the pearls in the coiffure2 placed the little string of black velvet around the neck2 and lingered upon the sheet of music which the ,marquise is holding so gracefully4 ,the words below the notes show that the lady is a singer4 ,yet all these carefully painted details do not detract from the beauty of the lady herself4 ,her features are high-bred1 sweet1 and perfect1 and her expression shows great loveliness of nature4 ,altogether the ,marquise de ,villemonble is a beautiful and charming person and ,drouais1 we may be sure1 has not flattered her in this beautiful and charming portrait4 ,the canvas 7#df #ce inches7 is signed and dated #agfa and it is interesting to relate that it came directly from the ,villemonble family to its present owner1 ,mr4 ,jules ,s4 ,bache4 ,franois ,hubert ,drouais was born in ,paris in #agbg and studied under his father1 ,hubert ,drouais 7#afii-agfg71 a portrait-painter who was also famous for his miniatures4 ,young ,franois grew up with the great painters of the day1 who were friends of his father--,nattier1 de ,troy1 ,oudry1 and others--and he became a pupil of ,carle ,van ,loo and ,boucher4 ,with such masters is it any wonder that ,drouais should have developed style8 ,illustration3 ,collection of ,mr4 ,jules ,s4 ,bache ,,la ,,marquise ,,de ,,villemonble --,franois ,hubert ,drouais ,drouais began to exhibit at the ,salon of #agee and appeared every year subsequently until his death in #agge4 ,his talents brought him recognition and he became painter to the ,king1 to ,monsieur and ,madame1 and practically all the nobility and aristocracy of ,france sat to him4 ,naturally1 the world of fashion followed suit4 ,drouais painted ,madame de ,pompadour and owed much to her patronage4 ,he also painted ,madame du ,barry many times and his vogue continued through the reign of ,louis ,,xvi4 ,one of his most successful portraits--,marie ,antoinette as ,hebe--now hangs at ,chantilly and gives a most distinguished presentation of the young ,queen1 a proud figure in yellow draperies1 rose-colored waist ribbons1 and lilac scarf1 holding a golden cup in one hand and a silver ewer in the other4 ,drouais holds his own with ,watteau1 ,pater1 ,lancret1 ,fragonard1 ,greuze1 ,chardin1 and de la ,tour1 for he1 too1 like these artists of radiant style1 knew how to present with skillful and polished technique1 flowing lines1 fluent grace1 piquant expression1 characteristic gesture1 and fashionable dress4 ,moreover1 his quick observation and light touch produce something akin to sparkling comedy2 and yet in all the play of his brush and his airy manner ,drouais never failed to create an atmosphere of elegance and distinction4 ,,mademoiselle ,,helvetius4 ,franois ,hubert ,drouais 7#agbg-agge74 ,collection of ,mr4 ,mortimer ,l4 ,schiff4 ,that ,drouais was a master who could succeed with any subject for portraiture will be appreciated by comparing this sympathetic presentation of a pretty little girl with the preceding portrait of ,la ,marquise de ,villemonble1 who appears in the full beauty of maturity4 ,even ,greuze1 with all his skill in representing youthful charm1 never produced a lovelier work than this ,mademoiselle ,helvetius4 ,here the little girl looks at us smiling beneath her big 8shepherdess0 hat1 holding in her dress clusters of purple and jade colored grapes4 ,drouais evidently appreciated the decorative beauty of the grape and its leaves1 for he has brought out their character and lusciousness with a loving surety of touch that shows him to be on a par with any painter who has specialized in fruit4 ,illustration3 ,collection of ,mr4 ,mortimer ,l4 ,schiff ,,mademoiselle ,,helvetius --,franois ,hubert ,drouais ,the delightful painting1 which is signed1 came to its present owner from the ,j4 ,p4 ,morgan ,collection4 ,l',,invocation ,l',,amour4 ,jean ,honor ,fragonard 7#agcb-ahjf74 ,collection of ,mr4 ,mortimer ,l4 ,schiff4 ,the de ,goncourts remarked in their ,l',art du ,dix-huitime ,sicle that the two great--and the only great--poets in ,france in the ,eighteenth ,century were ,watteau and ,fragonard2 and they very fancifully and very truly said that the saucy little ,loves hovering about in the sky of ,l',embarquement pour ,l'le de ,cythre were 8getting ready to fly to ,fragonard and to put on his palette the hues of their butterfly wings40 ,of that tragic painting1 ,corsus and ,callirho 7in the ,louvre7 the de ,goncourts1 noting the extraordinary movement and whirl in the work1 said 8a great mute cry seems to rise in the composition10 and then added3 8,this cry of a picture1 so new for the ,eighteenth ,century1 is ,passion40 ,fragonard had the genius for expressing movement and emotion to such a degree that sometimes 8a cry0 seems to issue from his canvas4 ,this rush of movement and this torrent of emotion1 this outburst like leaping flames and whirling clouds1 is expressed in full power in the picture represented here1 which bears some likeness to the ,fountain of ,love in the ,wallace ,gallery1 ,london4 ,l',invocation l',amour 7#bj #bd inches7 was painted between #aghj and #aghe4 ,it came into public notice at the ,la ,rochefoucauld-,liancourt ,sale in ,paris in #ahbg and has since belonged to the ,collections of ,m4 le duc de ,polignac2 to ,madame la duchesse de ,polignac ne ,crillon2 to ,mr4 ,l4 ,neumann1 ,london2 and to ,m4 ,jean ,bertoloni1 ,paris4 ,l',invocation l',amour was shown at the ,fragonard ,exposition1 ,muse des ,arts ,dcoratifs1 ,paris in #aiba1 and came thereafter into possession of ,mr4 ,mortimer ,l4 ,schiff4 ,illustration3 ,collection of ,mr4 ,mortimer ,l4 ,schiff ,l',,invocation ,l',,amour --,jean ,honor ,fragonard ,jean ,honor ,fragonard was born at ,grasse in #agcb and died in ,paris in #ahjf4 ,he studied under ,chardin and ,boucher1 won the grand prix de ,rome at the age of twenty1 studied in ,rome1 visited ,naples and ,sicily with ,hubert ,robert1 and1 returning to ,paris1 leaped into fame with his ,corsus and ,callirho in #agfe4 ,fragonard painted every subject--love-scenes1 portraits1 genre1 and landscape--equally well and always with the lightest touch1 the most delicate colors1 and infinite charm4 8,his method10 says ,louis ,hautecur1 8is even more dexterous than that of ,boucher1 because he is better instructed2 this rapidity of brush-work is not negligent1 because it is guided by previous study2 this freedom of handling is not hap-hazard3 it springs from the joy of creating2 that is what makes ,fragonard a great painter4 ,thus a natural sensibility1 which gave to his works movement1 picturesque character1 and color seems to be the master faculty of ,fragonard2 and out of this movement1 this feeling for the picturesque1 and this color arises a fantasy composed of intelligence and imagination4 ,the ,fte of ,st4 ,cloud becomes a fairy scene2 the ,garden of ,fontainebleau the setting of a dream2 and the ,fountain of ,love flows in a world of mystery4 ,fragonard was not only a painter unique in style1 but he was a poet of that century of which he saw the close--a poet whose sensibility was shown less in the nature of his works than in the manner in which he treated them3 in his golden rays of light2 in the shadowy recesses of the parks2 in the cloud forms of a tempest2 in the youthful charm of children2 and in the grace of women--and herein lies his originality40 ,,le ,,billet-,,doux4 ,jean ,honor ,fragonard 7#agcb-ahjf74 ,collection of ,mr4 ,jules ,s4 ,bache4 ,in studying this graceful composition with its subtle harmonies of color and its amazing play of iridescent reflections and ever changing lights it is easy to see that ,fragonard spent some time in the studio of ,chardin1 having the benefit of instruction from that great master4 ,charm is the keynote of the picture4 ,the colors are indescribable as they are constantly changing2 but the general tonality is golden-brown in all the shades of leaves at autumn with sunlight playing upon them and combined with the softest blue of the sky2 and these browns and blues are so merged and mingled that they shimmer and vary like 8changeable velvet40 ,the effect is1 therefore1 both rich and1 at the same time1 tender1 soft1 and brilliant4 ,a few high lights of pink are discreetly used4 ,the charming1 piquant1 and lovely lady1 is said to be the daughter of ,boucher and was married to another painter1 ,baudouin1 and1 after his death1 to ,m4 de ,cuviller4 ,the lady is half rising from her writing-table and is holding in her left hand a bouquet of pink roses in a conical paper-holder into which she is placing a letter1 addressed to 8,monsieur ,m4 ,c40 ,her head is turned a little to the front and her expression seems to indicate that she does not wish to be detected in her pretty romance4 ,she is a person of elegance and fashion and her dress is altogether comme il faut1 in what we please to call to-day a 8,watteau costume10 with the panniers and the 8,watteau plait0 at the back4 ,the material is a very pale blue velvet with brownish lights4 ,her hair is dressed fashionably and surmounted by a modish little 8butterfly cap0 brightened with pink ribbons1 which1 with the pink roses1 are the only notes of bright color in the picture4 ,lying on the chair and looking directly out of the picture is a darling little poodle dog4 ,in the 8,billet-,doux10 ,louis ,hautecur says1 8we can best appreciate the skill of the master who delighted in making a golden light play across a yellow curtain upon a blue robe40 ,illustration3 ,collection of ,mr4 ,jules ,s4 ,bache ,,le ,,billet-,,doux --,jean ,honor ,fragonard ,this painting 7#cc #bf inches7 passed through the ,collections of the ,baron ,feuillet de ,conches2 ,madame ,jagerschmidt2 ,m4 ,ernest ,cronier2 and ,m4 ,joseph ,bardac1--all of ,paris4 ,the ,billet-,doux was shown at the ,alsace-,lorraine ,exhibitions of #ahgd and #aibg1 and is lauded in all the standard works on ,fragonard4 ,,la ,,marquise ,,de ,,la ,,fare4 ,jean ,honor ,fragonard 7#agcb-ahjf74 ,collection of ,mrs4 ,james ,b4 ,haggin4 ,could anything be lighter1 lovelier1 and more graceful in the way of painting than this distinguished representation of the distinguished ,marquise de la ,fare8 ,for elegant simplicity as well as technique this portrait is without a peer4 ,only ,fragonard could have painted it4 ,there is something here that reminds us of the flicker and flutter and quick movement and vitality of the flame1--that symbol of the soul and of eternal life4 ,unconsciously1 perhaps1 by these leaping1 flashing lines the painter symbolized his own genius and the spirit of the exquisite lady he was privileged to portray4 ,with his butterfly touch and his liquid1 rapid brush1 ,fragonard caught this charming personality4 ,yet1 behind this quick impressionistic work--as light in key and ethereal in harmony as ,claude ,monet or ,matisse--what knowledge1 what skill6 ,here is all the majesty of ,greek sculpture at its climax of perfection1 but ,greek sculpture rendered dynamic and human4 ,and what a pose6 ,what exquisite arms and hands6 ,what style6 ,what chic6 ,the dress is cream and the drapery1 old rose1 harmonizing with the ash-blonde hair and blue eyes4 ,illustration3 ,collection of ,mrs4 ,james ,b4 ,haggin ,,la ,,marquise ,,de ,,la ,,fare --,jean ,honor ,fragonard ,the picture 7#ca #be inches7 came directly from the de la ,fare family to its present owner4 ,,the ,,fountain ,,in ,,the ,,park4 ,hubert ,robert 7#agcc-ahjh74 ,collection of ,dr4 and ,mrs4 ,henry ,barton ,jacobs4 ,when ,hubert ,robert exhibited for the first time in ,august1 #agfe1 he won instant recognition4 ,the ,french public at a period when taste was supreme1 praised the originality of ,hubert ,robert's design and his exquisite delicacy of coloring and decided1 moreover1 that although his study of the antique had been thorough and sympathetic1 the new artist was1 above all1 a ,parisian of ,parisians4 ,hubert ,robert plays on two themes3 one1 the ruins of antiquity--especially ,rome--and the other1 garden-scenes4 ,in fact1 his success with ruins as subject-matter gave him the sobriquet of 8,robert des ,ruines40 ,hubert ,robert was born in ,paris in #agcc and after some preliminary art education went to ,rome in #aged1 where he studied for eleven years1 devoting himself almost exclusively to antiquities4 ,on his return to ,paris he was made a member of the ,academy and his pictures brought him instant fame4 ,he lived in the studios in the ,louvre until the outbreak of the ,revolution1 when he was imprisoned for ten months2 but during this time he painted and produced a ,taking of the ,prisoners by ,torchlight in ,open ,carts from ,st4 ,plagie to ,st4 ,lazare4 ,he was lucky in his release1 which occurred through the mistake of the jailer1 who sent another prisoner of the same name to the guillotine4 ,hubert ,robert died in ,paris on ,april #ae1 #ahjh4 ,equal to his reputation as a painter was his reputation as a landscape-gardener4 ,he was the successor of ,le ,ntre1 whose style had given place to the ,anglo-,chinese gardens4 ,hubert ,robert1 as architect of the ,king's ,gardens1 designed the ,baths of ,apollo in the ,park of ,versailles in #aghd1 and he laid out the very famous grounds of ,mzville near tampes-in-,beauce1 in which work ,joseph ,vernet was associated4 ,illustration3 ,collection of ,dr4 and ,mrs4 ,henry ,barton ,jacobs ,,the ,,fountain ,,in ,,the ,,park --,hubert ,robert ,the distinguished picture shown here 7#eg #ci inches7 from the ,collection of ,m4 ,s4 ,bardac1 ,paris1 presents the artist also as a garden-lover4 ,all the poetry produced by a tossing stream of spray among green trees is expressed here4 8,hubert ,robert10 writes ,henri ,frantz1 8is one of those who1 brought back into fashion by the de ,goncourts and their generation1 enjoy a reputation increasing every day2 and thus drawings in red chalk or in water-colors which one might easily have picked up years ago in the boxes of the petty dealers of ,paris or of ,rome are found to-day in museums and in the most celebrated ,collections and fetch the highest prices in ,european sales4 ,moreover1 ,hubert ,robert did not go out of fashion till the commencement of the ,nineteenth ,century and no artist was fted and admired by his contemporaries more than he40 ,hubert ,robert has again become the fashion4 ,,madame ,,labille-,,guiard ,,and ,,two ,,pupils4 ,madame ,labille-,guiard 7#agdi-ahjc74 ,collection of ,mr4 ,edward ,j4 ,berwind4 ,here we have a picture painted in the grand style1 a beautiful composition1 a marvellous expression of technique1 and a portrait-group including a self-portrait of the artist4 ,madame ,labille-,guiard1 a handsome women of dashing style1 is seated before her easel busy at work1 wearing a very handsome costume and not one exactly appropriate to working in a studio4 ,however1 the painter being as delightfully feminine in her tastes as she was masculine in her artistic performance1 has the vanity of her sex to wish to be perpetuated in rich and fashionable attire1--comme il faut in every respect4 ,the two young ladies1 who are observing the work of ,madame ,labille-,guiard are her favorite pupils1 ,mesdemoiselles ,capet and ,rosemond4 ,madame ,labille-,guiard's dress is blue-grey satin with lace at neck and sleeves and hat of golden straw with blue-grey ostrich feathers matching the dress4 ,the chair in which the artist is seated is upholstered in green velvet4 ,the pupil in front wears a dark brown dress4 ,most beautifully is painted the diaphanous ruffle at her elbow4 ,illustration3 ,collection of ,mr4 ,edward ,j4 ,berwind ,,madame ,,labille-,,guiard ,,and ,,two ,,pupils --,madame ,labille-,guiard ,the picture of large dimensions 7#hb #fj inches7 is signed and dated #aghe and was exhibited at the ,salon in that year4 ,from the ,collection of ,madame ,griois1 a descendant of the artist1 the painting came to its present owner1 ,mr4 ,edward ,j4 ,berwind4 ,adlade ,labille-des-,vertus was born in ,paris1 ,april #aa1 #agdi4 ,she studied art under ,franois lie ,vincent1 a clever miniature-painter and afterward under ,latour4 ,she married twice3 first1 the sculptor ,guiard1 and1 after his death1 ,franois ,andr ,vincent1 the son of her former teacher1 himself a capable painter and etcher4 ,madame ,labille-,guiard became an ,acadmicien in #aghc at the same time with ,madame ,vige ,lebrun4 ,she painted a great number of large oil-portraits and miniatures1 and in #aghg and #aghi attracted attention by her portraits of the ,king's daughters1 ,madame ,adlade and ,madame ,victoire4 ,she also painted a large picture for ,monsieur 7afterwards ,louis ,,xviii71 called the ,initiation of a ,knight of ,malta1 which was finished at the outbreak of the ,revolution2 but which was destroyed4 ,madame ,labille-,guiard died in ,paris on ,floral #d1 ,an ,,xi4 de la ,rpublique1 or ,april #h1 #ahjc4 ,,english1 ,,eighteenth ,,century ,,english1 ,,eighteenth ,,century ,when ,thophile ,gautier saw ,gainsborough's portrait of ,mr4 and ,mrs4 ,hallet1 now known as ,the ,morning ,walk1 he said that he felt 8a strange retrospective sensation1 so intense is the illusion it produces of the spirit of the ,eighteenth ,century4 ,we really fancy we see the young couple10 he adds1 8walking arm-in-arm along a garden avenue40 ,it is this 8strange retrospective sensation0 that we feel when we look upon the canvases of ,gainsborough1 ,reynolds1 and ,romney4 ,the ,eighteenth ,century was one of those periods in the world's history when ,society reached its peak1 when ,society was the goal of all things and of every one1 and when it was dominated by taste1 elegance1 gaiety1 lightness1 brightness1 wit1 beauty1 and charm4 ,there was charm in everything--in art1 in music1 in literature1 in conversation1 and in dress4 ,there was a chic and dainty grace with which the ,eighteenth ,century belle wore her large hat1 tied her sash1 and pointed the toe of her high-heeled satin slipper on the polished floor of the ball-room1 or the greensward of the garden or lawn2 and there was a corresponding chic and dashing elegance with which the ,eighteenth ,century beau made his bow1 tapped his snuff-box1 or handed the 8ladies of ,st4 ,james's0 in and out of their sedan-chairs4 ,this sparkling1 iridescent age1 with its taste1 grace1 and wit can never come again--for our world has travelled far along another path--but if the ,eighteenth ,century cannot return to us1 we can return to it by means of its literature1 its music1 and its art4 ,at such a period1 when the social world was of exceptional brilliance1 it is only natural that the art of portraiture should have flourished with unparalleled lustre4 ,three great geniuses arose in ,england to bring this special branch of painting up to a pitch that had never been reached there before4 ,it is true that ,holbein's portraits are magnificent1 stately1 and true to life1 and that they present wonderful portrayals of character2 but ,holbein was painting in a world of drastic change1 of adventure1 of political agitation1 when nearly everyone whom he painted had the fear of the axe descending upon his neck4 ,it is true that ,van ,dyck painted people of elegance and distinguished manner--the portrait of ,robert ,rich1 ,earl of ,warwick on page #ahi would alone prove this--and gives us a glimpse into a charming world4 ,but ,reynolds1 ,gainsborough1 and ,romney were the first to paint ,society--that brilliant1 witty1 provocative1 frivolous1 graceful1 charming1 chic1 and altogether delightful ,society of the ,eighteenth ,century4 ,the ,eighteenth ,century6 ,how we delight in it6 ,we are not too far away to feel at home in it2 and1 moreover1 much of our beautiful ,georgian architecture survives in this country with ,chippendale1 ,sheraton1 and ,heppelwhite furniture and ,spode1 ,wedgwood1 ,chelsea1 ,lowestoft and various china1 with other relics besides1 to show us that our ,colonial forefathers lived in style and elegance4 ,the latest fashions in household furnishings and dress travelled here from ,london even quicker than they travelled to the ,english provinces4 ,to lift the curtain upon the ,eighteenth ,century is like lifting the cover from a ,chinese jar of pot-pourri2 and just as that subtle yet pungent scent of rose-leaves1 lavender1 sweet spices1 and musk float from it1 so visions appear before another sense4 ,our inherited memories bring before us pictures of brocade gowns or 8hoops10 flowered silk overdresses1 high-heeled satin slippers with glittering buckles1 ruffles of ,mechlin lace1 8chicken-skin0 fans gay with ,watteau or ,lancret or ,pater pictures1 rustling silks1 shimmering satins1 nodding feathers1 cinnamon coats1 ,ramilies tie-wigs1 lace-solitaires1 wrist-ruffles1 cocked-hats1 swords1 and snuff-boxes4 ,we seem to stand in lovely gardens1 bright with roses and hollyhocks1 larkspur1 foxglove1 amaranth1 love-in-a-mist1 bleeding-hearts1 and gilliflowers1 noting the moving shadow on the sundial and watching the stately peacocks behind the well-clipped hedges of box and holly2 or we follow the fashionable world to ,ranelagh or ,vauxhall1 where we look with fascinated gaze on the beautiful women in hoops of brocade or lutestring silk1 much painted1 powdered and patched1 glancing archly beneath their coquettish 8gipsy hats0 at their gallant escorts1 who know so well how to lead them through the steps of a minuet or a gavotte to the rococo tunes of ,rameau1 ,dr4 ,arne1 or ,couperin with their quirls and pretty runs and trills and long pauses for stately bows4 ,that world is so fascinating to us that we fancy we1 too1 could wear without embarrassment the elaborate costume and that we1 too1 would feel much at home with ,horace ,walpole and his friends at ,strawberry ,hill4 ,we1 too1 might be able to prepare minced chicken in a chafing-dish1 just as satisfactorily as the ,miss ,berrys2 and we like to fancy that we could take part in their airy conversation of charm1 banter1 and light mockery4 ,at any rate1 if we should not be able to succeed in entertaining ,horace ,walpole1 we are very certain that ,sir ,horace could entertain us6 ,all the ,society people of ,london of this time seem very friendly to us and we are strangely 8at home0 with the portraits of ,gainsborough1 ,sir ,joshua1 and ,romney4 ,when we look upon ,diana1 ,lady ,crosbie1 ,lady ,betty ,delm1 ,georgiana1 ,duchess of ,devonshire1 ,maria ,walpole1 ,duchess of ,gloucester1 ,lady ,derby1 and ,the ,hon4 ,mrs4 ,davenport do we not feel that we have known and talked to these people in the flesh8 ,their eyes meet ours and our thoughts meet theirs1--and we are not strangers to one another4 ,and when we look upon ,gainsborough's ,mall does it not bring back memories of the time when we1 ourselves1 walked there with all the gay throng of a bright morning8 ,lord ,gower said very aptly3 8,gainsborough created a new school by making a lady's petticoat a thing of beauty4 ,he could even throw a halo upon a ribbon or a scarf40 ,that is true2 but ,lord ,gower forgot the fact that the lady had by her taste and her high-bred elegance conferred distinction on her clothes by the fitness with which she selected them and by the manner in which she wore them4 ,thrice in ,england have pairs of geniuses appeared at the same time1 inviting comparison and attracting partisans--,keats and ,shelley2 ,thackeray and ,dickens2 and ,reynolds and ,gainsborough4 ,there should be no partisans4 ,the more we love and admire ,keats1 the better we are able to admire and love ,shelley2 the more we appreciate and delight in ,dickens1 the more we are able to appreciate and delight in ,thackeray2 and the more we comprehend and enjoy ,sir ,joshua1 the more we are able to comprehend and enjoy ,gainsborough4 ,although they were rivals--and quite bitter ones at times--the two supreme ,english painters of the ,eighteenth ,century admired each other prodigiously4 8,damn him6 how various he is60 ,gainsborough exclaimed of ,reynolds2 and ,sir ,joshua remarked to ,sir ,george ,beaumont of ,gainsborough2 8,i cannot imagine how he manages to produce his effects40 8,what is it then that gives ,romney his hold upon this generation and will continue to give him a hold so long as a love of art endures among us80 ,humphrey ,ward asks2 and then he answers his own question as follows3 8,in part1 of course1 it is because he shares with ,reynolds and ,gainsborough the good fortune of having kept alive for us a society of which the fascination is enduring--that limited and privileged society of the ,eighteenth ,century which has realized such a perfect art of living and with which we can clasp hands across the gap as we cannot with the men and women of ,charles the ,second's time1 or even of ,queen ,anne's4 ,much more is it because of temperament and training4 ,romney was an artist in love with loveliness2 because he found it in the women and children of his time and stamped it on countless canvases4 8,to our problem-haunted painters of to-day it may be seen that his sense of form was #8generic and superficial'2 they may condemn him because he did not try to penetrate deep into character and because he simplified too much1 like the ,greek sculptors4 ,the lover of mere human beauty will care little for such objections1 provided that a portrait gives him the essentials of a beautiful face4 #8,the witchery of eyes1 the grace that tips ,the inexpressible douceur of the lips'-- and has blended them with the aristocratic dignity of the ,lady ,sligo1 or with the melting sweetness of many of the sketches of ,emma4 ,this is what he finds in every first-rate ,romney2 and he finds much more4 ,he finds pure and unfaded color1 the fruit of the painter's knowledge and of a self-restraint which forbade him to search for complex effects through rash experiments4 ,he finds a quality of painting which1 though it wants the subtlety and preciousness that ,gainsborough reached instinctively and ,sir ,joshua by effort1 is a quality to which nobody but a master can attain4 ,to be convinced of this we have only to look closely at the brush-work of the eyes in any of the ,national ,gallery ,romneys1 or the draperies in such