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diff --git a/old/63171-0.txt b/old/63171-0.txt deleted file mode 100644 index d0c64fd..0000000 --- a/old/63171-0.txt +++ /dev/null @@ -1,2589 +0,0 @@ -Project Gutenberg's Stories Pictures Tell Book 7, by Flora Carpenter - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Stories Pictures Tell Book 7 - -Author: Flora Carpenter - -Release Date: September 10, 2020 [EBook #63171] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL BOOK 7 *** - - - - -Produced by David Garcia, Larry B. Harrison, Barry -Abrahamsen, and the Online Distributed Proofreading Team -at https://www.pgdp.net - - - - - - - - - - STORIES PICTURES TELL - - - - ------------------------------------------------------------------------- - - Decoration - - STORIES - PICTURES TELL - - BOOK SEVEN - - - - - - By - FLORA L. CARPENTER - - Instructor in drawing at Waite High School, Toledo, Ohio - Formerly supervisor of drawing, Bloomington, Illinois - - - - Illustrated with Half Tones from - Original Photographs - - - - - RAND McNALLY & COMPANY - CHICAGO NEW YORK - - ------------------------------------------------------------------------- - - - - - Copyright, 1918 - BY RAND MCNALLY & CO. - - - - - - - - -[Illustration] - - ------------------------------------------------------------------------- - - - - - THE CONTENTS - - - SEPTEMBER AND OCTOBER - - PAGE - “The Fighting Téméraire” _Turner_ 1 - “Joan of Arc” _Lepage_ 11 - - - NOVEMBER, DECEMBER, AND JANUARY - - “The Syndics of the Cloth _Rembrandt_ 23 - Hall” - - “The Last Supper” _Da Vinci_ 33 - - - FEBRUARY AND MARCH - - “Alexander and Diogenes” _Landseer_ 45 - “Rubens’s Sons” _Rubens_ 59 - - - APRIL, MAY, AND JUNE - - “Song of the Lark” _Breton_ 69 - - “Beata Beatrix” _Rossetti_ 77 - - Review of Pictures and Artists - Studied - - _The Suggestions to Teachers_ 93 - - ------------------------------------------------------------------------- - - - - - THE PREFACE - - -Art supervisors in the public schools assign picture-study work in each -grade, recommending the study of certain pictures by well-known masters. -As Supervisor of Drawing I found that the children enjoyed this work but -that the teachers felt incompetent to conduct the lessons as they lacked -time to look up the subject and to gather adequate material. Recourse to -a great many books was necessary and often while much information could -usually be found about the artist, very little was available about his -pictures. - -Hence I began collecting information about the pictures and preparing -the lessons for the teachers just as I would give them myself to pupils -of their grade. - -My plan does not include many pictures during the year, as this is to be -only a part of the art work and is not intended to take the place of -drawing. - -The lessons in this grade may be used for the usual drawing period of -from twenty to thirty minutes, and have been successfully given in that -time. However, the most satisfactory way of using the books is as -supplementary readers, thus permitting each child to study the pictures -and read the stories himself. - - FLORA L. CARPENTER - - ------------------------------------------------------------------------- - - - STORIES - PICTURES TELL - - -[Illustration] - - - - - THE FIGHTING TÉMÉRAIRE - - -=Questions to arouse interest.= What is represented in this picture? -Which boat is the _Téméraire_? What smaller boat is towing it? Why do -you think it needs to be towed? What is the time of day? What makes you -think so? Is the ship moving or stationary? Why does it float so high in -the water? What other boats can you see in this picture? What can you -see in the background? What is the condition of the water? What kind of -a feeling does this picture give you? Why do you like the picture? - - - =Original Picture=: National Gallery, London, England. - =Artist=: Joseph Mallord William Turner. - =Birthplace=: London, England. - =Dates=: Born, 1775; died, 1851. - -=The story of the picture.= One evening when the artist, Mr. Turner, and -a party of friends were sailing down the river Thames in London, there -suddenly loomed before their astonished gaze the dark hull of the famous -ship called the _Téméraire_. They had heard and read of the many great -victories won by this noble vessel, and the glory it had brought to -England. Its name Téméraire means “the one who dares.” Now its days of -usefulness were over, and it was being towed to its last place of anchor -to be broken up. - -At first they gazed in silence, for it was a sad and solemn sight to -watch this feeble old boat creeping along like a disabled soldier, its -former glories fading like the setting sun. The silence was broken by -the exclamation of one of the young men, “Ah, what a subject for a -picture!” - -And yet we must remember that at the time Turner painted this picture it -was considered just as commonplace and uninteresting to paint a sailing -vessel as it would be for our artists to paint a bicycle or a wagon. - -But Turner painted something more than a picture of a boat. He has made -us feel not only the sadness in this parting scene but also all the -glories of the splendid victories won in former days. Again we recall -the Battle of the Nile, when the English commander, Lord Nelson, won the -victory over Napoleon’s fleet and captured the _Téméraire_ from the -French. We remember how Nelson, then a young man but having already lost -an arm and an eye in battle, was put in command of the English fleet and -sent against the French; how after a severe storm the two fleets, going -in opposite directions, passed each other in the fog, Nelson reaching -Italy and Napoleon landing in Egypt. Then the older naval officers in -England, who thought they should have been appointed to this important -command, said all they could about the folly of sending so young a man -as Nelson, and told how much better they could have done. So the people -were dissatisfied and finally the order for extra supplies and -provisions was countermanded just as Nelson heard where Napoleon was and -wanted to start out. Then Lady Hamilton, the wife of the English -minister to Italy, used her influence in his behalf, and the provisions -were furnished secretly. We do not care to dwell long on that fierce -Battle of the Nile, which began after six o’clock in the evening and -lasted all night. Only the flashes of the guns told the positions of the -different boats until the burning of the French flagship made a more -terrible illumination. It was a great victory for the English. - -For forty years after this the _Téméraire_ remained in active service. -It took part in the famous victory at the Battle of Trafalgar; it was -the second ship in line, and the first to catch Nelson’s well-known -words, “England expects that every man will do his duty.” Many lives -were lost in this battle, among them that of the great commander. - -At length the good old ship was considered unfit for active service. -Then for several years it was used as a training ship for cadets. Now, -no longer fit for that either, it was to be broken up for lumber. At the -time when the _Téméraire_ was captured all war vessels used sails, but -less than twenty-five years later they began to use steam. That, too, -was a reason why the _Téméraire_ was to be destroyed. - -To Turner, who was born near the river Thames and grew up among boats -and sailors, the sight of this old boat made a strong appeal, not only -because he was an artist, but because he was also a patriotic Englishman -full of pride in the ship’s great victories. - -The setting sun casts a parting glow upon the great, empty vessel as it -stands high out of the water. The sky is ablaze with rosy light, which -is reflected in the quiet surface of the Thames, but our eyes are drawn -at once to the great _Téméraire_. We glance at the long, dark shadows -and reflections of the two vessels, but soon find our eyes wandering to -the brilliantly lighted masts, to the gorgeous sunset sky, and back -again to the proud old boat. In the dark smoke of the tug there is a -touch of brilliant red. - -The small boats scattered here and there help to bring out the distance -from that faraway shore so unconscious of the passing of the great ship. -At least three fourths of the picture is sky. - -All of Turner’s first paintings were in tones of blues and grays, so -soft and delicate they were often indistinct. It was not until after he -had traveled through Italy, and spent many days in Venice, where all is -brilliant color, that he began to make his pictures blaze with color. He -had completely mastered the pale shades, so it needed but a touch of -brilliant color here and there to make his whole picture glow. In “The -Fighting Téméraire” more than half the picture is painted in the soft -gray colors of dusk, but the sunset and the touch of red in the smoke of -the tug seem to set the whole picture aflame. A gentleman once said to -Turner, after looking at this picture, “I never saw a sunset like that.” -Turner replied, “No, but don’t you wish you could?” - -In Turner’s day water colors were very popular, and Turner painted a -great many of them. His water colors are much better preserved than his -oil paintings. The “Téméraire” was painted in oils. The sky has faded -considerably in the original picture, and others of his oil paintings -have become indistinct. It is believed that this is because he so often -used poor materials. - -Turner himself considered this picture, “The Fighting Téméraire Tugged -to Her Last Berth to be Broken Up,” as he called it, his best work, and -bequeathed it to the National Gallery in London, refusing to sell it for -any price. - -You will remember that later, when America proposed a similar fate for -our battleship, _Constitution_, the people raised a protest and the plan -was given up. It was then that Holmes wrote his famous “Old Ironsides,” -which might have applied equally well to the _Téméraire_. - - “Oh, better that her shattered hulk - Should sink beneath the wave; - Her thunders shook the mighty deep, - And there should be her grave. - Nail to the mast her holy flag, - Set every threadbare sail, - And give her to the god of storms, - The lightning and the gale!” - -=Questions to help the pupil understand the picture.= How did the artist -happen to see this ship? What does the name “Téméraire” mean? For what -was this vessel famous? Tell about Lord Nelson and the Battle of the -Nile. From whom did he capture the _Téméraire_? When was this battle -fought? Tell about the Battle of Trafalgar. What saying of Nelson’s has -become famous? Who won the victory? What became of the _Téméraire_ then? -Why was it now to be broken to pieces? Before the use of steam, how were -vessels propelled? How was the _Téméraire_ propelled? To what did Turner -compare this old ship? Why was it a sad sight to him? What colors did he -use in this picture? How did the artist consider this painting? To whom -did he leave it? Why did Americans object when it was proposed that the -battleship _Constitution_ be broken up? - -=To the Teacher=: A description of the picture may be prepared by a -pupil and given orally to the class. This may be followed by a written -description of the picture and a short biography of the artist, as a -class exercise in connection with the English composition work. - - There’s a far bell ringing - At the setting of the sun, - And a phantom voice is singing - Of the great days done. - There’s a far bell ringing, - And a phantom voice is singing, - To the great days done. - - Now, the sunset breezes shiver - Téméraire! Téméraire! - And she’s fading down the river, - Téméraire! Téméraire! - Now the sunset breezes shiver, - And she’s fading down the river, - But in England’s song forever - She’s the “Fighting Téméraire.” - —_Henry Newbolt_ - -=The story of the artist.= Joseph Mallord William Turner was born, -lived, and died in London. His father was a jolly little barber who -curled wigs and dressed the hair of English dandies, as did all the -barbers in those days. He was very popular because he was so -good-natured and full of fun. He was also very ambitious for his little -son, who had been left to his care by the death of the mother. - -The story is told that one day, when Joseph was six years old, his -father was called to the home of a wealthy patron, and, having no one -with whom to leave the child, he took the boy with him. At the patron’s -home the little boy climbed up into a big chair and waited patiently, -but it seemed a very long time indeed before his father could satisfy -the exacting customer. Finally the boy became interested in studying a -carved lion on a silver tray lying on the table near by. He studied this -lion so carefully that when they reached home, and while his father was -preparing their supper, he drew a lion in full action, and brought the -drawing to show his father. It was decided then and there that Joseph -should be an artist. The father also wished that his son might receive -an education. But Turner did not learn much at school, for as soon as -the boys and girls found he could draw wonderful pictures they offered -to do his sums for him and helped him with his lessons while he drew -pictures for them in return. - -The jolly little barber was so pleased with his son’s drawings that he -put them up in his shop. His patrons began to inquire about the little -artist, and when the proud father put a price mark on the drawings, they -were soon sold. Later, Turner was apprenticed to an architect to learn -architectural drawing, but he was not successful. He did not seem to be -able to understand the theory of perspective or even the first steps in -geometry. However, he finally must have mastered these subjects, for -some years later he became Professor of Perspective at the Royal -Academy. - -Later in life Turner traveled in France, Germany, and Italy, and it was -then he began to use those brilliant colors which we always associate -with his work. Turner rarely sold any of his paintings. He called them -his “children,” and was unwilling to part with them. But his engravings -and illustrations made him very wealthy. - -Of Turner’s many pictures of the sea, perhaps the best known is “The -Slave Ship.” Other famous pictures by Turner are “Rain, Steam, and -Speed, the Great Western Railway,” “Steamer off Harbour’s Mouth Making -Signals,” “Approach to Venice,” “Ulysses Deriding Polyphemus,” “Sun -Rising in a Mist,” and “Shade and Darkness—The Evening of the Deluge.” - - -=Questions about the artist.