pictures as the ,lady ,warwick and ,children or the ,lady ,derby4 8,when all is said1 ,romney remains one of the greatest painters of the ,eighteenth ,century and one of the glories of the ,english name40 ,we are apt to think that it was easier to conquer a reputation in the ,eighteenth ,century than it is to-day and that ,sir ,joshua ,reynolds1 ,gainsborough1 ,romney1 ,hoppner1 and ,raeburn stepped easily into their commanding positions4 ,let us remember that ,horace ,walpole mentions the fact that there were two thousand portrait-painters in ,london in his time6 ,the story of ,english ,painting previous to the ,eighteenth ,century is interesting and very different from that of any nation on the ,continent4 ,the ,wars of the ,roses1 which lasted thirty years 7#adee-adhe71 coincide with the great developments of ,painting in ,italy and ,flanders4 ,during this period1 while ,york and ,lancaster were1 like the ,lion and the ,unicorn1 fighting for the ,crown1 no attention could be paid to the painting of pictures4 ,up to this period ,england had had a notable past in portraiture1 fresco-painting1 and1 even more particularly1 in the art of illumination and miniature-painting4 ,in the decoration of manuscripts from about #abej to #acej the ,anglo-,norman painters stood first in this branch of art4 ,the old monastic artists had great traditions to follow and superb models to draw upon1 such as the ,book of ,kells 7dating from the ,eighth or ,ninth ,century72 and the ,winchester ,school of the ,tenth ,century stood very high before the advent of the ,normans in #ajff4 ,our own country to-day can show many examples of this splendid work in private collections4 ,after ,william ,caxton set up his printing-press at ,westminster in #adga1 there was little more need for the laboriously written manuscripts with their exquisite miniature-painting and illumination4 ,oliver ,cromwell's ,roundhead bandits and other ,puritans with their wholesale demolishing and slashing of all art and everything beautiful together with the ,great ,fire of ,london in #afff destroyed all the paintings that could have told us just what had been accomplished in ,england at the time when ,fra ,angelico1 ,fra ,lippo ,lippi1 and ,botticelli were creating masterpieces in ,italy and when ,roger van der ,weyden and ,memling were painting gloriously in the great realm of the ,dukes of ,burgundy4 ,such works as the ,romaunt de la ,rose and other ,anglo-,norman manuscripts give us a hint of what ,painting in ,england must have been2 for1 of course1 ,english1 or ,anglo-,norman ,painting1 in ,plantagenet days must have been--as in other countries--an enlarged version of the brightly colored miniatures touched up with gold-leaf in the manuscripts4 ,henry ,,viii seems to have been the first ,english ,king who was a patron of art in the modern sense4 ,but there was no ,english artist of power to be patronized4 ,the ,german ,hans ,holbein 7see page #bdj7 was made ,court-,painter4 ,holbein painted all the great personages in ,tudor ,england and his influence lasted long after his death4 ,miniature-portraits were also popular4 ,the greatest artist in this line was ,nicholas ,hilliard 7#aedg-afai71 a native of ,exeter1 trained as a goldsmith1 a follower of ,holbein1 and appointed goldsmith1 carver1 and portrait-painter to ,queen ,elizabeth 7whose portrait he painted many times74 ,later he was portrait-painter to ,james ,i4 ,it was ,hilliard1 too1 who engraved the ,great ,seal of ,england in #aehg4 ,hilliard's pupil1 ,isaac ,oliver 7#aeef-afag871 also a pupil of ,federigo ,zuccaro1 was unsurpassed as a miniature-painter and taught his son ,peter 7#afja-affj71 who was famous for his drawings and water-colors as well as for his miniatures4 ,samuel ,cooper 7#afji-afgb71 achieved a great reputation as a miniaturist portrait-painter and painted ,charles ,,ii1 ,henrietta ,maria1 all the celebrities of the ,court1 and also ,john ,milton and ,oliver ,cromwell4 ,collectors appreciate his works to-day4 ,holbein left no ,school and there was no one to succeed him4 ,consequently when ,antonio ,moro 7see page #beg71 came to ,england from ,spain in #aeec to paint ,mary ,tudor1 he stayed in ,london for some time painting celebrities4 ,in ,queen ,elizabeth's time another foreign portrait-painter1 ,federigo ,zuccaro 7or ,zucchero7 arrived from ,italy with a great reputation1 having worked for ,pope ,gregory ,,xiii and the ,cardinal of ,lorraine1 and also in ,antwerp and ,amsterdam4 ,zuccaro painted ,queen ,elizabeth1 ,sir ,francis ,walsingham1 ,sir ,walter ,raleigh1 the ,earl of ,leicester1 and many other ,english notables4 ,another foreigner1 ,daniel ,mytens 7#aeij8-afef71 arrived in the reign of ,james ,i1 became his ,court-,painter and continued in the post in the reign of ,charles ,i1 until ,van ,dyck's popularity sent him back to ,holland4 ,mytens painted in the style of ,rubens and ,van ,dyck4 ,hampton ,court ,palace contains many full length portraits by him4 ,a portrait by ,mytens of ,jeffrey ,hudson 7see page #aia71 holding a dog by a leash1 hangs in ,buckingham ,palace4 ,however1 in the reign of ,charles ,i1 ,anthony ,van ,dyck 7see page #aha7 dominated ,painting just as ,holbein had in the reign of ,henry ,,viii4 ,for years after his death every painter tried to follow ,van ,dyck's style2 but they all missed his distinction1 not having his genius to start with4 ,civil war and ,puritanism killed art completely4 ,consequently when 8,charlie came over the water0 and the 8,king ,enjoyed his ,own ,again10 there was nobody in the kingdom able to paint an acceptable portrait4 ,again a foreigner met the need4 ,this time it was ,peter ,lely 7#afah-afhj71 who was a ,dutchman1 born in ,westphalia1 ,germany1 the son of ,pieter van der ,faes1 a captain of infantry1 who had changed his name to ,lely4 ,in #afdj young ,lely was in ,england1 painting landscapes and trying to imitate ,van ,dyck in portraiture4 ,the marriage of ,princess ,mary to ,william1 ,prince of ,orange gave ,lely his first opportunity and he painted the ,royal couple with ,charles ,,ii1 who made him a knight and baronet in #afgi4 ,sir ,peter only enjoyed his honors a year1 for he died in #afhj4 ,sir ,peter ,lely painted a great number of portraits1 including the 8,court ,beauties10 which now hang in ,hampton ,court ,palace4 ,the ,court-,painter of ,queen ,mary ,,ii and ,queen ,anne was another foreigner1 ,godfrey ,kneller 7#afdf-agbc71 a native of ,lbeck1 a pupil of ,ferdinand ,bol1 ,carlo ,maratti1 and ,bernini1 with painting experiences in ,rome and ,venice4 ,kneller painted portraits of ,charles ,,ii1 ,louis ,,xiv1 ,james ,,ii1 ,william ,,iii1 ,queen ,mary1 ,queen ,anne1 and ,george ,i4 ,for ,queen ,mary ,,ii he painted the 8,beauties0 at ,hampton ,court1 in a certain sense a continuation of ,sir ,peter ,lely's 8,beauties40 ,kneller was knighted in #afib and made a baronet in #agae4 ,sir ,godfrey painted the members of the ,kit-,cat ,club and every person of distinction in ,england4 ,in #agje he settled near ,twickenham4 ,pope wrote an epitaph for ,kneller's monument in ,westminster ,abbey4 ,william ,hogarth 7#afig-agfd7 who now enters the lists1 is the first really ,english painter4 ,hogarth was a native of ,london and an engraver as well as a painter4 ,hogarth became ,sergeant-,painter to the ,king in #ageg4 ,he first attracted attention by his prints for ,butler's ,hudibras in #agbf and at this time began to paint in oils4 ,in #agca he painted ,the ,harlot's ,progress and followed this with ,southwark ,fair and ,the ,rake's ,progress which gave him great fame as a satirist4 ,in #agde he painted his own ,portrait and the ,marriage la ,mode 7six scenes74 ,the vigor and personality of his portraits1 the beautiful coloring of his palette1 and the atmosphere of the ,eighteenth ,century make ,hogarth one of the great names in art4 ,england was a long time producing an artist2 but when he came he was a very great one4 ,hogarth was so pre-eminently a chronicler of the fashions and follies of his time that we are apt to forget his beautiful use of color1 and ,hogarth's technique is so solid and so sure that his colors are as fresh to-day as when they were painted4 ,hogarth did not believe in his powers of portraiture2 but the world does not agree with him4 ,the portrait of ,lavinia ,fenton as ,polly ,peachum in the ,beggar's ,opera1 7,national ,gallery1 ,london7 ranks as one of the great portraits of the world4 ,and there are others3 ,david ,garrick and his ,wife in ,windsor ,castle2 his own ,portrait 7,national ,gallery1 ,london72 ,archbishop ,herring 7,lambeth ,palace72 ,peg ,woffington2 and many others4 ,hogarth's book ,the ,analysis of ,beauty had the following origin4 ,in his own portrait painted in #agde he drew on a palette in one corner of the picture a serpentine line with the words3 8,the line of beauty and grace40 ,so much discussion ensued that ,hogarth wrote the book to explain what he meant and to establish a standard of beauty4 ,the ,eighteenth ,century saw the great period of ,english ,painting expressed in ,sir ,joshua ,reynolds 7#agbc-agib72 ,thomas ,gainsborough 7#agbg-aghh72 and ,george ,romney 7#agcd-ahjb74 ,others of importance were ,richard ,wilson 7#agad-aghb71 famous for his landscapes in many of which ruins were introduced2 ,francis ,cotes 7#agbe-aggj71 famous portrait-painter2 and1 lapping over into the ,nineteenth ,century1 ,sir ,william ,beechey 7#agec-ahci71 who became portrait-painter to the ,queen2 ,john ,hoppner 7#ageh8-ahaj71 portrait-painter 7see page #daf72 ,john ,opie 7#agfa-ahjg71 historical portrait-painter2 ,sir ,thomas ,lawrence 7#agfi-ahcj72 ,sir ,henry ,raeburn 7#agef-ahbc72 ,joseph ,mallord ,william ,turner 7#agge-ahea72 ,john ,constable 7#aggf-ahcg72 ,john ,wilkie 7#aghe-ahda72 and ,john ,crome1 known as 8,old ,crome0 7#agic-ahdb74 ,,lady ,,betty ,,delm4 ,sir ,joshua ,reynolds 7#agbc-agib74 ,collection of ,mr4 and ,mrs4 ,herbert ,l4 ,satterlee4 ,this1 one of ,sir ,joshua's finest group pictures 7#ic #eg inches71 was painted in #aggg1 a year in which the artist made many notable portraits including that of ,diana1 ,viscountess ,crosbie 7see page #cde74 ,lady ,betty ,delm is seated at the base of an old beech-tree on her estate between ,london and ,portsmouth1 her arm around her children4 ,the little ,scotch terrier seems much interested in his master4 ,the whole is a wonderful study in amber and russet tones4 ,the picture came to ,mrs4 ,satterlee from her father1 the late ,mr4 ,j4 ,p4 ,morgan4 ,joshua ,reynolds was born in ,plympton ,earl ,plymouth1 ,july #af1 #agbc1 the son of the ,rev4 ,samuel ,reynolds1 headmaster of the grammar school4 ,early showing great talent for drawing1 young ,joshua was apprenticed in #agdj to ,thomas ,hudson1 the portrait-painter1 in ,london4 ,three years later he returned home and established himself as a portrait-painter at ,plymouth ,dock1 where he met ,william ,gandy1 a painter1 who had no little influence upon his style4 ,in #agdd ,reynolds was back in ,london and in #agdi back in ,devonshire1 this time settling in ,devonport4 ,in this year he met at ,mount ,edgcumbe young ,commodore ,keppel 7afterwards ,admiral71 whose portrait he painted and with whom he formed a great friendship4 ,accepting ,keppel's invitation to sail with him on the ,centurion for a ,mediterranean trip1 ,reynolds eventually reached ,rome1 where he spent two years4 ,while studying in the ,vatican he caught a severe cold which resulted in a life-long deafness4 ,returning home in #agec1 ,reynolds took rooms in ,st4 ,martin's ,lane1 then the headquarters of art1 and people began to flock to his studio4 ,he then removed to ,newport ,street and in #agfj established himself in ,leicester ,fields 7now ,leicester ,square71 which for thirty years was the rendez-vous for the artistic1 literary1 and distinguished world of ,london4 ,in #agfh ,reynolds was unanimously elected first ,president of the just-established ,royal ,academy and in #agfi was knighted by ,george ,,iii4 ,in #aghd ,sir ,joshua succeeded ,allan ,ramsay as ,painter-in-,ordinary to the ,king4 ,in #aghi his eyesight began to fail and he soon had to relinquish his art4 ,sir ,joshua died in #agib and was buried in ,st4 ,paul's ,cathedral with great pomp4 ,in addition to his enormous list of paintings ,sir ,joshua designed the windows for ,new ,college1 ,oxford1 and ,oxford gave him the degree of ,d4 ,c4 ,l4 ,sir ,joshua's famous ,discourses on ,art were delivered between #agfi and #agij at the ,academy 8to encourage a solid and vigorous course of study40 ,illustration3 ,collection of ,mr4 and ,mrs4 ,herbert ,l4 ,satterlee ,,lady ,,betty ,,delm --,sir ,joshua ,reynolds ,when we think of the thousands of pictures that ,sir ,joshua painted--all of them fine and many of them great--we stand amazed at the capacity of the artist who produced them4 ,they were all creations6 ,the five portraits of little ,isabella ,gordon known as ,angels' ,heads 7,national ,gallery1 ,london71 which in lightness1 delicacy1 and iridescence have been compared to the petals of a flower and the melting softness of the rainbow2 ,mrs4 ,siddons as the ,tragic ,muse2 the ,strawberry ,girl2 the ,age of ,innocence2 ,nelly ,o',brien2 ,kitty ,fisher2 ,penelope ,boothby2 ,mrs4 ,abington2 ,lord ,ligonier2 ,the ,graces ,decorating a ,terminal figure of ,hymen2 ,diana1 ,lady ,crosbie2 ,mrs4 ,hardinge2 ,lady ,cockburn and her ,children2--all belong to the first rank of original and artistic achievement4 8,reynolds10 ,sir ,walter ,armstrong writes1 8arrived at results scarcely to be distinguished from those of genius1 and did so entirely by the action of an original mind and a profound taste upon accumulated materials4 ,his path towards excellence was conscious1 discriminative1 judicial4 ,every step he took was the result of a deliberate choice4 ,he felt no heats driving him into particular expression in his own despite4 ,just as by fairness of mind he produced the effect of sympathy among his friends1 so by unerring judgment he produces the effect of creation on us who value his art4 ,he appears to me the supreme1 if not the only1 modern instance of a painter reaching greatness along a path1 every step of which was trodden deliberately1 with a full consciousness of why it was taken and whither it was leading1 and with the power unimpaired to turn back or to change the goal at any moment4 ,superficially the art of ,sir ,joshua resembled that of ,raphael as little as it well could2 mentally the processes of the two men were curiously alike4 ,both possessed taste to such a degree that it became genius2 and both were endowed1 for the service of their taste1 with a mental industry which is rare40 ,it is unfortunate that ,sir ,joshua experimented so deeply with his pigments and glazes so that we can see none of his pictures in their pristine beauty and brilliance4 ,that he was a rare colorist we would know from ,mrs4 ,siddons as the ,tragic ,muse and the ,angels' ,heads--the former rich and gorgeous and the latter iridescent and delicate--showing the two extremes4 ,here is ,sir ,joshua's palette given in the ,farington ,diary under date of ,august #ad1 #ahjf3 8,marchi 7,sir ,joshua ,reynolds's assistant7 ,i called on before dinner to desire him to call upon ,j4 ,taylor to give his opinion of a picture said to be a portrait of ,garrick by ,sir ,j4 ,reynolds4 ,i desired ,marchi to state to me what colors ,sir ,joshua ,reynolds had placed upon his palette and the order in which they were laid4 ,he named them as follows4 ,he used a handle palette as it is called3 ,white2 ,naples ,yellow2 ,yellow oker2 ,vermillion2 light red2 lake2 black4 ,asphaltum he used occasionally1 but that he had it in a galley-pot4 ,his vehicles were3 ,mastick varnish and drying oil made into ,macgilp in a pot4 ,nut oil which he used with his white in a pot4 ,mastick varnish only1 which he sometimes used alone2 and ,marchi observed that it caused his colors to crack and fly off4 ,wax 7white virgin wax7 he had in a tin pot which he melted at the fire when he proposed to use it4 ,this vehicle ,marchi observed caused his colors to scale off from the canvas in flakes40 ,to mention the sitters who came to ,leicester ,fields and the company that gathered there every evening when ,sir ,joshua was not dining out would be to list the entire society of ,london in the ,eighteenth ,century4 8,in these days we are apt to forget that to many of ,sir ,joshua's contemporaries1 with the stricter notions of social precedency in vogue a century ago10 ,sir ,walter ,armstrong notes1 8the painter's station in ,london society must have seemed almost an outrage1 especially as it had been won without any kind of pretence or undue submission to those who were then called the great4 ,fond as he was of the best that ,society could give1 he lived his life in his own way1 invited whom he chose to his table1 leaving his guests to shake down among themselves as best they could1 and1 so far as we can discover1 paying little heed to prejudices on the matter of birth1 and still less to those which had to do with politics or conventional morality40 ,lord ,ronald ,sutherland ,gower has made this very interesting comparison of ,romney and ,reynolds3 8,the mighty events which were in progress around him--the war with the ,american ,colonies1 and the supervening naval war with ,france and ,spain--ran their course without personally affecting him1 whereas ,reynolds was in constant touch with the men who were most vigorously opposing ,lord ,north's policy1 with ,burke and ,charles ,fox2 and it was his own intimate friend of nearly thirty years standing1 ,admiral ,keppel1 whose trial in this very year #aggh1 formed the central battle-ground between the ,court and the popular party4 ,in all these things ,reynolds was intimately concerned1 as he was in the lighter events of social life1 with his constant dinner-parties at ,leicester ,fields1 his still more constant attendance at the tables of the great and the assemblies of ,mrs4 ,montagu and ,mrs4 ,ord1 his outings to ,streatham1 and his mild flirtation with #8,little ,burney4' ,but ,romney lived remote1 as remote in his shyness and isolation as ,gainsborough lived in his fondness for a ,bohemian world--the world of artists that painted and played and left war to the soldiers and politics to the politician4 ,it is true that a couple of years afterwards politics were brought pretty closely home to both of them1 as they were1 nolentibus volentibus1 to all the householders in ,london4 ,the ,keppel riots in #aggh1 celebrating the acquittal of the popular ,admiral1 were festive and pleasant enough2 noblemen and gentlemen went out with the crowd2 young ,pitt1 it is said1 helped to break ,lord ,north's windows2 and young ,rogers1 the banker-poet1 to unhinge the gates of the ,admiralty4 ,this was very well and very pleasant2 but two years later the mob improved upon their lesson1 and in the ,lord ,george ,gordon ,riots ,london was ablaze40 ,,the ,,strawberry ,,girl4 ,sir ,joshua ,reynolds 7#agbc-agib74 ,collection of ,mrs4 ,francis ,f4 ,prentiss4 ,james ,northcote in his ,life of ,sir ,joshua ,reynolds notes3 8,the picture of a little ,strawberry ,girl was painted about this time 7#agge87 and he considered it one of his best works1 observing that no man ever could produce more than about half a dozen really original works in his life2 8and this picture10 he added1 8is one of mine40 ,this little girl is about three years old and is shown at three-quarter length with a handkerchief folded around her head after the fashion of a turban1 the curls escaping from her forehead4 ,she wears a lightcolored dress with a pinafore caught over her arm4 ,at her neck is a ribbon bow4 ,her hands are demurely folded at the waist and over her right arm hangs a cone-shaped strawberry 8pottle40 ,the background is composed of large rocks and trees at the right4 ,illustration3 ,collection of ,mrs4 ,francis ,f4 ,prentiss ,,the ,,strawberry ,,girl --,sir ,joshua ,reynolds ,the picture is painted in oils on canvas 7#bi #bd inches7 and is a replica of the original in the ,wallace ,collection1 ,london4 ,leslie and ,taylor voiced so well the impression that every one has when looking at this fascinating work that what they said bears quoting3 8,the ,strawberry ,girl with her pottle on her arm1 creeping timidly along and glancing round her with large1 black eyes1 might be ,little ,red ,riding ,hood hearing the first rustle of the wolf in the wayside bushes1 could we substitute a red hood for the odd turban-like head-dress with which the painter has crowned his little maiden1 and which even ,sir ,joshua's taste can barely make becoming1 and hang on her arm the basket of butter and eggs for her sick grandmother instead of the strawberry pottle which gives her a name40 ,the model for ,the ,strawberry ,girl was ,miss ,theophila ,palmer1 ,sir ,joshua's favorite niece1 who lived with him and looked after him until her marriage4 ,her name ,theophila was divided into two pet names4 8,the0 and 8,offie10 upon which ,sir ,joshua once wrote a playful-verse3 ,when ,i'm drinking my tea1 ,i am thinking of ,the1 ,when ,i'm drinking my coffee1 ,i'm thinking of ,offie1 ,so1 whether ,i'm drinking my tea or my coffee1 ,i always am thinking of thee1 my ,the-,offie4 ,in the ,farington ,diary 7,vol4 ,,iv71 by ,joseph ,farington 7,london1 #aibd71 we also learn that ,miss ,theophila ,palmer was the 8,my dear ,offy0 of ,sir ,joshua's letter1 dated ,jan4 #cj1 #agha1 in which he wished that she and ,mr4 ,robert ,lovell ,gwatkin of ,kellrow1 ,truro1 ,cornwall1 her future husband1 8may be as happy as both deserve--and you will be the happiest couple in ,england4 ,so ,god ,bless you60 ,illustration3 ,collection of the late ,mr4 ,henry ,e4 ,huntington ,,diana1 ,,viscountess ,,crosbie --,sir ,joshua ,reynolds ,fanny ,burney1 in a description of a reception at ,sir ,joshua ,reynolds's house in ,leicester ,square1 refers to young ,gwatkin1 the ,cornish ,squire1 8making sheep's eyes at ,offy1 whose uncle1 ,sir ,joshua was very fond of her40 8,i never was10 he wrote to ,offy1 8a great friend to the efficacy of precept1 nor a great professor of love and affection1 and1 therefore1 ,i have never told you how much ,i loved you for fear you should grow saucy upon it40 ,the well-known picture of ,simplicity is of ,theophila ,gwatkin1 daughter of ,mr4 and ,mrs4 ,robert ,l4 ,gwatkin and this little girl was also known affectionately as ,the4 ,,diana1 ,,viscountess ,,crosbie4 ,sir ,joshua ,reynolds 7#agbc-agib74 ,collection of the late ,mr4 ,henry ,e4 ,huntington4 ,sir ,joshua ,reynolds pronounced the ,strawberry ,girl one of his most original creations4 ,the portrait of ,diana ,lady ,crosbie certainly ranks as another4 ,all critics are united in considering it one of the finest productions of the master's brush4 ,who but ,sir ,joshua would ever have thought of such a pose8 ,the ,honorable ,miss ,diana ,sackville1 daughter of ,lord ,george ,sackville1 aged twenty-one1 was engaged to be married to ,viscount ,crosbie 7son and heir of the first ,earl of ,glandore7 and was visiting his seat1 ,ardfert ,abbey1 ,kerry1 ,ireland4 ,lord ,crosbie sent for ,sir ,joshua ,reynolds to come and paint the portrait of ,lady ,diana2 and the story goes that soon after arriving ,sir ,joshua caught sight of ,lady ,diana running across the lawn4 ,he was so fascinated by her lightness and grace that he begged permission to paint her as he had first seen her4 ,consequently1 we have ,lady ,diana surprised in the act1 as it were1 of tripping over the park1 holding up her dress with her right hand and extending her left in graceful attitude4 ,the dress is white silk1 bound at the waist by a gold sash1 and beneath the folds of the dress1 so exquisitely painted1 the tip of a small slipper is seen4 ,the picture was painted in ,september1 #aggg1 and two months later ,lady ,diana was married to ,lord ,crosbie4 ,in #agha1 when her husband succeeded to the title1 ,lady ,crosbie became1 of course1 ,countess of ,glandore4 ,she died in #ahad4 ,for painting this portrait ,sir ,joshua received #gh4ae4 ,the picture1 oils on canvas 7#ic #eh inches71 left the ,crosbie home only within recent years to occupy a place of honor in ,sir ,charles ,tennant's drawing-room in ,london4 ,from the ,tennant ,collection it went directly to ,california4 ,the picture has been engraved several times and the best known engravings are by ,w4 ,dickinson 7#aggi72 ,james ,scott 7#ahfc72 and ,r4 ,s4 ,clouston 7#ahij72 and 8proofs before letters0 of these plates bring very high prices in the auction-rooms4 8,here is a miracle of vivacity10 says ,spielmann1 8so natural1 so alive1 that you almost forget that you are in front of a picture as you look at this lady who moves across the canvas with outstretched hand to greet you as you approach4 ,rarely have animation and movement been so completely realized on canvas4 ,the design is finely sustained by the mellow1 golden tone of the white dress and the telling note of the golden scarf1 all seen against a convincing landscape that seems entirely novel in ,reynolds's open-air portraits40 ,,mrs4 ,,siddons ,,as ,,the ,,tragic ,,muse4 ,sir ,joshua ,reynolds 7#agbc-agib74 ,collection of the late ,mr4 ,henry ,e4 ,huntington4 ,this gorgeous portrait1 oils on canvas 7#ic #ef inches71 was painted in #aghe1 when the famous actress was twenty-eight1 in the full bloom of her beauty and fruition of her talents2 and it is rightly described by ,mrs4 ,jameson as 8the apotheosis of her genius and beauty40 ,it is painted in the 8grand style0 with rich coloring of amber and purple1 the ,tragic ,muse seated on a throne among the clouds with her head lifted as if listening to some inspiring voices and her hand raised as if to command silence4 ,a coronet of pearls adorns her hair1 and heavy ropes of pearls are wound around her neck and are knotted loosely in front4 ,over her lap is thrown a drapery1 on the hem of which ,sir ,joshua painted his name4 ,the poetic and dramatic conception of the picture show how much ,sir ,joshua