= Where was the artist born? What did his -father do for a living? How did Turner happen to draw his first picture? -Why did he not learn much at school? What did his father do with his -drawings? What subject proved difficult for the boy artist to learn? Was -he ever able to master it? Where did Turner travel? What colors did he -use in his paintings? Why would he not sell his pictures? How did he -become wealthy? - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - JOAN OF ARC - - -=Questions to arouse interest.= What is represented in this picture? -Where is it supposed to be? What is the girl doing? How many figures can -you see faintly suggested against the trees and the house? Why do you -think they are not real like the girl? What can you see in the distance? -What can you tell about Joan of Arc? Where does she seem to be looking? -How is she dressed? What is there about her that makes you think she is -used to hard work? that she is serious and thoughtful? that she must be -very much in earnest? that she is forgetful of self? Where does the -light in the picture seem to come from? - - - =Original Picture=: Metropolitan Art Museum, New York City. - =Artist=: Jules Bastien-Lepage (bȧs´ tyaN´-lẽ päzh´). - =Birthplace=: Damvillers, France. - =Dates=: Born, 1848; died, 1884. - - -=The story of the picture.= Far away among the wild hills of France, in -the village of Domremy, lived Joan of Arc, the “Maid of Orleans.” Her -father was a small farmer, and all her people were working people. -Joan’s life was not an idle one, for we are told that she was an expert -at sewing and spinning, that she tended the sheep and cattle, and rode -the horses to and from the watering places. But she could neither read -nor write, as she had received no education. When she wished to send a -letter she would dictate it to some one who could write, and then make -the mark of a cross at the top. As she was of an intensely religious -nature, she often wandered off by herself and remained in prayer for -hours, sometimes in the fields or the great forest near by, and -sometimes in the village church. - -About this time France was frequently invaded by the English, and even -the small village in which Joan lived had been entered and plundered. - -There had been so many intermarriages between the royal houses of France -and England that it was doubtful who was the rightful heir to the -throne. France was divided into two factions, yet all agreed in their -hatred of the English who had taken possession of the northern part of -the country. Worst of all, the queen mother Isabella supported the -claims of her grandson, an Englishman, against those of her own son, -Charles, the French prince. - -This agreed with an old prophecy known to the country people, that -France should be lost by a woman and saved by a woman. The queen, -Isabella, who finally secured the crown for her English grandson, was -regarded as the woman who lost France; and later it became generally -believed that Joan of Arc was the woman who saved France. - -Joan prayed constantly for the deliverance of her country from the -English. At last one day she told her father that she had seen an -unearthly light and heard a voice telling her that she was to go and -help the French prince. Again the vision appeared, and this time she -said she had seen St. Michael, St. Catherine, and St. Margaret, who told -her that she was appointed by heaven to go to the aid of Prince Charles. -Her father tried to laugh her out of her “fancy,” as he called it, and -did all he could to dissuade her, but Joan was resolute and declared she -must go. - -The village people were very superstitious, and when they heard of -Joan’s wonderful visions they were immediately convinced. An uncle of -Joan’s, who was a wheelwright and cartmaker, offered to take her to a -high nobleman who, according to the vision, should bring her before the -prince. This nobleman laughed at her, but later on became sufficiently -convinced to give her a horse, a suit of armor, and two guards to escort -her to Prince Charles. - -After traveling eleven days through a wild country, constantly on the -watch for the enemy, she finally reached Chinon, where Charles was -staying. Although he was dressed exactly like the men about him, Joan -picked him out immediately, and told him she had been sent by heaven to -conquer his enemies and see him crowned king at Rheims. She also told -him several things supposed to be secret, known only to himself, and so -she was able to gain his confidence. - -She told him too that in the Cathedral of St. Catherine, some distance -away, he would find an old sword, marked on the blade with five crosses, -which the vision had told her she should wear. No one had ever heard of -this old sword, and it seemed very wonderful that Joan should know about -it; but it was found in the cathedral just as she had said. - -Charles then asked the opinion of all the wise men about him, and all -agreed that Joan was inspired by heaven. This put new life into the -French soldiers, but discouraged the English, who thought Joan was a -witch. - -And then it was that Joan rode on to the Siege of Orleans in which, as -we know, the French were victorious. She rode on a beautiful white war -horse, her armor glittering so in the sun that she could be seen for a -great distance, and she carried a white flag. Twice she was wounded -during the terrible battle which followed, but each time she was soon up -and at the head of the French again, the English fleeing before them. - -We know how the French fought their way to Rheims, where Charles VII was -crowned; and how Joan then declared her work completed and begged to be -allowed to return to her home; but King Charles would not consent. We do -not like to think of how this weak king did nothing to help her when she -was finally taken prisoner and sold by the Duke of Burgundy to the -English, who burned her at the stake as a heretic and witch. It was not -until ten years later that Charles VII publicly recognized the service -she had done, and declared her “a martyr to her religion, her country, -and her king.” - -In the picture we see the “Maid of Orleans” listening to the voices. As -she sat in the shade of the great apple tree winding yarn, she had -suddenly heard voices, and then a vision of St. Michael, St. Margaret, -and St. Catherine, the saints to whom she had prayed so often in the -little church, appeared before her. She trembled, and rising, walked -forward. Now, leaning against a tree, she gazes at the vision. She -imagines herself clad in armor and presented with a sword by the saints, -who tell her that heaven commands her to free France from the English. - -With its fruit trees, flowers, and vegetables, the French garden -represented in the picture was painted from nature. In the distance we -see a suggestion of the great forest in which Joan used to wander in -solitude and prayer. A simple peasant girl, poorly dressed, there is -little about her to please or attract us until we look at the eyes. Then -we begin to understand why this picture is considered a masterpiece. -Those great, far-seeing, melancholy eyes seem to look far beyond us, and -their ecstatic gaze inspires us with some of that same confidence in her -which so possessed her soldiers. - -The vision which so inspired Joan is partly visible to us amid the -tangle of the trees and shrubbery. The figures of the three saints -silhouetted against the rude peasant hut add to the confusing details of -the background, and yet by them our eyes are led back to the one restful -part of the picture—Joan herself. She is not beautiful, only earnest and -good, and we feel a great pity for this girl who is so soon to suffer a -dreadful fate for an ungrateful king and people. - -The sunlight falls full upon her face and outstretched arm. The curve of -this arm harmonizes with the branches of the trees above, and her -upright figure with the straight tree trunks. Her firm chin tells us -something of the determination and courage which carried her through to -the end. - -We are told that she had a deep, strong voice which was capable of great -sweetness, and that her honesty and goodness compelled the respect of -even the rudest soldiers. - - -=Questions to help the pupil understand the picture.= Who was Joan of -Arc? Why was she called “The Maid of Orleans”? Tell something of her -life. In what country did she live? What were her duties? What education -had she received? What was her nature? For what did she pray constantly? -What vision did she have? What did her father say? How did the village -people feel about it? Who helped her go to Prince Charles? How did the -nobleman receive her at first? What were some of the difficulties of her -journey? What did she do that made Prince Charles believe in her? How -did Joan’s coming affect the French soldiers? the English soldiers? Tell -about the Siege of Orleans. When did Joan consider her work done? Why -would not King Charles VII let her go home? What became of Joan? What -has the artist represented Joan as doing in this picture? What vision -appeared to her? What does she lean against? What else can you see in -this garden? How does the tangled, somewhat confusing background bring -out the figure of Joan? What kind of a voice had Joan? Why did all the -soldiers respect her? - -=To the Teacher=: Different pupils may be asked to study this lesson -under the following topics: - - I. Joan of Arc as Represented in History. - II. Joan of Arc as Represented in This Picture. - III. This Picture as True to History. - IV. This Picture as a Composition. - V. The Artist. - - -=The story of the artist.= Jules Bastien-Lepage was born in Damvillers, -France. His parents were people of means, and as his father was an -artist he received his first art instructions from him. As a young man -Jules held a position in the post office, and his duties there kept him -busy every morning. But all his afternoons were devoted to study under -an artist who lived near by. - -Then during the Franco-Prussian war he joined the army in the defense of -Paris. He was never very strong, and the constant exposure and hardships -forced him to return home on sick leave; that was the end of his -experience as a soldier. His health somewhat recovered, he began -painting in earnest. He desired above all things to be a great -historical painter and, if possible, to paint these pictures at the very -places where the historical events occurred. - -He had a very fine studio fitted up on the second floor at home, but -most of his painting was done out of doors. - -We cannot read much of his life without finding some mention of his -grandfather, for it was the old man’s delight to work or sit beside his -grandson while the young man was painting. The grandfather is usually -described as wearing a brown skull cap and spectacles, and carrying his -snuffbox and large checked handkerchief much in evidence. He took care -of their garden and orchard, and one of the very first pictures Lepage -painted that caused most favorable comment was a portrait of his -grandfather in a corner of the garden. This picture, together with -another of a young peasant girl, exhibited at the same time, marked the -beginning of the artist’s popularity. - -Born in the same country as Millet and like him understanding the -religious enthusiasm and the superstitions of the peasants, we are not -surprised that he should love to paint the French peasant and that Joan -of Arc’s life and history should have appealed to him so strongly. This -subject had been a favorite theme for painters for several hundred -years, and most of the artists had represented Joan as a saint or as a -maid of great beauty. Lepage, however, represented her as a simple -peasant girl, dressed as such, and showing evidence in her face and her -coarse hands of the rough farm work she had been doing. - -This painting of Joan of Arc is considered the artist’s masterpiece. -Another noted picture by him is “The Hay Makers.” - -Bastien-Lepage became very popular indeed, and the people vied with each -other to obtain his paintings and to get an opportunity to work in his -studio. He worked very hard, and this, with the excitement of so much -publicity, finally wore him out. He died at the age of thirty-six years. - - -=Questions about the artist.= Who painted this picture, and where was he -born? Where is the original painting? Tell about Jules Bastien-Lepage -and his early training. Why did he not remain in the army? What kind of -a painter did he most desire to be? Where did he usually paint? Who went -with him? Describe the old grandfather. What picture marked the -beginning of the artist’s popularity? Why did the life of Joan of Arc -appeal to him so strongly? In what way did his representation of Joan -differ from that of other artists? - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - THE SYNDICS OF THE CLOTH HALL - - -=Questions to arouse interest.