admired ,michelangelo's ,prophets and ,sibyls in the ,sistine ,chapel4 ,in this magnificent work ,sir ,joshua certainly realized his theories regarding the 8grand style0 as expressed in his ,fourth ,discourse to his pupils3 8,to give a general air of grandeur at first view all trifling or artificial play of little lights1 or an attention to a variety of tints1 is to be avoided2 a quietness and simplicity must reign over the whole work2 to which a breadth of uniform and simple color will very much contribute40 ,in the theatrical annals of ,england the ,kemble family rank with the later ,trees and ,terrys2 and ,mrs4 ,siddons was a ,kemble4 ,sarah ,siddons1 the eldest daughter of ,roger ,kemble1 actor and theatrical manager1 was born in #agee in ,brecon1 ,wales1 where her father was managing a troupe of players4 ,she was the sister of ,charles ,kemble1 the famous comedian and manager of the ,covent ,garden ,theatre1 and aunt of ,fanny ,kemble1 the noted actress4 ,at an early age1 ,sarah played small parts in her father's company and when she was eighteen was married to a young actor named ,siddons1 also in the ,kemble company4 ,soon afterward ,mr4 and ,mrs4 ,siddons appeared in ,the ,clandestine ,marriage in the provinces4 ,sarah ,siddons soon attracted ,garrick's attention and he gave her an engagement at ,drury ,lane2 but she was not a success4 ,she then went to ,bath1 where she became a favorite and established her reputation4 ,in #aghc she reappeared at ,drury ,lane and this time she took ,london by storm4 ,then she went to ,dublin1 where more triumphs added to her confidence as well as to her fame2 and1 when she returned to ,london1 it was to ,covent ,garden1 where her brother1 ,john ,philip ,kemble1 was manager4 ,mrs4 ,siddons shone especially in tragedy and achieved1 perhaps1 her greatest success as ,lady ,macbeth4 ,when ,byron saw her in this rle he wrote3 8,it was something transcending nature2 one would say that a being of a superior order had descended from a high sphere to inspire fear and admiration at the same time40 ,illustration3 ,collection of the late ,mr4 ,henry ,e4 ,huntington ,,mrs4 ,,siddons ,,as ,,the ,,tragic ,,muse --,sir ,joshua ,reynolds ,mrs4 ,siddons's great parts were ,lady ,macbeth1 ,portia1 ,constance1 ,isabella1 ,jane ,shore1 ,almeira1 ,lady ,ann1 ,calista1 ,belvedera1 and ,mrs4 ,beverly4 ,in #ahab she retired from the stage with a large fortune and died in #ahca4 ,thomas ,campbell wrote her life in #ahcd4 ,all the portrait-painters of the day had ,mrs4 ,siddons sit to them4 ,the most famous pictures1 however1 were ,reynolds's ,tragic ,muse2 ,gainsborough's beautiful one in an afternoon costume of light blue1 striped silk1 black hat1 yellow scarf and muff1 in the ,national ,gallery1 ,london2 and two by ,lawrence1 also in the ,national ,gallery1 ,london4 8,it was probably after his return from his tour of the ,low ,countries that ,mrs4 ,siddons1 now in the very flush of her popularity1 sat to him4 ,she had not yet acted in ,shakespeare1 unless her first appearance as ,isabella 7,measure for ,measure7 and as ,constance 7,king ,john7 with her brother1 ,john ,kemble 7for whom her success had procured a leading engagement at ,drury ,lane71 preceded her first sittings1 which is possible1 though not probable4 ,her fame has been won in such parts as ,isabella 7in ,the ,mourning ,bride71 ,euphrasia 7in ,the ,grecian ,daughter71 ,jane ,shore1 ,calista1 ,belvedera1 ,zara1 and ,mrs4 ,beverly4 ,the ,royal ,family1 little as they loved tragedy1 had already distinguished her by every mark of favor4 ,her house was besieged by the noble and fashionable4 ,the managers of ,drury ,lane had gladly supplemented her modest salary of ten pounds a week by a double benefit2 and in ,june she had left ,london--after a series of successes which almost eclipsed the still recent fame of ,garrick--for ,ireland and a short round of provincial performances4 ,mr4 ,russell1 author of the ,history of ,modern ,europe1 had sung her praises under the title of ,the ,tragic ,muse1 before she left ,london4 ,his verses are forgotten1 but they may have suggested to ,reynolds the subject of his picture4 ,it could not have been prompted1 as ,boaden imagines1 by an allusion in the epilogue to ,tancred and ,sigismunda1 as her first appearance in that tragedy was on the #bdth of ,april1 #aghd1 when the picture was already in its place on the walls of the ,exhibition-,room4 ,the conception of this noble work was no doubt suggested by ,michelangelo's ,isaiah4 ,mrs4 ,siddons told ,mr4 ,phillips that it was the production of pure accident4 ,sir ,joshua had begun the head and figure in a different view2 but while he was occupied in the preparation of some color she changed her position to look at a picture hanging on the wall of the room4 ,when he again looked at her and saw the action she had assumed1 he requested her not to move2 and thus arose the beautiful and expressive figure we now see in the picture40#bd ,yet there is still another story1 which is told by ,mrs4 ,jameson4 ,mrs4 ,siddons used to describe ,sir ,joshua as taking her by the hand and leading her up to his platform with the words3 8,ascend your undisputed throne2 bestow on me some idea of the ,tragic ,muse40 ,on which1 ,mrs4 ,siddons said3 8,i walked up the steps and instantly seated myself in the attitude in which the ,tragic ,muse now appears40 ,it is most likely that both stories are true4 ,sir ,joshua's leading the ,queen of the ,london ,stage to her throne on his painting-platform with his courtly compliment was thoroughly in character and that he also encouraged ,the ,tragic ,muse to act her part and create expression as well as take a dramatic pose1 is also most in keeping with the exciting moment4 ,sir ,joshua undoubtedly foresaw that he had the opportunity of producing his greatest masterpiece4 ,mrs4 ,siddons also related that when ,sir ,joshua was putting the last touches to the work he said3 8,i cannot resist the opportunity for going down to posterity on the edge of your garment10 upon which he painted his name and the date #aghd on the hem of the robe4 ,however1 ,sir ,joshua had already done this ten years before in the portrait of ,lady ,cockburn and her ,children1 in the ,national ,gallery1 ,london1 where the name and date make a decorative finish to ,lady ,cockburn's amber-colored robe trimmed with white fur thrown across her lap and that famous picture was begun in #aggc and finished in #agge4 ,the ,tragic ,muse was greatly admired when it first appeared4 ,the ,public ,advertiser1 ,april #bh1 #aghd1 said3 8,it is impossible to be too lavish in its praise2 it is1 indeed1 a most sublime and masterly performance and undoubtedly one of the very best that ever was produced by ,sir ,joshua4 ,he seems to have conceived and executed it with enthusiasm4 ,mrs4 ,siddons is drawn in the character of ,the ,tragic ,muse1 the composition is in a grand style1 the figure possesses great dignity1 and that fine expression of countenance for which the original is preminent and almost unrivalled4 ,sir ,joshua has been said to paint the mind2 and perhaps there never was a more striking instance of it than in this performance4 ,the accompanying genii ready to administer the dagger or the bowl have also great expression1 and in the effect of the tout ensemble there is a grandeur and a solemnity suited to the subject and highly worthy of universal admiration40 ,it is illuminating1 too1 to dip into the ,farington ,diary 7,london1 #aibe71 and note in #ahja3 8,opie thinks the ,mrs4 ,siddons by ,sir ,joshua the finest picture he knows4 ,opie thinks the picture of ,mrs4 ,siddons much superior to any of the ,titians which were brought by ,day from ,rome4 8,bourgeois mentioned that ,sir ,joshua had said the principle to work upon is to fix a high light and a lowest depth to which all other lights and dark parts should be subordinate40 ,in #ahjh we read3 8,lawrence spoke with the highest admiration of ,sir ,joshua ,reynolds's portrait of ,lord ,heathfield now at the ,european ,museum1 having been sent there by ,boydell to be sold for #cej guineas4 ,he said this picture and the portrait of ,mrs4 ,siddons by ,sir ,joshua are the top of his ,art40 ,and again in the same year3 8,we looked at the picture of ,mrs4 ,siddons by ,sir ,joshua ,reynolds4 ,lawrence said1 it was his best picture4 ,i said1 it was a high refinement of ,rembrandt4 ,mr4 ,smith#be said he gave #cbj for it1 which was not half what ,calonne paid4 ,it cost the latter #hjj40 ,on the authority of ,lord ,ronald ,sutherland ,gower in ,sir ,joshua ,reynolds 7,london1 #aijb71 we learn3 8,there is another version of ,the ,tragic ,muse in the ,dulwich ,gallery4 ,this was sold by ,reynolds to ,m4 ,desenfans for seven hundred guineas in #agij and the date on the hem of her garment is #aghi1 from which it appears that he completed this five years after the ,grosvenor ,house picture4 ,both of these may be regarded as the authentic work of the master4 ,there is a replica also of ,the ,tragic ,muse at ,langley ,park1 near ,stowe1 which is said to have been given by ,reynolds to ,mr4 ,harvey in exchange for a painting by ,snyders of a ,boar ,hunt2 and another was in the possession of ,mrs4 ,combe in ,edinburgh4 ,i think there is no doubt that these replicas are by the hands of ,reynolds's assistants40 ,mrs4 ,siddons in the ,dulwich ,gallery 7canvas #ic #eg inches7 described as follows3 8,she sits on a throne in front view and looks up towards the right2 the right arm and the left elbow rest on the throne2 with the hand raised as if listening to some inspiring voice2 a coronet on the back of her hair2 wearing an amber brown dress1 with rows of pearls round her neck2 across her lap is a robe1 on the hem of which ,sir ,joshua has inscribed his name4 ,paid for1 ,february #agij1 ,mrs4 ,siddons1 sold to ,mr4 ,desenfans #gce40 ,the picture was purchased from ,sir ,joshua in #agij by ,noel ,desenfans and by him bequeathed to ,sir ,francis ,bourgeois1 ,r4 ,a41 by whom it was left to ,dulwich ,college4 ,it hangs in the picture gallery there4 ,it is interesting to note that the date on the hem of the robe is #aghi--;five years after the ,duke of ,westminster's picture6 ,some critics think that ,sir ,joshua also painted this replica himself4 ,leslie and ,taylor mention in their ,life of ,reynolds that they failed to find any note relative to ,score's making a copy of ,the ,tragic ,muse2 but they draw attention1 on the contrary1 to the following extract from ,northcote's ,life of ,reynolds3 8,the picture of a little ,strawberry ,girl with a kind of turban on her head was painted about this time 7#aggb7 and he considered it one of his best works1 observing that no man ever could produce more than about half a dozen really original works in his life2 #8and this picture1' he added1 #8is one of them4' ,the picture was exhibited 7#aggc7 and repeated several times2 not so much for the sake of profit as for that of improvement1 for he always advised as a good mode of study1 that a painter should have two pictures in hand of precisely the same subject and design and should work on them alternately2 by which means1 if chance produced a lucky hit1 as it often does1 then instead of working on the same piece1 and by that means destroy that beauty which chance had given1 he should go to the other and improve upon that4 ,then return again to the first picture1 which he might work upon without any fear of obliterating the excellence which chance had given it1 having transposed it to the other4 ,thus his desire of excellence enabled him to combat with every sort of difficulty or labor4 8,the compilers' theory1 then1 is3 after the sketch of ,mrs4 ,siddons's portrait was laid in1 he took up a fresh canvas1 made a replica and worked on both alternately until #8the lucky hit' was produced and that appeared to ,sir ,joshua in the picture finished and exhibited in the ,royal ,academy1 #aghd4 ,notwithstanding the glowing eulogiums passed upon it1 a purchaser was not found for it until #aghh1 when it was sold to ,m4 de ,calonne4 ,sir ,joshua did not record the sale in his ledger1 or note-book1 and it only transpired when ,skinner and ,dyke sold at their rooms1 ,spring ,gardens1 #agie1 the ,english pictures of the ,calonne ,collection and specified in the ,catalogue that ,m4 de ,calonne paid ,sir ,joshua #hjj guineas for the portrait of ,mrs4 ,siddons in the character of the ,tragic ,muse4 8,at this time ,m4 ,desenfans was ,consul-general in ,great ,britain for the ,kingdom of ,poland1 a writer of marked ability1 a recognized authority on art1 an extensive picture-dealer1 employed by the ,king of ,poland to purchase high-class ,old ,masters to complete his ,collection and who kept up an acquaintance with ,sir ,joshua1 notwithstanding the trick he played of selling him1 through ,cribb1 his frame-maker1 the copy of a ,claude1 specially made by ,marchi for the purpose as an original4 ,the compiler's surmise is1 then1 that he knew ,sir ,joshua had the unfinished replica on hand1 and came to an understanding with him to complete it in its present form1 #8signed and dated #aghi on the edge of the robe4' ,this investigation leads to three inferences2 first1 that ,sir ,joshua would not condescend1 for any consideration1 to sign and date a copy of ,the ,tragic ,muse made by ,score2 secondly1 that an astute man of business1 such as ,desanfans was1 would not give #gce for a copy2 thirdly1 that ,the ,dulwich picture must now be regarded in the same light as the ,westminster one--both from the hand of ,reynolds2 but which was first commenced cannot be ascertained40 ,,georgiana1 ,,duchess ,,of ,,devonshire4 ,sir ,joshua ,reynolds 7#agbc-agib74 ,collection of the late ,mr4 ,henry ,e4 ,huntington4 ,it is interesting to compare this picture by ,sir ,joshua with ,gainsborough's ,duchess of ,devonshire 7see page #cgc71 which is probably the earlier of the two4 ,this picture1 oils on canvas 7#id #eg inches71 was exhibited at the ,royal ,academy in #aggf as ,no4 #bcc4 ,the ,duchess had not long been married when this picture was painted1 as her marriage took place in #aggd4 ,there is something in the pose that suggests the portrait of ,diana1 ,lady ,crosbie1 which was painted later4 ,the ,duchess is represented full-length facing the left1 in the act of descending a flight of stone steps1 her right hand placed on the balustrade and her left holding her dress very gracefully4 ,the dress is cream-colored cut low in the neck and fashioned with full sleeves4 ,the skirt is gracefully cut and abounds in plaits and draperies4 ,a gauzy scarf is wound around her right arm and floats below4 ,the hair is dressed very fashionably with a long and round curl pinned tightly at the back of the neck and reaching the shoulder1 and above the braid which forms a coronal the hair mounts higher and is ornamented by pearls and grey and red feathers4 ,vines are growing gracefully around the balustrade1 beyond which and through the near-by trees we see an open vista of the park with a statue at the left4 ,presumably this is ,chatsworth1 the seat of the ,duke of ,devonshire4 ,illustration3 ,collection of the late ,mr4 ,henry ,e4 ,huntington ,,georgiana1 ,,duchess ,,of ,,devonshire --,sir ,joshua ,reynolds ,the picture was in the ,collection of ,earl ,spencer1 ,k4 ,g41 at ,althorp1 ,nottinghamshire1 before it was taken to ,california4 ,,the ,,cottage ,,door4 ,thomas ,gainsborough 7#agbg-aghh74 ,collection of the late ,mr4 ,henry ,e4 ,huntington4 ,the little group is assembled in front of a thatched cottage1 beside which a gnarled and withered tree rises scarred and seared by the storms of many years4 ,overhanging the roof a large tree droops its feathery ,gainsborough foliage and1 on the left1 half of another feathery ,gainsborough tree is waving in the summer breeze4 ,by this tree1 and farther back as well1 a stream is seen falling in a little cascade beneath a rustic bridge4 ,luxuriant weeds grow in the foreground and by the side of the cottage1 the door of which is open and beside which a peasant's family is grouped4 ,the mother1 in yellowish brown skirt and white bodice1 has a suggestion 7save for the costume7 of the beautiful ladies that sat to ,gainsborough4 ,in her arms is a baby4 ,on her right1 is a little boy1 scantily dressed1 who is eating something2 in front of her are two children1 one holding a bowl and the other dipping from it with a spoon2 a fifth child1 with one hand on his head and the finger of his left hand in his mouth1 looks forward shyly2 and the sixth is seated on the ground by his side4 8,old pimply-nosed ,rembrandt10 as ,gainsborough called him1 never lighted a scene more beautifully1 nor more marvellously than this4 ,the picture1 oils on canvas 7#eg #df inches71 is one of ,gainsborough's most mature works and dates from about #aggf-aggh4 ,bought by ,t4 ,harvey of ,catton1 ,norfolk1 in #aghf1 it passed to ,mr4 ,coppin of ,norwich in #ahjg4 ,then it became the property of ,sir ,john ,leicester1 ,bart41 created ,lord de ,tabley in #ahbf2 and at the ,sale of the effects of the latter it was bought by ,earl ,grosvenor1 created ,marquess of ,westminster in #ahca4 ,in #aiba ,the ,cottage ,door was sold by the second ,duke of ,westminster to ,mr4 ,henry ,e4 ,huntington4 8,there is no painter of ,english birth more widely appreciated than ,gainsborough whose art touches every observer1 great and simple1 learned and unlearned4 ,as we look at his pictures1 said ,constable1 we find tears in our eyes and know not what brings them4 ,a thread of romance runs through the whole of ,gainsborough's career1 from his marriage to a beautiful and well-dowered bride1 whose origin is shrouded in mystery1 down to the pathetic termination of the long years of jealous rivalry with ,reynolds4 ,and romance and mystery are inseparably connected with his pictures--with the portraits of that ,duchess of ,devonshire1 whom tradition has brought us to regard as typical of ,english beauty1 with that masterpiece at ,edinburgh1 the portrait of ,mrs4 ,graham1 hidden from sight for fifty years on account of one of the tenderest of love stories2 and with the famous ,blue ,boy1 the secret of whose history still remains undiscovered40#bf 8,old pimply-nosed ,rembrandt and myself were both born in a mill10 ,gainsborough used to say1 because his father1 ,john ,gainsborough1 was a manufacturer of woollens in ,sudbury4 ,thomas was born there in #agbg4 ,at twelve he was said to be a 8confirmed painter40 ,his first portrait seems to have been a great success4 ,some one had been stealing pears from the ,gainsborough orchard and one day1 when young ,thomas was sketching there he saw a man's face peering over the fence4 ,instantly he made a quick sketch and took it into the house4 ,by means of this sketch the culprit was identified4 ,gainsborough then enlarged the sketch1 painted an oil portrait1 mounted it on a board1 and stuck 8,tom ,peartree0 up to the delight of all the neighbors and confusion of strangers4 ,this picture was lent to the ,gainsborough ,exhibition held at the ,grosvenor ,gallery in #ahhe and is now in the ,elizabethan ,mansion in ,christchurch ,park1 ,ipswich4 ,illustration3 ,collection of the late ,mr4 ,henry ,e4 ,huntington ,,the ,,cottage ,,door --,thomas ,gainsborough ,in #agda ,gainsborough went to ,london and1 after studying under ,hubert ,gravelot and ,francis ,hayman1 took a studio in ,hatton ,garden and tried to start as a portrait and landscape-painter4 ,a year of failure decided the young artist to return home4 ,in a short time he married ,margaret ,burr 7supposed to be a natural daughter of the ,duke of ,bedford7 and removed to ,ipswich4 ,here he painted chiefly landscapes4 ,about #agfj he settled in ,bath and immediately became the fashion4 ,fourteen years later ,gainsborough removed to ,london1 where his success continued and he became the rival of ,reynolds4 ,gainsborough had already in #agfh been nominated by ,george ,,iii one of the thirty-six ,academicians on the foundation of the ,academy and he exhibited almost yearly at the ,royal ,academy from #agfi to #aghh1 when there was a misunderstanding about the hanging of his pictures4 ,gainsborough died in #aghh1 closing one of the most remarkable careers in art1 for this great painter was almost entirely self-taught4 ,reynolds called attention to this remarkable fact in his ,fourteenth ,discourse1 in which he cites ,gainsborough as an example of an artist who has arrived 8at great fame without the assistance of an academical education1 or any of those preparatory studies which have so often been recommended40 ,yet his genius was such that he attained the greatest eminence in his day and his place in art to-day is in the small circle of the very great ones4 ,ruskin did not exaggerate in the least when he wrote3 8,gainsborough's power of color is capable of taking rank beside that of ,rubens2 he is the purest colorist of the ,english ,school2 with him1 in fact1 the art of painting did in great part die and exists not now in ,europe4 ,in management and quality of single and particular tint1 in the purely technical part of painting1 ,turner is a child to ,gainsborough4 ,his hand is as light as the sweep of a cloud1 as swift as the flash of a sunbeam4 ,he never loses sight of his picture as a whole4 ,in a word ,gainsborough is an immortal painter40 ,gainsborough painted about seven hundred portraits and two hundred landscapes4 ,strange as it may seem1 he preferred to paint landscapes4 ,at least he told ,george ,,iii this4 ,and he told his friend ,jackson in a letter 8,i'm sick of ,portraits and wish very much to take my viol-da-gamba and walk off to some sweet village where ,i can paint landskips and enjoy the fag-end of life in quietness and ease40 ,this seems strange coming from one of the greatest of all portrait-painters4 ,to read the list of ,gainsborough's portraits is to run through the ,social ,register of ,london and ,bath4 ,gainsborough painted 8everybody that was anybody40 ,the great personalities of the day wanted their portraits 8limned0 by both ,reynolds and ,gainsborough1 often adding ,romney and ,hoppner as well4 ,the fourteen years that he lived in ,bath ,gainsborough's painting-room was almost as much of a rendez-vous as the ,pump ,room and his sitters ranged from the most aristocratic and wealthy1 such as ,earl ,spencer1 his wife1 and little daughter1 the future ,duchess of ,devonshire1 to statesmen1 like ,pitt1 and actors like ,garrick and ,quin4 ,the latter sat three times to ,gainsborough4 ,the following little piece of amusing acting usually took place4 ,quin1 suffering from gout1 would hobble to the painting-room and tapping at the door would ask 8,is ,old ,grumpus in80 ,gainsborough would reply 8,come in02 and1 placing a chair for his friend and a stool to rest his foot upon1 would put on a grave1 doctorial look and1 resting his chin on his maul-stick1 would inquire in the ,bath phrase3 8,well1 how is toe80 ,quin evidently was a critic3 8,sometimes1 ,tom ,gainsborough10 he said1 8a picture in your rigmarole style appears to my optics the veriest daub1--then1 the devil's in you1 ,i think you a ,van ,dyck60 ,and ,gainsborough would tell ,quin that 8nothing could equal the devilism of portrait-painting40 8,indeed1 he told me10 ,angelo relates1 8at his house in ,pall ,mall1 that he was sure the perplexities of rendering something like a human resemblance from human blocks was a trial of patience that would have tempted holy ,st4 ,anthony to cut his own throat with his palette-knife40 ,gainsborough was devoted to music1 played several instruments and was a great friend of the oboe-player in the ,queen's ,band1 ,john ,christian ,fischer1 who married his daughter ,margaret2 of ,john ,christian ,bach1 son of the great ,john ,sebastian ,bach2 and of ,bach's associate1 ,charles ,frederick ,abel1 the celebrated virtuoso on the viol-da-gamba1 whose portrait ,gainsborough painted with his instrument by his side1 and which is now in the ,huntington ,gallery4 ,gainsborough's portrait by ,zoffany in the ,national ,portrait ,gallery1 ,london1 presents a handsome and rather dashing man of about thirty-five with classic features and large1 fine eyes with penetrating glance and an intelligent1 interior light4 ,had he not been a painter he might have easily become a beau1 or a gallant officer of the ,major ,andr type1 or of that impudent young dog1 ,jack ,absolute1 who captivated ,miss ,lydia ,languish in ,the ,rivals4 ,it was the same in ,london as it had been in ,bath4 ,gainsborough became the fashion4 ,he barely had time to fill all the orders that came thick and fast and he enjoyed society and still more his cronies1 and1 to judge from numerous anecdotes1 was not averse to wild companions2 but for all that he was generous1 sympathetic1 outgoing1 and much beloved by his friends4 ,as an instance of his ready wit on one occasion1 when he was in court regarding a picture the councillor tried to embarrass him4 8,i observe10 he said1 8you lay great stress on a painter's eye4 ,what do you mean by that expression60 8,a painter's eye10 replied ,gainsborough1 without a moment's hesitation1 8is to him what a lawyer's tongue is to you60 ,gainsborough was sprightly1 humorous1 and lively in conversation and indeed1 in society1 to use the word of the period1 something of a 8rattle40 ,whenever he appeared1 either at a morning lounge at ,christie's amidst the enlightened and polite1 or at ,my ,lady's midnight rout surrounded by bowing beaux and curtseying belles1 his gaiety enlivened every group4 ,he knew everybody and everybody knew him2 he was1 however1 most at home with the worthies of the auction-room4 ,for some years ,garrick was frequently his companion at ,christie's1 where the amusement caused by the humor common to both never failed to give an additional zest to the proceedings4 ,mr4 ,christie often declared that 8the presence of this choice pair added fifteen per cent to his commission on a sale40 ,and this was a 8choice pair10--,garrick and ,gainsborough6 8,we know as