= What are these men doing? How are they -dressed? What makes you think some one has interrupted them? At whom are -they looking? Why do you suppose the one syndic has risen? Why do you -think the man standing behind the others wears no hat? What do you think -his duties were? Which man looks the oldest? the youngest? How has the -artist avoided a stiff arrangement of the figures in this painting? - - - =Original Picture=: Ryks Museum, Amsterdam, the Netherlands. - =Artist=: Rembrandt van Rijn (rĕm´ bränt vän rīn´). - =Birthplace=: Leiden, the Netherlands. - =Dates=: Born, 1606; died, 1669. - - -=The story of the picture.= This picture represents the syndics of the -Cloth Merchants’ Guild, in a room of their Guild House, busy going over -their accounts. In these days of great corporations and societies of all -kinds, it is easy for us to understand what a Cloth Merchants’ Guild -might be. - -History tells us that as far back as the time of the Romans there were -what were called merchants’ corporations or guilds organized for mutual -aid and protection. Among the very first known was a fishermen’s guild, -in which all the members met and decided the rights of the various -members to use the water front, and also, no doubt, planned to take away -the privilege from all who were not members. - -In the Netherlands the guilds were many and very influential. Besides -the general officers usually appointed by the king, there were a certain -number of officers whom the members themselves chose, called masters, -deans, wardens, or syndics. It was the duty of these syndics to visit -the workshops and salesrooms of all members of the guild, at all hours, -to see that the rules were enforced. They were also expected to examine -candidates for apprenticeship and mastership. Each guild had its own -costume or uniform. Even to this day a remnant of these old customs -remains, and in England every twenty years a few of the cities -celebrate, by a very important and imposing parade, what is known as -“guild day.” Many cities still have the old Guild Houses where these -meetings were held, and there is not a cathedral or church building of -any importance in the Netherlands or Belgium in which some great event -connected with these guilds is not represented by either a painting or a -sculptured monument. And so it is little wonder that Rembrandt should -paint such a picture as this. - -It is as if we opened the door suddenly upon the syndics, who look up to -see what has disturbed them. One man has half risen from his chair. All -five are dressed in the uniform of the guild—black coats, broad white -collars, and large black felt hats. Each figure is a complete portrait -in itself and bears, it is said, a speaking likeness to the syndic -painted. - -Some time before this, Rembrandt had had an unfortunate experience. He -had painted a wonderful picture called the “Night Watch.” But in that -great painting he had allowed his feelings as an artist, and his love of -a fine composition, to make him forget man’s vanity. So, although a -great many prominent men had posed for this picture, he had neglected to -paint them all in conspicuous positions. Those upon whom the bright -light fell were delighted with the picture, but the majority, who were -in the shadow, did not like it at all and so refused to pay any money -toward buying it. The truth is they had each expected a good portrait, -and instead he had painted a masterpiece in composition. - -So in this later picture he was careful to make a good likeness of each -of the syndics, as well as to make an interesting composition. - -These five syndics are gathered around a table covered with a rich -oriental cloth woven on a dark red ground. The plain paneled walls of -the room are brown, filling the picture with that rich golden-brown tone -for which Rembrandt is famous and which gives to his pictures their -mysterious and peculiar charm. - -It is said that the other portraits in the Ryks Museum, Amsterdam, where -this picture is hung, look dull and lifeless beside it. And, strange to -say, it was painted when Rembrandt was fast losing his eyesight and -when, too, he was in great financial difficulties. The order for the -picture was given him by an old friend who thought first of his need, -but later of his great genius. It was Rembrandt’s last important order -before his death in 1669. - -Although these men are looking toward us, no two are in exactly the same -position. The light from the window falls full on the face of each -syndic; even the servant is not placed in the shadow. Suppose these men -had been represented as of exactly the same height; that would have -given us a straight horizontal line across the picture even straighter -than that of the wainscoting above, which is broken by the corner of the -room. Thus we would have had a stiff, uninteresting arrangement. - -Art students from all over the world go to the Art Museum to study and -copy parts of this wonderful painting. Joseph Israels tells us he made a -copy of his favorite figure, which was “the man in the left-hand corner -with the soft gray hair under the steeple hat.” - - -=Questions to help the pupil understand the picture.= Where are these -men? Why have they met here? What is their trade? For what purpose were -the guilds formed? Tell about the first guilds and their purpose. In -what country were these guilds most popular? Where do they still exist? -Who were the syndics? What were some of their duties? What was the place -called where they met? What do we have in our country in the place of -syndics and guilds? Of what benefit are they? How are the syndics in -this picture dressed? At whom are they looking? What can you say of the -man standing behind the syndics? Which syndic seems to be the most -important? What unpleasant experience had the artist had that influenced -him in painting this picture? In what ways do the positions of the six -men differ? What can you say of the composition of this picture? the -light and shade? What qualities of greatness do you find in this -picture? How did Rembrandt happen to paint it? What colors did he use? -Where is the original painting? - - -=The story of the artist.= Rembrandt was born in Leiden, the -Netherlands, in 1606. In those days, when there were no newspapers and -no one cared to set down the daily events in the lives of great men, it -was only what the man actually accomplished that was recorded. So we -know very little of the early life of Rembrandt. Some authorities -declare he was born in a windmill, but most agree that as his father was -a prosperous miller, the son was no doubt born in a very comfortable if -not elegant home. However that may be, we know that Rembrandt spent many -happy hours with his brothers and sisters high up in this windmill, and -here it is believed he first studied the effect of light and shade on -objects. - -From the small window in the tiny room at the top of the mill little -light could be expected, and as he did much of his painting here his -studies were mostly in shadow. Often he must have looked from this -little window down upon the quaint city of Leiden, built upon its ninety -islands joined by at least a hundred and fifty bridges; upon its wide -streets, rose-bordered canals, houses built in rows, each with its own -windmill, and the picturesque rows of trees. The largest building of all -was the University, for which Leiden is still famous. Rembrandt attended -this university, we are told, and as he looked at it he must have -recalled its history and how bravely the Dutch people fought when the -Spanish army tried to capture the city—how they braved famine and -pestilence as they awaited the arrival of Prince William of Orange. As a -reward for their courage, William offered his people either a great gift -of gold or a university; and, although the people needed the money to -rebuild their houses, they chose the university. - -Rembrandt is one of the great artists who is known to the world by his -first name. His father’s name was Gerrit Harmens and he was called -Harmens van Rijn (by the Rhine). According to a custom of those days the -name frequently told where the man lived. His son was called Rembrandt -Harmenszoon van Rijn, meaning Rembrandt, son of Harmens by the Rhine. - -Rembrandt’s great love for good pictures, and his desire to draw, caused -his parents to send him to an artist to study. He studied with this -teacher at home for three years. Then he spent several months in -Amsterdam studying, but finally decided that nature should be his -teacher. He was then only sixteen years old, but he fitted up the little -room in the mill as a studio, and here he continued his study. He -painted his father, his mother, and his brothers and sisters many times. -Then he painted his own portrait by looking in a mirror, and, by -assuming various attitudes and different expressions, he received much -valuable practice which, later on, helped him greatly. - -His first great work was a portrait of his mother, painted when he was -twenty-three years old. Two years later he went to Amsterdam, where his -pictures brought large prices and pupils flocked to him from all parts -of Europe. Once he painted a window with a servant standing near it that -was so real it deceived every one. - -About this time he married the beautiful Saskia, whose picture he has -painted so many times. His home was furnished extravagantly, and nothing -was too good to give Saskia. - -There are three great paintings by Rembrandt which mark three epochs in -his life. The first was “The Anatomy Lesson,” painted for Doctor Tulp, -representing the Professor of Anatomy lecturing to his class. It is said -that Rembrandt hid behind a curtain and, without their knowledge, -observed the class during several lessons that he might secure natural -expressions and positions. This picture was painted shortly after his -marriage to Saskia, and through it he became famous. It marks the -beginning of the happiest part of his life. - -The second great painting was the “Night Watch,” which was not -appreciated because he failed to give all the figures equal prominence. -This picture marks the beginning of his fall from favor, and it was -about this time that his wife, Saskia, died. - -Crushed by both sorrow and misfortune, Rembrandt still continued to -paint. His choice of subjects, however, changed noticeably. He now -painted more of the sorrow, poverty, and distress of life. His house, -with all its beautiful furnishings, was sold. - -Then came his great painting, “The Syndics of the Cloth Hall,” in which -he seems to have concentrated all his wonderful genius. But, masterpiece -that it is, the picture won no popularity, and so the last years of -Rembrandt’s life were spent in increasing poverty and sadness. - -Other noted pictures by Rembrandt are: “Christ Blessing Little -Children,” “Sacrifice of Abraham,” “Portrait of an Old Woman,” “The -Mill,” “Saskia,” and “Supper at Emmaus.” - - -=Questions about the artist.= Who painted this picture? Why was he so -named? Why do we know so little about him? Where is it believed that -Rembrandt first studied light and shade? What other training did he -have? How did he paint his own portrait? What was his first great -painting? Tell something which illustrates how well he could paint. Was -the greatness of “The Syndics of the Cloth Hall” appreciated when it -appeared? - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - THE LAST SUPPER - - -=Questions to arouse interest.= What does this picture represent? Where -do the figures seem to be? Why do you suppose the artist placed all his -figures on one side of the table? What makes you think the disciples are -excited? How many do not look excited? Which is the central figure? How -is our attention directed toward the central figure? How does the -position of the hands aid in this? Which one is Judas? Why do you think -so? Which one is John? What expressions do you see upon the different -faces? - - - =Original Picture=: Convent Santa Maria delle Grazie, Milan, Italy. - =Artist=: Leonardo da Vinci (lā´ō när´dō dä vēn´chē). - =Birthplace=: Near Florence, Italy. - =Dates=: Born, 1452; died, 1519. - - -=The story of the picture.= Beatrice, the good and beautiful wife of the -Duke of Milan, had visited most of the many convents in Italy, but her -favorite among them all was the Santa Maria delle Grazie in Milan. When -the great dining room of this beautiful convent was being finished, the -monks felt that it lacked nothing except a suitable decoration for the -end wall; so they appealed to the duke and his wife for at least one -fine painting by the most popular artist of the time, Leonardo da Vinci. -And so it came about that Leonardo began this great work, which was to -be his masterpiece. It was so placed that the monks seated at their -meals could see the long table as if it were in their own room and but -slightly raised above the rest. - -Many stories are told of the artist while working on this great -painting. Often he worked from early morning until dusk, quite -unconscious of the flight of time, of his meals, or of the hushed voices -of the monks and visitors who came to watch him paint. Then again he -would not paint for several days, but would sit for hours quietly -studying his painting. The prior of the monastery began to think he -would never finish the picture, and at last he appealed to the duke to -speak to Leonardo about it. The artist told the duke that while he sat -thinking he was doing his best work, for it was necessary for him to -have a complete picture in his mind before he could paint one. Of course -he was told to do it in his own way. He completed the painting in two -years, which was an unusually short time for so great a masterpiece, -when we consider how much study was necessary, and that the figures were -larger than life. Leonardo also had other work which had to be done. - -Mr. William Wetmore Story has given us the prior’s complaint to the duke -in verse, from which we have selected these extracts: - - “’Tis twenty months since first upon the wall - This Leonardo smoothed his plaster; then - He spent two months ere he began to scrawl - His figures, which were scarcely outlined, when, - Seized by some mad whim, he erased them all. - - * * * * * * * * - - “Ah! there he is now—Would your Highness look - Behind that pillar in the farthest nook? - That is his velvet cap and flowing robe. - See how he pulls his beard, as up and down - He seems to count the stones he treads upon! - ’T would irk the patience of the good man Job - To see him idling thus his time away, - As if our Lord and Judas were both done, - And there were naught to do but muse and stray - Along the cloisters. May I dare to pray - Your Highness would vouchsafe one word to say; - For when I speak he only answers me, - ‘I am not idle, though I seem to be.’ - - * * * * * * * * - - “‘Not idle! Well, I know not what you do! - You do not paint our picture, that I see.’ - To which he said, “A picture is not wrought - By hands alone, good Padre, but by thought. - In the interior life it first must start, - And grow to form and color in the soul; - While I seem idle, then my soul creates; - While I am painting, then my hand translates.’” - -It is said that Leonardo threatened to paint the face of the complaining -prior as the Judas in his picture, but we know that he did not. - -He has chosen for his subject the moment following the words of Christ -to his disciples: “One of you shall betray me.” On their faces he has -shown the surprise, consternation, and distress which would naturally -follow the realization that there is a traitor among them. - -We recognize at once the calm, beautiful face of the figure in the -center as that of the Christ. Leonardo spent more time on this head than -on any other part of the picture. He made a great many sketches, and in -each he tried to represent Christ as looking at us, but all his efforts -failed to satisfy him. At last he consulted a friend, who advised him to -give up trying to paint the expression of the eyes, but to represent -Christ looking down; and this seems to have been the last touch needed -to make the face perfect. - -On both sides we see the disciples in four groups of three each. If we -study any one of these groups we will find it complete in itself, yet -all four groups are held together by the expression on the faces and -especially by the position of the hands. So wonderfully have the hands -been painted that some critics have spoken of this picture as “a study -of hands.” - -If we begin at the left-hand side of the picture we see Bartholomew -standing at the end. In his astonishment, he has risen so quickly that -his feet are still crossed as they were when he was seated. He looks -toward Christ as if he thought his ears must have deceived him. - -Next to Bartholomew is James (the less), who reaches behind Andrew to -touch the arm of Peter and urge him to ask the meaning of it all. -Andrew’s uplifted hands express horror, while his face is turned -anxiously toward the Master. Peter is greatly excited, but feels that -John is the one to ask the question; so we see him leaning toward John, -his hand resting on John’s shoulder as he eagerly urges him to ask who -it is of whom Christ spoke. In his right hand Peter grasps his knife -ready to defend his Lord. - -Between Peter and John we see the traitor Judas, vainly attempting to -appear innocent and unconcerned. As he leans forward, he clasps his -money bag tighter, but at the first sudden movement of alarm he has -overturned the salt upon the table. It is said that after the face of -the Christ, Leonardo found that of Judas the most difficult to paint. It -was hard to imagine a man so wicked. - -The gentle, sorrowful face of John seated next to the Christ is in -strong contrast to the startled, guilty look on the dark face of Judas. - -To the right of the Master, we see James (the great), whose arms are -outstretched as he looks at the Master and eagerly asks, “Lord, is it -I?” - -Just behind James is Thomas, with one finger lifted threateningly as if -he must know who the traitor is that he may cast him out at once. - -Philip, standing beside James, places his hands on his heart as he says, -“Thou knowest, dear Lord, it is not I.” The three disciples at the end -of the table are in earnest conversation. Matthew points with his arms -to the Saviour as if explaining to the elder disciple, Simon, what has -just been said. His face asks a question and expresses wonder, while -that of Thaddeus, next to him, is worried and troubled. Simon holds his -hands out and looks appealingly to Christ for an explanation. - -The table itself was like that used in the dining room of the convent; -even the tablecloth and china were the same. Three windows form a -background for the picture, and the middle one frames the face of the -Christ. - -But the picture was painted in tempera upon damp walls, and it soon -began to fade and even to peel off. If it had not been for an Italian -who made an engraving of this picture shortly after it was finished, we -should have little idea of the real beauty of the original. At one time -the convent was used as a stable, and a door was cut right through the -middle and lower part of the picture. Naturally, in the course of time, -the picture lost most of its original splendor. Many attempts were made -to preserve it, but without success. Then, not many years ago, an artist -was found who succeeded in restoring the picture to some degree of -perfection. - -The painting is twenty-eight feet long, and the figures are all larger -than life. - - -=Questions to help the pupil understand the picture.= Where is the -original painting? Why was this convent chosen? In what room is it? In -what way did it become a part of the furniture of the room? How long did -it take Leonardo to paint this picture? Why did the prior feel so -anxious? What reply did the artist make to him? What does the picture -represent? Which is the central figure? How is it made to appear the -most important? How are the disciples arranged? Which is John? Which is -Judas? What has Christ just said that causes such excitement? What -expressions do you see on the different faces? What can you say of the -composition of this picture? How do the hands of each disciple express -his feelings? What has become of this painting? About how large is it? - - - =To the Teacher=: - - SUBJECTS FOR COMPOSITION - - The Story Represented in This Picture. - How “The Last Supper” Was Painted. - The Composition of This Picture. - The Boyhood of Leonardo da Vinci. - Leonardo and His Pets. - Talents of Leonardo. - Manhood of Leonardo. - - -=The story of the artist.= Leonardo da Vinci was born in the little -village called Vinci, about twenty miles from Florence, Italy. His -father was a country lawyer of considerable wealth. - -Very little is known of Leonardo’s boyhood, except that he grew up on -his father’s estate and early displayed remarkable talents. He was -good-looking, strong, energetic, and an excellent student. He was -especially good in arithmetic, and liked to make up problems of his own -which even his teacher found interesting and difficult. Above all he -loved to wander out in the great forest near the palace and to tame -lizards, snakes, and many kinds of animals. Here he invented a lute upon -which he played wonderful music of his own composing. Then, too, he sang -his own songs and recited his own poems. - -He loved to draw and paint because he could both represent the things he -loved and use his inventive genius as well. He seemed to be gifted along -so many lines, and was of such an inquiring mind, that it was difficult -for him to work long enough at one thing to finish it. We read of him as -musician, poet, inventor, scientist, philosopher, and last, but most -important to us—as artist. - -When he was fifteen years old he made some sketches which were so very -clever that his father took them to a great artist, Verrocchio, who was -delighted with them and was glad to take Leonardo as his pupil. The -story is told that when Verrocchio was painting a large picture he asked -Leonardo to paint one of the angels in the background. The boy spent -much time and study on this work, and finally succeeded in painting an -angel which was so beautiful that the rest of the picture seemed -commonplace. It is said that Verrocchio felt very sad at the thought -that a mere boy could surpass him, and declared he would paint no more -pictures, but would devote his life to design and sculpture. - -One time one of the servants of the castle brought Leonardo’s father a -round piece of wood and asked him to have his son paint something on it -that would make it suitable for a shield, like the real shields that -hung in the castle hall. Leonardo wanted to surprise his father. So he -made a collection of all the lizards, snakes, bats, dragonflies, and -toads that he could find and painted a picture, in which he combined -their various parts, making a fearful dragon breathing out flame and -just ready to spring from the shield. Coming suddenly upon the shield on -his son’s easel, the father was indeed startled. Studying the picture -carefully, he declared it was far too valuable a present for the -servant; so another shield had to be painted and the first was sold at a -great price. No one knows what finally became of it. - -Leonardo spent seven years with Verrocchio; then he opened a studio of -his own in Florence, Italy. - -Later Pope Leo X invited him to Rome to paint for him, but most of his -work there was left unfinished. The story is told of how one day the -pope found him busily engaged in making a new kind of varnish with which -to finish his picture. “Alas,” said the pope, “this man will do nothing, -for he thinks of finishing his picture before he begins it.” - -From Rome, Leonardo went to Milan, where, with the Duke of Milan as -patron, he painted his masterpiece, “The Last Supper.” He also made a -model for an equestrian statue which, though never executed, was -regarded as equal to anything the Greeks had ever done. - -Leonardo da Vinci proved to be a great addition to the duke’s court; his -fine appearance and his many talents made him very popular indeed. He -played skillfully on a beautiful silver lyre and charmed the people with -his music and songs. He also helped the duke found and direct the -Academy at Milan, and gave lectures there on art and science. So his -time was divided, as usual, among his many interests. - -When the duke was driven out of Milan by the new French king, Leonardo -spent several years in Florence, where he painted the famous “Mona -Lisa,” and other portraits. Then followed a few years of travel through -Italy. At the request of the French king, Francis I, Leonardo joined his -court in France, and there he spent the last years of his life, regarded -with great reverence and respect, and loved by all. - -Among the other great pictures painted by Leonardo da Vinci are: “Mona -Lisa,” “The Christ,” “Madonna of the Rocks,” “St. Anne,” and “John the -Baptist.” - - -=Questions about the artist.= Tell what you can of the boyhood of -Leonardo da Vinci. What talents did he have? How did these sometimes -prevent his completing his work? Tell the legend about the angel he -painted for Verrocchio; the wooden shield. What did the pope say of -Leonardo? why? Where was “The Last Supper” painted? In what way was -Leonardo an addition to the duke’s court? How was Leonardo regarded as a -sculptor? What are some of his most famous paintings? - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - ALEXANDER AND DIOGENES - - -=Questions to arouse interest.= Where are these dogs? Which one seems at -home? In what is he lying? What makes you think the sun is shining -brightly? Which dog looks the best cared for? How does he seem to feel -toward the first dog? To which class do the other dogs in the picture -belong? What seems to be their attitude toward the two principal dogs? -Which dog looks the proudest? the most content? the vainest? What -different kinds of dogs are represented in this picture? How many know -the story about Alexander and Diogenes? Why was this picture so named? - - - =Original Picture=: National Gallery, London, England - =Artist=: Sir Edwin Landseer (lănd´sēr). - =Birthplace=: London, England. - =Dates=: Born, 1802; died, 1873. - - -=The story of the picture.