little about ,gainsborough's tools and methods of painting as we do of his pigments1 but if his daughter's memory may be trusted1 her father worked with paint so thin and liquid that his palette ran over unless he kept it on the level4 ,it is generally agreed that he used very long brushes1 and ,nollekens ,smith who saw him at work1 says3 #8,i was much surprised to see him sometimes paint portraits with pencils on sticks full six feet in length and his method of using them was this3 he placed himself and his canvas at a right angle to the sitter1 so that he stood still and touched the features of his pictures exactly at the same distance at which he viewed the sitter4' ,the anonymous biographer of the ,morning ,chronicle who knew the painter excuses his supposed want of finish by saying that he worked with a very long and broad brush4 ,another contemporary1 ,john ,williams 7,pasquin71 in a biographical note declares that ,gainsborough always prided himself upon using longer and broader tools than other men and upon standing farther away from his canvas when at work4 ,that he always stood to paint we know from ,thicknesse1 but it is obvious that all his work could not have been done with broad tools of hog-hair4 ,probably he used camel-hair brushes sometimes1 as did ,gainsborough ,dupont1 who inherited his uncle's implements and colors and in painting followed his manner exactly4 ,dupont left behind him1 in addition to a great quantity of hogtools1 #8twelve bundles of camel's hair pencils4' ,fulcher says that when ,gainsborough's sitters left him it was his custom to close the shutter1 in which was a small circular aperture1 the only access for light and by this subdued illumination work on his picture and get rid of superfluous detail4 ,no authority is given for this statement1 but there can be little doubt that ,gainsborough loved to subdue the light in his painting-room4 ,williams says that it was sometimes subdued to such an extent that objects were barely visible40#bg ,and ,osias ,humphrey1 ,r4 ,a41 tells us a little more1 drawing from his memories of ,bath1444 8,exact resemblances in his portraits was ,mr4 ,gainsborough's constant aim1 to which he invariably adhered4 ,these pictures1 as well as his landscapes1 were frequently wrought by candle-light and generally with great force and likeness4 ,but his painting-room--even by day a kind of darkened twilight--had scarcely any light and ,i have seen him1 whilst his subjects have been sitting to him when neither they nor the pictures were scarcely discernible40 ,we also learn that ,gainsborough let in more light when the picture reached its finishing stages4 ,,the ,,mall ,,in ,,st4 ,,james',s ,,park4 ,thomas ,gainsborough 7#agbg-aghh74 ,collection of the late ,mr4 ,henry ,clay ,frick4 ,horace ,walpole characterized this delightful picture as airier than a ,watteau and 8all in motion and flutter like a lady's fan40 ,it is one of ,gainsborough's latest works1 painted in #aghf1 and one of his masterpieces1 oils on canvas 7#eg #dg inches74 ,the picture was among those in the painter's studio at the time of his death4 ,after a few changes of ownership1 it passed into the ,collection of ,george ,frost1 an artist and fellow-townsman of ,gainsborough1 and then to ,sir ,audley ,dallas ,neeld1 ,bart41 ,grittleton ,house1 near ,chippenham1 ,wiltshire4 ,the ,mall is a perfect epitome of ,london society in the ,eighteenth ,century--the ,london of ,austin ,dobson4 8,the ,mall from the days of the ,stuarts until the closing years of the ,eighteenth ,century was the field upon which fashion1 and feminine fashion especially1 chose to disport itself4 ,twice a day social ,london donned its best apparel and took a turn under the trees1 once at midday and again1 in summer1 in its evening clothes after the early dinner4 ,here fashion met its friends1 exchanged its repartees1 made appointments for evening rendez-vous at ,ranelagh or ,vauxhall1 ate fruit or bought flowers from ,betty's girl out of ,st4 ,james's ,street1 or drank syllabubs from the red cow's milk which was one of the attractions of the ,london parks4 ,nothing in the external aspect of ,london more struck the intelligent foreigner than the amenities of the promenade in the ,mall4 ,one of these gentlemen concluded an eloquent pan on the beauty of the lady promenaders1 by recording with rapture that of a morning the very ground glistened with the pins which they had dropped4 ,the ,mall1 indeed1 was the very shrine of flounce and furbelow until somewhere about #agie1 when fashion unaccountably moved northward to the walk in the ,green ,park at the back of ,arlington ,street1 and from there later to ,hyde ,park and ,kensington ,gardens4 ,illustration3 ,collection of the ,mr4 ,henry ,clay ,frick ,,the ,,mall --,thomas ,gainsborough 8,the very spirit of this life is preserved in ,gainsborough's picture1 one of the few canvases in which he represents figures in motion2 singular also among his work is that it contains a score or so of figures4 ,there is a central group of four ladies with an attendant cavalier advancing towards the spectator1 a pair on the right1 two pairs on the left passing each other1 others again seated on the right4 ,the accidental episodic quality of such a subject is perfectly conveyed--the transient glance of a passing woman1 the turn of the neck appropriate to that attitude1 the ground dotted with an occasional dog4 ,technically it represents ,gainsborough at his highest1 where the solemn tones of his earlier manner have disappeared1 and the very painting itself seems to echo his delight in the mastery of heightened1 luminous color40#bh ,,maria ,,walpole1 ,,duchess ,,of ,,gloucester4 ,thomas ,gainsborough 7#agbg-aghh74 ,collection of ,mr4 and ,mrs4 ,charles ,p4 ,taft4 ,the subject of this portrait was famous under three names3 her maiden name of ,maria ,walpole2 as ,lady ,waldegrave2 and as the ,duchess of ,gloucester4 ,she was very beautiful 7no one could compete with her but the ,gunning sisters72 she was very witty and brilliant2 and1 moreover1 she was noted for her rich qualities of heart and character4 ,her uncle1 ,horace ,walpole1 was devoted to her4 ,illustration3 ,collection of ,mr4 and ,mrs4 ,charles ,p4 ,taft ,,maria ,,walpole1 ,,duchess ,,of ,,gloucester --,thomas ,gainsborough ,maria ,walpole began life under a cloud1 but this was soon dispelled and the rest was all sunshine4 ,the ,hon4 ,edward ,walpole1 second son of ,sir ,robert1 was her father and her mother was a milliner's apprentice at ,bath4 ,maria was baptized ,july #aj1 #agch1 at ,st4 ,james's1 ,westminster1 and was made legitimate by ,his ,majesty's warrant4 ,recognized as a ,walpole1 everything was done for her4 ,the old ,london ,town and ,country ,magazine gives us this very good idea of her preparation for life3 8,maria's education was suited to the rank of life in which she has ever figured2 and the advantages she derived from it were entirely noticed by every man of taste and discernment who was happy enough to be in her company40 ,horace ,walpole brought about her first marriage to the ,right ,honorable ,james1 ,second ,earl of ,waldegrave1 ,k4 ,g41 in #agei2 and he wrote to ,sir ,horace ,mann3 8,i have married1 that is1 ,i am marrying my niece1 ,maria1 my brother's second daughter1 to ,lord ,waldegrave4 ,what say you8 ,a month ago ,i was told he liked her--does he8 ,i jumbled them together and he has already proposed4 ,for character and credit he is the first match in ,england--for beauty ,i think she is4 ,she has not a fault in her face and person and the detail is charming4 ,a warm complexion tending to brown1 fine eyes1 brown hair1 fine teeth1 and infinite wit and variety40 ,in another letter ,sir ,horace wrote3 8,the second daughter of my brother is beauty itself4 ,her face1 bloom1 eyes1 hair1 teeth1 and person all are perfect4 ,you may imagine how charming she is when her only fault1 if one must find one1 is that her face is rather too round4 ,she has a great deal of wit and vivacity with perfect modesty40 ,to ,george ,montagu on ,may #af1 he wrote3 8,well6 ,maria was married yesterday4 ,don't we manage well8 ,the original day was not once put off2 lawyers and milliners were all ready canonically4 ,it was as sensible a wedding as ever was4 ,there was neither form nor indecency1 both which generally meet on such occasions4 ,they were married at my brother's in ,pall ,mall just before dinner by ,mr4 ,keppel2#bi the company1 my brother1 his son1 ,mrs4 ,keppel and ,charlotte1#cj ,lady ,elizabeth ,keppel1 ,lady ,betty ,waldegrave and ,i4 ,we dined there4 ,the ,earl and new ,countess got into the post-chaise at eight o'clock and went to ,navestock 7,lord ,waldegrave's seat near ,brentwood1 ,essex7 alone1 where they stay till ,saturday night2 on ,sunday she is to be presented4 ,maria was in a white and silver nightgown#ca with a hat very much pulled over her face2 what one could see of it was handsomer than ever2 a cold maiden blush gave her the sweetest delicacy in the world40 ,maria was a friend of the ,countess of ,coventry1 who had attained fame as the beautiful ,maria ,gunning and used to walk with her in the ,park and they must have been a very striking pair1 for after the ,countess of ,coventry's death1 ,lady ,waldegrave was considered the handsomest woman in ,england4 ,a month after ,maria's marriage ,sir ,horace noted in a letter3 8,my ,lady ,coventry and my niece ,walpole have been mobbed in the park40 ,there were three daughters of this marriage--,laura1 ,maria1 and ,horatia--remembered to-day especially for the group portrait ,sir ,joshua ,reynolds painted of them and which belonged to ,sir ,horace ,walpole in #aghb4 ,lord ,waldegrave died in #agfc2 and on ,sept #f1 #agff1 ,maria1 now ,dowager ,countess of ,waldegrave1 was married privately to ,h4 ,r4 ,h4 ,william ,henry1 ,duke of ,gloucester and ,edinburgh1 seven years her junior4 ,the marriage was performed in her own house in ,pall ,mall by her own chaplain and she thus became the sister-in-law of ,george ,,iii4 ,the secret was kept for some time and the ,king banished his brother from ,court1 but after two years the ,duke was taken back into ,royal favor and the ,duchess bore her honors with such grace and dignity that she became very popular at ,court4 ,the portrait represented here1 oils on canvas 7#ce #bg inches71 was painted about #aggi1 or before4 8,we hear10 the ,public ,advertiser printed on ,may #d1 #aggb1 8that the gentlemen upon the ,committee for managing the ,royal ,academy have been guilty of a scandalous meanness to a capital artist by secreting a whole-length picture of an ,english ,countess for fear their ,majesties should see it2 and this only upon a full conviction that it was the best finished picture sent in this year to the ,exhibition40 ,again in #agge a society reporter for the ,morning ,chronicle gathered up this piece of gossip3 8,the ,duke and ,duchess of ,gloucester are often going to a famous painter's in ,pall ,mall2 and it is reported that he is now doing both their pictures1 which are intended to be presented to a great lady40 ,the picture is nearly three-quarter length and represents the ,duchess in a gold-tinted dress with hair dressed high and powdered and wearing lovely pearls4 ,her head is posed upon her left hand and the arm rests upon a pedestal that is barely visible4 ,there is good reason for thinking this portrait was originally full-length and that it has been cut down4 ,it is interesting to compare this portrait of the ,duchess of ,gloucester with ,the ,hon4 ,mrs4 ,graham in the ,national ,gallery1 ,edinburgh1 who is painted1 full length1 and is resting her arm1 likewise1 on a pedestal4 8,the introduction of a parapet1 or indeed1 of any kind of architectural setting in a portrait of kit-cat size is most unusual4 ,the left arm resting on the parapet and the large scale on which the head is here painted1 confirm our view that our canvas was originally1 as ,fulcher claims1 a whole length4 ,this canvas to-day is almost exactly kit-cat size4 ,it may well have been cut down to meet the requirements of hanging4 ,half a century ago such a practice was not unknown1 especially in the ,english ,royal ,collections4 ,it will be remembered that the lower portions of the canvas of ,gainsborough's ,eldest ,princesses was very inceremoniously cut away in the early part of the ,nineteenth ,century4 8,a kit-cat1 strictly speaking1 is a canvas for a portrait less than a half-length1 but including the hands1 and measuring #cf by #bh inches4 ,it is so called from the portraits of the members of the ,club at ,barn ,elms1 who seem to have originally met in the pie-house kept in ,shire ,lane1 ,london1 by one ,kit 7i4e4 ,christopher7 ,cat4 ,these portraits are now in the ,baker ,collection at ,bayfordbury1 near ,hertford40#cb ,in ,june #aijd ,the ,london ,times stated that 8,the ,duke of ,cambridge's pictures1 which are now hung on ,christie's walls1 form the largest collection of portraits of the reigning house that has ever been offered for sale4 ,all1 in fact1 represent ,george ,,iii and his family1 with their husbands and wives4 ,by far the finest is ,gainsborough's ,maria ,walpole1 ,countess of ,waldegrave and ,duchess of ,gloucester1 ,horace ,walpole's beautiful niece40 ,these art-treasures1 as well as ,gloucester ,house1 had been inherited by the ,late ,duke of ,cambridge from his aunt1 the second and last ,duchess of ,gloucester1 who died in #aheg4 ,the sale of this picture created a sensation4 ,again referring to the ,london ,times 7,june #ac1 #aijd71 we read3 8,the honors of the day distinctly fell to ,gainsborough1 whose beautiful portrait of ,maria ,walpole has established a record price for this artist's pictures at auction4 ,bidding was started on ,saturday at #ejjj guineas and in rather more than half a dozen bids reached #ab1jjj guineas1 at which it was knocked down to ,messrs4 ,agnew ,sons4 ,the price1 therefore1 quite eclipses the #aj1jjj guineas paid in #ahgf for the famous stolen ,duchess of ,devonshire1 which remained the record price for a ,gainsborough until ,saturday40 ,in the following ,november1 the ,majestic brought the #fj1jjj-;,gainsborough to ,new ,york4 ,this portrait1 when exhibited at the ,royal ,academy in #agii1 was described by ,sir ,horace ,walpole as 8very good and like40 ,maria ,walpole died in #ahjg1 two years after the ,duke of ,gloucester1 leaving one son and two daughters4 ,of her other portraits ,lionel ,cust in ,the ,royal ,collection of ,paintings1 ,vol4 ,i1 #aije1 says3 8,the beautiful ,countess of ,waldegrave was one of ,sir ,joshua ,reynolds's favorite sitters4 ,she sat to him in #agei1 after her marriage1 for the full-length portrait in peeress's robes1 which belongs to the present ,earl ,waldegrave1 and again in #agfa and #agfb1 for the well-known portrait in a turban and for the ,madonna-like group with her child1 which was bequeathed by ,frances1 ,countess ,waldegrave1 to the ,duc d',aumale1 and is now in the ,cond ,collection at ,chantilly4 ,she sat again to ,reynolds in #agfd1 as a widow in mourning for her husband1 and more than once again during her widowhood4 ,she sat to him in ,october1 #agfg1 when really ,duchess of ,gloucester1 for a portrait to be given to her father1 ,sir ,edward ,walpole4 8,after the marriage had been revealed to the world1 the ,duchess sat to ,reynolds in #agga1 for the full-length seated portrait now at ,buckingham ,palace4 ,this was exhibited at the ,royal ,academy in #aggd4 ,this portrait descended to her daughter1 ,h4 ,r4 ,h4 ,princess ,sophia ,matilda of ,gloucester1 who at her death in ,november1 #ahdd1 bequeathed the portrait to ,h4 ,r4 ,h4 ,prince ,albert1 the late ,prince ,consort4 8,the ,duchess of ,gloucester sat for the last time to ,reynolds in #aggi1 for a group of herself and her daughter1 ,princess ,sophia ,matilda40 ,,georgiana1 ,,duchess ,,of ,,devonshire4 ,thomas ,gainsborough 7#agbg-aghh74 ,collection of ,mr4 and ,mrs4 ,herbert ,l4 ,satterlee4 ,she stands here--proud1 elegant1 disdainful1 stylish1 aristocratic1 beautiful1 and altogether charming1 in her dashing1 large1 black hat worn at a debonnaire angle1 white dress1 and light petticoat and light blue sash1 looking at us with the most marvellous eyes ever put upon canvas and a mouth that matches them in such naturalness that we expect the ,duchess to smile at any moment4 ,her eyes have such fire and sparkle that they pierce right through us4 ,it is hard to believe that we are looking upon a painted portrait--it must be the ,duchess herself who gives us that alert1 penetrating1 fiery1 and mocking glance4 ,this picture has had a most romantic history4 ,it is the famous 8,lost ,duchess10 stolen in ,london1 and found after twenty-five years in ,america4 ,the ,duchess1 in some unknown way1 fell into the hands of a ,mrs4 ,maginnis1 an old schoolmistress1 who had it cut down to fit the space over the chimney-piece in her sitting-room and burned up the cut-off piece4 ,mr4 ,bentley1 a dealer bought the picture from ,mrs4 ,maginnis for #ef and then sold it to ,mr4 ,wynn ,ellis1 a wealthy ,city merchant1 who sent this ,portrait of a ,lady to be engraved by ,messrs4 ,henry ,graves ,co4 ,this firm1 having already engraved the ,clifden ,duchess of ,devonshire1 at once identified the subject4 ,when the ,wynn ,ellis ,sale took place at ,christie's1 ,june #f1 #ahgf1 this portrait created a great deal of excitement4 ,it was catalogued as follows3 8,t4 ,gainsborough1 ,r4 ,a4 ,the ,duchess of ,devonshire1 in a white dress and blue silk petticoat and sash1 large black hat and feathers1 #ei #de inches40 ,illustration3 ,collection of ,mr4 and ,mrs4 ,herbert ,l4 ,satterlee ,,georgiana1 ,,duchess ,,of ,,devonshire --,thomas ,gainsborough ,as this portrait of the ,duchess was the first 8star0 that ever rose in an auction-sale1 it is worth while putting forward here the contemporary account of an event which has passed into history4 ,the ,london ,times records3 8,the sale of the modern pictures belonging to the ,wynn ,ellis ,collection on ,saturday last created such a sensation as has never been experienced in the picture world of ,london4 ,throughout the week the pictures had attracted a considerable number of visitors1 but on the day preceding the sale the interest came to a climax and crowds filled the rooms of ,messrs4 ,christie1 ,manson1 ,woods4 ,anyone passing the neighborhood of ,st4 ,james's ,square might well have supposed that some great lady was holding a reception and this1 in fact1 was pretty much what was going on within the ,gallery in ,king ,street4 ,all the world had come to see a beautiful ,duchess1 created by ,gainsborough2 and so far as we could observe1 they all came1 saw1 and were conquered by her fascinating beauty4 8,when the portrait was placed before the crowded audience a burst of applause showed the universal admiration of the picture4 ,the biddings commenced at one of #ajjj guineas1 which was immediately met with one of #cjjj guineas from ,mr4 ,agnew2 and1 amid a silence of quite breathless attention1 the bids followed in quick succession until #aj1jjj guineas was announced4 ,mr4 ,agnew then called #aj1ajj guineas and won the battle in this most extraordinary contest4 ,the audience densely packed on raised seats round and on the floor of the house1 stamped1 clapped1 and bravoed40 ,and now comes the story6 ,twenty days after this sale1 on the night of ,may #bf1 #ahgf1 the galleries of ,messrs4 ,agnew were entered1 the canvas was cut from the stretching frame1 and the ,duchess was carried off6 ,where8 ,by whom8 ,the picture was already too well-known to be saleable and to make it still better known photographs of the picture were immediately placed in every shop-window in ,london4 ,the subject became of universal interest3 pictures of the ,duchess were printed on every article of merchandise possible2 and fashion decreed that once again the ,duchess's huge hat should be the proper thing to wear4 ,for many years afterwards the 8,gainsborough ,hat0 and the 8,picture ,hat0 continued to be worn in country towns across the ,atlantic1 far away from ,london1 by persons who had never heard of the beautiful ,duchess of ,devonshire4 ,sensation ,no4 #b4 ,in ,march1 #aija1 the newspapers all over the world announced that the 8,lost ,duchess0 had been found6 ,mr4 ,morland ,agnew1 after various negotiations1 was handed a parcel in the ,auditorium ,hotel in ,chicago which proved to be the ,gainsborough canvas4 ,the discovery had been made by the ,new ,york ,pinkerton ,detective ,agency1 who found the thief1 one ,adam ,worth alias ,henry ,richmond1 son of a ,german ,jew1 who had settled in ,cambridge1 ,massachusetts1 and who was one of the most famous and clever criminals ever known4 ,a few days after its return the picture was purchased by ,mr4 ,j4 ,p4 ,morgan at a price beyond #cj1jjj4 ,many years before1 in #agfb-c1 ,gainsborough had painted in his studio at ,bath the ,duchess of ,devonshire when she was little ,georgiana ,spencer1 aged six1 in a white dress1 pink ribbons1 and dainty cap4 ,at the same period ,gainsborough painted portraits of her parents1 ,earl and ,countess ,spencer of ,althorp1 the one of the ,countess ranking very high among ,gainsborough's works of the ,bath period4 ,the ,countess1 ,margaret ,georgiana1 daughter of the ,hon4 ,stephen ,poyntz1 was a very beautiful and extremely wealthy woman and the ,earl also possessed enormous wealth and became famed for the magnificent ,collection he made at ,althorp4 ,the marriage of this couple in #agee created a sensation and was much talked of in the gossipy letters and memoirs of the day4 ,one eye-witness related3 8,the bride followed in a new sedan-chair lined with white satin1 a black page walking before and three footmen behind1 all in the most superb liveries4 ,the diamonds worn by the newly married pair were given to ,mr4 ,spencer by ,sarah1 ,duchess of ,marlborough1 and were worth #ajj1jjj4 ,the shoe-buckles of the bridegroom alone were worth #cj1jjj40 ,lady ,harvey related that the wedding-party went from ,london to ,althorp 8in three coaches with six horses and two hundred horsemen4 ,the villages through which they passed were in great alarm1 some of the people shutting themselves up in their houses1 and others coming out with pitchforks1 spits1 and spades1 crying out #8,the invasion has come'1 believing that the ,pretender and the ,king of ,france were both come together2 and great relief was experienced when the formidable cavalcade had passed without setting fire to the habitation1 or murdering the inhabitants40 ,the year after this marriage ,mrs4 ,delany1 ,horace ,walpole's friend1 met 8,mrs4 ,spencer1 one of the finest figures ,i ever saw1 in white and silver with all her jewels and scarlet decorations2 her modest1 unaffected air gives a lustre to all her finery that would be very tinsel without it40 ,is it any wonder that with such parentage ,georgiana ,spencer should have had brains1 beauty1 charm1 and perfect equipment in every way for that world of society which was her inheritance8 ,georgiana was born on ,june #i1 #ageg1 and was married at the age of seventeen to the fifth ,duke of ,devonshire1 regarded as the 8first match0 in ,england4 8,georgiana was a lively girl10 said ,walpole1 8natural and full of grace40 ,immediately the ,duchess became 8the irresistible queen of ton0 and the most conspicuous leader of society whenever and wherever she appeared4 ,she dazzled every gathering by her beauty2 astonished everyone with her elegant and extravagant dress2 and charmed everybody by her wit and her grace4 ,the ,duchess was always among the gay butterflies who masqueraded at the ,pantheon1 promenaded at ,ranelagh1 danced at assemblies1 or played for high-stakes at fashionable gaming-tables4 ,to think of ,london society in the late ,eighteenth ,century without the ,duchess of ,devonshire1 is impossible4 ,walpole writes that she 8effaces all without being a beauty2 but her youthful figure1 flowing good nature1 sense1 and lively modesty and modest familiarity make her a phenomenon40 ,the ,duchess had a clever mind and she delighted in the society of persons of talent4 ,fox1 ,sheridan1 and ,selwyn were among her special friends4 ,the story of her campaigning for ,fox with ,fox's sister1 ,lady ,duncannon1 and even selling 8a kiss for a vote0 is told by many pens and by pencils as well1 for the ,duchess afforded fine material for the caricaturists4 ,the ,duchess was much pleased1 it is said1 by the compliment paid to her during the ,fox campaign by an ,irishman1 who exclaimed3 8,sure ,i could light me pipe at her eyes60 ,and ,gainsborough managed to fix this flaming glance in the famous ,satterlee portrait4 ,coarse satire attacked the ,duchess of ,devonshire as it attacks all who enter the political arena2 but1 on the other hand1 there are many tributes from contemporary pens to her sweetness of disposition and to her noble and generous qualities of heart4 ,in #ahjf upon hearing of her death at ,devonshire ,house1 ,piccadilly1 7just lately demolished71 the ,prince of ,wales exclaimed3 8,we have lost the best-loved woman in ,england0 and ,charles ,james ,fox replied3 8,we have lost the kindest heart in ,england40 ,the ,duchess of ,devonshire occasionally wrote verse4 ,her ,passage of the ,mountain of ,st4 ,gothard1 dedicated to her children 7she had a son and two daughters71 was published with a ,french translation in #ahjb2 an ,italian translation was printed in #ahjc2 and a ,german translation in #ahje4 ,this poem gave occasion to ,coleridge's ode with the lines3 8,o lady nursed in pomp and pleasure ,whence learned you that heroic measure80 ,gainsborough could not have made this or any other portrait of the ,duchess of ,devonshire until after #aghb1 because1 in that year1 ,bate published in the ,morning ,herald1 the following lines3 8,o ,gainsboro6 thou whose genius soars so high1 ,wild as an eagle in an unknown sky1 ,to ,devon turn6--thy pencil there shall find ,a subject equal to thy happy mind6 ,amidst thy fairest scenes1 thy brightest