= Into the streets of Athens, bright with the -life and brilliant colors of its gayly dressed people, came the uncouth -figure of the philosopher Diogenes, ridiculing all that the Athenian -held most dear. On his head he carried the tub in which he ate and -slept. At first he also carried a cup, but after seeing a boy drink from -the hollow of his hand, he broke his cup on the pavement, preferring the -“simpler way.” His ugly, cynical face, awkward figure, bare feet, and -ragged clothing made him an object of astonishment and ridicule. -Independent, surly, and ill-natured, he continued to be an outcast -throughout his long life. He taught in the streets as did many of the -philosophers in those days, and spoke so plainly and so contemptuously -of the life of the people that but for his ready wit he must have been -driven out of the city. He himself cared nothing for abuse and insult, -and went so far in showing his contempt for pride in others that he -acquired the same fault himself, and grew proud of his contempt for -pride. He loved to show the contempt he felt for all the little -courtesies of polite society. - -The story is told that Diogenes came, uninvited and unannounced, to a -dinner which Plato, a great philosopher, was giving to a select number -of his friends, and, rubbing his dirty feet on the rich carpets, called -out, “Thus I trample on the pride of Plato.” To which that philosopher -quickly retorted, “But with greater pride, O Diogenes.” - -One day he went about the streets carrying a lantern, though the sun was -shining brightly. He seemed to be looking earnestly for something, and -when asked what he was searching for he replied, “I am searching for an -honest man.” - -Plato gave lectures to his pupils in the Academic Gardens, and one day -Diogenes was present. Plato defined man as “a two-legged animal without -feathers.” Diogenes immediately seized a chicken and, having plucked its -feathers, he threw it among Plato’s pupils, declaring it to be “one of -Plato’s men.” - -Once he was captured by pirates and sold as a slave, but even this did -not subdue him, for on being asked what he could do he declared he could -“govern men,” and urged the crier to ask, “Who wants to buy a master?” -The man who bought him set him free, and afterwards employed him to -teach his children. That is how Diogenes happened to be in Corinth when -Alexander the Great was passing that way. To that great Macedonian king, -who considered himself the “son of a god” and to whom all had knelt in -homage almost worship, the visit to Diogenes was something of a shock. -He found him in one of the poorer streets, seated in his tub, enjoying -the sun and utterly indifferent as to who his visitor might be. -Astonished, the king said, “I am Alexander.” - -The answer came as proudly, “And I am Diogenes.” - -Alexander then said, “Have you no favor to ask of me?” - -“Yes,” Diogenes replied, “to get out of my sunlight.” - -Far from being angry with him, Alexander seemed to respect and admire a -man strong enough to be indifferent to his presence, and said, “Were I -not Alexander, I would be Diogenes.” - -It happened one day that the artist, Sir Edwin Landseer, passing along -one of the narrower streets of London, caught a glimpse of a dirty tramp -dog resting comfortably in an empty barrel and looking up with an impish -gaze at a well-cared-for dog. The well-kept dog was surveying the tramp -with looks of mingled haughtiness and annoyance because of his lack of -respect. Immediately the thought came to the artist that here were -another Alexander and Diogenes. - -The well-fed and carefully cared-for pet, with his fine collar and -snow-white coat, sniffs with disgust at the dirt and poverty of the -tramp dog, yet is held in spite of himself by the look of indifference -and disrespect on the other’s face. He, the envied dog of the -neighborhood, upon whom all honors have been showered, has found here -for the first time a dog who dares to disregard him. And what a dog! He -is amazed, yet held, waiting to see what the tramp dog will do. - -Those smaller dogs do not share the indifference of Diogenes at the -presence of this great personage. They seem ready to run at the first -sign of danger, yet they remain near enough to see and hear all that -might happen. - -The two hounds in the background, waiting so solemnly for the master, -hold their heads high in the air as if the neighborhood were not good -enough for them, and they of course could have no interest in what is -going on. - -Probably Sir Edwin Landseer meant this picture to call attention to the -vanities of human nature, and to make us smile at them. The expressions -on the faces of these dogs are almost human, so well do they tell their -story. - -The hammer and nails lying on the rough pavement near the barrel would -indicate that this is not a permanent home for the tramp dog, but rather -a temporary place of shelter into which he has strayed. - -Notice how Landseer has centered our attention on the more important -dog, by color, size, and position in the picture. The other spots of -light, even that on the edge of the barrel, draw our eyes back to the -proud Alexander. We might not discover Diogenes so soon if we did not -follow the gaze of Alexander. - -Landseer delighted in telling stories in his pictures of animals. Rosa -Bonheur and other animal painters aimed to make the animals appear -natural and lifelike, but Landseer wished most of all to show their -relation to human beings. - -This picture hangs in the National Gallery, London, England. - - -=Questions to help the pupil understand the picture.= Who was Alexander -the Great? Who was Diogenes? Tell about the life and philosophy of -Diogenes. Describe his personal appearance; Plato’s dinner and his reply -to Diogenes. Why did Diogenes carry a lantern in the daytime? What -happened after he was captured by the pirates? How did he happen to be -in Corinth when Alexander the Great was there? What opinion did -Alexander have of himself? Where did he find Diogenes? What conversation -did they have? Why was this picture called “Alexander and Diogenes”? Why -is the name appropriate? To which class do the other dogs in the picture -belong? What are they doing? Where is the scene of this picture laid? -Why is this appropriate? What is there unusual about this picture? What -impression do you think the artist wished to leave with us? What devices -has he used to center our attention upon the more important dog? upon -Diogenes? Where is the original painting? - - -=The story of the artist.= Sir Edwin Landseer’s grandfather was a -jeweler, and his father also learned the jeweler’s trade. The jewelers -of that day were often asked to engrave the copper plates that were used -in printing pictures. Sir Edwin’s father soon decided he would rather -engrave pictures than sell jewels, and he became a very skillful -engraver. - -At that time few people realized what an art it was to be able to cut a -picture in copper so that a great many copies of it could be made from -one plate. They did not even consider it an art as we do, and so -engravers were not allowed to exhibit at the Royal Academy and were -given no honors at all. Edwin’s father thought this was not right, and -gave several lectures in defense of the art. Engraving, he said, was a -kind of “sculpture performed by incision.” His talks seemed to be of no -avail at the time, but in the year following his death, engravers at -last received the recognition due them. - -His eldest son, Thomas, also became famous as an engraver, and it is to -him we are indebted for so many good prints of Sir Edwin Landseer’s -paintings. This son is the one who made the engraving of the “Horse -Fair” for Rosa Bonheur. Few people can afford to own great paintings, -but the prints come within the means of almost all of us. - -Edwin’s father taught him to draw, and he learned so quickly that even -when he was only five years old he could draw remarkably well. Edwin had -three sisters and two brothers. The family lived in the country, and -often the father went with his boys for a walk through the fields. There -were two very large fields separated from each other by a fence with an -old-fashioned stile. This stile had about four steps and was built high, -so that the sheep and cows pastured in the fields could not jump over. -One day Edwin stopped here to admire these animals and asked his father -to show him how to draw them. His father took a piece of paper and a -pencil from his pocket, and showed Edwin how to draw a cow. This was the -boy’s first drawing lesson. After this Edwin came here nearly every day, -and his father called these two fields “Edwin’s studio.” - -When he was only thirteen years old two of his pictures were exhibited -at the Royal Academy. One was a painting of a mule, the other of a dog -and puppy. Edwin painted from real life always, not caring to make -copies from the work of others. All the sketches he made when he was a -little boy were carefully kept by his father, and now, if you go to -England, you may see them in the South Kensington Museum, in London. - -Landseer was only sixteen years old when he exhibited his wonderful -picture called “Fighting Dogs Getting Wind.” A very rich man, whose -praise meant a great deal at that time, bought the picture, and Edwin’s -success was assured. So many people brought their pets for him to paint -that he had to keep a list and each was obliged to wait his turn. - -It was about this time, too, that he painted an old white horse in the -stable of another wealthy man. After the picture was finished and ready -to deliver, it suddenly disappeared. It was sought everywhere, but it -was not found until twenty-four years afterwards. A servant had stolen -it and hidden it away in a hayloft. He was afraid to sell it, or even to -keep it in his home, for every one would recognize the great artist’s -work. - -For a number of years Landseer lived and painted in his father’s house -in a poor little room without even a carpet. All the furniture, we are -told, consisted of three cheap chairs and an easel. Later he had a fine -studio not far from Regent’s Park. There were a small house and garden, -and the barn was made over into a studio. - -Sir Edwin was not a very good business man, so he left all his financial -affairs to his father, who sold his pictures for him and kept his -accounts. - -At twenty-four Landseer became a member of the Royal Academy, which was -an unusual honor for so young a man. - -This story is told of him. At a social gathering in the home of a -well-known leader of society in London, where Landseer was present, the -company had been talking about skill with the hands, when some one -remarked that no one had ever been found who could draw two things at -once. Landseer replied, “Oh, I can do that; lend me two pencils and I -will show you.” Then with one hand he quickly drew the head of a horse, -at the same time drawing with the other hand a deer’s head and antlers. -Both sketches were so good that they might well have been drawn with the -same hand and with much more care. - -Landseer made a special study of lions, too. A lion died at the park -menagerie, and Landseer dissected its body and studied and drew every -part. He painted many pictures of lions. He modeled the lions at the -base of the Nelson Monument in Trafalgar Square, London, unveiled in -1867. - -When Sir Edwin Landseer went to visit Scotland one of his fellow -travelers was Sir Walter Scott, the great novelist. The two became warm -friends. Sir Walter Scott tells us: “Landseer’s dogs were the most -magnificent things I ever saw, leaping and bounding and grinning all -over the canvas.” Landseer painted Sir Walter Scott’s handsome dog, -“Maida Vale,” many times, and named his studio for the dog. - -Although Landseer painted so many wild animals, birds, and hunting -scenes, he did not care to shoot animals or to hunt. His sketchbook was -his only weapon. Sometimes he would hire guides to take him into the -wildest parts of the country in search of game. But they felt quite -disgusted with him when, a great deer bounding toward them, he would -merely make a sketch of it in his book. He knew how to use a gun, -though, and sometimes did so with great success. - -But it was the study of live animals that interested him most. Sir Edwin -Landseer felt that animals understand, feel, and reason just like -people, so he painted them as happy, sad, gay, dignified, frivolous, -rich, poor, and in all ways, just like human beings. - -Landseer did and said all he could against the custom of cutting, or -“cropping,” the ears of dogs. He held that nature intended to protect -the ears of dogs that “dig in the dirt,” and man should not interfere. -People paid attention to what he said, and the custom lost favor. - -In 1850 the honor of knighthood was conferred upon the artist. - -Landseer was popular alike with lovers of art and simple lovers of -nature who had no knowledge of painting. No English painter has ever -been more appreciated in his own country. - -He died in London in 1873, at the age of seventy-one. - -Other noted pictures by Landseer are: “The Highland Shepherd’s Chief -Mourner,” “Suspense,” “The Connoisseurs,” “A Distinguished Member of the -Royal Humane Society,” “Saved,” “My Dog,” “Dignity and Impudence,” -“Sleeping Bloodhound,” “Shoeing the Bay Mare,” “Monarch of the Glen,” -and “A Deer Family.” - - -=Questions about the artist.= What did Sir Edwin Landseer’s father do -for a living? Tell about Edwin’s boyhood and first “studio.” For what -did he name the studio “Maida Vale”? With whom did he travel through -Scotland? What was Sir Edwin Landseer’s idea of hunting, and why? How -did he feel about animals? What skill did he have with his left hand? -Name some of his paintings. - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - RUBENS’S SONS - - -=Questions to arouse interest.= Of whom is this a portrait? What are the -boys doing? What expressions do you see on their faces? How does this -picture show that the artist gave careful attention to details? In what -ways does the picture grow more attractive the longer you look at it? -How are we made to feel that the artist was in perfect sympathy with his -subject? What has the pillar in the background to do with balancing the -composition? Where is the center of interest and how is it held? What -can you say of the light and shade? of the variety and kind of lines? - - - =Original Picture=: Dresden, Germany. - =Artist=: Peter Paul Rubens (rōō´bĕnz). - =Birthplace=: Siegen, Germany. - =Dates=: Born, 1577; died, 1640. - - -=The story of the picture.