dyes1 ,like young ,aurora let the ,beauty rise40 ,another portrait of the ,duchess of ,devonshire by ,gainsborough is also in this country1 owned by the ,hon4 ,andrew ,w4 ,mellon4 ,it represents a whole length life-size figure leaning against a pedestal and came from the ,collection of the late ,earl ,spencer at ,althorp1 ,nottinghamshire4 ,,the ,,blue ,,boy4 ,thomas ,gainsborough 7#agbg-aghh74 ,collection of the late ,mr4 ,henry ,e4 ,huntington4 ,the ,blue ,boy is without doubt the most famous picture in the world4 ,when it passed from the ,duke of ,westminster's ,collection in ,grosvenor ,house1 ,london1 by private sale to the late ,mr4 ,henry ,e4 ,huntington1 the event created a sensation in the art-world1 which soon extended to the general public4 ,no painting was ever exploited so widely in the press and when exhibited at the ,duveen ,galleries in ,new ,york1 before starting on its journey to ,california1 the ,blue ,boy attracted unusual crowds4 ,before it bade farewell to ,london the famous picture was exhibited at the ,national ,gallery and the following extract from a letter of ,sir ,charles ,j4 ,holmes1 ,director of the ,national ,gallery1 dated ,january #bd1 #aibb1 to ,sir ,joseph ,duveen1 gives an idea of how the portrait is regarded in ,england3 8,my dear ,duveen3 ,i saw the last1 for the time being anyhow1 of the ,blue ,boy this afternoon at ten minutes past four and feel bound to write these lines to thank you and ,mrs4 ,huntington for the pleasure which the sight of it has given to more than #ij1jjj people during the last three weeks4 ,it is indeed a most brilliant thing1 outshining in its present condition all our ,english pictures at ,trafalgar ,square and when the natural mellowing of the varnish during the next two or three years has taken place its perfections will be enhanced4 ,and though its passing from us has been the cause of universal regret1 that regret has not been tinged with bitterness4 ,it is generally recognized that while in the process of recovering from the ,war1 the ,nation could not have paid the price which its fortunate owner was able to afford40 ,illustration3 ,collection of the late ,mr4 ,henry ,e4 ,huntington ,,the ,,blue ,,boy --,thomas ,gainsborough ,the picture1 an oil painting on canvas1 is large 7#e feet1 #aj inches #d feet7 and represents a young boy1 ,master ,jonathan ,buttall of ,london1 life-size1 dressed in a blue suit1 holding a broad-rimmed hat in his right hand and very conspicuously standing forth from a landscape background with a dark1 cloudy sky4 ,the following notes from the ,farington ,diary1 recently published1 bring us into relation with the two early sales4 ,under date of ,dec4 #ae1 #agif1 we find3 8,buttall's sale4 ,i went to ,gainsborough's picture of a ,boy in a ,blue ,vandyke ,dress sold for #ce guineas4 ,several of his drawings were sold in pairs4 ,some went so high as #h guineas and a half the pair40 8,may #be1 #ahjb4 ,i painted till four o'clock and then went to ,nesbitt's sale in ,grafton ,street1 where ,i met ,hoppner1 who had purchased the ,boy in ,blue ,dress by ,gainsborough1 which was ,buttal's1 for #fe guineas4 ,at ,buttalls sale it was sold for #ce to ,mr4 ,nesbitt40 ,the picture is in marvellous condition4 ,when ,lord ,ronald ,sutherland-,gower saw it in the ,duke of ,westminster's ,collection before it came to ,america1 he exclaimed3 8,the ,blue ,boy at ,grosvenor ,house has all the glamor and charm of a portrait of a fairy prince40 ,these few words explain the spell that the picture seems to cast upon every one who sees it1 for whenever ,the ,blue ,boy has been exhibited crowds have stood enraptured before it4 ,regarding ,mr4 ,nesbitt's connection with the picture we have the following story from the ,rev4 ,j4 ,t4 ,trimmer1 ,vicar of ,marston-on-,dove1 ,derbyshire3 8,many years ago there resided at ,heston a ,mr4 ,nesbitt1 a person of substance and a companion of ,george1 ,prince of ,wales4 ,he once possessed ,gainsborough's ,blue ,boy and in the following way4 ,he was dining with the ,prince4 #8,nesbitt1' said the ,prince1 #8that picture1 7pointing to the ,blue ,boy7 shall be yours4' ,at first he thought the ,prince must be joking1 but1 finding he was decidedly serious1 ,nesbitt1 who was a beau of the first water1 made all suitable acknowledgments for ,h4 ,r4 ,h4's generosity and next morning the ,blue ,boy arrived1 followed in due time by a bill for #cjj1 which he had the satisfaction of paying4 ,i heard ,mr4 ,nesbitt many years ago tell the story at my father's table40 ,from ,mr4 ,nesbitt the ,blue ,boy came into possession of ,john ,hoppner1 the artist1 who sold it to ,earl ,grosvenor4 ,then1 of course1 ,the ,blue ,boy passed as an heirloom to his successor1 the ,duke of ,westminster4 ,for many years ,the ,blue ,boy hung in ,grosvenor ,house1 ,london1 in the same room with ,sir ,joshua ,reynolds's ,mrs4 ,siddons as the ,tragic ,muse1 the two most famous portraits of the two most famous ,english painters4 ,and it is one of the romances of art that these two portraits should have crossed the ,atlantic and to be again united1 as it were1 this time in a ,california mansion4 ,gainsborough had doubtless some reason for painting this portrait2 but it is not the reason usually given1--namely that it was done in refutation of a theory expressed by ,sir ,joshua ,reynolds in #aggh4 ,apart from the reasons now accepted to disprove this theory1 the picture is too joyously painted for a controversial and academic tour de force4 ,one of ,gainsborough's latest biographers1 ,mr4 ,william ,t4 ,whitley1#cc discovered the following in a number of ,the ,european ,magazine 7,august #agih71 which would seem to give the real reason for the genesis of ,gainsborough's famous portrait3 ,mr4 ,gainsborough 8,one of the finest pictures this great artist ever painted1 and which might be put upon a par with any portrait that ever was executed1 is that of a boy in a blue ,vandyke dress1 which is now in the possession of a tradesman in ,greek ,street4 ,gainsborough had seen a portrait of a boy by ,titian for the first time1 and1 having found a model that pleased him1 he set to work with all the enthusiasm of his genius4 #8,i am proud1' he said1 #8of being of the same profession with ,titian1 and was resolved to attempt something like him4'0 ,so much has been written about this portrait and the copies that have been made of it that great confusion has resulted1 and the constant repetition of the same story by writers has tended to obscure rather than to clarify the subject4 ,however1 the theory now accepted is that the portrait of ,the ,blue ,boy first appeared in public at the ,royal ,academy in #aggj1 sent there by ,gainsborough himself1--a theory supported by a letter written by ,mary ,moser1 ,r4 ,a4 to ,fuseli1 then in ,rome1 in which she said3 8,it is only telling you what you know already of the ,exhibition of #aggj1 to say that ,gainsborough is beyond himself in a ,vandyke habit40 ,another argument in favor of this date is found in a conversation with an old artist1 ,john ,taylor1 recorded by ,j4 ,t4 ,smith in his ,book for a ,rainy ,day4 ,the person1 chiefly1 if not wholly1 responsible for the first suggestion of the theory that ,gainsborough painted the picture to disprove ,sir ,joshua ,reynolds's pronouncement regarding color seems to have been ,john ,burnet1 the engraver of some of ,wilkie's pictures and a writer on art4 ,the legend began to be circulated in #ahag1 when ,burnet published his ,practical ,treatise on ,painting1 where1 after challenging the rules laid down by ,sir ,joshua1 he says3 8,i believe ,gainsborough painted the portrait of a boy dressed in blue1 now in the possession of ,lord ,grosvenor1 to show the fallacy of this doctrine40 ,that seems to be all there is to it2 and1 once started1 the story became widespread and was handed on from pen to pen and from lip to lip1 until nearly everybody believes it4 ,let us turn1 however1 to some of the authorities4 ,first to ,f4 ,g4 ,stephens3 8,master ,jonathan ,buttall was the son of ,mr4 ,jonathan ,buttall1 an ironmonger in an extensive way of business1 living at #ca ,greek ,street 7at the corner of ,king ,street71 ,soho1 between #agbh 7if not before7 and #agfh1 when he died4 ,according to the ,book for a ,rainy ,day1 he was #8an immensely rich man4' ,the younger ,buttall continued in the business of his father until #agif1 when his effects were sold by ,sharpe and ,coxe1 the well-known auctioneers4 ,these effects included premises in ,soho and the ,city1 a share in ,drury ,lane ,theatre1 many drawings by ,gainsborough1 and pictures by the same hand and others1 wine1 and musical instruments4 ,it has been asserted that a ,blue ,boy 7for there can hardly be a doubt that more than one version of the work exists7 was sold on this occasion4 8,a story has been credited that ,the ,blue ,boy was produced by ,gainsborough to refute a dictum of ,sir ,joshua ,reynolds1 delivered in his ,eighth ,discourse to the ,students of the ,royal ,academy1 ,december #aj1 #aggh3 #8,it ought1 in my opinion to be indispensably observed1 that the masses of light in a picture be always of a warm1 mellow color1 yellow1 red1 or a yellowish-white2 and that the blue1 the grey1 or the green colors be kept almost entirely out of these masses1 and be used only to support and set off these warm colors2 and for this purpose1 a small proportion of cold colors will be sufficient4 ,let this conduct be reversed2 let the light be cold and the surrounding colors warm1 as we often see in the works of the ,roman and ,florentine painters1 and it will be out of the power of ,art1 even in the hands of ,rubens or ,titian1 to make a picture splendid and harmonious4' 8,it is obvious that the ,eighth ,discourse may have been delivered covertly to depreciate a picture which had been exhibited eight years before1 but this is not likely2 or it may be assumed that the painting was produced to demonstrate the futility of the ,president's counsel4 ,it is obvious that ,gainsborough might1 and probably did1 find occasion to illustrate a principle which is apparently opposed to the dictum of ,reynolds1 without reference to the ,eighth ,discourse1 or previous utterance of the ,p4 ,r4 ,a4 ,van ,dyck repeatedly employed masses of blue in draperies1 with results which are at least equal to those of the picture before us4 ,the ,children of ,charles the ,first at ,windsor is an example of the fact4#cd ,leslie and every practical critic recognized that ,gainsborough had evaded the full and just method of controverting the declaration of ,sir ,joshua rather than successfully assailed it4 8,the picture before us is known to have been exhibited at the ,british ,institution with a collection of ,gainsborough's works--the first formed independently of the artist and his wife--in #ahad1 under the title of ,portrait of a ,youth and again at the same place1 in #ahcd1 as #8#aag1 ,a ,young ,gentleman in a ,landscape2 the ,picture known as ,the ,boy in ,blue4' ,it was at ,manchester in #aheg2 the ,international ,exhibition in #ahfb2 and at the ,royal ,academy in #ahgj4 ,the last occasion evoked the discussion above alluded to1 when the other ,blue ,boy became prominent4 ,the question may be summed up by saying that probably the younger ,buttall had a version of his own portrait1 while the ,prince had another4 8,reynolds1 by the way of supporting his own dictum1 produced ,a ,yellow ,boy in the #8,portrait of ,charles1 ,earl of ,dalkeith' with an owl and a dog1 which was ,no4 #acb at the ,grosvenor ,exhibition1 in #ahhd4 #8,a ,portrait of a ,lady1' by ,gainsborough1 known as #8,the ,blue ,lady' was at the ,british ,institution in #ahei2 #8,the ,pink ,boy' 7,master ,nicholls1 grandson of ,dr4 ,mead71 by ,gainsborough1 was at the ,academy in #ahgi1 ,no4 #ci2 it has recently been sold to a member of the ,rothschild family4 ,the ,blue ,boy is at once the complement and the antithesis of ,mrs4 ,graham 7born ,cathcart71 now in the ,scottish ,national ,gallery 7,edinburgh740 ,turning now to ,m4 ,h4 ,spielmann in ,british ,portrait ,painting3 8,in the view expressed by the late ,f4 ,g4 ,stephens and others--an opinion ,i am inclined to share--the portrait known as ,the ,blue ,boy1 more properly ,master ,jonathan ,buttall1 belongs to the year #aggj1 or thereabouts1 and not to a period ten years later1 as is argued by those who desire1 in the face of internal evidence1 to apply to it a passage--usually cited incorrectly--in ,sir ,joshua ,reynolds's ,eighth ,discourse 7delivered in #aggh71 against the use of masses of cold blue4 ,the stricture could not possibly apply to this picture1 which triumphs by virtue of its warm blue1 as it does by nobility of pose 7more suggestive of a prince1 as we imagine a prince should be1 than of the son of a wealthy ironmonger of ,greek ,street71 by the well controlled power and dignity made manifest throughout and by the brilliant brush charged with fat paint4 ,the finely posed head with its admirably expressed character of boyhood and a good deal of sturdy doggedness behind the intelligent eyes1 is rendered a little more heavily than is ,gainsborough's wont2 but that it is a masterpiece of portraiture1 as it is of color1 cannot be challenged4 ,this portrait1 which from its manner may be believed to have been painted eight years before the father's death and not two years after it1 is the first to show ,gainsborough's outstanding genius as a painter of independent thought and striking modernity4 ,at the same time it should be pointed out an earlier ,blue ,boy by him exists in the portrait of his nephew1 ,edward ,gardiner1 painted in #agfh4 8,here in ,master ,buttall is ,gainsborough's first great invention both in matter and manner1 almost a challenge to ,van ,dyck's reputation1 but painted in a scheme of color ,van ,dyck never thought of1 and would probably never have tried if he had4 ,in handling it is ,gainsborough's first link with ,watteau in its broken tints and fearless lightness of handling of the drapery1 in its fascinating play of light and shade1 its delightful silhouette and cast shadows4 ,it is difficult to imagine how the composition could be bettered2 the picture1 by itself1 had no others come from the same brush1 would have immortalized the painter40 ,finally1 ,sir ,walter ,armstrong agrees1 too1 with the ,stephens theory3 8,those who cling to the old traditions quote the style of ,the ,blue ,boy in support of the notion that it could not have been painted before #aggi4 ,i confess that1 to me1 it now seems1 after much and close observation1 to point the other way4 ,the loaded impasto1 the ruddy carnations1 the tendency to brown and beyond it in the shadows1 the preoccupation with force1 seem all to belong to about the same period as the group at ,knole and to be inconsistent with the feathery lightness1 freedom1 and gaiety which mark ,gainsborough's work towards the end of his life4 ,the most significant comparison may be made with the ,national ,gallery ,mrs4 ,siddons4 ,here again blue1 and a franker blue than that of the ,master ,buttall1 is the dominant note4 ,but the painting is more assured1 the handling lighter and more prompt1 the shadows more transparent1 and the figure1 as a whole1 truer to its illumination4 ,it would not be fair to dwell too much on the contrast between the flesh painting of ,the ,blue ,boy and that of the ,mrs4 ,siddons1 for ,i fancy the peculiar white bloom of the latter's skin is due to the fact that she sat in her paint4 ,but it must not be overlooked that even in the portraits of pretty women1 that of ,eliza ,linley for instance1 painted about #aggj1 there is a fullness of color we do not find ten years later4 ,taking everything into account1 it seems to me that the old tradition of ,the ,blue ,boy must be given up1 and that the ,duke of ,westminster's picture1 so far from being an answer to ,reynolds1 was one of the many things that provoked his dictum1 ,gainsborough replying1 if he took the trouble to reply at all1 with the ,mrs4 ,siddons and those other portraits1 painted in the last ten years of his life1 in which blue1 canary yellow1 and other cool tints are made the centres of the color scheme40 ,buttall and ,gainsborough continued their relations4 ,buttall was one of the 8few friends ,gainsborough respected and whom he desired should attend his funeral at ,kew4 ,buttall outlived ,gainsborough seventeen years and died in ,december1 #ahje1 as the ,morning ,herald notes3 8,died1 on ,friday last1 at his house in ,oxford ,street1 ,jonathan ,buttall1 ,esq41 a gentleman whose amiable manners and good disposition will cause him to be ever regretted by his friends40 ,,general ,,philip ,,honywood4 ,thomas ,gainsborough 7#agbg-aghh74 ,collection of ,mr4 ,john ,ringling4 ,when ,gainsborough exhibited this portrait in ,london in #agfe it created quite a stir1 as it was a departure from the style of any portrait by that artist2 and when it was sent home to ,mark ,hall1 the seat of the ,honywood family in ,essex1 a new room had to be built in order to accommodate it1 as the canvas measures nearly ten feet square 7#if #hb74 ,this has the reputation of being the finest equestrian portrait ever painted by ,gainsborough4 ,fulcher writes of it3 8,never was the amenity of landscape more happily displayed4 ,through a richly wooded scene wherein the sturdy oak and silvery-barked birch are conspicuous1 the soldier1 mounted on a bay horse1 appears to be passing1 wearing a scarlet dress which contrasts finely with the mass of surrounding foliage4 ,nothing can be easier than his attitude1 as with one hand he curbs his charger and with the other holds his sword which seems to flash in the sun4 ,the picturesque design of this portrait1 its brilliant coloring1 its bold yet careful execution1 ,gainsborough never surpassed4 ,no wonder that ,george ,,iii wished to become the possessor of it and no wonder that ,horace ,walpole wrote of it in his catalogue #8very good4' ,of the nine pictures which decorated the walls of ,mark ,hall grand staircase1 three were by ,gainsborough and included the remarkable portrait of ,general ,honywood4 ,it is the largest work by that master and has the reputation also of being the finest equestrian portrait ever painted by ,gainsborough1 competing only with ,van ,dyck's ,portrait of ,charles ,i in the ,prado ,gallery1 ,madrid1 with which it has more than once been compared40 ,illustration3 ,collection of ,mr4 ,john ,ringling ,,general ,,philip ,,honywood --,thomas ,gainsborough ,the landscape1 it is interesting to say1 is a part of the park at ,mark ,hall4 ,general ,philip ,honywood of ,mark ,hall came of an old ,kentish family deriving its origin from a place called ,honewood or ,hunewood in the parish of ,postling in ,kent1 where they had held lands since the ,norman ,conquest4 ,general ,philip ,honywood was born in #agaj and succeeded his nephew in #ageh4 ,he was a ,general of ,his ,majesty's forces1 ,colonel of the ,third ,royal ,dragoon ,guards1 ,governor of the ,town and ,citadel of ,kinston-upon-,hull and was also member of ,parliament for thirty-one years for the borough of ,appleby in the ,county of ,westmoreland4 ,philip ,honywood was always familiarly called 8the ,general0 and he died in #aghe4 ,until #ahgh this portrait remained in possession of the ,honywood family at ,mark ,hall4 ,sir ,walter ,armstrong in his ,gainsborough writes3 8,it represents the ,general riding across the canvas from left to right4 ,he wears a scarlet uniform and carries his sword1 unsheathed1 in his right hand2 he has no scabbard4 ,the horse1 a rich bay1 is a little too long4 ,the painter has not taken the precaution to draw him in before commencing the figure1 and so the fore-quarters are separated from the hind by rather too much middle-piece4 ,this mistake is still more conspicuous in the ,colonel ,st4 ,leger at ,hampton ,court1 where a quite unreasonable amount of horse shows behind the figure4 ,otherwise1 the ,honywood picture is as successful in design as it is in all other ways4 ,the landscape is one of the finest backgrounds ever painted and reminds one of the backgrounds to some of those equestrian portraits by ,velasquez which ,gainsborough never saw4 ,it is curious that ,reynolds had sent a ,general on ,horseback to the ,exhibition of #agfa4 ,many things point to the probability that ,gainsborough made an annual visit to ,london during the exhibition and it is quite likely that the apparition of ,sir ,joshua's #8,general' suggested the treatment of his own40 ,the ,reynolds referred to above is the portrait of ,lord ,ligonier now in the ,national ,gallery1 ,london4 ,,the ,,harvest ,,waggon4 ,thomas ,gainsborough 7#agbg-aghh74 ,collection of ,sir ,joseph ,duveen1 ,bart4 ,this picture bears comparison with ,gainsborough's famous ,market ,cart in the ,national ,gallery1 ,london4 ,some critics even prefer it4 ,it is painted in oils on canvas 7#dh #ei inches7 and represents a countryside and a scene very familiar to the painter4 ,the country is rugged with a wheel track winding from the left foreground away into the distance towards the blue hills4 ,on the left1 there are massive boulders overgrown with shrubbery and trees with russet foliage overhanging the lane4 ,the rustic dray-cart1 laden with laughing country folk1 is halted to enable a young girl to clamber up over the wheel and into the arms of a youth who bends forward to help her4 ,the three horses stand placidly while the driver adjusts the collar of the leader4 ,a panting dog capers by the cart and two sheep that have strayed from their flock are seen resting by the boulders4 ,the rock in the foreground is signed with the initials 8,t4 ,g40 ,the ,harvest ,waggon gains particular interest because the two young girls--one seated in the waggon and one climbing up over the wheel--are ,gainsborough's daughters4 ,the horses1 too1 are portraits--horses that belonged to ,john ,wiltshire1 the chief carrier of ,bath1 and the cart is one of ,wiltshire's 8flying waggons40 ,in some accounts of ,john ,wiltshire he is represented as an ordinary dray-man1 who drove his own carts and made deliveries4 ,this was not the case1 however4 ,john ,wiltshire was a man of importance in ,bath1 having built up a large 8carrying business0 7which we would to-day call express71 with a regular service of 8flying waggons10 always going back and forth from his warehouses in ,broad ,street1 ,bath1 to the ,white ,swan at ,holborn ,bridge1 ,london4 ,wiltshire was elected ,mayor of ,bath in #aggb and gave a great entertainment at the ,town ,hall to the gentry and fashionables1 giving thereby 8much offense to the people in trade0 who were not invited4 ,some idea of the speed of these 8flying waggons0 may be had from ,gainsborough's letter to ,garrick relative to the delivery of the latter's portrait3 8,the picture is to go to ,london by the ,wiltshire fly-waggon on ,wednesday next and ,i believe will arrive by ,saturday morning40 ,john ,wiltshire1 who came of a good old family that had attained the rank of squires1 lived in a fine mansion at ,shockerwick near ,bath1 which had belonged to his father4 ,this was quite a place of rendez-vous for the notable personages who visited ,bath4 8,there10 it was said1 8,anstey had a beech tree1 ,gainsborough an elm1 and ,quin an arm-chair1 while ,fielding1 ,allen1 and their hospitable host1 ,wiltshire1 enjoyed the shades of its sylvan glades40 ,wiltshire was so devoted to ,gainsborough and such an admirer of his paintings that he would never allow him to pay any bills for 8carrying40 ,yet he delivered all of ,gainsborough's finished pictures4 ,after a time1 upon ,gainsborough's insisting1 ,wiltshire replied3 8,when you think ,i have carried to the value of a little painting1 ,i beg you will let me have one1 sir2 and ,i shall be more than paid40 ,by degrees ,wiltshire thus acquired his small1 but very choice1 collection of ,gainsboroughs1 which was sold at ,shockerwick in #ahfg4 ,the ,harvest ,waggon was one of these2 and the way the picture came to be painted was this4 ,on one occasion ,gainsborough asked ,wiltshire to lend him a horse for a model4 ,the generous ,wiltshire saddled and bridled one of his horses and sent it to ,gainsborough for a present4 ,gainsborough painted this horse and made1 as ,fulcher says1 8a remarkably fine study of this animal40 ,gainsborough now returned the compliment4 ,he painted ,the ,harvest ,waggon and sent it to ,wiltshire as a present4 ,wiltshire was overjoyed1 for here was his own waggon2 here were his own horses2 and here were the artist's own daughters6 ,illustration3 ,collection of ,sir ,joseph ,duveen1 ,bart4 ,,the ,,harvest ,,waggon --,thomas ,gainsborough ,on giving ,the ,harvest ,waggon to ,wiltshire1 ,gainsborough said it pleased him more than any picture he had ever painted4 ,from the ,collections of ,thomas ,gibbons1 ,esq41 ,hanover ,terrace1 ,regents ,park1 of the ,rev4 ,benjamin ,gibbons1 ,hanover ,terrace1 ,regents ,park1 and of ,sir ,lionel ,phillips1 ,london1 ,the ,harvest ,waggon passed into the ,collection of the late ,judge ,elbert ,h4 ,gary4 ,it attracted great attention at the ,gary ,sale in ,new ,york1 ,april1 #aibh1 when it was sold at the ,plaza ,hotel for #hge1jjj1 the highest figure that any picture has ever reached at auction4 ,,john ,,walter ,,tempest4 ,george ,romney 7#agcd-ahjb74 ,collection of ,mr4 and ,mrs4 ,marshall ,field4 ,it would be hard to find in all the range of portraiture1 at any time and in any place1 a work more charming1 true1 sincere1 natural1 and ingratiating than this adorable boy with his beloved horse4 ,you can see at a glance that they love each other4 ,everything about the picture is delightful3 the coloring1 the handsome1 sweet1 and dreamy boy with his unspeakable grace and gentleness1 the fine horse1 so contented1 and the suave landscape--all make both a portrait and a picture that will live for all time4 ,no changes in fashion can ever destroy its beauty and its appeal4 ,moreover1 ,romney has succeeded in suggesting here a young boy's dreams and the friendship between