= The paintings of Peter Paul Rubens were in -such demand that he employed a great number of skilled assistants to -help him paint them. He himself worked some on each picture, making the -first sketch and adding the finishing touches, but in many of them his -carefully trained assistants put in the details of costume, background, -and even the hands and faces. Rubens worked out a system of his own by -which all were kept busy, and a remarkably large number of pictures -finished in a short time. Some critics have spoken of his studio as a -“manufactory for the production of religious and decorative pictures.” -Knowing this, it can be readily understood how much more this picture, -called “Rubens’s Sons,” is valued because the artist painted every -stroke himself. He would not allow any one else to touch it, and later, -owing to its great popularity, it is believed he made a copy of the -painting, as there are two in existence. - -The brothers, Albert and Nicholas, are so lifelike that they almost seem -to breathe and move. The elder son, Albert, was twelve years old when -this picture was painted, and his brother Nicholas, eight. Albert, -always a studious boy, looks thoughtfully at us as he half leans against -the pillar. In his gloved right hand he holds a book, while in his bare -left hand, resting on his brother’s shoulder, he holds the other -fur-edged glove. - -The younger boy, Nicholas, is absorbed in his plaything, a goldfinch -fastened by a string to a wooden perch. He shrewdly calculates the -distance he must let out the string, and his alert, eager attention -tells us much of the stirring, restless life of this healthy, active -boy. It is difficult to keep him standing still very long. - -Rubens delighted in painting rich velvets, brocades, silks, and satins, -and especially in representing his wife and their children in beautiful -clothes. In this picture he has certainly satisfied that desire, for the -boys are dressed in most elaborate costumes even for that day, and -especially so if we compare them with the simple dark suits of boys of -the same age to-day. Nicholas’s suit is of gray and blue, with puffs of -yellow satin, rosettes below his knees and on his shoes, lace collar and -cuffs, and innumerable little buttons. Albert wears black satin slashed -with white, white ruched collars and cuffs, and a soft black felt hat. -At a glance we would judge them to be the sons of a gentleman, well -brought up, healthy, happy, and manly. - -The great studio in which Rubens worked was like a school, for many -young artists came there to learn how to draw and paint. Rubens worked -away at his own easel while the students and helpers were seated about -the room, each carefully working out some part on the canvas before him. -Occasionally he would stop his painting long enough to look at the -others’ work, correct their mistakes, and help them. Often, as he -worked, Rubens would have some one read aloud to him in Latin, for he -was a fine scholar and liked to keep up his knowledge. The boy Albert -loved to sit on a stool near his father, watching and listening, and as -soon as he was able to write at all he could read and write in Latin. -Always fond of reading and studying, he gained such a reputation for -scholarship that when he was only sixteen years old the king of Spain, -Philip IV, appointed him to a very important position—secretary to the -Privy Council. - -Whenever Rubens went on a long journey he brought back many curios, such -as cameos, jewels, old coins, and relics of all kinds. Soon he had so -many collected he put them all in one room, which he called the “museum -room.” Albert loved to study the curious things in this room, and spent -hours alone here while Nicholas was romping out in the great yard. When -Albert grew up he wrote several books about antiquities and curios. - - -=Questions to help the pupil understand the picture.= Who painted this -picture? How old were these two boys? What were their names? Which one -looks the more studious? the more active? How are they dressed? Tell -something of Rubens’s studio and manner of working. Who helped him? why? -In what did the elder son, Albert, become proficient? To what important -position was he appointed? What books did he write? Tell about the -museum. - - -=The story of the artist.= The great Flemish painter, Peter Paul Rubens, -was born at Siegen, Germany, during the forced exile of his parents from -their home in Antwerp, Belgium. But Rubens always claimed citizenship at -Antwerp, and spent most of his life there after the death of his father. - -His mother sent him to a Jesuit college, where, besides his religious -training, he gained a mastery of languages. According to the customs of -those times he was next sent as a page to the home of a great lady; but -this was not to his liking and he soon returned home. His mother wished -him to be a lawyer, as his father had been, but Rubens persuaded her to -help him in his ambition to be a painter. - -The next ten years he spent at home, studying under the direction of -local artists, until at the age of twenty-three he was so filled with -the desire to visit Italy that he set out for Venice. He spent much time -copying the paintings of the Venetian masters, and it was while he was -working on one of these copies that a gentleman belonging to the court -of the Duke of Mantua found him, and praised his work so highly to the -duke that Rubens was sent for. Then for eight years Rubens held the -position of court painter for the Duke of Mantua. - -In appearance he was tall, well built, and good looking, carrying -himself with grace and an air of distinction. Cultured, with pleasant -manners and such unusual talent, it is not strange that he made friends -wherever he went. - -The story is told that one day as he was painting a picture the subject -of which he had chosen from Virgil, “The Struggle of Turnus with Æneas,” -he recited the Latin aloud to himself. The duke, happening to pass that -way, heard him, and coming into the studio spoke to him in Latin, not -for an instant believing he would understand, but Rubens answered in -perfect Latin. The duke was amazed, for his idea of painters did not -include their having a knowledge of the classics. He then inquired about -the artist’s birth and education, and so Rubens, with his great talent, -was held in even greater favor at court. - -Rubens made a journey to Spain for the Duke of Mantua, taking with him -as presents copies of some of the celebrated Italian paintings and a -number of horses to be presented to King Philip III and to the Duke of -Lerma. The Duke of Mantua was famous throughout Europe for his fine -horses, and it is said that those appearing so often in Rubens’s -paintings were chosen from among the duke’s favorites. On this journey -Rubens took the wrong road, crossing the Alps with great difficulty. The -baggage, drawn by oxen over the steep mountain roads, delayed him, and -the paintings were almost ruined by heavy rains, which made it necessary -for him to spend many days retouching them before they could be -presented. He was so successful in this task, and the journey had given -them such an appearance of age, that the king thought they must be the -“genuine originals of the old masters.” - -The horses, however, arrived in fine condition, for, as the story goes, -they had been bathed in wine several times during the journey, which -greatly improved the glossiness of their coats. - -After his return Rubens continued his travels through Italy, whenever he -could secure a leave of absence from the duke, but was finally called -back to Antwerp by the death of his mother. When he would have returned -to the duke’s court he was persuaded by the Archduke Albert and his wife -to remain in Antwerp, where he was offered the position of court painter -at a most generous salary. - -He then built a magnificent home and married Isabella Brant, whose -portrait he has painted so often. This house was so arranged that he -could use part of it for his school, to which students came from all -parts of Europe. Each student was taught to do a certain part of a -picture well, and most of them had their part in the great paintings, -which were first planned and then retouched by Rubens. For this work -Rubens always gave them credit, and in his list of pictures he has -permitted no deception. Thus we find among his notes: - -“A Prometheus bound—with an eagle who gnaws his liver. Original by my -hand, eagle by Snyder. - -“Leopards, painted from life, with Satyrs and Nymphs. Original by my -hand, except a very beautiful landscape done by a very distinguished -artist in that style. - -“The Twelve Apostles and Christ, painted by my pupils after originals by -my hand—they could all be retouched by my hand.” - -Such a great number of pictures are attributed to Rubens and his helpers -that some are to be found in every gallery in Europe. - -His paintings were in demand not only in the Netherlands but in other -countries. In France, Maria de Medici commissioned him to paint pictures -illustrating the chief events in her life, to be placed in the gallery -of the Luxembourg Palace. There were twenty-one of these pictures in all -besides three portraits. - -A beautiful friendship existed between the two artists, Rubens and -Velasquez, although Rubens was twenty-two years older than his young -friend. - -Other paintings by Rubens are: “Adoration of the Magi,” “The Garland of -Fruit,” “The Descent from the Cross,” “The Last Communion of St. -Francis,” “Judgment of Paris,” and “Peace and War.” - - -=Questions about the artist.= Where was Rubens born? Where did he claim -citizenship? why? Tell about his early education. Where did he study -drawing and painting? Describe his personal appearance. Why was he such -a favorite at court? Tell about his journey to Spain and the paintings -and horses he took with him. Tell something of his life after his return -from this journey. Name some of his important paintings. - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - SONG OF THE LARK - - -=Questions to arouse interest.= What has the girl been doing? Why has -she stopped? What did she hear? How does the girl seem to feel? Is she -singing or listening? Why do you think so? How is she dressed? Where is -she going? What has she in her hand? What occupation would this suggest? -What time of day do you think it is? What can you see in the distance? -What is the name of this picture? - - - =Original Picture=: Art Institute, Chicago, Illinois. - =Artist=: Jules Adolphe Breton (brẽ tôN´). - =Birthplace=: Courrières, France. - =Dates=: Born, 1827; died, 1906. - - -=The story of the picture.= It is said that the artist, Jules Breton, -was walking in the fields of France early one morning when suddenly -there burst forth the joyous song of a lark singing high in the air. As -he looked about him, trying to discover the bird, he soon found it by -following the rapt gaze of a peasant girl who had stopped to look and -listen. As you know, an English lark sings while flying high in the air -instead of in the treetops as other birds do. Its song, too, is longer -and far more beautiful than that of our lark, and has been the subject -of many poems. Perhaps the best known are “Hark, Hark, the Lark,” by -Shakespeare, and “To a Skylark,” by Shelley. - -The last line of this verse by Shelley is often quoted: - - “Higher still and higher - From the earth thou springest - Like a cloud of fire; - The blue deep thou wingest, - And singing still dost soar, and soaring ever singest.” - -Jules Breton has tried to show us what he saw that morning, and to help -us find the lark through the joyous expression on the girl’s face. Her -lips are parted as she listens breathlessly to the exquisite song of -praise the lark is pouring forth. The sun, a huge, fiery ball, is rising -just behind the trees of the distant village, and all the earth is -flooded with its golden light. - -This sturdy, healthy peasant girl, sickle in hand, is going forth to her -work in the fields. She walks along briskly in the narrow path, her head -thrown back, breathing in the fresh morning air, when suddenly her -little friend, the lark, gives her the morning greeting. As we look at -her we do not feel that this is the first time she has heard his sweet -song, but rather that it is something she has learned to look and listen -for each morning as she starts out to her day’s work. - -Another Frenchman, Millet, painted the French peasant so that our -feelings of pity are aroused, but Breton shows us such strong, happy, -peasant girls that we are apt rather to envy them their life of outdoor -freedom and healthful labor. - -Millet says of these peasants, “Breton paints girls who are too -beautiful to remain in the country.” Other critics declare that Breton’s -wonderful sunrises and sunsets would make any figure stand out -transfigured, and as he chooses as models only the most favored in -strength and beauty, of course the results are unusual. - -This picture is so full of joy and song that it fills us with wonder and -appreciation of all that is beautiful in nature. First, there is the -bird with its wonderful power to soar so high and to so fill the air -with its beautiful song. Then the sun, and all that it makes possible -for us in life and growth. It seems indeed a privilege for this -happy-hearted peasant girl to be permitted to go out in the fields on -this bright, fresh morning to do her little share in the work of the -world. - -Her apron is caught up about her waist to hold the heads of wheat, for, -as her sickle indicates, she is going into the wheat field. A large -handkerchief is fastened about her hair to protect it from the dust and -dirt of the field. She is dressed for a warm day in summer. Her large, -coarse hands and feet, hardened by exposure and toil, suggest health and -strength and give us a feeling of admiration rather than of pity. - -The details of the field and even of her dress are made secondary and -unimportant compared with her face, upon which is centered our chief -interest and to which our eyes are continually drawn. - -In the little village faintly seen in the distance we catch a glimpse of -the homes of the peasants,—simple, rude homes, yet, if we may judge by -this girl’s expression, cheerful and happy homes. - -Breton has avoided all possibility of monotony in his picture by the -unequal division of space. Had the figure of the girl been placed -exactly in the center of the landscape, or the earth and sky spaces been -made equal, the picture would have lost much in interest, as you will -soon discover if you cover up parts of the composition with a piece of -paper. Although there is no rule stating that the center of interest -should not be in the middle of a picture, most artists seem to prefer -centering their interest on some person or object a little to one side -of the middle. - - -=Questions to help the pupil understand the picture.