a boy and a horse4 ,the relation between the two1 as they enjoy a pause in their jaunt through the woodland1 is marvellously expressed4 ,the relation of these figures to the landscape is such that we feel as if we1 too1 were in this lovely1 ,english1 sylvan spot4 ,we seem to hear the plash of the tiny waterfall and the sound of the horse's lips as he quenches his thirst4 ,in just one moment more and the sweet1 gentle1 dreamy boy will pat his friend's warm1 brown neck1 leap lightly on his back and off they will go merrily 8to seek fresh woods and pastures new40 ,illustration3 ,collection of ,mr4 and ,mrs4 ,marshall ,field ,,john ,,walter ,,tempest --,george ,romney ,the picture is in oils on canvas 7#ij #eh inches7 and was painted in #aggi-aghj4 ,in the ,catalogue ,raisonn of ,romney's works we read3 8,whole length1 when a youth1 standing1 facing towards and looking to the front2 long hair2 purple dress1 white turned-down collar1 white stockings and black shoes with silver buckles2 standing by his horse1 which is drinking at a stream to the left2 right hand holding the reins2 left hand holding whip2 trees in the distance40 ,for several years this lovely picture was in the ,collection of ,asher ,wertheimer1 ,esq41 of ,london4 ,john ,walter ,tempest was the only son of ,john ,tempest1 ,esq41 of ,sherburn1 ,county ,durham1 and member of ,parliament for ,durham4 ,he died in #agic at ,brighthelmstone1 where he had gone for his health4 ,the ,german critic1 ,august ,grisebach1 has a profound admiration for this portrait4 ,writing in ,die ,kunst fr ,alle 7#aijh71 he says3 8,as a new representation of the half-grown boy ,romney's ,john ,walter ,tempest stands next to the ,blue ,boy4 ,in place of the warm lighting of the brilliant silk of the correctly adorned boy in ,van ,dyck style and the aristocratic pose of the manufacturer's son1 is the simple cloth coat of subdued violet against the light-brown horse1 so quiet and reserved in color and line1 similar to an antique relief40 ,the ,strawberry ,girl is reckoned among the most original of ,sir ,joshua ,reynolds's works4 ,surely ,john ,walter ,tempest is one of ,romney's most brilliant triumphs6 ,moreover1 the picture is highly original4 ,for a great number of years ,george ,romney in his house1 ,no4 #cb ,cavendish ,square1 shared the patronage of the aristocracy with ,reynolds and ,gainsborough4 ,romney's career was remarkable1 for he had almost no training4 ,romney was born in #agcd at ,beckside1 near ,dalton in ,cumberland1 the son of a cabinet-maker1 who wrote his name ,rumney4 ,he1 too1 was destined for a cabinet-maker1 but made the acquaintance in ,kendal of a portrait-painter named ,christopher ,steele1 who had studied with ,carle ,van ,loo1 and became his pupil and apprentice in #agee4 ,romney soon painted a number of portraits in ,kendal and also a hand holding a letter for the town post-office1 which attracted much attention4 ,undoubtedly ,romney acquired something of the ,french style through this teacher and we may regard him indirectly as a pupil of ,van ,loo4 ,certainly there is a quality in ,romney that finds response in the ,french painters of the ,eighteenth ,century4 ,lord ,gower says in his ,romney 7,london1 #aijd73 8,apparently the ,count made use of his pupil to prepare and grind his colors and to carve frames for his portraits4 ,later these color-grindings must have been of great use to ,romney1 and the preparation and mode of laying on the oil colors may account for the excellence and permanency of his paintings1 which have stood admirably and unfadingly the test of time and which are in most cases as fresh and brilliant1 as clear and transparent1 as when they left ,romney's studio nearly a century and a half ago4 ,it is not without interest that one recalls how all the great ,italian and ,flemish ,masters instructed their pupils in the preparation of the minutest detail in all things relating to their painting1 from the preliminary grinding of the colors and the laying on of the groundwork of their subject1 whether on paint or canvas2 for not only were the great ,italian and ,flemish old painters past masters in all that appertained to the technicalities of their art1 but honest and loyal in seeing no detail1 however irksome1 omitted which could give permanency and endurance to their creations2 hence those marvels of color1 paintings three and four centuries old which still glow with all the brilliancy of gems and flowers1 as radiant as some noble stained-glass window in some glorious ,gothic fane40 ,in #agfb1 when he was but twenty-eight1 ,romney moved to ,london 7leaving his wife1 son1 and daughter7 and established himself in the great city4 ,as a painter of excellent portraits at low prices ,romney soon saved enough money for a visit to ,paris1 and hard work enabled him to close his studio and spend two years in ,italy4 ,soon after his return in #agge1 ,romney removed from ,gray's ,inn to ,no4 #cb ,cavendish ,square1 formerly occupied by the painter1 ,francis ,cotes1 7who had died in #aggj74 ,a portrait of the ,duke of ,richmond ,reading launched ,romney into fame and fortune4 ,thenceforward there was nothing to do but work4 ,romney became the fashion and ranked with ,gainsborough and ,reynolds2 and1 as his prices were considerably less than theirs1 his studio was never empty of sitters4 ,romney's ,diaries show his amazing industry and a golden register of the nobility and gentry besides people of fashion and artistic distinction4 ,the year #aggg1 for instance1 shows six hundred sittings which ,mr4 ,ward calculates as representing from a hundred and twenty to a hundred and fifty finished portraits4 ,romney's charming style was now fully developed and some of his loveliest portraits date from this period3 the ,countess of ,warwick and her ,children2 ,lady ,susan ,lenox2 ,lady ,derby 7see page #dja72 ,lady ,albemarle2 ,lord ,gower's ,children ,dancing2 ,john ,walter ,tempest2 and ,lady ,craven1 which inspired ,horace ,walpole to write3 8,full many an artist has on canvas fix'd ,all charms that ,nature's pencil ever mix'd-- ,the ,witchery of ,eyes1 the ,grace that tips ,the inexpressible douceur of ,lips ,romney alone1 in this fair image caught ,each ,charm's ,expression and each ,feature's thought4 ,and shows how in their sweet assemblage sit ,taste1 ,spirit1 ,softness1 ,sentiment1 and ,wit40--,h4 ,w4 ,therefore1 it will be seen that ,romney had been producing beautiful work before the advent of the beautiful ,emma ,hart1 the future ,lady ,hamilton4 ,romney left ,cavendish ,square in #agih1 having bought a house at ,hollybush ,hill1 ,hampstead1 from which he removed two years later to return to his wife and son at ,kendal4 ,he bought the estate of ,whitestock1 near ,ulverstone1 where his son finished the house he did not live to complete4 ,romney died in #ahjb1 having been for two or three years in a state of complete imbecility4 8,for the first half-century or more after his death his work was neglected4 ,hidden in private houses1 the public never saw it2 his biographies did not interest people2 he had left no group of influential friends to hand down his memory4 ,there was no such machinery of celebrity in his case as had existed so abundantly in ,sir ,joshua's who lived not only by his pictures but by a multitude of lovely engravings and by the written and spoken word of colleagues1 pupils1 and friends4 ,so ,romney's fame may almost be said to have died away during the dark ages between #ahbj and #ahej2 and ,christie's ,catalogues show that in those days he was ignored by collectors and by galleries1 such as then existed4 ,in the general revival of sthetic intelligence which began about the middle of the century--a revival of which the ,pre-,raphaelite movement1 the eloquence of ,ruskin1 and the growth of a new class of wealthy amateurs were so many symptoms and conditions--,romney began to emerge once more4 ,never was there an artist who lived more wholly in his art4 #8,in his painting-room1' said his pupil1 ,robinson1 #8he seemed to have the highest enjoyment of life1 and the more he painted the greater flow of spirits he acquired4' ,it is true that1 by one of the ironies of history1 it was not primarily in portrait-painting that he was interested1 but in those larger schemes and subjects to which1 according to the classification of his time1 he gave a higher place40#ce ,,the ,,hon4 ,,mrs4 ,,davenport4 ,george ,romney 7#agcd-ahjb74 ,collection of the ,hon4 ,andrew ,w4 ,mellon4 ,the ,hon4 ,mrs4 ,davenport 7,charlotte ,sneyd7 is another of ,romney's superlative creations4 ,she is the personification of a gentle ,english beauty1 who might well have sat for the portrait of ,tennyson's 8,queen of the ,rosebud ,garden of ,girls0 in ,maud4 ,mrs4 ,davenport1 dressed in perfect taste1 is posed against a lovely landscape background4 ,her gown is a delicate1 yet glowing pink1 and her cape is white velvet trimmed with white fur4 ,she also wears a white scarf with brown ribbon and a white felt hat trimmed with brown and white ribbons4 ,her powdered hair is arranged in soft ringlets and a black velvet band around her neck affords a note of contrast to the general lightness of the color of the costume4 ,a fashionable muff adds a chic touch4 ,the face is remarkably sweet and intelligent1 as well as beautiful1 and the whole impression given by the portrait is of a charming1 gentle1 gracious1 and lovable personality4 ,charlotte ,sneyd1 born in #agef1 was the daughter of ,mr4 ,ralph ,sneyd of ,keele ,hall1 ,newcastle-under-,lyme1 ,staffordshire1 descended from an ancient family of ,chester1 one of whom had been knighted on the battlefield of ,pinkie in #aedg4 ,her mother was the daughter of ,sir ,w4 ,w4 ,bugot1 fifth ,baronet of ,blithefield1 and the grand-daughter of the first ,earl of ,dartmouth4 ,illustration3 ,collection of the ,hon4 ,andrew ,w4 ,mellon ,,the ,,hon4 ,,mrs4 ,,davenport --,george ,romney ,charlotte ,sneyd was married in #aggg to ,mr4 ,davies ,davenport1 ,high ,sheriff of ,cheshire in #aghc1 and ,m4 ,p4 from #ahjf to #ahcj4 ,his seats were ,capesthorne1 ,crewe1 and ,calvely1 ,nantwich4 ,their youngest son took the extra surname of ,bromley and owned ,baginton ,hall1 ,coventry4 ,the ,hon4 ,mrs4 ,davenport died in #ahbi4 ,she was a cousin of ,honora ,sneyd1 whose name has been associated with that series of portraits by ,romney known as the 8,serena0 portraits4 ,honora was also famous for her engagement to the talented1 charming1 and ill-fated ,major ,john ,andr4 ,the picture1 painted in oils on canvas 7#cj #be inches71 came from the ,collection of ,brigadier-,general ,sir ,william ,bromley-,davenport1 ,k4 ,c4 ,b41 ,lord-,lieutenant of the ,county of ,chester1 ,capesthorne ,hall1 ,cheshire1 ,england4 ,,lady ,,derby4 ,george ,romney 7#agcd-ahjb74 ,collection of ,mr4 ,jules ,s4 ,bache4 ,of ,elizabeth1 ,countess of ,derby1 ,romney made one of his most beautiful portraits and one of the most beautiful portraits1 moreover1 of that great portrait period in which ,romney worked4 ,everything about it is lovely4 ,there is no color in the picture except ,lady ,derby's golden hair and the green and brown tones of the distant landscape and of the tree behind her4 ,the dress1 a thin white ,india mull of exquisite fineness and transparency1 is draped over a white brocade skirt1 making a costume which is the quintessence of purity and lightness2 and ,romney has treated the white so perfectly that the picture seems to emit a celestial radiance4 ,lady ,derby has the fresh ,english complexion of rose and white1 and her golden hair is like sunshine and amber4 ,the pose is so easy and natural that we may safely guess it was a characteristic one4 ,lady ,derby seems unconscious of her charm2 but she was certainly too beautiful not to know it4 ,elizabeth1 ,countess of ,derby1 was the only daughter of ,james1 sixth ,duke of ,hamilton and the famous ,irish beauty1 ,elizabeth ,gunning1 who1 with her sister1 ,maria1 took ,london by storm when they removed there in #agea from ,dublin4 ,the career of the ,gunning sisters was extraordinary1 for they had no money2 but their handsome faces1 fine figures1 stylish dressing1 and charming manners1 soon brought them into notoriety4 ,crowds surged around them whenever they appeared3 in the streets1 in ,hyde ,park1 at ,ranelagh1 at ,vauxhall1 at routs1 at assemblies1 or at the theatre4 ,horace ,walpole said 8it was extraordinary that two sisters should be so beautiful40 ,maria ,gunning married in #ageb the ,earl of ,coventry and also in the same year ,elizabeth married surreptitiously ,james1 sixth ,duke of ,hamilton 8using the ring of the bed-curtain for her wedding ring40 ,on his death1 six years later1 she married ,john1 fifth ,duke of ,argyll4 ,elizabeth1 now ,duchess of ,argyll1 was still as beautiful as ever and people ran after her as usual whenever she appeared in public4 8,one ,sunday evening in ,june1 #agei10 so ,horace ,walpole notes1 8she was mobbed in ,hyde ,park4 ,the ,king ordered that to prevent this for the future1 she should have a guard2 and on the next ,sunday she made herself ridiculous by walking in the ,park from eight to ten ,p4 ,m4 with two sergeants of the ,guards in front with their halberds and twelve soldiers following her40 ,elizabeth1 ,countess of ,derby1 with such a beautiful mother1 had1 therefore1 the right to be a beauty4 ,on ,june #ab1 #aggd1 8,lady ,betty ,hamilton0 was married to ,edward ,smith ,stanley1 afterwards twelfth ,earl of ,derby1 known as the 8,cock-fighting ,earl40 ,she soon tired of him and ran away with the ,duke of ,dorset1 who had been working on the ,derby estate for some time in the guise of a gardener in order to be near the beautiful ,elizabeth and to perfect their plans for elopement4 ,who can look upon ,romney's portrait and blame him8 ,lord ,derby married in #agig the celebrated actress ,miss ,farren 7see page #dbj74 ,elizabeth ,hamilton died in #agig1 aged forty-four4 ,illustration3 ,collection of ,mr4 ,jules ,s4 ,bache ,,lady ,,derby --,george ,romney ,this portrait1 oils on canvas 7#di #ci inches71 was painted in #aggf-aggh1 after twelve sittings3 ,nov4 #bg1 #aggf2 ,jan4 #ca1 ,feb4 #aa1 #ad1 #ba1 and ,march #ai1 #aggg2 ,feb4 #ac1 ,march #b1 #i1 #ad1 #bc and ,may #d1 #aggh4 ,a mezzotint was made by ,john ,dean in #aghj4 ,after having been for many years in the ,tennant ,collection this chef-d'uvre passed to ,mr4 ,jules ,s4 ,bache4 ,a charming picture of ,lady ,elizabeth ,hamilton1 or 8,lady ,betty ,hamilton10 as a child of five years1 painted by ,sir ,joshua ,reynolds1 now hangs in the ,widener ,collection at ,lynnewood ,hall1 ,elkins ,park1 ,pennsylvania4 ,the little girl is seated on a bank facing the spectator and is shown at full length1 wearing a pink dress over a large hoop1 with low neck and short sleeves1 and a spray of flowers at her neck4 ,in her hands she holds a bouquet of bright flowers4 ,this picture1 painted in #ageh1 belonged to the ,duke of ,argyll and afterwards to the ,earl of ,normanton4 8,the ,eighteenth ,century10 says ,max ,roldt1 8has often been called the ,age of ,grace4 ,if ,i were asked how this name could best be justified1 ,i should point without a moment's hesitation to the portraits by ,george ,romney4 ,others painted graceful women in graceful dresses and graceful poses1 but ,romney personified ,grace1 made her his goddess2 and it was her portrait which he painted over and over again under different lineaments and with various features4 ,see his ,lady ,derby as she sits on a bank quietly dreaming under the trees2 her legs are lightly crossed2 her elbow rests on her knee so that her long1 fine hand just touches her chin without actually supporting the pure oval of the head2 with her white1 muslin dress pulled up showing the underskirt of the broch satin of the same hue1 is she not the very embodiment of grace80 ,,emma1 ,,lady ,,hamilton4 ,george ,romney 7#agcd-ahjb74 ,collection of the late ,mr4 ,henry ,e4 ,huntington4 ,who tied that white band over the big hat--,romney or ,emma8 ,it was certainly a very original idea6 8,three quarters in a straw hat called ,emma1 finished for ,mr4 ,crawford10 is the way this picture is referred to in ,john ,romney's ,memoirs2 and in ,romney's own ,ledger this note occurs3 8,three quarters paid for by ,mr4 ,crawford1 #cj guineas1 ,sept4 #ae1 #agib1 and sent home to ,mr4 ,crawford's ,no4 #dh ,brook ,street1 ,july #ba1 #agib40 ,at three-quarter1 then1 seated in a chair1 dressed in white and wearing the conspicuous 8straw hat10 trimmed with a broad band of ribbon tied into large bows1 8,emma0 looks at us rather pensively1--almost sadly4 ,the pose is alluringly graceful and easy1 but the swirling lines1 when analysed1 show the thought and art of a master4 ,it is like a graceful melody of ,mozart4 ,contour1 beauty1 and rhythm all are here6 ,romney painted no fewer than thirty pictures of the 8,divine ,emma10 in character and with titles1 and fourteen portraits1 without titles2 and1 besides1 he painted many replicas and variants of these portraits4 ,emma ,hart came into ,romney's life in #aghb1 taken to the painter's studio in ,cavendish ,square one ,april morning by the ,hon4 ,charles ,francis ,greville1 second son of the ,earl of ,warwick1 with whom she was then living4 ,romney was instantly struck by her extraordinary beauty1 vivacity1 and talent for posing4 ,from this first picture1 entitled ,nature and representing ,emma with a little black spaniel under arm1 for which ,greville paid twenty guineas1 ,romney produced portrait after portrait in various characters3 ,alope2 ,ariadne2 ,bacchante2 ,in a ,black ,hat2 ,calypso 7perhaps the same as ,ariadne72 ,cassandra2 ,circe2 ,comedy2 ,comic ,muse2 ,cybele2 ,daphne 7perhaps the same as ,bacchante72 ,contemplation2 ,emma in a ,straw ,hat 7see page #dje72 ,euphrosyne2 ,gipsy2 ,iphigenia2 ,joan of ,arc2 ,kate 7same as ,ariadne72 ,magdalen2 ,medea2 ,meditation2 with ,miniature in ,belt2 ,miranda2 ,lady ,hamilton in ,morning ,dress2 ,nature2 ,nun2 ,pythian ,priestess2 ,reading the ,gazette2 ,st4 ,cecilia2 ,sensibility2 ,serena2 ,servant's ,cap2 ,shepherdess2 ,sigismunda2 ,spinning-,wheel2 ,supplication2 ,with ,vesuvius in the ,distance2 ,welsh ,girl2 ,wood ,nymph 7same as ,alope74 ,portraits without titles are3 ,seated resting head on right hand1 white dress2 ,bust to left showing hands1 head leaning on right hand1 forefinger on chin1 bare neck and shoulders1 blue and white drapery2 ,half-length1 life-size1 head facing1 resting on crossed hands1 light dress1 colored scarf twisted around the head1 arms bare to elbow1 leaning on table2 ,head looking up to left2 ,head looking up to left 7oval72 ,head to left with startled expression 7sketch72 ,three-quarter length figure seated to left looking back over left shoulder1 head resting on left hand1 white dress and cap and colored sash2 ,half figure turned to right1 white dress1 white drapery around head 7several versions72 ,head1 shoulders1 full face1 low cut white dress1 dark curly hair2 ,bust facing front1 face looking down reading a book1 white dress1 brown background2 ,bust1 life-size looking upward and smiling2 ,white veil over head2 ,head and shoulders looking at spectator and smiling1 dark red dress cut low1 brown hair falling over shoulders1 turban2 ,half figure directed to left looking at spectator1 dark dress1 white fichu1 dark felt hat with broad brim and bunch of feathers1 hair bound with blue ribbon1 hands resting on lap1 white lace cuffs4 ,illustration3 ,collection of the late ,mr4 ,henry ,e4 ,huntington ,,emma1 ,,lady ,,hamilton --,george ,romney ,the story of ,emma1 ,lady ,hamilton1 is a strange one4 ,she was born on ,april #bf1 #agfa1 at ,denhall1 ,chester1 the only child of ,henry ,lyon1 a blacksmith3 no one knows why she took the name of ,hart4 ,while she was a child1 her mother moved to ,hawarden1 entering the service of ,mrs4 ,thomas1 wife of the parish doctor1 and ,emma remained there until she was sixteen1 earning her living as nursery-maid and waiting-woman4 ,we find her in ,london in her eighteenth year employed in the celebrated ,temple of ,health1 of which the notorious empiric1 ,dr4 ,graham1 was the originator and proprietor1 presiding there as the 8lovely ,hebe ,vestina1 ,rosy ,goddess of ,health40 ,here1 at certain times of day1 the 8lovely ,hebe0 and the famous quack could be seen buried up to their necks in the mudbaths1 ,dr4 ,graham's hair dressed according to the latest expression of the perruquier's taste and ,hebe with one of those towering head-dresses of the day1 powdered and decorated with flowers1 feathers1 ropes of pearls1 and gewgaws of many kinds4 ,sir ,walter ,armstrong is of the opinion that ,emma ,hart sat for ,gainsborough's ,musidora ,bathing her ,feet 7in the ,national ,gallery1 ,london74 8,the features10 he says1 8are those of ,emma ,lyon refined1 the hair is hers1 and the rest of the figure is what we find in several of ,romney's pictures40 ,there is a very good reason that this might be so1 for ,gainsborough rented one part of ,schomberg ,house1 ,pall ,mall1 and ,dr4 ,graham rented the other4 ,consequently1 ,gainsborough had every opportunity of seeing the lovely ,emma very frequently4 ,while presiding at ,dr4 ,graham's establishment1 ,emma attracted the attention of ,sir ,henry ,featherstonehaugh of ,up ,park1 ,sussex1 who persuaded her to leave the ,temple and reside at ,up ,park4 ,in the following year she placed herself under the protection of the ,hon4 ,charles ,greville4 ,in #aghd ,sir ,charles's uncle1 ,sir ,william ,hamilton1 his ,majesty's ,ambassador at ,naples1 came to ,london on a visit1 a widower1 a man of distinguished tastes1 an art-connoisseur1 a lover of music1 and a descendant of a noble family4 ,sir ,william became fascinated with ,emma and there was a clever transfer of ,emma1 not to the credit of either of these dashing 8blades40 ,ultimately ,emma joined ,sir ,william in ,naples1 where she was lodged at the ,british ,embassy and treated with the distinction due royalty1 having1 moreover1 her carriage1 boat1 livery1 and other appurtenances of state4 ,in a letter to the ,hon4 ,charles1 ,emma says3 8,sir ,william is very fond of me and very kind to me4 ,the house is full of painters painting me4 ,he has now got nine pictures of me and two a-painting4 ,marchant is cutting my head in stone1 that is in cameo for a ring4 ,there is another man modelling me in wax and another in clay4 ,all the artists is come from ,rome to study from me1 so that ,sir ,william as fitted up a room that is called the painting-room4 ,sir ,william is never a moment from me4 ,he goes no where without me4 ,he has no dinners but what ,i can be of the party4 ,nobody comes without they are civil to me40 ,on ,sept4 #f1 #agia1 the infatuated ,ambassador married ,emma in ,marylebone ,church1 the ,marquis of ,abercorn1 ,sir ,william's kinsman1 acting as best man4 ,during the months preceding the wedding ,emma sat almost daily to ,romney4 ,on ,june #ai1 #agia1 ,romney wrote to ,william ,hayley3 8,at present and the greatest part of this summer1 ,i shall be engaged in painting pictures from the divine lady4 ,i cannot give her any other epithet for ,i think her superior to all womankind4 ,i have two pictures to paint of her for the ,prince of ,wales4 ,she says she must see you before she leaves ,england1 which will be in the beginning of ,september4 ,she asked me if you would not write my life4 ,i told her you had begun it2 then she said she hoped you would have much to say of her in the life1 as she prided herself on being my model40 ,romney also gave a party in ,emma's honor1 on which occasion she displayed her remarkable talents4 ,romney wrote3 8,she performed in my house last week1 singing and acting before some of the nobility with most astonishing power4 ,she is the talk of the whole town1 and really surpasses everything1 both in singing and acting1 that ever appeared4 ,gallini offered her two thousand pounds a year and two benefits if she would engage with him1 on which ,sir ,william said pleasantly that he had engaged her for life40 ,directly after her marriage ,lady ,hamilton gave ,romney a sitting4 ,his ,diary has these dates3 8,sept4 #e ,mon4 ,mrs4 ,hart at #i4 ,sept4 #f ,tues4 ,lady ,hamilton at #aa40 ,sir ,william and ,lady ,hamilton left soon afterwards for ,naples and ,romney and ,emma never met again4 ,sir ,william ,hamilton died in #ahjc2 but from #agif ,emma had lived with and for ,lord ,nelson until his death in the ,battle of ,trafalgar4 ,emma died at ,calais1 ,jan4 #ae1 #ahae4 ,the portrait shown here 7#cj #be inches71 belonged to ,tankerville ,chamberlayne1 ,esq41 and then passed into the ,collection of ,alfred ,c4 de ,rothschild1 ,esq4 ,england indirectly owes to ,lady ,hamilton one of ,nelson's great victories4 ,when ,nelson was in pursuit of the ,french1 it was ,lady ,hamilton who obtained the order from the ,king of ,naples for the fleet to enter port for provisions and water4 ,nelson thereupon entered the harbor of ,syracuse1 watered his fleet1 and fought the victorious ,battle of the ,nile4 ,a few months later ,lady ,hamilton and ,nelson managed to rescue the ,royal family of ,naples by taking them through a subterranean passage and by boats to ,nelson's ship1 the ,vanguard4 8,the world owes it to ,lady ,hamilton10 says ,john ,paget1 8that the sister of ,marie ,antoinette did not share her horrible fate--that another head1 as fair as that which fell into the basket of sawdust in front of the ,tuileries on the #afth of ,october1 #agic1 did not roll on the scaffold at ,naples in #agii4 ,when we come to take the account as it stood between the world and ,lady ,hamilton when it finally closed in #ahae1 we find it strangely changed since #agia4 ,the balance has turned4 ,it is the world1 it is humanity1 that is the debtor40 ,what a strange career6 ,a woman of matchless beauty1 artistic gifts of a high order1 mental brilliance1 generosity1 charm1 and kindness of heart1 and1 moreover1 able to educate herself in the ways of society1 admired1 and courted by princes1 artists1 and men of powers1 the intimate friend of the ,queen of ,naples1 the beloved of ,lord ,nelson1 the deity of ,romney1 enjoying at one time all that wealth and distinction could give and at the end forlorn1 poor1 and deserted1 and dying in a foreign country--such was the life of ,emma1 ,lady ,hamilton6 ,how beautifully ,humphrey ,ward sums up the whole situation3 8,we know that in later years many painters tried their skill upon her--,reynolds once1 ,madame ,vige ,le ,brun at least twice1 ,angelica ,kauffman probably1 and many an ,italian painter and sculptor to whom she sat in ,sir ,william's painting-room at ,naples4 ,but none of these artists1 not even ,reynolds himself1 in the well-known ,bacchante1 made of the most beautiful woman in the world anything that was distinctive1 anything that was much removed from the commonplace4 ,it is ,romney alone who has preserved the life of those wonderful features1 of that radiant hair1 and of the multitudinous phases of expression through which this born actress1 inspired by his suggestions1 passed seemingly at will4 ,her name remains inseparably bound1 though in very different ways1 with the names of two great men--a hero and a painter4 ,in the ,chronique scandaleuse of a hundred years ago1 ,emma belongs to ,nelson2 in the history of art1 she belongs to ,romney40 ,,anne1 ,,lady ,,de ,,la ,,pole4 ,george ,romney 7#agcd-ahjb74 ,collection of the ,hon4 ,alvan ,t4 ,fuller4 ,the portrait represented here of ,anne1 ,lady de la ,pole1 oils on canvas 7#di #ci inches71 was painted in #aghf after the great ,lady ,hamilton period4 ,the dress is of white satin with puffed sleeves of white mull and a sash of pale green with gold fringe4 ,the slippers1 of pale green1 match the sash4 ,the hair is powdered and draped with a white veil4 ,a critic notes that 8the sheen of the white satin dress has since it was painted one hundred and forty years ago become slightly tinged with mauve thus completely harmonizing with the light color of the sash and shoes4 ,the manipulation of the light on the right side of the picture gives a mellow autumnal atmosphere to the portrait of a dignified and beautiful woman40 ,illustration3 ,collection of the ,hon4 ,alvan ,t4 ,fuller ,,anne1 ,,lady ,,de ,,la ,,pole --,george ,romney ,anne1 ,lady de la ,pole1 was the only daughter of ,john ,templer1 ,esq41 of ,stover ,house1 ,devon1 and was married in ,january1 #agha1 to ,sir ,john ,william ,pole1 sixth ,baronet and son of ,sir ,john ,pole of ,shute1 ,devon1 whom he succeeded in #agff4 ,sir ,john assumed by 8sign-manual0 the name of de la ,pole4 ,at the same time that he made this beautiful portrait1 ,romney also painted ,sir ,john de la ,pole1 as a companion piece4 ,lady de la ,pole died in #ahcb4 ,,the ,,hon4 ,,mrs4 ,,grant ,,of ,,kilgraston4 ,sir ,henry ,raeburn 7#agef-ahbc74 ,collection of ,mr4 ,c4 ,fisher4 ,this picture comes from the ,collection of ,colonel ,walter ,brown of ,renfrew and was formerly in the ,collection of the ,hon4 ,mr4 ,stuart ,gray4 ,it is an oil on canvas 7#cj #bd inches71 depicting ,mrs4 ,grant of ,kilgraston1 daughter of ,francis1 ,lord ,grey4 ,the lady is turned three quarters to the left and wears a dark gown with deep loose frill of white around the neck4 ,her hair falls in careless curls over her brow4 ,the background is plain4 ,compared with ,sir ,joshua ,reynolds's some two thousand portraits1 ,raeburn's some seven or eight hundred is small2 but it is1 after all1 a goodly number4 8,raeburn10 in the words of his fellow-townsman1 ,robert ,louis ,stevenson1 8was a born painter of portraits4 ,he looked people shrewdly between the eyes1 surprised their manners in their face and had possessed himself of what was essential in their character before they had been many minutes in his studio4 ,what he was so swift to perceive he conveyed to the canvas almost in the moment of conception40 ,raeburn1 born in ,stockbridge1 a suburb of ,edinburgh1 in #agef1 became the leading ,scottish portrait-painter1 ,president of the ,royal ,society of ,artists at ,edinburgh1 and a ,royal ,academician in #ahae1 presenting in #ahba his diploma picture ,the ,boy with ,rabbit4 ,raeburn was knighted by ,george ,,iv in #ahbb4 ,raeburn was almost entirely self-taught2 and it seems strange that with practically no training1 as the world understands this word1 that he should have risen to the circle of great painters4 ,many of the greatest ,italian painters of the ,renaissance began life as goldsmiths4 ,so did ,raeburn4 ,after a preliminary education at the famous ,heriot's ,hospital in ,edinburgh1 he was apprenticed to a goldsmith in that city4 ,next he took up miniature-painting and passed on to oils1 devoting himself to portraits4 ,success came quickly and early4 ,at the age of twenty-two ,raeburn was thoroughly established as the leading portrait-painter in ,scotland and had married a wealthy widow of title4 ,a visit to ,london and ,rome in #aghe-g was the only break in his enviable life1 passed in the greatest serenity replete with domestic happiness1 social distinction1 and artistic fertility4 ,practically an entire generation of the men and women of ,scotland1 most of them celebrities--sat to ,raeburn in his studio4 ,as ,raeburn's portraits are neither signed nor dated and no very marked periods emphasize his style1 it is difficult to assign accurate dates to any of his works unless some special year is attached to them4 ,moreover1 no lists of the sitters and note-books are known4 ,if he kept them they were destroyed4 ,however1 as ,raeburn advanced in years he attained more and more command of technique1 his appreciation of character became deeper1 and his expression of it more complete4 ,raeburn was appreciated by his contemporaries4 ,when he showed some of his portraits to ,sir ,joshua ,reynolds in ,london in #aghe1 ,sir ,joshua took him at once into favor and friendship2 ,sir ,thomas ,lawrence pronounced the portrait of ,the ,macnab 7the ,highland ,chieftain7 the best representation of a human being he had ever seen2 and ,sir ,david ,wilkie compared ,raeburn to ,velasquez4 ,writing to a brother artist from ,madrid in #ahbh ,sir ,david remarks3 8,there is much resemblance between ,velasquez and the works of some of the chiefs of the ,english ,school2 but of all ,raeburn resembles him most1 of whose square touch in heads1 hands1 and accessories1 ,i see the very counterpart of the ,spaniard40 ,wilkie also wrote to ,alexander ,nasmyth from ,spain3 8,there are some heads by ,velasquez in ,madrid1 which1 were they in ,edinburgh1 would be thought to be by ,raeburn2 and ,i have seen a portrait of ,lord ,glenlee1 ,i think1 by ,raeburn1 which would in ,madrid be thought a near approach to ,velasquez40 ,illustration3 ,collection of ,mr4 ,c4 ,fisher ,,the ,,hon4 ,,mrs4 ,,grant ,,of ,,kilgraston --,sir ,henry ,raeburn ,dr4 ,john ,brown1 one of ,raeburn's best friends1 described his methods as follows3 8,like ,sir ,joshua1 ,raeburn placed his sitters on a high platform1 shortening the features and giving a pigeon-hole view of the nostrils4 ,the notion is that people should be painted as if they were hanging like pictures on the wall1 a ,newgate notion1 but it was ,sir ,joshua's4 ,raeburn and ,i have had good-humored disputes about this4 ,i appealed to ,titian1 ,van ,dyck1 etc41 for my authorities2 they always painted people as if they were sitting opposite to them1 not on a mountebank stage1 or dangling on the wall4 ,this great question we leave to be decided by those who know best4 ,his manner of taking his likenesses explains the simplicity and power of his heads4 ,placing his sitter on the pedestal1 he looked at him from the other end of a long room1 gazing at him intently with his great dark eyes4 ,having got the idea of the man1 what of him carried farthest and #8told1' he walked hastily up to the canvas1 never looking at his sitter1 and put down what he had fixed in his inner eye2 he then withdrew again1 took another gaze and recorded his results1 and so on1 making no measurements40 ,it is pleasant to catch a glimpse of a painter from another painter4 ,farington writes in his ,diary1 ,sept #ba1 #ahja3 8,i next went to ,mr4 ,raeburn1 the portrait-painter most esteemed here who lives in ,york ,place1 ,new-,town4 ,the house is excellent and built by himself4 ,his show room is lighted from the top4 ,his painting-room commands a view of the ,forth and the distant mountains4 ,here ,i found pictures of a much superior kind to those ,i saw at ,mr4 ,nasmyth's4 ,some of ,mr4 ,raeburn's portraits have an uncommonly true appearance of nature and are painted with much firmness1 but there is great inequality in his works4 ,that which strikes the eye is a kind of ,camera ,oscura effect and from those pictures which seem to be his best1 ,i should conclude he has looked very much at nature1 reflected in a camera4 ,raeburn and ,nasmyth do not associate much with other artists and hold themselves very high4 ,raeburn scarcely indeed with any of the profession4 ,the prices of ,raeburn are #ajj guineas for a whole length1 #ej guineas half length1 #cj guineas for a kit-cat and #be guineas for a three-quarter portrait40 ,,quinton ,mc,a,d,a,m4 ,sir ,henry ,raeburn 7#agef-ahbc74 ,collection of ,mr4 ,a4 ,w4 ,erickson4 ,raeburn was particularly happy in painting portraits of children1 full of naturalness and charm and character2 and it will be remembered that he chose for his contribution to the ,royal ,academy the lovely ,boy with a ,rabbit4 ,illustration3 ,collection of ,mr4 ,a4 ,w4 ,erickson ,,quinton ,mc,a,d,a,m --,sir ,henry ,raeburn ,on a par with this masterpiece stands the portrait represented here of ,quinton ,mc,adam1 a little boy twelve years old1 the only son of ,quinton ,mc,adam of ,craigengillan1 ,ayrshire1 to whom ,burns wrote an 8,epistle0 addressed to ,mr4 ,mc,adam of ,craigengillan4 ,quinton ,mc,adam was born in ,angus in #ahje and died in #ahbf and this picture hung for over a hundred years at ,camlarg1 the dower-house of ,craigengillan until it was purchased by the ,agnews of ,london in #aibf4 ,the family still possess ,raeburn's receipt for payment for the picture4 ,the portrait is painted on canvas 7#fa #dg inches71 life-size1 and represents the boy in light yellowish-brown trousers1 dark jacket1 and white1 ruffled shirt4 ,the light shines beautifully on his satiny1 blonde hair4 ,his eyes are violet blue4 ,,mary ,,horneck4 7,,the ,,jessamy ,,bride47 ,john ,hoppner 7#ageh-ahaj74 ,collection of ,mr4 and ,mrs4 ,charles ,p4 ,taft4 ,this canvas 7#bi #bd inches71 a portrait of ,mrs4 ,gwyn1 better known as ,mary ,horneck1 ,oliver ,goldsmith's 8,jessamy ,bride10 remained in the possession of the ,gwyn family until it was sold at ,christie's in #ahhi4 ,subsequently it passed into the ,collection of ,mr4 ,henry ,g4 ,marquand and thence into the home of ,mr4 and ,mrs4 ,charles ,p4 ,taft in ,cincinnati4 ,illustration3 ,collection of ,mr4 and ,mrs4 ,charles ,p4 ,taft ,,mary ,,horneck 8,,the ,,jessamy ,,bride0 --,john ,hoppner ,the 8,jessamy ,bride0 appears in a low-cut1 white dress with blue sash and a white cap with a peacock-blue bow and tied under her chin with a narrow1 black ribbon1 or cord4 ,a black spotted scarf is thrown around her waist and draped over her arms4 ,the complexion is rosy1 the eyes are brown1 and the hair is powdered la mode4 ,mary ,horneck was the daughter of ,captain ,kane ,william ,horneck of the ,royal ,engineers and ,hannah ,mangles1 known in her day as 8the ,plymouth ,beauty40 ,both were painted by ,sir ,joshua ,reynolds4 ,captain ,horneck died in #agee1 leaving his widow in comfortable circumstances and she immediately removed with her three children1 ,charles1 ,mary1 and ,catherine1 to ,london4 ,about #agfi the ,hornecks became acquainted with ,oliver ,goldsmith1 who had three years before that date written ,the ,deserted ,village1 which he dedicated to ,sir ,joshua ,reynolds1 then ,president of the ,royal ,academy4 ,goldsmith soon found appropriate names for the ,horneck children4 ,mary was the 8,jessamy ,bride02 ,catherine was 8,little ,comedy0 and ,charles was the 8,captain in ,lace40 ,they are all three mentioned in ,goldsmith's acceptance to a dinner given by ,dr4 ,baker to the ,hornecks and to which the ,horneck girls sent an invitation to ,goldsmith in rhyme4 ,goldsmith's reply was as follows3 8,your mandate ,i got1 ,you may all go to pot1 ,had your senses been right ,you'd have sent before night2 ,as ,i hope to be saved1 ,i put off being shaved2 ,for ,i could not make bold ,while the matter was cold1 ,to meddle in suds1 ,or to put on my duds2 ,so tell ,horneck and ,nesbitt ,and ,baker and his bit1 ,and ,kauffman beside ,and the ,jessamy ,bride1 ,and the rest of the crew1 ,the ,reynoldses too1 ,little ,comedy's face1 ,and the ,captain in ,lace-- 7,by the bye1 you may tell him ,i have something to sell him7-- ,tell each other to rue ,yon ,devonshire crew ,for sending so late ,to one of my state4 ,but 'tis ,reynold's way ,from ,wisdom to stray ,and ,angelica's#cf whim ,to be frolick like him2 ,but alas6 your good worships1 how could they be wiser ,when both have been spoiled in to-day's ,advertiser80 ,it was after ,goldsmith's death that ,mary ,horneck married ,col4 ,gwyn of the #afth ,dragoons1 who eventually became an equerry to the ,king4 ,on his appearance at ,court1 ,fanny ,burney noted that 8,colonel ,gwyn is reckoned a remarkably handsome man and he is husband of the beautiful eldest daughter of ,mrs4 ,horneck40 ,of ,mary ,horneck1 now ,mrs4 ,gwyn1 ,fanny ,burney wrote in #aghh1 she was 8as beautiful as the first day ,i saw her2 all gentleness and softness20 and a year later1 as 8soft and pleasing and still as beautiful as an angel40 ,mrs4 ,gwyn became a ,woman of the ,bedchamber to ,queen ,charlotte and died in ,london in #ahdj1 at the age of eighty-seven4 ,catherine ,horneck 78,little ,comedy07 married in #agga the artist1 ,henry ,william ,bunbury4 ,their son1 ,charles ,john ,bunbury was painted at the age of eight or nine1 by ,sir ,joshua ,reynolds4 ,john ,hoppner born in ,whitechapel1 ,london1 of ,german parents1 in #ageh1 was a follower of ,sir ,joshua ,reynolds4 ,he exhibited at the ,royal ,academy and became a ,court-,painter and a rival of ,lawrence4 ,hoppner married in #aghb the daughter of ,mrs4 ,wright1 the ,american sculptress and maker of wax-works1 who often sat to him as a model4 ,hoppner exhibited his first picture at the ,royal ,academy in #aghj2 and1 through the patronage of the ,prince of ,wales1 became a fashionable portrait-painter4 ,after the death of ,gainsborough and ,reynolds1 ,hoppner and ,lawrence commanded the field of art4 ,hoppner's charming canvases1 which are very characteristic of the period1 are gaining in vogue day by day and bring very large prices4 ,,eliza ,,farren1 ,,countess ,,of ,,derby4 ,sir ,thomas ,lawrence 7#agfi-ahcj74 ,collection of ,mr4 ,j4 ,p4 ,morgan4 ,lawrence was only a young man of twenty-one when he sent to the ,royal ,academy ,exhibition of #agij this portrait of ,miss ,farren1 which was catalogued as ,the ,portrait of an ,actress4 ,the picture1 oils on canvas 7#hj #eg inches71 shows the graceful young woman walking in a beautiful ,english park with a blue sky overhead1 and who has paused for a moment4 ,she wears an ivory-white1 satin cloak trimmed with brown fur over a soft white muslin gown4 ,her gloved left hand is holding a large muff on which is a blue bow4 ,the picture was very much criticized4 ,on hearing many adverse opinions1 ,miss ,farren wrote to ,lawrence3 8,one says it is so thin in the figure that you might blow it away2 another that it looks broke off in the middle2 in short1 you must make it a little fatter at all events diminish the bend you are so attached to1 even if it makes the picture look ill1 for the owner of it is quite distressed about it at present4 ,i am shocked to tease you and dare say you wish me and the portrait in the fire2 but as it was impossible to appease the cries of friends1 ,i must beg you to excuse me40 ,the owner ,miss ,farren refers to was most probably ,lord ,derby4 ,at the death of ,eliza1 ,countess of ,derby1 the portrait became the property of her daughter1 ,mary ,margaret1 wife of ,thomas1 second ,earl of ,wilton4 ,from her descendant1 ,lord ,wilton1 the picture passed into the ,collection of ,mr4 ,ludwig ,neumann of ,manchester1 and thence into possession of ,mr4 ,j4 ,pierpont ,morgan1 from whom it was inherited by his son4 ,illustration3 ,collection of ,mr4 ,j4 ,p4 ,morgan ,,eliza ,,farren1 ,,countess ,,of ,,derby --,sir ,thomas ,lawrence ,this picture is very well known by the famous engraving by ,bartolozzi1 published in #agib1 and re-issued in colors in #agig4 ,on the death of ,lady ,derby in ,march1 #agig1 the ,earl of ,derby married1 two months later1 the subject of this portrait1 to whom he had long been attentive4 ,in the ,farington ,diary1 under date of ,october #ae1 #agig1 we read3 8,miss ,farren 7the actress afterwards ,lady ,derby7 was bridesmaid to ,lady ,charlotte ,stanley 7,lord ,derby's daughter74 ,lord ,derby's attachment to ,miss ,farren is extraordinary4 ,he sees her daily and always attends the play when she performs4 ,when she came to ,knowsley her mother was with her1 so careful she is of appearances40 ,and again on ,may #bj1 #agig3 8,lady ,gage told ,hoppner that when ,lady ,derby 7,miss ,farren the actress recently married to ,lord ,derby7 was presented1 the ,queen advanced to her1 which is a great compliment40 ,eliza ,farren1 born in #agei1 was the daughter of ,george ,farren1 a surgeon and an apothecary of ,cork1 who went on the stage and attained a little success4 ,his wife and daughters also followed him and1 consequently1 ,eliza was brought up in the theatre4 ,she played juvenile parts in ,bath1 acting with her family1 and often sang between the acts4 ,at the age of fifteen she appeared in ,liverpool as ,rosetta in ,love in a ,village and soon afterwards as ,lady ,townly in ,the ,provoked ,husband4 ,in #aggg she made her ,london dbut at the ,haymarket as ,miss ,hardcastle in ,she ,stoops to ,conquer with great success and for many years she was the favorite actress of the ,haymarket and of ,drury ,lane4 ,when the charming ,mrs4 ,abington left ,drury ,lane in #aghb1 ,miss ,farren was accepted as her successor4 ,miss ,farren's specialty was the fine and fashionable lady and her big part was ,lady ,townly4 ,she was greatly admired in the rles of ,lady ,fanciful in ,the ,provoked ,wife2 ,berinthia in the ,trip to ,scarborough2 ,belinda in ,all in the ,wrong2 ,angelica in ,love for ,love2 ,elvira in ,the ,spanish ,friar and also in the ,shakesperian parts of ,juliet and ,olivia in ,twelfth ,night4 ,thomas ,lawrence was born in ,bristol in #agfi and spent his early years in ,devizes1 where his father was proprietor of the ,black ,bear ,inn4 ,very early the boy showed remarkable talent for drawing portraits in crayons4 ,he was so successful that he went to ,bath1 took a studio1 and began his remarkable career which reached its climax when he became the foremost portrait-painter in ,england4 8,in #aghg the wish of ,lawrence's heart was realized1 and we find the young painter1 then eighteen1 established in rooms in what was then known as ,leicester ,fields--the present ,leicester ,square4 ,he was accompanied to ,london by his father and on the thirteenth of ,september of that year he was admitted as a student of the ,royal ,academy4 ,armed with a letter of introduction from ,prince ,hoare1 one of ,lawrence's ,bath patrons1 a member of the ,dilettanti ,society and ,secretary for ,foreign ,correspondence to the ,royal ,academy1 ,lawrence obtained an interview with ,sir ,joshua ,reynolds1 and as a specimen of his ability and artistic skill he took to the ,president an oil-portrait of himself1 painted in #aghf4 ,he was kindly received by the courtly old ,sir ,joshua1 who praised his work and spoke most encouragingly to the young artist4 8,you have been looking at the ,old ,masters1 ,i see10 he said1 8but my advice is this3 ,study ,nature6 ,study ,nature60 ,three years later the young artist1 who was extremely handsome and 8romantic0 in appearance1 exhibited his picture of ,miss ,farren at the ,royal ,academy1 which attracted much attention4 ,in #agia ,lawrence made a drawing of a much more beautiful subject1 ,emma1 ,lady ,hamilton1 from which a print was engraved4 8,hoppner who was ten years older than ,lawrence10 writes ,lord ,ronald ,sutherland ,gower1 8had been for some time the favorite painter of ,george1 ,prince of ,wales1 with the result that half the smart ladies of the town sat to him4 ,but the ,king1 who allowed the ,queen's and ,princess ,amelia's portraits to be painted by ,lawrence1 became so much interested in him1 that1 on the death of ,sir ,joshua ,reynolds in ,february1 #agib1 he decided that the young painter1 then not twenty-three years of age and not yet a full member of the ,academy1 should be appointed to the post of ,painter-in-,ordinary1 an office that had been filled by the late ,president4 #8,never perhaps1 in the country1' writes ,redgrave1 in his account of ,lawrence1 #8had a man so young1 so uneducated1 so untried in his art1 advanced as it were per saltum to the honors and emoluments of the profession4' ,the ,king's favorite painter was the ,american1 ,benjamin ,west1 ,sir ,joshua's successor in the ,presidential ,chair1 and ,windsor was filled with his historical pictures1 which1 although once valuable1 would not now fetch even a modest sum if they were sold at ,christie's40 ,about #agij ,lawrence removed to ,old ,bond ,street1 installing himself in a handsome apartment with his friend1 ,farington1 as his secretary4 ,lawrence tried to paint imaginary and historical pictures1 but it soon was evident that portraiture was his forte4 ,the death of ,opie in #ahjg and of ,hoppner in #ahaj1 left him without a rival4 ,on the death of ,benjamin ,west in #ahbj1 ,lawrence was unanimously elected ,president of the ,royal ,academy4 ,fuseli1 a little dissatisfied1 exclaimed3 8,well6 well6 since they must have a face-painter to reign over them1 let them take ,lawrence2 he can at least paint eyes60 ,the period between #ahbj and #ahcj 7when ,lawrence died7 is practically a 8,lawrence ,age40 ,sir ,thomas painted everybody of note from ,george ,,iv and the ,duke of ,wellington to fashionable ladies of no particular distinction save their wealth4 ,his full-length portrait of ,george ,,iv in his ,coronation robes was so frequently copied and given by the ,king to his friends that nearly every ,royal ,collection in ,europe can show a replica4 ,the spirit of the age was certainly expressed in ,lawrence's portraits4 ,we have only to look at such portraits as the ,countess of ,blessington 7,wallace ,gallery71 ,lady ,peel 7,frick ,collection71 ,lady ,dover and her ,son1 and ,la ,duchesse de ,berri to realize how true this is4 ,these ladies look as if they had stepped from the pages of ,akermann's ,repository4 ,it is always interesting to learn what an artist has to say about his own work4 ,to ,mrs4 ,jameson1 ,lawrence wrote the following3 8,my thoughts have almost invariably been devoted to ,sir ,joshua1 and1 generally1 to the ,italian ,school--,raphael1 ,correggio1 ,titian1 even ,parmigiano4 ,an admirer of the very finest works of ,van ,dyck1 and acknowledging the consistent ability of his pencil1 ,i have been less his votary than1 perhaps1 hundreds since his time1 of distinguished taste and talent 7,gainsborough1 for instance71 to whose judgment in other cases ,i should justly bend4 ,rubens has been infinitely more the object of my admiration2 but1 as you know1 presents very little as example for portrait-painting4 8,sir ,joshua continues to be more and more my delight and my surprise4 ,rembrandt has another and still higher place in my affection4 ,in my men1 then1 ,i have thought of both1 and of ,titian and of ,raphael1 as the subjects approached their style4 ,in women1 of ,sir ,joshua1 ,raphael1 ,parmigiano1 and ,correggio4 ,in children1 of ,sir ,joshua and the two latter4 ,in my portraits of ,kemble and of ,mrs4 ,siddons1 of the highest ,italian ,school40 ,in #ahbe the ,king of ,france gave ,lawrence the ,cross of the ,legion d'honneur4 ,lawrence died in #ahcj1 unmarried1 a fashionable 8man about town10 courted1 admired1 and not unlike ,lord ,byron1 in some respects4 ,lord ,gower says3 8,that his fame underwent a marked decline during the half-century after his death in this country cannot be doubted2 but within the last few years a reaction has set in1 which is tending to place him again in the forefront of our greatest portrait-painters4 8,both as a man and as an artist ,lawrence was impressionable1 and in his work was entirely influenced by the spirit of his period1 a period of affectation that frequently bordered upon vulgarity4 ,if ,lawrence's art in portraiture had been genius instead of talent of the highest order1 he would have created a public taste instead of slavishly following that set by the ,court or ,society of his day4 ,as it was1 his work was the ultimate expression of the curtain and column school of portraiture1 and his success set a fashion that was followed for years afterwards by innumerable portrait-painters4 ,these1 in imitating the style1 missed the spirit and perception by which ,lawrence1 trammelled as he was by the absurdities of dress and conventionality of attitude and surroundings1 was enabled to place upon his canvases some suggestion of the actual identity of his sitters4 ,and it was not until the advent of ,george ,frederick ,watts and the late ,sir ,john ,everett ,millais that the effects of the imitation of the obvious points of ,lawrence's style finally disappeared from ,english portraiture4 8,lawrence's chief defect was that he turned his art too much into a trade2 he would have attained a far higher position had he contented himself with painting half the people he did1 and his name would have stood on a higher pinnacle in the ,temple of ,fame4 ,during the last twenty years of his life he painted but little more1 as a rule1 than the face