= How did the artist -happen to paint this picture? How does an English lark differ from the -larks in our country? What time of day is represented in this picture? -What is the girl doing? Compare the paintings of peasants by Millet and -Breton. How is this girl dressed? How does she seem to feel? What can -you say of the composition of this picture as to: (1) division of land -and sky space; (2) center of interest; (3) placing of the figure; (4) -lack of detail—the simplicity? - - -=The story of the artist.= Jules Adolphe Breton was the son of cultured, -well-to-do parents. When he was only four years old his mother died and -he was brought up, with other children, by his father and an uncle who -came to live with them at this time. In the great yard or park about his -father’s house there were four statues representing the four seasons of -the year—spring, summer, autumn, and winter. Jules loved to look at -these statues, and when one day a painter came and repainted them a -bright green, he watched every movement of the brush with great delight. -He was only six years old, but that night he announced to his father -that he was going to be an artist. - -When he was ten years old his father sent him to a religious school. At -this school there was a large black dog named Coco, a general favorite, -whose picture Jules often drew. One day he drew Coco in a black gown -like the priest’s, and standing on his hind feet, holding a book in his -paws. He named his picture “The Abbé Coco Reads His Breviary.” The -priest, his teacher, happening to see this picture, was much displeased, -and demanded, “Did you do this through impiety or to laugh at your -masters?” Jules was frightened, and not knowing exactly what “impiety” -meant, but feeling sure that to “laugh at your masters” would be a -serious offense, he answered tremblingly, “Through impiety.” - -For this he was severely whipped, much to the indignation of his father, -who promptly took him out of the school. Jules was then sent to another -school, where he was taught drawing, and from that time on he painted -pictures which won for him great popularity. - -He has received medals and other honors in England, France, and America. -Some of his best pictures are in the United States, among them “The Song -of the Lark,” which is usually considered his masterpiece. - -Other noted pictures are: “The Vintagers,” “Return of the Gleaners,” -“Blessing the Grain,” “Women Weeding,” “The Turkey Keeper,” and “The -Shepherd’s Star.” - - -=Questions about the artist.= Who painted this picture? By whom was he -brought up? What helped him decide to be an artist? How old was he when -he made this resolve? Tell about the drawing of Coco. What happened -because of this drawing? What was the outcome of this happening? How -successful was he as an artist? Where is the original painting of the -“Song of the Lark”? What else has Breton painted? - - ------------------------------------------------------------------------- - - -[Illustration] - - - - - BEATA BEATRIX - - -=Questions to arouse interest.= What is there about this picture that -suggests a mystery? Where is this lady sitting? What has been brought to -her? Of what is the dove a symbol? the poppy? To what hour does the -sundial point? What can you see in the distance? - - - =Original picture=: National Gallery of British Art, London. - =Artist=: Dante Gabriel Rossetti. - =Birthplace=: Portland Place, London, England. - =Dates=: Born, 1828; died, 1882. - - -=The story of the picture.= Long ago, in the age of chivalry, there -lived a beautiful Florentine lady named Beatrice Portinari. A great -poet, Dante, has described her to us from her childhood to her death. - -In those days when all true knights served their ladies, and even small -boys were required to choose objects of devotion, it was not strange -that a boy of nine years should choose a little neighbor girl for this -honor. She was only a year younger than he when her father, Folco -Portinari, a rich nobleman of Florence, gave a festival in her honor, -inviting all his neighbors and friends. Dante went with his father. Here -for the first time he met Beatrice, whom he afterwards described as “the -youngest of the angels.” - -“‘People called her Beatrice then,’ he explains, ‘without knowing how -truly the name belonged to her, for it means ‘one who blesses.’” The -artist, Rossetti, must have been thinking of this when he named his -picture “Beata Beatrix,” which means “happy or pleasing; one who -blesses.” Beata sometimes has another meaning—“the elect of -Paradise”—and Dante suggests this meaning as he tells us how the people -remarked, as she passed, that “she seemed not to be the daughter of a -mortal man, but of God.” Indeed, he tells us that whoever looked at her -was made better, for all ill thoughts must vanish before her,—“the -destroyer of all evil, and the queen of all good.” - -She must have been a fairylike little creature as she moved among her -father’s guests, dressed in deep crimson, with a few beautiful ornaments -which brought out her delicate coloring. At any rate she became the -ideal of the small boy, Dante. He became a poet through this meeting and -from that time on wrote verses to her. We probably never would have -known there was such a person as Beatrice, if he had not told us about -her in his poems. Now she will never be forgotten, for not only the poet -Dante, but the artist Rossetti, made her name immortal. - -It was not until nine years after this first meeting that Dante met -Beatrice face to face again. She was walking on the street between two -older women, and turned to greet him pleasantly. Dressed in white this -time, she seemed to him the fairest and most beautiful lady in all -Florence. - -This meeting had such an effect upon Dante that he declared he felt as -if he had reached the “furthest limit of blessedness.” Hurrying to his -room, he spent hours in thinking of Beatrice;—finally he fell asleep and -dreamed of her. As soon as he awoke, he commenced a sonnet, which he -addressed, not to her, but to his fellow-poets. It was not until later -that he ventured to address his verses to Beatrice, usually speaking of -her as “my lady.” - -After each meeting or new thought of Beatrice, Dante wrote his poems, -until at last he put them all into a book which he called “Vita Nuova,” -meaning “new life.” He declared that from the time of his first meeting -with Beatrice he had begun a new life, and this book would contain the -record of it. Here he tells all his inmost thoughts and feelings, for in -those days it was the fashion for poets to tell of their loves. - -So we hear how Dante spent his days and nights thinking of the lovely -Beatrice, until his health began to fail and his friends questioned, -even taunted him, as to the cause. He did not wish them to know who it -was that so affected him, and was wondering how to keep his secret when -an accident showed him the way. As he sat in church looking across to -where his beloved Beatrice sat unconscious of his presence, his glance -was returned by a lady sitting half way between. She thought his glances -were for her. She looked around several times, and other people, -noticing her, soon decided she must be the lady Dante loved. Dante then -decided to use her as a screen, and though he continued to write his -verses to Beatrice, he did so in such a way that all believed they were -directed to the screen lady. - -This did very well for several years, until the screen lady moved to -another city. Then Dante chose another screen lady, but she got him into -trouble. False rumors spread rapidly and soon the gentle Beatrice heard -them. So one day, when she passed Dante on the street, she did not give -him the customary greeting. He was nearly heartbroken, for this greeting -was all the recompense he had ever had or hoped to have for his love. He -tells how much it meant to him, how kindly it made him feel toward even -his enemies, and that it was the inspiration and hope of his life. - -A friend took him to a wedding feast at which Beatrice was one of the -guests. At the sight of her he grew faint and was obliged to return -home. As he passed a group of women, they stopped him and inquired what -kind of a love his was that made him numb and speechless in the mere -presence of the loved one. He told them that until the day when Beatrice -refused it, the end and aim of his love had been “her salutation”; but -now his desire had changed to something that could not fail him: His -happiness now lay “in the words which praise my lady.” - -Is it any wonder then that one so gentle and beautiful as Beatrice, and -to whom the attention of all Florence was directed by the adoration of -so beloved a poet as Dante, should become a kind of goddess or queen in -that city? Dante tells us that people came to the corners of the streets -to see her pass. Her companions, too, were honored for her sake, and it -seemed as if Beatrice herself was “the only creature in Florence unaware -of her own perfections.” It gave him the most exquisite pleasure to -think that he had helped bring this about. - -At the death of Beatrice’s father, Dante’s grief was almost as deep as -for his own father, and he remained near the house in the vain hope that -he might comfort his lady in some way. Shortly after this, Dante became -very ill, and as he thought of death, he realized that some day his -beloved Beatrice must die. The thought drove him into a frenzy of -despair; and when at last he fell asleep, it was only to dream of her -approaching death. This dream proved to be a true omen, for only once -more was Dante permitted to see his Beatrice; then one day as he was -composing a sonnet to her, the news of her death was brought to him. He -was prostrated with grief, and it was some time before he could write -again. - -Dante was then twenty-seven years old, and left, as he said, “to -ruminate on death, and envy whomsoever dies.” To console himself he read -religious philosophy, and from thinking of Beatrice as a saint upon -earth, he began to think of her in heaven in company with saints and -angels. And so almost before he knew it he had started to write his -masterpiece, “The Divine Comedy.” In this, Beatrice, still the object of -his adoration, leads him from circle to circle in Paradise, and for the -first time we hear her speak. - -It is strange how very little is known of Beatrice from other sources. -Beyond the fact of her birth and parentage little is given. Many -authorities state she was the wife of Simone de’ Bardi, but as many -vigorously deny this. Dante does not mention her marriage, and indeed -gives us quite the opposite impression. - -Dante has represented his Beatrice as so perfect, so absolutely without -fault in every way, that many have questioned whether she was a real -woman or an ideal. Perhaps the doubt as to her reality started when -people began to ask more about her and her interest in Dante. Living in -Florence, she must have known of his devotion, yet we have no way of -knowing whether she knew or not. And then we are permitted to see -Beatrice only at a distance, and usually surrounded by her bodyguard of -gentle ladies. We know how she affected other people, the beauty and -sweetness of her presence, yet we are never brought close enough to see -even the hint of an imperfection of any kind. And the poet himself does -not address his poems directly to her, but “to other poetic souls who -will understand.” - -Yet who can read his “Vita Nuova” and fail to be convinced that Beatrice -was an actual woman? Here we find her beautiful, gentle, modest, and -smiling, walking with others, prayerful in church, weeping at funerals, -and merry at festivals. All the little events of her life, and even the -peace of her death, are sympathetically told by one who knew her to be -real, yet has made her truly ideal. - -The “Vita Nuova” was written in Italian, and one of the best English -translations was made by Rossetti, who painted this picture as one of -the many illustrations for the book. No one could have been more in -sympathy with this subject than Rossetti; both because of his great -admiration for Dante, and because he had suffered a similar affliction -in the loss of his beloved wife. - -Dante sought to prove in verse that death is but passing from one world -into another, and Rossetti wished to show Beatrice in that transition -stage, or swoon, in which she is about to pass into another life. In his -own words Rossetti tells us, “The picture illustrates the ‘Vita Nuova,’ -embodying symbolically the death of Beatrice as treated in that work. -The picture is not intended at all to represent death, but to render it -under the semblance of a trance in which Beatrice, seated at a balcony -overlooking the city, is suddenly rapt from earth to heaven.” - -We are supposed to be in an adjoining room in the home of Beatrice, and -to be looking out upon the balcony where she is sitting. Her closed -eyes, half-closed