of his sitter1 the rest of the picture being completed by his pupils2 or rather his assistants4 ,this practice has1 of course1 lessened the value of his portraits4 8,these are grave failings2 but on the other side1 his great merits are incontestable and weigh the scale in his favor4 ,where1 except among the very greatest of those whose fame chiefly rests on their excellence in the art of portrait-painting--such giants as ,titian1 ,rubens1 ,rembrandt1 ,velasquez1 and ,van ,dyck1 ,reynolds1 and ,gainsborough--can finer work be shown them than in such astonishing likenesses as those of ,lawrence when at his best2 and the master must be judged by his master-works4 ,his style1 when once he had adopted it1 had the great merit of being a style of its own1 of much refinement and excellence in drawing2 although his work was1 perhaps1 too smooth in technique and somewhat affected in feeling4 ,his paintings have lasted1 whereas those of many of his contemporaries are mere wrecks and shadows of their former selves2 for he attempted no experiments in glazings and pigments1 as was ,sir ,joshua's wont1 and his pictures are1 as a rule1 as fresh as when they were painted4 8,i believe it only fair to place him immediately beneath our three greatest portrait-painters1--that immortal trio1 ,reynolds1 ,gainsborough1 and ,romney3 at a time when ,hoppner1 ,opie1 and ,raeburn were all working1 this is high praise40 ,,pinkie4 ,sir ,thomas ,lawrence 7#agfi-ahcj74 ,collection of the late ,mr4 ,henry ,e4 ,huntington4 ,this radiant portrait is generally considered to be ,lawrence's masterpiece4 ,how fresh1 how sweet1 how breezy it is6 8,pinkie0 stands on a high hill with a beautiful low-lying landscape of wooded hills spreading out and undulating towards the distant horizon4 ,the sky is dappled with swiftly moving clouds and the morning breeze is blowing pretty freshly1 for ,pinkie's light gown is rippling with it and the strings of her bonnet are fluttering and flapping rather violently4 ,these ribbons are pink1 matching the sash which holds the diaphanous1 white gown in place4 ,pinkie's eyes are brown1 large1 and lustrous and her brown hair is touzled by the wind2 but she looks at us so sweetly and brightly that we love her at first sight4 ,how daintily her little slippered foot is planted on the flower-sprinkled turf6 ,her airy1 youthful1 billowy figure suggests the idea of ,spring beneath whose every footstep flowers instantly appear in full bloom4 ,illustration3 ,collection of the late ,mr4 ,henry ,e4 ,huntington ,,pinkie --,sir ,thomas ,lawrence ,how far she has come6 ,do we not see her home in the distance on the right1 encircled by a crescent of leafy trees and with a wide driveway through the clearing8 8,pinkie's0 name was ,sarah ,moulton-,barrett1 and she was the only daughter of ,charles ,moulton1 ,esq41 and his wife ,elizabeth ,barrett ,moulton4 ,pinkie was born ,march #bb1 #aghc1 and the lovely child died at the age of twelve1 the year in which this portrait was painted4 ,it is interesting to note that ,pinkie was the aunt of the famous poet1 ,mrs4 ,elizabeth ,barrett ,browning1 who was the daughter of ,pinkie's brother1 ,edward ,moulton-,barrett of ,coxhoe ,hall1 ,durham1 and ,hope ,end1 ,hereford4 ,the portrait1 oils on canvas 7#eg #ci inches71 was painted in #agie and was formerly in the ,collection of ,octavius ,moulton-,barrett1 ,esq41 ,westover1 ,calbourne1 ,isle of ,wight1 and thence it passed to the ,right ,hon4 ,lord ,michelham1 ,k4 ,c4 ,v4 ,o41 ,london4 ,a modern critic rapturously expresses what every one feels on looking at this enchanting picture3 8,if ever canvas was instinct with life1 this picture lives and breathes4 ,if ever the vehicle of oil paint spread on canvas has caught the wind as it blows1 the light that dances in a mischievous child's eyes1 the breath of life and joy in living1 ,lawrence1 in this picture1 achieved the miracle4 ,you feel1 as you look at it1 that you could read small print by its light in the dead of night4 ,the color of it is the color of sea-downs on a ,may morning2 the joy of it is of the joy of the first warm day of ,spring4 ,and in the little girl's graceful figure are comprised whatever things are lovely1 whatever things are pure1 to the minds of men40 ,,index ,titles of ,paintings in this book appear in italics4 ,abbey1 medival1 #agj ,abel1 ,charles ,frederick1 #cfa ,act of ,supremacy1 #bdd ,adoration of the ,kings 7,gentile da ,fabriano71 #gd1 #gg ,adoration of the ,lamb 7,van ,eycks71 #aeg1 #afh ,adoration of the ,magi 7,benvenuto di ,giovanni71 #ab-af ,adoration of the ,magi 7,botticelli71 #eh ,adoration of the ,magi 7,fra ,angelico71 #cg ,adoration of the ,magi 7,memling71 #agd ,adoration of the ,shepherds 7,mantegna71 #ajd ,adoration of the ,virgin 7,lippi71 #df ,age of ,innocence 7,reynolds71 #cdj ,agnolo ,gaddi1 #ah ,agony in the ,garden 7,raphael71 #ij ,akermann's ,repository1 #dbd ,albert1 ,charles d'1 #agh ,albertinelli1 ,mariotto1 #bd ,albigenses1 #bfb ,albizzi family1 #fh ,allegri1 ,antonio1 #ic1 #ii ,alphonso1 ,duke of ,ferrara1 #ii ,altichiero ,altichieri1 #ic1 #ih1 #ajc1 #ajd ,ambassadors1 ,the 7,holbein71 #bej 8,anacreon of ,painting10 ,the1 #bgg ,anatomy ,lesson1 ,the 7,rembrandt71 #bjf ,analysis of ,beauty1 ,hogarth's1 #ccg ,ancre1 ,marshall d'1 #agh ,andr1 ,major ,john1 #cih ,andrea d',agnolo1 #bd ,andrea del ,castagno1 #ai ,andrea del ,sarto1 #bd ,andrea di ,cione 7,orcagna71 #ah ,andrea di ,cione 7,verrocchio71 #bc ,andrea di ,firenze1 #ah 8,andrea senza errori10 #bd ,anemone1 #agd ,angelo ,allori1 #bd ,angels1 ,fra ,angelico's1 #cb-cd1 #ch ,angels' ,heads 7,reynolds71 #cch1 #cdj ,anglo-,norman painters1 #ccc ,anne of ,austria1 #agf1 #agh1 #aid ,anne1 ,lady de la ,pole 7,romney71 #daj ,annunciation1 ,the1 #bh1 #cj ,annunciation1 ,the 7,masolino71 #bh ,annunciation1 ,lily1 #cj ,annunzio1 ,d'1 quoted1 #aba ,antonello da ,messina1 #aag1 #abd1 #acb ,antonello di ,giovanni degli ,antoni1 #abd ,antonio di ,san ,gallo1 #bd ,antonio ,veneziano1 #ah1 #ai ,antwerp ,school1 #afd1 #aff ,apple1 #abf ,arlequin1 #bha ,armand-,dayot1 quoted1 #cjb ,armida1 #aha ,armida1 ,garden of1 #aha ,armstrong1 ,sir ,walter1 quoted1 #bhf1 #cdj1 #cda1 #che1 #chh1 #djf ,army ,plot1 #aid ,arne1 ,dr41 #cca ,arnolfo del ,cambio1 #bh ,arte de ,medici e speziale1 #ag ,asolo1 #add ,astrophel and ,stella1 #ahg-ahh ,audran1 ,claude1 #bhd ,augsburg1 #bcf ,baccio della ,porta1 #bd ,bach1 ,john ,christian1 #cfa ,balen1 ,hendrik van1 #afd1 #afe1 #aha ,baldovinetti1 ,alesso1 #bb1 #bc1 #cg1 #dh-ea1 #eb1 #gj ,baptistery doors1 #ah1 #bj1 #eb ,barbizon ,school1 #bja ,barry1 ,madame du1 #cab ,bartolo di ,fredi1 #c ,basaiti ,marco1 #aah ,bassano1 ,jacopo1 #aah ,bastiani1 ,lazzaro1 #aah ,bath1 #cdh1 #ceh1 #cfa1 #cij1 #dbb ,battle of the ,nile1 #djh ,beatrice d',este1 #if1 #ajg1 #adh1 #aej ,beauvais tapestry1 #cjf ,beechey1 ,sir ,william1 #ccg ,bellini1 ,gentile1 #ih1 #aaf1 #aag1 #aah1 #aai1 #acb ,bellini1 ,giovanni1 #ih1 #aaf1 #aag1 #aah1 #aai1 #aba1 #abd1 #acj-aci1 #aea ,bellini1 ,jacopo1 #h1 #ih1 #aaf1 #aag ,bellini1 ,nicolosia1 #ig1 #ih ,bembo1 ,pietro 7,cardinal71 #add ,benci1 ,jacopo d',antonio1 #eb ,benvenuto di ,giovanni1 #c1 #ab-af ,berenson1 quoted1 #h1 #ab1 #cf1 #eb1 #fb-fc1 #gg1 #hc-hd1 #ii1 #ajc1 #ajf1 #abb ,bermudas1 ,plantation of the1 #aij ,bernard di ,betto1 #gd ,bernardo da ,canale1 #abb ,berruguete1 ,pedro1 #beg ,birds1 ,painters of1 ,dutch1 #bjc ,birds1 ,painters of1 ,italian1 #ai ,billet-,doux1 ,le 7,fragonard71 #cah 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,carle1 #bgf1 #bgg1 #cjd1 #cjf1 #cab1 #cid ,van ,mander1 quoted1 #aeg ,vanni1 ,andrea1 #c ,vanni1 ,lippo1 #c ,vannucci1 ,pietro1 #gd1 #hj ,vargas1 ,luis de1 #beg ,vasari1 quoted1 #ag1 #cb1 #cf1 #ci1 #ea ,vatican1 #ch1 #hb1 #hi1 #aba ,vecchietta1 ,lorenzo1 #c1 #i1 #ae ,veen1 ,otto van1 #agh ,velasquez1 #beh1 #bfd-bfh1 #bgj1 #bgb ,velde1 ,adriaen van der1 #bja ,venetian ,school1 #aae-aec ,veneto1 ,bartolommeo1 #aai1 #adh-aea ,veneziano1 ,bartolommeo1 #aai-aea ,veneziano1 ,domenico1 #bj1 #gd ,venturi1 ,adolfo1 quoted1 #ajj ,verhaaght1 ,tobias1 #agh ,vermeer1 ,jan1 #afb1 #bjb1 #bbh-bcb ,vermejo1 ,bartolom1 #beg ,vernet1 ,joseph1 #cbb ,veronese1 ,paolo1 #aj1 #ic1 #ii1 #abj ,verrocchio1 ,andrea1 #ba1 #bb-bc1 #ei1 #hb ,veth1 ,dr4 ,jan1 quoted1 #bad-baf ,villa ,aldobrandini1 #ach ,villa ,ludovisi1 #ach ,vincent1 ,franois lie1 #cbf ,virgin and ,child 7,bellini71 #acd ,virgin and ,child 7,titian71 #adj ,virgin and ,child with the ,infant ,st4 ,john and ,angel 7,francia71 #ajg ,virgin and ,child with ,st4 ,lucy1 ,st4 ,catherine1 ,st4 ,peter and ,st4 ,john the ,baptist 7,bellini71 #acj ,virgin ,appearing to ,st4 ,dominic 7,el ,greco71 #bfb ,virgin of the ,rocks 7,leonardo da ,vinci71 #if ,virgin ,receiving the ,divine ,message 7,fra ,angelico71 #cd ,virginia ,government1 #aij ,vision of ,st4 ,eustache 7,pisanello71 #ajb1 #ajc ,viti1 ,timoteo1 #hi1 #ajh ,vivarini1 ,antonio1 #h1 #aaf1 #abe ,vivarini1 ,bartolommeo1 #aag ,vydts1 ,jodocus1 #aeg ,waldegrave1 ,lady1 #cff ,walpole1 ,charlotte1 ,countess of ,dysart1 #cfh ,walpole1 ,edward1 #cff ,walpole1 ,horace1 #bad1 #bai1 #cca1 #ccc1 #cff1 #cfh ,walpole1 ,horace1 quoted1 #cfd1 #cfh1 #cgf1 #djj ,walpole1 ,louisa 7the ,hon4 ,mrs4 ,f4 ,keppel71 #cfh ,walpole1 ,maria1 #cff ,walpole1 ,sir ,robert1 #cff ,ward1 ,humphrey1 quoted1 #ccb1 #cig ,wars of the ,roses1 #ccc ,watteau1 ,antoine1 #bge1 #bha-bhe1 #bid1 #bif1 #cad1 #ccj ,watts1 ,george ,frederick1 #dbe ,weenix1 ,j4 ,b41 #bjc ,west1 ,benjamin1 #dbc1 #dbd ,wilkie1 ,sir ,david1 quoted1 #dab ,wilkie1 ,john1 #ccg ,wilson1 ,richard1 #ccg ,wiltshire1 ,john1 #chi-cij ,winchester ,school1 #ccd ,wohlgemut1 ,michael1 #bcf1 #bcg ,wolfram von ,eschenbach1 #bce ,woltman1 ,dr4 ,alfred1 quoted1 #bdd ,wright1 ,mrs4 7,patience71 #dai ,wynants1 ,jan1 #bja ,yellow ,boy1 ,the 7,reynolds71 #chd ,young1 ,col4 ,g4 ,f41 quoted1 #bj1 #ba1 #de-df1 #ef1 #eh1 #ei-fj ,young ,girl 7,greuze71 #cjh ,young ,girl ,reading a ,letter 7,greuze71 #cjf ,zeitblom1 ,bartholomus1 #bcf ,zuccaro1 ,federigo1 #ccd1 #cce ,zurbaran1 ,francisco1 #beh ,,footnotes3 #a 8,the early ,byzantine masters represented the ,madonna's garments enriched with lines of gold4 ,giotto and the early ,florentine painters as a rule preferred to suggest a plain material1 often of delicate color except when the ,madonna was portrayed as ,queen of ,heaven4 ,in their devotional pictures the ,sienese masters used gorgeous gold and red1 or white and gold fabrics4 ,some of the ,giotteschi and perhaps ,gentile da ,fabriano inherited from ,siena their love of representing splendid textiles4 ,later color effects were made more of a study and deeper1 richer tones appeared2 but simple materials were represented except among the ,venetians1 who frequently in their pictures of both sacred and profane subjects painted elaborate1 richly colored fabrics4 ,this cult of splendor reached its height in the ,sixteenth ,century under ,paolo ,veronese40--,medival and ,renaissance ,paintings 7,fogg ,art ,museum1 ,cambridge1 #aibg74 #b 8,the incident of the ,adoration of the ,magi is related only in the ,gospel of ,saint ,matthew1 and there very briefly2 but many legends grew up around the ,magi and ,kings from the ,east4 ,the number of the ,magi was at first indeterminate1 but about the ,fourth ,century the number three became general4 ,it was not until the ,fifth and ,sixth ,centuries that the ,magi became ,kings and not until the ,tenth ,century were they represented as crowned ,kings4 ,the ,magi were for the first time pictured as of different ages1 an old man1 a middle-aged man1 and a young man1 in an ,eastern manuscript dating from about #eej4 ,during the ,middle ,ages the exact age of each was given--the eldest was sixty1 the youngest twenty1 and the other forty years old4 ,their names1 the ,latin forms of which were ,jaspar--later ,gaspard--,balthasar1 and ,melchior1 first appeared in a ,greek ,sixth ,century manuscript4 ,a passage attributed to ,bede1 quoted in ,male's ,religious ,art in ,france1 ,thirteenth ,century1 states that #8,melchior1 an old man with long1 white hair and a long beard1 offered gold1 symbol of the divine kingdom4 ,the second1 named ,caspar1 young and beardless1 with a ruddy countenance1 honored ,christ in presenting incense1 an offering pointing to his divinity4 ,the third1 named ,balthasar1 with a dark skin and a full beard1 testified in his offering of myrrh that the ,son of ,man must die4' ,it was not until the ,fourteenth and ,fifteenth ,centuries that artists represented the third ,king as a negro1 in accordance with the teachings of the theologians that the three ,kings represented the three races of mankind coming to render homage to the ,christ ,child4 ,the subject of the ,adoration of the ,magi was a favorite one with artists1 particularly in the ,fifteenth ,century1 as it lent itself to the richest and most elaborate treatment4 ,the early legends asserted that ,st4 ,joseph did not appear2 but in representations dating from the ,fifteenth ,century he is almost invariably present40--,medival and ,renaissance ,paintings 7,fogg ,art ,museum1 ,cambridge1 #aibg74 #c 8,the legend which makes ,st4 ,luke a painter was of ,eastern origin and was introduced into the ,west at the time of the ,first ,crusade4 ,there may have been a ,greek painter of ,madonnas named ,luca whom the ,western ,church confused with the ,evangelist1 but the ,evangelist was always regarded an authority on the characteristics of the ,madonna4 ,his ,gospel gives the fullest account of her4 ,the subject of ,st4 ,luke painting the portrait of the ,madonna was frequently treated in the ,middle ,ages and in the ,renaissance48--,medival and ,renaissance ,paintings 7,fogg ,art ,museum1 ,cambridge1 #aibg74 #d 8,double roses1 pink or red1 were the symbol of divine love and were consecrated to the ,madonna4 ,one of her titles was the ,madonna della ,rosa1 doubtless based on the verse in the ,song of ,solomon 7ii4 #a7--#8;,i am the ,rose of ,sharon and the lily of the valleys'--for as early as the first centuries the ,fathers of the ,church applied to the ,madonna the imagery of the ,canticles4 ,the tradition is that when the roses were massed together in garlands or baskets they symbolized heavenly joys4 ,the painters of ,central ,italy during the ,fourteenth and ,fifteenth ,centuries represented clusters of lilies and roses in the foreground of their ,madonna pictures as votive offerings to her of sacred flowers4 ,often angels present bowls of flowers to her4 8,myrtle was one of the ,madonna's flowers and symbolized her purity and other virtues4 ,the jasmine1 though not strictly a sacred flower1 is often found in religious paintings--the star-shaped blossom apparently symbolized divine hope or heavenly joy4 ,it is often found with roses and lilies beside the ,madonna4 ,the carnation had no definite symbolic meaning1 but was frequently used instead of the rose2 then it had the same significance as the rose1 the symbol of divine love1 sacred to the ,madonna4--,medival and ,renaissance ,paintings 7,fogg ,art ,museum1 ,cambridge1 #aibg74 #e 8,in general1 representations of the ,annunciation before the ,twelfth ,century are rare2 but after the beginning of the ,thirteenth ,century they become very frequent1 appearing somewhere on every altar-piece--in medallions1 or quatrefoils above the main panels1 in the pinnacles1 or in the predella1 or painted1 or carved on the outside of the shutters4 ,the subject was often treated as a mystery1 not as an actual scene4 ,generally only the ,virgin and ,angel were represented1 although it was not unusual to find other figures4 ,from the end of the ,fourteenth until the ,sixteenth ,century1 ,god the ,father is often seen in the sky and the ,dove of the ,holy ,spirit descends from ,him to the ,virgin on rays of light4 ,the ,virgin was represented seated1 standing1 about to rise at the approach of the ,angel1 or kneeling4 ,gabriel was pictured standing1 or kneeling1 before her1 or just alighting on the earth1 his feet not yet touching the ground4 ,in the ,thirteenth ,century representations1 notably in the painted glass windows1 the ,virgin and the ,angel stand face to face2 later the ,italian artists represented the scene as taking place in an open loggia1 while the ,flemish artists painted the ,virgin in meditation in her room when the ,angel appeared to her4 ,before the ,thirteenth ,century1 ,mary was often represented with a basket of wool1 or distaff as1 according to the ,protevangelion1 she continued to spin for the ,temple after she had become affianced to ,joseph and was working when the ,angel came4 ,gabriel bears the light staff1 or sceptre1 of a herald1 a scroll on which is inscribed his greeting1 an olive-branch1 or a stalk of lilies4 8,the lily probably was developed from a flower with a long stalk which was introduced during the ,thirteenth ,century appearing in glass-painting and miniatures and signifying springtime1 #8the time of flowers1' when the ,annunciation took place4 ,later1 lilies were used to symbolize the purity of the ,virgin and were placed in a jar1 or vase1 near her1 or were carried by the ,angel4 ,in ,spain the vase of lilies was almost essential to representations of the ,annunciation and became the special and distinguishing attribute of the ,virgin4 ,the ,spanish ,order of the ,lily of ,aragon1 established by ,ferdinand of ,castile in commemoration of a victory over the ,moors in #adaj1 had for its badge #8pots filled with white lilies interlaced with griffins1 to which was pendent a medal having thereon an image of the ,virgin ,mary4' ,in ,italy1 neither the vase of lilies nor the stalk was considered essential in representations of the ,annunciation1 although they are of frequent occurrence4 ,certain of the ,florentine artists1 notably ,fra ,filippo ,lippi1 represented both4 ,ghirlandaio1 in his ,annunciation at ,san ,gimigniano1 placed a vase beside the ,virgin's desk and combined other flowers--roses1 daisies1 and jasmine--with the lilies4 ,the ,angel bears the lily-stalk4 8,it is interesting to note that while in the majority of ,fourteenth- and ,fifteenth-,century ,annunciations the ,archangel ,gabriel was represented bearing a lily1 the ,sienese painters seldom used this flower1 preferring the olive-branch1 always a favorite symbol with them4 ,in the ,annunciation it referred to the ,christ ,child as the bringer of peace on earth4 ,one interpretation of the avoidance of the use of the lily by ,sienese artists is that it was due to the hatred of ,siena for ,florence1 the lily being the flower of ,florence40--,medival and ,renaissance ,paintings 7,fogg ,art ,museum1 ,cambridge1 #aibg74 #f ,col4 ,g4 ,f4 ,young1 ,the ,medici 7,london1 #aiaj74 #g ,julia ,cartwright1 ,the ,painters of ,florence 7,london1 #aiaf74 #h ,col4 ,g4 ,f4 ,young1 ,the ,medici 7,london1 #aiji74 #i ,col4 ,g4 ,f4 ,young1 ,the ,medici 7,london1 #aiji74 #aj 8,the pomegranate in the hand of the ,child1 bursting open and showing the seeds1 has been variously interpreted4 ,it may be a symbol of the hope in eternity1 which the ,christ gave to man1 signified by the unexpected sweetness of the fruit within the hard rind4 ,in the writings of the early ,fathers the fruit is also interpreted as the emblem of congregations1 because of its many seeds1 or as the emblem of the ,christian ,church because of the inner unity of countless seeds in one and the same fruit40--,medival and ,renaissance ,painting 7,fogg ,art ,museum1 ,cambridge1 #aibg74 #aa ,berenson4 #ab 8,space composition differs from ordinary composition in the first place most obviously in that it is not an arrangement to be judged as extending only laterally1 or up and down1 on a flat surface1 but as extending inwards in depth as well4 ,it is composition in three dimensions and not in two1 in the cube1 not merely on the surface4444 ,painted space composition opens out the space it frames in1 puts boundaries only ideal to the roof of heaven4 ,all that it uses whether the forms of the natural landscape1 or of grand architecture1 or even of the human figure1 it reduces to be its ministrants in conveying a sense of untrammelled1 but not chaotic1 spaciousness4 ,in such pictures how freely one breathes1--as if a load had just been lifted from one's breast2 how refreshed1 how noble1 how potent one feels2 again1 how soothed2 and1 still again1 how wafted forth to abodes of far-away bliss60 #ac ,julia ,cartwright1 ,beatrice d',este 7,london1 #aijh74 #ad ,julia ,cartwright1 ,beatrice d',este 7,london1 #aijh74 #ae ,beryl de ,slincourt1 ,venice 7,london1 #aijg74 #af 8,in the north of ,italy garlands of fruit took the place of votive flowers4 ,in pictures of ,florentine origin1 when the ,madonna holds a single rose1 she is represented as the ,madonna del ,fiore--,our ,lady of the ,flower--to whom the ,cathedral at ,florence was dedicated4 8,fruits in general symbolized the fruits of the spirit1 or a votive offering1 or were often used purely for decorative purposes4 ,the cherries which the ,angels offer to the ,child are the fruit of ,heaven1 typifying the delights of the blessed4 ,in a picture by ,memling in the ,uffizi1 the ,child holds in one hand a cluster of cherries--the fruit of ,paradise--while with the other ,he reaches out for the apple offered ,him by an ,angel4 ,this typifies ,his relinquishment of heavenly joys and ,his taking upon ,himself the sin of the world4 8,the apple and the gourd were often painted together by artists1 notably ,crivelli4 ,the use of the gourd dates back to the wall-pictures in the catacombs1 where ,jonah was represented as the type of the ,risen ,christ and the gourd as the symbol of the ,resurrection4 ,as the apple was the fruit of ,eden which brought sin into the world1 so the gourd represented the ,resurrection which saved the world from the consequences of its sin4 ,in early pictures the apple sometimes represents the fruit of ,paradise1 which the ,king of ,heaven brings down to earth with ,him4 ,in general1 however1 it is used as the symbol of the sin of the world which ,christ takes upon ,himself40--,medival and ,renaissance ,paintings 7,fogg ,art ,museum1 ,cambridge1 #aibg74 #ag ,beryl de ,slincourt1 ,venice 7,london1 #aijg74 #ah ,it is interesting to see that ,vasari calls ,drer a ,fleming6 #ai ,this reminds us of the old ,nursery rhyme3 8,sing a song of sixpence1 ,a pocket full of rye2 ,four-and-twenty blackbirds ,baked in a pie4 ,when the pie was opened1 ,the birds began to sing2 ,wasn't that a dainty dish ,to set before the ,king80 ,undoubtedly this jingle is an echo of the jokes and 8pleasantries0 in confectionery and pastry that were perpetrated by the ,medival chefs4--,e4 ,s4 #bj ,this was a fashion of the period1 originating in ,italy 7see pages #ea1 #hf1 #ajc74 #ba 8,the introduction of little angels singing vigorously and playing on musical instruments about the ,madonna's throne was a favorite motif of the ,umbrian ,boccatis4 ,indeed1 angel musicians were represented by artists of all ,schools from the ,twelfth to the ,seventeenth ,century4 ,they stand or kneel before the ,madonna and ,child1 or--particularly in ,venetian and ,north ,italian paintings--sit on the steps of the throne1 playing on lutes1 harps1 viols1 miniature organs1 blowing horns and trumpets1 striking cymbals and triangles or beating drums and timbrels1 and singing their songs of praise and adoration4 ,they make a delightful note of joyousness in representations of the ,madonna and ,child and are among the happiest creations of painters and sculptors40--,medival and ,renaissance ,paintings 7,fogg ,art ,museum1 ,cambridge1 #aibg74 #bb ,for surprises in pastry1 see page #afj4 #bc ,strawberry ,hill ,simeon had not then been discovered4 #bd ,leslie and ,taylor1 ,life and ,times of ,sir ,joshua ,reynolds 7,london #ahfe74 #be ,william ,smith 7#agef-ahce7 was a politician who took a great interest in literature and art4 ,he was a friend of ,sir ,joshua ,reynolds1 for whose ,mrs4 ,siddons as ,the ,tragic ,muse he paid #cbj at the ,calonne ,sale in #agie and sold it to ,mr4 ,g4 ,w4 ,taylor for #ijj4 ,at the ,taylor ,sale in #ahbc the picture cost ,earl ,grosvenor #a1hcg4 ,it passed recently to ,america along with ,gainsborough's ,blue ,boy4 8,this picture ,sir ,joshua ,reynolds valued at #ajjj guineas--a large sum in his day--but notwithstanding all the encomiums passed upon it1 ,the ,tragic ,muse remained on his hands for several years4 ,at length it was purchased from the artist for #hjj by ,m4 de ,calonne1 the ex-minister of finance in ,france4 8,when ,m4 de ,calonne's pictures were sold by ,skinner and ,dyke on ,march #bh1 #agie1 ,the ,tragic ,muse was bought by ,mr4 ,smith of ,norwich for #gjj and ,mr4 ,smith sold it privately to ,mr4 ,g4 ,watson ,taylor for #ijj4 ,at the sale of ,mr4 ,taylor's pictures in #ahbc it was purchased by ,earl ,grosvenor for #a1hcg-aj4 ,inherited by the ,dukes of ,westminster1 ,the ,tragic ,muse hung for many years in ,grosvenor ,house1 in company with ,gainsborough's ,blue ,boy until it was sold in #aiba to the late ,mr4 ,henry ,e4 ,huntington40 #bf ,william ,t4 ,whitley1 ,gainsborough 7,london1 #aiae74 #bg ,william ,t4 ,whitley1 ,gainsborough 7,london1 #aiae74 #bh ,william ,b4 ,boulton1 ,gainsborough1 #aijg4 #bi ,maria's sister ,louisa had married the ,hon4 and ,rev4 ,frederick ,keppel1 second son of the ,earl of ,albemarle4 #cj ,maria's sister who married ,lionel1 fifth ,earl of ,dysart4 #ca ,name for evening dress4 #cb ,maurice ,w4 ,brockwell1 ,taft ,catalogue of ,paintings 7,new ,york1 #aibj74 #cc ,thomas ,gainsborough 7,london1 #aiae74 #cd ,the portrait of ,henrietta ,maria 7see page #aic7 is another example4 #ce ,humphrey ,ward4 #cf ,angelica ,kauffman1 the famous painter4 ,transcriber's ,notes3 #a4 ,obvious printers'1 punctuation and spelling errors have been corrected silently4 #b4 ,some hyphenated and non-hyphenated versions of the same words have been retained as in the original4 #c4 ,superscripts are represented using the caret character1 e4g4 ,dr4 or ,xxx4 #d4 ,italics are shown as xxx4 #e4 ,bold print is shown as xxx4