lips, and listless hands make her appear to be half -sleeping, half waking, yet conscious of some heavenly vision we cannot -see. The dove, crowned with a halo to show that it is a heavenly -messenger, brings the poppy to Beatrice. This flower is the symbol of -death; the dark heart of the flower stands for mystery and the white -petals for purity. - -The sundial represents the hour as close at hand. Dante was quite -superstitious about the number nine, and in his book refers to that -number so often that this picture would not be complete without some -indication of it. He was nine years old when he met Beatrice; nine years -later he received her salutation; it was usually on the ninth hour that -he saw or dreamed of her; and it was at the ninth hour that she passed -away. - -As we glance away from Beatrice, beyond the balcony we catch a glimpse -of the Florence in which she lived, with its river Arno, its bridge, and -some of the towers and palaces in the dim distance. The two figures -gazing sadly at one another represent Dante and Love. In his “Vita -Nuova,” Dante always speaks of Love as an actual person appearing to him -in different forms. First he appeared as a traveler dressed in coarse -clothes; then as a youth in white who came and sat on the edge of his -bed and comforted him; and on those rare occasions when Dante saw -Beatrice he was always present. Dressed in vermilion in this picture, he -stands holding a flaming heart and pointing upward, as if he would -beckon Dante to follow. Critics generally agree that the figure of Love -in this picture represents the spiritual Beatrice, who beckons Dante to -follow as she passes upward. Dante, dressed in scholarly gown, gazes -fixedly at the figure as if he would not fail to get the message. - -The colors in which this picture is painted add much to its air of -mystery. The purplish tints of late sunset linger in the distant view of -the city and bring out the golden auburn hair of Beatrice, suggesting a -halo made radiant against the twilight distance. Yet Rossetti has been -very careful to make Beatrice appear as a real person and not as a -vision. To accomplish this, he has made the figure stand out clearly -against the brilliant light, yet lost in the half shadows of the -balcony, so she appears to be both of this world and of the next. He has -represented life and death again in the colors of her dress,—green and -purple. She wears a loose-fitting green garment over a purple dress. The -bird is a deep rose color. It carries the purplish white poppy to her -lap. - -This picture of Beata Beatrix is dated 1863, but was not finished until -two years later. Nine years afterwards, Rossetti painted a copy of it, -adding the meeting of Beatrice and Dante in Paradise. He painted several -other copies, but none of them have been considered equal to this first -picture. The original was painted in oils and sold to Lord Mount Temple, -whose widow gave it as a memorial to the National Gallery, London, where -it now hangs. - -Rossetti designed nearly all the frames for his pictures, because he -liked to show on them some of the things that suggested the picture. He -took unusual pains in designing the frame for this painting. On the -sides are circles showing clouds, stars, and skies, representing the two -worlds. Below the painting he has printed the date of the death of -Beatrice, June 9, 1290, and a quotation in Latin from the Bible -illustrating the effect of her death upon Florence: - - - “How doth the city sit solitary, that was full of people! - How is she become as a widow! She that was great among the nations!” - - -=Questions to help the pupil understand the picture.= Of whom is this a -picture? Where did she live? By whom was she made famous? How? Explain -the meaning of her name, and the name of this picture. Why were these -names appropriate? In what age did Beatrice live? What influence did -chivalry have upon Dante? When and where did Dante and Beatrice meet? -How old were they? What was the result of this first meeting? Tell about -the next meeting and its effect. What is the “Vita Nuova,” and why was -it written? Tell about the screen ladies. How was Dante punished? What -was the end and aim of his love for Beatrice? How was Beatrice regarded -in Florence? why? What was Dante’s dream? Of what was it an omen? What -was the effect of Beatrice’s death upon Dante? Why do some people think -Beatrice was not a real woman? What is your opinion? Why did Rossetti -wish to paint this picture? Does it represent death or life? Where is -Beatrice sitting? Describe the picture; its coloring. What part has the -number nine in the life of Beatrice? Explain the figures in the -background. Where is the original painting? How is it framed? - - -=The story of the artist.= Daniel Gabriel Rossetti was the eldest son of -Gabriele Rossetti, a poet and Italian exile. Gabriel, for that was the -name he was usually called, was born at Portland Place, London, and had -two sisters and one brother. He was first sent to a private school, then -to King’s College School. When he was but fourteen, because of his -marked ability to draw he was sent to Cary’s Art Academy. Here he did so -well that three years later he gained admission to the Royal Academy -Antique School. - -He was only twenty years old when with some other young artists he -started a new art movement which they agreed, half in jest, to call -Pre-Raphaelitism. They themselves were called Pre-Raphaelites. When they -began to exhibit their paintings, they were very severely criticized and -ridiculed; but a popular young art critic of that day, John Ruskin, came -to their aid by writing a long letter in which he praised them heartily. -This letter was published and turned the tide of popular opinion. -Meanwhile, Rossetti was developing his literary talents, his writings -being published in the leading magazines of that time. - -One day a young artist friend of Rossetti’s went with his mother into a -millinery shop, where, glancing through an open door, he saw a number of -young girls at work. Among them was one who had the beautiful reddish -auburn hair which was the favorite color among the Pre-Raphaelites. The -young man persuaded his mother to ask the girl if she would pose for -him. The girl’s name was Elizabeth Siddall, and from posing for this -friend she soon became acquainted with other artists, among them, -Rossetti. She showed considerable artistic ability herself, and it is -said that John Ruskin, wishing her to give up her trade and devote -herself to art, promised to buy all the pictures she could paint, if she -would study with Rossetti. This delighted Rossetti, who felt more than -interested in this new pupil. - -Judging from the paintings Rossetti made of her at this time she must -have been a beautiful young girl. Besides her good looks she must have -had a brilliant mind, for she learned rapidly, and soon became not only -a good artist but a writer and judge of good literature. Then she -discovered that her education had been much neglected, so with -Rossetti’s and Ruskin’s help she went away to school to perfect herself. -She did this because she believed she would then be able to help -Rossetti more in his work. When she returned to London, they were -married. - -Their marriage was a very happy one, but hardly two years had passed -when the young wife died. - -During these two years Rossetti was inspired in his work in art and -literature by his beautiful wife, and it was at her request that he -copied the poems he had addressed to her into a little book which she -had given to him for that purpose. Overcome by grief at her death, -Rossetti wrapped this volume in his wife’s beautiful hair as she lay in -her coffin, and so it was buried with her. - -Seven years later he was persuaded to secure this book again, and its -publication brought him much honor. But he felt much remorse because he -had permitted the grave to be opened, and, some very severe and unkind -criticisms coming to him at this time, his health began to fail. He -found he could not sleep, and although he knew their terrible effects, -he commenced taking narcotics. All the rest of Rossetti’s life was spent -in a constant struggle against them until at last they conquered in his -death. - -It is not strange that Rossetti should have been interested in Dante and -his writings. Rossetti’s father was so great an admirer of Dante that he -named his son for him, and wrote many articles about him. Rossetti’s -sister, too, wrote a book about Dante, his life and works, which she -called “The Shadow of Dante.” - -You can easily see how, after the death of his wife, the story of the -death of Beatrice would affect Rossetti; and it is little wonder that -the Beatrice of the “Beata Beatrix” should resemble his own wife. -However, he did not intend this as a portrait of his wife, but only -meant to show that love continues after death, and that what men call -death is but a swooning into another life. Nearly all of Rossetti’s -paintings are connected more or less with the tragedy of his own life, -and through them we come to understand what that life must have been. - -He painted many literary subjects, and among those illustrating the life -of Dante and Beatrice are: - -“Il Saluto di Beatrice,” which represents the meeting of Beatrice and -Dante first in a street of Florence, and then in Paradise. - -“Dante Drawing the Angel”—a year after Beatrice’s death Dante observed -the anniversary by drawing the angel which represented Beatrice. - -“Beatrice at the Wedding Feast, Denying her Salutation to Dante.” - -“Dante’s Dream.” This is the largest picture Rossetti ever painted. - -Other paintings are: “The Blessed Damozel,” “The Spirit of the Rainbow,” -“Forced Music,” “The Bower Meadow,” “The Beloved.” - - -=Questions about the artist.= Where was Rossetti born? For whom was he -named? Of what nationality was his father? Where was Rossetti educated? -In what did he excel? What new art movement did he help to start? What -was their success? Who was Elizabeth Siddall? How did she happen to -study with Rossetti? What did she become? Tell about her life, marriage, -and death. What did Rossetti bury with her? When did he recover the -book? What caused his ill health? his death? Why did the death of -Beatrice appeal to him? Whom did she resemble in this picture? What -thought did Rossetti wish to express? What other pictures of Beatrice -did he paint? - - ------------------------------------------------------------------------- - - - - - THE SUGGESTIONS TO TEACHERS - - -=Studying the picture.= Several days before the lesson is to be taken -up, the picture to be studied should be placed where every pupil can see -it. - -First of all, the children should find out for themselves what is in the -picture. The questions accompanying the story of each picture are -intended to help them to do this. - -=Language work.= The pupils should be encouraged in class to talk freely -and naturally. In this way the lesson becomes a language exercise in -which the pupils will gain in freedom of expression and in the ability -to form clear mental images. - -If a lesson does not occupy the entire drawing period, the children -should be asked to retell the story of the picture. - -=Dramatization and drawing.= Most of the stories told by the pictures -lend themselves readily to dramatization and, whenever practicable, such -stories should be acted out. The stories also offer numerous interesting -situations that may be used as subjects for drawing lessons. - -=The review lesson.= The review lesson should cover all pictures and -artists studied throughout the year. At this time other pictures -available by the same artists should be on exhibition. - -The review work may be conducted as a contest in which the pictures are -held up, one at a time, while the class writes the name of the picture -and the artist on slips of paper which have been prepared and numbered -for that purpose. One teacher who used this device surprised her class -by presenting those whose lists were correct with their choice of any of -the large-sized Perry pictures studied. - -Many teachers, however, will prefer to use this time for composition -work, although the description of pictures is often given as an English -lesson. Pupils may write a description of their favorite picture. In -fact, the lessons can be made to correlate with history, geography, -English, spelling, reading, or nature study. - -In any event the real purpose of the work is that the pupils shall -become so familiar with the pictures that they will recognize them as -old friends whenever and wherever they may see them. - -It is hoped that acquaintance with the picture and the interest awakened -by its story will grow into a fuller appreciation and understanding of -the artist’s work. Thus the children will have many happy hours and will -learn to love the good, the true, and the beautiful in everything about -them. - - ------------------------------------------------------------------------- - - - - - ● Transcriber’s Notes: - ○ Missing or obscured punctuation was silently corrected. - ○ Typographical errors were silently corrected. - ○ Inconsistent spelling and hyphenation were made consistent only - when a predominant form was found in this book. - ○ Text that was in italics is enclosed by underscores (_italics_); - text that was bold by “equal” signs (=bold=). - - - - - - - -End of Project Gutenberg's Stories Pictures Tell Book 7, by Flora Carpenter - -*** END OF THIS PROJECT GUTENBERG EBOOK STORIES PICTURES TELL BOOK 7 *** - -***** This file should be named 63171-0.txt or 63171-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/1/7/63171/ - -Produced by David Garcia, Larry B. 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